Attic Black-Figured Pottery (Athenian Agora vol. 23)

THE

AGORA ATHENIAN RESULTS OF EXCAVATIONS CONDUCTED BY

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

VOLUME XXIII

ATTIC

POTTERY BLACK-FIGURED BY

MARY B. MOORE AND MARY ZELIA PEASE PHILIPPIDES WITH THE COLLABORATION OF

DIETRICH VON BOTHMER

THE AMERICANSCHOOLOF CLASSICALSTUDIESAT ATHENS PRINCETON,NEW JERSEY 1986

ALL RIGHTS RESERVED

Library of Congress Cataloging-in-Publication Data 1937Moore, Mary B. Attic black-figuredpottery. (The Athenian Agora ; v. 23) Includes bibliographicalreferencesand indexes. 1. Agora (Athens, Greece)-Catalogs. 2. Vases, Black-figured-GreeceAthens-Catalogs. 3. Greece-Antiquities-Catalogs. 4. Athens (Greece)Antiquities-Catalogs. I. Philippides, Mary Zelia Pease, 1906- . II. Von Bothmer, Dietrich, 1918- . III. American School of Classical Studies at Athens. IV. Title. V. Series. DF287.A23A5 vol. 23 938'.5 s [938'.5] 86-20615 ISBN 0-87661-223-0

TYPOGRAPHY BY THE AMERICAN SCHOOL OF CLASSICALSTUDIES PUBLICATIONS OFFICE C/O INSTITUTE FOR ADVANCED STUDY, PRINCETON, NEW JERSEY PLATES BY THE MERIDEN GRAVURE COMPANY, MERIDEN, CONNECTICUT PRINTED IN THE UNITED STATES OF AMERICA BY THE TOWN HOUSE PRESS, SPRING VALLEY, NEW YORK

To

THE MEMORY OF

LUCY TALCOTT

FOREWvORD This volume contains the Attic black-figuredpottery found in the Agora excavationsbetween 1931 and 1967 during the directorshipsof T. Leslie Shear and Homer A. Thompson. Many of these vases and fragments have already appeared in various excavationreports or in special studies. In this volume, however, all of them are presentedtogether for the first time in order to give as full a recordas possible of this richly varied material. We wish to thank most Homer A. Thompson for the opportunityto publish these vases and no less for his unfailing support of the projectand his interest in it. We remembergratefully the late Lucy Talcott for all kinds of invaluable adviceand help as well as for establishingthe Agora system of recordkeeping, which enabled us to retrieveinformationso easily. Our special debt to the work of Sir John Beazley and our dependence upon it during all phases of our collaborationwill be apparent throughoutthe entire volume. We invited Dietrich von Bothmer to tollaborate with us. He read the manuscript and offered numerous helpful suggestions for improvementand changes that saved us from many errors. During her three-term leave from Hunter College in New York, he gave MBM the use of an office in the Greek and Roman Department at the Metropolitan Museum of Art as well as access to his photographicarchive, personal notes on vases, departmentbooks and offprints. These ideal working conditions enabled the research to proceed with much greater speed than would have been possible otherwise, and the special material made availablehas greatly enrichedthe contentsof this volume. We wish to express special thanks and gratitude to the staff of the Agora excavations for its friendly and cheerful cooperationduring all phases of this study:T. Leslie Shear, Jr., Field Director; John McK. Camp II, Assistant Field Director;Lucy Krystallis and Helen Townsend who, as successive secretaries,coped uncomplaininglywith our requests and questions;William B. Dinsmoor, Jr., for the plan indicating the deposits; Alison Frantz for the majority of photographs; Robert K. Vincent, Jr. for much of the new photography;Nicholas Restakisand KyriakeMoustaki for their care in printing the photographs;and Stephen Koob for restorationwork. We also thank the following colleagues and friends for various kinds of help and support: Peter H. von Blanckenhagen, Andrew Clark, Poly Demolini, Charles Edwards, Evelyn B. Harrison, Caroline Houser, Henry Immerwahr, David Jordan, Phyllis Williams Lehmann, Mary Aiken Littauer, Joan R. Mertens, Martin Robertson,Gerhard Schmidt, Evelyn Lord Smithson, Eugene Vanderpool, and Marjorie Venit. During the time we shared the work on this volume, we were separatedby a considerablegeographic distance. It was, therefore, necessary to divide our labors in a manner that would not impede our progress. MZP wrote a preliminary description of all the entries. These were then rewritten to conform to the format we had decided upon, and for some the content was revised. Most descriptionsare basically hers. She set up a picture file, made a detailed check list (typed in duplicate and meticulously checked by Ann Brownlee), and gathered and organized the deposit

viii

FOREWORD

informationfrom the excavationrecords.MBM is primarilyresponsiblefor the comparandain the Catalogue, the discussionof all the shapes, the chapteron pottersand painters,the concordanceand andto large extent, for the selection of vases to be illustratedas well as for the layout of indexes, and, the plates. The profile drawings are by Helen Townsend; the other drawings are by MBM. During the three years that MBM worked on the project, she was the fortunate recipient of financial support from the following sources: a stipend from the American School of Classical Studies, Octoberto December, 1978; an NEH Fellowship for 1979; two summer grants, one from the American Philosophical Society, the other from the Faculty Research Award Program of the City University of New York. During the summers 1977 and 1980, she enjoyedthe hospitalityand facilities of the American School of Classical Studies and wishes to thank its staff for helping to make her visits to Athens both comfortableand productive.MZP wishes to thank the Agora for fellowships granted in 1957/1958 and in 1966/1967. New York and Athens September, 1985

MBM and MZP

TABLE OF CONTENTS .

vii

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LISTOF ILLUSTRATIONS

xii

. FOREWORD

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ABBREVIATIONS. INTRODUCTION.

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SHAPESTUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pis. 1-15 ......................... ONE-PIECEAMPHORAE 1-127 Decorated on neck and body; figures not set in panels 1-6

xiv .

1

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4 4

Panel amphorae 7-116 Special one-piece amphorae 117-119 Scheme of decoration uncertain 120-127 Pls. 16-26

NECK-AMPHORAE 128-225

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7

Late 7th century 128-137 Non-standard:first half of the 6th century 138-164 Ovoid neck-amphorae165-177 Panel neck-amphorae178-182 Neck-amphorae of Panathenaic shape 183-188

Standardneck-amphorae189-205 Small late neck-amphorae206-225 PANATHENAIC AMPHORAE226-338

Pis. 26-34

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12

Prize vases 226-318 Non-prize vase 319

Uncertain if prize or non-prize vases 320-337 Miniature Panathenaic amphora 338 AMPHORAE, TYPE UNCERTAIN339-366

Pis. 34-36

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P1. 36 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AMPHORALIDS 367-372 LOUTROPHOROI373-389

Pls. 36-38 ..........................

18 18 18

Hydriai 373-376 Amphora 377 Type uncertain 378-389 PELIKAI 390-397 PSYKTER 398

PI. 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20

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20

P1. 39

SKYPHOS-KRATERS399-413

Pis. 39-41 .........................

22

Pls. 41-46 . .........

23

Bowls 399-403 Lids 404-413 COLUMN-KRATERS414-490

TABLE OF CONTENTS

x

Pls. 46 and 47.......

VOLUTE-KRATERS 491-500

25 .......

Pls. 47 and 48 ...............

CALYX-KRATERS 501-509 LEBETESGAMIKOI 510-518

Pis. 48 and 49

519-525 KRATERS,TYPEUNCERTAIN

26 ...

......

. . 27 29

P1. 50 ..............

STANDS 526-602 Pls. 51-56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conical supports 526-560 Cylindricalsupports 561-586 Supports, type uncertain587-601 Sosian stand 602

32

Pls. 56 and 57.....................

LOUTERIA 603-607

Pls. 57 and 58 ........... Bowls 608-614 Stands 615-617

33

DINOI608-617

HYDRIAI 618-669 Pls. 59-63 . Round-bodiedhydriai 618-624 Shoulderedhydriai 625-649 Kalpides 650-669 OINOCHOAI 670-786 Pls. 64-73. 670-722 Olpai Oinochoai 723-776 Olpai or oinochoai 777-786

35 . . . . . . . . . . . . .... . . . ... . . . .... . . . . ..........

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P1. 88

PHORMISKOI 1258 and 1259

KOTHONS 1260-1264 PYXIDES 1265-1296

47

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48

P1. 88 ...........

49

Pls. 88 and 89 ........ Pls. 89-91 .

39

43

LEKYTHOI ........... 787-1256 Pls. 73-87 .. Earliest 787-791 The lekythos painters, I: chiefly earlier 792-868 The lekythos painters, II: the Gela Painter 869-883 The lekythos painters, III: the Edinburgh Painter 884-886 The lekythos painters, IV: the Class of Athens 581 887-1124 Unattributed lekythoi:late 6th or 5th centuryB.C.1125-1159 The lekythos painters, V: the Sappho Painter and the Diosphos Painter 1160-1180 The lekythos painters, VI: the Theseus Painter and the Athena Painter 1181 The lekythos painters, VII: the Haimon Group 1182-1237 Unattributedlekythoi: 1238-1256 ALABASTRON 1257

29

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49

Corinthian type 1265 and 1266 Tripod-pyxides 1267-1278

Type A 1279-1286 Powder pyxides 1287-1289

Lids 1290-1296 LEKANIDES 1297-1360

Pls. 91-93 ..................

Lidless 1297-1329 Lidded 1330-1355 Uncertain if lidless or lidded 1356-1360

51

TABLE OF CONTENTS LIDS1361-1387

Pls. 94 and 95 ..............

53

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53

PLATES 1388-1426 Pis. 95-97 Type A 1388-1410 Type B 1411-1424 Other 1425 and 1426

Pls. 97 and 98

PHIALAI 1427-1439 MASTOID1440

xi

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56 57

P1. 98 ................

57

P1S. 98 and 99 .............

1441-1450 CHALICES

SKYPHOI 1451-1657 Pis. 99-107 ............. Corinthian type 1451-1471 Attic type 1472-1656 Special 1657

58

CuPs 1658-1846 Pis. 108-118 . Komast cups 1658 and 1659 Siana cups 1660-1684 Little Master cups 1685-1745 Cassel cup 1746 Droop cups 1747-1752 Type A and Sub-A 1753-1779 Type B 1780 Stemless cups 1781-1800 Cups, type uncertain 1801-1846

62

BOWL1847

P1. 118 .

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

............... PI. 118.

EPINETRA 1848-1850 THYMIATERIA 1851-1853

68 ...........................

OPEN VASES, SHAPE UNCERTAIN1909-1932

Pls. 119-121 Pls. . 121-123.

P1. 123 . .

MISCELLANEOUS 1933-1935

DISKS1947-1949

69

P1. 119 ..............

CLOSED VASES, SHAPE UNCERTAIN1854-1908

PLAQUES 1936-1946

Pls. 123 and 124

CONCORDANCE

70

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71 72

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DEPOSIT SUMMARIES

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PI. 124 ....

POTTERS AND PAINTERS ..... CATALOGUE

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99 329 337

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INDEX I: POTTERS, PAINTERS, GROUPS, AND CLASSES

355

INDEX II: SUBJECTS ......

359

INDEX III: GENERAL

363

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INDEX IV: SHAPE AND ORNAMENT INDEX V: COLLECTIONS

PLATES

368 371

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INDEX VI: INSCRIBED NAMES

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382

LIST OF ILLUSTRATIONS FIGURES IN TEXT

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

. . . . . . . . . . . One piece amphora 1 (P 6155 a) ...... . 6 . . . . . . . . . . One-piece amphora (P 15088) ... . 34 . . . . . . . . . . One-piece amphora (P 1250), graffito . . . . . . . . . ....... . . 139 (P 13113) Neck-amphora ...... . . . . . . . . . 140 (P 17966) Neck-amphora . . . . . . . . . . ...... . 179 (P 25013) Neck-amphora . .. . . . . . . . . . ...... Amphora 341 (P 20678) . . . . . . . . . . . ...... Amphora 342 (P 26642) . . . . . . . . . . . Amphora 347 (P 25338) ........ . . . . . . . . . . . Amphora 358 (P 22999), dipinto. ..... . . . . . . . . . . . Psykter 398 (P 27885) ........ . . . . . . . . . . . Skyphos-krater400 (P 6577) ...... Dinos stands 615 (P 26619), 616 (P 21708), and 617 (P 13271) . . . . . . . . . . . . . . . . . . . . . . Olpe 698 (P 6457) ........ ..... . . . . . . . . . . . 1150 (P 24411), dipinto Lekythos . ...... . . . . . . . . . . lid 1293 (P 15545) Pyxis . . . . . . . . . . . Lid 1382 (P 15387) ....... . . . . . . . . . . . Skyphos 1559 (P 1270), graffito ...... ... . . . . . . . . . . . . 1615 (P 23175), graffito Skyphos ... . . . . ...311 ... . 1793 (P 6552), graffito Cup . . . . . . . . . . . .. . 1833 (P 4928), graffito Cup . . . . . . . . . . ...... vase 1931 (P 21186) Open

PLATES

1-15 16-25 26 27-33 34 35 36 37 38 39 40 41 42-45 46 47 48

One-piece Amphorae Neck-amphorae Neck-amphorae.PanathenaicAmphorae PanathenaicAmphorae PanathenaicAmphorae.Amphorae,Type Uncertain Amphorae,Type Uncertain Amphorae,Type Uncertain. Amphora Lids. Loutrophoroi Loutrophoroi Loutrophoroi.Pelikai Psykter. Skyphos-kraters Skyphos-kraters Skyphos-kraters.Column-kraters Column-kraters Column-kraters.Volute-krater Volute-kraters.Calyx-kraters Calyx-kraters.Lebetes Gamikoi

99 100 104 118 119 125 143 144 145 146 151 152 180 192 241 257 267 287 293 315 324

LIST OF ILLUSTRATIONS 49 50 51-55 56 57 58 59-63 64-72 73 74-87 88 89 90 91 92-93 94 95 96 97 98 99 100-107 108-117 118 119 120 121 122 123 124

Lebetes Gamikoi Kraters, Type Uncertain Stands Stanlds.Louteria Louterion. Dinoi Dinoi Hydriai Oinochoai Oinochoai. Lekythos Lekythoi Alabastron. Phormiskoi. Kothons Kothons. Pyxides Pyxides Pyxides. Lekanides Lekanides Lids Lids. Plates Plates Plates. Phialai Phialai. Mastoid. Chalices Chalices. Skyphoi Skyphoi Cups Cups. Bowl. Epinetra Thymiateria. Closed Shapes Closed Shapes Closed and Open Shapes Open Shapes Open Shapes. Miscellaneous. Plaques Plaques. Disks

PLAN The Athenian Agora showing the Location of Deposits

xiii

ABBREVIATIONS * "p."and"no."in references understood

AA AAA ABL *ABV AC Agora VIII Agora XII Agora Picture Book AJA AK Albizzati Arias ArtBull *ARV2 'ApX'ED AthMitt BABesch Bakir, Sophilos BCH Beazley, Development Beazley, EVP BJb BMFA Boardman,ABFV Boardmanand Hayes, Tocra, 1963-1965 Bohr, Schaukelmaler Bothmer,Amazons Bothmer,Amasis Painter Brann. See Agora VIII Brijder,Siana Cups I Brommer,Heldensage3 BSA Buitron, New England Collections Callipolitis-Feytmans, Les plats attiques

= = = = = =

ArchdologischerAnzeiger Athens Annals of Archaeology C. H. E. Haspels, Attic Black-figuredLekythoi,Paris 1936 J. D. Beazley, Attic Black-Figure Vase-Painters,Oxford 1956 Archeologiaclassica E. T. H. Brann, The Athenian Agora, VIII, Late Geometricand ProtoatticPottery, Princeton 1962 = B. Sparkes and L. Talcott, The Athenian Agora, XII, Black and Plain Pottery of the 6th, 5th and 4th CenturiesB.C., Princeton 1970 = Excavationsof the AthenianAgora Picture Books = AmericanJournal of Archaeology = Antike Kunst

= C. A. Albizzati, Vasiantichi dipinti del Vaticano,Rome 1925-1939 = P. E. Arias, M. Hirmer, and B. Shelton, A History of Greek VasePainting, New York 1963 = Art Bulletin

= J. D. Beazley, Attic Red-Figure Vase-Painters,2nd edition, Oxford 1963 = 'ApXaLoAoytcK'E7,epls E

= = = = = = = = = =

Mitteilungen des DeutschenArchdologischenInstituts,AthenischeAbteilung Bulletin van de Vereenigingtot Bevorderingder Kennis van de antieke Beschaving G. Bakir, Sophilos.Ein Beitrag zu seinem Stil, Mainz 1981 Bulletin de correspondancehellenique J. D. Beazley, The Developmentof Attic Black-figure,Berkeley 1951, corr. ed. 1964 J. D. Beazley, Etruscan VasePainting, Oxford 1947 BonnerJahrbiicher Bulletin of the Museum of Fine Arts, Boston J. Boardman,Athenian Black Figure Vases,London 1974 J. Boardmanand J. Hayes, Excavationsat Tocra, 1963-1965, The Archaic Deposits, London 1966 = E. Bohr, Kerameus,IV, Der Schaukelmaler,Mainz 1982 = D. von Bothmer,Amazons in GreekArt, Oxford 1957 = D. von Bothmer, The Amasis Painter and his World,New York and London, 1985 = = = =

H. A. G. Brijder,Siana Cups I and KomastCups, Amsterdam1983 F. Brommer, Vasenlistenzur griechischenHeldensage, 3rd ed., Marburg 1973 British School at Athens, Annual D. Buitron, Attic VasePainting in New England Collections,Cambridge,Mass. 1972

= D. Callipolitis-Feytmans,Les plats attiquesafigures noires, Paris 1974

ABBREVIATIONS

xv

= D. Callipolitis-Feytmans, Les "louteria"attiques,Athens 1965 Callipolitis-Feytmans, "Louteria" = C. Clairmont, Das Parisurteilin der antiken Kunst, Zurich 1951 Clairmont, Parisurteil Cristofani, VasoFranqois = M. Cristofani,Materialiper servirealla storiadel vaso Franqois[Bolletinod'Arte,Serie Speciale 1], Rome 1980 = Corpus VasorumAntiquorum CVA = Deutsches ArchaologischesInstitut, Athen D.A.I. = 'ApxaloXoyLKbvoLAerTo AEAT = Enciclopedia dell'arteantica, classicae orientale EAA = FestschriftfiirFrank Brommer,Mainz 1977 FestschriftBrommer = A. Furtwangler, K. Reichhold, et al., GriechischeVasenmalerei,Munich 1904-1932 FR = J. Frel, Panathenaic Prize Amphoras,Athens 1973 Frel, PPA = E. Gerhard, Auserlesenegriechische Vasenbilder,Berlin 1840-1858 Gerhard,A V = Greek,Roman and Byzantine Studies GRBS = B. Graef, Die antiken Vasen von der Akropoliszu Athen, Berlin 1925-1933 Graef = A. Greifenhagen, Eine attischeschwarzfigurigeVasengattungund die Darstellungdes Greifenhagen Komosim VI. Jahrhundert,Konigsberg1929 = Greek Vasesin the J. Paul Getty Museum, OccasionalPapers on Antiquities Greek Vasesin the J. Paul Getty Museum Hoffmann, Ten Centuries = H. Hoffman, Ten Centuriesthat Shaped the West, Houston 1971 = IllustratedLondon News ILN = Jahrbuchdes deutschenarchiologischenInstituts JdI = Journal of Hellenic Studies JHS = Jahresheftedes bsterreichischenarchiiologischenInstitutes JOAI = Jahrbuchdes Rimisch-GermanischenZentralmuseumsMainz JR-GZM Karouzou, Amasis Painter = S. Karouzou, The Amasis Painter, Oxford 1956 Karouzou,

'Avayvpovvros KerameikosVI, ii Kurtz, Athenian White Lekythoi Langlotz MadrMitt Mertens, Attic White-Ground MJb MMSt Mommsen, Affecter MonAnt MonPiot Moon, Midwestern Collections Muller, L6wen und Mischwesen NC Noble, Techniques Notable Aquisitions 1975-1979 OCD

= S. Karouzou, BLt/3AoL07K r ^js v 'AOrvaLs 'ApXaroAoyCLKl 'EEraLplas, XLVIII, 'Ayyeia rov 'Avayvpov^ros, Athens 1963

= K. Kubler, Kerameikos.Ergebnisseder Ausgrabungen,VI, ii, Die Nekropoledes spiten 8. bisfrihen 6. Jahrhunderts,Berlin 1970 = D. C. Kurtz, Athenian White Lekythoi,Patternsand Painters, Oxford 1975 = E. Langlotz, GriechischeVasen in Wiirzburg,Munich 1932 = Mitteilungen des deutschenarchdologischenInstituts, MadriderAbteilung = J. R. Mertens, Attic White-Ground.Its Developmenton Shapes Other than Lekythoi, New York 1977 = Minchener Jahrbuchder bildendenKunst = MetropolitanMuseum Studies = H. Mommsen, Kerameus,I, Der Affecter,Mainz 1975 = Monumenti antichi = Fondation E. Piot, Monuments et me'moirespublies par l'Academiedes Inscriptionset Belles-Lettres = Greek Vase-Paintingin Midwestern Collections,W. G. Moon, ed., Chicago 1979 = P. Miiller, Lbwen und Mischwesen in der archaischengriechischenKunst, Zurich 1978 = H. Payne, Necrocorinthia.A Study of Corinthian Art in the Archaic Period, Oxford 1931 = J. Noble, The Techniquesof Painted Attic Pottery, New York 1965 = MetropolitanMuseum of Art, Notable Acquisitions 1975-1979, New York 1979 = OxfordClassicalDictionary

xvi 01. Ber. *Paralip. RA REA Richter and Milne, Shapes and Names Roberts,Pyxis Studi Misc. Tiverios Ure, Sixth

ABBREVIATIONS = Bericht iiber die Ausgrabungenin Olympia = J. D. Beazley, Paralipomena.Additionsto Attic Black-Figure Vase-Paintersand Attic Red-Figure Vase-Painters,Oxford 1971 = Revue archeologique = Revue des etudesanciennes = G. Richter and M. Milne, Shapesand Names of Athenian Vases,New York 1935 = S. Roberts, The Attic Pyxis, Chicago 1978 = ?r7AJ T70 KoYroAeovros,Athens 1980 sroo fs iuPl.rv NLKoAdov = Studi Miscellanei = M. Tiverios, tO Avbos KaLTrOEpyo rov, Athens 1976

= P. N. Ure, Sixth and Fifth CenturyPotteryfrom Rhitsona, London 1927

INTRODUCTION The Attic black-figuredpottery found in the Agora spans the entire periodof the productionof this fabric and provides a nearly complete picture of the developmentof its shapes and the style of its painters. Many of the vases, especially the smaller ones, are complete or retain enough of their original characterto allow plaster restorationof the missing parts, but by far the larger proportion of the material consists of fragments. Making sense and order of these small scraps has been a particularly stimulating challenge, though not without many pitfalls; thus, we have kept in mind that "fragmentsare dangerous allies, and extra care must be taken in finding the whole shape to which they belong."' Attic black-figuredpottery has been found all over the Agora, but most of it comes from dumped fillings associated with houses, shops, or civic buildings, in particular from wells and cisterns located around the bordersof the square.2A few cremationand inhumationburials, chiefly from the Archaic Cemetery on the west slope of the Areopagus, also yielded Attic black-figuredmaterial, primarily lekythoi. The dating of these various findspots,whether wells, graves, or other kinds of deposits, is based to a large extent on the figuredpotteryfound in them. Some of these deposits,such as the upper fill of the Rectangular Rock-cut Shaft (G 6:3) or the large well found beneath the gutter of the Stoa of Attalos (Q 12:3),3probablyindicate the presenceof potters'workshopsin the area; the Stoa Gutter Well may also reflectthe massive clean-up operationafter the Persian Sack. Thus, the latest pottery in such deposits is of particular importance for the light it sheds on the characterof late Attic black figure in relation to its historicalbackground. The Plan following the Plates shows the Agora around 300 B.C., and on it the wells, cisterns,and burials useful for this volume are indicated.We have retainedthe four symbols used in Agora XII for wells and cisterns, since very many of these deposits containedblack figure, and we have added one for burials:

O Wells

which went out of use by or before 525

B.C.

{ Wells in use between 525 and 480 B.C. * Wells dated between 480 and 400 B.C.

) 0 Wellsandcisternsof the 4th centuryB.C. A Burials of the 6th century B.C.

On pp. 329-336, there is a list of these deposits that includes all those indicatedon the plan as well as many others. If a deposit has been describedin a previousAgora volume, the informationis not repeated. For each of these we give only its grid location, type (i.e., well, burial, pit, etc.) and date, followed by the pertinent catalogue numbers;for the descriptionof such deposits, the appropriate referenceis given, and if a deposit has been publishedseparately,this sourceis also included. In the case of deposits that have not previouslybeen described,a summaryof the general character

IAgora XII, p. 2.

2

For the characterand contents of a typical well, cf. Agora VIII, pp. 107-108; also, Agora XII, p. 44. 3 The material from the Rectangular Rock-cut Shaft was published by E. Vanderpool in Hesperia 7, 1938, pp. 363-411

and Hesperia 15, 1946, pp. 265-336. The potteryfrom the Stoa Gutter Well is published by S. R. Roberts (Hesperia 55, 1986, pp. 1-72) who has studied its workshop implications. All the Attic black figure from these two deposits is included in this volume.

2

INTRODUCTION

appears before the catalogue numbers. In the Catalogue itself, we give a deposit or grid reference for all entries except those that are sporadic or stray finds and therefore have no reference. For these, we use the term "No grid".Whenever possible, the level is indicatedby the following letters: POU = Period Of Use; L = Lower; M = Middle; U = Upper. Range and quality of the Agora black figure offer importantevidencefor the characterof decorated pottery associated with an ancient civic and industrial center or used in domestic quarters. Shapes mass-producedin the late 6th or early 5th centuries B.C., chiefly small lekythoi, cups, and skyphoi, naturally representthe largest amount of Attic black figure. But noteworthyis the quantity of material datablebetween 625 and 580 B.C., the period when Attic potterywas not yet exported to other parts of the Mediterranean.4Besides the Agora, only the Akropolis,the Kerameikos,and the cemeteryat Vari have yielded very early Attic black figure in any quantity. In addition,we have includedseveral of the thelatest vases published in the volume of Geometricand Protoatticpottery (AgoraVIII) since they illustrate well the transitionfrom Protoatticto black figure. Nearly every shape decoratedin black figure has been found in the Agora, although of course some are known only from small fragments. Of the pots, the largest number are amphorae:onepiece panel amphorae;neck-amphorae,including several variants of the shape; and Panathenaic amphorae,for which there is an uninterruptedsequence,beginning with the very earliest of about 560 B.C.and lasting until the late 4th century B.C.,the period when this study stops.5 Only one amphoraType A, 1934 (PI. 123), has been identifiedin the Agora material,and it is perhaps ironic that one cannot determine if it was decoratedin black figure or in red igure, because all that remains of the decoration is the lotus-palmette chain above the panel. Next in quantity after the amphoraeare the column-kraters,and there are also a good numberof stands, includingone of the rare Sosian type, 602 (P1. 56). There are not very many hydriai, yet examples of each type, the round-bodied,the shouldered,and the kalpis, have been found. Missing among the large shapes are stamnoi, which are mainly decoratedin red figure,6and neck-amphoraewith figures on both the shoulder and the body. The latter, to judge by the known provenancesof the attributedexamples, may have been intended mainly for export.7Among the smaller vases, lekythoi are by far the most numerous, particularly those of the Class of Athens 581 and those from the Haimon Workshop. These are followed in quantity by skyphoi, cups of various types, including severalof the Segment Class, and oinochoai. Missing are two shapes rarely found in Attic black figure: aryballoi and kantharoi;also absent are kyathoi and mastoi, although in the Agora, examples of the latter are known in black pattern as well as in plain black and of the former,only in plain black.8 Examples of less commonshapes in Agora black figure include loutrophoroi(both the hydria and the neck-amphoravarieties), pelikai including 391 (PI. 38), the unique one with rays above the foot, skyphos-kraters,volute-kraters,chalices, calyx-kraters,lebetes gamikoi, louteria, dinoi, and pyxides. Among the rare shapes, the Agora excavations have producedthe earliest known Attic black-figuredalabastron,a psykter,two phormiskoi,four kothons,a few epinetra,thymiateria,and phialai. The section on shapes concludeswith plaques and disks. The earliest exported Attic black-figuredvase is still the fragment by the Nettos Painter found at Cervetri and once in Leipzig, but it seems to be an isolated example. Cf. ABV 5, 3; Paralip. 2, 5; W. Herrmann, WissenschaftlicheZeitschriftder UniversitdtRostock,XVI, Die griechische Vase, Rostock 1967, pp. 455-456. 5 For Panathenaicamphoraeof the Hellenistic and Roman periods, cf. footnote7 below, p. 13. 6 For stamnoi, cf. B. Philippaki, The AtticStamnos,Oxford 1967, especially chapter 2 for the black-figuredexamples;also, 4

C. Isler-Kerenyi,Stamnoi, Lugano 1977, pp. 18-28. 7 Footnote 2 below, p. 8. 8 Agora XII, p. 143. For mastoi, the inventorynumbersare P 1217 and P 24556, both in black pattern;P 25277, the knob reserved,the rest black. Although publicationof the black-patternedvases fromthe Agora was plannedfor this volume(Agora XII, p. 57, note 11), owing to the large quantityof black-figured material, we decidedto exclude the patternedpieces. They will be the subjectof a separate study by MZP.

INTRODUCTION

3

Many of the Agora vases were already attributedby Beazley and appear in the pages of AB V or Paralipomena. Quite a few more have been attributed,and for these, following Beazley's example, the name of the scholar attributing the vase appears in brackets after the name of the painter. During the course of the work on this volume, the painters of a good many other vases were detected, and here the pertinent comparisons are cited, except for many of the late lekythoi where the attribution is based on comparisonwith the plentiful examples in the Agora. Some of the painters, such as Kleitias or the Antimenes Painter, are representedin the Agora only by one or two small sherds;the work of others, such as those decoratinglekythoi of the Class of Athens 581, the Haemonians, or the painters of the CHC Group, is so well representedthat one is temptedto suggest that their workshops were very close to the Agora, perhaps even within its boundaries. As rich as the Agora black figure is with regard to the variety of shapes and the large number of painters who decoratedthem, this volume is not intended to be a history of Attic black figure, but instead it tries to show how the black figure from the Agora fits into the existing chronologicaland stylistic framework for shapes and artists and how, in certain cases, it increases our knowledge of their development. The organization of our material and the format of the catalogue entries are modeled on those of two previous Agora pottery volumes, VIII and XII, with small changes made to accommodatethe features of black figure not found in Protoatticor in plain black. The sequence of shapes is based on that in the index of ABV for the Agora and other Athenian collections. For each shape or its variants, the arrangementis generally chronological,with painters or groups of painters and contemporarythough unattributedpieces appearing together. In the Catalogue, we have cited as much comparativematerial as necessary, not only to increase the usefulness of the study but in the case of small fragmentsto renderthem more intelligible in shape and decoration. It has been impossible to illustrate all the Agora black-figuredpottery in this volume, but the selection we have made gives a comprehensiveview of the material. All the important pieces are shown, whether previously published or not, and all whole vases or fragmentsthat present unusual or puzzling features are illustratedas well. In the case of the large quantity of late lekythoi,many of which are virtually duplicatesof one another,we have let a few examples stand for very many. The chronologicalorganizationof the material within each shape has meant that very often large, wellpreservedpots or even big fragmentsappear together on the same plate with very small ones, and, for each piece to be intelligible to the reader,there was no way in which the scale of reductioncould be kept consistent within a single plate. Thus, on the same plate, there are sometimes as many scales as there are figures. This procedureof selectionand illustrationdiffers considerablyfrom the presentationof pottery in Agora volumes VIII and XII, where all the vases describedin the catalogue were picturedand where in most cases the characterof the materialpermitteda single scale to be used for a given plate. Therefore, to visualize the size of the pot or fragment,the readerwill have to rely on the measurements given in the Catalogue. Since the discussion of each shape is not a monographic study but only a brief sketch, we have included profile drawings only of those vases that present odd featuresor whose contoursare not easily understoodin a photograph.In the case of certain fragments, we have attempted full or partial reconstructiondrawings to help clarify the figure or the composition.All measurementsare given in meters.One furthernote. Since references to the CVA appear constantly, it was necessaryto devise a formula for citing it that would be both brief and intelligible. Thus: CVA, Boston 1 [USA 14], pl. 12 [624]:1 CVA, M.F.A. Boston, fascicule 1 [USA fascicule 14], pl. 12 [USA plate 624], fig. 1.

SHAPE STUDIES ONE-PIECE AMPHORAE 1-127

Figs. 1-3

Pls. 1-15

The one-piece amphora, distinguished primarily by the continuous curve of its profile between mouth and foot, is a favoriteshape among Attic black-figurepainters. Three varietiesare known in figured ware: Type A with flanged handles, flaring mouth, and foot in two degrees;Type B, the oldest of the three, with round handles, flaring mouth, and echinus foot; and Type C, like Type B but with torus mouth.1 In Attic black figure, Type B is preferred,and all but one of the Agora fragments, even the later ones, come from amphorae Type B, rather than the larger and showier Type A, which was probably introducedinto the repertoryof Attic shapes by Exekias during the late third quarter of the 6th century B.C.2Type A seems to have been intendedmainly for export.3 The only certainamphoraType A fromthe Agora is 1934 (PI. 123), a late 6th-centuryone with the figureddecorationnot preserved,and no example of the rare Type C has been identifiedamong the black-figuredfragments,although this variety appears in plain black.4 The largest number of one-piece amphoraefrom the Agora date in the secondand third quarters of the 6th century B.C., the years when the shape enjoys its greatest popularity. The earliest onepiece amphoraehave separate subjectson the neck and body, a decorativearrangementthat is soon given up in favorof one with the figuresset in panels, a schemewhich becomesthe normalone from the beginning of the 6th century on. 117-119 (Pls. 13-15), three large fragmentaryamphorae, which preservespecial schemesof decoration,help to roundout the picture. 120-127 (P1. 15) come from one-piece amphoraeof normal size, but they do not preserveenough of the figures for us to be certain of the systems of decoration. The three types were distinguished by Beazley, JHS 42, 1922, pp. 70-71. Cf., also, Beazley, AK 4, 1961, pp. 49-50; R. Lullies, AK 7, 1964, pp. 85-88, especially for Type B. For Types B and C, cf. Mommsen, Affecter,pp. 48-51. 2 Vatican 344 (ABV 145, 13; Paralip. 60, 13) is still the earliest example of the canonicaltype. Its antecedentsare to be found in Group E: Louvre F 53 (ABV 136, 49; Paralip. 55, 49), which is Type B except for its flaring foot; Berlin 1699 (ABV 136, 53; Paralip. 55, 53), Berlin 1698 (ABV 136, 54), London, B.M. B 205 (ABV 136, 55), and London, B.M. B 194 (ABV 135, 56; Paralip. 55, 56), which have Type A handles and a flaring foot without base fillet; Kassel T. 384 (ABV 137, 57; Paralip. 55, 57; CVA, Kassel 1 [Germany35], pls. 21 [1701]:1, 22 [1702]) and Budapest 9132 (ABV 137, 58; Paralip. 55, 58), which have an echinus foot. Canonicalamphoraeof Type A are usually well over 0.50 m. in height, thus considerably larger than most amphorae Type B, although exceptions in this variety exist, e.g., Berlin, inv. no. 4823 by the Painter of Acropolis606: 0.80 m. (ABV 81, 4; Paralip. 30, 4; CVA, Berlin 5 [Germany45], pls. 1 [2146]:2,

3 [2148]); New York, M.M.A. 51.11.3, related to Lydos: 0.557 m. (ABV 119, II, 6; Paralip. 48, II, 6); Boston, M.F.A. 89.257, by the Swing Painter: 0.52 m. (ABV 304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]; Bohr, Schaukelmaler,pl. 2); New York, M.M.A. 12.198.4, the Bateman Group: 0.555 m. (ABV 258, 5; Paralip. 114, 5); and New York, M.M.A. 41.85, the Group of Toronto 305: 0.542 m. (ABV283, 13 and 391, 1; Paralip. 124, 13). 3 Among the attributed amphorae Type A with known provenances,very few come from Greeceand the East. Four are known to us, none from Athens. One, by the Amasis Painter, is from Samos (ABV 151, 18; Paralip. 63, 18; Bothmer, Amasis Painter, p. 109, fig. 67); another, in the mannerof the Antimenes Painter, was found on Cyprus (ABV 279, 48); and two come from Kamiros, London, B.M. B 197 by the Painter of Berlin 1686 (ABV 296, 1; Paralip. 128, 1) and Rhodes 14093 by the Swing Painter (ABV 307, 57; Bohr, Schaukelmaler, pls. 79, 80). The last two are close in date and may even have been part of the same shipment. 4 AgoraXII, p. 48.

ONE-PIECE AMPHORAE DECORATED

ON NECK AND BODY; FIGURES NOT SET IN PANELS

5 1-6

P1. 1

A small number of early one-piece amphoraeare decoratedaccordingto the principleestablished for neck-amphorae,the large area of figured or ornamental decorationon the neck being clearly separatedfrom the figures on the body and the body decorationnot framedat the sides. On the onepiece amphorae, one or two lines of glaze divide neck from body decoration.The area below the main body decorationmay be supplementedby an animal frieze or a pattern and by rays above the foot, or it may be left in plain black glaze. The earliest known examples are four early works by the Nettos Painter that have figures on both neck and body.51 (PI. 1) is near the Nettos Painter in style, 2 is not far from him, and both were probably decoratedas those by the painter himself. Slightly later than these is 3 (P1. 1), which has a frieze of rosettes on the neck with the body decoration ending at about the level of the handle root, comparableto the lower limit of the earliestAttic blackfigured panels (cf. below, p. 6). Later examples of these amphorae,such as the one by the Gorgon Painter, Louvre E 817,6 have an ornamentalpatternon the neck and figureddecorationon the body that continues well below the maximum diameter. This manner of decoratingthe one-piece amphora disappears by the second quarter of the 6th century. 6 (P1. 1) by Sophilos with its three animal friezes on the body and the lotus-palmettefestoonon the neck is one of the latest examples,7 and it looks ahead to the type of ovoid neck-amphorawith the figureddecorationon the body set in friezes (below, pp. 9-10). PANEL AMPHORAE 7-116

Pis. 2-12

In Attic black figure, the one-piece amphoramost often has the figureddecorationset in reserved panels, and in the Agora, the panel amphora is one of the most numerousof the large shapes. This variety does not develop from the one-piece amphora with separate areas of decorationon the neck and body, for the type exists already in the first half of the 7th century B.C., one of the earliest examples being one from the Agora that has ornamentaldecorationin a small panel set high on the vase.8It is not certain who was the first to decorateAttic potterywith figuredpanels, but examples are known by the third quarter of the 7th centuryB.C., and aroundAthens the idea may have begun with the Ram-jug Painter who decorated each of two olpai with a lion protome set in a broad panel.9 One of the earliest Attic black-figured panel amphorae is the Siren amphora, which has been linked with the Nettos Painter, although not firmly attributedto him.10With its exceptionally 5Aigina 565 (ABV 3, 1; Paralip. 1, 1); London, B.M. 1874.4-10.1, formerlyA 1531 (ABV3, 2; Paralip. 2, 2); Eleusis Z 21 (ABV 679, 2 bis; Paralip. 2, 3); Kerameikos,inv. no. 658 (AB V 3; Paralip. 1; KerameikosVI, ii, no. 116 and pls. 89-91; for the attribution, cf. footnote 11 below, p. 74). The fragment recently acquired by the J. Paul Getty Museum is from an amphora probably decorated according to this scheme (81.AE.114.30: J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vases in the J. Paul Getty Museum 1, 1983, p. 36, figs. 1, 2). One may also mention the one-piece amphora in Berlin (1961.7), decoratedon one side only (neck:confronted panthers; body: confronted griffins), the reverse being plain black glaze (CVA, Berlin 5 [Germany 45], pls. 1 [2146]:1, 2 [2147]). This amphora has been comparedwith the work of the Nettos Painter by F. Brommer (Jahr. Berl. Museen 4, 1962, pp. 1-16), but he rightly concludesthat it is not by this artist. A further argument is the stiff symmetrical composition, a decorativearrangementnot found on the four amphoraeby the painter himself. This type of amphora and its decorationhave been discussedbriefly by I. Scheibler (JdI 76, 1981, pp. 40-42) and by K. Kubler (KerameikosVI, ii, pp. 153-156).

6 ABV

9, 7; Paralip. 6, 7. 7 Later still are the versions by the Polos Painter (ABV 44, 1-4) and Berlin 31139 by the Prometheus Painter (CVA, Berlin 5 [Germany 45], pi. 4 [2149]:1, 2). Boardman(JHS 95, 1975, p. 7) suggests that the figured frieze above the panel on Reggio 4001 in the manner of Exekias (ABV 147, 6; Paralip. 61, 6) may have extended to the mouth of the vase. 8 P 6463 (Agora VIII, p. 32, no. 21, pl. 2); also P 12582 (AgoraVIII, p. 89, no. 514, pl. 82) and the amphora found on Piraeus Street (AeAT 17, 1961/62 [1963], pl. 26:a). 9 So, Karouzou,Amasis Painter, p. 42; see also, AgoraVIII, no. 578 (here, 7) and p. 24. It is surely no accidentthat the idea of a decorativepanel surroundedby black glaze was first tried out on one-piece amphorae and olpai, for their continuouscurvedshapes lend themselveswell to this schemeof decoration, as rightly emphasized by Scheibler (JdI 76, 1961, pp. 32-33). Recently, Sarah Morris has argued that the Black and White Style of Protoattic pottery, to which the work of the Ram-jug Painter belongs, is the productof an Aeginetanworkshop,not a mainland one (The Black and White Style, New Haven 1984). 10Athens, N.M. 221 (ABV 6: "The pictures are already in

6

SHAPE STUDIES

broad panels framed very near the handles, it stands a little apart from the other early panel amphorae, which have somewhat small panels often placed rather high on the vase emphasizing the incurvingcontourof the shoulderand neck, e.g. 10, 14, 17 (Pls. 2, 3). On these, the pictorialarea is very limited, filling ornament is sparse or omitted altogether, and there is no pattern above the panel. The appearance is rather somber and subdued. The subjects in these early black-figured panels are single or confrontedanimals and monsters, or else they are protomes, which may be human, subhuman, or animal. 7-10 are the examples from the Agora. 8 (PI. 2) gives some of the forepartsof an animal, surely one of a confrontedpair; 7 (PI. 2) is the earliest preservedAttic blackfigured example of a human head in the panel of an amphora;tIthe odd beardedhead terminating in a truncatedsnaky form on 10 (P1.2) still awaits an interpretation. The Gorgon Painter is the first Attic black-figurepainter to favor decorationset in panels and to explore the possibilities of this scheme of decoration,particularlyon his one-piece amphoraeand olpai.'2 12 (PI. 2), attributedhere, is the only panel amphoraby him found in the Agora, but another, 11 (PI. 2), is in his manner. During the first quarter of the 6th century, the panel becomes considerablywider, and it often extends below the maximumdiameterof the body, which results in a more unified appearanceof shape and decoration,e.g. 12, 33 (PI. 4), 34 (PI. 5). In this period, an ornamentalfrieze may appear abovethe panel, and there are often rays abovethe foot, two features that become standard.'3The ornament may be simple rosettes or a more intricate lotus-palmette pattern, either a chain or a festoon, e.g. 34. 4 In the panels new subjectsare introduced,perhaps by the Gorgon Painter, in particularan animal moving to right (not simply standingstill) and a single horseman on a galloping mount.1511 and 12, 24 (PI. 3), and 29 (PI. 4) are the earliest examples from the Agora. The largest numberof panel amphoraein the Agora (35-96) come fromthe middledecadesof the 6th century, i.e., 560-530/20 B.C., the period when the shape is most popular, particularlyin the work of Lydos and his companion, the Painter of Louvre F 6 (49, 50, 54-59: Pls. 6-8), also the painters of Group E (74: PI. 9), and the Swing Painter (77: PI. 9). During these decades,the onepiece amphora tends to become much taller in proportionto its width, although there is considerable variationfrom potterto potter. The size of the panel is governedby the proportionsof the vase, and there are usually areas of contrastingblack surroundingit. 47 (P1.6) with its very broadpanels that reach almost to the handles is an exception. In additionto the lotus-palmettefestoonor chain panels";Paralip. 6). J. M. Cook (BSA 35, 1934/35, pp. 199200), followed by Karouzou ('Avayvpovvros, pp. 129 and 134), thought that this amphora might be an early work of the Nettos Painter, but this attributiondoes not seem quite convincing. To be sure, there are similarities, but the drawing is less skillful and somewhat sketchycomparedwith the firm drawing of the painter himself. Equally unconvincingis the attribution of 7 (P1.2) to the Nettos Painter, and the Woman Head amphora in Munich also ought to be kept apart (ABV 16, 2; Paralip. 9, 2), although H. Diepolder (Festschriftfur Carl Weickert, Berlin 1955, pp. 111-120) and Karouzou ('AvayvpoVvTos!, p. 135, no. 23) thought it, too, might be by the Nettos Painter. Panels may also be seen on the neck-amphoraeby the Lion Painter and the Bellerophon Painter. These are very broad, reaching almost to the handles. Lion Painter: Athens, N.M. 16393 (ABV 2, 1); Athens, N.M. 16392 (ABV 2, 2); Bellerophon Painter: Athens, N.M. 16389 (ABV 2, -, 1); Athens, N.M. 16391 (ABV 2, -, 2; Paralip. 1, 2). Add also, Athens, N.M. 16380, an unpublishedone that bears resemblancesto the work of the Nettos Painter: on the neck: A, woman's head in outline; B, the like; on the body:A, boar; B, the like. 11See catalogue entry below.

12 For a panel neck-amphora by the Gorgon Painter, cf. Richmond62.1.10, attributedby Bothmer (H. C. T. Reed and P. Near, AncientArt in the VirginiaMuseum, Richmond1973, no. 86, wrongly called Corinthian). 13 Ornamental friezes appear at about the same time on olpai (see below, p. 40). 14Rosettes: e.g., Louvre C 10620 by the Gorgon Painter (ABV 9, 9; Paralip. 7, 9) and Louvre CA 3327 in his manner (ABV 9, 8; Paralip. 7, 8; 8). Compare also the contemporary amphora in Leipzig, T 3299 (CVA, Leipzig 2 [DDR 2], pl. 1 [62]:1, 2) that looks like a panel amphora except for the lack of side frames:on each side is a lion to right; above, five rosettes. The earliestfestoonabovethe panel of an amphorais very likely the one by Sophilos on the Jena amphora (ABV 39, 7; Paralip. 18, 7; Baklr, Sophilos, pls. 11, 12). An oddity is the lotus-palmette chain abovethe panel of a Horse-head amphorafound in Athens, Ephoria F, no. 1144 (M. Piccozzi, Studi Misc. XVIII, Rome 1971, p. 15, no. 9), for these panels are normallywithout ornament. Here, the thick units are similar to the Gorgon Painter's use of this ornament on his namepiece (ABV 8, 1; Paralip. 6, 1).

15 See

below, p. 76.

NECK-AMPHORAE

7

above the panel, other types of ornamentappear, in particularivy leaves (e.g. 55 and 57: PI. 7) and hanging lotus buds (e.g. 69: P1. 8, 77, 81). Most of the Agora panel amphoraeare too fragmentary to illustrate the entire shape very well, and not many are attributed,but three of them preserveodd or unusual ornamental features that deserve mention. The widely spaced units of the lotus-palmette festoon on 76 (PI. 9) are uncommonand comparebest with some examples in the Princeton Group. The palmette chain without lotuses on 41 (PI. 5) is an odd ornamentbest paralleled in the work of the St. Audries Painter. 96 (PI. 11) has a net pattern above the panel, an ornamentthat is more at home above the panels of other shapes, e.g. kalpides (657, 658 and 663, 664: Pls. 62, 63), olpai (687-689: Pls. 66, 67), or choes (755-757: PI. 72) than it is on amphorae. From 530 B.C.on, the best of the black-figuredpanel amphorae are of the larger and more impressive Type A rather than Type B. Exekias may have introducedthe new type, for the earliest canonical example is by him, the famous one in the Vatican with the double signature.l6 1934 (PI. 123) is the only certain amphora Type A from the Agora, but since we cannotbe sure whether the figured decorationwas in black figure or in red figure, we have included it in the small miscellaneous category at the end of this chapter (p. 71). The rest of the Agora panel amphorae are too fragmentaryto determinethe type they are, for none preservestracesof a flangedhandle or a foot in two degrees, and the size of each comparedwith the thicknessof its wall suggests a vase of modest proportions. SPECIAL ONE-PIECE AMPHORAE

117-119

Pls. 13-15

Three one-piece amphorae stand somewhat apart from those with separate decorationon body and neck and from those with panels. 117 (P1. 13) by the Nettos Painter is the earliest of the three, and it shows a single subjectextending over both neck and body without framing ornament at the sides,17the only Attic black-figuredexample to do so for certain.18The two fragments118 (PI. 14) and 119 (PI. 15) come from large amphoraewith the decorationprobablyset in several friezes, an unusual arrangementof both figures and ornament.They could perhaps be includedwith the onepiece amphorae discussed above that are decoratedaccordingto the principle establishedfor neckamphorae (1-6), but because so little of the decorationremains, it is difficultto be sure of the complete arrangement, and it is best to keep them apart. 118 is decoratedon one side only and very likely was a tomb marker.19 NECK-AMPHORAE 128-225

Figs. 4-6

Pls. 16-26

The neck-amphorais distinguishedfrom the one-piece amphorachiefly by having its neck sharply set off from its shoulderand body.' In Attic black figure, neck-amphoraeare very common,particularly in the second half of the 6th century. In the late 7th and early 6th centuries, they are outnumberedby one-piece amphoraeand large kraters,but by about 560 B.C. they are being produced 16Cf. footnote 2

above, p. 4. area given to the figured decoration,the Siren amphora,Athens, N.M. 221 (ABV6; Paralip. 6), is similar to 117 (PI. 13), except that the figure on each side is set in a very broad panel, the sides of which appear next to the handles. 18 120, 121, and 123 (PI. 15) may come from amphoraedecorated as 117, but too little is preservedto be certain. 19 For Protoattic and earlier black-figured amphorae and 17 In the amount of

kraters used as grave markers, cf. Miiller, Liwen und Mischwesen, pp. 112-117; for some decoratedon one side only, cf. ibid., p. 116. 117 was probablyalso a grave marker. 'Cf. Agora XII, p. 47, note 1; also K. Stahler, JOAI 49, 1968-1971, pp. 87-97; Mommsen, Affecter,pp. 8-11.

SHAPE STUDIES

8

in quantity by various workshops, and many painters, such as those of the Tyrrhenian Group, specialize in the shape. Neck-amphorae come in more varieties of shape and size than any other type of pot in the Attic repertory,and their schemesof decorationalso vary considerably.The neckamphorae from the Agora, although for the most part quite fragmentary,illustrate this range in both size and shape, as well as in decoration.2 LATE7TH CENTURY 128-137

P1. 16

The earliest Attic black-figured neck-amphoraeare large pots, close in size to their one-piece counterparts,and, like them, they probablyhad a funeraryuse. Some, such as the Piraeus Painter's amphoraor the namepieceof the Nettos Painter,3are decoratedwith figureson one side only.4This scheme of decorationis not found for certain among the Agora neck-amphorae,owing largely perhaps to their fragmentarystate, but it occurs on 118 (PI. 14), a large one-piece amphora of ca. 560-550 B.C. 136 (PI. 16), though decoratedon both sides, seems in size and style to be a direct ancestorof the Piraeus Painter's namepiece,5and 131 is probablyfrom a neck-amphoraof similar size.6 The handles providea natural frame for the decorationon the necks;on the bodies, the decoration may be set in panels like two from Vari by the BellerophonPainter,7or it may extend to the handle zone without limits, as it does on the Piraeus Painter's neck-amphora.8 NON-STANDARD: FIRST HALF OF THE 6TH CENTURY

138-164

Pls. 17-20

Early 6th-century black-figuredneck-amphoraeare smaller than those of the late 7th century. There are not very many examples, yet there is considerablevariety within the shape. Some have a flaring mouth, usually decoratedwith a frieze of geese on the sloping inner surface, with a molded verticalexterior that may have an ornamentalpattern.The handles are concave,the body is ovoid:9 141-144 and 147 (P1. 18) are good, though fragmentary,examples from the Agora. Sophilos may have introduceda long-neckedversionwith flaring mouth and foot that is very likely inspiredby the loutrophoros,'0 but it lacks mourning figures, hence it is not classed by Beazley as a loutrophoros but as a neck-amphora.140 (P1. 17) may come from such a neck-amphora,and perhaps also 152 and 153 (P1. 19), which are fragmentsof tall, slender necks decoratedwith animals. The version used by the Polos Painter is a variantof the one with groovedrim, concavehandles, and ovoidbody. 2

Among the varietiesof large size, the type with the figured decorationon the shoulder and body is not known among the neck-amphoraefrom the Agora. It is the type used by Exekias and by painters close to him, including some of Group E. It was also used by the Princeton Painter and his companion, the Painter of Berlin 1686, as well as by the Amasis Painter. Its period of productionis the third quarter of the 6th century B.C. It may be pure chance that all the attributed examples with known provenances come from sites outside Greece, mainly from Italy with exception of the fragmentaryone by Exekias in Narbonne (ABV 144, 2), but it may also indicate that this type of neck-amphorawas intendedmainly for export. Cf. also footnote 37 below, p. 12. 3 Athens, N.M. 353 (ABV 2; Paralip. 1, 1); Athens, N.M. 1002 (ABV4, 1; Paralip. 2, 6). 4 The Piraeus Painter's neck-amphorahas loopworkon the back, which recalls such well-known Protoatticexamples as the New York Nessos amphora and the Polyphemos amphora at Eleusis, which have mere ornament on the reverse. For

these and other vases used as grave markers, cf. footnote 19 above, p. 7. 5 R. Young, Hesperia, Suppl. II, Athens 1939, p. 119. 6 E. Brann, Hesperia 30, 1961, p. 361, H 9. 7 Cf. footnote 10 above, p. 6. 8AB V2;Paralip. 1,1. 9 The shape of the foot is less certain. Two examples, 141 (PI. 18) in the mannerof the Gorgon Painter and Florencen.n., by Sophilos (ABV38, 3; Baklr,Sophilos,pl. 25), do not preserve the foot. The namepieceof the Painter of Eleusis 767 (ABV 21, 1;Paralip. 13, 1) has a flaringfoot, and those by the Polos Painter (ABV 44, 5 and 9), which are later, have an echinus foot. 10Athens, N.M. 991 (ABV 38, 1; Bakir, Sophilos, pls. 4951) and Warsaw 138537 (Paralip. 18, 1 bis; Baklr, Sophilos, pi. 71: here [p. 72] the vase is considereda workshop piece). Athens, N.M. 1036 (ABV 38, 2) is similar but with a shorter neck, ribbed rather than flat handles, and a more ovoid body. The namepiece of the Anagyrus Painter (ABV 20, 1) is a less able version of these.

NECK-AMPHORAE

9

It is squatter and less elegant than those of his predecessors.1 160 (Pl. 20) is his best preserved example from the Agora, but 161 is from the same type. Akin to these is the small one relatedto the Swan Group, 164 (P1. 20), the latest vase in this section. The decorationon early 6th-centuryblack-figuredneck-amphoraeas a rule is set in friezes,12 and 138 (PI. 17) in the manner of the Gorgon Painter may be the earliest example of this schemeon this shape. Normally the figures are animals and monsters,although human figures appear occasionally on the shoulder,13sometimes on the neck,14but rarely in a mythologicalnarrativecontext. 141 (P1. 18), with the figure of Aristaios on the neck, is the only Agora example of a mythologicalfigure on a neck-amphoraof this period. The scheme of decorationon 164 is odd:two zones of ornament on the neck, figures on the shoulder, the rest of the body black. Superficiallyit resemblesthose by the Camtar Painter discussedbelow. OVOID NECK-AMPHORAE

165-177

Pls. 20, 21

The type of neck-amphoracharacterizedby an ovoid body, echinus mouth and foot, and round handles is preferredduring the secondquarterof the 6th centuryB.C.15 One of the earliest examples is the fragmentary one in Oxford attributed to Sophilos,16which should belong to the late first quarter of the century. Since the four neck-amphoraepainted by Sophilos vary considerablyand since Sophilos was probably both a potter and a painter,17it is possible that he may have played a role in creatingthis type of neck-amphora.The generationafter Sophilossees the adventof painters who specialize in decorating ovoid neck-amphorae:the painters of the Tyrrhenian Group, the Camtar Painter, and the Painter of Vatican 309, a companion of Lydos. Three early works by Lydos are ovoid neck-amphorae,18and 172 (PI. 21) is perhaps by him. The decorationon the bodies of ovoid neck-amphoraemay appear in friezes, as it does on most Tyrrhenians,19or it may be set in panels like those by the Painter of Vatican 309 and by the Painter of Louvre F 6, another companionof Lydos. Lydos, himself, tried out both schemes.20A variant of the panel type is the one preferredby the Camtar Painter, which allows the figured decorationto reach the handles without a framing device and usually has no decorationbelow the figures, not even rays.21On this type, the decoration on the neck varies. Most frequently, it is ornamental, 1 Brussels R 219 (ABV 44, 5); Louvre E 814 (ABV 44, 9).

An exception is the neck-amphora in Richmond by the Gorgon Painter (footnote 12 above, p. 6). Here, the decoration on the body is in a panel complete with framing lines that is similar to those on contemporaryone-piece amphorae:A, panther to right; B, the like. On the neck:A, rosette;B, the like. Just below the panel, three lines that continue round the vase;below that three more lines. No rays above the foot. For others, cf. footnote 10 above, pp. 5-6. 13 Cf., e.g., two by Sophilos:Athens, N.M. 1036 (ABV38, 2; Baklr, Sophilos, pi. 30, fig. 53) and Florence n.n. (ABV 38, 3; Baklr, Sophilos, pl. 25). 14 The best example is the namepieceof the Painter of Eleusis 767 (ABV 21, 1; Paralip. 13, 1). 15The ovoid neck-amphorasurvives in the work of the Affecter who fashioned his own version that does not seem to depend upon the type used by his precedessors.Cf. Mommsen, Affecter, pp. 8-9. An odd late example is Boston, M.F.A. 01.8052, which is like those by the Affecter in shape and ornamental decoration,but its figureddecorationis in the mannerof 12

the LysippidesPainter (ABV 242, 35 and 259, 26; Paralip. 110; Mommsen, Affecter,p. 109, no. 102). 16Oxford G.128.20 (ABV 38, 4; Baklr, Sophilos, pl. 65, fig. 127). 17Cf. Athens, N.M. 15499 (ABV 39, 16; Paralip. 18, 16; Baklr, Sophilos, pi. 6, fig. 10), which very likely has a double signature. Cf. footnote 53 below, p. 79 and also Beazley, Development, pp. 18-19. Without a potter'ssignature, it is always difficultto be certainwho shaped a vase, but the varietyof shapes decoratedby Sophilos suggests that he took considerable interest in shapes as well as decoration. 18 ABV 110, 30-32. 19For exceptions,cf. Mommsen, Affecter,p. 8, note 30. 20 Friezes: Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23). Panels: Louvre E 868 (ABV 110, 30; Tiverios, pl. 3) and Louvre C 10634 (ABV 110, 31; Paralip. 44, 31; Tiverios, pls. 10, 11:a). 21 The examples are given by Mommsen (Affecter,p. 8, note 30). Exceptions to this scheme of decorationin the work of the Camtar Painter are Louvre C 10521 (ABV 84, 4; Paralip. 31,

SHAPE STUDIES

10

usually a lotus-palmette cross (166: PI. 20; 171), occasionally a festoon or, more rarely, a star pattern.22Neither of these last two appearsamong the preservedovoidsin the Agora. Rare, too, are ovoids with animals on the necks (175: PI. 21).23 There are not too many ovoid neck-amphorae from the Agora, but the two main systemsof body decoration,panels and friezes, are representedby fragmentaryexamples. This section includes all the ovoid neck-amphoraethat cannot be shown with certainty to come from the panel type. With exception of the neck-amphoraeof Panathenaic shape, all panel neck-amphorae,whether ovoid or not, are presentedin the next section as a separate variant. PANEL NECK-AMPHORAE

178-182

Pls. 21, 22

Neck-amphoraewith their decorationset in very broad panels, known in late 7th-centuryAttic black figure and on the early 6th-century ovoid panel neck-amphorain Richmond, have already been noted (p. 6, footnotes 10 and 12). These few are, however, exceptional for their time. In the second quarter of the 6th century, many ovoid neck-amphoraeare decoratedwith panels, a tongue pattern appears above the panel at the junction with the neck, and on the neck itself there is a male head to left, usually between wavy lines. Ovoid neck-amphoraeby the Painter of Vatican 309, who prefers this type of neck-amphora,and the Painter of Louvre F 6 are decoratedin this manner. Earlier painters of ovoid panel neck-amphoraeoccasionallyglaze the area between the top of the panel and the ring, and they usually omit the wavy lines on the neck.24179 (P1.21) was decorated accordingto this principle and perhaps also 180 (PI. 21), for there are no lines next to the face, but without some of the shoulderof the vessel it is difficultto be certain. 178 (PI. 21) is unusual, for the head faces to right.25Sometimesthe neck is decoratedwith a lotus-palmettecross,and at least once during the secondquarter of the century, it was left black.26 After the middle of the 6th century,it becomesunusual for neck-amphoraeto have the decoration set in panels. 181 (PI. 22) with its squat proportions,rilled mouth, and torus foot with groove is a special example that seems to have no exact parallel. 182 (Pl. 22) is probablya neck-amphoraof standardshape. NECK-AMPHORAEOF PANATHENAICSHAPE 183-188

Pls. 22, 23

These neck-amphoraetake their shape from the prize vase, but their schemes of decorationand 4), band of lotus-palmette festoon below the figures; Laon 371017 (Paralip. 31, 9), frieze of upright lotuses and below that, animals. 22 For the festoon, cf., e.g., most of the ovoids by the Camtar Painter. For the much rarer star pattern, cf., e.g., Madrid 10929 (CVA, Madrid 1 [Spain 1], pl. 1 [17]:6); New York, M.M.A. L.1985.5. 23 Cf. also the following: Tiibingen D 7 (S./715), by the Camtar Painter (Paralip. 31, 8; CVA, Tiibingen 2 [Germany 44], pl. 34 [2135]); Florence 70995 by Lydos (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23); and an unattributedexample in the Bareiss Collection once on loan to the Metropolitan Museum (L.69.11.7) that is decoratedwith figureson the neck only:A, panther;B, the like; tongue patternon shoulderatjunction with neck;rays abovefoot. Perhapsadd also, the ovoidneckamphora that has a horse protomewith forelegs in each panel and a dolphin to left on the neck (Paralip. 10; Moon, Midwestern Collections,Chicago 1979, pp. 48-50, no. 29). Later examples of this system of decoration,but not necessarilyon ovoids, are given by H. Hoffmann, CVA, Boston 1 [USA 14], pp. 14-15. Cf. also the brief discussionby Mommsen, Affecter,p. 31.

24Glaze between top of panel and ring: New York,M.M.A. 56.171.16 by the Painter of London B 76 (ABV 87, 14;Paralip. 32, 14; CVA, New York 4 [USA 16], pl. 12 [740]:1, 2); Munich 1449, unattributed (CVA, Munich 7 [Germany 32], pl. 328 [1542]:3,4). No lines next to head on neck:New York, M.M.A. 56.171.16; Geneva MF 153 by the Painter of Acropolis 606 (ABV 81, 6; CVA, Geneva 2 [Switz. 3], pl. 52 [108]:1-4); one near him, Munich 1447 (ABV 81, 1; Paralip. 30, 1; CVA, Munich 7 [Germany 32], pl. 328 [1542]:1, 2); Munich 1448, near the Painter of London B 76 (ABV 88; CVA, Munich 7 [Germany 32], pl. 329 [1543]:2, 3) and Florence 3770 near the Painter of Vatican 309 (ABV 122, 1). Munich 1448 is unusual in that the panel reaches to the ring at the junction of the neck, as it does on the Richmondneck-amphora,p. 6 abovewith footnote 12 and footnote 12 above, p. 9). 25 Cf. Geneva MF 153 by the Painter of Acropolis 606 (ABV 81, 6; CVA, Geneva 2 [Switz. 3], pl. 52 [108]:1-4) and one near him, Munich 1447 (ABV81, 1; Paralip. 30, 1; CVA, Munich 7 [Germany32], pl. 328 [1542]:1, 2). 26New York, M.M.A. 06.1021.29, unattributed (CVA, New York 4 [USA 16], pl. 12 [740]:3, 4).

NECK-AMPHORAE

11

their subjects are, as a rule, very different. Not many examples are known, and nearly all are productsof the second half of the 6th century. The earliest preservedexample, Oxford 1920.107,27 belongs, however, to the Burgon Group, which producedthe earliest known prize vase.28On the Oxford piece, the figures (the Return of Hephaistos) appear on the shoulderonly, the one example decoratedin this manner. On its neck is the rare star pattern. Examples of these neck-amphorae after the middle of the century may show the figured decorationcontinuing round the vase,29or it may be set in the more conventionalpanels,30184, 185, and 188 (P1. 23) being certain panel examples from the Agora. The other three, 183 (P1.22), 186, and 187 (P1.22), do not preserveany of the edge of the panel, so one may not be certain of the system of decoration.Normally, there is a tongue pattern at the junction with the neck and on the neck, a lotus-palmette chain. On those where the figured decorationcontinues round the vase, an ornamentalfrieze often appears below the figure zone,31as is customaryon standardneck-amphoraeof the time. The subjectsare usually mythologicalones, occasionallyunidentifiednarratives.A few vases show Athena as she appearson true Panathenaics but with accompanyingfigures, instead of alone.32188 comes from such a vase; 183 is more likely from a Gigantomachy,as Beazley suggested,33especially since Athena strides to right, not to left. The other Agora examples, 184-187, are too fragmentaryto allow a precise interpretation of the subjectmatter. Although no painter may be said to have specialized in decorating neck-amphoraeof Panathenaic shape that are not true Panathenaics,three are by the Princeton Painter and two others by his colleague, the Swing Painter;34183 is close to the Swing Painter, and 187 by the Rycroft Painter adds a new artist to those known to have decoratedthis rather rare type of neck-amphora.35 NECK-AMPHORAE STANDARD 189-205

Pls. 23, 24

From about 540-530 B.C.on, the favoritetype of neck-amphorahas a ratherovoid body, echinus mouth, triple handles, and torus foot. A configurationof palmettes and buds under each handle separates the figured decorationon the two sides, a tongue pattern on the shoulder at the junction with the neck outlines it above, and ornamentalbands, most frequentlyupright lotus buds that may or may not be accompaniedby the key pattern, terminateit below. The neck usually has the lotuspalmette chain. This is the main arrangement,but the sequence of patterns below the figures and 27

ABV 89, 2; Paralip. 33, 2. London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1). 29 Tarquinia RC 1061 by Group E (Paralip. 56, 58 bis); London, B.M. B 208 in the manner of the Lysippides Painter (ABV 260, 29); Princeton 169 by the Princeton Painter (ABV 298, 6); Rhodes 12174 by the Bucci Painter (ABV315, 5); London, B.M. B 206 of the Leagros Group (ABV 369, 120; Paralip. 162, 120); five unattributedexamples, London, B.M. B 207 (CVA, London 4 [GB 5], pl. 47 [192]), Naples, inv. no. 81103 (CVA, Naples 1 [Italy 20], pl. 11 [955]), Boston, M.F.A. 01.8059 (CVA, Boston 1 [USA 14], pls. 36 [658], 38 [660]:1, 2), Munich 1437 (CVA, Munich 7 [Germany 32], pls. 339, 340 [1553, 1554]), and Munich 1438 (CVA, Munich 7 [Germany 32], pl. 341 [1555]). Although the figured decorationon these amphorae continues under the handles, only the one in Boston and the two in Munich show continuity of subject.The others have different subjectson each side. 30 Two by the Princeton Painter, New York, M.M.A. 53.11.1 (ABV298, 5; CVA, New York 4 [USA 16], pl. 13 [741]) and Swiss, private (Paralip. 130, 5 bis); two by the Swing Painter, Copenhagen 3672 (ABV 307, 58; Bohr, Schaukelmaler, pl. 88) and Brooklyn L.68.155.1 (ABV 307, 61; Paralip. 133, 61; Bohr, Schaukelmaler,pl. 172 and p. 110, no. P 5 where 28

the attributionis removedfromthe Swing Painterand said to be near the Princeton Painter); three by the Acheloos Painter, London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1), Florence 3871 (ABV 383, 2), and Toledo 58.69 A (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pl. 14 [794]);two unattributedexamples, Liverpool56.19.27 (Gerhard,AV, pl. 66) and Vatican 356 (Albizzati, pl. 46). 31 Two, Boston, M.F.A. 01.8059 and London, B.M. B 208, have ornamentalfriezes similar to those on standardneck-amphorae. Two others, Naples, inv. no. 81103 and Rhodes 12174, have upright lotus buds with dots, and London,B.M. B 207 has the same but without the dots. Princeton 169 has a chain of upright lotuses and palmettes. The three by the Acheloos Painter have upright lotus buds with dots. 32 On Liverpool 56.19.27, she stridesto left toward Hermes, the two gods between columns surmountedby cocks. On New York, M.M.A. 53.11.1, she faces an aulos player;behind her is a young girl carryinga folded peplos on her head and holding a fillet in her right hand. For these, cf. footnote30 above. 33ABV693. 34 Cf. footnotes29 and 30 above. 35 For other artists, cf. footnotes27, 29, and 30 above.

12

SHAPE STUDIES

details of the handle ornamentvary a good bit from painterto painter and even within the work of a painter. Three early examples of this schemeof decorationappear on neck-amphoraeby Exekias,36 who perhaps played a role in determiningthe canonical scheme of late Archaic neck-amphorae.37 Unfortunately, the examples from the Agora are too fragmentaryto illustrate very well the basic characteristicsof this shape and the variationsin decoration. SMALL LATE NECK-AMPHORAE

206-225

Pls. 24-26

In details of shape, these neck-amphorae are by and large diminutive, often hastily worked counterpartsof standardneck-amphorae,and frequently they exhibit the same decorativescheme as well. 209 (PI. 24) is the best preservedexample from the Agora, and 215 (PI. 25) by the Edinburgh Painter is similar except for the up-and-down palmetteornamenton its neck, a patternthat frequently occurs on small late neck-amphoraeand may have been borrowedfrom the painters of lekythoiwho often used this ornamenton the shouldersof their vessels. The up-and-downpalmette ornament, instead of the normal lotus-bud frieze, below the figures on 223 (PI. 26) seems to be unparalleled on neck-amphorae. It appears, however, below the panel of the Rycroft Painter's amphoraType A in Worcester38and is well known on shoulderedhydriai. PANATHENAIC AMPHORAE 226-338

Pls. 26-34

Panathenaic amphoraetake their name from the festival held every four years in Athens, for they contained the oil that was awarded as prizes in the games.1 According to historical tradition, the Panathenaic festival was reorganized around 566 B.C., and at that time new competitions, especially athletic contests and perhaps also horse races, were introduced.2The earliest preserved 36

One of these, Berlin 1720 (ABV 143, 1; Paralip. 59, 1; Bothmer,AmasisPainter, p. 29, fig. 16), bearsthe doublesignature of Exekias and is probablyhis earliest preservedwork. The other two, London, B.M. B 209 (ABV 144, 8; Paralip. 60, 8) and Dublin 1921.97 (Paralip. 61; AJA 72, 1968, pl. 122:7), are later and belong with his signed neck-amphora in London (ABV 144, 7; Paralip. 60, 7). See footnote 37 below. 37There is considerablevariation in shape and in scheme of decorationamong the ten neck-amphoraeby Exekias (ABV 143144, 1-8; Paralip. 59-60, 1-8 and 1 bis;also 61). Stahler (JOAI 49, 1968-71, p. 93) has suggestedthat the shape of the late Archaic neck-amphorais based to a large extent on the potting of Exekias, but he does not make enough of a distinctionbetween the type with very broadshouldersoften decoratedwith figures, which enjoys a brief vogue in the third quarterof the 6th century, and the more slender ovoid type, which becomes the standard shape in the late 6th centuryB.c. Exekias signs both types as potter, Berlin 1720 and London, B.M. B 210, and on four unsigned neck-amphoraeincludes figureson the shoulder:Narbonne (ABV 144, 2); New York, M.M.A. 17.230.14 (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pls. 16-19 [744747]); Boston, M.F.A. 89.273 (ABV 144, 4; Paralip. 59, 4; CVA, Boston 1 [USA 14], pls. 29-32 [651-654]); and Munich 1470 (ABV 144, 6; CVA, Munich 7 [Germany 32], pls. 351354 [1565-1568]). The configurationof palmettes and lotuses appears under each handle of the early signed neck-amphorain Berlin (1720). London, B.M. B 210, his other signed neck-

amphora,is a reworkingof the shape and becauseof its slender proportions is closer to the late 6th-century type than to its predecessors.Its ornamentaldecoration,but for the handle configuration which consists of elegantly drawn spirals, is that of the normal scheme. London, B.M. B 209 and Dublin 1921.97, both contemporarywith London, B.M. B 210, are particularly close to the standardtype in shape and ornament. 38 Paralip. 148, 5 bis; Buitron, New England Collections, pp. 44-45, no. 17. The literatureon Panathenaicamphoraeis vast. Cf., particularly, Beazley, Development, chap. VIII (with bibliography); also, D. A. Amyx, Hesperia 27, 1958, pp. 178-186 (the listings of Panathenaicamphoraein the Attic stelai); Frel, PPA; AEAr 29, 1974 [1977], pp. 142M. Tiverios, <
PANATHENAIC AMPHORAE

13

Panathenaic amphorae may be stylistically placed so soon after this date that it is tempting to suggest that they were given as prizes when the games were reorganized.3The size of the prize vases from the middle of the 6th centuryB.C. to the middle of the 5th seems to vary between 0.60 and 0.65 m. in height and between 0.40 and 0.45 m. in width.4The amount of oil that they held is more difficult to calculate since so few are well enough preserved to allow a test to be made, but the capacities for six of them range from 38 to 39 liters when filled to the brim.5 The Panathenaic amphora resemblesa storage amphorawith a foot added. It has a very narrow neck and an echinus or flaring mouth that is flat on top, sometimes with glaze. The body tapers sharply to a narrow echinus or disk foot that is comparablein diameterto the width of the mouth. The shape has a very long history, beginning just before the middle of the 6th century B.C. and lasting until the 4th century after Christ,6but only those of the 6th to 4th centuriesB.C. will be discussed here.7 The earliest Panathenaic amphorae are rather squat, heavy, very sturdy-looking vases. Gradually, they become taller and slimmer until they reach the exaggerated proportions characteristicof the shape in the late 5th and 4th centuriesB.C.By the middleof the third quarterof the 6th century B.C., the canonical scheme of decorationfor Panathenaicshas been established.It is a simple and unchangingone, owing no doubt to the officialpurpose for which the vase was intended. The figures are set in a panel on each side. A statue of Athena Polias appears on the obverse, placed between columns on all but the earliest Panathenaics.Here, the panel reachesto the tongue pattern on the shoulder at the junction with the neck. On the reverse,the scene representsthe event for which the vase was awarded as a prize. On this side, the panel is separated from the tongue pattern by a band of glaze. On the neck there is a lotus-palmettechain;abovethe foot are rays. The effect is neat, tidy, rather elegant and sober, especially before 450 B.C.8 Throughout the history of the shape, the figure of Athena retains its archaicstylistic character,and in the 4th centurybecomes quite mannered-looking.The drawing on the reverse,however, keeps abreastof the stylistic development of Greek sculpture and painting and thus offers a good criterionfor dating the vases. The Panathenaic amphorae from the Agora, though very fragmentary, provide a continuous series for the period under discussion. A significant number of them, 226-318 (Pls. 26-32), are prize vases. Included in this section are the following: all those with part of the prize inscriptionor an archon'sname; all those that may be dated after 450 B.C. when Panathenaicswere the only large Attic vases being decorated in the black-figure technique; 226 (PI. 26), which has a potter's 3

Beazley, Development, p. 88; Frel, PPA, p. 5. For undersizedbut prize Panathenaics,cf. M. Vos, "Some Notes on Panathenaic Amphorae," OudheidkundigeMededelingen uit het Rijksmuseumvan Oudhedente Leiden 62, 1981, pp. 33-46, esp. pp. 38-46. Add to the list on p. 40, these two: London, B.M. B 144 by the Swing Painter, which lacks the canonical prize inscriptionbut tells us that the horse of Dysniketos wins (ABV307, 59; Brandt[ActaNorvegiae 8, 1978, p. 12] calls this a non-prize vase; Bohr, Schaukelmaler,pls. 170, 171 and p. 110, no. P 4 where the vase is reattributedto near the Princeton Painter); Madrid 10901 (CVA, Madrid 1 [Spain 1], pl. 27 [45]:2). Our Panathenaic of the Robinson Group, 256 (PI. 29), was of prize size; other Panathenaics of the group are shorter than the standard prize vase (ABV 410, 2-4). Bothmer has suggested orally that these undersized but inscribedPanathenaics could be test vases instead of prizes awarded in the games. Vos offers another explanation, namely that in times of "waror financial stringency, the Festival was held on a more moderate scale with reducedprizes" (p. 42). M. Tiverios (loc. cit. [footnote 1 above, p. 12]) notes that the full-size uninscribed Panathenaics are far fewer in number than the inscribedvases and believes that they are competition 4

samples producedby the workshops eager to receive the commission (for a possible competitionsample from the Agora, cf. 274: PI. 31). Other possible explanations are that these vases are the result of a slight overrun or oversight in productionor even that a few extra amphorae were made as a precaution against breakage, and when they were not needed, they were simply fired uninscribedand sold off. Here are good examples of uninscribed,full-size vases: Boston, M.F.A. 01.8127 in the mannerof the Lysippides Painter, 0.60-0.62 m. (ABV 260, 28; CVA, Boston 1 [USA 14], pl. 56 [6781)and an unattributedone, London, B.M. B 135, 0.624 (CVA, London 1 [GB 1], pl. 3 [27]:2); also Liverpool 56.19.23 and Naples n.n. (Brandt, Acta Norvegiae 8, 1978, p. 12, f, g, and note 2: "Size like a prizeamphora",no measurementsgiven). 5 Cf. Agora X, p. 59. 6 Frel, PPA, p. 3 and passim. 7 For Hellenistic and Roman Panathenaics, cf. G. R. Edwards, Hesperia 26, 1957, pp. 320-349, with bibliography. 8 For a well-preservedexample to serve as an illustrationof the canonicalschemeof decoration,cf. the namepieceof the Euphiletos Painter, London, B.M. B 134 (ABV 322, 1; Paralip. 142,1).

14

SHAPE STUDIES

signature;229-236,239-243, and 246-253 (Pis. 27, 28) becauseof their large size and quality, and 228 (Pis. 26, 27) because of its size and subject,the Pentathlon.To estimate the original size of the vases from which these uninscribed fragments come, we used a tracing of the prize vase in New York by the Euphiletos Painter as a standardagainst which the comparablefigured part of each Agora fragment could be measured.9Some of these fragmentsmay indeed come from uninscribed vases of prize size, but given the paucity of this type,'0 we decidedto include in the prize category the fragmentsfrom full-size vases. The rest of the Agora Panathenaicsare groupedas follows:nonprize vase, 319 (PI. 32); uncertain if prize or non-prize vases, 320-337 (Pls. 33, 34). The latter group includes severalof good quality which may be undersizedbut inscribedvases, yet without the inscription it is best to keep them apart from the prize vases. Oddly enough, no obverse fragment may be matched with a reverse fragment for either the prize vases or the non-prize vases. In addition one fragment,338, comes from a miniature Panathenaic. PRIZE VASES 226-318

Pls. 26-32

In the 6th and 5th centuries B.C., the prize vase may be distinguished from the non-prize vase mainly by the inscriptionthat names it as one of the awards in the games. The inscriptionappears on the obverse,written verticallyfrom left to right on the right-handside of the left column, so that Athena faces it." The earliest preservedPanathenaic prize amphoraelack columns, and on these the inscriptionis placed next to the left side of the panel. The Burgon amphoraand the one in New York signed by the potter Nikias, who is otherwise unknown, are well-preservedexamples of this arrangement,12but 228 (Pls. 26, 27), which is surely a prize vase, may have been similar. Other early Panathenaics, besides the one in New York just mentioned, preserve the signature of the potter. A fragmentary Panathenaic from the Kerameikos,PA 443, gives in addition to the prize inscriptionthe name of the potter Hypereides and his patronymic,Androgenes.l3Frel has seen that 226 (PI. 26), which preservesthe verb and the last three letters of the patronymic,is by the same hand, and it too ought to be a prize vase, even though the prize inscriptionis not preserved.After 550 B.C.,the signaturesof the potters cease to appear on Panathenaicamphorae,probablybecause of their official use, although they reappearoccasionallymuch later, in the first half of the 4th century B.C. On the earliest Panathenaics,i.e. those before 550 B.C.,the ornamenton the neck is usually a lotus-palmettecross,not the lotus-palmettechain of the vases decoratedaccordingto the canonical 9 New York, M.M.A. 14.130.12 (ABV 322, 6; Paralip. 142,6). 10Cf. footnote4 above, 13. p. 1An exception is the prize vase by Lydos, Florence n.n. (ABV 110, 33; Tiverios, pls. 66:4, 67). Here, the inscription appears on the reverse above the chariot team. Normally the inscriptionis written in blackglaze, but on some early examples the letters are in added red:Agora P 10353 and P 10361, omitted from this study because they were found outside the Agora grid (cf. C. Boulter, Hesperia 32, 1963, pp. 113-137, esp. p. 135); London, B.M. B 130, the Burgon amphora(ABV 89, 1; Paralip. 33, 1); Oxford G 141.45 (CVA, Oxford 2 [GB 9], pl. 2 [403]:26); Karlsruhe 65.45 by Exekias (Paralip. 61, 8 bis); Acropolis 1086 (Graef, pl. 63). Add also an early fragmentary one in a Swiss private collection signed by Kallikles as potter. The prize inscriptionon this vase is not preserved. 12 London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1); New York, M.M.A. 1978.11.13 (Notable Acquisitions, 7975-1979,

p. 14; Bothmer,Amasis Painter, p. 44, fig. 37). 13 Cf. Frel, PPA, p. 7, fig. 4, and p. 10. Here are some examof other kinds of inscriptionson 6th-centuryprize Panatheples naics: Acropolis 921: AIAYAA[OAPOMO...], retrograde (Graef, pl. 59); Athens, N.M. 2468 (CC 761): AIAYAOAPOMOEIMI (Athleticsin Ancient Greece,I. Douskou, ed., Athens 1976, p. 166, fig. 73); Halle 560: AN]APON (ABV 120, -); the namepieceof the Euphiletos Painter, London, B.M. B 134: EYIAETOE : KAAOt (ABV 322, 1; Paralip. 142, 1); London, B.M. B 144 by the Swing Painter: AYNEIKETY: HIIOE:: NIKAI (footnote4, p. 13 above);Munich 1451: ETAAION ANAPONNIKE (Brandt, Acta Norvegiae 8, 1978, p. 4, no. 26, and pl. 2:b); New York, M.M.A. 1978.11.13: NIKIAlEHOIElEN on A and ANAPONETAAIO[N] on B (Notable Acquisitions, 1975-1979, p. 14); Naples 112848: YIKEAOIEFPA4YEN (ABV 403, -, 1); Swiss, private: KALIKLE[?]EFOIE[IEN (footnote 11 above).

PANATHENAIC AMPHORAE

15

arrangement and type of embellishment. On the preservedexamples, there is no tongue pattern above either panel. On these early vases, Athena has both feet flat on the ground,as on 228 (PI. 26) and on 320 (P1.33), and her helmet is a simple cap with the crest attached,14not the more elaborate head coveringcompletewith cheekpiecesthat will appear later. Her garmentsare simple, although often decoratedwith ornamentalpatterns,15and the heads of the snakes on the aegis are frequently seen from above instead of in profile and intertwinedas is customarylater. The earliest known Panathenaic amphorawhere Athena appears between columns surmounted by cocks occurs on the prize vase in Karlsruhe attributedto Exekias, which is an early work of about 540 B.C.16 It is not certain if Exekias introducedthe conventionof placing Athena between columns on prize Panathenaic amphorae,but he may have. On the Karlsruhevase, oddly enough, the inscriptionappears behind Athena next to the column on the right, the only 6th-centuryexample where it does, although at least one later example is known, 279 (P1. 31). On the Karlsruhe Panathenaic, the lotus-palmette chain now decoratesthe neck, and there is a tongue pattern above the obversepanel. Here, for the first time, the heel of Athena's right foot is raised slightly, an innovation that is retained, although with time the heel is raised higher and higher until only the ball of the foot and the toes touch ground. This conventiongives Athena's pose new energy and a dramatic force. 236 and 237 (PI. 27) are the earliest prize vases from the Agora that show Athena between columns. 236 preservespart of the cock above the left column, and 237 gives the top of the shaft of the left column. Here, the prize inscription (the first two letters remain) is written in the normal place. This small fragment is later than Exekias' Panathenaic and ought to date between 530 and 510 B.C. Thus, it is contemporarywith the prize vases by the Euphiletos Painter who is the first artist known to have painted many Panathenaics.17Unfortunately, no Agora fragment of a prize vase may be attributedto the Euphiletos Painter, but of the next group of painters known to have decoratedmany Panathenaics (the EucharidesPainter, the KleophradesPainter, the Berlin Painter, and his pupil, the Achilles Painter18)251 (PI. 28) may be by the Kleophrades Painter, 250 (PI. 28) compareswith vases in his manner,252 (PI. 28) is by the Berlin Painter, and 254 (P1.29) is probably by the Achilles Painter. This brings us to the high Classical period, for which our only certain attributedexample is the rather well preservedone, 256 (Pl. 29), belonging to a painter of the Robinson Group. Part of the initial letter of the inscriptionconfirmsthis as a prize vase. 257 (PI. 29) may belong to this group. Many of the Panathenaics from this period are glazed on the inside, apparentlybecause the clay at that time was not sufficientlymaturedbefore it was used and thereforewas too porous.19254, 257, and 261-263 are examples from the Agora. The largest numberof prize Panathenaicsfrom the Agora belong to the 4th centuryB.C., 271-318 (Pls. 30-32). Most of them are very small fragments, but together they illustrate the various important innovationsthat appear during this time. The first is another inscription,which is written verticallynext to the shaft of the column on the right, usually on the left side of it to complementthe prize inscription next to the opposite column. This inscription names the archon who held office 4 Cf., e.g., the Burgon amphora, London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1); Kerameikos PA 443 (Frel, PPA, p. 7, fig. 4); New York, M.M.A. 1978.11.13 (Notable Acquisitions, 1975-1979, p. 14); and Karlsruhe 65.45 by Exekias (Paralip. 61, 8 bis). 15 Cf. the examples given in footnote 14 above. 16 Karlsruhe 65.45 (Paralip. 61, 8 bis). 17 Beazley, Development, p. 91; ABV 322, 1-12; Paralip. 142. For a brief discussion of these vases, cf. most recently,

Brandt (Acta Norvegiae 8, 1978, pp. 13-14 and 20) who suggests that they may have been part of the lot commissionedfor the games of 522 B.C.. To these, Stenico (loc. cit. [footnote 1 above, p. 12]) adds anotheronce in the Milan Market. 18 Eucharides Painter: ABV 395-396, 1-20; Paralip. 173. KleophradesPainter:ABV 404, 1-16; Paralip. 175-176. Berlin Painter: ABV 408, 1-11; Paralip. 177. Achilles Painter: ABV 409, 1-5; Paralip. 177. 19 Frel, PPA, p. 9.

16

SHAPE STUDIES

during the year in which the oil was collectedthat would in the next year be awardedto victors in the games. Thus, these vases may be dated to a given year.20Archons' names appear on Panathenaics late in the first quarter of the 4th century B.C.,21 and the earliest sure example is 271 (Pl. 30) which names Pythias, 380/379, as archon. Other sure names are Kallimedes, 360/359 (286: PI. 31); Themistokles, 347/6 (289); and Demokleides, 316/5 (296: PI. 32). 273 (PI. 30) probablynames Phrasykleides,371/0, as archon,278 (PI. 31) either Charikleides,363/2, or Theophrastos, 340/9, and 290 (Pl. 31) gives either Aristodemos,352/1, or Pythodeles,336/5, probably the latter. 297 and 298 preserveonly part of the word, archon.During the secondquarterof the 4th century, the names of two potters of the same family, Bakchiosand Kittos, appear three times on Panathenaic amphorae. 274 (PI. 31) probably bore the potting signature, too, for it gives some of the prize inscriptionon the right side of the left column and on the left side of the same column, a X, which very likely is the last letter of Bakchiosor Kittos. An inscriptionon each side of one column seems paralleled only on the fragment in Istanbul signed by Bakchios,22and this may be an argumentin favor of restoringthe name on 274 as Bakchios. In the second quarter of the 4th century B.C., four new features appear, which accompanythe names of the archons. From now on, there are no rays above the foot, and the cocksthat surmount the columnsare replacedby small-scalefigures, which sometimesreproducesingle statues or statue groups.23Among the Agora fragments, 287 (Pl. 31) and 288 preserve small parts of Eirene and Ploutos, which reproducethe famous group by Kephisodotos.Another,302 (P1.32), gives part of a seatedAphroditewith Eros standingbeside her. Two others, 280 and 298, preservethe lower parts of figures, but the type may not be identified for certain. These small figures atop the columns change from year to year and thus may be understoodas "symbols"of the archonwho held officethe year the vase was made.24About the same time that the small figures replace the cocks, the artists begin to write the inscriptions columnlike, kionedon,that is with the letters horizontal instead of lengthwise. Up until this time, all inscriptionsare written from left to right. The earliest preserved kionedoninscriptionson Panathenaicsseem to be those that date from 367/6, the year that Polyzelos was archon. These vases belong to the Kittos Group.25The earliest kionedoninscriptionon an Agora Panathenaicoccursvery soon after this, on 286 (PI. 31), which preservessome of the name of Kallimedeswho was archon in 360/359. From this time on, all Panathenaicinscriptionsare written kionedon,and all those from the Agora that may be dated after 360 B.C. conformto this new convention. About 360 B.C., the figure of Athena is reversed,and from now on she stridesto right insteadof to left.26No one knows the reason for this change, but one of its results is that on many vases one no longer sees the device on her shield,27which in the case of certain earlier artists is an identifying symbol.28The earliest examples of the change in directionseem to be from the year that Kallimedes 20

Beazley, Development, pp. 96-97, with bibliography, The earliest example is Berlin 3980, which preservesthe letters ]E EPXEN (A. Smets, L'antiquite classique 5, 1936, p. 97, no. 98; Frel, RA, 1972, pp. 285-286 where Siisserot'sattributionto the archonshipof Philokles [392/1] is discussedand rejected). 22 Istanbul L. 3149 (ABV413, 2). 23 Beazley, Development, p. 97; Frel, PPA, pp. 19-21 and 23. 24 Beazley, Development,p. 97; Frel, PPA, p. 21. 25 London, B.M. B 604 (ABV 413), the namepiece,does not have a prize inscription and may have been a competition 21

sample (Beazley, Development, p. 97). For the Kittos Group, cf. ABV 413-414, 1-5; Paralip. 177. 26The Panathenaicsfrom Eretria that name Kallimedesas archon (360/359 B.c.) are the earliest preserved examples (P. Themelis, AAA 2, 1969, pp. 409-416 and Ir7jX, pp. 265271). 27 On some of the 4th-century B.c. Panathenaicsthat show Athena to right, her shield appears in profile so that part of the device may be seen. Cf., e.g., two from Eretria (footnote 26 above). 28 This is especially so with the Kleophrades Painter, who uses the deviceof a Pegasos, and with the Berlin Painter and his

PANATHENAIC AMPHORAE

17

was archon, 360/359.29 Oddly enough, the one fragmentfrom the Agora that preservespart of his name shows Athena to left, not to right, 286 (PI. 31). The earliest inscribedexample fromthe Agora that depicts Athena to right is 290 (PI. 31), which may date from either 352/1 or 336/5 depending upon how the archon's name is restored. If the later date is correct, as suggested in the Catalogue, then 276, which ought to date about 350 B.C.,is the earliest Agora example. From the middle of the 4th century B.C.,Athena wears a long shawl over her shouldersthat hangs down ending in a kind of swallowtail, and her skirt has very many narrow folds. No doubt, this style of dress is intendedto representan old-fashionedarchaistictype of Athena. No well-preservedexample of this type of dress occurson the Agora fragments,but 293 (PI. 32) gives a good idea of how close together the folds of the skirt are, and 295 is a good example of the shawl ending in a swallowtail. One last innovationremains to be discussed.In 403 B.C.,the Ionian alphabetwas officiallyadopted in Athens.30Three Panathenaic amphorae inscribed in this alphabet must date from just this time, for the shield device of Athena on all three representsthe bronze statues of the Tyrant Slayers by Kritios and Nesiotes and very likely symbolizes the restorationof democracy.31The use of the Ionian alphabet on Panathenaicsdoes not becomestandarduntil 336 B.C.,32but it is used frequently during the first half of the century for both the prize inscription,e.g. 265 and 274 (PI. 31), and the name of the archon, e.g. 278 and 286 (PI. 31). NON-PRIZEVASE 319

P1. 32

Only one certain example of a non-prize vase may be included in this section, a well-preserved amphora that gives all of both panels. Like many non-prize vases, it is rather small (only 0.277 m. in height), but its scheme of decorationconformsto that of the prize vase.33On the obverse,Athena strides to left between two columns surmountedby cocks;on the reverse, the event for which the vase would be awardedis depicted.Aboveeach panel is a tongue patternwith the customaryarea of black glaze on the reverse that separas the pattern from the panel. On the neck is the lotus-palmette chain; above the foot are rays. 319 is perhaps a little unusual, for its neck and foot are much larger in proportionto the body when comparedwith other Panathenaicamphorae,whether prize or non-prize vases. UNCERTAINIF PRIZEOR NON-PRIZEVASES 320-337

Pls. 33, 34

Most of these fragmentsbelong to the last years of the 6th centuryB.C.and to the first years of the 5th, thus to the period when both prize and non-prize Panathenaicsare produced.Therefore, in spite of the very high quality of some of these fragments, without part of the inscription it is impossible to determine if any is a prize vase. Two, 320 and 321 (P1. 33), may be dated around the middle of the th century B.Ofthe. se, 320 is worth mentioningfor it shows part of the very early type of Athena that has both feet flat on the ground,and it may be one of those Panathenaicamphorae that doesths not show the goddess between columns. Among e later fragments,one (325: P1.33) may be a new attributionto the Group of Copenhagen99. pupil, the Achilles Painter, who show the gorgoneion.Cf. Beazley, Development,pp. 94-95. 29 Cf. the two from Eretria (footnote 26 above, p. 16). 30 In the archonship of Eukleides. Cf. Price and Jeffery, OCD, p. 47. 31 London, B.M. B 605 (ABV 411, 4); Hildesheim 1254 (ABV 412, 1); Hildesheim 1253 (ABV 412, 2). Beazley, Development, p. 96. 32 Frel, PPA, p. 15.

33Their use was probablyan unofficialone. For general remarks about the small size of non-prize Panathenaicsand exceptionsthat are large, cf. Brandt,ActaNorvegiae 8, 1978, p. 3, note 1 and pp. 11-12; also, T. B. L. Webster,Potterand Patron in Classical Athens, London 1972, pp. 64 and 159-160, who suggests that these may have held the wine at the victor'ssubsequent celebration. In this discussion (p. 64) he also includes London, B.M. B 144 by the Swing Painter (footnotes4 and 13 above, pp. 13, 14).

SHAPE STUDIES

18

AMPHORAE, TYPE UNCERTAIN 339-366

Figs. 7-10

Pls. 34-36

A numberof amphorafragmentsdo not preserveenough of the curveof the wall or other characteristic featuresthat would identify the exact shape. Most of these may be dated in the late 7th century or early 6th. Among them, one (341: PI. 34) may have been very like the namepieceof the Piraeus Painter.1Some (343 and 344, 351 and 352, and 354 and 355: PI. 35) are from amphoraewith the figured decorationset in friezes. 358, with part of an inscriptionon the top side of the mouth, may come from a Panathenaicamphora, and 363 (P1.36) is perhaps a neck-amphora.

AMPHORA LIDS 367-372

P1.36

None of these six lids may be connectedwith any of the one-piece amphoraeor neck-amphoraein the Agora, and it is difficultto be certain which kind of amphoraeach covered.1Thus, they appear in this small separatesection.367-369 (P1.36) have figureddecorationand seem to have been without ornamentalpatterns, which is unusual. 370 has rays at the base of the knob and ivy round its brim, a combinationof patterns that is frequent on the lids of amphorae(cf. comparisonswith 370 in the Catalogue).

LOUTROPHOROI 373-389

Pls. 36-38

Both varietiesof loutrophoros,the hydria and the neck-amphora,are known as early as the late 8th century B.C., as attested by the work of the Analatos Painter.1Examples from the 7th century are few.2 The shape has a long history, but it was never exportedto Etruria. Most of the black-figured loutrophoroicome from Attic cemeteriesor from sacredplaces such as the Shrine of Nymphe on the South Slope of the Akropolis,which produceda significantquantity.3 In general, the loutrophorosis recognizedby its ovoid body and tall flaring neck. Early blackfiguredexamples have a flaring mouth and an echinus or flaring foot. Later ones may have a similar but more flaring mouth in one or two degrees,and the foot may also be flaring or in two degrees, often a vertical member above a torus. The two varieties are distinguished by the handles. The

'Athens, N.M. 353 (ABV2; Paralip. 1). 'For lids of amphorae, cf. Agora XII, p. 48, with bibliography. 'For early loutrophoroi,cf. E. Karydi, AthMitt 78, 1963, pp. 90-103 with bibliography and emphasis on examples from the Kerameikos. For the significance of the shape, cf.

R. Ginouves, Balaneutike: recherchessur le bain dans l'antiquitegrecque, Paris 1962, pp. 254-264. 2 Karydi,op. cit., p. 90. 3 T "Epyov, 1957, p. 11, fig. 9 (whence BCH 82, 1958, p. 664, fig. 11; J. Travlos, Pictorial Dictionary of Ancient Athens, London 1971, p. 363, fig. 466). This material is being prepared for publication by Charikleia KanellopoulouPapadopoulou.

LOUTROPHOROI

19

hydria type shares with the hydria the disposition of the handles:the tall, vertical strap handle in back reaches from the shoulder to the top of the neck, and two small, horizontalupright handles on the shouldercurve upward at each side. The neck-amphoratype has two strap handles, one on each side of the neck; they are often strengthenedby partly filling the space between them and the neck with a slab of clay decoratedwith an ornamental pattern. The handles themselves are frequently decoratedwith ornament. The hydria type is more commonin the first half of the 6th centuryB.C., the neck-amphorain the second half. In the Agora, both types are to be found, but only 373-376 (Pls. 36, 37) may be identifiedas hydriai and 377 (PI. 36) as a neck-amphora,for each preservesall or part of the handles. The rest are too fragmentaryto be certain of the type or even to give a good idea of the original appearance.Yet, if the later 6th-centurydate for most of these fragmentsmay be used as an indicatorof shape, then 378-389 (Pls. 37, 38) are probablyof the neck-amphoratype. In Attic black figure, the earliest attributedloutrophoroiare the unpublishedones by the Nettos Painter and the Gorgon Painter found in the Sanctuary of Nymphe. Slightly later are the very fragmentary hydria by the Ceramicus Painter and the well-preserved neck-amphoraby the KX Painter.4Two unattributedhydriai from the Shrine of Nymphe are contemporarywith these.5The same system of decorationis used for both types of loutrophoroi.On the body, there are friezes of animals and above the foot, a zone of rays; on the neck appear a processionof mournersand below them a frieze of animals or a band of ornament.6The earliest black-figuredloutrophoroifrom the Agora, 373-376 (Pls. 36, 37) are of the hydria type and are later than these (ca. 560-540 B.c.). Here, the friezes of animals on the body are given up in favor of a single zone with human figures. Also new is the tongue pattern on the shoulderat the junction with the neck, which is to be found on nearly all contemporaryand later examples.7The neck of 373 (P1. 36) is decoratedin the standard manner;the necks of 374 and 375 (Pls. 36, 37) have just a single row of mourners.From now on, human figures appear on the body as well as on the neck. From about 540 B.C.on, black-figuredloutrophoroiare taller and more slenderthan those of the earlier decades of the 6th century.8Frequently, a prothesis scene appears on the body, sometimes with a frieze of horsemenor animals below, sometimeswith a single band of ornament.When other themes appear, such as a wedded pair in a chariot, one cannot be certain whether such a scene is mythologicalor reflects daily life.9 On the necks, there are usually mourners,often with a frieze of animals or ornament at the junction with the shoulder.10White ornamenton black glaze becomes the customary manner of decoratingthe mouths and handles of later loutrophoroi,although it is 4 We

wish to thank Charikleia Kanellopoulou-Papadopoulou for allowing us to mention these earliest examples. Ceramicus Painter: New Jersey, private (Paralip. 12); KX Painter: Kerameikos,inv. no. 2865 (Paralip. 15). 5 To "Epyov,1957, p. 11, fig. 9: first row, secondfrom right and third row, center (whence BCH 82, 1958, p. 664, fig. 11; Travlos, op. cit. [footnote3 above, p. 18], p. 363, fig. 466). 6 Cf. Kerameikos,inv. no. 2865 by the KX Painter (Paralip. 15) and those in footnote 5 above. 7 Exception:Athens, once private (Karydi, op. cit. [footnote 1 above, p. 18], Beil. 52:3 and 53). 8 Compare, e.g., 373 (PI. 36) and 375 (P1. 37) or Eleusis 765 (ABV 88; Paralip. 33) and Athens, Benaki 7676 (Karydi, op. cit. [footnote 1 above, p. 18], Beil. 50, 51). 9 With exception of the loutrophoroi from the Shrine of Nymphe, mythological themes do not normally appear on black-figured loutrophoroi. We wish to thank Charikleia Kanellopoulou-Papadopouloufor showing us the photographs

of her material from this Sanctuary.For a mythologicaltheme, cf. also the fragment by the Painter of London B 76, also from Athens, which shows the Departure of Amphiaraos (Paralip. 32, 6 bis). 10For well-preserved examples, cf. four unattributed late 6th-century B.C. ones: Athens, Benaki 7676 (Karydi, op. cit. [footnote1 above, p. 18], Beil. 50, 51); Cleveland27.145 (CVA, Cleveland 1 [USA 15], pls. 15, 16 [695, 696]); Berlin 1888 (Ath Mitt 53, 1928, Beil. 13); and New York, M.M.A. 27.228 (Noble, Techniques,fig. 169). For the weddedpair in a chariot, cf. Athens, once private (Karydi, op. cit., Beil. 52:3 and 53). Noteworthy exceptions to the prothesis scene on the body are two from the Kerameikosdating 540-530 B.c.: inv. no. 1682 by a painter of Group E, which shows two rows of men and youths with tripods (ABV 137, 66; Paralip. 55, 66); inv. no. 1680, near Group E, which has wrestlers in the main zone on one side, mourners on the other (ABV 139, 15; Karydi, op. cit., Beil. 44-46).

20

SHAPE STUDIES

used sparingly as early as the third quarter of the 6th century B.C.375 (PI. 37) is the earliest example from the Agora.1IMost commonof these white patternsis the wavy line, as on 377 (PI. 36), or 383 and 385 (PI. 37), which are very likely the painted counterpartsof the plastic snakes on late Geometric and Protoattic loutrophoroi.'2Other patterns include the key (375: PI. 37) and the zigzag, the latter unknown on Agora black-figuredloutrophoroi.The effect of the amount of white is colorful and lively. PELIKAI 390-397

P1.38

The pelike is a shape invented by the Pioneers, and, therefore,all the known black-figuredexamples are later than the introductionof red figure. The shape derivesfromthe amphoraType C, and it is characterizedby a rather sagging body with its maximum diameter close to the foot, a torus mouth, segmental handles, and an echinus or spreading foot. In Attic black figure, the figured decorationis set in panels, framed by a variety of patterns that are combinedrather freely, for in this shape there is no standardizationof ornamentas there is with many other Attic black-figured shapes.2Only a few Attic black-figuredpelikai have been found in the Agora, and all of them may be dated in the late 6th or early 5th centuriesB.C.391 (PI. 38) is the best preservedand is unique for having rays above the foot instead of solid black glaze.3

PSYKTER 398

Fig. 11 P1.39

The psykter, or wine-cooler, like the pelike, is a shape invented in the late 6th century. It first appears about 530-520 B.C.and, although never very popular, continues until shortly before the middle of the 5th centuryB.C. The earliest known black-figuredexample seems to be the one in the Menil Collection signed on the top side of the mouth by Nikosthenes and attributedby Bothmerto the Antimenes Painter,2who, togetherwith painters in his circle, has left us other examples of the shape.3 When filled with wine, the psykter was placed in a krater containing iced water or snow,

I1 For other early examples from the third quarter, cf. those from the Kerameikos cited in footnote 10 above, p. 19; also Oxford 1930.619 (CVA, Oxford 3 [GB 14], pl. 25 [640]:9). 12Karydi, op. cit. [footnote 1 above, p. 18], p. 91.

For the shape, cf. Agora XII, pp. 49-51, with bibliography; more recently, R.-M. Becker, Formen attischer Peliken von der Pioneer-Gruppebis zum Beginn der Friihklassik,Ttibingen 1977. 2 For the variety of ornamental patterns and their various combinations,cf. Bothmer,JHS 71, 1951, pp. 42-44. 3 Bothmer,op. cit., p. 44. On psykters, cf. Agora XII, p. 52, esp. note 1, with

bibliography; most recently, the monograph by S. Drougou, Der attische Psykter, Wurzburg 1975. For the psykteramphora, a rare double-walled vessel, cf. H. Hoffmann in CVA, Boston 1 [USA 14], p. 25. 2 Hoffmann, Ten Centuries, fig. 175. For the attribution, cf. M. B. Moore, Etudes delphiques [BCH, Suppl. IV], Paris 1977, p. 314, note 38. 3 Antimenes Painter: Louvre C 12296 (ABV 275, 136); manner: Leipzig T 367 (ABV 280, 57; CVA, Leipzig 2 [DDR 2], pl. 27 [88]); Louvre F 319 (ABV 280, 58); Louvre F 320 (ABV 280, 59); related:Louvre F 321 (ABV282, 22; Drougou, op. cit. [footnote 1 above], pl. 14:1); Group of Wurzburg 199: Villa Giulia 50674 (ABV 289, 28).

PSYKTER

21

which chilled the wine,4 and it may be no accidentthat both the psykter and the calyx-kraterfirst appear at about the same time, for the flaring shape of the krater accommodatesthe psykter very well.5 This is not to suggest, however, that the calyx-kraterwas invented for the psykter, for there can be no doubt that the krater was used independently,although occasionallyboth a calyx-krater and a psykter may have been made and sold as a set. The shape of the psykter is well suited to its use. It has a broad,bulging body that curvesinward sharply to the tall, thick stem supported by a torus foot or sometimes by one in two degrees, a vertical member above a torus. The cylindrical stem serves as a keel, allowing the psykter to float upright in the krater.6The mouth is usually flat on top,7similar to that of the amphoraType A or B or the standardneck-amphora.Two varieties of psykter are known. The first has two small loops on the shoulder through which a string or thong may be passed so that the vessel may be carried.8 This type also has a lid that slips over the mouth. The secondtype of psykterhas neither loops nor a lid. 398 (P1. 39) belongs to this variety. The scheme of decorationis a simple one. There is a tongue pattern on the shoulderat the junction with the neck, which is sometimesaugmentedby a secondpattern between it and the figures.9 The neck and mouth are usually black.10On psykterswithout loops, the figurescontinueroundthe body without interruption;on those with loops, it is dividedinto obverseand reverse.Occasionally, the figures are set in panels, but this arrangementis rare.11Normally, the area below the figures 4

See particularly Bothmer,Bull. Metr. Mus. 19, 1960-61, pp. 141-142; A. Greifenhagen, Jahr. Berl. Museen 3, 1961, p. 126; most recently, J. Boardman, ABFV, p. 188. Drougou (op. cit. [footnote 1 above, p. 20], pp. 31-35) argues, however, that the psykter held the snow or iced water, for its closed shape would preserve the coolant longer than the open shape of the krater would. This conclusion, refuted by Bothmer (AA [JdI 91], 1976, p. 487), ignores the fact that a containerof liquid is cooled more quickly if it is surroundedby cold water than if the reverse method is used. Furthermore, some of the representations of psykters in vase painting lend support to our opinion that the psykter held the wine and the kratercontainedthe iced water or snow. For a list of 19 illustrations, cf. Drougou, op. cit., pp. 38-39. In 13 of these scenes (Drougou, nos. 1, 2, 5, 7, 8, 10, 11, 13, 15-19), there is a ladle, which makes sense only if used with the psykter. In three scenes, the ladle is in the psykter: Heidelberg 279 (CVA, Heidelberg 1 [Germany 10], pl. 42 [476]:7); Bonn, inv. no. 574 by the Painter of the Vogell Pelike (ABV 339, 1; Paralip. 152, 1); Vienna 137 (CVA, Vienna 1 [Austria 1], pl. 1 [1]:2). In five scenes, the ladle and the psykter appear without the krater: Vienna 137: psykter on ground, youth about to ladle wine; Berlin, inv. no. 3251 by the Thalia Painter: psykter being carried; ladles suspended from stands (AR V2 113, 7; Paralip. 332, 3); Berlin 1960.32 by the Cerberus Painter: woman stands before psykter, holds up ladle (ARV2 1630); Florence 8 B 17 by Myson: ladle held just above psykter (AR V2 238, 8); Greifswald 316 in the manner of the Antiphon Painter: ladle held just above psykter (ARV2 342, 2). Those who wish to believe that the psykter held the coolant would argue that in scenes, such as those on Heidelberg 279 or Bonn, inv. no. 574, where the psykter with its ladle stands in the krater, cold water is being ladled from the psykter into the drinking vessel to be mixed with the wine it already contains. But this view is extremely difficultto support when the psykter and the ladle appear in a symposionor revel without the krater,

for in these illustrations, only the psykter can be the source of the wine. 5 Two good illustrations:Athens, N.M. 1045 by Kleisophos (ABV 186;Jahr. Berl. Museen 3, 1961, p. 123, fig. 8) and Bonn, inv. no. 574 by the Painter of the Vogell Pelike (ABV 339, 1; Paralip. 152, 1). 6 Cf. Bothmer,AA (Jd 91), 1976, p. 487. 7E.g. the Menil psykter (Hoffmann, Ten Centuries, fig. 175). 8 A good example: Brussels A 1652 in the manner of the Acheloos Painter (ABV 387, 19; Drougou, op. cit. [footnote 1 above,p. 20], pl. 13:1). This type is more commonin plain black than it is in figured. Drougou (pp. 18-25) lists 24 examples in black, 6 in black figure, and 9 in red figure. The bronze psykter in New York illustrates the purpose of the loops, for it has two swinging handles which pass through them (M.M.A. 60.11.3: Bull. Metr. Mus. 19, 1960-61, pp. 138-139, figs. 7, 8). 9Cf. the Menil psykter by the Antimenes Painter, which has a ribbon pattern (Hoffmann, Ten Centuries,fig. 175), and Heidelberg 215, an unusual key pattern (CVA, Heidelberg 1 [Germany 10], pi. 32 [466]:8). Leipzig T 367 in the manner of the Antimenes Painter has a narrow black band (ABV 280, 57; CVA, Leipzig 2 [DDR 2], pl. 27 [88]). 10Exceptions:the Menil psykterwhich has a frieze of horsemen on the neck and ivy with dots on the side of the mouth (Hoffmann, Ten Centuries, fig. 175); Brussels A 1652 which has a ribbon pattern on the neck (ABV 387, 19; Drougou, op. cit. [footnote 1 above, p. 20], pl. 13:1); Bloomington, Indiana University Art Museum 75.102.1 which has ivy on the side of the mouth (Moon, Midwestern Collections, pp. 112-113, no. 64). ' Examples: Brussels A 1652 (ABV 387, 19; Drougou, op. cit. [footnote1 above,p. 20], pl. 13:1);Jena (JdI 80, 1965, p. 83, fig. 7).

22

SHAPE STUDIES

and the entire stem are glazed, although on some psyktersthere may be a narrow reservedbandor a zone of ornament.'2 The foot is usually glazed but occasionally may be reserved.13398 (PI. 39) seems to be unique for having its stem unglazed except for a black band above the foot. SKYPHOS-KRATERS 399-413

Fig. 12 Pls. 39-41

The skyphos-kraterhas a very long history in Attic pottery, reaching back to the Late Geometric period, but it is not a very common shape.' All the examples with known provenancescome from Athens and its environs.In Attic black figure,there are less than 40 skyphos-kraters,and the largest number of attributed examples are by the Nettos Painter or close to him. The skyphos-krater disappearsby the end of the first quarter of the 6th century,the four examples by the Group of the Dresden Lekanis being the latest.2 As the name implies, the skyphos-krateris a very large, deep bowl. It has two horizontal strap handles with returns, and its rim is flanged or incurvingto receive a domed lid. The bowl may be supportedby an echinus foot,3or joined to a conical stand. The inside may be unglazed or banded. The Agora skyphos-kratersare very fragmentaryand do not illustrate the shape very well. The majorityof fragments, 404-413, are from lids, but none may be joined with the bowl it once covered. 399, 401, and 403 (Pls. 39, 40) are rim fragments;400 and 402 (PI. 39) preservepart of the bottom of the bowl and the top of the stand. It is possible that some of the fragmentsof very early conical stands from the Agora (e.g. 526-530: PI. 51) belong to skyphos-kraters,but without part of the bowl preserved,there remains a measure of uncertainty,and they are best kept apart. On both the bowl and the stand, the figures appear on the obverseonly, in keepingwith the use of the skyphos-krateras a grave marker.The reverseof the bowl is decoratedwith large ornamental patterns or loopwork,4and in this respect the scheme of decorationrecalls that of large grave amphorae.5On the three well-preserved skyphos-kratersby the Nettos Painter, which illustrate the shape best, there is a palm tree on the backof each stand.6On the bowl of the 7th-centuryexamples, the figures are large and extend over the entire surface.The formatis not yet dividedinto friezes as it will be on the later skyphos-kraters,7as well as on many other large vases of the early 6th century B.C. Below the figures on the bowl, there is sometimesa band of ornament and below that a zone of rays. Often at the sides, next to the handle return, there is a vertical framing pattern, and beneath the handle itself, a figure such as a bird or an ornamentalpattern.On the preservedstands, which are all early, the figures are large, but presumablyon the standsof later skyphos-kratersthe 12 Narrow reservedband:Louvre C 12296 by the Antimenes Painter (ABV275, 136); Villa Giulia 73655 (M. Moretti, Villa Giulia. Nuove scopertee acquisizioni nell'Etruriameridionale, pl. 16:5); London, B.M. B 299 (Jdl 80, 1965, p. 88, fig. 14). Ornament: Brussels A 1652: upright lotus buds below figures; invertedrays on stem (ABV 387, 19; Drougou, op. cit. [footnote 1 above, p. 20], pl. 13:1). 13E.g., Louvre F 321 in the mannerof the Antimenes Painter (ABV 282, 22; Drougou, op. cit. [footnote 1 above, p. 20], pl. 14:1); Munich SL 461 (Drougou, op. cit., pl. 27:1); Vienna IV 3069 (Jdl 80, 1965, p. 91, fig. 18). On Brussels A 1652, which has a foot in two degrees,the verticalmemberis reserved (ABV387, 19; Drougou, op. cit., pi. 13:1).

For the shape, cf. KerameikosVI, ii, pp. 150, 156-158. 2ABV 22, 3-6.

3 For example, Athens, N.M. 16399 by a follower of the Nettos Painter (ABV 7, -). 4 Three by the Nettos Painter:Athens, N.M. 16382 (ABV 3, 4; 3; 4; Paralip. 3, 10);Athens, N.M. 16383 (ABV7, y; Paralip. 3, 12); Athens, N.M. 16384 (ABV 6; Paralip. 3, 13); also Kerameikos,inv. no. 801 by the Painterof Berlin A 34 (ABV 1, 2; KerameikosVI, ii, no. 115, pl. 88); Kerameikos,inv. no. 153 (KerameikosVI, ii, no. 62, pl. 61); Kerameikos,inv. no. 129 (KerameikosVI, ii, no. 96, pl. 79); Athens, N.M. 16400: spirals. 5 Footnote 19 above, 7. p. 6 Footnote4 above. 7 Examples: Athens, N.M. 907 by the Ceramicus Painter (ABV 19, 4); Akropolis496 from the Group of the Dresden Lekanis (ABV 22, 3); probablytwo others in this group, but little remains: Akropolis 497 (ABV 22, 4); Akropolis 498 (ABV 22, 5).

COLUMN-KRATERS

23

figures appeared in friezes just as they do on the bowls. At the top of the stand, just below the junction, there may be three or four lines (400: P1.39) or a black band (402: P1.39), andjust above the torus molding at the bottom,there is usually a zone of rays. Contraryto the system of decoration on the bowl and stand, the decorationon the lids of skyphos-kraters,which may be either ornament or figures, continues aroundwithout interruption.On the 7th-centurylids, the figuresare large and cover the entire surface except for a zone of ornament at the rim and around the knob, 404-411 (Pls. 40, 41);8on those of the 6th century,beginning with the Gorgon Painter,9the decorationis set in friezes, 412, 413 (P1.41).

COLUMN-KRATERS 414-490

Pls. 41-46

The column-krateris the most commontype of krater in Attic black figure,1and the Agora examples range in date from the early th to the early 5th centuriesB.C. Although the column-krateris mainly a shape of the Archaic and Classical periods, it may have been known to Late Geometric artists, for a handle-plate from that period was found in the Agora.2Some have contestedthat this fragmentprovides firm evidence for the existence of the column-kraterin so early a period, mainly becauseonly the handle-plate remains, no telling fragmentsof rim, neck, and body,but also because nearly a century elapses before the next example is known.3 Still, since Late Geometric and Protoatticpotters produce many innovativechanges in shape, ornament,and subjectmatter, there seems to be no good reason to rejectthe Agora handle-plateas evidencefor the column-kraterbefore the beginning of Attic black figure. The earliest undisputed Attic black-figuredcolumn-krateris Athens, N.M. 16388 from Vari.4 Bakir connected it with the workshop of the Nettos Painter,5and thus it should date in the last quarter of the 7th century B.C.,perhaps a little earlier than 414 (PI. 41), the earliest black-figured example from the Agora. The Vari krater has a short, broad, spherical body and no handle-plate, the handle columns being attached directly to the rim. Its shape is paralleled best in Corinthian,6 but its ornament, subject,and style of drawing are pure Attic. Attic black-figured column-kratersof the first quarter of the 6th century B.C. are influencedby Corinthian examples. Those by painters of the Komast Group are direct imitations of the Corinthian shape, and these painters are also strongly influenced by Corinth in their choice of subjects and in their style of drawing. The shape now is taller, and the columnssupportingthe rectangular plate are almost vertical.The Agora examples of this period are particularlyfragmentary,and thus they do not shed much light on the appearanceof the shape as a whole at this time, but they are importantfor the schemeof decorationand for the subjects.The figureddecorationmay still appear in panels with solid black glaze below the figures, 417 (P1.41) being the one certain example from 8 Good

examples: the three by the Nettos Painter (footnote 4 above, p. 22); Athens, N.M. 16399 by a follower (ABV7, -). 9 Cf. Agora A-P 1734 by the Gorgon Painter (ABV 8, 6). 1 For the shape, cf. Agora XII, p. 54, with bibliography; also, T. Bakir, Der Kolonnettenkraterin Korinth und Attika zwischen 625 und 550 v. Chr., Wurzburg 1974; P. Zaphiropoulou, BCH 94, 1970, pp. 380-398; and M. Tiverios, IpoSr arT77rKj KEpa,uiLK?, Thessaloniki i,Xqi'JAara7rjs UeXAavopLopp

1981, passim. For Corinthianexamples, the best discussionstill

is NC, pp. 300-301. 2 P 7006 (AgoraVIII, p. 85, no. 487, pl. 29). 3 Cf., particularly, Bakir, op. cit. (footnote 1 above), p. 60. 4 Tiverios, op. cit. (footnote 1 above), pl. 44. The figured decorationis set in panels: A, two eagles devouringa snake; B, sirens. On the top side of the rim, rosettes. 5 Op. cit. (footnote 1 above), p. 60. 6 Cf. ibid. 7 Cf., particularly,ibid., pp. 61-63.

24

SHAPE STUDIES

the Agora.8But more often, Attic black-figurepainters prefer the new schemeof decorationadopted by Corinthianartists shortly after 600 B.C. Here, the figureddecorationof the main zone extends to the columnsof the handles without framingornament;beneaththe handlesthere is often a figure, usually a bird or a monster,sometimesan ornament.Most important,however, is the additionof a subsidiaryfrieze of animals below the main zone. 421 (PI. 42) preservespart of this zone, and 416 may give just the start of it, for the area below the groundline is unglazed. 420 (PI. 42), to judge by its scale, very likely had a frieze below the symposionscene. The decorationon the top side of the rim is normally ornamental,most often rays or rosettes,9and the vertical overhangis plain black. 422 with its frieze of horsemenon top and incised rosetteson the overhangis most unusual for the period.10On the handle-plate, there may be an animal, such as the feline on 418 (PI. 41), or a floral.11The tongue pattern appears on the shoulderat the junction with the neck, except on those kratersthat are decoratedaccordingto the principleused by Corinthianpaintersduring the late 7th and early 6th centuriesB.C., which allows the figuresof the main zone to extend to the junction with the neck.12426 is the best example from the Agora.13The tongue pattern on 417 (PI. 41) is an exception among column-kratersby the Komast Group.14 Most of the Attic black-figuredcolumn-kratersdatedin the middledecadesof the 6th centuryB.C. come from the workshop of Lydos and his companion,the Painter of Louvre F 6. Comparedwith earlier column-kraters,the ones in this period are taller in proportionto their width, the necks are not so short and they flare slightly; the columns of the handles slant outward a little.15A new scheme of decoration appears in which the subsidiary frieze of animals is given up in favor of allowing the main zone to extend fartherdown the bodyof the vase. 436 (PI. 43), the best-preserved example from the Agora, illustrates well the effect of simplicity achievedby this new system. Beneath each handle is a figure, usually a bird as on 436. Rarely are the figures on each side set in a panel.16On the top side of the rim, rays are the normal decoration,as on 436, 437, and 447; the overhangis black.17The lotus-palmettefestoonon the top side of 428 (PI. 42) and the lotus buds on 8 Other examples: Athens, N.M. 12587 by Sophilos (ABV 40, 24; Bakir, Sophilos, pl. 18); two unattributedones: Louvre C 11250 (CVA, Louvre 12 [France 19], pl. 157 [830]:1, 2) and London, B.M. B 101 (Beazley and Payne, JHS 49, 1929, p. 255, fig. 3). 9 Rays: e.g., Athens, N.M. 12587 by Sophilos (ABV 40, 24; Bakir, Sophilos, pl. 18); Louvre E 623 by the Ptoon Painter (ABV 83, 1; Paralip. 31, 1). Rosettes:e.g., two by the KY Painter, Conservatori212 (ABV 31, 2; Paralip. 16, 2) and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4); Louvre 12251 by Sophilos (ABV 40, 23; Paralip. 18, 23; F. Villard in CVA, Louvre 12 [France 19], p. 124, not illustrated). 10 Louvre C 12251 by Sophilos is also unusual for it has a frieze of Z's on the overhang (ABV 40, 23; Paralip. 18, 23; F. Villard in CVA, Louvre 12 [France 19], p. 124). 11Animals or monsters:Conservatori212 (panther) by the KY Painter (ABV 31, 2; Paralip. 16, 2); three by Sophilos: Athens, N.M. 12587, a sphinx (ABV 40, 24; Baklr, Sophilos, pl. 20, fig. 38); Aigina 1175 a, a swan (ABV 41, 25; Bakir, op. cit. [footnote 1 above, p. 23], p. 21, A 7; Baklr, Sophilos,pl. 77, fig. 150: here [p. 42] the vase is considereda workshop piece), and Louvre CA 1750, a sphinx (Paralip. 19, 24 bis; Baklr, Sophilos, pl. 63, fig. 121); two by the Ptoon Painter, each with a swan: Louvre E 623 (ABV 83, 1; Paralip. 31, 1) and Athens, N.M. 1001 (ABV 83, 2). Floral:three by the KY Painter:London, B.M. 1928.1-17.39 (ABV31, 1); Athens (ABV31, 3); and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4: the number incorrectly given as C 12249). 12 Baklr, op. cit. (footnote 1 above, p. 23), pp. 57-58 and 61.

An exception among Early Corinthian column-kraters is Louvre E 635, which has a lotus-palmettefestoonon the shoulder at the junction with the neck (NC 780; Baklr, op. cit., p. 12, K 20; Arias, pls. 32 and IX). The tongue patternon the shoulder is normal in Corinthian from about 590 B.C. on. 13 For others, cf., e.g., two by the KY Painter, Conservatori 212 (ABV 31, 2; Paralip. 16, 2) and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4); one connected with the Komast Group, Athens, N.M. 441 (ABV 36, 3); one by Sophilos, Louvre C 12251 (ABV 40, 23; Paralip. 18, 23; Bakir, Sophilos,pl. 82: here [p. 42] the vase is considereda workshoppiece);one by the Ptoon Painter, Louvre E 623 (ABV 83, 1; Paralip. 31, 1); and two unattributed, London, B.M. B 101 (Beazley and Payne, JHS 49, 1929, p. 255, fig. 3) and Louvre C 11250 (CVA, Louvre 12 [France 19], pl. 157 [830]:1, 2). 14Also unusual for the Komast Group is the checkerboard patternon the shoulderof the London/Oxfordfragments(AB V 33,4). 15Compare, e.g., 436 (PI. 43) with Conservatori212 by the KY Painter (ABV31, 2; Paralip. 16, 2). 16For example, Louvre C 11252 (ABV 119, 2: related to Lydos; Paralip. 50, the number wrongly given as 12252: the Painter of Vatican 309). 17 Some exceptions show the zigzags on the overhang, undoubtedlyinspiredby Corinth.Cf., e.g., Berlin, inv. no. 3763 by the Painter of London B 76 (ABV87, 17); three by Lydos:London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 8; Bothmer,Amasis Painter, p. 42, fig. 29:b:zigzags also on the top side of the rim); Harvard 1925.30.125 (ABV 108, 9;

VOLUTE-KRATERS

25

459 (PI. 44) are oddities for the period.18On the handle-plate there is usually the head of a man to left (439-441, 446-448: Pls. 43, 44) or a bird to right, preening (442 144: P1.43).19From now on, a row of tongues nearly always appears on the shoulder at the junction with the neck, 437 (P1.43) and the reverseof 436 in the manner of Lydos being the exceptionsfrom the Agora.20Abovethe foot are rays. On column-kratersof this period, there is a distinct lessening of Corinthianinfluence. From about 540 B.C. on, the Attic black-figuredcolumn-kraterbecomestaller and more elegant than before, and the figured decorationis most often set in panels framedby ivy at the sides and by at the junction with the On the top side of the rim, there is usually a rneck. tongues on the shoulder chain of lotus buds, often with dots in the interstices,on the overhangthere is more ivy, and on each handle-plate appears a palmette with volutes. 474, a late 6th-century column-krater,is the bestpreservedexample of this system from the Agora;461 is an earlier one but more fragmentary.This is the normal scheme of decorationfor late Archaic black-figuredcolumn-kraters,but a number of exceptions are known. Occasionally,the figured decorationcontinuesround the vase. 462 (PI. 44), which shows an amphora painted in the area beneath the handle, is probablyone of these.21A few Attic black-figured column-kraters of the late 6th and early 5th centuries B.C. have a frieze of animals on the top side of the rim, instead of an ornamentalpattern,476 (PI. 46), 477, 478, and 490 being examples from the Agora. Most unusual is 479 (PI. 46) which has a frieze of animals on the overhang of the rim, a variation that does not seem to have a parallel. Other variations, such as ornament on the neck of the obverseor figured decorationon the handle-plate, are not to be found on the Agora examples, owing perhaps to their extremely fragmentarycondition. VOLUTE-KRATERS 491-500

Pls. 46 and 47

The volute-krater is a rather rare shape in Attic black figure, and most of the known examples, including all those from the Agora, date after 530 B.C. The body of the volute-krateris shaped like that of the column-krater,but its neck is taller and in two degrees,and the side of its rim is narrow and flaring with no overhang. The handles are composedof two elements, a loop on the shoulder and a flanged part that rises above the rim and terminatesin a volute after it is attachedto the rim. Early volute-kratershave an echinus foot, later ones a foot in two degrees,a verticalmemberabove a torus, like the foot of the amphora Type A and the calyx-krater. Tiverios, pl. 19; and Athens (Paralip. 45); two unattributed examples in Salonica (P. Zaphiropoulou, BCH 94, 1970, p. 372, fig. 6 and p. 375, figs. 12, 13). 18 Other exceptions to the normal decorationon the top side of the rim appear in the work of Lydos: New York, M.M.A. 31.11.11, animals (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); Harvard 1925.30.125, lotus buds (ABV 108, 9; Tiverios, pl. 20:a). 19Three exceptions by Lydos: New York, M.M.A. 31.11.11, gorgoneion (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); Harvard 1925.30.125, siren on one, sphinx on the other (ABV 108, 9; Tiverios, pl. 20:a). 20 Around the middle of the 6th century B.C. a few other exceptions appear on column-kraters in the manner of Lydos, e.g., Louvre C 11253 (ABV 117, 29; Paralip. 47, 29) and Louvre E 677 (ABV 117, 28; Paralip. 47, 28) where the presence or absence of the tongue pattern helps to distinguish between obverseand reverse. Cf. also two others in his manner without a tongue pattern on either side: Louvre C 11257 (ABV

117, 30; Paralip. 47, 30) and Louvre C 11256 (ABV 117, 31; Paralip. 47, 31). 21 For the figures continuing round the vase, compare also one by the Rycroft Painter, Scarborough-on-Hudson,Vanderlip (Paralip. 149, 235), and an unattributed example, New York, M.M.A. 07.286.76 (Bothmer, Festschrift Brommer, pls. 17, 18). Two by a painter of the Leagros Group are an odd variation for the pictures continue past the side frames: Paris Market (ABV 376, 226) and Villa Giulia (ABV 376, 227). A fragmentfrom the Loeb Collectionwas probablyfrom a similar krater (J. Sieveking, Bronzen, Terrakotten,Vasender Sammlung Loeb, Munich 1930, pl. 45:1). For the shape, cf. S. Karouzou, BCH 79, 1955, pp. 192204; K. Hitzl, Die Entstehung und Entwicklung des Volutenkratersvon derfriihestenAnfangen bis zur Auspriigungdes kanonischen Stils in der attisch schwarzfigurigen Vasenmalerei, Frankfurt-am-Main 1982, also, Agora XII, p. 54.

SHAPE STUDIES

26

The earliest Attic black-figuredvolute-kraterseems to be the one by Sophilosin the Metropolitan Museum.2 Here, the flanges rise only slightly abovethe rim, and their ends are not tightly curledas they will be on the next volute-krater,the famous one signed by Kleitias and Ergotimos.3Between these two and the next, there is a time gap of more than 30 years.4All the later black-figuredvolutekraters,unlike the earlier ones, have black bodies that are decoratedwith only a tongue patternon the shoulder at the junction with the neck. This new scheme of decorationmay derive from bronze volute-kraters.5On Attic black-figuredexamples, an ornamentalpattern, most often ivy, appears on the handles. On the side of the rim, there is usually a key pattern;the top may be plain or decorated with ornament, although the latter is rarer. The Agora volute-kratersare extremely fragmentary, and only 491 (Pl. 46) gives a good idea of the appearanceof the shape. The rest are neck fragments,some with part of the rim, e.g. 495 (PI. 47) and 496. The arrangementof the decorationon the necks of Attic black-figuredvolute-kratersvaries. On some, the figured decorationappears on the upper zone, and the lower one is left black. 492 and 495-497 (PI. 47) may be examples, although without part of the lower zone, one may not be absolutely certain. Others have an ornamentalpattern on the upper zone and figures on the lower one. 491 is our one sure example. The third variation has figures on both zones of the neck on the obverse, resulting in a double-deckereffect. No example of this decorativearrangementmay be identified for certain among the Agora fragments. CALYX-KRATERS 501-509

Pis. 47 and 48

Calyx-kraters are more numerous in red figure than they are in black figure. 1 The earliest preservedexample is the well-known one attributedto Exekias, found in the North Slope excavations,2 which also producedanother early, although very fragmentary,one that has stylistic affinitieswith it.3 The calyx-kraterhas a flaring wall, an offset rim ending in a thick torus, a cul to which the upturned handles are attached,and a foot in two degrees (a verticalmemberabove a torus). Between the cul and the foot, there is a fillet. In several respectsthe shape of the calyx-kraterresemblesthat of the earlier chalice.4The earliest black-figuredcalyx-kratersare somewhatbroaderthan they are M.M.A. 1977.11.2, attributed by Bothmer (Notable Acquisitions, 1975-1979, p. 14). Accordingto Bothmer,this is the earliest preservedvolute-kraterof "Chalcidian"shape (for the type, cf. A. Rumpf, ChalkidischeVasen, Berlin/Leipzig 1927, pp. 122-124 and NC, p. 330; also, Agora XII, p. 54, note 1). Karouzouhas suggestedthat the Nettos Painter may have decorated a volute-krater.Akropolis391 (ABV 5, 10;Paralip. 4, 16) preservespart of the neck and rim of a krater,and, accordingto Karouzou, what remains is intelligible only if there was once some kind of volute handle attachedto the rim (Karouzou, op. cit. [footnote 1 above, p. 25], pp. 195-196). 3 Florence 4209 (ABV 76, 1; Paralip. 29, 1; Cristofani, Vaso Francois, passim). Bothmer suggested orally that the fragment in Moscow (ABV 77, 2) comes from a volute-krater,and recently he joined it to a volute-krater fragment in the Cahn Collection, Basel HA 1418 (AK 24, 1981, pp. 66-67). 4 Fragments by the Painter of Acropolis 606, Akropolis 625, may belong to a volute-krater(ABV 81, 3). They preserve part of the neck with figureddecorationand a bit of the rim, but without more to go on, it is difficult to be absolutely certain of the shape. 2

5 Cf. Karouzou, op. cit. [footnote1 above, p. 25], pp. 194197. For the shape, cf. P. Jacobsthal, MMSt. 5, 1934-1936, esp. pp. 117-121, 133-134, 136. For other bibliography, cf. Agora XII, p. 54, note 1. 2 Agora A-P 1044 (ABV 145, 19; Paralip. 60, 19). Exekias may have signed this vase as potter,just as he signed others that are either new shapes, such as the Munich eye-cup (ABV 146, 21; Paralip. 60, 21), or that offer new and innovativetreatment of existing shapes, such as two of his neck-amphorae,Berlin 1720, which has a double signature (ABV 143, 1; Paralip. 59, 1), and London, B.M. B 210 (ABV 144, 7; Paralip. 60, 7). For signatures of Exekias in relation to the shapes that bear them, cf. K. Stahler,JOAI 49, 1968-1971, pp. 79-113. 3 Cf. C. Roebuck, Hesperia 9, 1940, pp. 153-158, no. 8. Eleven fragmentsfrom the same calyx-krateras Akropolis 615 a-p. All the known fragmentsare given on pp. 154-155. 4Jacobsthal, op. cit. (footnote 1 above), p. 117, with bibliography.

LEBETES GAMIKOI

27

tall. Later examples are just the opposite, and the trend toward a taller, more slendershape continues in red figure.5Examples of calyx-kratersin the Agora are very few and are so fragmentarythat their proportionsmay not be determined. The main figured decoration on calyx-kraters appears on the body. The figures are not set in panels as they are on so many column-kraters,but those on the obverseare separatedfrom those on the reverse by a vine, often laden with grapes, which is painted above each handle. The earlier kraters, including the one by Exekias, also have figures on the cul, usually extending to each handle,6 or, as on one in the manner of Exekias and on another related to the Antimenes Painter, framed by a palmette on each side.7 On late black-figuredexamples, the cul is solid black. The calyx-krater by Exekias has a lotus-palmette chain on the offset part of the rim below the torus. This is the pattern favoredby Exekias who uses it abovethe panels of his one-piece amphoraeand on the necks of his neck-amphorae.In the last quarter of the 6th century B.C., the lotus-palmette chain is a very common ornament on amphorae, but elsewhere on the rims of calyx-kraters it appears only on the one from Pharsalos attributedto the mannerof Exekias.8The rest, but for one exception,9have the ivy pattern, including one in the manner of Exekias.10The use of ivy on the offset part of the rims of calyx-kraters recalls its use on the overhang of rims of many columnkraters,1 and there may well be a link in the similar use of the same pattern. Usually the rows of ivy leaves are separatedby a wavy black line, although occasionallythe line is red, as on 504, on one by the Rycroft Painter in Toledo, or on an unattributedone in the Louvre.12The earliest blackfigured calyx-kratershave a zone of rays on the bottom of the cul just above the fillet. On the later ones, small narrow tongues take the place of rays,13whether the cul is decoratedor left black.

LEBETES GAMIKOI 510-518

Pls. 48 and 49

The lebes gamikos is a standed and lidded vase that is associatedwith marriage, probablyto hold the water for the bridal bath.' The body of the lebes gamikos is shaped somewhat like that of a 5 For comparative measurements of both Attic black-figured and Attic red-figured calyx-kraters, cf. ibid., p. 136; for additions, cf. E. Vermeule, AJA 70, 1966, p. 22. 6 E.g., Volos, now in the National Museum in Athens, in the manner of Exekias (ABV 148, 9); Vienna 3618 in the manner of the Antimenes Painter (ABV 280, 56). For a red-figured example, cf. Louvre G 163 by the Eucharides Painter (ARV2 227, 12; Paralip. 347, 12). 7 Manner of Exekias: Louvre C 11298 (Paralip. 62, 9 bis); related to the Antimenes Painter: Syracusen.n. (AB V 281,18). For a cul decoratedwith encircledpalmettes, cf. Louvre F 316, also related to the Antimenes Painter (ABV 281,19). An oddity on a calyx-krater by the Antimenes Painter himself is the key pattern below the figures on the body of Louvre C 11292 (ABV 275, 135; Paralip. 119, 135). 8 ABV 148, 9. 9 The fragmentarycalyx-kraterfrom the North Slope (footnote 3 above, p. 26) has a high rim in two degrees,recallingthat of a volute-kraterthough the two parts are not equal in height. The upper zone is narrowerthan the lower one and is decorated with a tongue pattern. On the lower part is a chariot race to right, with the top of the goal post on one fragment (d). This occurrence of figured decoration on the rim of a calyx-krater

appears to be unique. Also unknown to us on other black-figured calyx-kratersis the tongue pattern on the bodyjust below the rim. The appearanceof the tongue pattern here recalls its similar use on the two chalicesby Lydos, 1446 (PI. 99) and 1447 (PI. 99), where its appearanceon this shape is also unparalleled. 10 Louvre C 11298 (Paralip. 62, 9 bis). It also occurs on some early red-figuredcalyx-kraters:Berlin 2180 by Euphronios (ARV2 13, 1; Paralip. 321, 1; AA [dI 91], 1976, pp. 500501, figs. 17-20); Leningrad, inv. no. 1843 by Phintias (ARV2 23, 5); Louvre CA 5950 (A, Amazonomachy;B, Dionysos between a maenad and a satyr); London Market (Cat. Sotheby, 1 July, 1969, no. 93); Kiel, Schauenburg. " P. 25 above. 12Toledo 63.26 (Paralip. 149, 23 bis; CVA, Toledo 1 [USA 17], pls. 17-19 [797-799]) and Louvre F 315 (CVA, Louvre 2 [France 2], pl. 7 [79]:1, 2). 13An exception is the rather small, unattributedexample in the Louvre, which retains rays in this area (CVA, Louvre 2 [France 2], pi. 7 [79]:1, 2). For the shape, cf. Richter and Milne, Shapesand Names, p. 11; also, J. Boardman, BSA 47, 1952, pp. 31-32 and BSA 53-54, 1958-1959, pp. 160-162.

28

SHAPE STUDIES

column-krater.It has two upright double handles on the shoulder, a short neck, and a groovedor rilled rim. The stand has a flaring or straightwall, a torus foot, and a sharplyoutturnedmolding at the top that separatesbowl from stand. The stand is usually piercedtwice near the top at a point in line with the handles above, as on 516 (PI. 49).2 Stand and bowl are not separate pieces but are joined. The lid may be flat, as that of 516, or it may be somewhat domed as on London, B.M. B 298.3 There are not very many Attic black-figured lebetes gamikoi, and most of those with known provenancescome from Attica.4Two of the Agora examples, 512 and 516 (Pls. 48, 49), give a good idea of the shape. The rest are fragments.The earliest certain Attic black-figuredlebes gamikos is the one by Sophilos found in the excavationsat Old Smyrna.5The earliest example from the Agora is 510 (P1.48) by the Painter of Louvre F 6, and it probablywas very similar to the painter'swellpreservedlebes gamikos in Houston.6The remainderof the Agora lebetes gamikoi are from the last two decades of the 6th century B.C.

