The Red-Figure Pottery (Corinth vol 7.4)

CORINTH RESULTS OF EXCAVATIONS CONDUCTED BY

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

VOLUME VII

THE

PART IV

POTTERY RED-FIGURE BY

SHARON HERBERT

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS PRINCETON, NEW JERSEY 1977

ALL RIGHTS RESERVED

Library of Congress Cataloging in Publication Data Herbert, Sharon, 1944The red-figure pottery. (Corinth; v. 7; pt. 4) Includes bibliographical references and index. 1. Pottery, Greek-Greece-Corinth. 2. PotteryGreece-Corinth. 3. Corinth, Greece-Antiquities. I. Title. II. Series: American School of Classical Studies at Athens. Corinth; v. 7, pt. 4. DF 261.C65A6 vol. 7, pt. 4 [NK3840] 938'.7s 77-3070 ISBN 0-87661-074-2 [738.3'0938'7]

PRINTED IN GERMANY AT J.J. AUGUSTIN, GLtCKSTADT

PREFACE T hlis volume was begun while I held the Edward Capps Fellowship of the American School of Classical Studies at Athens in 1970 and completed during my tenure as Corinth Secretaryin 1973. It is not intended to be a complete corpusof the Corinthian red figure extant but rather a close study of the definitely Corinthianmaterial from the Corinth excavations with some attention to the other recognizable Corinthian red figure in Greece. It is hoped that with the publication of this small corpus of Corinthian red figure other unpublished, undisplayed pieces will be rediscovered and reported, thus adding to our knowledge of non-Attic pottery industries. During my work on this project I received much help and encouragement.I would especially like to thank James R. McCredie, as Director, and the rest of the faculty and staff of the American School of Classical Studies at Athens not only for their continued support and assistance but also for providing living and working conditions under which scholarship can proceed as smoothly as possible. I also wish to thank the Greek Archaeological Service and Dr. BarbaraPhilippaki, in particular,for allowing me to study the Corinthan red figure in the Athens National Archaeological Museum and for providing photographs of that collection. My greatest debt is to C. K. Williams, II, Director of the Corinth Excavations, who first gave me the Corinth excavation material to study and whose suggestions and insights during the course of my work were always illuminating. Mr. Williams' close reading of this manuscript has resulted in many improvements in the text. Professor Cedric Boulter gave generously of his time and knowledge of Attic red figure and was of invaluable assistance in the early stages of my work at Corinth. Professor A. D. Trendallgave me much help and advice during his stay in Greece in 1971. To Marie FarnsworthI owe all I know of the preparation of clay slips and glazes from the various clays of the Corinthia. My dependenceon the incomparable work of the late Sir John D. Beazley is apparent throughout this volume. I would also like to thank Dr. Dietrich von Bothmer for bringing to my attention the Corinthianred figure in the Metropolitan Museum. The staffs of the British Museum, Louvre, and the Munich Antikesammlung were all of great help in my search for Corinthian red figure elsewhere, and Mrs. A. D. Ure kindly provided me with photographs of the pelike in Reading. The photographs in this volume were taken and printed with much skill and patience by I. loannidou and H. Bartzioti. The excellent line drawings are by Diane Peck, the deposit map by C. K. Williams, II. I am indebted to Ann Haeckl and Jill Brinnon for proofreading and to Timothy McNiven for the Index. Finally, I would like to thank the Corinth secretaries, past and present: Kathryn Butt, Mary Sturgeon, Jean Macintosh, and Nancy Bookidis, without whom this manuscript, or at least its illustrations, would never have seen the light.

This volume was to have been dedicated to T. B. L. Webster in gratitude for his unfailing generosity of scholarship with this work as with others and his years of encouragement and guidance in all my classical endeavors. Now it can only stand in memoriam. The Universityof Michigan September, 1974

Sharon Herbert

TABLE OF CONTENTS PREFACE ..........................

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ABBREVIATIONSAND BIBLIOGRAPHY ...................... CHAPTERI:

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INTRODUCTION ......

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V

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ix

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CHAPTERII: THEPAINTERS ...................

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CHAPTER III: THE DEPOSITS ......... ........................... CHAPTERIV: CATALOGUE ..........

A. PELIKAI

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B. CALYX-KRATERS............

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C. BELL-KRATERS......

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D. HYDRIAI ........

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E. OINOCHOAI ....................................58 F. LEKYTHOI..................................

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G. ASKOI .

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H. LEKANIDES........................ I.

SKYPHOI ..

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STEMLESSCUPS

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INDEX PLATES

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PIECES.......... M. QUESTIONABLE CONCORDANCES ........

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K. CUPS ..................................... L. PLATES ..

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ABBREVIATIONSAND BIBLIOGRAPHY max. = maximum pres. = preserved Th. - thickness W. = width

Diam. = diameter dim. = dimension(s) est. = estimated H. = height m. = meter(s) *

*

*

ABL = E. Haspels, Attic Black-figuredLekythoi, Paris, 1936 Agora IV = R. H. Howland, The Athenian Agora, IV, Greek Lamps and their Survivals,Princeton, 1958 Agora XII = B. Sparkes and L. Talcott, The AthenianAgora, XII, Black and Plain Pottery, Princeton, 1970 A-H-S = P. Arias, A History of 1000 Years of Greek Vase Painting, photographs by Max Hirmer, trans. and rev. by B. Shefton, New York, 1962 AJA = AmericanJournal of Archaeology Alfieri, N., Arias, P., Hirmer, M., Spina, Munich, 1958 Annuario = Annuariodella [R.] Scuola archeologia di Atene e delle Missione Italiane in Oriente ArchAnz = ArchdologischerAnzeiger ARV2 = J. D. Beazley, Attic Red-figure Vase Painters, 2nd ed., Oxford, 1963 ARVS = G. M. A. Richter, Attic Red-figured Vases: A Survey, rev. ed., New Haven, 1958 BCH = Bulletin de correspondancehelldnique Beazley, J. D., Greek Vases in Poland, Oxford, 1928 Bieber, HGT2 = M. Bieber, The History of the Greek and Roman Theater, 2nd ed., Princeton, 1961 Blegen, C., et al., Troy, IV, Settlements Vila, VIIb and VIII, Princeton, 1958 B.M. = British Museum, London BSA = Annual of the British School