The bowl and stand of the lebes gamikos are decoratedwith both figures and ornamental patterns; the lid has ornament only. On the bowl the figures may continue round the vase, as on 514 and 516 (PI. 49), or they may be set in panels, as on 512 (P1.48). On the shoulder, at the junction with the neck is a tongue pattern;at the base,just abovethe moldingat the top of the stand are rays. Lebetes gamikoi with the figures set in panels follow the principle of decorationestablishedfor the one-piece amphora by having black glaze between the panel and the rays, as on 512. Those that have the figures continuingroundthe vase, 514 and 516 (P1.49), have a frieze of upright lotus buds between the figure zone and the rays, which recalls similar use of ornament on neck-amphorae. Within this general scheme of decoration, there is considerablevariation. On the earliest wellpreservedexamples, the one by Sophilos and the one in Houston by the Painter of Louvre F 6,7 there is a frieze of animals below the main scene. The shoulderof the Houston lebes is figured;510 by the same painter has both figures and a tongue pattern, the only example known to us to do so. Above the figures on 514 there are two friezes of ornament, hanging lotus buds with dots in the intersticesbelow a tongue pattern, a combinationof ornamentparalleled on an unpublishedfragmentary lebes in New York that is very close in style.8 The same ornament also occurs on 517 (PI. 48). On the stand of the lebes gamikos, there is a zone of figures with an ornamentalpattern above and below. On all the examples known to us, there is a frieze of inverted rays above the torus.9 The lebes gamikos by Sophilos and an unattributed fragmentaryone of about 560 B.c., 2 Boardman(BSA 53-54, 1958-1959, p. 161) has suggested that the holes were made to allow the gases to escape fromthe stand during firing. An exception to the piercing of the stand is Petit Palais 309 (CVA, Petit Palais [France 15], pl. 9 [649]:1-4). 3 Boardman,ABFV, p. 166, fig. 293. 4 The main exception is the one by Sophilos found in the excavationsof Old Smyrna and now in Izmir (ABV 40, 20; Paralip. 18, 20; Baklr, Sophilos, pls. 39-45). Another may be the fragment by the Painter of Acropolis 601, London, B.M. B 601.13 from Naukratis, which Beazley thought might be a lebes gamikos, but he left the question open (ABV 80, 2). 5 Footnote 4 above.J. Boardman(BSA 53-54, 1958-1959, p. 160, note 41) has suggested that the fragmentary standed krater by the Gorgon Painter, Akropolis 474 (ABV 8, 2), may be a lebes gamikos, presumably because of the inverted rays above the torus foot of the stand. But this ornamentappears in

the same place on three skyphos-kraters from Vari by the Nettos Painter: Athens, N.M. 16382 (ABV 3, 4; 4; Paralip. 3, 10); Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12); Athens, N.M. 16384 (ABV 4; 6; Paralip. 3, 13). Therefore, it is not a sure criterionfor identifyingthe lebes gamikos in the early 6th century B.C.,as it may be later on when the skyphos-kraterhas gone out of fashion. The fragmentsof Akropolis474 lack a feature that identifiesthis vase for certain as a lebes gamikos. 6 Houston 34.129 (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries,fig. 166). The foot is restoredas an echinus one. 7 Footnotes4 and 6 above. 8 New York, M.M.A. 57.12.8. 9 Similar use of this ornament occurs on epinetra. Cf. below, p. 69.

29

STANDS

found in the excavations of the North Slope,'0 have friezes of animals. After the middle of the 6th century B.C., the normal scheme is a single row of human figures.11The ornamentabovethe figures and directlybelow the molding is usually a lotus-palmettechain12or a frieze of invertedlotus buds, as on 516.13

KRATERS, TYPE UNCERTAIN 519-525

P1. 50

These fragmentsdo not seem to belong for certainto any of the types of kratersdiscussedabove.520 (PI. 50) is among the earliest of the group and is closest to the mid-7th-centuryegg-shaped krater, Agora P 4948,1 but that 520 is squatter and heavier. These two vessels do not seem to have good parallels. 520 is unglazed on the inside and might thereforebe identifiedas an amphora,were it not for its upright loop handle. 521 (P1.50) may be a skyphos-krater.The rim fragment,523 (PI. 50), is an odd piece. Karouzou called it the handle-plate of a column-krater,Vanderpool more generally the rim of a krater,2but the projectionat the inner edge of the rim does not correspondto what we know of column-kraters. Nor does it find a parallel among other types of kraters. Its best comparison is the unattributeddinos, Vatican 306.3 STANDS 526-602

Pls. 51-56

The distinctionin terminologybetween a stand and a supportthat was made by Richter and Milne and used by Sparkes and Talcott for the Agora plain black glaze will also be used here. The basic differencesare size, shape, and scheme of decoration. SUPPORTS 526-601

Pls. 51-56

A support is a tubular base with thick walls that bears the weight of the vase. Two types may be distinguished. The earlier of the two is conical in shape, much greater in diameter at the bottom than at the top, and has a thick torus foot. It is unglazed on the inside. 550 (PI. 52) is the best-preserved example of this type from the Agora. The conical support is not freestandingbut is attached directlyto the bottom of the vase. Usually there is a molding that articulatesand perhaps strengthens the area where the two are joined. The appearanceis sturdy and practical.The secondtype of support is cylindrical,with a concavewall terminatingin a thin, slightly projectingmouth and foot. 10A-P 74 a-i, A-P 15, A-P 104, A-P 398, A-P 680, K 4-5 (Hesperia 4, 1935, pp. 255-257, fig. 21). 11An exception is New York, M.M.A. 57.12.8, which has a narrow frieze of animals between the figures and the inverted rays. 12 No example has been found in the Agora. Cf. London, B.M. B 298 (footnote 3 above, p. 28) and Athens, Vlasto Collection (photo D.A.I. Athens, varia 1060-1063). 13 For the key pattern below the molding, cf. Petit Palais 309 (CVA, Petit Palais [France 15], pl. 9 [649]:1-4) and

Kerameikos,inv. no. 79 (Jdl 61-62, 1946-1947, pl. 23). 1AgoraVIII, p. 93, no. 549, pi. 34. Karouzou, AthMitt 62, 1937, p. 134, note 1; E. Vanderpool, Hesperia 15, 1946, p. 129, no. 13. 3 Albizzati, pl. 29. 2

Richter and Milne, Shapesand Names, p. 31; AgoraXII, pp 179-180.

30

SHAPE STUDIES

On the inside there are bands of glaze, varying in width. The cylindrical support is somewhat smaller than the conical one, and it is not attachedto the bottomof the vase but is open at the top, and the vase is set into it. 575 (PI. 55) gives a good idea of this type. In Attic vase painting, conical supports appear in the Geometricperiod and are also well known in Protoatticwhere they may have solid or fenestratedwalls.2 They appear throughoutAttic black figure, mainly as bases for skyphos-kratersin the early period and later for lebetes gamikoi, occasionally for louteria. Most of the Agora examples may be dated in the late 7th century down through the first quarterof the 6th. A small group, 555-560 (PI. 53), comes from the last decadeof the 6th century, and just three of this type, 552-554, belong to the years between 560 and 520 B.C. The conical supportsfrom the Agora are too fragmentaryto be certainwhich type of vase each bore, and for this reason they are groupedunder the general classificationof stands.The late 7th-century examples, 526-530 (P1. 51), may be the stands of skyphos-kraters,since they predate the earliest known Attic black-figuredlebes gamikos, the one in Izmir by Sophilos.3The later examples of conical supports from the Agora are probably from lebetsesstanded skyphos-krater gamikoi;the seems to have gone out of fashion early in the 6th century.4The Attic black-figuredmaterial from Menidi, however, contains at least two standed louteria,5and some of the Agora fragments may therefore be from supports of such vases. 533 (PI. 51) preserves the start of the vase, and 553 (PI. 53), which is pierced, may be the support of a lebes gamikos, but without more to go on, it is probablysafer to include these fragmentswith stands. The scheme of decorationon conical supportsvaries a good deal. The late 7th-centuryexamples have large figures, usually confrontedanimals or monsters,that occupy most of the surface, except for a narrow band of glaze or ornamentat the top and a zone of rays at the bottomjust above the torus. The supports of two well-preserved skyphos-kratersby the Nettos Painter offer the best illustrationof this scheme.6528 (PI. 51) is similar, except that the invertedrays are omitted and an ornamentalconfigurationappears between the two sphinxes. The compositionon 527 (PI. 51) may the supportof a the Nettos Painter, othird have been a processionof women as on skyphoskrater by the in friezes, as it is set the decoration have conical 6th in the Athens 16384.7 Early supports century, on many contemporarykraters and amphorae. This remains the preferredarrangementdown to about 550 B.C. 550 (PI. 52) is the best example from the Agora;532 (PI. 51), by the Gorgon Painter, or in his manner, is the earliest. The favoritesubjectsare friezes of animals. Occasionally,a human figure appears, e.g. 536 and 544, but the subject is uncertain.8533 (P1. 51) shows part of a Chimaera, and Bellerophon may have been on the left, since the Chimaera does not usually appear with other animals (cf., however, 402: P1.39), although it may appear alone, as it seems to have on 698 (PI. 67). If the interpretationof the scene on 533 is correct,it is the only sure mythologicalrepresentationpainted on an early Attic black-figuredsupport.After 550, decorationin friezes is given up in favor of large figures in a narrativeor a mythologicalcontext. Above the heads of the figures there is a band of ornament,which varies considerably.On the three Agora fragmentsthat preserve some of this ornament, each pattern is different:rosettes (552); invertedrays (553: Pl. 53); lotuspalmette chain (557: PI. 53).9 Above the torus foot, there is usually a zone of inverted rays. This 2Cf. Callipolitis-Feytmans, "Louteria",pp. 2-4; Agora

VIII, pp. 41-43, nos. 92-96, p. 5 and pp. 90-91, nos. 523-531, pi. 32; also, KerameikosVI, ii, pp. 162-168: standed kraters with protomeson the rims, standed cups, and plates. 3 ABV40, 20; Paralip. 18, 20; Bakir, Sophilos,pls. 39-45. 4 Cf. above, p. 22. 5 Callipolitis-Feytmans, "Loute'ria", pp. 43-59. 6 Athens, N.M. 16382 (ABV 3, 4; Paralip. 3, 10) and Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12).

Athens, N.M. 16384 (ABV 6; Paralip. 3, 13). 8 Akropolis 584, a fragmentarystand near Sophilos, shows most of a human figure standing to right, but the subjectdoes not appear to be a mythologicalone (ABV 43, 1; Bakir, Sophilos, pl. 83, fig. 169). 9 For four other examples of this patternat the top of a conical support, cf. the one from Menidi that belongs with a louterion, Athens, N.M. 15934 (Callipolitis-Feytmans, "Louteria", pls. 18-21) and three lebetes gamikoi: Athens, Vlasto

31

STANDS

may be the only decorationbetween the figures and the foot, as on 555, or there may be a second pattern, as on 554, which has a frieze of hanging lotus buds. Others may have a frieze of animals or of figures between the rays and the main zone. 558-560 (PI. 53), all with animals, are the examples from the Agora.'1 Cylindrical supports do not appear in Attic black figure until after the middle of the 6th century, and not very many examples are known.11The Agora seems to have yielded the largest number, and all of them date between 510 and 490 B.C. Cylindrical supports were probably used for such shapes as the pointed amphora, which cannot stand unaided, and the Panathenaicamphora,which is prone to tip over.12No cylindricalsupport from the Agora has been connectedwith the vase that rested in it, but elsewhere, two pointed amphorae by the Acheloos Painter have been found with supports.13These two supports are not by the Acheloos Painter but by anotherartist who probably also decoratedthe cylindrical support in Toronto.14From this admittedly slender evidence, it is tempting to speculatethat painterswho specializedin decoratinglarge pots may have left the task of decoratingcylindricalsupportsto those accustomedto working with the smaller shapes. The examples from the Agora furnish some evidence for this suggestion. The one attributed support, 564 (PI. 54), is by the Edinburgh Painter, or near him, and 575 (Pl. 55) may best be comparedwith the Diosphos Painter. Both are painters of small vases, especially lekythoi and small neck-amphorae. The remaining cylindrical supports from the Agora are unattributed,except for 569-573, which may belong to the Leagros Group. The stylistic characterof most of these supports suggests that they come from late black-figue workshopsspecializing in smaller vases. The drawing on many is rather hasty, and details, such as the pupils of eyes,a, re sometimesomitted (e.g. 579-582: P. 55). The scheme of decorationon cylindricalsupportsis similar to that on contemporaryconicalones. The figures occupy most of the surface, with ornamental patterns painted above and below, although occasionally as on 584 these areas are undecorated.15The ornamental pattern above the figures was probablysimilar to that below, as on 575, but this conclusionmay seem hasty in view of the fragmentarycondition of the Agora supports and the paucity of whole examples elsewhere.16 Yet, the Agora material gives a good idea of the range of patternsthat may appear above and below the figures. 564 (P1. 54), 572, and 574 have rays above the figures; 575 (Pl. 55) has rosettes, 582 (PI. 55) has rosettes above a zone of white maeander on black glaze; 578 (Pi. 55) has a ribbon pattern;and 583 (P1. 55) has upright lotus buds.17Below the figures, a zone of invertedrays is the most commonornament, sometimesby itself as on 569, 571, and 573, at other times with a band of ornament above, such as dots (563: PI. 54) or a wavy line (577) painted in added white on black glaze. The band of chevronson 576 very likely appearedabovea zone of rays. 568 has dots between the tips of the rays. 575 is our only example that has rosettes. A number of fragments, 587-601 (Pls. 55, 56), come from supports,but it is uncertainto which Collection (photo D.A.I. Athens, varia 1060-1063); London, B.M. B 298 (Boardman, ABFV, p. 166, fig. 293); New York, M.M.A. 57.12.8, fragments. All but the Vlastos fragment are contemporarywith 557 (PI. 53). The Vlastos stand is earlier. For a key pattern at the top of a conical support, cf. the small lebes gamikos, Petit Palais 309 (CVA, Petit Palais [France 15], pi. 9 [6491:1-4);for hanging lotus buds, cf. 516 (PI. 49). 10For animals, cf. also the fragmentarylebes gamikos, New York, M.M.A. 57.12.8. For figures, cf. the louterion from Menidi, Athens, N.M. 15934 (Callipolitis-Feytmans, "Louteria",pls. 18, 20): chariot race. n For a list, cf. R. Lullies, Die Spitzamphorades Kleophrades-Malers, Bremen 1957, p. 18, note to p. 6. His no. 9 is now Toledo 58.69 B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pi. 16 [7961).

12 Lullies, op. cit., pp.

6-7.

13London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1) and

Toledo 58.69 A-B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pls. 14, 15 [794, 795]:1, 2, and 16 [796]). 14Toronto 919.5.140 (Paralip. 169; CVA, Toronto 1 [Canada 1], pl. 28 [28]:4-6). 15 Also, Toledo 58.69 B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pl. 16 [796]); London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1); Toronto 919.5.140 (Paralip. 169; CVA, Toronto 1 [Canada 1], pl. 28 [28]:4-6); and Athens, N.M. 501 (CC 685), unpublished. 16The only other completeexample with the same ornament above and below the figures that is known to us is Eleusis 1244 (Hesperia 5, 1936, p. 67, fig. 6). 17 For this pattern, cf. also Eleusis 1244 (ibid.).

32

SHAPE STUDIES

type each belongs. 589, 591, and 592, late 7th and early 6th-centuryexamples, have a band of glaze on the inside, characteristicof cylindrical supports which begin only after the middle of the 6th century. 587 (P1. 55), 590 (P1. 55), 594, and 596 are fenestrated,and 593 (PI. 56) may be from a fenestrated support or from a leg. The three late fragments, 599-601 (PI. 56), do not preserve enough of the wall to determinewhether the shape was conicalor cylindrical. SOSIANSTAND 602

P1. 56

Stands are much smaller than supports. They have a flat or slightly convex top surface surroundedby a thick torus molding and are supportedby a stemmedfoot. The top may be decorated in black figure or in red figure. The rest is plain black. The type is called Sosian after the one in Berlin of about 500 B.C. signed by the potter Sosias and decorated in red figure.18Not many examples of Sosian stands are known, and with one exception,19all of them date in the secondhalf of the 6th century and the first two decades of the 5th. The only black-figuredexample from the Agora is 602 (P1. 56), which is probably late 6th century, but the type also appears in the Agora black pattern, as well as in plain black.20The purpose of these small stands is unknown. LOUTERIA 603-607

Pls. 56 and 57

The louterion is a wide, shallow, spouted krater that has a very low rim and upright loop handles attachedto the shoulder.1Like the kraters,it is glazed on the inside. Normally the louterionhas an echinus foot, but in the dromosof a tomb at Menidi, fragmentsof 13 standedlouteria were found. They seem to constitutea special group ranging in date from the Late Geometricperiod to the 4th century B.C. with the largest number dating before 550.2 Two are decoratedin black figure, one of them signed by Sophilos as potter,3the other still unattributedbut having Antimenean features.4 Louteriaoccur in Geometricbut are most commonin Protoattic.Very few are known in Attic black figure, and nearly all those with known provenancescome from Attica.5Most of them date before the middle of the 6th century.Only five very fragmentarylouteria,603-607, have been identifiedin the black-figuredmaterial from the Agora. The shape and scheme of decorationof 6th-centurylouteria are influencedby both the dinos and the column-krater.6The low rim and the sharply curvedshoulderrecall the dinos;the echinus foot with rays above comes from the column-krater.The rim may be flat on top, like that of the dinos, and decoratedwith a pattern, usually rosettes,7as on 605 and 606 (P1. 56), or the vase may have a 18 Berlin 2315

(ARV2 21, -). 19New York, M.M.A. 31.11.4 signed by Ergotimos and Kleitias (ABV78, 12; Paralip. 30, 12; Bothmer,Amasis Painter, p. 152, fig. 93). 20 To the list given in Agora XII, pp. 179-180 add the folall Athens, N.M. 961: rider to left (silunpublished: lowing, houette technique); Eleusis: Herakles running to left, looking back, holding the tripod (Bothmer,FestschriftBrommer,p. 61, no. 169); Oxford, fragment:man (head) to right, with spear or staff. The black-patternedexample from the Agora is P 6575: rosette. 1

For the shape, cf. Callipolitis-Feytmans, "Louteria".On the use of the term "louteria"for spoutedbowls, cf. AgoraVIII, p. 43. 2 Callipolitis-Feytmans,"Louteria",pp. 43-65.

3 Athens, N.M. 15918 and 15442 (ABV 40, 21 and 42, 36; Paralip. 18, 21 and 36; Baklr, Sophilos, pls. 8-10). The old numbersare 2035.2 and 2035.1, respectively.Callipolitis-Feytmans ("Louteria",p. 54) has suggestedthat this louterionbore a double signature, as that of the dinos Athens, N.M. 15499 (ABV39, 16;Paralip. 18, 16; Baklr,Sophilos,pl. 6, fig. 10), and that Sophilos may have contributedto the developmentof both the louterionand the lebes gamikos. 4Athens, N.M. 15929, 15933, and 15934 (CallipolitisFeytmans, "Louteria",pp. 56-59, pls. 18-21). 5 The two main exceptionsare Corfu E 61.09, from Garitsa, close in style to Sophilos (Paralip. 19), and Berlin F 1722, from Chiusi, by the PrometheusPainter (ABV 104, 124; Paralip. 39, 124). 6 Cf. Callipolitis-Feytmans,"Louteria",pp. 24-25, 33-34. 7 Otherswith rosettes:Corfu E 61.09 (Paralip. 19);Athens,

DINOI

33

simple roundedrim, as 604. The main figureddecorationappears high on the shoulderand is most often set in unframedpanels,8usually without even a tongue patternon the shoulderat the junction with the rim.9605 and 606 (P1. 56) are unusual for having tongues,10and 605 probablyhad its decoration continuing round the vase as on column-kraters.The area between the main figure zone and the rays above the foot may be black, or there may'be one or more friezes of animals or ornament. The Agora louteria are rim and shoulder fragments,so one may not be certainhow this area was treated on them. The main figure zone on the back of the vase is a long narrow panel, usually with a frieze composition. The cavalcadepainted on the louterion found on Corfu that is close to Sophilos in style provides a good illustration,'1and 606 was probablysimilar. On the front of the louterion,the figures may be set in two panels, one on each side of the spout, as on 604, or there may be a single composition that takes into account the position of the spout. Two large confronted animals, with a smaller one or a floral ornament below the spout, is the preferred subject. The louterion in Corfu and the one in Athens attributedto Sophilos offer good examples.'2 603 (P1. 56) very likely was similar, with two confrontedsirens. DINOI 608-617

Fig. 13 Pls. 57 and 58

The dinos is a large round-bottomedbowl that sits on a stand. It has a flat rim that may be plain on the side or may have a slight overhang,similar to that of the column-krater.2Dinoi have very short necks and no handles, thus allowing the decorationto continueroundthe vase uninterrupted.Their stands suggest a metal prototype.The shape is known throughoutall Attic black figure and continues well down into red figure, but it is never so popular as the more practical column-krater,and not too many examples are known. The earliest attributed Attic black-figureddinos is the wellpreservedone by the Gorgon Painter.3Sophilos has left us the largest number attributedto a single painter, seven in all, mostly fragmentarybut one almost completelypreserved,including its stand.4 N.M. 16385 (ABV 40, 19; Paralip. 18, 19); Athens, N.M. 15920 (Callipolitis-Feytmans, "Louteria",p. 49, no. M 8); Athens, N.M. 15918 and 15442 (ABV 40, 21 and 42, 36; Paralip. 18, 21 and 36). Other patterns on the rims of black-figured louteria: Rays: once Berlin 1682 (ABV 5, 4; Paralip. 2, 8); Kerameikos, inv. no. 1295 (Callipolitis-Feytmans, "Louteria", p. 19, no. 10); Athens, N.M. 19168 (ibid., p. 28, no. 2). Tongues: Athens, N.M. 16386 (ibid., p. 19, no. 11). Guilloche: Athens, N.M. 16387 (ibid., p. 33, no. 1). Step pattern: Berlin F 1722 (ABV 104, 124; Paralip. 39, 124). 8 Louteria with the figures not in panels: Kerameikos,inv. no. 1295 (Callipolitis-Feytmans, "Louteria",p. 19, no. 10); Athens, N.M. 16386 (ibid., p. 19, no. 11); Athens, N.M. 19168 (ibid., p. 28, no. 2); Athens, N.M. 16387 (ibid., p. 33, no. 1); Berlin F 1722 (ABV 104, 124; Paralip. 39, 124). The last two are particularly influenced by the column-kraterin shape and in scheme of decoration. 9 Callipolitis-Feytmans, "Louteria",p. 24. 10For a later louterion with tongues at the junction with the rim, cf. Athens, N.M. 15929, 15933, and 15934 (CallipolitisFeytmans, "Louteria,"pp. 56-59). l Corfu E 61.09 (Paralip. 19). 12 Corfu E 61.09 (Paralip. 19); Athens, N.M. 16385 (ABV 40, 19;Paralip. 18, 19; Baklr, Sophilos,pls. 85,86: here [pp. 4546] Baklr, following Scheibler, withdraws the attribution to Sophilos).

'For the shape, cf. esp. Richter and Milne, Shapes and Names, pp. 9-10; Bothmer,BMFA 46,1948, p. 42; R. Lullies, AK 14, 1971, pp. 49-51. For black-bodieddinoi, cf. the list by Bothmerin CVA, Boston 2 [USA 19], pp. 9-10. 2 For the plain rim, cf. Athens, N.M. 15499 by Sophilos (ABV 39, 16; Paralip. 18, 16); for the rim with overhang, cf. Madrid 10902 by the Antimenes Painter (ABV 275, 133). Difficult to parallel is the tall flaring rim of the namepiece of the Painter of Louvre E 876 (ABV 90, 1). This dinos also has an echinus foot. Two exceptionsto the rim being completelyflat on top: Vatican 306 (Albizzati, pl. 29), which has a small upright projectionat the inner edge, and Akropolis 590 (Graef, p. 64 and pl. 27), which has a small rounded projectionat its outer edge just above the tongue pattern on the shoulder. 3 Louvre E 874 (ABV 8, 1; Paralip. 6, 1). For the 7th-century examples, Attic and non-Attic, cf. Lullies, AK 14, 1971, p. 50, note 40. 4 Louvre E 873 (ABV 39, 12; Baklr, Sophilos, pls. 46-48); London, B.M. B 100 and B 601.26 (ABV 39, 13; Baklr, Sophilos, pls. 66-70: here [p. 39] the dinos is considereda workshop piece); CambridgeN 128 (ABV 39, 14; Baklr, Sophilos,pl. 65, fig. 129); Akropolis 587 (ABV39, 15; Baklr, Sophilos,pls. 3-5, 89-90); Athens, N.M. 15499 (ABV39, 16; Paralip. 18, 16; Baklr, Sophilos, pls. 6, 7); Herakleion (Paralip. 18, 14 bis; Baklr, Sophilos,pls. 80, 81, figs. 158-160: here [pp. 40 and 42] the vase

34

SHAPE STUDIES

Not very many Attic black-figureddinoi have been found in the Agora excavations:except for one, 610 (Pl. 58), they are very fragmentary,yet they give an idea of the various schemesof decoration used for this shape. The earliest Attic black-figureddinoi have the decorationon the body set in friezes. Usually, there are human figureson the shoulderin the largest of the friezes and below that zones of animals and ornament.Occasionallythere is a secondzone of human figures below the first, as on 610, the best example of the system among the Agora dinoi. Normally, there are tongues on the shoulderat the junction with the neck and ornamenton the top side of the rim. 610 is unusual in having neither. The ornament on the top side of the rim varies a good bit, just as it does on the rims of columnkraters.On the very bottom of the vessel, there is often a whirligig. Again, 610 is unusual in being reserved.5 This schemeof decorationcontinuesuntil the middleof the century,perhapseven a little past it to judge by the splendiddinos from the Akropolissigned by Lydos that ought to date between 550 and 540 B.C.6In the late second quarter of the 6th century, a new system of decorationappears which reducesthe numberof friezes and leaves a wide band of glaze between the figuresand the whirligig or reservedmedallionon the bottom.7The Agora dinoi are too fragmentaryto be certainif any one of them was decoratedin this mannerinsteadof with friezes. 612 (PI. 57) may have been, for it finds its best parallel with the one in Brussels.8An oddity of the time is the namepieceof the Painter of Louvre E 876, which has a wide flaring neck, a rolled rim, and an echinus foot.9On its shoulderis a narrow frieze of figures and below that two larger zones of figures. The bottomof the vase, including the foot, is black. 613 (P1. 57) may be from a dinos decoratedin a similar manner,although one may not be certain about the shape of the rim or if it had a foot. Very late in the third quarter of the 6th century, the system of decorationof the Attic blackfigureddinos undergoesa final change. From now on, figuresappearonly on the top side and inside of the rim. On the overhangthere is usually ivy, as on column-kraters.The rest of the vase is black, except for the tongue pattern on the shoulderat the junction with the neck and for the whirligig on the bottom. The inside of the rim is nearly always decoratedwith ships,10which would appear to float on the mixture of wine and water when the vessel was filled. The top side of the rim may have 1 figures or ornament. The earliest example of this new scheme of decorationappears on the dinos is judged to be a workshoppiece;the vase has been mendedsince photography);and London, B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Bakir, Sophilos, pls. 1, 2; D. Williams, "Sophilos in the British Museum," Greek Vasesin the J. Paul Getty Museum 1, 1983, pp. 9-34). Perhaps add, London, B.M. B 103.14.2 (E. A. Gardiner, Naukratis II, London 1888, pl. 9, 7; Beazley and Payne,JHS 49, 1929, p. 255, fig. 2, no. 3). Also, two dinoidvessels: Akropolis 585 a (ABV 40, 17; Baklr, Sophilos,pl. 35, figs. 64, 65, and pl. 36) and Akropolis 585 b (ABV 40, 18; Baklr, Sophilos,pl. 34, fig. 63). 5 For a reservedmedallion, cf. also Louvre C 11243 (CVA, Louvre 12 [France 19], pl. 152 [825]). 6 Akropolis 607 (ABV 107, 1; Tiverios, pls. l:a, 48-50, 98:a, /; most recently, M. B. Moore, AJA 83, 1979, pp. 79-99). 7 For examples, cf. Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1); Louvre C 11243 (CVA, Louvre 12 [France 19], pl. 152 [825]) and Louvre E 738 (CVA, Louvre 12 [France 19], pls. 153, 154 [826, 827]:1). 8 Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1). 9 ABV 90, 1. 10A late example of the older system of decorationseems to be a fragmentary dinos in Tiibingen, S./10 1508, that is

attributedto the manner of the Antimenes Painter (CVA, Tiibingen 3 [Germany47], P!. 10 [2225]:1, 2). An exception to ships appears on the small dinos in Copenhagen, inv. no. 4219 (CVA, Copenhagen3 [Denmark3], pl. 124 [126]:3), which has a frieze of vertical dolphins (for this motif, cf. 1353: PI. 93). Ships occuron the insides of rims of other kraters. Cf., for example, Copenhagen, inv. no. Chr. VIII 754 (CVA, Copenhagen 8 [Denmark 8], pl. 322 [325]:3) and Heidelberg S 39 (CVA, Heidelberg 4 [Germany 31], pl. 146 [1485]:6), both volute-kraters;or Basel, Antikenmuseumund Sammlung Ludwig (E. Berger and R. Lullies, Antike Kunstwerkeaus der SammlungLudwig, I, Friihe Tonsarkophageund Vasen, Mainz 1977, p. 77), Boston, M.F.A. 68.777 (CVA, Boston 2 [USA 19], pl. 109 [9431:2), Louvre C 11270 (CVA, Louvre 12 [France 19], pi. 173 [846]:1), and New York, M.M.A. 07.286.76 (Bothmer, Festschrift Brommer, pls. 17, 18), all column-kraters;also, 1704 (PI. 111), a cup with ships roundthe rim on the inside. This and the two that go with it are not earlierthan the firstoccurrenceof ships on kratersand dinoi. 1I For a list, cf. the one compiledby Bothmerin CVA, Boston 2 [USA 19], pp. 9-10.

HYDRIAI

35

in the Villa Giulia signed by Exekias,12who very likely is responsible for its introduction.His innovativechanges in existing shapes and his inventionof new ones are well attested.13614 (P1.57) is the only dinos from the Agora decoratedin this manner. Stands for dinoi are slender, metallic-looking supports. They may be plain black or decorated with friezes of ornamentand animals.14 Three fragmentsof stands for dinoi have been found in the Agora, but none may be connectedwith one of the dinoi that has survived.Nor do they illustratethe characterof these stands very well. 615 is a foot fragment with a rilled vertical surface and ornamental decorationon the top side; 616 (P1. 57) has rays on the side and animals on the top side. 617 (P1. 57) comes from the top of a stand that supported a dinos about the size of 610 (PI. 58). It is unusual for having a frieze of human figures below the top molding.

HYDRIAI 618-669

Pls. 59-63

The hydria, or water jar, is commonin Attic black figure.1Unlike many other shapes it is also well known in bronze,2and many clay examples have rims and handles that suggest metal prototypes.3 In Attic pottery,the hydria appears in the Geometricperiod and is well known in early Protoattic,4 the namepieceof the Analatos Painter being the most completeand the most famousexample.5The hydria seems to go out of fashion in Attic vase painting after about 675 B.C., but it reappearsearly in the 6th century. No Attic black-figuredexample is known among the vases decoratedby the first generation of painters nor does there seem to be an example among the unattributed vases contemporarywith them. The fragmentaryone from Samos by the KX Painter,6which dates about 580 B.C., is still the earliest preserved.

The hydria is characterizedprimarilyby two horizontalhandles attachedto the shoulderor to the body, which are used for lifting and setting down, and a vertical handle at the back, which is used for pouring or for carrying when empty.7 Three types of Attic black-figuredhydriai are known. 12Villa Giulia 50599 (ABV 146, 20). 13Cf. K. Stahler, JOAI 49, 1968-1971, pp. 79-113; also,

M. B. Moore, AJA 84, 1980, p. 432 and notes 125, 126. 14 Examples: Louvre E 874 by the Gorgon Painter (ABV 8, 1;Paralip. 6, 1); London, B.M. 1971.11-1.1 by Sophilos(Paralip. 19, 16 bis; Baklr, Sophilos,pls. 1, 2; Williams, loc. cit. [footnote 4 above, pp. 33-34]; Vatican 306 (Albizzati, p. 102); Wurzburg 453 (Langlotz, pl. 129); Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1); Louvre E 720 (CVA, Louvre 2 [France 2], pl. 1 [73]:1); Boston, M.F.A. 90.154 (CVA, Boston 2 [USA 19], pl. 65 [899]:2-4); Heidelberg 63/20 (CVA, Heidelberg 4 [Germany 31], pl. 179 [1518]:4, 5). 1 For the shape, cf. esp. E. Folzer, Die Hydria. Ein Beitrag zur griechischen Vasenkunde, Leipzig 1906; Richter and Milne, Shapes and Names, pp. 11-12; E. Diehl, Die Hydria: Formgeschichte und Verwendung im Kult des Altertums, Mainz 1964, which should be consulted along with the review by Bothmer in Gnomon 37, 1965, pp. 599-608; also, Agora XII, p. 53 with further bibliography. 2 Cf. Bothmer, Studies in ClassicalArt and Archaeology.A Tributeto Peter Heinrich von Blanckenhagen,New York 1979, p. 63; also the bibliographyin note 1. 3 Especially corrugated rims and concave horizontal handles. Cf., e.g., the namepiece of the Painter of London B 76 (ABV 85, 1; Paralip. 32, 1); two more by him, New York, M.M.A. 45.11.2 (ABV 85, 2) and Copenhagen 13536 (ABV

714; Paralip. 32, 2 bis). It is tempting to suggest that in representationsof the pursuit of Troilos where Polyxena has dropped her hydria and it lies on the ground intact, as in the illustration on the FranCoisvase and in many others,the painterhas in mind a metal vessel. For a broken hydria in Troilos representations, cf., e.g., Leipzig T 49 (CVA, Leipzig 2 [DDR 2], pl. 24 [85]:3); Heidelberg 72/1 (AA [JdI 92], 1977, p. 29, fig. 11); Hanover 1965.30 by the AntimenesPainter (Paralip. 119, 27 ter, formerly in the Bareiss Collection;CVA, Hannover 1 [Germany 34], pl. 19 [1651]:1);Munich 1722 by the Antimenes Painter (ABV 269, 33); London, B.M. B 307 by a painter of the Leagros Group (ABV 361, 17); and New York, M.M.A. 06.1021.50 in the mannerof the Red-line Painter (ABV 606, 21). 4 J. N. Coldstream, Greek Geometric Pottery, London 1968, pp. 59-60; J. Cook, BSA 35, 1934/1935, pp. 165-169, and especially the inventoryon pp. 212-219; also, Agora VIII, pp. 34-35. 5 Athens, N.M. 313. Cf. Cook, op. cit., pls. 38:b, 39. 6 ABV25, 18. 7 On methods of carrying, cf. Folzer, op. cit. (footnote 1 above), p. 10; Richter and Milne, Shapes and Names, pp. 11-12. For illustrationscf., e.g., two by the Priam Painter, Boulogne 406 (ABV 332, 21) and London, B.M. B 332 (ABV 333, 27); also Vatican 417 by the Acheloos Painter (ABV 384, 26). For the pad worn by the women as a cushion for the water jar, called a rv?Xror i7renpa, cf. Bothmer and Moore, CVA, New York 4 [USA 16], p. 45.

36

SHAPESTUDIES

The earliest has a roundor ovoid body;the secondhas the shouldersharplyoffset fromthe bodyand is the principaltype in Attic black figure from about 540 B.C.on; the latest, known also as the kalpis, has a neck and a bodythat forma continuous-curveprofile, similarto that of the one-pieceamphora and the pelike. All three types of hydria have been found in the Agora, but consideringthe popularity of the shape in the last third of the 6th century,it is surprisingthat there are so few examples from these excavations.It may well be that this shape was mainly one for export or was used more in sanctuariesand tombs than in civic centersand domesticquarters.8 HYDRIAI 618-624 ROUND-BODIED

P1. 59

The earliest type of Attic black-figuredhydria has a plain or corrugatedrim, a round or slightly ovoid body, and an echinus foot. The horizontalhandles are attachedto the body at about the point of greatestdiameter.The verticalhandle is shortand does not rise abovethe top of the rim, as it does on many of the later shoulderedhydriai, but its upper part is attachedto the neck itself, occasionally well below the rim. On the neck, there is sometimesa drip ring.9The round-bodiedhydria appears in Attic black figure at just about the same time as the loutrophorosand the ovoid neck-amphora, i.e. about 580 B.C.,and it is the preferredtype of hydria untiljust after the middleof the 6th century. Early examples, such as the namepiece of the Painter of London B 76,10tend to be rather squat; later ones, like the one in Boston by the Archippe Painter,11are taller and more elegant. The round-bodiedhydriai from the Agora, 618-624, do not give a good idea of the shape itself, but 618 (P1. 59) and 620 (P1. 59) are importantfor their metallic features. The scheme of decorationfor round-bodiedhydriai varies considerably.The only consistentelements are the tongues on the shoulderat the junction with the neck and the rays abovethe foot. On the neck, there may be an ornamentalpattern,or it may be left black as is the case with the hydriai by the Archippe Painter and with most shoulderedhydriai.'2620 and 622 are unusual for having figures on the neck. On the bodies of the early examples, the figureddecorationis set in friezes,just as it is on so many contemporaryovoid neck-amphorae.618 (PI. 59), 619, and 623 (PI. 59) were probablydecoratedin this manner. 618 has an ornamentalfrieze directlybelow the handles instead of in the handle zone itself as is customary.Later round-bodiedhydriai often have the figureddecoration on the shoulder set in a frieze and that on the body placed in a panel,13just as it is on the shoulderedhydria. The frieze on the shoulderis normallyunframed.The panel on the bodymay be framedor unframed,and the area below it may have a frieze of animals, or it may be left black.The Agora examples are too fragmentaryto be certain whether any one of them had the figured decoration set in a panel. 8 For ordinarydaily needs, the plain hydria was most commonly used, and many of them have been found in the Agora. Cf. Agora XII, pp. 38-39, 200-201. 9 Cf., e.g., London, B.M. B 76 (ABV 85, 1; Paralip. 32, 1); also New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77). Cf. also, Villa Giulia 22308 that is Lydan in style (MonAnt 42, 1955, p. 1064, no. 29 and pl. 3). o0ABV 85, 1; Paralip. 32, 1. I Boston, M.F.A. 67.1006 (Paralip. 43; CVA, Boston 2 [USA 19], pls. 69 [903]:2-4 and 70 [904]). 12 For the Archippe Painter, cf. Bothmer, AK 12, 1969, pp. 26-29. Some others with black necks:two by the Painter of London B 76: Swiss, private (Paralip. 32, 1 bis), and New York, M.M.A. 45.11.2 (ABV 85, 2); New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77).

Round-bodied hydriai with black necks seem to appear only after the shoulderedhydria is introduced. 13 Cf., e.g., three by the Archippe Painter: Vienna 3613 (ABV 106, 1); Louvre E 869 (ABV 106, 2); and Basel (AK 12, 1969, pls. 17,18); also, New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77) and New York, M.M.A. 74.51.1331 (G. M. A. Richter,Handbookof the Greek Collection,Cambridge,Mass. 1953, pl. 28:a). Two by the Archippe Painter have a single panel placed high with a frieze of ornamentbelow in the handle zone: Cab. Med. 253 (ABV 104, 127) and Italian Market (ABV 104, 129). For the attribution, cf. Bothmer,AK 12, 1969, pp. 26-29. Most unusual is the unattributedhydria in the Villa Giulia, inv. no. 22308 (MonAnt 42, 1955, p. 1064, no. 29 and pl. 3), that has a frieze of figures on the shouldercontinuinground to the vertical handle.

HYDRIAI

37

625-649 Pls. 59-62 This type of hydria differs from the round-bodiedone chiefly by having its shoulder set at an angle to its body so that there is no longer a continuouscurvebetween the two parts when the vase is seen in profile. In Attic black figure, it appears most often from about 530 B.C. on, althoughthe type is known as early as the second quarter of the 6th century B.C.It is not certain who was the first potter to fashion the shouldered hydria,14but the earliest painters to decoratethem are Kleitias, Lydos, and a contemporary,the Painter of London B 76,15 who also painted the round-bodied variety.16One by each artist, 625-627 (Pls. 59, 60), has been found in the Agora, and togetherwith three unattributedexamples, 628-630 (P1. 60), they comprisethe earliest shoulderedhydriai from these excavations.625 (PI. 59) is of special interest for it adds a new shape to the ones known to be decoratedby Kleitias. The shoulderedhydria fashionedbefore 540 B.C.has a somewhatflaring neck with a torus mouth and a broad body supported by an echinus foot. The shoulder is slightly convex with the angle formed by it and the body not very sharp. 626 (Pl. 59) by the Painter of London B 76 and 632 (PI. 60) by a painter of Group E are the best examples from the Agora. After 540, the shouldered hydria becomes increasingly tall in proportionto its diameter and more elegant in appearance.17 This later type has a torus foot and a wide flaring mouth with torus molding. The horizontal handles often curve upward slightly, and the vertical handle may still be round or oval in section, although sometimesit is ridged. The Agora examples are too fragmentaryto present a good picture of the later type, but 635 (P1. 60) has a decorativefeature that does not seem to appear on other hydriai (see below). The scheme of decorationfor the shoulderedhydria is regulated by the natural divisions of the vase. A friezelike compositionappears on the shoulder,similar to that on the type of neck-amphora having the figureson both the shoulderand the body.18On the body of the hydria,the figuresare set in a broad panel, which is normally framed at the sides by pattern with an ornamentalfrieze or a figured predella below. On a few examples, such as 628 (P1. 60), the side and bottom edges of the panels are left plain. As on the round-bodiedhydria, the only consistentornamentalelements are the tongues on the shoulder at the junction with the neck and the rays above the foot. At the top of the panel on the turn of the shoulder,there is usually a single line; occasionally,as on 644 and 645 (PI. 61), there is a key pattern. The ornament framing the panel at the sides varies a good bit, although ivy with or without dots or dot clusters seems to be the most frequentpattern, e.g. 626, 627, 632, and 640 (Pls. 59-61). The wavy line with dots on 635 (PI. 60) appears to be unique. Some of the Agora hydriai have figured predellas, 636, 638, and 639 (P1. 61); others, 642 and 643 (PI. 61), have ornamentalfriezes. SHOULDEREDHYDRIAI

14

The earliest signed examples seem to be the two by the potter Timagoras, which are attributedto the Taleides Painter: Louvre F 39 (ABV 174, 5; Paralip. 72, 5) and Louvre F 38, which also praises Andokides (ABV 174, 7; Paralip. 72, 7). These date about 540 B.C.,roughly two decades later than the shouldered hydriai by Lydos (ABV 108, 12-18), which were decoratedin the early part of his career and thus should not be later than about 560 B.C.,although the one in Gottingen (ABV 109, 19) and the one in the Kerameikos (Paralip. 45) may be about 550 B.C.It is tempting to suggest that Lydos may have potted as well as painted, but it has not yet been shown conclusively that he did (cf. M. B. Moore, AJA 83, 1979, p. 99, note 166). A shouldered hydria contemporarywith these by Lydos, Louvre E 735 (ABV 85, 2), has been loosely connectedwith the

painter of the neck-amphorain Eleusis potted by Kleimachos (ABV 85), but this is a painting connection,not a potting one. 15Kleitias: 625 (PI. 59). Lydos: ABV 108-109, 12-19; Paralip. 45. Painter of London B 76: ABV 86, 4, 5; Paralip. 32, 4. 16 ABV 85-86, 1-3; Paralip. 32, 1-2 bis. 17For a brief study of some late 6th-centuryshoulderedhydriai, cf. H. Bloesch,JHS 71, 1951, pp. 29-39, esp. 35-37. 18 E.g., New York, M.M.A. 17.230.14 by Exekias (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pls. 16-19 [744-747]). Two hydriai by the Antimenes Painter have black shoulders, the figures appearing on the neck (white ground) and on the body: Dresden ZV 1779 (ABV 268, 21) and Dresden ZV 1780 (ABV 268, 22).

SHAPE STUDIES

38

KALPIDES 650-669

Pls. 62, 63

In Attic black figure, the kalpis, in imitation of the red-figuredkalpides by the painters of the Pioneer Group, appears in the late 6th century and continuesinto the 5th. Not too many examples are known, for the shape is more frequentin red figure than it is in black figure, and in black figure it never competessuccessfullywith the more popularshoulderedhydria.The kalpis is distinguished from the shouldered hydria primarily by the continuous curve formed by its neck, shoulder, and body. It has a torus mouth and a torus or echinus foot. The horizontal handles usually curve upward slightly; the short, vertical handle rises from the shoulderand is attachedto the neck well below the mouth, similar to that of the round-bodiedvariety. 650 (P1. 62), 653, 657 (P1. 62), 658 (P1. 63), 665, and 666 (P1. 63) are the best-preservedexamples from the Agora. Two systems of decoration are used for the kalpis. The first, perhaps the earliest, shows the figures on the shoulder only. The rest of the vase is black, except for a broad band of ornamentin the handle zone. The secondsystem has the figures set in a panel on the body. PICTUREON THE SHOULDER 650-652

P1. 62

The figures appear in a panel, usually with an ornamentalframeat the top and on the sides, as on 650 and 652 (P1. 62).19Occasionally,there is ornamentonly at the top of the panel, and the sides are left plain,20although this is rare, and on those where the panel is particularlysmall, there is often no ornamentat all.21Sometimesall four sides have decorativeborders,22and there may be no ornamentin the handle zone unless the panel is placed very high. Above the figures, the preferred ornamentsare the key pattern, the net pattern, and the invertedlotus-bud frieze. On the sides, the net pattern is used most often. The type of ornamentin the handle zone varies, but ivy, as on 650 (P1.62), seems to appear most often.23652 (P1.62) is unusual for having simply a narrow reserved line. PICTUREON THE BODY

653-669

Pls. 62, 63

Most of the Agora kalpides are decoratedaccordingto this arrangement.The figuresappear in a panel that extends over some of the shoulderand much of the body of the vase, 657 (P1.62) and 658 (P1. 63) being good though small examples. The panel is decoratedat the top by a band of ornament, most often a frieze of inverted lotus buds as on 655 (PI. 62) or a net pattern as on 657, 658, 663 (Pls. 62, 63), and 664. The sides may be framed as on 665 or unframedas on 653, 657, 658, 663, and 664. Rarely are all four sides without ornament as on 659 and 666 (P1. 63).24 Most unusual is the frieze of upright lotus buds below the figures on 653 for which there seems to be no parallel. 19The appearanceof ornament on the side of the panel on 652 (PI. 62) indicatesthat there was a decorativepattern above, even though this is not preserved. 20 Ornament at the top of the panel only: e.g., Sydney 46.04 in the manner of the Acheloos Painter (ABV 386, 17); Kassel T. 683 (CVA, Kassel 1 [Germany35], pls. 24 [1704]:3,4 and 25 [1705]:1); Princeton 170, near the Madrid Painter (Paralip. 145, ii). 21 Examples: Florence 3858 (CVA, Florence 5 [Italy 42], pl. 42 [1906]); Vatican 428, 429, and 430 (Albizzati, pl. 66); Hamburg 1971.987 (CVA, Hamburg 1 [Germany 41], pl. 26 [1992]); Wurzburg 324 (Langlotz, pi. 98); Louvre C 10693 (CVA, Louvre 11 [France 18], pl. 151 [824]:7). 22 Cf., e.g., the Tampa Museum, Tampa, Florida, ex Maplewood, Noble, of the Leagros Group (ABV 695, 83 bis;

Parke-Bernet 9. April, 1953, p. 25, no. 150); Greenwich, Bareiss,once on loan to the MetropolitanMuseum, L.69.11.12 (Greek Vases: Molly and Walter Bareiss Collection [The J. Paul Getty Museum], Malibu 1983, p. 39). 23 Some examples of other ornaments:Key pattern:Florence 3858 (CVA, Florence 5 [Italy 42], pl. 42 [1906]); Hamburg 1917.987 (CVA, Hamburg I [Germany41], pl. 26 [1992]). Circumscribedpalmettes:Greenwich, Bareiss, once on loan to the MetropolitanMuseum, L.69.11.12 (footnote22 above). Inverted lotus buds: Vatican 431 (Albizzati, pl. 66). Upright lotus buds: Princeton170, near the Madrid Painter (Paralip. 145, ii). 24 Even rarer seem to be panels with decorationon all four sides. Cf. one near the Nikoxenos Painter, Montreal 39.Cb.1, which has circumscribedpalmettes on all four sides (Paralip. 172,3).

OINOCHOAI

39

OINOCHOAI 670-786

Fig. 14 Pls. 64-73

The oinochoe is a jug used for pouring wine and other liquids.1The shape is well known in pottery from the Geometricperiod on,2and a significantnumberof bronzeexamples from the 6th to the 4th centuries have come down to us.3 The oinochoe is generally characterizedby a single vertical handle, either high or low, a trefoil or plain mouth, and an echinus or torus foot. The over-all appearance is sturdy and practical looking. There are two basic types of pouring jug, each distinguished by the shape of its body:the olpe, which is rather a slender vessel with a continuous-curve profile between the mouth and the foot, and the oinochoe,which has a much more swelling, sometimes globular, body that usually has the shoulder offset from the neck. One kind of oinochoe, however, the chous, has a continuous-curveprofile. In Attic black figure, both the olpe and the oinochoe appear simultaneouslyin the workshopof the Gorgon Painter, but the largest numberof Attic black-figuredexamples and types belong to the secondhalf of the 6th centuryB.C. OLPAI 670-722

Pls. 64-69

The olpe has a gently swelling body that forms a continuous curve between the foot and the mouth. The foot may have an echinus shape or simply be a low disk. There are two main categories of olpe: those with a trefoil mouth and those with a plain one. Each is discussedseparatelybelow. TREFOIL 670-681

Pls. 64-66

This type of olpe has a high handle that rises well abovethe mouth, then curvesdownwardto the rim. The handle is usually double and reservedexcept for the lines of glaze as accents,as 673 or 677 (PI. 64), but it may be concaveand completelyglazed.4The earliest preservedtrefoil olpai in Attic black figure are unattributed and seem to belong to the very late 7th century B.C.,5 although 671 (PI. 64) by the Gorgon Painter, which is the earliest attributedexample from the Agora, is hardly later than these. The Gorgon Painter and the artistsworking in his mannerare the first Attic blackfigure painters to decoratenumerous olpai,6 and although these belong within the larger Group of Early Olpai put together by Beazley,7the chief features of the shape and its system of decoration were probablydevelopedin the Gorgon Painter'sworkshop.The ratherheavy, sagging appearance of the earliest examples soon gives way to a more elegant, refinedform that is retainedthroughout the period during which this type was manufactured.8672 (PI. 64) in the manner of the Gorgon For the shape, cf. Agora XII, pp. 58-63, 76-78, with bibliography;ABV, chaps. 28-31; KerameikosVI, ii, pp. 173-181. A dissertationon the shape is being preparedby Andrew Clark under the supervisionof Dietrich von Bothmer. 2 Cf. J. N. Coldstream, Greek GeometricPottery, London 1968, passim; Agora VIII, pp. 35-41 for the Late Geometric and Protoatticexamples from the Agora. 3 Most recently, Bothmer, Studies in ClassicalArt and Archaeology. A Tribute to Peter Heinrich von Blanckenhagen, New York 1979, pp. 63-67. 4 Cf. Copenhagen, inv. no. 8076 (ABV 14, 9); Munich, private (Paralip. 9); and Warsaw 14249 signed by Kriton as potter (ABV 446, 2; Paralip. 192, 2). An oddity is the female mourner attached to the top of the handle of Kerameikos,inv. no. 40 by the CeramicusPainter (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93). 5 Cf. London, B.M. 88.6-1.566 (ABV 15, 22) and Delos

591 (ABV 15, 27; Paralip. 9, 27). Both are includedby Beazley in his Group of Early Olpai without a more specificattribution. Karouzou ('Avayvpoivros, pp. 134-135) suggested that the Delos olpe is the work of the Nettos Painter, close in time to his namepiece.For Protoatticpredecessors,cf. AgoraVIII, no. 544, with bibliography,esp. E. Brann, Hesperia 30, 1961, pp. 348349; also, KerameikosVI, ii, pp. 173-179. 6 Gorgon Painter: ABV 9, 11-13; Paralip. 7, 13 bis-135; manner of the Gorgon Painter: ABV 10-11, 4-7; Paralip. 8. For those with a flat mouth, cf. below, pp. 40-41. Severalothers do not preservethe mouth, so one may not be certainof the type: Gorgon Painter: ABV 9, 14 and 15; manner of the Gorgon Painter:ABV 11, 8-15; Paralip. 8 including 703 (PI. 67), 707, and 708 (PI. 68). For a discussion,cf. I. Scheibler,JdI 76, 1961, pp. 1-47. 7 ABV 14-15, 1-36; Paralip. 9 (including676 [PI. 65]). 8 Scheibler, cit. (footnote6 above), pp. 34-35. op.

40

SHAPE STUDIES

Painter is a good illustrationof the canonicalshape. The decorationis usually set in a panel on the right side of the body (the pourer'sright), e.g. 672, 677, or 680 (Pls. 64, 65), often with two reserved triangles (an "eye")on the opposite side in the area of maximum diameter.9This position of the handle enables the guest to see the figureddecorationwhile his host pours wine into his cup. A few examples have the figured decorationcontinuinground the vessel, 671 and 679 (Pls. 64, 65) being the best examples from the Agora.'1 This system of decoration places the focal point of the compositionopposite the handle, instead of on the side. The area above the panel is often plain, as on 672 and 677 (PI. 64), or, as on so many panel amphorae,there may be a frieze of ornament.The only examples from the Agora, 680 and 681 (Pls. 65, 66), have the lotus-palmette festoon. 671 (P1. 64) is unusual for having a figured frieze in this area. The panels of early trefoil olpai often have rosettes or hanging spirals for filling ornament, another link with contemporary panel amphorae.Trefoil olpai are most commonin the first quarterof the 6th century,and nearly all the Agora examples are from that period. Later, the shape is taken up by the Amasis Painter (681: PI. 66) and by painters contemporarywith him, some of them unnamed,e.g. 680 (P1. 65)." 682-694 Pls. 66, 67 The type of olpe with a flat, thin rim, which otherwise is like its trefoil counterpartin shape and decoration, is rather rare in Attic black figure, and no early example of it may be identified for certainamong the black-figuredolpai at the Agora.12The earliest olpe in this sectionis 682, a "redbodied"one of special shape with an elongatedbody, a short neck, and a thickenedrim. Although not attributedto a painter, the style of the drawing suggests an artist working aroundthe middleof the 6th centuryor perhaps a little later. It belongs to a group of olpai whose paintersdo not confine the rather few figures to a panel but allow them to spread out over the entire surfaceof the vase.13 Some, like 682, have a wide zone of black glaze at the bottomjust above the foot; others have this area reserved. All the other black-figuredolpai from the Agora included here belong to the years after 530 B.C. when a new type of olpe is introduced.'4This variety also has a gently swelling body, yet it curves inward toward the neck more sharply than that of its trefoil counterpart.But its shape differs from the latter in more essential points: the thickened rim or one that is applied separately forming a torus, 692 (PI. 67), or occasionallyflaring and flat on top, 687 (PI. 66); the low strap handle that often has metallic-lookingprojectionson either side of the rim attachment,686 (Pl. 66) or 692; the low disk foot. The figureddecorationappears in a panel placedoppositethe handle so that the focus is on the front of the vase, not on the side as with the trefoil panel olpe. Above the panel there is almost always decoration,usually more than one band of ornament,and the arrangementof these patternedfriezes varies considerablyfrom painter to painter. 686, 687, and 692 (Pls. 66, 67) with MOUTHNOT TREFOIL

9 An "eye" sometimes appears below the handles of column-kraters, e.g., Leningrad St. 55, perhaps by the Swing Painter (ABV 310; Bohr, Schaukelmaler, pi. 144: here [pp. 101-102] this detail is overlooked in the description). For remarkson the earliest panels in Attic pottery,cf. above, p. 5. 10Here are examples of three others:Tiibingen 5445/28 by the Gorgon Painter (ABV 9, 11; Paralip. 7, 11; CVA, Tubingen 3 [Germany 47], pi. 18 [2263]); two by the Ceramicus Painter: Kerameikos,inv. no. 40 (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93) and Athens, N.M. 16285 (ABV 19, 3). '1 Amasis Painter: ABV 152-153, 29-31; Paralip. 66 (including 681 [P1.66]); Bothmer,Amasis Painter, passim. Group of Trefoil Olpai: ABV 445, 1-12; Paralip. 192. 12This type of olpe is known only from the workshopsof the

Gorgon Painter, Amasis, and the Kriton Group. Cf. ABV 446, top; also Agora XII, p. 77. The earliest examples are these: Athens, N.M. 19176 by the Gorgon Painter (ABV9, 16;Paralip. 7, 16) and London, B.M. B 32 in his manner (ABV 11,16; Paralip. 8, 16); Boston, M.F.A. 1973.9: helmet between two seated panthers. Each has the decorationcontinuinground the vase. Athens, N.M. 19176 and London, B.M. B 32 have concave strap handles, Boston, M.F.A. 1973.9 a reserveddouble handle normally seen on trefoil olpai. 13ABV450-451; Paralip. 195. 14 There do not seem to be black-figuredexamples of this new type before the beginning of red figure (cf. Agora XII, p. 78).

OINOCHOAI

41

their combinationsof ivy, net, and key patterns provide a general illustrationof a few of the possibilities. Normally, the sides of the panel are accentedonly by a line of glaze, similar to those of the panel-amphora, but sometimes, as on 684, 686, and 691 (Pls. 66, 67), the panel is framed at the sides by ornament,ivy or net being the most common.Often the mouth is decoratedwith a checkerboard pattern, 686, 687, and 692, or it may be glazed, 683 and 694 (Pls. 66, 67). TYPE UNCERTAIN: MOUTH LOST

695-722

Pls. 67-69

Most of the olpai in this sectionbelong to the late 7th centuryB.C.or to the first quarterof the 6th. 703-710 (Pls. 67, 68) are decoratedin the mannerof the Gorgon Painter, and 713-716 (Pls. 68, 69) may be attributedto the Group of Early Olpai. Since many of these fragmentsbelong to olpai with the figures set in a panel, it is tempting to place them in the trefoil-olpe section, not only because there are so few contemporaryolpai with plain mouths but also becausethe three earliest examples of this type have the decorationcontinuingroundthe vase.15But without the mouth, it is impossible to be absolutelycertain to which type of olpe each fragmentbelongs, and thus it is best to keep them apart. OINOCHOAI723-776

Pls. 69-72

The oinochoe, in contrast to the olpe, has a much more globular body and often a heavyset appearance.But, like the olpe, the mouth of the oinochoemay be trefoil or plain, the handle high or low, and the foot echinus or torus. Often there are one or two rings on the neck, and the handle may have a ridge. Some of the clay varieties with their crisp contoursand sharply articulatedparts are metallic looking, and their potters may have had metal vessels in mind when they fashioned their clay counterparts.There are many types of oinochoai,16but only Shapes 1, 2, and 3, as well as two special models, the Vraona type and a flat-bottomedone, are known in black figure from the Agora. SHAPE1

723-745

Pls. 69-71

This is the most common type of Attic black-figured oinochoe, and the largest number of oinochoai found in the Agora are of this type.17As with the olpai, the earliest examples appear in the workshop of the Gorgon Painter, although none so far is attributedto the painter himself.'8 723 (PI. 69) is in his manner, and 724 (Pl. 69) is contemporary.This type of oinochoe continuesuntil the early years of the 5th centuryB.C.with the greatestnumberof them made duringthe secondhalf of the 6th. Three early fragments,725, 726 (PI. 69), 731, are includedin this section. The curve of each is too strong to be that of an olpe, and it correspondsbest to that of oinochoaiof Shapes 1, 2, and 3. Since Shapes 2 and 3 do not appear until the secondhalf of the 6th centuryB.C.,these three fragmentsought to be Shape 1. Shape 1 is characterizedby a roundedor ovoid body that tapers sharply toward the foot with the maximum diameterset at about the middle or a little above.The shouldermay be rounded,e.g. 734 (PI. 70), or rather flat, e.g. 736 (PI. 70), and it is often offset from the neck. On the neck, there are sometimesone or two rings, e.g. 724 or 734 (Pls. 69, 70), giving the effect of a collar. 736 is unusual for having a double ring just below the start of the mouth. The handle is usually high, and it may be ridged, e.g. 735 (P1. 70) or concave, e.g. 736. The mouth is normally trefoil, but occasionallyit is plain, e.g. 735, and the foot is an echinus or a torus. The figures may be set in a panel opposite the handle, or they may continue round the vase, although the latter is less common.723 (PI. 69), 729, 15 Cf. footnote 12 above, p.

16ABV, chaps. 28-30.

40.

17Cf. Agora XII, pp. 58-59, with bibliography. 18ABV 10, 1-3; Paralip. 8, 1 bis (723: PI. 69).

SHAPE STUDIES

42

730, 733 (P1. 70), and the two miniatures,727 and 732, are the examples from the Agora. 729 and 730 have their figures set in friezes, similar to those on many contemporaryneck-amphoraeand hydriai.19The panels may or may not have lateral frames,but normallythere is a tongue patternon the shoulderat the junction with the neck. Dots or ivy are favoriteframingornaments.The upright encircledpalmetteson 736 seem to have no parallel on oinochoai;their nearestcounterpartsappear on some contemporaryhydriai. The collar may be black, e.g. 723, 724, and 734 (P1. 70), or it may be decoratedwith a pattern,ivy, net, and hanging lotus buds being the types that occuron the Agora examples, 736, 737, 741 (Pls. 70, 71), and 742. 2 746 and 747 SHAPE ofet This type of oinochoeis very similar to Shape 1 in many of ts details shape and its principlesof of two that the are decoration.20The main differencesbetween the body Shape 2 tapers very little towards the foot and the foot is very low and flat. The over-all effect is rather squat, heavy, and sturdy. Shape 2 begins much later than Shape 1, and it appears mainly during the last thirty years of the 6th t century B.c. The largest number of them belong to the Class of Vatican G. 47.21There are only two certain examples in the Agora black figure, 747 which has lost its mouth and handle, and 746, a miniature one which is very early. SHAPE3 (CHOUS) 748-765

Pls. 71, 72

The chous is a squat jug with a continuous-curveprofile between neck and body, similar to the one-piece amphora and the pelike. It has a trefoil mouth, a low handle that is often ridged, and a broad flaring foot.22In many respects, the shape seems to combinethe continuous-curveprofile of the olpe with the round body of the oinochoe of Shape 1. The chous is most common in Attic red figure and in plain black. In Attic black figure, the earliest attributed choes are by the Amasis Painter and the Taleides Painter;23Boston M.F.A. 10.210 is signed by Taleides as potter.24The earliest black-figured choes at the Agora, 748-753 (PI. 71), are of that time, but none may be attributedto either of these artists. The rest of the Agora examples, 754-765 (PI. 72), belong to the late 6th or the early 5th centuriesB.C. The figures are normally set in a panel oppositeethe handle, and th width of the panel varies accordingto the maximum breadthof the chous. Above the panel, there is a band of ornamentthat varies considerably,just as it does abovethe panel of the one-pieceamphora.753 (PI. 71) is unusual for having hanging lotus buds with dots, a rare ornamentabovethe panel of a chous. Sometimesthe panels have lateral frames, most often a net patternor two rows of dots, but more often the sides of the panels are simply accentedby a line of glaze, as they are on all the Agoraexamples. 764 is a rare example where the figures are not set in a panel but continueroundthe vase, and it ought to belong to the Class of Red-bodiedOinochoaiof Shape 3.25 SPECIAL: FLAT-BOTTOMED

AND VRAONA

766 and 767

Pl. 72

766 is a miniature vase that resemblesthe larger conical oinochoeof Corinthianmanufacture.26 767 is of the rare Vraona type, which is named after the example in London that was found at 19Cf. above, pp. 9 and 36.

20

Cf. Agora XII, p. 60, with bibliography, 21 ABV 429-430, 1-27; Paralip. 184-185. 22 Cf. Agora XII, pp. 60-63, with bibliography. 23 Amasis Painter: ABV 153-154, 41-46; Paralip. 64, 4145; New York, M.M.A. 1978.11.22 (Bothmer,AmasisPainter, pp. 154-155, cat. no. 33). Taleides Painter:ABV 174, 3 and 4.

Sparkesand Talcott (AgoraXII, p. 63) have suggestedthat the appearance of Shape 3 is to be linked with these two artists, especially the workshopof Amasis where experimentationwas particularlylively. 24 ABV 174, 3. 25 For the class, cf. ABV 439-440, 1-6 and Paralip. 191. 26 See the catalogueentry for 766.

LEKYTHOI

43

Vraona (Brauron) near Spata.27It has a short cylindricalbody with slightly concavesides, a rather flat shoulder, and a high double handle. The neck is mostly lost, but the height of the handle indicates that it was long. The mouth is not preserved,but on the few Vraonas where it remains, it is flat. The general effect of the Vraona type is very metallic looking. OINOCHOAI, TYPE UNCERTAIN

768-776

P1. 72

All these, except 768 and 769, are late black-figuredoinochoai. 768 and 771-774 preservethe shoulder and therefore can be seen to be Shape 1 or 2, but without the lower part of the body it is impossible to be more specific. The rest of the oinochoai in this section are too fragmentaryto permit identificationof the type. OLPAIOROINOCHOAI777-786

P1. 73

None of these fragments preserves a feature that would identify it specifically as an olpe or an oinochoe. 777 is by the Gorgon Painter or in his manner, and 778 has certain affinities with Sophilos. LEKYTHOI 787-1256

Fig. 15 Pls. 73-87

The lekythos is the most common of all the shapes decoratedin black figure found in the Agora, particularlyfrom ca. 510-480 B.C.,the period when many artists specializedin the shape.1In general, the lekythos is characterizedby a narrow neck with a flaring mouth, a short vertical handle attached at the shoulder and the neck, and a sturdy foot. The shape of the mouth, body, and foot varies a good deal from period to period and from potter to potter. Most of the Agora black-figured lekythoi are small vessels of the type used to furnish out commongraves.2Only a few, such as 789 (P1.74) and 817 (PI. 75), are of the very highest quality. The Agora lekythoi span the entire period that the shape is decoratedin black figure, and a remarkablylarge number of them from a single deposit are especially well preserved.3 In Attic black figure, there are two main types of lekythos. The earliest is the Deianeira type, named after the subjecton London, B.M. B 30, attributedto the mannerof the Gorgon Painter.4It has a biconical body supported by an echinus foot, a curving mouth roundedon top, a thick drip ring, and a short concave handle. The type derives from the Corinthian alabastron5but is then borrowedby the Corinthiansfor their lekythoi. Most of the known Deianeira lekythoi are from the early 6th century B.C.,although some occur as late as the third quarter, e.g. 798 (P1.75), but these are rather weakened versionsof the earlier examples.6The earliest black-figuredlekythosfrom the Agora, 787 (P1. 73), is a unique variant of the Deianeira type. It is contemporarywith the first generationof Attic black-figurepainters but is difficultto attributeto a specificartist. In shape and date, it stands somewhat apart from the other lekythoi from the Agora. 27

London, B.M. 1905.7-11.1 (ABV 443, 3).

' For the shape, cf. particularlyABL; Agora XII, pp. 150152; also, Kurtz, Athenian White Lekythoi, pp. 5-22, and 7781 for black figure. For the name, cf. Richter and Milne, Shapes and Names, pp. 14-15. On the origin of the Attic type, cf. J. de la Geniere, BCH 108, 1984, pp. 91-98. 2A good idea of these offerings may be gained from U. Knigge, Kerameikos,IX, Der Siidhiigel, Berlin 1976.

3 The deep well of the late Archaicperiod beneath the gutter of the Stoa of Attalos (H. A. Thompson, Hesperia 24, 1955, pp. 62-63). These and the other vases found with them are the subjectof a separatestudy by S. R. Roberts(Hesperia 55, 1986, pp. 1-74), which focuses on workshopsand potters. 4 ABV 11, 20; NC, p. 191. 5ABL, p. 1. 6 ABL, chaps. 1 and 3.

44

SHAPE STUDIES

The second type is the shoulderedlekythos, which is the dominanttype from the second quarter of the 6th century B.C. on. It is a purely Attic shape7 and first appears at just about the time the shoulderedhydria is introduced.8The sloping shoulderof the lekythosis well set off from the body, which is broad at the top, slightly swelling in contour,and tapering downwardtoward an echinus foot. Early examples retain the mouth, drip ring, and concavehandle of the Deianeira type, but later, these featuresare given up. It is not certainwho was the first potterto fashion the shouldered lekythos, but the earliest examples are decoratedby the C Painter and one or two of his contemporaries.9A large number of shouldered lekythoi are by the Amasis Painter,10although none is signed by Amasis as potter, and all of them are earlier than his signed vases.11789 (PI. 74), the very fragmentarylekythosby Lydos, is the earliest example in the Agoraof the shoulderedtype, and it is probablynot very much later than some of the lekythoi by the Amasis Painter. The figures on 789 continuedroundthe vase, as on so many others of the time, including791 (P1.74), an odd piece that is difficultto parallel in shape, although its figure style has some affinitieswith Elbows Out. Both of these lekythoi have figures on the shoulder as well, rather than a floral pattern as is generally the case later. A single line usually separates the shoulder from the body decoration, although occasionally a pattern may appear at the top of the figure zone on the body, e.g. 790 (P1. 74). The mouth and handle and the area below the figures, includingthe foot, are black. Normally, the neck is unglazed, except for those lekythoi with drip rings, which have a black band.'2This rather squat type of shoulderedlekythos becomesthe preferredtype in the third quarter of the 6th centuryB.C., and artists such as those of the Dolphin Group, e.g. 797 and 798 (PI. 75), the Fat-runner Group, e.g. 800-802 (PI. 75), and the Group of Vatican G. 52, e.g. 805-813 (P1.75), preferdecoratingthis shape.13 7ABL, p. 1. 8ABL, p. 7. 9 C Painter: Orvieto 296 (ABV 58, 126; Bothmer, Amasis Painter, p. 38, fig. 20); Kerameikos (ABV 58, 127); Oberlin 41.44 (ABV 58, 128). The Sandal Painter:Athens, N.M. 1056 (ABV 70, 4); Barcelona 52 (ABV 70, 5); Paris, Musee Rodin 237 (ABV 70, 6); Bologna PU 204 (ABV 70, 7; Paralip. 28, 7); Oxford 1934.353 (ABV 70, 8; Paralip. 28, 8). Not far from the Sandal Painter: Athens, N.M. 415 (ABV 70, -); Related to him: Athens, N.M. 371 (ABV 70, -); Near him: Sofia 6285 (Paralip. 28). Recalls the Griffin-bird Painter: Athens, N.M. 413 (ABV 75, -). 10ABV 154-155, 49-61; Paralip. 66; Bothmer, Amasis Painter, pp. 168-191, cat. nos. 39-50. Furthermore,the Amasis Painter also decorated a lekythos of the Deianeira shape (Athens, N.M. 404: ABV 155, 62; Bothmer, Amasis Painter, p. 193, fig. 101) and two of the sub-Deianeira shape (Villa Giulia: ABV 155, 63; Bothmer,Amasis Painter, p. 153, fig. 94; Copenhagen, inv. no. 14067: Paralip. 66; Bothmer, Amasis Painter, pp. 192-193, cat. no. 51). 11 Signedvases:three neck-amphoraeof a special shouldered type: Cab. Med. 222 (ABV 152, 25; Paralip. 63, 25; Bothmer, Amasis Painter, pp. 125-129, cat. no. 23), Boston, M.F.A. 01.8026 (ABV 152, 26; Paralip. 63, 26; CVA, Boston 1 [USA 14], pls. 26 [648], 28 [650]:1, 2; Bothmer, Amasis Painter, pp. 130-133, cat. no. 24), and Boston, M.F.A. 01.8027 (ABV 152, 27; Paralip. 63, 27; CVA, Boston 1 [USA 14], pls. 27 [649], 28 [650]:3;Bothmer,Amasis Painter, pp. 134-137, cat. no. 25); two olpai with trefoil mouth: Louvre F 30 (ABV 152, 29; Paralip. 63, 29; Bothmer,Amasis Painter, pp. 140-142, cat. no. 27) and Wurzburg 332 (ABV 152, 30; Paralip. 63, 30; Bothmer, Amasis Painter, pp. 143-144, cat. no. 28); two olpai with flat mouth: London, B.M. B 471 (ABV 153, 32; Paralip. 64, 32;

Bothmer, Amasis Painter, pp. 150-151, cat. no. 31) and once Canino (ABV 153, 33); a band cup in Malibu, 79.AE.197 (Bothmer, Amasis Painter, pp. 204-207, cat. no. 55); a cup of special type: Vatican 369 a (ABV 157, 87; Paralip. 65, 87; Bothmer,AmasisPainter, pp. 223-225, cat. no. 62). Add, probably, the small beakerlikevessel from the North Slope, R. 294, which preserves the name but not the verb (ABV 157, -), and the fragmentary tripod-pyxis found at Aphaia (photo D.A.I. Athens, 72. 3409-3415; Bothmer, Amasis Painter, pp. 236-238, Appendix no. 4), which has the last two letters of the verb;also a black-figuredlekythosin the J. Paul Getty Museum attributedto the Taleides Painter and signed by Amasis on the undersideof the foot (76. AE. 48: J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vases in the J. Paul Getty Museum 1, 1983, p. 37, fig. 3; B. Legakis, "A Lekythos Signed by Amasis,"AK 26, 1983, pp. 73-76; Bothmer,Amasis Painter, p. 229, Appendix no. 1). In addition, Bloesch has suggested that the potting of Lydos' psykter-amphorain Londonis by Amasis (ABV 109, 29), but this has been stronglyquestioned (Paralip. 44, 29). D. Callipolitis-Feytmans(Les plats attiques, pp. 87 and 91) believesthat Amasis may have fashioneda plate decoratedby Lydos, Akropolis 2402 (ABV 111, 49; Tiverios, pl. 81:e). Furthermore,Bothmerhas shown that Amasis is very likely the father of the potter Kleophrades (D. von Bothmer, 'AAazobos,"The Journal of the J. Paul Getty Mu"'"AAautrm, seum 9, 1981, pp. 1-4; Bothmer,Amasis Painter, pp. 230-231, Appendix no. 2). 12Cf. ABL, pp. 7-19 for a full discussionof the treatmentof the mouth, neck, and shoulderof early shoulderedlekythoi. 13Dolphin Group (ABL, pp. 193-194, 1-18; ABV 457458, 1-22; Paralip. 199); Fat-runner Group (ABV 459-460, 1-12; Paralip. 201-202); Group of Vatican G. 52 (ABV 460461, 1-37; Paralip. 202). Many of the vases by the Dolphin

LEKYTHOI

45

Around 530 B.C.,the so-called cylinderlekythos is introduced,a more graceful, elegant versionof the shoulderedlekythos than the earlier one.'4 The shape of the body gives the type its name. The neck and shoulder form a continuous curve, the mouth is flaring or calyx shaped and flat on top. Beneath the figure zone, the body curves downward toward the torus foot and is sometimes separated from it by a fillet. The new shape provides a taller pictorial surface, and, together with a short-livedvariant that slopes sharply toward the foot,15it becomesthe prevalenttype of lekythosin Attic black figure, although the older shoulderedtype continues,particularlyin the workshopof the Phanyllis Group, 824-836 (PI. 77).16 The scheme of decorationon cylinder lekythoi is a simple one. Normally, there is an ornamental pattern on the shoulder, often hanging lotus buds or palmettes, with a tongue pattern above at the start of the neck. On the body, there is usually a pattern above the figures at the junction with the shoulder. The figures themselvesmay be confinedto the principal view of the vase, or they may continuecompletelyaround,the subjectdeterminingthe use of the format. The area below the figures is glazed black, although often there is a narrow reserved band that serves as a transitionfrom the very light backgroundfor the figuresto the solid black zone below. The sides of the mouth and handle and the top surface of the foot are glazed. As may be expected, there is considerablevariation in details of shape and scheme of decorationaccordingto potter and workshop. There are not very many black-figuredcylinderlekythoi from the Agora that may be datedbefore 500 B.C.The most impressiveof them, if perhapsthe most enigmatic,is the earliest, 817 (PI. 75), the very beautiful fragmentaryone that may be by Psiax. The figured decorationis painted on white ground, an early example of the technique17and the earliest in the Agora. Below the main zone, there is a figured predella, a feature that does not seem to occur elsewhere on lekythoi but may in this case derive from other funerary shapes, loutrophoroi and plaques, where it is well known. Thus, one need not look too far to discoverwhat may be the sourceof inspirationfor the predellaon 817. The best-preservedlekythos of this period from the Agora is 821 (P1.76), which has affinities with the Leagros Group but is difficultto attributeto one of its painters. Both 821 and 822 (P1.77) are unusual for having a band of ornamentbelow the figures. The chief painter of lekythoi during the late years of the 6th century is the Edinburgh Painter whose handsome,elegant cylinder lekythoi are well known. Only two certain examples of his lekythoi have been found in the Agora (884 and 885: P1. 80), although another may be by him (886: P1. 80), but these are too fragmentaryto give an idea of the shape preferredby him. By far the largest number of Agora lekythoi from this time belong to the Phanyllis Group (824-836: P1. 77) and the Cock Group (837-863: P1. 78), whose painters specialize in the shape and whose period of activity lasts beyond the turn of the century, the time when the lekythos begins to enjoy its greatestpopularity. The painters of the Phanyllis Group continue to decoratethe older type of shoulderedlekythos that was the normal shape before the introductionof the cylinder, but their potters modify its appearance somewhat by making it slimmer. The body of the Phanyllis lekythos has a slightly swelling contour, and the tapering toward the foot beginsjust beneath the figure zone, which is set rather high. The foot is disk shapedwithout a fillet between it and the body. The mouth is wide and flaring. 829 and 830 are very broad, rather heavy examples of the type. 827, 831 (PI. 77), and 832 are more typical of the Phanyllis shape. Painters of the Phanyllis shape also decoratea cylinder type of lekythos. This has a rather weak contour, a wide mouth, and a disk foot with or without a Group have been shown to be Euboean (Paralip. 199; Bothmer, Metr. Mus. Journal 2, 1969, pp. 32-38). Some of the Agora examples may fall into the Euboean category, but since they appear in ABV or Paralip. without a Euboean designation,we have included them here.

14ABL, p. 41. ABL, p. 48. 16 ABL, p. 63. 17For the early use of white ground, cf. Mertens, Attic White-Ground,pp. 27-43. 15

SHAPESTUDIES

46

fillet between it and the body. The body tapers below the figureddecoration.835 (PI. 77), although very fragmentary,is the only example from the Agora. The chief differencebetween the two types of lekythoi used by the Phanyllis Group is that on the cylindertype the figures occupy more of the surface of the body, resulting in a more pleasing relationship between the shape and the figured decoration.The ornamentaldecorationon the shouldervaries but may be the same for each type: palmettes (e.g. 835), invertedlotus buds (e.g. 824, 825: PI. 77), or as in the Group of the Hopliteleaving-home, an upright palmette between draped figures (e.g. 829-834: P1. 77). Above the figures, there is sometimesa key pattern (e.g. 835), but more often there is just a line of glaze at the junction of the shoulderwith the neck. The area below the figuresis glazed black. Closely relatedto the Phanyllis Group are the more numerouslekythoiof the CockGroup, which takes its name from the long-tailed cock painted on the shoulder. The shape is similar to the Phanyllis type, but the quality of the decoration is lower. The examples from the Agora, 837-863 (PI. 78), are good illustrationsof the group. Contemporarywith the majority of lekythoi of the Phanyllis Group and the Cock Group are those by the Gela Painter who deriveshis name from the large number of his vases that have been found at Gela in Sicily.18Very few of the Gela Painter's vases have been excavatedin mainland Greece, but the comparativelylarge numberof his lekythoifrom the Agora indicatesthat there was also a market for his work at home. The Gela Painter's lekythoi are slender cylindersand usually have a top-heavy appearance,for the body is too short for the tall neck and the large calyx-shaped mouth. Between body and foot, there is a fillet. The foot may be a plain torus or one in two degrees, similar to the feet of amphoraeType A and calyx-kraters.869 and 870 (PI. 79) are good examples from the Agora. On the shoulder, there is a configurationof palmettesthat is often combinedwith buds. Above this, there is a tongue pattern.Of the eight variationsdistinguishedby Haspels,19four appear on Agora lekythoi: II a, five palmettes between two buds (869-871: P1. 79); II b, five palmettes between vestiges of buds (873); III a, three palmettes between two horizontal buds (872: P1. 79); III b, three palmettes between two downward buds (874-876). Normally, the neck is reserved.872 (P1.79) is unusual for having patternsand in this respectrecalls the one in Boston.20 The Gela Painter nearly always includes a band of ornamentabove his figures, most often the net pattern (e.g. 869,871, and 874: P1.79), the key patternto right (870,877: PI. 79), and, on his better pieces, a checkerboardof which there is no example on his lekythoifrom the Agora.Occasionallyhe omits the ornament(872,878: PI. 79). The area below the figuresis glazed, either completelyplain, (e.g. 869, 870) or with a reservedband (e.g. 871,874). The top surfaceof the foot is always glazed. Those in two degrees have a reservedvertical member and a glazed torus (869, 870: PI. 79). The side of the plain torus foot may be glazed (874, 875, and 879: PI. 79) or reserved(878: P1.79). During the first three decadesof the 5th centuryB.C., the mass productionof small black-figured lekythoimust have occupiedmany artists in the Kerameikos.The workshopthat fashionedlekythoi of the Class of Athens 581 seems to have been particularlybusy, at least to judge by the very large number of its products that have survived. In the Agora, they are the most numerous of all the lekythoi, 887-1124 (Pls. 80-85), surpassingin numberthose of the Haimon workshop,which was also bursting with activity around the time of the Persian Wars. These small lekythoi of the Class of Athens 581 have a calyx-shapedmouth, and the body tapers below the figures to a simple disk foot. Two variationsmay be distinguished,each accordingto the shoulderdecoration.Lekythoiof the Class of Athens 581, i have hanging lotus buds, often with dots in the interstices, and tongues above. They are usually of slightly higher quality than the second 1sABL, 78. p. 19ABL, pp. 205-212.

20Boston, M.F.A. 93.99 (ABL, p. 206, no. 5 and pi. 23:1).

ALABASTRON

47

variation, the Class of Athens 581, ii, on which the buds have been reducedto rays, although the tongues are retained. Both types have a line at the junction of the shoulder, and the black glaze below the figures is usually interruptedby a narrow reservedband. 890 (P1. 80) and 948 (P1. 82) are good examples of each type. Of the other major lekythos workshops, only productsof the Haimon Group have been found in any quantity in the Agora (1182-1237: PI. 87). The Haemonian lekythos is a tall, slender vessel. The contourof its body may be gently convexor slightly concave.It has a calyx-shapedmouth and a foot in two degrees, consisting of a high vertical member above a very low torus. The ornamenton the shoulder recalls that of the Class of Athens 581, ii: a tongue pattern,then lotus buds reducedto rays. Above the figures is an ornamentalpattern, usually a key (e.g. 1182, 1184, 1188: P1.87) or a dot band (e.g. 1187, 1216: PI. 87). Many of the Agora Haemonians are very fragmentary,but 1188 and 1221 (P1.87) are good, well-preservedexamples of the productsof this workshopand illustrate their basic characteristics. One small fragment (1160: PI. 86) may be by the Diosphos Painter, but other than this, the only lekythoi from the workshop of the Sappho Painter and the Diosphos Painter belong to the Littlelion Class (1161-1176: PI. 86), which seems to be an invention of this workshop.21These small lekythoi take their name from the decorationon the shoulder:lions (e.g. 1172, 1173). The shape is characterizedby an echinus mouth, a long neck, a very flat shoulder,and a bodythat curvessharply toward a thin disk foot. Instead of lions on the shoulder,most of the Agora examples have inverted lotus buds with tongues above. The area below the figures is solid black. A number of Little-lion lekythoi belong to the Hound-and-hare Group, named for the subject on the shoulder. Four examples have been found in the Agora, 1177-1180 (P1. 86), two of them almost completely preserved. Only one Agora lekythos comes from the workshopof the Theseus Painter and the Athena Painter, 1181 (PI. 87), a white-ground one attributedto the latter. The mouth, neck, and shoulder are missing, but all of the torus foot is preserved, and enough of the body remains to determine the shape. It is derived from the tall cylinders favoredby the Edinburgh Painter that in turn are preferred by the Athena Painter.22 In addition to the large quantity of mass-producedlekythoi of the early 5th century, the Agora excavationshave also yielded one small example of a squat lekythos, 1256 (P1.87), a variantthat is more familiar in red figure than it is in black figure.23 Attic black-figuredlekythoi continue to be produceduntil the middleof the 5th centuryB.C.,24 but the series from the Agora seems to end by about 460 B.C. ALABASTRON 1257

P1. 88

The alabastron is a small, elongated perfume pot with a rounded bottom, a narrow neck, and a wide-rimmedflat mouth with a small opening much like that of the aryballoswith which it shares a similar function. It may or may not have small lug handles set high on the wall above the figures.1 21

ABL, p. 98. ABL, p. 147. 23 For the shape, cf. W. W. Rudolph, Die Bauchlekythos. Ein Beitrag zur Formengeschichteder attischenKeramikdes 5. Jahrhundertsv. Chr., Bloomington 1971. 24 Beazley, Development,p. 87. 22

For the shape, cf. Richter and Milne, Shapes and Names, p. 17; more particularly,H. Angermeier,Das Alabastron(Ein Beitrag zur Lekythen-Forschung), Giessen 1936 and ABL, pp. 100-104; also E. Vanderpool,Hesperia 8, 1939, p. 251. For

48

SHAPE STUDIES

The shape has a long history at Corinth, and it is especiallycommonin Early Corinthianpottery.2 It does not appear in Attic black figure until about the middle of the 6th century B.C.;the earliest example is 1257 by the Amasis Painter who also decoratedone of the earliest Attic black-figured aryballoi, which is of the Corinthian, not the Attic, type.3 1257 is heavier, fuller, and more ovoid than the later type of alabastron, which is somewhat elongated and more cylindrical. It is most unfortunatethat the mouth and neck of 1257 have not survived. After 1257, the next Attic black-figured alabastra are the three examples by Psiax of about 520-510 B.C.,4 which are almost contemporarywith the earliest red-figuredexamples, the Group of the Paidikos Alabastron.5Elsewhere in Attic black figure, alabastraappear only in the work of the Diosphos Painter and the Emporion Painter, and thus they continue until the very end of Attic black figure.6Very many of these late alabastrahave the decorationon white ground. The scheme of decorationis a simple one. Usually there is a single zone of figures that continues roundthe vase.7Above,there are bandsof ornamentalpatterns.The rest of the vase is black,but for one or more reservedlines below the figures. 1257 is unusual for being reservedbelow the figures except for the pattern on the very bottom. PHORMISKOI 1258 and 1259 P1.88 The phormiskos has a bulbous, ovoid body with a rounded or flat bottom. The shoulder slopes sharplyto a narrowcylindricalneck that terminatesin a small knobor tapersto a curvedpoint. The top of the neck is often pierced with two holes for suspension.1The decorationis set in friezes of varying widths with a prothesis often depicted in the main zone. Above and below, there may be several friezes of ornament or, occasionally,one or two animal friezes, then ornamentalpatterns. The exact use of the phormiskosis uncertain,but it seems to have serveda funerarypurpose.There are not very many Attic black-figuredphormiskoi,and 1258 and 1259, shoulderfragments,are the only examples from the Agora.

white-ground examples, cf. Mertens, Attic White-Ground, pp. 35-40, 95-100. 2 For a summary, cf. NC, p. 281. 3New York, M.M.A. 62.11.11 (Paralip. 66; Bothmer, Amasis Painter, pp. 194-197, cat. no. 52). Cf. also, Bothmer, "Three Vases by the Amasis Painter," MadrMitt 12, 1971, pp. 123-130, esp. pp. 125-127, with bibliography for the shape. Bothmer (p. 130) places this aryballos among the early works by the Amasis Painter. The zigzags on top of the mouth recall their use abovethe figures on 1257, which Beazley places very early in the career of the Amasis Painter (ABV 155, 64). Hence, the two cannotbe far apart in time, and it is temptingto ask if Amasis may have had a hand in forming the two vessels. 4 Leningrad 381 (ABV 293, 12; Paralip. 127, 12) and Munich 2294 (ABV 293, 13), both on white ground;London,B.M. 1900.6-11.1 (ABV 294, 25), in Six's technique. For discussion,

cf. Mertens, Attic White-Ground,pp. 35-40. 5ARV2 98-101, 1-30; Paralip. 330-331; Mertens, Attic White-Ground,pp. 128-129, 131-132. 6 Diosphos Painter: ABL, p. 237, nos. 102-117 bis; ABV 510, 21-24; 703, 24 bis; Paralip. 249-250. Emporion Painter: ABL, pp. 263-264, nos. 1-26; ABV 584-585, 1-14; 709, 2 bis; Paralip. 291; manner of the Emporion Painter: ABV 585, 1 and 2; Paralip. 292; connected with the Emporion Painter: ABL, p. 265, nos. 1-5. Cf. also, Mertens, Attic White-Ground, pp. 95-100. 7 For an alabastron with two friezes of figures, cf., e.g., Athens, N.M. 12768 in the manner of the Haimon Painter (ABL, p. 245, no. 83; ABV 555, 423). For the shape, cf. O. Touchefeu-Meynier, RA, 1972, pp. 93-102 and R. Hampe, AA (Jd 91), 1976, pp. 192-202.

PYXIDES

49

KOTHONS 1260-1264 Pls. 88 and89 The kothon is a vessel used to hold scented liquid. It may not have been called so in antiquity, and there has been a recent attempt to identify it with the exaleiptron,but until its real name has been agreed upon, we shall retain the conventionalname "kothon",as in AgoraXII (p. 180) and in AB V (passim).I The basic characteristicof all kothonsis the curvedshoulderwith deep overhang,which preventedthe liquid from spilling. There are two main types, each known in Attic black figure. The first is multiple-legged, usually tripod,2with each leg attachedto the outside of the receptacle.3The second has a central support, a flaring foot joined to the bottom of the receptacle.4Occasionally, there are two or three lug handles attachedto the rim. The shape is known from the late 7th century B.C. until the beginning of the 4th.5 In Attic black figure, the earliest are by the Gorgon Painter, Akropolis 506, a shoulderfragment,and Athens, N.M. 19172, which is well preserved.6Most Attic black-figuredexamples belong to the first half of the 6th century B.C., particularlyto the Komast Group, the Polos Painter, and the C Painter.7Most of these, but for Athens, N.M. 19172, are of the tripod type. Those from the Agora are very fragmentary. 1260-1262 (Pls. 88, 89) are shoulder fragments, including one by Lydos, and one may not be certain to which type of kothon each belonged. 1263 (PI. 88) is the lid of a tripod-kothonby the Polos Painter, and 1264 (PI. 89) is a patterned lid.

PYXIDES 1265-1296

Fig. 16 Pls. 89-91

The pyxis is a receptacle for cosmetic powder or jewelry, and it is used mainly by women.1 Although a domesticarticle, pyxides are found mostly in graves, which explains the paucity of examples from the Agora. Most of these are tripod-pyxides, 1267-1278, or pyxides of Type A, 12791286. 1290-1296 are lids, mostly fragments, belonging either to tripod-pyxides or to pyxides of Type A, except for 1295 (P1. 91), which comes from the type having a receptaclethat looks like a variant of the Nicosthenic pyxis. The receptacleis plain black;decorationis confinedto the lid.2 TYPE 1265 and 1266 CORINTHIAN

P1. 89

This type of pyxis is identified chiefly by its convex wall that gives the vessel a globular appearance.3 Some are without handles;4 others, as 1266, have two upright cylindrical handles For the shape, cf. Agora XII, pp. 180-181, with bibliography; ABV 348-349; also B. F. Cook, Bull. Metr. Mus. 21, 1962/63, p. 32; P. Mingazzini, AA (Jdl 82), 1967, pp. 344361; I. Scheibler,AA (JdI83), 1968, pp. 389-397; F. Brommer, AA (JdI 95), 1980, pp. 544-549; J. de la Geniere, MonPiot 63, pp. 31-34. For kothonswith splaying feet, cf. Bothmer,ArtBull 57, 1975, p. 122. 2 Munich 6072 has four legs (CVA, Munich 3 [Germany9] 35, p. fig. 5, and pl. 139 [421]:3-5). 3A good example: Brussels A 3 by the Painter of London B 76 (ABV 87, 21). 4A good example: Athens, N.M. 19172 attributed by Scheibler to the Gorgon Painter (JdI 79, 1964, p. 97, figs. 18, 19; Paralip. 7 where the number is given as 16172).

5

Agora XII, p. 181. Akropolis 506 (ABV 9, 10); Athens, N.M. 19172 (footnote 4 above). Komast Group: ABV 25, 13 and 14; 29; 33, 1. Polos Painter: ABV 45, 23-27; Paralip. 20, 25. C Painter:ABV 58, 122-124; 681, 122 bis; Paralip. 23, 122. For the Lille kothon (ABV 681, 122 bis), cf. MonPiot 63, 1980, pp. 35-38, figs. 2-6. 6

1 For the shape, cf. Agora XII, pp. 173-178; also, for the earlier examples, KerameikosVI, ii, pp. 182-183, 186-187. 2 For a list, cf. Paralip. 284. 3 NC, pp. 305-307. 4 NC, 306, p. esp. no. 861, fig. 141 (Corinthian).

SHAPE STUDIES

50

attachedto the shoulder.The rim is fittedto receivea lid and is either incurving,as 1265 (PI. 89), or upright for a lid that fitted over it, similar to the lid of the powder pyxis but with a knob in the center. 1266 is of the latter type. The foot is an echinus one. The system of decorationon 1266 is unusual, for on each side the figures are set in a panel with a frieze of figures above.5 TRIPOD-PYXIDES 1267-1278

Pls. 89, 90

The tripod-pyxis has broad, slightly flaring legs that are usually decoratedwith figures. The foot is normally an echinus one and glazed black, as 1267-1270 and 1274 (Pls. 89, 90), although sometimes on the lesser examples, e.g. 1271 or 1272 (PI. 90), the vessel lacks feet and the legs themselves are the supports.The rim is also glazed black and fitted to receivea lid whose diameterequals that of the rim when measuredat the outside. No Agora lid may be matchedwith its pyxis. The interior of the receptacleis glazed black. The earliest preservedattributedAttic tripod-pyxisseems to be the fragmentaryone from the Akropolisby a painter of the Group of the Dresden Lekanis.6The shape is known throughoutAttic black figure, but it neverbecomesvery common,and the greatestnumber of attributedexamples, including 1275 (PI. 90) and 1276, are by paintersof the Swan Group. Most of the Agora tripod-pyxides belong to the second quarter of the 6th century, particularly to the years around the middle of the century. TYPE A

1279-1286

P1. 90

This type of pyxis is mainly a figuredshape.7Its walls are slightly concaveor nearly straight.The inside of the rim is often flangedto receivea lid with downturnededge, e.g. 1282 and 1286 (P1.90), or it may be plain, e.g. 1280 and 1285. On the latter type, the lid has a flange on its undersideto preventit from slipping off the pyxis. The foot is very low and may be tripartiteor quadripartite,or it may be a simple ring, e.g. 1283 (P1. 90). Occasionally,the vessel lacks a foot, and the floor of the receptacleacts as its base, e.g. 1281 (PI. 90). To judge by 1279, which has a lid with very careless decoration,this type of pyxis in Attic black figure begins early in the 6th century B.c.,8 although most of the examples, including those from the Agora, belong to its secondhalf and to the early 5th. POWDER PYXIDES

1287-1289

Pls. 90, 91

This little vessel is characterizedby its lid, which slips completelyover the receptacle.9The sides may be straightor slightly flaring, and the bottomof the box often protrudesslightly so that the side of the lid rests on a narrow ledge and the profile is not interrupted.1288 and 1289 (P1.91) are good examples. The top edge of the lid is roundedand sometimesprojectsslightly, e.g. 1287 (P1.90) and 1288. Only the lid is decorated;the receptacleis reservedor glazed. Powder boxes appear in Corinthian during the 7th century,but in Attic black figure they are mainly late products,decoratedin a hasty careless manner. A good number of them, including 1287, are by painters of the Swan Group. LIDS 1290-1296 P1.91 See above, p. 49. 5 For another, cf. Princeton 48.54, attributed to the Dolphin Group (ABV 458, 26). 6 Akropolis 510 (ABV 22, 10). A well-preservedbut unattributed example, Kerameikos, inv. no. 44, is probably from about the same time, or even a little earlier (KerameikosVI, ii,

no. 130, pl. 100). 7 For this type, cf. Roberts,Pyxis. 8 KerameikosVI, ii, p. 183; Roberts, Pyxis, p. 9. 9 Cf. AgoraXII, p. 175. Add:Prague 22.88 (CVA, Prague 1 [Czechoslovakia1], pl. 34:2, 3).

LEKANIDES

51

LEKANIDES 1297-1360

Pls. 91-93

The lekanis is a low, rather wide bowl with two horizontal, metallic-lookinghandles. Early examples have a short, conical foot, later ones a flaring ring base. The vessel may be lidless or lidded.1 In Attic black figure, the lekanis is best known in the early period, particularlyin the work of the Nettos Painter and the Panther Painter, as attested by the finds in the cemeteryat Vari.2 About a dozen were decoratedby the KX Painter, including 1336 (PI. 92), and a few others appear in the work of his contemporaries.3Later, more than 60 are known in the work of the Polos Painter, including 12 found in the Agora, 1311-1321 (PI. 92) and 1344 (Pl. 93).4 Elsewhere, the lekanis appears as an isolated example or two in the work of various painters,5and in Attic black figure does not seem to last beyond 500 B.c.6The Agora examples stop well before this date. LIDLESS 1297-1329

Pls. 91, 92

The largest number of lekanides from the Agora are of the lidless variety, which is characterized by a broad, flat, projectingrim. It appears earlier in Attic black figure than the lidded type, for the gap in time between the beginning of the one and that of the other appears to be a little more than two decades (see below, p. 52). The earliest example from the Agora, 1297 (PI. 91), is by the Gorgon Painter and thus is a bit later than those by the Nettos Painter but about the same time as the ones by the Panther Painter.7The largest numberof lidless lekanidesfrom the Agora attributed to a single painter are the 11 by the Polos Painter, 1311-1321 (PI. 92). 1322 may be by him or his companion,but the surface is too worn to be certain of an attribution. The scheme of decorationis a simple one. In the tondo there is a figure or an ornament.Among the Agora examples, only 1297 with its whirligig(?) preservesthis part, but the lekanidesfrom Vari give a good idea of the range of subjects.8On the outside, there is usually an animal frieze on each side that continues under the handles, e.g. 1300 (PI. 91), 1308, or 1315. Abovethe foot are rays, and between the rays and the figures there is often an ornamentalband, e.g. 1297, 1299, 1301 (PI. 91), or 1323. The figures may reach to the rim, e.g. 1303, 1306, 1309, 1310 (PI. 91), and those by the Polos Painter, 1311-1321 (Pl. 92), but more often there is a band of decorationsuch as the guilloche, rosettes,or verticallines, e.g. 1298 and 1299 (PI. 91) or 1304. Occasionallythere is morethan For early Attic black-figured lekanides, cf. Kerameikos VI, ii, pp. 188-189; also, Karouzou,'AvayvpogvTros,pp. 1534, 50-73. For the lidded variety, cf. Richter and Milne, Shapes and Names, pp. 23-24. The best discussion is, however, that in

AgoraXII, pp. 164-173.

2 Nettos Painter:Paralip. 4, 17-24; Panther Painter:Paralip. 11-12, 1-20. The group is fully discussed by Karouzou, 'Avayvpovvros, locc. citt. 3 KX Painter: ABV 24-25, 1-10; Paralip. 14-15, 1-4 bis; manner of the KX Painter: 1337 (P1.92). For examples by contemporaries of the Komast Group, cf. the namepiece of the Group of the Dresden Lekanis, Dresden ZV 1464 (ABV 21, 1) and three from Vourva by Sophilos, Athens, N.M. 998, 997, 999 (ABV 41, 28-30; Bakir, Sophilos, pls. 58-61); also two by the Ceramicus Painter, Kerameikos, inv. no. 39 (ABV 19, 5; KerameikosVI, ii, no. 105, pls. 93, 97) and Kerameikos, inv. no. 41 (ABV 19, 6; KerameikosVI, ii, no. 106, pls. 94-96). The

latter is unusual in having upright handles attachedto the flat surface of the rim, each surmountedby a seated mourner;compare a similar example but with just the handles, Copenhagen, inv. no. 7327 (CVA, Copenhagen 3 [Denmark 3], pl. 100 [102]:4). 4 ABV 45-46, 29-85; Paralip. 20. 5 E.g., mannerof Lydos f: animal pieces (ABV 118,41-47, including 1350: PI. 93), a large number of examples for the time; also 1351 (P1. 93), or three from the Akropolis near the Ready Painter (ABV 130, 1-3), or the one by the Painter of the Vatican Mourner, Wurzburg 442 (ABV 140, 5). 6 The liddedversion lasts much longer and is well known in later red figure. Cf. Agora XII, pp. 165-167. 7 Nettos Painter: ABV 5, 6-9; Paralip. 4, 17-24; Panther Painter:ABV 18, 1-5; Paralip. 11-12, 1-20. 8 Karouzou, 'Avayvpovvros,pls. 29-74.

52

SHAPE STUDIES

one animal frieze, 1301 being the best example from the Agora.9The top of the rim may be glazed or reserved,e.g. 1298 or 1326, but most often it is embellishedwith a simple ornamentsuch as rays (e.g. 1299, 1300), zigzags (e.g. 1301, 1303), or a borderof esses (1310). An odd piece is the whiteground lekanis, 1329, decoratedin silhouette technique that has affinitieswith the Swan Group. It is our only example from the Agora that has its figured decorationpainted upside down so that it may be viewed properlywhen the vessel is hung on the wall.10It is probablyour latest lekanis. LIDDED 1330-1355

Pls. 92, 93

The earliest certain Attic black-figuredexamples of the lidded lekanis are the four by the KX Painter and the namepieceof the Group of the Dresden Lekanis,11which date in the middleto late years of the first quarter of the 6th century B.C.and thus more than two decadesafter the earliest lidless examples by the Nettos Painter.12Among the Agora lekanides, only 1330 (PI. 92), a mid6th-centuryexample comparedwith the Ready Painter, preservesboth bowl and lid. The rest are all quite fragmentary,and since none of the lid fragmentsmay be safely matchedwith any of the bowl fragments,the two parts will be discussedseparately,following the model given by AgoraXII, pp.165-168. BOWLS 1330-1333

P1. 92

The bowl of the lidded lekanis is distinguished from that of the lidless variety chiefly by its flangedrim and its reservedtondo on the inside insteadof one that is decorated.The detailsof shape and the schemeof decorationare the same as that of the lidless type but that there is no ornamenton the rim, which is usually glazed on the side and reservedon the top. LIDS 1334-1355

Pls. 92, 93

The lid of the lekanis is slightly domed,its profilerepeatingroughlythat of the bowl. The stem of the knob flares a little toward the top. The knob itself is flat on top, and if that of 1330 (PI. 92) is typical, its diameteris about equal to that of the foot.13The undersideof the lid may be glazed, e.g. 1330,14 1336, or 1351, or unglazed, e.g. 1337. The resting surface is reserved,e.g. 1354. As mentioned above, with the exception of 1330, which is somewhat unusual, no black-figured lekanis lid from the Agora has been paired with its bowl. But, to judge from the lids comparedwith the contemporarybowls, the scheme of decorationand the choice of subjectson the lids, like their shape, often reflect those of the bowl, so that when the two are seen together, they form a harmonious unit. Rays emanate from the base of the knob, then there may be a zone of ornament,such as dots, e.g. 1336 (PI. 92), or, particularlyon the later examples, a line or two, e.g. 1330, 1350, and 9 For a well-preserved Dreserved example, . Athens, N.M. 296 by the KX Painter (ABV 24, 7). 10Often skyphoi by painters of the Swan Group have the decoration painted upside down. Compare also, two Proto-A cups, Louvre F 131 bis and Boston, M.F.A. 03.784 (CVA, Boston 2 [USA 19], pl. 100 [934]:1-4). Each is an eye-cup with a frieze of upside-down animals between the handle zone and the rays at the bottomof the bowl. Similar friezes may also appear on Droop cups (see below, p. 66). 11KX Painter: ABV 24-25, 7-10, including 1336 (PI. 92);

den Lekanis:ABV 21, 1. Group of the 12Paralip. 4, 17-24. For the chronologyof the Nettos Painter, cf. Karouzou, 'AvayvpovvTroS, pp. 123-136. 13The diameterof the lid on 1330 is broadenough so that it might even be considereda reversiblelid, that is, one that may also be used as a bowl, were it not that this type of lid does not seem to be known before the 5th century B.C.Cf. Agora XII, p. 168. 14 1330 has a reservedband near the center.

PLATES

53

1351 (Pis. 92, 93), that separates the rays from the figures below, which are often animals, arranged in either one or two friezes. 1330 is unusual in having figures on the lid only, its bowl decoratedjust with ornament. 1346 (PI. 93), which preservespart of Herakles and Triton, is the only example from the Agora of a black-figuredlekanis lid with mythologicaldecoration,and 1354 (PI. 93), which preservespart of a chariotto right, is the only other Agora lekanis lid with narrative decoration,15although it occurs on the lids of other shapes, e.g. 369 (PI. 36), 1382 (PI. 95), or 1385 (PI. 94). The stem of the knob is glazed; on the flat surface of the top, there may be concentric circles, e.g. 1330. UNCERTAIN IF LIDLESS OR LIDDED

1356-1360

P1. 93

This small section contains a few fragmentsof lekanideswhich do not preservepart of the rim or the tondo so that the type may be identifiedas lidless or lidded.All of them date beforethe middleof the 6th century B.C.

LIDS 1361-1387

Fig. 17 Pls. 94 and 95

This section includes lids that are too fragmentaryto be certain which kind of vessel each covered. For lids of amphorae, cf. 367-372 (P1. 36), of skyphos-kraters,404-413 (Pls. 40, 41), of pyxides, 1290-1296 (PI. 91), and of lekanides, 1334-1355 (Pls. 92, 93). 1361-1366 (PI. 94), which date from the late 7th or early 6th century B.C.,are fragmentsof large lids and may belong to skyphoskraters,but without more of the curve of the wall preserved,it is difficultto be certain,and they are best kept apart from the skyphos-kraterlids discussedabove, p. 23.-1373 and 1374 are too small to be the lids of skyphos-kraters,at least to judge by the ones known to us, and they seem too large to be the lids of lekanides, although the decorativearrangementis suitable. 1378 is very flat and may be from a tripod-pyxis. 1381 (P1. 95) with its downturnedrim is probablythe lid of a pyxis or a small lekanis, and 1386 (PI. 95) may also come from a lekanis, although it seems a bit flat. 1382 (P1. 95) looks as though it is the lid of a Nicosthenic pyxis. PLATES 1388-1426

Pls. 95-97

The plate is a rather rare shape in Attic black figure.1It was probablynot used during dining, for the unglazed portions would come into contact with the food; more likely, the plate served a religious or a funerary purpose, and the holes for suspension drilled in the rims of many plates, e.g. 1399 (P1. 96), support this suggestion.2There are two main types of Attic black-figured plate, 15For three lids with narrativedecoration,cf., e.g., these by the C Painter: Naples (ABV 58, 119); Akropolis 2112 (ABV 58, 120); Akropolis 2116 (ABV 58, 121). The fullest study of Attic black-figuredplates is D. Callipolitis-Feytmans, Les plats attiques. Here, the evolutionof each type of plate is thoroughly discussed and the individual plates

assigned to their respectiveworkshopsand classes or attributed to painters. Most of the Agora black-figuredplates appear in this volume. For Late Geometricand Protoatticplates from the Agora, cf. Agora VIII, pp. 45-46, nos. 113-119. For the shape in the Archaic period, cf. also, Agora XII, pp. 144-145. 2 Callipolitis-Feytmans,Les plats attiques,p. 21.

54

SHAPE STUDIES

Type A and Type B. They have a parallel development,but examples of Type B are more common during the last quarter of the 6th centuryB.C. than they are in its earlier decades. TYPEA

1388-1410

Pls. 95, 96

The Type A plate has a convex rim and a flat floor,which may thickenslightly towardthe center. The base is attacheddirectly below the junction of the rim. Both the shape of the base and the curve of the rim vary considerablyfrom workshopto workshop. Plates of Type A may be subdividedinto four categoriesaccordingto size: A I is of normalsize (1388-1397: Pls. 95, 96); A II is small (13981407: PI. 96); A III is miniature (1408 and 1409: PI. 96); and A IV is so tiny that it may even have been a child's toy (1410: PI. 96).3 There are two basic systems of decoration.The first has the figures or ornamentset in concentric friezes on the floor of the plate so that it may be seen from all angles and an intendedviewing point is less apparent. 1390, 1399, 1400, 1403, and 1408 are the best though rather fragmentaryexamples from the Agora. The plate in Baltimoreby the Gorgon Painter is a well-preservedexample of this system.4The secondarrangementof the decorationtreats the floorof the plate like that of the tondo of a cup. The figures are shown vertically, and they may utilize the entire surface, as they surely did on 1392 (PI. 95) and 1397 (P1. 96), or there may be an exergue at the bottomcontaining figures or ornament, e.g. 1396.5 Sometimes, in addition, there is a figured or ornamentalexergue abovethe heads of the main figures so that they are isocephalicwithout changingtheir proportions.6 1391 (P1. 95) seems to have been decoratedin this manner, for there is a small amount of tongue pattern at the very top of the fragment. Occasionally,the figures are placed in registers, but this does not occur very often, and it is primarily an early 6th-centuryconventionthat may be inspired by large vases such as dinoi and neck-amphorae,which have the decorationset in friezes.7 1389 (PI. 95) is one of these rare plates and the earliest known example.8On the rim, there is usually an ornamentalpattern, tongues and lotus buds (1396) being the most commonthroughoutthe period during which the Type A plate is in use, but other patterns, such as the lotus-palmette festoon (1389: P1. 95), rosettes (1399 and 1403: P1. 96), or ivy (1409: PI. 96), may also appear. Occasionally, there may be figures on the rim (1401 and 1402: Pl. 96).9 The undersideof the rim is usually glazed but may also be reserved.1399 and 1401-1403, by the Polos Painter, have rays on the underside.The undersideof the floor normally has concentriccircles, 1390 being a good example where the circles are broad flat ridges or 1391 where the two painted circles are of different thicknesses.Occasionally,particularlyon plates by the Polos Painter, 1399, 1400, 1404, and 1405, the undersideof the floor has figures as well, resulting in a two-sided effect to the plate. The earliest attributedAttic black-figuredplates of Type A are by the Gorgon Painterwho seems 3

Ibid., p. 149. For the four categories of Type A: A I, pp. 25-148; A II, pp. 149-167; A III, pp. 169-189; and A IV, pp. 191-198. 4 Baltimore48.215 (ABV9, 18; Paralip. 7, 18; CallipolitisFeytmans, Les plats attiques, p. 309, no. 1,pl. 14, fig. 18). 5 For a figured exergue, which may not be attested on the Agora plates owing to their fragmentarynature, cf. Kerameikos, inv. no. 1637 near the Painter of Vatican 309 (ABV 122, 4; Callipolitis-Feytmans, Les plats attiques, p. 310, no. 5,pl. 16, fig. 19) and Athens, N.M. 19758 (ibid., p. 312, no. 18 bis, pl. 20, fig. 21). 6 Figures: cf., e.g., Akropolis 2401, related to Lydos

(Paralip. 48; Callipolitis-Feytmans,Les plats attiques, p. 301, no. 17,pl. 4) and Florence V 102 a by Lydos (ABV 111, 45; Callipolitis-Feytmans,Les plats attiques, p. 315, no. 2, pl. 21, fig. 23; Tiverios,pl. 71:a). Ornament:cf., e.g., Florence 9674 (ABV 118; Callipolitis-Feytmans, Les plats attiques, p. 320, no. 33,pl. 30, fig. 28) and Swiss, private (ibid., p. 321, no. 38, pl. 32 and fig. 28). 7 Cf. ibid., pp. 39-40. 8 Ibid., pp. 39, 81-82. 9 For a well-preserved example, cf. Baltimore 48.215 by the Gorgon Painter (ABV 9, 18; Paralip. 7, 18; CallipolitisFeytmans, Les plats attiques,p. 309, no. 1,pl. 14, fig. 18).

PLATES

55

to be the first Attic painter to apply himself to decoratingplates.'10None of the Agora plates is by him or in his manner, but 1389 (PI. 95), one of the earliest examples fromthe Agora, is close in time to his late work, and to judge from what remains of the drawing, it is not far from him in style. The next group of large plates are painted by Lydos, who has left us several handsome examples and whose companionsand followers were also interestedin this shape.111391-1393 (PI. 95) are contemporarywith Lydos but do not seem to be connectedwith him. The platesjust discussedare of the bigger, more impressiveType A I. Of the smaller varieties,the greatestnumberfrom the Agora are Type A II, and most of these are by the Polos Painter, 1399-1405 (PI. 96).121398 is close to him in style but seems a bit earlier. The rest of the Agora plates of Type A belong to the last decadesof the 6th century B.C. and to the beginning of the 5th. 1407 is signed by the potter, Salax, who is otherwise unknown, and also bears an inscriptionthat praises Eumares.This plate is not decoratedwith figures, but since it is cited by Beazley in AB V (p. 351), it is included here. 1406 (PI. 96) is a late 6th-century plate with a gorgoneion painted in the center of its floor, which recalls similar decoration in the tondi of late black-figuredcups (1785-1792: Pls. 114, 115), and thus offers a certain link between the decorationof plates and that on the insides of cups. TYPE B

1411-1424

Pls. 96,97

The Type B plate is a more articulated variety than its Type A counterpart. It has a flat or slightly convex floor and a curved rim that often has a molding or a ridge at the point where it is attachedto the floor. The edge of the rim may be moldedor plain, although the formeris more common. On many plates, the outer part of the floor curvesupward to the base of the rim. The ring base is not joined to the floor directly beneath the junction of the rim, as on the Type A plate, but is recessedbeneath the floor. Like the Type A plate, the curve of the rim and the shape of the foot of the Type B plate vary considerably,and also like the Type A, the Type B may be subdividedinto four categories.13In the Agora black figure, only two of these, B I (1411-1416) and B II (14171424), appear. For the most part, the Type B plate derivesfrom the Subgeometricplate, particularlythe position of the ring base and the characterof the rim.14The system of decorationon its top side follows that of Type A, while on the underside,the concentriccirclesor large areas of plain blackemphasizethe structure.15There are not very many Type B plates that may be dated before the beginning of red figure,16and there is none from the Agora. This type of plate is associatedprimarilywith red-figure painters,17 in the early period particularlywith Psiax, Paseas, and Epiktetos,artistswho painted in both the black-figure and the red-figure techniques.18The decorationof certain late 6th-century plates, especially those of Type B II, is influencedby black-figuredcups, and these plates seem to 10 ABV 9-10, 18-21; Paralip. 7, 18 and 19. For a detailed discussion, cf. Callipolitis-Feytmans, Les plats attiques, pp. 63-67. I1 Lydos: ABV 111-112, 45-57; Paralip. 44, 50-57 bis, 46. For plates by Lydos and their relationship to various potters and workshops,as well as plates by his companions,cf. Callipolitis-Feytmans, Les plats attiques, pp. 87-119; for the wider circle of Lydos, pp. 123-139. 12 Other plates by the Polos Painter: ABV 47, 103-126, including 1399-1404 (PI. 96); Paralip. 20, 103-125, 21 (including 1405); Callipolitis-Feytmans, Les plats attiques, pp. 160-167. 13 For the type, cf. Callipolitis-Feytmans, Les plats attiques,

pp. 201-209, 231-284; for the categories: B I, pp. 257-277; B II, pp. 231-238, 241-255; B III, pp. 238-240; and B IV, pp. 279-284. 14Ibid., pp. 201-203. 15Ibid., p. 206. 16For these, cf. ibid., pp. 201-209. 17 For red-figuredplates of Type B, cf. ibid., pp. 211-229. 18 Psiax: black figure:ABV 292-295; Paralip. 127-128; red figure: ARV2 6-8, 1-12; Paralip. 321. Paseas: black figure: ABV 399-400; Paralip. 160; red figure:ARV2 163-164, 1-14; Paralip. 337. Epiktetos:bilingual cups:ARV2 70-71, 1-4,7, 8, 10, and 12.

SHAPE STUDIES

56

come from cup workshops.191423, with its large area of glaze surroundingthe central gorgoneion, is an example.20 All the Type B plates from the Agora belong to the late 6th centuryB.C.or to the first half of the 5th. There are not many of them, and most are very fragmentary.1411 (PI. 96) is decoratedin Six's technique, and besides one from the Akropolis,it may be the only example of this techniqueused to decoratea plate.211414 and 1415 (Pls. 96, 97) are attributedto the KleiboulosPainter, the principal decoratorof plates during the first quarter of the 5th century B.C.His known work was put together by Callipolitis-Feytmans, and he takes his name from a white-ground ostrakon found between the Areopagus and the Hill of the Nymphs.221414 (P1. 96), like the ostrakonand many other plates by the Kleiboulos Painter, has its decorationon white ground. OTHERPLATES1425 and 1426 P1.97 1425 is a floor and rim fragment, and its type may not be identifiedfor certain. It comparesbest with plates by Psiax, and it probablyhad one figure, or at most two, paintedon its floor. 1426 is the leg of a tripod-plate,and there does not seem to be a good parallel for its shape. PHIALAI 1427-1439

Pls. 97 and 98

The phiale is a low, shallow, footless bowl without handles, used mainly for pouring libations, occasionallyalso for drinking. On the inside is an omphalos, and on the undersidethere is a correspondingdepressionthat is essential for holdingthe vessel. The shape is best known in metal;clay examples are not very common. The outside of the black-figuredphiale is unglazed, except for the rim, which is black and slightly outturned,e.g. 1429 or 1437. The inside is glazed except where the decorationappears. The figures surroundthe omphalosand may be set in one or two friezes, 1429, 1431, and 1433 (Pls. 97, 98) being the best examples from the Agora, and usually the ground line for the figures is toward the rim, not toward the omphalos. 1428 (PI. 97) is a rare exception,being also glazed on the outside. Round the omphalosthere is a zone of tongues (1428 and 1433: Pls. 97, 98), although this area may be plain (1427: P1.97). Usually the omphalosis black;1438 (PI. 98) is unusual for having figureddecoration. In Attic black figure, most of the known phialai, including 1428-1439, are late 6th or early 5th centuryB.C. 1427 (P1.97), by a painter of the Swan Group, is the earliest black-figuredphiale from the Agora, and it may even be one of the very earliest in silhouette technique, for it comes from a context with a lower date of the first quarterof the 6th centuryB.C.2 1428 (P1. 97) is one of the very few examples decoratedin true black figure, i.e., with incision, ratherthan in Six's technique,3e.g. 19Callipolitis-Feytmans,Les plats attiques,p. 235. Ibid., p. 255. Callipolitis-Feytmans (Les plats attiques, p. 229) gives Akropolis 1074 and 1411 (PI. 96) as the only examples but goes on to suggest (note 57) that a lost plate reproducedin a drawing by Benndorf (Griechische und sicilische Vasenbilder, Berlin 1869-1883, pl. 8:2) may have been decoratedin Six's technique. 22 p 17970, which preserves the letters ]OAEMO; another ostrakon found in the Agora at the same time, P 17678, preserves the name KAIBOLOL NIKOAEMO, thus permitting the inscriptionon P 17970 to be similarly restored.Cf. Callipolitis-Feytmans, Les plats attiques, p. 267 and p. 396, no. 9. For the painter, cf. ibid., pp. 266-276 and pp. 395-399, nos. 1-40. 20 21

'The basic study is H. Luschey, Die Phiale, Bleicherodeam-Harz 1939, esp. pp. 147-155 for clay examples; cf. also, Agora XII, pp. 105-106, with bibliography;most recently, C. Cardon, "Two Omphalos Phialai," The J. Paul Getty Museum Journal 6-7, 1978-1979, pp. 131-138, esp. p. 133, note 12 for a list of clay examples. 2 E 14:8 (below, p. 331). Other phialai by the Swan Group: ABV 655, 23-25 and 27-30. On the difficulty of dating individual Swan Group vases, cf. ABV655 and Hesperia 13, 1944, p. 57. 3 For other vases in Sixs technique, cf. the catalogue entry for 1175 (PI. 86).

CHALICES

57

1430 and 1431 (PI. 97), or in plain silhouette. The silhouette phialai may have the decorationin plain black glaze (1427 and 1429: PI. 97), like that of many late lekythoi, cups, and skyphoi, or the decorationmay be applied in white over the black glaze, e.g. 1434-1436 (P1. 98). Very few Attic black-figuredphialai have been attributedto painters,4but the generally small size of many suggests that they are very likely productsof workshopsspecializingin small shapes (lekythoi,skyphoi, or cups), rather than those producinglarge pots.5 MASTOID 1440 PI. 98 The mastoid is a deep, flat-bottomedbowl with a sharply outturnedrim. It may or may not have handles, and on those that have, they are attachedto the bowl at the level of the maximum diameter. On the handleless variety, the figureddecorationcontinuesaround;on the handledtype, it is divided between obverse and reverse, and sometimesthe figures appear between eyes, just as they do on some contemporaryskyphoi and cups. The rim is glazed black, its outer edge reserved;the area below the figures is also black, usually with a narrow or wide reservedband.1 In Attic black figure, the mastoid appears in the late 6th century and continueswell into the first quarter of the 5th.2 Most attributedexamples are decoratedin the mannerof the Haimon Painter,3 and a few others belong to the Leafless Group and to the Caylus Painter,4an artist principally involved with the decorationof cups. In the Agora black figure, 1440 is the only mastoid, a fragment of the rim and bowl with the figures in silhouette on white ground. It is uncertainwhether it had handles.

CHALICES 1441-1450

Pls. 98 and 99

There are not very many Attic black-figuredchalices, and all those known to us come from Athens or near Athens.1 Most of them were found in the Agora.2 The chalice has a flaring wall with a narrow, projecting rim or one that is plain, like that of a kantharos, a cul to which handles are attached, and a conical foot. The Attic shape may have been inspired by the Chian one, which is 4 Three with tongue pattern round the omphalos are signed by Nikosthenes:London, B.M. B 368 (ABV 234, 1); Wiirzburg 429 (ABV 234, 2); Cab. Med. 334 (ABV 234, 3). With these, Luschey (op. cit. [footnote1 above, p. 56], p. 151) connectedtwo others: Delos 640 (Delos X, pl. 52) and London, B.M. B 678 (AZ, 1881, pl. 5:1). On the London phiale and its Nicosthenic connections, cf. also, Mertens, Attic White-Ground,pp. 103104, and C. Cardon, op. cit. (footnote 1 above, p. 56), p. 133, note 12. 5 Cf. Luschey, op. cit., pp. 149 and 151.

Here are a few examples that illustrate the shape: Handleless: FrankfurtVF 8 315 (CVA, Frankfurt2 [Germany30], pl. 51 [1442]:7, 8); once Castle Ashby (CVA, Castle Ashby [GB 15], pl. 23 [678]:11-13). Handles: Frankfurt VF 8 313, 314, and 316 (CVA, Frankfurt 2 [Germany 30], pl. 51 [1442]:1-6); Hanover 759 (CVA, Hannover 1 [Germany 34], pl. 24

[1656]:4-6). 2 For an early special model with a rather roundedbody, a broad flaring foot, and two vertical handles, cf. Louvre F 70 by the Amasis Painter (ABV 156, 76; Bothmer, Amasis Painter, pp. 198-199, cat. no. 53). 3 ABV 557-560, 449-512; 707; Paralip. 271. 4 ABV648-649, 238-246; Paralip. 311, 241, and 313. Other than Agoraexamples, cf. Athens, Vlasto Collection, from Spata, by the Anagyrus Painter (ABV 21, 2); Athens, N.M. 995, from Vourva, by Sophilos (ABV 39, 11; Bakir, Sophilos, pls. 55-57); Louvre CA 2988, from near Menidi (CVA, Louvre 12 [France 19], pl. 193 [866]); and Akropolis 1957NAK 1580 (AcAr 27, 1972 [1973], p. 300, no. 279 and pl. 140). 2 Besides the black-figured ones, cf. also the black-patterned ones: P 2745 (E. Vanderpool,Hesperia 15, 1946, p. 326, no. 296, pl. 66), P 5210, and P 6582.

SHAPE STUDIES

58

more commonand appears earlier than the Attic examples.3Very little Chian potterywas exported to mainland Greece, yet fragments of four Chian chalices were found on the Akropolis,4and two small, well-preserved, late 7th-century examples as well as four fragmentscome from the Agora excavations.5 Attic black-figured chalices normally have figures painted on the flaring part of the wall and usually two zones of decorationon the cul. The upper one may containeither figures or ornament; the lower one has rays paintedjust above the junction of the foot.6The verticalpart of a projecting rim is most often decoratedwith a row of dots. A plain rim has a black line. The handles and foot are plain black. The Agora black-figuredchalices are too fragmentaryto give a good idea of the complete appearanceof a single vase, but they do furnish evidencefor the variation in decoration. All of them have figures on the flaring part of the wall. On the three fragmentsthat preservesome of the cul, 1441 has three zones of decoration,one of figures, two of ornament (row of dots above rays), 1444 (PI. 98) shows only part of one figure but probablyhad rays in the lower zone, and 1445 may have had ornamentonly, for the upper part containsverticallines. Four projectingrims have the customaryrow of dots on the vertical part (1441-1443 and 1446: Pls. 98, 99). 1447 (PI. 99) by Lydos has a border of esses. 1445 has a plain rim like that of the chalice by Sophilos.7The two chalice fragmentsby Lydos, 1446 and 1447, have a tongue pattern below the rim at the top of the figure zone. SKYPHOI 1451-1657

Figs. 18 and 19 Pls. 99-107

The skyphos is a popular drinking cup with a deep bowl, two handles attachedjust below the rim, and a broad foot that insures stability when the vessel is filled with wine.1 A large number of Attic black-figuredskyphoi have been found in the Agora excavations,most of them dating from the last years of the 6th century B.C. and the beginning of the 5th. Two main varieties of skyphos, the Corinthianand the Attic, appear in Agora black figure, but examples of the Attic type are far more numerous. CORINTHIANTYPE

1451-1471

P1. 99

This type of skyphosis a directborrowingfrom Corinth,and while it never becomesvery popular in Attic black figure, in Attic red figure and in black-glazed ware it continues into the 4th Cf. R. M. Cook, BSA 44, 1949, pp. 155 and 158. For the shape, cf. also Hayes in Boardman and Hayes, Tocra, 19631965, pp. 57-63 and Boardman,Excavations in Chios, 19521955: GreekEmporio, London 1967, pp. 119-122 for the Geometric and 7th-centuryexamples, pp. 156-161 for the 6th. 4 Cook, BSA 44, 1949, pp. 159-160 for the findspotsof exported Chian pottery, and p. 160 for the Akropolis fragments. 5 E. Brann, Hesperia 30, 1961, p. 357, G 54 and G 55. 6 The main exceptionto this general schemeof decorationis the unattributedchalice in the Louvre, CA 2988 (CVA, Louvre 12 [France 19], pl. 193 [866]). The flaring part of the wall is decoratedinside and outside with figures.On the cul, below the handle zone, there are two wide black bands separated by a narrow reservedstrip, and just above the foot are tongues. 3

7 Athens 995 (ABV39, 11; Bakir, Sophilos,pls. 55-57). Cf. also, Louvre CA 2988 (CVA, Louvre 12 [France 19], pl. 193 [866]).

For the shape, the best summary is in Agora XII, pp. 81-87, with bibliography. Cf. also, Richter and Milne, Shapesand Names, pp. 26-28; B. Freyer-Schauenburg,JdI 85, 1970, pp. 20-22. For the series in Attic black figure from Rhitsona, cf. Ure, Sixth, pp. 57-73. For the 7th-century predecessors,cf. Brann,AgoraVIII, pp. 49-50. For red-figured skyphoi of Corinthian type, cf. A. Lezzi-Hafter, Der Schuwalow-Maler, eine Kannenwerkstattder Parthenonzeit[Kerameus II], Mainz 1976, pp. 35-36 and the additionsby Bothmer in his review, AJA 82, 1978, p. 127.

SKYPHOI

59

century B.C.2 The Corinthian type of skyphos has very thin walls that curve inward slightly at the rim, narrow handles, and a ring foot. No complete black-figured example of the type has been found in the Agora, but taken together, the few fragmentsgive a reasonableidea of the shape. The scheme of decorationis a simple one. The figures reach right to the rim with only one or two lines for a border (e.g. 1461 or 1464: P1. 99). Above the foot are very narrow rays (e.g. 1460 or 1465: PI. 99), and between the rays and the figure zone, there may be a band of glaze (1465), a zone of ornament,3or a mere line separating the rays from the figures (1459 or 1460: PI. 99). Beneath the handles there is often an ornamentalconfiguration(1452: PI. 99), or else the figures may continue round the vase (1465). The whole effect is delicate and light. The earliest Attic black-figured skyphoi of Corinthian type are by painters of the Komast Group,4 the same artists who decoratedcolumn-kratersshowing a strong Corinthian influence in both shape and style of drawing. 1452 is by the KX Painter, and 1454 (PI. 99) probablybelongs to the Komast Group but is difficult to attribute to a painter. Contemporarywith these is the unpublished one in Athens by Sophilos,5and a little later than all of them is the well-known one in the Louvre by the C Painter.6Around the middle of the 6th century B.C., the painters of the Group of the Oxford Lid decoratedseveral skyphoi of this type,7including three from the Agora, 1463-1465 (PI. 99), and one that may be compared,1466, to which we have added a second, 1467. From later in the century come the nearly two dozen miniature examples of the Swan Group,8and although some of these were found in Athens, none comes from the Agora. Elsewhere in Attic black figure, this type of skyphos is very rare. ATTICTYPE

1472-1656

Pls. 100-107

The Attic type of skyphos is adaptedfrom the Corinthianbut has a thickerwall, heavierhandles, and a strong torus foot.9The chief difference,however, is the outturnedrim. The type begins about the middle of the 6th century B.C.but undergoes a long period of experiment before attaining its canonical shape in the early 5th century.10Throughout the history of the shape, the profile and the scheme of decorationmay vary considerablyfrom workshop to workshop or from potter to potter. The Agora examples give a good illustration of the possibilities. The earliest attributedblack-figuredskyphoi of the Attic type from the Agora are two that belong to the Hermogenian Class,11which is rather light in make with a deep bowl that tapers toward the foot and an offset lip that is glazed black. The decorationis confinedto the handle zone, as on bandcups, and may be either figuredor simply bear a potting signature,as on the Agora examples, 1473 and 1474. At the top of the handle zone there is a black line and at each handle a palmette.The area below this is glazed black except for a reservedband. One of the Agora examples, 1473, is signed by Hermogenes himself;the other also bore a signature,but not enough letters remain to be sure of the 2 Agora XII, p. 83. For the Corinthian type, cf., in addition to Agora XII, pp. 81-83 and to the referencesin note 2, p. 81, Greifenhagen, pp. 20-21; footnote 1 above, p. 58. 3 There is no example from the Agora. Cf. the net pattern on Athens, N.M. 640 by the KX Painter (ABV 26, 21) and the tongue pattern with the net above and below on Louvre MNC 676 by the C Painter (ABV 57, 118; Bothmer, Amasis Painter, p. 202, fig. 105). On the latter, the characteristicornament round the tondi of the painter'sSiana cups has been transferred to the outside of a skyphos (cf., e.g., Athens, N.M. 531 [ABV 55, 92] where it also appears below the figures on the outside). 4 KX Painter: ABV25-26, 19-25 and Paralip. 15; manner

of the KX Painter: ABV 28, 2; manner of the KY Painter: Paralip. 16, 8 bis; KomastGroup:VIII, Unallotted:ABV 35, 1 and 2, and 36, 19; Paralip. 17; connected with the Komast Group: ABV 37, 6-9. 5 Athens, N.M. 19044 (Paralip. 19, 32 bis). 6 Louvre MNC 676 (footnote3 above). 7 ABV 616, 1-10; Paralip. 306, 5 bis. 8 ABV 655, 1-21. 9 Agora XII, pp. 84-85. 10 Agora XII, p. 84. 1' Cf. ABV 166, 1-3 and Paralip. 87-88 for extensive lists, both with bibliography.

60

SHAPE STUDIES

name. These two skyphoi are too fragmentaryto illustrate the shape well, but they convey the systemof decoration.Contemporarywith these is 1475 (PI. 100), the very beautifulfragmentwhich may be by Lydos and, if so, adds a new shape to the many decoratedby him. Not very many black-figuredskyphoi from the decadesca. 550-510 B.C.have been found in the Agora, but the few that have come to light furnish evidencefor the experimental attitude of Attic potterstoward the shape during this time. 1476 (PI. 100) is an odd piece with rays abovethe foot as on the Corinthian type but with a slightly flaring rim. Its best parallel is one from Rhitsona,'2 which, however,was not classedby Ure. 1480 (PI. 100) is a fragmentof Ure's Class of SkyphoiA 1, which is identified mainly by its rounded rim glazed black and separatedfrom the body by a reservedgroove.131481 and 1482 belong to Ure's Class of SkyphoiA 2, which differs from Class A 1 by having a slightly outturnedrim.14Both types have the same kind of handle decorationas the FP Class of cups:15a very large horizontal palmette at each handle, two small palmettes north and south, and beneath the handle, a flower of very distinct shape. 1481 is a good illustration of this ornamentaldecoration. The most important black-figuredskyphos of this period from the Agora is 1483 (P1. 100), related to the KrokotosPainter, who takes his name from the yellow garment worn by his maenads and dancing girls.16The skyphoi of this workshopbelong to Ure's Class B: large handsomevessels with an outturnedrim, a thick wall, and a heavy torus or flaring foot with a fillet between it and the body.17An ivy pattern embellishesthe rim; the figures occupymost of the space on the body. Above the fillet is a tongue pattern, and between it and the figures there are lines, usually three. The decorativeeffect is colorful owing to the liberal use of added red and white, and the white is often yellowish. About 500 B.C., this workshop initiated the skyphoi of the Heron Class, so called for the white heron often painted directlyon the clay beneath each handle.18A numberof artists decorated skyphoi of this type. The best are those by the Theseus Painter, 13 of which were found in the Agora, 1484-1496 (Pls. 100, 101). Several are very fragmentary,but others, 1484, 1486, and 1490 (Pls. 100, 101), are well preserved.1484 and 1485 have the characteristicwhite heron beneaththe handle. Others, such as 1486 or 1490, do not, and in the case of the fragmentaryexamples, there is no way to be certain what was beneaththe handles. The Theseus Painter'sskyphoi have much less accessorycolor than others of this type, and their effect is a more somberone. Contemporarywith these is 1657 (P1. 107), a shallow cup-skyphos of special shape, also decoratedby the Theseus Painter. Its rim is flat on top and glazed black. On each side is a single figure and at each handle, a spiral and pomegranateconfiguration.The effect is elegant and delicate, similar to that on 1825 (P1. 117), a cup that recalls the Painter of Nicosia C 975. The decorativescheme of each is similar to that of the special type of cup in Oxford by the Amasis Painter.19 The largest number of Attic black-figured skyphoi from the Agora may be dated in the first quarterof the 5th centuryB.C., the same periodthat producedsuch large quantitiesof lekythoi.The Agora skyphoi come mainly from two workshops, that of the Haimon Painter and his associates and that of the CHC Group, whose painters often decoratedskyphoi of the Heron Class. The skyphoi of the Haimon Group are of various classes.20In general, they are rather small, 12 Ure, Sixth, p. 72 (49.265). 13Ure, Sixth, p. 58. For a list, cf. Paralip. 83-86, 1-51, with bibliography. 14Ure, Sixth, p. 58. For a list, cf. Paralip. 91, 1-12. Some of these have tongues above the foot (7-12). 15 For the class and decoration,cf. Paralip. 80-82. 16On this group, cf., particularly,A. D. Ure, "Krokotosand

White Heron,"JHS 75, 1955, pp. 90-103. Also, ABV 205-209 and Paralip. 93-99. 17 Ure, Sixth, pp. 59-61. 18ABV 617, with bibliography. 9 Oxford 1939.118 (ABV 157, 89; Paralip. 65, 89; Bothmer,Amasis Painter, pp. 227-228, cat. no. 63). 20ABV 565-571, 598-710 and Paralip. 271 and 285-287.

SKYPHOI

61

sturdy vessels, well suited to everyday use. 1502 (P1. 102) is a cup-skyphos of the pinchbase type (Ure's Group R21),which gets its name from the sharp inward curveof the body towardthe foot. Its glazed rim is offset, and its foot is in two degrees,a glazed torus beneatha reservedverticalmember. At each handle, next to the hastily drawn figures is a large, upright palmettewith a reservedheart. 1503 is similar to the pinchbase type but lacks the incurve at the base. Most of the Haemonian skyphoi belong to Ure's Class K 2, 1504-1516 (Pls. 102, 103), each a rather shallow, squat vessel with a glazed outturnedrim and a broad torus foot that is also glazed. The figures usually stand on a broad ground line, and at each handle there is an upright palmette with a solid heart that is often decoratedwith a white dot.22On the inside below the rim there is a reservedline as on cups, and on the underside of the floor there are concentriccircles with a central dot. 1512 and 1513 are good, characteristicexamples from the Agora. Three skyphoi in the manner of the Haimon Painter, 1531-1533 (PI. 103), have a deep bowl and an incurving rim, but in other respectsthey recall the K 2's.23The Haemonian skyphoi of this class take with them those by the Painter of Elaious I, 1536 (P1. 104) and two that may be compared, 1537 and 1538. Connectedwith the late membersof the Haimon Group are the painters of the LanicutGroup, whose skyphoi are hastily decorated in silhouette style. Some are minature skyphoi of Hermogenian type (e.g. 1539); others are cup-skyphoi of pinchbase type (e.g. 1540: P. 104). Not far from all of them are a large number of skyphoi of Class K 2, decoratedby differenthands in either silhouetteor incision, of which many have been found in the Agora, 1543-1569 (P1. 104). Akin to the Lancut Group are the miniature whiteground skyphoi of the Lindos Group, 1570-1577 (Pls. 104, 105). These are of ordinary blackfigure shape with an offset rim and diagonal handles. The silhouette figures are sloppily drawn, and the whole effect is rather wretched. Well over 100 skyphoi have been attributedto the CHC Group, a rather rough group of painters.24As mentioned above, these skyphoi are of the Heron Class and are much larger vessels than those of the Haimon Group just discussed. 1578-1603 (PI. 105) are the examples from the Agora, and 1604-1612 (Pls. 105, 106) have been connected with the group. The figured decorationon these skyphoi is placed rather high so that there is a large area of black glaze between it and the tongues above the foot, which are usually reducedto elongatedblobs. There are lines between the figures and the black below, and usually there is a line at the top of the figure zone just below the rim. The figures may extend to the handles, e.g. 1578 or 1588 (PI. 105), or they may be framedby solid upright palmettes at each handle, e.g. 1596 or 1597 (PI. 105). On those connectedwith the group, the figures are often set between eyes, e.g. 1608 or 1610 (PI. 106). The rim may be glazed black, e.g. 1590-1592 (P1. 105), or it may be decoratedwith ivy that has degeneratedto two rows of dots with a line between, e.g. 1588 (PI. 105). Rather elegant skyphoi are those of the Pistias Class, which have plain rims and mastoid bodies.251613-1616 (P1. 106) are the examples from the Agora, and 1617 may also be from a Pistian skyphos. The decorationis simple, only one or two figures between a palmette at each handle, and may be on white ground (1615: PI. 106) or on red (1613, 1614, and 1616: PI. 106). Below the figures there are bands and lines, e.g. 1614, or ornament, 1613 (PI. 106). The crenellationpatternon 1615 (PI. 106) is rare and recalls its use on other white-groundvessels, particularlyin the work of Psiax.26Above the foot are rays. 1614 is unusual for being reservedand undecoratedin this area. 21

Ure, Sixth, pp. 71-72. Ure, Sixth, p. 68. 23 For others, cf. ABV 570-571. 24 AB V 617-626 and Paralip. 306-308. 22

25 Ure, Sixth, pp. 69-71; ABV 627-628; Paralip. 309; Mertens, Attic White-Ground,pp. 91-92. 26 Cf. the note under the catalogue entry for 1615.

SHAPE STUDIES

62

CUPS 1658-1846

Figs. 20 and 21

Pls. 108-118

The cup is the most commontype of black-figureddrinkingvessel, and from the second quarter of the 6th century B.C.on, we have the names of many potters who fashion the shape.1 Of all the smaller vessels accountedfor in Attic black figure from the Agora, cups are outnumberedonly by lekythoi and skyphoi. The drinking cup has a wide, rather shallow bowl, with or without an offset lip, and two horizontal handles. The shape of the foot and the height of the stem, as well as the system of decoration,vary accordingto the type of cup. Every majortype of Attic black-figuredcup has been found in the Agora, as well as a few special types. CUPS 1658 and 1659 KOMAST

PI. 108

The Komast cup, which is the earliest type of Attic black-figuredcup, takes its name from the paddeddancersthat decorateeach side of its exterior.2This sturdy,practical-lookingcup has a deep bowl with thin horizontalhandles attachedjust below the narrowoffset lip and with a broadconical foot. The shape derivesfrom Corinthian,3but with modifications,mainly that the Attic versionhas longer handles and taller proportions.4The scheme of decorationis a simple one. On each side of the body, there are two or three komasts, and at the handles, a configurationof a lotus and a palmette with tendrils, in contrast to the Corinthian preference for leaving this area undecorated. Above the foot there are thin rays similar to those above the foot of the Corinthiantype of skyphos, and between the rays and the figures, there are three lines. On the rim is a simple ornamental pattern. The interior is plain black, unlike the Corinthianwhich has a decoratedtondo. In Attic black figure, Komast cups first appear in the workshopof the Komast Group, to which belong the two very fragmentaryexamples, 1658 and 1659 (PI. 108), and they are decoratedmainly by the KY Painter (1658).5 The shape does not have a very long history in Athens and lasts only until the early secondquarter of the 6th century,at which time it is replacedby the Siana cup. SIANACUPS 1660-1684

Pls. 108-110

The Siana cup is named after the site on Rhodes where two well-known examples now in the British Museum were found.6It is the principal type of Attic cup during the secondquarter of the 'See particularly ABV chaps. III-V, XII-XIV, and XLIII. 2 On the shape, cf. esp. Greifenhagen;Payne, NC, pp. 194, 197-198, 200 and for the Corinthiantype, pp. 310-312; F. Villard, REA 48, 1946, pp. 155-157; G. M. A. Richter in CVA, New York 2 [USA 11], p. 1; Beazley, Development, p. 20; Brijder,Siana Cups I, pp. 10-12, 17-20, 59-131; P. J. Connor and H. A. G. Brijder, "A Komast Cup," Greek Vasesin the J. Paul Getty Museum 1, 1983, pp. 1-8. 3 Cf. Brann (Agora VIII, p. 47) who shows that the Subgeometric skyphos, which shares similarities of shape with the Komast cup, particularly the deep bowl and offset rim, can be tracedinto the last quarterof the 7th centuryB.c. and goes on to say, "the shape is well on the way to the black ware cups of komast shape (P 17837), thus showing that this foremost 6th century Attic cup has an Attic ancestry."P 17837 (AgoraXII, no. 381, pl. 18) belongs to the Class of Athens 1104, named after the cup signed by Exekias, and the majorityof examples of this shape, which derives from the Komast Group, date from the second quarter of the 6th century and a little later (Agora XII, pp. 88-89). This leaves a significantgap in time (10 to 20

years) between the end of Brann's Subgeometricseries and the beginning of the 6th-century Attic black-figuredcups. Brijder (Siana Cups I, pp. 17, 39-44), on the other hand, sees a direct line of descent from these late Subgeometricskyphoi through the late 7th-centuryand early 6th-centuryAttic plain-ware vessels of Pre-Komast shape to the Attic black-figured Komast cup. It seems difficult to believe that the black-figuredKomast cup derivedfroma plain-ware version.The truth may lie somewhere in between, especially since this varietyof cup, as well as the skyphos of Corinthian type, begins in the workshop of the KomastGroup (see below); it seems more likely that these very Corinthianizing Attic artists borrowed the shape from their Corinthianneighborsand modifiedit to suit the Athenian taste. 4 Compare the profile drawings given by Greifenhagen, p. 19. 5 AB V 32, 9-28, and top of 33; Paralip. 17 (including 1658 and 1659). 6 London, B.M. B 380 by the C Painter (ABV 55, 91) and London, B.M. B 379 in his manner (ABV 60, 20; Paralip. 26, 20). For the shape, cf. F. Villard, REA 48, 1946, pp. 157-159; G. M. A. Richter in CVA, New York 2 [USA 11], p. 1; Beazley,

CUPS

63

6th century B.C.The shape derives from the Komast cup but differs in having a deeper bowl, a higher lip, and a taller conical foot, resulting in a lighter, more elegant-looking vessel than its predecessor.The scheme of decorationvaries, and it differs from that of the Komast cup chiefly in that the Siana cup has a decoratedtondo, usually containing one or two figures surroundedby a wide band of ornament. 1669 and 1678 (PI. 109) are two good examples from the Agora. On the outside, there are two schemes of decoration. One maintains the natural division of the cup by keeping the decorationon the lip separate from that on the bowl, thus achieving a double-decker effect. The decorationin the handle zone of the bowl is nearly always figured,7while that on the lip may be either figuredor ornamentalwith a markedpreferencefor the latter.8The kind of ornament varies considerably, although ivy seems to be the most frequent type. 1678 (PI. 109) is the best preservedexample of the double-deckerscheme from the Agora. The second scheme of decoration on the outside allows the figures to extend over both the handle zone and the lip with only a black line defining the junction between the two parts of the bowl. 1662, 1669, and 1671 (Pls. 108, 109) are good but fragmentary examples from the Agora. Siana cups decoratedin the double-decker scheme are more likely to have ornamentalpatterns below the figures on the bowl than those with overlap decoration,which usually have a simple reservedband with lines, e.g. 1660, 1662 (PI. 108), or 1669.9 On a few Siana cups, the two schemes are combined.10 In Attic black figure, the chief painters of Siana cups are the C Painter, the Heidelberg Painter, and the Griffin-birdPainter.111660-1667 (Pls. 108, 109) are by the C Painter;1668 (PI. 109) is in his manner;1669, 1670, and perhaps 1678 (PI. 109) are relatedto him. 1671,1672, 1679, and 1682 (Pls. 109, 110) are by the Heidelberg Painter. No Agora Siana cup has been attributed to the Griffin-bird Painter who, to judge from the large number of his cups found at Taranto and other sites not in mainland Greece, may have worked chiefly for the export market. The Siana cup does not last much beyond the middle of the 6th centuryB.C., after which the Little Master cup becomes the preferred type.12 Most of the Agora Siana cups, except for 1678, are very fragmentary, but examined collectively, they present a reasonable illustration of this shape and its scheme of decoration.

Development, p. 21; Brijder, Siana Cups I, pp. 20-23, 135295; and E. Rhode in Studies in Honour of Arthur Dale Trendall, p. 135. 7 Here are a few exceptions:Three by the C Painter: Hillsborough, Hearst, ivy on the lip and upright lotus buds in the handle zone (ABV 56, 101; Paralip. 23, 101; Brijder, Siana Cups I, pl. 43:a); London, B.M. 1906.12-15.3, ivy on the lip and a black bowl but for a band of tonguesjust below the place where the figures would end (ABV 57, 109); Oxford 1965.120, ivy on the rim and an inscriptionbetween palmettes in the handle zone (ABV 57, 112; Paralip. 23, 112). One by the Painter of Boston C.A.: New York, M.M.A. 12.234.3, black rim; lotuspalmette chain in the handle zone; below that, tongue pattern between net and rays (ABV 69, 3). Two attributedby Bothmer to the Ptoon Painter: New York, M.M.A. 12.234.2, male head between grazing deer on the rim, chain of palmettes in handle zone (CVA, New York 2 [USA 11], pl. 4); Tocra, ivy on the rim, chain of palmettes in handle zone (Boardmanand Hayes, Tocra, 1963-65, pl. 76, no. 1040). Unattributed:Cologne P 5, ivy on the rim, reservedhandle zone with tongues below. 8 For figures on the lip, cf., e.g., two Siana cups by the C Painter, Munich 2121 (ABV 56, 96) and Hamburg 1908.255 (ABV 56, 102; Paralip. 23, 102; CVA, Hamburg 1 [Germany 41], pl. 34 [2000]; Brijder,Siana Cups I, pl. 49:a, b), each with

hounds pursuing a hare, two fawns; Dijon 1299 by the Griffinbird Painter (ABV 74, 52), swans between drinkinghorns. Occasionally, on the rim, animals are combined with ornament. Here are two, both by the Griffin-birdPainter:Honolulu 3591 (ABV 73, 32), bull between florals, and Baltimore48.36 (ABV 73, 39), deer between florals. 9 For a good example of the more decorativeeffect of the double-decker Siana cups, cf. London, B.M. B 380 by the C Painter (ABV 55, 91). For a double-deckerSiana cup with a reservedband, cf. 1678 or Hamburg 1908.255 by the C Painter (ABV 56, 102; Paralip. 23, 102; CVA, Hamburg 1 [Germany 41], pl. 34 [2000]; Brijder,loc. cit.). 10Examples: Two by the C Painter: Berlin, inv. no. 4281 (ABV 56, 98) and Athens, N.M. 534 (ABV 56, 105); Kassel T. 663 that is not so like the C Painter on the outside (Paralip. 25; CVA, Kassel 1 [Germany 35], pl. 29 [1709]:2 and 30 [1710]:2). Warsaw 198521 by the Griffin-bird Painter (ABV 72, 22; Paralip. 28, 22). Thera, from Sellada (RA, 1972, p. 75, notes 2 and 3). 11C Painter:AB V 51-61; Paralip. 23-26. HeidelbergPainter: ABV 63-67; Paralip. 26-27. Griffin-bird Painter: ABV 71-75; Paralip. 28-29. 12For late Siana cups influenced by Little Master cups, cf. D. Callipolitis-Feytmans,RA, 1972, pp. 73-82.

64

SHAPE STUDIES

LITTLEMASTERCUPS 1685-1745

Pls. 110-112

The Little Master cup descendsfrom the Siana cup in shape, but it is lighter in make and more elegant in appearancethan its predecessor.13There are two main types of Little Master cup, the lip and the band. Each derives its name from the scheme of decoration,and of the two, the lip-cup is often of higher quality. Very many Little Master cups, especially lip-cups, are signed by potters, some of whom specialize in this shape. Foremost among them are Tleson, who signs as the son of Nearchos, and two contemporaries,Hermogenesand Zenokles.14Among the Little Master cups at the Agora, only 1686 by Tleson bears a signaturethat may be restoredcompletely;two others, 1743 and 1744 (P1. 112), preservepart of the potting verb. LIP-CUPS 1685-1696

PI. 110

The lip-cup has an offset lip, a rather shallow bowl, and a broad, flat foot with a tall stem. The upward swing of the handles often echoes the curve of the bowl resulting in a harmonious relationship of all parts of the cup. The scheme of decorationis a simple one. The inside is glazed, except for the tondo, which may be reservedbut for a centraldot within a circle (e.g. 1685), or, like the Siana cup, it may have figured decorationsurroundedby an ornamental pattern (e.g. 1689: P1. 110). On the outside, the lip is reservedand decoratedwith small figures,often one, seldommore than three.15It is this feature of the decorationthat gives the cup its name. In the handle zone, there is normally an inscription, usually the potter's name, as on 1686, occasionally drinking exhortations or words of praise.16On less careful cups, the inscriptionsmay be imitation (e.g. 1688) or nonsense ones (e.g. 1695: PI. 110), but even these are an integralpart of the decoration.Often there is a palmette at each handle, as on 1685 (PI. 110) and 1686, or this area may be left plain, e.g. 1688. Beazley distinguished four chief types of lip-cup decoration:figured decorationoutside only; figured decoration inside only; figured decorationboth inside and outside; no figured decoration.'7 Among the Agora lip-cups, 1685 has decorationon the outside only, and another, 1686, may have had no figures, only the signature of the potter, Tleson, between the handle palmettes. 1687 (PI. 110) is of particular interest for it comes from a lip-cup decoratedaccordingto the band-cup principle, i.e., with the figures in the handle zone.18The rest of the Agora lip-cups, 1688-1696 (P1. 110), are too fragmentaryfor one to be certain of the schemeof decoration. BAND-CUPS 1697-1742

Pls. 111, 112

The band-cup differs in shape from the lip-cup mainly by having its lip pass gradually into the bowl without the sharp offset of the lip-cup.19Often there is a fillet between the stem of the foot and the bowl. The chief differencebetween these two types of cup lies in the system of decoration.The lip of the band-cup is black both inside and outside, and the tondo is mostly reserved,usually with a circle and a central dot. The figured decorationis restrictedto the narrow reservedband in the 13 For the type, cf. Beazley, JHS 52, 1932, pp. 167-203; F. Villard, REA 48, 1946, pp. 162-169; G. M. A. Richter, CVA, New York2 [USA 11], pp. xvii, 4 and 8; and Beazley, Development,pp. 52-56. More recently, Bothmer,AJA 66, 1962, pp. 255-258; D. Callipolitis-Feytmans, RA, 1972, pp. 73-82; and K. Schauenburg,AA (Jd 89), 1974, pp. 198-219. 14For these and others, cf. Beazley, JHS 52, 1932, pp. 195202; ABV, chap. XII, 159-197 and Paralip. 67-80. 15 For exceptions, cf. Schauenburg, op. cit. (footnote 13 above). Of particularinteresthere is the unattributedlip-cup in Florence, inv. no. 3897, which is decorated according to the overlap principle established for Siana cups (ibid., p. 212,

fig. 21). 16For the full range, cf. ABV, chap. XII, 159-197 and Paralip. 67-80. 17Cf. JHS 52, 1932, p. 168. 18For others, cf. JHS 52, 1932, p. 183; more recently, K. Schauenburg,AA (Jdl 89), 1974, p. 201, note 11. 19F. Villard (REA 48, 1946, pp. 166-167) has suggested that the curve of the lip of the band-cup may be more suitable for the lips of the drinker and that the glaze both inside and outside may have a practical consideration,namely that the glaze is not porous and will not absorbliquid.

CUPS

65

handle zone and is the feature which gives the cup its name. The number of figures may vary greatly, from just a few to very many in a crowded composition.Occasionally,in the handle zone, there are inscriptions,either by themselvesor combinedwith one or two figures, a clear imitationof the lip-cup.20 Below the handle zone, there is usually a reservedband. The general effect of the band-cup is dark, in contrastto the light effect of the lip-cup. As in the case of the lip-cup, Beazley distinguishedfour basic types of band-cup decoration:full decorationon outside;decorationoutside and inside; brief pictures outside; no figured decoration.21Among the Agora band-cups, seven, 1697-1703 (PI. 111), have full decorationon the outside. 1704 (PI. 111), with its decorationboth inside and outside, is especially important for the rare occurrenceof ships round the rim on the inside, as on dinoi and on a few column-kratersand volute-kraters.22Not enough of the decoration on the outside remains to identify the subject,but presumablythe compositionwas a full one. Very likely, the tondo of the cup was also figured, as on the comparableexamples with ships round the rim,23but no part of it has survived. 1705 and 1706 (PI. 111) have inscriptionsin the handle zone, but not enough remains to tell if they were combinedwith figures or appearedalone. That on 1706 may be a nonsense inscription.The rest of the Agora band-cups, 1707-1742 (Pls. 111, 112), are too fragmentaryfor one to be able to identify the scheme of decorationwith certainty. TYPE UNCERTAIN 1743-1745

PI. 112

Each of these fragments preservespart of an inscriptionin the handle zone. Those on 1743 and 1744 (PI. 112) are potting verbs;that on 1745 (PI. 112) may be a nonsense inscription.They probably come from lip-cups, but without part of the lip preserved,it is difficultto be certainof the type, and for this reason we have kept them separate. 1744 may be from a lip-cup decoratedaccordingto the band-cup principle. CASSELCUP 1746

P1. 112

The Cassel cup, which takes its name from one in Kassel without figureddecoration,24retains the band-cup shape but gives up its austere system of decorationin favor of a more ornamentalone, which may owe its inspiration to that of the Siana cup.25On the lip there is usually an upright tongue pattern, and on the bowl, bands of ornament of various kinds.26Occasionally,as on 1746 (P1. 112), there may be figures in the handle zone. At the bottomof the bowl, just abovethe stem of the foot, is a zone of rays. There are not very many Cassel cups, and 1746 is the only black-figured one from the Agora. DROOPCUPS 1747-1752

P1. 112

The Droop cup is named after the scholarwho first examined a series of them within the context of a larger study of Laconian pottery.27Droop recognizedthat these cups were Attic but thought 20JHS 52, 1932, pp. 189 and 191. 52, 1932, pp. 187-191. above, pp. 34-35. 23 Louvre F 145 and Berlin 1800 (see catalogue entry for 1704). 24 Inv. no. A 37 from Samos (J. Boehlau, Aus ionischenund italischen Nekropolen,Leipzig 1898, pl. 10:2). Cf. also, R. Lullies in CVA, Kassel 1 [Germany 35], p. 52 (under T. 487). 25 For the shape, cf. Beazley, JHS 52, 1932, pp. 191-192; F. Villard, REA 48, 1946, p. 169; more recently, W. Hornbostel, Kunst der Antike. Schdtze aus norddeutschem Privatbesitz, Mainz 1977, p. 276, no. 243, with bibliography. 21 JHS 22 Cf.

J. Boardman (ABFV, p. 62) has suggested that the scheme of decoration derives from the Siana cup rather than the Little Masters. One may comparesome of the more lavishly decorated Siana cups, such as the two namepieces:London, B.M. B 380 by the C Painter (ABV 55, 91) and London, B.M. B 379 in his manner (ABV 60, 20; Paralip. 26, 20). 26 Cf. two well-preservedexamples that illustrate the character of the cup: London, B.M. 90.7-31.30 (CVA, London 2 [GB 2], pl. 16 [74]:8) and New York, M.M.A. X.248.16 (CVA, New York 2 [USA 11], pl. 20:33 a-c). Also, the fragmentsfrom Kavala ('ApX'E4, 1938, pp. 147-149). 27J. P. Droop, JHS 30, 1910, pp. 1-34, esp. pp. 21-27. The

66

SHAPE STUDIES

that they might be intentional imitationsof Laconian.The Droop cup resemblesthe Little Master cup in principle but differs from it in a number of details. Its rim is glazed inside and outside, as in the band-cup, but unlike the latter, it is more sharply offset from the bowl, and it has a reserved band on the inside placed well below the rim instead of right at the top as in both types of Little Master cup. The inside of the bowl is either entirelyblackor is decoratedwith a reservedmedallion that often has a centraldot within a single or two concentriccircles.The high stem is reservedat the top and often channeled,and there is a broad black band on the inside, as on 1752 which is signed by Nikosthenes. The lower part of the bowl is occasionallyblack with a reservedband, as on the Little Master cup, but there are exceptions. Normally, there are zones of ornament below the handle zone, either various patternsor patternscombinedwith a frieze of silhouetteanimals drawn upside down, as 1747 and 1748 (PI. 112).28Ure dividedthis class of cups into three groups according to the treatment of the handle zone: I, upright lotus buds; II, lotus-palmettefestoon;III, animals or human figures.29The frieze of inverted animals does not occur on cups that have human figures or animals in the handle zone.30Thus, 1747 and 1748 must belong to either Group I or Group II (without part of the handle zone it is uncertainto which) and 1750 and 1751 (P1. 112) to Group III. TYPE A ANDSUB-A 1753-1779

PI. 113

This sturdy-looking,rather heavy-set cup displaces the Little Master cup and is the type preferredby black-figureartists from about 530 B.C.on.31The cup Type A has a deep bowl without an offset lip, a low flaring foot with a pronouncedconcaveedge, and usually a fillet between the thick stem and the bowl.32The inside is black except for a narrow reservedband below the rim and the tondo, which may be left plain but for a central dot within a circle or decoratedwith figures, most often a gorgoneion.On the outside, the figures occupy the entire height of the bowl except for the underside, which frequently has ornamentaldecoration.There are often rays above the foot, and between them and the figureddecorationthere may be lines, bandsof glaze, or simple patterns.The favorite decorationon the main portion of the bowl is a pair of large apotropaiceyes,33sometimes with a nose between, or else figures. Occasionally,there is additional figure work at the handles. The eyes may be drawn in outline and reservedexcept for the iris and pupil, as 1753 (PI. 113), or they may be painted white or black, as 1754 (P1. 113) and 1755, so that they contrastwith the clay ground. The pupil is black;red, white, and black compass-drawnrings comprisethe iris. The earliest preservedAttic black-figuredeye-cup of Type A is the famousone in Munich signed by Exekias as potter.34Exekias did not invent the shape, for there exist precursorscalled Proto-A cups that have very deep, almost hemisphericalbowls, stems that vary in height, and feet with a concaveedge as Type A,35and these providethe backgroundfor the cup by Exekias. But Exekias' cup is the earliest example of the conventionof painting a pair of large apotropaiceyes in the handle zone on each side. The eye-cup becomesvery popular in Attic black figure duringthe last quarterof basic study of Droop cups: P. N. Ure, JHS 52, 1932, pp. 55-71. Cf. also G. M. A. Richter in CVA, New York 2 [USA 11], p. 12; F. Villard, REA 48, 1946, pp. 171-172; AgoraXII, p. 91. 28 Silhouette animals drawn upside down are not restricted to Droop cups but also occur on two Proto-A eye-cups, Louvre F 131 bis (at each handle, a maenad; beneath each handle, a kneeling satyr) and Boston, M.F.A. 03.784 (CVA, Boston 2 [USA 19], pl. 100 [934]:1-4). 29JHS 52, 1932, pp. 56-68. 30Ibid., p. 64. 31For the shape, cf., particularly, H. Bloesch, Formen attischer Schalen von Exekias bis zum Ende des strengen Stils,

Bern 1940, pp. 1-39; F. Villard, REA 48, 1946, pp. 173-180; Beazley, Development, p. 67; G. M. A. Richter in CVA, New York 2 [USA 11], p. 14. 32 Sometimesthe fillet is omitted. For an early example, cf. New York, M.M.A. 25.78.6 (ABV 116). 3 D. A. Jackson (East Greek Influences on Attic Vases, London 1976, pp. 60-68) has shown that the practiceof painting large eyes on cups may have an Ionian origin. 34 Munich 2044 (ABV 146, 21; Paralip. 60, 21). 35 A large number of these are to be found in ABV, chap. XIII. For a discussion of the precursors,cf. Bloesch, op. cit. (footnote31 above), pp. 2-4.

CUPS

67

the 6th century B.C.,but there are very few examples from the Agora, and they are so fragmentary that they do not illustrate the type very well (1753-1756). A number of well-preserved cups, classifiedby Beazley as sub-A, have been found in the Agora, e.g. 1761-1764 and 1769 (P. 113). This type retainsthe generallysquat, heavy-setappearanceand the foot with concave edge of the canonical Type A, but its bowl is somewhat shallower, and the fillet between bowl and stem is given up in favor of a continuous curve between the wo parts. In this respect, the sub-A cup resemblesthe Type B cup, but it lacks the characteristicchamferon the top surfaceof the foot near the edge. The scheme of decorationis more restrainedthan that of Type A, for there are no rays or ornamental patterns on the undersideof the bowl but merely a narrow reservedband. The figures on the outside may appear between eyes, althoughthis is not standardas it is for Type A, and none of the Agora sub-A's has eyes. The tondo usually has a single figure, not the gorgoneion of Type A. The Agora sub-A cups are late products, belonging to the 5th century B.C., and most of them are decoratedby painters of the Leafless Group. The fragmentsin this section, 1765-1767 and 1770-1778 (PI. 113), may also be sub-A cups, but without the foot and the stem it is difficultto be certain. TYPEB

1780

Pl. 113

The bowl of the cup Type B passes directlyinto the stem without an interruption;the shape of the foot is a torus, and there is usually a small chamferon its top surfacenear the edge.36The schemeof decoration on the black-figured examples follows that for the sub-A. The Type B cup comes in shortly after the invention of the red-figuretechnique and is mainly a red-figureshape. It is never popular in Attic black figure, and most of the known examples are late ones, a good numberof them attributedto the manner of the Haimon Painter.371780 is the only black-figuredexample from the Agora. It is a rather heavy piece, and its deep bowl resembles that of the Type A, but it is distinguishedeven from the sub-A by its torus foot which, however,lacks the characteristicchamfer. STEMLESS CUPS 1781-1800

Pls. 114, 115

In black figure these are small cups of Type C that belong to the group designatedby Bloesch as conservativein character.38The bowl of the Type C cup is rather shallow and has a plain or an offset lip. In plain black, the type with the offset lip is the commonestof the stemmedcups, but in black figure, including the examples from the Agora that preserve all or part of the lip, the lip passes into the bowl without interruption.The stem itself is very short with a fillet at its base, and the foot is a thick torus.39In the stemlessvariety, as the name implies, the stem is omitted,and there is simply a fillet between bowl and foot. 1781-1785 (P1. 114) are Top-band Stemlesses.40These have black rims and a reservedband in the handle zone that may be plain, as 1785, but normally contains figures often set between eyes, as 1781-1784 (PI. 114). Below the figure zone, there is a narrow reservedband. The inside is black except for the tondo,which may be reserved,as 1783 and 1784, or decoratedwith a gorgoneiondrawn in outline, as 1785. 1786-1793 (Pls. 114,115), which preserve parts of tondi with gorgoneia, may be Top-band Stemlesses, but without the rim it is difficultto be certain. 1794 (PI. 114) is unusual for having a figure in the tondo. 36 For the type, cf. Bloesch, op. cit. (footnote 31 above, 66), p. pp. 41-109, esp. pp. 42-44 for the transitionalearly examples; also Beazley, Development, pp. 61-62 for cups by the Amasis Painter, including one signed by Amasis himself, that approximate Type B; Bothmer, Amasis Painter, pp. 223-228, cat. nos. 62, 63. 37ABV 561-562, 531-557; Paralip. 271, 515, and 284. 38 Bloesch, op. cit. (footnote 31 above, p. 66), pp. 113-118.

39The shape as a whole is best discussedby Bloesch (op. cit., pp. 111-136). Cf. also Agora XII, pp. 91-92, with bibliography. In ARV2, p. li, Beazley limits the term "Type C" to those cups with "an offset lip as well as the characteristicstem and foot,"but classifiesas Type C both 1784 (Paralip. 101, 13) and another in the Basel Market (Paralip. 101, 16), which have plain rims. 40 Paralip. 100-102, 1-45.

68

SHAPE STUDIES

An interesting group of stemless cups are those of the Segment Class41(1795-1800: PI. 115), which have the same shape as the Top-band Stemlesses.They take their name from the scheme of decorationon the inside where the figures cover the entire surface, which is often divided into a main zone and a small exergue near the bottom, similar to the tondi on the insides of many other types of cups and on plates.42The exergue may be plain,43or figured, as 1798-1800 (PI. 115) which have dolphins, or it may simply contain a few dots.44Occasionally,the exergue is omitted,as 1797 (PI. 115) and perhaps 1796 (P. 115), and the compositionadapted to the full circle.45The exterior is normally undecorated.46 CUPS, TYPE UNCERTAIN

1801-1846

Pls. 116-118

This section contains fragmentsthat may not be assigned with certaintyto a specifictype of cup, and among them are to be found some pieces of particular interest. 1802 (P1. 116), perhaps the earliest, recalls the C Painter. It preservespart of the potter'sname and the first two letters of the verb. 1811 (PI. 116), which is either a band-cup or a Gordion cup, gives the potting verb, but nothing of the maker'sname remains. 1830-1846 (Pls. 117, 118), the late pieces, are probablycups of Type A and sub-A, but one may not rule out Type B, especially among those by painters of the Leafless Group. BOWL 1847 P1.118 Bowls are well known in plain black from the late 5th century on, and their range in size is considerable.1Figured bowls are particularly rare, and the three attributed black-figuredbowls or "bowl-likevessels",to use Beazley's phrase, are so fragmentarythat they do not illustratethe shape very well.2 In the Agora, one fragmentaryblack-figuredbowl has been found, 1847 (PI. 118). It has a thickened,roundedrim, but since much of the interioris lost, the rest of its appearancemay not be determined.The figured decoration,drawn in silhouette, coversthe entire interior;the exterior is black except for a reservedband below the rim.

41Eleven members of the class were first put together by Bloesch who named them Segment Cups (op. cit. [footnote31 above, p. 66], pp. 118-119). Since then, their number has grown to more than 70. Cf. also ABV 212-215, 1-60; 690, 21 bis, 21 ter, and 46 bis;Paralip. 102-103; and V. Poulsen, "Eine attische Augenschale," Opus nobile. Festschrift zum 60. Geburtstagvon UlfJantzen, Wiesbaden 1969, pp. 125-128; K. Schauenburg, "Zu einer Segmentschale in der Kieler Antikensammlung,"Rivista di Archeologia1, 1977, pp. 16-18. 42 The scheme of decoration also recalls that of many Laconian cups, which, although earlier than all the Segment Cups, very often have similar inside decoration. Cf. C. M. Stibbe, Lakonische Vasenmalerdes sechsten Jahrhunderts v. Chr., Amsterdam1972. 43Two examples: Hamburg 1962.171 (Paralip. 103, 22 bis; CVA, Hamburg 1 [Germany 41], pl. 44 [2010]); Heidelberg 285 (ABV 213, 31).

44E.g. Turin 4112, new number 5776 (ABV 214, 50; CVA, Turin 2 [Italy 40], pl. 2 [1786]). 45 An unusual scheme is to show the two figures standing "north-south",so that no matter how the picture is viewed, one of them always appears to be upside down. Cf., e.g., London, B.M. B 458 (ABV 213, 28); two in the Argos Museum (ABV 213, 29, and 214, 48). 46 It may sometimes have a plain band in the handle zone, e.g. Vatican 244 (ABV 213, 30). One is decoratedon the outside as a Top-band Stemless: Milan, Bernareggi (Paralip. 103, 38 ter). 1 For bowls, including saltcellars, cf. Agora XII, pp. 128138. 2 Two by the Amasis Painter: Palermo (ABV 156, 78) and Akropolis 1241 (ABV 156, 79); one by Elbows Out: Villa Giulia (ABV 250, 19).

THYMIATERIA

69

EPINETRA 1848-1850

P1. 118

The epinetron is used for the preparationof wool for weaving.1It is shaped to fit over the thigh of the worker, for it is wider at the open end where the thigh is thickerand closedat the narrow end to fit over the knee cap. Usually, at the closed end, there is a molded female head. The open end terminates in a torus molding;the side edges are straightand flat. The general appearanceis similar to that of a very elaborate Corinthian cover tile.2 The top of the epinetron is coveredwith an incised scale pattern, which producedthe necessary roughness when the wool was rubbed against it. Directly above the torus molding, there is an ornamentalpattern, such as rays or lotus buds, and often there is a narrowerone at the opposite endjust beforethe start of the curveof the knee. The figured decorationappears in a frieze on each side, and between it and the scale pattern there is usually a narrow band of ornament.3 There are not very many Attic black-figuredepinetra. Nearly all of them were found in Greece, and they come from workshops active around 500 B.C.which specialize in decoratingsmall vessels. Particularly important are the three by the Sappho Painter and the two by his companion, the Diosphos Painter,4as well as the contemporaryones of the Golonos Group, which takes its name from the epinetrononce in Goluchow5and seems to have specializedin the shape. Only three small fragmentaryblack-figuredepinetra have been found in the Agora. 1849 (PI. 118) preservespart of the scale pattern, the wreathed head of a male to right, and some of the key pattern (white on black glaze) separating the two zones. 1848 and 1850 (PI. 118) give only part of the figured area. 1848 (PI. 118) with women working wool is no doubt a referenceto the use of this shape.6

THYMIATERIA 1851-1853

P1. 119

The thymiaterionis an incense burner.1The appearanceis so metallic-lookingthat presumablythe clay examples depend upon metal prototypes.The thymiaterionhas a rather deep bowl fitted with a conical lid pierced to allow the fragranceof the incense to escape. The bowl joins a tall slender stem that flares toward a central molding useful for holding the vessel. The stem is thicker below the molding than above it, and it flares toward the spreadingfoot that has two or three degrees.The 1For the shape, cf. Agora XII, p. 230. Of the references cited, most importantfor Attic black figure is D. M. Robinson, AJA 49,1945, pp. 480-490. An unpublisheddissertationon the subjecthas been completedby Pamela Benbow, Epinetra (diss. Harvard, 1975). 2 Epinetra have been interpreted as elaborate roof tiles or tiles for tombs, as well as for other purposes. Cf. D. M. Robinson, AJA 49, 1945, p. 482, note 10. 3 For two well-preserved epinetra, cf. Athens, N.M. 2184 the by Sappho Painter (ABL, p. 228, no. 53) or Leyden I 1955/1, 2 unattributed(CVA, Leiden 2 [Netherlands4], pl. 68 [162]). Usually the area around the molded head is black, but on Athens, N.M. 2185 (ABV 481, -, y), a fragment, it is coveredwith a pattern of encircled palmettes with black birds in the interstices. This may have been purely a patterned

epinetron,not a black-figuredone. 4 Sappho Painter: ABL, p. 228, nos. 53-54 bis; Diosphos Painter:ABL, p. 237, no. 118, Paralip. 250, and probably1850. 5 Warsaw 142454, ex Goluchow 225 (ABV 480,4; Paralip. 220, 4). For the group, cf. ABV 480-481 and Paralip. 220. 6 For other representationson epinetra, cf. catalogue entry for 1848. Cf. Agora XII, pp. 182-183, with bibliography, esp. K. Wigand, "Thymiateria,"BJb 122, 1912, pp. 1-97; C. Roebuck, Hesperia 9, 1940, pp. 181-182, nos. 74 and 75, and p. 180, fig. 21; KerameikosVI, ii, p. 165 for a 7th-centuryexample; for a small plate from the Shrine of Nymphe that is decorated with a thymiaterion, cf. Callipolitis-Feytmans, Les plats attiques, p. 403, no. 4 and fig. 74.

SHAPE STUDIES

70

molding may be a concaveband, e.g. 1851 (PI. 119), or it may flare outward terminatingin a crisp edge, e.g., 1852 (PI. 119) or two well-preservedexamples from Eleusis.2 The scheme of decorationhas figures on the stem above and below the molding and occasionally on the top surface of the foot as well.3 Above the figures, there may be an ornamentalpattern or simply a band of glaze, e.g. 1851. On the central molding, there is an ornament,such as ivy (e.g. 1851) or tongues (e.g. 1852). There are very few Attic black-figuredthymiateria, and the few examples from the Agora are parts of stems. Taken together,they illustrate the general appearance and system of decoration. 1851 shows some of the stem above and below the molding, 1852 gives part of the stem directlyabove the flaring molding, and 1853 comes fromjust abovethe foot. CLOSED VASES, SHAPE UNCERTAIN 1854-1908

Pls. 119-121

None of these fragments preserves a feature that will identify the shape with certainty. In some cases, the date of the fragment is helpful, for it preventsthe piece from being identifiedas a shape not yet in the Attic repertoryor as one that has gone out of use. For all the fragmentsin this section, the choice of shape lies between at least two possibilities. 1858 (PI. 119) could be a small one-piece amphoraor an olpe; 1880 (P1. 120) might be an oinochoeor an amphora;1882 (PI. 120) is probably an amphora or a hydria. 1859 (PI. 119), attributedto the Group of the Dresden Lekanis, is probably a neck-amphorarather than a hydria or an oinochoe,for thus far neither of the last two shapes is known in this group. The large number of fragmentsby the Polos Painter, 1862-1868 (P1. 119), are probablyeither hydriai or neck-amphorae.1874 (Pl. 120) comes from a large vessel, and what remainsof the curve does not seem strongenough for either a neck-amphoraor a hydria. The shape may be a one-piece amphorawith the figuresset in friezes, and if so, it will add a new shape to those known to be decoratedby Kleitias, but it is hard to be sure. 1883 (P1. 120) by the Swing Painter is very puzzling. It has a strong horizontalcurve, and at the very top, the surfaceis rough as if it fitted into somethingor was coveredby the downturnedrim of a lid. The verticalcurve indicatesthat the vase widened toward the top. The curveof 1890 (PI. 121) suggestsan olpe, but the wall is too thick. An odd feature is the horsemen drawn to different scales within the same scene. 1906 (P1. 121) comes from some kind of small vessel with a little round hole in the top. OPEN VASES, SHAPE UNCERTAIN 1909-1932

Fig. 22

Pls. 121-123

Like the fragmentsof closed vases in the precedingsection, none of these fragmentsof open vases preservesany sure means of identifying the shape. The early fragmentsof larger vases, e.g. 1909, 1912, or 1915 (Pls. 121, 122), are very likely kraters or dinoi, although 1920 (PI. 122) may be a lebes gamikos. 1913 is a rim fragmentwith figureddecorationon both the inside and the outside, a system of decorationthat recalls later cups with a figuredfrieze running roundthe tondo,as well as exterior decoration.11916 (P1. 122) is a very deep cup or bowl, rather small in diametercompared 2

K. Kourouniotis, Classical Studies presented to Edward Capps on his SeventiethBirthday, Princeton 1936, opp. p. 204, figs. 1 and 3. The edge of 1852 is very broken, but enough remains to indicate its original appearance.

3 Ibid., opp. p. 204,

fig. 1.

For these, cf. K. Schauenburgin Studienzurgriechischen Vasenmalerei[AK, Beiheft 7, 19701,pp. 33-46.

PLAQUES

71

with its estimated depth. 1923 (PI. 122) preserves some of the tondo of a low bowl with a broad flaring foot. The tondo is divided into two zones of almost equal size, and what remains of the exterior is undecorated. 1924 (PI. 122) is the rim of a Gordion cup or a Hermogenian skyphos. 1928 (PI. 122) preservespart of the rim and flaring wall of a drinkingvessel, perhaps a kantharos, although a black band above and below the figures is unusual and the size seems too small. 1929 (PI. 123) has been recut for use as a stopperor a disk. 1931 (PI. 123) is the most perplexing of all in this section. These fragments come from a vessel with a deeply curved wall, possibly similar in shape to a chalice, and part of its figured decorationmay have been overlappedby the handles. MISCELLANEOUS 1933-1935

PI. 123

The three entries in this small category do not fit into any of the sections above. 1933 (PI. 123) depicts part of a frieze of figures, probably horsemen, and may be a fragment of the mouth of an amphora,1although it seems a bit thin and flares slightly. 1934 (PI. 123) is the only certainexample of an amphoraType A from the Agora, but it is unclear if the figureddecorationwas in black figure or in red figure, for nothing remains of the figures or of the sides of the panels which are plain in black figure and have ornamentalframes in red figure. 1935 (PI. 123), a fragmentof a loutrophoros handle, finds good parallels in both black figure and red figure.

PLAQUES 1936-1946

Pls. 123 and 124

Plaques are slabs of clay used for funerary or votive purposes.1They may be rectangularor have roundedtops. Their clay may be very fine like that used for the best of vases, or it may be coarseand gritty like that used for roof tiles and pithoi. If the latter, the surface of the plaque is coatedwith a thin layer of fine clay before it is painted. 1938 is a good example. Funerary plaques are decorated on one side only, for they were attachedto the exterior of the tomb;2votive plaques may be figured on one or both sides, dependingupon whether they were attachedto a solid surfaceor suspendedin mid-air to hang freely.3 There are two basic types of funerary plaques: single plaques and those that form a series. The plaque series is the earlier and the more elaborateof the two, beginningin black figure,ca. 600 B.C., and lasting to about 530 B.C.,4 those by Exekias being among the latest.5When the manufactureof

1For figureson the mouth of an amphora,cf., e.g., the large amphora in a Swiss private collection attributedto the Painter of Vatican 342 (Paralip. 187, 3) or the unattributedamphora Type A in Bologna (no inv. no.): figures on Side A of mouth only (CVA, Bologna 2 [Italy 7], pl. 6 [305]:1). For funerary plaques, cf. J. Boardman, BSA 50, 1955, pp. 51-66; for votive plaques, J. Boardman, BSA 49, 1954, pp. 183-201. 2 The means of attachmentis not known for certain, for no tomb has been found with a plaque in situ or with a wall that

bears marks of an attachmentfor a plaque. For a discussionof the possibilities, cf. J. Boardman, BSA 50, 1955, pp. 52-53; more briefly, D. Kurtz and J. Boardman, Greek Burial Customs, London 1971, p. 83. 3 Cf. J. Boardman,BSA 49, 1954, pp. 192-193. 4 The earliest example of a plaque series seems to be the two relief plaques in New York, M.M.A. 14.146.3 a and b (J. Boardman, BSA 50, 1955, p. 58, no. 1; E. Vermeule, Aspectsof Death in Early GreekArt and Poetry,Berkeley 1979, p. 11, fig. 6). 5 Berlin 1811-1826 (ABV 146, 22; Paralip. 60, 22) and Athens, N.M. 2414-2417 (ABV 146, 23).

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the plaque series comes to an end, the makingof single plaques begins. The reasonfor this changeis not known but may perhaps reflect restrictionsagainst elaborateand costly grave decoration.6Funerary plaques that form part of a series are rather uniformin size and thickness,in contrastto the single plaques which vary greatly in their dimensions.7Although the subjectpainted on both the plaque series and the single plaques is the same, the system of decorationdiffers. In the plaque series, the narrative consists of several scenes having to do with the prothesis and the preparation for the ekphora. Ornamentalpatternsare omittedentirely or limited to a simple frieze near the top or at the bottom of the plaque.8The sides are plain. On single plaques, the prothesis scene is confined to essential elements the bier and some of the mourners.And usually a double or single line, or an ornamental pattern, frames the scene.9 1942 (P1. 124), which shows mourners, is the only sure example of a funeraryplaque from the Agora, and it very likely formedpart of a series. It is on the same scale as the plaques by Exekias. Votive plaques offer a wide range of subjects,they vary more in sie than funeraryplaques, and they last much longer, well into the 4th centuryB.C.10Often there are holes for suspensionor for the attachmentto a wall.11 1943 (PI. 124) has such a hole. It is not always possible to identify votive plaques, particularly when only fragments have survived, an observationrightly emphasized by Boardman.12Among the Agora fragments,only 1943, with its hole for suspensionand its representation of Hermes, is certainto be a votive plaque. The othersmay be, but without more to go on it is difficultto be certain. DISKS 1947-1949

PI. 124

Disks are flat, circularobjectsthat usually have a slightly thickenededge. They resemblethe floors of plates and may sometimeseven be mistakenfor plates if the smoothedge is not preserved,for the undersideis finished and often decoratedwith concentriccircles. 1948 (PI. 124) is a good example, but since a small portion of the edge remains, it cannotbe a plate. Fragmentarydisks may also even be mistaken for fragmentsof Sosian stands. 1949 (P1. 124) is a disk, for although it has a torus rim, its undersideis smooth and it lacks a stemmedfoot, and so it cannotbe a stand. Disks are decorated accordingto the principle establishedfor plates.2The figuresmay be drawn rounda centralmedallion, 1947 (PI. 124) being a good example from the Agora, or large figures may fill the entire format, as 1948. There are not very many disks, and their purpose is unknown. They may have been small votive objects,or they may have servedas lids. 6J. Boardman,BSA 50, 1955, p. 53. 7 For a discussionof dimensions,cf. J. Boardman,BSA 50, 1955, pp. 52-53. 8 For a simple key pattern at the top, cf. those in Berlin by Exekias (ABV 146, 22; Paralip. 60, 22). For a key pattern at the bottom, cf. Athens, N.M. 2412 and 2413 (ABV 687, top; J. Boardman, BSA 50, 1955, p. 60, no. 11 and pl. 2:c, d). Athens, N.M. 2410 has an inscription at the top, and presumablyAthens, N.M. 2412 and 2413 did also, for they are part of the same series (Boardman,op. cit., p. 60, no. 11). The lotus-palmette festoon at the top and the tongue pattern at the bottom of the plaques by Sophilos seem to be unparalleled

(ABV42, 38-40; Boardman,op. cit., p. 59, no. 6; Bakir, Sophilos, pis. 37, 38). 9J. Boardman,BSA 50, 1955, pp. 53-54. 10 J. Boardman,BSA 49, 1954, p. 193. I' Ibid., p. 192. 12 Ibid., pp. 194-195. 'Cf. D. Callipolitis-Feytmans, BCH 79, 1955, pp. 467477 and Les plats attiques, pp. 36, 124, 187, and 241; Agora xiI, p. 178. 2 D. Callipolitis-Feytmans,BCH 79, 1955, pp. 473-474.

POTTERS AND PAINTERS The distinction between Protoattic and Attic black figure is not so obvious as the one between black figure and red figure, which is mainly a question of two techniques. The differencebetween Protoatticand Attic black figure rests primarilyon the differencebetween a style of painting on the one hand and a technique on the other. A small numberof vases from the Agora may be datedin the third quarter of the 7th century or in the early part of the last quarter, and they illustrate well the problem of whether to call a piece Protoatticor Attic black figure, for as Brann remarked,"which term one prefers depends on what one is looking for."1Brann includes all these vases in her studies of the Protoatticpottery from the Agora, and in her Agora volume she extendsthe term Late Protoattic to cover the earliest black figure, datable between the Kynosargesamphora and the Nettos Painter.2All these vases, however, were classed as black figure by Beazley during a visit to Athens in the spring of 1958.3 Since they exhibit both Protoatticand Attic black-figurecharacteristics,we have repeated tthem here in the back-figure volume and discuss them in this short section of the chapter on attributedAttic black-figuredvases from the Agora. In addition, we have included 128 (P1. 16), a fragment of a neck-amphoracalled transitional-to-blackfigure by Beazley, and 129, a fragment of another called black figure or transitional-to-blackfigure by him during the same visit in 1958. 128 combines bold Protoatticornamentwith silhouette figures enlivened by incision.4The same can be said for 1936 (Pl. 123), a disk cut from a plaque, which preservespart of a chariot horse to right, or 587 (PI. 55), two fragmentsof a fenestratedstand that was probablyconical in shape. 519 and 1854 have ornamentdrawn partly in outline and partly in silhouettewith incision. 132 (PI. 16) is decorated with two confronted horse protomes, a composition that is likely to be of Cycladic origin,5but in Attic black figure becomesthe single protomeknown from many one-pieceamphorae (e.g. below, Catalogue, 13-23). 133 (PI. 16) is decoratedin the full black-figuretechnique, but the shape of the mouth of this neck-amphoraand the style of the figures are Protoattic.1361 (PI. 94), from what is preserved, seems to be in black figure, but the style of the horse is Protoattic.This discussion of the earliest black figure from the Agora concludeswith three fragmentsthat preserve parts of human heads, which have the faces drawn in outline and the hair either solid or incised. 129 may be a male siren6 and, if so, is an early example, slightly earlier perhaps than 133. 1855 (PI. 119) preservesjust the upper part of the face of a woman whose closest kin seems to be the Athena painted on Berlin 1682 by the Nettos Painter.77 (PI. 2) is of special importancefor it is the 1Agora VIII, p. 25; cf. also, the remarks by Beazley, Development, p. 12 and Kubler, KerameikosVI, ii, pp. 311-327. 2 Agora VIII, p. 25. 3 In addition to the early vases mentioned below, the following were also called black figure by Beazley: 130, 131, and 695. 4 One may also cite here P 13279 by the KynosargesPainter (Agora VIII, p. 95, no. 565, pl. 35) and P 22299 by the Pair

Painter (AgoraVIII, p. 96, no. 572, pls. 2, 36, 42), which also combine these features, and on P 22299 accessoryred appears as well. 5Agora VIII, p. 97, under no. 573. 6 Agora VIII, p. 97, no. 577, pls. 37, 44. 7 Agora VIII, p. 98, no. 580, pl. 37. For Berlin 1682, cf. ABV 5, 4; Paralip. 2, 8 (d).

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earliest example of a human protome in the panel of a one-piece amphora, a decorativeidea that, like the horse protome,may have a Cycladicorigin.8 Painter of Berlin A 34 The earliest attributedAttic black-figuredvase from the Agora is 340 (Pl. 34), a fragmentof an amphoraof uncertaintype by the Painter of Berlin A 34, formerlycalled the Woman Painter after the subjecton his namepiece.He is the first artist to appear in the pages of ABV and Paralipomena, and 340 adds a new shape to the few vases known by him, which until now were all kraters.134 is thought by Brann to come from the workshop of the painter, but without figured decorationit is difficult to be certain. An argument in favor of her attribution is the presence of two shades of accessoryred, a bright hue and a duller one, in addition to white, which gives a rich polychrome effect seen also on 340. The profile of the woman on 588 is close to the Painter of Berlin A 34, and its subject,a woman holding a poppy or a pomegranate,is a forerunnerof the women holding palmettes on the stand of Athens, N.M. 16384 by the Nettos Painter.9Contemporarywith or slightly later than 340 is 341 (P1.34), also from an amphoraof uncertaintype, which may be by the Piraeus Painter. The incision does not seem quite so fine or the drawing so firm as on his namepiece,10but it is surely close to him. Nettos Painter In the late 7th centuryB.C., Attic black figure is best illustratedby the work of the Nettos Painter, the earliest Attic black-figurepainter whose personality is distinct and who has left us vases sufficiently large in number to make it possible to chart his development.'1The five vases by the Chimaera Painter, who is named after the large grave amphora found on Aigina near the modern town,'2 are now consideredto be the early work of the Nettos Painter.13No vase fromthe Agora has been attributedto this early phase, but 406 (P1.40), a fragmentof a lid from a skyphos-kraterthat shows a massive, powerful boar striding to left, recalls the Chimaera Painter. Only one vase from the Agora has been attributedwith certaintyto the Nettos Painter, 117 (P1. 13), the famous sphinx amphora,which belongsto the maturework of the painterand ought to date about 610 B.C. On each side is a large seated sphinx which spreads out over the whole surface of the vase, the obverse separated from the reverse only by ornamental configurationsat the handles. Here, the arrangement of the figures relates betterto the shape of the vase than it does on Eleusis Z 21, Aigina 565, or London, B.M. 1874.4-10.1,14 which are earlier one-piece amphoraeby the painter, decoratedaccording to the principle established for neck-amphorae,'5 and the profile of the sphinx on 117 is more developedand betterproportionedthan it is on either Eleusis Z 21 or Aigina 565. 137 (P1. 16) p. 99 under no. 589. Human protomesmay be seen occasionallyin early black figure, the best known examples being 7 (PI. 2) and the one on Munich 1360, which has a horseheadon the reverse (ABV 16, 2; Paralip. 9, 2; M. G. Picozzi, Studi Misc. 18, 1971, no. 1, pl. 1). Cf. also the confronted male protomeson Copenhagen 13796 (ABV 714, 9 bis;Paralip. 7, 9 bis) and the male protome on the obverse of a horsehead neck-amphorain the Louvre (E 822: ABV 17; Picozzi, op. cit., no. 44 and pl. 37). For a human protome on a lid, cf. 1372 (PI. 94). For a subhuman protome on an oinochoe, cf. 723 (PI. 69). For the subject, cf. 0. von Vacano, Zur Entstehung und Deutung gemalter seitenansichtiger Kopfbilder auf schwarzfigurigen Vasen des griechischen Festlandes, Bonn 1973. 9 ABV 6; Paralip. 3, 13. '0 Athens, N.M. 353 (ABV 2; Paralip. 1). 8 Agora VIII,

1 ABV 4-6; Paralip. 1-5; also Karouzou, 'Avayvpoivros, pp. 123-136. For some of the vases by the Nettos Painter and others contemporarywith them, cf. the remarks by Kiibler in his discussionof the early Attic black figure from the Kerameikos (KerameikosVI, ii, pp. 316-323). It is difficultto perceive why KiiblerrejectsKarouzou'sattributionto the Nettos Painter of Kerameikos,inv. no. 658, and even more, of the three skyphos-kraters from Vari, Athens, N.M. 16382, 16383, and 16384. 12 Aigina 565 (ABV 3, 1; Paralip. 1, 1). 13

Paralip. 1. 14Eleusis Z 21 (ABV 679, 2 bis; Paralip. 2, 3); Aigina 565

(ABV3, 1; Paralip. 1, 1); London,B.M. 1874.4-10.1, formerly A 1531 (ABV 3, 2; Paralip. 2, 2). 15Above, p. 5.

POTTERSAND PAINTERS

75

was originally attributedto the Nettos Painter by Beazley in AB V but judged to be only near him in Paralipomena. Three other pieces, an amphora, a louterion, and a lid, 120 (P1. 15), 603 (P1. 56), and 1362 (PI. 94), were also attributedby Beazley to near the painter, and others,401 (PI. 39), 407 (PI. 40), 527 (P1. 51), and 697 may be added.527, a stand fragment,preservesthe head of a woman to right who is comparableto those on the stand of Athens, N.M. 16384 and may even be by the Nettos Painter himself. 697, two fragmentsof an olpe that show part of a rider and his mount, is also close to the Nettos Painter and belongs with the cavalcadeon Athens, N.M. 16383 and the two horsemenon Kerameikos,inv. no. 658.161 (P1. 1), 121 (PI. 15), 409 (P1.40), and 1363 (P1.94) are perhaps also near the Nettos Painter. The heads of the swans on 1363 are weaker versions of the ones on Athens, N.M. 16382,17the earliest of the three well-preservedskyphos-kratersfrom Vari. The face of the siren on 121 is close to that of the sphinx on 117 (PI. 13), and the wheel rosettes recall those on Athens, N.M. 16383 and Kerameikos,inv. no. 658. 399 (PI. 39), also close to the Nettos Painter, belongs with these. 343 (P1. 35) is by or near the painter. GorgonPainter In the early 6th century B.C., the most prolific Attic vase painter is the Gorgon Painter who takes his name from the dinos in the Louvrethat depicts Perseus fleeing fromthe Gorgons.18A numberof vases by the Gorgon Painter himself and several in his manner have been found in the Agora. The Gorgon Painter continues the tradition establishedby the Nettos Painter, which is best illustrated perhaps in his early work where the figures may be rather ample and cover large areas of the vase. 671 (Pl. 64) belongs to this early period, thee e only Agora example that does. The somewhat heavy proportionsmark 671 as an early trefoil olpe, and the two large sirens filling the entire surface of the body as well as the use of the dot-wheel rosettefor filling ornament meanalso argue for early date, a conclusion reached by Scheibler.19The frieze of geese above the sirens on 671 is similar to that near the top of the large lid from the North Slope, also an early work.20Five other fragmentsfrom the Agora are somewhat later: 1297 (PI. 91) is a lekanis; 412 (P1.41) and 1367-1369 (P1. 94) are lids, the last of which is attributedhere. hese lids have their decorationset in friezes, unlike those by the Nettos Painter, which havejust a few large figures occupyingmost of the surface.21In Attic black figure, animal friezes first appear in the work of the Gorgon Painter and his contemporaries; the idea very likely derivesfrom Corinthianvase painting where it had long been used, particularly the arrangementof the animals in groups,22not just in confrontedpairs, which may be seen, for example, on the Gorgon Painter's namepiece. The faces of the sirens or sphinxes on 1369 (P1. 94) seem to belong stylistically between the sirens on 671 (PI. 64) and the sphinxes and sirens on the 367 (P1.94) are also close 297 (PP.41), 1and Gorgon Painter's plate in Baltimore.23412 (P. 91), 16 Athens 16383 (ABV 7, y; Paralip. 3, 12); Kerameikos, inv. no. 658 (ABV 3; Paralip. 1; KerameikosVI, ii, no. 116, pis. 89-91). For the attributionof the Kerameikosamphora,cf. footnote 11 above, p. 74. 7 ABV 3, 4; 4; Paralip. 3, 10. 18 Louvre E 874 (AB , 1; Parali. 6, 1). For the rest of his vases, as well as those in his manner, cf. ABV 8-13; Paralip. 6-9. G. Bakir (AA [JdI 93], 1978, pp. 26-43) has separatedfive of the vases attributedby Beazley to the manner of the Gorgon Painter and added three others to form a new painter, named after the lekythosin Istanbul, inv. no. 7314 (ABV 11, 18). Bakir attributes these eight vases to the same hand as the Bonn amphoriskos by a Boeotian imitator of the Gorgon Painter (ABV 14, 2) and suggests (p. 41) that the painter is an Attic one who may have emigrated to Boiotia. K. Kalinsky, II (AK 21, 1978, pp. 12-16) has argued more cautiously that the Bonn

amphoriskostakes with it only two in Bakir'slist, Istanbul7314 (ABV 11, 18) and LouvreCA 823 (ABV 12, 23), and postulates an Attic artist, the Istanbul Painter, who worked for a time in the circle of the Gorgon Painter, then movedto Boiotia. ' . Scheibler,JdI 76, 1961, pp. 15-16, 18. 20 A-P 1734 (ABV8, 6; Paralip. 6, 6). For the early date, cf. Scheibler,op. cit., pp. 14 and 18. 21 The best examples are those on the well-preserved skyphos-kratersin Athens: N.M. 16382 (ABV 4; Paralip. 3, 10), N.M. 16383 (ABV7, y; Paralip. 3, 12), and N.M. 16384 (ABV 6; Paralip. 3, 13); also 405 (PI. 40) and 407 (PI. 40). 22 Beazley, Development,p. 17. 23Baltimore48.215 (ABV 9, 18; Paralip. 7, 18). For plates from the Gorgon Painter'sworkshop,cf. Callipolitis-Feytmans, Les plats attiques,pp. 63-67.

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to this plate. The lions on 412 have the same slender bodies, and the small part of one lion's mouth that remains shows it to have the rectangularcornerstypical of the Gorgon Painter'smature phase, not the roundedones seen on the North Slope lid.24The siren on 1367 and the goat or deer on 1297 also have their counterpartson the Baltimore plate. 1368 (PI. 94), another lid, probably belongs here, although so little remains that it is difficultto be certain. 139 (PI. 17) is the only neck-amphoraby the Gorgon Painter from the Agora, although four others, 138 and 141-143 (Pls. 17, 18), are in his manner or comparedwith it, the last two attributed here. 140 (PI. 17), if not by the painter himself, is certainlyin his manner. 139 very likely had its decorationset in friezes and is close in style to the kraterfrom the Akropolis,a one-piece amphora in the Louvre, and the round-bodiedlekythos in London.25The Gorgon Painter is credited with introducinga single walking animal in the panel of an amphora.26He may also have been the first to paint a lone horsemanon a galloping mount in a panel, for the earliest preservedexamples are in his manner. The galloping horsemanon 673 (P1.64), perhapsby the Gorgon Painter himself, takes with it 709 (P1. 68), which preservespart of a similar horseman. Severalvases, including some of those alreadymentioned,are in the mannerof the Gorgon Painter: 4 (PI. 1), 11 (PI. 2), 138 (PI. 17), 141 and 142 (Pl. 18), 672 and 673 (Pl. 64), 703 (P1. 67), 705-708 (P1. 68), 723 (P1. 69), and 1857 (P1. 119); 125 (P1. 15), 143 (P1. 18), 531 (P1. 51), 710 (P1. 68), and 1911 (P1. 121) are compared with his manner; and 12 (PI. 2), 123 (PI. 15), 140 (PI. 17), 532 (PI. 51), 704 (P1. 68), 709 (P1. 68), 777 (P1. 73), and 1370 (P1. 94) may be by the painter himself or in his manner. Together they enlarge our picture of the Gorgon Painter's workshop. 138 is a large neck-amphoradecoratedwith horseheadson the neck and two zones of animals on the shoulder and body. The hanging spirals and the stacked rays, as well as the dot rosettes,which are the same as those on Athens, N.M. 19176,27indicate an early date. 140, which preservespart of a very lively lion, is from a similar, contemporaryneck-amphoraof comparable size. 531 and 532 are fragments of two conical stands used to support kraters or bowls and are slightly later, for they compare best with the mature work of the Gorgon Painter. 672, a wellpreservedtrefoil olpe with a single large siren in its panel, belongs with these. Most interesting among these vases is 723, a ring-collaroinochoewith two confrontedsatyr heads of the same type as that of the satyr on the lekythos in Buffalo and probably also on the unpublished oinochoai in Taranto and Berlin.28 The olpai by the Gorgon Painter belong to a larger group of early 6th-centuryolpai that are by differenthands, although none is far in style from the Gorgon Painter and his followers.29675 and 676 (Pls. 64, 65), 713, and 714 (P1.68) were attributedby Beazley,30and three more may be added, 677, 678 (Pls. 64, 65), and 715 (Pl. 68). 675, to judge by the hanging spiral and dot rosette, is contemporarywith 138 (P1. 17), an early neck-amphorain the mannerof the Gorgon Painter, and the square corners of the lion's mouth on 714 are comparableto lions on vases of the painter's mature period. Horse-head amphorae first appear around 600 B.C.and continue until at least the middle of the 6th century.31The 11 examples from the Agora, 13-23 (PI. 3), with perhaps the exception of 22, 24 Cf. I. Scheibler, Jdl 76, 1961, p. 15 for this detail as a criterionfor dating. 25 Akropolis474 (ABV8, 2); Louvre E 817 (ABV9, 7; Paralip. 6, 7); London, Russell (ABV 9, 17). 26 I. Scheibler,Jdl 76, 1961, pp. 42-43. 27 AB V 9, 16; Paralip. 7, 16. 28 Buffalo G 600 (ABV 12, 22); Taranto (ABV 10, 2); Berlin (ABV 10, 3). 29ABV 14-15; Paralip. 9.

30 Also 716 (P1.69), which is by the KY Painter (ABV 14, 5; 33, 7). 31 The Group of Horse-head Amphorae has been studied most recently by M. Picozzi (Studi Misc. 18, 1971, pp. 5-64) and by A. Birchall (JHS 92, 1972, pp. 46-63). For a possible imitationof an Attic Horse-head amphorain anotherfabric,cf. R. Lullies, "Eine neue korinthischeAmphora,"Festschriftfir GerhardKleiner, Tiibingen 1976, pp. 21-32, esp. pp. 29-30.

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belong to the earlier phase of productionof this species and thereforeare presentedin the catalogue as a group. The type of head goes back to Protoattichorses, especially its shape, the large eye and droopy chin, and the mane divided into long wispy locks.32Protoatticexamples usually include the forelegs,33as do the two on a neck-amphoraby the Lion Painter.34Horse-head amphoraeshow the head and neck only and thus are true protomes.35It is not certainwho was the first artist to produce Horse-head amphorae,but surely it was a painter of the late 7th centuryB.C. with strong Protoattic conventionsof drawing combinedwith a preferencefor the austerity of the black-figuretechnique. Karouzou thought perhaps it might have been the Nettos Painter, since a Horse-head amphora, Athens, N.M. 1003, was found with his namepiece,36but so far no panel amphora has been attributed for certain to the Nettos Painter, and the restrainedfigures of early panels producea very different effect from the powerful, animated figures that spred out over the surfacesof his vases.37 Beazley suggested, with reservation,that the Gorgon Painter might be creditedwith the invention of the Horse-head amphora, and Scheiblerfollowed Beazley by agreeing that the Horse-head amphorae should in some way be connectedwith the Gorgon Painter and his workshop.38138 (P. 17), a neck-amphorain the manner of the Gorgon Painter, strengthensthis suggestionconsiderablyfor it has four horseheadson the neck that are of the same type as those on Horse-head amphorae.That the Gorgon Painter is the first artist to decoratemore than one panel amphorawould also appear to argue in favor of this theory, were it not that his four known panel amphorae seem to be later in date than the earliest Horse-head amphorae.39And even though the heads of the horseson the Gorgon Painter's namepiece are very similar in type to those on Horse-head amphorae,40the two may depend upon a commonprototype.Thus, until more substantialevidencelinks the inventionof the Horse-head amphora with a specific painter, it is perhaps best to leave the question open. Panther Painter and CeramicusPainter The work of the Panther Painter and the CeramicusPainter is contemporarywith the early work of the Gorgon Painter, dated in the first years of the 6th century B.C.41 The Panther Painter is primarily a painter of lekanides decoratedwith animal friezes, of which all known to us have been found in the cemetery at Vari. 534 (PI. 51), a fragmentof a stand, and 1451 (Pl. 99), the rim of a skyphos, are close in style but may not be attributed to him for certain. More variety of shapes appears in the work of the Ceramicus Painter than in the work of the Panther Painter. Like his contemporaries,he shows a markedpreferencefor animal friezes, but his trefoil olpe from Vari has a representationof Aristaios,42a rare subjectalso known from 141 (PI. 18), a neck-amphorain the manner of the Gorgon Painter. 535 (PI. 51) is a stand fragment attributedby Philippaki, and we 32 E.g., Agora VIII, nos. 573, 587, pls. 36, 37; Berlin, inv. no. 31 333 (CVA, Berlin 1 [Germany2], pl. 48 [94]:2);compare also the horseson the Piraeus Painter's amphora(AB V 2; Paralip. 1, -, 1), which have a strong Protoatticcharacter.The type may also be seen on horses by the Nettos Painter (e.g. Athens, N.M. 16383: ABV7, y; Paralip. 3,12) and the Gorgon Painter (e.g. Louvre E 874: ABV 8, 1; Paralip. 6, 1). 33Cf. Agora P 22551 (Agora VIII, no. 573, pl. 36); also Kerameikos,inv. no. 74 (KerameikosVI, ii, no. 34, pl. 24, and the brief discussion of horse protomeson p. 222). 34 Athens, N.M. 16393 (AB V 2, 1). 35 For an Attic horseheadneck-amphorawhere the forelegs are included, cf. the one formerly in a Swiss private collection and now in the Indiana University Art Museum, 74.10.1 (Paralip. 10; Moon, Midwestern Collections,no. 29, pp. 48-50). 36 Karouzou,Amasis Painter, p. 42; Picozzi (Studi Misc. 18, 1971, p. 53) gives a summary of the problem.

Cf. above, pp. 74-75. ABV 15-16; I. Scheibler,JdI 76, 1961, p. 1. 3912 (PI. 2); Louvre C 10620 (ABV 9, 9; Paralip. 7, 9); Avallon 50 (Paralip. 7, 9 bis); Hanover 1965.13 (Paralip. 7, 95; CVA, Hannover 1 [Germany 34], pl. 5 [1637]:3, 4), all rather late in the firstquarterof the 6th century.For a discussionof the late work of the Gorgon Painter, cf. Scheibler,op. cit., pp. 6-14. 40 Louvre E 874 (ABV 8, 1; Paralip. 6, 1). A further connectionbetween Horse-head amphoraeand the Gorgon Painter may be the manes of his lions which end in long locks that fall loosely over the shoulder. 41 Panther Painter: ABV 18; Paralip. 11-12. Ceramicus Painter: ABV 18-19; Paralip. 12-13; for a discussion of the plates from his workshop, cf. Callipolitis-Feytmans, Les plats attiques, pp. 204-205. 42Athens, N.M. 16285 (ABV 19, 3). 37 38

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have added two others, 536 (PI. 51) and 537, which go with the namepieces in the Kerameikos. These three stands add a new shape to the known ones by the CeramicusPainter. 1356 (P1.93) is a lekanis that may be by him, for it is close in style to the one in the Kerameikos.609 (P1. 57) is compared by Beazley with the works of the Ceramicus Painter which recall the KX Painter, a younger contemporarywhose work found in the Agora is discussedbelow. AnagyrusPainter and Painter of Eleusis 767 Less well known contemporariesof the Gorgon Painter are the Anagyrus Painter and the Painter of Eleusis 767 whose work should probablybe dated late in the first quarterof the 6th centuryB.C. or the beginning of the second.43The Anagyrus Painter is named after the ancient deme, where modernVari is now located,and most of his small numberof known vases come from the cemetery there.44Callipolitis-Feytmanshas suggestedthat the Anagyrus Painter may have learned his craft in Athens but practicedit at Vari, for the color of the clay of his vases and the characterof the glaze match the local ware.45If so, then 540 (PI. 52), his only piece from the Agora and the only stand attributedto him, may have been exported to Athens.46The same may be true for 590 (P1. 55), a fenestrated stand by the Painter of Eleusis 767, a man of decidedly less talent than most of his contemporaries.He, too, may have workedoutside Athens, in this case at Eleusis. Groupof the Dresden Lekanis Several fragmentsfrom the Agora belong to the Group of the Dresden Lekanis whose vases have been found mainly on the Akropolis and in the Agora, although the namepiece comes from Corinth.471442-1444 (PI. 98) and 1859 (PI. 119) were attributedby Beazley to the main painterof the group, and he thought that 150 (PI. 19) and 413 (PI. 41) were also by him.48591 (PI. 56), a stand, goes with these and adds a new shape to the painter, although not to the group, for 541 (P1. 52), a stand fragment by another hand, was already attributed.592 (PI. 56), also a stand, may be compared with the Group of the Dresden Lekanis, but it is an inferiorwork, perhaps a workshoppiece. So too for 5 (PI. 1), a one-piece amphora. 610 (PI. 58), the best preserveddinos from the Agora, is connectedwith the Group of the Dresden Lekanis, but it does not seem to be by one of its painters. The liveliness of the figures, as well as the painter's interest in mythologicalrepresentationsand narrative, keeps the vase apart and suggests an artist well acquaintedwith the work of Sophilos. The Painter of the Dresden Lekanis seems to have emigrated to Boiotia, for his vases cannot be separated from a large group of Boeotian vases called the Horse-bird Group after the horse protome ending in a bird's tail painted on an alabastronin London.491300 (PI. 91) may be compared with this group. The paintersjust discussedstand somewhatoutside the mainstreamof Attic black figure. The most importantartists of the late first quarterof the 6th centuryand the beginningof the secondare those of the Komast Group and Sophilos.50Together, they carry on the tradition established by the 43 Anagyrus Painter:ABV

20-21; Paralip. 13; CallipolitisFeytmans, Les plats attiques,pp. 69-75. Painter of Eleusis 767: AB V 21; Paralip. 13. 44 Exceptions: 540 (PI. 52); Athens, Vlasto, from Spata (ABV 21, 2). 45Callipolitis-Feytmans,Les plats attiques,p. 69. 46 Callipolitis-Feytmans,Les plats attiques, p. 70. 47 Dresden ZV 1464 (ABV 21, 1). A neck-amphora has also been found at Taranto (ABV 21, 2) and two lekanides at Smyrna (ABV 680, 1 bis and ter, Paralip. 14, 1 bis and

ter). For the rest of the group's vases, cf. ABV 21-23 and Paralip. 14. 48AB V 22. 49ABV22-23. 50Komast Group: ABV 23-37; Paralip. 14-17. Sophilos: ABV 37-43; Paralip. 18-19; Williams, op. cit. (footnote 4 above, pp. 33-34), pp. 9-34; Baklr, Sophilos.Add: New York, M.M.A. 1977.11.2, a volute-krater (footnote 2 above, p. 26) and New York, M.M.A. 1977.193, a fragmentof a krateror a dinos (unpublished):a satyr.

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Gorgon Painter and lead to the painters of the next generation,in particular Kleitias and the chief painters of Siana cups, the C Painter and the Heidelberg Painter. Komast Group The Komast Group is named after the padded dancers who appear on many of its vases, particularly drinking vessels. 417 (P1. 41) is a good example of one. These cheerful revelers were borrowed from Corinth along with certain shapes, specificallythe column-krater,the Corinthian type of skyphos, and the Komast cup,51which was adaptedfor Athenian use. Generally, the painters of the Komast Group, unlike their predecessors,prefer to decorate rather small shapes, and within the group there is a good variety of them. The two chief artists are the KX Painter (short for Komast X), the abler of the two, and the KY Painter, who is perhaps slightly younger. In the Agora, several vases by the KX Painter himself have been found: 126 (PI. 15), 151 (PI. 19), 351 (PI. 35), 523 (PI. 50), 1310 (PI. 91), 1336 (P1.92), and 1452 (P1.99), as well as two in his manner, 616 (P1. 57) and 1337 (P1.92). Of the KY Painter, there is only 716 (P1.69), a fragmentaryolpe in his manner. In addition, 417 (PI. 41), 1658, and 1659 (PI. 108) were attributed to the Komast Group but not given to a specific painter. 1453 and 1454 (Pl. 99), fragmentsof two skyphoi, the former with two zones of figures, may be added. Besides komasts, the most frequent subjectson vases by the Komast Group are animal friezes or confrontedpairs of animals. Occasionally,mythological scenes appear, including the earliest examples in Attic black figure of the Judgment of Paris and of Achilleus receiving his armor.52126, which preservesthe upper part of a youth holding out his cloak, is surely from a scene of myth or legend. The first four lettersof his name (HEKA)appear next to the right break, and the possible restorationsappear to be either an epithet of Apollo or the name of the eponymous hero, Akademos. Sophilos Sophilos is the first Attic black-figureartist whose name is known from signatures, for twice he signs as painter, once as potter, and very likely once as both potter and painter.53He has given us the earliest Attic black-figuredvolute-krater,funerary plaques, and probablytoo, the lebes gamikos,54and he is the first to make liberal use of inscriptionsto identify the figures in his narrative scenes. Unlike the painters of the Komast Group, Sophilos prefersto decoratelarge vessels, and all his vases found in the Agora are large. 6 (P1. 1) and 29 (P1.4) are one-piece amphorae,the former decoratedwith animal friezes, the latter with the figures set in panels. 419 (PI. 42) is a columnkrater, and 1912 (PI. 121), which may be by Sophilos himself, is from a krater or a dinos. 542 (P1. 52) is a conical stand close in style to the London dinos, and 30 (P1.4), a panel-amphoranear the painter, is a weaker version of his amphora in Jena.55 Although Sophilos paints animal friezes on many of his vases, as on 6 (P1. 1), in keeping with the taste of the time, he is clearly more interested in mythological representationsthan any of his 51 For these shapes, cf. above, pp. 23-24, 58-59, 62. 52Berlin 3987 (ABV 25, 16); Rhodes 5008 (ABV 24, 1; Paralip. 14, 1). 53 As painter, Akropolis 587 (ABV 39, 15; Baklr, Sophilos, pl. 3) and London, B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. [footnote 4 above, pp. 33-34]). As potter, Athens, N.M. 2035, 1 and 2 (ABV 40, 21; 42, 36; Paralip. 18, 21; Baklr, Sophilos, pl. 8, fig. 16): the new numbers are 15918 and 15442 (D. Callipolitis-Feytmans ["Louteria,"p. 54] postulates a double signature for this vase,

but only the potting verb remains). As potter and painter, very likely Athens, N.M. 15499 (ABV39, 16;Paralip. 18,16; Bakir, Sophilos, pl. 6, fig. 10). 54 Volute-krater:New York, M.M.A. 1977.11.2 (footnote2 above, p. 26); funerary plaques: Athens, Vlasto (ABV 42, 38-40; Baklr, Sophilos,pls. 37, 38); lebes gamikos:Izmir (ABV 40, 20; Paralip. 18, 20; Bakir, Sophilos,pls. 39-45). Boardman doubts the attribution of the latter (BSA 53-54, 1958-1959, pp. 155-158). 55ABV 39, 7; Paralip. 18, 7; Baklr, Sophilos, pls. 11, 12.

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predecessors,and it is probably no accidentthat each of his signed vases has an ambitious mythological scene in the main zone.56Furthermore,he may have introducednew subjectsinto the Attic vase painter's repertory, specifically the Wedding of Peleus, the Funeral Games for Patroklos, Herakles and the Centaurs,and the Weddingof Menelaos and Helen.57And the satyrswho appear on the fragmentin Istanbul and on the one in New York are among the earliest, if not the earliest, in Attic black figure.58Moreover, his scenes are extended narratives with a full complementof participants;they are not restrictedto the main characters.59419 (PI. 42), which preservespart of a building in antis, belongs with two of his signed vases, Akropolis 587 and London, B.M. 1971.11-1.1, which show the Wedding of Peleus in the main frieze. The interpretationof the scene on 419 is uncertainbut surely must be mythological. 1912 (PI. 121), which shows part of a frontal chariot team and a grieving old man, goes with these. Painter of Xanthos A 6.3444 and Eridanos Workshop Contemporarywith the late phase of the KomastGroup and Sophilos are three attributedpieces. 127 (PI. 15) is a one-piece amphora by the Painter of Xanthos A 6.3444, whose only other known work seems to be his namepiece,60a column-kraterin Istanbul. 1389 and 1390 (PI. 95) are of more interest. Both are large plates attributed by Callipolitis-Feytmans to the Eridanos Workshop, named after the river that flows through the Kerameikoswhere two of them were found.61The floor of 1389 is decoratedin registers, the earliest preservedexample of this scheme.62Although little remains of the figures on either plate, the lotus-palmettefestoon on each is a less well drawn version of the one used by Sophilos.63 Kleitias The interest in narrativeshown by Sophilos is continuedby Kleitias, the next Attic black-figure painter whose name is known, for he signed five vases as painter; four of them were potted by Ergotimos.64Like Sophilos, Kleitias prefersto place his figuresin friezes ratherthan in panels, and usually he inscribestheir names. His drawing is more precise than that of Sophilos, and his love of detail is perhaps greater too, but the figures of the two painters have the same spontaneityof expression. One need only compare the cheering spectatorsat the Games of Patroklos by Sophilos with the joyous Athenians in the Theseus scene on the FranCoisvase to see that the two share a common interest in visual narrative.65Two vases by Kleitias have been found in the Agora. 625 (PI. 59) is the shoulderof a hydria with animal decorationthat finds its nearestkin in the lowest figured frieze on the body of the Frankoisvase.661874 (P. 120), which shows the neck, chest, and hair of a youth, is more puzzling with regardto both shape and subject.It seems to be from an amphora, and the scene is surely mythological,for one letter of the youth's name is preserved,but the precise subjectis uncertain. 56

Weddingof Peleus and Thetis on Akropolis587 and London, B.M. 1971.11-1.1; Herakles and the Centaursand an unexplained subjecton Athens, N.M. 15918 and 15422; Funeral Games for Patrokloson Athens, N.M. 15499. 57 For the first three, cf. footnote 56 above. Menelaos and Helen appear on the Izmir lebes (ABV 40, 20; Paralip. 18, 20; Bakir, Sophilos, pls. 40, 45). 58 Istanbul (ABV 42, 37; Baklr, Sophilos,pl. 35, fig. 66); New York, M.M.A. 1977.193 (unpublished). 59 Compare, e.g., the representationof Thetis giving armor to Achilleus, which is inserted into an animal frieze on the Rhodes lekanis by the KX Painter (ABV 24, 1; Paralip. 14, 1), with any of the works in footnotes 56 and 57. 60 Paralip. 18, 1.

61

Callipolitis-Feytmans,Les plats attiques,p. 77. Cf. above, p. 54 and footnote8. 63 Examples: 6 (PI. 1); Akropolis 587 (ABV 39, 15; Baklr, Sophilos,pl. 3); London,B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. (footnote 4 above, pp. 33-34). 64 For Kleitias, cf. ABV 76-79 and Paralip. 29-30. The collaborativevases are nos. 1, 12-14. 65 Athens, N.M. 15499 by Sophilos (ABV 39, 16; Paralip. 18, 16; Baklr,Sophilos,pi. 6, fig. 10); Florence4209 by Kleitias (ABV 76, 1; Paralip. 29, 1; Cristofani, Vaso Franqois,fig. 63). 66 Best seen in A. Minto, II vaso Franqois,Florence 1960, pls. 31, 32 and Cristofani, VasoFranfois, figs. 97, 98, 101. 62

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C Painter The C Painter (C for Corinthianizing) and his slightly younger contemporary,the Heidelberg Painter, are the two best known painters of Siana cups, the chief type of Attic black-figuredcup in the second quarter of the 6th century B.C.67

The C Painter draws short, compact figures with large heads, firm stances, and lively gestures. His preferredsubjectsare friezes of standing figures, symposia, duels, and cavalcadesof horsemen to left. Occasionally, he paints mythological scenes, in particular Achilleus and Troilos, Perseus and the Gorgons, Achilleus and Memnon, the Judgment of Paris, and the Birth of Athena, which is one of the earliest representationsof this theme.68His style and his non-mythologicalsubjectsshow a strong Corinthian influence,69although he is not the first Attic black-figurepainterto be indebted to Corinth.70On some of his more ambitiouspieces, such as the Louvrepyxis, there also seems to be some influence from Kleitias.71All the Agora pieces by the C Painter himself, 1660-1667 (Pls. 108, 109), are Siana cups decoratedaccordingto the overlap scheme generally preferredby him. These cups are extremely fragmentary,but the compositionson most of them may be understoodby comparing them with others by the painter that are well preserved.The frieze of standing figures on 1661 (PI. 108) and that on 1662 (P1. 108) were probablysimilar to the one on the cup in Berkeley or the cup in the Villa Giulia;72the symposionon 1667 finds its best parallel on a cup in London.73 The cavalcadeof horsemen on 1660 (PI. 108) and the warriors on 1663-1666 (Pl. 109) have their counterpartson many cups, e.g., London, B.M. B 382, Mainz 89, Corinth CP 552, and Montreal 59.Cb.2.74Besides these cups by the C Painter, seven other pieces belong here. Two other Siana cups, 1669 and 1670, are related to him, 1668 (PI. 109) and 1937 (PI. 123) are in his manner, and 1937, a plaque, adds a new shape to those known to be by the painter and his companions. 1678 (P1. 109) is the best-preservedSiana cup from the Agora, the only one that may be fully restored, and one of the few examples from these excavationsdecoratedaccordingto the double-deckerprinciple (cf. above, p. 63). Of particular interest is 1802 (P1. 116), perhaps a fragmentof a Siana cup, which preserves the last five letters of the potter's name and the first two letters of the verb. The style recalls the C Painter, particularly his best pieces such as the Louvre pyxis and the Naples lekanis.751683 also recalls his work. 67 The C Painter: ABV 51-61; Paralip. 23-26; J. Hemelrijk, BABesch 46, 1971, pp. 110-114. The Heidelberg Painter: ABV 63-67; Paralip. 26-27. 68 Achilleus and Troilos: New York, M.M.A. 01.8.6 (ABV 51, 4). Perseus and the Gorgons: Vatican 335 (ABV 57, 111). Judgment of Paris: Louvre CA 616 (ABV 58, 122; Paralip. 23, 122) and Lille 763 (ABV 681; MonPiot 63, 1980, p. 35, fig. 3 and p. 37, fig. 4). Achilleus and Memnon: Lille 763. Birth of Athena: Louvre CA 616. The Birth of Athena on Akropolis 597 a-e by Kleitias (ABV 77, 3) may be slightly later than the one by the C Painter (Beazley, Development, p. 108, note 55). 69 See particularly Beazley, MMSt 5, 1934-1936, pp. 100102 and Development, pp. 22-23. 70 Corinthian influence on Attic black figure may be detected as early as the Nettos Painter who seems to be the first to use the incised rosette typical of Early Corinthian pottery. The use of animal friezes by the Gorgon Painter, the Komast Group, and Sophilos also seems inspired from Corinth, as noted above. Sophilos and Kleitias both use added white in the Corinthian manner, laying it directly on the clay ground with the details drawn in glaze, instead of applying the white on top of the black glaze and incising details, which is the Attic method. For Corinthian influence on the earliest Attic black figure as well as

problems of chronology, cf. T. Dunbabin, BSA 45, 1950, pp. 193-202; Karouzou, 'Avayvpov^ros, pp. 115-122; for the first part of the 6th century,cf. Payne, NC, pp. 190-202; for the second quarter, cf. H. R. W. Smith, The Hearst Hydria. An Attic Footnote to Corinthian History [University of California Publicationsin ClassicalArchaeologyI, 10], Berkeley/Los Angeles 1944, pp. 241-290 and W. Kleinbauer, AJA 68, 1964, pp. 355-370; also, Zaphiropoulou, BCH 94, 1970, pp. 380398. 71 Louvre CA 616 (ABV 58, 122; Paralip. 23, 122); also, Lille 763 (ABV 681; MonPiot 63, 1980, pp. 35-38, figs. 2-6). Compare especially the incised decoration on garments with many of those in the Wedding of Peleus scene on the Francois vase. 72 Berkeley 8.1 (ABV 54, 71); Villa Giulia 16336 (ABV 55, 74). 73 London, B.M. B 382 (ABV 51, 5). 74 London, B.M. B 382 (ABV 51, 5); Mayence 89 (Paralip. 23, 12 bis); Corinth CP 552 (ABV 52, 13); Montreal 59 Cb 2 (ABV 52, 14; Paralip. 23, 14). 75 Louvre CA 616 (ABV 58, 122; Paralip. 23, 122); Naples (ABV 58, 119; Paralip. 23, 119).

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HeidelbergPainter The Heidelberg Painter, whose work resemblesthe early work of the Amasis Painter, takes his name from the two Siana cups in Heidelberg.76His known output does not rival in quantity that of the C Painter, but he seems to be the more ambitious artist of the two, at least with regard to the variety of subjectmatter. Like the Agora cups by the C Painter, the four attributedto the Heidelberg Painter are very fragmentary,but what remains of the figures may be better understoodwith the help of his well-preservedworks. The runner on 1671 (PI. 109) with his red chest and a cloak over both arms is similar to the warriorson Munich, inv. no. 7739, and the satyr on 1682 (PI. 110), a rare subjectfor the Heidelberg Painter, was probablylike those on the cup in Copenhagenwho accompanyDionysos.77The woman on 1672 is very likely a spectator,as those on Louvre A 478 who watch Pandareosand the Golden Hound.781679 (PI. 110) probablyshowed a phalanx. Polos Painter The Polos Painter, named for the headdress worn by his women, sirens, and sphinxes, stands considerablyapart from his contemporaries,for he shares neither their drawing ability nor their interest in narrative.79His modesttalent stands in great contrastto his large output, much of which was exportedto many parts of the Greek world. The Polos Painter decoratesmany shapes, but his range of subjects is limited, consisting of animal friezes, sirens and sphinxes often in confronted pairs, and rows or pairs of women. His style reflects a certain influence from Corinth, and his hastily executed, almost mechanically drawn figures are quickly recognizable. There are more vases from the Agora attributedto the Polos Painter than to any other painter of his time, a circumstancethat may be fortuitous or may reflect civic and domesticpractices.Among these vases, there is a good varietyof shapes, typical for the painter:neck-amphorae,160 (P1.20), 161; columnkrater, 427; stand, 594; hydria, 621 (P1. 59); oinochoe, 733 (P1. 70); tripod-pyxis, 1271 (PI. 90);

lekanides,1311-1321 (PI.92); lids, 1263 (PI.88), 1344 (PI.93), 1377;plates,1399-1405 (PI.96);

and several fragmentsof closed vases which do not preserveenough to be sure of the shape, 18621868 (PI. 119). In addition, one hydria fragment, 622, is near him. All the subjectsare his usual ones. Painter of LondonB 76, Burgon Group, TyrrhenianGroup, CamtarPainter, and Groupof North Slope AP 942 Among the many painters whose work is contemporarywith those just discussed,vases by only three have been found in the Agora:the Painter of London B 76, the PrometheusPainter, and the Camtar Painter. Four of these vases are by the Painter of London B 76,80 whose techniquein some respects,particularlyits colorfuleffects,recalls the C Painter. He is not a cup painter, however,but prefers to decoratepots and has left us a good variety of them. Each of the four from the Agora is a different shape. 611 (PI. 57), 626 (PI. 59), and 1346 (PI. 93), attributedby Beazley, are a dinos, a shoulderedhydria, and the lid of a lekanis, respectively;34 (PI. 5), addedhere, is a panel amphora. 767 (PI. 72) is an oinochoe of the Vraona type, a rare and special shape (see above, pp. 42-43), which belongs to the Burgon Group, whose painters are near the Painter of London B 76 and with whom the series of Panathenaicamphoraebegins.81170 (PI. 21) is the only vase from the Tyrrhenian Group found in the Agora, for normallytheir work was exportedto Italy.82170 preservespart of 76 Heidelberg vi. 29 a (ABV 63, 1) and S 61 (ABV 63, 2). For the rest of his work, cf. footnote 67 above, p. 81. 77 Munich, inv. no. 7739 (ABV 64, 28; Bothmer, Amasis Painter, p. 72, fig. 55); Copenhagen, inv. no. 5179 (ABV 64, 24). 78 Louvre A 478 (ABV 66, 54).

79 ABV 43-50; Paralip. 19-22; Hemelrijk,op. cit. (footnote 67 above, p. 81), pp. 105-110; Callipolitis-Feytmans,Les plats attiques,pp. 160-167. 80 ABV 85-88; Paralip. 32-33. 81 ABV 89-90; Paralip. 33. 82 ABV 94-106; Paralip. 34-43.

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a warrior and generally recalls the PrometheusPainter, who takes his name from the subjecton his neck-amphorain Florence.83166 (PI. 20) is by the Camtar Painter whose name is a contractionof Cam[bridge]and Tar[quinia] where his namepieces are located today.84The Camtar Painter is primarily a painter of ovoid neck-amphorae,although he decoratedan amphora Type B and a round-bodiedhydria.85His style recalls somewhat that of the Painter of London B 76,86 but his drawing is strongerand the quality higher. In this respect,he is more akin to other contemporaries, in particularthe Painter of Acropolis627,87 whose four known vases come from the Akropolis.Our last vase here, 375 (P1. 37), belongs to the Group of North Slope AP 942, a small group of loutrophoroi found so far only on the Akropolis, the North Slope, and in the Agora, 375 being a wellpreserved example.88Although somewhat later than the work of the painters just discussed, the style is linked with Eleusis 252 (766) by the Painter of London B 76.89 The next group of painters is active from about 570 to 540 B.C.Thus, in the beginning they are contemporarywith those just discussed, but they continue to work well past the middle of the century. The most importantartists are Lydos and two companions,the Painter of Louvre F 6 and the Painter of Vatican 309. Lydos Lydos, as his ssignatureHO AYdAO suggests, was probably a foreigner who came to Athens from the East.90He signed two of his vases as painter, the one-piece amphorain the Louvreand the splendid dinos from the Akropolis, which although very fragmentary,ranks as one of the masterpieces of all Attic black figure.91Lydos worked for at least two potters, each confirmedby a signature on one of his vases, and probablyfor others as well, yet one may not exclude that he himself also potted on occasion.92Lydos is chiefly a pot painter, although he decoratedseveral cups, a few other small vessels, and also some funeraryplaques. His career seems to have spanned about three decades,his hydria in Munich being a very early piece (ca. 570 B.C.), the New York column-krater, the signed dinos, and the Naples amphora comprising some of his later works (ca. 540 B.C.).93 Although principally a painter of scenes with human figures, on some of his early vases Lydos paints animal friezes below the figured scenes or occasionallyanimals by themselves,and for one of 83

Florence 76359 (ABV 97, 28; Paralip. 37, 28). 84ABV 84; Paralip. 31-32. 85 New York,private,once Basel, Bloch (Paralip. 31, 10;Cat. Sotheby 13-14. July 1981, no. 243); Rome, Fondazione Lerici (Paralip. 32, 11; E. A. Arslan and E. M. Menotti, Gli Etruschie Cervetri [Nuove acquisizioni delle Civiche Raccolte Archeologiche], Milan 1980, p. 197, no. 11 [wrongly called Corinthian]). 86 Bothmer, AK 2, 1959, p. 8. 87 ABV 82; Paralip. 30, 1. 88ABV89. 89

ABV 86, 6; 89; Paralip. 32, 6. 90For Lydos, cf. ABV 107-120; Paralip. 43-49; and the monograph by Tiverios, 'O Avtos KaL7rripo

o TOy, Athens

1976. Also, M. B. Moore, AJA 83, 1979, pp. 79-99 (Akropolis 607). For plates by Lydos and his workshop, cf. CallipolitisFeytmans, Les plats attiques,chap. 3. On the name Lydos as reflecting his origins, cf. J. Boardman, ABFV, p. 52; also, M. Robertson, "Beazleyand After,"MJb 27, 1976, p. 42. The vase referred to by Robertson as indicating that Lydos was a slave is a kyathos in the Villa Giulia that shows an assembly of gods. It is not, however, by the mid-6th-centuryartist but by a later one working around 520 B.C. Cf. F. Canciani and G. Neumann, "Lydos,der Sklave?"AK 21, 1978, pp. 17-22. 91 Louvre F 29 (ABV 109, 21; Paralip. 44, 21; Tiverios,

pls. 1:,S, 17:/3, 18); Akropolis 607 (ABV 107, 1; Tiverios, pls. l:a, 48-50, 98:a, ,8; AJA 83, 1979, pls. 11-13, figs. 1-12 and ills. 1, 2 opp. p. 99). 92 For the potting signatures,cf. Berlin 1732 signed by Kolchos (ABV 110, 37; Paralip. 44, 37; and 48 where the attribution is questioned; Tiverios, pls. 57-59); Oxford 1966.768 signed by Nikosthenes (ABV 113, 80; 229; Paralip. 45, 80; 108; Tiverios, pl. 47:3, y). Nikosia C 440 (ABV 109, 28; Paralip. 44, 28; Tiverios, pls. 25:y, 26:a) is also madeby Nikosthenesfor it is the same shape as the signed amphora in the Villa Giulia (ABV 229). Berlin 1685 (ABV 109, 24; Tiverios, pls. 46, 47:a) may have been potted by Amasis. That Amasis potted the psykter-amphorain London (ABV 109, 29; Paralip. 44, 29; Tiverios, pls. 51, 52) is doubted by Bothmer. Callipolitis-Feytmans (Les plats attiques,pp. 87-93) postulatesthat Lydos may have decoratedplates for seven differentpotters, a number that seems rather high. For Lydos as potter, cf. AJA 83, 1979, p. 99, esp. note 166. 93 Munich 1681 (ABV 108, 12; Tiverios, pl. 2); New York, M.M.A. 31.11.11 (ABV 108, 5; Paralip. 43, 5; Tiverios, pls. 53-55); Akropolis 607 (footnote 91 above); Naples, N.M. 2770 (ABV 109, 23; Paralip. 44, 23; Tiverios, pl. 56). Berlin 1732 (footnote 92 above), if it is by Lydos, is probably a bit later.

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his ovoid neck-amphorae,he adoptedthe decorativescheme used by Tyrrhenian painters.94Mainly, however, Lydos prefers to paint scenes of myth or of everydaylife. His style of painting is bold; his figuresare large and amply proportioned.On his early vases they tend to be ratherplain looking with a minimum of decorativeincision, especially for garments and hair. In his mature and later work, incised patterns on garments and careful incision for hair or pelts, combinedwith accessory red and white, create a rich tapestryof texture and color that helps to clarify overlappingfigures in his frequently innovativeand sometimescomplicatedcompositions.95 Ten vases by Lydos himself have been found in the Agora, more than that of any other major Attic black-figure artist. Nine of these were attributed by Beazley; 50 (PI. 6) is added here. In additionto the vases surely by his hand, seven others may be by him, but too little remainsto be certain. Although very fragmentary,these vases represent all phases but the very earliest in Lydos' career,and the range of shapes as well as subjectsis quite broad. The five earliest are 378 (PI. 37), 429 (PI. 42), 627 (PI. 60), 1262 (PI. 89), and 1447 (PI. 99). On all these there is economyof incision, and the compositionon each, from what remains, seems to be rather simple without very much overlappingof the figures. 378, the neck of a loutrophorosdecorated with pairs of mourners,is the exception. It goes with the other loutrophoroiby Lydos,96and the sphinx or siren in the frieze below the mournersis a less decorativeversion of the sphinxes on the neck-amphorain Florence.97The youth finds his counterpartin the men on the neck-amphora in the Louvre and on the column-kraterin London, as well as in the youth on the column-kraterin Salonica.98The frontal chariot on 627 (an infrequent subjectfor Lydos who preferredto draw his horses in profile) compareswith that on Louvre E 868, and the ivy framingthe sides of the panel of + this hydria is simpler and plainer than that on the slightly later hydriai in Gttingen (Gnttingen is close to Siana kothon his the known in the Kerameikos.99 and Cab. Med.) 1262, by Lydos, only of the century. The hair of is nearer to the middle chalice a in Herakleion.100 1447, fragment, cup the figures is still solid, but the X decorationon the inside of the bride'sveil is a precursorof that on the Kerameikoscup where it is used abundantlyon the garments of the mourners.101Five of the seven vases that may be by Lydos comparebest with his early work: 172 (P1.21), 430 (PI. 42), 628 (PI. 60), 790 (PI. 74), and 1475 (P1. 100). The last, a skyphos, is of special interest, for if it is by Lydos, it adds a new shape to his already wide repertory.The key pattern on 790, a fragmentof a lekythos, is slightly simpler than the one on the lekythos in Riehen;102the drawing of the cock is closest to the early ones by Lydos. The next two vases by Lydos himself are not much later than thosejust discussed.789 (PI. 74) is an early shoulderedlekythos. Here, the hair of the figures is still solid and the women's flesh left black as it was on 1262 (PI. 89),103 but there is more pattern incised on the drapery,and the composition is more ambitiousthan the one on the kothon, 1262. The scene on 789 depictsa successful hunter returning home with his quarry, welcomed by a man and two women, perhaps his family. (footnote91 above,p. 83).

pls. 7:,, 8, 9); Salonica, inv. no. 825 (ABV 108, 10; Tiverios,

Animals by themselves: Harvard, Fogg 1925.30.125 (ABV 108, 9; Tiverios, pl. 19:,B). Tyrrhenian scheme: Florence 70995

pl. 70:A3). 99 Louvre E 868 (footnote 98 above); Gottingen + Cab.

94 Animal frieze:e.g. Louvre F 29

(ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23).

Med. (ABV 109, 19; Tiverios, pl. 31); Kerameikosn.n. (Para-

95 For examples of the latter, cf. particularly Akropolis 607 (footnote 91 above, p. 83) and New York, M.M.A. 31.11.11 (footnote 93 above, p. 83).

lip. 45; Tiverios, pl. 29). 100Herakleion 217 (ABV 684, 71 bis; Tiverios, pls. 14:,3, 15-17:a).

109, note 234. 97Florence 70995 (footnote94 above). 98 Louvre E 868 (ABV 110, 30; Tiverios, pls. 3, 4:a); Lon-

96 Tiverios, p.

don, B.M. 1948.10-15.1

(ABV 108, 8; Paralip. 44, 8; Tiverios,

101Kerameikosn.n. (ABV 113, 81; Paralip. 45, 81; Tiverios, pls. 42-44). 102 Riehen, Kuhn Coll. (ABV 111, 41; Tiverios, pl. 65:a). 103

For this detail, cf. Tiverios, p. 121, note 451.

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He is accompaniedby his dog and precededby a chariot.1041446 (PI. 99) is a chalice fragment, similar to 1447 (PI. 99) but with surer and finer drawing. The woman's hair and the horse'smane are finely incised, even the teeth of the horse are included,and the scale patternembellishesthe skirt of the woman's peplos. 1446 is closest to the lovely fragment from Delphi, probably a columnkrater, that preserves part of the right trace horse of a frontal chariot and a siren flying to left.105 435 (PI. 43), a fragmentof a column-kraterthat may be by Lydos, belongs here. From the little that remains of the two horses, the scene showed either two horsemen or a horseman leading a void horse, similar to the one on the Kerameikoshydria. The rest of the vases are late works. The scene on 49 (Pl. 6), a small panel amphora by Lydos himself, was probably much like the one on the Kerameikoshydria but later, a conclusionreached independently by Tiverios.10650 (PI. 6), two fragments of what must have been a splendid amphora, bore a similar subject.It is almost a replica of the painter'smasterpiecein Naples,107but for the absence of ornament above the panel. It has the same monumental quality, refined elegance, and restraineddrawing as the Naples amphora. 1349 (P1.93), the lid of a lekanis, is our latest vase firmly attributedto Lydos, at least to judge by the three-dimensionalfolds of the warrior'schiton.108 It probably had an uninterrupted battle scene, and the compositionwas very likely a more ambitious version of the fight on one of Lydos' Siana cups in Taranto,109but the amount of overlapping of the warriors'legs on 1349 suggests a much later date than the cup, one of about 540 B.C.The last piece in this section on Lydos is 51 (P1. 7), an amphora fragmentthat shows a satyr about to drink from a horn. Many of the details unmistakablyrecall Lydos, but it is not certain if the hand is his. Besides the ten vases firmly attributedto Lydos and the seven that may be by him, seven others, 436,437 (PI. 43), 442-445 (P1.43), and 1350 (P1.93), are in his manner,and three more, 439-441 (Pl. 43), are related. All but one of these, 1350, the lid of a lekanis, are column-kraters.436, a wellpreserved krater, and 1350 are good examples of the animal style connectedwith Lydos. 437, a shoulder fragment added here, goes with another in his manner in the Louvre. The rest of the kraters in his manner, 442-445, are handle-plates decoratedwith a bird, three of them preening. The three pieces relatedto Lydos are also handle-platesbut are decoratedwith human heads facing to left, a favoritedecorationfor handle-plates (above, p. 25). 439 has a man and a woman; 440 and 441, both attributedhere, have a single male head. Painter of LouvreF 6 and Painter of Vatican309 In Paralipomena (p. 47) Beazley suggestedthat 442-445 might be by the Painter of Louvre F 6, but he kept these four kratersin his list of vases in the manner of Lydos without cross-listingthem. We are inclined to do the same, even though the sketchiness of the drawing seems closer to the Painter of Louvre F 6 than it does to Lydos, but without more to go on, it is perhaps preferableto leave them where they are. The Painter of Louvre F 6 is a conservative,old-fashionedartist who is linked with Lydos chiefly through his animals.1"0The drawing on his earlier vases is finer and more elaboratethan in his later work, which exhibits marksof hastiness. Throughout his careerhe pays scant attentionto details of anatomyand rarely embellishesgarmentswith patternsother than 104For scenes of hunters, cf. M. B. Moore, Metropolitan Museum Journal 18, 1984, pp. 37-38. 105 Paralip. 46; Tiverios, p. 102, note 122 for the interpretation of the scene, and pl. 70:8. The flying siren brings to mind the one on the obverseof Louvre F 53, a nearly contemporary, special one-piece amphora signed by Exekias as potter but attributed to Group E (ABV 136, 49; Paralip. 55, 49).

106

Tiverios, p. 105, note 176. Naples, N.M. 2770 (footnote93 above, p. 83). 108 Tiverios (p. 122, note 467) also considersthis a late work. 109Taranto 52130 (ABV 112, 67; Paralip. 44, 67; Tiverios, pl. 13). 110 ABV 123-129; Paralip. 50-53. 107

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broad stripes. The Painter of Louvre F 6 decoratesa good variety of shapes, but his subjectsare frequently repetitious. He shows a marked preference for departure scenes and combats, often flankedby spectators. Ten vases from the Agora were attributedby Beazley to the Painter of Louvre F 6: 54-56 (PI. 7), 58 and 59 (P. 8), 447 and 448 (PI. 44), 561 (PI. 54), 768 (P1.72), and 1922 (P1. 122). 449 may be by him, and two others, 57 (PI. 7) and 1351 (PI. 93), are in his manner. These are mostly columnkratersand amphorae. 561 is a stand, 768 an oinochoe.All but one are late in the painter's career. 54 is the exception for it is closest to the painter'slebes in Houston,11 one of his best vases. The late work of the Painter of Louvre F 6 leads on to the Ready Painter, also a somewhat old-fashioned artist. 1330 (P1.92), a lekanis with its cover,is near him. Like the Painter of Louvre F 6, the Painter of Vatican 309, who is the second companion of Lydos, is also linked to the masterchiefly by his animal style." 2 His known output, however,is only about one-third that of the other two painters. The quality of his drawing is frequentlyhigher than that of the Painter of Louvre F 6, and his style is closestto the early phase of Lydos. 13The Painter of Vatican 309 decoratesmainly ovoid neck-amphorae,although he has left us a few hydriai and column-kraters,one of the latter, 446 (P1. 43), from the Agora, two amphorae, and a plate. 176 (P1. 21) may be addedto his ovoid neck-amphorae. In the third quarterof the 6th century,Attic black-figurepaintersachievetheir greatestdistinction. This is the period of the Amasis Painter and Exekias, the two great masters of Attic black figure. Alongside these two are many other able artists who, although not nearly so skilled, have nevertheless left us a good many vases of high quality. They are painters such as the Painter of Berlin 1686, those of the PrincetonGroup, the Swing Painter, and the paintersof Group E, just to mention a few whose work may be dated between 550 and 530 B.C. After them come artists such as the Lysippides Painter, who was probably a pupil of Exekias, the Antimenes Painter and his group, and Psiax, all important artists who begin working between 530 and 520 B.C. but who continue well beyond. In the third quarterof the 6th century,the workshopof the potter Nikosthenes also comes into prominence. Exekias The work of Exekias, who signs as both potter and painter, demonstratesmore clearly than that of any other black-figureartist the brilliant resultsthat may be achievedwithin the strict limitations of this technique, and his accomplishmentremains unrivaledthroughoutall Attic black figure.'"4 Although his known output hardly exceeds 35 vases, from these the mark of his genius is clear. As potter, he fashions new shapes or reworksold ones. As painter, he understandsbetterthan most the integral relationshipbetween the shape of a vase and its decoration,both ornamentand figures. He has an unparalleled sureness of drawing and an unfailing eye for subtle details that enliven his compositions.In Exekias' narratives,a somber mood and a dignified calmness often prevail. Frequently, the moment shown is the one that precedesor follows that of the greatest drama, in contrast to the custom of Archaic artists who prefer lively movementand vigorous gestures instead of understatedemotion or allusion to action past or future. This restraint combinedwith the monumentality of his figures and his sensitivity to human situations will not be seen again in Greek art until the Classical era. 11 Houston 34.129 (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries,fig. 166:a-e). 112ABV 120-123; Paralip. 49-50. 113 Compare,e.g., his namepiece(ABV 121,7; Paralip. 49,7) with Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios,

pis. 22, 23) or Brunswick241 (ABV 122,21) with the hydria in Berlin (ABV 108, 15; Tiverios, pls. 4:/, 5). 14 For Exekias himself, cf. ABV 143-146; Paralip. 59-61; M. B. Moore, AJA 84, 1980, pp. 417-434, with bibliography since Paralipomenaappeared.

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Group E and the Lysippides Painter So far, no vase found in the Agora proper has been attributedto Exekias himself or even to his manner. The painters of Group E, who form the backgroundfor Exekias and to whose vases his early work is closely related, are representedby only two vases, 74 (PI. 9), a panel amphora attributedby Beazley, and 632 (PI. 60), a shoulderedhydria addedhere.115The representationof the Birth of Athena on 74 was probably similar to the one on Berlin 1699, and the frontal chariot without flanking figures on 632 is a favorite subject among painters of Group E.116None of the painters around Group E and Exekias, such as the Painter of the Vatican Mourner, the Towry Whyte Painter, or the Painter of London B 174, seems to appear in the Agora black figure.117 Neither are there any vases by Exekias' follower and pupil, the Lysippides Painter, although two panel amphorae in his manner, 86 and 87 (PI. 10), are attributed here. All this may be purely fortuitous, but it may also indicate that these painters worked for clients outside the Agora. The provenancesof many of their vases are known, and, as is to be expected, the greatest number of them were found in Etruscan Italy, chiefly at Vulci and Cervetri.But of those found in Greece, it is perhaps worth noting that almost all seem to come from dedicatoryor funerarycontexts, in particular the Akropolisand the Kerameikos.118 While any results drawn from such observationsmust be used with extreme caution, they may, however, reflect economicfactors influencing the Athenian ceramicindustry. Amasis Painter With the Amasis Painter we are more fortunate,for three vases from the Agora are attributedto him, and two others may be by him. Amasis signs as potter only, whence the painter takes his name.119The Amasis Painter's career spans at least four decades,beginning in the second quarter of the 6th century and lasting until ca. 520 B.C. or slightly later.120Well over 130 of his vases have survived.The Amasis Painter decoratesa wide variety of shapes ranging in size from very small to quite large and including some that are rare.121His early work has its greatestkinship with painters of Siana cups, particularlythe Heidelberg Painter and to a certain extent with Kleitias, especially with regard to his precise drawing and attention to ornamentaldetails.1221257 (P1. 88), the earliest Attic black-figuredalabastron,is one of the Amasis Painter's very early works. The generous amount of space between the figures suggests that it predates slightly another of his small vases, the exquisite aryballos in New York.123Here, too, the figures are loosely grouped, but they are closer together, and there is more overlapping.An ornamentallink between the two vases is the step pattern above the figures on 1257, which reappearson top of the mouth of the aryballosbut is rare elsewhere.124 115

For Group E, cf. ABV 133-138; Paralip. 54-57. Berlin 1699 (ABV 136, 53; Paralip. 55, 53); for examples of frontal chariots, cf. New York, M.M.A. 56.171.12 (ABV 134, 22; Paralip. 55, 22) or Munich 1380 (ABV 135, 34). 117 I.e., those painters on pp. 138-143 of ABVand pp. 57-59 of Paralip. 118 A tabulation of the Greek findspotsfor these painters may be of interest. Group E: Copenhagen, inv. no. 7068 (ABV 134, 14), from Thebes accordingto the vendor (C. Blinckenbergand K. Friis Johansen in CVA, Copenhagen 3 [Denmark 3], p. 83); Akropolis 821 (ABV 136, 51); Akropolis 789 (ABV 137, 64); Akropolis 790 (ABV 137, 65); Kerameikos,inv. no. 1682 (ABV 137, 66; Paralip. 55, 66); Akropolis 649 and 650 (ABV 137, 67); Akropolis 648 (ABV 137, 68); Kerameikosn.n. (ABV 138, 70). Near Group E: three loutrophoroi in the Kerameikos (ABV 139, 13-15). Exekias: Agora, North Slope A-P 1044 (ABV 145, 19; Paralip. 60, 19); Berlin 1811-1826, from Athens (ABV 146, 22; Paralip. 60, 22); Athens, N.M. 2414116

2417 (ABV 146, 23; Paralip. 60, 23); Brauron, from Myrrhinous (Paralip. 61); Athens, N.M. 1044 (ABV 147, 5), from Corinth (CC 692). Manner of Exekias: Akropolis 853 (ABV 147, 7); Akropolis 926 (ABV 147, 8); Athens, N.M., from Pharsalos (ABV 148, 9); Akropolis 647 (ABV 148, 10). So far, the work of the Lysippides Painter has not been found in mainland Greece. 119 ABV 150-158; Paralip. 62-67; Bothmer,AmasisPainter, passim. On his name, cf. J. Boardman,JHS 78, 1958, pp. 1-3. 120 For the range in time, cf. Bothmer,AmasisPainter, p. 239. 121 The varietyin shape of the signedvases is also large. For a list, cf. footnote 11 above, p. 44. All these are mature or late works. 122 S. Karouzou (Amasis Painter, p. 28) suggests that the Amasis Painter may have been a pupil of Kleitias. 123New York, M.M.A. 62.11.11 (Paralip. 66-67; Bothmer, Amasis Painter, pp. 194-197, cat. no. 52). 124 Later it appears on two lekythoi: London, B.M. B 548

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POTTERS AND PAINTERS

The middle and late works of the Amasis Painter, to which 95 (PI. 11) and 681 (PI. 66) belong, are contemporarywith vases by the painters of Group E, Lydos, and Exekias, but he seems not to be influencedby these artists. The drawing of the Amasis Painter lacksthe vigor and expressiveness of Exekias and Lydos, but always it is delicate and sure, the ornamentalpatternsclear and precise, and the relationshipbetween shape and decorationwell understood.The Amasis Painter's compositions are generally less ambitious than those by Exekias, and sometimesthey may be rather repetitious, but they are never dull. Occasionally,he paints subjectsthat are quite rare, such as Achilleus receiving his armor, horse taming, boisterous satyrs making wine, or the stable of Poseidon, which seems to be unique.'25If the illustration on 681 is mythological,it may representDionysos and Ikarios or Dionysos and Oinopion, both unusual subjects. Two other Agora fragmentsfrom this period may be by the Amasis Painter. 779 (P1.73), a small fragmentof an olpe or an oinochoe,was attributedby H. R. W. Smith. Very little remains,and it is difficultto be certain of the attribution,but if it is by the painter, it is one of his slighter pieces. Of more interest is 1753 (P1. 113), which comes from an eye-cup. It shows part of an eye and on the right the back of a woman's head and neck. Her flesh is reserved,which finds good parallels in the best work of the Amasis Painter, and the careful incision comparesfavorably,yet an attributionis not completelycertain. Painter of Berlin 1686, Swing Painter, Painter of Munich 1410 Other pot painters contemporarywith Exekias and the Amasis Painter are representedin the black figure from the Agora. 73 (PI. 9), a fragmentof a panel amphora,recallsthe Painterof Berlin 1686, whose slightly more than two dozen vases consist mainly of one-piece amphorae and neckamphorae, although he may have decorateda hydria.'26 The quality of his work is about equal to that of the painters around Group E. He paints several differentmythologicalthemes and has also left us two unusual representations,a feast in honor of Athena, which appears on his namepiece, and a chorus of "knights"on another amphorain Berlin.'2773 probablyshowed a fight flankedby spectators,similar to one by the painter himself, once in the Basel Market.'28 A younger contemporaryof the Painter of Berlin 1686 is the Swing Painter who takes his name from the amphora in Boston that shows a girl on a swing.'29His known output numberswell over one hundred vases, most of which are panel amphoraeand neck-amphorae,but he has also left us hydriai, Panathenaic amphorae, a loutrophoros,and perhaps also a column-kraterand a lebes.130 The quality of his work varies considerably,from well-planned compositionswith carefullydrawn (ABV 154, 58; Bothmer, Amasis Painter, pp. 188-189, cat. no. 49) and Montclair (N.J.), Dusenbery (ABV 155, 59; Paralip. 64, 59; Bothmer,Amasis Painter, pp. 190-191, cat. no. 50). 125 Achilleus receivingarmor:Boston 01.8027 (ABV 152, 27; Paralip. 63, 27; CVA, Boston 1 [USA 14], pl. 27 [649]:2;Bothmer, Amasis Painter, pp. 134-137, cat. no. 25). Horse taming: Leningrad, inv. no. 161 (ABV 151, 15; Paralip. 63, 15; Bothmer, Amasis Painter, p. 195, fig. 102) and New York, M.M.A. 62.11.11 (footnote 123 above, p. 87). Satyrs making wine: Wirzburg 265 (ABV 151, 22; Paralip. 63, 22; Bothmer, Amasis Painter, pp. 113-117, cat. no. 19) and Basel (Paralip. 65; Bothmer,Amasis Painter, p. 46, fig. 40:a), and also Kavala 983 a (Paralip. 65; Bothmer, Amasis Painter, p. 116, fig. 70) and the new fragment found at Samos (AA [JdI 95], 1980, p. 341, fig. 7; Bothmer,Amasis Painter, p. 116, fig. 71). Stable of Poseidon: King's Point, Schimmel (Paralip. 67; Bothmer, Amasis Painter, pp. 217-220, cat. no. 60). 126ABV 296-297; Paralip. 128-129. For a hydria that should be by him, cf. LouvreC 10651 (CVA, Louvre 11 [France

18], pl. 135 [808]). Compare with this: London, B.M. B 197 (ABV 296, 1; Paralip. 128, 1); Orvieto, Faina 73 (ABV 296, 2; Paralip. 128, 2); and Munich 1375 (ABV 297, 15). 127 Berlin 1686 (ABV 296, 4; Paralip. 128, 4); Berlin 1697 (ABV 297, 17; Paralip. 128, 17). 128

129

Paralip. 129, 14 bis.

Boston, M.F.A. 98.918 (ABV 306, 41; Paralip. 132, 41; CVA, Boston 1 [USA 14], pl. 4 [626]:2; Bohr, Schaukelmaler, pls. 64:1 and 191:e). For the rest of the painter'swork, cf. AB V 304-310; Paralip. 132-135. For a comprehensivemonograph, cf. Bohr, Schaukelmaler. 130 For the column-krater, cf. Leningrad 1524 (St. 55), judged by Beazley as "probablyby the Swing Painter" (ABV 310; Bohr, Schaukelmaler,pl. 144). The lebes is an unpublished fragmentin the Vlasto collectionknown to us from Bothmer's photograph. It depicts the departureof a chariot and in style compares best with these: Vatican G 36 (ABV 304, 1; Bohr, Schaukelmaler,pl. 1); Boston, M.F.A. 89.257 (ABV304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]:1;B6hr, Schaukelmaler,

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figures to those that have a rough and ready character.Three vases by the Swing Painter have been found in the Agora. 77 (PI. 9), a panel amphora, preserves part of a satyr, very likely one that accompaniedDionysos, and it belongs with his other amphoraethat have abovethe panel the same inverted lotus-bud frieze with thick links.'31190 (PI. 23), a neck-amphora,shows a wedded pair, presumably in a chariot (given their high position on the vase), a subject that does not seem to appear again in the work of the Swing Painter. In style, it seems to comparefavorablywith some of his early vases such as one of the amphoraein Boston.32 1883 (P1. 120), a closedvase of uncertain shape, is slightly later. It preserves part of Herakles and the Lion, probablyconfronted,with the lion's head turned around. This scheme offers a variant of the compositionused elsewhere by the Swing Painter, for these have either the hero and beast completelyfacing, or each moving to right with the head of the lion turned around.133183 (PI. 22), a neck-amphoraof Panathenaic shape, may be comparedwith the Swing Painter, and is probably contemporarywith his psykter-neckamphora in Boston where the garmentsof several figureshave the same pattern as Athena's peplos on 183.134 A vigorous artist near the Swing Painter is the Painter of Munich 1410 who has left us scarcelya dozen vases but each one of high quality.135His panel amphorafrom the Agora, 82 (PI. 10), shows a mounted squire and a warrior dismounting. The next painters to be discussed, Nikosthenes, the Antimenes Painter, and Psiax, are contemporary with the first generationof Attic red-figureartists. Nikosthenes The signature of the potter Nikosthenes appears on nearly one hundred vases, far more frequently than that of any other artist, and his workshop producedmany differentkinds of vases, in Productsby Nikosthenes were mostly exported particular its own special type of neck-amphora.136 to Etruria, as the known provenances indicate; thus, very few of his vases have been found in Athens.'37In view of this, it is not surprising that only one by him, 1752, a fragmentaryfoot of a Droop cup with the first four letters of his name painted on the underside,has been found in the Agora. The painters of the Nicosthenic workshop stand somewhat apart from the mainstreamof pl. 2); and Boston, M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pls. 33-35 [655-657]; B6hr, Schaukelmaler, pls. 132-135). 131 E.g., Vatican G 37 (ABV 305, 13; Bohr, Schaukelmaler, pi. 22); Conservatori 6 (72) (ABV 305, 17; Paralip. 132, 17; Bohr, Schaukelmaler,pl. 31); New York, David Rockefeller (ABV 306, 40; Paralip. 132, 40; Bohr, Schaukelmaler,pl. 48). These are without dots in the top interstices.For two with dots, cf. New York, M.M.A. 41.162.184 (ABV 305, 22; Paralip. 132, 22; Bohr, Schaukelmaler,pi. 41); Orvieto, Faina 52 (ABV 306, 31; Bohr, Schaukelmaler,pl. 7). It is uncertainif 77 (PI. 9) had dots. 132 Boston, M.F.A. 89.257 (ABV 304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]:1; Bohr, Schaukelmaler,pi. 2). 133For the two completely facing, cf. Naples, N.M. 2503 (ABV 305, 26; B6hr, Schaukelmaler,pl. 6) and Munich 1395 (ABV 305, 24; Bohr, Schaukelmaler,pl. 34); for the two moving to right, the lion's head turned around, cf. Berlin 1693 (ABV 305, 25; Bohr, Schaukelmaler,pl. 24). To judge from Jahn's description of Munich 1559 (ABV 308, 75), unpublished and destroyed in World War II, the composition of Herakles and the Lion may have been similar to 1883 (PI. 120). 134 Boston, M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1

[USA 14], pls. 33-35 [655-657]; Bohr, Schaukelmaler, pls. 132-135). 135 ABV

311; Paralip. 135.

Cf. ABV 216-235; Paralip. 104-109; ARV2 122-123. For his white-ground work, cf. Mertens, Attic White Ground, pp. 31-33; for his kyathoi, cf. M. Eisman, Attic KyathoiPainters, diss. University of Pennsylvania1971 (availableUniversity Microfilms International,no. 72-17,345), pp. 54-76. 137 All are very fragmentary. Cf. two Little-Master cups: Akropolis 1748 (ABV 230, 2) and Akropolis 1746 (ABV 230, 3); two other cups of uncertaintype: Akropolis 1749 (ABV 232, 17) and Akropolis 1747 (ABV 232, 18); four skyphoi of Corinthian type: Akropolis 1409 (ABV 233, 1), Akropolis 1411 (ABV 233, 2), Akropolis n.n. (ABV 233, 3), and Akropolis 1410 (ABV 234); two lids or the like: Akropolis 1296 (ABV 234) and Akropolis 1297 (ABV 234); and a fragment of uncertain shape: Akropolis 1408a (ABV 234). In addition, an unsigned plate, Akropolis 2414 (ABV 233), has been connected with Nikosthenes on the basis of its similarity to a signed cup Type A, Louvre F 123 (ABV 231, 8; Paralip. 109, 8; Callipolitis-Feytmans, Les plats attiques, p. 305, no. A I, 51, pi. 9 and fig. 14). 136

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Attic black figure, although recently Psiax has been connectedwith Nikosthenes, chiefly through his use of white ground.138The career of Nikosthenes begins early in the third quarter of the 6th century, as indicated by his signed cup in Oxford that is decoratedby Lydos,139and from the evidence of other signed vases, a kyathos painted by Oltos, a cup and a kantharosby Epiktetos,'40he continues to work until roughly 515-510 B.C.His name appears on vases decorated in a wide varietyof techniques:black figure, red figure, bilingual, white ground,and Six's technique.And the subjectsdecoratinghis vases are equally varied. AntimenesPainter The Antimenes Painter, who takes his name from a hydria in Leyden that praisesAntimenes,141 is one of the chief painters of standard neck-amphoraeand hydriai, but he also decoratedpanel amphorae,calyx-kraters,psykters,includingone signed by Nikosthenes,and a dinos.'42His career begins about 530 B.C.and lasts for approximatelytwo decades.The Antimenes Painter may have been a pupil of Lydos,'43for the massiveness and the proportions of his figures bear a certain relationshipto the older artist, but there is less incision, less interestin patternand texture, and less overlapping of figures than in the work of Lydos. In the Agora black figure, only 89 (P1. 10), a panel amphora with Herakles, one of the painter's favorite subjects,is by the Antimenes Painter himself. 90 (P1. 11), another panel amphora,preservespart of the Birth of Athena that in composition is closest to one by the Antimenes Painter and thus may be by his hand, but so little remains that it is difficultto be certain. 361 (PI. 35) is by the painter or in his manner. Psiax Although the Antimenes Painter is contemporarywith the earliest red-figure artists, so far no vase in the new technique has been attributedto him. This is not the case with Psiax, the "brother" of the Antimenes Painter,144who signed two red-figuredalabastrathat also bear the signature of the potter Hilinos.145Psiax worked for at least two other potters, as the vases signed by Andokides and Menon attest.146Although the style of Psiax shares many similarities with that of the Antimenes Painter, particularlyon his larger black-figuredvases,147he is a more experimentalartist, and his style is more refined, more ornamental. He also decorates a greater variety of shapes, particularlysmall ones, than the Antimenes Painter. But the most importantdistinctionis Psiax's use of varioustechniques in innovativeways. Besides decoratingvases completelyin black figure or 138

Cf. J. Mertens, AK 22, 1979, pp. 27-30. Oxford 1966.768 (ABV 113, 80; 229; Paralip. 45, 80; 108; Tiverios, pl. 47:/8, y); also the amphora by Lydos in Nikosia, C 440 (ABV 109, 28; 229; Paralip. 44, 28; Tiverios, pls. 25:y, 26:a) has the same shape as the one in the Villa Giulia signedby Nikosthenes (ABV 229). 140 Oltos: Florence 2 B 11 (ARV2 54, 8). Epiktetos:Wiirzburg 468 (ARV2 45, 105 and 71, 8) and Odessa (ARV2 77, 87; G. Sokolov,AntiqueArt on the Northern Black Sea Coast,Leningrad 1974, p. 26, figs. 5, 6). 141 Leyden PC 63 (ABV 266, 1; Paralip. 117, 1; CVA, Leiden 1 [Netherlands 3], pls. 13-16 [107-110]:3). 142 For the painter himself, cf. ABV 266-275; Paralip. 117121; M. B. Moore, Metropolitan Museum Journal 18, 1984, pp. 29-38, esp. pp. 34-38; for his use of white ground, cf. Mertens, Attic WhiteGround,pp. 40-43; for the psyktersigned by Nikosthenes, cf. footnote 2 bis above, p. 20. 143Beazley, Development, p. 79. 144 For Psiax as the "brother"of the Antimenes Painter, cf. 139

Beazley, Development,p. 79; AB V 292. 145Karlsruhe 242 (ARV2 7, 4; Paralip. 321, 4); Odessa (AR V2 7, 5). For the rest of his work, cf. ABV 292-295; Paralip. 127-128; ARV2 6-9; Paralip. 321. For his bilingual work, cf. B. Cohen, Attic Bilingual Vases and their Painters, New York 1978, pp. 195-239; for his black-figuredplates, cf. Callipolitis-Feytmans,Les plats attiques, pp. 376-377; for his kyathoi, cf. Eisman, op. cit. (footnote 136 above, p. 89), esp. pp. 125-174; for his white-ground vases, cf. J. R. Mertens, Attic White Ground, pp. 35-40; also, Kurtz, Athenian White Lekythoi, pp. 9-12; most recently, Mertens, AK 22, 1979, pp. 22-37. 146 Andokides:London, B.M. 1980.11-29.1 ex Castle Ashby, black figure (ABV 293, 7; Paralip. 127, 7; CVA, Castle Ashby [GB 15], pls. 6, 7 [661, 662]:1) and Madrid 11008, bilingual (ABV 294, 24; ARV2 7, 2; Paralip. 321, 2). Menon: Philadelphia 5399 (ARV2 7, 3). 147 Cf. Beazley, Development.pp. 79-80; J. R. Mertens, AK 22, 1979, p. 34.

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in red figure, Psiax has also left us two bilingual amphorae,severalvesselswith the figureson white ground, and one example each of Six's technique and coral red. Most importanthere is his use of white ground, for Psiax is the first artist to decoratea significantnumber of vases in this technique and to cover the entire surface with white slip before drawing the figures.148817 (P1. 75), three fragmentsof a large lekythos, is the earliest preservedexample of the white-groundtechnique from the Agora and may be by Psiax himself, or at least is near him. In any case, it is the only Agora black-figuredvase linked with this artist. A unique feature of 817 is the predella below the main zone, which finds its best parallel on loutrophoroiand funeraryplaques. The drawing seems closest to that on his very fine white-ground plate in Basel.'49 Contemporary with these pot painters just discussed are those who specialize in small vessels, chiefly cups, lekythoi, and skyphoi, and also oinochoai. Although the names of many potters of small vases working between 550 and 520 B.C.are known from their signatures and numerous artists, groups, and classes have been identified,the work of surprisinglyfew has been found in the Agora. Pottersand painters of Little Master, Proto-A,and Type A cups Among the specialists in Little Master cups, the potting signatures of only two are known for certain in the Agora, both on very fragmentaryvessels. 1473 is a skyphos signed by Hermogenes, and 1686 is a lip-cup by Tleson with only part of the signature remaining,150but the restorationis likely. Three others, 1743, 1744 (PI. 112), and 1811 (PI. 116), which may be a Gordion cup, give just part of the verb. None of these has any of the figured decorationleft. The most completely preserved, attributed Little Master cup from the Agora is 1708 (PI. 111), the namepiece of the Painter of Agora P 1241. It is decoratedwith satyrs and maenads, as are his other two band-cups, which comprisethe rest of his known work.15' 1924 (P1. 122) is a small fragmentof a Gordioncup or a Hermogenian skyphosthat recalls the Taleides Painter who, besidessmall vases, also decorates amphoraeand hydriai, the most famous being the hydria in the Louvrewhich is signed by Timagoras as potter and praises Andokides.'52 Other contemporarypainters specialize in a different kind of cup, the Proto-A or Type A. These artists are fewer in number than decoratorsof Little Master cups, but like them none has signed his name to a vase, although one potting signature is preserved.153The work of only one, the Marmaro Painter,'54has been found in the Agora: 1426 (P1.97), the leg of a tripod-plate,with a lively scene of Herakles attackingthree Amazons,a subject also representedon his other vases known to us, two cups. Painters of small lekythoi Around the middle of the 6th century B.C. comes the first of a long series of painterswho specialize in small lekythoi.155Among the earliest are those of the Dolphin Group which gets its name from the two leaping dolphins that often decoratethe shoulder.156Two of their lekythoi, 797 and 798 (P1. 75), the latter a well-preservedexample of the rather rare sub-Deianeira type, have been 148Mertens (Attic WhiteGround,p. 42) makes the point that other contemporaryartists who use white ground, in particular the Antimenes Painter, use it to emphasize structuraldetails of their vases, not to furnish a backgroundfor the decorationas a whole. 149 ABV 294, 21; Paralip. 128, 21; Callipolitis-Feytmans, Les plats attiques, p. 377, no. 5, pl. 73, fig. 60; Mertens, Attic White Ground,pi. 4:1. 150Hermogenes: ABV 164-166; Paralip. 68. Tleson: ABV

179-183; Paralip. 74-76. 151 ABV 191; Paralip. 79. 152 Louvre F 38 (ABV 174, 7; Paralip. 72, 7). 153 Louvre CA 1778, signed by Timenor (ABV 201). 14 ABV 198. '5s ABV, chap. 32. 156 ABL, pp. 14-16, 193-194; ABV 457-459; Paralip. 199200. For the Euboeanaspectof this group, cf. footnote13 above, pp.44-45.

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found in the Agora, as well as a third, 796, which is related.Neither of the two shoulderedlekythoi, 796 and 797, has the dolphins on the shoulder, and all three are connectedwith the group by the style of drawing. Linked with the Dolphin Group but more carelessin executionare the lekythoiof the Fat-runner Group, named after the amply proportionedrunner between spectatorsthat appears on most of them, including 800 (PI. 75) and 801.157802 deviates from the usual composition by showing a sphinx between youths. The same representationappears on Vatican 448, which is near the lekythoi in the Group of Vatican G. 52.158 The painters of the Group of Vatican G. 52 descend from the Painter of Louvre F 6 and those immediately around him.159Nine lekythoi, 805-813 (PI. 75), belongingto the Group of Vatican G. 52 have been found in the Agora. These are small vessels with simple decoration often composed of three standing figures, r one figure in motion between spectators.An upright palmettebetween ivy leaves comprisesthe shoulderdecoration. These painters also decorated amphorae, neck-amphorae,hydriai, and small oinochoai of Shape I. Near the Group of Vatican G. 52 is the North Slope Group, also connected with the Painter of Louvre F 6.160 Small size and hasty drawing characterizetheir work, including60 (P. 8) and 748, a small panel amphoraand a chous. Contemporarybut of somewhathigher quality is 683 (PI. 66), an olpe near the Honolulu Class that shows the departureof a warrior. 1409 (PI. 96), a small, late 6th-centuryplate attributedby Callipolitis-Feytmansto the Workshopof Delos 636, is related to the late work of the Painter of Louvre F 6.161 Groupof the OxfordLid Also of mid-century is the Group of the Oxford Lid, a group of painters who decoratemainly small skyphoi of Corinthian type, although the namepiece and one other are pyxides.162Like the type of skyphos preferredby these painters, their style of drawing is rather old-fashioned,tending toward confrontedpairs of animals or monsters,with rosettesfor filling ornament.Three fragmentary skyphoi from the Agora, 1463-1465 (P1. 99), were attributedby Beazley, and one, 1466, was comparedby him with the group, to which a second, 1467, is addedhere. In the last two decades of the 6th century B.C., the more talented artists turn to the red-figure technique, which gradually becomesthe predominantone, although black figure of high quality is still produced, notably by some of the Antimenean painters, the Priam Painter and the Rycroft Painter, and also painters of the Leagros Group. The work of other, less productiveand less able pot painters helps to round out the picture of large vases decoratedin Attic black figure during this time. Far more numerousand prolificare the painters who specialize in small vessels, in particular lekythoi. Most importantof these are the EdinburghPainter, the Theseus Painter, the Gela Painter, and also painters of the Cock Group and the Phanyllis Group, all of whose work continuesinto the early 5th century B.C. In this period, there are very few signaturesand none in the Agora black figure. Groupof Wurzburg 199 and the Michigan Painter Although a good many pot painters working in the late 6th century are known, very few of their vases have been found in the Agora. One of the earliest is 502 (PI. 47), a calyx-kraterattributedby Beazley to the Group of Wurzburg 199,163which belongs to the circle of the Antimenes Painter. 157 ABL, pp. 16-18; ABV459-460;

'58 ABV 460, 12. 159 ABV 460-462; Paralip. 202-203. 160 ABV 129.

Paralip. 201-202.

161

Callipolitis-Feytmans, Les plats attiques, p. 329, no. 44, pl. 40 and fig. 44. 162 ABV 616-617; Paralip. 306. 163 ABV 287-290; Paralip. 126.

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239 (PI. 28) is a contemporary,prize Panathenaicamphoraattributedhere to the Michigan Painter,164who is the only black-figure artist to decoratemany stamnoi,165a shape known primarily in red figure. Leagros Group The painters of the Leagros Group, which gets its name from the kalos inscriptionon five blackfigured hydriai, produce the last importantblack-figuredpots.166Its 300-odd known vases consist mainly of hydriai and neck-amphorae, the group's favorite shapes, panel amphorae, and a few column-kraters,as well as about 40 lekythoi. Examples of other shapes also appear but are few in number. Significantly, perhaps, the two known examples of volute-kratersin this group, 492 and 493 (PI. 47), are from the Agora. Each is a neck fragment decoratedwith a chariot and warriors. And if our attributionof 505 (PI. 48) is correct,it adds a new shape, the calyx-krater,to the group. 569-573, fragments of cylindrical stands, also a shape hitherto unknown in the Leagros Group, comparebest with several of its vases and are probablyby one of its painters. Five other vases were attributedby Beazley: 197 (P1. 23), a neck-amphora;392 (P1. 38), a pelike; 654 (PI. 62), a hydria; and 818-820 (Pls. 76, 77), three lekythoi. Bold line combined with limited internal incision for anatomy and texture generally characterize the drawing of the Leagros Group painters and emphasize the heroic proportionsof their figures.Violent subjectsillustratedby rugged figureswith vigorous gestures are preferredthemes. Of Leagran characteris the Painter of Munich 1519,167a companionof the Nikoxenos Painter, whose small output is composedof standardneck-amphorae and Panathenaics, 328 (P1. 33) being one of the latter. RycroftPainter and Painter of TarquiniaRC 684 7 Contemporarywith the Leagros Group, but very differentin spirit, is the RycroftPainter, who is related to Psiax.'68He decoratesmainly panel amphoraeand neck-amphoraebut also hydriai, and recently calyx-kratersand column-kratershave been addedto his known output of about 50 vases. 195 (P1.23) is a neck-amphoraattributedby Beazley, to which another, 196 (P1.23), is addedhere. Two other vases, also added here, are new shapes for the painter: 187, a neck-amphoraof Panathenaic shape and 513 (PI. 48), a lebes gamikos.470 (P1.45), a column-krater,is probablyby him, at least to judge by the drawing of the horses. A second lebes, 514 (P1.49), is either by the Rycroft Painter or by his close associate, the Painter of Tarquinia RC 6847,169 and a third, 512 (P1. 48), compares with the reverse of the latter's namepiece. The Rycroft Painter's incision is rather thin and sparse, which suggests a certain influence from red figure. He prefers quiet subjects with stately figures to those with violent action, and when he shows scenes of struggle, his figures never exhibit the same degree of intensity as those of the Leagros Group. Three other attributedpots may be dated in the late 6th centuryB.C. 99 and 100 (P1. 12) probably belong to the Hypobibazon Class, which takes its name from the amphora in the Kerameikosthat shows a warrior about to mount his horse.170This class of amphoraType B has a very thick mouth that gives the vase a slightly top-heavy appearance,and a key pattern to left is the usual ornament above each panel, as on 99 and 100. An oddity of the class is the tongue pattern round the root of 164

ABV 343-344; Paralip. 156-157. B. Philippaki, The Attic Stamnos, Oxford 1967, pp. 1214,22. 166 ABV 354-382; Paralip. 161-167. 167ABV 393-394; Paralip. 173. 168ABV 335-338; Paralip. 148-150; J. R. Mertens, Indiana University Art Museum Bulletin, Bloomington (Ind.) 1979, 165

pp. 6-15; W. G. Moon, "Some New and Little-Known Vases by the Rycroftand Priam Painters,"Greek Vasesin the J. Paul Getty Museum 2, 1985, pp. 41-70. 169 ABV 338; Paralip. 150. 170 Kerameikos,inv. no. 48 (ABV 339, 2). For the rest of the vases of this class, cf. ABV 338-339; Paralip. 150. Bothmer adds a fragmentaryamphora in Stockholm,inv. no. 2228.

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each handle. This ratherspecial shape survivesin red figure.'71100 is unusual for having Panathenaic subjects.Our last pot of this period is 650 (P1.62), a kalpis by the Painter of London B 343.172 EdinburghPainter Stylistically related to the Leagros Group, the Edinburgh Painter is the first artist to decorate many large cylinderlekythoi,'73which becomesthe type preferredby the betterpainters,especially red-figureones. Besides lekythoi, the EdinburghPainter decoratesother shapes, particularlysmall neck-amphorae,e.g. 215, and at least two panel amphorae of standard size are by him.174Two fragmentarycylinder lekythoi, 884 and 885 (Pl. 80), are by him, and a third, 886 (PI. 80), recalls him. 564 (PI. 54), a cylindricalstand with the Judgment of Paris, is by the painteror near him. The EdinburghPainter often coversthe picture surfaceof his lekythoiwith white slip,175but none of his white-groundwork comes from the Agora. He paints a wide varietyof mythologicalsubjects,ranging from such well-known favoritesas Herakles and the Lion to rarerones such as Herakles in the Garden of the Hesperides or Odysseus and the Sirens.176His figures are lively and vigorous, his compositionsclear and rather simple without too much overlappingof figures. TheseusPainter The Edinburgh Painter's cylinder lekythoi lead on to those by the Theseus Painter, an imaginative artist who begins his careerslightly later than the EdinburghPainter and continueswell past 500 B.C.177 He takes his name fromthe subjecton many of his vases, the deeds of Theseus. Although included by Beazley in his section on lekythoi painters in AB V and Paralipomena, the Theseus Painter decoratesmany shapes besides lekythoi'78and actually turns to them only ratherlate in his career.His early work is best understoodfrom his handsomelarge skyphoithat belong to the Heron Class,179and of his works found in the Agora, all but one, 1657 (PI. 107), a shallow cup-skyphos, are skyphoiof this type: 1484-1496 (Pls. 100, 101). 1499 (P1. 102), which may be by him, and 1497 (PI. 102), which recalls him, are also skyphoi of the Heron Class. These take with them 1500, a slightly later Heron Class skyphos by the Painter of Rodin 1000.180The elegant spiral decoration on 1657 reappears on a similarly decoratedcup, 1825 (P1. 117), that may be by the Painter of Nicosia C 975,181a contemporaryof the Theseus Painter. His other two similar cups, the namepiece in Nikosia and one in the Basel Market, are decoratedaccordingto the same principle as the three special cups by the Amasis Painter and thus offer a link with the older artist. Like the Edinburgh Painter, the Theseus Painter illustrates many mythological subjects and in addition also Cf. D. von Bothmer,ArtBull 57, 1975, p. 121. ABV 342; Paralip. 154. 173 ABL, pp. 86-89, 215-221; ABV 476-480; Paralip. 217220; Kurtz, Athenian WhiteLekythoi,pp. 13-14. 174 London, B.M. B 170 (ABL, p. 220, no. 87); Wurzburg 266 (Langlotz, pls. 75, 77), an amphora Type A attributedby Bothmer;perhaps also Boston, M.F.A. 89.256 (Paralip. 115, 4 bis; CVA, Boston 1 [USA 14], pl. 10 [632] and the remarkson p. 7). 175 ABL, p. 89. 176 Normally the Edinburgh Painter shows Herakles and the Lion in the standing position (ABL, p. 88). On the lekythos in the Goulandris Collection (Paralip. 218; C. Doumas and L. Marangou, Exhibition of Ancient Greek Artfrom the N. P. GoulandrisCollection,Athens 1978, p. 288, no. 160), however, he shows the hero holding the beast upside down while he beats it with his club. To a certain extent, the compositionrecalls the one by the AndokidesPainter, which shows Herakles about to 171 172

hurl the lion (London, B.M. B 193: ARV 2 4, 8; Paralip. 320, 8), a scheme which recurson a late 6th-centurygem in Boston, M.F.A. 27.674 (J. Boardman,Archaic Greek Gems, London 1968, pl. 17, no. 254). For Herakles and the Hesperides in the work of the Edinburgh Painter, cf. Gela 125/B (ABL, p. 218, no. 46; Paralip. 217, 46; CVA, Gela 3 [Italy 54], pls. 17 [2394]:3, 4 and 18 [2395]:3, 4); for Odysseus and the Sirens, cf. Athens, N.M. 1130 (ABL, p. 217, no. 27; Paralip. 217, 27). 177 For the Theseus Painter, cf. ABL, pp. 141-147, 249-252; ABV 518-521; Paralip. 255-260; Kurtz, Athenian White Lekythoi, pp. 14-15. For his unusual scene of Herakles leading Lamia, cf. E. Vermeule, "Herakles Brings a Tribute," FestschriftBrommer,pp. 295-301. 178 Cf. the references in footnote 177 above. These include rare shapes like the alabastronand the neck-pelike. 179 For the characteristicsof the group, cf. p. 60 above. 180ABV 521-522. 181 Paralip. 99-100.

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favors representationsof the komos and occasionally of athletes. His figures are amply proportioned and lively; his drawing is sometimesa bit sketchybut nonethelessattains a simple elegance. Gela Painter, Cock Group,and Phanyllis Group Contemporarywith the EdinburghPainter and the Theseus Painter are the Gela Painter and the painters of the Cock and Phanyllis Groups.'82 All of them specialize in lekythoi, and their careers extend beyond the turn of the century. Their types of lekythoi are discussedabove (pp. 45-46), and numerousexamples of them have been found in the Agora:Gela Painter 869-879 (PI. 79); Phanyllis Group: 824-836 (P1. 77); Cock Group: 793 (PI. 75) and 837-863 (P1. 78). The style of these painters never reaches the level achieved by the Edinburgh Painter and the Theseus Painter, although to some extent the Gela Painter shares the interest of these two in unusual subjects and mythologicalrepresentations.More often, their compositions,particularlythose of the Cock Group and the Phanyllis Group, are stock scenes, and their work signals the beginning of mass production of small lekythoi that will play such a significantrole in late Attic black figure. The Agora examples by these painters are for the most part standardproducts.793 (PI. 75), however,given its date in the third quarter of the 6th century,183seems to be a very early example from the Cock Group, and the runners on it are to be associatedwith those of the Fat-runner Group. 822 (P1.77), a white-ground cylinder lekythos, may belong to the Capodimonte Group,184which is contemporarywith the paintersjust discussed. The drawing is similar, and it shares the same rare net pattern below the figures. OtherAttic black-figurepainters The largest number of black-figuredvases from the Agora are small lekythoi of poor quality, most of them belonging to the Class of Athens 581.185They are decoratedby numerous painters that form groups within the class. Many of the namepiecesof these groups come from the Agora, chiefly from a large well found beneath the Stoa of Attalos:the Group of Agora P 24340, 976-989 (PI. 83); of Agora P 24366, 990-993 (PI. 83); of Agora P 24377, 994-1001; of Agora P 24402, 1002-1008 (P1.83); of Agora P 24381, 1011-1014 (P1.83); of Agora P 24486, 1022-1026 (PI. 83); and of Agora P 24327, 1027-1029 (P1. 83). A few others belong to the Kalinderu Group, 10741089 (Pls. 84, 85) and 1113-1115, named after a lekythos in the Kalinderu Museum in Bucharest;186others, 899 (PI. 81), 900 and 1099-1103, belong to the Geron Group which takes its name from the old man who appears on several of them.187Numerous also are lekythoi in the mannerof the Haimon Painter, 1186-1236 (PI. 87).188 Many other painters who specialize in lekythoi are known, but the work of very few has been found in the Agora. There is an epinetronvery likely by the Sappho Painter, 1850 (P1. 118), and three vases near his companion,the Diosphos Painter.189 1160 (P1. 86) and 1161 are lekythoi; 1501 (P1. 102) is a skyphos. Four other lekythoi, 1177-1180 (P1.86), are by the Hound-and-hare Group,190who are companionsof the Sappho Painter and the 182

Gela Painter: ABL, pp. 78-86, 205-215; ABV 473-475; Paralip. 214-216; J. Hemelrijk, BABesch 49, 1974, pp. 117158. Phanyllis Group: ABL, pp. 64-66, 199-205; ABV 463466; Paralip. 206-208. Cock Group:ABL, pp. 67-68,108,109; ABV 466-471; Paralip. 208-212. 183 Compare the shape with those discussed by Haspels in ABL, chap. 2. 184 The association is made here. For the group, cf. Paralip. 214. 185 Above, pp. 46-47. 186 ABV 504, 12. For the work of the rest of the group, cf.

ABV 503-504; Paralip. 243-245. 187 Paralip. 224. 188 ABL, pp. 130-141, 241-249; ABV 539-571; Paralip. 269-287. 189ABL, pp. 94-130, 232-241; ABV 508-511; Paralip. 248250; C. H. E. Haspels, RA, 1972, pp. 103-109. Frel has suggested that the Sappho Painter is but a late phase of the Madrid Painter (J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vasesin the J. Paul Getty Museum 1, 1983, p. 35). 190 ABL, pp. 118, 230-231; ABV 514-515; Paralip. 253.

POTTERS AND PAINTERS

96

Diosphos Painter. One lekythos, 1181 (PI. 87), is attributedby Beazley to the Athena Painter, and 759 (Pl. 72), a chous, may be by him.19'Our last lekythos,1237 (Pl. 87), is a white-groundwork by the Pholos Painter who is closely associatedwith the Haimon Painter.192Besidesthe archaeological importanceof these small ubiquitous lekythoi, their chief value lies in the various and sometimes rare subjects that decorate them. Examples from the Agora include Theseus and Prokrousteson 1160, which is near the Diosphos Painter, Theseus fighting a human-headedMinotaur on 1162 (PI. 86), a lekythosof the Little-lion Class, and the Theban Sphinx on 1216 (PI. 87), in the manner of the Haimon Painter. The next group of vases contemporarywith thosejust discussedare skyphoi.Slightly less than 30, 1502-1527 (Pls. 102, 103) and 1531-1533 (PI. 103), are in the mannerof the Haimon Painter, and many more are Haemonian in style. 1536 (P1. 104) is a skyphosby the Painter of Elaious I, whose namepiece in the Louvre comes from Elaious in Thrace.1931780 (P1. 113) and 1830 (PI. 117) are cups by him, and two more skyphoi, 1537 and 1538, are compared.Connectedwith the late vases of the Haimon Group are miniature skyphoi of the Lancut Group, which have their decorationin silhouette.'94Three have been found in the Agora, 1539-1541 (P1. 104), and 1542, a shallow skyphos of Ure's Class K 2, is connected.Akin to the LanicutGroup are the miniature skyphoi of the Lindos Group.195Their decorationis in silhouetteon white groundand is usually a wretchedly drawn figure between palmettes. 1570-1577 (Pls. 104, 105) are examples from the Agora. Contemporarywith the Haemonian skyphoi are those of the CHC Group, which often show a war chariot wheeling around or a courting scene, CHariot-Courting.196These are large skyphoi of the Heron Class decoratedin a sketchy,rough style. 1578-1601 (P1. 105) offer a goodrepresentationof the characteristicsof the group as a whole. Other groups may be connectedwith the CHC Group, including the Pistias Class discussed above.'97Another of these is the Dog Group, which gets its name from the dogs on 1607 (PI. 105) and on another vase from Thebes.1981606 and 1608 also belong to the Dog Group. Four other skyphoi, 1609-1612 (Pls. 105, 106), are attributed to the Group of Ferrara T.800.199 Almost all the attributed late black-figuredcups from the Agora belong to the Leafless Group, named because its painters usually draw branches without leaves.2001761-1765 and 1767-1778 (P1. 113), 1833, and 1834 belong to this group, and severalare attributedto specificpainterswithin the group. 1768 and 1769 (P1. 113) and 1776-1778 (P1. 113) are by the Caylus Painter.2011775 (P1. 113) is by or near the Painter of Oxford 236, and 1773 belongsto the Painter of Oxford 237.202 Several black-figuredplates from the Agora have now been attributedby Callipolitis-Feytmans in her monograph on the shape. Of particular interest are 1414 and 1415 (Pls. 96, 97) by the Kleiboulos Painter who takes his name from the inscribedostrakonfound between the Areopagus and the Hill of the Nymphs.2031414 is a large, handsomeplate with the figured scene, Herakles and Amazons, painted on white ground,set off by the glazed rim. 1397 (PI. 96), also large, is by the Painter of Agora A-P 428, most of whose work consists of plates found on the Akropolis.204His 191ABL, pp. 147-165, 254-262; ABV 522-533; Paralip. 260266.

ABL, pp. 137-139,247-248; ABV 571-572; Paralip. 287. Louvre El. 1 (ABV 575, 5); for the rest of his work, cf. ABV 574-576; Paralip. 289. 194ABV 576-579; Paralip. 289-290. 195 ABV 581-583; Paralip. 290-291. 196 ABV 617-623; Paralip. 306-308. 197 Cf. above, p. 61. 192 193

198 ABV623-624. 199 Paralip. 308-309.

ABV 632-653; Paralip. 310-313. 650-651; Paralip. 313-314. 202 Painter of Oxford 236: ABV 652; Paralip. 314. Painterof Oxford 237: ABV 651-652; Paralip. 314. 203 Cf. above, p. 56. 204 Cf. Callipolitis-Feytmans,Les plats attiques, p. 335. 200

201 ABV

POTTERS AND PAINTERS

97

favoritesubject,as on 1397, is a woman running to right holding a palmette-tendrilornament.The remainder of our attributed plates are small ones. Two have been attributed as follows: 1418 (PI. 97) very likely to the Snake-and-spotsGroup; 1417 (Pl. 97) to the workshop of the Anavysos Painter.205 A few other painters of small black-figuredvases from the Agora remain. 657 (PI. 62) is a small kalpis attributed to the Red-line Painter who is known primarily as a painter of small neckamphorae.206Three other Agora vases are in his manner, a small neck-amphora,209 (PI. 24), and two pelikai, 395 (PI. 38) and 396. Another small kalpis, 658 (PI. 63), is connectedwith him. The Red-line Painter gets his name from the two lines drawn in accessoryred insteadof black glaze that frame the ornamentalpattern below the figures. His style of drawing is often rather careless,as it is on all our vases connectedwith him, but occasionallyhe decoratesfull-size pieces with some care, such as his two Leagran neck-amphorae.207 Near the Red-line Painter is the Painter of the Rhodes Pelike.208737 (PI. 70) is a small oinochoe near him. Another small oinochoe, 754 (PI. 72), is near the Painter of Villa Giulia M. 482, a minor painter of small neck-amphoraeand oinochoai.209665 is a small kalpis by a companion of the Haimon Painter, the Painter of Half Palmettes, whose palmettes used as filling ornamentwithin the picture are cut in half, hence his name.210 A few vases do not find appropriateplaces in the above discussion.Two are signed. One of these is a late 6th-century plate, 1407, signed by the potter Salax, which, besides the inscription,is decorated only with concentriccircles. The second is 226 (PI. 26), an early Panathenaicamphorawith some of Athena's shield, most of the potting verb, and the last two lettersof the name with tracesof a third. Other Panathenaicsfollow. The next is 325 (P1. 33), attributedhere to the Group of Copenhagen 99, whose few known vases are all Panathenaic amphorae.211325 shows parts of two vigorous participantsin a foot race, a favorite subjectof the group. 250 (P1. 28) is a little later and compares with the manner of the Kleophrades Painter,212251 (PI. 28) may be by the painter himself, 252 (Pl. 28) is by the Berlin Painter.213All three show parts of Athena and are probably prize vases. 254 and 255 (PI. 29), attributed here to the Achilles Painter, a pupil of the Berlin Painter, are very likely prize vases, as are his other known Panathenaics.214Six other prize vases from the Agora may be dated in the 5th century.256 (PI. 29) and perhaps 257 (PI. 29) belong to the Robinson Group, named for the three in the Robinson Collection;215259-261 (PI. 30) ought to be from the Kuban Group, which takes its name from the one found in the Kuban and whose other Panathenaics with known provenancesdo not come from Athens;216277 (PI. 31) is probablyby a Nikomachos Series of about the middle of the 4th century B.C.:218 286 (Pl. 31), 291, 293 (PI. 32), and 295.

Snake-and-spots Group: ABV 131-132; CallipolitisFeytmans, Les plats attiques, pp. 385-388. Anavysos Painter: ibid., pp. 388-389. 206 ABV 600-607; Paralip. 300-304. 207 Villa Giulia M. 488 (ABV 603, 64; Paralip. 300, 64); Orvieto, Faina 72 (ABV 604, 65). 208ABV 608; Paralip. 304. 209 ABV 590-591; Paralip. 295-297. 210 ABV 573; Paralip. 287-288. 211 ABV 403; Paralip. 175. 205

212 For his other Panathenaics, cf. ABV 404-406; Paralip. 175-176. 213For his other Panathenaics, cf. ABV 407-409; Paralip. 177. 214 ABV 409; Paralip. 177. 215ABV410. 216ABV 411-412; Paralip. 177. 217 London, B.M. B 604 (ABV 413). For the rest of their Panathenaics,cf. ABV 413-414; Paralip. 177. 218 ABV 414-417; Paralip. 178.

POTTERS AND PAINTERS

98

Our last three vases to be discussed belong to the Swan Group, painters of miniature vessels usually decoratedwith swans often painted upside down.219The decorationis without incision and often rather sloppy. The Agora Swan Group vases are two oinochoai, 732 and 765, five pyxides, 1275 (PI. 90), 1276, 1281, 1287 (PI. 90), and 1294, and a phiale, 1427 (P. 97), all but 732, 765, and 1294 attributedby Beazley. These little vases are difficult,if not impossible,to date on the basis of style. To judge by the shapes, the range in time for the Swan Group is considerable,reaching back perhaps as early as the first half of the 6th centuryB.C. 219

ABV 655-660; Paralip. 315-316.

CATALOGUE ONE-PIECE AMPHORAE

FIG.1. One-pieceamphora1 (P 6155 a) DECORATED ON NECK AND BODY, NOT SET IN PANELS

1-6

P6155a E 14:8 1 Fig. 1;Pl. 1 Neck fragment.Max. dim.0.081. Bandof glazeon inside. Slippedon outside. Sphinx (head)to right.On the right, a siren (someof her backhair,one wavy side lock,partof her breast)to left, with her head turned around. Hanging spirals at top of figure zone. Wheel rosettefor filling ornament.Red: face. White: fillet. Althoughcalleda neck-amphorain ABV, the wall of this fragmentflarestoo muchto comefroma vase of that shape, especiallywhen comparedwith a contemporaryexampleof similar size, such as 138 (PI. 17). The closest parallel in shape, althoughnot in size, to 1 is Aigina 565, a very large early workof the Nettos Painter(ABV 3, 1; Paralip. 1, 1). 0. von Vacano's interpretationof 1 as a male protome cannot be supported (Zur Entstehung und Deutung gemalter seitenansichtiger Kopfbilder auf schwarzfigurigen Vasen des griechischen Festlandes, [Bonn 1973], pp. 15, 34). The composition on 1 probably showed two confronted seated

sphinxes,as on Aigina 565, but with a sirenbetweenthem, her head turned around,similar to the one perchedon a palmettebetweentwo confrontedhorsemenon Kerameikos, inv. no. 658 by the Nettos Painter (ABV 3; Paralip. 1; KerameikosVI, ii, no. 116, pls. 89-91) andthe oneon the lid of his skyphos-krater,Athens,N.M. 16382 (ABV 4; Paralip. 3, 10).

Perhapsalso nearthe Nettos Painter(ABV 7, 3; Paralip. 5,4). Ca. 620-610 B.C.

2

P6155b,c E14:8 Two non-joining fragments. Max. dim. b) 0.078, c) 0.052. Froma vasesimilarto 1 but with clayslightlymore buff in color. Fragmentb givespartof a birdor siren (someof one foot and tail) to right.Fragmentc showspartof a rosetteand on the right,glaze that may be the leg of an animal. Fragment b probably comes from a compositionthat showedtwo confrontedbirdsor sirens. Cf. the two feeding birds on London,B.M. 1874.4-10.1, formerlyA 1531, by

100

CATALOGUE

the Nettos Painter (ABV 3, 2; Paralip. 2, 2). The representationon 2 cannothavebeen feedingbirds,for the tail is in the wrong position:it shouldbe up, not down. Size and shapeof this amphoracomparebestwith thoseof the Nettos Painter;so little of the drawingremainsthat it is difficultto be certainof an attribution,althoughone may comparethe feet of the eagle on the right on Athens,N.M. 16382 (ABV 4; Paralip.3, 10; Karouzou,'Avayvpov7ros,pl. 9). Ca. 620-610 B.C.

P 18524 A 17:1 (U) Two non-joiningfragments.P.H. a) 0.256; max. dim. b) 0.17. Mouth, one handle,part of body (a); lower part of body without figureddecoration(b). A whitish slip covers the reservedparts.Glaze has firedbrownand is abradedin manyplaces. On neck, frieze of incised rosettes.On one side, sphinx with elongatedbody,to right. Incisedrosettesfor filling ornament.On the otherside of the vase very little remains.A small amountof glaze may be partof a tail or an ornament. Red: markingon hindquartersof sphinx, wing bow, and alternatefeathers;rosetteson neck;bandjust below figured decoration,anotherlower down (on b). The internalincision indicatingthe individualleaves of each rosetterecallsthe similarbut neaterincisionin rosettes on the namepieceof the Nettos Painter(ABV 4, 1; Paralip. 2, 6; Karouzou,'Avayvpovoros,pl. 90). Late 7th centuryB.c.

3 P1.1

4 P1.1

P 25417 N7:3

Fragmentof neck with root of one handle. Max. dim. 0.082. On neck,lotus-palmettefestoon.Red:cuffs and frondsof lotuses;heartsand alternatepetalsof palmettes;links. Manner of the Gorgon Painter (Paralip. 8): compare LouvreE 817 by the painterhimself (ABV 9, 7; Paralip.6, 7). The Gorgon Painter'sfragmentsfrom the Olympieion (Paralip.7, 9 ter) are probablyfroma similaramphora. First quarterof the 6th centuryB.C. 5 PI. 1

P 6660 R-V 16-19

Wall fragment.Max. dim. 0.10. Siren(hair,someof breast,wing, tail, legs) to left. Incised rosettes for filling ornament. Red: breast, upper part of wing, baron tail;line at bottomof fragmentat break.White: dots at basesof wing and tail feathers. Comparethe Groupof the DresdenLekanis,particularly for the incision and for the carelessmanner in which the accessoryred is applied:e.g. 1442-1444 (PI. 98) or 1859 (PI. 119). But the drawingis not quitethe same,andthe use of addedwhite doesnot seemto occurin the knownworkof this group. Late firstquarterof the 6th centuryB.C. P 6 Fig. 2;PI. 1 5088 S21:2 Three non-joiningfragmentsof mouth, neck, and body. Max. dim. a) 0.203, b) 0.108, c) 0.061. Mouth is flat on top and has a slightoverhang.Bakir,Sophilos,pl. 79, figs. 154156.

FIG.2. One-pieceamphora6 (P 15088). Scale 1:2 Fragmenta preservespartsof threeanimalfriezes:I) bird or siren (feet) to left; II) feline (hindquarters,tail), eagle, and goat (head, some of neck, one foreleg),all to left; III) goat (hindquarters)and panther to left. Below III, rays. Fragmentb gives part of the mouth and neck: on side of mouth, frieze of rosettes;on neck, lotus-palmettefestoon (partof one palmetteand one lotus).Fragmentc givesmore of the rays abovethe foot. Red:a) ribs, markingson hindquarters;wing bows,baron tail;neckof goatandof panther; two lines above rays; b) heart of palmette;three lines on insidebelowrim, line on outeredgeof rim, line abovelotuspalmettefestoon. For rosetteson the side of the mouth of other one-piece amphorae,cf., e.g., 34 (P1. 5); also Louvre E 817 by the Gorgon Painter (ABV 9, 7; Paralip. 6, 7); New York, private,once Basel, Blochby the CamtarPainter(Paralip. 31, 10; Cat.Sotheby,13-14. July, 1981,no. 243); threeunattributed:LouvreE 816 (CVA,Louvre1 [France1], pl. 1 [31]:3,9); LouvreE 818 (CVA, Louvre1 [France1], pl. 1 [31]:5, 11); OxfordG 128.2 (CVA, Oxford2 [GB 9], pl. 2 [403]:24);New York, Bastis, signed by Andokides(ABV 253; ARV2 1; Paralip. 113). Sophilos(ABV 39, 9). Bakir (Sophilos,pp. 40 and 42), without good reason, demotesour fragmentsto those of a late workshoppiece, standingonly on the peripheryof the workof Sophilos. Ca. 580 B.C. PANELAMPHORAE 7-116

7 P1.2

P17393

M 1:3

Three non-joiningfragments. Max. dim. a) 0.195, b) 0.185, c) 0.08. Mouth and neck (a); body fragments (b, c). Some of the glaze has fired brown on fragmentc. AgoraVIII, p. 97, no. 578, pls. 37, 42. In eachpanel,headof a womanto right,herfacedrawnin outline. Fragmenta gives the crown of one head and the upper right cornerof the panel. Fragmentb (illustrated) showsthe faceandneckof a womanto right,perhapsthe one on fragmenta. Fragmentc comes from the oppositepanel (the glaze misfiredslightly)and preservessome of the hair lying againstthe neck. H. Diepoldersuggestedthat 7 is an earlyworkof the Nettos Painter (Festschriftfiir Carl Weickert,Berlin 1955, pp. 111-120), an attributionrejectedby Brann(AgoraVIII, pp. 97-98) but acceptedby Karouzou ('AvayvpovTros, pp. 131-132, 135) who comparedit with the stand of

ONE-PIECE AMPHORAE Athens,N.M. 16384, a matureworkof the painter(ABV 6; Paralip. 3, 13). Althoughthe similaritiescannotbe denied, the drawingon the standis heavierand less elegantthan on 7 (comparethe drawingof the mouthand chin), andthe two ought to be kept apart. Furthermore, the restrictions imposedby a panel do not seem suited to the style of the Nettos Painter. Ca. 620

B.C.

8 P. 2

P22151

Jll

Fragmentof mouth, neck, and panel. Max. dim. 0.21; p.H. 0.17. White slip on surface. Some of the glaze is abraded. Upper left cornerof panel preservingforepartsof an animal (someof its back,shoulder,and locksof hair alongback and neck)to right. Red:neck. The compositionprobablyshowed two confrontedforeparts, a type of representationknown in Protoattic (cf. Agora VIII, pp. 96-97, no. 573, pl. 36). An early Attic black-figuredexampleoccurson the Eleusisamphoraby the Nettos Painter(ABV 679, 2 bis;Paralip.2, 3), but here the headsare conjoined.8 is one of the veryearliestexamplesof such decorationin a panel. P 27324 S16:1 Max. dim. Wall fragment. 0.058. Animal,perhapsa ram (partof hind leg, andat the break, the end of the tail), to right. Incisedrosettefor filling ornament. Red:dotson rosette. 9

Late 7th century B.C.

10 PI. 2

P 24944 Q13:5 Body fragment. P.H. 0.249; diam. 0.24. Mouth, neck, handle,muchof wall, and all of foot missing.H. A. Thompson, Hesperia25, 1956, p. 58, pl. 16:b. Figureddecorationset in small panels.A, male head and neck with start of snaky body to right. B (not illustrated), feline or sphinx (partof one hind leg, a bit of the tail) seated to right. Red: face and pupil; dots on fillet;two lines below panel that continueroundthe vase. White: cornersof eye, ear, dotson neck;claw. The subjecton 10 does not seem to have exact parallels. Althoughrelatedto the satyr heads on 723 (PI. 69) and to otherhumanforepartsin the mannerof the GorgonPainter (beneaththe handle of two lekythoi:Berlin, inv. no. 3764: ABV 11, 19; Nikosia 1958.iv-233: Paralip. 8, 19 bis; E. Gjerstad,GreekGeometricand ArchaicPotteryfound in Cyprus [Skrifter Utgivna av Svenska Institutet i Athen, XXIV], Stockholm1977, pl. 63:1;two pairedforepartsin a panel:Copenhagen13796:ABV714, 9 bis;Paralip.7, 9 bis; 8), it differsdistinctlyfromthese by continuingto the left as a snakyshapecut off by the edgeof the panel.The othersare truncatedforms.The two on the lekythoihaveveryrounded bottoms;those in Copenhagen,and probably1372 (P1.94) also, are only slightly rounded.As a group, these are very differentin conceptionfromthe simplemale or femaleforepart in a panel that lookslike a figurepassinga windowat shoulderlevel (e.g. Munich 1360:ABV 16, 2; Paralip.9, 2). For humanforepartson black-figuredvasesof all fabrics,

101

cf. 0. von Vacano,op. cit. (under 1). He rightly saw that those in the mannerof the Gorgon Painter, includingthe two unpublishedones on oinochoaiin Taranto and Berlin (ABV 10, 2 and 3), were probablyby one hand, and he thoughtperhaps10 mightbe the firstattemptby this painter to deal with this form (p. 37 and pp. 153-154, note 119). Althoughthe generalstyleof drawingandthe decorativeuse of white recall vases in the mannerof the GorgonPainter, the crosshatchingon the snakypart differsfromthe smooth serpenton the Berlin lekythosand from the scaly part of Nereus on the lekythosin the Louvre (ABV 12, 23), and thereforeit probablyshouldbe kept apart. For redfaces,cf. H. R. W. Smith,TheHearstHydria.An AtticFootnoteto CorinthianHistory[Universityof California Publicationsin Classical ArchaeologyI, 10] Berkeley/Los Angeles1944, p. 270, note 36. Ca. 600

B.C.

11 P. 2

P 14485 G 19

Wall fragmentfrom upper right cornerof panel. Max. dim. 0.092. Horseman(partof mount'sheadand mane)to right.The interruptionin the locksof maneon the far left at the break is partof the rider'shand. Red:all of the head;pupil of eye. The compositionof the horseandriderwas verysimilarto the one galloping to right on the Baltimoreplate by the GorgonPainter(ABV9, 18;Paralip.7, 18);the composition of a mountstandingor walkingdoesnotappearuntilthe late first quarter of the 6th century. An unattributeddinos fragment (London, B.M. B 103.14.2: W. M. F. Petrie, NaukratisII, London1888, pl. 9:7; Baklr,Sophilos,pl. 64, fig. 123) closein styleto Sophilosis oneof the earliest(Baklr attributesthe fragmentto Sophilos).The GorgonPainter's unpublishedfragmentin Hildesheim(ABV 10, 29) showsa riderwith his handin the samepositionas the one on 11. Mannerof the GorgonPainter(ABV 13, 43). Early 6th century B.C.

12 PI. 2

P 12673 P8:5

Mouth,neck,handles,wall to belowhandles.P.H. 0.219; diam.of mouth0.165;est. max. diam.0.272. Missingpieces restoredin plaster.Glazehas misfiredreddishbrownon half of vase. A (illustrated)and B, ram (mostof eachhead,the forelegs and partof bodymissing)to right.Red:necks;two lines below panelsthat continueroundthe vase. Comparethe ram on the GorgonPainter'solpe in Munich, inv. no. 8757 (Paralip. 7, 135). The drawingof the horn,the doubleline forthe shoulder,andthe incisioninside one ear on 12 are particularlycloseto the GorgonPainter's ram,and what remainsof the hindquartersdoesnot seemso far fromit either.The shapeof the Agoravase,exceptfor its broaderpanel,is similarto LouvreC 10620 (ABV9, 9; Paralip. 7, 9), a late workof the painteraccordingto I. Scheibler (Jdl 76, 1961,p. 20). What remainsof the backgroundis void, unusualfor the GorgonPainterbut paralleledon his namepiece,LouvreE 874 (ABV 8, 1; Paralip.6, 1), and on the late amphorain Hanover,inv. no. 1965.13 (Paralip.7, 95;CVA,Hannover1 [Germany34], pl. 5 [1637]:3,4). Ca. 590-580 B.C.

102 13

CATALOGUE P 12526 R 17:3

Completebut for foot and most of handles(the rootsremain). Rest. H. 0.257; diam. 0.194; diam. of mouth0.109. T. L. Shear,Hesperia8, 1939, p. 229, fig. 25; M. Picozzi, StudiMisc. 18, 1971, p. 12, no. 2, pl. 2:2;A. Birchall,JHS 92, 1972, p. 57, U I, 12. A and B, horsehead"fantasticallymannered"(ABV 17, 43). The Horse-headAmphorae(ABV 17, 43). Early 6th century B.C.

14 P1.3

P 290 G 15:3 with the missingpartsreMendedfrommanyfragments storedin plasterand painted.Rest. H. 0.515; max. dim. of body 0.376; at handles 0.39. Restored:half of mouth and neck,lower partsof handles;most of B; all of foot. Someof the glaze has fired red;in places it is abraded.M. Picozzi, StudiMisc. 18, 1971, p. 14, no. 7 and pl. 8; A. Birchall,JHS 92, 1972, p. 54, FIII, 10. A (illustrated)and B, horsehead(missing:A, some of cheek,partof neck;B, all of headbut for partof cheek,much of mane). Red: manes, nostrilon A; two lines below panel that continueroundthe vase. For the red nostril, a rarely seen feature,see the second horsefromthe left on the Nettos Painter'scavalcadekrater, Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12) and the Horse-head amphora,Athens, N.M. 16402 (Picozzi, op. cit., p. 19, no. 21, pl. 17; Birchall,op. cit., p. 53, F II, 9); also 18 (P1.3), 22, and 408 (P1.40). The Horse-headAmphorae;Relatedto the New YorkAthensHorse-headGroup[Birchall]. Early 6th centuryB.C. 15 PI. 3

P 25352 S-U 19-21

Wall fragment.Max. dim.0.077. M. Picozzi,StudiMisc. 18, 1971, p. 44, no. 86, pl. 64; A. Birchall,JHS 92, 1972, p. 58, U II, 16. Horsehead(top of head with forelockand part of mane). Edgeof panel at right. Red:forelock;mane. The doublelines separatingeach lock of mane are unusual but may be paralleledon two horseheadprotomesby the NettosPainter,Athens,N.M. 16366 (ABV5, 8; Paralip. 4, 19). The Horse-headAmphorae(Paralip.10). Early 6th centuryB.c. 16 P1.3

P 26636 T 18:3

Wall fragmentwith rootof one handleon the right.Max. dim.0.27. Someof the glazefiredbrownish.M. Picozzi,Studi Misc. 18, 1971, p. 16, no. 11, pl. 10;A. Birchall,JHS 92, 1972, p. 59, U II, 19. Horsehead(part of forehead,eye, forelock,and mane). The cheekstrapof the halter passesover the locksof mane, an unusualfeature;the forelockand ear overlapthe edgeof the panel slightly.Red:mane;pupil of eye. The Horse-headAmphorae(Paralip.10). Early 6th century B.C.

17 P1.3

P 18528 A 17:1(U)

Four non-joining fragments. Max. dim. a) 0.314, b) 0.304, c) 0.227; diam.of mouth0.20. Fragmentsa and b are fromthe body,b with one handle;fragmentc givesmost of the other handle;fragmentd preservesabouthalf of the mouth. M. Picozzi, Studi Misc. 18, 1971, p. 16, no. 12, pi. 11;A. Birchall,JHS 92, 1972, p. 53, F II, 5. A (illustrated)and B, horsehead.Fragmenta preserves mostof one horseheadbut for the top of its headand a bit of its mane. Fragmentb gives about the same amountof the other horsehead.Red: manes; irises; dots at junction of cheekstrapand nosebandof halter on b; two lines below panelsthat continuedroundthe vase.White:cornersof eyes. The Horse-headAmphorae(ABV 16, 8); Sub-Groupof Athens903 [Birchall]. Early 6th century B.C.

P 13385 T24:3

18 Pl. 3

Preservedto just below the handles. P.H. as restored 0.224;max. diam.0.303;diam.of mouth0.198. Smallparts of wall restored.M. Picozzi, Studi Misc. 18, 1971, p. 17, no. 13, pl. 12;A. Birchall,JHS 92, 1972, p. 54, F III, 12. A (illustrated)and B, horsehead.Paintedon A: qI

Red:manes,forelocks,insidesof ears, pupils, nostrils;lines framingpanelsat top and sides;line on neckaboveand below attachmentof handles;bandsinsideand outsidelip and one at bottomof exterior.White:dot on halter. For the red nostril,cf. 14. The Horse-headAmphorae(ABV 16, 7); Relatedto the New York-AthensGroup[Birchall]. Early 6th century B.C.

P 26631 U 19 19 Three non-joining fragments of panel. Max. dim. a) 0.045, b) 0.042, c) 0.03. Verypoorglaze. M. Picozzi,Studi Misc. 18, 1971, p. 44, no. 87, pl. 64; A. Birchall,JHS92, 1972, p. 58, U II, 1. Horsehead:fragmenta preservesmost of the face;fragment b gives the base of the neck with the ends of locksof mane;fragmentc shows someof the mane. It is not certain thatthe threefragmentscomefromthe samesideof the vase. Red:mane. The Horse-headAmphorae(Paralip.10). Early 6th century B.C.

P 18529 A 17:1(U) 20 Fournon-joiningfragmentsof panel.Max. dim.a) 0.118, b) 0.124, c) 0.048, d) 0.037. M. Picozzi, Studi Misc. 18, 1971, p. 17, no. 15, pl. 13;A. Birchall,JHS92, 1972,p. 59, U II, 18 (a and b are reversedin the description). A and B, horsehead.Fragmenta preservesmost of the face, some of the neckwith two locksof mane. Fragmentb shows a sectionof mane, probablyfrom the other side, for the lowercontourof eachlockis doublyincised.Fragmentc givesthe lowerpartof the mane,someof the panelwith the

ONE-PIECE AMPHORAE framingline, probablyfromthe same side as a; fragmentd givespartof the sideof one panelwith the framingline. Red: manes;line framing side of panel; two lines below panel. White:cornersof eyes;dotson halter. The Horse-headAmphorae(ABV 16, 9). First quarterof the 6th centuryB.C. P 1248 G 6:3 (L) 21 Wall fragment.Max. dim. 0.113. E. Vanderpool,Hesperia 7, 1938, p. 372, no. 3, fig. 5, middle;M. Picozzi,Studi Misc. 18, 1971, p. 17, no. 14, pl. 13; A. Birchall,JHS 92, 1972, p. 51, B 6. Horsehead(neck,mane,lower half of head). Red:mane. The Horse-headAmphorae(ABV 16, 11); probablyby the Painterof the SyracuseHorse-head[Birchall]. Late firstquarterof the 6th centuryB.C. 22

P 26743 T-U 19-20 (II)

Wall fragment.Max. dim.0.047. M. Picozzi,StudiMisc. 18, 1971, p. 44, no. 88, pl. 64; A. Birchall,JHS 92, 1972, p. 60, U II, 24. Horsehead(mostof head, ends of locksof mane overlapping neck). Red:nostril,lockof mane. For the red nostril,cf. 14. The Horse-headAmphorae. Probablysecondquarterof the 6th centuryB.C. P4217 F 13-14 23 Wall fragment.Max. dim. 0.132. Upper left cornerof panel with start of handle attachmentat left. M. Picozzi, StudiMisc. 18, 1971, p. 18, no. 16, pl. 14; A. Birchall,JHS 92, 1972, p. 58, U II, 5. Horsehead(mane). Red: mane;line framingpanel; two lines abovepanel. The Horse-headAmphorae(ABV 16, 10). First half of the 6th centuryB.C. P 2037 H 8-10 24 PI. 3 Wall fragment.Max. dim.0.095. Bandof glazeon inside. E. Vanderpool,Hesperia 15, 1946, p. 124, no. 5, pi. 16:2. Mounted warrior (his head, chest, right arm with crop; part of his horse's mane) to right. The warrior wears an Attic helmetand a chiton.At the top of the fragmentis the edge of the panel. Red:helmet;chiton;crop.White:corners of eyes;dotsedgingchiton. To judge from the raisedpositionof the rider'sarm, his mountis probablygalloping. First quarterof the 6th centuryB.C. P 15887 D-E 18-19 25 P1.3 Wall fragmentfromupperleft cornerof panel.Max. dim. 0.057. Inscribed:

Red:line framingpanel. First quarterof the 6th centuryB.C.

103

P4 I9 26 P. 3 Wall fragment.Max. dim. 0.064. Lion (muzzle,someof neck,mane,and body)to left with headturnedaround.Red:mane.White:teeth. The combinationof an incisedruffwith a manethatcompletely coversthe neck is unusual.We have four parallels: one in the mannerof the GorgonPainter,704 (PI. 68); two by the KX Painter(Athens,N.M. 296: ABV 24, 7; Boston, M.F.A. 97.366:ABV 25, 19);one near Sophilos,30 (PI.4). The compositionon 26 probablyshowed two confronted lions with headsturnedaround,similarto thoseon the skyphos in Bostonby the KX Painterand on 30. First quarterof the 6th centuryB.C. P289 G 15:3 27 PI. 4 Wall fragment.Max. dim. 0.172. Swan (tail, mostof wing, and at the far right,a bit of the neck)to right. In the upperleft, the edgeof the panel. Red: two thin verticalstreaksin background.White:neck,cover of wing. The positionof the swan in the left half of the panel suggeststhat it is probablyone of a pair, confronted. Early 6th century B.C.

P 5024 F 12:6 28 Wall fragment.Max. dim. 0.05. Eagle (part of wings missing)flying to right. Red: wing bows. First quarterof the 6th centuryB.C. 29 P. 4

P 12496 Q18:1 Wall fragment.Max. dim. 0.091. E. Vanderpool,Hesperia 8, 1939, p. 260, fig. 16:17 and p. 261, no. 17; Bakir, Sophilos,pl. 64, fig. 125. Rider (his head;someof the maneand neckof his horse) to right.At the left, partof a rosette;above,top of the panel. Red:neckof horse;two lines at top of panel. Sophilos(ABV 39, 8). Ca. 580 B.C.

30 P1.4

P 3703 H-I 10:1(?) Wall fragment.Max. dim. 0.266; p.H. 0.20. E. Vanderpool, Hesperia 15, 1946, p. 126, no. 7, pl. 17:4;Baklr,Sophilos, pl. 79, fig. 157. Two lions (head,chest,and forelegof left;all of rightbut for its hindquartersand right forepaw) confronted,with heads turnedaround.Incisedrosettesfor filling ornament. Above figures,chain of double palmettes.At right of palmettes,line markingedgeof panel.Red:manes,eyes,marking on hindquarters;cores of rosettes,heartsof palmettes; two lines below panel. The chain of doublepalmetteswithout lotusesis an odd ornament.Cf., e.g., 41 (PI. 5); one of Group E, New York, M.M.A. 56.171.12(ABV 134, 22; Paralip.55, 22); andtwo by the St. Audries Painter, New York, M.M.A. 56.171.8 (ABV313, 1;Paralip.136, 1) and Munich 1403 (ABV313, 2; Paralip. 136, 2).

104

CATALOGUE

Near Sophilos(ABV 43, 5). Ca. 580 B.C.

31 P1.4

P 5300 E-F 12-14

Two non-joiningwall fragments.Max. dim. a) 0.145, b) 0.084. Boarhunt. Fragmenta showspartsof two hunters(torso, part of arms and face of one on left; back of head, right shoulderof one on right)to right.The one on the left has his spearpoised;its tip appearsbesidethe left, notthe right,side of his face. At his waist is a scabbard.The pointedobjects behind the hunter on the right, at the break,look like the ends of arrowsprojectingfroma quiver.Sincethis hunter's right arm is not raised,he was probablyusing a thrusting weapon.On the left is the edge of the panel with a little of the vertical line. Fragment b shows some of the boar (shoulder,neck, part of loweredhead) to right. Below the neckof the beast,at the break,is partof anotherfigure,perhaps the paw of a dog attackedby the boar. Red:faces;chitons;belly stripe,neck,markingson faceof boar. For a woundedhoundbeneatha boar,cf. Ormenosin the Calydonianboarhunton the Francoisvase (ABV76, 1;Paralip. 29, 1). For boarhuntersusing thrustingweapons,cf. two on the Boston dinos by the Painter of London B 76 (ABV 87, 18; CVA, Boston2 [USA 19], pi. 64 [898]:1)and two on a Tyrrhenianamphoraby the Fallow-deerPainter (W. Hornbostel, Kunst der Antike. Schiitze aus norddeutschemPrivatbesitz,Mainz 1977, no. 235). Beazleysuggestedthat the sceneon 31 representsthe Calydonianboar hunt, and if it does, it and 610 (P1.58) would be two of the earliestexamplesin Atticblackfigure.But, withoutinscriptions or the presenceof Atalanta,it is difficultto be certain, and in the uncontestedillustrations,the boarusuallyfacesto left andhas its forelegsraisedforthe finalattackas the hunters close in. 610, with all the names inscribed,is an exception.For the Calydonianboar hunt, cf. Brommer,Heldensage3,pp. 310-312 with bibliography;also, A. Schnapp, RA, 1979, pp. 195-218. Late firstquarterof the 6th centuryB.C. P 22840 H-K 12-14 32 P1.4 Wall fragment.Max. dim. 0.065. Warrior (head with Corinthianhelmet, torso, start of legs) to left. The crestof his helmetis drawnin outline,an unusual detail. The meaning of the small bit of glaze between the helmet crest and the warrior's shoulder is uncertain.Red:face;corslet. Ca. 580 B.C.

P 22532 Q 17:2 Mouth, neck, and handlespreservedwith some of panel on each side. P.H. 0.19; diam. of mouth0.146. Top side of mouthdecoratedwith a step pattern. A (illustrated),siren (part of tail and legs missing) to right,with wings outspread.B, lion (someof head)to right. Red: A, face, eye, wing bows, bandon tail; B, eye, muzzle, 33 P1.4

part of mane; line on inside and outsideof lip, one at its loweredge,and two roundthe vasebetweenlip and handle; line framingpanels.White:dotson innerrow of feathers. For a sirenin a panel,cf. two contemporary ones:Athens, N.M. n.n. (AJA 39, 1935, p. 133, fig. 3) and Louvre C 10627 (CVA, Louvre 11 [France 18], pl. 122 [795]:5), which also has a lion in its reversepanel. Ca. 580-570 B.C.

FIG.3. One-pieceamphora34 (P 1250), graffito.Scale 1:2 P 1250 G 6:3 (L) 34 Fig. 3; P1.5 Mouth, neck,someof one handle,part of wall with a bit of each panel. Rest. H. 0.29; diam. of mouth 0.208. Strengthenedwith plaster. E. Vanderpool,Hesperia 7, 1938, pp. 373-374, no. 5, figs. 7, 8. A, two seatedlions (mane,muzzle,bit of tail of left;some of mane,body,and forelegsof right) confrontedwith heads turnedaround.Betweenthem, floral(part);abovethem, in eachcornerof the panel,lotus (partof each).Incisedrosette for filling ornament.B, warriors (helmetedhead of one, neck,partof his spearandhis shieldemblazonedwith a star; some of another'sshield, back of his helmet crest, both to left). On the far left (not illustrated),rim of shieldof another. Above each panel, lotus-palmettefestoon.On vertical surfaceof mouth,rosettes.On top side of mouthabovehandle B/A, graffito(Fig. 3). Red: manes, ribs, markingson hindquartersof lions;floralbetweenthem;coresof rosettes; helmetcrest,rim of shieldon left;centerof shieldwith star device;hearts of palmettes;cuffs of lotuses, lines framing panel; two lines on neck below mouth; line on inside of mouthand another0.03 belowit. White:star. The Painterof LondonB 76. For rosetteson the side of the mouthof two amphoraeby him, cf. Lyons(ABV87, 16) and Louvre (Paralip. 33, 16 bis). For a row of warriors, whichverylikelywas the compositionon sideB, cf. the neckamphoraeonce in Cervetri (ABV 86, 12) and Taranto 52.148 (Paralip.33, 13 bis). For the shield, cf. New York, M.M.A. 45.11.2 (ABV 85, 2), the hydriain a Swiss private collection(Paralip.32, 1 bis),andthe neck-amphoraoncein Cervetri.Lionswith long manesoccuron the top side of the Brusselstripod-kothon(ABV 87, 21). For rosetteson the side of the mouthof otheramphorae,cf. 6 (PI. 1). Ca. 570-560 B.C.

P 1246 G 6:3 (L) 35 Parts of wall and foot restored.H. 0.34; diam. 0.235. Mouth warpedin firing.Dent on reversenearyouth.Some

105

ONE-PIECE AMPHORAE of the glaze fired red. E. Vanderpool,Hesperia 7, 1938, pp. 376-378, no. 8, figs. 12, 13. A and B, youthfulriderto right. Red: manes;line on top side of mouth at each edge; line below panels continuing roundthe vase. Ca. 560-550

B.C.

Ca. 570-550

P 13387 T24:3 Top half, mostlypreserved.Rest. H. 0.174; diam. as restored0.245. Missing piecesrestoredin plasterand painted. A (illustrated),rider (preservedbut for some of the head and neckof horse,its legs and the end of its tail) to right.B, the like (all that remainsis the head and shouldersof the rider,the crestand foreheadof his mount).Red:hair of riders;manesand tail; line insideand outsideof lip; line at top of panel. By the same hand as the three horsemanamphoraewith unframedpanels that were put togetherby Villard (CVA, Louvre 11 [France 18], p. 109): Louvre E 824 (CVA, Louvre3 [France4], pl. 9 [146]:3,6); Villa Giulia, Castellani 468 (P. Mingazzini, Vasi della collezioneCastellani, Rome 1930, pl. 62:3);and LouvreC 10635 (CVA, Louvre 11 [France18], pl. 128 [801]:1).Certainfeaturesof 36 also recallthe Painterof Acropolis606, especiallythe absenceof ornamentabove the panel and the crinkly contourof the mane, but the drawing is different.Compareparticularly, Berlin,inv. no. 4823 (ABV 81, 4; Paralip.30, 4; CVA,Berlin 5 [Germany 45], pls. 1 [2146]:2 and 3 [2148]) and Tubingen D 4 (ABV 81, 5; CVA, Tiibingen 2 [Germany 44], pls. 31 [2132]:1and 32 [2133]:the new numberis S./10 1298). 36 Pl. 5

Ca. 560-550

B.C.

37

P 20892 A-D 16-23

Wall fragment.Max. dim. 0.082. Rider (thigh,forearms,handsholdingreins;part of body and mane of horse) to right. Red: mane, markingon hindquarters. Ca. 570-550 B.C.

38

P 13026 U 25:2 (U) Preservedbut for mouth, one handle and some of neck, lower part of body,and foot. H. 0.196; diam.0.137. A and B, youthfulriderto right. In fieldon one side, four dots.Red:hair of eachrider;manes,markingson hindquarters. White:chitons;teeth and tails of horses. Ca. 560-550 B.C.

39

P4251 E 14:11 Wall fragment.Max. dim. 0.043. Glaze firedred on lower part. Two draped males (heads, chests) to left, overlapping. Horizontalline at levelof nose.White:crosseson garmentof male on right. Ca. 570-550 B.C.

40 P 24953 Q 13:5 Wall fragmentfrom upper right cornerof panel. Max. dim. 0.12. Dull glaze, crackedin places. Horse (topknotand part of mane) to right. Red: mane; line abovepanel. B.C.

41 PI. 5 P1229 G6:3(L) Six non-joiningwall fragments. Max. dim. a) 0.137, b) 0.077, c) 0.107, d) 0.065, e) 0.014, f) 0.022. E. Vanderpool,Hesperia7, 1938, pp. 374-376, no. 6, figs. 9, 10. Three fragmentscomefromone side:warriorand squire to left, bothmounted.Fragmenta (illustrated)preservesthe headsof the two riders,part of a roundshield;some of the neckand maneof the warrior'shorseandthe forelockof the squire's.The warriorwears a high-crestedCorinthianhelmet. At the upper left, part of the chain of palmettesthat bordersthe panel at the top. Fragmentc shows someof the horses'tails. Fragmente gives moreof the palmetteborder. Fragmentb comesfromthe othersideof the vaseand shows partof a shield(its rimis widerthanthaton fragmenta) and someof the horse'sbody.The placingof the remainingfragmentsis moredifficult.Fragmentd preservespartof an uncertainobject,perhapsa horse'sleg. Fragmentf shows the upperrightcornerof one panelwith a bit of the ornamental band. Red:helmet,part of crest,squire'shair, main partof shield;maneand tail of warrior'shorse;heartsof palmettes. For the chainof palmetteswithoutlotuses,cf. 30. Ca. 550 B.C.

42 P. 5

P25351 T 19 P 26742 T-U 19-20 (II) Two non-joiningwall fragments. Max. dim. P 25351: 0.097, P 26742:0.053. P 25351 comesfromthe lower partof the panel and preservespartsof two hairy satyrs(lowerleg, tail of one; foot, someof buttockand tail of anotherthat appearsto be squatting), both to left. P 26742 shows part of a dancingsatyr (right arm raised, some of hair) to right. Red: hair; line framingpanel;groundline; line abovepanel and two more below that continuedroundthe vase. Ca. 550 B.C.

43 P1.5

P 22317 07:15

Wall fragment.Max. dim. 0.067. Sirenor sphinx (head,hair, partof wing) to left. In front of her, feline (tail). Red:breast,wing bow. Ca. 570-550 B.C.

44

P 6070 H 11

Wall fragmentfromtop of panel. Max. dim. 0.066. Youth(top of head)to right. Red:hair. Ca. 570-550 B.C.

45

P 444 H 17

Wall fragment.Max. dim. 0.045. Glaze firedred.

106

CATALOGUE

Nude man (beard, arms, body) to left, playing the aulos. Red: beard. Ca. 560-540

B.C.

46

P 15452

C 18:11

Wall fragment. Max. dim. 0.105. Glaze is abraded in many places. Parts of four figures: from left to right, 1) drapery, perhaps that of a woman to right; 2) male to left in a long chiton, preserved but for head and lower parts of legs; 3) as 2 but that he has a walking stick; 4) also to left (tip of beard, right hand with fold of drapery). Red: beards. First half of the 6th century B.C. 47

PI. 6

and the right knee of a man kneeling to left. On the left are the calf and foot of a man to right. To judge from what remains, the toes of this foot barely touched ground. Behind him at the break (almost completely flaked):

P 26632 and P 26651

T-U 19-20 (II, III) Eight non-joining fragments from both sides of the vase. Max. dim. P 26632: a) 0.14, b + d) 0.131, c) 0.061, e) 0.037, f) 0.048, g) 0.044, h) 0.077, P 26651: 0.116; H. of panel on obverse 0.225-0.23. Three more undecorated fragments belong. H. A. Thompson, Hesperia 29, 1960, p. 365, pl. 80:a (P 26632 a and P 26651). Five fragments come from the obverse. P 26651 (illustrated) preserves the upper left corner of the panel with the start of the handle near the corner. The part of the panel that remains shows a tiled roof, some of the metopes and triglyphs, the upper part of one column of a Doric structure. At the top of each metope, regulae with guttae are also shown. Some of the abacus and echinus of the capital, with the necking rings above and below a crown molding that looks like a tongue pattern, narrow flutes, or ovolos, are also drawn. On the left, overlapping the line framing the panel and some of the black glaze, is a small projection that may be an attempt to show the geison. On the left, beyond the black glaze, is a reserved area, the beginning of the next panel. P 26632 c (illustrated) gives part of the building's door, a panel with some of the decorative frame, and above, part of the lintel. P 26632 a (illustrated) comes from the right side of the panel and shows the lower shaft of a four-fluted column with part of its base. On the far right, beyond the black glaze, is the start of a reserved area, the beginning of the reverse panel, with a trace of the framing line. On the left of the column is a man (legs, ends of cloak) walking to left, perhaps carrying something (the ends of an object may be seen just below the break). On the far left, a narrow line that represents the staff of a person facing. P 26632 e preserves part of a cloak that should belong to this figure, for the two rows of ornament indicate that it is a garment folded over an outstretched arm, a posture suitable for a figure holding a staff. P 26632 h shows a bit of the lower edge of the panel below the ground line. Two fragments come from the reverse. P 26632 b + d (illustrated) give the calf and left foot For bichrome roof tiles on an actual temple of the late Geometric period, cf. H. R. Robinson, Hesperia 45, 1976, pp. 231-234. 2 This problem,particularlyin relation to the columns, has been discussed at length by Philip Oliver-Smith in an unpublished doctoral dissertation:ArchitecturalElements on Greek Vasesbefore400 B.C., New York University, 1969 (University

On the right is the toe of a woman to left. Below the figures, three horizontal lines of dilute glaze. P 26632 f preserves the lower right corner of this panel, assured by the lines of dilute glaze. The last fragment, P 26632 g, may come from either side of the vase and gives some of the black glaze below the panel and the tip of one ray above the foot. Red: alternate roof tiles, possibly to distinguish pan tiles from cover tiles;1 first and third glyphs of most triglyphs, center glyph of one; alternate flutes of columns, lower part of base; panel of door, studs on its frame; cloak of man on P 26632 a; drapery on P 26632 e; line framing panel (all four sides of obverse; top and sides of reverse); two lines below panel and two above rays that continued round the vase. White: rows of dots on borders of garments; woman's foot ? (applied directly on the clay), for the foot is drawn in outline, and all traces of white are gone. The scenes are set in very broad panels separated by a narrow vertical area of glaze above and below the handle. On the obverse, the architecture must have dominated the scene. The door fragment makes clear that the building is not a fountain house but either a temple or an elaborate dwelling like the palace of Peleus on the Francois vase (AB V 76, 1; Paralip. 29, 1; Cristofani, fig. 83). We cannot be certain whether the structure shown was intended to be of stone or of wood, for the use of accessory colors does not always provide reliable criteria for identifying the kind of material the painter had in mind. Variation in color seems to serve more to clarify individual architectural elements than to indicate material.2 But one cannot exclude the possibility that it may reflect the polychromatic stuccoed surfaces of actual buildings. The columns with their flutings, necking rings, and bases are closest to the ones by Kleitias. The metope-triglyph frieze resting directly on the abacus, a misunderstanding of the order, finds a parallel on the London dinos by Sophilos (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. [footnote 4 above, pp. 33-34]). Other details link the style with Kleitias: the door panel (P 26632 c) is similar to the one on the palace of Peleus; the border on the cloak (P 26632 e) is close to the one on Peleus' cloak. 47 is not by either Sophilos or Kleitias but by a slightly later artist painting in a bolder style. The subject of each panel is difficult to understand. On the obverse, the figures are within an architectural setting, and the rather quiet movement of the one figure combined with the staff of another suggests perhaps a scene of homecoming or of a person being greeted. On the reverse, the Microfilms International, Ann Arbor, Michigan, no. 69-21, 269). For an opinionthat coloris an importantfactor,at least in distinguishing the material indicated by certain painted columns, cf. L. Eckhart, "Bemerkungenzu dorischen SauIen auf archaischengriechischenVasen,"JOAI 40, 1953, pp. 6072.

ONE-PIECE AMPHORAE positions of the legs on P 26632 b + d indicate an active scene,perhapsa combatwith the victorcomingfromthe left aboutto woundhis opponentwho is downon one knee.Not enoughof the groundline remainsto estimatethe width of the panel; thus, it is not certain how many more figures, otherthan the womanwhose toes appearbehindthe kneeling warrior,this sceneincluded. Ca. 560-550

B.C.

48 PI. 6

P 19129 C 18:4 Wall fragmentwith upperleft cornerof panel.Max. dim. 0.112. Warrior(helmetedhead)and companionwearinga petasos (the crown overlapsthe warrior'scheekpiece)to right. On the left, at the break,part of a shield. Red:helmetcrest; crownof petasos;shield. The high position of the two in the panel suggeststhat they were in a chariot,the petasos-wearerbeingthe charioteer and the shield probablybelongingto him. It is unusual, however,forthe headof the charioteerto be slightlyaheadof the passenger.For the high positionin the panel,comparea few chariotscenesby paintersof Group E: Tarquinia RC 7170 (ABV 134, 24; Paralip. 55, 24); Wurzburg244 (ABV 135, 36); London,B.M. B 194 (ABV 136, 56; Paralip. 55, 56); Paris, de Larosiere(Paralip.56, 56 bis). Ca. 550-540

B.C.

49 Pl. 6 P 16563 No grid Wall fragment.Max. dim. 0.035. Warriorto left, beforetwo horses (mounts).On the left, the nose of one horse;the forehead,mane with forelocktied in a topknotof the other. On the right, the tip of the warrior'snose, some of his chiton,baldric,pommelof sheathed sword,and his right hand holdinga spear. Red:eye of lefthandhorse;chiton.White:end of swordpommel,hilt;teeth of horse;dotson rein. Lydos(ABV 112, 63). Ca. 550-540

B.C.

107

51 PI. 7 P 5895 No grid Wall fragment.Max. dim. 0:042. Satyr (face,beard)to right aboutto drink(the rim of his drinkinghorn appearsat the break).Red: hair and beard. White:row of dotsoversatyr'sforelock. Certainfeaturesof this satyr recall Lydos.For the long, protruding,partedlips, comparethe satyr shield deviceon Akropolis607 (ABV 107, 1; Tiverios,pl. 1:a) and some of the mournerson the Kerameikoscup (ABV113,81; Paralip. 45, 81; Tiverios,pl. 42). For solid hair with a crinklycontour, cf., e.g., someof the figureson the following:Munich 1681 (ABV 108, 12; Tiverios,pl. 2); LouvreE 804 (ABV 108, 13; Tiverios, pl. 7:a); London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip.44, 8; Tiverios,pls. 7:8, 9:,/). Ca. 540-530 B.C.

52 PI. 7 P 12669 V 24:2 (U) Wall fragment.Max. dim. 0.08. Warrior(high crestof his helmet,his right forearmwith vambraceand hand holdingthe shaftof his spear)to right. Abovepanel, some of the lotus-palmettechain. Red: vambrace,secondbandon crest;dots in links. White:outerand inneredgesof crest. For the vambrace,an extremelyrare piece of armor,cf. the carved example on the frieze of the Corfu temple (G. Rodenwaldt,Korkyra,II, Die Bildwerkedes Artemistempelsvon Korkyra,Berlin 1939, p. 114, fig. 103, pls. 33, 34) and the one worn by Ares on the Berlin oinochoeby Lydos(ABV 110, 37; Paralip.44, 37; Tiverios,pl. 57; best seen in K. Schefold,Gotter-und Heldensagender Griechen in der spitarchaischenKunst, Munich 1978, fig. 176). Cf. also Beazley,EVP, pp. 136-137. Ca. 540-530

B.C.

53 PI. 7

P1684 G 13 Wall fragment.Max. dim. 0.085. Thin wash on inside. Hermes (legs, one boot, lower borderof chiton)to right. To the rightof his knee,part of an objectthat lookslike the end of a horse'stail, for it has severalincisedlines alongthe rightedgeto indicatehair. Red:tail; tongueof boot.White: dotson borderof chiton. For this type of horse'stail overlappinga figure,cf., e.g., two by the Swing Painter:New York, M.M.A. 17.230.8 (ABV 307, 55; Paralip. 133, 55; Bohr, Schaukelmaler, pls. 77, 78); Boston,M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pl. 33 [655]:2;B6hr, Schaukelmaler, pl. 132).

50 PI. 6 P26975 T25:2 Two non-joiningwall fragments. Max. dim. a) 0.13, b) 0.215. Two horsemento right.Fragmenta, fromthe upperright cornerof the panel, givesthe headsof the two horses.Fragment b, fromthe left side of the panel, preservessomeof the hindquartersand tail of one horse and the wing and tail of an eagle flying to right. Red: markingson hindquarters; Ca. 550-540 B.C. band on wing and tail; two lines abovepanel that continue 54 PI. 7 P 4671 E-F 12-14 roundthe vase. the horses and in each Wall Max. dim. 0.058. Lydos. Compareespecially eagle fragment. Frontalchariot(head,neck,chestof onetracehorse),with panelof the Naples amphora(ABV 109, 23; Paralip.44, 23; Tiverios,pl. 56). The maindifferencebetweenthe two vases a male (someof drapery)standingat left. Red:mane,breast is that the Naples amphorahas a lotus-palmettechainabove band. each panel. Comparealso the horses on Akropolis607 k Painterof LouvreF 6 (ABV 125, 34). Ca. 550 B.C. (ABV 107, 1; Tiverios, pl. 48), Gottingen+ Cab. Med. (ABV 109, 19;Tiverios,pi. 31), and Akropolis802 a (ABV 55 P1.7 P17800 J18:4(U) 112, 60; Tiverios,pl. 81:/3). Ca. 550-540 B.C. Wall fragment,fromtop of panel. Max. dim. 0.102.

108

CATALOGUE

Departureof warriors.On the left, foreheadof warrior and the head of another,both to right, then the head of a warriorto left protectedby a high-crestedCorinthianhelmet. Behindhim, the headof a warriorand on the far right, the forelockof another.All the warriors,but for the last, holdspears.Abovethe figures,a row of ivy leaves.Red:fillet on helmet;line aboveivy. White:edgeof crest. Painterof LouvreF 6 (ABV 126, 46). Ca. 540-530 B.c. 56 P1.7

P6548

G 1:8

Four non-joining fragments:a) lower wall and foot with fillet at junction;b) mouth and neck;c and d) wall. Diam. of foot 0.10; p.H. of a) 0.79; est. diam. of mouth 0.135; p.H. of b) 0.05; max. dim. c) 0.15, d) 0.104. Glaze verydull. Fragment c (illustrated)preserveson the left a youth (someof head,shoulders)standingto right.In frontof him,a nude male (part of torso and arms) facing a male (hand, drapery).On the far right,the edgeof the panel.Fragmentd (illustrated)givesthe lowerpartsof the youthon fragmentc. Rays above foot. Red: fillet of youth; panels and dots on cloaks;bandroundneck;fillet. Painterof LouvreF 6 (ABV 127, 64). Ca. 550.

P 22177 Q7:1 57 PI. 7 Fragment.P.H. 0.095; diam. of neck 0.10. Parts of both panels,one handle,and someof neck. A (illustrated),upperpart of satyrholdinga branch,betweentwo maenads(the headof the one on the left, the head and shouldersof the one on the right,each with a fillet). B, headandshouldersof a manto rightwith a filleton his head. On the right, at the break,the face and foreheadof another man, also with a fillet. Betweenthe two, a staff, probably held by the first.Abovethe panel on each side, a single row of upright ivy leaves. Red: line above panel on satyr side; beards;fillets;stripeson garment.White:fleshof maenads. Painterof LouvreF 6 (ABV 127, 77). Ca. 550-540

58 P1.8

B.C.

P 26532 T 18:3

Wall fragmentwith startof neck.Max. dim. 0.065. Warrior(helmetedhead) to left. In frontof him, part of an uncertainobject.Above,a singlerow of uprightivy. Red: fillet round helmet; line above panel. White: segmentsof crest. Painterof LouvreF 6, later;Manner(Paralip.52). Ca. 550 B.C. P 25577 M 14 59 PI. 8 Shoulderfragment.Max. dim. 0.062. On the left, warrior(partof helmetcrestand raisedright hand with spear) to left. Behind him, a spectator(head) holdinga staff.Above,ivy. White:sectionsof crest. Painterof LouvreF 6 (Paralip.52). Ca. 550 B.C.

60 P. 8

P 13027 U 25:2 (U) Preservedbut for lower part of body and foot. Rest. H. 0.25; diam.0.164. A (not illustrated),winged horse,with cloakedyouth in frontof it to right.B, the like but thatthe youthis behindthe horse.Belowthe horse'sbody:on A, two blobsof glaze;on B, four. Above,a single row of uprightivy leaves. Red: wing bows, markingson hindquarters;hair of youths,stripeson their garments;line at each edge of lip; band aroundvase just belowpanel,anotheraboverays.White:manes. North SlopeGroup(ABV 129, 1). Third quarterof the 6th centuryB.C. P8901

61

N17

Two non-joiningwall fragments. Max. dim. a) 0.14, b) 0.033. Fragmenta showsthe lowerhalf of a drapedmale to left andpartof the body,wings,andlegs of a largesirento right. Fragmentb, perhapsfrom the other side of the vase, preservesa woman'sfoot and the lower part of her draperyto right. White:woman'sfoot;lines on siren'swings and tail; dotson man'sgarment. Ca. 550-540

B.C.

P 26801 T19:1 62 Wall fragmentfromtop of panel. Max. dim. 0.078. Herakles(head with lionskin)to right. Above,ivy. Red: mouthof lionskin;line abovepanel. Ca. 550-530

B.C.

63 PI. 8

P 13844 U 25:2 (L)

Fragmentof wall, neck,someof one handle.P.H. 0.18. Two men (heads)to rightand at the break,perhapspart of the head of another.Abovepanel, tongue pattern.Red: hair and beards;alternatetongues;line abovepanel. For tonguesabove the panel of a one-pieceamphora,a rare ornament, cf. these examples; once Riehen, GsellBusse, attributed to the Heidelberg Painter (Bothmer, AmasisPainter,p. 50, fig. 46); Vatican311 by the Painterof LouvreF 6 (ABV 125, 36); two by the Painterof Munich 1393, the namepiece(ABV 303, -, 1; Paralip. 131, -, 1) and Munich 1370 (ABV 303, -,

3); Munich 1365 (CVA,

Munich 1 [Germany3], pl. 7 [101]:1,2); Boston,M.F.A. 80.605 (CVA, Boston1 [USA 14], pl. 2 [624]:3,4); Oxford G 128.2 (CVA,Oxford2 [GB 9], pl. 2 [403]:24);Tarquinia RC 3984 (CVA,Tarquinia2 [Italy26], pl. 25 [1174]:2,3); Tocra 1029 (Boardmanand Hayes, Tocra, 1963-1965, p. 98, no. 1029, pl. 73); Tibingen S./706 (CVA,Tubingen 3 [Germany47], pl. 4 [2249]);Washington,CorcoranGallery 26.664 (A, man seated on an okladias,between two youths;B, warriorto right, lookingaround);Metropolitan Museum Loan, L.66.31 (A/B, man seatedon an okladias, betweena youth and a man and a youth);LondonMarket (Cat. Sotheby,1. July, 1957, no. 173); New York Market (Cat. Parke-Bernet, 13. XII, 1979, no. 82); Beverly Hills, Summa Galleries (Auction 1, September 18, 1981, no. 3;

ONE-PIECE AMPHORAE Cat. Sotheby,13. December,1982,no. 269); Orvieto,Faina (A: man and youth with dog;B: ?);66. Ca. 550-540 B.C.

109

line at each edgeof mouthand aroundneckjust abovehandles, two just below the panel, one above rays. White: chitons;voidhorses;dotsof rosettes. Ca. 540 B.C.

P 24694 P 17

64

Wall fragmentfrom upper right cornerof panel, with someof handleattachment.Max. dim. 0.092. Man (backof head,beard,shoulder)to left. Red:hair and beard;line at top of panel. Ca. 550 B.C. P 13782 U 25:2 (U)

65

Wall fragment.Max. dim. 0.046. Man (head and neck) to right. At the right edge of the fragment,a bit of glaze that looks like part of the back of anotherfigure.Red:fillet. Ca. 550 B.C.

P 12380 H 12:6

66

Wall fragment.Max. dim. 0.143. Upper right cornerof panel with startof handleon right. Head and shouldersof figureto left. Abovepanel,tongue pattern.Red:alternatetongues. For the tonguesabovethe panel, cf. 63 (P1.8). Ca. 550 B.C.

P 26533 T 18:3

67

Wall fragmentwith turn of neck.Max. dim. 0.05. Lion (head,neck,shoulder,forepaw)and spottedpanther (head, neck, forepaw) attackinga bull that is down on its knees (preservedbut for the lowerpartsof legs). The drawing is very coarse.Red:line abovefigures. Ca. 550

B.C.

68 PI. 8

P4305

C-G13-16

Wall fragment.Max. dim. 0.045. Partsof two figuresto right:a woman,perhapsAthena(a bit of drapery,hand)holdinga spearor a staff (shaft);a man (right forearm,some of torso and legs, sheath) holding a sword,perhapsHeraklesor Theseus. Red:fold of woman's garment;dots on chiton.White: woman'shand;sword hilt and end of pommel. Ca. 550-540 B.C.

69 P1.8 P 13036 U25:2 (M) Preserved but for some of mouth and handle A/B. H. 0.227; diam. 0.157. Someof the glaze is abraded.T. L. Shear,Hesperia8, 1939, p. 233 and p. 234, fig. 31. A (illustrated),youthfulridergallopingto right,leadinga voidhorse,followedby a runningyouth. B, the like but that the runner is closer to the horse and his right foot extends beyondthe edge of the panel. Abovethe panel on each side, friezeof hanginglotuses.Those on A havedotsin the interstices. Rays abovethe foot. Red: hair of youthson B and of runneron A; foldof cloakon B; coresof rosetteson garments of each runner;manesand tails, markingson hindquarters;

70

P 1234 G 6:3 (L)

Wall fragment.Max. dim. 0.053. Horse (two feet) to right. Red:two lines below panel. Ca. 550-525 B.C.

71

P3575

E 14:11

Wall fragmentpreservinglower right cornerof panel. Max. dim. 0.093. Someof the glaze has misfiredgreenish. Departurescene?A woman(lowerpartof garment,feet) to rightfacinga warrior(greaves,legs).At the bottomof the fragment,some of the rays above the foot. Red: stripe on woman'sgarment;edges of greaves;line below panel and anotherabove the rays. White: woman'sfeet; dots on her garment. Ca. 550-525

B.C.

P 1237 G 6:3 (L) 72 PI. 9 Foot andlowerpartof bodywith bottomof one paneland cornerof the other.P.H. 0.135;diam.of foot0.072. Someof the glaze is abraded.E. Vanderpool,Hesperia 7, 1938, p.376, no. 7, fig. 11. Combat.On the right,a warrior(headmissing)standsto left, holdinghis shield.In frontof him, a figure(lowerpart) in a long garmentto left. Then comesa small figure(torso, arms,and legs, the latterdrawntwice,onceoverlappingthe bottomof the panel) runningto right carryinga shield,and on the left, an area of black glaze that looks like drapery. Red: greavesand shield of warrioron right;zigzag line at bottomof chiton,on corsletandshieldof runningfigure;line belowpanelthat continuesroundthe vase;one aboveraysat junctionof footand body. The compositionrecalls illustrationsof Aias pursuing Kassandrawho flees to the statue of Athena, which often resemblesthe Athenaon Panathenaicvases.In these scenes, Kassandrais a diminutivefigureandAias pursuesher from left to right. But on 72, the artist has left the flesh of the small figure black and has equipped him (her?) with a shield,thus rulingout Kassandra,andthe blackglazeon the left cannot be understoodas the pursuing Aias. For the subject, cf. Brommer, Heldensage3,pp. 382-386, with bibliography. Ca. 550-525 B.C.

73 P1.9

P 22216 Q10:l Wall fragmentfromrightsideof panel.Max. dim.0.092. Glaze firedred. Warrior(raisedarm, someof back)attackingto left and the upperpartof a man (head,shoulders,righthand),also to left. Red: hair and beard,panel of garment;line along edgeof panel. White:dot rosetteon chitonof warrior. Recallsthe Painterof Berlin 1686 (ABV 297). Ca. 550 B.C.

CATALOGUE

110

74 PI. 9

P 26530 T 18:3

Wall fragment.Max. dim. 0.08. Birthof Athena.On the left, the upperpartof a kithara, probablyheld by Apollo.Then comesAthena,almostfully preserved,springingfrom the head of Zeus (top of head, eye, ear). On the farright,at the break,somewhite,perhaps the handor armof an Eileithyia.Red:stripdowneacharm of kithara;stripeson Athena'speplos;Zeus's hair. White: arm supportsof kithara;Athena'sflesh;dots on borderof peplos. For the subject, cf. F. Brommer,JR-GZM 8, 1961, pp. 66-83. Group E (Paralip. 56, 52 bis). Ca. 550-540 B.C. 75

P4347

E 14:11

Neck fragment.Max. dim. 0.05. Lotus-palmettechain. Red: hearts of palmettes;cuffs, centralpetal of lotuses;line aboveornament. Ca. 540-530 B.C. 76 PI. 9

P 19583 A 18-19:1

Six non-joiningwall fragments. Max. dim. a) 0.172, b) 0.095, c) 0.052, d) 0.062, e) 0.056, f) 0.057. Fragmenta (illustrated)gives some of the bud-palmette ornamentabovethe panel,mostof the headsof threefigures to right:on the left, a malehead,preservedbut forthe lower part;then the top and backof a filletedmaleheadwith long locksof hair and part of the man'sshoulder;and third,the head and neck of a man in a petasosand cloakcarryinga spear over his right shoulder.On the far right of the fragment, at the break,are the nose and foreheadof a woman facing. Fragmentc, which shows a cloakedarm, probably comesfromthis side,forthe faintredline framingthe panel correspondsto the line abovethe panelon fragmenta. Fragment b comesfromthe otherside of the vase and preserves one lotusof the ornament,the line edgingthe panel,andthe backof the head of a male to left. Fragmente preservesthe rim of a shieldon the left and partof the draperyof a figure in front of it. Fragment d, which gives drapery and part of a

shield(device:wreathandball) heldby someonestandingto left, probablycomesfromthis side. Fragmentfcouldcome fromeitherside of the vase;partsof draperyof two figures: on the left, the folds of a cloak;on the right, more folds, perhapsof a woman'sgarment.Red: lines framingpanel; line aboveornament;a) fillet of 2; beardof 3; b) hair and beard; c) fold; d) panel of cloak, ball of device; e) panel of cloak, rim of shield;f) borders of drapery. White: a) dots on cloak of 3; flesh of woman; d) wreath of shield, dot clusters on cloak; e) dots on cloak. For a bud-palmette ornament with widely spaced units, a

rarepattern,comparethreeby the Painterof Munich 1379 (ABV 303, 1-3; Paralip. 131). The lotuses on these, how-

ever,lackinternalincision.For this feature,cf. Vatican346 by the Painter of Berlin 1686 (Paralip. 129, 9 bis) and two

by the PrincetonPainter,his namepiece(ABV 298, 6) and especially New York, M.M.A. 56.171.9 (ABV 299, 15; Paralip. 129, 15), but these examples are embellished with

added red. For some unattributedexamples, cf. London, B.M. B 166 (CVA,London3 [GB 4], pl. 30 [150]:3);London Market(Cat.Sotheby,18.June, 1962,no. 167);Berkeley 8/60 (CVA, Berkeley1 [USA 5], pl. 19 [200]:2).The figure drawing on 76 recalls the PrincetonGroup but is difficultto attributeto one of its painters. Ca. 540-530 B.C.

77 PI. 9

P4633

F-G 12:1

Wall fragment,near shoulder. Max. dim. 0.08. Bohr, Schaukelmaler, pl. 82:a. Satyr (head, some of shoulders)to right. On his right shoulder,a fillet. Above,friezeof hanginglotus buds. Red: hair and beard.White:fillet. The Swing Painter(ABV 307, 54; Paralip.133, 54). Ca. 540-530 B.C.

78

P7419

D6

Wall fragment.Max. dim.0.06. Brownwash on surface. Man (upper part) carrying a large oblong object to right.

Red:beardand forelock. Ca. 530 B.C.

79 P1.9

P 20870

D 17:10

Wall fragment.Max. dim. 0.06. Warriors. On the left, the rim of a shield held by someone standing to right. Then comes the pointed cap of a Scythian to left and beside him on his left, the low-crested Corinthian

helmetof his companion.The pair might be Teukrosand Aias. Above, some of the lotus-palmette chain above the

panel. Red:rim of shield;edgeof helmetcrest;centralpetal of lotus. White: dots on crest support. The high position of the shield rim compared with that of the two warriors may indicate that the holder stands in a chariot. Compare New York, M.M.A. 17.230.8 by the Swing Painter (ABV 307, 55; Paralip. 133, 55; Bohr, Schaukelmaler, pls. 77, 78). Ca. 530-520 B.c. 80

PI. 10

P9730 T-U 23-24 P 12630 0 20

Two non-joining wall fragments. Max. dim. P 9730: 0.072, P 12630: 0.038. P 9730 (illustrated) shows the departure of a warrior with a chariot (the head and body of the youthful charioteer wearing a chiton and a nebris; on his left, the warrior mounting the vehicle, wearing a corslet) to right. The outstretched left arm of the warrior suggests that he gripped the breastwork of the chariot. P 12630 preserves the head and neck of a man to left, holding a staff, a bit of which appears in the upper part of the fragment. Above the man's head, the head of a spear held by someone on the left. The height of the spear head suggests that the man is seated. It is

not clearwhetherboth fragmentscomefromthe same side of the vase. Red: chiton of charioteer; beard, neckline of man's garments. White: nebris; dots on borders of corslet. Ca. 540-530 B.C.

ONE-PIECE AMPHORAE P 13781 U25:2 (U) 81 Two non-joining fragments. Max. dim. a) 0.124, b) 0.092. Upper partsof panels,one with traceof handleat left. Someof the glaze is abraded. Fragmenta preservesthe head and raisedleft hand of a man, the top of the head of a secondfigure,both to right. Fragmentb givesthe top of the head (crownof petasos,part of brim) and traces of anotherfigure, each to left. Above, frieze of hanging lotus buds. It is not certainwhetherthe two fragmentscome from the same side of the vase. Red: a) hair and stripeon garmentof figureon left;fillet of next one; b) hair or cap of figureon right;line at verticaledgeof panel. White:crownof petasos. Ca. 530 B.C.

83 P1. 10 P22179 Q7:1 Wall fragment from lower part of panel. Max. dim. 0.104. Someof the glaze mottledand misfired. Horse (hindlegs,endof tail) to rightwith fourbeesflying aroundhis legs. Red:line underpanel. Bees flying aroundare not very commonin Attic black figure.For thievesbeing stung by bees when they steal the honeyof Zeus, cf. Bohr,Schaukelmaler,p. 46. 84 P. 10

for certain,foreachmaybe seatedeitherto rightor to left of the gamingboard.Two pointsin favorof naminghim Aias might be his bareheadednessand his very long beard,two details used by Exekiasto contrastAias and Achilleuson the Vaticanamphora(ABV 145, 13; Paralip.60, 13). The scenemust have been very similarto the one on the namepieceof the LysippidesPainter,London,B.M. B 211 (ABV 256, 14; Paralip. 113, 14). Compareespeciallythe hand holdingthe spears.Butthe drawingon 84 is by another.For the subject,cf. M. B. Moore,AJA 84, 1980, pp. 418-421; H. Mommsen, Tainia. Festschriftfur Roland Hampe, Mainz 1980, pp. 139-152. Ca. 520 B.C. 85

P7903 T19:1 82 Pl. 10 Wall fragmentfromtop half of panel. Max. dim. 0.083. Horsemanand warriorto right. Mountedsquire (head, torso of rider, mane and neck of his horse). Between the riderand horse,a high-crestedhelmetwornby a warriorto right, who may be seated. This would explain his low positionin the scene.Red:hair of horseman;circleson crest support.White:crestof helmet. An oddity is the absenceof ornamentabove the panel, which mightsuggesta neck-amphoraof Panathenaicshape, but the curve of 82 is not quite right. For nearly contemporaryamphoraeType B with no ornamentabovethe panel, cf. 50 (PI. 6) by Lydosor an unattributedone in Munich, 1402 (CVA,Munich 1 [Germany3], pls. 36 [130]:1and 37 [131]:1). The Painterof Munich 1410 (ABV 311, 5: cited incorrectlyas P 17903). Ca. 530-520 B.C.

Ca. 550-525

111

B.C.

P12230

Nogrid Wall fragment.Max. dim. 0.049. E. Vanderpool,Hesperia 15, 1946, p. 134, no. 27, pl. 23:4, 5. Achilleusand Aias Gaming.The fragmentpreservesonly part of the hero on the left (most of his head looking downward,his right shoulderand upper arm, and his left hand grippingtwo spears).The shaftsof the spearsmay be seen at the nape of his neck below the hair line and were paintedin glaze acrossthe figure.On the right,at the break, is a small bit of glaze that may be part of one letter of an inscriptionnamingthe hero. The positionof his right arm indicatesthat it is extendedand is aboutto movea playing piece. Red:forelockand beard.White:dot clusters. Whetherthis herois Aias or Achilleusmaynot be known

P 1132 G 15:2 Wall fragment.Max. dim. 0.162. Lowerright cornerof panel and someof the rays abovethe foot. Booted foot and end of column shaft. Red: line below panel, anotheraboverays. Ca. 530-520 B.C.

86 P1. 10

P 23622 P 7-8

Two non-joiningwall fragments.Max. dim. a) 0.058, b) 0.049. Chariotto right. Fragmenta gives the foreheadsof the two pole horses and some of the mane of the right-hand trace horse. Fragmentb preservespart of the necksof the right-handpole horse and trace horse. Above the panel, frieze of hanging lotus buds. Red: manes;breast band of tracehorse. Mannerof the LysippidesPainter.Compare:Tarquinia RC 8262 (ABV258, 6); New York,M.M.A. X.21.26 (Paralip. 115, 6 bis); Princeton 166 (Paralip. 115, 6 ter);

Munich 1391 (ABV258, 7); Wtirzburg267 (ABV258, 10); Wurzburg192 (ABV 259, 23); and Altenburg216 (Paralip. 116, 31 ter). Ca. 530-520 B.C.

87 P1. 10

P2398 b + P 6078 H8-10 Wall fragment.Max. dim. 0.062. Chariot(neck,mane,andbreastbandof right-handtrace horse;someof neckof right-handpole horse)to right. Red: mane;breastband.White:dotson reins;pendantson breast band. Mannerof the LysippidesPainter.Cf. the comparisons given for 86, especiallyTarquinia RC 8262, New York, M.M.A. X.21.26, Wurzburg267, and Wurzburg192. For the type of mane,cf. Orvieto,Faina 70 (ABV261, 39). Ca. 530-520 B.c. 88

P 2398 a H 8-10 Wall fragment.Max. dim.0.054. H. A. Thompson,Hesperia 6, 1937, p. 126 and p. 127, fig. 68:c. Man (legs, ends of cloak), standingto right on the lefthand side of a horse (lower part of body,partsof all legs). Red:stripeson cloak;two lines belowpanel.White:dotson cloak. Ca. 530-520 B.C.

112 89 PI. 10

CATALOGUE P 15726 C 18

Wall fragment.Max. dim. 0.083. Heraklesand Iolaosto right.On the left, the head,neck, and left shoulderof Iolaos;in frontof him, the rightshoulderand armof Herakles,the top of his quiverwith the ends of fivearrowsand hangingflap. Betweenthe two is one end of the hero'sbow, presumablyheldforhim by Iolaos.Above the two, some of the lotus-palmettechain. Red: Iolaos' beard;fur flap of quiver;centralpetals of lotuses.White: dots on sleeve of Herakles'chiton;dots borderingcentral panelof quiver. The AntimenesPainter(ABV 274, 130). Ca. 530-520 B.c. 90 P1. 11

P 26650 T-U 19-20 (III)

Wall fragment.Max. dim. 0.04. Birthof Athena:top of Zeus'shead with a fillet;mostof Athenabut for her head,left arm and leg, as she springsto right, her spearpoisedin her raisedright hand.At the left and right, the raisedhand of one of the Eileithyiai.At the verytop, edge of panel. Red:panel on peplos;fillet. White: femaleflesh;dot clusterson peplos. The compositionwith Zeus between two Eileithyiaiis closestto one on a neck-amphorain Londonby the Antimenes Painter(ABV 271, 74), and 90 may be by him. For the subject,cf. 74. Ca. 520 B.C.

P 17779 a, c-f A 18-19:1

91

Five non-joiningfragmentsfrom both sides of the vase. Max. dim. a) 0.18, c) 0.105, d) 0.054, e) 0.035, f) 0.037. Brownwash on surface. A, chariot to right, precededby Hermes. Fragmenta gives the forelegsof the team, a womanto left dressedin a long chiton and himation,preservedfrom the hips down; behind her, a small youthjumping and on the right, the lower legs of Hermes and the tip of one fold of his cloak, both figures to right. Fragmentd shows part of a shield (device:balls, the centralone surroundedby ivy), perhaps held by someonewho stands to left on the left side of the team. B, Dionysosand maenads.Fragmentc preservespart of two drapedfigures to right, with a grapevinebetween. Fragmentse andf give moredraperyand vines. Red:lower edge of woman'shimationon a; edges of folds on c and e; balls on shield. White: right-handpole horse;centralball and ivy on shield;woman'sfoot (anklepreserved). Ca. 520 B.C.

P 17779 b A 18-19:1

92

Wall fragment.Max. dim. 0.075. Chariotto right,with two figuresstandingat the headsof the horses.On the left, the chests of the two trace horses, then facing them, part of a woman (garmentand her left handnearthe top of the fragment).Behindher,the buttocks and calfof a man (draped)to right.Red:alternatestripeson garments.White: woman's hand; dots in crossesand dot clusterson drapery. Ca. 530-520 B.C.

93 P1.11

P20596

G-H 11-12

Wall fragment.Max. dim. 0.085. Chariot(someof the charioteer'sdraperyon the far left, the goad, reins, and the croupsof two horses)to right. On the left sideof the team,a woman(head,shoulders,arms)to left with armsraised,lookingaroundat a man (long hair, right shoulder), who faces to right. Red: fillets. White: woman'sflesh;dotson garment. Ca. 520 B.c.

P 6560 E-F 12-14

94

Wall fragment.Max. dim. 0.085. Woman(lowerdrapery,feet)standingto righton the left side of a horse (its hind legs fromthe hocksto the fetlocks, and on the right, lower part of one foreleg). Behind the woman, lower part of anotherdrapedfigure to left. Red: stripeson garments.White:dotson garments;woman'sfeet. Ca. 520 B.C.

95 PI. 11

P 7223 and P 7227 T 18:1

Five non-joiningwall fragments.Max. dim. P 7223: a) 0.097, b) 0.08; P 7227: a) 0.035, b) 0.04, c) 0.041. E. Vanderpool,Hesperia8,1939, pp. 265-266, figs.20, 21; Karouzou,AmasisPainter,p. 32, no. 28, pl. 40:10. A, Dionysosand maenad.P 7223 a preservesthe backof the god and behindhim, the torsowith beltedpantherskin and partsof both armsof a maenad,each to left. P 7223 b showsthe fringedbottomof the god'sgarmentand his right foot,the rightfootand lowerdraperyof the maenadwith a paw of the pantherskin, and on the right,at the break,the toesof her left foot.In the fieldon each,ivy. B, threefigures. P 7227 a showsmostof the headand shouldersof a man to left holding a staff. On the right, the edge of the panel. P 7227 b givesthe lower draperyand part of one foot of a figureto left. P 7227 c (not illustrated)preservesthe upper left cornerof the panelwith the shoulderof a figureto right. Red:upperpartof maenad'schiton;panelson skirts;hairof Dionysos;borderson garments;cores of rosetteson garments;part of man's garment;line below panel that continued roundthe vase. White: maenad'sflesh;dots round rosettes;dotsoutliningborderon P 7227 b; dotson drapery. The AmasisPainter(ABV 156, 72; Paralip.65, 72). Ca. 520 B.C.

96 P1. 11

P 24679 R 12:4

Rim and foot chipped.H. 0.32; diam. 0.205. Both handlesrestoredin plaster.Glazeis abradedin manyplaces,especially aroundhandle B/A. H. A. Thompson,Hesperia 25, 1956, p. 63, pl. 22:a. A, Dionysosand satyrs.Dionysosstandsto right looking around,betweentwo dancingsatyrs,holdinghis drinking horn in his right hand. In the field, a vine. B, maenadand satyrs.A maenadridesan ithyphallicmuleto rightbetween two satyrs.In the background,a vine. Abovethe panel on eachside,net pattern.Abovethe foot,rays.Red:beardsand forelocks;fillet of the maenadand of the satyr facing her; stripeson Dionysos'garment;mane;nippleof satyron right on each side;satyr'stails;line at top of each panel;line below panel that continuesroundthe vase;anotherabovethe

ONE-PIECE AMPHORAE rays. White: Dionysos'chiton;dots on his cloak;rim of his horn; fillet of satyr on right on each side; maenad'sflesh; muzzleof mule;contourof its neckand chest;belly stripe. For the net patternabovethe panel,a veryrareuse of this ornament,cf. Baltimore48.13 (Journalof the WaltersArt Gallery3, 1940, p. 114, fig. 6) and Wiirzburg261 (Langlotz, pl. 72). Ca. 520

B.C.

97 PI. 12

P 23164 H 12:15 (L) P 25961 M18

Two non-joiningwall fragments.Max. dim. P 23164: 0.122, P 25961:0.107. Chariotto right. P 25961 givespartof the upperleft corner of the panelwith the headand shouldersof the youthful charioteerand his beardedpassenger.On the right, at the break,partof an ivy branch.P 23164 preservesthe headsof the two pole horses,the neckof the right-handone andsome of thatof the right-handtracehorse.Abovethe panel,lotuspalmettechain without incision. Red: fillets;strip on each mane;breastbandof tracehorse.White:pendantson breast band. Ca. 520-510

B.C.

98 PI. 12

P 23730 P9

Wall fragment.Max. dim. 0.062. Youth and man (heads),very likely in a chariotto right. In frontof them,at the break,dots,perhapspartof a vineor wreath.Abovethe panel,borderof hanginglotusbudswith dots in the interstices.Red: fillets; beard. White: youth's chiton. Ca. 520-510

B.C.

99 PI. 12

P20566 P-R6-12 Wall fragmentwith upper right cornerof panel. Max. dim. 0.125. Figure (hair) to left. Abovethe panel, key patternto left. Red:forelock. May comefromthe HypobibazonClass (Paralip.150). Ca. 520 B.C.

100 PI. 12

P 5302 F 13

Five non-joiningwall fragmentsfrom both sides of the vase. Max. dim. a) 0.124, b) 0.078, c) 0.08, d) 0.083, e) 0.055. Streakyglaze on inside. E. Vanderpool,Hesperia 15, 1946, p. 123, no. 3, pl. 14:4. Fragmenta comesfrom the upper left cornerof the obverse panel: cock (tail) to right; above,key patternto left. Fragment b (illustrated)belongs to the reverseand preservesthe head, left shoulder,and most of the left arm of a male to left and part of anotherfigureat the bottomof the fragment.The small bits of dilute glaze below the beard look like part of a staff. Fragmentsc and d give someof the left sideof the panel. Fragmente is undecorated.Red:sickle feathers;beard. The eventdepictedis difficultto identifyfor certain.It is not likely to be the footrace,for 6th-centuryexamplesnormally show the runnersto right, althoughon a very early Panathenaicamphora, KerameikosPA 443 (Frel, PPA,

113

p. 11, fig. 7), they raceto left overlappingin pairs. Nor can 100 depictthe foot race in armor,which doesrepresentthe runnersto left so that the deviceson theirshieldswill show, becausethe figuredoes not wear a helmet,and the glaze at the bottomof the fragmentcannotbe the rim of a shieldfor its contouris not circular.The subjectmay be a wrestling match,and if so, then 100 showspartof the roundedbackof the right-handopponent.The manwhoseheadandarmare preservedis not a wrestlerbut an observeror a trainer,as indicatedby the small portionof his staff that remains.A good parallelis hardto find,but somethingalong the lines of the namepieceof the Painterof Boulogne441 (ABV290, 1) or of Munich 1461 (N. Gardiner, Athletics in the Ancient World, Oxford 1955, fig. 164) is a reasonable possibility. May belongto the HypobibazonClass (Paralip.150). Ca. 520

B.C.

101 P1.12

P 15059 N21:2

Wall fragment.Max. dim. 0.077. Horsemenwith spears (nose of rideron left, face of one on right;head of left-handmount;frontalhead of one on right;headsof spears)to right.Abovethe panel, lotus-palmettechain.Red:maneof right-handhorse;forelockof one on left. White:teethof left-handhorse. For the frontalhead of a profilehorse,a rare detail, cf. threeby the RycroftPainter:Munich 1720 (ABV337, 24); Hamburg1917.476(ABV337,25; CVA,Hamburg1 [Germany 41], pl. 25 [1991]:2) and New York, M.M.A. 06.1021.67 (ABV 338; Paralip. 148, 5 ter and 150); also: Boston,M.F.A. 01.8060 by the "KarithaiosPainter"(ABV 161; CVA, Boston 2 [USA 19], pl. 78 [912]:2);London, B.M. B 303 fromthe Class of Munich 2418 (ABV 342, 2); Cambridge56 by the LeagrosGroup(ABV364, 52); Philadelphia2493 fromthe Classof VaticanG. 47 (ABV429, 3); and two unattributedexamples:Leipzig T 49, a hydria (CVA,Leipzig2 [DDR 2], pl. 23 [84]),and Bologna41292, an amphora(CVA,Bologna2 [Italy7], pl. 7 [306]:4). Ca. 510 B.C.

102 P 24643 Q12:3 Six non-joiningwall fragments.Max. dim. a) 0.162, b) 0.037, c) 0.035, d) 0.045, e) 0.055, f) 0.077. Reddish brownwash on ground. A, Dionysos and Ariadne, with satyrs and maenads. Fragmenta shows Dionysos(drapery)sittingto right on a chair, with a trace of some objectbeneath it, holding his kantharos(foot and stem). Fromthe positionof the vessel, he maybe lookingto left. Oppositehim sits Ariadne(knees, draperyfolds). Betweenthe two is a satyr (right forearm, legs, startof tail) to left, and in the field,a vinewith grapes. On the satyr'sforearmis someaddedwhite that maybe the handof Ariadne.On the farleft, moreof Dionysos'drapery. Fragmentc shows a maenad'sfoot to right, the end of her thyrsos, and a foot of Dionysos' stool. B, Herakles and Kerberos.Fragmentd showsthe headof the dog,partof one armand the otherhandof Herakles,and,at the top, partof a branch. Fragmente gives a foreleg and the end of a draperyfold. Fragmentf preservesone hind leg and the

114

CATALOGUE

lower draperyand feet of a figure to right, probablythe same figureas the one on fragmente. Fragmentb is puzzling, andit maycomefromeithersideof the vase,ratherhigh up in the panel to judge by its thickness.The pairsof short incisedstrokessuggesta pelt,perhapsHerakles'lion skinor a nebris.The fragmentmay even depictpart of Herakles' quiverand bow case. Red:dotson drapery;rosetteon leg of chair.White:femaleflesh;teethof Kerberos. For the subjectof B, cf. Brommer,Heldensage3,pp. 91des 97; also W. Felten, Attische Unterweltsdarstellungen VI. und V.Jh. v. Chr. [MiinchenerarchaologischeStudien 6], Munich 1975, pp. 10-22; J. Boardman,JHS 95, 1975, pp. 1-12, who sees a politicalconnectionin the iconography of this scene. Ca. 510-500 B.c. P3576 E 14:11 Two non-joiningwall fragments.Max. dim. a) 0.049, b) 0.046. Warrioror warriorsleavinghome.Fragmenta givespart of a roundshieldand partof a drapedfigure(cloakedhand holdinga spear),bothto left. Fragmentb preservespartof a roundshield (device:balls), perhapsmore of the one on a, someof a spear,andon the left, the nose,chin,andchestof a draped male to right holding a spear. The spear held diagonallyis sketchedon the shield. White: device;dot on cloakon a. Last quarterof the 6th centuryB.C. 103

104

P4803

E-F12-14

Wall fragment.Max. dim. 0.052. On the left, the lower part of a horse'shead, probablya mount;on the right, the right shoulderand upperarm of a drapedfigure;below,the raisedleft handand perhapspart of the headof a squattingor kneelingfigure.White:horse's teeth.

Chariotwheelingaround.Fragmenta preservespart of the wheels and axle of the chariot,the tails, hind legs, and part of the belliesof two horses.Fragmentb showssomeof the head,neck,and chestof the right-handtracehorse,part of the reinsandbreastband.Fragmentc, probablyfromthe otherside, preserveson the left the heel and lower part of the calf (greaved)of a warriorto left and,on the right,part of his otherfoot,the heel raisedveryhigh. Red:tail;greave; line framingrightedgeof panel. Late 6th century B.C.

107

Late 6th century B.C.

108

E 14:11

Three non-joiningwall fragments.Max. dim. a) 0.088, b) 0.067, c) 0.063. Chariotscene.Fragmenta showsmostof the wheel, part of the box, with the traceline. Fragmentb givesthe middle of two drapedfiguresto right,the one on the left a woman with right arm outstretched(one in the chariot,the other mounting?).Fragmentc preservesthe head and shoulders of a youthto right with an unintelligiblebit of glaze on the left. It is not certainwhetherthe threefragmentscomefrom the same side of the vase. Red: part of the chariot box; stripeson drapery;filletof youth.White:woman'sflesh;dot clusterson drapery;objectbehindyouth. Last quarterof the 6th centuryB.C. P 26799 T19:1 106 Three non-joiningwall fragments.Max. dim. a) 0.115, b) 0.065, c) 0.073. Reddishwash on inside.

P9270

M 17:4

Wall fragmentfrom lower part of panel. Max. dim. 0.091. Chariot(four tails and two hind legs, fromthe hocksto the hoofs)to right.On the left sideof the team,male (lower part of garmentand feet) to right. Red:thirdtail fromleft; two lines belowpanel.White:chiton. Late 6th century B.C.

P 10845 No grid Wall fragment.Max. dim.0.078. Burnedon inside(clay is gray). Chariot(headsand necksof two tracehorses)to right.In frontof the team,a man (head,shoulder)facing.Red:part of horse'smane;man'shair. 109

Late 6th century B.C. 110

P4234

N-O 10

Wall fragment.Max. dim. 0.073. Dionysos and satyrs (lower part of god's garment;legs and tail of one satyrdancing,bothto left;lowerleg and tail of a secondto right). Red: stripe on god's garment;tails; lines belowgroundline. White:dotson drapery.

Late 6th century B.C.

105

P4590

P 17780 A 18-19:1

Wall fragment.Max. dim. 0.052. Brownish wash on surface. Athena (face, tip of helmetcrest,some of aegis held out overher left arm)to left, her spearpoised.Red:stripon top of helmetcrest.White:face. Late 6th century B.C.

111

P 5295 E-F 12-14

Wall fragment.Max. dim. 0.05. Dionysiacscene.On the left, a figureto right holdinga drinkinghorn, probablyDionysos(the top of the horn and on the far left, at the break,a small amountof glaze that may be his hair or wreath), and on the right, a maenad dancing to right, with head turned around (head, right shoulder,raisedforearmand hand).The bit of glaze at the very top of the fragmentis the line at the top of the panel. Red:fillet of maenad.White:woman'sflesh. Late 6th century B.C.

ONE-PIECE AMPHORAE P 3588 H 8-10 Fragmentfromnear shoulder.Max. dim. 0.06. Woman(face)to rightholdinga spear(Athena?).On the right, an area of glaze that looks like the elbow of a man, perhapsHerakleswieldinghis club.Abovethe panel,lotuspalmette chain. Red: pupil of woman's eye. White: woman'sflesh. 112

Late 6th century B.C.

113

P 19835 B 19

Wall fragmentfromnear top of panel. Max. dim. 0.075. Thin wash on surface.Tracesof burningat lower right. Woman(head,rightshoulder)to right,wearinga sakkos decoratedwith crosshatchingand a loop. White:flesh. Late 6th century B.C.

P 25921 M 17:7

114

Wall fragment from upper part of panel. Max. dim. 0.057. Maenad (head, left hand, some of right) dancingto left. In the field, a vine. Abovethe panel, some of the palmette chain. Red:fillet;eye. White:flesh. Late 6th-early 5th centuryB.C. 115

P 13784 U 25:2 (U)

Wall fragment.Max. dim. 0.04. Traces of burningon inside. At top of panel, partof nonsenseinscription:

x 6. Late 6th century B.C.

116

P 12752 G11:3 Lower part of wall, half of foot. P.H. 0.168. Foot glazed on underside.Dent in surfacebelowfigureon left on SideA. Someof the glaze is abraded. A, Aias carryingAchilleus?Preservedarethe feetof three figuresto right and the feet of a fourthfacing.One pair of feet is off the ground,and their limp charactersuggestsa corpseratherthan a living being. B, uncertainsubject:foot of a man to left, facinga column.Abovethe foot,rays. Red: line below panel,anotherabovethe rays;two on foot. For the subjectof A, cf. M. B. Moore, AJA 84, 1980, pp. 424-431. It is unusual in black-figurerepresentations of this myth after 530 B.C.for Aias to carryAchilleusfrom left to right. The scene on 116 cannotbe Aeneas carrying Anchises,for the legs of Anchisesmust be bent at the knees and womenare usuallypresent(cf., e.g., Munich 1537with Munich 1496 (CVA, Munich 8 [Germany37], pls. 405 [1823]:2and 406 [1824]:2).Nor can it representan ephedrismos,for the player sits on the bearer'sshoulders,and thereforehis feet appearat aboutwaist level (cf., e.g., London, B.M. B 182 by the Swing Painter:ABV306, 42; Bohr, Schaukelmaler,pls. 76, 197:a) or he may be carriedin a mannersimilarto that of Anchises(e.g., 1490: P1.101). Early 5th century B.C.

SPECIAL ONE-PIECE AMPHORAE

115 117-119

117 P1. 13 P 1247 G 6:3 (L) Mendedwith manypiecesrestoredin plasterand painted. H. 0.457; max. diam. 0.345. Glaze is flaked in many places, especially on Side B, probablyfrom weathering. T. L. Shear,Hesperia2,1933, pp. 457-458, fig. 6; E. Vanderpool,Hesperia 7, 1938, pp. 367-371, no. 1, figs. 1-4; K. Kiibler, AltattischeMalerei, Tiibingen 1950, fig. 83; I. Scheibler,JdI 76, 1961, p. 36, fig. 37 and p. 40; G. M. A. Richter, A Handbook of Greek Art, London 1969, p. 302,

fig. 417; H. A. Thompsonand R. E. Wycherley,The Athenian Agora, XIV, The Agora of Athens, Princeton 1972,

p. 15, pl. 25. A (illustrated)and B, sphinxto right,with tail curledup betweenher hind legs. Roundthe headof eachis a fillet. In frontof the sphinx,at the handlerooton each side, a floral ornamentcomposedof palmettes and tendrils. Hanging spiralsbelowmouthbehindsphinx'shead.Dot rosettesand zigzags with trianglesin the interstices.On side of mouth, rosettes.Abovefoot,rays.Red:face,fillet,breast,wing bow, and belly stripe of each sphinx; part of floral ornament; alternatepetalsof rosetteson rim. The weatheredsurfaceof 117 indicatesthat it stoodoutside for quite sometime and verylikelymarkeda grave(cf. ThompsonandWycherley,op. cit., p. 15). For a view thatit may have stood in a sanctuary,cf. Miiller, Liwen und Mischwesen,pp. 115-116. Forthe rosetteson the sideof the mouth,cf. 6 (PI. 1) and 34 (PI. 5). The Nettos Painter(ABV 5, 2; Paralip.2, 4). Ca. 610 B.C.

118 P1. 14

P 13126 T24:3

Neck, shoulder,and mouth,all of one handle,startof the other. P.H. 0.22; p. diam. 0.54. Figureddecorationon one sideonly. Glaze is abradedin places,particularlyon handle and inside of neck. T. L. Shear,Hesperia8, 1939, p. 232 and p. 233, fig. 30; U. Jantzen,AA (JdI 53), 1938, p. 549 and p. 556, fig. 9; E. Vanderpool,Hesperia 15, 1946, p. 126, no. 8, pls. 17:5, 18. In handle zone, centauromachy.On the left, a Greek, nudebut for a helmetand greaves,with a roundshieldseen fromthe inside,thrustshis spear into a centaurwho turns his head towardthe viewer,his right hand to his head, his left outstretchedholdinga stone.Beneaththe centauron the groundis a largestone.Next comesa trio,a Greek(to right) fightinga centaurovera fallen Greek.The fightingGreek wears a corslet, a low-crested Corinthian helmet, and greaves;he attackswith a sword. A sheath is suspended from a baldric over his right shoulder,and he carries a Boeotianshieldon his left arm. His companion(lowerhalf missing) wears a high-crestedCorinthianhelmet and has fallenbesidehis shield (device:eagleappliedupsidedown). The centauris armedwith a largestone.To the rightof this centaurare the upper parts of a Greek (corsletdecorated with pantherheadsandspirals,roundshieldseenin profile) armed with a spear, confrontinga centaur (head, upper

116

CATALOGUE

torso,rightarmoutstretched).Behindthe centaur'shead,at the break,is part of his right hand and the stumpof a tree (?). Then comesthe last group,a Greek(headprotectedby a low-crestedCorinthianhelmet,his raisedright arm with spear, and some of his round shield) pursuing a centaur (preservedto his horse parts, a mirror reversal of the centaur on the far left), who flees looking around at his attacker,a small stone held in his right hand. Above the figures, a lotus-palmettefestoon and above that, inverted rays.Belowthe figures,a friezeof hanginglotusbuds.Red: hair andbeardsof centaurs;helmets,shields;greavesof second Greek;circlesround nipples of first and last centaurs and of fallen Greek; marking on horse shoulderof first centaur; stone of second; cuffs of lotuses and hearts of palmettes. The decoration,on one side only, indicatesthat this vase was verylikely a gravemarker,and the ornamentprobably ceased with the frieze of hanging lotus buds, for this is a terminal pattern. The division of the surface into friezes suggests that the artist was accustomedto painting vases thatnormallyhavetheirdecorationin severalzones,suchas paintersof the TyrrhenianGroupor the Painterof London B 76. Compare also the one-piece amphora signed by Lydos, Louvre F 29 (ABV 109, 21; Paralip. 44, 21; Tiverios, pl. 18), which has its entire surface decoratedin friezesof figuresand ornamentalpatterns. This centauromachyis one of the earliest examples in Attic black figure, two earlier ones being by Sophilos (Athens,N.M. 15918, formerly2035.2:ABV 40, 21; Paralip. 18, 21; D. Callipolitis-Feytmans,"Louteria",pl. 17; Baklr, Sophilos,pl. 9, fig. 17) and by Kleitias (Florence 4209: ABV 76, 1; Paralip. 29, 1; Cristofani,figs. 66-69, 126, 127); also the unattributedskyphos-kraterof about 600 B.C.,Athens,N.M. 16400 (Kiibler,op. cit. [under117], fig. 89). The indicationof fur on Atticblack-figurecentaurs is unusual,and its appearanceon the humanforepartsonly maybe unique.For centaurs,cf. B. Schiffler,Die Typologie des Kentaurenin der antikenKunstvom 10. bis zum Ende des 4. Jhs. v. Chr., Frankfurt-am-Main1976, esp. pp. 1820 for earlyAtticblack-figurecentaurs. Ca. 560-550 B.C.

119 P1. 15

P 23158 I 12

Fragment of neck and mouth. Max. dim. 0.136. Mouth

glazedon top. Glaze firedbrown. On sideof mouth,ivy leaveswith berries.On neck,lotuspalmette festoon. Red: band on side of mouth above and below ivy; on neck below mouth; central sepal and cuffs of lotuses.

The position of the lotus-palmettefestoonon the neck

indicates that there was more than one frieze of ornament

abovethe figures.Compare,for example, LouvreF 29 by Lydos(ABV 109, 21; Paralip.44, 21; Tiverios,pl. 18). Incorrectlycitedin Paralip.47; cf. 445. Second quarter of the 6th century B.C.

SCHEME OF DECORATION UNCERTAIN

120-127

120 P1.15

P3795

F 13-14

Wall fragment.Max. dim.0.053. Tracesof white slip on outside. Sirenor sphinx(headwith fillet)to right.Smallcrossjust abovebreakfor fillingornament.Red:faceand ear. White: fillet. Near the Nettos Painter(ABV 6, 1; Paralip.5, ii, 4). Ca. 620-610 B.C. P 18633 D 17 121 Pl. 15 Wall fragment.Max. dim. 0.07. Slippedsurface. Siren (face,someof spreadwing) to right.Wheel rosette for fillingornament.At the verytop of the fragment,partof a horizontalline. Red:face (eye and eyebrowblack). For the position of the siren, comparethe one on 671 (PI. 64) and on AgoraA-P 1734 (ABV 8, 6; Paralip.6, 6). Perhapsalso nearthe Nettos Painter(ABV 6, -, 2; Paralip. 5, 2). Ca. 620-610 B.C.

P365 F16 122 PI. 15 Wall fragment,curvingoutwardat top. Max. dim. 0.05. Buff slip on surface.Glaze firedred. Swan (head,neck)to right.On left, part of rosette.Red: spotson neck. Late 7th century B.C.

P1235 G6:3(L) 123 PI. 15 Wall fragment.Max. dim. 0.044. E. Vanderpool,Hesperia 7, 1938,p. 371, no. 2 and p. 372, fig. 5:2. Sirenor sphinx(eye,forehead,someof hairwith fillet)to left. Trace of filling ornament(rosette?)at break on left. Red:face,eye (dotat center),fillet and bandbehindear. The GorgonPainteror his manner.Compareespecially the sirenson fourvasesby the painter:LouvreE 874 (ABV 8, 1; Paralip. 6, 1); Akropolis474 (ABV 8, 2); Baltimore 48.215 (ABV9, 18; Paralip.7, 18) and 671 (P1.64). Ca. 600 B.C.

124 P1.15

P267

G 15

Fragmentof neck with handle root on left. Max. dim. 0.052. Siren or sphinx (face) to left. Two verticallines next to handleroot.Red:face. First quarterof the 6th centuryB.C. P 24952 Q 13:5 P 25370 Q 13-14:1 (U) Three non-joiningneck fragments.Max. dim. P 24952: a) 0.062, b) 0.03; P 25370: 0.074. P 24952 a and P 25370 125 P1. 15

each preserve some of the handle root.

Riderto right.P 24952 a showsthe bodyof the rider,one

hand holding the reins, part of the body, neck, and mane of his horse. P 24952 b gives some of the rider's face and the line at the top of this zone. On the right, part of a dot rosette.

117

NECK-AMPHORAE P 25370 preservesthe head of the horse and some of its chest. On the right, incisedlines and blackglaze, probably the tail of anotherhorse.Betweenthe two, partof an incised rosette.Red:spotson rider'storso;horse'sneck. Comparethe Mannerof the GorgonPainter(Paralip.9: P 24952). First quarterof the 6th centuryB.C. P 10507 No grid 126 P1. 15 Wall fragment.Max. dim. 0.056. E. Vanderpool,Hesperia 15, 1946, pp. 133-134, no. 26, pl. 23:2, 3; J. D. Beazley, AJA58, 1954, p. 187;J. Travlos,PictorialDictionaryof Ancient Athens, London 1971, p. 47, fig. 58; Lexikon Iconographicum Mythologiae Classicae I, ii, Zurich 1981, p. 335.

Youth(head,left arm)to rightin a chiton,holdingout his cloak. Above his head, part of a linear rectangle. The thicknessof the wall is greaterhere and may indicatethe

beginningof the handle.To the right of the youth,the beginningof his name: Red:face,bandat backof head;cloak;rectangle. For the variouspossibilitiesfor restoringthis inscription, cf. the bibliographygivenabove. The KomastGroup:I, the KX Painter(ABV 27, 36). Late firstquarterof the 6th centuryB.C. P4596 H11 127 P. 15 Wall fragmentfrom near turn of shoulder.Max. dim. 0.062. Glaze firedbrown. Sphinx or siren (head, a bit of the wing) to right. Red: wing bow. The Painterof XanthosA 6.3444 (Paralip.18, 2). Late firstquarterof the 6th centuryB.C.

NECK-AMPHORAE 128-225 Figs. 4-6

LATE 7TH CENTURYB.C.

128 P1. 16

128-137

P 6481 F-G 12:1

Fragment.P.H. 0.235. Part of mouth, neck, and shoulder, all of one doublehandle.Flaring mouthwith molding below. Some of the glaze is flaked. Agora VIII, p. 94, no. 557, pls. 34, 42. On the neck:A, seatedsphinx (someof wing, hindquarters, and tail) to right;B (not illustrated),partof floral.On the body, rider on a huge mount (most of rider, some of horse'shead and neck)to right. Zigzagsand circlesfor filling ornament.Broadbandsof glaze on handleand mouth. Third quarterof the 7th centuryB.C. P 13323 F-G 12:1 129 Neck fragment,flaringtowardstop. P.H. 0.091. Much of the glaze is flaked.AgoraVIII, p. 97, no. 577, pls. 37, 44. Man (face, beard, long hair, some of shoulder),a protomeor a beardedsiren,to right. Behindhim, retrograde: IVX I OWAl IA Zigzag for filling ornament. Third quarterof the 7th centuryB.C. 130

Pls. 16-26

feathersand tail of anotherbird or perhapsa siren. Solid circle surrounded by dots for filling ornament. Red: alternatefeathers. Ca. 630-620 B.C.

131

P 17340 M 11:3

Fragment of neck with beginning of shoulder. P.H. 0.078; max. dim. 0.092. Glaze fired red. E. Brann, Hesperia 30, 1961, p. 361, H 9, pl. 70. Partof a largepalmettewith a volutebesideit. Belowthe heartof the palmette,zigzagandinvertedtriangle.Red:one petal;heartof palmette. Ca. 625 B.C.

132 P1. 16

P12208

G-H 11-12

Fragment.P.H. 0.11. Partof neckwith startof shoulder, strengthenedwith plaster. Much of the glaze is flaked. AgoraVIII, p. 99, no. 588, pl. 37. On the neck, two confrontedhorse protomes(some of head of one on left; most of head, part of neck of one on right). Maeanderornamentfor filling.On shoulder,partof decoration:hangingray? Red:mane. Ca. 620 B.C.

P 1739 H 17:4

Neck fragment.H. 0.075; W. 0.095. D. Burr,Hesperia 2, 1933, p. 582, no. 171, and p. 583, fig. 43. Neck and head of water bird to right; in front of it,

133 P1. 16

P 25392 0 12:2

Neck fragmentwith torusmouthand startof straphandle. P.H. 0.235; diam. of rim 0.026. Much of the glaze is flaked.AgoraVIII, p. 99, no. 590, pls. 2, 38, 42.

118

CATALOGUE

FIG.4. Neck-amphora139 (P 13113) A, male siren to right. B, horsegrazingto right. Dot rosettes, hanging spirals, zigzags, and swastikas for filling ornament.Steppatternon rim. Red:fillet,wing bows,alternate feathers(?); mane(?). For male sirenscf. 1303 (P1.91) and 1357 (PI. 93). Ca. 620 B.C.

134

P 6486 E-F 12-14

Six non-joiningfragmentsof a large neck-amphora,one (a) with a bit of the shoulder.P.H. of a) 0.15; max. dim. b) 0.065, c) 0.06, d) 0.04, e) 0.047, f) 0.052. AgoraVIII, p. 98, no. 583, pl. 37 (fragmentsa, b, and e). On one sideof neck,a friezeof lotuseswith incisedpetals. Fragmenta comesfromthe rightside and givespartsof the frondsand a bit of the line framingthe ornamentand also some of the shoulderwith part of the decoration(hanging spiral).Fragmentsb and d are fromthe left sideof the neck and preservepartof a frond,the cuff, and petals.Fragment e givesthe endsof two petals. Fragmentsc andf comefrom the lowerpartof the neck,perhapsevenfromthe otherside, and seemto show partsof a calyx.Wheel rosettesfor filling ornament.Red: fronds,cuff, alternatepetals, part of calyx (?). White:triangulararea betweenfrondson a and b. Perhapsfromthe workshopof the Painterof BerlinA 34, formerlycalledthe WomanPainter[Brann]. Ca. 630-620 B.C.

135

P 22418 N 11

Neck fragment.Max. dim. 0.095. Whitish slip on surface. Someof the glaze is flaked. Swan (head,partof neckandbody)to right.On the right, the edgeof the panelwith line accentingit. Red:wing bow; stripabovebeak. Last quarterof the 7th centuryB.C. 136 P1.16

P 4626 F-G 12:1

Five non-joiningfragmentsof mouthand neckwith start

of shoulder.P.H. of neck (a + b + e) 0.221; est. diam. of mouth0.27;max.dim.c) 0.175, d) 0.055, f) 0.098, g) 0.058. Glaze has fired red, especially on one side. R. Young, Hesperia,Suppl. II, Athens 1939, p. 119, fig. 85 (sincerestored;R. D. Lambertonand S. I. Rotroff,Birds of the AthenianAgora[AgoraPictureBook 22], Princeton1985, ill. 10). On A and B, cockto rightin a panel.Fragmenta + b + e preservesmost of one cock (someof breastand wing missing), with the start of the handle on the far right at the break. Hanging spirals, zigzags, maeanderornament,dot and wheel rosettesfor filling ornament,and in the upper corners,a fanlikeornament.Below, startof shoulder,with some of the figureddecoration(subjectis uncertain)and three hanging spirals. On the side of the mouth, zigzags. Fragmentsc, d, f, and g (not illustrated)come from the other side of the neck. Fragmentc shows the upper left cornerof the panel with filling ornament:hangingspirals, zigzagswith lozenges,ringrosettes,andfanlikeobjectin the corner,zigzag on side of mouth. On the left, handle root. Fragmentd showspartof the comb,head,andwattlesof the cock(comparea + b + e). Fragmentf preservesthe breast, part of the neck, and wing feathersof the cock,the zigzag fillingornament,andthe rightsideof the panel.Fragmentg gives the end of the wing and part of the tail. Red:combs, wattles,stripon mostfeathers;beakandwing bow, legs and feet on fragmenta + b + e. Ca. 620 B.C.

137 P1.16

P 5297 E-F 12-14

Wall fragment.Max. dim. 0.093. Glaze almost completelyflaked. On the left, partof palmette;on the right, face of sphinx or sirento left. Red:face,alternatepetalsof palmette.

NECK-AMPHORAE

119

FIG. 5. Neck-amphora 140 (P 17966)

For the palmette,comparethe plantterminatingin a palmetteand spiralspaintedbetweentwo sirenson a skyphoskrater,Kerameikos,inv. no. 101, comparedwith the Nettos Painter (ABV 7: a; Paralip. 5, -,

1; Kerameikos VI, ii,

no. 181, pl. 111). That on 137 was probablya similarplant. The Nettos Painter(ABV 5, 12); Near the Nettos Painter (Paralip.5, 6). Ca. 620-610 B.C.

The maincompositionon eachsideof the bodywas probably a lion facing a bull, with a floral ornamentbetween them. It is rare to have two differentanimals confronted that are not partof a frieze,but comparean exampleby the GorgonPainterof a lion and a bull, althoughwithoutthe floral:Athens,N.M. 19176(ABV9, 16;Paralip.7, 16). For the stackedrays,cf. Mommsen,Affecter,pp. 28-31. Mannerof the GorgonPainter(ABV 13, 42: P 10651). Ca. 600 B.C.

NON-STANDARD: FIRST HALF OF THE 6TH CENTURY

138 P1. 17

P 10195, P 10651, P 10653

138-164

B 14:5

P 26810 T 19 Four non-joining fragments, one (P 10195) of neck and mouth, one (P 10651) of shoulder with start of handle, two

(P 10653 and P 26810) of lower wall. Rest. H. of P 10195: 0.237; max. dim. P 10651:0.093, P 10653:0.254, P 26810: 0.185. P 10195 preserves parts of four horseheads to right: 1) all but top of head; 2) mane; 3) some of mane, eye; 4) mane,

part of head, muzzle. On side of mouth, frieze of incised rosettes. P 10651 gives parts of two animal friezes: I) bull (hind legs, tail) to left, with the handle root on the far right; II) boar (bristles). P 10653 shows a lion (paw) facing a bull (left foreleg and left hind hoof) with a floral ornament (part of tendril) between and some of the stacked rays below. P 26810 comes from the other side of the vase, probably the part opposite that of P 10653, and gives more of the stacked rays and the animal frieze: bull (right forehoof) to left; some of the floral ornament (tendril, frond of lotus). Hanging spirals, dot and incised rosettes for filling ornament. Red: manes and forelocks; eye of 3; nostril of 4; scrotum of bull; core of incised rosette on P 10651, alternate petals of all incised rosettes. White: corners of eyes; dots at ends of incised lines of rosettes.

139 Fig. 4;PI. 17 P 13113 R 17:3 Fragmentof shoulder,with start of neck. Max. dim. 0.12. Lotus-palmettecross(partof one lotusandone palmette) and siren (preservedbut for feet and endof tail) to left. Dot rosettesfor fillingornament.Above,tonguepatternatjunction with neck. Red:face, neck,breast,fillet, coverof wing and bar on tail; cuff, sepals, alternate leaves of lotus; alternateleavesof palmette;link;alternatetongues. The compositionprobablyshowedtwo facingsirenswith a floralbetween,similarto that on the round-bodiedlekythos in London,Russell (ABV 9, 17). Comparealso the reverseof LouvreE 817 (ABV 9, 7; Paralip. 6, 7), which shows sphinxes. The GorgonPainter(ABV 10, 24). Early 6th century B.C.

140 Fig. 5; P1. 17 P 17966 A 18-19:1 Shoulderfragmentwith start of handle on right. Max. dim. 0.109. Lion (hind legs and tail missing)to right with forepaws raised and head turned around. On the right, lines that markthe areajust belowthe handleroot.Belowthe lion, at the break,a small bit of glaze, probablythe petal of a rosette. Red:mane,belly stripe,ribs, markingson hindquarters;petal.

120

CATALOGUE

The composition probably representedtwo rampant lions, one to left, the other to right, each with head turned around,with a floral between.The curveof the fragment suggeststhat it camefroma shapeof neck-amphorasimilar to the one by Sophilos, Athens, N.M. 991 (ABV 38, 1; Baklr, Sophilos,pls. 49, 50), only larger.The drawingon 140 is, however,closestto that of the GorgonPainterand his manner.The full manecoveringthe entireneckandfalling in long locks over the shoulderis characteristicof the GorgonPainter:e.g., LouvreE 817 (ABV 9, 7; Paralip.6, 7); Hamburg1960.6 (Paralip.7, 13 bis;CVA, Hamburg1 [Germany41], pl. 28 [1994]:1-3);KasselT. 669 (Paralip. 7, 13 ter;CVA, Kassel 1 [Germany35], pl. 27 [1707]:1-3). For the S-curvedribswith red,cf. LouvreC 10620 (ABV9, 9; Paralip.7, 9), Baltimore48.215 (ABV9, 18;Paralip.7, 18). For the muzzle, comparethe lion on the North Slope lid, A-P 1734 (ABV 8, 6; Paralip. 6, 6). For the lion's eye withouta pupil, a detail difficultto parallelin the Gorgon Painter,cf. one in the friezebelow the sphinxeson Louvre E 817 and two in his manner on Louvre CA 823 (ABV 12, 23). First quarterof the 6th centuryB.C. 141 Pl. 18

P4727

F 12:5

Fragment of neck and mouth. P.H. 0.127; diam. of mouth 0.19. E. Vanderpool,Hesperia 15, 1946, p. 125, no. 6, pl. 17:1-3; Lambertonand Rotroff,op. cit. (under 136), ill. 5. On top side of mouth,friezeof geeseto right.On outside of mouth,borderof esses.On neck:A, Aristaios(headmostly missing),winged,runningto right,lookingaround,with a pick in his right hand. He wearsa short,beltedchiton.B (not illustrated), lotus-palmettecross. Red: breasts and wing bows of geese; face, neck, upper arms, chiton, and wing bowsof Aristaios;cuffsof lotuses,heartsandalternate petals of palmettes,links; band on inside of neck below geese;line aboveand below borderof esses. For Aristaios,cf. L. Burn, AntK 28, 1985, pp. 93-105. The Agora Aristaiosdiffers from the known examplesin that he doesnot carrya sackor a jar in one hand. Mannerof the GorgonPainter(ABV 12, 26). Early 6th century B.C.

142 PI. 18

P22310

N11

Fragmentof offsetmouth,neck,and startof one handle. Max. dim. 0.108. On top side of mouth(illustrated),friezeof geese (one)to right. On outside of mouth, borderof esses. On neck:A, horse(top of head,ear) to right;B, floralornament(partof tendril?).Incisedrosettesfor fillingornament.Red:dotson neck, breast,wing bow; line below borderof esses;mane; partof floral. Mannerof the GorgonPainter(compare141). First quarterof the 6th centuryB.C.

143 Pl. 18

P648 I-J 17 of mouth and neck. Max. dim. 0.075. Someof Fragment the glaze is abraded. On top sideof mouth(illustrated),geese (head,neck,and breastof one;wing and tail of another)to right. Incisedrosette for filling ornament.On outsideof mouth,borderof esses.On neck,partof incisedrosette.Red:dotson neck,bar on wing; broadbandon insideof neckbelow geese;line on upperand loweredgesof outsideof lip. Closeto 141 and 142. Perhapsin the mannerof the Gorgon Painter.The useof redanddoublelines is the same,but the drawingseemshastier. First quarterof the 6th centuryB.C. 144 P 31088 I 10:1 Fragmentof mouthas 141-143. Max. dim. 0.073. On top side of mouth, geese (head, breast, leg of one; body, tail, leg of another)feedingto right. On outsideof mouth,row of dots.Red:line on top of mouthat outeredge. First quarterof the 6th centuryB.C. 145 PI. 18 P 6065 1 9:1 Shoulderfragmentwith junction of neck at top. Max. dim. 0.099. Glaze firedred. Lion (preservedbut for legs, partof tail) to left with head turnedaround.Incisedanddotrosettesforfillingornament. At the verytop of the fragment,someof the line at thejunction with the neck.Red:mane,belly stripe,ribs. An unusualfeatureof this lion is that its tail is between its legs, then risesaboveits body,curvinggracefullyoverits hindquarters.Lionswith theirtails betweentheirlegsoccur in the workof the GorgonPainterand his manner,but here the tails remain beneath the belly. Cf. Louvre C 10620 (ABV9, 9; Paralip.7, 9), LouvreE 817 (ABV9, 7; Paralip. 6, 7), Avallon80 (Paralip.7, 9 bis), Berlin, inv. no. 3764 (ABV 11, 19;Paralip.8, 19), Nikosia 1958.iv-223(Paralip. 8, 19 bis; Gjerstad,op. cit. [under 10], pl. 63:1), Copenhagen,inv. no. 13796 (ABV714, 9 bis;Paralip.7, 9 bisand 8). For tails such as the one on 145, compare,e.g., thoseof the two seatedlions on an unattributedtripod-pyxis,Kerameikos,inv. no. 44 (KerameikosVI, ii, no. 130, pl. 100);a pantheron Berlin 1961.7 (CVA, Berlin 5 [Germany45], pls. 1 [2146]:1,and 2 [2147]);a pantherperchedon a palmettecrosson Athens,N.M. 1036 by Sophilos(ABV 38, 2; Baklr,Sophilos,pl. 33, fig. 59). First quarterof the 6th centuryB.C. 146

P 17341 M 11:3

Fragmentof shoulder,with ring at junctionwith neck. Max. dim. 0.056. Beginning of handle attachment. E. Brann,Hesperia30, 1961, p. 366, H 24, pl. 74. Feline (curvingtail, partlyflaked,part of hindquarters) to right. Incisedrosettefor filling ornament.Red:marking on hindquarters. The shortstrokesincisedalong the contourof the hindquartersare a curiousfeature.Comparea lion by Sophilos

121

NECK-AMPHORAE (Athens,N.M. 16385:ABV 40, 19; Paralip. 18, 19; Bakir, Sophilos,pls. 85, 86: here [p. 45] the attributionis removed, but without compellingreason)and the one in the manner of the KY Painter(Athens,N.M. 12688:ABV33, 1). Early 6th century B.C.

147 Pl. 18

P249

G 15

Fragment. Max. dim. 0.147. Most of flanged handle, glazedon underside,and a little bit of wall. On outsideof handle,fiveincisedrosettes.Belowthe handle root, zone of dots. Red: alternatepetals of rosettes;two lines beneathhandle. For rosettes on the handle, cf. the fragmentaryneckamphorain Florenceby Sophilos(ABV 38, 3). First quarterof the 6th centuryB.C. 148 PI. 18

P 143 G-H 5-7

Wall fragment.Max. dim. 0.058. Part of lotus-palmettechain. Below that, panther(top of neck, right ear, some of forehead)to right. Red: forehead, insideof ear, neck;heartsand alternatepetalsof palmettes, sepalsof lotuses,link. The absenceof a cuff on the lotus is an odd feature. First quarterof the 6th centuryB.C. 149 Pl. 19

P825

I17

Fragmentof shoulder.Max. dim. 0.075. Siren (breast,parts of wings, right leg, lock of hair) to left. Red: neck, breast,dots, and coversof wings, alternate feathers. The articulationof the curvedend of each feather,even when it is seen againstthe clay ground,is unusual. Comparethe sphinxon LouvreA 474, an unattributedpiecethat belongsto the Groupof the Early Olpai (ABV 14, 10). First quarterof the 6th centuryB.C. 150 PI. 19

P 13864 T24:3

Shoulderfragment.Max. dim. 0.046. Siren or sphinx (head,breast,part of wing) to right. Incisedrosettefor fillingornament.On the rightat the break, traces of another figure (breast of siren or sphinx). Red: part of face,top of head,wing bow. The Groupof the DresdenLekanis(ABV 22, 13). Late firstquarterof the 6th centuryB.C. 151 PI. 19

P22884a N15 P 22884 b M15

Two non-joiningwall fragments.Max. dim. a) 0.068, b) 0.097. Animal friezes. Fragmenta preservespart of two; I) feline (forelegs,hind paw) to left; II) panther(preservedbut for hindquartersand tail) and siren (end of wing and tail), bothto right. Fragmentb also gives partsof the two friezes: I) two confrontedlions with headsturnedaround(all of one but for hind legs and part of tail; head, mane,and shoulder of other); II) back of an animal, perhaps a bull, to right.

Incisedrosettesfor fillingornament.At top,partof a zoneof dots. Red:a) chest of feline in I; forepaw,nose, chest, and belly stripe of panther;b) manes, muzzles, tongues,eyes, chests;belly stripeandmarkingon hindquartersof left lion. Dots on alternatepetalsof rosettes. The KomastGroup:I, the KX Painter (ABV 680, 38); incorrectlygiven:ABV 48, 143 (Polos Painter);corrected: Paralip.20, 143. Late firstquarterof the 6th centuryB.C. 152 Pl. 19

P 21562 07:9

Fragment.P.H. 0.122. From lower part of tall flaring neckand startof shoulder. On neck, parts of two friezes:I) feline (hind legs) and siren (body,tail), bothto left, and feline (hindlegs) to right: II) siren (tail) to left and feline (body,legs, tail) to right. Incised rosette for filling ornament.On shoulder,sphinx (tip of wing andendof tail) to left. Red:I) wing bow;II) bar on siren'stail. Ca. 580-570 B.C.

153 PI. 19

P4824

M-N 12

Fragment of neck with turn of shoulder. Max. dim. 0.092. Glaze firedbrownishred. Two friezes:I) siren or bird (leg, start of tail) to left; II) siren or bird (wing) to left; feline (body,hindquarters, tail) to right.Blobrosettefor fillingornament.Red:bandon tail; wing bow;markingon hindquarters. Ca. 580-570 B.C.

154 P. 19

P480

G15:6

Three non-joiningwall fragments.Max. dim. a) 0.118, b) 0.13, c) 0.089. Animalfriezes.Fragmenta preservespartsof two: I) feline (forepaws),boar (bodyand legs), siren or bird (body, wing, tail, legs), all to right;II) ram (body,hindquarters), panther (tail, right hind leg missing),both to left; below, rays. Fragmentb also gives parts of two friezes: I) goat (body,hindquarters)to left, feline (righthind leg) to right; II) panther(head,neck)to right.Fragmentc showsa feline (forelegs)and a hoofedanimal(hindleg), bothto right;below, rays. Dot and incised rosettes for filling ornament. Red:belly stripes,scrota,ribs, and markingson hindquarters; neck of boar;necks, foreheads,and muzzles of panthers;coverof wing, alternatefeathersof wing, endof tail of siren;alternatepetalsof somerosettes. Late firstquarterof the 6th centuryB.C. 155

P 3805 F 14 Wall fragment.Max. dim. 0.074. Parts of three friezes:I) hoof; II) feline (forepaw)and ram (body,hindquarters)to right;III) lion (head)and bird or siren (bow of wing) to right. Incisedrosettesfor filling ornament.Red:bellystripe,ribs,markingson hindquarters of deer;maneof lion;bar on wing. Late firstquarterof the 6th centuryB.C.

122

CATALOGUE

P 5008 F 12 Three non-joiningfragmentsof shoulder. Max. dim. a) 0.073, b) 0.09, c) 0.082. Fragmenta with startof neck. Someof the glaze firedred. Much of it is abradedon fragment b. Animalfriezes.Fragmenta shows a lion (someof chest, legs, and tail missing)to left. Fragmentb preservesa lion (body,neck,partof legs) to right;in frontof the lion, a siren or bird (wing). Fragmentc gives partsof two friezes:I) feline (hindquarters,tail) to left;II) animal(back)to left. Incisedrosettesfor fillingornament.Fragmentsa and b come fromone side of the vase and belongto a compositionthat showedtwo confrontedlions with a bird or siren between. Fragment c belongs to the other side. Red: manes and chests,ribs,markingson hindquarters;wing bow. First quarterof the 6th centuryB.C. 156

P 4255 F 13

157

Wall fragment.Max. dim. 0.056. Ram (hindquarters,part of tail at break)to right. Red: belly stripe,scrotum,rib, markingon hindquarters. First quarterof the 6th centuryB.c. 158 PI. 19

P 3434 H 8-10 160 PI. 20 Part of flaringmouth,mostof neckand body,both handles. Rest. H. 0.249; rest. diam. 0.163; diam. of mouth 0.112. Smallfragmentspreservepartof flaringfoot. On top side of mouth,birdsor sirens(one) to left;on the outsideof the mouth, verticalstrokes.On neck, A and B, siren to left; beneathhandleattachmentB/A, bird to left; underA/B, rosette.On shoulder:A, two sphinxes,facing; B, siren(wing)to left betweensphinxes(body,someof wing of each). On the body, part of one frieze that continued roundthe vase:two pairsof sirensor sphinxes(heads,part of wings)facing,a pairof lions(bodies,someof legs,headof one on left) facing.Incised,blob,and dot rosettesfor filling ornament.On outsideof handles,rosettesseparatedby pairs of horizontallines. Betweenthe figurezoneson the shoulder and body,three rows of dots. Abovefoot (not illustrated), rays. Red: hair, part of neck, wings, breastsof sirens and sphinxes;band on tails of sirens;shoulders,markingson hindquartersof lions;coresand alternatepetalsof rosettes on handles. The PolosPainter(ABV 44, 7). Secondquarterof the 6th centuryB.C.

P 3579 and P 12379 F 14

Two non-joiningneck fragments.Max. dim. P 3579: 0.096, P 12379:0.068. P 3579 gives the startof the mouth and handleattachmenton the right. P 3579 shows birds or sirens (legs and tails of two) to righton the top sideof the mouth(notillustrated).On neck, partsof two friezes:I) feline (body,hindquarters)to left;II) bearded,wingedfrontalfigurein a chitonand nebris(right hand,lowerlegs missing)with headturnedto right,holding a birdby the neckin his left hand. Presumablyhe held anotherbirdin his right. P 12379 (not illustrated)givesparts of the same two friezes:I) bird or siren (breast,legs, tail) and feline (hind legs) to right; II) frontal winged figure (head,left wing) probablyas on P 3579 but unbearded.On the right,at the break,the tip of the rightwing of a second figure.Incisedrosettesfor filling ornament.Red:markings on hindquartersof felines;breastsand wing bows of birds; hair and wing bows of figures;skirtof figureon P 3579. D. Callipolitis-Feytmans(Lesplats attiques,p. 150, note 1) has seen that 158 belongsto the samegroupof Corinthianizingpaintersas 1398 and Kerameikos,inv. no. 66, once attributedto the Polos Painterbut now withdrawn(ABV 46, 95; KerameikosVI, ii, no. 91, pl. 77; Paralip.20). For the subject, cf. Miiller, Lbwen und Mischwesen, pp. 129-

154. Late firstquarterof the 6th centuryB.C. P 25324 I 10 dim. 0.073. Max. of mouth. Repairedin anFragment head of one lead with the of two staples tiquity (evidence 141-144. as Same remaining). shape On top side of mouth,birds (wing and tail of one, head and bodyof another)to left. Blobsfor fillingornament.On outside of mouth, verticalstrokes.Red: breast of bird on right. First quarterof the 6th centuryB.c.

P6661 R-V 16-19 Fragmentof offset mouth and part of neck. Max. dim. 0.057. Someof the glaze is abraded. On top side of mouth, frieze of birds (one) to left. On outsideof mouth,verticalstrokes.Red: breast,wing bow; lines on innerand outeredgesof mouth. The Polos Painter(ABV 48, 152). Secondquarterof the 6th centuryB.C. 161

P 13822 U25:2 (M) 162 Two non-joining fragments. Max. dim. a) 0.083, b) 0.097. Fragmentof neck,startof shoulder,rootof handle (a); fragmentof lowerwall with beginningof foot (b). Fragmenta preservesthe wing bowsandpartof one wing of a sphinx to right. On the right, vertical herringbone pattern.Below, at the junctionof neck and body, vertical strokesin groupsof three. Fragmentb gives two rows of patterns:I) between a line top and bottom,oval shapes slantingto rightdividedby a centralline, thenseparatedby a line with three short strokesin the interstices;II) rays. Red: face, neck, breastof sphinx;one line aboveand two belowthe firstpattern. The drawingis veryhasty. Secondquarterof the 6th centuryB.C.

159

163

P 20851 D 17

Shoulderfragment,handleroot,and startof neck. Max. dim. 0.07. Ring at junctionof shoulderand neck. Panther(head, neck) to right with head turnedaround andon the othersideof the handle,a bird(head,topof neck) to left. Blobsfor fillingornament.Red:foreheadof panther. White:dotson neckof panther. Secondquarterof the 6th centuryB.C.

123

NECK-AMPHORAE 164 PI. 20

P 1262 G 6:3 (L) Rest. H. diam. 0.107. A few pieces 0.234; Fragmentary. of mouth,wall, and foot restoredin plaster.Glaze has misfired a reddishbrown. E. Vanderpool,Hesperia 7, 1938, p. 372, no. 4, fig. 6. A and B, each on neck,two zones:I) verticalzigzags;II) blob rosettes,some with reservedcenters;on the shoulder, two swans facing,with groupsof short strokesin the field. Red:stripeson wings of swans;broadbandroundvase below figureddecoration. Relatedto the Swan Group,II (ABV 659). Secondquarterof the 6th centuryB.C. OVOID NECK-AMPHORAE 165-177

165 PI. 20

P 6628 H 10

Fragment.Max. dim.0.064. Fromshoulderwith someof ring at junctionwith neck. Satyr (head with fillet) to left. On the left is part of another figure that may be the beardof a facingsatyror one pipe of an aulos with a bit of the player'sfingers(for the latter possibility,cf. London,B.M. B 103.16:AthMitt 59, 1934, Beil. 10:1). The shaggybeardand animalear characterizethe figure as a subhumanone, probablya satyr,not a centaur,for the earliestpreservedAtticblack-figuredcentaurshave human ears and straight noses, sometimes also moustaches(cf. Schiffler,op. cit. [under118], pp. 20-21), whereasfromthe very beginningAttic black-figuredsatyrsare characterized by snub noses, animal ears, and they lack moustaches(cf. F. Brommer,Satyroi,Wiirzburg1937, pp. 25-28). Ca. 580-570 B.c. 166 P1.20

P 18612 C 19:5 Fragmentof neck and shoulder,stub of round handle. Max. dim. 0.098. Ring at junction of neck and shoulder. Burned(clay is gray). On shoulder,youth (head,shoulder)to left. On the neck, lotus-palmettecross(one palmette,the frondof the inverted lotus, someof tendrils).Red:heartof palmette;ring. The absenceof a bandof glaze or a tonguepatternon the shoulderat thejunctionwith the neckis an unusualfeature bestparalleledin the workof the CamtarPainter.Cf. Tarquinia RC 5564 (ABV 84, 1); Cambridge44 (ABV 84, 2); Boston, M.F.A. 21.21 (ABV 84, 3; Paralip. 31, 3; CVA, Boston1 [USA 14], pls. 16 [638], 17 [639]:3,4); Leningrad, inv. no. 2417 (Paralip.31, 7); TubingenS./715 (D 7) (Paralip. 31, 8; CVA, Tubingen 2 [Germany 44], pl. 34 [2135]);and Laon 37.1017 (Paralip.31, 9). The lotus-palmette cross on 166 with its very large heart and arrangementof tendrilsis similarto that on the Cambridge and Leningradvases. The subjecton 166 may have been a frieze of horsemenlike the one on the Laon amphora,for the small scale of the head suggestsa rider. Secondquarterof the 6th centuryB.C. 167 PI. 20 P25382 G3 Wall fragment.Max. dim. 0.054. Two women (some of face, neck, chest of one; right

shoulder,arm of other) to right. Red: overfoldsof peploi. White:flesh;dotson edgeof left garment;key pattern. Secondquarterof the 6th centuryB.C. 168 P. 20

P 21693 P7

Wall fragment.Max. dim. 0.072. HeraklesandNessos.Heraklesattacksfromthe left:only his left arm and hand tightly graspingthe centaur'sright arm are preserved.The face, torso, and horse body of Nessos remain.Blood flows fromwoundsin his chest and flank.Inscribed:

] PAI E Red: beard,wounds,markingson shoulderand hindquarters of Nessos.White:markingson Nessos. Similarin styleto 118 (PI. 14). Comparealso,New York, M.M.A. 41.162.103 (CVA, New York,3 [USA 12], pl. 4 [536]).For the subject,cf. Brommer,Heldensage3,pp. 153158. Ca. 560 B.C.

169 P1.20

P 14498 S 22

Shoulderfragmentwith someof tonguepatternneartop. Max. dim.0.073. On left, at tongues,holeforancientmend. Hunter and man to right. On the left, the hunter (chest with mantle)carriesa fox (hindquartersmissing)suspended froma stickoverhis left shoulder.In frontof him, a man wearinga cloakovera longchiton,preservedbut forhis face and feet.On the right,at the break,a smallamountof glaze, perhaps traces of another figure. Above, line and end of tongue pattern (one tongue, line between). Red: cloaks. White:chitonof man. For huntersandtheirquarry,cf. M. B. Moore,TheMetropolitan Museum Journal 18, 1984, pp. 29-38, esp. pp. 37-38. Ca. 560 B.C.

170 P1.21 P9358 M 18:8 Wall fragment.Max. dim. 0.072. Warrior(torso, right arm with spear) to right. On the left, tail of an animalskin (?) in diluteglaze. Red:chiton. Attributedto the TyrrhenianGroup [Bothmer].Generally recallsthe PrometheusPainter. Secondquarterof the 6th centuryB.C. 171

Hll P3074a,b,e Three non-joining fragments. Max. dim. a) 0.103, b) 0.03, e) 0.05. Fromflaringmouth,neck,and body. Fragmentsa and b preservepart of the lotus-palmette crosson the neck.Fragmente givessomeof the tonguepattern on the shoulderat thejunctionwith the neckand a bit of the figureddecoration,Theseus and the Minotaur(forearm and hand of Theseus, a bit of his garment;the face of the monster).Red:cuffsof lotuses,alternatetongues;ringat junctionof neckandshoulder;line at outsideedgeof mouth. White:Theseus'garment. P 3074 c and d do not belongto 171. Neither preserves figures.Forthe subject,cf. Brommer,Heldensage3,pp. 226243; E. Young, The Slaying of the Minotaur: Evidence in

124

CATALOGUE

Art and Literaturefor the Developmentof the Myth, 700400 B.C., diss. Bryn Mawr, 1972 (UniversityMicrofilms International,Ann Arbor,Michigan,no. 73-5903). Secondquarterof the 6th centuryB.C. 172 PI. 21

P 25349 J 12 Shoulderfragment.Max. dim. 0.054. Youthful rider (head, torso, right hand; mane) to left. Above,tongue pattern.Red: hair, dots on garment;alternate tongues. For rows of dotson the garment,the best parallelsare to be found in the early works of Lydos, and 172 may be by him. Compare especially London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 9:,/); Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pl. 23:,8); and Naples, Astarita143 (ABV 684, 57 bis;Paralip.44, 57 bis;Tiverios,pl. 75:,8).Comparealso, Munich 1681 (ABV 108, 12; Tiverios, pl. 2); Louvre E 804 (ABV 108, 13; Tiverios, pl. 7:a); Berlin 1685 (ABV 109, 24; Tiverios, pl. 46:,3); and Akropolis 2187 (ABV 111, 44; Tiverios, pl. 73:6). Later examplesoccurin the work of the Amasis Painter: Louvre F 30 (ABV 152, 29; Paralip. 63, 29; Bothmer,Amasis Painter, pp. 140-141, cat. no. 27) and LouvreF 36 (ABV 150, 6; Paralip.63, 6; Bothmer,op. cit., pp. 81-82, cat. no. 5). Ca. 560-550 B.c. 173 P1.21

P 21371 P7

Wall fragment.Max. dim. 0.031. Partsof two zones:I) Amazon(foot,endof greave)to left; II) Iris (headwith petasos,someof chitonand cloak)to left. Red:greave;cloak.White:flesh. The scale of the Amazon'sfoot comparedwith that of Iris'sheadindicatesthatthe two figuresweresimilarin size and thereforethat the two friezes were about the same height, an odd scheme of decorationas noted orally by Bothmer.Usually the uppermostfrieze is the widest, the othersnarrower. For the subject, cf. Brommer,Heldensage3,pp. 7-25 with bibliography. Ca. 560-550 B.C.

174 P1.21

P 17781 A 18-19:1

Shoulderfragment.Max. dim. 0.038. Man (head,right shoulder,most of raisedright arm) to right. Red:hair and beard.White:dotson sleeveof chiton. Ca. 550 B.C.

175 PI. 21

P3555

L 11-12

Fragment of mouth (flat on top, reserved)and neck. Max. dim. 0.055. Two swans (head, neck, wing of one; part of wing of other)facing.Red:bandon eachwing. White:dotson neck; narrowbandon each wing. Secondquarterof the 6th centuryB.C. P 25315 F 19:4 176 PI. 21 Wall fragment.Max. dim. 0.072. Feline (shoulder,start of foreleg)to left, facing a lotus-

palmetteornament(part of uprightbud, heart of inverted palmette).Red: star on lotus bud, cuff; heart of palmette. White:belly stripe. The Painterof Vatican309. Compareespeciallythe reverseof his namepiece(ABV 121, 7), Munich 1445 where the floralis quitelarge(ABV 121, 9; CVA,Munich7 [Germany 32], pl. 327 [1541]:3),and Louvre C 10630 (ABV 121, 10). The compositionon 176 probablyshoweda floral betweentwo sphinxes. Secondquarterof the 6th centuryB.C. 177 PI. 21

P 13783 U 25:2 (U)

Wall fragment.Max. dim. 0.066. Goat (neck,part of head and foreparts)grazing to left. Red:markingon shoulder. Secondquarterof the 6th centuryB.C. PANEL NECK-AMPHORAE

178 P1.21

178-182

P 2397 H 8-10

Fragment.Max. dim. 0.078. From neck with trace of ring at junctionwith shoulder.H. A. Thompson,Hesperia 6, 1937, p. 126 and p. 127, fig. 68:a. Male head to right. Red:fillet, face, neck;bandat junction of neckand shoulder. It is unusual for the face on such neck-amphoraeto be coveredwith addedred. For a comparison,but morecarefully applied,cf. Munich 1448, nearthe Painterof London B 76 (ABV 88; CVA, Munich 7 [Germany32], pl. 329 [1543]:2,3). Ca. 570-560 B.C.

P 25013 0 16 179 Fig. 6; PI. 21 Four fragments.P.H. a + b) 0.143;diam.of mouth0.13; max. dim. c) 0.072, d) 0.09, e) 0.099. From mouth, neck, body,andhandlesjoinedwith plaster.Echinusmouth.Ring atjunctionof neckandshoulder.Glazeis abradedin places. Fragmenta + b (illustrated)preservespartof the mouth, neck,stubof one handle,andsomeof the body.On the neck, head of a man (A, face, hair; B, face) to left. On the body, horseman(backof torso;horse'shindquarters,some of its head and tail) to right. Fragmentsc and d show the upper cornersof the panel on the other side, and fragmente is a handle.Red:line on outerand inneredgesof mouth;ring. The absenceof framingornamentat the top of the panel is an unusualfeaturethat recallssomeof the one-pieceamphoraewith a singlehorseman(cf. 36: P1.5). Forthe lackof ornament,cf. also 166 (PI.20), New York, M.M.A. 56.171.16 by the Painter of LondonB 76 (ABV 87, 14;Paralip.32, 14;CVA,New York4 [USA 16],pl. 12 [740]:1,2); Munich 1448, nearthe Painterof LondonB 76 (ABV 88; CVA,Munich7 [Germany32], pl. 329 [1543]:3, 4); StuttgartMarket, Kricheldorf(Auktion VI, 22. Okt. 1958, pl. 15, no. 35); also Munich 1449 (CVA, Munich 7 [Germany32], pl. 328 [1542]:3,4) and Athens,N.M. 673. These last two havea narrowblackbandbetweenthe top of the paneland the ring at thejunctionof neckand shoulder. Ca. 550 B.C.

125

NECK-AMPHORAE

form a class, and they are by differentpainters.All these neck-amphoraedifferfrom 181 by havinga flaringmouth, shortneck with an ornamentalpattern,and rays abovethe foot. Ca. 540-530

B.C.

P 19045 and P 19584 A 18-19:1 Three non-joining fragments of wall. Max. dim. P 19045 a + P 19584 a: 0.14, P 19045b: 0.115, P 19584 b: 0.048. A, wedding processionin a chariotto right. Fragment P 19045 a + P 19584 a givesthe head and shouldersof the groomwearinga chiton and cloak;besidehim is his bride holdingout her veil. Behindthe pair, the wreathedhead of Dionysosand, at the left, the left edge of the panel. On the left side of the chariot,the head of Apollowith part of his kithara(arm,crosspiece,and strings).FragmentP 19584b (not illustrated)shows part of the wheel, box, and pole of the chariot,some of Apollo'schiton,and part of two tails. FragmentP 19045 b comesfromthe otherside of the vase. It preservesthe foreheadof a mountedyouthto right,for in the lower part of the fragmentis part of his horse'smane andaboveit, his ridingcrop.On the farright,the edgeof the panel. Abovethe panel on each side, tonguepattern.Red: alternateleaves of wreath;headdressof groom;stripeson his chiton;Apollo'sforelock;part of tail and mane;rider's forelock;alternatetongues;line at edge of panel. White: bride'sflesh;dotson garments;armsof kithara. The scene may representthe Wedding of Peleus and Thetis. Forthe subject,cf. Brommer,Heldensage3,pp. 318320. 182 PI. 22

FIG.6. Neck-amphora179 (P 25013). Scale 1:2

P 25390 B 19

180 P1.21 Neck fragment.Max. dim. 0.064. Head of man (face)to left. Secondquarterof the 6th centuryB.C. 181 PI. 22

P 24677 R 12:4

Mouth slightly chipped. H. 0.378; diam. 0.284. Rilled mouth, concavestrap handles,torus foot with fillet above. Glaze firedbrownishin places.Someof it is abraded.H. A. Thompson,Hesperia25, 1956, p. 62, pl. 21:b. A, man seated to right on an okladias,wearing a long chiton and a himation, his left hand extendedtowards a woman who standsbeforehim wearing a long chiton,her righthandraised.Behindthe seatedman, a nudeyouthand a womandressedas the otherwoman,both to right.Above panel,tonguepattern.B, man seatedto righton an okladias, his right hand extended,under his left arm a scepter.He wears a long chiton and himation. Round his head is a wreath. A woman stands before him, her right hand extendedwith a flower (positionedslightly aboveher palm). She is dressedas those on A. On the wall, two fillets. Red: beards;pupils of women'seyes; fillets roundheads;stripes on garments;one rill, line at inner edge of mouth, ring at junctionof neck and shoulder,line at upper attachmentof handle;two lines below panel that continueroundthe vase. White: female flesh; dot clusters on garments;joints of okladiai;chitonof man on A; dotson hangingfillets. The concavehandlesand fat bodyof 181 generallyrecall a neck-amphoraby the EuphiletosPainter (ABV 323, 21; Paralip. 142, 21) that takes with it two othersthat are unattributed: Leningrad 284 (ABV 325, -, 1) and Naples, inv. no. 86362 (ABV 325, -, 2). A few others are akin to

these three in shape (ABV 325-326, 1-6), but they do not

Ca. 530-520 B.C.

NECK-AMPHORAE OF PANATHENAIC SHAPE

183 P1.22

183-188

P13523

N18:7 or8

Shoulderfragment.Max. dim. 0.081. Bohr, Schaukelmaler,pl. 107:d. Gigantomachy.Athena (part of head with Attic helmet, shoulderwith snakeof aegis, raisedright arm but without spear)to right.On the left, partof anotherfigureor perhaps the foreheadof a horse.Above,tonguepattern.Red:mane or hair at left; edge of helmet crest; earring; alternate tongues;line at top borderof tongues. Comparethe Gigantomachyon a contemporaryneckamphora of Panathenaic shape, Munich 1437 (CVA, Munich 7 [Germany32], pls. 339, 340 [1553, 1554]). For figurees giants, cf. F. Vian, Repertoiredesgigantomachies dans l'art grec et romain, Paris 1951 and La guerre des geants. Le mytheavant1'epoquehellenistique,Paris 1952; also, M. B. Moore,AJA83,1979, pp. 79-99. Comparethe Swing Painter(ABV 693). Ca. 530 B.C.

184

P 10808 No grid Two non-joiningfragmentsof wall. Max dim. a) 0.135, b) 0.107. Weddedpair in a chariotto right. Fragmenta gives the

126

CATALOGUE

hands of the groomholdingthe reins, the veil of his bride beside him held away from her head, then the head and shoulders of a bearded man, a youth with a kithara (Apollo?),and part of the hindquartersof the right-hand pole horse and the tail of the otherpole horse. Fragmentb preservessome draperyand the edge of the panel on the right. It is not certainwhetherthe two fragmentsare from the same side. Red:dotson garmentson a; tail of left-hand pole horse. White: woman's hand; dots on garments of beardedman;left-handpole horse. Ca. 530 B.C.

P 13425 N 18:7

185

Two non-joiningshoulderfragmentswith start of neck. Max. dim. a) 0.16; b) 0.166. Ring at junctionof neck and shoulder. Fragmenta preservesthe upper left cornerof the panel with a woman (head)to right and someof the tonguepatternat thejunctionwith the neck.Fragmentb givesmoreof the tonguepatternabovethe right cornerof this panel and abovethe panelon the otherside,as well as partof the lotuspalmette chain on the neck. Red: pupil of woman's eye; alternatetongues;heartsof palmettes,cuffs of lotuses;line at side of panel;ring. The scaleof the woman'sheadand its inclinationsuggest that she standsin a chariot. Ca. 530-520 B.C.

186

P31116

Q8 Wall fragmentfromtop of panel.Max. dim.0.069. Thin brownglaze on inside. Frontalhorseman(headturnedto left, right shoulderof rider;maneof his horse,its headturnedto right).Red:forelockof youth;maneof horse.White:chiton. Ca. 520 B.C.

The RycroftPainter.The small eye withouta tear duct combinedwith threeshortstrokesforthe browareespecially characteristicof horsesby the RycroftPainter,and the rest of the drawingis his, too. Compare:Oxford 1965.118 (ABV 335, 1; Paralip. 148, 1; CVA, Oxford 3 [GB 14], pi. 35 [650]);Boston,M.F.A. 98.919 (ABV335, 3; Paralip. 148, 3; CVA, Boston1 [USA 14], pl. 14 [636]);New York, M.M.A. 06.1021.67 (Paralip. 148, 5 ter and 150); Worcester1956.83(ABV335, 5 bis;Paralip.148, 5 bis;Buitron, New England Collections, pp. 44-45, no. 17); Louvre C 11278 (Paralip. 149, 23 quater); Munich 1720 (ABV 337,

24). The attributionof 187 to the RycroftPainteradds a new shape to those knownto be decoratedby him. For the inscription,cf. an unattributedfragment,Agora A-P 296, which belongs to Akropolis674 a-d (Hesperia 4, 1935, p. 229, no. 16 and p. 227, fig. 6). Ca. 510-500 B.C.

188 P1.23

STANDARD

187 PI. 22

P4749 E-F 12-14 P 4823 No grid

Fournon-joiningfragments.Max. dim. P 4749 a) 0.088, b) 0.09, c) 0.075, P 4823: 0.086. Streakywash on surface. Burned(clay is gray). P 4749 a preservessome of a woman'shead and face to right,and on the right,partof an inscription: OLT '[ Above,a bit of the tonguepatternat thejunctionof the neck and shoulder.P 4749 b (not illustrated)gives some of the woman'sskirt,and P 4749 c (not illustrated)showsmoreof the tonguepatternabovethe figurezone and the ring at the junctionof neck and shoulder.P 4823 preservespart of a chariot(headsand necksof pole horses;neck and mane of right-hand trace horse) to right. To left of the horses, a tree with fruit. Abovethe foreheads,the beginningof an inscription: o[ Red: fillet, dot on skirt;strip on each mane. White: flesh; fruit;dotson headstallof right-handpole horse.

P9320

K 17:1

Two non-joiningfragmentsof mouth, neck, and body. Max. dim.a) 0.144, b) 0.107. Mendedin antiquity(holeat rim of Athena'sshield). Athenastridingto left. Fragmenta shows the head and shouldersof the goddesswith her rightarmraisedholdinga spear,hershieldheldout. In the field,a vine.AboveAthena, someof the tonguepatternoverlappedby her helmetcrest, and a little of the lotus-palmettechain withoutincisionon the neck. Fragmentb (not illustrated)gives some of the mouth and more of the ornamentalchain. Red: rim of shield; crest support;dot on garment;ring at junction of neckand shoulder.White:flesh;dotson borderof garment. Perhapsby the EucharidesPainter[Bothmer]. Last quarterof the 6th centuryB.C. NECK-AMPHORAE

189 PI. 23

189-205

P4750

E-F 12-14

Wall fragment,burned(clay is gray). Max. dim. 0.064. Horse(topof head,with forelocktiedin a topknot)to left. Above its mane, the tip of a spear, probablyheld by the rider, and at the lower left, a small bit of glaze that may belongto a figurestandingto right. Abovefigures,tongue pattern.Red:alternatetongues. Ca. 540-530 B.C.

P9460 C 9:6 190 PI. 23 Shoulderfragment.Max. dim. 0.038. W. B. Dinsmoor, Hesperia,Suppl.V, Baltimore1941,p. 130, fig. 57:5;Bohr, Schaukelmaler, pl. 145:e.

Weddingprocession.Man (head,shoulder)and woman (face) to right. At the lower right edge, the borderof his cloak and the necklineof her dress.To judge from where this fragmentcomesin the vase,the scenemay havebeen a weddedpair in a chariot.Red: man's hair; woman'sfillet (smallbit of redjust in frontof his forehead).White:woman's face. The Swing Painter(ABV 310, 105). Ca. 540 B.C.

127

NECK-AMPHORAE P8883

191 Pl. 23

T 19:1

Wall fragmentnear shoulder.Max. dim. 0.054. Four women(the headsand shouldersof two, a bit of the neck of a third overlapping,to right;behindthem, the face of a fourth,who is not quite so tall as the othertwo, and her raisedright hand). The dilute glaze (veryfaint) in frontof the fourthwoman'sface may be a flower. Red: stripeson garments.White:flesh. The decorativecharacterof the drawingis closeto that of some vases in the manner of the LysippidesPainter. Cf. Munich S.L. 458 (ABV 259, 18; CVA, Munich 7 [Germany32], pl. 359 [1573]);London,B.M. B 208 (ABV260, 29; Paralip. 114, 29); Florence3790 (ABV260, 30); Altenburg 216 (Paralip.116, 31 ter);Rimini (ABV 261, 36; Paralip. 115, 36). The close overlappingof the three figures suggestsa divine triad, perhapsone at a weddingor in a ceremonialprocession. Ca. 530-520

192 P1.23

B.c.

P 19879 A 20

Shoulderfragmentwith ring atjunctionwith neck.Max. dim. 0.099. Triptolemos(wreathedhead),with stalksof wheat (most of one, the shaftof another)to right. Behindhim, a branch, probablyheld by Demeter or Persephone.Above, tongue pattern.Red:wreath;alternatetongues;ring. For Triptolemos,cf. particularly,C. Dugas, "Lamission de Triptoleme d'apres l'imagerie athenienne,"Melanges d'archeologie et d'histoire 62, 1950, pp. 7-31, reprinted in

RecueilCh. Dugas, Paris 1960, pp. 123-139. Addto his list of black-figuredexampleson pp. 23-24 (RecueilCh.Dugas, pp. 132-134) two more:Athens,N.M. 430 by the Beldam Painteror in his manner(ABV 587, -, 1) and Prague1867 by the EmporionPainter(ABV708, 19; Paralip.291, 19). An unbeardedTriptolemosis frequentin redfigurebut rare in black. Compareone on a small neck-amphoraby the EdinburghPainter (BeverlyHills, Prinzmetal,ex Hearst 9520: ABV 478, IV, 2; Paralip.217, IV, 2). 192 may be by this painter. Compare especially, London, B.M. B 170 (ABL, p. 220, no. 87; ABV 671) and Cleveland29.135 (CVA,Cleveland1 [USA 15], pl. 19 [699]). Recalls the black-figuredneck-amphoraeby the KleophradesPainter(ARV2 194[a],2). Ca. 500 B.C.

193 P1.23

P 20018 C 17

Shoulderfragment.Max. dim. 0.058. Athena(left armholdinga spear;someof aegisandsleeve of chiton)to left. On the right, tracesof anotherpersonor object.White:flesh. That Athena holds the spear in her left hand suggests that she is an onlooker,perhapsat one of the laborsof Herakles. Compare,for example:Munich 1575 by the Lysippides Painter (ABV 256, 16; CVA, Munich 8 [Germany 37], pl. 364 [1782]:1); Munich 1562 attributed to the Mastos Painter by Kunze-Gotte(CVA, Munich 8 [Germany 37], pl. 376 [1794]:1);Munich 1560 by the Longnose Painter(ABV 327, 5; CVA, Munich 8 [Germany37],

pl. 383 [1801]:1);Munich 1557 by the Painterof Boulogne 441 (ABV 290, -, 3; CVA, Munich 8 [Germany37], pl. 395 [1813]:1). Last quarterof the 6th centuryB.C. 194 PI. 23

P 12994 R 16

Shoulderfragment.Max. dim. 0.04. Youth (head) with a veiled woman (head) on his left (being carried),both to right, perhaps in a chariot.The woman'shead is much smallerthan that of the youth. On the right and left, tonguepattern.White:woman'sflesh. Ca. 520-510

B.C.

195 PI. 23

P3167

H 13

Wall fragmentfromnear shoulder.Max. dim.0.08. Weddedpairin chariot(withApollo).Two figures(some of garments;armsandhandsof the groomholdingthe reins) standin the box of a chariotto right.On the right,the head and shoulders of Apollo, strings and crosspieceof his kithara.Red:Apollo'swreath.White:dotson garments. The RycroftPainter(ABV 336, 7). Ca. 510-500 B.C.

196 PI. 23

P 419 G 13:1 Shoulderfragment.Max. dim. 0.052. Chariot (heads of pole horses;mane and ear of righthand tracehorse)to right.The small bit of glaze abovethe ear of the tracehorseis the end of a handlepalmette.Red: mane. The RycroftPainter (cf. the comparisonsgiven for 187 and 513. Ca. 510-500

B.C.

197 PI. 23

P7446 D 12 Wall fragment.Max. dim. 0.056. Dionysos(head)to left. Above,partof a friezeof hanging lotus buds. Red: strip on beard;leaves of wreath. White: dotson necklineof chiton. The LeagrosGroup (ABV 368, 101;Paralip. 163, 242); Recallsthe AcheloosPainter(ABV 377, 242). The pattern above the figures was a frieze of hanging lotus buds below a tonguepattern,a combinationof ornament favoredby the Affecterbut seldomseen elsewhereon neck-amphorae.Here are six examples, the first three earlierthan 197, the lastthreecontemporary: two by Exekias, Berlin 1720, lotus flowersalternatingwith lotus buds (ABV 143, 1;Paralip.59, 1) and Berlin1718 (ABV 144, 5); London, B.M. B 273 (CVA, London 4 [GB 5], pl. 67 [212]:3); two by the Antimenes Painter: Munich 1555 (ABV 271, 79; Paralip.118, 79; CVA,Munich8 [Germany 37], pl. 386 [1804]:1)and London,B.M. B 274 (ABV 272, 95); Munich 1481 (CVA,Munich 8 [Germany37], pl. 424 [1842]:3). Ca. 510-500 B.C.

198

P 16814 G 15:1 Two non-joiningfragmentsof shoulderand neck. Max. dim. a) 0.068, b) 0.13.

128

CATALOGUE

Fragmenta preservesthe headandshouldersof Dionysos to rightlookingaround,partof his drinkinghorn,a vine in the background,and on the far right, some of the forehead andwreathof a woman,perhapsAriadne.Fragmentb gives the top of the head of a figure to left, some of the tongue pattern on the shoulder, and part of the lotus-palmette chain (without incision) on the neck. Red: beard, fold of cloak,alternateleavesof wreath;alternatetongues;ring at junctionof neck and shoulder.White: dots on necklineof chiton;Ariadne'sface. Last quarterof the 6th centuryB.C. 199

P 17223 A-B 19-20:2

Shoulderfragment.Max. dim. 0.077. Horse (head, part of neck) to right, facing a woman (head,righthand)who holdsup a foldof her garment.Red: mane and forelock;top of woman'shead (fillet?). White: woman'sflesh. Late 6th centuryB.c. P 17801 J 18:4 (U) 200 P1.23 Wall fragment.Max. dim. 0.09. Two males(nudelegs of one;drapedlegsof anotherholding a staff) to left. On the right,someof the ornamentunder the handle (tendril of palmette);below the figures, key patternto right, then a frieze of upright lotus buds. Red: stripeon garment. Late 6th centuryB.C. 201 P1.24

P 13764 V 24:2 (U)

Wall fragment.Max. dim. 0.093. Man (from hips down) to left in a long chiton with a cloakoverit, holdinga staff.In frontof him, partof a figure (footandshin of male:dancer?)to right.On the right,oneof the palmettesof the handle ornament;below, part of the frieze of uprightlotus buds. Red: stripeson cloak.White: dot clusterson chiton. Late 6th centuryB.C. P 24036 K 13-16 202 P1.24 Shoulderfragment.Max. dim. 0.06. Man (bent right arm, shoulder,some of torso) clad in a chiton and cloak to right (in a chariot?playing the kithara?). On the left, part of the palmetteornamentunderthe handle.Red:dotson drapery.White:dot clusterson cloak. Late 6th centuryB.C. P 10782 No grid 203 P1.24 Wall fragment.Max. dim. 0.072. Komast (body, right arm, left hand) with barbiton,to right. Over his left shoulder,a short cloak. White: fillet roundneckand underright arm. Late 6th centuryB.C. 204

P 8538 D 7:2

Fragmentof neckwith startof mouthand shoulder.P.H. 0.095. Ring at junctionof neckand shoulder. On neck, lotus-palmettechain without incision. On

shoulder,tonguesand some of Athena'shelmetcrestoverlapping them. Athena moves to right. Red: alternate tongues applied directlyon the clay; ring. White: helmet crest;dotson helmet. Late 6th centuryB.C. P11071 D15:1 205 Shoulderfragment.Max. dim. 0.046. Woman(face,partof head,shoulder),probablya dancer to right with head turnedaround,arm outstretched.Red: headdress,dot on garment.White:flesh. Late 6th centuryB.C. SMALL LATE NECK-AMPHORAE

206-225

206 P1.24

P 25932 Q-T 20-22 Wall fragment.Max. dim. 0.036. Warriors(headof one to right in a low-crestedCorinthian helmet, probablyin a chariot since his helmet crest overlapsthe tonguepattern;at the right,someof the helmet of another,ornamentedwith two plumes). Above,tongue pattern.Red: fillet on first helmet. White: feathers;crest supportof firsthelmet. For plumeson helmets,cf. M. B. Moore,AJA84, 1980, p. 428, note 89. Late 6th centuryB.C. 207 P1.24

P9276

M 17:4

Two non-joiningfragmentsof body with start of neck. Max. dim. a) 0.093, b) 0.106. Processionof deities. Fragmenta shows on the left a voluteof the handleornament,the head of Dionysos,then the head and shouldersof Leto and of Apollo holding a kithara,all to right.Facinghim is Artemis(face).Fragment b gives mostof Artemisand the head and neckof her deer standing between her and Apollo. Next comes Hermes (fromthe waist down)with his kerykeionto rightbut probably with head turnedaround.On the right, some of the handleornament(palmette,two lotuses).Abovethe heads of the deitieson a, tonguepattern.Red:hair,beard,wreath of Dionysos;filletsof goddesses;dotsandstripeson drapery; tongues of Hermes' boots. White: chitons of Dionysos, Apollo,and Hermes;rim of drinkinghorn,tops of armsof kithara;fleshof goddesses;stripon deer'sthroat. Late 6th or early 5th centuryB.C. P4691 E-F 12-14 208 P1.24 dim. Shoulderfragment.Max. 0.046. Glaze firedred. Peleus and Thetis (the heads and shouldersof each) wrestling. Above, tongue pattern. Red: fillets. White: Thetis' flesh,dotson her drapery;Peleus'baldric. Late 6th or early 5th centuryB.C. P 23200 H 12:15(POU) 209 P1.24 Preservedbut for a few chips. H. 0.268; diam. 0.165. H. A. Thompson,Hesperia23, 1954, p. 51, pl. 15:j. A, fight over fallen warrior.A warrior,wearinga short pleatedchiton,a corslet,and a Corinthianhelmet,rushesin

NECK-AMPHORAE fromthe left, holdingout his shield (device:circleand dot), readyto thrustthe spear into his adversarywho is dressed similarlybut for the additionof greaves.The deviceon his shield is an anchor.Each has a scabbardsuspendedfroma doublebaldricover his right shoulder.The fallen warrior, dressedas the first,sits on the ground,his spearin his right hand,his shield (device:tripod)held out. B, chariotwheeling around,drivenby a womanin a chitonand cloak;round her head is a fillet. On neck, lotus-palmettechain without incision.Abovethe figures,tongue pattern;below, upright lotusbudswith dotsin the interstices,then rays.Undereach handle, four palmettesand three lotuses with centraldot. Red:A, rimsof shieldsheldby 1 and 3, dotson garments.B, fillet, strips on manes. White: A, devicesof 1 and 3, segments of crests, baldrics,shield of 3, dot clusterson garments. B, flesh, dot clusters on garments;studs on headstalls, stockingsand blazesof horses. Comparedwith the Mannerof the Red-linePainter(Pa-

129

P 2568 G 6:3 (U) Fragmentary.Rest. H. 0.263; diam. 0.17. Most of one handle, fragmentsof body, all of foot restored.Chips on mouth.E. Vanderpool,Hesperia15, 1946, p. 310, no. 193, pls. 58, 59. A, Dionysosto left, lookingaround,betweensatyrsfacing inwards.In the field, a vine with grapes.B, threewarriors with spearsandshields(devices:serpent;femaleleg;leaf) to left. On the neck,three up-and-downpalmetteswith dots. Tongue patternon shoulderat junctionwith neck. Under each handle, a configurationof four palmettesand three lotuseswith dots.Belowthe figures,uprightlotusbudswith dots in the interstices. Above foot, rays. Red: beards; forelockof satyron right;dotson garmentof Dionysos;dots on rims of shields;ring at junction;line at outer edge of mouth. White: fillets of satyrs;dot clusterson Dionysos' cloak;segmentsof helmetcrests;devices.

213 PI. 25

Ca. 500 B.C.

ralip. 302).

First quarterof the 5th centuryB.C.

210

P 12382 G-H 11-12

Wall fragment.Max. dim. 0.085. Chariot(forelegs)to right.On the left side of the team,a figure(drapery)and a fawn or largehound(legs,body).Below the figures, dot band. White: right-handpole horse; belly stripeof fawn or hound. Early 5th century B.C.

P 4994 a, c-e E-F 12-14 (?) 211 Four non-joiningfragmentsof wall and shoulder.Max. dim. a) 0.133, c) 0.035, d) 0.042, e) 0.061. A and B, chariotto right,with Hermes.Fragmenta gives the legs of the chariotteamand on the left, partof the wheel of the chariotand a male foot to right. In frontof the team, Hermes (part of cloak, most of right leg) moves to right, holdinghis kerykeion(part of its staff). In the field, a vine with grapes(endsof two bunches).Fragmentc showsmore of Hermes (headwith brimof petasos,lookingaround,and shoulders),part of his kerykeion,and more of the vine. Fragmentd comesfromthe other side of the vase and preservessomeof Hermes(cloak,partof body,a bit of the shaft of his kerykeion)to right, probablylookingaround,part of the vine, and on the left, the chests and lower necksof the two tracehorses.Fragmente showspartof the bodyandone hind foot of the right-handtrace horse. A small trace of glaze on the left just at the breakindicatesthe hind foot of anotherhorse. In the field, a vine with grapes.Red:stripes on drapery;beard. White: right-handpole horse;dots on drapery. Early 5th century B.C.

P 4994 b E-F 12-14 (?) 212 Wall fragment.Max. dim. 0.047. Chariot(forelegsof horses)to right precededby Hermes (calf of leg). Red:tonguesof boots.White:one horse,probably the right-handpole horse. Early 5th century B.C.

P3566 E14:11 214 Three non-joining fragments. Max. dim. a) 0.075, b) 0.075, c) 0.053. Two fragmentsof wall, one (b) of shoulderand neckwith someof the handleattachment. A, Dionysosand maenador satyr. Fragmentb gives the top of the god'sheadto rightwith partof his kantharosand on the right, the top of the head of anotherfigure to left. Above,tongue pattern.On neck, up-and-downpalmettes. B, satyrsand maenad.Fragmentc givesthe legs and partof the armof a satyrrunningto rightwith the draperyandfold of a maenad'sgarmentin front of him. Fragmenta preservesthe lower part of the secondsatyr runningto right, probablywith his head turned around,and, at the right, part of a large leaf under the handle. Below the scene, a broad black band. Red: wreath of Dionysos, forelockof figureopposite,tail; band on ridge at junctionof neckand shoulder,line aboveand belowblackband. The Light-makeClass [Bothmer]. Early 5th century B.C.

P 13013 V 24:2 (L) 215 P1.25 Preservedbut for foot, small piecesof body and mouth, all of one handle.P.H. 0.222;diam.0.15. Much of the glaze misfired.Some of it is abraded.T. L. Shear, Hesperia 8, 1939, p. 232, fig. 29. A, departurewith chariotto right.A man clad in a long chiton with a nebris over it and a fillet round his head mountsthe chariot.On the left sideof the teamis a warrior to right, wearinga high-crestedCorinthianhelmet,carrying two spearsand a Boeotianshield. He looks aroundat the charioteer.In frontof the teamis a dogto right,looking around.B, departureof warrior.The warriorstandsto left, armed with a Corinthianhelmet, greaves,a spear, and a roundshield (device:three balls), and accompaniedby his dog. Facing him is a woman wearing a chiton and cloak, andbehindhim, an old manin a chitonandcloak,holdinga staff, presumablythe warrior'sparents.Roundthe headof each parent is a fillet. On the neck, three up-and-down

130

CATALOGUE

palmettes.Tongue pattern on shoulder at junction with neck.At each handle,a configurationof fourpalmettesand threelotuses,with a centraldot. Below the figures,upright lotusbuds,then rays.Red:A, filletof charioteer;manesand tails, breast band; collar of dog; B, fillets, stripes on garments,rim of shield,collarof dog, beardof man;ring at junction of shoulder and neck; lines on inner and outer edgesof lip; filletbetweenbodyandfoot.White:A, chitonof charioteer,segmentsof crest, dots on borderof warrior's chiton and on rim of shield, right-hand pole horse; B, woman'sflesh; dots on crest supportof warrior'shelmet, shielddevice;hair of father,dot clusterson his chiton. The EdinburghPainter[Beazley:notin ABVor Paralip.] Ca. 500 B.c.

P 24645 Q 12:3 216 PI. 25 Four non-joiningfragmentsof wall. Max. dim.a) 0.076, b) 0.088, c) 0.047, d) 0.04. Burnedon outside(gray). A, Athenaand Kerberos(illustrated).Fragmentb shows Athena(long hair, backof head,part of body)with a spear overher shoulderstridingto righton the left side of Kerberos (hindquartersand tail). Above,tongue pattern;at the left, partof handlepalmette.B, fight.Fragmenta preserves two warriors (upper part of each) to right, the first in a corsletand high-crestedhelmetcrouching,the secondin a low-crestedCorinthianhelmet,chitonand cloak,thrusting downwardswith his spear;the edgeof his shieldappearsat the right of his head.The red objectbehindhim is a falling fold of his cloak.Above,tongue pattern(ends of tongues). Fragmentc shows part of the shaft of a spear held horizontally,presumablyby the warrioron a, a lotus bud and some of a tendrilfromthe configurationbelow the handle. Fragmentd gives moretendrilsand a centraldot. The configurationwas probablysimilarto thaton 213. Red:(a) segmentsof helmetcrests,rimsof shields,dotclusterson corslet of 2; (b) fillet and crest of Athena,lappet on her garment, dotclusterson it;stripson maneof Kerberos.White:fleshof Athena;dots surroundinglappet. For the subject,cf. 102. Ca. 500 B.C. 217

P 3300

F 12:7

Shoulder fragment. Max. dim. 0.077. Handle attachmentaboveat right. Hermes(headwith petasos,shoulder,partof drapery)to right, lookingaround.Behindhim, under handle,a small beardedfigure,probablyseated.In the field, branches.On the shoulder,tonguepattern.Red: beard,stripeson cloak; fillet on figure under handle. White: chiton of Hermes; crownof petasos;chitonof figureunderhandle. Late 6th or early 5th century B.C.

P9267 M 17:4 218 PI. 25 Two non-joiningfragmentsof wall. Max. dim. a) 0.057, b) 0.05. Dionysos on a mule with satyr and maenad. Fragment a

preservesthe headandbodyof Dionysossittingon the mule

to right,holdinga drinkinghorn.Behindhim, the headof a crouchingsatyr, or perhapsa satyr-headedgoat, and between him and the god, a vine with fruit.Of the mule only its croup and a bit of its mane remain. Fragment b shows the

maenad'sheadandraisedleft arm,moreof the vine,someof the tongue pattern above the figures, and one inverted palmetteof the handle ornament.Red: (a) forelocksand beards, stripes on cloak; (b) maenad'sfillet. White: (a) Dionysos' chiton and dot clusters on drapery;drinking horn;(b) maenad'sflesh. Late 6th or early 5th centuryB.c. P 17060 L-M 17-18:1 219 P1.26 Shoulder fragment with figured decorationon white ground.Max. dim. 0.056. Satyr (frontalhead, shoulders)to right with lyre (sound box, one arm). Grapes and leaves in background.Above, someof tonguepattern.Red:forelock,beard. Late 6th or early 5th century B.C. 220

P 9264

R 25

Shoulder fragment with handle root at right. Max. dim. 0.06.

Maenad (head, hair tied up with a fillet, shoulders)to left. In the field, a branch.Above,tonguepattern.White: flesh; fillet.

Late 6th or early 5th centuryB.C. 221

P20393

A 18-19:1

Wall fragment from near shoulder. Max. dim. 0.042.

Glaze firedred. Youthfulcharioteer(head with long hair tied up with a fillet) to right overlapped by the shaft of a spear that is held

too high to be his. On the right,at the break,a small bit of glazethatmay be partof a figurestandingon the left sideof the team.The youthappearsat the left of the composition, for above his head is the end of the tongue patternon the shoulder. Late 6th or early 5th century B.C.

222

P 2788

G 6:3 (U)

Shoulder fragment. Max. dim. 0.055. E. Vanderpool,

Hesperia15, 1946, p. 314, no. 216, pl. 62. Man (most of head) to right. In the field, branches with fruit. Above, tongue pattern. White: fillet; fruit. Late 6th or early 5th century B.C. 223

P1. 26

P 15920

F 19:5

Three non-joining fragments. Max. dim. a) 0.13, b) 0.053, c) 0.047. From wall with start of one handle. Fragment a (illustrated), starting at the handle, shows a goddess mounting a chariot (the goddess, chariot, tails and hind legs of the team remain) accompanied by a draped woman on foot to left. On the left of the handle, Dionysos (back of head, left hand holding his drinking horn, left leg and foot) to right looking around. Below the figures, part of the frieze of up-and-down palmettes linked by volutes.

PANATHENAIC AMPHORAE Fragmentb comesfromthe otherside of the vase and shows the left arm and shoulderof a maenad,with a vine in the background.Fragmentc gives more of the palmettefrieze and the tips of the rays above the foot. Red: wreath and pupil of charioteer.White:flesh of women;right-handpole horse;dots on draperyof Dionysos,rim of his horn;spirals connecting palmettes. The ornamentbelow the figures is difficultto parallel. Encircledpalmettesto left occuron Munich 1587 (J.360), and invertedpalmetteswith links may be seen on London, B.M. B 294 (CVA, London4 [GB 5], pl. 71 [216]:3).The patternappearson the shoulderof a late 6th-centuryneckamphorafromGela that is blackbut for the lotus-palmette configurationon the neck and the rays above the foot (MonAnt 17, 1906, p. 467, fig. 332). The tendrilsof these threeexamplesare black,not white as 223. Late 6th or early 5th centuryB.C.

131

224 P4953 E-F 12-14 Two non-joining fragments from near the shoulder. Max. dim. a) 0.079, b) 0.044. Glaze wash on surface. Dionysosand Ariadne.Fragmenta givespartof the head and body of Dionysos to right holding a drinking horn. Aboveon the left, startof handleroot.Fragmentb showsthe upper part of Ariadneto right. In the field, branches.Red: Dionysos'chiton;dotson his cloak.White:Ariadne'sflesh. Early 5th century B.C.

225 P 14809 022:1 Wall fragment.Max. dim. 0.041. Hermes (face, shoulder,left hand holdingkerykeion)to right facinga woman (righthand holdinga staff or spear), probably Athena. Red: beard; stripe on cloak. White: Athena'sflesh. Late 6th or early 5th centuryB.C.

PANATHENAIC AMPHORAE 226-338 Pls. 26-34

PRIZE VASES 226-318

226 P1.26

P 10204 G-H 10-11

Wall fragment.Max. dim. 0.08. Thin wash on outside. Frel, PPA, p. 7, fig. 5. Athena (rim of shield)to left. On the left:

]'E roj-

tr.

in two lines, stoichedon,retrograde. Some signed strays (ABV 347). Frel (PPA, pp. 10-11) has shown that this fragment is by Hypereides, son of Androgenes,who signed the fragmentaryprize vase found in the Kerameikos,PA 443, which preservesthe potter's name, his patronymic,and most of the prize inscription. Addto this the fragmentfoundin 1885on the Akropolisand sold in 1892 with the van BranteghemCollection(Vases peints et terres cuites antiques, Paris 1892, p. 3, no. 2). Bothmer has rediscoveredthis fragment in the Villa Grecque"Kerylos",Beaulieu-sur-Mer.For 226 as a prize vase, cf. also, Brandt,ActaNorvegiae8, 1978, p. 3, no. 4. Ca. 560 B.C.

227

P 13249 H-J 8-10 Thirteennon-joiningfragments.Max. dim. a + b) 0.141, c) 0.048, d) 0.295, e) 0.078, f) 0.061, g) 0.171, h) 0.051, i) 0.082,j) 0.146, k) 0.105,1) 0.10, m) 0.056, n) 0.036. Fragmentsd-g and i-n are wall fragmentswithoutfigureddecoration. Fragmentg comes from the shoulderand preserves partof the ring at thejunctionwith the neck.Fragmentsd-f

preservethe cornersof panels. Fragmenti is part of one handleand h a small fragmentof the echinusfoot. Fragmenta + b preservessomeof the toesof Athena'sleft foot and part of her skirt,and fragmentc givesthe headsof two snakes of her aegis. Below the panel, two bands that continueround the vase. Red: Athena'sskirt; ring; bands below panel;line at edgeof foot. The amount of space in front of Athena on fragment a + b suggests that she was not placed between columns. The largesize of the vaseindicatesthat it was surelya prize vase,a conclusionreachedindependentlyby J. Brandt(Acta Norvegiae8, 1978, p. 4, no. 16). Ca. 560 B.C.

228 Pls. 26, 27

P 2071 H 8-10 P4340 E14:11 P 4340: fragmentof mouthand neckwith part of ring at junction of neck and shoulder.Max. dim. P 4340: 0.114; diam. 0.155. Est. diam. of body 0.48; est. H. of panel on B 0.212. Top of mouth glazed. P 2071 preserves10 nonjoining wall fragments. Max. dim. a) 0.183, b) 0.14, c) 0.075, d) 0.027, e) 0.109, f) 0.195, h) 0.011, i) 0.095, j) 0.047, k) 0.115. Some of the glaze is mottleda reddish brown. E. Vanderpool,Hesperia 15, 1946, pp. 120-122, pls. 13, 14:1 (P 2071 includingP 2071 g, which has been separatedfrom228: cf. 323). P 4340 gives the lotus-palmettecross on the neck (preservedbut for one palmetteand part of one lotus). Tongue pattern on shoulder at junction with neck. P 2071: A, Athenato left. Fragmenta showsthe lowerpartof her face,

132

CATALOGUE

her bodydown to the buttocks,part of her rightarm raised, holdingher spear (its point and part of the shaft appearon the left), and almost half of her shield (device:star). She wears a peplos and the aegis, the snake heads seen from above.Fragmentb givesthe lowerpartof her peplosand, at the top of the fragment,the lower borderof her ependytes. At the bottomof the fragment,part of each foot. P 2071: B, pentathlonof men. Fragmente shows the head, shoulders, chest,and armsof a javelinthrowerto right,and fragmenti, which comes from the lower left cornerof the panel, preserveshis right heel. Fragmentfgives partsof two athletes: most of a discusthrower,lookingaround(his hair appears betweenhis chestand the discus),and partof a jumperwith halteres.The small bit of glazejust to the left of the discus thrower'sbuttocksrepresentsthe thumb of his right hand (his right arm was bent sharply). Fragmenth comesfrom the lower part of the panel and shows the toes of the discus thrower'sfoot;the small bit of glaze to the left at the break may be the heel of this foot, or more likely, since the scale would be too large,partof the left foot of thejavelinthrower. Fragmentc preservessomeof the right edgeof the panel and shows two long thin objects:the ends of two javelins heldby an athleteor the wandsof a trainerto left. Fragment j, to judge by the mottledappearanceof the glaze, belongs near fragmentsf and c, and may representthe forearmof this traineror athlete.The smallbit of glaze in the lowerleft at the break is the continuationof the javelins or wand. Fragmentd (not illustrated),the smallestof all, preservesa little bit of glaze at the upper right, perhapssome of the shaftof thejavelinon the left. Fragmentk (notillustrated)is undecoratedand comesfromthe lowerpartof the paneland wall on Side A. Red: Athena'sependytes;petals on shield device;hair and beardsof athletes;line framingpanel on B; alternatetongues;cuffs of lotuses;heartsof palmettes;ring at junctionof neck and shoulder;lines on inside of mouth, one on top at outer edge. White: Athena'sflesh;points on device;alternatedotson rim of shield. Bothmer saw that P 4340 was from the same vase as P 2071. As suggestedby Beazley(Development,p. 90), this is surelya prizevaseas indicatedby its largesize and by the subjecton the reverse,which is known only on other prize Panathenaics,e.g., the two by the EuphiletosPainter:London, B.M. B 134 (ABV 322, 1; Paralip. 142, 1; Athleticsin Ancient Greece, I. Douskou, ed., Athens 1976, p. 215, fig. 119) and Leyden PC 8 (ABV 322, 2; Paralip. 142, 2; CVA, Leiden 1 [Netherlands3], pls. 44, 45 [138, 139]), which show the samethreeeventsas 228. 228 belongswith the other very early Panathenaics:London, B.M. B 130 (ABV 89, 1; Paralip.33, 1); Halle, inv. no. 560 (ABV 120, -, 1); New York,M.M.A. 1978.11.13signedby the potter Nikias (NotableAquisitions,1975-1979, p. 14). On eachof these,the figureof Athenais rathershortand sturdylooking with bothfeet flat on the ground,and thereare no columns. For the type of overfoldon Athena'speplos,unusualat this time, cf. London, B.M. B 130, Halle, inv. no. 560 and Akropolis917 (Graef,pl. 60). 228 is the earliestexampleon a Panathenaicamphoraof Athena wearing an ependytes

overher peplos.For the lotus-palmettecrosson the neckof a Panathenaic,cf. Halle, inv. no. 560 and New York, M.M.A. 1978.11.13.Of the two, the ornamenton the New Yorkvase is closerto that on 228 than to the other,for each palmettehas a largeheartand the lotusesretainthe central sepal. Other detailsconnect228 with Lydos.Comparethe faceof thejavelinthrowerandthe stipplingof the pubichair andtesticleof the discusthrowerwith the figureof Tityoson Akropolis631 c (ABV 108, 6; Paralip. 44, 6; Tiverios, pl. 77:./). But the drawingon 228 seems to be by another. For the pentathlon,cf. N. Gardiner,Athleticsof theAncient World, Oxford 1955, pp. 177-180; Douskou, op. cit., p. 214. Ca. 560-550

B.C.

P 20112 D17:9 229 Wall fragment.Max. dim. 0.057. Athena(foot,lowerborderof drapery)to left. White:foot; border. Ca. 550

B.C.

P 13338 H 10 230 Wall fragment.Max. dim. 0.091. Wrestleror runner (calf, part of foot) to left. Red: two bandsbelowpanel that continuedroundthe vase. Ca. 550 B.C.

P9529 N18:5 231 PI. 27 Threenon-joiningfragmentsof wall. Max. dim.a) 0.124, b) 0.09, c) 0.078. Fragmenta with someof the ring at junction of neck and shoulder. E. Vanderpool,Hesperia 15, 1946, pp. 122-123, no. 2, pl. 14:2,3. A, Athenato left. Fragmentc gives part of her left foot and the borderof her garment.B, runners.Fragmenta (illustrated)comesfromthe upperleft cornerof the paneland showsthe headandthe fingersof the left handof a runnerto right. Fragmentb preservesparts of two runners:some of the torso and thigh of one; the right hand and part of the torso of the second.Red: hair and beard of runner;ring; verticalline framingpanel;bandbelowpanelthatcontinued roundthe vase.White:fleshof Athena. Athena'sfootwas flat on the ground.For others,cf. 228. The Painterof LouvreF 51 (ABV 314, 5). Ca. 550 B.C.

P 13847 U 25:2 (L) 232 P1.27 Wall fragment,burned(gray).Max. dim. 0.046. Athena(partof aegis with two snakes;cornerof overfold of peplos)to left. Red:dotson scalesof aegis. Ca. 550-540 B.C. 233

Wall fragment.Max. dim. 0.052. Athena(lowerpartof skirt?). Third quarterof the 6th centuryB.C.

P 27080 N 10:1

PANATHENAIC AMPHORAE P 24781 Q17 234 PI. 27 Wall fragment.Max. dim. 0.071. J. Brandt,ActaNorvegiae 8, 1978, pi. 12:a. Athena (skirt of peplos;snake of aegis; rim of shield) to left. Red:rim. White:dotson borderof overfold. Third quarterof the 6th centuryB.C. P 13846 U 25:2 (L) 235 PI. 27 0.035. dim. Max. Wall fragment. Athena(snakesof aegis) to left. Red:tongueof snake. Ca. 530 B.C. P3083 I16 236 Wall fragmentfrom upper cornerof panel. Max. dim. 0.066. Cock (part of neck, wattles and comb, tail) to right. Above,tonguepattern.Red:comb,wattles,sicklefeather. Ca. 530-520

B.C.

P 19999 D 17 237 PI. 27 Wall fragment.Max. dim. 0.046. J. Brandt,ActaNorvegiae 8, 1978, pl. 12:c. Part of rim of Athena's shield and on the left, some of the column shaft. Between the two, the start of the prize inscription:

ror

P3858 G11:5 240 Wall fragment.Max. dim. 0.05. J. Brandt,Acta Norvegiae 8, 1978, pl. 12:b. Athena (most of face and neck;cornerof cheekpieceof helmet;borderof garment;someof shield;shaftof spear)to left. Red:dots on shield rim. White:Athena'sflesh;dot rosettes on rim of shield;device (handleof tripod or tail of feline?). Ca. 510

B.C.

241 Wall fragment.Max. dim. 0.104. Athena(drapery)to left.

P 27081 N 10:1

Late 6th century B.C.

P 27074 No grid 242 Wall fragment.Max. dim. 0.085. Wrestlers(buttocks,someof backof one leaningto right). On the left, part of anotherfigure,probablya spectatoror trainer. The compositionmay havebeen similarto the one on the reverseof the namepieceof the Painter of Boulogne441 (ABV 290, -,

1), which shows wrestlers between a trainer,

rightand left. Late 6th century B.C.

P20111 D17:9 243 Max. dim. red on inside. with thin Wall fragment glaze

Red:rim of shield. Ca. 530-510

133

B.C.

0.072.

P 19585 A 18-19:1

238 PI. 28 Wall fragment.Max. dim. 0.054. Part of prize inscription: ]h-

Secondhalf of the 6th centuryB.C.

Athena (lower part of skirt, with crenellatedborder). White:border;dotson garment. Late 6th century B.C.

P774 F 17 244 Wall fragment with dull glaze on inside. Max. dim. 0.051. On the left, a small bit of the columnshaft.On the right, part of the prize inscription:

P 20236 No grid 239 P1.28 Two non-joiningwall fragments.Max. dim. a) 0.071, b) 0.064. ]A< Fragmenta preservessomeof Athenato left:partof neck, The fragmentcomesfromabovethe maximumdiameter one long lock of hair, part of the aegis and the rim of her shield. Fragmentb gives more of the shield:device,an owl of the vase.Therefore,the partof the inscriptionthat is pre(head and neck missing) perchedon a tendril. Red: rim of servedcomesnearthe beginning. Late 6th century B.C. shield;necklineof chiton.White:flesh;shielddevice;dotson of edge aegis. P 18349 C 19 The owl shield deviceappearson two prize-Panathenaic 245 brown wash on inside.Max. with Painter: Wall streaky fragment amphoraeattributedby Bothmerto the Michigan dim. 0.067. once Havana, Lagunillas (Revista del Instituto Nacional de Part of prize inscription: Cultura 1, 1956, p. 12; AAA 2, 1969, p. 384, fig. 5) and Munich 1454 (J. Brandt,ActaNorvegiae8, 1978, pl. 8:a); ]ENEO[ also Vatican374, where Side B is by the MichiganPainter, Late 6th or early 5th centuryB.C. but Side A is by another (ABV 344; Paralip. 156, 7 bis). 239 is closest in its details to the Lagunillasvase. Perhapsthe P 13766 V 24:2 (L) unattributedfragmentAkropolis927 (Graef,pl. 57), which 246 P1.28 Wall fragmentfromlowerleft cornerof panel.Max. dim. also has the owl as shielddevice,belongshere. 0.234. Dull glaze. Someof it misfiredbelow panel. Ca. 510 B.C.

134

CATALOGUE

Chariot(wheel,mostof box, partof rail with the loop for the traceline;the endsof two tails) to right. Red:line below panelthat continuedroundthe vase. Late 6th or early 5th centuryB.C. 247 P 7218 I 6 Wall fragment.Max. dim. 0.058. Thin glaze and wash on inside. Athena (lower part of face, neck and shoulder,rim of shield;shaftof spear)to left. White:flesh. Ca. 500-480 B.C.

248 PI. 28

P 26073 J-L 15-19 Wall fragment.Max. dim. 0.075. Cock (all but breastand legs) to right mountedon a column capital.On the left, edge of panel;above,tonguepattern. Red:comb,wattle,tail feathers. First quarterof the 5th centuryB.C. P 4578 G 13 249 PI. 28 Wall fragmentfromupperrightpartof panel. Max. dim. 0.055. Cock (part of body, legs, tail) to left on a Doric column (capital).On the right,edge of panel. Red:dotson feathers, sicklefeather. For the wavy line incisedon the abacusbeneaththe cock's feet, cf. New York, M.M.A. 56.171.3 by the Eucharides Painter(ABV 395, 3; Paralip. 173, 3) and Munich,inv. no. 8746, which may be by him or near him (ABV 397); also three by the Berlin Painter:252 (PI. 28); Hanover,N.H., DartmouthCollege(Paralip.177, 2 ter);Vatican375 (ABV 408, 3). The drawingon 249 seems hastier than on these and is probablyby anotherhand. First quarterof the 5th centuryB.C. P 19482 D 17 250 P1.28 Wall fragment,burned(gray).Max. dim. 0.072. Athena(neck,one long lockof hair, some of chiton,aegis and shield) to left. The aegis is worn diagonally.Red:dots on rim of shield.White:flesh;dotson edgeof aegis. Comparewith the manner of the KleophradesPainter (Paralip. 176, -). Ca. 500-480 B.C.

P4815 F 12 251 PI. 28 Wall fragment.Max. dim. 0.093. Burned (some of the clay is gray). On the left, the glaze misfiredreddishbrown. A. Ashmead,Hesperia35, 1966, p. 34, no. 7, pl. 8. The fragmentpreservesa portionof Athena'sshield and its device (Pegasos:end of wing, hindquarters,tail). Red: circleson rim. White:Pegasos. Goes with other Panathenaicamphoraewhich belongto the samegroupas thoseby the KleophradesPainterandone verycloseto him (ABV 406, 6); may be by the painterhimself (Paralip. 176, 6). Ca. 500-480 B.C.

252 PI. 28 P 18628 D 17:7 Wall fragment.Max. dim. 0.21. Athena(upperparts)to left, shieldheldout, spearpoised. On the right and left, Doric column (upper part of shaft, neckingrings, and capitalof one on right;part of abacusof other)surmountedby a cock(breastof each;one leg andfeet of one on right). Red: dots on chitonand on rim of shield. White: Athena'sflesh; dot clusterson her chiton;dots on borderof aegis. The BerlinPainter(ABV 408, 9). Ca. 480 B.C.

253

P 4303 C-G 13-16

Wall fragment.Max. dim. 0.111. Some of the glaze is abraded. Footrace(waist,buttocks,thighsof one runner;left thigh and genitalsof another)to left. Probablysecondquarterof the 5th centuryB.C. 254 P1.29 P 25601 A-D 14-17 Wall fragmentwith dull blackglazeon inside.Max. dim. 0.117. Athena (head, part of helmet with ends of crest, shoulders,someof raisedrightarm,aegiswith snake)to left, with spear (shaft).In the upperleft at the break,lines indicating the tonguepattern.Red:leaveson helmet;dotson borderof aegis; dots on sleeve. White: flesh; dots edging borderof aegis;dot clusterson chiton. Perhaps by the Achilles Painter. Compare especially Naples RC 184 (ABV 409, 3); also Bologna 11 and 12 (ABV 409, 1 and 2) for details of the helmet,particularly the end of the cresthangingdown in front,a raredetail. Third quarterof the 5th centuryB.C. 255 P1.29 P47 H 5-6 Wall fragment,thinly glazed on the inside. Max. dim. 0.065. Runners(arm of one, slightly raisedand bent at the elbow; outstretchedright hand of another;parts of torsosof each)to right. The AchillesPainter[Bothmer]. Ca. 450 B.C.

256 PI. 29

P 10007 B 13:5

Most of bodypreserved.P.H. 0.50; diam.0.042. Mouth, neck, shoulder,handles,and foot missing,restoredin plaster. E. Vanderpool, Hesperia 15, 1946, pp. 123-124, pls. 15, 16:1 and 3; Meddelelser fra Ny Carlsberg Glyp-

tothek37, 1981, p. 44, fig. 15. A, Athena (some of aegis, most of skirt, feet) stridingto left holdingout her shield(device:Nike flyingto left holding a wreath).On the left and right,a columnsurmountedby a cock(capitaland cockof one on left;someof shaft and cock of one on right). Next to the capital,the first letter of the prizeinscription: p

135

PANATHENAIC AMPHORAE B, chariot(hands,some of face and bodyof charioteer;part of chariotwheel and rail; some of the tails and backsof the horses;part of the yoke, end of the chariotpole, reins, and pole stay) to right.Above,someof the tonguepattern.At the verybottom,rays. Red:hair of Nike, her wreath;combsand wattles;dotson rim of shield;bordersof Athena'sgarments; charioteer'sbelt and shoulder,outline of his chiton.White: Athena'sflesh (that of left foot applieddirectlyon the clay with only a glaze outline); Nike; charioteer'schiton (outlined in red beforeapplied). The RobinsonGroup (ABV 410, 1). Secondhalf of the 5th centuryB.C. P454 F-G 16 257 PI. 29 Wall fragment.Max. dim. 0.06. Thinly glazedon inside at loweredge. Capital of Doric column surmountedby a cock (all but head)to right. Red:stripon wing bow; sicklefeather. Perhaps by a painter of the Robinson Group. Cf. especiallytwo in Baltimore(ABV 410, 2 and 3). Secondhalf of the 5th centuryB.C. 258 P1.30

P2989

R 13

Wall fragment.Max. dim. 0.055. Athena(face and neck)to left with spearand shield(part of each). The silhouettewas not applied in full to the area outlined, but the added white no doubt went to the glaze outlinesketch.White:face;dotson borderof chiton. Secondhalf of the 5th centuryB.C. 259 PI. 30

P20110 D17:9 Max. dim. 0.102. with Neck Fragment. ring at junction with shoulderand a bit of the shoulder.At the verytop, start of mouth. On the far right, part of handle root. Reddish wash on ground. On neck, lotus-palmettechain without incision. Below, partof tonguepattern. The KubanGroup. Comparethe ornamenton the necks of Leningrad,inv. no. 17553 (ABV 411, 2); London,B.M. B 606 (ABV 411, 3), and London,B.M. B 605 (ABV411, 4). Late 5th century B.C.

260 P 5224 a N10:1 Wall fragment.Max. dim. 0.094. Athena(someof shield)to left. The shielddeviceis probably a thunderboltor a bull's head caboshed.On the left, someof the columnand the legs of the cocksurmountingit. Betweenthe two, the firstletterof the prize inscription:

Tf White:dotson rim of shield;device. The KubanGroup. Late 5th century B.C.

261 P1.30 P 19481 C 17 Wall fragmentglazedon inside. Max. dim. 0.052.

Athena(headwith cheekpiecesof helmetturnedup; part of crestsupport)to left. Above,tonguepattern.White:flesh; cheekpieces. For detailsof Athena'shelmet,cf. London,B.M. 1903.217.1 by a painterof the KubanGroup(ABV 411, 1); also a fragment from the Pnyx, P 492 (Hesperia, Suppl. X, Princeton1956, p. 13, no. 6, pl. 1) attributedby Talcottand Philippakito the KubanGroup. Late 5th century B.C.

P 27371 I 13 262 Shoulderfragment.Max. dim.0.13. Dull brownishwash on inside. Sprinter(head, shoulders,raised right arm) to left. On the left and right,tracesof white. Late 5th century B.C.

P 24750 P 16 263 Wall fragmentglazedon inside.Max. dim. 0.125. Runner(boththighs,calfof left leg) to right.On the right, goal post or turningpost for the diaulos.White:post. 5th century B.C.

264 P1.30 P 19215 D 19:1 Wall fragment.Max. dim. 0.09. Wrestlersor boxers(kneeandshankof one to right;torso, upperpartof rightarm,thighsof fallingopponent). The compositionmay have been somethinglike Leningrad,inv. no. 17553by a painterof the KubanGroup(ABV 411,2), only reversed.Here, oneboxerhas fallenbackwards and raises one arm but not so high as on 264, and his attackeris closerto him than on 264. 5th century B.C.?

265

P66 H6 Wall fragment.Max. dim. 0.068. On the left, partof the sideof the panelandthe line framing it, then some of the shaft of the column.On the right, partof the prize inscription:

]NAOH, Late 5th or early4th centuryB.C. 266 PI. 30 P 19079 C-F 15-19 Wall fragment.Max. dim. 0.081. Athena (hand gripping shaft of spear) to left. On the right,mostof a cockto left (on top of column,now missing). Red:wattles;markingson cock.White:hand. Late 5th or early4th centuryB.C. 267 P 20379 N-Q 12-14 Two non-joiningwall fragments. Max. dim. a) 0.11, b) 0.127. Some of the glaze is abraded,especiallyon fragmenta. Boxers.Fragmentb showsone boxer(head,chest,raised right hand, upper part of outstretchedleft arm) to right.

CATALOGUE

136

Above, line framing panel. Fragmenta preservesanother boxer (side of neck, left shoulder,left arm with thongs)to left. On the right,edgeof panel with framingline. Late 5th or early4th centuryB.C. P 4304 C-G 12-16

268

Wall fragment.Max. dim. 0.06. Athlete(torso;right arm) to right. For a small figure in the panel, cf. Bologrla 11 by the AchillesPainter(ABV 409, 1). 268 seemslaterthan this. Late 5th or early 4th centuryB.C. P2 7794 G 16 269 Wall fragment.Max. dim. 0.091. Reddishwash on inside. G. Lalonde,Hesperia37, 1968, p. 129, pl 37:a. derandanda) Boxeror wrestler(head,someof right shoulh arm) to left. Late 5th or early 4th centuryB.C. P 127 H 6 270 Wall fragment.Max. dim. 0.069. Horses (foreparts),probablypart of a chariot team gallopingto right. Late 5th or early 4th centuryB.C. P 27556 H 15 271 PI. 30 More than 60 non-joiningfragmentsof wall. Mouth, handles,and foot missing. Twenty-six fragmentspreserve part of the figureddecorationfrom both sides of the vase. Max. dim. a) 0.256, b) 0.187, c) 0.127, d) 0.044, e) 0.026, f) 0.057, g) 0.057, h) 0.026, i) 0.03, j) 0.038, k) 0.04, 1) 0.032, m) 0.036, n) 0.047, o) 0.045, p) 0.025, q) 0.049, r) 0.029, s) 0.028, t) 0.025, u) 0.305, v) 0.049, w) 0.081, x) 0.057, y) 0.021, z) 0.032. A, Athena,to left. Fragmentsa-t give partof the obverse: i shows the lower part of Athena'sface and someof the rim of her shield;e and t give moreof its rim anda bit of drapery; d,f-h,j, andI are alsodraperyfragments;k showsthe raised forearmof the goddess;a (illustrated)preservessomeof the lowerpart of her garmentand partof each footand also the lowerpartof the columnshafton the right;b givesthe lower part of the columnon the left, c is some of the statue surmountingit, and m may representpart of a branchheld out by the figureon the columnon the right;n is part of a column shaft. Fragmentr gives the initial letter of the prize inscription:

Tr Fragmentso-q (illustrated)preservesome of the archon's name, which was written to the left of the columnon the f E[ right: rl B, boy runners.Fragmentu (illustrated)preservespartsof the legs of threerunnersto left;x givesthe headand someof the rightarmof one;w is one armof another;v, y, andz are

hands.The small bit of glaze at the bottomof v is probably the heel of this runner.White:Athena'sflesh;decorationon her garment. 380/79 B.C.

P 14626 E 2:3

272

Five non-joiningwall fragments.Max. dim. a) 0.045, b) 0.062, c) 0.04, d) 0.095, e) 0.053. Nine other unlettered fragmentsbelong but do not preserveany of the figured decoration.Mended in antiquity (holes for lead on fragmenta). A, Athena. Fragment a preserves the lower part of Athenastridingto left and mostof the columnon the right. On the far rightof the fragment,someof the reversepanel, with part of a figure(drapery?)to right. Fragmentsb and c show more of Athena's drapery. B, trainer and athlete. Fragmentd preservespartof a drapedfigurewith a staffto right, probablythe same figure as the one on fragmenta. Fragmente gives someof the torsoand arm of an athleteto left. White:dotsand fringeon Athena'schiton. Secondquarterof the 4th centuryB.C. P113 H7 273 P1.30 Wall fragment.Max. dim. 0.046. Column (part of shaft). On the left, part of the archon inscription: probably0PA]UIK[AEIAH?APXfNN:371/0 B.C. For another Panathenaicamphora inscribedwith the name of this archon,cf. Alexandria18239 (Beazley,AJA 47, 1943, p. 455). Other possibilitiesare KTH]IK[AHE.: 334/3 B.C.or AN]TIK[AHZ 325/4 B.C.but neither seems to

occuron a preservedPanathenaic. 371/0 B.C.

P3782

274 Pl. 31

F 1:2

Wall fragment.Max. dim. 0.048. Part of shaft of left column. On the right, some of the prize inscription: I,tNw

[

On the left, partof anotherinscription:

] Since the prize inscriptionappearsbetweenAthenaand the shaftof the column,the columnon this fragmentmustbe the one on the left. The secondinscriptionis verylikely part of a pottingsignature,probablythe last letterof Bakchiosor Kittos,the onlytwo namesof pottersof Panathenaicsknown in the 4th centuryB.C.To judge from the positionof this fragmentin the wall of the vase and the amountof space estimatedbetweenit and the beginningof the columncapital beneathwhichthe inscriptionsbegan,the nameof either potterwouldfit in this space.For thesetwo names,cf. ABV 413 and Beazley, AJA 47, 1943, pp. 455-457. On vases, their names are known for certainon three Panathenaics.

137

PANATHENAIC AMPHORAE On each of these, the potting signatureappears alongside one of the columns.On London, B.M. B 604 (ABV 413), the signature of Kittos beside the column on the right balancesthe prize inscriptionnext to the one on the left. This vase is unusualfor not bearingthe nameof the archon and may have been a competitionsample (Development, p. 97). One by Bakchios,KerameikosPA 157 (ABV413, 1; Frel, PPA, p. 20, fig. 19) preservesonly the potter'ssignature along the right side of the columnon the left. No inscriptionappearsalong the left side of this column,but very likely there was one next to the columnon the right, probably the archon'sname,sinceAthenafacesto left. The fragment in Istanbul signed by Bakchios(ABV 413, 2) gives someof the nameof the potteron the left side of one column and on the right of the same column,part of the name of Hippodamoswho was archonin 375/4 B.c.The presenceof an inscriptionon each side of one columnon this fragment may favorrestoringthe name on 274 as Bakchios.274 with the name of the potter on one side of the column and the prize inscriptionon the othersideof the samecolumnseems to be unparalleled.Presumablyon this vase, the archon's name appearednext to the columnon the right. Secondquarterof the 4th centuryB.C. P27079 N 10:1 275 Wall fragment.Max. dim. 0.05. Athena(foldsof drapery)to left. White:borderof folds. It is difficultto be certainwhetherAthenamovesto right or to left, but since the best comparisonfor this fragmentis Athena on a Panathenaicof the Kittos Group, London, B.M. B 603 (ABV 414, 4) where she movesto left, we have optedfor this direction. Secondquarterof the 4th centuryB.c. P 19531 S 19:3 276 Fifteennon-joiningwall fragmentsfromboth sidesof the vase. Max. dim. a) 0.20, b) 0.102, c) 0.075, d) 0.042, e) 0.064, f) 0.092, g) 0.045, h) 0.045, i) 0.081, j) 0.068, k) 0.069,1) 0.048, m) 0.042, n) 0.109, o) 0.069. Glaze is very worn on the obverse.D. B. Thompson,Hesperia23, 1954, pl. 24 (fragmenta). A, Athenato right.Fragmentb preservessomeof the back of Athena'sdrapery,and fragmentc the end of a swallowtail fold. Fragmenta shows partsof bothpanelswith partof the shaft of the columnon the right and some of the prize inscription,kionedon: +

NAoq[

lAQAOM

Fragmente gives the lower part of the shaft of this column. B, chariotto left. On the far right of fragmenta is the head of one of the trace horses. Fragmentf gives more of the horses,the neckof one (probablythe one on fragmenta) and some of the heads of the pole horses;fragmenti shows part of the left-handpole horse,as well as some of the yoke and the reins. Fragmentk shows the outstretchedright arm of the charioteerholding the reins (flaked).The small bit of

glaze at the bottomof this fragmentmay be the top of the breastworkof the chariotwith the hand of the charioteer grippingit andsomeof the pole stay (flaked).The restof the fragmentsmaycomefromeithersideof the vase.FragmentI is a draperyfragment;fragmenth mayshowpartof a horse. The othersare undecorated.White (mostlyapplieddirectly on the ground):reins;yoke;pole stay. Ca. 350 B.c. P3798 F 14:1 277 PI. 31 Wall fragment.Max. dim. 0.257. Thin brownwash on inside. Hoplitodromos.Most of one runner (part of head and right arm, most of shield missing),the body, part of right armand left leg, mostof shield(device:star)of another,both to left. White:dotson rims of shields;dotson crestsupport of firstrunner;crestof second;shielddevice. Probablythe KittosGroup.Forthe shielddevice,cf. especially London, B.M. B 603 (ABV 414, 4); also, London, B.M. B 604 (ABV413, 1) and London,B.M. B 612 (ABV 414, 5). For the runners,cf. thoseon BrusselsA 1703 (ABV 413, 2) and New York,M.M.A. 56.171.6 (ABV413, 3; Paralip. 177, 3). Secondquarterof the 4th centuryB.c. 278 P1.31

P 18635 C-F 15-19

Wall fragment.Max. dim. 0.04. Part of column.On the left:

J(][ XAPIKAEIAH]IEH[PXEN: 363/2 B.c. eEO,DPA?TO]IH[PXEN:340/39 B.c.? For Panathenaicamphoraewith the names of these archons,cf. Beazley,AJA47, 1943, p. 457 and p. 458, nos. 2, 3. Sincethis inscriptionis fromleft to rightinsteadof kionedon, it is perhapspreferableto opt for the higherdate. For Charikleides,cf. also the three from Eleusis (P. Themelis, AAA2,1969, pp. 409-416 and ?r7XA?1, pp. 265-271). 363/2 B.c. 279 P1.31

P 9457 U 22:5

Wall fragment.Max. dim. 0.065. Part of columnshaft. On the left of it, some of the prize inscription:

]fEOENAOGA(. The positionof the prize inscriptionon the right side of the compositionsuggeststhat Athenafacedto right, and if so, then the fragmentshoulddateno earlierthanthe middle of the 4th centuryB.C.If this is correct,then the inscription shouldbe writtenkionedon.A prize inscriptionwrittenon the rightis difficultto parallelin the 4th century.For a 6thcenturyexample,cf. the one by Exekiason Karlsruhe65.45 (Paralip.61, 8 bis). First half of the 4th centuryB.c.

138

CATALOGUE

P 19848 D 17 280 Wall fragment.Max. dim. 0.047. Top of shaftof Doric columnwith capitalsurmountedby a figure(lowerdrapery,foot).On the right,partof the prize inscription: First halfof the 4th centuryB.

First half of the 4th century B.C.

286 P1.31 P31 H7 Six non-joining wall fragments. Max. dim. a) 0.09, b) 0.142, c) 0.047, d) 0.136, e) 0.08, f) 0.055. On part of fragmentb, the glaze has firedred. A (illustrated),Athenato left. Fragmenta givesone thigh and drapery.Fragmentb preservesthe end of a fold seenon the right of a, someof the shaft of the columnon the right, and betweenthe two, kionedon: ]L^
P 2045 I-K 6-8

281

Wall fragment with thin glaze on inside. Max. dim. 0.044. On the left, partof the columnshaft.On the right,partof the prize inscription:

]NA[ First half of the 4th century B.C.

P 22989 I 12 282 Wall fragment with thin wash on inside. Max. dim. 0.081. On the far left, tracesof the shaft of a columnon the left side of the panel. On the right,part of the prize inscription:

JNA/f On the far right,edge of Athena'sshield. The fragmentcomesfrom abovethe maximumdiameter of the vase. This and the presenceof the shieldon the right indicate that the letters are near the beginning of the inscription. First half of the 4th centuryB.C. P 19465 A 19:1 283 Four non-joiningwall fragments.Max. dim a) 0.037, b) 0.042, c) 0.05, d) 0.06. Glazedon the inside. Fragmenta givespartof the shaftof a columnandthe last threelettersof the prize inscription:

]AfN Fragmentb preservespartof an athlete(foot),a jumperor a runnerto right. Fragmentsc and d are undecorated,but d givesthe line at the bottomof the panel. First half of the 4th century B.C.

P 61 19 284 Wall fragment.Max. dim. 0.06. Chariot(part of headsof two horses;some of the neckof another)to right.White:markingon muzzleof horseat left.

360/59

B.C.

4th century B.C.

P 27083 N 10:1

287 P1.31

Wall fragment.Max. dim. 0.073. Athena(raisedrightarmandsleeve)to right?On the left, someof the cornucopiaof Eireneand Ploutos.White:cornucopia;flesh. For Eireneand Ploutosas columnfigureson a Panathenaic,cf. a fragmentfromEleusis(Frel, PPA, p. 18, fig. 16). 360/59 B.C.

P 27082 N 10:1

288

Wall fragment.Max. dim. 0.066. Athena(raisedrightarmand elbow)to right.On the left, part of a cornucopia,presumablyheld by Ploutos.White: cornucopia;flesh. For the type,cf. 287 (PI. 31). 360/59 B.C.

P 1847 J13 Wall fragment.Max. dim. 0.083. On the right,someof Athena'sdrapery.On the left, part of the archon'sname,kionedon:

289

First half of the 4th century B.C.

P3120 F15 285 Wall fragment.Max. dim. 0.039. Some of column shaft. On the right, part of the prize inscription: ] e[

A t(

KAAA]IMHAHZAP[XfIN.On the far right, the edge of the panel.Fragmentc showspartof the shaftof the column. B, athleteand trainer.Fragmentd preservesthe feet of one athlete,the rightone frontally,the left one in profile,andon the right, the right foot and lower draperyof the trainer. Fragmente showsmoreof the legs of the athlete(calfof one on right;lower thigh, knee, and calf of one on left). Fragmentf givesthe lowerrightcornerof the panel.White:edge of flyingfoldof Athena'scloak. The NikomachosSeries.The Athenaof this vaseseemsto be the only certainexamplein the NikomachosSerieswhere she still facesto left insteadof to right.Cf. Beazley,AJA47, 1943, p. 457. For the archon'sname,cf. in additionto Beazley, A. Smets,L'antiquite classique5, 1936, p. 98, no. 109. Cf. also the five foundat Eretria(Themelis,op. cit., under 278, pp. 409-416 and Ir77TA/, pp. 265-271).

OEH4

]A [

OEMI[ITOKAHE]A[PXfnN.For the archon'sname,cf. Beazley,AJA47, 1943, p. 457. 347/6 B.C.

P 22916 H-K 12-14 290 P1.31 Two non-joiningwall fragments.Max. dim. a) 0.078, b) 0.062.

139

PANATHENAIC AMPHORAE Athenato right. Fragmenta gives the crownand crestof her helmet,a bit of her face, and some of the tonguesabove the panel. Fragmentb preservespart of the shaft of a column with threelettersof the archon'snameon the left of it, kionedon: ]OA-tt

with a hangingfoldbehind.Fragmentb preservesthe endof her cloak(swallowtailfolds)hangingdownin front.White: lowerbordersof cloak. Probably the Nikomachos Series. Compare especially London,B.M. B 611 (ABV 415, 7) and Louvre MN 704 (ABV 415, 12). Ca. 330-320

API1T]OAH[MOL: 352/1 O]OAH[AO:: 336/5

B.C.

B.C.

or more probably fY-

White: flesh.

What remains of Athena's helmet seems quite close to that on London,B.M. B 607 of the NikomachosSeriesthat has the name of the archonPythodeloswrittenkionedonon the left (ABV 415, 4; Paralip. 178, 4). 336/5 B.C.

291 P 27078 N 10:1 Wall fragment.Max. dim. 0.04. Athena(foldsof draperyat centralpartof skirt)probably to right.White:borderof folds. The deeplystackedfolds edgedwith white are best compared with those of the Athenasof the NikomachosSeries. Cf. London,B.M. B 607 (ABV 415, 4; Paralip. 178, 4) in particular. Third quarterof the 4th centuryB.C. 292 P 20381 N-Q 12-14 Wall fragment.Max. dim. 0.101. Clay groundis darkish red.

293 P1.32 P22985 H-K 12-14 Wall fragment.Max. dim. 0.085. Athena (someof beltedchiton;rim of shield held out) to right. White: decorationon lower part of skirt; snakes of aegis;two lines at belt. Probably the Nikomachos Series. The details on 293 comparebest with these four: Louvre MNB 3223 (ABV 415, 9); Cab. Med. (ABV415, 11); LouvreMN 704 (ABV 415, 12); LouvreMN 705 (ABV 416, 13). Ca. 330-320

296 P. 32 P2106 J 12:3 Wall fragment.Max. dim. 0.073. Part of columnshaft. On the right, part of the archon's name,kionedon: Z' HMOI AHMOK[AEIAHM:316/5 B.C.For the archon'sname,cf. Beazley,AJA47,1943, p. 465; A. Smets(op. cit., under286, p. 98, no. 110) suggestsThoudemos(353/2 B.C.) or Aristodemos(352/1 B.c.), but this will not fit with what remainsof the fifthletter,which cannotbe a l. 316/5 B.C.

297

P21692 P8 Wall fragment.Max. dim. 0.095. On the far right,partof the shaftof a column,and on the left, kionedon: After 350

Nike (some of beltedchiton;left arm, wing) frontal.Dilute glaze for braceletand ring. White:flesh. The estimatedheight of this Nike is about 0.20-0.22. Thus, she is too large to be a columnfigureon the obverse and mustbelongto the reverse.For a Nike on the reverse,cf. London, B.M. B 607, which belongs to the Nikomachos Series(ABV415, 4; Paralip. 178, 4). Third quarterof the 4th centuryB.C.

B.C.

294

P5224d

N10:1

Wall fragment.Max. dim. 0.07. Athena(end of draperyfold). White:border. The Hobble Group. Ca. 340-330 B.C.

295 P 20378 N-Q 12-14 Two non-joiningwall fragments. Max. dim. a) 0.09, b) 0.09. Fragmenta gives the lower part of Athena's drapery,

B.C.

B.C.

298 P3631 F 10:1 Four non-joiningfragmentsof wall. Max. dim. a) 0.112, b) 0.076, c) 0.084, d) 0.081. Fragmenta comesfromthe left sideof the panelon SideA and showssomeof the framingline, andon the right,the top of an Ionic column surmountedby a small drapedfigure (lower part of garment).In the field, part of the archon's inscription,kionedon:

APXO[ Fragmentb shows some of the hanging folds of Athena's cloakand partof the rim of her shield.Fragmentc givesthe lower right part of the panel on Side B with tracesof a figure, perhapsthe leg of an athlete.Fragmentd preservesthe upperrightcornerof one panel. Ca. 340-330

B.C.

299

P5224b, c,e N 10:1 Three non-joiningwall fragments.Max. dim. b) 0.078, c) 0.078, e) 0.045. Fragmentb preservespart of the shaft of the columnon the left and threelettersof the prize inscription,kionedon:

]EOE[ Fragmentc givessomeof Athena'sdraperyfolds,andon the right, an area of glaze with incisionthat is unintelligible. Fragment e preservesmore of Athena's drapery.White: borderof drapery. Third quarterof the 4th centuryB.C.

CATALOGUE

140 P4930

300

N 10:1

Wall fragment.Max. dim. 0.079. Partof shaftof column.On the right,someof the prizeinscription,kionedon:

T[lNA^V' P3557

F 11:2

Two non-joiningwall fragments.Max. dim. a) 0.172, b) 0.073. In the upperleft on fragmenta, part of the prizeinscription, kionedon:

]\ EO\C

302 PI. 32

P 20380 N-Q 12-14

Wall fragment.Max. dim. 0.08. On the right, Athena (arm,fold of drapery)to right. On the left, on a column,Aphrodite(torso,arms) seatedto left holdinga staffwith Erosstandingbetweenher and Athena. Traceof top of column(incisedline). White (applieddirectly on the clay):Eros,armof Athena;Aphrodite'sstaff.Outlines of bodyof Eros in diluteglaze. For Aphroditeand Eros, compareCab. Med., which belongsto the NikomachosSeries(ABV 415, 11). Secondhalf of the 4th centuryB.C. 303

P 27076 N 10:1

Wall fragment.Max. dim. 0.068. Athena(part of her aegis and drapery;rim of her shield) to right. White (part directly on the clay ground):belt; straps;snakes. Secondhalf of the 4th centuryB.C. 304

P27075

N10:1

Wall fragment.Max. dim. 0.075. Athena (drapery folds; part of aegis) to right. White: snakes. Secondhalf of the 4th centuryB.C. 305

P 27077 N 10:1

Wall fragment.Max. dim. 0.057. Athena (rim of shield on left; aegis with gorgoneionand snakes;part of raisedright arm) to left. White:dotson rim of shield;gorgoneion;snakes;straps;loop on sleeve. 4th century B.C.

306 P31g H7 Wall fragmentfrom near the bottomof the panel. Max. dim. 0.097. Glaze firedred. Lower part of Athena's draperyand some of her foot. White (applieddirectlyon the clay):flesh. 4th century B.C.

4th century B.C.

P 22926 I 13

Wall fragmentfromlowerleft cornerof panel.Max. dim. 0.216. Brownishwash on insideand outside. Sprinter(torso,rightleg, someof left arm)to left. In front of him, goal post. White (applieddirectlyon the clay):goal post. Probably 4th century B.C.

309

On the far right, some of Athena's drapery.Fragmentb givesa swallowtailof her drapery.White:edgeof foldson b. Third quarterof the 4th centuryB.C.

P 23033 H-K 12-14

Wall fragment.Max. dim. 0.058. Draperyfromthe levelof the knees(Athena?). 308

Third quarterof the 4th centuryB.C. 301

307

P27092

N 10:1

Wall fragment.Max. dim. 0.062. Chariot(forelegof one horse;partof bodyof another)to left. 4th century B.C.

310

P 27091 N 10:1

Wall fragment.Max. dim. 0.057. Chariot(rail, upper part of box) with driver(chiton)to right.White (applieddirectlyon the clay):chiton. 4th century B.C.

311 P1.32

P 10432 E4

Wall fragment.Max. dim. 0.108. Chariot (head, neck, some of chest and foreleg of one horse;neck, shoulderof another)to left. White: studs on harness;stripon muzzleof right horse;line markingshoulder of each. Probably 4th century B.c.

312 PI. 32

P 27090 N10:1

Wall fragment.Max. dim. 0.058. Interpretationuncertain.The fragmentseemsto showthe top of one panel, and if so, the absenceof tonguesindicates the reverse.The area of glaze to the left might represent drapery,and the objectin the lowerright is perhapsa palm branch. For figures with palm branches,cf. two in the NikomachosSeries:LouvreMN 706 (ABV415, 3) and London, B.M. B 607 (ABV 415, 4; Paralip. 178, 4); also, London, B.M. B 610 (ABV 417,--). 4th century B.C.

313

P 19530 S 19:3

Two non-joiningwall fragments.Max. dim. a) 0.085, b) 0.098. D. B. Thompson,Hesperia23, 1954, pi. 24. Fragmenta showsthe lowerpartof drapery.Fragmentb gives the drapedshouldersand some of the bent neck of a figureto left, perhapsthe one on fragmenta. Above,top of panel. 4th century B.C.

141

PANATHENAIC AMPHORAE P 20324 P-R 7-13 314 PI. 32 Wall fragment.Max. dim. 0.083. Wrestlers?The fragmentshows the torso, upper right arm, the thighs, and calves of one who is bent over or crouching.In the lower left, part of the foot of anotherand near the top of the fragment,incision that belongs to this figure,perhapspart of his torso. 4th century B.C.

P 23034 H-K 12-14

315

Wall fragment.Max. dim. 0.102. Surfacemuchchipped. Foot race in armor (some of legs, lower part of round shieldof one runner)to left. 4th century B.C.

P 25490 B 19

316

Fragmentof shoulderwith part of ring at junctionwith neck.Max. dim. 0.087. Glazedon inside.Glaze firedred. Upper left cornerof panelof A. Figure (handwith spear) to right (on top of column,now missing).Above,tonguepattern. Red:line at top of ring. White:flesh of figure. 4th century B.C.

P5224f

317

N10:1

Wall fragment.Max. dim. 0.087. Runners(a bit of rightthigh, all of left thigh, and kneeof one;calf of next) to right. 4th century B.C.

P 27087 N 10:1

318

5th or 4th century B.C.

319

319 P1.32

P24661

R12:4

Preservedbut for one handle,which has been restoredin plaster.H. 0.277; diam.0.179. Smallchipsfrommouthand foot. Brokenand mended.H. A. Thompson,Hesperia 25, 1956, p. 62, pl. 21:a;J. McK. CampII, Godsand Heroesin the Athenian Agora [Agora Picture Book 19], Princeton 1980,ill. 8; S. Miller, Hesperia,Suppl.XX, Princeton1982, pl. 14:d;Lambertonand Rotroff,op. cit., (under136), ill. 25. A, Athenato left. Her spear is poised;her shield (device: two dolphins) held out. On the right and left, a Doric columnsurmountedby an owl. B, chariotteam gallopingto right.The wheel'srim is not incised.Above,tonguepattern. On neck,lotus-palmettechain without incision.Abovefoot, rays. Red: line on outer edge of mouth; ring; three lines below panel and two above rays that continue round the vase. White:Athena'sflesh;device;edgeof helmetcrest;dot clusterson her garment;charioteer'schiton;right-handpole horse;pendantson breastbandof tracehorse. Late 5th century B.C.

320-337

P 24954 Q 13:5 320 PI. 33 Wall fragment.Max. dim. 0.082. Athena (lower part of drapery;left foot) stridingto left. Red: panel on skirt;two wide bands below the panel that continuedroundthe vase. White:foot. For the left footof Athenaflat on the ground,cf. 228 with otherearlyexamples. Ca. 550 B.C.

P 13845 U 25:2 (L) 321 P1.33 Wall fragment.Max. dim.0.095. Glazeis rathermottled. Mendedin antiquity(smallhole on rightat break). Athena(someof paneledskirt;partof shieldemblazoned with a star) to left. Red: left side of skirt; rim of shield. Wjiite:device. Ca. 550 B.C.

P 14049 Q18:1 322 Wall fragment.Max. dim. 0.063. Much of the glaze is flaked. E. Vanderpool,Hesperia 8, 1939, p. 261, no. 13, p. 260, fig. 16. Athena (part of face, neck, and shoulder;cornerof the cheekpieceof her helmetand a bit of her shield:device,dolphin) to left. Red: peplos; helmet;dots on rim of shield. White:face;device. The high positionof the dolphinon the shield suggests that it was one of two as on the prizevaseby Exekias,Karlsruhe 65.45 (Paralip. 61, 8 bis).

Third quarterof the 6th centuryB.C.

Wall fragment.Max. dim. 0.095. Thighs and genitalsof runnerto left.

NON-PRIZE VASE

UNCERTAIN IF PRIZE OR NON-PRIZE

P 2071 g H 8-10 323 Wall fragment.Max. dim.0.049. Oncethoughtto belong to 228, but the glaze is not quite the same,andthe fragment is difficultto fit intothe pentathloncomposition.E. Vanderpool, Hesperia15, 1946, pp. 120-123, pl. 13 (mispoised). Runner(partsof thighs)to left. 323 is unusualfor showingthe runnerto left (cf. above, 100: PI. 12). 323 cannotrepresentthe footracein armor,for the date seemstoo early and at least the rim of the runner's shieldwouldoverlaphis thigh. Third quarterof the 6th centuryB.C. 324 P1.33 P 12670 V 24:2 (U) Wall fragment.Max. dim. 0.107. Athena (helmetedhead with fillet, some of shoulderand aegis; part of shield;shaft of spear) to left. Above,tongue pattern, interruptedby the helmet crest. Red: iris of eye; fillet;dotson aegis;rim of shield;alternatetongues.White: flesh;shielddevice;line on helmetcrest. It is difficultto be certainwhatthe deviceis. It is probably not an eagleforthis doesnot seemto be a devicethat appears on the shield of Athena on 6th-centuryPanathenaics.Nor is it an owl (cf. Munich 1454 by the Michigan Painter: J. Brandt,Acta Norvegiae8, 1978, pl. 8:a) or Pegasos(cf. New York,M.M.A. 07.286.79by the KleophradesPainter:

142

CATALOGUE

ABV 404, 6; Paralip. 175, 6) for the shape of the wing is wrong.It maybe Iris as we haveher on New York,M.M.A. 56.171.4 by the Painterof the Warsaw Panathenaic(ABV 291; Paralip. 127, 1) or, morelikely, a sirenas on two from the LeagrosGroup,Taranto,inv. no. 9887 (ABV 369, 113; J. Brandt,ActaNoruegiae8, 1978, pl. 9:a) and New York, M.M.A. 07.286.80 (ABV 369, 114;Paralip. 162, 114). Ca. 520-510 B.C. 325 P1.33

P 13204 020

Wall fragment.Max. dim. 0.116. Sprint:most of one runnerto right except for right arm and leg, lower part of left leg; one arm and part of shin of anotherrunnercomingup. The runnerof whom we have the head and body must be the winner, for there could not havebeen anotherrunnerin frontof him. The Group of Copenhagen99, probablyby the same handas the namepiece(ABV 403, 1), or certainlyverynear. Compareespeciallythe drawing of the knees and hands, also the small circlesfor the nipples,as well as the energetic characterof the runners. Last quarterof the 6th centuryB.C. 326 P1.33

P 25890 M 18

Wall fragment.Max. dim. 0.062. Wrestlersor boxers with both arms raised (most of the bodyof one;tracesof his opponentat right). Comparedetails of the runnerson the namepieceof the Groupof Copenhagen99 (ABV403, 1), especiallythe small circle for the nipples and the drawingof the collarbonesof the runneron the left. Last quarterof the 6th centuryB.C. P 10175 V23:1 327 PI. 33 Wall fragment.Max. dim. 0.146. Thin brown wash on surface. Chariot(headsandnecks;someof reinsandpolestay,end of yoke and pole) to right. On the left, at the break,a thin object,part of the charioteer'sgoad. Red: mane of righthandtracehorse. Ca. 520-510 B.C.

P6102 E 15:6 328 P1.33 Wall fragment.Max. dim. 0.078. Victor (headwith wreath)to right, a branchin the field, perhaps held by him. Above, black band, then tongue pattern.Red:fillet;bandat top of panel. For similar wreaths, cf. those worn by the revelerson Munich 1416 by a painterof the LeagrosGroup(ABV 367, 90; Paralip. 162, 90); also 484 (P1. 46), 505 (P1. 48), 759 (P1.72), 1486 (P1. 100), and 1489 (P1.100). The Painterof Munich 1519 (ABV 394, 11). Ca. 500 B.C.

P 24699 P 17-18 329 P1.33 Two non-joiningwall fragments.Max. dim. a) 0.09, b) 0.051.

Fragmenta (illustrated)givesmostof Athena'shead,part of her shieldwith a bit of its device(partof wing), and some of her spear (shaft) to left. Fragmentb gives more of the shield.White:flesh;device. The devicemay be a Pegasos,althoughthe styleof drawing is not Cleophradean(foranother,cf. 336:PI.34) andthe wing is too close to the centerof the shield (compareNew York, M.M.A 07.286.79 or New York, M.M.A. 16.71: ABV 404, 6 and8; Paralip.175, 6 and 8). Forothertypesof wingedshield devices,cf. 324 (PI. 33). Add as a possibility here, the dove as on New York, M.M.A. 56.171.5, comparedwith the Groupof Copenhagen99 (Paralip.175, -), but attributedby Brandtto the MastosPainter(ActaNorvegiae 8, 1978, p. 5, no. 30). Late 6th century B.C.

330 PI. 33

P7219

16

Wall fragment.Max. dim. 0.045. Youth(mostof head)to left. Late 6th century B.C.

331 P1.34

P81

H 5-6

Wall fragment.Max. dim.0.10. Streakywashon surface. Athena(partof skirt) stridingto left. Red:border;hanging folds of himation.White: dot clusterson skirt;row of dotson lowerborder. Last quarterof the 6th centuryB.C. P 5341 G 12 332 P1.34 Wall fragment.Max. dim. 0.068. Athena (neck,backof helmet,part of aegis with snakes, raisedrightarm)to left. On the right,partof the Doriccapital and the cock(breast,legs). Red:tail of helmetcrest;strip on aegis. White:Athena'sflesh. Late 6th or early 5th centuryB.C. 333 P1.34

P3861

G 13

Wall fragmentfrom upper left corner of panel. Max. dim. 0.081. Cock on top of Doric column. Above, tongue pattern. Red:comb,wattles,featherof tail;alternatetongues. Late 6th or early 5th centuryB.C. 334 PI. 34

P25911

M18

Wall fragment.Max. dim. 0.075. Beardedman (top of head, legs missing)to left, holding thongs(ends)in his righthand(now missing).On the right, someof the line framingthe panel. Late 6th or early 5th centuryB.C. 335 P1.34

P6104 E 15:6 Wall fragment.Max. dim. 0.052. Tracesof burning. Man (mostof head,someof rightarm)to right,carryinga largebulkyobject(?). Red:stripon beard. Ca. 500-490 B.C.

AMPHORAE, TYPE UNCERTAIN P5103

336 PI. 34

H6

143

and Berlin1832 (ABV408, 4; CVA,Berlin5 [Germany45], pls. 49 [2194]:7,and8, 50 [2195]:2,and 51 [2196]:2);two by the AchillesPainter,Bologna12 (ABV409, 2) and Harvard 60.309 (ABV 409, 5; Paralip. 177, 5). 337 seemsclosestto the two by the BerlinPainter,but thereis not quite enough preservedto be surethat the fragmentis his. Secondquarterof the 5th centuryB.C.

Wall fragment.Max. dim. 0.034. Thin black glaze on inside. Shield device:Pegasos (part of wing, hindquarters,and tail) to left. White:Pegasos. The Pegasosshielddevicesuggeststhat336 oughtto be by the KleophradesPainter who uses this emblemon all his known prize amphorae(ABV 404, 1-9, 15-16; Paralip. 175-176). But the Pegasos on 336 is very differentfrom MINIATURE PANATHENAIC AMPHORA 338 thoseby the KleophradesPainter:its tail is not outstretched; P 10961 B15:1 338 its bodyis too thinwith the hindlegs notfarenoughunderit. 0.054. Fromshoulderwith ring at Ca. 500-480 B.C. Fragment.Max. dim. with of handles. P. Corbett,Hesperia stubs neck; junction P 27427 T 13 337 PI. 34 no. 80. 1949, 318, 23, 18, p. pl. Wall fragment.Max. dim. 0.062. A, Athena(head,raisedhandwith spear)to left. Above, Athlete (bent knee with part of thigh and calf) to right. on each side, tongue pattern. Behind her, a vertical line On the right,outstretchedhandof anotherfigure. overlapsthe tongues. Dots on ring. White: flesh (applied The positionof the hand is best paralleledon these four directlyon the clay).Armoutlinedin brown. Late 5th century B.C. vases:two by the BerlinPainter,Vatican375 (ABV408, 3)

AMPHORAE, TYPE UNCERTAIN 339-366 Figs. 7-10

P7835

339

Pls. 34-36

F7

Fragmentof torus mouth and part of neck. Max. dim. 0.10. Glaze fired red; most of it is flaked.

On neck,partsof two incisedrosettes.Red:coresand alternatepetalsof rosettes. Compare133 (P1.16). Last quarterof the 7th centuryB.C. 340 P1.34

P 4993 E-F 12-14

Wall fragment. Max. dim. 0.062. Agora VIII, p. 98, no. 581, pl. 37. Swan (head, neck, and wing) to right. Wheel rosettes. Red: alternatefeathersand wing bow (purplered), bar of wing (brightred). The Painterof BerlinA 34 (Paralip.1, 4). Ca. 620 B.C.

P 20678 Qll 341 Fig. 7; P. 34 Wall fragment.Max. dim. 0.093. Traces of burningon surface. Chariot (part of box, wheel, pole bound with lashing, traceline;tails, partsof threehind legs) to right. Red:box. Close to the Piraeus Painter'samphora,Athens, N.M. 353 (ABV 2; Paralip. 1): comparethe doubleline at the top of the chariot box, the incised decorationon its side, the boundpole, and the tails with herringboneincisionoverthe tail bone. The latter detail is, however, characteristicof

FIG.7. Amphora341 (P 20678) horsesby the GorgonPainter,e.g., LouvreE 874 (ABV8, 1; Paralip.6, 1), Akropolis474 (ABV 8, 2), Baltimore48.215 (ABV 9, 18;Paralip.7, 18), and maybe seenon the grazing horse by the Nettos Painter,once Berlin 1682 (ABV 5, 4; Paralip.2, 8). Ca. 620-610 B.C.

CATALOGUE

144

guillochepattern;sirenor eagle (tail) to right;II) head(?)of a man to right. The carefuldrawingof the guillochepatternis similarto that used by the Nettos Painteron his lekanides,either in the handlezone or below the figures(Paralip.4, 17-24 for the mostcomprehensivelist), and the precisearticulationof the tail feathersrecallsthat of the birdon each of the three fromVari:Athens,N.M. 16382 (ABV3, 4; skyphos-kraters 3; 4; Paralip.3, 10), 16383 (ABV7, y; Paralip.3, 12), and 16384 (ABV 6; Paralip. 3, 13). 343 may be by the Nettos Painter,but if not, it is certainlynearhim. Late 7th centuryB.C. 344 PI.35 FIG.8. Amphora342 (P 26642) P 26642 T-U 19-20 (I) 342 Fig. 8; P1.35 Wall fragment.Max. dim. 0.062. Bellerophonattackingthe Chimaera.The fragmentpreservesthe head of the strikingsnake,the shoulderwith the startof the forelegsand wing, somefeathersand partof the belly of Pegasos.The doubleincisionfor the contourof his wing bow continuesinto his foreleg.The diagonalincision below the feathersis the right bootof Bellerophon,and the smallbit of addedred belowthe forelegat the breakmay be partof his left foot.Red:chest,wing bow,alternatefeathers, belly stripe;eye of snake,two dotson its body;boot.White: alternatefeathers. The style of the drawing, particularlythe double lines and the liberal use of red, recalls both the Nettos Painter and the GorgonPainter.The positionof Bellerophon'sleg and his feet, one back,the otherforward,recallsthat of the rider on the GorgonPainter'splate in Baltimore,inv. no. 48.215 (ABV9, 18;Paralip.7, 18). On Attic vases, representationsof the Chimaera start with two by the Nettos Painter, Kerameikos,inv. no. 154 (ABV3, 3; Paralip.3, 9; KerameikosVI, ii, no. 187,pl. 113) andAigina 565 (ABV3, 1;Paralip.1, -, 1), andtwo by the BellerophonPainter,Athens, N.M. 16389 (ABV 2, -, 1) andAthens,N.M. 16391 (ABV2, -, 2). The mythdoesnot occurveryoftenin Atticblackfigure(cf. Brommer,Heldensage3,p. 292). For the iconographyof the earlyillustrations of the myth, cf. H. von Steuben,FriiheSagendarstellungen in Korinthund Athen, Berlin 1968, pp. 11-13 and K. Fittschen, Untersuchungenzum Beginn der Sagendarstellungen bei den Griechen,Berlin 1969, pp. 157-161, both with bibliography;most recentlyS. Karouzou(RA, 1985, pp. 67-76) who separatesthe two vasesby the Bellerophon Painter. Last quarterof the 7th centuryB.C. 343 PI. 35

P 31091 1 10:1

Wall fragment.Max. dim. 0.092. Some of the glaze is abraded. Part of two friezes:I) sirenor eagle (tail) to left;vertical

P 25343 T19:1

Wall fragment.Max. dim. 0.108. White slip on surface (mostlygone). Two geese(beakof one on the left;tail, someof wing and bodyof the other),bothto right.Dot rosettesfor fillingornament.Red:beak;partsof feathers. Compare geese by the Nettos Painter: Athens, N.M. 16382 (ABV 3, 4; 3; 4; Paralip. 3, 10) and 16384 (ABV 6; Paralip.3, 13);alsoa sphinxnearhim:Kerameikos,inv. no. 1365 (ABV 7, ,3; Paralip. 6, 2 [/3]; KerameikosVI, ii, no. 182, pl. 112). The drawingon 344 is weakerthan on these examples. Late 7th centuryB.C. 345 P1.35

P 26760 T 18:3

Wall fragment.Max. dim. 0.057. Traces of burningon rightside. Uncertainsubject:left handof a man grippingtwo straps of an objectthat looks like the inside of a shield, which is mostlycoveredwith addedred but for some glazedlines in the upperleft. Red:partof object. Late 7th century B.C.

346

P 4807 E-F 12-14

Wall fragment. Max. dim. 0.128. Surface slipped, peeling. Two figures(?) facing.At the left, a large area with the contoursdoublyincised,the surfacered. At the right, near the break,the doublyincisededge of a similararea. These two glazed portions might representdraperyof the sort worn by the women on the standedskyphos-kraterby the Nettos Painter,Athens, N.M. 16384 (ABV 6; Paralip. 3, 13), and if so, the compositioncould representtwo facing women. Betweenthe two glazedareasis a largeincisedrosette.Red:left area;alternatepetalsof rosette. Ca. 600 B.C.

347 Fig. 9; P. 35 P 25338 G-I11-12 Wall fragment.Max. dim. 0.07. Dolphin (eye, forehead,start of snout) to right. On the right,the edgeof the panel. Comparetwo dolphinson an early olpe from Delos, 591 (ABV 15, 27; Paralip.9, 27). Last quarterof the 7th centuryB.C.

145

AMPHORAE, TYPE UNCERTAIN

The KomastGroup:I, the KX Painter(ABV 27, 37). Ca. 580 B.C.

352

P3652

E 14

Wall fragment.Max. dim. 0.071. Traces of burningon insideand outside. Partsof two friezes:I) felineor sphinx (two paws) to left; II) geese feeding(bodyof one, headof another)to left. Red: wing bow. First quarterof the 6th centuryB.C. 353

P 2394 H 8-10 (?)

Wall fragment.Max. dim. 0.057. Woman (partof one leg, the heel of the other)dancingto right. Incised rosette for filling ornament.At the bottom, part of groundline. Red:alternatepetals of rosette;line on groundline. White:flesh. Early 6th century B.C.

349 PI. 35

P 17918 No grid

Wall fragment.Max. dim.0.084. Whitishslip on surface. Siren (threetressesof hair, part of wing, body,legs, and tail) to right. Incised rosette for filling ornament.Below, three lines, ends of rays. Red:wing bow;bar on tail. The directionof the wing feathersindicatesthatthis siren had bow-shapedwings, not sickle-shapedones. Compare the sirenon 671 (P1.64) andon AgoraA-P 1734 (ABV 8, 6; Paralip. 6, 6), both by the Gorgon Painter,or the one on Athens,N.M. 16362 (Paralip.12, 11) by the PantherPainter, or the one on 33 (PI. 4). First quarterof the 6th centuryB.C. 350

P20681

R11:2

Wall fragment.Max. dim. 0.105. Sirenor bird (outspreadwing) and lion (head)to left. Incisedrosettesfor filling ornament.In the zone above,bits of glaze (rosettes?). Red: wing bow, alternate feathers of wings;mane. First quarterof the 6th centuryB.C. 351 P1.35

E14:11

Wall fragment.Max. dim. 0.049. Much of the glaze is flaked. Boar(head)to left. At the left, tracesof a wing(?). Incised rosettesfor fillingornament.Line at top andbottomof fragment indicatinglimitsof frieze.Red:forehead. First quarterof the 6th centuryB.C.

FIG.9. Amphora347 (P 25338) 348 PI. 35

P4339

P 13340 H 10 Wall fragment.Max. dim. 0.078. Animal friezes:I) siren (tail) and goat (head,neck, foreleg, and hoof), bothto left;II) geesefeeding(mostof one, the tail and leg of another)to right. Incisedrosettesfor filling ornament.Below, tips of rays. Red: bar on siren'stail; eye and neck of goat; cover feathersof wings of geese, dots on neck;coreand dotson petalsof large rosette.

354

P 26549 S 17:1

Wall fragment.Max. dim. 0.103. Parts of two figuredzones: I) animals (hind hoofs of a boaror a bull andforepawsof a feline),bothto left;II) geese (mostof one; body and tail of another)to right. Red:wing bows;two lines betweenfriezes,anotherbelowgeese. Secondquarterof the 6th centuryB.C. 355

P26460

R15-16

Wall fragment.Max. dim. 0.066. Parts of two friezes:I) goat (head, neck, chest, forelegs) and siren (tail) to right;II) wing of birdor maneof animal. Red:neckof goat;two bandsbetweenfriezes. Secondquarterof the 6th centuryB.C. 356

P 13653 T 19:1 P 26438 T 18:1

Two non-joiningwall fragments.Max. dim. P 13653: 0.047, P 26438:0.043. Brownishwash on outside. P 13653 shows a goat (some of head, neck, and horns) grazingto left. P 26438 preservespartof an animal(someof neckand shoulder)grazingto left. On the left, at the break, part of a rosette;above,glaze markingtop of frieze. Red: necks. Secondquarterof the 6th centuryB.C. 357

P 13823 U 25:2 (M) Wall fragment.Max. dim. 0.071. Two sphinxes (preservedexcept for hindquartersand tails, someof wings and heads)confronted.Bloband incised rosettesfor filling ornament.Below, rays. Red:breastsand wing bows;dotson rosettes.The drawingis verycoarse. Secondquarterof the 6th centuryB.C. 358 Fig. 10 P22999 I 12 of neck andmouth.Max. dim.0.106;est. diam. Fragment at outeredge0.16.

146

CATALOGUE 362 P1.35

FIG. 10. Amphora358 (P 22999), dipinto.Scale 1:2

On neck,lotus-palmettechain.Paintedon reservedtopof mouth:

]ETI Red:outeredge of mouth. The narrowdiameterindicatesthat the shape is eithera Panathenaicamphoraor a neck-amphoraof Panathenaic shape,but withoutmoreto go on, it is difficultto opt forone or the other. Third quarterof the 6th centuryB.C. 359 P. 35 P8964 G 14 Wall fragment.Max. dim. 0.05. Herakles and the Hydra (some of the Hydra's scales, mid-rib,and one of its snaky heads;thighs and genitalsof Herakles).Red:dotson scales. For the subject,cf. Brommer,Heldensage3,pp. 79-82, with bibliography. Third quarterof the 6th centuryB.C. P 14050 Q18:1 Wall fragment.Max. dim. 0.048. T. L. Shear,Hesperia 8, 1939, p. 261, no. 16 and p. 260, fig. 16. Rider (left hand holding a spear; reins; part of neck, mane,and shoulderof his horse)to right. Third quarterof the 6th centuryB.C.

360

361 PI. 35

P 5294 E-F 12-14

Wall fragment.Thin wash on inside.Max. dim. 0.148. Frontal chariot (chests of the two pole horses;pole of chariot;some of the charioteer'schiton). On the left, the traceline and reinsof one tracehorse.White:chiton. The thin wash on the inside suggeststhat the fragment comesfroma large panel amphoraor perhapsfroma neckamphoraof Panathenaicshape. The drawing on the chests is characteristicof frontal horsesby the AntimenesPainterand those in his manner. Cf., e.g., these by the painter: New York, M.M.A. 56.171.19 (ABV269, 43;Paralip. 118, 43; CVA,New York 4 [USA 16],pl. 24 [752]:2);FrankfurtVF ,3 326 (ABV271, 82; Paralip. 118, 82); Altenburg212 (ABV 272, 92); Boston, M.F.A. 22.404 (ABV 272, 103; CVA, Boston 1 [USA 14], pl. 43 [665]:1);and Villa Giulia 5195 (ABV273, 105); andthesein his manner:Hamburg1917.473(ABV 278, 40; CVA,Hamburg1 [Germany41], pi. 16 [1982]:1)and Brussels A 2951 (ABV 278, 41). Third quarterof the 6th centuryB.C.

P 25312 C-G 13-16 Wall fragment.Max. dim. 0.053. Herakles and the Bull (some of head and neck of bull; partof one limb,perhapsa leg of the hero).White:marking on neckof bull. It is not likely that the scene representsHerakles and Acheloos,for the hero does not grasp the monster'shorn. For this theme, cf. H.-P. Isler, Acheloos,Bern 1970. The loweredpositionof the bull'sheadsuggeststhat it may have fallento one kneeas Heraklesbindsit with a cord.Compare a few examples:Munich 1407,comparedwith the Groupof Wurzburg199 (ABV 290); LouvreF 239, the Painterof Munich 1519 (ABV 394, 7); Louvre F 240, the Leagros Group(ABV370, 129);London,B.M. B 277, the Michigan Painter(ABV 343, 8); and New York,M.M.A. 41.162.193 (CVA,New York4 [USA 16],pl. 35 [763]:5and 7). For the subject,cf. Brommer,Heldensage3,pp. 194-205. Last quarterof the 6th centuryB.C. 363 P1.36 P 27468 H-K 12-14 Wall fragment. Max. dim. 0.098. Brown wash on background. Dionysiac scene. Lower parts of two drapedfigures to right. On the left-hand side of one, the head, neck, and raised paw of a panther.In the background,a vine. Red: borders,dots on cloak. White: dot clusterson draperyof figureon left;markingon foreheadof panther. Perhapsfroma neck-amphora. Ca. 520-510 B.C.

364

P 24690 Q17

Wall fragment.Max. dim. 0.085. Horsemenleading horses to right. On the left, a man wearinga cloakand petasosandcarryingtwo spearsleadsa horse(head,neck,mostof body).On the right,the top of the tail anda bit of the hindquartersof anotherhorse.Red:forelock,maneof horseon left;tail of other;stripeson garment. White:petasos;studson bridle. Perhapsfroma smallneck-amphora. Last quarterof the 6th centuryB.C. 365 P1.36

P4745

E-F 12-14

Wall fragment.Max. dim. 0.07. Thinly glazedon inside with somestreaking.Tracesof burning. Man (hips to knees)in shortchitonto left, holdinga tripod (one leg) horizontally. Sincethe tripodis not held upright,the man is not a victoriousathlete (for such a scene, cf. London,B.M. B 144: CVA,London1 [GB 1], pl. 6 [30]:2).Morelikelythe subject is the strugglebetweenHeraklesandApollofor the Delphic Tripod, in which case, the figure partially preservedis Apolloholdingthe legs of the tripod,while Heraklesgrasps the rings of the cauldron.For the subject,cf. D. von Bothmer,FestschriftBrommer,pp. 51-63. Late 6th or early 5th centuryB.C.

147

AMPHORA LIDS P 1058 117 366 PI. 36 Wall and shoulder fragment. Max. dim. 0.075. Glaze firedred. Athena(partof neck,aegis,chiton)to left, holdingout her

shield (device:lion or dog). Red:rim of shield.White:flesh; device Late 6th centuryor early 5th centuryB.C.

AMPHORA LIDS 367-372 PI. 36

367

P 26534 T 18:3

Brimfragmentwith part of flange.Max. dim. 0.058. Gooseto right,probablypart of a frieze. Secondquarterof the 6th centuryB.C. P 10776 No grid Fragmentwith some of flange. Max. dim. 0.133. Brown glaze. Animals:swan or duck(headand breast)to rightfacinga lion (head turnedaround,some of body and forelegs).Blob and incisedrosettesfor fillingornaments. Secondquarterof the 6th centuryB.C.

368 PI. 36

369 PI. 36

P4992

E-F 12-14 Fragmentwith some of flange. Max. dim. 0.085; H. of flange0.042. Chariotrace:upperpartof beardedcharioteerin a chiton holding the reins and a goad; some of the breastworkand rail of the chariot,the pole stay, and the croupsand tails of two horses.On the left sideof the horses,a goal post. Behind the charioteer,the muzzle of a horse belongingto another team. Above the figures, rays. Red: hair and beard;tails. White:chiton;goal post. For chariotraceson the lids of amphorae,cf. San Francisco, de YoungMuseum243.24874,nearthe AntiopePainter (ABV367, 92); LouvreF 318 whichbelongsto LouvreG 45 by the Dikaios Painter (ARV2 31, 4; Paralip. 324, 4); two by the KleophradesPainter,Wiirzburg297 which belongs to Wiirzburg 507 (ARV2 181, 1; Paralip. 340, 1) and Munich2305 (ARV2 182, 4; Paralip.340,4); LouvreF 317 which belongs to Louvre G 46 by the Nikoxenos Painter (ARV2 220, 3; Paralip. 346, 3); also, Rouen 2059, which Bothmerthinksmaybelongto LondonE 254 by the Dikaios Painter (ARV2 31, 3). All of these are amphoraeType A, and by analogy,369 ought to be fromthis type, too. For an

amphoralid with a horse race, cf. the one now in Berne, Jucker (HesperiaArt, Bulletin22, Nov. 1962, no. 8). Late 6th century B.C.

P 1293 G 6:3 (U) for a few Completeexcept fragments.P.H. 0.068; diam. 0.187. Knob chipped. E. Vanderpool,Hesperia 15, 1946, p. 323, no. 269, pl. 66. From knobout: rays;blackband;ivy on brim. Red: line betweenknoband lid; line for vine of ivy. For the combinationof rays at the base of the knoband ivy on the brim, cf. New York, M.M.A. 17.230.14 by Exekias (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pl. 19 [747]:1);three in Leyden,PC 40, PC 85, PC 76 (CVA, Leiden 1 [Netherlands3], pl. 50 [144]:1-3); and Zurich(ETH) 7 (CVA,Zurich1 [Switzerland2], pl. 16 [58]:2). 370

Late 6th century B.C.

371

P 27189 E29:4 of some wall and H. 0.08. Knob, flange. On top near edge, trace of a zone of ivy, set off by a groove. For blackglaze insteadof raysroundthe baseof the knob on an amphoralid, cf. Hanover 752 (CVA, Hannover 1 [Germany34], pl. 30 [1662]:5). Late 6th century B.C.

372

P 20780 R 12:1

Preservedexceptfortop of finialof knob.H. 0.056;diam. 0.125. Chip in brim.Slightlydomedlid with flat,offsetrim; round knob with finial (pomegranate?).Reserved on underside. On top of lid, concentricbands.Dot-ivyroundbrim. Late 6th century B.C.

148

CATALOGUE LOUTROPHOROI 373-389 Pls. 36-38

LOUTROPHOROS-HYDRIAI373-376

373 P1.36

P7806

No grid

Mended from many fragments.H. 0.296; diam. 0.138. Missing piecesof mouth,neck,and bodyrestoredin plaster. Vertical handle missing. D. B. Thompson, An Ancient ShoppingCenter[AgoraPictureBook 12], Princeton1971, ill. 58. On the neck:six cloakedmen to right;below, row of rosettes. On the body, two cloakedmen to right. Under each upright handle, a siren (most of body of left one missing) under B/A to left, under A/B to right. Below the vertical handle,swan to right;on each side of the handlerooton the shoulder,palmette(left one missing).Blobsfor fillingornament. On outsideof each uprighthandle,blobsor solid rosettes. Tongue patternon shoulderat junction with neck. Rays abovefoot. Red:hair of alternatefigureson neckand body;two cloakson neck;foldsof cloakson body;wing bows and bandson tails of sirens;line on outsideedge of mouth, one below figures,one above rays, and anotherat edge of foot.White:on neck,threecircleson cloakof one man;faces, necks,outlinesof breasts,and stripson wings of sirens. Secondquarterof the 6th centuryB.C. 374 P1.36

P 14371 N 10:1

Part of mouth, neck, body, and foot restored.H. 0.253; diam.0.193. Much of the glaze is flakedand abraded.Hole in bottomfor libations. On the neck, three mourningwomen (head of 1, part of bodiesof 2 and 3 missing)to right. On the body,prothesis: the deceased(someof bodymissing)to left on a couch,with a figureon eachside, facinginward;then fourfigures(parts missing) to right with hands raised. Above the foot, rays. Red:stripeson garments.White:flesh? Secondquarterof the 6th centuryB.C. 375 PI. 37

P 1261 G 6:3 (L)

Fragmentsof mouth, handles, body, and foot restored. H. 0.366; diam. 0.12. Glaze misfired a reddish brown. E. Vanderpool,Hesperia7, 1938, pp. 398, no. 32 and 397, fig. 34. On the neck, five "penguin"women to right with fillets hanging above. On the body, three "penguin"women to right, a man facing; under each upright handle, a small drapedyouth,to left underA/B, to rightunderB/A; on the left of the verticalhandle,a "penguin"womanto right facing a man; on the right of the handle, a woman to left.

Between the figures on neck and body, imitation inscriptions.Incisedrosetteson each handleand as fillingornament.On the sideof the mouth,key patternto left. Above the foot,rays.Red:fillets;plain cloaksof "penguin"women; stripeson garments;pairs of lines top and bottomon band belowfigures;line at eachedgeof verticalhandle;line at top and at outer edge of foot. White: women's flesh; dots of crosseson cloaks;key pattern. The Groupof North SlopeAP 942 (ABV 89, 1). Third quarterof the 6th centuryB.c. 376

P 25274 R 12:3 of shoulder with the roots of one uprighthanFragment dle. Max. dim. 0.092. Beneathhandle,woman(head)to right.Behindher, part of a box carriedon the head of a figure behind her. Red: fillet. White:face. Late 6th centuryB.C. LOUTROPHOROS-AMPHORA377

377 P1.36

P 12500 N 18:6

Two non-joiningfragmentsof mouth,neck,handles,and body.Max. dim. a) 0.165, b) 0.055. Fragmenta (illustrated)preservespartof the mouth,decoratedwith a stylizedsnake(wavyline) on its side,the topof one handle,some of the neck, and the startof the shoulder with the handleroots.On the insideof the mouth,two wide blackbands.On eachside of the neck,man to rightwearing a longchitonandhimation(almostall of one holdinga staff; lowerhalf of the other).On the shoulder,betweenthe roots of the two handles,the top of the headof a womanto left and part of an oblongobject,perhapsa box. Fragmentb gives the head,tail, andpartof the outstretchedwingsof a sirento right, lookingaround,and above,the headof a tracehorse. Red:man'sfillet, stripeson his himation;stripson wing of siren. White:snake;siren'sface, alternatestripson her tail and wings. Late 6th centuryB.C. LOUTROPHOROI, TYPE UNCERTAIN

378-389

378 P1.37 Fragment of neck. Max. dim. 0.052.

P21702

07

Partsof two friezes:I) the feet of threepairs of men and the bordersof their garments,to right;II) siren or sphinx

LOUTROPHOROI (head,wing) to left facinga palmettecomplex(frondsof one horizontalpalmette).Red:backof head. Lydos(ABV 110, 36). Ca. 560-550 B.C.

379 PI. 37

P 20241 D 16

Fragmentof mouth and neck. Max. dim. 0.085. Black bandson inside. On side of mouth,incisedrosettes.Blob of glaze in field. Below, a siren or a sphinx (head,partof wing) and a snake (tail), both to right. Red: fillet, pupil. White: face, part of wings;dotson tail. Ca. 550 B.C.

380 PI. 37

P5980

D 15

Wall fragment.Max. dim. 0.10. Partsof two zones:I) man (foot) and woman(feet, lower drapery) to right; II) animals (panther:foreparts;siren: wing, tail, one leg) to right;below, rays. Red:dotson drapery, neckof panther;partof siren'swing, bar on tail. White: feet of woman;eyebrowsand nose of panther,belly stripe; stripson wing, stripon breast. Ca. 550 B.C.

381 PI. 37

P5229

N10:1

Neck fragment.Max. dim. 0.05. Burned(clay is gray). Three drapedfigures(fromleft: left shoulderand arm of 1 holdingsomething;the shouldersand torsoof 2 holdingan objectthat lookslike a stem and the startof a lotus bud;the right elbow and draperyof 3 holdinga fillet)to right.In the field,nonenseinscriptions,vertically: (twice) A XA Red:coresof rosetteson cloakof 2; stripesand dotson garmentof 3; line on inside.White:dotsof rosettes. Third quarterof the 6th centuryB.C. 382 P4837 N 10:1 Wall fragment.Max. dim. 0.107. Parts of two zones: I) man (drapery,foot) and woman (drapery,feet) to right, facing a couch (lower part of leg); II) panther (head, neck, some of back and tail) to right. White: woman'sfeet; dots in some of the circlesincisedon her dress;decorationon leg of couch. Third quarterof the 6th centuryB.C. 383 PI. 37

P 25371 Q 13-14:1 (U) Fragmentof mouthand neck.Max. dim. 0.098. Insideof mouthglazed;bandson neck. On neck,woman(partof filletedhead)to left. On vertical surfaceof mouth,stylizedsnake(wavy line) and incisedtriangles with horizontallines. Red: line above figure and at outeredge of mouth. Third quarterof the 6th centuryB.C.

149

384 PI. 37 P 13736 V23:1 Neck fragment.Max. dim. 0.035. Grooveneartop. Band of glaze on insideneartop. Man (headand shoulders)to right.Head overlapsgroove at top. Red:stripeon garment. Third quarterof the 6th centuryB.C. 385 P1.37

P6561 E-F 12-14 mouth of broken Fragment (edge away) and top of neck. Max. dim. 0.065. Mouth glazed black on inside;on neck, diluteglaze belowa narrowreservedband. Head of youth and the upper part of a woman to right. On side of mouth,stylizedsnake (wavy line). Red: hair of youth; fillet and chiton of woman. White: face of woman; snake. Third quarterof the 6th centuryB.C. 386 PI. 38

P 12015 R 19

Neck fragmentwith bandon insidenear top. Max. dim. 0.118. Three figures (drapery,hands of woman) standing to right. The woman holds a loutrophoros(?)in the crookof her arm.Red:borderanddotson cloak.White:flesh;dotson drapery. Late 6th century B.C.

387 PI. 38

P 10192 M 18:8

Neck fragmentwith someof ring at junctionwith shoulder. Max. dim. 0.113. Three women(lowerpartsof two; partof draperyof the third)to right.Below,key patternto right.Red:dotson garments.White:flesh;dot clusterson garments. For the key pattern on the neck below the figures, cf. Cleveland 27.145 (CVA, Cleveland 1 [USA 15], pl. 15 [695]). Ca. 500 B.C.

388 PI. 38

P 10262 L-N 16-18 Fragmentof neck.Max. dim. 0.072. On the left, the lower partsof a drapedman and woman to right. In front of the two, part of a couch (one leg with plinth,partof the cushionor mattress)and of a table (some of one leg) in frontof it. The faint imageof a chair may be seen againstthe two figures.White:chair,plinth,and floral decorationof leg of couch;woman'sfeet. Late 6th or early 5th centuryB.C. 389

P 23171 H 12:15 Fragmentof mouthwith startof neck.Max. dim. 0.065. On side of mouth, stylized snake (wavy line). White: snake. Ca. 500 B.C.

150

CATALOGUE PELIKAI 390-397 PI. 38

390 P1.38

P 24773 P 16

Wall fragmentfrom upper right cornerof panel. Max. dim. 0.056. Dionysos(mostof wreathedhead,left shoulder)to left. In the field,vines.Red:beard;mostleaves;doton cloak.White: dot clusterof cloak. Ca. 530-520 B.C. 391 PI. 38

P 12561 G11:3

Foot missing. P.H. 0.261; diam. 0.19. T. L. Shear,Hesperia 8, 1939, p. 230, fig. 26. A, Theseus and Prokroustes.On the right, Theseus armedwith an axe, wearinga cloakroundhis waist, moves to rightlookingaroundat his beardedopponentwho falls to left, lookingaround,his left handheldout, his rightaboutto pickup a stone.In the backgroundis a tree;suspendedfrom its branches,a cloakand a quiverwith four arrows.A club rests againstthe right side of the panel. B, Dionysoswith a drinkinghorn and two satyrs,all movingto right, the god and the satyr on the right lookingaround.Abovethe panel on each side, invertedlotus budswith dotsin the interstices. Abovethe foot, rays. Red:beards;tails; forelocksof all but satyr on the right;Theseus' fillet;dots on cloakin tree and on god's garment;line on neck;two lines below panel that continueround the vase. White: dot clusterson garments; borderof Dionysos'chiton;stone;fruit on branches;handle of axe;baldric;dotson quiver. For the subject of A, cf. Brommer, Heldensage3, pp. 245-

247; also, Brommer,AA (Jd 95), 1979, p. 496. Antimenean[Bothmer].CompareTiibingen6211 (CVA, Tubingen3 [Germany47], pls. 6 [2251]:6and 7 [2252]). Ca. 510-500 B.C.

P 10826 No grid Wall fragmentfromleft side of panel. Max. dim. 0.165. Draped man (from waist down) to right, leaning on a stick.In frontof him, a figureseatedon an okladias(foldof drapery;boss on leg of okladias),also to right. Red:dotson cloaks;boss.White:dot clusterson garments. The LeagrosGroup(ABV 377, 241; Paralip. 167). 392 PI. 38

Ca. 510-500 B.C.

393

P 8798 E 14:5

Four non-joiningfragments,only one of them (a) decorated.Max. dim. a) 0.092, b) 0.087, c + d) 0.068, e) 0.061. Fragmentb is fromjust abovethe foot;c and d, nowjoined, and e fromthe neck.Glaze has firedred in mostplaces. Maenad (preservedbut for part of head, right hand, left shoulder,and foot) dancingto right,lookingaround.Below

her left elbowis a horizontalobjectthat lookslike a walking stick, and on the far right, at the break, is the trace of anotherfigure,probablya bit of drapery.In the field,a vine. At the left, edge of panel. Red: fillet;eye; dots on drapery. White:flesh;dotson drapery. Ca. 510-500 B.C. 394

P 7239 D 7:2

Two non-joiningwall fragments.P.H. a) 0.11; max.dim. b) 0.11. Fragmenta preservespartsof bothsides.A, Heraklesand the Lion. Herakles,to right,wrestlesthe lion on the ground. He has his left arm roundthe beast'srib cage;his right is raisedslightlyand sharplybent, his club in hand.The hero wears a short chiton; over his left shoulder is a double baldric.His buttocksand someof his rightarmare missing. B, woman(footto left and tip of drapery)and the lowerleft cornerof the panel. Fragmentb gives more of the woman (drapery)and the left borderof the panel.The sidesof each panel are framedby two rows of dots. Red:Herakles'forelock and beard,lower edge of his chiton;lion'stongue,dots on its mane;line just below panel that continuesroundthe vase.White:baldric;teethof lion, belly stripe;femalefoot. For the subject, cf. Brommer, Heldensage3, pp. 109-143.

Late 6th centuryB.c. 395 PI. 38

P 2643 G 6:3 (U)

Mouth, neck, upper part of body. Rest. H. 0.11; rest. diam. 0.152. Strengthenedwith plaster. E. Vanderpool, Hesperia15, 1946, p. 311, no. 194, pl. 60. A, Herakles(part of head and body) to right attacksan Amazon(head,partof rimof shield),who is probablydown on one knee.B, Dionysos(head,upperpartof body)to right holdinga drinkinghorn,facinga satyr(head,shoulders).In the fieldon eachside,a branchwith fruit.Aboveeachpanel, net pattern.Red:beards;beltof Herakles;rimof shield;dots on Dionysos'wreath and on his garment.White: baldric; dotson Dionysos'garment;fruit. For the subject of A, cf. Brommer, Heldensage3, pp. 7-25;

for the composition,Bothmer,Amazons,p. 43, no. 50. Class of Pelikaiconnectedwith the Red-linePainterand the Painterof the RhodesPelike (ABV 607, 1); Mannerof the Red-linePainter(Paralip.303, 5). Ca. 500 B.C. 396

P 2644 and P 2645 G 6:3 (U)

Mouth, neck, upper part of body. Rest. H. 0.093; rest. diam. 0.147. Strengthenedwith plaster. E. Vanderpool, Hesperia15, 1946, p. 311, no. 195, pl. 60.

SKYPHOS-KRATERS A and B, two dancingyouths(heads,raisedarmof one on each side). In the field,brancheswith fruit.Abovepanel:on one side, net pattern;on the other, key patternto left. Red: line on neck.White:fillets;fruit. Class of Pelikai connectedwith the Red-linePainterand the Painterof the RhodesPelike (ABV 607, 2); Mannerof the Red-linePainter(Paralip.303, 6). Ca. 500 B.C.

151

397

P 2755 G 6:3 (U) Fragmentof neck and upper left cornerof panel. Max. dim. 0.094. Brown wash on surface.E. Vanderpool,Hesperia 15, 1946, p. 311, no. 196, pl. 58. Dionysos (head)to right. In the field, branchwith fruit. Above, net pattern. Red: beard;fillet; line on neck above panel. White:fruit. Early 5th century B.C.

PSYKTER 398 Fig. 11 P1.39 398 Fig. 11; P. 39

P 27885 H 13:5

Eight non-joiningfragments.Diam. of mouth0.20;diam. of foot 0.168; max. dim. b) 0.116, c) 0.061, d) 0.051, e) 0.117, f) 0.051, g) 0.062. Mouth reservedon top (fragment a); wall (b-g); and torus foot reservedon underside (h). Hole for ancientmendon rightof fragmentg. Glaze has misfireda grayishcolorin places.Thin wash on inside and outside. Wall reservedbelow figures,except for a band of glaze below the figuresand one abovethe foot (illustrated). Komos. Fragment b (illustrated)preservesthe bearded chin, torso,left arm, and left heel of a komastto left. Fragment c (illustrated)gives the neck with some of the beard, the body,partof the armsand legs of anotherto left, looking around.Fragmentd (illustrated)preservespart of the body of a thirdkomast,and fragmente gives someof the feet of a fourth,both to right. On the shoulderat the junctionwith the neck (a: illustrated),tongue pattern.Fragmentsfandg comefromthe stemjust below the figures.The misfiringof the glazeon fragmentsa (therim), b, andd indicatesthatthe komaston d was directlybelow this portionof the rim and that fragmentb was to the left of these.The placementof the other fragments is uncertain. Red: beards. White: fillet roundneckof komaston fragmentc. Late 6th century B.C.

!

l

IF-11

FIG. 11. Psykter 398 (P 27885). Scale 3:10

SKYPHOS-KRATERS 399-413 Fig. 12 Pls. 39-41

BOWLS399-403 399 P1.39

P 12046 07 of to receive a lid. Max. Fragment incurvingrim, grooved dim. 0.13. Bandedon inside.Rim glazedinsideandreserved at intervalson uppersurface.Slip on outside.

Lion or Chimaera(someof mane)to right.On the left at the break, part of another object (goat of Chimaera?). Hanging spirals and zigzags at rim. Incised and ring rosettes. Red: mane; core and alternate petals of incised rosette. Locks of mane separated by two lines are unusual.

152

CATALOGUE

Comparethese four,each in the tondoof a lekanis:the Nettos Painter,horse foreparts:Athens, N.M. 16366 (Paralip. 4, 19); three by the Panther Painter: one lion, Athens, N.M. 16355 (Paralip. 11, 3) and two pairs of confronted horse foreparts,Athens, N.M. 16358 (Paralip. 11, 5) and Athens, N.M. 16361 (Paralip. 11, 7). Comparealso the maneof a Chimaeraon an olpe in the mannerof the Gorgon Painter, 708 (PI. 68). 399 is closer in style to the Nettos Painter than it is to either the Panther Painter or the GorgonPainter.For linkedhangingspirals,cf. 117 (P1.13); for the spirals and zigzag, cf. a fragmentin the Lucerne Market,nearthe painter(ABV 7, b; Paralip.6, 3). Ca. 610 B.C.

Painter (ABV 7, /; Paralip. 6, 2 [/3];KerameikosVI, ii, no. 182, pi. 112). Compareespeciallythe glazedflange,the direction of the spirals, and the drawing of the wing. Probablyby the samehand. Late 7th century B.C.

402 P. 39

P26656

Q17:8 Bottomof bowl with start of wall of conicalstand. P.H. 0.13. Hole in the bottomof the bowl. What remainsof the bowl is unglazedon the inside, but it may have had bands higher up, as on the inside of Athens, N.M. 16400 (unpublished). On stand,Chimaera(partof snake,headof goatto left) to right and panther (head, tail, line of back) to left. Spiral fillingornament.On lowerpartof bowljust abovethe stand, rays. Red:eyes;hornof goat. Late 7th centuryB.C. 403 PI. 40 P4277 E 14:11(?) Rim fragmentwith incurvingprojectionfor lid. Max. dim. 0.07. Resting surface of rim glazed. Unglazed on inside. Uncertainsubjectthat looks like the back of an animal with a short, thick tail surroundedby dots. The small amountof glaze in the lower right may belongto this animal, and if so, it is difficultto understandwhat kind it is. Perhapsit is the curledtail of a boar. Below rim, parts of two largesolidcirclessurroundedby dots,probablypartof a frieze.Three verticalstrokesfor filling ornament.Red (applied directlyon the clay):animal. Late 7th centuryB.C.

FIG.

12. Skyphos-krater400 (P 6577) LIDs

404-413

400 Fig. 12; P1.39 P 6577 F 12:5 Fragmentof standedfoot and bottomof bowl. Max. dim. 0.125. Sphinx(topof headwith fillet,tip of wing). Hangingspirals for fillingornament.Red:fillet;face. The bodyof the sphinx was probablyto left and her head turned around, similar to the siren on the lid of Athens, N.M. 16382 by the Nettos Painter(ABV 4; Paralip.3, 10). Perhapsshe was one of a pair with a floralbetween. Last quarterof the 7th centuryB.C.

404 P1.40

401 PI. 39

405 PI. 40

P 25661 0 12:2

Two non-joiningfragments.Max. dim. a) 0.107, b) 0.10. One fragment(a) of bowl and inset rim with flangefor lid, the other (b) of standand bowl. Poor,brownishblackglaze on inside.Much of the glaze is flakedand abraded. Fragmenta (illustrated)preservespart of a wing, probably of a siren or a sphinx, to right. Above,at the junction with the rim, hanging spirals. Fragment b shows three horizontallines at top of stand.Red:alternatefeathers. Closest to Kerameikos,inv. no. 1365, near the Nettos

P3616

1 14:1

Two non-joiningfragmentsof large domedlid with part of rim. Max. dim. a) 0.145, b) 0.11. Reservedon underside. Fragmenta preservespart of three zones: I) borderof esses;II) friezeof adorseddiagonalpalmettesconnectedby volutes, with a vertical border of esses and key pattern; III) step pattern. Fragmentb gives more of the palmette spiral ornamentand the step pattern.Red: alternatepetals of palmettes;links of spirals. Ca. 630-620 B.C. P 7866 B 13

Fragmentof domedlid. Max. dim. 0.095. Whitish slip. Reservedon underside. Boar(cheek,neck,partsof forelegs)to right.Dot rosettes, uprightspirals, linear filling ornament.Below, three lines and tracesof anotherobjectin the samezone, or perhapsa bandof step pattern.Red:neck. For the upright spirals on high bases, comparea late Protoatticamphora,Agora P 25336 (Agora VIII, p. 99, no. 589, pl. 37), and a skyphos-krater,Kerameikos,inv.

SKYPHOS-KRATERS no. 101, comparedwith the Nettos Painter(ABV7, a; Paralip. 5, -, 1; 6; KerameikosVI, ii, no. 181, pl. 111). Ca. 625 B.C.

406 PI. 40

P6116

E14:8

Fragmentwith part of rim. Max. dim. 0.202. Reserved on underside. Boar (partof cheek,neckwith bristles,shoulder,and left foreleg)to left. Spiralfilling ornament.Step patternat rim. Red:neck. For the spiral ornamentand the directionof the step pattern below the figures, cf. the amphora in London, 1874.4-10.1, formerlyA 1531, by the Nettos Painter(ABV 3, 2; Paralip.2, 2). Perhapsrecallsthe ChimaeraPainter(ABV 4, -). Ca. 620 B.C.

407 Pl. 40

P 21565 07:9

Fragmentof large domedlid with part of rim. Est. diam. 0.43; max. dim. 0.162. Reserved on underside. H. A. Thompson,Hesperia21, 1952, pl. 30:d. Lion (face;left forepaw)to left. Teeth in outline.Incised rosettesfor filling ornament.At lower edge of lid, zone of diagonallines between a line top and bottom (very faint). Red:nose, upper lip, tongue.White:lower teeth. Not far fromthe ChimaeraPainter(ABV4, -, 1); Near the Nettos Painter(Paralip.5, i, 1). Ca. 620

B.C.

408 PI. 40

P25268

A 17:1 (U)

Rim fragment of high domed lid. Max. dim. 0.078; p.H. 0.06; est. diam. 0.40. Reservedon underside. Horse (muzzleandhoof) to right.Aboverim, steppattern overlappedslightly by the horse'smuzzle. Blob rosettesfor filling ornament.Red:nostril,hoof. The horse is probablya grazingone, such as two by the Nettos Painteron the louteriononce in Berlin, Berlin 1682 (ABV 5, 4; Paralip.2, 8 [d]),or 133 (PI. 16), 1361 (PI. 94), and 1678 (PI. 109). For the red nostril,cf. 14 (PI. 3). Ca. 620

B.C.

409 Pl. 40

P 7560 D 6-7

Fragment of domed lid with part of rim. Max. dim. 0.077. Reservedon underside. Boar (hind leg) to left. Dot rosettesand zigzag pattern with trianglesfor filling ornament.Red: markingon hindquarter;bandat rim. Perhapsnear the Nettos Painter(Paralip.5, -, 1). Ca. 620-610 B.C.

410 PI. 41

P4241

E 14:11

Fragment of domed lid with part of rim. Max. dim. 0.099. Reservedon underside.Most of glaze has worn off. Swan (beak, breast, left wing) to right with wings

153

outspread.Dot rosettesfor fillingornament.Red:wing bow, alternatefeathers;bandat edgeof rim. This swan recallsthe preeningswan on the right handle of the Nettos Painter'snamepiece(ABV 4, 1; Paralip.2, 6; best illustratedin Karouzou,'Avayvpoivros, pl. 90), and the dot rosettewith the dot in the center is an ornament favoredby this painter,althoughit is also knownon vasesin the mannerof the GorgonPainter(cf. 138: PI. 17). Late 7th century B.C.

411

P 21699 07:12

Lower part of knob, open at top, of a very large lid. P.H. 0.082. Traces of white on background.Much of the glaze is abraded. Birdor siren (bodyand feet) to left. On the right,partof another(tail?).Dot rosettefor fillingornament.Red:baron wing bow;alternatefeathersof wing and tail. Late 7th century B.C.

412 PI. 41

P 5303 E-F 12-14

Fragment.Max. dim. 0.155. Glaze firedbrown. Partsof two friezes:I) animals:feline (tail) to left; swan (head, neck, most of body) and feline (hindquartersand tail), bothto right;II) animals:lion (mane,partof body)to right. At the top of the fragment,dicing. Ring rosettesfor filling ornament.Red: bands on wing of bird;mane, ribs, belly stripeof lion. The GorgonPainter(ABV 10, 25). First quarterof the 6th centuryB.C. 413 PI. 41

P 5520 and P 17084 N 10

Two non-joiningfragmentsof largedomedlid. H. 0.102; est. diam.at rim 0.35; max. dim. P 5520 a + P 17084:0.25, P 5520 b: 0.134. Reservedon underside.Start of knob on P 5520 a + P 17084. Some of the glaze is abradednear rim. P 5520 a+P 17084 gives parts of three ornamental bandsand one figuredfrieze:I) aroundbase of knob,rays; II) dicing;III) rosettes;IV) animalsandsirens:head,breast, and wing tip of siren to right,then a panther(someof hind legs missing) to right, a siren to left with head turned around, and a panther (hindquartersmissing) to left. P 5520 b preservesmore of the animal- and siren-frieze: bull (body,legs) to left; siren (tail, some of wing) to right. Red:alternatepetalsandcoresof rosettesin frieze;alternate petals of some rosettesin figurezone;tops of siren'sheads; breastof sirenon left;bandat napeof neckof sirenon right, bar and alternatefeathersof her wing, band and alternate feathersof her tail; muzzles, eyes, foreheadsbut for black strip, necks,and belly stripesof panthers;belly stripe and ribs of bull. The Group of the Dresden Lekanis (ABV 22, 6: P 17084). Ca. 580-570 B.C.

CATALOGUE

154

COLUMN-KRATERS 414-490 Pls. 41-46

414 P1.41

P 26289 H 12:21

Handle-plate.P.H. 0.047; max. dim. 0.062. Right half preservedwith startof handlebeneath. On top of plate, swan (top of neck, part of wing and tail missing)to right. Ring rosettesfor fillingornament.Border of esseson outeredge.Red:wing bow;sideof handle;border of esses. Ca. 600 B.C.

415 PI. 41

P 22839 H-K 12-14

Wall fragment.Max. dim.0.125. Whitishslip on surface. Siren (wing, tail, legs) to left. On the right, part of anotherfigure, perhapsa siren or sphinx. Red: wing bow, bandon tail. Late firstquarterof the 6th centuryB.C. P4237 E 14:11 Wall fragment. Max. dim. 0.078. Glaze fired red on inside. Man (feet, lower part of chiton and cloak) standingto rightfacinga siren (partof breast,wing bow). Betweenthe two, at the break,part of a dot rosette.Red:panel of cloak, wing;line. Late firstquarterof the 6th centuryB.C.

416

417 P1.41

P3015

R 13:3

Wall fragment.Max. dim. 0.17. Komasts.Beardedkomast (right hand missing) to left; hand of another at the upper left. At the right, tail of a feline, perhapsone of two that flankedthe dancers.Incised rosettesfor filling ornament.Abovefigures,tonguepattern at junctionwith neck, Red:face, neck,tunic fromwaist up; coresof rosettes,dotson theirleaves;alternatetongues;band below figures. The KomastGroup:VIII, Unallotted(ABV 36, 36). Ca. 585-575 B.C.

418 PI. 41

P 27586 M 16

Fragmentof handle-platewith part of columnon underside. Max. dim. 0.083. Feline (body, one foreleg, hindquarters,tail) to right. Red:ribs,markingson hindquarters;sidesof plate. For a feline on a handle-plate,cf. the pantheron Conservatori212 by the KY Painter(ABV 31, 2; Paralip. 16, 2). Late firstquarterof the 6th centuryB.C. 419 P1.42

P 13848 U 25:2 (L)

Wall fragmentwith start of handle at right. Max. dim. 0.082. Baklr,Sophilos,pl. 83, fig. 170. House (at the left, partof a door,thentwo Doriccolumns,

one white, the otherblack).On the right,a smallbit of glaze belowthe handleroot.Underthe handle,swan (head;some of body) to right with head turned around.Red: band at rightedgeof door(its frame?),outlineand neckingringsof columnon left. White (applieddirectlyon the clay):column on left. For the house,comparetwo othersby Sophilos:Akropolis 587 (ABV39, 15; Bakir,Sophilos,pi. 3) and London,B.M. 1971.11-1.1 (Paralip.19, 16 bis;Bakir,Sophilos,pls. 1, 2; Williams,op. cit. [footnote4, pp. 33-34 above],pp. 9-34). Both of these depict the Wedding of Peleus. In Attic painting,the use of redforcontouris knownmainlyon vases by Sophilos and on some that may be by him (Beazley, Development,p. 19;ABV43, 1-5); alsoon Kerameikos,inv. no. 109, a contemporaryunattributedrim fragment(KerameikosVI, ii, no. 193, pl. 122);for examplesin otherkinds of painting,cf. A. Rumpf, Gnomon25, 1953, p. 469. The applicationof white directlyon the claygroundis knownin earlier Attic vase painting,but by the time of Sophilos,it was usually laid on top of black glaze. Sophilos' use of accessorywhite was the method preferredby Corinthian painters(Beazley,MMSt 5, 1934-36, p. 101), and he may haveborrowedthe techniquefromthem. Sophilos(ABV41, 26); Bakir(pp. 43-44) diminishesour fragmentto a workshoppiece. Ca. 580 B.c.

P 22330 0 16 420 P1.42 Wall fragment.Max. dim. 0.056. Symposion:one leg of the couchoverlappedby a counterpane with a decorativeborder;one leg of the tall table in front of the couch (its top is not preserved,but on the far rightof the fragmentis a bit of curvedincisionwhich is the end of a piece of meat hangingover the edge). Beneaththe tableis a dog (hindquarters,tail) crouchingto right. The longcouchcoveroverlappingpartof the leg, the table in frontof the couch,and the inclusionof the dog are based on the Corinthiancomposition,whichseemsto haveprovided the modelforAtticartists.Cf. B. Fehr, Orientalischeund griechische Gelage,Bonn 1971, pp. 28-29, 54. For the subject, cf., also, J.-M. Dentzer, "Aux origines de l'iconographiedu banquetcouche,"RA, 1971, pp. 215-258. For Greekcouches,cf. H. Kyrieleis,Throneund Klinen,Berlin 1969, pp. 98-149. Ca. 580-570 B.c.

P 17806 J18:4 (L) 421 P1.42 Three non-joiningwall fragments.Max. dim. a) 0.15, b) 0.16, c) 0.05. Parts of two zones, the main one and an animal frieze below.Fragmenta (illustrated)preservespartof each:I) on

COLUMN-KRATERS the left, at the break, the toes of a foot to left; II) siren or sphinx (head) to right and some of the outspreadwing of a bird, perhapsan eagle flying to right or a siren with wing outspread.Fragmentb (illustrated),possiblyfromthe other side of the vase, also gives some of two zones:I) on the left, toes of a foot to right, four frontal hoofs; II) feline (hindquartersand tail) to left and a goat (tail) to right. Fragment c preservespart of an objectthat looks like the head of a spear or one of the horses'tails. Red:wing bow of siren or sphinx;someof wing of eagle or siren;rib of feline. The composition probably showed a frontal chariot flankedby standingfigures,similarto the contemporaryone on LouvreE 873 by Sophilos(ABV 39, 12; Baklr,Sophilos, pi. 46, fig. 83), and 421 is probablynot far from Sophilos, althoughso little remainsthat it is difficultto be certain.For the interpretationof the wing on 421 as that of an eagle, comparethe one on LouvreE 873 (Baklr,Sophilos,pl. 47, fig. 85). Also, for the animals,compareAthens, N.M. 991 (ABV 38, 1; Baklr, Sophilos,pls. 49-54), Boston, M.F.A. 98.915 (ABV 41, 27; Baklr, Sophilos,pls. 26-29), and 6 (PI. 1). The representationof the frontal chariot seems to be introducedin Atticblackfigureby the GorgonPainter,e.g., Akropolis474 (ABV 8, 2) by the painterhimselfand Akropolis 759 (ABV 12, 31) in his manner.The basic study of this scene is G. Hafner, Viergespanne in Vorderansicht.Die reprisentative Darstellungen der Quadriga in der griechischen und der spateren Kunst, Berlin 1938. For the Archaic

period, cf. pp. 3-60. For a review and an appendix, cf. D. Amyx,AJA43, 1939, pp. 164-166. The sceneis also discussedbrieflyby W. Deonna in Genava9, 1931, pp. 126167 and by E. Kunze, Archaische Schildbiinder (Olympi-

sche ForschungenII), Berlin 1950, pp. 184-185. Ca. 580-570 B.c.

422 P 26507 I 17:2 Two non-joiningfragmentsof rim. Max. dim. a) 0.158, b) 0.12. On top sideof rim, friezeof horsemento right:fragmenta givespartsof the legs of a horsegallopingto right;below its belly, a blob;fragmentb preservesthe right leg of a rider, the forelegs and chest of his mount, some of the body of another.On the verticaloverhang,incisedrosettes.Red:ribs of horseson fragmentb;coresand stripson petalsof rosettes. The horsesand rosettesmay best be comparedwith those on two column-kratersby the KY Painter,Conservatori212 (ABV 31, 2; Paralip. 16, 2) and LouvreC 11249 (ABV 31, 4; Paralip. 16, 4: the numberwronglygiven as C 12249). Unusual on 422 is that the figuresappearon the top side of the mouth (cf. 476: P1. 46), a decorativearrangementthat does not seem to occur again in Attic black figure until Lydos, but it does appear in Early Corinthian,although here, too, it is unusual. Cf., for example, Louvre E 635, which has a frieze of animalson the top side of the mouth and on one handle-platea hunt, on the othertwo horsemen (NC 780; Baklr, Kolonnettenkrater, K 20, pl. 10); and

155

Warsaw,ex Goluchow(Bakir,op. cit., K 12) with animals on the mouth,no handle-plate. Ca. 580-570 B.C.

423

P 4629 F-G 12:1

Wall fragment.Max. dim. 0.106. R. Young, Hesperia, Suppl. II, Athens1939, p. 119, fig. 86:B 36. Siren (breast,startof wing, partof one leg) to right,facing a grazing goat (head and neck). Cross in field. Red: breast,bar on wing of siren;neckof goat. Secondquarterof the 6th centuryB.C. 424

P 13105 R8

Wall fragment.Max. dim. 0.071. Sirens(headof one;faceof the other)facing,with the bow of a spreadwing between. Above, edge of tongue pattern (guideline).Red:wing. White:faces. Secondquarterof the 6th centuryB.C. 425

P 26811 T 19

Fragment.Max. dim. 0.15. Downturnedrim, neck,convex wall, andthe stubof one handlecolumn.Neck blackexcept underhandle. Underhandle,swan to right.On left, goat (hindquarters, tail) to left. Red:wing bow, stripson breastof siren;markings on hindquartersof goat;threebandsbelow figures;two insideneck. Secondquarterof the 6th centuryB.C. 426

P 1394 R13:3 Wall fragment,with start of neck. Max. dim. 0.108. Burned(clay is gray). Two heraldicpantherswith heads averted(top of head and neckof one on left;head,neck,startof shoulder,partof tail of one on right). Red:necks. Secondquarterof the 6th centuryB.C. 427

P 21709 0 7:9

Handle-plate.Max. dim.0.085. Inneredgebrokenaway; startof handlecolumnbeneath.Edgesblack. On top of plate, sirento right. Blobrosettes. The Polos Painter(ABV 44, 11). Secondquarterof the 6th centuryB.C. 428 P1.42 P 23543 P 7:5 Rim fragment.Max. dim. 0.08. On top side of rim, lotus-palmettefestoon.Red:heartsof palmettes;cuffsof lotuses;bandon insidebelow rim. The appearanceof the lotus-palmettefestoonon the top side of the rim is unusual, and this one is an odd version becauseonly narrowlinks, not loops,separatethe heartsof the palmettesfromthe cuffsof the lotuses. Secondquarterof the 6th centuryB.C. 429

PI. 42

P 22134 0 15 Fragment of shoulder with start of neck. Max. dim. 0.076.

156

CATALOGUE

Youth (head, shoulder, part of chest) to right. Above, tongue pattern. Red: hair, ring round nipple; alternate tongues;bandon insideat junctionof neckand shoulder. Lydos(ABV 112, 61). Ca. 560 B.C.

430 P1.42

P 5047 N 14

Wall fragment.Max. dim. 0.045. Glaze firedred on inside and outside. Man (some of head and shoulders,part of cloak with elaborateborders)to left. Red:dotson garment. The crinklycontourof the hair and the wide, patterned bordersare bestparalleledin the earlyworkof Lydos.Compare especially, Munich 1681 (ABV 108, 12; Tiverios, pl. 2); Louvre E 804 (ABV 108, 13; Tiverios, pl. 7:a); Florence70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23); FlorenceV 102 b andd (ABV 111,46; Tiverios, pi. 71:y); also, London,B.M. 1948.10-15.1 (ABV 108, 8; Paralip.44, 8; Tiverios,pls. 7:,8,8, 9); and Leningrad(Paralip. 45; Tiverios, pi. 72:a, y). Compare also, a contemporarywork that bears some resemblanceto the Ptoon Painter,New York,M.M.A. 59.64 (Paralip.31; CVA,New York4 [USA 16], pls. 1, 2 [729, 730]). The subjecton 430 may be a symposion,for the fragmentcomesfromaboutthe maximumdiameterof the vase, and the figuremay, therefore,be a recliningone. Abovehis headtheremayhavebeen fillets or utensils hanging on the wall, and at the junction with the neck,a row of tongues. For symposia,cf. 420. Ca. 560 B.C.

431 P1.42

P 23664 Q8

Wall fragment.Max. dim. 0.105. Symposion.The fragmentpreservesone leg of the couch, some of its cover,part of the table in frontof it, with cakes. On the right, a boy (one leg, part of the other) comes in holdinga smalljug (fingersof righthand,vessel).Red:part of couchleg; alternatecakes.White:partof borderof couch cover. For symposia,cf. 420. Ca. 560

B.C.

P 26537 T18:3 432 PI. 42 Shoulderfragment.Max. dim. 0.069. Symposion.Youth(head,shoulders,someof body)reclining to left with head turnedtowarda beardedman (head, right shoulder)also reclining.Below the youth,someof the couch.Abovethe two, tonguepattern.Red:garments;alternate tongues. For symposia,cf. 420. Ca. 560 B.C.

433 P1.42

P 23049 M-N 15:1

Wall fragment.Max. dim. 0.062. Judgment of Paris (most of raised left arm with lyre,

some of the torso and neck of Paris). He moves to right, lookingaround,wearinga crinklychitonwith a cloak.The bit of glaze to the left of his forearmmay be the sash of the instrument.Red:cloak.White:chiton. For the representation,cf. Clairmont,Parisurteil,esp. p. 104 for Paris; more recently,I. Raab, Zu den Darstellungen des Parisurteilsin der griechischenKunst, Frankfurt-am-Main1972, esp. pp. 61-68. 433 showsthe flightof Paris, at least to judge by his raised left arm (cf., e.g., Clairmont,Parisurteil,pl. 11). Unusualon 433 is that Paris holdshis lyre in his raisedleft hand. Normallyhe carriesit at thigh level in his right,his left beingempty.But compare a laterexample,Laon37894 by the DiosphosPainter(ABV 703, 15 bis;Paralip.249, 15 bis), where Paris startsto flee looking around,holding his lyre in his slightly raised left hand,a staff in his right. Ca. 560-550 B.C. 434 PI. 42

P 14370 T 18:1

Two non-joiningfragmentsof wall. Max. dim. a) 0.113, b) 0.192. Glaze firedred. Fragmenta preservesa youthfromthe waist up, moving to right lookingaround,dressedin a chitonwith two straps of a sackoverhis raisedright arm. Fragmentb givesa little of his left leg and all of his rightwith the bottomof the sack overlappinghis thigh.On the left are the lowerpartsof two drapedmales to right, and on the far left are two dots of glaze that maybe partof an imitationinscription.Red:hair; bandbelowfigurezone. White:baldric. The subjectis difficultto interpret.The runningfigureis unlikelyto be Perseus,for not only does he lack a cap and winged boots but what remains of the scene does not fit within the establishediconography.His arms are in the wrong positionfor the beheading,and in the pursuit, Perseusdoesnotcarrythe kibisisoverhis rightarmbutoverone of Perseus,cf. Brommer,Helshoulder.For representations with 272-291, bibliography.Anotherpossidensage3,pp. bilityis Aristaioswho carriesa sackoveronearm,but all the examples of him known to us show him winged (cf. the bibliographyfor 141: P1. 18). Ca. 550

B.C.

435 P1.43

P9326

M18:2

Wall fragment.Max. dim. 0.057. Two horses(foreheadof one, partof maneof the other)to right. Above, tongue pattern. Red: mane of horse on left; alternatetongues.White:maneof horseon right. Perhapsby Lydos. The subjectmay have been a horseman leadinga voidhorseas on the Kerameikoshydria(Paralip. 45; Tiverios, pl. 29) or a pair of horsemenas on the Naples amphora(ABV 109, 23; Paralip. 44, 23; Tiverios, pl. 56), for the spacingbetweenthe headsis not correctfor a chariotteam (cf., e.g., Berlin 1732:ABV 110, 37; Paralip. 44, 37; Tiverios, pls. 58-59). For the drawing compare the Eleusis fragment(ABV 109, 22; Tiverios, pl. 73:y),

157

COLUMN-KRATERS Akropolis2546 (ABV 113, 85; Tiverios, pl. 77:8), and the horseheadshield deviceon Akropolis802 b (ABV 112, 59; Tiverios, pl. 81:8). Ca. 550 B.C.

Ca. 550

P 24943 Q13:5 436 PI. 43 H. 0.216; diam.0.245. Chips in footand rim;a few small fragmentsof wall restored. Glaze misfired (brownish or greenishcast). H. A. Thompson,Hesperia25, 1956, p. 57, pl. 16:a;P. Zaphiropoulou,BCH 94, 1970, p. 393, figs. 34, 35 and p. 394, figs. 36-39. A, two preening swans facing, with a palmette-lotus floral between. Above, tongue pattern. B, goat grazing to left. Under each handle, swan to right. Incisedrosettesfor filling ornament.On each handle-plate,birdto rightpreening. On top side of rim, rays. Abovefoot, rays. Red:bar on each wing; dots on neck of right swan; heart of palmette, link; alternatetongues;neck, ribs, belly stripe,markingon hindquartersof goat;two lines inside neck (one at rim, one at junctionwith shoulder);fivelines below figures;two lines on foot.White:baron eachwing of swanson A; budof lotus; dots roundheartof palmette. Mannerof Lydos(Paralip.47). Ca. 550 B.C.

437 PI. 43

P14689

S21:2

Fragmentof rim, neck, and body. P.H. 0.094; est. diam. of rim 0.275. Animals:swan (head) to right;goat (mostof head, neck, and back)to left. On top side of rim, rays. Red:goat'sneck; line on insideat junctionof neckand body. The compositionwas probablyvery like that on a column-kraterin the mannerof Lydos,LouvreC 11257 (ABV 117, 30; Paralip. 47, 30), and 437 probablybelongsto this group (ABV 117, 26-39; Paralip. 47), for what remainsof the drawing,exceptfor the doubleline indicatingthe goat's shoulder,is similar. Ca. 550 B.C.

438 P 25278 R 12:3 Wall fragmentwith startof neck.Max. dim.0.113. Some of the glaze on the inside is thin. Siren or sphinx (backof head) to right with head turned around. On the right, a panther (hindquartersand legs missing). Above, tongue pattern without separatinglines. Red:neck,belly stripe,ribs. Ca. 550 B.C.

439 P1.43

hair of man; fillet, eye of woman;band on inside of vase below rim. White:woman'sflesh. Relatedto Lydos(ABV 119, II, 5).

P198

G 17

Handle-plate, completeexcept for outer corners.Max. dim.0.095. Someof the columnsare preservedon the underside. E. Vanderpool,Hesperia 15, 1946, p. 130, no. 16, pl. 21:7. Heads of man and woman to left. Edgesof plate framed by two parallellines. On sidesof plate, borderof esses. Red:

B.C.

440 P1.43

P 6033 E 15

Handle-platewith part of column on underside.Max. dim. 0.107. Head of beardedman (foreheadmissing) to left. Three parallellines framethe plate on each side. Red:face, neck, fillet. Relatedto Lydos.Comparethe male headon the handleplate of the painter'scolumn-kraterin London(ABV 108, 8; Paralip.44, 8; Tiverios,pl. 7:,8),but the drawingon 440 is weaker,the ear too large,andthe facecoveredwith added red, a detaildifficultto parallelin Lydos,althoughit occurs elsewhere(e.g.,441: PI.43,451: P1.44,453). For morethan one line framingthe plateat the sides,a rarefeature,cf. 439 (PI. 43). Ca. 550 B.C.

441 PI. 43

P 23211 M 15 of with start of columnon underFragment handle-plate side. Max. dim. 0.095. Glaze firedbrown.Surfacepitted. Male head (top half missing) to left. Framing line on right. Red:faceand neck. Related to Lydos. Cf. 440 and the comparisonsgiven there. Ca. 550 B.C.

442 PI. 43

P 23276 M 15

Handle-plate.Max. dim. 0.093. Birdto right,preening.Framinglines on right. Red:dots on neck,bar on wing. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47). Ca. 550 B.C.

443 P. 43

P24955

Q13:5 with start of rim and column beneath. Handle-plate Max. dim. 0.091. Inneredgebrokenaway;chip fromlower rightcorner. Birdto right,preening.Red:bar on wing;dotson neck. Mannerof Lydos,may be by the Painterof LouvreF 6 (Paralip.47). Ca. 550 B.C.

444

P3039

M 11

Fragmentof handle-plate.Max. dim. 0.09. Bird(someof neck,endof tail missing)to right,preening. Framingline on right. Red:stripon wing. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47). Ca. 550 B.C.

CATALOGUE

158

P 22158 016

445

Handle-plate. Max. dim. 0.105. Some of column preservedon underside;startof rim. Glaze firedred in part. Swan to left. The painterforgotto put in the tail. On top side of rim, rays. Red:dots on neck;wing bow;bandon inside belowrim. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47: numberincorrectlygivenas P 23158). Ca. 550 B.C.

P 13346 H 10:2

446 PI. 43

Handle-plate.Max. dim. 0.105. Male head (upper part of face missing) to left. Red: beard,fillet. The Painterof Vatican309 (ABV 122, 23). Ca. 550

P 22176 Q7:1 Rim, neck, start of shoulder, and handle-plates.P.H. 0.06; diam.of rim 0.27, with handle-plates0.36. On each handle-plate,male head to left. On top side of rim, rays.Abovepanelson eachside,tonguepatternatjunctionwith neck.Red:fillets,beards;alternatetongues;line on insidebelow rim. The Painterof LouvreF 6 (ABV 125, 26). Ca. 550-540

B.C.

448 P1.44

P 14564 No grid

Handle-plate.Max. dim. 0.21. Male head (tip of beard, front of neck missing) to left. Framingline on left and right. Red:fillet;stripon beard. The Painterof LouvreF 6 (ABV 125, 25). Ca. 550-540 B.C.

P2399 H8-10 449 Wall fragment.Max. dim. 0.125. Panther(mostof head, neck, some of body and forelegs) and swan (tail, some of wing and leg), both to right. Red: neck. White: strip on nose of panther,belly stripe;dots on wing of bird. Perhaps by the Painter of Louvre F 6. Compareespecially Louvre E 678 (ABV 125, 29; Paralip. 51, 29) and LouvreE 679 (ABV 125, 30; Paralip.51, 30). 450

Ca. 550 B.C.

B.C.

447

Ca. 550

Fragmentc gives some of a roundshield (device:foreparts of a horse)held by a warriorto left (partof one greavedleg remains).His shield overlapsthat of anotherthat seems to have a female leg as its device. Fragmentd preservesthe spreadwing and part of the tail of an eagle flying to left, probablybeneath the handle, and, on the far right, the greavedleg of a warriorto left. Red: wing bows;stripeon cloakof drapedman;rim of roundshield;alternatetongues; two bands below the figure zone. White: chitonof draped man, dot clusterson his cloak;woman'sfoot;circleson rim of Boeotianshield;devices. The compositionon one side probablyshoweda birdor a sirenbetweentwo seatedsphinxes,similarto one on an unpublished fragmentarycolumn-kraterin London (B.M. B 101), which has the decorationset in panels.

B.C.

P 25378 No grid

Four non-joiningwall fragments.Max. dim. a) 0.195, b) 0.093, c) 0.13, d) 0.105. Fragmenta preservesthe stubof one column. Fragmenta preservesa sphinx (body,forelegs,wing) to left and in frontof her, partof the wing of a siren.Abovethe sphinx's wing, some of the tongue patternat the junction with the neck, and in the upper right, the start of the handle.Fragmentb shows the lower part of a drapedman to right and, in frontof him, part of the rim of a Boeotian shield, presumablyheld by the woman (foot) facing him.

P 10202 No grid Handle-plate. Max. dim. 0.115. Part of column preserved on underside.E. Vanderpool,Hesperia 15, 1946, p. 129, no. 14, and pi. 21:5. Head of man to left. The tip of the beardand the nose wereoncedrawnlower.Red:face;bandon insidejust below

451 PI. 44

rim.

Hair dividedinto locksis an unusualfeatureof this head. Compare452 and a fragment,Harrogate,Kent (AJA 48, 1944, p. 251), perhapsby the samehandas 451. Ca. 550 B.C.

P206

452

G 14

Fragmentof handle-plate.Max. dim. 0.112. Startof column on underside. E. Vanderpool,Hesperia 15, 1946, p. 129, no. 15, pl. 21:6. Head of man (top missing)to left. Red:face,neck,eye. Ca. 550 B.C.

453

P116

H5-6(?) Handle-plate. Max. dim. 0.131. Some of column on underside. Head of man (upperpartmissing)to left. Red:face,neck. Ca. 550 B.C.

454

P 22335

0 16

Handle-plate.Max. dim. 0.089. Head of man (top missing) to left. Red: fillet, strip on beard. Secondquarterof the 6th centuryB.C. 455 P1.44

P26617 T18:2

Fragmentof handle-plate.Max. dim. 0.10. Someof column on underside. Head of youth to left. Red: face, except for eye and contour. Second quarter of the 6th century B.C.

159

COLUMN-KRATERS P 3259 E 14

456

Fragmentof handle-plate.Max. dim. 0.091. Part of column on underside. Head of manto left. Red:face,neck;bandon insidebelow rim. Ca. 550 B.C.

P 10785 No grid Wall fragmentfromnear shoulder.Max. dim. 0.048. Warrior(torso,upper parts of arms) drivinga chariotto right; a Boeotianshield (part of its rim) shown in profile hangs down his back; on his left is the shaft of a spear. White:chiton. The positionof the warrior'sarms suggeststhat he is a charioteer.The shafton his left cannotbe that of a goad,for it shouldbe held in his hand, not tuckedunderhis arm. It may be a spear belongingto a warriorwho standsbehind the chariot,aboutto mount. Third quarterof the 6th centuryB.C. 457 PI. 44

P 15888 D-E 18-19 (?) Wall fragmentwith startof neck.Max. dim. 0.067. Man and woman(heads)to right.Tongue patternabove. Red:alternatetongues.White:woman'sface.

458

Ca. 550-540

B.C.

459 P1.44

P 24956 Q 13:5 Fragmentof rim, overhangbroken.Max. dim. 0.195. On top sideof rim, lotus buds.On side,rosettes.Red:outline of closedbuds; links; line inside rim and one at outer edge. The lotusesare similarto thoseon the overhangof the rim of a large fragmentarycolumn-kraterfrom Samothraceattributed to the Princeton Painter (Hesperia 44, 1975, pl. 54:b,c). Here, however,the outer leavescurl morethan they do on 459. Comparealso the lotus-budfrieze on the neckof the namepieceof the Painterof LondonB 76 (ABV 85, 1; Paralip.32, 1). Ca. 550 B.C.

460 PI. 44

P 13015 V 24:2 (L)

Fragmentary.P.H. 0.22; diam. of rim 0.46. Half of rim, one handleand attachmentof the other,nearlythree-quarters of the neck,morethan half of panel on one side. Boxers,youth,and men. Two boxers,preservedfromthe waist up, fight,as a drapedyouthlookson. A cloakappears betweenthe boxers,perhapsdrapedovera stoneor a pillar. On the right,a nude male talks to a drapedman (bothpreservedfromthe kneesup). Above,tonguepatternatjunction with neck.On the right,ivy framesthe panel.On top sideof rim, a chain of lotus buds; on overhang,ivy. On top of handle-plate,lotus-palmettecomplex.Red:stripesand dots on garments;beards,hair;alternatetongues. Ca. 540-530 B.c. 462 PI. 44

P 16564 No grid Wall fragmentwith tracesof handlecolumnat top. Max. dim. 0.048. Underhandleroot,the mouth,neck,andone handleof an amphoraType B. On the left, at the break,the end of a fold of drapery.Red:rim, alternatetongueson amphora;line on insideof fragmentneartop. Third quarterof the 6th centuryB.C. 463 PI. 44

P 13332 H 9

Fragmentof shoulder. Max. dim. 0.086. Stubs of one handleand startof neck.Glaze firedred. Below handleroot, the rim, neck, shoulder,and handles of a volute-krater.Red: lip and line on each handleof volute-krater;stripat left of handle. Third quarterof the 6th centuryB.C. 464 P1.44

P2028

H8-10

Wall fragment.Max. dim. 0.088. On the left, a woman (someof her hair, peplos,and left arm) to left, and behind her, a Boeotian shield (device: pantherhead and femaleleg) carriedby a warrior(part of left forearmand a bit of his scabbardon the far right), also to left. Red: rim of shield;belt of woman;line on inside. White:woman'sflesh;femaleleg. Ca. 530-520 B.C.

P24

I 10

Wall fragment.Max. dim. 0.068. Woman (uppertorso,upperright arm) to right,wearing a peplosand a himation,which she eitherholdsup with her left hand or which crossesover to her left shoulder,more likely the latter. On the right is a bit of glaze that may belong to another figure. Red: part of peplos; outer fold of himation;dot rosetteson peplos. A good parallelfor the suggestedarrangementof the himationis difficultto find. It may have been somethinglike that of the mourningwomanon the namepieceof the Painter of the Vatican Mourner (ABV 140, 1; Paralip. 58, 1), except that the woman on 460 stands up straightand her himationhas morefolds. Ca. 540 B.C.

461 PI. 44

465

P2324

R 13:4 (?)

Wall fragment.Max. dim. 0.05. Man (heel, anklebone,borderof long garment)standing to right.Red:garment.White:row of dotson bordertop and bottom. To judgeby the amountof spacebehindthe figure,he was probablythe leftmost one in the composition,perhaps a spectator.Compare,e.g., a column-krateronce in the London Market (Cat. Sotheby, 27. November, 1967, no. 157).

Third quarterof the 6th centuryB.C.

466 P1.44

P 4822 and P 4690 E-F 12-14

Two non-joiningwall fragments.Max. dim. P 4822: 0.081, P 4690: 0.116. One fragment(P 4690) with startof neck.

160

CATALOGUE

P 4822 preservesa satyr (rightleg frombelow knee, end of tail) to left and a maenador Ariadne(heel, someof drapery) to right. P 4690 (illustrated)shows a maenad(head, shoulders,hands) dancingto left. In the background,ivy. Abovethe maenad'sleft shoulder,a line that looks like the shaftof something,perhapsof a staff or a thyrsos.Red:tail (applieddirectlyon the clay ground);fillet;dotson drapery. White:femaleflesh;dot clusterson drapery. Ca. 520-510

Collections,pp. 44-45; no. 17); Rouen447 (Paralip. 148, 5 quater);Oxford 1911.256 (ABV 336, 11). Typical for the painteris the absenceof incisionon the hockjoints;also the mannerof drawingthe tail. Two arcs on the hindquarters are rare but occuron the unpublishedamphorain Rouen. Difficult to parallel is the incision on each spoke of the wheel. Ca. 510 B.C.

B.C.

471 PI. 45 467 PI. 44

P6557

E-F 12-14

Wall fragment.Max. dim. 0.047. Clay burnedgray. Youth (head) to left. Above, some of tongue patternat junctionwith neck. Recallsthe RycroftPainterbut not certainlyby him. Ca. 520-510 B.c. P 21180 K-N6-9

468

Wall fragment.Max. dim. 0.064. Chariot (hindquartersand tops of tails, some of reins, pole stay, and goad)to right. Inscribedabove:

]TOL[ Red:stripon tail. Last quarter of the 6th century B.C.

469 PI. 44

P 26541 T18:4

Wall fragment.Max. dim. 0.078. Nike or Iris? Lowerpartof a womanto rightwith feathers of wing in upperrightat break.Red:somefoldsof drapery. White:feet. Last quarter of the 6th century B.c.

470 P1.45

P2641

G 6:3 (U)

Five non-joiningfragmentsof wall. Max. dim. a) 0.124, b) 0.073, c) 0.076, d) 0.058, e) 0.062. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 191, pl. 58. A and B, chariotto right. Fragmenta preservesthe hind legs and tails of one team, some of the chariot pole and wheel, and on the left side,a maleleg and the lowerdrapery of a secondfigure,bothto right.Fragmentb, fromthe other side, gives parts of the hind legs of the horses. Fragmentc showssomeof the wheelandbox of the chariot,probablythe one drawnby the horseson fragmentb, becausethe wheel rim is thickerthan the one on fragmenta. Fragmente preservespart of Athena (backof neck,long lock;helmetwith L-shapedcheekpieces)and on the left, the ivy flankingthe panel. Fragmentd, fromthe lower rightcornerof the panel (notillustrated),givesmoreof this patternanda malefootto right.Red:crestof helmet;one tail on fragmenta; bordersof hangingfolds;part of chariotbox; hub of wheel; two lines below panel. White: dot clusters on garments;flesh of Athena. Perhaps by the Rycroft Painter. Compare especially Vienna 3598 (ABV 335, 4); also Worcester1956.83 (ABV 335, 5 bis; Paralip. 148, 5 bis; Buitron, New England

P 2612 G 6:3 (U)

Six non-joiningfragmentsfrom both sides of the vase. P.H. a + d) 0.294; est. diam. of rim 0.311; max. dim. b) 0.117, c) 0.217, e) 0.047, h) 0.031, 1) 0.035. Fragment a + d gives about one half of one panel, the columnsand plate of one handle.A few othernon-figuredfragmentsand some that show part of the framing ornament are not includedhere. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 190, pl. 57. A, chariotscene (weddedpair in a chariot).Fragmenta (illustrated)shows the forepartsof the team, with a youth before it to right, looking around.On the left side of the team,partsof threefigures.Fromleft to right:foreheadof a womanwith two torches(ends);then Hermes(petasoswith the brim turned up) to left, and a woman (top of head) carryinga lebeson top of her head.Fragmentb comesfrom the lower left cornerof the panel and shows part of the wheel of the chariotand the right leg of the man mounting it. Fragmente preservespart of the bodyof the right-hand tracehorse,someof the draperyof the womanand Hermes, and a bit of one forelegof the right-handpole horse.Fragment h gives a bit of the feet of the womanand Hermes.B, deities. Fragment d (illustrated), which joins fragment a on the other side of the handle, shows the head of Dionysos to right. Fragmentc (illustrated)gives part of two more deities: a woman (head and feet missing) and a god, probablyHermes (top of head, lower draperymissing), both to right, lookingaround.FragmentI may come from eitherside of the vase and preservesa bit of drapery. Red: beards;Hermes'forelock;bordersand stripesof garments;manes;breastbandof right-handtracehorse.White: female flesh; Hermes' chiton;right-handpole horse;pendantsof breastband. The rectangularplatejust abovethe mouthsof the horses is a bit burr,a devicethat in actualpracticewas attachedto the mouthpieceof the bit andpressedagainstthe sidesof the animal's mouth for greatercontroland perhapsto aid in turning.Cf. J. K. Anderson,AncientGreekHorsemanship, Berkeley1961, pp. 48-49, pis. 20-22; also, P. Vigneron,Le chevaldans l'antiquitegreco-romaine,Nancy 1968, p. 65, pls. 18, 20:c. Ca. 510 B.c. P6136 E 15:6 472 PI. 45 Wall fragmentwith start of shoulder.Max. dim. 0.182. On the right,the hole for an ancientmend. Dionysosand maenad.Dionysos (top of head) standsto rightholdinga drinkinghorn(topremains),his headturned

COLUMN-KRATERS aroundfacingsomeonewho is not preserved.In frontof the god'sface,tracesof an object.On the right,a maenad(head) to left, holdinga torch.In the field, a vine. Tongue pattern abovefiguresat junctionwith neck.Red:beard;loopedfillet of maenad;bandon insideof neckat junctionwith shoulder. White:maenad'sflesh;top of drinkinghorn;end of torch. Late 6th century B.C.

473 P1.45

P 25916 M17:7

Wall fragment.Max. dim. 0.148. Fight (parts of four warriors).Of 1, all that remainsis partof his torsoand legs to right.2 is beardedand collapses, head averted,holdingout his roundshield,which is seen in profile. He wears a short pleated chiton, a corslet, and greaves,and carriesa spear in his right hand. 3 comes in from the right holdinga roundshield (device:chariotbox). He wears a short chiton and greaves.In the lower right of the fragmentis a leg (greaved)of a warriorto right.The bit of glaze betweenthe head of 2 and the rims of the shields may representpartof the armof 3. It cannotbe a helmet,for the head of 2 is bare. Red: beard;rims of shields;dots on chitons.White:device;baldricof 2. Last quarterof the 6th centuryB.C. 474 PI. 45

P 24123 Q12:3 Preservedbut for footand a fragmentof side B. P.H. 0.30; diam.at rim 0.30. Spallon side B. H. A. Thompson,Hesperia 24, 1955, p. 62, pl. 29:b; Camp, op. cit. (under 319), ill. 31; S. R. Roberts,Hesperia55, 1986, p. 32, no. 70, pl. 9. A, Heraklesand the Lion flankedby Athenaand Iolaos. Athenastridesto left, lookingaround,holdingout her helmet in her left hand. Iolaos moves to right, also looking around,the hero'sclubin his righthand,a cloakoverhis left arm. Herakles wrestles the lion in the horizontalpositon; the lion pushesthe hero'shead with its left hind foot.Above the two is Herakles'sheathedsword and cloak. B, five komasts, beardedand with fillets roundtheir shoulders.The outer couples are in conversation,all movingto right, the one on the right of each pair lookingaround.The central figure dances to left, looking around.The panels on each side are framedby ivy. Abovethe figures,tonguepatternat the junctionwith the neck.On each handle-plate,palmette betweenreversingspirals,with a triangleof space between the inner spiral and the frame of the plate. On top side of rim, friezeof lotusbudswith dotsin the interstices.On overhang, ivy. Abovefoot, rays. Red:all beards;edges of cloaks of Heraklesand Iolaos;tongue,belly stripe,strip on ruff of lion; fillets of all figureson A; alternateleaves of wreaths; alternatetongues;line insidebelow rim;on outside,one line below scene and one aboverays. White:Athena'sflesh;dot clusterson garments;filletsaroundnecksof komasts. The two incised lines on the right shoulderof Herakles look like the toes of the lion's paw, as if the artist had originally intendedthe hind leg to reach fartherforwardbut changedhis mind. For the subject,cf. 394. Ca. 510-500 B.C.

161

475

P 23153 H 12:15(U) Wall fragment.Max. dim. 0.055. Horse (upper parts of forelegsand elbow) to right. The blackglaze to left and rightof the left forelegrepresentsthe draperyof a figurestandingbesidethe horse. Last quarter of the 6th century B.C.

476 P1.46

P 25273 R 12:3

Fragmentpreservingpartof rim, neck,and shoulder.Silhouettetechnique.P.H. 0.145; est. diam.of rim 0.50. On top side of rim, confrontedanimals:a lion and a boar, twice (most of boar on left, all of next lion and boar, forepartsof lion on right).On overhang,ivy. Tonguepatternon shoulderatjunctionwith neck,stoppedon the right,indicating the startof the handlezone. Belowthe tonguepattern,a traceof one of the figureson the body (the top of a helmet crest).Red:line on insidebelow rim. White:edgeof helmet crest. Figureson the top sideof the rim are not too frequent,althoughthreeotherexamplesoccuron Agoracolumn-kraters (422, 477, 490). Others are, e.g., New York, M.M.A. 31.11.11 by Lydos (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); two by the Painter of Louvre C 11266, the namepiece(Paralip.154, 1) and Villa Giulia 50763 (Paralip. 154, 3); one closeto him, LouvreC 11277(Paralip.155, 1); and two related,Villa Giulia M. 447 (Paralip. 155, 1) and Bologna 50 (Paralip. 155, 2); some unattributed examples:two in New York,M.M.A. 07.286.76 (Festschrift Brommer,p. 53) and M.M.A. 24.97.95 (Metr.Mus. Bull., Dec., 1925, pp. 299-300, fig. 8); Basel, Antikenmuseum und SammlungLudwig (E. Bergerand R. Lullies, Antike Kunstwerke aus der Sammlung Ludwig, I, Friihe Tonsarkophageund Vasen,Mainz 1977, p. 77); two from the South Slope of the Akropolis,Athens 1960-NAK 315 (AeAr 27, 1972 [1976],p. 294, no. 258, pl. 133) whichmay be Antimenean,and Athens 1957-NAK 1192 (AeAr 27, 1972 [1976],p. 295, no. 260, pl. 133);two in the Louvre,C 11286 (CVA, Louvre 12 [France19], pl. 185 [858]) and C 11288 (CVA, Louvre12 [France19], pl. 188 [861]:1);Detroit 63.17 (Cat. Parke-Bernet,5 April, 1963, no. 87); and two in the LondonMarket(Cat.Sotheby,13.July, 1970,no. 131 and Cat. Sotheby,9. Dec., 1974, no. 279). All these are animals,except LouvreC 11266 (frieze of horsemen)and Athens 1960-NAK 315 (chariot).All the figures use the outsideedgeof the rim as the groundline. A maverickseems to be Athens 1957-NAK 1217 which shows the animals standing on the inside edge of the rim (ACAT 27, 1972 [1976],p. 295, no. 259, pl. 133). Bothmerhas suggestedthat 476 and 490 maybe the rimsof red-figuredcolumn-kraters, becausethe rim decorationis in silhouette. Late 6th century B.C.

477

P 23169 a, d, f H 12:15(L) Three non-joiningfragmentsof rim and handle-plate. Max. dim. a) 0.098, d) 0.057, f) 0.049. Silhouettetechnique. Decorationon white ground.

CATALOGUE

162

On top side of rim, animals:fragmenta givessomeof the ornamentalspiralon one handle-plateand mostof one boar (except for head) to right;fragmentd preservesmore of a handle-platepalmette;fragmentf shows some of the ivy decoratingthe overhang. For animalson the top side of the rim, cf. 476. Ca. 510-500 B.c. P 23169 b, c, e H 12:15(L)

478

Three non-joiningfragmentsof rim and handle-plate. Max. dim. b) 0.042, c) 0.05, e) 0.038. Silhouettetechnique. On top side of rim, animals.On overhang,ivy. Fragment b givesthe bodyand hindquartersof a pantherto left. Fragmentc shows the hindquartersof a boarto right. Fragment e preservessomeof the palmetteof the handle-plate. 478 cannot be from the same vase as 477 because the width of the rim and the height of the overhangdiffer.For animalson the top side of the rim, cf. 476. Ca. 510-500 B.c. 479 P1.46

P2571

G 6:3 (U)

Fragmentof neck and rim. Max. dim. 0.179; est. diam. 0.25. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 192, pl. 58. On top side of rim, lotus budswith dots in the interstices. On overhang,animalsdrawn in silhouettetechnique:goat (hindquarters)to left;lion facinga goat,twice (mostof right goatmissing);then the startof the handle.On handle-plate, palmette (tendriland end of petal). Red: line on inside of necknear rim. Late 6th century B.C.

480

P4754

E-F 12-14 Three non-joiningwall fragments. Max. dim. a + b) 0.125, c) 0.049, d) 0.078. Burned(clay is gray). Symposion.Fragmenta + b gives the leg of the couch with its Ioniccrowningpiece,partof the mattress,and some of the framingivy. Inscribedon the right: /-f

NO$

Fragmentc preservessome of a pillow, with part of the draperyof a recliningfigure.Fragmentd shows the raised left armof a male and someof the framingivy. It may come fromthe otherside of the vase. Red:dot on mattress.White: outlinesof Ioniccapital,decorationon leg of couch. For symposiaand couches,cf. 420. Late 6th century B.C.

P4673 E-F 12-14 481 Wall fragment.Max. dim. 0.112. Chariot(headsand necksof tracehorses)to right.On the right,someof the ivy framingthe paneland,overlappingthe ivy, a smearof glaze. Red:manesand forelock.White:teeth; dots on headstalls and on breastbandof left-hand trace horse. Late 6th centuryB.C.

P 21221 Q 10:4 482 Wall fragment.Max. dim. 0.059. Chariotraceto right.The fragmentshowspartof the rail, wheel, and box of one chariot,the long chitonof the charioteerstandingin it, andthe endof his goad.On his left, some of the pole of the next chariot,the hind legs of the pole horses,and the tails of the tracehorses.White:chiton. The scenemay have been similarto the one on an unattributedcolumn-krater,LouvreC 11285 (CVA,Louvre12 [France19], pl. 184 [857]:1). Late 6th century B.C.

483 P1.46

P 5549 E-F 12-14

Wall fragment.Max. dim. 0.088. Glaze firedred. On the left, a maenad(raisedfoot, drapery)dancingto right. In frontof her, a donkey(hindquartersand tail) with a figure,probablya satyr (left leg), seatedbackwardson its hindquarters.In the lower right corner,tracesof another figure(drapery?).In the field,a vine. White:maenad'sfoot. Late 6th centuryB.C. 484 PI. 46

P 12252 No grid Wall fragment.Max. dim. 0.073. Two men (backof head, right arm, someof backof man on left;head,righthandof manon right)to left. Eachwears a wreath.Red:beard. For similarwreaths,cf. 328. Ca. 500 B.C.

485

P411

G 13:1

Fragmentof shoulderand startof neck.Max. dim.0.045. Warrior(head with Corinthianhelmet pushedback) to left. In the lower left corner,part of round shield. Above, tonguepattern.White:baldric.The scale suggeststhat the warrioris on horseback. Late 6th centuryB.c. 486

P 6587 E-F 12-14 Four non-joiningwall fragments.Max. dim. a) 0.113, b) 0.125, c) 0.052, d) 0.058. A and B, chariotto right.Fragmenta preservesa woman (head and shoulders, hands holding the reins), perhaps Artemis,and someof a figure(shoulder,end of hair) standing on the left side of the chariot.In the field, a vine with grapes.Abovethe figures,tonguepatternwithout separating lines and on the left some of the framingornament,a verticalrow of dotsbetweenlines. Fragmentb givespartsof the horses(someof theirheads,necks,the bodyof the righthandtracehorse)and part of Apollo(shoulder,neck)holding his kithara.In the field,a vinewith grapes.Tonguepatternaboveas before.This fragmentcomesfromthe opposite sideof the vase,forthe reinswill not meetwith thoseheldby the charioteeron fragmenta. Fragmentc belongs to the rightsideof one of the panelsandpreservesthe filletedhead of a figure to left. In the field, a vine with grapes.Above, tongue patternas before,and on the right, one line of the framingornament.Fragmentd preservesthe forelegsof one

VOLUTE-KRATERS team, and part of a dog (tail, someof body)on the left-hand side. Red: fillets;stripson manes;dots on Apollo'sdrapery, bar on sounding board of his kithara. White: flesh of charioteer;outlineof kithara;dot clusterson drapery. Late 6th century B.C.

487 PI. 46

P 26630 U 19

Two non-joiningfragmentsof neckand body.Max. dim. a) 0.167, b) 0.148. Fragmenta (illustrated)showsa warriorrunningto right betweentwo standingmale figures.He wears a Corinthian helmetand a shortchitonwith a corsletand carriesa round shield (device:balls) and a spear. A sheath is suspended from a baldric over his right shoulder.The two flanking figureswear chitonsand himatiaand hold staffs. Fragment b, from the other side of the vase, shows a satyr (head) to right. Then come three maenadswearing cloaks and chitons, all movingto right, except that 2 and 3 look around. 1 wears a nebris.Most of 3 is missing.Red:filleton helmet; forelockand beard;dots on nebris;dots and stripeson garments of 2 and 3. White: baldric;shield device;maenad's flesh;dotson garments. Panels withoutlateralframesare ratherrareon late 6thcenturyblack-figuredcolumn-kraters.Comparethe reverse of the namepieceof the Painterof LouvreC 11266 (Paralip. 154, 1) and one closeto him, LouvreC 11277 (Paralip.155, 1). 487 seemsnear this painter. Late 6th century B.C.

488

163 P 4685 E-F 12-14

Wall fragmentwith startof neck.Max. dim. 0.06. Man (head)dancing(?)to right, holdinga staff (someof the shaft appearsat the break) in his right hand. Tongue patternon shoulderat junctionwith neck. White: dots on cloak. Early 5th century B.C.

489 P. 46

P 268 and P 1127 G 15

Two non-joiningwall fragments. Max. dim. P 268: 0.073, P 1127: 0.059. Glaze on inside somewhatmottled. Brownishwash on outside. Jumpers?P 268 shows the lower legs and feet, the contour of the left thigh, and, at the break,someof the buttocks of one, with a darkobjectbelow that is not the groundline, for it slopes upwardto the right. P 1127 gives the calf and footof another. Late 6th or early 5th centuryB.C. 490

P 3650 F 14 Rim fragment.Max. dim. 0.128. Silhouettetechnique. On top sideof rim,animals:deer(headandneck)to right, a lion (one hind leg and tail missing)to left. On overhang, ivy. Red:line on insideat rim. For animalson the top side of the mouth,cf. 476. Ca. 450 B.C.

VOLUTE-KRATERS 491-500 Pls. 46 and 47

491 P1.46 P18795 B 19:10 Eight non-joiningfragmentsof rim, neck,handles,body, and foot. Est. diam. of rim 0.31, of foot 0.20; max. dim. a) 0.113, b) 0.31, c) 0.087, d) 0.049, e + g) 0.029, f) 0.17, h) 0.123, i) 0.183. Fragmentsc and d are undecorated. On side of rim, key patternto right.On neck:upperpart, lotus-palmettechain;lowerpart, figures.On flangesof handles, ivy. Body black except for rays above foot. Fragment e + g (illustrated)gives most of one handleand some of the rim and neck on both sides of it. On one side, on the lower part of the neck,there is the top of a male head (filleted)to left, probablyan onlooker.Fragmenth (illustrated)gives more of the rim and the upper part of the neck, and fragmentf preservespart of the other handle. Fragmenti (illustrated)shows part of the figureddecoration,a fight. On the left, a chariot(forepartsof the tracehorses)to right,then a warrior(torso,partsof arms), dressedin a shortchiton,a cloak, and a helmet, attackinga falling opponentwith a spear (some of the shaft appears near the top of the

fragment).The opponent(preservedexcept for lower part of right leg and top of head)wears a shortchiton,a helmet, andgreavesandis armedwith a roundshield(device:female leg) and presumablyheld a spear in his raisedright hand. Behind him is an archer (top of head missing) to right, lookingaround.He is almostdown on one knee and wears an orientalcostume.His quiverhangsat his rightside, and in his righthandhe carriesa spear.On the rightis a woman (head missing)movingto right, lookingaround(her shoulders are frontal),gesticulating.She is the last personin this frieze as indicatedby the reservedarea to the right and the start of the handle attachmenton the shoulder;therefore, fragmenti comes from one side of the vase and fragment e + g from the other, for the male is the last figure in this scene.Fragmentb preservesthe lowerpartof the bodywith the rays abovethe foot,and fragmenta givesthe full profile of the foot:a reservedverticalmemberabovea torus. Red: breastbandof left-handtrace horse, part of mane of righthand trace horse;edges of handleflanges;line on inside of

164

CATALOGUE

rim. White: dots on garmentsof warrior on the left and woman;her flesh;shield deviceand dots on rim; stripeson archer'scostume. For the combinationof the key patternon the side of the rim, the lotus-palmettechainon the upperzone of the neck, and figures on the lower, these are the three examples knownto us: London,B.M. B 364 signedon top side of the rim by Nikosthenes(ABV 229, VI; Paralip. 108); Louvre F 198, manner of the AntimenesPainter, on side A only (ABV 280, 55); Copenhagen13110 (CVA, Copenhagen8 [Denmark8], pl. 322 [325]:1). Ca. 510-500

B.c.

Neck fragment,upperzone. Max. dim. 0.074. Chariotscene. On the left, the heads and forelegsof the trace horses to right. In front of them, a woman (some of head missing)to right,lookingaround,then a man (left leg, thigh and calf of right) to right holding a spear, probably lookingaround.In the field,a vine. Red:forelocks;dotsand stripeson drapery.White:woman'sflesh;dotclusterson her garment. The LeagrosGroup (ABV 377, 238). Ca. 510-500

B.C.

P 5202 E-F 12-14

493 PI. 47

Neck fragment,lower zone. Max. dim. 0.071. Departureof warriorswith chariot.On the left, a warrior (head and legs missing) overlapped by a round shield (device:forepartsof a panther) stands to left, holding a spear. He wears a short chitonand has a scabbard.On his right, an archer,identifiedby the portionof his quiverthat projectsbehindthe warrior.Behindthe pair is a youthholding a spear in his left hand, his right raised. He wears a chiton and cloak. On the right, the head of the right-hand tracehorse,the muzzleof the left, and partof their forelegs. Red: rim of shield; fillet, stripes and dots on draperyof youth; strip on mane. White: shield device;dot and dot clusterson cloak;studson headstall. The LeagrosGroup(ABV 377, 239). Ca. 510-500

B.C.

P7109 C7 494 P. 47 Neck fragment,lower zone. Max. dim. 0.094. Boy boxers.On the left, one handholdinga staffand part of the cloak of a judge, trainer,or spectatorto right. Then comesa boxerto right, preservedbut for the top of his head and partof his rightarm,facinghis opponent(face,left arm, left leg, someof torso).Red:stripeand dotson cloak.White: dot clusterson cloak. Near the EdinburghPainter(ABV 480, 7). Ca. 510-500

B.C.

P 16633 B 22

Neck and rim fragment.Max. dim. 0.157; est. diam. of rim 0.36. On side of rim, key patternto left. On neck, departure with chariot.The team (preservedbut for heads,necks,and some of forelegs)standsto left. On the left-handside is an armed warrior holding a spear and round shield (device: threeballs). On the far right,headand shoulderof a figure who appearsto be bent over slightly (puttingon greaves?). Red:rim of shield;bandon top of rim at outeredge.White: edgeof helmetcrest;shielddevice;charioteer'schiton. Ca. 510-500

P 7906 C 8

492 PI. 47

495 PI. 47

B.C.

496

P 13856 U 25:2 (L)

Neck and rim fragment.Max. dim. 0.065. On side of rim, key patternto left. On the neck,a warrior (head,torso,arm, thigh), nude exceptfor a Corinthianhelmet, attacksto left carryinga spearand a roundshieldseen in profile.Red:crestsupport;bandon insidebelow rim. Ca. 510-500 B.C.

P 7442 C 14 497 PI. 47 Neck fragment,upperzone. Max. dim. 0.086. On the left, a man and a woman, preservedfrom about the waist down,seatedto righton a throne.Facingthemis a malewearinga cloakand boots,holdinga staffor kerykeion (Hermes?),and behindhim are the foldsof a cloakbelonging to anotherfigureand the end of his staff.The small figures beneaththe throne are probablypart of its support. Red: dots on drapery. White: woman's flesh; dots on drapery. Ca. 510-500 B.C.

P 6753 P-Q 8 Neck fragment,uncertainif upper or lower part. Max. dim. 0.071. Chariot(hind legs of horses)to right. On the left side of the team,a drapedfigureto left. Red:panelon drapery.

498

Late 6th century B.C.

P 14940 E 19:7 499 Two non-joiningneckfragments,lower zone. Max. dim. a) 0.068, b) 0.052. Satyrsand maenads.Fragmenta showsthe heads,shoulders,andarmsof a satyranda maenaddancing;to the left of them, the foreheadof a third figure, and to the right, the trace of a fourth. Fragmentb preservesthe body, left leg, and rightthigh of a satyrrunningto right and the skirtand feet of a maenadstridingto right,holdinga thyrsos(partof its shaftremains).Red:beard;dots on drapery;bandon inside at junctionof neckand shoulder.White:flesh of maenads;dotson drapery;fillet of satyron fragmenta. Late 6th century B.C.

165

CALYX-KRATERS P 13618 H-I 5

500 PI. 47

Neck fragmentwith start of shoulder.Max. dim. 0.115. Thin, brownwash on surface. Return of Hephaistos? On the left is a satyr (back of head, right arm, someof bodyand one leg) stoopingto right with head turned around. Then comes a nude rider on an ithyphallicmule (preservedexcept for head), a wreath

suspendedfromits penis. On the right,a satyr(tail, legs) to right, and on the far right, draperyof a reclining figure (Dionysos?).Red: beard,end of hair of satyr;rider'sfillet; mane of mule. White: contourof neck, belly stripe, and markingon hindquartersof mule;loopof wreath. Early 5th centuryB.C.

CALYX-KRATERS 501-509 Pls. 47 and 48

501 PI. 47

P 24647 P-R 7-12

Wall fragment.Max. dim. 0.085. Nearly straight,with a reservedbandon insidenear top. Dionysosand Ariadne?On the left is the drapedleft arm and handof the god holdinga drinkinghorn and in frontof him the face, chest, and one cloakedhand of Ariadne.Red: stripes on garments;pupil of Ariadne'seye; line at top of figurezone. White:Ariadne'sflesh, dot rosetteson her garment;line abovefigures. Ca. 520 B.c. P 6090 H 8 502 PI. 47 Wall fragment.Max. dim. 0.046. Hermes (head, shoulder,brim of petasos,shaft of kerykeion) to left. In front of the god, tracesof anotherfigure, perhapsa horse'sforelockand the tip of its ear. Red:brimof petasos, stripe and dot on garment.White: dot clusterson garment.

For Hermeswith his kerykeionheld in his left hand and restingon his shoulder,cf. Hermeson New York,M.M.A. 06.1021.68 A (ABV 289, -; Paralip. 126, 22 bis). The Groupof Wiirzburg199 (ABV 289, 27). Ca. 520-510 B.C. 503 PI. 47

P 12061 O-Q 18-19 Fragmentof wall andcul with startof handleon far right. Max. dim. 0.116. Males (the legs of one fromthe kneesdown;the foot and lowercalf of the other)to left. On the cul, partof a nonsense inscription:

,^0sIPvA'KJ

P 25380 F 5

Rim and wall fragment.Max. dim. 0.095. Man (someof head)to right.Belowrim, ivy pattern.Red: fillet and beard;line betweenivy leaves. Ca. 520-510 B.C.

P 24693 P 16

Wall fragment.Max. dim. 0.048. Reveler (most of head, shoulders)to left. On the left of him, partof the forearmof a woman.Red:beardand nipple of reveler;alternateleaves of his wreath. White: woman's flesh. Perhapsby a painterof the LeagrosGroup.Compareespecially,Munich 1416 (ABV 367, 90). For the wreathwith long branches,cf. London, B.M. 1926.6-28.7 (ABV 375, 211) and London,B.M. B 271 (ABV 375, 212). For some by otherpainters,cf. 328. The male figureis unlikelyto be Dionysos,for his shouldersare bare;nor is he likelyto be a satyr, for his beardis too short.Comparethe beardsof the satyrson two neck-amphoraeof the LeagrosGroup:Brooklyn 62.147.2 (Paralip. 166, 163 bis) and New York, M.M.A. 41.162.179 (ABV 373, 174; CVA, New York 4 [USA 16], pl. 38 [766]:7).The sceneon 505 probablyrepresenteda revel with a woman or women present,similarto the one on a Leagros Group column-krater,Bologna 52 (ABV 376,231). Ca. 510-500 B.C. 506 PI. 48

P7896

E 14:5

Wall fragment.Max. dim. 0.112. Beardedmale (preservedbut for head, shoulders,and feet) to right, playinga barbiton,a cloakover his shoulder. On the left, at the break, traces of anotherfigure. In the field, a vine. Red:beard,plectrum,and cord;figureat left. White:dot clusterson cloak;armsof lyre. Ca. 510 B.C. 507 PI. 48

Red:bandon cul at junctionwith wall. Ca. 520-510 B.C. 504

505 PI. 48

P 31013 Q12:3 Wall fragment.Max. dim. 0.132. Glaze firedbrownish. Return of Hephaistos?Ithyphallicmule (hindquarters, some of body, end of tail) to right, with rider (feet, fold of drapery).On the left, an area of glaze that may be partof a drapedfigure,perhapsDionysosor a maenad.In the field,a vine. Late 6th century B.C.

166

CATALOGUE

P 2789 G 6:3 (U) Wall fragment.Max. dim. 0.038. E. Vanderpool,Hesperia 15, 1946, p. 314, no. 217, pl. 62. Woman (someof drapedtorso and arms) to left. On the left, a bit of glaze, probablypart of anotherfigure.Red:dot on drapery.White:woman'sflesh. Late 6th centuryB.C. 508

509

P 31014 Q12:3 Wall fragment.Max. dim. 0.091. Chariot (forefeetof team) to right with woman (lower drapery,feet)facing.In the field,a vinewith grapes(theend of one bunch).White:woman'sflesh. Late 6th or early 5th centuryB.C.

LEBETES GAMIKOI 510-518 Pls. 48 and 49

510 P1.48

P6106

E 15:6

Three non-joining fragments. Max. dim. a) 0.12, b) 0.165, c) 0.092. One fragment(a) of wall, two (b andc) of handles. Fragmenta (illustrated)comesfrom the shoulderof the vaseandpreservessomeof the tonguepatternat thejunction with the neck, parts of two heraldicsphinxes with heads turned around (all of one but for feet and tail; the head, breast,tip of wing of the other),andon the right,the headof a cock to left. Red: fillets, eyes of sphinxes, bar on wing, marking on hindquarters;comb and wattles; alternate tongues.White:faces and necksof sphinxes,row of dots at base of feathers. The Painter of Louvre F 6. Compare especially, the sphinxes on his lebes gamikosin Houston (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries, fig. 166); also

Oxford G 190 for the two lines at the top of the forelegs (ABV 124, 16). Ca. 550 B.C.

511 PI. 48

P 23162 1 12

Shoulderfragment.Max. dim. 0.055. Brownishwash on surface. Wedding scene. Woman (head with stephane, raised hand)to left, holdinga torch.To the left of the torch,at the break,an unintelligiblebit of glaze. Red: stephane.White: flesh. Ca. 530

B.C.

512 PI. 48

P7237

D7:2

Fragmentary. P.H. 0.36; diam. 0.433. About threequartersof the mouth,one handle,half of the other,muchof wall, and all of foot missing.Triple-rilledrim, flat on top; double handles. Figured decorationset in panels. T. L. Shear,Hesperia6, 1937, p. 345, fig. 9 (sideA). A and B, chariotto right,with eagle above,flyingto left. SideA (illustrated)showstwo youthsstandingin the chariot and mostof the horsesexceptfor their forelegs.Side B gives the handsof the charioteer,partof the vehicle,the horsesbut for some of their heads and forelegs.Aboveeach panel, at the junction with the neck, tongue pattern. Red: fillets of

youths;borderson garments;strips on manes,two tails of each team; breastbands;part of chariot box; upper and lower rills of mouth, line inside mouth, ring at junctionof neck and shoulder,two lines below scene that continued roundthe vase. Tentativelycomparedby Beazleywith the reverseof the namepieceby the Painterof TarquiniaRC 6847 (ABV338, -).

Ca. 520 B.C.

513 P1.48

P 17967 A 18-19:1

Three non-joiningwall fragments.Max. dim. a) 0.056, b) 0.04, c) 0.04. Fragmentsa and b with rootsof handle. Wedding procession. Fragment a shows the head of Hermesto left, his petasoswith the brim turnedup in the back. In frontof him, part of anotherfigure,probablythe forelockof a trace horse. In the field, a vine. In the upper right, startof handle.Fragmentb gives someof the head of Dionysosto left and on both right and left, the start of the handle root. Fragmentc preservespart of a chariot:the lowerpartsof manesof the pole horses;the endsof the yoke, partof the yokepad,the endof the chariotpolewith the pole stay. On the left side of the team, a woman(neckand chin) to right. Red:stripon mane;beards.White:woman'sflesh. The RycroftPainter.Compareexamplesgiven for 187. Add to these: Vienna 3598 (ABV 335, 4); 195 (P1. 23); Hamburg1917.476(ABV337, 25; CVA,Hamburg1 [Germany 41], pl. 25 [1991]:2);Madrid:GomezMoreno,attributed by Bothmer (J. Mertens, Indiana UniversityArt Museum Bulletin, 1979, p. 10, figs. 7, 8). Ca. 510 B.C.

514 P1.49

P 19597 a-h and k-o A 18-19:1 (?)

Thirteen non-joining wall fragments. Max. dim. a) 0.145, b) 0.09, c) 0.09, d) 0.058, e) 0.109, f) 0.063, g) 0.05, h) 0.045, k) 0.031, 1) 0.071, m) 0.068, n) 0.042, o) 0.059. Brownishwash on surface. On eachside,weddedpair in a chariotto right.Fragment a (illustrated)preservespart of a wedded pair, perhaps Peleusand Thetis:headof the groomand his handsholding the reins and goad;the head of his bridewith her veil held out. On the left side of the pair, the head (hair tied up and boundwith a fillet) and upper torso of Apollo playing the

LEBETES GAMIKOI kithara(someof its strings,two fingersof his left hand).The bit of glazeto the rightof Apollo'sneckis the armsupportof his kithara.The glazed area betweenhis shoulderand the brideis the flap of the god'squiver (?). Behindthe wedded pair is a woman (forelock)holding two flaming torches (ends).Abovethe figuresis a row of hanginglotusbudswith dots in the interstices(see below, fragmentd). Fragmentb (illustrated)preservesmore of the torch-bearer(drapery) and of the groom (buttocks,drapery)mountingthe chariot (rail). Fragment e (illustrated)shows more of these two figures,the end of a draperyfoldof the torch-bearerand the left footof the groom;also someof the chariotwheel and the heel of one of Apollo'sfeet. Below, frieze of uprightlotusbudswith dotsin the interstices.Fragmentsc, 1,andm come fromthe othersideof the vaseforthe glaze is dullerthanit is on fragmentsa, b, and e. Fragmentc preservessomeof the head and forelockof a trace horse, with part of a figure (drapery)on the left side. Fragment1 shows some of the drapedleg of a man mountingthe chariot(rail) with partof a figure(drapery)behindhim, and fragmentm givespartof his calf and more of the draperyof the figure behindhim. Fragmento preservestwo of the handlestubsand the top of a wreathedhead to left. Fragmentn (illustrated)probably comesfrombelowone of the handles.It showspartof a man to right holding out a curvedobjectin his left hand, and above it, the hand of another man. To judge from the relationshipbetween the two figures,the man holdingthe objectis seated. Fragmentd (illustrated)gives more of the friezeof hanginglotus buds and someof the tonguepattern on the obverse,and fragmentsf-hand k preservemoreof the lotus-budfriezebelowthe figures.Red:beard,wreath,fillet on fragmenta; bordersof draperyon fragmentsb, c, I, m; stripes on garmentof seated man; horse'sforelock.White: flesh of bird;arm supportof kithara. Near the RycroftPainter,perhapsby the Painterof Tarquinia RC 6847. Comparedetails of the namepiece(ABV 338, 1; Paralip. 150, 1): head of Apollo; draperyfolds of Athena;small arc incisedon the supportof each spoke.But cf. also the following by the Rycroft Painter: Oxford 1965.118 (ABV335, 1; Paralip. 148,1; CVA, Oxford 3 [GB

14], pls. 34 [649]:2-5 and 35 [650]); Worcester 1956.83 (ABV 335, 5 bis; Paralip. 148, 5 bis; Buitron, New England Collections, pp. 44-45, no. 17).

Ca. 510 B.c. 515

P 19597 i,j

A 18-19:1 (?)

Two non-joiningwall fragments.Max. dim. i) 0.079, j) 0.045. Each fragmentpreservespart of the upright lotus-bud frieze below the figures.The buds are slightly largerthan those of 514 and have short strokesinstead of dots in the interstices. Last quarterof the 6th centuryB.c. 516 PI. 49

P 7893 and P 7897 E 14:5 H. without lid 0.313, with lid 0.358;diam. Fragmentary.

167

of lebes 0.18; diam. of stand at base 0.142. About threequartersof rim and neck,one handle,and nearlyall of one side of lebes restoredin plaster. Stand (P 7897) complete. Triple rilled rim; ring at junction of neck and shoulder; double handles,round in section;flaring stand with torus foot.Standpiercedat top in line with handles.The lid is flat with a flangeon its underside,which is unglazed.Chipped on edge.T. L. Shear,Hesperia6,1937, p. 372, fig. 36; idem, AJA 40, 1936, p. 412, fig. 9; H. Kenner,JOAI 31, 1939, p. 92, fig. 33; Thompson,op. cit. (under373), ill. 59; Lambertonand Rotroff,op. cit. (under136), ill. 21. A, weddingprocession.On A (not illustrated),all that remains are the headsof the two trace horsesto right with a fillet hanging above,a woman attendant(torsoand head), and underthe left half of handleA/B, Hermes(all but feet) to right,lookingaround,dressedin a petasosand a chlamys overa shortchitonand boots.In his righthand,he holdshis kerykeion.Under the right half of this handle is Nike (or Iris) flying to right, lookingaround.B, processionof three womento right,eachdressedin a long chitonwith himation and carryinga chest on her head, with a cushionbetween. Under part of handleB/A, anotherwoman (withouta box on her head becausethe handleintrudeshere) and part of anotherdrapedfigure,probablya woman.Tongue pattern on shoulderat junctionwith neck. Below the figures,upright lotus buds with dots in the intersticesand rays. On stand,three pairs of seatedwomen spinningwool. Five sit on okladiai,the sixth on a stool.Betweeneachof two pairsis a wool basket.Behindone womanis a bird. Fillets hang on the wall. At top of stand,invertedlotusbudswith dotsin the interstices.Abovefoot, invertedrays. On lid (not illustrated), tonguesat knob,concentriccircles,and at the edge,two rowsof dots.Red:manes;beardof Hermes,brimof petasos; Nike's fillet;some of the folds of her cloak,its border;dots and bordersof women'scloaks;fillets of woolworkers;the cushions;alternatetongues;rills of rim;ringatjunction;line on ring;line betweeninvertedrays and foot;line at base of knob, at outer edge of tongue pattern,and on outer black band. White: female flesh; Hermes' chiton; joints on okladiai;dotson garmentsof woolworkers. For the chestscarriedby the women,cf. I. Krauskopf,AA (Jd1 92), 1977, pp. 13-28. Late 6th centuryB.c.

517 PI. 48

P 11032 D15:1

Two non-joiningwall and shoulder fragments.Max. dim. a) 0.09, b) 0.062. One fragment(a) shows the handle attachmentat the right. Weddingscene.Fragmenta showsa woman(head)holding a torch(flamesin diluteglaze) anda man (head),bothto left. Abovethe two, someof the friezeof invertedlotusbuds with dots in the interstices.Fragmentb gives more of the lotus-budfrieze and some of the tongue pattern above it. Red: knottedfillet roundwoman'shead;some of her garment;alternatetongues.White:woman'sface. Last quarterof the 6th centuryB.c.

168 518 PI. 49

CATALOGUE P 25967 M 17

Four non-joiningwall fragments.Max. dim. a) 0.066, b) 0.036, c) 0.033, d) 0.018. Three fragments (a, b, c) preservestartof handle. Nikai. Fragmenta (illustrated)preservesthe head, outstretchedleft arm, and one wing of a Nike to right and on

the right,partof anotherfigure.Fragmentb showsthe right forearmand handof anotherNike andthe bow of one wing. Fragmentsc andd give the tip of a handand partof a wing, and the tip of anotherwing, respectively.White:flesh. Late 6th centuryB.

KRATERS, TYPE UNCERTAIN 519-525 P1.50

519

P 3704 H-I 10:1

Wall fragmentwith some of outturnedrim. Max. dim. 0.085. Much of the glaze is flaked. Agora VIII, p. 97, no. 576, pl. 37. Panther(head,someof neck)to right.On the rightat the break,anotheranimal(someof muzzle)to left. Betweenthe two, a swan (partof neckandwing). Rosetteandzigzagsfor fillingornament.Abovefigures,just belowstartof rim, step pattern. Third quarterof the 7th centuryB.C. P 17486 J18:4(L) 520 Pl. 50 Most of body and about half of one handle. P.H. with handle 0.384; max. diam. 0.34. Mended from many fragmentswith the missingpiecesrestoredin plaster;foot completelyrestoredin plaster.Insideunglazed. A, siren(onefoot,toe of the other,breast,lockof hair,and parts of one wing) to right with wings spread.Incisedrosetteswith the centersreserved.B, loopsand spirals.Under handle,a spiraland diamonddesign.Abovefoot,rays:on A, solid;on B, outline.Red:broadbandon wing;dotsat endsof feathers;alternatepetals of rosettes;two bands under pictures;two aboverays. For the use of solid andoutlineraysabovethe foot,cf. the skyphos-kraternear the Nettos Painter, Kerameikos,inv. no. 1365 (ABV 7, t; Paralip. 6, 2 [f8];KerameikosVI, ii, no. 182, pl. 112). This shape of vase is an odd one, and its closestparallelseemsto be a mid-7th-centuryProtoatticeggshapedkrater,Agora P 4948 (R. Young, Hesperia,Suppl. II, Athens 1939, pp. 128-131, no. B 64, figs. 92, 93; Agora VIII, pp. 93-94, no. 549, pl. 34). It may also have been similarto Akropolis391 by the Nettos Painter(ABV 5, 10).

P31089 I10:1 522 PI. 50 Two non-joining fragments. Max. dim. a) 0.122, b) 0.052. One fragment(a) of torusrim and wall, the other of wall. Someof the glaze is flakedand abraded. Lion to right. Fragmenta (illustrated)preservessomeof the head,ear, and mane.Fragmentb showspartof the hind legs and belly. Red:mane,belly stripe. First quarterof the 6th centuryB.C. P 13123 U 25:2 (L) 523 P1.50 Rim fragment.Max. dim.0.085. Flat on top with partof a smallprojectionat the inneredgeand startof the overhang at the outer. E. Vanderpool,Hesperia 15, 1946, p. 129, no. 13, pl. 21:4. On top side of rim, sphinx (forepart)to right, facing a lotus-palmettecross (one palmette, parts of two lotuses). Red: face, neck, breast,wings, fillet, band at nape of neck; cuff, sepals,alternatepetalsof lotus;hearts,alternatepetals of palmettes;links;bandat top edgesof interior. Vanderpool(op. cit., p. 129) callsthis fragmentthe rimof a krater;Beazley(Paralip. 15, 15 bis) followingKarouzou (AthMitt62, 1937, p. 134, note 1), the handle-plateof a column-krater.The fragmentseemstoo wide for a handleplate,andthe smallprojectionat the inneredgeof the rim is difficult to parallel on column-kraters.For such a projection, cf. the unattributeddinos, Vatican 306 (Albizzati, pl. 29), which has a friezeof rosetteson the top side of the rim but no overhangas 523 must havehad. The KomastGroup:I, the KX Painter(ABV26, 30; Paralip. 15, 15 bis, ex 30). Ca. 580 B.C.

Ca. 625-600 B.C.

P 23159 I 12 521 PI. 50 Wall fragment.Max. dim. 0.16. Two felines confronted(rightforelegof one, left fore- or hind paw of other) attackinganother animal (part of its bodyand someof its hindquartersare preservedon the right abovethe paws). Red:ribsof attackedanimal. Last quarterof the 7th centuryB.c.

P 8788 N 17 524 Wall fragment.Max. dim. 0.049. Raisedarm (?); above,partof an inscription:

]VN and abovethis, blackbands. First half of the 6th centuryB.c.

STANDS P 21834 C 13:2 525 PI. 50 Wall fragment.Max. dim. 0.073. Thin glaze on inside, firedbrownish. Figure(?)standingto right (partof gar*mentwith incised

169

ornamentcomposedof a square maeanderand a lion to right). Ca. 550 B.C.

STANDS 526-602 Pls. 51-56

CONICALSUPPORTS 526-560

526 PI. 51

P 21382 P8:1

Wall fragment.Max. dim. 0.095. Bird (beak, breast) to right, facing a swastika with the armsbent into spirals.Red:wing bow. Late 7th century B.C.

P 26809 U 19 527 P1.51 Wall fragment.Max. dim. 0.117. From near top, preservingsome of the torus molding.M. Lang, Graffitiin the AthenianAgora[AgoraPicture Book 14], Princeton1974, ill. 10.

Woman (head with fillet) to right. Behindher is a dark object,perhapsthe abacusof a column(comparethe standof Athens,N.M. 16384by the Nettos Painter:ABV6; Paralip. 3, 13). Red: fillet. White: dots edging fillet; decorative strokeson upperpart of lower torus. Very close to the Nettos Painter, if not by him. For the best parallels,cf. the woman on the standof Athens,N.M. 16384, especiallythe third one from the left; for the fillet edgedwith dots, comparethose of the two behindthis one. For the corkscrewcurls, cf. 120 (PI. 15), near the Nettos Painter.An oddityof 527 is the incisionfor the iris of an eye drawnin outline. Ca. 610 B.C.

528 PI. 51

P 23542 P 7:5

Fragmentof footandwall. P.H. 0.18;diam.of foot0.285. The glaze has fired a brownish color and is abradedin places. Lotus betweensphinx (preservedexceptfor head and tip of wing) to left and siren (feet, part of wing, tail) to right. Behindthe animals,a palm tree. White: dots acrosscuff of lotus; dots along edge of wing and betweenwing bow and feathers. The compositionof two confrontedsphinxesand a palm tree, but without a lotus, occurs on the stands of two skyphos-kratersby the Nettos Painter:Athens,N.M. 16382 (ABV 3; Paralip. 3, 10) and Athens, N.M. 16383 (ABV 7, y; Paralip.3, 12). For a lotus with crosshatchingon its cuff, cf. Kerameikosn.n. (KerameikosVI, ii, no. 100, pl. 92) and

Akropolis503 (Graef,pl. 20). The drawingon 528 is not so preciseas it is on these comparisons. Late 7th century B.C.

529

P 25854 U 26:3

Wall fragment.Max. dim. 0.105. Siren or sphinx (part of head with fillet) to left. Line at top of fragmentindicatingupperborder.Red:face;fillet. Late 7th century B.C.

530 PI. 51

P 671 F 16

Wall fragmentfromnearfoot. Max. dim. 0.092. Feline (right hind leg) to right, rosette.Below, inverted rays,stoppedbeforeleft edgeof fragment,indicatingthe end of this pattern. Compare Athens, N.M. 16382 by the Nettos Painter (ABV 3; Paralip.3, 10). Late 7th or early 6th centuryB.C. 531 PI. 51

P 25375 C 9:6

Wall fragment.Max. dim. 0.091. Lotus-palmettecross (cuff of lotus, part of palmette). Red:cuff of lotus;heartand alternatepetalsof palmette. The compositionwas probablya floralbetweentwo animals or monsters,similarto that on LouvreE 817, particularly on the reverse(ABV 9, 7; Paralip.6, 7). Comparethe Mannerof the GorgonPainter(Paralip.9). Early 6th century B.C.

532 P1.51 P23215 N16 Wall fragment.Max. dim. 0.078. Two zones:I) part of lotus (end of petals, tip of central sepal at break);II) lion or panther(back,end of tail with tuft) to right; dot rosette. Red: alternate petals of lotus; markingson hindquarters. By the GorgonPainteror in his manner.For the tuft at the end of the tail, compare:LouvreE 874 (ABV8, 1;Paralip. 6, 1); Baltimore48.215 (ABV 9, 18; Paralip. 7, 18); Hamburg 1960.6 (Paralip. 7, 13 bis; CVA, Hamburg 1 [Germany41], pl. 28 [1994]:1);KasselT. 669 (Paralip.7, 13 ter; CVA, Kassel 1 [Germany35], pl. 27 [1707]:1).For

170

CATALOGUE

this type of rosette, with a dot in the center, cf. Kassel T. 669; Munich,inv. no. 8757 (Paralip.7, 135);LouvreCA 3327, perhapsa schoolpiece (ABV 9, 8; Paralip.7, 8). Early 6th century B.C.

P 26638 U 19 Upper part of stand. Max. dim. 0.135. At the top, the insideof the wall curvesslightly,indicatingthe beginningof the bowl. Chimaera(muzzleof lion, goat, snake)to right, with all headsto left. Red:tongueof lion;neckof goat;lowerjaw and neckof snake. 533

PI. 51

Early 6th century B.C.

534 PI. 51

P 25368 Q 13-14:1 (U) Wall fragment.Max. dim. 0.10. Two animal friezes: I) hoof to right; II) ram or bull (body, part of forelegs) to right. Red: chest, belly stripe, sheath,ribs, markingson hindquarters. Close to the PantherPainter.Comparethe characterof the incisionof the animalson severallekanidesby the painter:Athens,N.M. 16353-16359 (Paralip. 11,*1-6and 10). Early 6th century B.C.

535 P1.51

P 20651 Q 13-14:1 (U) Wall fragment.Max. dim. 0.096. Partsof two friezes:I) feline (feet, rightforeleg)to right; II) lions (head, neck, shoulderof one; some of mane of the other) confrontedwith heads turnedaround.Red: muzzle; forelocks;manes. The CeramicusPainter[Philippaki].Compareespecially the lions on Athens, N.M. 907 (ABV 19, 4); Kerameikos, inv. no. 40 (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93); and Kerameikos,inv. no. 39 (ABV 19, 6; KerameikosVI, ii, no. 105, pl. 93). First quarterof the 6th centuryB.C. 536 PI. 51

P 24949 a-c Q13:5 Three non-joiningwall fragments.Max. dim. a) 0.05, b) 0.129, c) 0.115. Fragmenta preservespartsof two friezes:I) animal(part of leg?); II) man (head and shoulders)to right;in front of him, the tail of an animal?Fragmentb (illustrated)showsa panther(head,neck,some of body)and boar (partof hindquartersand tail) to right. Fragmentc gives parts of two friezes:I) feline (claw)to right;II) feline (partof body,forelegs, tail) to left. Red:man'schiton;neck,forehead,muzzle of panther;markingson hindquarters,belly stripeof boar; belly stripe,ribs, markingson hindquartersof feline. The CeramicusPainter. Panthers that have horizontal eyes with eyebrowsand solid noses coveredwith addedred are unusualdetailsof drawingcharacteristicof this painter: e.g., Kerameikos,inv. no. 40 (ABV 19, 2; KerameikosVI, ii, no. 107, pls. 93 and 96); Athens, N.M. 907 (ABV 19, 4); Kerameikos,inv. no. 41 (ABV 19, 5; KerameikosVI, ii, no. 105, pls. 93, 94, and 96); and Kerameikos,inv. no. 42 (ABV 18, 1; KerameikosVI, ii, no. 108, pl. 98). The long

verticalarcson the face of our panther,an oddity,recuron one pantheron Kerameikos,inv. no. 40. For the feline on fragmentc, comparethose on the vasesgiven above;add to these,thoseon two fragmentsin Cambridge(ABV 19, 9 and 10). First quarterof the 6th centuryB.C. 537

P24949 e Q13:5

Wall fragment.Max. dim. 0.075. Parts of two friezes:I) feline (hind leg) to left; II) siren (someof wing, end of tail) to left. The CeramicusPainter(comparethe examplesgivenfor 536).

First quarterof the 6th centuryB.C. 538

P 23090 I 13 Wall fragment from near top (inside curves inward). Max. dim. 0.111. Glaze firedred. Sirenor sphinx (backof head,wing) to left. Blobrosette. Red:wing bow. First quarterof the 6th centuryB.C. 539 PI. 51

P 22308 N 11

Wall fragmentwith whitish slip on outside. Max. dim. 0.107. Panther(head,neck,part of body)to left. Incisedrosette for filling ornament.Red:eyes, forehead,nose, muzzle,insidesof ears,belly stripe,ribs;alternatepetalsof palmettes. First quarterof the 6th centuryB.C. 540 P1.52

P5112 H8 Wall fragment.Max. dim.0.081. Burnedon outside(clay is gray). Lion (muzzle, chest, left foreleg)to right, facinga boar (snoutand tusk) to left. Belowboar'shead,goose(headand neck)to left. Red:neckand chestof lion;lockof mane. The AnagyrusPainter(ABV 21, 3). Firstquarterof the 6th centuryB.C. 541 P1.52

P 13345 H 10:2

Wall fragment.Max. dim. 0.096. Sphinx (head,foreparts,someof wing) to left. In frontof her, part of a man or youth (hair, shoulder,arm raised). Red:face,breast,wing bow;garment. The Groupof the DresdenLekanis(ABV 22, 14). Late firstquarterof the 6th centuryB.C. 542 PI. 52

P 8779 C 13

Two non-joiningwall fragments.Max. dim. a) 0.102, b) 0.099. Baklr,Sophilos,pl. 62, figs. 117, 118. Fragmenta preservesa boar(body,someof hindquarters) to right;fragmentb givespartof two friezes:I) feline (hindquarters,tail), then a hoofedforeleg (boar,goat, or ram), bothto left;II) lotus-palmettecomplex.Red:a) ribs,markings on hindquarters;b) heartsand alternatepetals of palmettes,cuff and outersepalsof lotus. Sophilos(ABV 40, 22). Ca. 580 B.C.

STANDS P 22471 Q 10:1 543 Two non-joiningfragments.Max. dim. a) 0.192, b) 0.05; est. diam. of foot 0.31. The largerfragmentpreservessome of the torusfoot. Glaze firedreddishbrown. Fragmenta showson the righta seatedsphinx (preserved but for her head and neck)to rightand behindher, the hind leg and tail of a feline to left. In the field,an incisedrosette. Fragmentb showspartof an animal,perhapsits hindquarters. Red: band on wing, markings on hindquartersof sphinx;coreanddotson petalsof rosettes;markingon b;line abovefoot. Ca. 580-570 B.c. P 23222 N 16

544

Wall fragment.Max. dim. 0.064. Projectionat bottom, the beginningof the foot,decoratedwith invertedrays. Male (feet, lower part of chiton,fold of cloak)to left; incisedrosette.Red: garment;core and alternatepetals of rosette;alternaterays. Late firstquarterof the 6th centuryB.C. P2955

545

I-J 12

Wall fragment.Max. dim. 0.088. Feline (shoulder,part of forelegsand neck) to right. Incised rosettesfor filling ornament.Red: neck, belly stripe, markingon shoulder. Late first quarterof the 6th centuryB.C. P 15618 C 18:11

546

Wall fragment.Max. dim. 0.082. Glaze firedred;much of it is flaked.G. Stamiresand E. Vanderpool,Hesperia19, 1950, p. 383, no. 7, pl. 111. Decoration in friezes, part of one preserved:panther (head,neck,chest) and siren (wing, tail), both to right. Reused as an ostrakon;incisedon inside: /TALILI+S [ A PITO[ Red:neckof panther(?); stripon wing. Secondquarterof the 6th centuryB.C. P 13826 U 25:2 (M) Wall fragment.Max. dim. 0.107. Partsof two zones:I) siren (legs, some of breast)to right facing a feline (forelegs);II) panther (some of head, neck, shoulder,and tail) to left. In the field, incisedrosettes.Red: breast of siren; neck of panther;one line between zones. White:foreheadand stripon nose of panther. Secondquarterof the 6th centuryB.C. 547

548 P1.52

P 24261 O-R7-10

Wall fragment.Max. dim. 0.08. Parts of two figuredzones:I) horse (forehoofs)galloping to right, then part of anotherfigure (borderof drapery)at the break; II) siren or sphinx (head, tip of wing) to left.

171

Incisedrosettefor fillingornament.Red:eye, fillet;coreand dotson petalsof rosette;line separatingfriezes.White:border of garment;fleshof monster. Secondquarterof the 6th centuryB.C. P 13031 U25:2(U) Wall fragmentfromneartop. Max. dim. 0.137. Lion (head)to left with two horizontallines in the background.Above,a blackband.Red:maneof lion;line at bottom of blackband. Secondquarterof the 6th centuryB.C. 549

550 PI. 52

P 13012 V 24:2 (L)

P.H. 0.32; diam. of base 0.34; diam. at top 0.145. A few fragmentsof wall missing. Glaze is abradedin places on foot. Lambertonand Rotroff,op. cit. (under136), ill. 21. Four animal friezes:I) two confrontedlions with heads turnedaround;two confrontedrams with a swan between, to right;II) floralbetweencocks,betweensirens;pantherto left; swan to right;boar to left; III) boar to right, between panthers;eagle flyingto left, betweenrams;IV) geesefeeding. Incisedrosettesand lotusesfor fillingornament.Red:I) manes,ribs,markingson hindquarters,bellystripesof lions; necks, markingson shouldersand hindquartersof rams; part of wing of swan; II) cuff of lotus;combs,wattles,neck of cockon left, wing bow of one on right;fillets,wing bows, bandson tails of sirens;dotson neckof panther,ribs,markings on shouldersand hindquarters;bandon wing of swan; neck,ribs, markingson hindquartersof boar;III) panthers and boar as II; necks, ribs, markingson hindquartersof rams;bandson wings and bar on tail of eagle;IV) bandson wings, barson tails of geese. First quarterof the 6th centuryB.C. 551 PI. 53

P 22321 P 8

Wall fragment.Max. dim. 0.056. Parts of two zones: I) lotus and palmette ornament; II) cocks(headand neckof one;beakand combof the other) facing.The bit of glaze at the breakbehindthe cockon the left is probablypart of a lotus and stem. Red:combs,neck, wattle. The ornament above the cocks is very likely a lotuspalmettecross,not a festoon,for if it werethe latter,the part on the far left at the breakwouldbe the frondsof a palmette and would be incised.More likely, this is part of a tendril. Compare, e.g., this ornamenton an unattributeddinos, Vatican 306 (Albizzati, pl. 29); also London, B.M. 1922.6-15.1 by the Painterof LondonB 76 (ABV 86, 9). For confrontedcockswith a lotusbud,cf. the lattervaseand one other by this painter, New York, M.M.A. 56.171.16 (ABV 87, 14;Paralip.32,14; CVA,New York4 [USA 16], pl. 12 [740]:2).Eachof these showstwo facingcockswith a floralornamentcomposedof threebuds.551 was probablya similarcompositionbut within a frieze. It is by a different

CATALOGUE

172

hand.For the subject,cf. also, C. Boulterand K. Lucknerin CVA,Toledo 1 [USA 17], pp. 4-5, with bibliography. Secondquarterof the 6th centuryB.C. P 24646 Q 12:3

552

Wall fragment.Max. dim. 0.098. Closed quiver with bow attached,suspended.Above, a row of rosettes.White:centerof rosette. Ca. 550 B.C.

P830

553 P1.53

G 15:2

Wall fragment.Max. dim. 0.133. Piercedat upperright (the sides of the hole are glazed). On the right side, an ancientlead clamp. Symposion.Two men (heads, shoulders,torsos) recline on a couchlookingaroundat a youthnamed ,OI'A4t

(inscribed,retrograde),who comesup. One of the symposiasts is named Vpyt )?o At the far left, someof the hair and neckof anotheryouthto left, andon the far right,at the break,partof a cup, perhaps held high by anothersymposiast.In frontof the couch,part of the table laden with food;on the wall to the left of the recliningpair hangs a lekanis.Abovethe figures,a zone of invertedrays. Red:hair, beards;nipplesof Phrynion;cores of rosetteson pillow; couchcover;inscriptions.White:dots of rosettes;food (paintedoverred). The readingof the symposiast'sname is uncertain.The initial letter may be either kappa or lambda,althoughwe have opted for the latter. The third letter may be a badly written kappa, as suggestedby Henry Immerwahr(in a letterdatedDecember17, 1980) or evena pi as suggestedby David Jordan (in a letterof November12, 1980). None of the suggestedcombinationsof letters spells a name that is knownto us, and the namemay well be miswritten.For the name of Phrynion,cf. W. Pape-Benseler,Wirterbuchder griechischen Eigennamen,

new printing, Graz 1959,

p. 1651. For the subject,cf. 420. P 23014 H 12:14

Two non-joiningfragmentsof wall. Max. dim. a) 0.118, b) 0.075. Glaze is abradedin places. Fragmenta (illustrated)shows Dionysos(head)standing to left on the left side of chariothorses (mane and neck of right-hand pole horse; end of mane of right-hand trace horse; some of the reins and pole stay). The god faces a woman (forehead,part of drapery)carryinga basketor a box on her head. In the field, a branch. Fragmentb preservespartof two ornamentalfriezes:I) hanginglotusbuds; II) invertedrays. Red: beard, alternateleaves of wreath; maneof right-handpole horse;woman'sfillet.White:woman's flesh. Ca. 530-520

B.C.

P4687

E-F 12-14

Three non-joiningwall fragments.Max. dim. a) 0.103, b) 0.14, c) 0.055. Reddishwash on ground. Fragmenta preservesthe lower part of a drapedman walkingto right and a hangingdraperyfold near the right edge. Fragmentb gives the legs and someof the draperyof anothermale to right and behindhim at the break,a small bit of glaze that may belongto anotherfigure.Belowhim, a frieze of invertedrays. Fragmentc shows some drapery. Red: hanging fold on fragment a; crosses and dots on drapery.White:dot clusterson fragmentb. Ca. 510-500 B.C.

556 P1.53

P4818

E-F 12-14

Wall fragment.Max. dim. 0.087. Athena (most of face, L-shaped cheekpieceof helmet, neck,chest)to right,holdingan owl (wing). White:flesh. The subjectmaybe the Judgmentof Paris.Forthe theme, cf. 433. 510-500 B.C.

P 12631 0 19:4 P 14862 A 18

557 PI. 53

Two non-joiningwall fragments.Max. dim. P 12631: 0.143, P 14862:0.083. Brownishwash on surface. P 12631 shows a woman or a maenad(head except for face, upper torso, parts of arms) movingto right. P 14862 shows a woman (headwith stephane)to left. In the fieldof each,a vine;above,someof the lotus-palmettechainwithout incision.Red:fillets;stripeson himation.White:flesh. Ca. 510-500 B.C.

P 24045 P-R 6-12

558 P1.53

Wall fragment.Max. dim. 0.113. Parts of two zones: I) male (lower leg, booted)to right, behindanother(long chiton,bootedfoot) stridingto right; on the left sideof the first,a deer(hindlegs) to left;II) feline (hindquartersand tail) to right. Red: tongue of left boot. White:dotson chiton. The two malesmay be Hermesand Apollo. Ca. 510-500

Ca. 530 B.C.

554 P1.53

555

B.C.

559

P 4680 E-F 12-14

Fragmentof torusfootand someof wall. Max. dim.0.16. Male (bootedfoot)to right. Below,a friezeof duckswith a blobin the fieldand belowthat,invertedrays.Red:line on uppersurfaceof foot. Late 6th century B.C.

P8995 J18:2 560 PI. 53 Three non-joiningwall fragments.Max. dim. a) 0.15, b) 0.075, c) 0.058. Fragmenta preservestwo women(foot,lowerdraperyof each) to right; below is a sphinx (foreparts)to right with headturnedaround,a goat to left, and on the far right,a bit of glaze that may representpart of the hindquartersof an

173

STANDS animalto right. At the very bottomare the tops of inverted rays. Fragmentb (not illustrated)gives somedraperyfolds. Fragmentc shows more of the frieze: a lioness or a pantheress(body)to right.White:women'sflesh;sphinx'sface, neck,breast,stripon her wing;teatsof feline;dot clusterson garment. Comparethe Red-linePainter(ABV 605, 85). Ca. 500 B.C. SUPPORTS561-586 CYLINDRICAL

P 24721 No grid 561 P1.54 Wall fragment.Max. dim. 0.056. Bandof glaze near top on inside. Man (face, some of body) to right behindanother(some of his back,long hair). Betweenthe two, the endsof a hanging fillet. Red:beard,fold of garment;hair of secondfigure. The Painterof LouvreF 6 (Paralip.52). Ca. 560-550 B.C.

P 25977 Q20:1 562 Wall fragment.Max. dim. 0.074. Blackbandon insideat top. Youth (mostof head and bodyclad in a chitonand cloak, left arm)to right,lookingaround.On the right,the elbowof another figure and between the two a hanging fillet or a wreath.Red:youth'sfillet. White:chiton. Ca. 520 B.C.

563 PI. 54

P 17888 N21:9

Four non-joining fragments. Max. dim. a) 0.115, b) 0.073, c) 0.078, d) 0.032. Bandsof glaze on the inside. Wedding procession. Fragment a preserves the lower partsof two drapedwomen,one to left, the other,who wears an ependytesoverher chiton,to right.On the far left, traces of a third figure (drapery).In the field, a vine with grapes (no incision). Below the figures, a band with white dots, then a zone of invertedrays. Fragmentb shows the shouldersand armsof a womanto left. In her left hand,she holds a torch. She faces a man (raised left arm, drapery).Fragment c gives some of the horses (the headsand necksof the two trace horses;part of the neck of the right-handpole horse),the elbowof a figureto rightholdinga staffhorizontally, and at the breakbelow, tracesof anotherfigure,perhaps the muzzleof a dog. Fragmentd (not illustrated)preserves more of the invertedrays. Red: bordersof cloaks, crosseson garments;strips on manes;dots on one breastband,line on the other.White:femaleflesh;right-handpole horse,teethof tracehorses;pendantson breastband;dotson bandbelow figures. Ca. 510 B.C.

564 P1.54

P3777 G 12 P 9977 No grid

Two non-joiningwall fragments. Max. dim. P 3777: 0.076, P 9977: 0.089. Bands of glaze on inside. Reddish brownwash on outside.Clairmont,Parisurteil,pl. 8.

Judgmentof Paris. P 3777 shows Paris (middlepart) to rightwith rightarmbentat the elbow.To judgefromthe directionof the upswept folds, his left arm was raised in a gestureof alarm.On the left, at the break,tracesof another figure,probablyHermeswho usuallystandsbetweenParis and the goddesses.P 9977 shows Hermes (headwith petasos; right shoulder)to right with head turnedaround,presumablylookingat the goddesses.At the left, a hangingfillet. Above,some of rays. Red: stripeson drapery;petasos; coresof rosetteson Paris' garment.White:dots of rosettes; dotson cloak. Clairmont(Parisurteil,pp. 28-29) identifiedthe subject and put the fragmentstogetherbut later (p. 141) separated them and gave up the interpretationof the scene.The subject was acceptedby Beazley,but he keptthe two fragments apart. The two fragmentscome from the same stand.The colorof the clay is the same;eachhas the samewash applied to the surfaceon the outside;the bands on the inside are irregularin width and appliedrathercarelessly. For the subject,cf. 433. The Edinburgh Painter or near him (Paralip. 219: P 9977). Ca. 510 B.C.

565 PI. 54

P22997

H 12:14

Two non-joiningfragments.Max. dim. a) 0.13, b) 0.058. One fragment(b) without decorationpreservingthe torus rim, the otherpartof the wall. Fragment a preserves a chariot (forelegs of the four horses,mostof the bodyof the right-handtracehorse,a little of the neckof the right-handpole horse)to right.On the left side of the teamis a figure(drapery)standingto left. White: right-handpole horse. Ca. 510-500 B.C.

566 Pl. 54

P27839a, c,d, H 13:5 Three non-joiningfragmentsof wall. Max. dim.a) 0.063, c) 0.137, d) 0.074. On inside,wide blackbands. Chariotscene.Fragmenta shows the handsof the charioteerholdingthe reinsand goad.On the left sideof him, the head and shouldersof Apollo holding his kithara (his left hand may be seen against the stringson the right). Fragmentc givesthe draperyof two figures(oneis the charioteer on fragmenta) standingin the chariot,partof its wheel and box, the tails and hind legs of the horses,and on the left side of the team,moreof the draperyof Apollo.Fragmentd (not illustrated)preservessome of the draperyof two figures fromanotherpart of the scene.The verticalobjectbetween them is probablya staff. Red: stripson tails. White:righthandpole horse. For P 27839 b, see 577. Ca. 510-500 B.C.

567

P 130 H5

Wall fragmentwith black band on inside. Max. dim. 0.052.

174

CATALOGUE

Woman(head) to right smellinga flower(the tips of the petalsappearjust abovethe break).In frontof her, the back of the head of another figure, perhaps Dionysos, also to right, his hair tied up in a krobylos.Red: fillet. White: woman'sface. Ca. 510-500 B.C.

568

P5078

G 12

Four non-joiningfragmentsof rim and wall. Max. dim. a) 0.101, b) 0.036, c) 0.102, d) 0.09. Bandsof glaze on the inside.Much of the surfaceis pitted.Clairmont,Parisurteil, pl. 9:b. Fragment a preserves parts of two figures, a male (Hermes?)to left (petasos,backof head,left upperarm)and behindhim a woman (raisedarm, some of cloak). Between the two, a fillet. Fragmentb shows the feet of a womanto left, andthe lowerborderof her garment.Fragmentsc andd are rim fragmentsand preservesome of the invertedrays with dotsin the interstices.Red:coresof rosettesand stripes on garments;brim of petasos; undersideof rim. White: woman'sflesh;dotson her garment. First thoughtby Clairmont(Parisurteil,p. 29) to represent the Judgmentof Paris,but the interpretationwas later givenup (p. 141). Ca. 500 B.C.

P 4746 a E-F 12-14 Fragmentof wall and foot. Max. dim. 0.09. Blackbands on inside. Man (someof bootedfoot)to right,precededby a woman (feet, lower part of drapery).Betweenthe two, a vine. Below, invertedrays. Red:edge of foot. White:woman'sflesh; dotson her garments. The arrangementof the black bands on the inside of 569-573 indicatesthatthesefragmentscomefromfiveseparate, but similar, stands.They may be by a painterof the Leagros Group. Compareespecially Munich 1406 (ABV 368, 108;Paralip.162,108 and 171, 1), a ratherroughpiece connectedwith the Chiusi Painter. 569

Late 6th century B.C.

570

Late 6th century B.C.

P 4746 e and P 4746 g + P 4689 E-F 12-14 572 Two non-joiningfragmentsof rim and wall. Max. dim. e) 0.066, g + P 4689: 0.111. Fragment e shows the rays below the rim (the very narrow one indicateswhere the artist ended the pattern). Fragmentg + P 4689 gives more of the rays and below them,partsof two youthsfacing(headof one on right;topof head of one on left). Red:edge of rim;top of head of youth on left. Late 6th century B.C.

P 4746 f E-F 12-14

573

Wall and footfragment.Max. dim.0.057. Partof zone of invertedrays.Above,traceof figures. Late 6th century B.C.

P3301 H 13 P4951 E-F 12-14

574

Two non-joiningwall fragments.Max. dim. P 3301: 0.073, P 4951: 0.11. Bands of glaze on the inside. Clairmont,Parisurteil,pls. 9:a (P 3301), 10:a(P 4951). P 3301 showspartsof two figures:on the left, the drapery of one standingto right;on the right, some of the back of anotherseatedon an okladias.P 4951 givesmoreof the seated figure(head)who holdsa lyre (partof one armandcrosspiece) and may be Apollo.He facesa woman(raisedhand, part of garment), perhaps Artemis. On the wall, fillets. Abovethe figures,rays. Red: folds and dots on garments; musician's fillet; woman's garment. White: dots on garments;woman'sflesh. Late 6th century B.C.

P9275

575 PI. 55

M 17:4

Preservedbut for parts of rim, base, and figures. H. 0.134. Missing pieces restoredin plaster.On inside, black bands. D. B. Thompson, Garden Lore of Ancient Athens

P 4746 b E-F 12-14

Wall fragment.Max. dim. 0.115. Blackbandson inside. Brownishwash on surface. Parts of three figures:drapedelbow of a figure to left; draperyand armsof man, probablyto rightlookingaround; head,someof draperyof womanto right.In the field,a vine. White:woman'sflesh;dotson garment. Late 6th century B.C.

571

White:woman'sflesh;row of dotson borderof her garment; dotson man'sgarment.

P 4746 c, d E-F 12-14

Two non-joiningwall fragments.Max. dim. c) 0.143, d) 0.041. Fragmentc showsthe middlepartsof two drapedfigures, some of the legs of the one on the left, with a vine between. Fragmentd preservesthe feet and lower partof the drapery of a woman to right. Below each, tops of invertedrays.

[AgoraPicture Book 8] Princeton1963, ill. 38; Camp,op. cit. (under319), ill. 14. The figureddecorationcontinuesroundthe stand.Artemis, dressed in a long chiton and himation, mounts her chariotto right. On the left side of the team is a palm tree. Facingthe horsesis Apollo, dressedas Artemisis, holding his lyre in his left hand,a flowerin his right. BehindApollo is anotherpalmtree and a deerto left. In the field,nonsense inscriptions;abovethe backsof the horses: O E

verticallybetweentheir legs: OPE O verticallybetweenApolloand the team: OIEEIO

175

STANDS Above and below the figures, a frieze of rosetteswithout incision.Red:Artemis'fillet,loweredgeof her cloak,crosses on it; part of chariotbox; reins and breastbands;tails and manesof right-handpole and tracehorses;dotsand borders of Apollo's himation;edge of rim. White: Artemis' flesh; right-hand pole horse; teeth of trace horses, pendants of breastbands;Apollo'swreath and chiton,dots on its lower border;arms of lyre; throat, chest, belly stripe, and tail of deer;heartsof the palm trees;coresof rosettes. For the very decorativeuse of white, comparesomeof the work by the Diosphos Painter, especiallythe small neckamphora in Hamburg, inv. no. 1927.143 (ABL, p. 239, no. 142;CVA,Hamburg1 [Germany41], pl. 20 [1986]:1,2) and one once in the LondonMarket (Cat. Sotheby,29. Jan. 1968, no. 145). For the rosettes,comparethe ones on an epinetron, Akropolis 2599, that is akin to the Golonos Group (ABV 481 8). Ca. 500-490 B.C.

576

P 12449 L 18:2

Wall fragment. Max. dim. 0.091. Bands of glaze on inside. Lowerpartsof two drapedfigures:on the left a manmoving to right,a womanfacinghim. Below,a bandof chevrons. Red: border of woman's cloak; border of man's chiton. White:man'schiton;dotson cloaks;woman'sfeet;chevrons. Late 6th century B.C.

577

P27839 b H 13:5

Wall fragmentfrom near foot. Max. dim. 0.092. Two bandsof glaze on inside. Woman (feet, lower drapery)to left facinga man (toes). Below, wavy line, and below that, invertedrays. White: woman'sflesh;wavy line. Late 6th century B.C.

578 P1.55 P 25980 Q20 Wall fragment.Max. dim. 0.11. Black band on inside near top.

Woman (head, most of body) to left facing Hermes (end of kerykeion).On the right, the shoulderand draperyof a figureto right.Above,ribbonpattern.Red:fillet,eye;stripes on garments.White:fleshof woman;dotson drapery. Late 6th century B.C.

579

Ca. 500 B.c.

581

P 25915 M 18

Wall fragmentwith black band on inside. Max. dim. 0.067. Much of the glaze is abraded. Man, perhapsHermes (preservedexcept for lower legs and feet), to right, looking around at a horse (head). He wearsa chiton,a chlamysoverbothshoulders,and a petasos with the brimturnedup in the back.On the right,tracesof anotherfigure (shoulderand elbow, draped).Red: dots on cloak.White:chiton;dotclusterson cloak;studson headstall and rein of horse. The rectangularobjectat the horse'smouthis a bit burr. For this device,cf. 471 (PI. 45). Early 5th century B.C.

582 P1.55

P 25962 M 18

Wall fragmentwith black bands on inside. Max. dim. 0.056. Parts of three zones: I) petals of a palmetteor rosette; II) maeanderon a blackband;III) Dionysos(kantharos)to right facing Hermes (head). Red: brim of petasos;beard. White:maeander. Early 5th century B.C.

583 PI. 55

P 25968 M 18

Wall fragment. Max. dim. 0.062. Bands of glaze on inside. Woman (head, fingersof one hand) to left, standingon the left-handsideof a horse(smallbit of manein lowerright cornerof fragment),perhapsa pole horseof a chariotteam. On the far left of the fragment,tracesof an objectthat look like the armsof a lyre. Above,uprightlotus buds with dots in the interstices.White:woman'sflesh, dot clusterson her cloak;objectat left. Early 5th century B.C.

584

P 26210 M 17

Wall fragment.Max. dim. 0.087. Blackbandon insideat top.

Chariot(headsof two tracehorses)to right facinga man (end of beard, some of drapery).On the far right, at the break,tracesof anotherfigure.Red:beard;stripon maneof left-handtrace horse;dots on drapery.White: star on forehead of right-handtracehorse;dots on drapery. Ca. 500 B.C.

580

Dionysos (most of head, part of body) to right, looking around. On the right, a second figure (drapery)to right. Red:beard;leavesof wreath;dots on garments.White:dot clusterson garments.

P 13456 N-P 20:1

Wall fragment.Max. dim. 0.107. Two bandsof glaze on insidenear top.

P 20299 O-R 7-10 Rim fragmentwith part of wall. Max. dim. 0.08. Black bandson inside. Woman(head)to left. Red:fillet;eye;bandon outsideat edgeof rim. White:flesh. Early 5th century B.C.

585 PI. 55 P 25914 M 18 Rim fragment with some of wall. Max. dim. 0.05. Brownishwash on outside.Blackbandson inside. Woman(head)to right. Behindher, at the bottom,traces of an objectthat look like the petals of a flower.Red:fillet. White:fleshof woman,partof object. Early 5th century B.C.

176 586 PI. 55

CATALOGUE P 23311 L-N 16-18

Wall fragment.Max. dim.0.048. Bandof glazeon inside. Male (head),perhapsDionysos,to left. Roundhis headis a thick fillet held togetherby rings. Red: beard;rings of fillet. Early 5th centuryB.c. SUPPORTS, TYPE UNCERTAIN

587 PI. 55

587-601

P 22695 0 12:1

Two non-joiningwall fragmentsof a fenestratedstand. P.H. a) 0.07, b) 0.10. E. Brann,Hesperia30, 1961, p. 331, F 17, pl. 74. Fragmenta gives some of the torus base decoratedabove with invertedrays.On the wall, partof a panel framedby a double line. In the panel, a floating swan (some of neck, breast,wing), its tail cut off by the left edge of the panel. Fragmentb gives part of the rays abovethe torus and most of anotherpanel(upperrightcornermissing)thatis slightly wider than the one on fragmenta. It is decoratedwith a largelozengequarteredby a superposedSt. Andrew'scross. In each of the smallerlozengesresultingfromthe partition, thereis a little diamondwith a dot in the center. Third quarterof the 7th centuryB.C. 588

P 17155 K-N 9-12

Wall fragment. Max. dim. 0.087. Agora VIII, p. 98, no. 579, pl. 37. Woman(mostof face,drawnin outline)to right,holding a pomegranate. Closeto the Painterof BerlinA 34 [Brann]. Ca. 630-620 B.C.

592 PI. 56

Late 7th century B.C.

P2034

H8-10

Upper partof one leg and someof wall above.Max. dim. 0.10. Sphinx (head, wing) to right. Incisedrosettesfor filling ornament.Grooveabovehead,then tonguepattern.Red:fillet, wing bow;narrowbandabovegroove. The Painterof Eleusis767 (ABV 21, 3). First quarterof the 6th centuryB.C. P24651 19 591 P1.56 Wall fragment.Max. dim. 0.079. Bandof glaze on inside at bottom. Sphinx (neck,breast,wing bow) to left, facinga palmette (part of lotus-palmettecross?). Incised rosette for filling ornament.Red:neck,breast,wing bow.

P 25354 S-U 19-21

Fragmentof wall. Max. dim. 0.05. Band of glaze near top. Glaze firedbrown. Siren or sphinx (head, wing bow) to right. Above,staggeredrows of dots. Red:flesh;fillet, wing bow;bandat top of scene. Comparewith the Groupof the DresdenLekanis. Late firstquarterof the 6th centuryB.C. P 23097 I 14 593 P1.56 Leg of standor fenestratedsupportwith blackglazealong edges.Max. dim.0.123. Partsof two friezes:I) lion to right,preservedbut for left forelegand tail; blobsand dot rosettesfor fillingornament; II) backof animal.Red:mane,belly stripe. First quarterof the 6th centuryB.C. P 22903 I13-14 Wall fragment.Max. dim. 0.092. Much of the glaze is abraded. Sphinx(headwith polos,foreparts,someof wings)to left. Aboveher head to the right, part of a hole piercedthrough the wall and partly glazed. Blob rosettes.Red: body,wing bow. The Polos Painter (ABV 48, 139, where the numberis incorrectlygiven as P 22908, and 681, 11 bis, the number correct;Paralip.20, 139, the errorcorrected). Secondquarterof the 6th centuryB.C. 594

595

P 10652 B 14:5 Wall fragment.Max. dim. 0.082. Two bandsof glaze on inside. Woman (back of head with fillet, ear, temple) to right. Dot rosettefor fillingornament.Red:fillet.White:flesh. For the solid hair held by a broad,plain fillet, compare the sirenon Athens,N.M. 221 (ABV 6; Paralip.6). 589 PI. 55

590 P1.55

The Groupof the DresdenLekanis(compare:1442,1443 (Pl. 98), and 1859 (PI. 119). Late firstquarterof the 6th centuryB.C.

P 19163 C 18:4

Fragmentof leg. Max. dim. 0.054. PotniaTher6nto right,holdinga goosein her left hand,a fox in her right.Incisedrosettesfor fillingornament.Below, partof anotherzone (rosettes?).Red:hairandwingsof goddess;panelson skirt. Secondquarterof the 6th centuryB.C. 596

P 24755 P 17

Fragmentof fenestratedstand.Max. dim. 0.083. Surface finishedon each side of figuredpanel and on undersideof patternedzone above.Surfacescoveredwith a whitish slip insideand outside. Panel: siren to right; glazed line round edges of panel. Above,row of zigzags;below, part of an animal (bristlesof boar?). Secondquarterof the 6th centuryB.C. P 26770 S-T 18 597 P1.56 Wall fragment.Max. dim. 0.048. Woman(lowerpartof skirt)to right.Below,tonguepattern.Red:alternatetongues.White:feet (laiddirectlyon the clay ground);dot rosetteson skirt;line of dotson upperand loweredgesof border. Ca. 570-560 B.C.

LOUTERIA 598 Pl. 56

P 26755 U 19

Wall fragment.Max. dim. 0.073. Male (head)to left, playingthe aulos.Above,friezeof upright lotus buds and above that, part of a tongue pattern. Red:alternatetongues.White:dottedwreathof aulist. Ca. 560-550 B.C.

599 PI. 56

P 26756 U 19 Fragmentof projectingfoot and wall. Max. dim. 0.065. Woman (lower drapery,foot) striding to right. On the left, foot of anotherwomanto right. White:feet;crosseson skirt. Ca. 520 B.C.

600 PI. 56

P 23273 Q16

Wall fragment.Max. dim. 0.082. Divinitieswith chariot.On the left sideof the team (hindquartersof right-handpole and tracehorses,someof reins) standsApollo (shoulder,left hand) to rightholdinga kithara. A woman(face,shoulder,raisedhand)faceshim. White:

177

right-handpole horse;woman'sflesh;contoursof armsand supportpiecesof kithara. Early 5th century B.C.

601

P 25827 A-C 15-21

Wall fragment.Max. dim. 0.068. Man (head,someof torso,arms)to right,holdinga crook. At the rightedgeof the fragment,tracesof an object.White: crook;object. Ca. 500-490 B.C. SOSIAN STAND

602

602 PI. 56

P 13255 H 12:6

Top of stand(aboutone thirdmissing)with torusrimand someof stemon underside.Diam. 0.08; p.H. 0.02. On top side of stand, siren to left, preservedbut for one wing, standingon the stem of a lotus. Red: fillet, band on wing, doton tail of siren;budof lotus.White:face,neck,and breast,lines borderingredbandon wing, stripat baseof tail feathers. Late 6th century B.C.

LOUTERIA 603-607 Pls. 56 and 57

603 PI. 56

P 25364 Q 13-14:1 (U) Shoulderfragmentwith partof handleattachmentat left. Max. dim. 0.086. White slip on surface. Sirenor eagle (tail) to right.Crossesand zigzagswith trianglesfor filling ornament.On the left, the edgeof the panel. Red:alternatefeathersof middlesectionof tail. Near the Nettos Painter(Paralip.5, ii, 3). Late 7th century B.C.

indicatingthe startof the handlezone.An oddityis that this part is unglazed; thus, the figures were not set in the customarypanelsbut may havecontinuedround,as they do on somecolumn-kraters.605 cannotbe a column-kraterfor the rim has no overhang;norcan it be a dinos,forthe tongue patternwould not be stopped. Late firstquarterof the 6th centuryB.C. 606 P. 56

P 16567 No grid Fragmentof flat rim, handle root, and wall. Max. dim. 604 P 26295 A 17:1 (U) 0.207. Callipolitis-Feytmans, "Louteria", pp. 20, 25, 26-27, Fragmentof convex wall and roundedrim with spout. 39, 50-52, and 55, fig. 6:3 and pl. 4:d. Max. dim. 0.115. Glaze fired red. Silhouette technique. Rider (top of his head;head of horse, part of one raised Callipolitis-Feytmans,"Louteria", pp. 12, 14, fig. 4:2. forelegjust abovebreak) to left with head turnedaround. On left of spout,animal(someof headandneck?)to right. Abovethe panel, tonguepattern.On top of rim, incisedroBlob rosettesfor filling ornament. settes. Red: neck, inside of ear, eye, markingson head of The figureddecorationwas set in a panel on each side of horse; cores and alternate petals of rosettes; alternate the spout. For a similarlydecoratedexample,but of miniatongues.White:cornersof horse'seye. ture size, cf. Athens, N.M. 2341 (Callipolitis-Feytmans, The double incised line between the horse's mane and "Louteria",pl. 4:a-c). neckis characteristicfor horsesby Sophilos,e.g., 29 (PI. 4), Early 6th centuryB.C. LouvreE 873 (ABV39, 12; Baklr,Sophilos,pl. 48, fig. 87), N 128 (ABV 39, 14; Baklr,Sophilos,pl. 65, fig. Cambridge 605 P1.56 P5365 F 12:5 129), and Herakleion(Paralip. 18, 14 bis;Bakir,Sophilos, Rim fragmentwith startof shoulder.Max. dim. 0.061. pls. 80, 81, figs. 158-160: calleda workshoppiece, pp. 40, On top side of rim, rosette.On shoulder,traceof tongue 42), but the drawingon 606 is not his. The representationcannot be a frontal chariot, as depattern.Red:coreand alternatepetalsof rosette. The tongue pattern terminatesjust below the rosette scribed by Callipolitis-Feytmans("Louteria",p. 20), for

178

CATALOGUE

some of the head of one pole horse, turned to the right, would have to be visible betweenthe human head and the horse'shead. For a fully preservedexampleof this Archaic convention,cf. Louvre E 873 by Sophilos. What is more likely is that our scenedepicteda cavalcadeof ridersto left, perhapsas many as three, as we know it from the Corfu louterion,inv. no. E 61.09, not far in style from Sophilos (Paralip. 19) and from Berlin F 1722 by the Prometheus Painter (ABV 104, 124; Paralip. 39, 124), contemporary with 606. Secondquarterof the 6th centuryB.c.

607 PI. 57

P 2709 G 6:3 (U)

Fragmentof rimand shoulder.Max. dim.0.115. E. Vanderpool,Hesperia15, 1946, p. 313, no. 215, pl. 62. Satyr (head and shoulders)to right. On the right, the raisedrightarmof anotherfacing.Betweenthe two, a hanging cloak. On the far left, a satyr (face, extendedarm) to right. On top of rim, incisedrosettes.Red: beardof satyr; cloak;line at outeredgeof rim. Late 6th centuryB.c.

DINOI 608-617 Fig. 13 Pls. 57 and 58

BOWLS 608-614

P 24312 Q 12:2 608 P1.57 Rim and wall fragment.P.H. 0.045. Parts of two animal friezes:I) feline (part of neck, hind legs and tail) to left, and siren,preservedexceptfor her face and legs, to right;II) wing of sphinx or sirento left. Incised rosettefor fillingornament.On top sideof rim,SOSpattern. Red:bar on tail of siren;half of wing bows and red dot on upperhalf. First quarterof the 6th centuryB.C. 609 P. 57

P 12811 09

Wall fragment,slightlycurving.Max. dim. 0.105. Thinly glazedon inside. Two animalfriezes:I) goator ram(forelegs,partof belly, someof hind legs, on the rightat the break,muzzle)grazing to right; II) boars (heads and shoulders)confronted,the right one tusking the left. Incisedrosettesfor filling ornament.Red:I) belly stripeand neck;II) foreheadsand necks. Comparedwith works of the CeramicusPainter which recall the KX Painter (ABV 20, -).

Late firstquarterof the 6th centuryB.C. 610 Pl. 58

P334

G 15:3

Much of bowl and rim preserved.H. 0.20; diam.of bowl 0.342; diam. at rim 0.30. Rim undecorated.Below the figuredfriezes,a blackband.Bottomof vesselreservedwith scratchesand tracesof wear from restingin a stand.T. L. Shear,AJA36, 1932, p. 387, fig. 6; idem,Hesperia2, 1933, p. 468, fig. 17; R. Young,Hesperia4, 1935, pp. 430-441. Three friezes:I) two scenes. 1) At the far left, the lower parts of two figuresto right, one dressedin a chitonand a cloak.Next, part of a lotus-palmettefestoon.Then comesa gap andon the next partof the frieze,the endof the pattern.

2) Komasts.Two on the left are completelypreserved.One movesto left lookingaround,holdinga drinkinghornin his left hand. Behindhim, a companionplays the aulos while a third,preservedbut forhis legsbelowthe knees,comesup to fill his kantharosfrom the column-kraterstandingon the ground.On the right, the torso and outstretchedarm with drinkinghornof a fourthkomastto right.II) threescenes.1) On the veryleft, the muzzleandforelegsof a gallopinghorse and a male hand holdingthe reins,then a large tripodand on the rightof it, a man in a long robewith a knifeor a stick in his righthand. Betweenhis beardand his rightshoulder, the pommelof a sheathedsword.2) Ithyphallicsatyr pursuing a maenadholding a stone in her left hand. 3) The CalydonianBoar Hunt, with the names inscribed.On the left, a man comesin armedwith a small stone and accompaniedby a leashedhounddrawnin outline,its mouthand eye incised.In frontof him, Akastos(a) rushestowardthe boarwith spearpoised,a knifein his left hand,while his dog (b) attacksthe beast,which is aboutto tramplePegaios(c) who has fallen flat on the ground,bloodpouringfrom his wounds.A brokenarrowprojectsfromthe throatof the boar which is spearedin the muzzle by Meleager (d). All that remains of this hero is his head and one foot. Behind MeleagercomesAtalanta(e). Only her head remains.Behind her are traces of anothername (f). The rest of this sceneis not preserved.III) animals:a boarflankedby sirens, and a bull flankedby lions (of the right lion, only its face remains);the remainderof this zone is not preserved.Red: I) man'scloak;cuffs,sepals,petalsof lotuses;hearts,someof leavesof palmettes;links;facesand mostbodiesof komasts; II) rim, handlesupportsand feet of tripod;face and hair of man; face, shoulders,tail, tip of satyr's penis; neck and shoulders of maenad, her stone; inscriptions;faces and shouldersof hunters;hunter'sstone;arms and buttocksof Pegaios;neck, snout, belly stripe, ribs, and markingson

179

DINOI hindquartersof boar;III) faces,wing bowsof sirens;boaras II; muzzle, mane, belly stripe, and ribs of lion; neck, ears, belly stripe,ribs, and markingson hindquartersof bull. a ] tASTO5

b JEPoI

c .6AA

d MO[

1o5

e ATA.L--[

f --q

For the naming of the second figure in the boar scene Akastos,cf. Young, op. cit., p. 438. Normally, one would expectthe inscriptionto precedethe figureit names,regardless of direction,but there was not sufficientroom. The boar'svictimshouldbe Ankaios,not Pegaios,whosenameis otherwiseunknown,but the artistmay have been following a differenttradition,as suggestedby Young(p. 439). There are two odditiesin this scene.The first is the dog drawnin outline with inciseddetails,for which there seems to be no parallel (Young,op. cit., pp. 438-439). The secondis that the boarwalks insteadof rears,as it doesin all othercertain representationsof the CalydonianBoar Hunt, i.e. those in which Atalanta appearsor that have the names inscribed. Its directionto right is unusual for the periodbut is paralleled a little later in two examples,both by the Painterof Rouen 531: the namepiece(ABV 88, 1) and one in Rhodes (ABV 89, 2). For the theme,cf. 31. For the shaggysatyr,the bestparallelis the one by Sophilos, Istanbul(ABV 42, 37; Baklr,Sophilos,pl. 35, fig. 66), which shows a satyr pursuinga maenad.For a figurewith red shoulders,cf. Akropolis590 (Graef, pl. 27), which has the same exuberantstyle of drawingas 610 but is by a differenthand. The scene with the tripod remains difficultto explain. Young(p. 436) rightlyrejectedthe possibilityof the Pursuit of Troilos, for the tripod would have no meaning in this event. Beazley (Development,p. 107, note 32) suggested that the artistmay havehad in mindthe Gamesin Honorof Patroklos,a very rare theme in vase painting (Brommer, Heldensage3,pp. 461-462). In ABV (p. 23) he optedfor the FuneralGamesof Pelias, a themealmostas rare (cf. Brommer, Heldensage3,p. 496). Either of these representations would explain the presenceof the tripod,and perhapseven the man, but not the horse, which is a mount,not one of a chariotteam.For the latter,,the headof the othertracehorse would have to appear as it does in the scene by Sophilos, Athens, N.M. 15499 (ABV 39, 16; Paralip. 18, 16; Baklr, Sophilos,pl. 6, fig. 10). The low positionof the rider'shand suggeststhat he restrainsthe horse.Perhapshe hasjust dismounted. For red inscriptions,cf. footnote11 above,p. 14. Connectedwith the Groupof the DresdenLekanis(ABV 23). Ca. 580-570 B.C.

611 PI. 57

P3468

H 8-10

Fragmentof rim and wall. Max. dim. 0.154. Traces of burningon figuredpartof fragment.Most of glaze firedred. Fight. On the left, a warrior (head protectedby a Corinthianhelmet,raisedrightarmwith spear)movesto right lookingaround.Behindhim, anotherwarrior,preservedbut for mostof his legs and left forearm,fightsto right,his spear held high. He wears a corslet,over a short chiton, and a Corinthianhelmet.A scabbardis suspendedfroma baldric over his right shoulder;he carriesa roundshieldseen from the inside.Abovethe figures,tonguepattern,and on the top sideof the rim,lotusbuds.Red:crests;insideof shield;alternate tonguesand alternatelotuses;bandon innerand outer edgesof rim. White:inneredgeof crest;chitonof warrioron right;dotson his shieldband. Since the head of the warrioron the left is lower in the compositionthan that of the one on the right, it indicates that he is fleeing,probablywith kneesbent. The Painterof LondonB 76 (ABV 87, 19). Ca. 570-560 B.C.

P 26758 U 19 612 P1.57 Wall fragmentfromnear startof neck.Max. dim. 0.029. Glaze firedbrownon inside. Stag (antler,ear, part of neck)grazingto left. Red:neck; line near top on insideof fragment. The stag was probablypart of an animalfrieze. For two contemporaryexampleson the shouldersof dinoi,cf. Wiirzburg 453 (Langlotz, pls. 129, 130) and Brussels R 222 (CVA,Brussels1 [Belgium1], pl. 2 [13]:1). Secondquarterof the 6th centuryB.C. 613 PI. 57

P 483 I 17 Shoulderfragmentwith startof rim. Max. dim. 0.077. Woman(head,shoulder)to right.On the right,the raised hand of the woman. Above, tongue pattern. Red: fillet; stripeon garment;alternatetongues.White:flesh. The verysmallfigurescomparedwith the largesize of the tonguesindicatethat this dinos had a narrowfrieze of figures on the shoulder,probablyabovethe main zone. Compare the namepieceof the Painterof LouvreE 876 (ABV 90, 1). 613 may be by him, but so little of the figuresis preservedthat it is difficultto be certain. Ca. 550 B.C. 614

P1. 57

P 14939 E 19:7

Rim fragment.Max. dim. 0.039. On top side of rim, warrior(head protectedby a Corinthian helmet,part of a roundshieldand a spear)to left. On inner side of rim, ship (top of mast,part of sail and yards). Red: rim of shield. White: dot on helmet crest, remainsof shielddevice;sail. The positionof the spearis odd, for it pointsdownward. Perhapsit is the goad of a charioteer,as on Madrid 10902

CATALOGUE

180

FIG.

13. Dinos stands615 (P 26619), 616 (P 21708), and 617 (P 13271). Scale 1:2

by the AntimenesPainter (ABV 275, 133). Ships are very commonon the insidesof rims of dinoi after 530 B.c. For a list, cf. CVA,Boston2 [USA 19],pp. 9-10. Ca. 520 B.C.

STANDS 615-617

P 26619 T 18:2 615 Fig. 13 Fragmentof foot,reservedon underside.Max. dim.0.10; est. diam. 0.22-0.23. Vertical surface has four rills. The glaze has fireda brownishblack. On top surface,ornamentaldecoration.Preserved:parts of two circles,one decoratedwith incised lozenges.Inside one circle is a wheel rosette;inside the other,bits of glaze. Betweenthe circlesand outeredge of foot, rosette.At outer edge,dots. Red:circlewith lozenges;alternatedotsof wheel rosette;partof objectin othercircle;line betweencirclesand row of dots;rills. Last quarterof the 7th centuryB.C.

616 Fig. 13, P1.57 P21708 07:9 Fragmentof foot with broadrestingsurface.Max. dim. 0.18; est. diam.0.32. On top surface,animalsto left: feline (hind legs, part of tail), ram (head, legs, body). Below, rays. Ridge decorated with dotsseparatesanimalfriezefromrays.Red:neck,belly stripeof ram;line aboveraysbelow ridge. The KomastGroup:II, the mannerof the KX Painter (ABV 28, 6). Ca. 585-575 B.C. 617 Fig. 13, PI. 57 P 13271 G-I 11-12 Flaring wall and rim fragment,with ring at junction. Partsof wall and nearlyhalf of rim restoredin plaster.Two bandsof glaze on inside. Poor,brownishblackglaze. P.H. 0.117; diam.at rim 0.148. Friezeof "penguin"figures.Borderof esseson sideof rim; rosetteson flaringinsideof rim. Three wide blackbandson inside. Ca. 550 B.C.

181

HYDRIAI HYDRIAI 618-669 Pls. 59-63

ROUND-BODIED HYDRIAI

618 P1.59

618-624

P 26776 T-U 19-20 (I)

Two non-joining fragments. Max. dim. a) 0.141, b) 0.052. Part of the wall and a horizontal handle (a), fragmentfromthe shoulder(b). Fragmenta (illustrated)preservespartof the friezeof incised rosettesthat encirclesthe vase directlybelow the handle zone and some of the rays above the foot. Fragmentb gives a head to left, perhapsthat of a sphinx or a siren,and on the left at the break,part of an uncertainobject,possibly the tip of a wing. Red: head and neck;cores and alternate petalsof rosettes;dot on wing(?);top surfaceof handle;line aboveand below rosettesand at top of rays. Late firstquarterof the 6th centuryB.C. 619

P 20707 R 11:2

Wall fragment. Max. dim. 0.118. Root of horizontal straphandleon right. Swan to right; incised rosette under handle. Red: wing bow;blobson rosette;two lines underpicture. Late firstquarterof the 6th centuryB.C. 620 PI. 59

P5467

E 16

Fragmentof rilledrim and neck. Max. dim. 0.15. Riders(headand armof one, headand neckof his mount; part of the tail and hindquartersof anotherhorse)to right. Red:dot on chestof rider;eye and neckof horse;two bands on insideof mouth;rills. It is unusualfor round-bodiedhydriaito havethe figured decorationon the neck. Besides 620, here are some other examples:four by the Polos Painter,Eleusis 266 (ABV 44, 12; Paralip. 20, 12), Berlin 1656 (ABV 44, 18), Boston, M.F.A. 76.34 (ABV 44, 19; CVA, Boston 2 [USA 19], pls. 68 [902], 69 [903]:1), Basel Market (Paralip. 20); Oxford 1932.732 attributedto the Ragusa Group (CVA, Oxford3 [GB 14], pl. 36 [651]:1-11);Copenhagen,inv. no. 13536, close to the Painterof LondonB 76 (Paralip.32, 2 bis). Eleusis 266 and Copenhagen13536 also have rilled rims. Secondquarterof the 6th centuryB.C. 621 P. 59

P 12019 P 19

Wall fragment.Max. dim. 0.105. Animalfriezes:I) felineor sphinx (foreleg,someof belly) to left;rosettebelow;II) sphinxes,or sirenand sphinx (face of one, all of one sphinx) facing;at right,tail of birdor siren; incised and blob rosettes for filling ornament. Below II, rays. Between friezes, dicing. Red: I) belly stripe; II) hair, breast, belly stripe, wing bow, and markingson hindquarters.

Althoughcalleda neck-amphorain ABV, the curvenear the top is verysharpandindicatesthat the shapeis a hydria. Cf. Eleusis 266 (ABV 44, 12; Paralip. 20, 12) and Delos 589 (ABV 44, 17). The Polos Painter(ABV 44, 8). Secondquarterof the 6th centuryB.C. P2824

622

H 12:11

Fragmentof neck.P.H. 0.095; max. dim. 0.127. Sphinx (headwith polos,breast,foreleg,partof wing) to right, facing a siren (head, most of body, wing). Blob rosettes for filling ornament.Red: breasts, wings; band on bodyof sphinx. The compositionwas surelya sirenbetweensphinxesand would not fit betweenthe handlesof a neck-amphorabut ratheron the neckof a hydria.Cf. Delos 589 (ABV44, 17). Near the Polos Painter(ABV 49, -). Secondquarterof the 6th centuryB.C. 623 Pl. 59

P5201

F 12:6

Wall fragment.Max. dim. 0.148. Rootof verticalhandle at top. Friezes: I) parts of two incised rosettesnext to vertical lines markingend of handle;II) two confrontedsirens;on the left, a wing andon the right,the endof a tail. Incisedand blob rosettesfor filling ornament.Below, rays. Red: wing bows, barson tails;somerosettes. Companionof the Polos Painter(ABV 49, 2). Secondquarterof the 6th centuryB.C. P771

624

I 17:1

Preservedbut for mouth,neck, verticalhandle,and part of shoulder.P.H. 0.06; diam. with handles0.082. Glaze is abradedin manyplaces.Firedred. Traces of figured decoration, but the subject is unintelligible. First half of the 6th centuryB.C. SHOULDERED HYDRIAI

625 P1.59

625-649

P 16325 N 18:8 (M) Two non-joining shoulder fragments. Max. dim. a) 0.086, b) 0.074. Fragmenta preservesthe head, neck, and shoulderof a lion to left sinkingits teeth into the hindquartersof a bull. Fragmentb givesthe hindquartersof the lion and the breast of a siren,bothto left. Red:markingson hindquarters;blood flowingfrombite;neck,ribs;wing bow (justtracesremain); line above figures on a. White: teeth of lion, belly stripe; breast. Kleitias(ABV 77, 11). Ca. 570-560 B.C.

182

CATALOGUE

P 5228 N10:1 626 P1.59 Five non-joiningfragmentsof shoulderand wall. Max. dim. a) 0.118, b) 0.102, c) 0.037, d) 0.085, e) 0.06. On the shoulder, lotus-palmettecross between sirens. Fragmenta showsalmostall of the rightsiren(legsmissing) and part of the floral. Above,tongue pattern.Fragmentb givesthe top of the head,partof the wings and tail of the left siren. On the body,warriors.Fragmentb shows the upper part of a raisedright arm of a warriorto right, someof his chiton,the tail of his helmetcrest,and partof his scabbard. On the left, ivy framingthe panel. Fragmentc preservesthe helmetedhead of a warriorto left, part of the rims of two shields. Fragmentd shows the lower legs (greaved)of two warriors,perhapsthose on c, to left. Fragmente (not illustrated)is undecorated.Red: fillets of sirens;bars on wings and tail; heartsof palmettesand lotuses;alternatetongues; rims of shields;two greaves;two lines below panel. White: flesh of sirens; dot at end of each lotus petal; dots round heartsof palmettes;chitonof warrioron b. The Painterof LondonB 76 (ABV 86, 5). Ca. 560 B.c.

P998 I16:4 627 P1.60 Most of bodypreserved.P.H. 0.21. Mouth, neck,shoulder, handles,and foot lost. Glaze has misfiredred in places. Frontalchariot,preservedexceptfor the headand neckof the tracehorseon the left, the mane and part of the headof the one on the right, some of the mane of the pole horseon the right, the top of the charioteer'shead, and a bit of the chariot. Framed at the sides by ivy. Above the foot, rays. Red:manes;breastbands;chariotbox;two lines belowpanel and one aboverays that continueroundthe vase. White: charioteer'schiton. Lydos(ABV 108, 18). Ca. 560 B.C.

P26544 T 18:4 628 P1.60 Wall fragmentfrom lower right cornerof panel. Max. dim. 0.183. Departureof warrior.At the left, the toe of a figurefacing right,then the lower part of the warrior'sshield,his legs to left, someof his spear(a verythin line), and two foldsof his cloak.The shield is emblazonedwith a bee or a wasp. On the right,the lowerhalf of a drapedmale,also to left. At the bottomof the fragment,tips of raysabovethe foot.Red:fold and stripe on man's garment;line below panel continuing roundthe vase;anotherabovethe rays.White:shielddevice. Perhapsan early work of Lydos. Comparethe drawing on LouvreE 868 (ABV 110, 30; Tiverios, pls. 3, 4:a) and LouvreC 10634 (ABV 110, 31; Paralip. 44, 31; Tiverios, pls. 10, ll:a). For the shield device,cf. Akropolis607 r by Lydos (ABV 107, 1; Tiverios,pl. 48). For other examples, cf. M. B. Moore,AJA83, 1979, p. 88, note 77. Ca. 560 B.c. P 22167 Q 15 629 P1.60 Max. dim. 0.037. Wall fragmentwith start of shoulder. Glaze veryworn.

Warrior(top of head with high-crestedhelmet)to right. The horizontalline probablyrepresentsthe line dividingthe shoulderfromthe body. The high positionof the warrior'sheadsuggeststhat he is mountedor perhapsstandsin a chariot. Ca. 560 B.C.

630

P26800

T19:1

Wall fragmentwith start of shoulder.Max. dim. 0.076. Glaze worn in manyplaces. Woman (head, part of drapedtorso) to left and behind her, a man (partof head, body,right arm with drapery)to right.Aboveheads,line in diluteglaze separatingthe shoulder fromthe body. Red:woman'sfillet, dot rosetteson her garment;hair and beardof man, panel on his cloak.White: fleshof woman. Ca. 560-550 B.C.

631

P25835

A 19:5

Fragmentof shoulderand wall. Max. dim. 0.112. Glaze is abradedin manyplaces. In panel,two drapedyouths(chitonandhimation)facing; betweenthem,two verticalrowsof dotsseparatedby a line. A single row of dots flanksthe panel on each side. On the shoulder,two haresrunningin oppositedirections.Red:line underfiguresthat continuedroundthe vase. Ca. 550 B.C.

632 P1.60

P 5226 N 10:1

Many fragments. Max. dim. a + d) 0.193, b) 0.043, c) 0.194, e) 0.062, f) 0.035, g) 0.097. Six fragmentspreserve traces of decorationon both the shoulderand body. Foot missing.

On the body, frontalchariot.On the shoulder,tracesof two horsemen,perhaps flanking a fight. Fragmenta + d preservespartof the neck,shoulder,and bodywith someof one horizontalhandle. On the shoulder,rider (head and shoulders;top of mane,someof legs,tail of his mount)to left holdinga spear (tip). Tongue patternon shoulderat junction with neck.On the body,the top of the headof the trace horseon the right, and to the right, ivy with berries.Fragmentb givesthe top of the headof the tracehorseon the left and a bit of the ivy patternon the left. Fragmentc shows parts of the legs of both pole horsesand the tracehorseon the left, the axle, one wheel, and partof the chariotbox. Below, someof the rays abovethe foot (not illustrated).Fragmente preservesthe muzzleof the pole horseon the left;the muzzle, neck, and chest of the pole horse on the right;the draperyof the charioteer.Fragmentf(notillustrated)shows a bit of the ivy fromthe upper left cornerof the panel and the end of the tail of the horseon the left on the shoulder. Fragmentg (not illustrated)gives more of the ivy pattern from the lower right cornerof the panel. Red: manes and tails;hair of rider;chariotbox, breastband;two lines below panel;two more abovethe rays;alternatetongues.White: chitonof riderandof charioteer;blazeof tracehorseon left. Group E. The three verticallines on the chests of the horsesare characteristicof frontalhorsesby these painters,

HYDRIAI and other details such as the long red mane incisedonly at the lower edge are also typical. Compare,e.g., New York, M.M.A. 56.171.12 (ABV 134,22; Paralip.55, 22); Munich 1380 (ABV 135, 34); Tarquinia, inv. no. 617 (Paralip.56, 36 bis);Adolphseck2 (ABV 686,40 bis;Paralip.55, 40 bis); Boston, M.F.A. 00.330 (ABV 135, 45; Paralip. 55, 45; CVA,Boston1 [USA 14],pl. 5 [627]:2);Vienna3596 (Paralip. 56, 48 bis), and Basel Antikenmuseumund Sammlung Ludwig (Paralip. 57, 63 ter; Berger and Lullies, op. cit. [under 476], p. 62). For the white blaze, a rare detail, comparethose of the pole horses on LondonB 194 (ABV 136, 56; Paralip. 55, 56). Ca. 540 B.c. 633 P1.60

P 1869 I-K 6-8

Shoulderfragmentwith startof neck. Max. dim. 0.048. Youth (head, most of left arm) to left, with spearpoised. Behind him, a horse (head). Above, tongue pattern. Red: hair, core of rosette on garment;horse's mane; alternate tongues;ring at junction.White:dotsof rosette. Ca. 540 B.c. P 14372c N 10:1

634

Wall fragment.Max. dim. 0.073. The scaleof drawingis too small to belongto 642. Chariot (foreparts of the horses; drapery of a figure standingat their heads)to right. Ca. 530

B.C.

635 PI. 60

P 6564 E-F 12-14

Two non-joiningwall fragments.Max. dim. a) 0.072, b) 0.053. Each fragmentpreservesone root of a horizontal handle.Fragmenta givesthe turn of the shoulder. Komasts. Fragmenta preservesmost of one (face, left arm, and shouldermissing) dancingto right. Fragmentb gives the left arm and someof the chestof another.Framing the panel on each side, a verticalwavy line with dots in the interstices,between lines. On the shoulder,ivy with dots. Red: hair; nipples; two lines below panel that continued roundthe vase. The selectionof ornamentis most unusual.For the wavy line with dots,the only parallelseemsto be an unattributed fragmentaryhydriain Florence,inv. no. 94323 (CVA,Florence 5 [Italy42], pl. 23 [1887]:2,3), wherea similarpattern separatesthe body from the shoulder.Other examples of this patternon hydriaiare unknownto us. Third quarterof the 6th centuryB.C. 636 PI. 61

P 4905 E-F 12-14 P 3256 F 14

Two non-joiningwall fragments. Max. dim. P 3256: 0.101, P 4905: 0.105. Brownishwash on surface. P 3256 preservesthe panel and predella.Panel:man and woman(feet, lower partsof garments)to right.Predella:feline (body,hindquarters,tail) to right. P 4905 showspartof a man (feet; lower part of chiton) to right. Red: stripe on woman'sgarments.White:woman'sflesh;dottedcrosseson

183

her garments;dotson bordersof all garments;belly stripeof feline. The large amount of space behind the man on P 4905 suggeststhat he is the leftmostfigure.To judge fromwhat remains of the composition,the subjectmay have been a group of deities. This would accountfor two men in long robes,for they couldbe DionysosandApollo,or even Poseidon and Zeus. Compareas examples:three by the AntimenesPainter,Toledo 1956.70(ABV 268, 26; Paralip.118, 26; CVA,Toledo 1 [USA 17],pl. 23 [803]:1),Altenburg222 (ABV 268, 27; Paralip. 118, 27), and Hanover 1965.30 (Paralip. 119, 27 ter, no longer in the Bareiss Collection; CVA,Hannover1 [Germany34], pl. 19 [1651]:2);or Havana, once Lagunillas88, an unattributedhydria (Gerhard, AV, pl. 14). Difficult to parallel in such a scene is the amountof spacebetweenthe leftmostfigureand the edgeof the panel. Ca. 530-520

B.C.

P 26629 T-U 19-20 (III) Shoulderfragment.Max. dim. 0.067. Fight (two warriorsover one fallen). On the left, a warrior (preservedbut forbackof head,rightarm,mostof right leg), clad in a Corinthianhelmetand a shortchitonwith a corsletover it, comesin from the left, his spear raised,his roundshield held out. Of his opponent,all that remainsis part of his Boeotianshield (device:balls,one preserved).Of the fallen warrior,only part of his legs and round shield (device:wreath)are preserved.Red:stripeson chiton;rimof roundshield;dot on rim of Boeotianshield. White:devices on shields;armbandof roundshield;dot clusterson chiton. 637 P1.61

Ca. 530-520

638 P1.61

B.C.

P21

H10

Wall fragment.Max. dim. 0.087. Part of paneland predella.Panel:chariot(partof wheel) and woman (footwith loweredgeof drapery)to right. Predella: boar (body, part of hind legs) to right. Red: ribs, markingson hindquarters.White:foot;belly stripe. Third quarterof the 6th centuryB.C. 639 PI. 61 P4634 F-G 12:1 Two non-joiningwall fragments.Max. dim. a) 0.08, b) 0.033. Fragmenta gives part of the panel and predella.Panel: chariotteam (the lowerleft forelegsof the two tracehorses), a warrior(lowerleft leg greaved,left foot,toe of right foot) facing,andbetweenmanandbeast,a birdor siren(tail, part of wing) perchedon a plant.Predella:animalfrieze(backof animal).Fragmentb (not illustrated)shows partof a leg or an arm. Red: greave;part of wing. White: forelegof lefthandtracehorse. The forelegsare too closetogetherto be thoseof a mount, which usually has one forelegslightly behindthe other. A left-hand trace horse painted white is particularlyrare. Compareone by the Swing Painter, Rhodes 14093 (ABV 307, 57; Bohr, Schaukelmaler,pls. 79:A, 80:A). The high

CATALOGUE

184

position of the back of the animal in the predella indicates that it is not a feline but more likely a bovid or perhaps a ram or a goat. Compare, as an example, Louvre C 10660 (CVA, Louvre 11 [France 18], pi. 142 [815]:1). Ca. 530-520

640

P1. 61

B.C.

P 26442

T 19:1

Wall fragment with turn of shoulder. Max. dim. 0.054. Upper right corner of panel: Hermes (head, shoulders, upper part of body) to left, clad in a petasos with the brim turned up in the back, a chiton, and a cloak. On the right, ivy with dots. Red: forelock and beard; stripes on cloak. White: brim of petasos; dot clusters on cloak; baldric. The dark object above the head of Hermes is not a band of glaze across the top of the panel, for there is a line above it that separates body from shoulder decoration. Also, a band of glaze at the top of the panel of a hydria is unlikely. Rather, the glaze represents the roof of a structure. A good comparison is the Palace of Hades in the Kerberos scene on Boston, M.F.A. 28.46, in the manner of the Lysippides Painter (ABV 261, 38; CVA, Boston 2 [USA 19], pl. 79 [913]:2). Here, Persephone stands in the palace. For Hermes standing in the palace, cf. Louvre F 241 by the Acheloos Painter (ABV 383, 5). The scene on 640 may represent Herakles and Kerberos, but without more to go on, it is difficult to be certain. For the subject of Kerberos, cf. 102. Ca. 520 B.C. 641

P281

F 16

Wall fragment. Max. dim. 0.058. Man (head) to right. The contour of the head, drawn in dilute glaze, suggests a short curly hairstyle. At the top, traces of a line drawn in dilute glaze. Red: beard. The bent head of the man suggests that the subject may be a warrior putting on greaves or a gaming scene. Ca. 520-510 B.C. 642

PI. 61

P 14372 a, b, d, e

N 10:1

Four non-joining wall fragments. Max. dim. a) 0.13, b) 0.152, d) 0.106, e) 0.053. Women with hydriai. Fragment a shows the upper parts of two women to right, the left one with raised arm steadying a hydria on her head (not preserved), the right one lifting her vessel or placing it under a stream of water. Fragment b shows the lower parts of two women to right. The one on the right may be part of the woman on the left on fragment a. Below the figures, frieze of upright lotus buds with dots in the interstices. On the left, part of the ivy framing the panel. Fragments d and e (not illustrated) preserve some of the rays above the foot. Red: two lines below panel; line above rays. White: women's flesh. For fountain houses and fountain scenes on vases, cf. B. Dunkley, BSA 36,1935/1936, pp. 142-204; also, R. Ginouves, Balaneutike. Recherches sur le bain dans l'antiquite grecque, Paris 1962, chap. 1; also, J. Boardman, RA, 1972, p. 68. Ca. 510 B.C.

643

PI. 61

P 24644

Q 12:3

Three non-joining wall fragments. Max. dim. a) 0.098, b) 0.05, c) 0.038. S. R. Roberts, Hesperia 55, 1986, p. 47, no. 321, pl. 12. Chariot scene. Fragment a shows the breast and breast bands of the two trace horses to right; in front of them, Hermes (part of chiton, ends of chlamys, legs, boots) also to right, facing a woman (lower part of chiton and cloak, foot). Below the figures, part of the band of up-and-down palmettes. Fragment b gives part of the chariot wheel, the tail and one hoof of the right-hand pole horse, and more of the palmettes. Fragment c (not illustrated) preserves some drapery folds, the hand of a woman, and on the right, part of another figure. Red: tongues of Hermes' boots; dots on the border of his chiton, on his chlamys, and on the woman's chiton; tail; breast bands. White: Hermes' chiton, dot clusters on garments; hub of wheel; right-hand pole horse; pendants on breast band of right-hand trace horse. The subject is probably either a wedded pair in a chariot or the Apotheosis of Herakles. Ca. 510 B.C. 644

PI. 61

P 25920

M 17:7

Fragment of shoulder and wall. Max. dim. 0.103. Glaze has misfired brown. On the shoulder, man (foot) to right and the end of his staff. On the body, upper left corner of panel: a woman (head, neck, right shoulder and arm) to left, carrying a basket or box on her head. There is a doughnut-shaped cushion between her head and the load. The fold of her cloak has been raised by her left arm and hand (traces of her left hand appear in the upper right corner of the fragment) or else caught against the basket. She is adorned with earrings, a necklace, and a bracelet. The woman may be to right, looking around. In the field, a branch. Above the panel, key pattern to left; on the side, ivy. Red: pupil of eye, earrings, bracelet, dots on garment. White: flesh; dot clusters on garment. Compare Louvre F 52, a hydria attributed to the Eyesiren Group (ABV 287, 14). Here, the Nereid has the same prominent elbow as the woman on 644, which is an unusual detail. Compare also the shoulder composition: the onlooker with staff. Ca. 510 B.C. 645

P1. 61

P 25971

M 18

Wall fragment. Max. dim. 0.067. Fountain house (most of Doric capital, some of necking rings, part of entablature, and on the left, a frontal lion's head spout). In the field, branches. Above, some of the key pattern to left, which separates the shoulder from the body. Red: mane of lion's head. White: metopes; guttae. For a fountain house below a key pattern at the turn of the shoulder, compare Toledo 1961.23 by the Priam Painter (Paralip. 147, 5 ter; CVA, Toledo 1 [USA 17], pl. 23 [803]:2); for a similar fountain house, cf. another by the Priam Painter, London, B.M. B 329 (ABV 334, 1). For a discussion of fountain houses on vases, cf. 642. Late 6th century B.c.

185

HYDRIAI P2093 I-K 6-8 Fragmentof shoulderand wall. Max. dim. 0.078. On the shoulder,warrior (most of head, left foot, right hand missing), runningto left, holdinghis shield horizontally (device:eagle). Behindhim, a man (top of head missing) watching.In the panel, youth (head) to left, holdinga spear (tip); behindhim, part of the frame (ivy). Red:warrior'schiton;fillet of man and youth;stripeon cloak.White: device;baldric;pommelof sword;dotson cloak. The compositionmay have been similar to the one on LouvreC 10661 which shows a fight betweentwo warriors over a third, between flanking figures (CVA, Louvre 11 [France18], pl. 142 [815]:2). Last quarterof the 6th centuryB.c.

646 P1.62

P 9082 M 19

647 PI. 62

Shoulderfragment.Max. dim. 0.057. Glaze firedbrown. Two seatedfigures,one, a man (someof head and body) to left on a box seat, the other,a youth (preservedexceptfor his right hand and feet) to right on an okladias.Abovethe figures,tonguepattern.Below, someof the line at the junction of the shoulderand body. Red: hair, beard;stripeson youth's cloak;alternatetongues. White: himationof man; joints of okladias. Late 6th century B.C.

648 PI. 62

P 4686 E-F 12-14

Shoulderfragment.Max. dim. 0.05. Parts of two horsemen (muzzle, part of neck of one mount; most of the other and his rider) and a standing drapedfigure(back),all to right. Late 6th century B.C.

649

P 23232 M 16

Wall fragment,burned(clay is gray). Max. dim. 0.052. Boar(hindquartersmissing)to right. Red:line belowfigure zone. Early 5th century B.C.

KALPIDES 650-669 PICTURE ON THE SHOULDER

650 PI. 62

650-652

P 7238 D 7:2

Three non-joining fragments. Max. dim. a) 0.264, b) 0.113, c) 0.121. Rim (concave on top), neck, and shoulder,root of horizontalhandle (a); horizontalhandle, part of wall (b); wall with rootof verticalhandle(c). Departureof warriorswith chariot.Only fragmenta (illustrated)preservessome of the figureddecoration.On the left, an archerdressedin a shortchitonand an orientalcap standsto left holdinghis bow in his right hand.Then comes the chariotteamto right,preservedexceptfor the headsand forelegs,guidedby the charioteerwho has alreadymounted the vehicle.On the right side of the team,a pair of warriors dressedas hoplitesstandto left. Abovethe figurezone, key

patternto left;at the side, net pattern.Belowthe panel, ivy. Red:archer'sbeard;belt of charioteer;stripson manesand tails;rim of shield;line on innerand outeredgesof lip; line abovepanel;anotheron neckthat continuesroundthe vase. White:charioteer'schiton;shielddevice(ball). The Painterof LondonB 343 (ABV 342, 2). Late 6th centuryB.C. 651

P6635

E 15:6

Shoulderfragment.Max. dim. 0.066. Chariot(armsand handsof charioteerholdingthe reins, part of his chiton;partsof four tails, someof the hindquarters of two horses;a bit of the chariotpole, the breastwork, and pole stay) to right. On the left side of the team, there appearpartsof the legs and a bit of the shieldof a warrior standingto left. Red:tails. White:chiton. Late 6th century B.C.

652 PI. 62

P 24680 R 12:4

Fragmentof shoulderand wall. Max. dim.0.137. Rootof horizontalhandleon the left. Lion (preservedexceptfor top of head) to right with left forepawraised.On the right,at the break,tracesof another figure,perhapsthe raisedforepawof a similarlion. On the left, ivy. Below, reservedline. Red: tongue. White: belly stripe;teeth. Early 5th century B.C. PICTUREON THE BODY 653-669

653

P 12777 G 11:3 Lower part of body, foot preserved.P.H. 0.19; diam. 0.23. Glaze firedred on panel. Peleus (legs, right arm) seizing Thetis (lower drapery), bothto right.On the right,a Nereid (fromthe kneesdown) flees.On the left, behindPeleus,a bit of glaze (loop,perhaps the tail of a feline). Belowthe scene,a friezeof uprightlotus buds with dots in the interstices.White:tip of Peleus'scabbard;fleshof women;dot clusterson garments. For Peleusand Thetis in Atticblackfigure,cf. Brommer, Heldensage3,pp. 321-326. A bandof ornamentformingthe lowerborderof the panelof a kalpisis veryrare,althoughit is morefrequenton shoulderedhydriai.For an exampleon a kalpis,cf. Montreal39.Cb.1,nearthe NikoxenosPainter (Paralip. 172, 3). Here, all four sides of the panel are framedby circumscribedpalmettes. Ca. 510 B.C.

654 PI. 62

P 16620 L 20

Wall fragmentfromnear shoulder.Max. dim. 0.077. Heraklesand Antaios.Herakles(head,partof chest,left arm) bends forwardand seizes Antaios with his left arm. The giant (most of his head, body, beginningof arms and legs) is down on one knee to left. In the field is a tree, and suspendedfromits branchesare the hero'squiverand baldric. On the right,the outstretchedhand of a woman.Red: fillet;stripon beard.White:baldric;woman'shand.

186

CATALOGUE

For the subject, cf. Brommer, Heldensage3, pp. 25-27.

The LeagrosGroup(ABV 366, 80). Ca. 510-500

B.C.

655 PI. 62

P 13237 G-I 11-12

Shoulderfragment.Max. dim. 0.073. The glaze has misfiredin places. Fountain house. The fragment preservesmost of one Doric capital, a bit of the shaft, and some of the metopetriglyphfrieze. At the right,just abovethe break,part of a water spout.In the field,a branch.Abovethe figurezone, a frieze of invertedlotus buds. White: frieze; part of water spout. For fountainscenes,cf. 642. Late 6th century B.C.

656 P1.62

P 25966 M 18

Wall fragmentfromnear shoulder.Max. dim. 0.072. Fight. A beardedman (head and shoulders)falls backward to the right, the hand of his attackerpressedagainst his throat.Behindthe falling man on the rightis a woman (drapery)with hand outstretched.In the backgroundis a line of glazethatmaybe the shaftof a spearor a staffheldby the attackedman. White:woman'sflesh;dotson garments. The fragmentcomesfromthe part of the vase that is just below the startof the shoulder.Thus, the beardedman appears ratherlow in the compositionand is probablyeither falling backwardor sittingon something.Althoughvaguely reminiscentof the Death of Priam at the handsof Neoptolemos, a subjectthat occursratheroften in late 6th-century Attic vase painting (cf. Brommer,Heldensage3,pp. 466467), it has to be ruled out becausethe beardedman is not old and his aggressorseizes him by the throat,a methodof attackthat does not seem to have a parallelin otherrepresentationsof this theme. One may perhaps comparethe sceneon an unattributedneck-amphorain Bonn,inv. no. 39 (AJA 58, 1954, pi. 58, fig. 17). Here, Neoptolemosgrasps Priamby the arm. The king'shair and beardare red. Late 6th centuryB.c. 657 P1.62

P6180

E 15:6

H. 0.21; diam. 0.164. Preservedexcept for fragmentsof rim, wall, and foot that have been restoredin plaster,one horizontalhandle, and the verticalhandle. Dent in panel. K. Schauenburg,Gymnasium67, 1960, pl. 15:1. Aineas and Anchises.Aineas, dressedin a high-crested Corinthianhelmet,a chiton,and greaves,and armedwith a sword(scabbard),two spears,and a Boeotianshield,moves to right carryinghis father under his right arm. The old man wears a long chitonand looks around.Streakof glaze in background.Abovethe figures,net pattern.Red:dotson Anchises'chiton;bordersof Aineas'chiton,incurvingpartof shield rim; two lines below the figure zone that continue roundthe vase,one on the neck.White:hairof Anchises;Aineas'baldric;arm bandof shield;circleson rim of shield. For the subject, cf. Brommer, Heldensage3, pp. 386-389;

S. Woodfordand M. Louden,AJA 84, 1980, pp. 25-40. The Red-linePainter(ABV 605, 84; Paralip.301, 84). Ca. 500 B.C.

658 P1.63

P 23197 H 12:15(POU) H. 0.231; diam.0.133. Preservedexceptfor fragmentsof wall that havebeenrestoredin plaster. Chariotto right. Two youths stand in the vehicle. The horses are preservedexcept for the forepartsof the righthandtracehorse.On the left sideof the team,a youthto left. In the field, a vine. Abovethe scene,net pattern.Red:dots on draperyof charioteer;manes;line on neckon insideand on outside;lines below panel that continueroundthe vase. White:right-handtracehorse. The Class of Kalpides associated with the Red-line Painter(ABV 710). Ca. 500 B.C. P 13757 U23:2 (L) 659 PI. 63 Most of body, foot, one horizontalhandle. P.H. 0.202. Glaze has misfiredin places. Octopus(three tentacleswith suckers).Red: line below panelthat continuesroundthe vase. For an octopusin the panelof a kalpis,cf. Berlin,inv. no. 3281 (E. Folzer, Die Hydria. Ein Beitrag zur griechischen

Vasenkunde,Leipzig 1906, pl. 10:197); Munich 1730, which has a dolphin below; InnsbruckII 12 (6); Bonn, Himmelmann(Ars Antiqua II, 14. Mai, 1960, no. 142); Dresden1757 (AA[JdI 171,1902,p. 116,no. 29:described); New York Market (Cat. Sotheby 8 and 9. Feb., 1985, no.

64); Geneva, Ortiz; Louvre C 12532; and Mykonos986. None of the tentaclesof theseoctopihas suckers. Late 6th centuryB.c. 660 PI. 63

P 2642 G 6:3 (U)

Fragment of neck and wall. P.H. 0.06; diam. 0.075. E. Vanderpool,Hesperia15, 1946, p. 311, no. 197, pl. 61. Fountainscene. Two women (head, shoulders,arms of one; the other preservedexcept for most of legs) fill their hydriai at panther'shead spouts. They wear chitons and himatia;roundthe head of each is a fillet, and on top is the cushionfor the hydria.The fountainis constructedof three Ionic columns supporting a metope-triglyphfrieze and pediment(on the neckof the vessel).In the pediment,a panther's head flankedby two serpents.On the right and left, abovethe horizontalhandle,a palmette.Red:fillets;dotson garment;muzzlesof panthers.White: flesh of women;dot clusterson theirgarments;columns(theoneson the left and right laid directly on the clay); details of metopes and triglyphs. The schemeof decorationis unusualand recallsthat of the groupof Red-bodiedOinochoaiIII (ABV 439-440) and that of Red-bodiedOlpai (ABV 450-451 and 682). For anotherred-bodiedkalpis,cf. Basel 1906.267. For fountainhouses,cf. 642. Early 5th centuryB.C. 661 PI. 63

P 9459 C 9:6

Shoulderand body fragmentwith thin brown wash on inside.Max. dim.0.116. Glaze firedred. Beardedman (head, most of drapedbody),perhapsDionysos, to right, holding a staff or a thyrsos (?), looking

OINOCHOAI aroundat another(forearm,hand), perhapsa satyrplaying the aulos. Red: strip on forelock, beard; folds of cloak. White:chiton;dotson cloak. What appearsto be a staff or a thyrsosmay actuallybe the line markingthe right edge of the composition,which would havebeen set in a panel,exceptthat the artistdid not glaze the background.This would explain the emptyspace on the right of the fragment. Early 5th century B.C.

662 Pl. 63

P 26182 L 17

Shoulderfragment.Max. dim. 0.045. Man, perhaps Hermes (head and shoulders) to right, lookingaround,wearinga chlamys,a staffin his righthand. On his head, just below the break, is an incised line that representsthe brimof a petasos.The remainsof two vertical lines on the right are thosethat framethe panel. Early 5th century B.C.

663 P1.63

P 2625 + P 2658 G 6:3 (U)

Fragment.Max. dim. 0.108. Part of neck and shoulder with upper right cornerof panel. E. Vanderpool,Hesperia 15, 1946, p. 311, no. 198, pl. 62. Satyr (head, raised left arm, part of right) and maenad (head, right shoulder,raisedleft arm, right acrossbody)to right, she looking around.Above,net pattern.Red: fillets; beard.White:maenad'sflesh. Early 5th century B.C.

664

P9266

M 17:4

Neck and shoulderfragment.Max. dim. 0.079. Chariotteam (onlyhalf shown)to right. Partof an object on the right, at the break,that may be the top of a goal post. In the field, a branch.Above, net pattern. Red: strips on manes;top part of objectat right. White: right-handpole horse;markingon object. Late 6th or early 5th centuryB.C. 665

P 12753 G11:3

Handles, part of neck, much of wall restored.H. 0.181; diam. 0.145. Satyr (legs, arm) pursuingmaenad(someof lower drapery missing)to right, she lookingaroundwith her left arm raised. The satyr's right arm is extended.At each side of

187

panel, two rows of dots. Above,dicing. Red: beard;stripes on garments.White:maenad'sflesh. The Painterof Half Palmettes(Paralip.287). First quarterof the 5th centuryB.C. 666 PI. 63

P 15956 F 19:4

Preserved except for horizontal handles and part of mouth,whichhavebeenrestoredin plaster.H. 0.091;diam. 0.075. Someof the glaze firedbrown. Dionysosand Ariadne.The god, dressedin a chitonand cloak,holdingout his drinkinghorn,is seatedto righton an okladiasfacingAriadne(partof her bodyand legs missing). She holdsa fillet in her hand. Red:dotson Ariadne'sclothing. White: Dionysos'chiton;joints of his stool;fillet;Ariadne'sflesh. Early 5th century B.C.

667

P 25840 A 19-20

Fragmentof neckand shoulder.Max. dim. 0.10. Satyr (head,shoulders,arms) to right, seizing a maenad (head,shoulders)by the hair. Red:satyr'sbeard;maenad's fillet. White:maenad'sflesh;satyr'sdottedwreath. Early 5th century B.C.

668

P 12966 N 20

Fragmentof body,foot,and one horizontalhandle.Max. dim. 0.07. Woman (preservedfrom the waist down) dressedin a short chiton moving to left. In her outstretchedhand she holds somethingthat looks like the end of a torch. Red: stripeson chiton;line below panel. White (applieddirectly on the clay):woman'sflesh;objectat lowerleft. Early 5th century B.C.

669

P 8556 D7:2

Fragmentary.Rest. H. 0.288; diam. 0.21. Nearly onehalf of groovedrim, most of neck, aboutone-halfof shoulder, most of wall, and flaring torus foot. Attachmentsfor vertical handle and right horizontal one. Surface much eroded. In panel, partsof threedrapedfigures,two to left, one of them with outstretchedarm, the third to right. Above,key patternto left. Red:line underfigures? Early 5th century B.C.

OINOCHOAI 670-786 Fig. 14 Pls. 64-73 OLPAI 670-722 TREFOILMOUTH 670-681

670

P 5398 F 12:5

Two non-joining fragments. Max. dim. a) 0.143, b) 0.072. Fragmentof wall with start of nnouth(a); trefoil mouth(b). Glaze verypoorlypreserved.

Fragmenta preservespart of the hindquartersof a leopardto right(the spotsincised).Its tail projectsintothe ornament above.On the left, the edge of the panel. In the field, St. Andrew'scross with triangles;at right, incisedrosette. Below the legs, a floral design resemblinga fleur de lis. Fragmentb showspart of the top of the panel. Red:spots. Late 7th century B.C.

188 671 PI. 64

CATALOGUE P 997 I 16:4

Fragmentof trefoil mouth, neck, and body. P.H. 0.28; diam.0.17. A thickeningof the rim at one side indicatesthe beginningof the handle. H. A. Thompson,AJA 37, 1933, p. 292, fig. 1; Scheibler,JdI 76, 1961, pp. 3, 5, fig. 6, and p. 18, no. 4. Two sirens with wings spread, facing (head, most of wings, some of breastof left; right preservedexceptfor one leg, tips of wings, and tail). Abovepanel, fourgeese feeding to left. Dot-wheel rosettesfor filling ornament.Red: bills, eyes,wing bows,andtails of geese;the sirensareentirelyred except for their hair, the area betweeneye and brow, legs, feathers,and stripsdividingpartsof wings. The GorgonPainter(ABV9, 15;Paralip.7, 15). Ca. 600 B.C. P 15002 S22:1 672 PI. 64 A few fragmentsof the wall restored,mainlyon the black part. H. to mouth 0.202, with handle 0.255; diam. 0.133. T. L. Shear,Hesperia9,1940, p. 269, fig. 5; Lambertonand Rotroff,op. cit. (under136), ill. 3. Swan to right with wings outspread.Incisedand dot rosettes for filling ornament.Oppositethe panel, a reserved eye. Red: eye, beak, dots on neck and breast, wing bows; coresand alternatepetalsof rosettes.White:cornersof eye; dotson feathers. Mannerof the GorgonPainter(ABV 10, 5). 600-590 B.C. 673 P1.64

P 18531 A 17:1 (U)

Brokenand mendedfrom many fragments.H. to mouth 0.276, with handle 0.34; diam. 0.165. Missing pieces restored in plaster (most of double handle, mouth, some of body).Someof the glaze is abradedbelowthe panel.Scheibler,JdI 76, 1961, p. 22 and p. 29, figs. 30, 31. Rider (some of body, arms, and legs; part of body, legs, and tail of mount)gallopingto right. In upperleft cornerof panel, a row of three rosettes.Abovepanel, lotus-palmette festoon.Oppositepanel, reservedeye. Handle reservedexcept for two lines. Reservedbandbelow scene. Red: chiton and cloak(?) of rider; hoofs, belly stripe, hock of horse; sepals of lotuses;alternatepetals of palmettesand rosettes, heartsof palmettes;coresof rosettes.White:dotson edgesof bordersof chitonand cloak. Mannerof the GorgonPainter,or perhapsby him (ABV 11, 14;Paralip.8, 14). Early 6th century B.C.

674 PI. 64

P 25384 B 20

Fragmentof trefoil mouth and part of body. Max. dim. 0.087. Sirenor sphinx(partof wing overlappingfriezeof incised crossesor rosettes)to right. Red:alternatefeathers. Early 6th century B.C.

675 P1.64

P 21531 07:12

Fragmentof trefoil mouth and part of neck. Max. dim. 0.075. Whitishslip on surface. Boar (bristles)to left. Spiralshangingfromtop of panel; dot rosettefor fillingornament. The Groupof the EarlyOlpai (ABV 14, 16). Ca. 600 B.C. 676 P1.65

P 12686 P8:5

Four non-joining fragments. Max. dim. a) 0.177, b) 0.068, c) 0.089, d + e) 0.112. Two (a and b) are handle fragmentswith lines as 673. Boarto right. Fragmentd + e givespart of the forehead, eye, and muzzleof the boar,and on the right,a cornerof the eye oppositethe panel.Fragmentc preservesthe forepartsof the boarandsomeof its chestandbelly. Red:chest,marking on shoulder,belly stripe,eye, stripeson muzzle,forehead. The Groupof the EarlyOlpai (ABV 14, 17;Paralip.9). Early6th centuryB.C. 677 PI. 64

P27749 110:1 for of Preservedexcept much mouth and area below panel. P.H. 0.243; max. diam. 0.167. Handle unglazedexceptfor a line at each edgeand on top of each section. Birdto rightwith headdown,pecking(?).Red:eye, some of neck,wing bow. The Groupof the EarlyOlpai. Early 6th centuryB.C. 678 PI. 65

P 27748 1 10:1

Fragmentof mouthand globularbody.P.H. 0.103. Lion to right, preservedexcept for small parts of legs. Hangingspiralsandzigzagsat top of panel.Dot, wheel,and blob rosettes for filling ornament.Red: eye, mane, belly stripe, ribs, markings on hindquarters.

The Groupof the EarlyOlpai. Early6th centuryB.C. P 24946 Q13:5 679 P1.65 A few fragmentsof mouth,wall (mostlyat the back),and foot restored.H. to top of handle 0.234, to mouth 0.185; max. diam. 0.115. H. A. Thompson,Hesperia 25, 1956, p. 58, pl. 17:c;Lang,op. cit. (under527), ill. 11 (detail). Youthridingto left, leadinga void horse.On the right,a warriorfully armed,to left. Under the belly of the horse,a pantherto left. On the far left, an eagleflies to right.On the far right, an invertedlotus bud. Red: hair, beard,cloak of rider; manes; markingson shoulder and hindquartersof mount;helmet and greavesof warrior;neck, belly stripe, markingson shoulder and hindquarterof panther;wing bows,baron tail;line on top of lip;two linesbelowthe panel that continueroundthe vase. White:void horse;surfaceof shield round the device (compass-drawnstar-rosette); helmet crest;fold of warrior'sdrapery;dots on borderof rider'scloak;dotson wings of birds;bud of lotus.

189

OINOCHOAI Trefoil Olpai (Paralip.192, the numberincorrectlygiven as P 24942). Ca. 550

B.C.

P 1227 G 6:3 (L)

680 P1.65

Some of mouth, fragmentsof wall restored.H. to top of handle 0.325, to lip 0.263; max. diam. 0.165. Handle as 673. E. Vanderpool,Hesperia7, 1938, pp. 381-384, no. 14, figs. 18-20 and p. 387, fig. 23. Warriorsleaving home. On the left stands a woman to right in a long chiton and a cloak. Then comes a warrior (rightelbow,rim of shield,lowerlegs with greaves)to right. Next, a woman in a long chiton and a cloak with the veil held out stands to right, facing a warrior (head, some of shield emblazonedwith a chariotbox, part of his legs with greaves). Behind him, a man in a long chiton and cloak. Above,lotus-palmettefestoon.Reservedeye oppositepanel. Red: cloaks of man and woman on left; coresof rosetteon secondwoman's cloak;hair and beard of man; greavesof warrioron left;rim of his shield;heartsof palmettesand lotuses. White: femaleflesh;man'schiton;deviceand dotson shield;dots of rosetteson woman'shimation. The lotus-palmettefestoonis an unusualornamentabove the figures of an olpe; besides 680, 681 (PI. 66), and 721 (PI. 69), the contemporaryexamples known to us are the following:five by the Amasis Painter, Louvre F 30 (ABV 152, 29; Paralip.63, 29; Bothmer,AmasisPainter,pp. 140142, cat. no. 27), Wiirzburg332 (ABV 152, 30; Paralip.63, 30; Bothmer,op. cit., pp. 143-144, cat. no. 28); London, B.M. B 471 (ABV 153, 32;Paralip.64, 32; Bothmer,op. cit., pp. 150-152, cat. no. 31), and New York,M.M.A. 59.11.17 (ABV 698, 3 bis;Paralip.66; Bothmer,op. cit.,pp. 147-149, cat. no. 30); Oxford 1929.19 (ABV 153, 38; Bothmer,op. cit., pp. 145-146, cat. no. 29); LouvreF 28 by the Painterof the Nicosia Olpe (ABV 199, 1; Paralip. 196, 1 ter). For an earlierexample,cf. 673 (PI.64) in the mannerof the Gorgon Painter. Trefoil Olpai (ABV 445, 5). Ca. 550-540

681 P1.66

B.C.

P 24673 R 12:4 Preservedexceptfor partof mouth,all of handleand foot, much of body. P.H. 0.26; max. diam. 0.165. Mended in antiquity (the lead remains in three places). Some of the glaze has worn off below the panel. H. A. Thompson,Hesperia 25, 1956, p. 62, pl. 20; AA (Jdl 96), 1981, p. 328, fig. 11; Bothmer,AmasisPainter,p. 149, fig. 89. Symposion.A man (Dionysos?)and a youth with a very short beardreclineon a couch,lookingat each other. Each wears a wreath and a cloak.Dionysosholdsa kantharoson the palm of his hand;the youth holdsa hemisphericalbowl that is only partlypreserved.In frontof the couchis a table ladenwith fruit andpiecesof meat.Beneaththe tableis part of an unidentifiedobject.On the right, a youth, also with a shortbeard,faces the pair, dressedin a shortchitonwith a fringedborder.Roundhis headis a wreath,and he holdsan ivy branchin his left hand.On the left of the composition,a

girl (preservedexcept for the top of her head) plays the aulos. She wears a long chiton and a cloak with a fringed border.Abovethe figures,a lotus-palmettefestoon.Opposite the panel,a reservedeye. Red:leavesof wreaths;panels, dots, stripes, cores of rosetteson garments;left nipple of youthon right;coreof rosetteon leg of couch,centerbolster on couch;lower part of mattress;hearts of palmettesand lotuses,some of the links. White:flesh of girl; fruit;row of dotson leg of couch;dotsof all rosettes. For the ornamentcf. 680 (PI. 65). For the subject,cf. S. Karouzou(AmasisPainter, p. 41), who suggeststhat if the scene is mythological,the symposiastsmight be Dionysosand Ikarios,andthe youthon the right,Dionysos'son, Oinopion. M. Cremer (AA [JdI 96], 1981, pp. 327-328) suggeststhat the youthfulsymposiastis Oinopion. The Amasis Painter (ABV 714, 31 bis; Paralip. 64, 31 bis). Ca. 540-530 B.C.

MOUTH NOT TREFOIL

682

682-694 P2700

G6:3 (U) Handle,partof mouthandbody,all of footrestored.Rest. H. 0.27; rest. diam. 0.13. Much of the glaze fired red. E. Vanderpool,Hesperia15, 1946, p. 311, no. 199, pl. 60. Two boxers(someof hair, chest,arms,legs of one on left; head,extendedrightarm,lowerpartof body,partof legs of one on right). The one on the right attacks;the one on the left tries to defendhimselfbut is aboutto fall to one knee. Other Red-bodied Olpai: Various Models; Various Painters(ABV 451, 11). Ca. 550

B.C.

683 PI. 66

P 1263 G 6:3 (L)

Fragmentsof mouth,neck, and wall restored.H. 0.225; diam. 0.125. E. Vanderpool,Hesperia 7, 1938, no. 20, p. 386, fig. 22, p. 387, fig. 23, and p. 388. Departureof warrior.The warriorstandsto right holding his shield in profile (device:tripod)and spear. Both in front of and behind him stands a woman, the one on the right holdingout her veil. Above,a chain of upright palmettesand lotuseswithoutincision.Red:stripeon cloaksof women and on chitonof warrior;fillet roundhelmet;band roundedgeof mouth;line abovepanel;line belowpanelthat continuesroundthe vase. White:device;women'sflesh. Near the Honolulu Class [A. Clark]. Cf. Copenhagen V 20 (maenadsbetween two satyrs) and Budapest51.95 (fight,with spectator).Abovethe figures,eachhas a chainof upright palmettesand lotuses without incision.The three are by the samepotterand painter[Clark]. Ca. 530-520

684 PI. 66

B.C.

P26540

T18:4

Fragmentof wall andneck,with upperleft cornerof panel. Max. dim. 0.07. Misfiredon outside(glazeis greenish). Aineas carryingAnchises,with an archer.On the left is

190

CATALOGUE

the archer(head, shoulders,right arm) to right, wearinga pointedcap and a corslet.His bow case (visiblebelow his forearm)is suspendedfroma baldricovereach shoulder.In frontof him is part of Anchises(rightelbow, a bit of drapery, and a very long lock of hair). Abovethe figuresand at the side, ivy. Red:stripon frontof cap;spiraldecorationon corslet;partof quiver;lockof Anchises'hair.White:baldric. The compositionis verysimilarto one on an unattributed olpe in the Bareiss Collection,once on loan to the MetropolitanMuseum (L.69.11.14). Fromleft to right:an archer to left, looking around;Aineas carryingAnchisesto right, precededby a woman (Aphrodite?Kreousa?),also to right, but looking around;an old man facing them, holding a spear.Abovethe figures,ivy, then net pattern;on the sides, ivy. Andrew Clark was the first to see that these olpai go together,that they have the same subject,and are probably by the samehand. For the subject,cf. 657. Ca. 530-520

B.C.

P 26953 No grid Fragmentof wall and neck.Max. dim. 0.08. Horseman(head, shoulders,some of left leg of youthful rider;headand neckof mount)to left holdingtwo spears.In front of him, an old man (head and shoulders)facing him holdinga spear. Behindthe rider, tracesof anotherfigure, also with two spears.Abovethe figures,key patternto left. Red: fillet of old man, dot on his cloak;strip on mane of horse.White:hair,beard,moustacheof old man;necklineof rider'schiton;someof thirdfigure. 685 PI. 66

Ca. 530-520

686 PI. 66

Sarajevo1 [Jugoslavia4], pl. 20 [147]) and BrusselsR 256 (CVA,Brussels2 [Belgium2], pl. 18 [58]:3a, b). Ca. 510 B.C.

687 P1.66

P 2647 G 6:3 (U) Handle, much of body, especially in back, all of foot restored.Rest. H. 0.26; diam. 0.135. E. Vanderpool,Hesperia 15, 1946, p. 312, no. 200, pl. 61; Bothmer,Amazons, pl. 39:4. Herakles and Amazons.Herakles attacksto right. His opponentis downon one knee,lookingaround,holdingout her shield(device:bull'shead).On the right,a secondAmazon wearinga leathercapstandsto right,lookingaround.In the field,a branchwith fruit.Abovethe figures,net pattern; above that, key patternto right. On the mouth, checkerboard.Red:Herakles'belt, dotson his chiton;rim of shield; flaps of Amazon's cap; line below panel that continues roundthe vase.White:Amazons'flesh(partapplieddirectly on the clay);segmentof helmetcrest;shield device;mouth, teeth,claws,someof contourof lionskin;fruit. The sequenceof patternswith the key to right is rather rare. Cf. Rhodes 13489 by the Painter of Wurzburg351 (ABV 437, 8); Baltimore42.2 from the Class of Vatican G. 50 (Paralip.191, 11);and Thebesn.n. by the Painterof VaticanG. 49 (ABV536, 38). 688 fromthe Classof Vatican G. 50 may have been similar,but without the mouth it is difficultto be certain. For the subject,cf. 395. Ca. 510-500 B.C.

688 P1.66

B.C.

P 1135 G15:1

P.H. 0.225; diam. 0.112. Preservedexceptfor lower part of body and wall and all of foot. A few missing pieces are restoredin plaster. Dent in upper right corner of panel. Ridgedhandlewith metallicprojectionon each side of rim attachment. Athenaand Dionysosto left. The goddesswears an Attic helmetand a long chitonand carriesa roundshield (device: a bent female leg) and a spear held horizontally. She overlapsmostof Dionysoswho is wreathedandwearsa long chiton and cloak. In the background,a vine with grapes, probablyheld by the god. By mistake,the artisthas allowed Dionysos' beard to overlap the shield of Athena and the white of Athena's neck to overlap the rim of her shield. Abovethe figures,key patternto right;abovethat, ivy. On the sides,net patternand on the mouth,checkerboard.Red: rim of shield; edge of helmet crest; dots and stripes on garments; beard; alternate leaves of wreath. White: Athena's'flesh;dots on her crest;shield device;dot clusters on garments. The same sequenceof ornamentalpatternsabovethe figures, but withoutthe net patternat the sides,occurson the followingolpai: Villa Giulia 861 (ABV 382, -); two unattributed contemporaryexamples, Sarajevo 656 (CVA,

P 2646 G 6:3 (U)

Fragmentof neckand wall. P.H. 0.076. E. Vanderpool, Hesperia15, 1946, p. 312, no. 202, pl. 60. Satyr (head)and maenad(mostof head,one raisedarm, shoulder),both to right, she lookingaround.In the field, a branchwith fruitand a vinewith grapes.Above,net pattern andkey patternto right.Red:satyr'sbeard,moustache,hair at nape of neck;fillet overmaenad'sshoulder.White:maenad'sflesh;fruit. For the ornament,cf. 687. The Classof VaticanG. 50 (Paralip.191, 9). Ca. 510-500 B.C.

P 1557 G6:3(U) 689 PI. 67 Wall fragmentwith upper right cornerof panel. Max. dim. 0.07. E. Vanderpool, Hesperia 15, 1946, p. 312, no. 201, pl. 60. Chariot(headsandnecksof horses)to right.In the field,a vine. Above,net pattern,then a bit of anotherpattern,perhaps a key. Red:manes.White:studson headstall. Ca. 500

690

B.C.

P 5086 F 12

Fragmentof wall and neck. Max. dim. 0.072. Surface pitted. Dionysos(headwith wreath)to left holdinga kantharos.

191

OINOCHOAI In the field, a vine with grapes.Above,key patternto left. Red:beard;alternateleavesof wreath. Ca. 500

The Dot-ivy Class (Paralip.194, 1 bis). Ca. 500

B.C.

B.C.

691 PI. 67

P4235

E14:11

Wall fragment.Max. dim. 0.063. Woman(mostof headand shoulder)to right.In the field, branches.Panel framedby two rows of dots betweenlines. Red:fillet;dots on garment.White:flesh. Ca. 500 B.C.

692 PI. 67

P9992

V23:1

Preservedexcept for fragmentsof the wall. H. 0.233, diam. 0.136. A few chips in rim and foot. Two Amazons moving away from each other, looking around.Each wears an Attic helmet, a short chitonwith a cloak, and carriesa spear and a shield. The deviceon the shield on the left is a circle,two arcs and two balls;that on the shield on the right, three balls. Above the figures, net pattern;above that, dot ivy. On the mouth, checkerboard. Red:fillet on right helmet;bordersof chitons;baldrics,rims of shields;line on top of rim; "rivets"on handlesat mouth; two lines below the panel that continue round the vase. White:flesh;shielddevices. For the composition,cf. Bothmer,Amazons,p. 94, no. 41. Ca. 500 B.C.

693 P1.67

P 26798 T19:1

Fragment.Max. dim. 0.095. Neck and wall with upper left cornerof panel. Dionysos(headwith wreath,shoulders)standingto right holding a drinking horn. Behind him is a woman (head, with cloakdrawnup overit, and shoulders),also to right.In frontof Dionysosis anotherfigure(chin,raisedhand)facing him. In the field, a vine. Above the figures, dot ivy. Red: stripeson garments;alternateleavesof wreath;beard. The Dot-ivy Class [A. Clark]. Late 6th century B.C.

TYPE UNCERTAIN: MOUTH LOST

P 23468 R 8:2

695

Two non-joiningwall fragments. Max. dim. a) 0.087, b) 0.05. Someof the glaze is abraded.Brann,Hesperia30, 1961, p. 349, G 6, pl. 75. Fragmenta preservesthe lowerleft sideof the panelwith some of the line of glaze. On the base, a trefoil flower. Above,at the break,the tail of a birdor a siren to right. In the field, crenellation. Fragment b gives more of the creature,perhapspart of the body. Third quarterof 7th centuryB.C. 696 P1.67

P 26668 No grid

Fragmentof neck and wall. Max. dim. 0.09. Glaze fired brownand is abradedin places. Deer (head, neck, part of shoulderand body) to right, looking around. Incisedrosette for filling ornament.Red: insidesof ears,eye, neck,ribs;dotson petalsof rosettes. Ca. 620-610

B.C.

697

P 23451 R 8:2

Two non-joiningwall fragments.Max. dim. a) 0.057, b) 0.051. Brann,Hesperia30, 1961, p. 349, G 7, pl. 70. Rider to right. Fragmenta preservespart of the rider's torso,righthandholdingthe reins,rightleg with top of boot, and some of the horse'sneck and body. Fragmentb gives more of the horse'sbody and the startof its right hind leg. Red:partof rider'schiton,tongueof boot;neckof horse,rib, markingon hindquarters. Close to the Nettos Painter. Compare the riders on Athens,N.M. 16383 (ABV 7, y; Paralip.3, 12) and Kerameikos, inv. no. 658 (ABV 3; Paralip. 1; Kerameikos VI, ii,

no. 116, pls. 89-91; for the attribution,cf. p. 74, footnote 11). Late 7th century B.C.

694 PI. 67

P 23196 H 12:15(POU) Preservedexceptfor half of foot which has been restored in plaster. H. 0.231; diam. 0.133. Two dents, one on Athena'sshield,the otherbelow the lowerattachmentof the handle. Glaze is abradedin places;mottledin firing near bottom. DionysosandAthenafacing.The godwearsa wreathand a chitonwith a cloakandholdsa drinkinghorn.Athena,in a chiton, cloak, aegis (snakes), and Attic helmet, holds her shield(device:femaleleg) and spear.In the field,a vinewith grapes. Above the figures, dot ivy. Red: beard; alternate leavesof wreath;dotson Dionysos'cloak;rim of shield;fillet roundhelmet;line abovepanel and two belowthat continue round the vase; "rivets"at handle attachment.White: Dionysos' chiton; dot pattern on his cloak; Athena's flesh; shielddevice;dotson helmetcrest.

695-722

698 Fig. 14, PI. 67 P 6457 F-G 12:1 Wall fragment.Max. dim. 0.101. Much of the glaze is abraded. R. Young, Hesperia, Suppl. II, Athens 1939, p. 119, B 40, fig. 86. Chimaera (part of neck with mane, back with incised lines that may representribs or moremane)to right.Above the back, to the left of the rosette,is the tip of the goat's beard.Incisedrosettefor filling ornament.Red: mane,ribs (or manealongback),bellystripe;alternatepetalsof rosette. The locationof the goat's protomeratherfar down the backof the lion, insteadof near its shoulders,suggeststhat this Chimaeradidnot havefelinehindquartersas the two by the BellerophonPainterdo (Athens,N.M. 16389:ABV 2, -,

1; 16391: ABV 2, -, 2) but was the dragon type with its

hindquartersturninginto a large snake,like the two by the

192

CATALOGUE

FIG.14. Olpe, type uncertain698 (P 6457)

Nettos Painter(Kerameikos,inv. no. 154:ABV 3, 3; ParaP 12581 P7:2 700 lip. 3, 9; KerameikosVI, ii, no. 187, pl. 113;andAigina565: Wall fragment.Max. dim.0.052. Whitishslip on surface. ABV 3, 1; Paralip. 1, -, 1). These four well-preserved Someof the glaze firedbrownish;abradedin manyplaces. early Attic black-figuredChimaerasshow all three heads Part of wing of bird (or sirenor sphinx)to right.Rosette facingto the rear,evenwhen Bellerophonis not present,and for fillingornament.Red:wing bow. 342 probablyalso showed the heads of the goat and lion Late 7th century B.C. turned around facing Bellerophon.The directionof the goat'sheadto righton 698 indicatesthat the lion'sheadalso P 26562 S 17:1 701 P1.67 facedto right,for the headsof the Chimaerafacein the same Fragment.Max. dim. 0.104. Wall with start of neck, direction,insuringa unifiedthreatand attack.Thus, if our with plaster.Someof the glaze is abraded. strengthened interpretationof this fragmentis correct,this representation In panel, a small beardedfigure, draped and cloaked, of the ChimaeradepartsfromcontemporaryAtticexamples carryinga crop,standson the backof a horse.Hangingspiby showing the heads of the lion and goat (and surely the snake'sheadtoo) facingforward,and in this one way recalls ral at top of panel;ring and dotrosettesfor fillingornament; non-Atticpredecessorsof the 7th century.For this feature, at the bottomof the fragment,part of a lozenge (cf. Kerameikos,inv. no. 658:ABV 3, -; Paralip.1, -; Kerameikos cf. especiallyM. Schmidt,AJA 70, 1966, p. 344. To judge VI, ii, no. 116, pl. 89). Red: hair, beard, cloak of rider; the the scale of was a 698, composition by probably single mane,upperand lower contoursof horse'sbody;line above Chimaerain a panel. panel. Late 7th century B.C. Late 7th or early 6th centuryB.C. 699 P1.67 P 23470 J 14:3 P 26782 T19:6 702 Three non-joiningwall fragments.Max. dim. a) 0.05, Two non-joiningwall fragments. Max. dim. a) 0.12, b) 0.078, c) 0.043. Someof the glazeis abradedon fragments b and c. b) 0.048. Glaze firedbrownish. Lion to right. Fragmenta preservesthe head, foreparts, Eagle to right. Fragmenta (illustrated)gives the head with the edge of the panel on the right. Fragment b mostof the bodyandhindlegs. Fragmentb givessomeof the tail. Below the lion, verticalobjects(plants?)at the ground preservessomeof the wing and tail feathersand partof one c the and more of tail feathers. At the line. Dot, plain, and incised rosettesfor filling ornament. fragment gives leg, Red: eye, mouth, tongue, neck, chest and shoulder,belly bottom,just abovethe break,someof the line borderingthe panel. Red:beak;stripson feathers. stripe,and ribs. Late 7th century B.C. Ca. 600 B.C.

193

OINOCHOAI P 23665 Q8 Wall fragmentfrom upper right cornerof panel. Max. dim. 0.054. Lion (ear, ruff, eye, part of mane) to right. Line edging panel at top and right. Red:mane, insideof ear. Manner of the Gorgon Painter (ABV 714, 9 bis; Paralip. 8). Early 6th centuryB.C.

703 PI. 67

704 PI. 68

P 10650 B 14:5

Wall fragment.Max. dim. 0.077. Lion (head, much of body) to right, lookingaround.Incised rosettefor filling ornament.Red:muzzle,tongue,ear, mane,belly stripe. Manner of the Gorgon Painter;may be by the painter himself(ABV 11, 11). Early 6th century B.C.

705 PI. 68

709 PI. 68 P11395

R 13:3

Two joining wall fragments,strengthenedwith plaster. Max. dim. 0.115. Feline (hind legs) to right. On left, edge of panel. Traces of a rosettebetweenlegs. In upperleft, at the break,part of reservedeye. Red:hock;rosette. Mannerof the GorgonPainter(ABV 11, 12). Early 6th century B.C.

706 P1.68

the goat. Incised rosettesfor filling ornament.Red: belly stripe,mane;heartand alternatepetalsof rosettes. For the doubleline separatingthe locksof mane,an unusual feature,cf. 399. For the incisedmaneof the goat, compare the one by the Nettos Painter,Aigina 565 (ABV 3, 1; Paralip.i,-, 1). Our Chimaerawas probablya singleone, withoutBellerophon,placedin a panel,similarto the one on 698, with the heads facing forward, for if they turned around,facingto the rear, someof the lion's muzzlewould be preservedbetweenthe breakandthe rosette.For this feature, comparethese two lions by the GorgonPainter:Tubingen5445/28 (ABV 9, 11;Paralip.7, 11; CVA,Tubingen 3 [Germany47], pl. 18 [2263]) and Baltimore48.215 (ABV9, 18;Paralip.7, 18). Mannerof the GorgonPainter(Paralip.8). Early 6th centuryB.c. P3016

R 13:3

Wall fragment.Max. dim. 0.048. Horseman(rightleg and left foot of rider;shoulder,part of forelegsof horse)gallopingto right. Red:chestof horse. The GorgonPainteror his manner.Comparethe rideron the Baltimoreplate (ABV 9, 18; Paralip.7, 18), especially his knee and leg, and also the double line for the horse's shoulderand its red chest, and 673 (PI. 64) for the double incision. Early 6th century B.C.

P2395

H8-10

Wall fragment.Max. dim. 0.059. Glaze firedbrown. Lion (head and neck) to right. Incisedrosettefor filling ornament.Red: neck, eye, muzzle, tongue;alternatepetals of rosette. Mannerof the GorgonPainter(ABV 13, 40). Early 6th century B.C.

P 25365 Q 13-14:1 (U) Wall fragment.Max. dim. 0.046. Lion (forelegs,a bit of body)andman (rightarm,buttock, and calf), bothto right. Red:belly stripe. Beazleysaw that the compositionis closestto the one on Berlin, inv. no. 3764 (ABV 11, 19; Paralip. 8, 19), which shows a nude man running,flankedby two lions. Compare also Nikosia 1958.iv-223 (Paralip. 8, 19 bis; Gjerstad,op. cit. [under10], pl. 63:1). Both of these occuron lekythoiof the Deianeirashape. For a nude man flankedby a panther and a lion, cf. LouvreE 874 (best illustratedJdI 76, 1961, p. 12, fig. 14). Here the trio appearswithin a friezeof animals. For the subject,cf. Miiller, Liiwenund Mischwesen, pp. 208-217. Mannerof the GorgonPainter(Paralip.8). 707 PI. 68

Early 6th century B.C.

708 P1.68 P 25366 Q 13-14:1 (U) Wall fragment.Max. dim. 0.096. Chimaera (body, some of mane and foreleg of lion) to right. On the left, at the break, diagonal incision that continuesabovethe backof the lion and mustbe the maneof

710 PI. 68

P 25367 Q 13-14:1 (U) Wall fragment.Max. dim. 0.062. Lion (forepartsand mane) to right. Incisedrosettesfor fillingornament.Red:stripson shoulderat top of leg, mane, tongue;coreand alternatepetalsof rosettes. Comparewith the mannerof the GorgonPainter(Paralip. 9). Early 6th centuryB.C. 711 P. 68

P 20645 Q13

Wall fragment.Max. dim. 0.06. Lion (face,someof neckand mane)to right.At the right, directlyin front of the muzzle at the break,a verticalline framingthe panel. Red:muzzleand neck. The two horizontallocksof mane are difficultto understand, and were it not for the verticalline, one would be temptedto interpretthis lion as one to left with its head turnedaround. Early 6th century B.C.

P 25649 0 12:2 712 Wall fragment.Max. dim. 0.09. Dull brownglaze. Bull (headand neck)to right.At the right,edgeof panel. Rosettesfor fillingornament.Red:neckandjowl. Early 6th century B.C.

713 P 23528 P 9 Wall fragmentwith root of double handle. Max. dim. 0.143. Decoratedas 673.

194

CATALOGUE

Siren (end of tail, part of wing) to right. Reservedstrip under picture. Red: two tail feathers,alternatefeathersof wing. The Groupof the EarlyOlpai (ABV 14, 6 and 679, 8 bis; Paralip. 9, 6 and 8 bis).

Early6th centuryB.C. 714 P1.68 P4337 E 14:11(?) Wall fragment.Max. dim. 0.068. Lion (muzzle,part of eye and neck) to right. Incisedrosettefor fillingornament.At right,edgeof panel.Red:neck, tongue,muzzle;dots on alternatepetals of rosettes.White: teeth,innercornerof eye. The Groupof the EarlyOlpai (ABV 14, 12). Ca. 590 B.C. 715 P1.68

P6156

E 14:8

Wall fragment.Max. dim. 0.092. Siren (body,most of wing and tail) to right. Red: wing bows, bar on tail, alternatefeathersof tail. White:dots on shortfeathersat base of tail; dotsalong feathersof wings. The Groupof the EarlyOlpai. Early 6th centuryB.c. 716 P1.69

P 12527 R 17:3

Mouth, some of body missing. H. 0.185; diam. 0.137. Glaze is abradedin places. E. Vanderpool,Hesperia 15, 1946, pp. 126-127, no. 9, pl. 19:1. In panel,sirento right.Partof her hairis missing.Incised rosettesfor fillingornament.Red:face, wing bow, alternate feathers,bar on tail; coresof rosettes;dotson alternatepetals; line framingpanel. White:dotsat base of feathers. The Groupof the EarlyOlpai:by the KY Painter(ABV 14, 5); the KomastGroup:V, Manner of the KY Painter (ABV 33, 7).

P 20551 C 18:8

Wall fragmentwith strongcurvefromthe lowercornerof the panel. Max. dim. 0.122. Someof the glaze is abraded. Rider (foot;hind legs of horse, part of its shoulderand foreleg)gallopingto right. Beneaththe horse,a dog sniffing the ground(preservedexceptfor its nose, partof hindquarters and tail). Incisedrosettefor filling ornament.Reserved bandbelow panel. Red:belly stripeof horseand dog;neck, ribs,and markingson hindquartersof dog. The compositionof the horseand riderwas similarto the one in the mannerof the GorgonPainter,673. First quarterof the 6th centuryB.C. 718 P1.69

720 P1.69 P 22866 H-K 12-14 Wall fragment.Max. dim. 0.055. Two males (foreheadof one, head of the other) facing. Between them, the head of a spear held by one of them. Abovethe figures,ivy. Red:forelockof maleon left;fillet of maleon right;alternateleavesof ivy;line framingpanel. Broadivy leaves alternatingred and blackwith straight stems attachedto a centralvine are difficultto parallelon olpai. Ivy, when it occurs above the figures, usually has smallblackleaveswithoutstemsanda wavyor smoothvine, e.g., 684 (PI.66). The typeof ivy on 720 is bestparalleledon contemporaryhydriai,e.g., 626 (P1.59), LouvreF 7 (CVA, Louvre 6 [France9], pl. 59 [398]:4, 5), or Florence3809 (CVA, Florence 5 [Italy 42], pls. 9 [1873]:3, 4 and 11 [18751). Thoughtby H. R. W. Smithto be by the AmasisPainter (Gnomon30, 1958, p. 365). Third quarterof the 6th centuryB.C. 721 P1.69

P 13862 T 24:3

Fragmentof wall with start of neck. Max. dim. 0.042. E. Vanderpool,Hesperia15, 1946, p. 134, no. 28, pl. 23:6. Herakles(face, muzzleof lionskin)to right. Above,part of lotus-palmettefestoon.Red:lips of lionskin.White:teeth of lionskin. For the ornament,cf. 680. Ca. 540 B.C.

Ca. 585-575 B.C. 717 PI. 68

Warrior(left leg, rightthigh) runningto left dressedin a short chiton and greaves,holdinghis shield (device:bull's head).Red:rimof shield;skirtof chiton;two linesbelowthe panel that continueround the vase. White: shield device; dotson borderof chiton. Ca. 550-540 B.C.

P354

722

P 26726 U 19:2

Mouth, neck,handle,someof bodymissing.P.H. 0.135; diam.0.13. The glaze is abradedin places. Dionysos (from waist down) seated to right on an okladiasholdinga drinkinghorn (lowerpart). Behindhim, a satyr (legs) and in front,another(preservedfromthe chest down)to right,probablylookingaround.In the field,a vine. Red: stripeson Dionysos'cloak,one on his chiton;part of tails;line belowpanelthat continuesroundthe vase.White: Dionysos' chiton. Early 5th century B.C.

G 13

Wall fragment.Max. dim. 0.052. Horse (partsof hind legs and tail) to right, followedby a figure(a bit of drapery)holdinga staff. Red:tail; garment. Ca. 550 B.C. 719 P1.69 P 13025 U 25:2 (U) Wall fragmentwith lowerleft cornerof panel.Max. dim. 0.093.

OINOCHOAI723-776 SHAPE1

723 PI. 69

723-745

P 24945 Q 13:5 P.H. diam. 0.117. 0.125; Mouth, handle Fragmentary. for most of some of wall neck, root), (except missing.Round body.H. A. Thompson,Hesperia25, 1956, p. 58, pl. 16:c. Heads of two satyrs facing with a floral (invertedlotus

195

OINOCHOAI bud) between. Incised rosettes for filling ornament.Red: faces, ears, necks;parts of some rosettes;cuff and frondof lotus; band on neck. White: teeth; cornersof eyes; fillets roundhead of each. For comparisons,cf. 10. Mannerof the GorgonPainter(Paralip.8, 1 bis). Ca. 600 B.C.

724 PI. 69

P 18275 + P 18530 A 17:1 (U)

Fragmentary.Rest. H. 0.307; max. rest. diam.0.22. Upper part of slightly groovedhandle, about one-thirdof the mouthand neckwith ring, partsof bodypreserved.Missing piecesrestoredin plaster. Triton (head, arms, chest, parts of snake tail) to right. The panel extendsalmost completelyroundthe vase. Red: face,neck,chest,scalesof Triton;lip and ring;lines framing panel, two lines below panel that continueroundthe vase. Ring-collarOinochoe,/3 i, same period as the Gorgon Painter(ABV 696). Ca. 600-590 B.C.

the Piraeus Painter's amphora (ABV 2, -; Paralip. 1). Early 6th century B.C.

P4552

G15:3

Wall fragment.Max. dim. 0.078. Glaze firedbrown. Feline (part of hindquartersand tail, which is painted over the blackand cut off by panel at the left) to right. Incised rosette for filling ornament.Red: markingon hindquarters;transversebandon right leg. For the transverselines on the hindquarters,an oddity that doesnot correspondto the anatomyof the animal,compare the lions on the inside of a Protoatticplate, Kerameikos,inv. no. 74 (KerameikosVI, ii, no. 34, pls. 22, 23), andon the amphoriskosin Copenhagenin the mannerof the GorgonPainter(Paralip.8). Early 6th century B.C.

P4601

G 12:1

Complete. H. to mouth 0.078; diam. 0.056. Silhouette technique. R. Young, Hesperia, Suppl. II, Athens 1939, p. 23, no. II 4, fig. 9. Sirento right with head turnedaroundand a water bird to left. Blob and ring rosettesfor filling ornament.On both neckand mouth,verythicklines. Early 6th century B.C.

728 P1.70 P860 I 17 Part of neck with ring and shoulder.Max. dim. 0.115. Glaze firedred on right. Boarto left, betweenlions (headof lion on left;faceof one on right;shoulder,back with bristlesand tail of boar). Incisedrosettefor fillingornament.Red:maneof lion, neckof boar;ring. Ring-collarOinochoeas 724. First quarterof the 6th centuryB.C. 729

P23046 M-N15:1 725 PI. 69 Wall fragment.Max. dim. 0.085. Surfacepitted. Siren (breast,partof wing, neck,and hair) to right. Edge of panel with line framingit. Incisedrosettefor fillingornament. At the break,below the breastof the siren or sphinx, is a small bit of glaze, perhapsthe petal of a rosette.Red: wing bow, neck. The zone of crosshatchingon the breastis an odd detail that does not correspondto avian or feline anatomy.Comparablehatchingoccurson two sphinxespaintedon the Berlin Panathenaicamphoriskosattributedto the mannerof the Gorgon Painter (ABV 12, 28; Paralip. 8, 28; AA [Jdl 93], 1978, p. 37). Comparealso the two pairs of lines without crosshatchingthat separateneckand breastof each of three sphinxesby the Nettos Painter:the rightone on the standof Athens,N.M. 16383 (ABV7, y; Paralip.3, 12);bothon the standof Athens,N.M. 16382 (ABV 3, 4; Paralip.3, 10). On the latter vase, part of the wing of the sphinx on the left is decoratedwith crosshatchingbut not so tightly incised as 725. For such close incision, comparethe chariotpoles on

726 P1.69

727

P 26781 a, b T 19:6

Two non-joiningfragmentsof globularoinochoe.Max. dim. a) 0.133, b) 0.098. Someof wall, ring at junctionwith neck,and startof handle(a); wall (b). Much of the glaze is flakedon fragmenta. Fragmenta preservespartsof threeanimalfriezes:I) bull (except for hindquarters)to left; II) lion to left; III) boar (back).Fragmentb givespartsof two animalfriezes:I) bull (head, neck, forelegs)to left; II) goat? (body), also to left. Solid,incised,and dot rosettesfor fillingornament.Red:a): ring;eye, neck,belly stripe,ribs of bull; mane,belly stripe, ribs of lion;b) neckof bull;neck,belly stripe,ribsof goat. First quarterof the 6th centuryB.C. 730

P 26781 c T 19:6 Fragmentof wall. Max. dim. 0.07. The curveis different fromP 26781 a and b (729). Boar (head,neck,someof back)to right.S-shapedfilling ornament.Red:neck,muzzle. Early 6th century B.C.

731

P 18533 A 17:1 (L) Two non-joiningwall fragments. Max. dim. a) 0.111, b) 0.075. Much of the glaze is abraded. Goat to left. Fragmenta gives the head and forepartsof the goat. On the left at the break,a small amountof glaze that is unintelligible(it slopestoo stronglyto be the edge of the panel). Fragmentb preservesthe hindquartersand tail. Red:two linesbelowthe panelthat continueroundthe vase. First quarterof the 6th centuryB.C. 732 P 23545 P7:5 Preservedexcept for handle;a few chips in mouth and foot. H. 0.05; diam.0.035. Silhouettetechnique. On neckand body,swans. In the field,blobs.Red:partof wings. The Swan Group. First half of the 6th centuryB.C.

196

CATALOGUE

733 PI. 70

P 25784 O-Q 16-17 Neck and mouthmissing.P.H. 0.116; diam.0.102. Siren to right betweensphinxes. Most of the sphinx on the left is missing (forelegs and hindquartersremain). Under handle,siren to right. Blobs and incisedrosettesfor filling ornament.On shoulder,tongues;above foot, rays. Red:faces,necks,wing bows;barson tail of siren. The Polos Painter(Paralip.21). Secondquarterof the 6th centuryB.C. 734 PI. 70

P 12627 Q18:1 Handle, fragmentsof neck and wall missing. H. 0.247; diam. 0.177. E. Vanderpool,Hesperia 8, 1939, p. 256, fig. 12. Siren to right with wings outspread.Rosette for filling ornament.Red:siren'sfillet,barson wings and tail;ring on neck;edge of mouth;two lines under panel that continue roundthe vase.White:face and breast. Associatedwith the Class of the OxfordSiren-jug(ABV 420). Third quarterof the 6th centuryB.C. 735 P1.70

P5463

Gl1:8

H. to mouth 0.179, to top of handle 0.216; diam. 0.171. Completeexcept for part of mouth, rim, and small fragments of neck restoredin plaster. Chip on body at lower cornerof panel. Someof the glaze has wornoff the neckand below the figures.H. A. Thompson,Hesperia,Suppl. IV, Baltimore1940, p. 29, fig. 21. In panel, armingscene. In the middleis a warriorabout to put on his left greave.In frontof him is his motherholding his spear and shield (device:tripod), behind him his fatherwith a staff. On the right and left, an armedhoplite (shielddevices:on the left, femaleleg; on the right, frame), facinginward.Above,tonguepattern.Red:beardand hair of warrior;rims of hoplites'shields;fillets of parentsand hoplite on left; helmet of hoplite on right; stripes on garments; top of mother's peplos, panel on skirt; alternate tongues; line on mouth, another at junction of neck and shoulder;two below panel that continue round the vase. White:femaleflesh;hair and beardof father;shielddevices; dotson crestsupports. Flat-mouthedOinochoai(Otherthan Olpai), A: with no lip or little:Various(ABV442, A 4). Third quarterof the 6th centuryB.C. 736 Pls. 70, 71

P1134

G 15:1

Fragmentary.Rest. H. to top of handle0.27; H. to mouth 0.246; diam. 0.146. Shape 1, but with double ring collar abovethejunctionof neckand shoulderand a singlering at the shoulder.Restored:foot, top of handle, part of mouth, partsof wall. H. A. Thompson,AJA37, 1933, p. 292, fig. 2. Heraklesseatedwith Athena,Hermes,and Dionysos.On the left is Herakles,seatedto righton a blockstool,wearing a short chiton under his belted lionskin. A quiver and a sheathare suspendedfrombaldrics,one overeachshoulder.

In frontof him, Athenasits to righton an okladias,looking aroundat the hero,her left arm raised,a spearin her right hand. She wears a long chiton with a cloak, and an Attic helmet.Next comesHermesseatedto left clad in a chlamys and a petasoswith the brimturnedup at the back,his staff in hand.On the rightof the compositionis Dionysosseated to rightlookingaround,his kantharosheld in his raisedleft hand.He wearsa longchitonand himation.Roundhis head is a fillet. BothHermesand Dionysosalso sit on okladiai.In the background,a vine. Palmettesframethe panel. Above, tonguepattern.Betweenthe ringson the neck,a row of invertedlotus buds with dots in the interstices.Red: beards; chiton and quiver of Herakles;stripes on garmentsof the gods;dots on chitonof Athena,crestof her helmet;tongues of Hermes'sandals;fillet and hairlineof Dionysos;ring at junctionof neckand shoulder;lowerof the two ringsabove; two lines roundthe vase below the panel. White: teeth of lionskin;baldrics;dots on Herakles'belt;dotson garments; jointsof okladiai;petasos;Athena'sflesh. The use of palmettesas lateral framesseems to be unparalleledon oinochoai.The best comparisonsfor 736 are two contemporaryhydriaifrom the LeagrosGroup where palmettesappearbelow the panel as well: Cab. Med. 257 (ABV 363, 47) and Vatican 416 (ABV 365, 65; Paralip. 162, 65). Ca. 510-500 B.C.

737 P1.70

P2741

G 6:3 (U)

Part of neck and body strengthenedwith plaster. P.H. 0.15. E. Vanderpool,Hesperia 15, 1946, p. 312, no. 206, pl. 62. Dionysos(someof draperymissing)seatedon a throneto rightholdinghis drinkinghorn,lookingaroundat his chariot team (onlythe forepartsare shown,the rest cut off by the frame). In the field, brancheswith fruit;vine with grapes. Above,tonguepattern.On the neck,net pattern.Red:beard; dotson garments;manes,breastband;line belowpanelthat continues round the vase. White: rim of drinking horn; leavesof wreath(?); fruit. The Painterof the RhodesPelike(ABV 608, 4). Early 5th century B.C.

738

P 8800 E 14:5

Most of body preserved.P.H. 0.122; max. diam. 0.137. Someof footand body,mostof shoulder,all of neck,handle and mouthmissing. Maenad (preservedfromthe waist down) clad in a long chitonand cloakto right, betweentwo satyrs(lowerhalf of each). In the field, vines. Red: tails; line below panel that continuesroundthe vase.White:woman'sflesh;stripesand dotson drapery. Early 5th centuryB.C. 739

P 12778 G 11:3

Lowerpartpreserved.P.H. 0.128. On the right, a woman (top of head, hands missing) is seated to left on a block stool. From the position of her

OINOCHOAI shoulder,her right arm was outstretchedtowardsthe man (legs from the knee down) facing her. Behindhim, a man (lowerdrapery,feet) movingto right. In the field,a branch. Red: some of the dots on garments;line below panel that continues round the vase. White: flesh of seated woman, otherdots on garments. Early 5th century B.C.

740

P 12768 G 11:3

Lower half preserved.P.H. 0.113; diam. 0.12. Decoration on white ground.Glaze mostlygone. Charioteer(head,shouldersmissing)mountinga chariot to right. In the field, branches.Panel framedat sidesby net pattern.Red: one tail; under scene,two lines that continue roundthe vase. Early 5th century B.C.

741 PI. 71

P 11030 D15:1

Three non-joining fragments, each strengthenedwith plaster.Max. dim. a) 0.169, b) 0.067, c) 0.031. Fragmenta preservesthe shoulderwith the startof the neckand part of the bodywith abouthalf of the panel;b showsthe lowerleft cornerof the panel and c someof its left edge. Amazonssetting out. Only fragmenta preservesany of the figures.It gives the head with Corinthianhelmet,right shoulderand arm, and someof the spearof the Amazonon the left who movesto right pursuinganotherwho walks to right, looking around. She is preservedexcept for some of her torsoandher lower-legs.She wearsa Corinthianhelmet, a short chiton with a corsletand a cloak, and greaves.She holds out her shield (device:bull's head) and carries her spear horizontally.Brancheswith fruit in the field. On the right, dots; on the shoulder,tongue pattern.On the neck, ivy. Red: front pieces of helmet on the right;rim of shield; dotson garments;line below panelthat continuesroundthe vase. White: flesh;outlinesof crests;dots on crestsupports and on cloak;shield devices;fruit. For the composition,cf. Bothmer,Amazons,p. 94, no. 30. Early 5th century B.C.

742

P 13010 U24:2 Rest. H. 0.143; max. diam. 0.087. Preservedexcept for foot, handle, and small missing pieces that are restoredin plaster. Amazonin chariotwheelingaround.The Amazonwears a low-crestedCorinthianhelmet;her Boeotianshieldhangs down in back (device:tripod).The team, preservedexcept for parts of the two pole horses, rushes towards another Amazonwho has a shieldand spear. She wears a shortchiton with a corslet,a high-crestedCorinthianhelmet,andshe has a baldricover her left shoulder.By mistake,the artist has omittedthe wheelsof the chariot,and he did not indicate with glaze the lower part of the legs of the Amazonon the right.Abovethe panel,tonguepattern;on the sides,dots.On the neck, ivy. Red: manes,breastband;stripeson chitonof Amazonon right;line below panelthat continuesroundthe

197

vase. White: flesh; shield device;baldric;line on crests of helmet. For the composition, cf. Bothmer, Amazons, p. 85, no. 146. Early 5th century B.C.

743

P 24557 Q 12:3 Fragment.P. H. 0.165. Part of the trefoil mouth,all of the neck,someof the body,and abouthalf of the foot. Most of panel is missing.In the field,a vine with grapes. Above,tonguepattern.Red:line belowpanelthat continues roundthe vase. Early 5th century B.C.

744

P 7269 D 7:2

Six non-joiningfragments.P.H. of a) 0.142; max. dim. b) 0.116, c) 0.086, d) 0.034, e) 0.037, f) 0.031. Most of the trefoilmouth,the handle,someof the bodyand foot. Glaze firedred. Only fragmenta preservesany of the figures. Maenad (foot and hand) on a mule (foreparts,part of hind legs) to right, betweentwo satyrs (the left one is missingexceptfor some of one leg) to left. In the field, a vine. The panel is framedat the sides by dots. Red: beard of satyr; strip on mane; line below panel that continues round the vase. White:maenad'sflesh;muzzle,contourof neckand chestof mule;studson rein. Early 5th century B.C.

745 PI. 71

P 20033 C 17 of wall. Max. dim. 0.059. Shoulder andstartof Fragment neck.Silhouettetechnique. Bull (body,some of tail and legs) to right. In the field, a tree. Abovethe figure zone, tongue pattern.White: markings on bull. The Classof Copenhagen68 [A. Clark]. Early 5th century B.C.

SHAPE

2

746 and 747

746

P3241 I 14:1 Preservedexcept for most of handle and back of mouth. H. 0.083; diam.0.056. Poorglaze. Silhouettetechnique. Two panthersfacing. Between them, a swan to right. Blobs,strokes,and ring rosettesfor fillingornament.On the neck,a wavy line, with small parallelstrokes.Red:necksof panthers;markingson their hindquarters;bar on wing;line on mouth. First half of the 6th centuryB.C. 747

P 1337 G 6:3 (U) Most of bodyand footpreserved,strengthenedwith plaster. P.H. 0.115; diam. 0.125. E. Vanderpool,Hesperia 15, 1946, p. 312, no. 204, pl. 62. Departureof warrior.The warrior (feet, part of shield missing) stands to left holding his shield (device:octopus)

198

CATALOGUE

and two spears,facinga woman.Behindhim, a man (head, feet missing) to right. Above,tongue pattern.At the sides, net pattern. Red: line on helmet and left greave;dots on woman'sgarment;line belowpanelthatcontinuesroundthe vase.White:woman'sflesh;dotclusterson garments;device. Early 5th century B.C. SHAPE 3 (CHOUS)

748-765

P1255 G6:3(L) in restored Many fragments plaster. H. 0.183; diam. 0.152. Glaze has misfiredreddish brown in part. Profile complete.E. Vanderpool,Hesperia7,1938, no. 16, pp. 385387, figs. 21, 23. Fight, with onlookers.Two warriors(head, right calf of left;someof helmet,lowerlegs of rightmissing)attackeach other,the left one holdingout his shield(device:threeballs). The shield of his opponentappears below, seen in threequarter view. On the right and left, a draped spectator (partsof draperymissing).By mistake,the painterdrewthe shield of the warrioron the left as seen from the outside insteadof the inside.Red:alternatestripesof cloaks;chitons of warriors;helmet;shield of warrioron the right;fillet of onlookeron the right;line below panelthat continuesround the vase.White:shielddevice. The North SlopeGroup (ABV 129, 5). Third quarterof the 6th centuryB.C. 748

P 17466 J18:4(U) 749 P1.71 Preservedexcept for a few missing pieces of the mouth, neck,and bodythat havebeen restoredin plaster.H. 0.188; diam.0.145. Warrior wearing a Corinthian helmet and greaves, armedwith a round shield (device:three balls) and spear, standsto left facinga womancladin a longchitonandcloak. Behind the warrior is another woman, similarly dressed. Above the figures, dot ivy. Red: helmet, stripes on cloaks; two lines below the panel that continue round the vase. White:woman'sflesh;dotson garments;shielddevice. The Dot-ivy Group[A. Clark]. Third quarterof the 6th centuryB.C. P 12495 Q18:1 Two non-joiningwall fragments.Max. dim. a) 0.055 b) 0.026. E. Vanderpool,Hesperia 8, 1939, p. 259, no. 10 and p. 260, fig. 16. Fragmenta (illustrated)preservesthe headandshoulders of a warriorto right, his spear raised. On the left, at the break,the staff of an onlooker.In the field, part of a nonsenseinscription: 750 PI. 71

jEzM S Above, frieze of upright lotus buds (alternatingred and black?).Fragmentb showspartof the leg of a warrior.Red: helmet;links of lotus-budfrieze.White:edgeof crest. The uprightlotus buds abovethe figuresoccuron oinochoai of Shape 3 by the Amasis Painter (ABV 153-154,

41-46; Paralip. 64, 41-45; Bothmer, Amasis Painter,

pp. 154-162, cat. nos. 33-36) and on two by the Taleides Painter(ABV 174, 3 and 4). These, however,have dots in the interstices.The absenceof a line of glaze borderingthe friezeon 750 seemsto be unparalleled. Probablythe PhrynosPainter;the same hand as Boston, M.F.A. 98.923 [Bothmer](ABV 169, 3; Paralip. 71, 3; CVA,Boston1 [USA 14], pl. 25 [647]). Third quarterof the 6th centuryB.C. 751

P8886

T19:1

Two non-joiningfragments.P.H. of a) 0.13; diam. of a) 0.152; max. dim. of b) 0.054. Foot and some of the globular body with parts strengthenedwith plaster (a); fragmentfromthe wall nearthe top of the panel (b). Dionysosand two satyrsto right. Fragmenta shows the lowerpartsof the figures:the tail andlegsof the satyron the left;the lower part of Dionysos'chiton;the legs and left elbow of the satyron the rightdancingto right,probablylooking around.Fragmentb showsthe headand shoulderof the satyr on the left. In the field, branches.Abovethe figures, net pattern.Red: tail, beard,and forelockof satyr on left; stripes on drapery;line below panel that continuesround the vase. Third quarterof the 6th centuryB.C. P 17140 No grid 752 PI. 71 Wall fragmentfromnearshoulder.Max. dim. 0.06. Horseman(head, chest;head and neck of his horse) to rightholdingtwo spears.Facinghim, a man (hand)holding a staff.To the rightof the horse'smuzzle,partof a nonsense inscription: ITT

Above,partof lotus-palmettefestoon.Red:fillet;shoulderof horse;cuffsof lotuses;coresof palmettes. The Painterof the NicosiaOlpe [Bothmer],formerlythe Painterof LouvreF 28 (Paralip. 196). A. Clark has seen that 752 goes with the chous,Athens,N.M. 19175. Ca. 520 B.C.

753 PI. 71

P 24681

R 12:4

Fragmentof mouth, neck, and body. Max. dim. 0.134. Mendedin antiquity(two holesremainnearmouth). Dionysos (some of head, end of drinkinghorn) holding ivy and Hermes (head with petasos, shoulders) with his kerykeion (part of staff) move to right, looking around. Above the figures, hanging lotus buds with dots in the interstices. Red: forelocks and beards; stripes on Hermes' cloak. White: chitons. The reference to 753 in Paralip., p. 296 is incorrect; the entry is 754. For the frieze of upright lotus buds with dots above the figures on oinochoai of Shape 3, cf. 750 (PI. 71), but a frieze of hanging buds with dots does not seem to have a parallel on oinochoai, though it does appear above the panel on olpai, including bail olpai, on one-piece amphorae, and also on pelikai (cf. D. von Bothmer, JHS 71, 1951, pp. 4243, nos. 1-23). Although a direct connection between the

199

OINOCHOAI pelike and the oinochoeof Shape 3 is difficultto prove,the two share certainsimilarities,particularlythe narrowneck and the low centerof gravitythat resultsin a heavy,sagging appearance,and there may be some relation between the typesof ornamentselectedto embellisheachof them. Ca. 520-500 B.c.

P 1559 G 6:3 (U) 758 Wall fragment.Max. dim. 0.042. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 210, pl. 62. Bull (foreparts)to right.Red:neck,belly stripe.

754 Pl. 72

759 PI. 72

P 24675 R 12:4 Foot and about half of body. P.H. 0.098; diam. of foot 0.094. Fight, with man watching.On the left, a man (drapery, feet) holding a staff, watchesa warrior (legs with greaves, end of spear) pursue another(legs with greaves,short chiton) to right lookingaround,holding out his shield (lower part at break). Red: stripeson cloak of spectator;chitonof first warrior, stripe on chiton of second;line below panel that continuesroundthe vase. This is the oinochoedescribedin Paralip., p. 296 under P 24681 (753): "Fight:a warriorattackinga warriorwho turns tail, between onlookers."Near the Painter of Villa Giulia M. 482. Late 6th century B.C.

755 PI. 72

Early 5th century B.C.

P 1397 and P 1558 G 6:3 (U)

Two non-joiningfragments.Max. dim. P 1397: 0.075, P 1558: 0.072. Trefoil mouthand wall (P 1397), fragment of wall (P 1558). E. Vanderpool,Hesperia15,1946, p. 312, no. 203, pl. 60. P 1397 shows the upper parts of a youth and a dancing woman, both to right, she lookingaround.Above,net pattern. P 1558 givesthe endsof his cloak,the lowerdraperyof the woman.Red:woman'sfillet;man'sforelock;dotson garments.White:woman'sflesh;dot clusterson drapery. The Class of VaticanG. 50 (ABV 439, 9; 607, 2; Paralip. 190). Early 5th century B.C.

P 23342 H 12:15(POU) of trefoil mouth,handle,neck, and body. P.H. Fragment max. diam. 0.102. Much of the glaze is abraded. 0.073; Satyr (preservedexcept for part of legs, right arm, and tail) pursuinga maenad(feet and lowerpartof chitonmissing) movingto right, lookingaround.Abovethe figures,net pattern.Red:beard,forelockof satyr;fillet, dotson cloakof maenad. The Class of VaticanG. 50 (Paralip.190, 4 bis). 757

Early 5th century B.C.

P 5209 E-F 12-14

Wall fragmentwith beginningof neck.Max. dim. 0.068. Male (headwith wreath)to left. In the field,vines. Red: beard.White:wreath. For the wreath,cf. 328. The AthenaPainter[H. R. W. Smith]. Early 5th century B.C.

760 PI. 72

P 6091 G-H 8-9

Wall fragment.Max. dim. 0.039. Dionysos (beard,shoulder,hands) recliningon a couch (part of mattressand bed post). In the field, a vine. Red: beard;dotson bed post. White:bed post;dotson garment. Early 5th century B.C.

761 P 15723 C 20-21

Wall fragmentfromtop of panel. Max. dim. 0.081. Dionysos (head, shoulder)to right, holding a drinking horn, facing Ariadne (most of head). In the field, a vine. Abovethe figures,net pattern.Red:beard;fillet of Ariadne. White: Dionysos' chiton; Ariadne's face; rim of drinking horn. The Class of Vatican G. 50; the Dot-ivy Group [A. Clark]. 756

Early 5th century B.C.

P 4573 F-G 13

Fragmentof wall and neck. Max. dim. 0.045. Brown wash on outside. Woman (wreathedhead and shoulder)to right. Above, part of line at top of panel. White:flesh. Early 5th century B.C.

P4276 E14:11(?) 762 Wall fragment.Max. dim. 0.061. Youth (head, upper part of torso) to right. At the left, edgeof panel. Early 5th century B.C.

763

P9278

M17:4

Lowerpartof vessel.P.H. 0.047; max. dim. 0.073. A woman (lower part preserved)to left. At the left, the feet and some of the body of an animal (held by the woman?).On the far left, handlepalmette;tracesof tendrilon far right.White:designson drapery;verticalrowof dotson center panel;maeanderpatternon side. Early 5th century B.C.

764

P15957

F 19:4

Mended from many fragments.Rest. H. 0.10. Missing pieces including the handle and foot restoredin plaster. Silhouettetechnique. Nike (head,wing, arms,someof body)to rightholdingan objectthat lookslike partof a tripodor a lyre.In frontof her anotherNike (foot,partof longchiton)alsoto right,holding an unidentifiedobject.Red:stripson wings;stripeon chiton; part of object.White:flesh;strip on objectheld by Nike on left. The Class of Red-bodiedOinochoaiof Shape 3. For the class,cf. ABV 439-440, 1-6; Paralip. 191. Early 5th century B.C.

200

CATALOGUE

765

P 3019 R 13:3

Most of neckand handlemissing.P.H. 0.056;max.diam. 0.052. Glaze firedreddishbrown.Silhouettetechnique. Handle zone:threebirds(geese,swans?)to right. The Swan Group. Secondhalf of the 6th centuryB.C. SPECIAL: FLAT-BOTTOMED AND VRAONA

766 and 767

766 P1.72

P 23483 J 14:3 Fragmentary.P.H. 0.044; diam. of foot 0.06. Body of small, flat-bottomedoinochoe,with handlerootand startof neck. Two swans facing. Blobs and incisedrosettesfor filling ornament.Red:eyes, stripson necks,wings, and tails;large rosettebetweenswans. The shape was probablyvery like that of the Corinthian conicaloinochoe(cf. NC, p. 299, nos. 750-758). For a parallel in Attic black figure, cf. the contemporaryminiature examplefoundin a child'sgraveat Phaleron(ABV 441). Early 6th century B.C.

767 P1.72

P 1233 G 6:3 (L)

Mouth,mostof neck,fragmentsof wall missing.H. to top of handle 0.133; diam. 0.084. E. Vanderpool,Hesperia 7, 1938, pp. 379-381, no. 12, figs. 15-17. Youths and women. The figured decorationcontinues roundthe body. Beginningat the handle,left to right, two men, 1 and 2 (head of 2 missing)standingto right;then a pair,3 and4 (headof 3, legs of 4 missing)seatedon okladiai, facing;a pair, 5 and 6 (headof 6 missing)conversing,then a woman,7, and a nude male, 8 (head,torsoof each missing) to right facing a woman, 9. Next, three pairs, 10-15, conversing.On the shoulder,chain of invertedpalmettesand lotuseswith dotsin the links. Red:stripeson malegarments, except for 13; peploi and cloaks of women;hearts of palmettes;cuffsof lotuses.White:crosseson garmentsof 1, 3-5; dot clusterson garmentsof 2, 5, 10-12; femaleflesh. The Burgon Group; Near the Painter of London B 76 (ABV 90, 5); for the shape (ABV 443-444, 1-8). Secondquarterof the 6th centuryB.C. TYPE UNCERTAIN

768-776

P 22178 Q7:1 Wall fragment. Max. dim. 0.125. Upper right part of panel with part of the ring at the junctionof the neck and shoulder. A warriordressedin a shortchitonand holdinghis shield in profile(device:sevenballs) runsto right,lookingaround. A sheathis suspendedfroma baldricoverhis left shoulder. On the right and left, a drapedmale (face,someof drapery of one; head, shoulderof the other) facing. Above,tongue pattern. Red: fold of garmentof male on left; fillet; four balls;panel on warrior'schiton.White:threeballs;baldric; dotson draperyof male on right. The Painterof LouvreF 6 (ABV 129, 95). Third quarterof the 6th centuryB.C. 768 PI. 72

769 PI. 72

P 7530

B 13:6

Wall fragment.Max. dim. 0.041. Mule (head)to right. In the field, a vine. Above,part of the tonguepattern;on the right,someof the ivy framingthe panel.Red:mane;alternatetongues.White:stripaboveeye, muzzle. Third quarterof the 6th centuryB.C. 770 PI. 72

P 26773 U 19:2

Wall fragment.Max. dim. 0.145. Chariot to right. The fragmentpreservessome of the wheel, box, and pole of the chariot,part of the charioteer, the hind legs, tails of the horses,the bodyof the right-hand trace horse. On the left side of the team, two figures(drapery),the oneon the righta woman.Red:tails of right-hand pole and trace horses, breast band; stripes on garments. White: woman'sfeet; right-handpole horse;pendantson breastband. Ca. 520

B.C.

771

P 1395 G6:3(U) Fragmentof trefoil mouth, neck, and wall. P.H. 0.065. E. Vanderpool,Hesperia15, 1946, p. 312, no. 205, pl. 60. Youths (heads of two, arm and top of head of third) to right. Behindthe arm, part of a circularobject,perhapsa stone. In the field, brancheswith fruit. At each side, two verticalrowsof dots;above,tonguepattern.On the neck,net pattern.Red:fillets.White:fruit;object. Early 5th century B.C.

772 PI. 72

P8799

E 14:5

Shoulderfragmentwith start of neck. Max. dim. 0.051. White ground. Man (head with fillet) to right playing the barbiton.In the field, branchwith fruit. Above,tongue pattern;at the side, net pattern.Stringsof instrumentincised.Red: fillet, beard. The Gela Painter(ABV 474, 19). Early 5th century B.C.

P 1396 G 6:3 (U) Fragmentof shoulderand wall. Max. dim.0.10. E. Vanderpool,Hesperia15, 1946, p. 313, no. 208, pl. 62. Dionysos (part of head, shoulders,and chest) seated to right holdinga drinkinghorn, lookingaroundat a maenad (drapery,someof arm) to left, also lookingaround.On the right, at the break,tracesof anotherfigure. In the field, a branchwith fruit. Red:beardand wreathof Dionysos;dots on maenad'sgarment;two lines belowscene.White:fleshof maenad;dot clusterson her drapery;Dionysos'chiton. 773

Ca. 490-480 B.C.

774

P 1398 G 6:3 (U)

Shoulder fragment. Max. dim. 0.033. E. Vanderpool, Hesperia15, 1946, p. 313, no. 209, pl. 62. Satyr (head) to left. In the field, a branch with fruit. Above,tonguepattern.On the right,a line edgingthe panel. Red:line at baseof neck.White:fruit. Early 5th century B.C.

OINOCHOAI 775 P 14661 G3:1 Wall fragment.Max. dim. 0.038. White ground. Herakles (head with lionskin, arm, raised club) to left. Above,tonguepatternoverlappingclub. Red:beard. The Strugglefor the Tripod [Bothmer].For the subject, cf. 365. P 12779 G11:3

Wall fragmentwith lower right cornerof panel. Max. dim. 0.115. Dent in surface. Male (head, shoulders, arms missing) standing to left wearinga longchitonwith a cloak,staffin hand.On the left, at the break,the knee of an Amazon,the rim of her shield and the end of her spear. Red: stripeson cloak;line below panel that continues round the vase. White: flesh of Amazon;dotson drapery. Early 5th century B.C.

UNCERTAIN 777-786

P8963

F-H 13-16

Wall fragment.Max. dim. 0.052. Lion (forelegs,shoulder,ends of mane) to right. Below, two groundlines and the ends of the rays abovethe foot. The GorgonPainteror his manner.Compareespecially, LouvreCA 3327 (ABV 9, 8; Paralip. 7, 8), London,B.M. B 33 (ABV9, 13;Paralip.7, 13), AthensA-P 1734 (ABV8, 6; Paralip. 6, 6), Louvre CA 823 (ABV 12, 23), and 708 (PI. 68). Late 7th or early 6th centuryB.C. 778 PI. 73

P 21572 07:9

Two non-joiningwall fragments.Max. dim. a) 0.034, b) 0.068. Frontalchariot;woman. Fragmenta gives the forehead, ear, and topknotof one tracehorseand the face of a woman to left with her veil held out. Fragmentb preservesthe legs and the tails with herringboneincisionof two other horses (a pole horseand a tracehorse),the wheel of the chariotbetweenthem,and the axle. Red:eye of horseand woman,her veil. White:woman'sface. The scene was probablya frontal chariot flankedby a figureon each side. Compare,e.g., LouvreE 873 by Sophilos (ABV 39, 12; Baklr,Sophilos,pl. 48, fig. 87). Late firstquarterof the 6th centuryB.C. 779 PI. 73

P 3663 H 8-10 (?) Wall fragment.Max. dim. 0.024. Youth (head) to left with right arm raised. In the lower left, at the break,someblackglaze, perhapspart of another figure.Red:fillet. Ca. 530 B.C.

780 PI. 73

Ca. 520 B.C.

P 2627 G 6:3 (U) Wall fragment.Max. dim. 0.101. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 213, pl. 62. Man, probablyDionysos (lower drapery,feet) seatedto righton a blockstool.In frontof him, a maenad(lowerdrapery) moves away. In the field, a vine with grapes. Red: stripes and dots on drapery;borderof maenad'sgarment; line below figurezone. White:maenad'sflesh;dots on garments;Dionysos'chiton. Late 6th century B.C.

782 PI. 73

FRAGMENTS OF OLPAI OR OINOCHOAI, TYPE

777 PI. 73

On the left, near the groundline at the break,part of a secondwoman(heel)to left. In the field,a branch.Red:dotson skirt;line belowpanelthat continuesroundthe vase.White: feet.

781 PI. 73

Early 5th century B.C.

776

201

P 13863 T 24:3

Wall fragment.Max. dim. 0.057. Woman (one foot, lower part of skirt) dancingto right.

P 15954 F 19:4

Wall fragment.Max. dim. 0.051. Sacrifice.On the left, part of a woman (drapery,outstretchedarms)standsto righton what appearsto be a low hornedbase, facing an altar with flames and an uncertain object.On the rightof the altar,the baseandshaftof a herm or statue. Between the altar and the woman, nonsense inscription: XXI

On the far right,someof the dot or net patternframingthe panel. Red:line below panel that continuedroundthe vase. White: arms;dots on garment;alternateovolos,centersof volutes,horizontalstripes, and line at bottomof altarjust abovebase;top step of statuebase. Late 6th century B.C.

783

P 2563 G 6:3 (U) Wall fragment.Max. dim. 0.065. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 211, pl. 62. Maenad(drapery)andsatyr(someof leg andtail) to right with a bitch between. In the field, vine with grapes. Red: satyr's tail; dot on garment.White: maenad'sfoot; belly stripeand teatsof bitch. Late 6th century B.C.

784

P2684

G6:3(U) Wall fragment.Max. dim. 0.032. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 214, pl. 62. Male (thighsand righthand)to right.On the left, partof the ivy border. Late 6th or early 5th centuryB.C. 785

P24013

Q15:2 Wall fragment.Max. dim. 0.054. Man (bit of drapery)leadinghorse (hindquarters,some of tail) to right, followedby another(forearmsand hand) holdingan objectthat lookslike a torch.Red:object. Early 5th century B.C.

CATALOGUE

202 786

P 13735 V 23:1

Wall fragment from near shoulder. Max. dim. 0.04. Mendedin antiquity(the lead clampis still in place). Woman (head, raisedhand) to left. Behindher, a youth

(head)also to left. Red:fillets;eye of woman;stripeon her chiton White:woman'sflesh. Late 6th centuryB.C.

LEKYTHOI 787-1256 Fig. 15 Pls. 73-87 EARLIEST 787-791

P3287

I14:1 H. withouthandle0.168, with handle0.182; max. diam. 0.128. Preservedexceptfor mouthand a few missingpieces of the body, restoredin plaster. Drip ring, concaveon top (rubbeddownin antiquity?See ABL, p. 2, note 1). Pale slip applied to surface. Glaze fired red. AA (JdI 49), 1934, p. 135, fig. 6; T. L. Shear,Hesperia4, 1935, p. 365, fig. 22. Two confrontedcockswith palmettefloral between.Incised rosettesfor filling ornament.Red: wattlesand combs, wings;petalsof palmettesand links of ornament. 787 standssomewhatapartin shapefromthe usual "Deianeira"lekythos,for its bodyis moreovoid,thus closerto the Corinthianalabastron. 787 P1.73

Ca. 600 B.C.

788

P 13127 e U 25:2 (L)

Wall fragment.Max. dim. 0.021. Originallythoughtto belongto 789. Lion (someof mane,shoulder,body).Red:dotsalongline of shoulder,ribs. Secondquarterof the 6th centuryB.C. 789 P1.74

P 13127 a-d, f-o

U 25:2 (L)

Thirteen non-joiningfragmentsof wall and shoulder. Max. dim. a) 0.146, b) 0.121, c) 0.075, d + h) 0.105, f) 0.028, g) 0.055, i) 0.038, j) 0.031, k) 0.027, 1) 0.029, m) 0.016, n) 0.059, o) 0.036. E. Vanderpool,Hesperia 15, 1946, p. 127, no. 10, pl. 19:2;Tiverios,pl. 78:,/ (fragments a-c,g, h). On the body, chariotand hunterreturninghome. Fragmenta preservesthe legsof the hunter,mostof his dog,parts of two spears, and the dead game (a deer and perhaps a hare) presumablysuspendedfroma pole or lagobolonover the hunter's shoulder. Fragment c gives some of the hindquartersand tail of the right-handhorse, part of the reins (knotted)and pole stay, as well as the torso,arms,and part of the head of a womanstandingto left on the left side of the team. She wears a peplos, roundher head is a fillet, and she extendsboth arms, probablyto greet the returning hunter.On fragmenti, below the line separatingthe shoulder of the vase from the body, there is a bit of hair, very likely the top of the charioteer'shead. Fragment d + h shows some of the neck, mane, muzzle, and breastband of

the right-handhorse and, in the background,a bit of the wreathheldby the womanon fragmentsb andf. Fragmentb preservesthe lower parts of this womanand a man to left, eachdressedin a longchitonwith a mantleoverit. The man holdsa staff, and in frontof each is a hound;of the one on the left, only its head, neck, and forelegsremain.This dog has its head turned aroundand looks up at the left-hand horse (forehead),which has extendedits head downward. Fragmentg preservesthe man's face, part of his head (filleted)andthe top of his staff;fragmentfgivesmoreof the woman:her left shoulder,her neckencircledby a necklace, some of her hair. On the shoulder, Herakles and the Amazons.Fragmentd + h preservespartof the hero (head, arms, some of legs missing)dressedin a shortchitonand a beltedlionskin,runningto right. In the upper right corner of the fragmentis part of the rim of his shield. Behindhim are parts of a helper,perhapsIolaos (someof his buttocks, thighs,right arm with spear)to left, and on fragmenti, the left calf (with greaves)and foot of the fleeing Amazonhe pursues.Fragmentg givessomeof Herakles'opponents:on the left, part of a roundshield seen in three-quarterview, presumablyheld by the now missing Amazon he attacks directly;on the right, a fleeing Amazon (from the waist down) in a shortchitonand greaves,holdinga spearin her right hand. Fragmentsj-o are undecorated.Red:stripeson mantleof maleon right,mantleof woman;necksof dogsand deer;maneand breastbandof right-handhorse;overfoldof peplos;Herakles'chitonandbelt;shieldrim;shieldand two foldsof Amazon'schitonon g, her belt;two lines below the figure zone on the body. The flesh of the women was left black.The chariotseemsto havebeena biga. For the subjecton the shoulder,cf. 395. For the composition, Bothmer,Amazons,p. 37, no. 36. Lydos(ABV 111, 42). Ca. 550 B.c. 790 PI. 74

P 26609 T 18:4

Wall fragmentwith someof shoulder.Max. dim. 0.046. Cock (tail) to right. Above the figures, key pattern to right.On the shoulder,uprightlotusbuds. Red:bar on tail; one shortand one sicklefeather. Perhapsby Lydos.For the key pattern,cf. the lekythosin Riehen, where it is between three lines top and bottom insteadof two (ABV 111, 41; Tiverios, pl. 65:a). For the cock,cf. TarantoI.G. 4412 (ABV 113, 74; Paralip.45, 74;

203

LEKYTHOI Tiverios,pl. 12:a)and Taranto52130 (ABV 112, 67; Paralip. 44, 67; Tiverios, pl. 13:a). These are not so carefully drawnas 790, but they have the lessersicklefeathersat the base of the tail. For careful drawing of birds, cf., e.g., the eagle under the handle of London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 9:a) and the feathersof the siren on Villa Giulia M. 430 (ABV 108, 14; Tiverios, pl. 21:a). The high position of the cock in the compositionindicates that it was standing on something, perhaps a column or an altar. For cockson altars, cf. the later example by the Theseus Painter, Delos 598 (ABL, p. 249, no. 8). Third quarterof the 6th centuryB.C. P 15376 B 21:20

791 P1.74

Small fragmentsof shoulderand wall restored.H. 0.117; diam. 0.073. Part of surfaceburned. R. Young, Hesperia 20, 1951, p. 89, Grave6, no. 1, pl. 39:b 1. From left to right: youth to right with a cloak over his raised right arm; a draped youth to right with a spear; horsemanto left;runner(partof head and bodymissing)to left lookingaround,a cloakover his left arm, his right outstretched;a draped youth (face missing) to right with a spear;a horsemanto left with a bird (eagle?)aboveflyingto left; a draped youth (some of head and draperymissing) with a spearto left. On the shoulder,coursinghares:draped youth,cock,runner,drapedyouthbetweentwo hares,all to right,then a drapedyouth,a runner(lookingaround),and a dog, all to left. Nonsense inscriptions:1) below runnerto right:

ov rT r

2) behinddrapedyouthto left:

THE LEKYTHOS-PAINTERS, I: CHIEFLY EARLIER

792-868

P 15263 B21:5 792 Profile complete. H. 0.108; diam. 0.066. Part of body missing.Someof the surfaceis splintered.A bit of the glaze is flaked. R. Young, Hesperia 20, 1951, p. 91, Grave 10, no. 2, pl. 41:a 2. Two nude ridersconfronted.Of the one on the left, only the head, neck, and forelegsof the horse remain. On the shoulder,bird (swan?) with wings spread (head missing). Red:hair of rider;maneof horseon right;markingon hindquarters;line below figures. Ca. 550-525 B.C.

793 P1.75

P 18006 B 19:2

Chipped. H. 0.134; diam. 0.076. Glaze mottled.H. A. Thompson,Hesperia 17, 1948, p. 166, pl. 46:1; R. Young, Hesperia20, 1951, p. 108, Grave49, no. 1, pl. 48:a. Three nudeboyrunnersto right.On the shoulder,cockto right,betweenlotus buds. Red:body,wattles,comb,bar on tail, and sickle feathersof cock;hair of runners;two lines underpicture.White:line on cock'sneckand breast;straps (baldrics?)acrossbreastsof runners. 793 is earlierthan the otherlekythoiof the CockGroup from the Agora (837-863), which date late in the 6th centuryB.C.793 with its rathersquat proportionsis closest in shape to examples of shouldered-lekythoiof the third quarterof the 6th centuryB.C.(cf. ABL,chap.IV). The type of cock is very differentfrom other examplesin the Cock Group,which do not hold their headsand necksup but appear about to feed. Also, the runners, with their broad shoulders,narrowwaists, and heavy thighs, are characteristic of athletespaintedin the thirdquarterof the century. The CockGroup(Paralip.211). Ca. 540-530 B.C.

3) below runnerto left:

794

]rT Abovethe figureson the body,three lines. Abovefoot,rays. Red:on body:filletsof all exceptsecondfigurewhosehair is red; nipple of first figure;belly stripe of horse on left and markingson its hindquarters,tail, mane; line on hanging folds of drapedfigures;dots on garmentof youth between horses;eye of horse on right; strip on wing of eagle; on shoulder:comband wattles,stripeon neckof cock,stripson edgesof wing bow, one on top of sicklefeather;hair of runner on left and of figure standing on right; dog's collar. White:chitonsof riders;studson reinsof horseon right. The sharp angle of the shoulderand body is similar to that of Louvre G 37, an unattributedlekythos of about 550 B.C.,but the shapeof its bodyand neckis verydifferent from 791. The flaring mouth of 791, unusual in lekythoi, recallsLouvreCA 178 by ElbowsOut (ABV 249, 16). The broadbase and the very narrowrays are uncharacteristic of lekythoibut are similarto earlyAtticblack-figuredskyphoi. Cf., e.g., Boston,M.F.A. 97.366 by the KX Painter(ABV 25, 19). For rays abovethe feet of lekythoi,cf. ABL, pp. 21, 42, 89, 90, and 222. Ca. 550 B.C.

P 22331 a 016

Fragmentof shoulderand wall. Max. dim. 0.063. Fight. A warrior (head with Corinthianhelmet, raised rightarmwith spear,shortbeltedchiton,someof the rim of his shield seen in profile)movesto left. On the left at the breakis the pointof his opponent'sspear.On the shoulder, partof a footto right. Red:corslet.White:helmetcrest. Third quarterof the 6th centuryB.C. P 22331 b 016 795 Shoulderfragment.Max. dim. 0.034. Partsof two figures.On the left, the raisedarmwith cloak of a figureto right,and on the right,the draperyof another figure.Red:panel on draperyon the right. The scale of the figureson 795 differsfromthat on 794, and the two oughtto be keptapart. Third quarterof the 6th centuryB.C. 796

P 15430 B21:9

Most of handle,fragmentsof neck,shoulder,andwall restored.H. 0.137;diam.0.076. R. Young,Hesperia20, 1951, p. 96, Grave 13, no. 2, pl. 43:a 2. Youth courting boy (part of body and legs) holding a

204

CATALOGUE

hare, between spectators(a woman and a youth on each side). Female flesh left black.Upper part of womanon the right missing. On the shoulder,large invertedlotus buds with big dots; above, tongue pattern. Red: hair of youths; dots on draperyof woman on left; line on top of mouth,at baseof neck,and below figures. The HermioneGroup (ABV456, 3); Relatedto the Dolphin Group (Paralip.200, 1). Ca. 540-530 B.C.

801

P 5237 N 10:1

Mouth, neck,handle,part of shoulderand wall missing. Rest. H. 0.09; rest. diam.0.073. Strengthenedwith plaster. Burned. Nude youth runs to left, looking around,between two drapedspectators(headof left, chest of right missing).On the shoulder,ivy leaves. Red: youth's hair; hanging folds; line belowfigures. The Fat-runnerGroup(Paralip.201). Ca. 550-525 B.C.

797

P 15654 B 20:4

Much of the surface chipped. H. 0.135; diam. 0.074. Most of the glaze fired brown. R. Young, Hesperia 20, 1951, p. 93, Grave 11, no. 1, pl. 41:c. Sirento rightwith wingsspread,betweenpanthersfacing inward. On the shoulder,invertedlotus buds with dots in the interstices.Red:face of siren;necksof panthers;ground line. The Dolphin Group (ABV 457, 1).

802

P 24517 Q 12:3 Only lower wall and part of foot remain. P.H. 0.054. Glaze is flakedand abraded. Sphinx (hindquarters;forelegs) sejant between two drapedfigures(lowerparts),all to right. Red:stripeon left garment.White:dotson garment. The Fat-runnerGroup(Paralip.201). Ca. 550-525

B.C.

Ca. 550-525 B.C.

803 798 PI. 75

P 15374 B21:19

Complete except for chips on lower wall and foot. H. 0.123; diam. 0.06. Hole in bottom.Glaze is flakedand abradedin manyplaces.Surfaceburned.T. L. Shear,Hesperia 9, 1940, p. 304, fig. 44; R. Young,Hesperia20, 1951, pp. 89-90, Grave7, no. 1, pl. 40:b. Siren to right betweentwo lions. Under handle,swan to right.On the shoulder,invertedlotus buds. Red:fillet of siren, bars on wings;muzzles;dots on lotus buds;line inside mouth,two outside;line on neck(?); four lines on foot. The Dolphin Group (ABV 458, 23). Ca. 550-525 B.C. 799

P15440

B21:21

Mouth, neck, part of shoulder,much of wall restored. P.H. to neck 0.12; diam. 0.084. Burned. R. Young, Hesperia 20, 1951, p. 100, Grave 1.9,no. 1, pl. 46:a 1. Drapedfigure(lowerpart)seatedto righton an okladias. On the left, a nudeyouthstandsto rightholdinga spear,and on the righta woman(someof torsoof each missing)stands to left holding a staff. On the shoulder,a siren or sphinx (head, tip of wing) between spectators.Red: wavy line on garmentof spectatoron left, on shoulder;hair of siren or sphinx,wing bow. White:femaleflesh. Ca. 540

B.C.

800 P1.75

P 15262 B21:5

Completeexcept for small fragmentsof wall. H. 0.129; diam.0.073. R. Young,Hesperia20, 1951, p. 91, Grave10, no. 1, pl. 41:a 1. Runner (part of head missing) to left, between two drapedyouths.Fillet hangingon wall. On the shoulder,six degenerateivy leaves. Red:hair;hangingfolds and dots on drapery;narrowbandon neck;line at insideedgeof mouth. The Fat-runnerGroup(ABV 460, 9). Ca. 550-525

B.C.

P7224

T18:1

Fragmentof shoulderand wall. Max. dim. 0.028. On the body, satyr or centaur (head) to right. On the shoulder,animal(forepaw)to right. Third quarterof the 6th centuryB.C. 804 PI. 75

P1159

G15:1

Wall fragment.Max. dim. 0.054. Woman(preservedfromthe chestdown)in a peplosrunning to right, lookingaround.On the right, extendedarm and draperyof a man to left. Red:peplosexceptfor central panel on skirt;cloak;two lines below scene that continued roundthe vase. White:flesh of woman;rows of dotson her drapery;fillet held by man. Third quarterof the 6th centuryB.C. 805 PI. 75

P8918

M 18:6

Preservedexcept for fragmentsof body and some of shoulder.H. 0.113; diam.0.072. Three drapedyouths, 1 to right, 2 and 3 to left. Fillet on wall. On the shoulder,a palmettebetweenivy leaves. Red: hangingfoldof drapery. The Groupof VaticanG. 52 (ABV460, 12). Late thirdquarterof the 6th centuryB.C. P 13019 U 25:2 (U) 806 P1.75 Mouth and handlemissing.P.H. 0.135; diam.0.08. Foot chipped. Decorationas 805. Two cloakson wall. Red:hair, hanging foldsof garments;line below scene. The Groupof VaticanG. 52 (ABV 460, 13). Late thirdquarterof the 6th centuryB.C. 807

P15442

B21:21

Handle, some of neck, shoulder, and wall restored. H. 0.132; diam. 0.075. Top of mouth glazed. Burned. R. Young, Hesperia 20, 1951, p. 101, Grave 19, no. 3, pl. 46:a 3.

LEKYTHOI Decorationas 805. Cloakhangingup. Red:stripeon garment of 1; line round neck at junction with shoulder;line below figures. The Groupof VaticanG. 52 (ABV 460, 9). Late thirdquarterof the 6th centuryB.C. 808

P 15439 B 21:21

Parts of shoulder and wall restored. H. 0.133; diam. 0.075. Surface burned. R. Young, Hesperia 20, 1951, p. 101, Grave 19, no. 2, pl. 46:a 2. Decorationas 805. Two cloaks on wall. Red: stripe on draperyof 2; line below scene. The Groupof VaticanG. 52 (ABV 460, 10). Late thirdquarterof the 6th centuryB.C. 809

P15441

B21:21

Mouth, neck, most of shoulder,much of body restored. Rest. H. 0.134. Burned.Most of glaze gone.R. Young,Hesperia 20, 1951, p. 101, Grave 19, no. 5, pl. 46:a 5. Traces of three drapedyouths, 1 and 2 to right, 3 to left. All hold staffsor spears. The Groupof VaticanG. 52 (ABV 460, 11). Late thirdquarterof the 6th centuryB.C. 810

P 15508 B 21:22

Part of handle and wall, all of foot restored.P.H. 0.11; diam. 0.073. Burned.Surfaceis in poorcondition. Youth with cloakto left, betweentwo drapedspectators. On the shoulder,palmettebetweenivy leaves.White:chiton of figureon left. The Groupof VaticanG. 52 (ABV 461, 16). Late thirdquarterof the 6th centuryB.C. 811

P 16587 B21:14

Surfaceworn. H. 0.124; diam. 0.07. T. L. Shear, Hesperia 10, 1941, p. 2, fig. 1; R. Young, Hesperia 20, 1951, p. 94, Grave 12, no. 2, pl. 42:a 2. Nude youth (athlete?)to left, betweendrapedyouths.On the shoulder,a palmette rising from volutes, between ivy leaves.Red: line at junctionof neck and shoulder,on top of mouth,below figurescontinuingroundthe vase.White:dots in links. The Groupof VaticanG. 52 (ABV 461, 17). Late thirdquarterof the 6th centuryB.C. 812

P 16588 B21:14

Much of wall andshouldermissing.H. 0.12;diam.0.071. T. L. Shear,Hesperia 10,1941, p. 2, fig. 1; R. Young,Hesperia 20, 1951, p. 94, Grave 12, no. 3, pl. 42:a 3. Decorationas 811. Upper part of youth and spectatoron the right missing. The Groupof VaticanG. 52 (ABV461, 18). Late thirdquarterof the 6th centuryB.C. 813 P1.75

P 15648 B 20:3

Mouth and foot chipped,otherwiseintact.H. 0.11; diam. 0.057. R. Young,Hesperia20, 1951, p. 98, Grave16, no. 1, pl. 44:d 1.

205

Womanrunningto rightbetweentwo drapedyouthsfacing inward. In the background,a hanging cloak. On the shoulder,a palmettewith dots betweenthe fronds,between two ivy leaves.Red:fillets;stripeson garment.White:woman's flesh;dots(?)on drapery. The Groupof VaticanG. 52 (ABV461, 33). Late thirdquarterof the 6th centuryB.c. 814

P 26822 T19:1

Wall fragment.Max. dim. 0.044. Surfaceveryworn. Nude youth (fromshouldersto calves)to left and behind him, a figure(neck,right shoulder)to right. In frontof the youth,partof anotherfigure(kneesof one who is seated?)to right. Late thirdquarterof the 6th centuryB.c. 815

P 1254 G 6:3 (L)

Fragment of shoulder, much of wall restored. Rest. H. 0.138; diam. 0.051. E. Vanderpool,Hesperia 7, 1938, p. 399, no. 34, p. 400, fig. 36. Armingscene.A youth(head,arms,partof body,andone leg) standsto rightaboutto put on a greave,while a woman (face,someof drapery)standsbeforehim holdinghis shield (device:dolphin)and two spears.Behindthe youth, a man (lower drapery,feet) to right. Below the shield, uncertain objectsthat look like anotherpair of greaves.On the shoulder, a three-leavedupright palmette,between ivy leaves. Red:fillet of youth.White:woman'sflesh;shielddevice. Ca. 520 B.c.

816 P1.76

P 16586 B21:14

Handle chipped.Glaze flakedin many places.H. 0.177; diam. 0.092. Some of the surfacesplintered.T. L. Shear, Hesperia 10, 1941, p. 2, fig. 1; R. Young, Hesperia 20, 1951, p. 94, Grave 12, no. 1, pl. 42:a 1. Herakles and Triton. Herakles,dressedin his lionskin, straddles the sea monster to left, gripping him tightly. Triton'shead is wreathedand looksto right. On the left, a bearded,draped figure comes up; on the right, a woman lookson. In the background,fourdolphins.On the shoulder, a chain of circumscribedinvertedpalmettesand lotus buds. Red: hair and beardof man;head of lionskin;forelockand beard of Triton, cuff of tail, nipples;stripes on garments; line below scene that continues round the vase. White: Triton'smid-rib,partof tail; woman'sflesh. For the subject,G. Ahlberg-Cornell,Heraklesand the Sea-monsterin Attic Black-figureVase-painting[Skrifter Utgivnaav SvenskaInstituteti AthenXXXIII], Stockholm 1984. Ca. 530-520 B.C. 817 PI. 75

P 5002 E-F 12-14

Three non-joiningwall fragments.Max. dim. a) 0.088, b) 0.054, c) 0.083. Fragmentc showsthe turn of the shoulder. White ground. E. Vanderpool,Hesperia 15, 1946, pp. 128-129, no. 12, pl. 21:1-3; Kurtz, Athenian White Lekythoi, pl. 1:2.

The figureddecorationon the body was dividedinto a main zone with a predellabelow. Fragmentc comesfrom

CATALOGUE

206

the upper part and preservesa man (head with wreath, shoulder,someof body)to left dressedin a cloak,smellinga flower. Fragmenta shows part of the main zone, with the toesof a humanfootto left, perhapsthat of the man,andthe end of an inscription:

For plumeson helmets,cf. 206. The LeagrosGroup(ABV 379, 279). Ca. 510 B.c.

820 PI. 77

Below, someof the predella:a youthin a himationwalking to rightbehinda horse (tail, someof hindquartersand forelegs). The youthholdsa spearand may haveled a horse;the glaze line behindhim looks like a rein. Fragmentb shows moreof the predella,a horseman(backof rider;hindquarters of horse);behindhim, an eagle flying to right. On the left, part of another figure (leg and hand). Red: strip on beard,wreath;borderand dots on cloak;stamensof flower; fillet of youth in predella;line below picturethat continued roundthe vase. A figuredpredellabelow the main zone seems to be unparalleledon lekythoiand probablyowes its inspirationto two other shapes whose use is funerary,loutrophoroiand plaques,which often havefiguredpredellasbelowthe main zone. For the white-groundworkof Psiax, cf. Mertens,Attic White-Ground, pp. 35-40; Kurtz,AthenianWhiteLekythoi,pp. 9-12. By Psiax or near him (ABV 295, 2; ARV2 8, -). Ca. 520 B.C. 818

P1. 76

P 16568

No grid

Fragmentof shoulderand body. Max. dim. 0.142; est. diam.0.18. Athena (head with fillet, outstretchedleft arm with the aegis drapedover it, her helmetin her hand) to right,looking around, and Hermes (head with petasos) to left. Between the two, Doric column.In frontof Athena'sface, the end of a vine or branch.Abovethe figures,two rowsof dots. On the shoulder,invertedlotus buds with dots in the interstices.Red: fillet; beard. White: Athena'sflesh; dots on the crestsupportof her helmet;abacus. The LeagrosGroup (ABV 379, 277). Ca. 510-500 B.c. 819 PI. 76

P1276

G6:3 (U) Wall fragmentwith turn of shoulder.P.H. 0.084; est. diam. 0.133. E. Vanderpool,Hesperia 15, 1946, p. 304, no. 149, pl. 54. Fight. A warrior(some of legs missing) attacksto right with two spears;he wears a low-crestedCorinthianhelmet decoratedwith two plumes. On his left arm, he holds a round shield seen from the inside;over one shoulder,two baldrics.He thrusts his spears into his opponentwho has fallen and is dying (eyes closed).On the right,a companion (head, shoulders)with a round shield (device:female leg) and spearcomesin to help. Abovethe dyingwarrior: woA A [ Above the figures, two rows of dots. Red: rims of shields; dots on chitonof warrioron left. White:plumes;-armband of shield;baldrics;dots on crestsupportof helmeton right; shielddevice.

P6999 D11:1 Wall fragment.Max. dim. 0.072. Warrior (right foot and shin with greave) running to right. In the field,diagonally: 3TE on the rightof his leg:

1hE (upsidedown). Red:two lines belowthe figures. The LeagrosGroup(ABV 380, 294). Ca. 510 B.C.

821 PI. 76

P 24104 Q 12:3 Complete except for a few missing pieces of the wall which have been restoredin plasterand painted.H. 0.305; diam.0.123. Glazehas abradedin placesbelowscene.H. A. Thompson,Hesperia 24, 1955, p. 63, pl. 29:a; BCH 79, 1955, p. 214, fig. 2:3; Lang, op. cit. (under 527), ill. 17; Camp, op. cit. (under319), ill. 5; S. R. Roberts,Hesperia 55, 1986, p. 47, no. 317, fig. 29, pl. 10. Introductionof Herakles into Olympos. On the left, Herakles stands to right in his lionskin and short chiton, holdinghis club overhis left shoulder.His bow and quiver are suspendedfrom a baldricover his right shoulder.In front of him is Athenain usual dress,holdinga spear, her left handraisedtowardHermeswho movesto rightlooking around.His left arm is raised with the index and middle fingersextended;in his right hand he holds his kerykeion. Apolloprecedesthe trio, holdinghis kithara.On the rightof the scene, facing the processionsits Zeus on a throne, its backendingin the neckand headof a swan. His feet reston a hassock.Behind Zeus stands Hera with her right hand raised.A Doric columnindicatesZeus'spalace.Above,key patternto left. Below,key patternto right.On the shoulder, three up-and-downpalmettesflankedby one upright and one invertedpalmette.Red:stripson beards;stripeson cloak of Athena; dots on garments. White: teeth of lionskin; baldric;femaleflesh. 821 sharescertaindetailswith two lekythoibelongingto the Leagros Group: Louvre CA 99 (ABV 379, 282) and Providence22.216 (ABV380, 284). Comparethe palmettes withoutdotson the shoulderandthe vineswith heavy,closely spaced dots. The general character of the drawing on 821 is similar, but the hand may not be the same. For the key pattern above and below the figures, a very rare use of this ornament, cf. three by the Cactus Painter (key pattern always to left): Berlin, inv. no. 3260 (ABL, p. 198, no. 1); Berlin, inv. no. 3261 (ABL, p. 198, no. 2; ABV472, 2; Paralip. 212, 2); Boston, M.F.A. 93.102 (ABL, p. 198, no. 3). For the subject, cf. Brommer, Heldensage3, pp. 172-174. Ca. 510-500 B.C.

207

LEKYTHOI P 8539 D 7:2 822 P1.77 Wall fragment.Max. dim. 0.12. White ground. A maenad(preservedfromthe hips down) to rightwearing a long chitonand a cloak.In the field,a vinewith grapes. Below the figures,net pattern.Red:borderof cloak;dotson chiton;two lines below the scene. The net patternbelow the figure zone is rare. Compare KarlsruheB 306 by a painter of the CapodimonteGroup (Paralip. 214, 2). For the net patternbetweentwo lines of dilute glaze above and below, cf. two others in this group where it appears above the figures: New York, M.M.A. 06.1021.62 (Paralip.214, 1) and Cambridge5.1963 (Paralip. 214, 10). The drawingon 822 is similar,and the piece may belongto this group. Ca. 500 B.C.

P 15443 B21:21 823 H. 0.132; diam. 0.062. Top of handle,most of shoulder, fragmentsof wall restored.Burned. Much of the glaze is gone. R. Young,Hesperia20, 1951, p. 101, Grave19, no. 4, pl. 46:a 4. Greek pursuing a centaurto right, the centaurlooking around. On the right, a woman fleeing to right. On the shoulder,threepalmettes? Late 6th centuryB.C. 824 PI. 77

P 19137 C 18:4

Fragmentof shoulderand wall. Max. dim. 0.08. Warriorleavinghome (headand shoulderof womanand of youth holdinga spear,both to left). On the shoulder,invertedlotus buds. Red:fillets.White:woman'sflesh. The PhanyllisGroup:B, the Groupof the ArmingLekythoi (ABV 463, 7). Late 6th centuryB.c. P 19136 C 18:4 825 P1.77 Wall fragmentwith startof shoulder.Max. dim. 0.118. Warriorleavinghome to left. Shielddevice:okladias.On the left, the back of a head. On the shoulder,invertedlotus buds. Red: helmet;greaves;line below scene.White:shield device. Beazley (ABV 463, 8) thoughtthat 825 and 824 might belongto the same vase. This, however,is unlikelybecause the shoulderpatternsare of differentsizes,the wall of 824 is thicker,and the clay is lighterin colorthan 825. The PhanyllisGroup:B, the Groupof the ArmingLekythoi (ABV 463, 8). Late 6th centuryB.C. P 24544 Q 12:3 Mouth, neck, shoulder,handle, much of wall missing. P.H. 0.16; diam.0.09. Fight. Combatover a fallen warriorbetweenonlookers, each with a staff. The warrior (head, right arm, legs) has fallen facedownwardto left holdinghis shield(device:three balls). The end of his helmetcrestfollowsthe law of gravity. Of the two fighters,only parts of their legs remain;of the onlookers,the lowerpartsof theirchitonsandcloaksandthe 826

endsof their staffsare preserved.Red:stripesand panelson garments;helmetof fallen;greavesof warrioron right;two lines below scenethat continueroundthe vase. White:sections of helmetcrestof fallen;device. The PhanyllisGroup:B, the Groupof the ArmingLekythoi (Paralip.205). Late 6th century B.C.

P 24360 Q12:3 827 P1.77 Part of wall missingin back.H. 0.266; diam.0.111. Armingscene.A youthstandsto rightaboutto put on his left greave.His Corinthianhelmetis on the ground.In front of and behind him are two male onlookers,each with a spear. On the shoulder:invertedlotus buds;above,tongue pattern.Red:hair of youth donninggreaves;filletsof outer two onlookers;greaves;stripeson garments;line on top of foot.White:corslet(mostlyflaked);crestof helmet. The PhanyllisGroup:B, the Groupof the ArmingLekythoi, but shapenot Phanyllis(Paralip.206). Late 6th centuryB.C. P 24362 Q 12:3 Very fragmentary.P.H. 0.165; diam. 0.111. Only the mouth,neck,someof shoulder,and upperpart of wall preserved.Much of the glaze firedred. S. R. Roberts,Hesperia 55, 1986, p. 36, no. 97, fig. 25. Warriorsleavinghome.On the left is a youth(head,most of drapery)to rightfacinga warrior(helmetedhead,partof shield)holdinga spear.Behindthe warrior,a woman(head, shoulders)to right holdingout her drapery,facinga second warrior (helmetedhead, shield: dolphin for device) with spear.On the right,a youth(partof drapery)to left, holding a spear.On the shoulder:invertedlotusbuds;above,tongue pattern. Red: fillets on helmets;dots on rims of shields; stripes and segmentsof garments.White: woman's flesh; dotson helmetcrests;shielddevice. The PhanyllisGroup:B, the Groupof the ArmingLekythoi, but shapenot Phanyllis(Paralip.206). 828

Late 6th century B.C.

P 17963 A 18:2

829

H. 0.172; diam. 0.093. Fragmentof mouth and some of shoulderand wall restored.Burned.Much of the surfaceis worn.R. Young,Hesperia20,1951, p. 109, Grave50, no.2, pl. 48:b 2. Hoplite leavinghome.The hoplitestandsto left with his helmet, round shield, and greaves, between two draped youths facinginward,each with a spear. On the shoulder, an upright palmettewith base links, between drapedfigures. Red:groundline. The Phanyllis Group: E, the Group of the Hopliteleaving-home(ABV 465, 20). Ca. 510-500

830

B.C.

P 17964 A 18:2

H. 0.17; diam. 0.086. Fragmentsof mouth,neck, shoulder, and wall restored.Someof the glaze is flaked.Burned. R. Young, Hesperia 20, 1951, p. 109, Grave 50, no. 3, pl. 48:b 3.

208

CATALOGUE

Hoplite leavinghome.He standsto left wearinga helmet and greaves, holding his shield and spears, between two drapedonlookers(feet, lower draperyof pair on the right missing)on eitherside, holdingspears.On the shoulder,an upright palmette on base links, between draped figures. Red:hangingfolds of garments;greaves;alternateleavesof palmette. The Phanyllis Group: E, the Group of the Hopliteleaving-home(ABV 465, 21). Ca. 510-500 B.C.

831 PI. 77

P 15247 B21:3

Fragmentsof shoulderandwall restored.H. 0.194;diam. 0.09. R. Young,Hesperia20, 1951, p. 99, Grave 17, no. 1, pl. 45:a 1. Hoplite standingto left, armedwith a spear and shield (device:dolphin),betweentwo drapedyouthson each side, holdingspears.On the shoulder,an uprightpalmetteon two links of chain,betweentwo drapedyouths.Red:helmetand greaves;hangingfolds;stripeson garments;alternatepetals of palmette;line on top of mouthand at junctionof neckand shoulder;two lines below scene that continue round the vase;line at outeredgeof foot.White:device. The Phanyllis Group: E, the Group of the Hopliteleaving-home(ABV 464, 18). Late 6th century B.C.

832

P15248

B21:3

Some of wall restored.H. 0.194; diam. 0.092. Surface badlydamaged(splinteredand pitted).R. Young,Hesperia 20, 1951, p. 99, Grave 17, no. 2, pl. 45:a 2. Composition,decoration,and accessorycoloras 831. The Phanyllis Group: E, the Group of the Hopliteleaving-home(ABV 464, 19). Late 6th century B.C.

P 22180 Q7:1 of Two non-joiningfragments shoulder,neck, and wall. Max. dim. a) 0.078, b) 0.085. Grooveat thejunctionof the neckand shoulder. Fragmenta, fromthe bodyof the vase,showsa nudemale (legs,one armwith spear)to rightanda drapedyouthfacing him, holding a staff. Fragmentb, from the shoulder,preserves part of two youths (head of one; most of the other except for lower parts) facing a palmette. Red: hanging folds,panelson garments;hair of spectatorand of left youth on shoulder;coresof rosetteson garments;two frondsof palmettes;line at junctionof neckand shoulder.White:dotsof rosettes. The Phanyllis Group: E, the Group of the Hopliteleaving-home(ABV 465, 37; Paralip.206, 37).

833

Late 6th century B.C.

P 16793 G 15:1 Fragmentof shoulderand wall. Max. dim. 0.095. On the body,youth(headwith fillet,endof staff) to right. On the shoulder,a drapedyouth to right;frondsof a palmetteat the break.Red:fillet;folds;alternatefrondsof palmette;line at junctionof neckand shoulder.

834

The Phanyllis Group: E, the Group of the Hopliteleaving-home(ABV 465, 40). Late 6th century B.C.

835 P. 77

P24545

Q12:3 Lowerpartof wall, footmissing.P.H. 0.134;diam.0.13. Athena (head,shoulders,hands holdingreins and goad) mountingor standingin a chariotto right.On the left sideof the teamis Herakles(head,shoulders)with his lionskinand club. The heads,necks,shoulders,and backsof the horses remain.In the field,brancheswith fruit.Above,key pattern to right. On the shoulder:sevenuprightcircumscribedpalmettes with dots; above, tongue pattern.On the neck, ivy with dotsin clustersof three.Red:fillet roundAthena'shelmet,top of helmetcrest;doton garment;manes,breastband of right-handtracehorse;line at junctionof neckand shoulder.White:Athena'sflesh;pendantsof breastband;studson headstalls;fruit. For the unusual ivy wreath, cf. four by paintersof the PhanyllisGroup:Toledo29.49 (ABL,p. 199, no. 15; CVA, Toledo 1 [USA 17], pl. 29 [809]); Athens, N.M. 12274 (ABL, p. 199, no. 14, pl. 19:1);Athens, N.M. 574 (ABL, p. 200, no. 23, pi. 19:3);Los Angeles,Mrs. AaronDechter, attributedby Bothmer(Cat.Sotheby,3. Dec., 1973,no. 142; Brommer,Heldensage3,p. 148, no. 9); also, Laon 37890, attributedby Bothmerto nearthe Gela Painter(CVA,Laon 1 [France20], pl. 13 [885]:1, 2); and Laon 37891, unattributed(CVA,Laon 1 [France20], pl. 13 [885]:3-5). Workshopof the PhanyllisPainter(Paralip.204). Late 6th century B.C.

836

P 17962 A 18:2

Small fragmentsmissing.H. 0.15; diam. 0.074. Burned. Most of the surfaceis worn. R. Young,Hesperia20, 1951, p. 109, Grave50, no. 1, pl. 48:b 1. Athletesand trainer?A trainersits to right on an okladias, spear or staff in hand. On each side, a nude youth to right, the one on the right lookingaround.On the far right and left, a drapedspectatorfacinginward.On the shoulder, a five-petaledpalmettewith a spiralornamenton eachside. Relatedto 829 and 830 (ABV 466). Ca. 510-500 B.C.

P 15455 B21:12 837 P1.78 Mouth chipped,otherwiseintact.H. 0.144; diam.0.065. Glaze dull. R. Young,Hesperia20, 1951, p. 97, Grave 15, no. 1, pl. 44:a 1. Fight. The trio of warriorsis composedof one on the left attackingtwo, of whom the firstturns tail, lookingaround. Each carriesa shield (devices:three balls). No spears.On the shoulder,cock to left, between ivy leaves. Red: fillets round helmets;devices;dots on chitons;baldrics;comb of cock,threestripeson its body. The CockGroup(ABV 467, 14). Late 6th century B.C.

838

P 4888 a E-F 12-14

Fragmentof shoulderand wall. Max. dim. 0.051. Fight.A warrior(preservedexceptfor his left arm,lower

LEKYTHOI part of left leg), dressedin a shortchitonand a helmet,runs to rightlookingaround.The rim of his shieldappearsat the break;a baldrichangsfromhis rightshoulder.On the right, part of another warrior (left thigh with borderof chiton; roundshield). On the shoulder,cock (partof tail and sickle feather).Red: rims of shields;fillet on helmet;baldric;dots on chiton. The CockGroup (ABV 467, 16). Ca. 500

B.C.

Late 6th century B.C.

P 23355 H 12:15(L) Fragment of body and shoulder. P.H. 0.064. Figure decorationon white ground. Fight. A warrior(preservedexceptfor headand left arm) movesto right pursuingor confrontinganother(shieldheld in profileview). On the left, a man holdinga staff or spear. Tracesof budson the shoulder.Red:man'sfillet,stripesand dotson his cloak;rim of shield. The CockGroup (Paralip.209). B.C.

P 15456 B 21:12

Handle, much of wall in back restored.H. 0.144; diam. 0.067. R. Young,Hesperia20, 1951, p. 97, Grave 15, no. 2, pl. 44:a 2. Departureof warrior.The warrior,armedwith a shield (device:three balls) and spear, standsto left beforea man seatedto right on an okladias.On each side, a drapedspectator facing inward holding a staff or spear. On the wall hang fillets. On the shoulder,a cock to right, between ivy leaves. Red: fillets of spectatorsand on helmet;stripes on and hangingfoldsof drapery;device;four stripeson cock. The CockGroup (ABV 467, 21). Late 6th century B.C.

842 P15249 B21:3 Partof mouth,fragmentsof bodyrestored.H. 0.15;diam. 0.074. R. Young,Hesperia20, 1951, p. 99, Grave 17, no. 4, pl. 45:a 4. Compositionand decorationas 841. Red: fillets round heads and helmet; stripes on garments;rim of shield and device (missing, but for a small bit that is unintelligible); threebandson bodyof cock;line on insideedgeof mouth. The CockGroup (ABV 467, 22). Late 6th century B.C.

P 15250 B21:3 H. 0.155; diam. 0.072. Part of wall restored.Surface muchdamaged;glaze almostentirelygone. R. Young,Hesperia 20, 1951, p. 99, Grave 17, no. 5, pl. 45:a 5. Figure'(lowerpartof drapery)seatedto righton an okladias, a standingfigurefacing.On the shoulder,a cock.Red: stripeon wing of cock. The CockGroup(ABV 467, 23). 844

P 20749 R 12:1

Mouth, neck, and handle missing. P.H. 0.11, diam. 0.061. Warriorleavinghome. The warriorstandsto left, holding his shield (device:ball) and two spearsbeforea woman seatedon an okladias,her flesh left black.On the right and left, a spectatorholding a staff. Cloak hanging in background.On the shoulder,cockto right, betweenivy leaves. Red:fillets;stripeson garments;rim of shield,device. The CockGroup(ABV 467, 24). Late 6th century B.C.

840 PI. 78

841 PI. 78

843

Late 6th century B.C.

839 P1.78 P 24335 Q 12:3 Handle mended;top missing. P.H. 0.135; diam. 0.055. Dentedin firing.Glaze firedred. Fight, with spectators.A warriorto right attacksanother who flees lookingaround,his spearpoised.On the rightand left, a drapedspectatorholding a staff. On the shoulder,a cockto right,betweenivy leaves.Red:fillets;stripeson garments;rims of shields;stripeson cock.White:baldric. The CockGroup (Paralip.209).

Ca. 500

209

845

P 20747 R 12:1

Mouth missing.P.H. 0.125; diam.0.062. Chip in foot. Composition,subject,and accessorycoloras 844. The CockGroup(ABV 467, 25). Late 6th century B.C.

846

P 4888 b E-F 12-14 Fragmentof shoulderand wall. Max. dim. 0.055. Warriorleavinghome.The warrior(helmetedhead,rim of his shield,partof his spear)standsto left. In frontof him are tracesof anotherfigurewith two spears.The patch of glaze betweenthem may representa hangingcloak.On the shoulder,a cock (body,tail, one leg) to left. Red: fillet on helmet; shield device (ball?), dots on rim. White: sickle feather. The CockGroup(ABV467, 26). Ca. 500 B.C.

847 P. 78

P1278

G6:3 (U) Mouth, handle, part of neck, all of foot missing. Rest. H. 0.12; diam. 0.061. E. Vanderpool,Hesperia 15, 1946, p. 302, no. 139, pl. 53. Dionysos seated to left on an okladias holding a kantharos.On each side, a satyrrunningto left, the one on the left lookingaround.In the field,branches.On the shoulder, a cockto right, betweenivy leaves. Red: beards;forelocks; tails;stripeson garment. The CockGroup(ABV 468, 50). Late 6th century B.C.

848 P1.78

P16792

G 15:1

Mouth, neck, handle, some of wall missing. P.H. 0.11; diam.0.07. Glaze firedred on one side. Dionysosbetweentwo satyrs,all to right.The headof the satyr on the right, now missing, was probably turned around.On the shoulder,a cockto left, betweenivy leaves. Red: beards; tails; stripes on garments;wattles, comb, stripeson cock.

210

CATALOGUE

The Cock Group (ABV 468, 52; Paralip. 208, 52). Late 6th century B.C.

849 P1.78 P 20746 R 12:1 Mouth missing.Chip in foot. P.H. 0.128; diam.0.061. Satyr pursuing maenad to right, the maenad looking around.On each side is a spectatorholdinga staff. On the shoulder,a cock to right, between ivy leaves. Red: fillets; stripes and dots on garments; beard and forelock of satyr. The Cock Group (ABV 469, 60). Late 6th century B.C. 850

P 11989

N 20:8

Part of mouth and handle, some of shoulder and wall missing. H. 0.125; diam. 0.06. Surface very worn. Composition and subject as 849. Red: fillets; bars on wings and tail of cock. The Cock Group (ABV 469, 59). Late 6th century B.C. 851

P15251

B21:3

A few fragments of wall restored. H. 0.145; diam. 0.068. Glaze much flaked. R. Young, Hesperia 20, 1951, p. 99, Grave 17, no. 3, pl. 45:a 3. Composition and subject as 849. Fillet hanging on wall. Red: fillets; upper part of maenad's garment, large dots on her skirt; satyr's tail and beard; hanging folds of spectators' cloaks; stripes on cock; line on top of mouth; line below figures. The Cock Group (ABV 469, 63). Late 6th century B.C. 852

P 1302

G 6:3 (U)

Rest. H. 0.15; diam. 0.164. Mouth, neck, handle, part of shoulder and wall restored. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 141, pl. 53. Composition and subject as 849. Red: forelock of satyr; two lines below the figures. The Cock Group (ABV 469, 66). Late 6th century B.c. 853

P 24474

Q 12:3

Mouth, foot, part of wall missing. P.H. 0.109; diam. 0.064. Maenad to right looking around, between satyrs who face inwards (part of one on the right missing). In the field, leafless branches. On the shoulder, a cock to left, between ivy leaves. Red: forelocks and beards; stripes and dots on maenad's garment; stripe on cock; line below scene; spill of red on shoulder and body between maenad and satyr on left. White: maenad's flesh. The Cock Group (Paralip. 211). Late 6th century B.c. 854

P15375

A draped youth sits to right on an okladias holding a staff, facing a nude youth who moves to right looking around, holding a staff or a spear in his right hand and a cloak over his left arm. Flanking the two, draped spectators each holding a staff. Cloak hanging on wall. On the shoulder, a cock to left, between ivy leaves. Red: fillets; stripes and dots on garments. The Cock Group (ABV 469, 76). Late 6th century B.C.

855

P 15271 B21:18

Complete except for a chip on side and foot. H. 0.132; diam. 0.065. Surface very worn in places. R. Young, Hesperia 20, 1951, p. 102, Grave 20, no. 1, pl. 46:d. Subject and composition as 854. Red: fillets; stripes and dots on garments. The Cock Group (ABV 469, 77). Late 6th century B.C.

856

P 15457 B21:12

Lower half and foot preserved. P.H. 0.073. R. Young, Hesperia 20, 1951, p. 97, Grave 15, no. 3, pl. 44:a 3. Athletes (legs) moving to right with javelin, between draped spectators (lower parts) with staffs. Red: strip on hanging fold of spectator on right. The Cock Group (ABV 469, 82). Late 6th century B.c. 857

P1. 78

P 15649

B 20:3

Mouth, neck, handle, shoulder, and some of wall missing. P.H. 0.10. R. Young, Hesperia 20, 1951, p. 98, Grave 16, no. 2, pl. 42:d 2. Herakles and the Lion, between two draped figures standing to left, each holding a staff. Head and shoulders of one on the right missing. Red: fold of garment of figure on right; forelock and beard of Herakles; mane. For the subject, cf. 394. The Cock Group (AB V 470, 100). Late 6th century B.c.

858 P1.78

P 19289

B 18

Wall fragment with turn of shoulder. Max. dim. 0.083. Greek and centaur. A nude youth (preserved except for some of his right side) with spear or staff pursues a centaur (head, torso missing) galloping to right, his right arm outstretched, a stone in his hand. At the far right, the foot and drapery border of a woman running to right. On the shoulder, a cock (part of tail). Red: fillet; line below scene; bar on tail. For the subject, cf. 118. The Cock Group. Late 6th century B.C.

B21:7

Fragments of shoulder and wall restored. H. 0.127; diam. 0.064. R. Young, Hesperia 20, 1951, p. 96, Grave 14, no. 1, pl. 43:c.

859

P 2669

G 6:3 (U) Fragment of shoulder and wall. Max. dim. 0.04. E. Vanderpool, Hesperia 15, 1946, p. 307, no. 173, pl. 55.

211

LEKYTHOI Youth (head and shoulders) standing to left. On the shoulder, cock (part of legs) and leaf (part). The Cock Group (ABV 470, 104). Late 6th century B.C. P 1312

860

G 6:3 (U)

Fragmentary. Rest. H. 0.15; diam. 0.064. Mouth, neck, handle, some of shoulder and wall, all of foot restored. E. Vanderpool, Hesperia 15, 1946, p. 303, no. 144, pl. 53. Between eyes, a warrior (head, some of back missing) running to left, looking around (his chest is frontal). Above, two hanging cloaks. On the shoulder, a cock to right, between leaves. Red: dots on chiton; irises of eyes. The Cock Group (ABV 470, 107). Late 6th century B.C. 861

P1. 78

P 11988

N20:8

Preserved except for part of mouth. H. 0.133; diam. 0.065. Burned. Between eyes, a woman running to right, looking around. Her flesh was left black. On the shoulder, a cock to left, between ivy leaves. Red: hair; stripes on cloak; irises of eyes. The Cock Group (ABV 470, 108; incorrectly cited in Paralip. 209, 58). Late 6th century B.C.

862 P1.78

P 20748

R 12:1

Mouth missing. P.H. 0.12; diam. 0.058. Glaze fired red in part. Between eyes, sphinx to right with head turned around. On the shoulder, cock to right, between ivy leaves. Red: irises of eyes; marking on hindquarters of sphinx. The Cock Group (ABV 470, 113). Late 6th century B.C. P2560 G 6:3 (U) of Mouth, neck, handle, part shoulder, wall, and foot P.H. diam. 0.044. Some of the glaze is 0.095; missing. abraded. E. Vanderpool, Hesperia 15,1946, p. 303, no. 146, 863

pl. 53.

P1. 78

holdingout her aegisoverher left arm,cf. CVA, New York 4 [USA 16], p. 67. For the Gigantomachy, cf. 183. Ca. 500 B.C.

865

P 1161 G15:1

Wall fragment. Max. dim. 0.024. Satyr (most of head, body, limbs) dancing to right. Red: hair. Ca. 500 B.C. 866

P1151

P 24904

R 12:4

Wall fragment. Max. dim. 0.046. Athena and a giant. The goddess (aegis over outstretched left arm, end of spear held poised) strides to right about to plunge her spear through the shield (device: tripod) of a giant who collapses to right. On the right, at the break, a bit of glaze that looks like the end of a helmet crest. White:

shielddevice. The composition was probably similar to one on a whiteground alabastron in the Basel Market attributed to the Diosphos Painter (Auktion XL. Miinzen und Medaillen

G15:1

Mouth, part of neck missing. Rest. H. 0.062; diam. 0.05. Much of body, some of foot restored. Four youths with spears. The first two (lower legs, head, and shoulder of one; forelock and feet of the other) stand to right; the third (face, one arm, lower legs missing) also stands to right but with head turned around, a chlamys over his arms; the fourth (feet missing) faces left. On the shoulder, a hound and a hare to right. Red: fillets; stripes on garments; collars of hounds and hares. Ca. 500 B.C.

867

P 1286

G 6:3 (U)

Wall fragment. Max. dim. 0.031. Fight. Warrior (legs) to right facing another (leg) armed with a Boeotian shield (device: dot and arc). White: device. Ca. 510-500 B.C. 868

P 12230 bis No grid Wall fragment. Max. dim. 0.077. E. Vanderpool, Hesperia 15, 1946, p. 134, no. 27, pl. 23:5. Woman or maenad (lower part of garment, feet) striding to right, overlapping a male (satyr?) whose foot with raised heel appears between her two feet. Red: dots on drapery; two lines under scene. White: woman's flesh. Late 6th century B.C. THE LEKYTHOS-PAINTERS, II: THE GELA PAINTER

Composition and decoration as 862. Red: irises of eyes; shoulder of sphinx. The Cock Group (ABV 470, 112). Late 6th century B.C. 864

AG Basel, 13, Dez. 1969, no. 80). For the motif of Athena

869 PI. 79

869-883

P 24106 Q12:3

H. 0.265; diam. 0.102. Handle restored in plaster and painted. Decoration on white ground. B. Sparkes and L. Talcott, Pots and Pans of Classical Athens (Agora Picture Book 1), Princeton 1958, ill. 32; BCH 79, 1955, p. 214, fig. 2:2; S. R. Roberts, Hesperia 55, 1986, p. 36, no. 100, fig. 25, pl. 10. Fountain scene. A woman stands to right waiting to fill her hydria with water. The fountain house consists of one step, two pillars supporting the architrave, and a single panther's head spout. On the right, a woman moves off with her jar, which she has just filled. On the right and left of the scene, a Doric column. In the field, branches. Above, net pattern. On the shoulder, three up-and-down palmettes with dots in the interstices, between an upright palmette and

212

CATALOGUE

a hanging lotus at each side of the handle. Above,tongue pattern. For fountainsand fountainhouses,cf. 642. The Gela Painter (ABV 715, -, 9 bis; Paralip. 214, 9 bis). Ca. 500

INMAb

B.C.

870 PI. 79 P 24105 Q12:3 H. 0.33; diam. 0.127. Completeexcept for small missing piecesrestoredin plasterand painted.Smalldenton shaftof columnand belowhandle.Glaze has drippedor splashedon body below handle. BCH 79, 1955, p. 214, fig. 2:1; S. R. Roberts,Hesperia55, 1986, p. 36, no. 101, fig. 25, pl. 10. Man wearinga wreathand himationmountsa chariotto right, accompaniedby a dog on the left side of the horses' forelegs.On the far right, a Doric column.Above,key patternto right.On the shoulder,threeup-and-downpalmettes with dotsin the interstices,betweenan uprightpalmetteand a hanging lotus at each side of the handle. Above,tongue pattern.Red:two lines below scene.White:wreath;dotson garment;markingon withersof right-handpole horse;belly stripeof dog. The Gela Painter(ABV715, 11 bis;Paralip.214, 11 bis). Ca. 500

white ground.S. R. Roberts,Hesperia55, 1986, p. 36, no. 102, fig. 26. Two bullsat a laver,a palmtreein the background.Nonsenseinscriptions;aboveleft bull:

B.C.

871 PI. 79

P 14945 F 19:5

Mouth, top of handle,someof bodymissing.P.H. 0.119; diam.0.071. Foot in two degrees. Men courtingwomen.On the left is an old man seatedto right, holding a staff. The action takes place between columns.The pairon the left stand,embracing,the manin a cloak, the woman in a chiton and cloak, a sakkoson her head.The secondpair is similarlydressedand each holdsa flower,but the womanis seated.Someof the draperyof each is missing. In the field, nonsenseinscriptions;on right of firstcolumn: I NN on left of secondcolumn: FENI betweensecondcouple: NN Above, net pattern. On the shoulder:three up-and-down palmetteswith dots, between an upright palmette and a hanginglotus at each side of the handle;above,tonguepattern.Red:beardand forelockof man on right;dotson women's draperyand on cloakof suitoron left;line atjunctionof neck;two lines below scenethat borderthe blackband,one below the reservedband under the picture,anotherat the top of the foot. White: hair; beard and fillet of old man; women'sflesh;dotson sakkosand on all drapery. The Gela Painter(ABV 474, 16). Ca. 500 B.C.

P 24067 Q12:3 872 PI. 79 Rest. H. 0.146; diam. 0.066. Completeexcept for foot which is restoredin plaster and painted. Decorationon

in frontof left bull: NA

and

NNI I

in frontof rightbull: Nl

N

aboverightbull:

NAI On the shoulder,three up-and-downpalmetteswith dots betweenhorizontallotuses,one at each side of the handle; above,tongue pattern.On neck, ivy; above,key patternto right. The Gela Painter(ABV715, 16 ter). Ca. 500

B.C.

873

P 1331 G 6:3 (U) P.H. diam. 0.107. 0.187; Mouth,neck,partof Fragment. shoulder and wall. E. Vanderpool,Hesperia 15, 1946, p. 298, no. 119, pl. 50. Apollo seated to right on an okladias,holding his lyre. Behind him, a goddess (some of draperymissing) to left lookingaround,one arm outstretched.On the right at the break, traces of another figure. In the field, a vine with grapes.On the shoulder:threeup-and-downpalmetteswith dots, betweenan uprightpalmetteand a hanginglotus at each side of the handle;above,tonguepattern.Red: fillets; dotson drapery.White:femaleflesh;endsof armsof lyre. The Gela Painter(ABL, p. 207, no. 35; ABV 473, 35). Ca. 500 B.C.

874 PI. 79

P1269 G6:3(U) H. 0.15; diam. 0.059. Handle, some of shoulder,wall, and footrestoredin plasterand painted.Figureddecoration on white ground.E. Vanderpool,Hesperia15, 1946,p. 298, no. 117, pl. 49. Winged male charioteer (Helios?) driving a team of wingedhorsesto right.Above,net pattern.On the shoulder: three up-and-downpalmetteswith dots, between inverted lotuses,one at eachsideof the handle;above,tonguepattern. Red: strips on manes and tails, forepartsof horses'wings and strips on upper parts;part of chariotbox; line at each edge of mouth;line at junctionof neck and shoulder;three lines below scene. The Gela Painter(ABL, p. 209, no. 97; ABV 473, 97). Ca. 490 B.C.

875

P 2569 G 6:3 (U)

Mouth, handle, fragmentsof wall missing. P.H. 0.218; diam. 0.093. Decorationon white ground.E. Vanderpool, Hesperia15, 1946, p. 298, no. 118, pls. 49, 50. Apollo (partof draperymissing)walks to right,bearded, wearinga longchitonandholdinga lyre.In frontof him is a

213

LEKYTHOI deer, and on the right standsArtemis(headmissing)facing the two and reachingout to touch the deer'shead. Behind her is a Doric column. On the left side of the deer is the Delian palm.Above,net pattern.On the shoulder,threeupand-downpalmettesbetween hanging lotuses, one at each side of the handle; above, tongue pattern. Red: dots on drapery. The Gela Painter(ABL, p. 210, no. 101;ABV 473, 101). Ca. 490 B.C. 876

Ca. 490 B.C.

P 2648 G 6:3 (U)

Fragmentof shoulderandwall. Max. dim.0.087. Dent in wall near Hermes. E. Vanderpool, Hesperia 15, 1946, p. 299, no. 121, pl. 51. Herakles (drapery) and Hermes (head, upper body) reclining,the god lookingaroundat the hero. Abovehang the quiverand club, and on the far left, the sheathedsword. Above, key pattern to right. On the shoulder, palmettes (partof one). Red:beard;brimof petasosand stripon wing; part of quiver and flap; dots on drapery.White: crown of petasos;loop of quiver;dot clusterson garments. The Gela Painter(ABL,p. 213, no. 167;ABV473, 167). Ca. 500 B.C. 878 P1.79

P 24537 Q12:3 Mouth, part of shoulderand wall missing. P.H. 0.273; diam.0.114. Dionysosseatedto right on a block,holdinghis drinking horn. Behind him, a satyr to right, and in front of him anotherwalking away but looking around.On the left, a large rock (cave?). In the field, brancheswith grapes and fruit. On the shoulder:three up-and-downpalmetteswith dots, between an upright palmetteand a hanging lotus at each side of the handle;above,tonguepattern.Red: line at junctionof body and neck;three lines below scene. White: wreathsheld by satyrs;dotson cloak;cushion;fruit. The Gela Painter(Paralip.215). Ca. 500 B.c. 879 P1.79

Lv, NN

betweenthe firsttwo athletes:

P 1343 G 6:3 (U)

Mouth, handle,partof neck,shoulderandwall, all of foot restored.Rest. H. 0.245; diam. 0.089. E. Vanderpool,Hesperia 15, 1946, p. 298, no. 120, pl. 50. Dionysosreclining,flankedby a satyr and a maenadon the left and a satyron the right. Part of the bodyand legs of the satyr on the left, some of Dionysos' drapery,the face, mostof the body,partof the legs of the satyron the rightare missing.In frontof the couchis a table with piecesof meat hangingfromit and bread.In the field,a branchwith fruit. Above,ivy. On the shoulder:three up-and-downpalmettes between hanging lotuses at each side of the handle;above, tongue pattern.Red: beards;stripeson garments;strips on meat.White:femaleflesh;dotson garments;fruit;bread. The Gela Painter(ABL, p. 210, no. 118;ABV 473, 118). 877 P1.79

Two groupsof athletes.The firstshowsa trainerto right holding a wand with a diskobolosand an akontist (torso, head, part of left arm missing)facing.The secondshows a trainer (upper half missing) and diskobolos,both to right. Betweenthe two groups,an aulosplayer(lowerdrapery)to right, wearing a long decorativegarment. Nonsense inscriptions;in frontof traineron the left:

P 24538 Q 12:3 of wall shoulder and Handle, part missing. H. 0.323; diam.0.114.

I

NHJ

Above,key patternto right.On the shoulder:threeup-anddownpalmetteswith dots,betweenan uprightpalmetteand a hanging lotus at each side of the handle;above,tongue pattern.Red:forelocksand beards;dotson garmentsof aulos player and secondtrainer;line at junctionof body and neck;two lines below scene. White: diskoi;part of aulist's garment. For the decorativecostumeof the aulist, cf. Moore and Bothmer,CVA,New York4 [USA 16], p. 65. The Gela Painter(Paralip.216). Ca. 500-490 B.C.

880 PI. 80

P 24533 Q 12:3 Fragmentsof wall missing.H. 0.295; diam. 0.107. S. R. Roberts,Hesperia55, 1986, p. 38, no. 105, fig. 27. Dionysoson an ithyphallicdonkeyto right with a satyr and a maenadon each side. The pair on the left move to rightwith handsraised.The maenadof the secondpair also movesto right but looksaround,and the satyrfacesleft. In the field, brancheswith fruit. On the shoulder:three upand-down palmettesbetween an upright palmette and a hanginglotus at each side of the handle;above,tonguepattern. Red:filletsof maenadsand Dionysos;beards;forelocks of satyrs;dotson drapery;strip on mane;line at junctionof body and neck;two lines below scene.White: femaleflesh; muzzle;contourof chest,belly stripeof donkey;fruit. Might be by the Gela Painter(Paralip.216). Ca. 500-490 B.C. 881

P 24534 Q 12:3 Mouth, part of neck, shoulder,and wall missing. P.H. 0.272; diam.0.113. S. R. Roberts,Hesperia55, 1986, p. 38, no. 106, fig. 27. Dionysos recliningon a cushion on the ground,with a satyrand a maenadon eachside. In the field,brancheswith grapes and berries. On the shoulder:three up-and-down palmettes with dots, between an upright palmette and a hanginglotus at each side of the handle;above,tonguepattern. Red:filletsof maenadsand Dionysos;beards;forelocks of satyrs;dotson garments;line atjunctionof bodyandneck; two lines below scene. White: female flesh;dot clusterson garments;fruit. Might be by the Gela Painter(Paralip.216). Ca. 500-490 B.c. P 24536 Q 12:3 882 P1.80 H. 0.137; diam. 0.115. Handle, some of shoulder and wall missingand restoredin plaster.

214

CATALOGUE

Satyr and maenads. Three maenads (foot of one; all of next two but for most of head and shoulder of one on right) move to right, the middle one looking around. On the right, a satyr to left. In the field, branches with fruit. On the shoulder: three up-and-down palmettes with dots, between an upright palmette and a hanging lotus at each side of the handle; above, tongue pattern. Red: eye and fillet of second maenad; forelock and beard; dots on garment; line at junction of body and neck; two lines below scene. White: female flesh; fruit. Might be by the Gela Painter (Paralip. 216). Ca. 500-490 B.c. P 24535

883

Q 12:3

Mouth, part of shoulder, large area of wall missing. P.H. 0.286; diam. 0.12. Dent behind Dionysos. Dionysos (drapery) seated to right with a satyr and a maenad on each side, as 880. Of the pair on the right, one arm and the feet of the maenad, the head, shoulders, and feet of the satyr remain. In the field, branches with fruit. Above, net pattern. On the shoulder: three up-and-down palmettes with dots, between an upright palmette and a hanging lotus at each side of the handle; above, tongue pattern. Red: forelocks and beards of satyrs; dots on garments; line at junction of shoulder and neck; two lines below scene. White: female flesh; dot clusters on garments; fruit. Might be by the Gela Painter (Paralip. 216). Ca. 500-490 B.C. THE LEKYTHOS-PAINTERS, III: THE EDINBURGH

PAINTER 884-886

884

P1. 80

P 19748

P-R 6-12

Wall fragment.Max. dim. 0.042. Youth (head with fillet and petasos; left shoulder) leading a horse (part of mane and rein) to right, looking around. Red: fillet; stripe on cloak; mane. White: brim of petasos; chiton; dots on edge of cloak; stud on rein. The Edinburgh Painter (ABV 477, 8). Ca. 500 B.C.

885

PI. 80

P 24540 Q 12:3

Three non-joining wall fragments. Fragment a preserves some of the shoulder. Max. dim. a) 0.093, b) 0.05, c) 0.057. Theseus and the Minotaur. Fragment a gives the head, raised right hand and the wrist held by the left hand of Theseus, and the chest of the Minotaur falling to right. A woman, perhaps Ariadne (head, arms, upper torso), faces the monster, her arms outstretched. Behind her, a vertical line (staff of spectator). Fragment b preserves the rump, tail, left arm, and part of one leg of the Minotaur. Fragment c shows the lower drapery (peplos and cloak) and feet of Athena to left, probably looking around, and one leg of Theseus. On the shoulder, up-and-down running palmettes (part of two). Red: spots on neck of the Minotaur; Ariadne's fillet, stripes and dots on her cloak; dots on garment of Athena; two lines below figures. White: muzzle of the Minotaur; flesh of women; dot clusters on Ariadne's dress.

For the theme, cf. 171. The Edinburgh Painter (Paralip. 218). Ca. 510-500 B.C. 886

PI. 80

P 24743

P 17

Fragment of shoulder and wall. Max. dim. 0.05. Warrior to right. All that remains is the crest of his helmet with the support growing out of the tail of a hound. Above the figures, dots. On the shoulder, circumscribed palmettes (part of one). Red: line on crest. For a dog as a crest support, cf. London, B.M. B 209 by Exekias (ABV 144, 8; Paralip. 60, 8) and Louvre G 1 by the

AndokidesPainter(ARV2 3, 2; Paralip.320, 2). Recallsthe EdinburghPainter(Paralip.219). Ca. 510-500 B.c. THE LEKYTHOS-PAINTERS, IV: THE CLASS OF

ATHENS581

887-1124

THE CLASS OF ATHENS 581, i

887

887-928

P6182

E15:6

Handle, shoulder, upper part of body preserved. P.H. 0.103; diam. 0.087. Much of the glaze fired red. Fight over fallen. A warrior with shield and helmet, his spear poised, has brought down one armed similarly (each is preserved from the waist up) and is about to attack a second (part of thigh, end of spear, rim of shield) who holds his spear at waist level. On the shoulder: hanging lotus buds with dots in the interstices; above, tongue pattern. The Class of Athens 581, i (ABV 489, 10; Paralip. 223, 10). Ca. 500-490

B.C.

888

P1150

G15:1

Mouth, some of neck, handle, parts of body, and all of foot restored. Rest. H. 0.194; diam. 0.092. Surface much worn. Warriors leaving home. Man (but for face) seated to right on an okladias wearing a long chiton and cloak, holding a staff. In front of him stands a warrior (legs with greaves; helmet crest) holding two spears, and a man (part of face and body missing), dressed as the seated man, stands to left holding a spear. Behind the seated man, a warrior with helmet, greaves, round shield (device: ?), and spears stands to right followed by another figure (drapery), also to right. On the shoulder: hanging lotus buds with dots in the interstices; above, tongue pattern. Red: rims of shields; edges of greaves; stripes on garments; fillet of figure on right; joints of okladias. White: hair of seated figure. The Class of Athens 581, i (ABV 490, 32). Ca. 500-490

B.C.

P 24109 Q 12:3 of neck foot some and Mouth, missing. P.H. 0.178; diam. 0.085. Warrior mounting chariot to right. On the left side of the team, a winged goddess (Nike) strides to right, looking around. In the field, branches. On the shoulder: hanging

889

PI. 80

215

LEKYTHOI lotus buds;above,tonguepattern.Red:helmetcrest;stripes on warrior's chiton; manes and tails; breast band; wing bows.White:fleshof goddess;right-handpole horse;dotson edge of warrior'schitonand on wings;dots on each edge of breastband. The Class of Athens 581, i (ABV 716, 75 bis; Paralip. 223, 75 bis). Ca. 500-490

B.C.

890 P. 80

P24055 Q12:3 H. diam. 0.088. Complete. 0.203; Dionysos,recliningon a couchwith Ariadneseatedat his feet, and satyrs.Ariadneholds a fillet. Pieces of meat hang fromthe table in frontof the couch.On the right and left, a satyrto right, the one on the right lookingaround.The one on the left holdsa fillet. In the field,brancheswith fruit.On the shoulder:hanginglotusbudswith dotsin the interstices; above,tongue pattern.Red: beards;tails; leavesof wreath; dots on drapery;line below scene. White: Ariadne'sflesh; satyr'sfillet;dot clusterson garments;decorationon couch (headof it; squareat top of post at its foot);fruiton branch; cakeson table. The Class of Athens581, i (ABV 716, 97 ter). Ca. 500-490

B.C.

891

P24108 Q12:3 Mouth, neck, some of handle missing. P.H. 0.165; diam.0.08. Figureddecorationand shoulderornamentas 890, except that Dionysosholdsout a kantharos.Red:beardsand tails; Ariadne's wreath; alternate leaves of Dionysos' wreath; stripes on garments;line below scene and at top of black above foot. White: Ariadne'sflesh; dottedpatternson garments;fillets of satyrs and of Dionysos;dottedpatternson garments;rosettedecorationand capitalof couchleg; wavy line on mattress. The Class of Athens581, i (ABV716, 97 bis). Ca. 500-490

B.C.

892

P 24331 Q12:3 Mouth, someof neckmissing.P.H. 0.181; diam.0.09. Combat,flankedby spectators.A warriorto left attacks anotherwho is down on one knee to left, his head turned around.Each has a shield (deviceof fallen:tripod[?];of attacker:female leg) and spear. On the right and left is a drapedyouthholdinga staff.On the shoulder:hanginglotus budswith dotsin the interstices;above,tonguepattern.Red: helmet-crestsupportof warrioron left. White:necklinesof onlookers'chitons;baldricof warrioron left;dotson edgesof chitons;shielddevices. The Class of Athens581, i (Paralip.224). Ca. 500-490

893

B.C.

P 1149 G15:1 Foot, about half of wall just above,and small fragments restored.Rest. H. 0.199; diam.0.092. Youthssettingout. A youth wearinga chlamysstandsto left beforea man seatedon a blockseat who looksaroundat

two drapedyouths behind him. Of these two, one on the right is probablydepartingfor he is movingand wearsonly a cloak.All hold staffs.On the shoulder:hanginglotusbuds with dots in the interstices;above, tongue pattern. Red: stripeson cloak;beardand fillet of seatedman. White:dots on cloakof seatedman. The Classof Athens581, i (Paralip.224). Ca. 500-490

B.C.

894

P 24361 Q 12:3 much of wall P.H. Mouth, 0.246;diam.0.115. missing. Youth with two spearsleadinga horse to right between two onlookersholdingstaffs (muchof backof the onlooker on the left, someof the hindquartersof the horse,chestof the youth leadinghim are missing).On the shoulder:hanging lotusbuds;above,tonguepattern.Red:hairof youthleading horse;fillet of youthon right;stripeson garments;mane. The Classof Athens581, i (Paralip.224). Ca. 500-490

B.C.

895

P 24359 Q 12:3 Handle, small pieces of shoulder and wall missing. H. 0.202; diam.0.083. Glaze firedbrownin places.Clay is grayish(burned?). Horsemansettingout wearinga Thraciancloak,followed by a youthon foot,eachwith two spears.On the rightof the horse,an eagle flyingto right.On the shoulder:hanginglotus buds with dots in the interstices;above,tonguepattern. White:panelson rider'scloak;dotsalongshoulderof horse. The Classof Athens581, i (Paralip.225). Ca. 500-490

B.C.

896

P 24496 Q 12:3 Handle missing. H. 0.203; diam. 0.088. Much of the glaze is flaked.Burned.S. R. Roberts,Hesperia55, 1986, p. 38, no. 118, pl. 11. Heraklesand the Bull. Heraklesbindsthe bull, which is downon one knee.On the left, Athenalookson with her left handraised.On the right is Iolaosto right,lookingaround. Abovethe bull's hindquarters,the hero'scloak and quiver hang from branches.On the shoulder:hanginglotus buds with dotsin the interstices;above,tonguepattern.Red:forelocks;markingon neckof bull; dotson garments;two lines below scene.White:Athena'sflesh;dot clusterson her garments; baldrics round shoulder of Herakles; horn, belly stripe,testicleof bull;fruiton tree. For the subject,cf. 362. The Class of Athens581, i (Paralip.225). Ca. 500-490

897 P1.80

B.C.

P24506 Q12:3 Complete except for chip on foot. P.H. 0.225; diam.0.092. Partof glaze misfired. Heraklesand the Lion, with Athenaand two onlookers. Herakles wrestles the lion in the horizontalposition, as Athenalookson. By mistake,the artisthas drawnAthenain frontof the lion so that Herakles'armgoesoverand around her legs. On each side, a cloakedman movesaway, looking

216

CATALOGUE

around,the one on the left with two spears.Bow and quiver hang above. In the field, branches.Above, key pattern to right. On the shoulder:hanging lotus buds; above,tongue pattern.Red: dots on garments;spots on lion's mane;two lines underscene.White:Athena'sflesh;belly stripeof lion; baldrics. For the subject,cf. 394. The Class of Athens581, i (Paralip.225). Ca. 500-490

B.C.

898 PI. 81

P 24507 Q 12:3 for H. handle. diam. 0.089. Glaze 0.208; Completeexcept is abradedon part of mouth and on wall abovefoot. S. R. Roberts,Hesperia55, 1986, p. 38, no. 119, fig. 28. HeraklesandAthena,with Hermesand a goddess.Herakles with his bow, club, and quiverstandsto right,shaking handswith Athena.Behindher is Hermes.Behindthe hero is a goddessto right.In the field,brancheswith fruit.On the shoulder:hanging lotus buds with dots in the interstices; above, tongue pattern. Red: goddess'fillet; dots on rim of shield;dots on drapery.White:femaleflesh;dot clusterson garments;baldrics;shielddevice(horseprotome);fruit. The Class of Athens581, i (Paralip.225). Ca. 500-490

B.C.

899 PI. 81

P 24107 Q 12:3 for of foot restored in plasterand Completeexcept part H. diam. 0.089. Glaze has cracked at bottom painted. 0.216; of mouthandjust abovefoot. Uncertainsubject.An old mansits to righton an okladias, holdinga kantharos.Athenasits oppositehim, holdingtwo spearsand her shield (device:compass-drawnrosette).Behind her is Dionysosseatedto right holdinghis kantharos, lookingaround.In frontof him is a satyr dancingto right, also lookingaround.In the field,a vine with grapes.On the shoulder:hanging lotus buds; above, tongue pattern.Red: stripeson garments;rimof shield;wreathof Dionysos;three lines below figures. White: hair and beard of old man; Athena's flesh; her helmet crest and backgroundof her shield; dot clusterson garment;Dionysos' chiton;dots on borderof his cloak;dotson grapes. The Classof Athens581, i (ABV 716, 119 bis);the Geron Group (Paralip.223, 119 bis;224; 225). Ca. 500-490

B.C.

900

P24476

Q12:3

Part of mouth, neck, handle, wall, and foot missing. P.H. 0.148; diam.0.083. Athena seated to left on an okladiasbetweentwo gods, each seatedon an okladiasand holding a kantharos(Dionysosand Hephaistos?).The goddessis fully armed:helmet, two spears,shield (device:star with dots).On the shoulder: hanginglotus buds;above,tonguepattern.Red:beardsand wreaths;outlineof chitonon left;stripeson garments;rimof shield; visor of helmet;line under scene. White: Athena's flesh;chitonof godon right;device;dotclusterson garments. The Class of Athens 581, i: the Geron Group (Paralip. 224 and 225). Ca. 500-490 B.C.

901

P 24483 Q 12:3 of neck Mouth, part missing.P.H. 0.18; diam.0.083. ApollobetweenLeto and Artemis,flankedby a satyrand Dionysoswho standsto right, lookingaroundand holding his drinkinghorn. In the field, branches.On the shoulder: hanging lotus buds; above, tongue pattern. Red: beards; forelocksof satyrs;stripes on garments;three lines under scene.White:femaleflesh;chitonsof Apolloand Dionysos; dotson filletof Apollo;dotson cloaks;armsand supportsof kithara. The Class of Athens 581, i: the Geron Group (Paralip. 224 and 228). Ca. 500-490 B.C.

902

P 24363 Q12:3 Part of wall missing.H. 0.204;diam.0.085. Departureof warriorwith chariotto right.A youth(torso missing)with a petasos,spear,and Boeotianshield (device: uncertain)mountsthe chariot.On the left side of the teamis an old man, on the righta warriorwith a roundshield (device:star rosette)and two spears,bothto right,the warrior lookingaround.At the headsof the horses,a womanarcher to right,also lookingaround.On the shoulder:hanginglotus budswith dotsin the interstices;above,tonguepattern.Red: rims of shields;manesand tails;dots on garments;forelock of archer.White:device;petasos;hairandbrowsof old man; dotson helmetcrest;dotson harness;archer'sflesh. The Classof Athens581, i (Paralip.226). Ca. 500-490

B.C.

903 PI. 81

P 24405 Q12:3 Handleand partof wall missing.H. 0.211; diam.0.066. Symposion.Dionysosreclining,holdinga drinkinghorn, lookingat a woman (Ariadne?)who sits facinghim at the otherendof the couch.The legs of the couchare shapedlike the hind legs of a feline.In frontof the couchis a tablewith food. In the field, brancheswith fruit. On the shoulder: hanginglotusbudswith dotsin the interstices;above,tongue pattern.Red: dots on garments.White: horn;dots on garments;woman'sflesh;fruit;food. The couchof Dionysosis unique, its legs being adapted froman okladias;the legs of the tableare likewisefeline. The Classof Athens581, i (Paralip.226). Ca. 500-490

B.C.

P 24512 Q 12:3 Much of wall missing.H. 0.208; diam.0.085. Nude youth (Herakles?) reclining on the ground, his rightelbowrestingon a pillow (partof his faceandleft forearm are missing).He holds a drinkinghorn, and his cloak hangsabove.On the left are a boyanda womanto right,and on the right anotherwoman movesaway (part of her face anddraperyare missing).In the field,vineswith grapes.On the shoulder,hanginglotusbudswith dotsin the interstices; above, tongue pattern.Red: fillets of satyr and Herakles; band on sakkos of woman moving away; stripes on 904

217

LEKYTHOI garments.White: female flesh;row of dots on pillow; fillet roundnecksof youth and of satyr;dotson rim of horn. The Class of Athens581, i (Paralip.226). Ca. 500-490 B.C.

P 24468 Q 12:3 Handle, some of shoulderand wall missing. H. 0.218; diam.0.09. Dionysos,maenads,and satyr.Dionysosstandingto right and a maenaddancingto right lookingaround.Her head is missing, but the positionof her arms makes clear that she was facing to left. On the left, a maenad dancingto left, lookingaround.On the right,a satyrlookingon. In the field, branches. On the shoulder: hanging lotus buds; above, tonguepattern.Red:fillet of maenadon left;beards;stripes anddotson garments.White:maenads'flesh;Dionysos'chiton;satyr'sfillet. The Class of Athens581, i (Paralip.227). 905

Ca. 500-490 B.C.

P 24469 Q 12:3 Handle, some of shoulderand wall missing. H. 0.203; diam. 0.083. Dionysosmovesto right holdinga drinkinghorn,preceded by a maenad,looking around.On the right and left, a cave (rock).In the field, brancheswith fruit. On the shoulder: hanging lotus buds with dots in the interstices;above, tonguepattern.Red:dotson garmentof maenad,its border. White:Dionysos'chiton;maenad'sflesh;dot clusterson her garment;inner contourof cave;rim of horn;fruit. The Class of Athens581, i (Paralip.227). 906

Ca. 500-490

B.C.

P 24466 Q 12:3 Some of wall missing. H. 0.205; diam. 0.081. S. R. Roberts,Hesperia55, 1986, p. 45, no. 276, pl. 12. Dionysosbetweena maenadmountedon a donkey(part of hindquartersmissing) and another leading or standing besideone. In the field, brancheswith fruit. On the shoulder: hanging lotus buds with dots in the interstices;above, tonguepattern.Red:fillets;beard;stripes.White:maenads' flesh;dot clusterson garments;rim of horn;fruit;muzzles, outlinesof necksand chests,one hind foot of each donkey. The Class of Athens581, i (Paralip.227). 907

Ca. 500-490

B.C.

P 24472 Q12:3 908 P1.81 Foot missing.P.H. 0.177; diam.0.072. Lenaia. Between two maenadsmountedon ithyphallic mules,the idol of Dionysosworshipedby two dancingmaenads.The idol is in the shapeof a pillar with the face of the god attachedto it at chest level. In the field, brancheswith fruit. On the shoulder:hanging lotus buds; above, tongue pattern.Red: beard and forelock;maenads'fillets;dots on garments;manes.White: maenads'flesh;contoursof necks and chests,belly stripesof mules;fruit. White of maenads' feet applieddirectlyon the clay. For the subject,cf. L. Deubner, AttischeFeste, Berlin 1932, pp. 123-134.

The Class of Athens 581, i: comparewith the Haimon Group (Paralip.228 and 281). Ca. 500-490

B.C.

P 24525 Q 12:3 Handle, muchof shoulderand wall, partof foot missing. H. 0.187; diam.0.073. Musical performer.Two men stand on a platform,one with a stick(the trainer),the othersinging(?).On each side is a man, the one on the right seatedon an okladias(seatof othermissing),lookingaround.All seemto listen attentively. In the field,brancheswith fruit.On the shoulder:hanging lotusbudswith dotsin the interstices;above,tonguepattern. Red: fillets;beards;stripes on cloaks;key patternto righton platform.White:dot clusterson garment;fruit. The Classof Athens581, i (Paralip.228).

909

Ca. 500-490 B.C.

P 24412 Q12:3

910 PI. 81

Complete.H. 0.187; diam.0.073. Dionysos seatedto right on a block, holdinga drinking horn.On eachside,a satyrto rightholdinga wreath,the one on the right looking around. In the field, brancheswith fruit. On the shoulder:hanging lotus buds; above,tongue pattern.White:wreaths;Dionysos'chiton;fruit. The Classof Athens581, i: GroupP (Paralip.230). Ca. 500-490 B.C.

P 24428 Q 12:3 Fragmentsof wall missing.H. 0.187; diam.0.075. Glaze is abraded,especiallybelowthe figures. Dionysos seatedto right on a block, holdinga drinking horn.On eachside,a maenadmovingaway,lookingaround. In the field, brancheswith fruit. On the shoulder:hanging lotus buds; above, tongue pattern. Red: beard;stripes on garments.White:maenads'flesh;Dionysos'chiton;dots on garments;rim of horn;fruit. The Class of Athens581, i: GroupP (Paralip.230).

911

Ca. 500-490 B.C.

P 24429 Q 12:3 Part of handle, most of back missing. H. 0.186; diam.0.072. Much of the glaze is flakedand abraded. Figureddecorationand shoulderornamentas 911. Red: fillets of maenads;beard;stripeson garments.White:maenads'flesh;dotson garments;Dionysos'chiton;fruit. The Classof Athens581, i: GroupP (Paralip.230). 912

Ca. 500-490

B.C.

913

P 24430

Q12:3 Foot, someof wall missing.P.H. 0.166;diam.0.073. Figureddecorationand shoulderornamentas 911. Red: fillets of maenads;beard;stripeson garments.White:maenads'flesh;Dionysos'chiton;fruit. The Class of Athens581, i: GroupP (Paralip.230). Ca. 500-490 B.C.

914 PI. 81

P 24406 Q12:3 H. diam. 0.075. Glaze misfiredbrown. Complete. 0.187;

218

CATALOGUE

Symposion. Herakles(?) reclines looking around, holding a drinking horn. In front of the couch is a woman standing to right with one hand raised. On the left, a man leans on a staff, and on the right, a woman moves away looking around. In the field, branches with fruit. Above, two rows of dots. On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets of woman and man on left. White: women's flesh (that of one on right laid directly on ground); dots on garments; decorations on couch (at head: spiral, horizontal line, row of dots; on foot: three horizontal lines, row of dots); fruit; pillow. For the subject, cf. 420. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490 B.C. 915

PI. 81

P 24319

Q 12:3

A few chips missing, otherwise complete. H. 0.185; diam. 0.075. Aias and Achilleus Gaming, with Athena watching. Each hero has a spear. In the field, branches. On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets on helmets; crests; stripes on garments; line at top and bottom of black band below scene. White: Athena's flesh; chiton of player on left; dots on garment of other. For the subject, cf. 84. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490 B.C. 916

P 24320

Q12:3 Mouth, some of neck, shoulder, and wall, all of foot missing. P.H. 0.145; diam. 0.072. Figured decoration and ornament on shoulder as 915. The heads of the hero on the right and of Athena are missing. Red: stripes on garments; line at top and bottom of black band under scene; one just above foot. White: Athena's flesh; helmet crests; chiton of hero on left. For the subject, cf. 84. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490 B.C. 917

P 24321

Q 12:3 Much of wall missing. H. 0.183; diam. 0.071. Nearly half of foot restored in plaster. Aias and Achilleus Gaming, with Athena watching. A bit of the goddess, much of the hero on the left missing. On the right and left, a woman watching (partly missing). In the field, branches. Above the figures, key pattern to right. On the shoulder: hanging lotus buds; above, tongue pattern. Red: stripes on garment; fillet on helmet of player on right. White: female flesh; dot clusters on garments; helmet crests. For the subject, cf. 84. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490

918

PI. 81

B.C.

P 24357

Q 12:3 some of neck 0.071. diam. P.H. Mouth, 0.16; missing. Two Amazons leading their horses, followed by a man holding out a cloak (part missing), all to right. In the field, branches with fruit. On the shoulder: hanging lotus buds

with dots in the interstices; above, tongue pattern. Red: fillets; stripes on cloaks; manes. White (yellowish): flesh of Amazons; helmet crests; fruit. For the composition, cf. Bothmer, Amazons, p. 99, no. 94 bis; for the subject, 173. The Class of Athens 581, i: Group P (Paralip. 231). Ca. 500-490

919

B.C.

PI. 81

P 24519

Q 12:3 Complete. H. 0.188; diam. 0.072. Glaze misfired reddish brown. Three women to right, two of them each leading a cow. In the field, vines with grapes. On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets; stripes on garments; dots on neck of cow on right. White: female flesh; muzzles, horns, belly stripes, markings on hindquarters. The Class of Athens 581, i: Group P (Paralip. 231). Ca. 500-490

B.C.

920

P 24520 Q 12:3 for of mouth. H. 0.185; Complete except part diam. 0.072. Glaze misfired reddish brown. Two women to right, each leading a cow. In the field, a vine with grapes (?). On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets; stripes on garments; dots on necks of cows. White: female flesh; fruit; muzzles, horns, belly stripes, markings on hindquarters of cows. The Class of Athens 581, i: Group P (Paralip. 231). Ca. 500-490

B.C.

921

P7891

E 14:5

Mouth, part of neck and foot missing. P.H. 0.137; diam. 0.072. Dionysos mounting a chariot to right. In the field, branches. Above, two rows of dots. On the shoulder: hanging lotus buds with dots in the interstices; above, tongue pattern. Red: wreath; beard; stripes on cloak; tails of two horses; manes and forelocks; breast band of right-hand trace horse. White: right-hand pole horse; chiton; pendants of breast band and reins. Class of Athens 581, i (ABV 492, 83): Namepiece of the Group of Agora P 7891 (Paralip. 245). Ca. 500-490

B.C.

P 24368 Q 12:3 H. 0.172; diam. 0.068. Complete. Figured decoration and shoulder ornament as 921. By mistake the artist has shown only three pairs of forelegs and hind legs. Red: fillet; stripes on cloak; manes and tails; breast band. White: chiton; right-hand pole horse; pendants on strap below breast band; studs on headstall. The Class of Athens 581, i: the Group of Agora P 7891 (Paralip. 245). 922

P1. 81

Ca. 500-490

923

B.C.

P 24369

Q 12:3

Mouth, neck, handle, some of shoulder and wall missing. P.H. 0.133; diam. 0.065. Foot in two degrees. Decoration on body on white ground.

219

LEKYTHOI Figured decoration and shoulder ornament as 921. Necks, shouldersof horses missing. Red: beard;leaves of wreath;stripes on garment;manes and tails; breast band. White:dotson harness. The Class of Athens 581, i: the Group of Agora P 7891 (Paralip.245). Ca. 500-490 B.C.

924 PI. 82

P 24522 Q 12:3 Complete except for upper part of handle. H. 0.175; diam. 0.068. Glaze is abradedon frontjust abovefoot.Top of mouthglazed. Women picking fruit. The two women sit on okladiai, each with a basket in front of her, the fruit tree between them. Above, two rows of dots. On the shoulder:hanging lotus buds with dots in the interstices;above,dots. Red:fillets;stripeson garments.White:jointsof okladiai;fruit (applied directlyon the groundand flaked). The Class of Athens 581, i: the KalinderuGroup (ABV 702, 2 bis;Paralip.243). Ca. 500-490

B.C.

P 24408 Q 12:3 Mouth, neck, handle, shoulder, some of wall missing. P.H. 0.135; est. diam. 0.08. Dent in wall in back. Symposion. Dionysos (head missing) reclining on a couch, holding a branch.On the right and left, a maenad facing,and on the far left, a satyrto right.The headsof the two figureson the left are missing. In frontof the couch,a table with food. In the field, brancheswith fruit. On the shoulder,endsof hanginglotus buds.Red:satyr'sbeard;fillet of maenadon right; stripes on garments;line at top of black above foot. White: female flesh; dot clusterson garments;fillet roundneck of satyr;decorationson right leg of couch(volute;starrosette;verticallines framingedges);row of dotson pillow;food;fruit. For the subject,cf. 420. The Class of Athens581, i. 925

Ca. 500-490

B.C.

P 1555 G6:3(U) of shoulder and wall. Max. dim. 0.064. Fragment E. Vanderpool,Hesperia 15, 1946, p. 305, no. 160, pl. 55. Dionysos (head, shoulder)seatedto left or reclining;behind him is a satyr (body, arms, beard) to right, looking around.In the field, a vine with grapes. On the shoulder, hanging lotus buds. Red: beards. White: dots on wreath; grapes. Perhapsthe Class of Athens581, i. Ca. 500-490 B.C. 926

927 P 1282 G 6:3 (U) Wall fragmentwith start of shoulder.Max. dim. 0.071. E. Vanderpool,Hesperia 15, 1946, p. 304, no. 152, pi. 55. Peleus (head, part of right arm) seizing Thetis (head, drapery) to right looking around. On the right, Nereid (head, part of shoulder)fleeingto right lookingaround.In

the field, branches.On the shoulder,hanging lotus buds. Red:fillets;stripeson garments.White:women'sflesh. For the subject,cf. 653. The Classof Athens581, i? Ca. 500-490 B.C. 928 P 24477 Q 12:3 Wall fragmentwith partof shoulder.P.H. 0.053. Dionysos (upperpart) seatedto right holdinga kantharos.On the rightis a smallpartof the rimof Athena'sshield andspear(no point).In the field,branches.On the shoulder, hanginglotusbuds(tips). Red:beard;wreath;stripeon garment.White:dots? The Classof Athens581, i? Ca. 500-490 B.C. THE CLASS OF ATHENS

581, ii

929-1096

P 14951 F 19:5 929 Most of mouth, all of handle missing. P.H. 0.138; diam.0.061. Foot chipped.Glaze firedred. Heraklesand two Amazons.Heraklesin his lionskinand holding his club moves to right toward an Amazon who flees,lookingaround.Behindthe two, anotherAmazonruns away, lookingaround.The Amazonsare dressedsimilarly: short chitonsand helmets.The one on the right also has a cloak. The Amazonon the left carriesa round shield, the one on the righta pelta (devices:balls).In the field,a branch with fruit.Above,two rowsof dots.On the shoulder:"rays"; above, tongue pattern.Red: fillets of Amazons;stripes on chitonof one on left; skirt of chitonof one on right;rim of roundshield;pupilsof Amazons'eyes;baldricof Amazonon right;Herakles'chiton;stripeson maneof lionskin.White: flesh of Amazons;shield devices;fruit;club;alternatedots. The glazedbandsat the lower part of the bodywere added after painting the Amazons' flesh.

For the subject,cf. 395; for the composition,Bothmer, Amazons,p. 52, no. 145. The Classof Athens581, ii (ABV 498, 3). Early 5th century B.C.

930 PI. 82

P 1303 G 6:3 (U)

Mouth, handle, part of neck and wall, all of foot restored.

Rest. H. 0.112; diam. 0.045. E. Vanderpool,Hesperia 15, 1946, p. 302, no. 142, pl. 53. Chariotto rightat the gallop,pasta goalpost.In the field, brancheswith fruit. Above, key pattern to right. On the shoulder:"rays";above,tonguepattern.Red:fillet of charioteer; mane and breast band; dots near goal post. White: chiton; goal post; fruit; pendants of breast band.

The Classof Athens581, ii (ABV 500, 58). Early 5th century B.C.

931

P 23155 H 12:15(U) and foot Mouth, neck, handle, missing. P.H. 0.087;

diam. 0.048. Glaze is abraded in places.

Dionysosbetweentwo satyrsto right,the one on the right

looking around. The god holds a vine and a drinking horn.

CATALOGUE

220

On the shoulder:"rays";above,tonguepattern.White:chiton;fillet of satyron right. The Class of Athens581, ii (ABV 702, 78 bis). Early 5th century B.C.

P 24060 Q 12:3 932 PI. 82 Half of mouth missing. H. 0.154; diam. 0.059. Chip in foot. Handleslightlygrooved.Poorglaze on back. Apollo, Dionysos,Athena, and Hermes to right. Apollo sits on an okladias,holdinghis lyre. The otherthree stand, Dionysos holding a vine, Hermes looking around.On the shoulder:"rays";above,tonguepattern.Red: Dionysos'fillet; stripes and dots on garments.Red or white: Athena's helmetcrest.White: flesh of Athenaand Dionysos;ends of crossbarof lyre;petasosof Hermes. The Classof Athens581, ii (ABV 716, 85 bis). Early 5th century B.C.

933

P 8795 E 14:5

Mouth, handle, some of body missing. P.H. 0.103; diam.0.052. Foot chipped. Three figuresseatedon okladiai,two to right,one to left. Of the second,only the feet and a foldof draperyremain.In the field, a branch.On the shoulder:"rays";above,tongue pattern.Red:fillets;stripeson cloaks.White:chitonof central figure;joints of okladiai. The Classof Athens581, ii (ABV 502, 109;Paralip.232, 109). Early 5th century B.C.

P 1346 G 6:3 (U) Fragment of shoulder and wall. Max. dim. 0.058. Burned. Woman(head)to right.On the right,top of headof male to left. In the field, brancheswith fruit. On the shoulder: "rays";above, tongue pattern. Red: eye. White: flesh of woman;fruit. The Class of Athens581, ii (ABV 502, 111). 934

Early 5th century B.C.

P 2725 G 6:3 (U) dim. 0.051. Max. wall. and Fragmentof shoulder Chariot(head and shouldersof woman) to right. In the field, leafless brancheswith fruit (?). Above,two rows of dots.On the shoulder:"rays";above,tonguepattern. The high positionof the womanindicatesthat she stands in a chariot. The Class of Athens581, ii (ABV 502, 112).

935

Early 5th century B.C.

936

P2724

G 6:3 (U)

Fragmentof shoulderand wall. Max. dim. 0.038. Woman (head, hand) to right. In front of her, a bit of anotherfigurethat lookslike partof a satyr'shead (filleted), and arm,to right.Above,two rowsof dots.On the shoulder: "rays";above,tonguepattern.White:fleshof woman;fillet; dots. The Classof Athens581, ii (ABV 502, 113). Early 5th centuryB.C.

937

P 2564 G 6:3 (U)

Fragmentof shoulderandwall with startof handle.Max. dim. 0.061. Silhouettetechnique. Youth (head and shoulders) to left. On the shoulder: "rays";above, row of dots and tongue pattern.Red: fillet; stripeson garment. The Classof Athens581, ii (ABV 503, 120). Early 5th centuryB.c. 938 P1.82

P24413

Q12:3 0.058. H. diam. Complete. 0.143; Dionysos seatedto right on a block, holdinga drinking horn. On each side, a satyr to right lookingaround.In the field, brancheswith fruit. On the shoulder:"rays";above, tonguepattern.Red: beards;stripesand dots on garments. White:Dionysos'chiton;rim of horn;fruit. The Classof Athens581, ii: GroupP (Paralip.230). Early 5th century B.C.

P 24423 Q 12:3 Mouth,top of neck,footmissing.P.H. 0.12; diam.0.056. Much of glaze is flakedand abraded. Figureddecorationand shoulderornamentas 938. The satyron the right looksarounda'rorKo'rijv.Red:forelocks and beards;stripeson cloak.White:Dionysos'chiton. For the gestureof the satyr,cf. I. Jucker,Der Gestusdes Aposkopein,Zurich 1956. The Classof Athens581, ii: GroupP (Paralip.230).

939

Early 5th century B.C.

P 24414 Q 12:3 Mouth, handle, some of neck missing. P.H. 0.12; diam.0.058. Most of the glaze firedred. Figureddecorationand shoulderornamentas 938. Neither satyr looks around. Red: beards;stripes and dots on garment.White: wreaths; Dionysos' chiton;rim of horn; fruit. The Classof Athens581, ii: GroupP (Paralip.230). 940

Early 5th century B.C.

P 24415 Q12:3 P.H. 0.128; diam. 0.058. Mouth, top of neck missing. Much of the glaze is abraded,especiallyon the figuredpart. Figureddecorationand shoulderornamentas 938. The

941

(see 939). satyr on the right looks around, &r'roOKO7Trv

The Class of Athens581, ii: GroupP (Paralip.230). Early 5th century B.C.

P 24416 Q12:3 Mouth, neck,handle,shoulder,upperpart of wall missing. P.H. 0.09. Figureddecorationas 938. Upperpartsmissing.No fruit. Red:Dionysos'beard;stripeson his cloak.White:Dionysos' chiton;dot clusterson cloak. The Class of Athens581, ii: GroupP (Paralip.230).

942

Early 5th century B.C.

LEKYTHOI P 24417 Q 12:3 Mouth, top of neck missing. P.H. 0.126; diam. 0.06. Glaze is flakedand abradedin manyplaces. Figured decorationand shoulderornamentas 938. Red: forelocksand beards;tails; stripeson cloak.White: Diony-

943

sos' chiton; horns of satyrs; fruit.

The Class of Athens 581, ii: GroupP (Paralip.230). Early 5th century B.C.

P 24418 Q12:3 Lowerhalf of wall, foot missing.P.H. 0.099; diam.0.07. Dionysosseatedto rightholdinga drinkinghorn.On each side, a satyr facing him, the one on the right, profferinga horn. In the field, brancheswith fruit. On the shoulder: "rays";above,tongue pattern.Red: forelocksand beardsof Dionysos and satyr on right;stripeson cloak.White: Dionysos'chiton;dot clusterson cloak;fruit. The Class of Athens581, ii: Group P (Paralip.230). 944

Early 5th century B.C.

P 24431 Q 12:3 Mouth and handle missing. P.H. 0.135; diam. 0.062. Someof the glaze is abraded. Dionysos seated to right on a block, holding a drinking horn in one hand. On each side, a maenad moves away, lookingaround,one handraised.In the field,brancheswith fruit. On the shoulder:"rays";above,tongue pattern.Red: filletsof maenads;beard;stripeson garments.White:women's flesh;Dionysos'chiton;fruit. The Class of Athens581, ii: Group P (Paralip.230). 945

Early 5th century B.C.

P 24433 Q 12:3 Mouth, neck,handle,someof shoulder,and muchof upper wall missing.P.H. 0.11. Most of the glaze firedred. Dionysosseatedto righton a blockbetweentwo maenads standingto right. In the field, branches.On the shoulder: "rays";above, tongue pattern. Red: fillets; stripes on garments.White:femaleflesh;dotclusterson drapery;horizontal lines on block. The Class of Athens581, ii: Group P (Paralip.230). 946

Early 5th century B.C.

947

P 24432 Q 12:3 Mouth, neck, handle, shoulder, much of wall missing. P.H. 0.11. Dionysos(lowerhalf) seatedto righton a block,holdinga hornor a wreath.On eachside,a maenad(drapery)to right. In the field, branches.Red: stripes and dots on drapery. White:women'sflesh. The Class of Athens581, ii: GroupP. Early 5th century B.C.

948 P1.82

P 24434 Q 12:3 of H. wall diam. 0.068. Fragments missing. 0.179; Woman standingbetweentwo seated on okladiai,all to right (part of the draperyof the woman on the left is missing). In the field, brancheswith fruit. On the shoulder:

221

"rays";above, tongue pattern. Red: fillet; stripes on garments.White:flesh;dotson garments;fruit. The Class of Athens581, ii: GroupP (Paralip.230). Early 5th century B.C.

P 24407 Q 12:3 of shoulder and wall Mouth, part missing. P.H. 0.158; diam.0.071. Symposion.A man (part of torso missing) reclineson a couch,lookingaround,holdinga drinkinghorn. In frontof the couch is a table and a woman (face, lower drapery)to right, and on the right and left of it are two movingaway (dancing?),lookingaround.In the field,brancheswith fruit. Above, two rows of dots. On the shoulder:"rays";above, tongue pattern. Red: fillets; stripes on garments.White: women'sflesh (appliedpartlyon the clay ground);dots on drapery;stripeson horn;fruit;decorationon couch(at head: Ionicvolutes,row of dots,doublepalmettein a rectangle;at foot:row of dotsbetweentwo horizontallines). For the subject,cf. 420. The Classof Athens581, ii: GroupP (Paralip.230). 949

Early 5th century B.C.

P 24316 Q12:3 950 P1.82 Handle missing.H. 0.182; diam.0.07. Aias and AchilleusGaming,with Athenawatching.On the right, a woman moves away, looking around. In the field, a branchwith fruit. On the shoulder:"rays";above, tonguepattern.Red:fillets;stripeson garments.White:helmet crests;femaleflesh;dotson garments. For the subject,cf. 84. The Classof Athens581, ii: GroupP (Paralip.231). Early 5th century B.C.

951

P 24322 Q 12:3 Foot and lowerpartof wall preserved.P.H. 0.081. Aias andAchilleusGaming,with Athenawatching.Most of the hero on the left, the lower half of Athenaand of the hero on the right remain.In the field, branch.Red:stripes on garments.White:Athena'sflesh;crestof helmeton left. For the subject,cf. 84. The Classof Athens581, ii: GroupP (Paralip.231). Early 5th century B.C.

952

P 24317 Q12:3 Partof shoulderandbodymissing.H. 0.172;diam.0.068. Aias and AchilleusGaming,with Athenawatching,between two beardedspectators.Each holdsa spear.The upper part of the goddessis missing.The onlookeron the left holdsa drinkinghorn. In the field,branches.On the shoulder:"rays";above,tonguepattern.Red:beards;filleton helmet on left;stripeson garments.White:dot clusterson garments;helmetcrests;corsletof playeron left;chitonof player on rightand spectator;partof gamingtable. For the subject,cf. 84. The Class of Athens581, ii: GroupP (Paralip.231). Early 5th century B.C.

222

CATALOGUE

953

P 24508

954

P 24323

Q 12:3 Complete except for chips in foot. H. 0.167; diam. 0.068. Herakles stands to right, holding out his hand to Athena who is seated on a block. Behind the hero is a woman seated on a block to left, looking around. Behind Athena is Dionysos to right, looking around. In the field, branches. On the shoulder: "rays"; above, tongue pattern. Red: forelock of Herakles; strip on Athena's helmet crest; dots on garments. White: female flesh; Dionysos' chiton; marking on Athena's seat. The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.C. Q 12:3

Mouth, some of neck, all of foot missing. P.H. 0.102; diam. 0.071. Athena and two giants. The goddess attacks to right as a giant tries to flee looking around, holding his shield (device: wreath?). On the left, another giant runs away looking around, holding his shield (device: small ball?). On the shoulder: "rays";above, tongue pattern. Red: fillets on helmets; dots on garments. White: crests; Athena's flesh; devices. For the subject, cf. 183. The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.c.

955

P24325

Q12:3

Mouth, neck,shoulder,handle,and backof vase missing. P.H. 0.117. Figureddecorationas 954. Abouthalf of the gianton the rightis missing;deviceon his shield:ball andcircle;on other shield: uncertain. Red: rims of shields; dots on drapery. White:Athena'sflesh;helmetcrest;shielddevices. For the subject,cf. 183. The Class of Athens581, ii: Group P (Paralip.231). Early 5th century B.C.

P 24324 Q 12:3 Mouth, shoulder, most of neck and handle missing. P.H. 0.121; diam.0.074. Figureddecorationand shoulderornamentas 954. Most of Athenaand the legs of the giant on the left are missing. Device on each shield:arc. Red: fillets on helmets.White: Athena'sflesh;helmetcrests;shielddevices. For the subject,cf. 183. The Classof Athens581, ii: GroupP (Paralip.231). 956

Early 5th century B.C.

P 24358 Q 12:3 Mouth missing.Foot chipped.P.H. 0.133; diam.0.057. Two Amazonsleadingtheir horsesto right. In the field, brancheswith fruit. On the shoulder:"rays";above,tongue pattern. Red: fillets; stripes on garments;manes. White: flesh;helmetcrests;fruit. For the subject,cf. 173; for the composition,Bothmer, Amazons,p. 99, no. 93 bis. The Classof Athens581, ii: Group P (Paralip.231). 957 P. 82

Early 5th century B.C.

958

P 24354

959

P 24356

Q12:3 Mouth, neck, handle, part of shoulder missing. P.H. 0.107; diam. 0.059. Rider on an ithyphallic mule to right, between two youths to right, with cloaks over their left arms. The youth on the right looks around. On the right side of the mule, a dog to right. In the field, a branch with fruit. On the shoulder: "rays"; above, tongue pattern. Red: dots and stripes on cloaks; mane, end of penis. White (yellowish): dog (almost completely flaked); stripes on rider's cloak; fruit. The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.c. Q12:3 much of wall shoulder and Mouth, neck, handle, missing. P.H. 0.08; est. diam. 0.047. Youth and horseman (head, shoulders of horseman; head, neck, and shoulders of horse; all of youth except for legs missing) to right. In the field, a branch. On the shoulder: "rays"; above, tongue pattern. Red: stripe on rider's cloak(?). The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.C. 960

P. 82

P 24355

Q 12:3

Mouth missing. P.H. 0.132; diam. 0.058. Foot chipped. Glaze is abraded in many places. Youth with cloak over his arm and horseman to right. In the field, a branch with fruit. On the shoulder: "rays"; above, tongue pattern. Red: stripes on cloaks; mane. White: neckline of rider's cloak; fruit (yellowish). The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.c. P 24499 Q 12:3 Some of wall, all of foot missing. P.H. 0.151; diam. 0.07. Herakles and the Lion, horizontal position. The lion's left hind paw pushes against the hero's shoulder. On the left and right, hanging garments; also on the left is the club. Above the beast, bow and quiver. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: fillet; stripes on cloaks. White: dots on cloaks; belly stripe of lion; baldric and flap of quiver; fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 961

962

P 24501

Q 12:3 P.H. 0.10;

Lower part of wall, all of foot missing. diam. 0.06. Figured decoration and shoulder ornament as 961. Red: fillet; stripes on garment; flap of quiver. White: dots on cloak; baldrics round shoulders of Herakles; baldric and markings on quiver; fruit; marking on lion; club. For the subject, cf. 394.

223

LEKYTHOI Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. P 24502

Q 12:3 Mouth and neck missing. P.H. 0.134; diam. 0.057. Herakles and the Lion, horizontal position. On the right and left, a woman moving away, looking around. Quiver and bow hanging above. At the left, a cloak. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: fillet of Herakles and of woman on right; stripes on garments; flap of quiver; spot on mane. White: women's flesh; dot clusters on garments; baldric and markings on quiver; belly stripe of lion; fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 963

Q 12:3 Mouth and neck missing. P.H. 0.097; diam. 0.048. Herakles and the Lion, horizontal position. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: fillet; mane. White: fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 964

965

P 24498

P 2672

G 6:3 (U)

Wall fragment. Max. dim. 0.045. Herakles and the Lion (most of the hero; foreleg and head of the lion), horizontal position. In the field, branch(?) with fruit. White: loop (baldric?) and flap of quiver; fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232); Manner of the Haimon Painter (ABV 547, 258; Paralip. 270, 258). Early 5th century B.C. 966

P 24505

Q12:3 Mouth, neck, handle, shoulder, upper part of wall, all of foot missing. P.H. 0.113. Herakles (legs) and the Lion (hindquarters, forepaws), horizontal position. On the left stands Iolaos (head missing) holding the hero's cloak. On the right, Hermes moves away (head missing), probably looking around. In the field, branches. Red: beard; stripes on garments; dots on mane, belly stripe. White: dot clusters on garments; Hermes' chiton. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 967

P 24504

Q12:3 Mouth, neck, handle, shoulder, upper part of wall missing. P.H. 0.087. Herakles (hand, legs) and the Lion (hindquarters, part of

head), horizontal position, with a male figure standing on each side, the one on the left holding a cloak and a club. The head, shoulder, and one foot of the youth on the right are missing. In the field, branches. Red: fillet of Herakles; stripes on garments; dots on lion's mane. White: club; belly stripe of lion. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. P 2715 + P 2722 G 6:3 (U) of neck and Mouth, part shoulder, all of foot restored. Rest. H. 0.175; diam. 0.06. Some of the glaze fired red. E. Vanderpool, Hesperia 15, 1946, pp. 303-304, no. 148, pl. 55. Herakles and the Boar. Herakles, with his club in his right hand, seizes the boar round its neck and shoulders and brings it down on one knee. Above hang the hero's bow, quiver, club, and cloak (partly missing). On each side of the two, a mounted Amazon (much of one on the left missing) facing inward. In the field, branches with fruit. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. Red: forelocks of Amazons; fillets on Amazons' helmets and on head of Herakles; spots on neck of boar; manes; helmet crests. White: flesh of Amazons; clubs; baldric over Herakles' shoulder; fruit; bristles of boar, tusk, and belly stripe. For the subject, cf. Brommer, Heldensage3, pp. 47-54. For the composition, cf. Bothmer, Amazons, p. 105, no. 161. Class of Athens 581, ii (Paralip. 232); Manner of the Haimon Painter (ABV 547, 233). Early 5th century B.c. 968

PI. 82

969

PI. 82 P 24059 Q 12:3 Handle missing. H. 0.15; diam. 0.06. Man mounting chariot to right. In the field, branches. Above, two rows of dots. On the shoulder: "rays"; above, tongue pattern. Red: forelock and hair at nape of charioteer's neck; stripes on cloak; strips on manes and tails; breast band of right-hand trace horse. White: right-hand pole horse; pendants on strap below breast band. Haemonian lekythoi of the Class of Athens 581, ii (cf. 1197, 1198, or 1215, all in the manner of the Haimon Painter). Early 5th century B.C. 970

PI. 82

P 26241

No grid

Lower part of wall and foot preserved. P.H. 0.109. Wedding procession: mule cart (crossbar wheel, some of box and pole, legs and tails of mules) to right. On the left, a woman (lower drapery, feet) to right. In the field, a branch. Red: parts of bars on wheel. White: woman's feet. For the subject, cf. New York, M.M.A. 56.11.1 by the Amasis Painter (Paralip. 66; Bothmer, Amasis Painter, pp. 182-184, cat. no. 47) and a lekythos in Giessen attributed by Bothmer to the Gela Painter (Bothmer, op. cit., p. 184, fig. 100). Haemonian lekythoi of the Class of Athens 581, ii. Early 5th century B.C.

224

CATALOGUE

971

P 24500 Q12:3 Lower part of wall, all of foot missing. P.H. 0.123; diam.0.072. Heraklesand the Bull (feet and handsof Herakles;head and hindquartersof bull missing).End of cloakhangingat left; moreof anotheron right. Abovethe bull, a quiver.In the field, branches with fruit. On the shoulder: "rays"; above,tonguepattern.Red: fillet;strip on quiver;spots on neckof bull;stripeson cloakat right.White:fruit;dot clusters on cloakon right. For the subject,cf. 362. Haemonianlekythoiof the Classof Athens581, ii (Paralip. 232). Early 5th century B.C.

P 24515 Q 12:3 Mouth,neck,handle,muchof shoulderand wall missing. P.H. 0.106. Peleus wrestlingwith Thetis. Some of Peleus' backand right arm and part of Thetis' draperyare missing.On each side, a Nereid (headand foot of one on left; all excepthead and left shoulderof one on right)runs away, the one on the left probablylooking around. In the field, brancheswith fruit. On the shoulder:"rays";above,tonguepattern.Red: filletsof women;stripeson garments;tonguesof Peleus'sandals. White:femaleflesh (applieddirectlyon the clay);dot clusterson garments;fruit. For the subject,cf. 653. Haemonianlekythoiof the Classof Athens581, ii (Para972

lip. 233). Early 5th century B.C.

P 24409 Q 12:3 some of shoulder,wall, and foot Mouth, neck, handle, P.H. 0.057. diam. 0.115; missing. Man (Dionysos?),mostly missing, recliningto left on a couch,with a woman (middlemissing) standingat its foot facinghim. On eitherside facinghim, a maenadon an ithyphallicmule (head,shouldersof maenadon left;neck,chest of her mule missing;part of neckof mule on rightmissing). In the field, branches.Above, two rows of dots. On the shoulder:"rays";above,tonguepattern.Red: fillet of maenad on right;forelockandbeard;mane;stripeson garments; two lines on black below. White: female flesh;dot clusters on garments;decorationon rightleg of couch(volutes,horizontaldotsand lines;rosette)and on pillow;contourof neck and chestof mule on right. Haemonianlekythoiof the Classof Athens581, ii (Para973

lip. 233). Early 5th century B.C.

P 24467 Q12:3 Mouth missing.P.H. 0.171; diam.0.071. Man (Hephaistosor Dionysos)on a mule (foreparts)to left holdinga horn. In front of him, a satyr to left looking around,and on the right, a maenad (head, body to waist, raisedarm)to rightlookingaround.In the field,a vine. Red: beard,forelockand tail of satyr;mane of mule; wreath of 974

maenad;stripeson garments.White:maenad'sflesh;rider's chiton;muzzle,contourof neckand chestof mule. Haemonianlekythoiof the Classof Athens581, ii (Paralip. 233). Early 5th century B.C.

975 P 1553 and P 2588 G 6:3 (U) Two non-joiningfragmentsof shoulderand wall. Max. dim. P 1553:0.103, P 2588:0.044. E. Vanderpool,Hesperia 15, 1946, p. 305, no. 159, pi. 53. Amazonomachy.P 1553 shows a Greekto left attacking an Amazonwho is downon one kneeto left, lookingaround, her spear poised.Each carriesa shield, the Greeka round one emblazonedwith a tripod,the Amazona Boeotianone seen from the inside. P 2588 shows the upper part of an Amazonto right,her spearpoised.Above,two rows of dots. On the shoulder:"rays";above, tongue pattern. White: Amazons'flesh;dotson drapery;baldric;device;segmentsof helmetcrestof Greek;end of crest. For the subject,cf. 173. For the composition,cf. Bothmer, Amazons,p. 78, no. 76. Haemonianlekythoiof the Class of Athens 581, ii: cf. 972-974. Early 5th century B.C.

976 P1.83 P 24340 Q12:3 most of handle neck, Mouth, missing. P.H. 0.103; diam.0.057. Departureof warrior.The warriormovesto right, looking around,holding his shield (device:thunderbolt?)and spear. On the right and left, a drapedman holdinga staff. On the shoulder,"rays". The Class of Athens581, ii: Namepieceof the Groupof AgoraP 24340 (Paralip.233). Early 5th century B.C.

977

P 24339 Q 12:3 Some of mouth and upper part of wall lost. P.H. 0.14; diam.0.06. The glaze is abradedin partbelow figures. Figureddecorationand shoulderornamentas 976. Head of manon the left, shoulderof one on the rightmissing.Red: fillet on helmetand on headof spectatoron right;stripeson hangingfolds;dot on shield.White:device. The Classof Athens581, ii: the Groupof AgoraP 24340 (Paralip. 233). Early 5th century B.C.

978

P 24342 Q 12:3 Mouth,handle,partof neckandfootmissing.P.H. 0.125; diam.0.061. Most of the glaze is flaked. Figureddecorationand shoulderornamentas 976. Red: filletof spectatoron right. The Classof Athens581, ii: the Groupof AgoraP 24340 (Paralip. 233). Early 5th century B.C.

979

P 24343 Q 12:3 Most of mouthmissing.P.H. 0.13;diam. 0.057. Much of the glaze firedred.

225

LEKYTHOI

The Classof Athens581, ii: the Groupof AgoraP 24340

Figured decoration and shoulder ornament as 976. White:shielddevice(thunderbolt). The Class of Athens581, ii: the Groupof AgoraP 24340

(Paralip. 233). Early 5th century B.C.

(Paralip. 233). Early 5th century B.C.

986 PI. 83

P 24344 Q 12:3 Someof mouthand wall, all of foot missing.P.H. 0.121; diam.0.058. Figured decoration and shoulder ornament as 976. White:device. The Class of Athens581, ii: the Groupof AgoraP 24340

980

(Paralip. 233). Early 5th century B.C.

P 24345 Q 12:3 981 Handle mostly missing. P.H. 0.11; diam. 0.052. Foot chipped. Figureddecorationand shoulderornamentas 976. Red: fillets; stripes on garments;dots on rim of shield. White: device. The Class of Athens581, ii: the Groupof AgoraP 24340 (Paralip. 233). Early 5th century B.C.

P 24341 Q 12:3 982 Part of mouthmissing.H. 0.147; diam.0.058. Figured decoration and shoulder ornament as 976. White:device. The Class of Athens581, ii: the Groupof AgoraP 24340 (Paralip. 233). Early 5th century B.C.

P 24348 Q 12:3 Mouth, neck, handle, and foot missing. P.H. 0.093; diam.0.058. Much of the glaze firedbrown. Figured decorationand shoulderornamentas 976. Red: fillets;stripeson garments;rim of shield. White:surfaceof shield. The Class of Athens581, ii: the Groupof AgoraP 24340 983

(Paralip. 233). Early 5th century B.C.

P 24347 Q12:3 Complete except for a small part of top of handle. H. 0.138; diam. 0.06. Surfacebadlyworn. Figureddecorationand shoulderornamentas 976. Red: stripes and dots on garments;rim of shield. White: main surfaceof shield;baldric. The Classof Athens581, ii: the Groupof AgoraP 24340

984

(Paralip. 233). Early 5th century B.C.

P 24346 Q 12:3 985 Mouth missing. P.H. 0.107; diam. 0.058. Foot chipped. Nearly all the glaze is flakedor abraded. Figureddecorationand shoulderornamentas 976.

P24351

Q12:3 Handle,muchof shoulderand wall missing.P.H. 0.137. Two warriors setting out accompaniedby a youth on horseback.The warrioron the rightmovesto right,looking around,holdinghis spear and shield (device:thunderbolt). Missing:warrioron left exceptfor one footand calf;partof the hindquartersof horse and cloak of rider. In the field, brancheswith fruit. On the shoulder:"rays";above,tongue pattern.White:stripeon chitonof horseman;blobson bridle;shielddevice. The Classof Athens581, ii: the Groupof AgoraP 24340 (Paralip. 234). Early 5th century B.C.

P 24352 Q 12:3 Mouth,neck,handle,muchof shoulderandwall missing; footchipped.P.H. 0.11; diam.0.06. Figureddecorationand shoulderornamentas 986. Missing: head of horse. Red: fillets;mane and tail; patternon cloak;fruit;shielddevice. The Classof Athens581, ii: the Groupof AgoraP 24340

987

(Paralip. 234). Early 5th century B.C.

988

P 24353 Q 12:3 Mouth,neck,handle,muchof upperpartof wall missing. P.H. 0.109. Figureddecorationand shoulderornamentas 986. Missing: head,arms,torsoof warrioron left;head of rider;neck of horse. Red: fillets;dot on shield;mane and tail. White: panel on cloakof rider;device. The Classof Athens581, ii: the Groupof AgoraP 24340 (Paralip. 234). Early 5th century B.C.

989

P 24332 Q 12:3 Half of mouth,neck,and shoulder,someof wall missing. H. 0.133;diam.0.057. Surfacebadlydamaged. Fight, with spectators.A warriorto rightattacksanother (head missing) who is down on one knee to right, looking around,holdingout his shield,his spearpoised.On the right and left, a draped youth with a spear. On the shoulder: "rays";above,dots, then tonguepattern.Red: fillet, stripes on garmentof spectatoron right. The Classof Athens581, ii: the Groupof AgoraP 24340 (Paralip. 234). Early 5th century B.C.

990 P1.83

P 24366 Q12:3 Complete.H. 0.141; diam.0.059. Now lost. Chariotspeedingto right with two warriorsrunningtowardsit carryingshields(devices:?). In the field,branches. Above, two rows of dots. On the shoulder:"rays";above,

226

CATALOGUE

tongue pattern. Red: helmet crests; fillet and belt of charioteer; stripes on garments; rims of shields; manes and tails; breast band; two lines below figures. White: devices; baldrics; dots on garments; charioteer's chiton; pendants of breast band. The Class of Athens 581, ii: Namepiece of the Group of Agora P 24366 (Paralip. 234). Early 5th century B.C. P 24367

Q 12:3 Mouth, neck, handle, much of shoulder, wall, and foot missing. P.H. 0.109. Figured decoration and shoulder ornament as 990. Red: fillets; helmet crest; stripe on cloak of warrior; manes; lines below figures; breast band. White: chiton of charioteer (reddish); dots on harness; fruit (yellowish). The Class of Athens 581, ii: the Group of Agora P 24366 (Paralip. 234). Early 5th century B.c. 991

P 13576 0 17:2

992

Mouth, neck, handle, and much of right side of scene missing. P.H. 0.112; diam. 0.058. Burned. Glaze nearly gone. Chariot speeding to right over warrior (arm, leg) fallen to right. A second warrior runs toward the chariot holding out his shield. A Boeotian shield hangs down the charioteer's back. Above, two rows of dots. On the shoulder: "rays"; above, tongue pattern. Red: mane and tail of right-hand trace horse; line below scene. The Class of Athens 581, ii: the Group of Agora P 24366 (Paralip. 234). Early 5th century B.c. 993

PI. 83

P 24370

Q 12:3

Handle, fragments of shoulder and wall missing. H. 0.158; diam. 0.058. Figured decoration on white ground. Youth mounting chariot, with a woman standing in front, all to right. In the field, a branch. On the shoulder: "rays"; above, tongue pattern. Red: fillets; manes and tails; breast band; stripes on garments; line below scene, another at top of black above foot. White: flesh of woman. The Class of Athens 581, ii: the Group of Agora P 24366 (Paralip. 234). Early 5th century B.C.

994

P 24377 Q 12:3

Half of mouth, some of wall and foot missing. H. 0.181; diam. 0.07. S. R. Roberts, Hesperia 55, 1986, p. 43, no. 197, fig. 28. Symposion. A man and woman recline on the ground, she looking around at him (his head and shoulders missing). The woman's flesh is black. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. Red: woman's fillet; stripes on garments; line at edge of mouth. White: food; ground line. For the subject, cf. 420.

The Class of Athens 581, ii: Namepiece of the Group of Agora P 24377 (Paralip. 235). Early 5th century B.C. 995

P 24378

Q12:3

Mouth, neck, handle, much of wall, all of foot missing. P.H. 0.123. Glaze mottled below figures. Figured decoration and shoulder ornament as 994. Red: fillet; stripes on garments; food in front of woman (meat?). White: fruit; food in front of man (bread?). For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). Early 5th century B.c. 996

P 24384

Q12:3 Mouth, neck, handle, half of shoulder, some of upper wall, most of foot missing. P.H. 0.103; diam. 0.057. Glaze is abraded in places. Figured decoration and shoulder ornament as 994. Red: woman's fillet; man's beard and forelock; stripes on garments. White: food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). Early 5th century B.c. 997

P 24380

Q 12:3 Mouth, neck, handle missing. P.H. 0.107; diam. 0.062. Surface much abraded. Figured decoration, shoulder ornament, and accessory color as 994. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. 998

P 24383

Q 12:3

Mouth, handle, most of foot missing. P.H. 0.123; diam. 0.06. Surface very worn on top. Figured decoration, shoulder ornament, and accessory color as 994. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. P 24386 Q 12:3 much of Mouth, neck, handle, shoulder, wall, all of foot of is abraded. P.H. 0.088. Much the glaze missing. Figured decoration and shoulder ornament as 994. The man's head and some of his body are missing. The woman's flesh is black. Red: woman's fillet; stripes on garments. White: food; ground line; fruit. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. 999

227

LEKYTHOI P 24382 Q 12:3

1000

Mouth, handle, some of neck missing. P.H. 0.124; diam. 0.061. Dented near man's feet. Figured decoration and shoulder ornament as 994. Red: woman's fillet; man's beard and forelock; stripes on garment. White (yellowish to yellow): woman's flesh; fruit; food; ground line. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. 1001

P 24388

Q 12:3

Mouth missing. P.H. 0.096; diam. 0.047. Figured decoration on white ground. Symposion. A man and a woman recline to left. In the field, a vine with grapes. Female flesh left black. Above the figures, two rows of dots. On the shoulder: "rays"; above, tongue pattern. Red: fillets; stripes on garments. For the subject, cf. 420. The Class of Athens 581, ii: Near the Group of Agora P 24377 (Paralip. 235). Early 5th century B.C.

The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C.

1005

P1. 83

P 24402

Q12:3

Mouth, handle, some of shoulder and upper wall missing. P.H. 0.093; diam. 0.052. Dent in wall near figure on left. Symposion. A man reclines to left near a rock, looking around. On the left is a woman seated to right on an okladias, her flesh left black. In the field, branches. On the shoulder: "rays";above, tongue pattern. Red: woman's fillet; man's beard and wreath; stripes on garments; line at right of rock. White: marking on rock; food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: Namepiece of the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. 1003

P 24392

Q 12:3

Part of mouth, handle, and wall missing. H. 0.131; diam. 0.057. Top of mouth glazed. Figured decoration and shoulder ornament as 1002. Red: woman's fillet; man's beard and forelock; stripes on garments. White: fruit; food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. 1004

P 24395

Q 12:3 Most of mouth missing. H. 0.136; diam. 0.059. Mouth glazed on top. Some of the glaze is abraded below the figures. Figured decoration and shoulder ornament as 1002. Red: woman's fillet; man's beard and forelock; stripes on garment. White: food; ground line. For the subject, cf. 420.

Q 12:3

Mouth, handle, upper right part of scene missing. P.H. 0.114; diam. 0.059. Figured decoration and shoulder ornament as 1002. Man's head missing. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. 1006

P 24394 Q 12:3 some of shoulder and wall missing. H. 0.145; Handle, diam. 0.06. Top of mouth glazed. Glaze fired red. Figured decoration and shoulder ornament as 1002. White: ground line. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. 1007

1002

P 24393

P 24401

Q12:3

Mouth, handle, neck, and foot missing. P.H. 0.098; diam. 0.058. Glaze is abraded in places. Figured decoration and shoulder ornament as 1002. Red: beard; stripes on garments. White: food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: compare the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C.

1008

P 24396

1009

P 24385

Q12:3 Mouth, handle, neck, shoulder, and foot missing. P.H. 0.089. Silhouette technique. Figured decoration as 1002. For the subject, cf. 420. The Class of Athens 581, ii: compare the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. Q 12:3 Mouth, neck, most of shoulder, part of wall and foot missing. P.H. 0.097; diam. 0.057. Much of the glaze is abraded and flaked. Burned. Symposion. Man and woman (head missing) reclining, he looking around. In front of the pair, food. In the field, branches with fruit. The woman's flesh is black. On the shoulder: "rays";above, tongue pattern. For the subject, cf. 420. The Class of Athens 581, ii: Neighborhood of the Groups of Agora P 24381 and P 24377 (Paralip. 235). Early 5th century B.C. 1010

P 24461 Q12:3 most of mouth P.H. Handle, 0.135; diam. 0.059. missing. Much of the glaze is abraded.

228

CATALOGUE

Symposion. Between eyes, man (Dionysos?) reclining, looking around. In the field, branches.On the shoulder: "rays";above,tonguepattern.Red:beard;stripeson cloak. White:groundline;outlines,irises,and pupils of eyes. For the subject,cf. 420. The Classof Athens581, ii: Neighborhoodof the Groups of AgoraP 24381 and P 24377 (Paralip.235). Early 5th century B.C.

P 24376 Q 12:3 Complete.H. 0.179; diam. 0.075. M. Lang, Socratesin the Agora[AgoraPictureBook 17], Princeton1978, ill. 16. Symposion.Man andwomanrecliningto left, she looking around. In the field, a branch.The woman's flesh is left black.On the shoulder:"rays";above,tonguepattern.Red: woman's fillet; man's beard and forelock;stripes on garments.White:food;groundline. For the subject,cf. 420. The Classof Athens581, ii: the Groupof AgoraP 24381 1011 P1.83

(Paralip. 235). Early 5th century B.C.

P 24381 Q 12:3 Mouth, neck, handle, and part of foot missing. P.H. 0.107; diam.0.057. Much of the glaze is abraded. Figured decoration and shoulder ornament as 1011. Above the figures, two rows of dots. Red: woman's fillet; man'sforelockand beard;stripeson garments.White:food; groundline. The Class of Athens 581, ii: Namepieceof the Groupof AgoraP 24381 (Paralip.235). 1012

Early 5th century B.C.

P 24379 Q 12:3 Mouth missing.P.H. 0.128; diam.0.06. Figureddecorationand shoulderornamentas 1011. Red: woman's fillet; man's beard and forelock;stripes on garments.White:fruit;groundline. The Classof Athens581, ii: the Groupof AthensP 24381 1013

(Paralip. 235). Early 5th century B.C.

P 24400 Q 12:3 Someof wall, all of footmissing.P.H. 0.134;diam.0.055. Top of mouthglazed.Glaze is badlyflakedand abraded. Symposion.Dionysos(lowerdraperymissing)reclinesto left, holding a kantharos.On the left, a woman (drapery) sits to right on an okladias.In the field, branches.On the shoulder:"rays";above,tonguepattern. For the subject,cf. 420. The Class of Athens 581, ii: Near the Group of Agora 1014

P 24381 (Paralip. 235). Early 5th century B.C.

P 24375 Q 12:3 Completeexceptfor chip on foot. H. 0.173;diam.0.07. Symposion.Dionysosand Ariadnereclining,she looking around at him, he holding a drinkinghorn. In the field, 1015 PI. 83

brancheswith fruit. On the shoulder:"rays";above,tongue pattern.Red:woman'sfillet;beard;stripesand dotson garments.White:woman'sflesh;fruit. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235). Early 5th century B.C.

1016

P 24372 Q12:3 H. 0.165; Fragment of neck and wall missing. diam.0.067. Figureddecorationand shoulderornamentas 1015. Red: fillets;stripeson garments.White:woman'sflesh;fruit. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235). Early 5th century B.C.

1017

P 24374 Q12:3

Complete.H. 0.142; diam.0.058. Figureddecorationand shoulderornamentas 1015. Red: fillets;stripeson garments.White: woman'sflesh;dots on garments;fruit. For the subject,cf. 420. The Class of Athens581, ii (Paralip.235). Early 5th century B.C.

1018

P 24373 Q12:3 Complete.H. 0.137; diam. 0.057. Glaze is abradedin manyplaces. Figureddecorationand shoulderornamentas 1015. Red: fillets;stripeson garments.White:woman'sflesh;fruit. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235). Early 5th century B.C.

P 24387 Q 12:3 Mouth, neck, handle, shoulder,some of wall missing. P.H. 0.083. Figureddecorationand shoulderornamentas 1015. The woman'sface and some of the man's draperyare missing. Red:dotson woman'sgarment.White:woman'sflesh;food; fruit. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235). 1019

Early 5th century B.C.

P 24391 Q 12:3 Mouth, handle, some of neck missing. P.H. 0.106; diam.0.057. Glaze is flakedalmostentirely. Dionysosreclines,holdingout his kantharos.A satyrruns towardhim. In the field,branches.On the shoulder:"rays"; above,tonguepattern. The Classof Athens581, ii (Paralip.235). 1020

Early 5th century B.C.

P 24390 Q 12:3 1021 P1.83 Part of foot and mouth missing. H. 0.133; diam. 0.059. Mouth glazedon top. Dionysosreclines,holdinghis kantharos.To the left is a

LEKYTHOI satyr,down as if seated.In the field,brancheswith fruit.On the shoulder:"rays";above,tongue pattern.Red: forelocks and beards; tail; stripes on garment. White: fruit; food; groundline. The Class of Athens 581, ii (Paralip.236). Early 5th century B.C.

P 24487 Q 12:3 1022 P. 83 Someof shoulderand wall missing.H. 0.18; diam.0.069. Chip in foot. Heraklesand the Bull. The herokneelson one kneebinding the bull. Abovehangs his quiverand to right and left a cloak.In the field,branches.On the shoulder:"rays";above, tonguepattern. For the subject,cf. 362. The Class of Athens581, ii: the Groupof AgoraP 24486 (Paralip. 236). Early 5th century B.C.

P 24486 Q 12:3 1023 Some of mouth, neck, handle, and wall missing. P.H. 0.16. Figureddecorationand shoulderornamentas 1022. For the subject,cf. 362. The Class of Athens 581, ii: Namepieceof the Groupof AgoraP 24486 (Paralip.236). Early 5th century B.C.

P 24491 Q 12:3 Mouth, neck, handle, and foot missing. P.H. 0.077; diam.0.048. Figureddecorationon white ground. Figureddecorationand shoulderornamentas 1022. Red: fillet;stripeson garment;baldric;cord. For the subject,cf. 362. The Class of Athens581, ii: the Groupof AgoraP 24486 1024

(Paralip. 236). Early 5th century B.C.

P 24490 Q 12:3 1025 Some of mouth, all of foot missing. P.H. 0.108; diam.0.058. Top of mouthglazed. Figureddecorationand shoulderornamentas 1022. Red: fillet; stripes on garments;baldricof quiver;cord. White: diagonalstripeson cloak;muzzle,horn,belly stripeof bull. For the subject,cf. 362. The Class of Athens581, ii: the Groupof AgoraP 24486 (Paralip. 236). Early 5th century B.C.

P 24493 Q 12:3 Mouth, neck, handle missing. P.H. 0.08; diam. 0.049. Chip in foot. Figureddecorationand shoulderornamentas 1022. Red: stripes on garment; fillet; baldric; cord. White: muzzle, horn,belly stripeof bull, alternatedots. For the subject,cf. 362. The Class of Athens 581, ii: comparewith the Groupof AgoraP 24486 (Paralip.236). Early 5th centuryB.C. 1026

229

1027 PI. 83

P 24327 Q12:3 Handle missing.H. 0.141; diam.0.063. Glaze is abraded in places. Athenaand a giant. Athenastridesto right, spear raised and shield (device:two dots)towarda giantwho is downon one knee, head averted.In the field, a branch.Above the figures,two rows of dots. On the shoulder:"rays";above, tongue pattern. Red: fillets; rims of shields; border of Athena'sskirt;line downcenterof garmentand on hanging fold. White: Athena'sflesh; dots on crest supportsand on aegis; two lines down skirt;shield devices;most of giant's shield. For the subject,cf. 183. The Class of Athens 581, ii: Namepieceof the Groupof AgoraP 24327 (Paralip.236). Early 5th century B.C.

1028

P 24328 Q12:3

Mouth, some of neck and shouldermissing.P.H. 0.126; diam.0.057. Shoulderrestored.Glaze is abradedon mostof lower half of vase. Figureddecorationand shoulderornamentas 1027. Red: rims of shields;stripeson garments;dots on aegis;fillet on helmet;dots on crestsupport.White:dots on edge of aegis; device(wreathof dots)on shield;baldricof giant. The Classof Athens581, ii: the Groupof AgoraP 24327 (Paralip. 236). Early 5th century B.C.

1029 PI. 83 P 24329 Q12:3 Part of mouth and wall missing.H. 0.148; diam. 0.058. Top of mouthglazed.The glaze is thin in places. Figureddecorationand shoulderornamentas 1027. The giant's shield is emblazoned with a three-dimensional snake. Red: stripes on Athena's chiton and cloak; fillet roundher helmet;rim of shield;forelockand beard.White: Athena'sflesh;dotson her aegis;giant'schiton;dotson crest supportof his helmet. The Classof Athens581, ii: the Groupof AgoraP 24327 (Paralip. 236). Early 5th century B.C.

1030

P 24326 Q 12:3 Part of foot and mouth missing. H. 0.144; diam. 0.06. Dent in wall nearhandle. Figureddecorationand shoulderornamentas 1027. Red: fillets on helmets; rims of shields; devices (balls: two on Athena's;three on giant's);dots on aegis. White: Athena's flesh;rows of dotsdowncentralpanelof her skirt. The Class of Athens 581, ii: Near the Group of Agora P 24327 (Paralip. 236). Early 5th century B.C.

1031 P1.83

P 20752 R 12:1

Wall and shoulderfragment.P.H. 0.073; diam.0.066. Athena and a giant. Athena, with spear and shield (device: three balls) attacksa giant who flees to right looking around,his spearpoised,his shield(device:ball) overlapped

230

CATALOGUE

by Athena's. On the right and left, a draped spectator holding a staff. The head of the one on the right is missing. In the field, a vine. On the shoulder, palmette between spirals. For the subject, cf. 183. The Class of Athens 581, ii: compare with the Group of Agora P 24327 (Paralip. 236). Early 5th century B.C. 1032

P 24492

1033

P 24497

Q 12:3 Mouth, foot, small fragments of wall missing. P.H. 0.10; diam. 0.045. Figured decoration on white ground. Figured decoration and shoulder ornament as 1022. Red: fillet; stripes on cloak; cord; baldric; bull's scrotum. For the subject, cf. 362. The Class of Athens 581, ii: compare the Painter of Elaious I (Paralip. 237). Early 5th century B.C. Q 12:3

Mouth, neck, handle, part of shoulder and wall missing. P.H. 0.10; diam. 0.06. Herakles and the Bull (much of the hero's torso and head, most of the bull's body are missing). On each side, a youth to right looking around, holding a club in one hand and a cloak over his extended arm. Above, the hero's cloak, club, and quiver hang. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: beard of figure on right; stripes on garments; baldric of quiver. White: clubs; dot clusters on cloaks; muzzle, horn, belly stripe, tail; markings and cords on quiver. For the subject, cf. 362. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. P 24503 Q 12:3 P.H. 0.175; Much of wall, all of foot missing. diam. 0.068. Herakles and the Lion (leg of the hero; shoulder, hind legs, tail of the lion). At the left, Iolaos looks on, holding the hero's club and on the right, a youth moves away looking around (top of head, raised right arm, lower part of legs). In the field, branches with fruit. On the shoulder: "rays"; above, tongue pattern. Red: fillet of Iolaos; stripes on garments; spots on mane. White: club; muzzle, belly stripe; fruit. For the subject, cf. 394. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. 1034

1035

P 24494

Q 12:3

Mouth, neck, handle, shoulder, part of wall missing. P.H. 0.071. Herakles and the Bull. Herakles (lower part) down on one knee, binding the bull (hindquarters missing). At left, part of a garment hanging. Below the bull, loop of quiver. Red: stripe on garment; cords. White: muzzle, horn, belly stripe.

For the subject, cf. 362. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. 1036

PI. 84

P 24511

1037

P1. 84

P 24330

Q12:3 of of foot and wall Mouth, neck, fragment upper missing. P.H. 0.168; diam. 0.071. Struggle for the Tripod. Apollo (cloak on shoulder; quiver) is on the left holding one handle of the tripod, while Herakles (lionskin; club) grasps it by one leg. On the right and left, a draped figure, the one on the right a youth with a staff (head and shoulders of one on the left missing). In the field, branches. On the shoulder: "rays";above, tongue pattern. Red: fillets of Apollo and youth on right; mane of lionskin; Herakles' belt; cauldron; stripes on garments. White: chiton of Herakles; borders of garments of flanking figures. For the subject, cf. 365. The Class of Athens 581, ii (Paralip. 237 and 238). Early 5th century B.c. Q 12:3

Most of mouth, neck, left half of picture missing. P.H. 0.149; diam. 0.061. Dionysos and two giants, between women (maenads?). Dionysos (top of wreathed head, lower drapery) strides to right looking around. A giant attacks to left, holding his Boeotian shield (device: thunderbolt), and behind him is a woman watching. Behind the god is a second giant (legs, edge of shield, part of spear), and on the left is a woman (feet, lower border and fold of garment). In the field, a branch. On the shoulder: "rays"; above, tongue pattern. Red: beard; dots on garments; wreaths; rim of shield. White: female flesh; dots on garments; chiton of Dionysos; shield device; edge of giant's cuirass and chiton; crest; baldrics. For the subject, cf. 183. The Class of Athens 581, ii (Paralip. 237 and 238). Early 5th century B.c. P 24514 Q 12:3 0.047. Glaze is H. diam. 0.116; Top of handle missing. abraded and flaked in places. Herakles and Triton. The hero grasps the fish-tailed monster tightly round his chest. By mistake the painter omitted Herakles' right arm. On the left, a Nereid flees, looking around, her right arm outstretched. On the right, a tall rock. On the shoulder: "rays"; above, tongue pattern. Red: hair and beard of Triton; chiton. White: flesh of Nereid; mid-rib and markings on Triton; contour of rock. For the subject, cf. 816. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. 1038

1039

PI. 84

P 24510

Q12:3 P.H. 0.123;

Mouth, neck, some of wall missing. diam. 0.059. Herakles with lionskin, club, and quiver moves to right to greet Athena. On the left is a woman seated to left on an okladias, looking around. On the right, a draped figure

LEKYTHOI (head missing)who may be Dionysosmovesaway, looking around.In the field, brancheswith fruit. On the shoulder: "rays";above, tongue pattern.Red: fillets of women;forelock and beardof Herakles;stripeson garments.White:female flesh; dots on drapery; chiton (only lower border shows) of Dionysos; marking on club; fruit. The Class of Athens581, ii (Paralip.237). Early 5th century B.C.

1040

P 24509 Q12:3 Mouth, neck, handle, nearly half of shoulderand walls missing.P.H. 0.11; diam.0.055. Herakles (feet missing) with club and quiver stands to right shakinghandswith Athena(head,torsomissing)who sits on a block.On the left, a womansits to righton an okladias, and on the right, a drapedman (Dionysos?feet, lower drapery) moves to right. In the field, branches.On the shoulder:"rays";above,tonguepattern.Red:fillets;beardof Herakles;dots on cloaks;two lines below the scene.White: femaleflesh;dots on drapery;chiton(only bordershows)of male at right;baldrics. The Class of Athens581, ii (Paralip.237). Early 5th century B.C.

1041

P 24436 Q12:3 Complete.H. 0.117; diam.0.05. Silhouettetechnique. Draped male with staff, seated to right on an okladias, betweentwo others,each with a spearor a staff and a cloak over an outstretchedarm, movingto right, the one on the rightlookingaround.On the shoulder,"rays";above,tongue pattern. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

1042 PI. 84

P 24337 Q 12:3 Mouth, neck, much of shoulder,body, and foot missing. P.H. 0.075. Fight. A warrior(body,legs) to rightattacksanotherwho is down on one knee looking around. Each holds out his shield (devices:circles).On the shoulder,"rays".Red:fillets on helmets;rimsof shields;doton chitonof attacker.White: devices;baldrics;dotson garments;part of helmetcrest. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

1043

P 24350 Q 12:3 some of wall missing.P.H. 0.095. Mouth, neck,shoulder, Foot chipped.Someof glaze abraded. Departureof warriors.On the left, a man (drapery)to rightfacinga warrior(backof helmet,rim of shield,partsof legs) holdingtwo spears.Then comesa similarpair, the old man fully preserved,the warrior's head and part of his shield (device: ?) missing. Above, two rows of dots. Red: stripeson garments;dotson crestof warrioron left;dotson rim of shield on right. White: hair and beardof old man; device. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

231

1044

P 24338 Q 12:3 Mouth, top of neckmissing.P.H. 0.097; diam.0.048. Three warriors.The two on the left attackthe warrioron the right. Each holds out a shield (deviceon each:circles), but the artist forgotto give them spears.On the shoulder: "rays";above,tonguepattern.Red: rims of shields.White: devices;baldricof warrioron right. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

1045

P 24336 Q 12:3 Preservedexceptfor a few chips. H. 0.104; diam. 0.043. Thompson,op. cit. (under373), ill. 36. Fight.A warriorarmedwith a shieldand a spearpursues anotherwho collapsesto right looking around,his shield held out. Each wears a short chitonand a Corinthianhelmet. On the shoulder:"rays";above,dots. The Classof Athens581, ii (Paralip.238). Early 5th century B.C.

1046 PI. 84

P 24437 Q12:3 Complete.H. 0.113; diam. 0.048. Silhouettetechnique. Now lost. Draped male with staff, seated to right on an okladias, between two youths with spears and cloaks, each looking around.On the shoulder:"rays";above,tonguepattern. The Classof Athens581, ii (Paralip.238). Early 5th century B.C.

1047

P 24349 Q12:3 Mouth, part of shoulderand wall missing. P.H. 0.126; diam.0.059. Most of the glaze firedbrown. Warriors leaving home. Two warriors (head, part of shield of one on left missing) stand to left, each with two spearsand a roundshield(devices:on left, a snake;on right, fiveballs).On the rightand left, a drapedman (head,shouldersof one on rightmissing)holdinga spear.On the shoulder: "rays";above,tongue pattern.Red: fillets;stripesand dotson drapery;rimsof shields.White:devices. The Classof Athens581, ii (Paralip.238). Early 5th century B.C.

1048

P 24427 Q12:3 Someof foot missing.H. 0.108; diam.0.049. Drapedmanseatedto righton an okladias,with one hand raised.On each side, a nude youth movesaway, the one on the rightholdinga cloak,the one on the left lookingaround. In the field, branches. On the shoulder:"rays";above, tonguepattern.Red:fillet;stripeson garments.White:dots on garment. The Classof Athens581, ii (Paralip.238). Early 5th century B.C.

1049

P 24318 Q12:3 Part of wall missing.H. 0.123; diam.0.05. Surfacebadly preserved.Figureddecorationon white ground.

232

CATALOGUE

Aias and AchilleusGaming,with Athenawatching.The two heroeshave Boeotianshieldson their backsand sit on okladiai(the one on the right is almostcompletelymissing). On the right,a woman(headmissing)movesaway. Female flesh is left black. On the shoulder:"rays";above, tongue pattern.Red:deviceon shieldon left (balls);stripeson garments;line below scene. For the subject,cf. 84. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

1050

P 24523 Q 12:3 of Fragments shoulder and wall missing. P.H. 0.205; diam. 0.085. S. R. Roberts, Hesperia 55, 1986, p. 44, no. 252, pl. 11. Foot race (sprint):two youthsrunningto right. Blobsin field.On the shoulder:"rays";above,tonguepattern. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

P 24524 Q 12:3 1051 P1.84 Most of handlemissing.H. 0.121; diam.0.048. Foot race:threerunners(one leg eachof 2 and 3 missing) to right. On the left, the goal post (Doric column).Blobsin the field.On the shoulder:"rays";above,tonguepattern. The Class of Athens581, ii (Paralip.238). Early 5th century B.C.

1052 PI. 84

P 24521 Q 12:3

Complete. H. 0.152; diam. 0.055.

Womenin an orchard,two on each side of a tree,all with hands raised. 1 faces left, 2 and 3 stand to right, looking around,4 faces left. On the shoulder:"rays";above,tongue pattern. Red: fillets; dots on garments;two lines below scene.White:flesh;dot clusterson garments. The Class of Athens581, ii (Paralip.239). Early 5th century B.C. 1053

PI. 84

P 24365

Q12:3

Complete.H. 0.178; diam.0.07. Ariadnemountinga chariotto right,with Dionysosand a satyr.On the left side of the team, Dionysosstandsto right, lookingaround.In frontof the horses,a satyrkneelsto right holding a wreath. In the field, brancheswith fruit. Above the scene,a dot band.On the shoulder:"rays";above,tongue pattern. Red: Ariadne'sfillet; forelocksand beards;broad stripeson garment;manes;breastband.White (yellowish): Ariadne'sflesh; Dionysos'chiton;wreath;right-handpole horse;pendantsof breastband;fruit. The Class of Athens581, ii (Paralip.239). Early 5th century B.C.

P 24403 Q 12:3 Complete.H. 0.111; diam. 0.048. Surfacemuch worn. Glaze fired brown in places. Figured decorationon white ground. Symposion.Dionysosreclineswith anotherfigureon the couchnearhis feet. In frontof themis a tablewith piecesof meat.On the left is a maenadseatedto righton an okladias, 1054

her flesh left black.On the right is a satyr to right looking around. In the field, branches.On the shoulder:"rays"; above, tongue pattern. Red (mostly flaked): stripe on garmentof Dionysos. For the subject,cf. 420. The Classof Athens581, ii (Paralip.239). Early 5th century B.C.

1055

P 24465 Q 12:3 Complete.H. 0.117; diam. 0.048. Top of mouthglazed. Glaze wornin manyplaces. Dionysosbetweentwo maenads,all to right, the one on the right looking around. In the field, branches.On the shoulder:"rays";above,tongue pattern.Red: dots on garments.White:femaleflesh. The Classof Athens581, ii (Paralip.240). Early 5th century B.C.

P 24442 Q 12:3 Handle, some of wall, nearly half of foot missing. H. 0.143;diam.0.061. Dionysosholdinga drinkinghorn,betweentwo maenads, all seated to right on okladiai. In the field, a vine with grapes.On the shoulder:"rays";above,tonguepattern.Red: fillets of maenads;Dionysos' beard and part of his hair; stripes and dots on cloaks. White: female flesh; Dionysos' chiton;jointsof okladiai. The Classof Athens581, ii (Paralip.240). 1056

Early 5th century B.C.

P 24443 Q 12:3 Mouth, neck,handle,someof shoulderand foot missing. P.H. 0.10;diam.0.059. Dionysos between two maenads,all seated to right on okladiai.The god looksaround,holdinghis kantharos.On the shoulder,"rays".White: flesh of maenads;Dionysos' chiton;jointsof okladiai;dotson garments? The Classof Athens581, ii (Paralip.240). 1057

Early 5th century B.C.

P 24445 Q 12:3 Mouth, handle, part of wall missing. P.H. 0.091; diam.0.044. Chip in foot. Dionysos (back missing) and two maenads (flesh left black)all seatedto right, the maenadon the left (headand feet missing)on a block,the god and the other maenadon okladiai. In the field, branches.On the shoulder:"rays"; above,tonguepattern.Red: fillets of maenad;forelockand beardof Dionysos;stripeson garments. The Classof Athens581, ii (Paralip.241). 1058

Early 5th century B.C.

P 24446 Q 12:3 Mouth, handle,much of shoulder,part of wall missing.

1059

P.H. 0.085; diam. 0.04.

Dionysos (backmissing) seatedto right on an okladias, holdinga horn. On each side, a maenad(lower draperyof one on left, all of one on right)seatedon an okladias,facing inward. In the field, branches.On the shoulder:"rays";

233

LEKYTHOI above,tonguepattern.Red:filletsof maenads;beard;stripes on garments.White:women'sflesh;Dionysos'chiton;joints of okladiai;dotson garments. The Class of Athens581, ii (Paralip.241).

Early 5th century B.C.

Early 5th century B.C.

1060

P 27845 H 13:5

Mouth, neck, much of wall at back missing. P.H. 0.10; diam.0.047. Ariadneseated to right on an okladiasbehind Dionysos (back of chiton and drapery),also on an okladias.In the field, a branchwith fruit. Above,two rows of dots. On the shoulder:"rays";above, tongue pattern. White: woman's flesh;joints of her okladias;chiton;fruit. The Class of Athens581, ii. Early 5th century B.C.

P 24419 Q 12:3 Handle misssing.H. 0.151; diam. 0.063. Glaze is flaked and abradedin manyplacesandhas firedredon half of vase. Dionysossits to righton an okladias,holdinga kantharos. On each side, a satyrto right,carryinga wreath,the one on the right lookingaround.In the field, brancheswith fruit. On the shoulder:"rays";above,tonguepattern.Red:dotson Dionysos' cloak. White: Dionysos' chiton; wreaths;fruit; joints of okladias. The Class of Athens581, ii (Paralip.241). 1061

Early 5th century B.C.

P 24420 Q 12:3 Fragmentsof wall missing.H. 0.148; diam.0.059. Figureddecorationand shoulderornamentas 1061. Dionysos holds a drinkinghorn. The face and shoulderof the satyr on the right are missing. Red: beards; Dionysos' wreath,stripeson his cloak.White:Dionysos'chiton;rim of horn;wreaths;fruit;joints of okladias. The Class of Athens581, ii (Paralip.241). 1062

Early 5th century B.C.

P 24422 Q12:3 Mouth and neckmissing.P.H. 0.09; diam. 0.042. Figureddecorationand shoulderornamentas 1061. Red: beards;tails. White: Dionysos' chiton; dots on his cloak; joints of okladias. The Class of Athens581, ii (Paralip.241). 1063

Early 5th century B.C.

P 24425 Q 12:3 Mouth, handle,partof shoulderand upperwall missing. P.H. 0.09; diam. 0.039. Figureddecorationand shoulderornamentas 1061. Red: beards.White:chiton;wreaths;fruit. The Class of Athens581, ii (Paralip.241). 1064

Early 5th century B.C.

P 24424 Q 12:3 Mouth, neck,handle,part of shoulderand wall missing. P.H. 0.103; diam. 0.056. Foot chipped. 1065

Figured decoration and shoulder ornament as 1061. Thighs of Dionysos missing. Red: forelocksand beards; stripeson cloak.White:chiton;fruit. The Classof Athens581, ii (Paralip.241). P2626

G6:3 (U) Fragmentof shoulderand wall. Max. dim.0.09. E. Vanderpool,Hesperia15, 1946, pp. 305-306, no. 163, pl. 55. Dionysos seated to right on an okladias, holding his drinkinghorn.In frontof him is a satyr(upperparts)dancing to right, looking around. In the field, brancheswith fruit. Above, two rows of dots. On the shoulder:"rays"; above, tongue pattern. Red: beard of satyr; dots on garments.White:rim of horn;stripeson garment;fruit;filletin handof satyr. The Classof Athens581, ii (Paralip.241). 1066

Early 5th century B.C.

P 24444 Q 12:3 Fragmentsof wall missing.H. 0.13; diam. 0.047. Much of the glaze is flaked. Dionysos(?muchof bodymissing)sitsto righton an okladias, between two maenads,also seated to right. On the shoulder:"rays";above,tonguepattern. The Classof Athens581, ii (Paralip.241). 1067

Early 5th century B.C.

P 24426 Q 12:3 and handle Mouth, neck, missing. P.H. 0.077; diam.0.048. Maenad seatedto right on an okladias,holdingkrotala. On each side is a satyrto right,the one on the rightlooking around,the one on the left holdinga wreath. In the field, branches.On the shoulder:"rays";above,tongue pattern. Red:beards;dotson garments.White:maenad'sflesh;joints of okladias. The Classof Athens581, ii (Paralip.241). 1068

Early 5th century B.C.

1069

P 24473 Q 12:3 Mouth, handlemissing.P.H. 0.125; diam. 0.058. Much of the glaze is flakedand abraded. A maenad flees to right, looking around,between two satyrs,the one on the right lookingaround.The one on the left is lifting the maenad'sskirt. In the field, branches.On the shoulder:"rays";above, tongue pattern. Red: beards. White:femaleflesh. The Classof Athens581, ii (Paralip.241). Early 5th century B.C.

1070 P1.84

P24470

Q12:3 Mouth,neck,handle,muchof shoulderand wall missing. P.H. 0.141. Silhouettetechnique. Satyr (part of legs missing) to right and a stylizedvine intertwinedwith grapes,betweentwo rocks(cave?).On the shoulder,"rays". The Class of Athens581, ii (Paralip.241). Early 5th century B.C.

CATALOGUE

234 1071

P1. 84

P24475

Q 12:3 Complete except for top of neck, all of mouth and handle. P.H. 0.115; diam. 0.058. Decoration on white ground. Lang, op. cit. (under 527), ill. 42. Two satyrs picking grapes. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. The Class of Athens 581, ii (Paralip. 241). Early 5th century B.C. P 24462

1072

Q12:3 of shoulder and of wall Fragments upper part missing. H. 0.175; diam. 0.074. Glaze fired brown in places. Between eyes, nude youth to right holding a wreath. In the field, leafless branches. Cloaks hung up. On the shoulder: "rays";above, tongue pattern. Red: fillet; wreath; irises and pupils of eyes. The Class of Athens 581, ii (Paralip. 242). Early 5th century B.C. P 24450 Q 12:3 of of mouth handle, part Top missing. H. 0.139; diam. 0.061. Much of glaze flaked and abraded. Between eyes, Dionysos sits to right on an okladias, holding a kantharos. In the field, branches. On the shoulder: "rays"; above, tongue pattern. Red: beard; stripes on garment. White: chiton; outlines and irises of eyes. The Class of Athens 581, ii (Paralip. 242). Early 5th century B.c. 1073

1074 P1.84

P 20753 R 12:1

Wall and shoulder fragment. Max. dim. 0.057. Fight, with horseman. On the left, a horseman (rider's legs; foreparts of horse) holding two spears gallops to right toward a warrior who is down on one knee, holding a round shield seen in three-quarter view and a spear. He wears a low-crested Corinthian helmet and a short chiton. Behind him is a spectator in a cloak holding a staff. Above the figures, dots. On the shoulder: "rays";above, tongue pattern. Red: forelock, strip on mane of horse; rim of shield, fillet on helmet; baldric; circle on warrior's chiton; spectator's fillet, stripes on his garment; line below scene. White: shield. The Class of Athens 581, v: the Kalinderu Group (ABV 504, 21); withdrawn from the group and assigned to the wider class of Athens 581, ii (Paralip. 244). Early 5th century B.c. 1075

Pl. 85

P 24438

Q 12:3 Fragment of foot missing. H. 0.178; diam. 0.07. Mouth glazed on top. Dionysos sits to right on an okladias, holding a kantharos. On each side is a maenad seated on an okladias facing inward, with hand raised, the flesh left black. In the field, branches with fruit. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. Red: fillets of maenads; beard and wreath of Dionysos; stripes on garments. White: joints of okladiai; fruit.

The Class of Athens 581, ii: the Kalinderu Group (Para-

lip. 244). Early 5th century B.c. 1076

P 24441

1077

P 24440 Q12:3

Q 12:3 Mouth, some of body missing. P.H. 0.123; diam. 0.055. Figured decoration and shoulder ornament as 1075. Most of Dionysos is missing. Red: fillet of right maenad; stripes on garments. White: Dionysos' chiton; joints of okladiai; fruit. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 244). Early 5th century B.C.

Complete. H. 0.148; diam. 0.061. Mouth glazed on top. Glaze fired red in many places. Figured decoration and shoulder ornament as 1075. Red: fillet of maenad on left; forelock and beard; stripes on garments. White: Dionysos' chiton; joints of okladiai. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 244). Early 5th century B.C. P 24439

1078

Q 12:3 Mouth, top of neck missing. P.H. 0.157; diam. 0.07. Much of the glaze is abraded. Figured decoration and shoulder ornament as 1075. Red: fillets of maenads; beard; stripes on garments. White: chiton of Dionysos; fruit; joints of okladiai. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 244). Early 5th century B.c. 1079

PI. 85

P 24452

Q12:3 Mouth, neck, handle, most of shoulder, part of wall missing. P.H. 0.095; diam. 0.058. Glaze is abraded and flaked in places. Between eyes, Dionysos sits to right on an okladias, holding a kantharos. In the field, branches. On the shoulder, "rays".Red: beard; stripes and dot on garment. White: Dionysos' chiton; outlines, irises, and pupils of eyes; joints of okladias. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 245). Early 5th century B.C. 1080

P 24451

Q 12:3

Mouth, handle, most of neck, some of foot missing. P.H. 0.112; diam. 0.06. Much of the glaze is flaked and abraded. Figured decoration and shoulder ornament as 1079. Red: beard; stripes on garment. White: outlines, irises, pupils of eyes; joint of okladias. The Class of Athens 581, ii: the Kalinderu Group (Para-

lip. 245). Early 5th century B.c.

LEKYTHOI P 24453 Q 12:3 Mouth, neck,handle,someof shoulderand wall missing. P.H. 0.098; diam.0.06. Figureddecorationand shoulderornamentas 1079. Red: wreath;beard;stripeson cloak.White:chiton;jointsof okladias;outlines,irises, pupils of eyes. The Class of Athens581, ii: the KalinderuGroup(Para1081

lip. 245). Early 5th century B.C.

P 24449 Q12:3 1082 PI. 85 Mouth missing.P.H. 0.126; diam.0.058. Figureddecorationand shoulderornamentas 1079. Red: forelock,beard;stripeson garments.White:outlinesof eyes, irises and pupils;joint of okladias(?). The Class of Athens581, ii: the KalinderuGroup(Paralip. 245). Early 5th century B.C.

P 24454 Q 12:3 Mouth,handle,mostof neck,partof wall, all of footmissing. P.H. 0.086; diam.0.05. Glaze has firedred. Figured decoration and shoulder ornament as 1079. Brancheswithoutleaves.Red:forelockandbeard;stripeson cloak. White: chiton;joints of okladias;outlines,irises, pupils of eyes. The Class of Athens581, ii: the KalinderuGroup (Para1083

lip. 245). Early 5th century B.C.

P 24448 Q 12:3 Handle missing. H. 0.134; diam. 0.057. Top of mouth glazed. Figureddecorationand shoulderornamentas 1079. Red: wreath; beard; stripes on cloak. White: Dionysos' chiton; irisesof eyes;joints of okladias. The Class of Athens581, ii: the KalinderuGroup (Para1084

lip. 245). Early 5th century B.C.

P 24455 Q 12:3 Most of mouthand footmissing.P.H. 0.137;diam.0.061. Top of mouthglazed. Figureddecorationand shoulderornamentas 1079. Red: forelockand beard;stripeson cloak.White:chiton;jointsof okladias;outlines,irises,and pupils of eyes. The Class of Athens581, ii: the KalinderuGroup(Paralip. 245, the numberof incorrectlygivenas P 24445). 1085

Early 5th century B.C.

P 24456 Q 12:3 Handle missing. H. 0.10; diam. 0.052. Top of mouth glazed. Figureddecorationand shoulderornamentas 1079. Red: forelock,beard;stripeson cloak.White:chiton;jointof okladias;irises and pupils of eyes. 1086

235

The Classof Athens581, ii: the KalinderuGroup(Paralip. 245). Early 5th century B.C.

P 24457 Q 12:3 0.058. Mouth H. diam. Part of mouth missing. 0.142; on glazed top. Betweeneyes, a maenadseatedto right on an okladias, her flesh left black. In the field, leaflessbranches.On the shoulder:"rays";above,tongue pattern.Red: fillet;stripes on cloak.White:joints of okladias;irisesand pupilsof eyes. The Class of Athens581, ii: the KalinderuGroup(Para1087 P1.85

lip. 245). Early 5th century B.C.

P 24458 Q 12:3 Part of mouth, shoulder,and handlemissing. H. 0.141; diam.0.06. Top of mouthglazed. Figureddecorationand shoulderornamentas 1087. Red: stripeson cloak.White:joints of okladias;irises and pupils of eyes. The Classof Athens581, ii: the KalinderuGroup(Para1088

lip. 245). Early 5th century B.C.

P 24459 Q 12:3 Mouth,neck,handle,mostof shoulder,partof wall missing. P.H. 0.096; diam.0.06. Figureddecorationand shoulderornamentas 1087. Red: stripeon cloak.White:jointsof okladias;irisesandpupilsof eyes. The Class of Athens581, ii: the KalinderuGroup(Para1089

lip. 245). Early 5th century B.C.

P 24399 Q12:3 P.H. of foot Mouth, part 0.131;diam.0.06. missing. Symposion. Dionysos (head missing) reclines on the ground looking around, holding a kantharosin his right hand.On the left, a maenadsits to righton an okladias,her flesh left black. In the field, brancheswith fruit. On the shoulder, "rays";above, tongue pattern. Red: maenad's fillet; Dionysos'wreath;stripeson garments.White: food; groundline;fruit. For the subject,cf. 420. The Classof Athens581, ii. 1090

Early 5th century B.C.

P 24404 Q 12:3 Mouth, neck, handle, much of upper wall missing. P.H. 0.074;diam.0.047. Symposion.Two figures(partof draperyof each)recline to left on a couch.In frontof themis a tablewith food.In the field, branches.Above,two rows of dots. On the shoulder, "rays".Red:stripeson garments.White:food;line of table. For the subject,cf. 420. The Class of Athens581, ii. 1091

Early 5th century B.C.

236

CATALOGUE

P 24463 Q 12:3 Upper half of vase,partof foot missing.P.H. 0.089. Dionysos stands to right holding a drinking horn. On each side is a maenadfacinginward(headsmissing).In the field, branches. Red: wreath; beard; stripes on cloaks. White: flesh of maenads;Dionysos'chiton;dot clusterson cloaks;rim of horn. The Class of Athens581, ii. Early 5th centuryB.c. 1092

P 24471 Q12:3 Mouth, neck,handle,shoulder,upper part of wall missing. P.H. 0.09. Dionysos(lowerdrapery)to rightfacinga satyr(legs and tail). On the left, trunk of a tree? In the field, a vine with grapes.White:dot clusterson garments. The Class of Athens581, ii. 1093

Early 5th century B.C.

P 24513 Q 12:3 Mouth, handle, small fragmentsof shoulder and wall missing. P.H. 0.096; diam. 0.049. Much of the glaze is flaked. Youthrecliningto left holdinga horn.His garmentshang aboveat the rightandleft. In the field,vineswith grapes.On the shoulder: "rays";above, tongue pattern. Red: fillet; stripes on garments;band(?) on pillow. White: baldricor fillet roundshoulder. The Class of Athens581, ii. Early 5th century B.C.

P1288

1095

G6:3(U) Wall fragmentwith some of shoulder.Max. dim. 0.078. E. Vanderpool,Hesperia15, 1946, p. 304, no. 153, pl. 55. Dionysos(upperpart)on a mule (headand neck)to right precededand followed by a maenad (arm of one on left; head,shoulder,armof one on right)eachto right,the one on the right looking around. In the field, branches.On the shoulder,"rays".White:flesh of maenads;dots on drapery; top of Dionysos'chiton;muzzle,contourof donkey'sneck. The Class of Athens581, ii. Early 5th century B.C.

1096

P1315

G6:3(U)

Wall fragmentwith some of shoulder.Max. dim. 0.059. E. Vanderpool,Hesperia15, 1946, p. 305, no. 155, pl. 55. Chariot(headsandnecksof horses)to right.On the right, tracesof a figure (forelock).In the field, branches.On the shoulder,"rays".Red: manes; breast band. White: righthandpole horse;pendantsof breastband. The Class of Athens581, ii. Early 5th century B.C.

1098

581, i or ii.

P 2723 G 6:3 (U)

Wall fragment.Max. dim. 0.025. Woman (head and shoulders)to right. In front of and behindher, glaze and accessorywhite that looklike partsof two other women. In the field, brancheswith fruit. Red: fillet;eye;dot on garment. The Classof Athens581, i or ii (ABV 498, 3). Early 5th century B.C.

P 24482 Q12:3

Wall fragment.Max. dim. 0.091. Dionysos wearing a long chiton with a cloak stands to right holdinga kantharos.Roundhis head is a wreath. In frontof him, a maenad(preservedexcept for her head and left arm) movesto right,wearinga chitonand cloak,and in front of her, a satyr (foot, tail), also to right. Behind Dionysos,part of anotherfigure(raisedarm), and in the background, a vine. Red: wreath; beard; dots on chiton and stripeson cloakof Dionysos;skirt of maenad'schiton;line below figures.White:Dionysos'chiton;maenad'sflesh. The Classof Athens581, i or ii: the GeronGroup(Paralip. 224 and 229). Early 5th century B.C. 1100

P 24479

Q12:3

Wall fragment.Max. dim. 0.075. Dionysos(preservedexceptfor head) seatedto left on an okladias,holding a kantharosand wearing a long chiton with a cloak.In the background,a vine. Red:beard;stripes on cloak;hangingfold. White:dotson garments. The Classof Athens581, i or ii: the GeronGroup(Paralip. 224 and 230). Early 5th century B.C.

P 24480 Q12:3 Wall fragment.Max. dim. 0.057. Dionysos (bodyand arms) seatedto left on an okladias, holdinga kantharos(partof body)and wearinga long chiton with a cloak.In the background,a vine. Red:stripeson 1101

cloak.

The Classof Athens581, i or ii: the GeronGroup(Paralip. 224 and 230). Early 5th century B.C.

1097-1124

P2561 G 6:3 (U) 1097 Wall fragmentwith half of foot.Rest. H. 0.12;max. pres. diam. 0.087.

Early 5th century B.C.

1099

1094

THE CLASS OF ATHENS

Three women(lowerdraperyof firsttwo, most of third) seated on chairs with backs, one to left, the other two to right, with a basketbetween them. In the field, branches. Red:dotson drapery;two lines below figures.White:flesh; dotsand dot clusterson drapery. The Class of Athens581, i or ii (ABV498, 2).

P 24481 Q 12:3 1102 Wall fragment with small part of shoulder. Max. dim. 0.07.

Warrior(shieldemblazonedwith a compass-drawnstar, spear) to right before a seated man (preserveddown to

237

LEKYTHOI knees)dressedin a cloakand holdinga spear.In the field,a vine. On the shoulder,lotus buds. Red: rim of shield;two raysof device;stripeson cloakof man.White:backgroundof shield;dotson cloakof man. The Class of Athens581, i or ii: the GeronGroup(Paralip. 224, and 230). Early 5th century B.C.

P 24478 Q 12:3 1103 Wall fragmentwith edge of shoulder.Max. dim. 0.061. Dionysos (preservedexcept for right hand and legs from the kneesdown)sits on an okladias,holdinga kantharos.He wears a chitonwith a cloak.Roundhis headis a wreathand in the background,a vine. On the shoulder,endsof hanging lotus buds. Red:beard;stripeson cloak.White:chiton;dots on cloak. The Class of Athens581, i or ii: the GeronGroup(Paralip. 224 and 230). Early 5th century B.C.

P 24334 Q 12:3 of shoulder and wall. Max. dim. 0.068. SilFragment houettetechnique. Fight. Warrior (preservedexcept for part of left leg) strides to right with spear poised. At the left, a woman to right,holdinga staff. The Class of Athens581, i or ii (Paralip.229). 1104

Early 5th century B.C.

1105

P 24542 Q 12:3

Wall fragment.Max. dim. 0.089. Warrior(preservedexcept for feet) standsto left holding a round shield (device:cock) and two spears. He wears a Corinthianhelmetand greaves.On the right,partof one leg and draperyof anotherfigure.In the field,a branch.White: device. The Class of Athens581, i or ii (Paralip.229). Early 5th century B.C.

1106

P 24364 Q12:3 Mouth, neck, handle, shoulder,much of body missing. P.H. 0.11. Chariot, with Ariadne, Dionysos, and a satyr. Ariadne (one foot, lower drapery)mounts the chariot. On the left side of the team, Dionysos(lowerdrapery)standsto left. In frontof the team is a satyr (headmissing)to right.Only the legs and bellies of the horsesremain.In the field, branches. Red:stripesand dots on garments;chariotbox. White:Ariadne'sflesh;right-handpole horse;dotclusterson garments. The Class of Athens581, i or ii (Paralip.230). Early 5th centuryB.C. 1107 P1.85

P24518

Q12:3 P.H. 0.09. lower of wall and Mostly missing. Only part foot remain. Lions (hindquartersof one on left, body of one on right missing) attackinga bull. On each side, rocks.In the field, branches.Red:spotson mane of lion. White:muzzle,horn, markings,belly stripeof bull; markingon rock.

The Class of Athens581, i or ii (Paralip.230). Early 5th century B.C.

P 24460 Q12:3 Wall fragment.Max. dim. 0.061. Silhouettetechnique. Draped figure seatedto right on an okladias,holding a staff. On the right,an eye. The Classof Athens581, i or ii (Paralip.230). 1108

Early 5th century B.C.

1109

P 24410 Q 12:3 Mouth, neck,handle,shoulder,upper part of wall missing. P.H. 0.09. Symposion.Herakles(?)reclinesto left on a couch (his head and some of his draperyare missing),with a woman standingat its footfacinghim. In frontof the couchis a table with food.On the rightand left, facinginward,is a maenad on an ithyphallicdonkey with a wreath round its penis (hindquartersof donkey on left, most of maenad on left missing;of one on right,only the legs and tail of the donkey remain). In the field, brancheswith fruit. Red: stripeson garments;three narrowlines on blackbelow scene.White: female flesh;dots on garments;decorationon legs of couch (volutes;row of dotsbetweenhorizontallines;starrosettes); food;fruit;muzzles,throats;contoursof neckandchest,belly stripeof donkeyon left. For the subject,cf. 420. The Classof Athens581, i or ii: GroupP (Paralip.230). Early 5th century B.C.

1110 P1.85

P 6568 E-F 12-14 Wall fragment.P.H. 0.065. Fight. A warrior dressedin a short chiton and helmet, with his spear poisedand his shield (device:ball) held out, pursues anotherwho flees to right looking around.He is dressedand armedsimilarlyexceptthat his shieldis a Boeotianone (device:thunderbolt).Bothwarriorsare preserved exceptfor smallpartsof extremities.On the rightand left is a drapedspectatorholding a staff. Only some draperyof eachis preserved.In the field,a vine. Red:baldrics;filletson helmets;stripeson chitonsof warriorsandon cloaksof spectators;rim and deviceof roundshield;dotson rim of Boeotian shield.White:deviceon Boeotianshield;helmetcrests. The Class of Athens 581, i or ii: the Group of Agora P 24340 (Paralip. 234). Early 5th century B.C.

1111

P 24389 Q12:3

Wall fragment.Max. dim. 0.067. Male recliningto left looking around at another (drapery).In the field,a branch.Red:fillet;stripeson garments. The Class of Athens 581, i or ii: comparethe Group of AgoraP 24377 (Paralip.235). Early 5th century B.C.

1112

P 24435 Q12:3 Mouth, neck,handle,shoulder,upperpart of wall missing. P.H. 0.09.

238

CATALOGUE

Satyr(all but head)to rightlookingaround,betweentwo maenads(all but heads) seatedon okladiai,their flesh left black.In the field,a vine with fruit (?). Red:beardand tail; stripeson garments.White:joints of okladiai. The Class of Athens581, i or ii (Paralip.241, where the numberis incorrectlygiven as P 24335; P 24435 is incorrectlylistedon p. 234). Early 5th century B.C.

1113

P 24447 Q 12:3 of much Mouth, neck,handle,shoulder, wall, half of foot P.H. 0.082. missing. Dionysos seated to right on an okladias,holdinga kantharos.On eachside is a maenad,also seated,facinginward, her flesh left black. In the field, branches.Red: fillets of maenads;forelockand beard of Dionysos;stripes on garments.White:Dionysos'chiton;joints of okladiai. The Class of Athens 581, i or ii: the KalinderuGroup (Paralip.244). Early 5th century B.C.

1114

P 24421 Q 12:3 Mouth, neck, handle, shoulder, top of wall missing. P.H. 0.094. Dionysos(headmissing)to right on an okladias,holding a horn.On eachside,a satyr(legs,tail of one on left;headof one on right missing)to right, the one on the right looking aroundholdinga wreath. In the field, brancheswith fruit. Red:beards;stripeson cloak.White: Dionysos'chiton;rim of his horn;wreath;joints of okladias;fruit. The Class of Athens 581, i or ii: the KalinderuGroup (Paralip.244). Early 5th century B.C. 1115

P 24464

Early 5th century B.c.

P1311

G6:3(U) Mouth, neck, handle,most of shoulder,some of wall restored.Rest. H. 0.179; est. diam. 0.07. Much of the glaze fired red. E. Vanderpool, Hesperia 15, 1946, p. 303, no. 143, pl. 55. Dionysosreclinesto left, betweensatyrs,bothto right,the one on the right looking around. In the field, a vine with grapes.On the shoulder,uprightpalmetteson a chain, between tendrils.Red:beards;forelocksof satyron left;leaves of Dionysos'wreath;stripeson garmentof Dionysos.White: zigzag patternon mattress. The Class of Athens581, i or ii (Paralip.246). Early 5th century B.c.

P 24333

1118

P 24371

1119

P 24397

Q 12:3 Part of lower wall and foot (much chipped). P.H. 0.083. Combat, with spectator. On the left is the foot of a warrior to right, then most of another (except for head, some of his Boeotian shield emblazoned with a thunderbolt, and lower right leg) to right, down on one knee, looking around. On the right is a draped spectator (head missing) holding a staff. Red: dots on chiton; rim of shield; border of warrior's sleeve; stripes on cloak of onlooker. White: shield device. The Class of Athens 581, i or ii. Early 5th century B.C. Q12:3 Two non-joining fragments. Max. dim. a) 0.088, b) 0.068. Lower half of vase (a); shoulder and wall (b). Three draped figures holding spears, two to right, one to left. Fragment a shows the lower parts of them. Fragment b preserves the upper part of the figure on the left, the elbow and drapery of the next one. On the shoulder, ends of buds. The Class of Athens 581, i or ii. Early 5th century B.c. Q 12:3

Mouth, neck, handle, shoulder, much of wall missing. P.H. 0.094. Symposion. Man (Dionysos?) reclines on the ground looking around. On the left is Ariadne (lower drapery, feet) seated to right on an okladias (foot). In the field, branches. Red: man's beard and wreath; stripes on garments; line on black line below figures; line at top of black area above foot. White: woman's flesh; food; ground line. For the subject, cf. 420. The Class of Athens 581, i or ii. Early 5th century B.c.

Q12:3

All but figureddecorationmissing.P.H. 0.06. Dionysos stands to right holding a kantharos.On each side is a maenadfacinginward.In the field,branches.Red: wreath and beard;fillets of maenads;stripeson garments. White:Dionysos'chiton. The Class of Athens 581, i or ii: the KalinderuGroup (Paralip.244). 1116

1117

1120

P1. 85

P 24485

Q 12:3 Wall fragment with some of shoulder. Max. dim. 0.074. Hermes wearing a short chiton, a cloak, and a petasos, moves to right looking around, his left arm extended. In his right hand he holds his kerykeion. In the background, a vine (preserved on the very left). On the shoulder, ends of hanging lotus buds. Red: beard and forelock; stripes on garments. White: petasos. The Class of Athens 581, i or ii. Early 5th century B.c.

1121

P 24488 Q 12:3 of wall with start of shoulder. Max. Fragment dim. 0.074. Herakles and the Bull. The hero kneels on one knee, binding the bull. At the left are the ends of his garments hanging down. Above the beast, part of the quiver. In the field, branches. Red: fillet, part of cord (?). White: bull's scrotum; dots on shoulder. For the subject, cf. 362. The Class of Athens 581, i or ii. Early 5th century B.c.

LEKYTHOI P 24489 Q 12:3

1122

Wall fragment. P.H. 0.092. Figured decoration as 1121. The head and right foot of Herakles are missing; of the bull, only its head and foreparts remain. Red: horn of bull; cords. For the subject, cf. 362. The Class of Athens 581, i or ii. Early 5th century B.C. P 24495

Q 12:3 Mouth, neck, handle, shoulder, much of wall, all of foot missing. P.H. 0.062. Figured decoration as 1121. Only the lower part of Herakles remains; the top of the bull's back is missing. Red: stripes on garments; cords. White: diagonal stripes on garment. For the subject, cf. 362. The Class of Athens 581, i or ii. Early 5th century B.C. 1123

1124

P1314

G6:3(U)

Wall fragment. Max. dim. 0.079. Glaze is abraded in places. E. Vanderpool, Hesperia 15, 1946, pp. 304-305, no. 154, pl. 55. Dionysos (all except head) seated to left on an okladias, facing Ariadne (lower parts) likewise seated. On the right is a satyr (end of beard, lower torso, legs, tail) to right, looking around. Red: stripes and dots on garments; beard of satyr. White: Ariadne's flesh; Dionysos' chiton; joints of okladiai. Probably the Class of Athens 581, i or ii. Early 5th century B.C. UNATTRIBUTED LEKYTHOI: LATE 6TH OR 5TH CENTURY

1125 P1.85

1125-1159

P4338

E 14:11

Wall fragment. Max. dim. 0.038. Warrior (head with low-crested Corinthian helmet decorated with a feather and part of back) moves to left holding a spear in his raised right hand (the shaft is drawn in relief line and overlaps the helmet). A double baldric is suspended from his right shoulder. White: outline of crest, feather; baldric. For plumes on helmets, cf. 206. Late 6th or early 5th century B.C.

1126

P 31003 Q 12:3

Wall fragment. Max. dim. 0.052. Chariot (part of body and legs of right-hand trace horse: right foreleg of right-hand pole horse) to right. On the left side of the team, a standing figure (drapery). Red: dots on drapery. White: pole horse. Late 6th or early 5th century B.C. 1127

P6181

E15:6

Mouth, handle, most of foot missing. P.H. 0.074; diam. 0.045. Slight ridge at base of neck.

239

Dionysos and satyrs. The god sits to right on an okladias, holding a drinking horn. Behind and in front of him is a satyr dancing, looking round. On the shoulder, "rays".Red: forelocks, beards; dots on drapery; two lines below scene. White: fillets of satyrs; dots on drapery of Dionysos; joints of okladias. Early 5th century B.C. 1128

P 1279

G 6:3 (U)

Mouth, part of neck restored. Rest. H. 0.104; diam. 0.05. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 140, pl. 53. Between eyes, a youth running to right. In the background, a leafless branch. On the shoulder: "rays";above, tongue pattern. Red: irises. The scheme of decoration on the shoulder and the composition on the body recall the lekythoi of the Kalinderu Group, e.g., 1074-1089, but the shape of 1128 is broader and squatter than these, and the drawing is not quite the same. Early 5th century B.C. 1129

P 31010

Q 12:3 Wall fragment with turn of shoulder. Max. dim. 0.062. Eye (part of outer corner and eyebrow). On the shoulder, hanging lotus buds (end of one). White: outline of eye. Early 5th century B.C.

1130

P 1283 G6:3(U) Two non-joining fragments. Max. dim. a) 0.055, b) 0.042. Fragment of wall and shoulder (a); fragment of wall (b). E. Vanderpool, Hesperia 15,1946, p. 301, no. 129, pl. 51. Fragment a shows Dionysos seated to right on an okladias, holding a drinking horn (part of rim preserved), and on the right, maenad (head, torso) on a mule (head, neck, foreleg) to left. Fragment b gives some of another mule (belly, hind legs, tail) on the left, presumably also with a maenad. In the field, branches. Above, net pattern. On the shoulder: hanging lotus buds; above, tongue pattern. Red: wreath; Dionysos' forelock and beard; fillet of rider. Early 5th century B.C.

1131

P 1287

G6:3(U)

Wall fragment.Max. dim. 0.038. E. Vanderpool,Hesperia 15, 1946, p. 302, no. 136, pl. 51. Lion (muzzle, tail missing) to right, facing a man (leg, end of cloak).In the background,a tree. Red:dotson mane; line below figuredzone. Early 5th century B.C.

1132

P1353

G6:3(U) of wall and foot H. 0.212; Fragments missing. diam. 0.081. Much of the glaze is flaked. E. Vanderpool, Hesperia 15, 1946, p. 303, no. 145, pl. 55. Between two satyrs moving to right, looking around, Dionysos (lower drapery) facing a maenad. On the shoulder: hanging lotus buds; above, tongue pattern. Red: beards; fillet of maenad; stripes and dots on garments. White:

240

CATALOGUE

maenad'sflesh; Dionysos'chiton;dot clusterson maenad's garment. Early 5th century B.C.

P 1401 G 6:3 (U) dim. 0.036. wall. Max. and Fragmentof shoulder Head of woman to right; in front of her, indistinctremains.In the field, brancheswith fruit. Above,two rows of dots.On the shoulder,"rays".White:woman'sflesh. 1133

Early 5th century B.C.

1134

P 2629 G 6:3 (U)

Wall fragment.Max. dim. 0.025. E. Vanderpool,Hesperia 15, 1946, p. 306, no. 165, pl. 55. Woman(head,shoulder,raisedarms)to left. In the field, brancheswith fruit. Red:eye;fillet. White:flesh;fruit. Early 5th century B.C.

1135

P 2630 G 6:3 (U)

Wall fragment.Max. dim. 0.027. Youth (head, shoulders)to left holdinga club. The two diagonalincisionsmay representone leg of a tripod,hastily drawn.Above,dot band.White:baldric;club. Early 5th century B.C.

1136

P 2632 G 6:3 (U)

Wall fragment.Max. dim. 0.038. Satyr and maenad (heads and shoulders)to right. The maenad holds a barbiton (one arm). In the field, blobs. Above,on white ground,dot band. White:flesh of woman; filletof satyr. Early 5th century B.C. 1137

P 2659 G 6:3 (U)

Two non-joining fragments of shoulder and wall. Diam. 0.053; H. of a) 0.084; max. dim. of b) 0.028. Body decorationon white ground.E. Vanderpool,Hesperia 15, 1946, p. 306, no. 167, pl. 53. Dionysos and satyrs. Fragmenta shows Dionysos (drapery) seatedto right on an okladias.Behindhim, a satyrto left, lookingaround.In the field,a branch.Fragmentb preserves part of a secondsatyr (back of head, shoulders)to right lookingaround.Abovethe figures,checkerboard.On the shoulder,"rays".Red:tail of satyron a; stripeson Dionysos'garments;two lines belowthe figuredzone. Early 5th century B.C.

1138

P 2660 G 6:3 (U)

Lower part of wall. Rest. H. 0.129. Foot restored. E. Vanderpool,Hesperia 15, 1946, p. 306, no. 168, pl. 53. Poseidon(right leg, part of cloak)on a sea horse (shoulder,forelegs,tail) to right,flankedby two Nereids(drapery, feet) runningto right. Belowthe sea horse,a dolphinswimming to left. Red:lines below figures.White:flesh of Nereids;mid-ribof sea horse,circleson its tail, dotson its shoulder;belly stripeof dolphin;dot clusterson garments. Early 5th centuryB.C.

P 2662 G 6:3 (U)

1139

Lowerhalf of wall. Max. dim.0.08. E. Vanderpool,Hesperia 15, 1946, p. 306, no. 169, pl. 53. Athenaandthreegiants.Athena(headandarmsmissing) to right attacksa giant (legs, someof shield,right arm, and spear) who falls back. On the right, anothergiant (lower legs) comesto the defense,and on the left, a thirdgiantruns away, lookingaround,holding his shield (device:two circles). Red:rimsof shields;dotson garments;crestof gianton left; three lines below figuredzone. White: Athena'sflesh; baldricof gianton left;device;dotson Athena'schiton;edge of fallinggiant'schiton. For the subject,cf. 183. Early 5th century B.C.

P 2665 G 6:3 (U)

1140

Wall fragment. Max. dim. 0.059. E. Vanderpool, Hesperia15, 1946, pp. 306-307, no. 170, pl. 55. Woman (most of head and drapery) to left, looking around.In the field, a branchwith fruit. On the right, the tail of a mule. White:flesh;fruit. Early 5th century B.C. 1141

PI. 85

P 5014

E-F 12-14

Wall fragment.Max. dim. 0.06. Whiteground. Woundedman (preservedexceptfor right arm and foot) falling backward,lookingaround.In the field, a vine. Red: beard,locksof hair on neck;bloodfromwound;line below eachof the reservedbandsbelowthe figuredzone. The especiallylong beard suggeststhat the figure is a miscreant, perhaps an opponent of either Herakles or Theseus. Early 5th century B.C.

P 12689 P9

1142 P1.85

Wall fragment.Max. dim. 0.057. White ground. Herakles and Triton. The hero (legs, some of lionskin and shortchiton)straddlesthe monster(Triton'shead facing downward,someof his chest,rightarm,and snaketail). Red:Triton'sbeard,fillet,and mid-rib. For the subject,cf. 816. Early 5th century B.C. 1143

P5087

E-G11-13

Wall fragment.Max. dim. 0.062. Whiteground. Horse (forehead,neck, some of body and forelegs) to right,led by a helmetedwarrior(head,partof shoulderand leg). In the field,a branch.Red:mane;helmetcrest. Early 5th centuryB.c. 1144

P 14947

F 19:5

Two non-joiningfragmentsof wall and shoulder.Max. dim. a) 0.092, b) 0.081. On the body,satyrand maenad.Fragmenta givesthe top of the headof a satyr,one that movesto left, lookingaround. Fragmentb preservesthe feetandlowerpartof the skirtof a maenadto left and on the left, one heel of the satyrand the

LEKYTHOI end of his tail. On the shoulder(b), a lion (preservedexcept for hind legs and tail) pursuinga male figure (left side of body) to right. Red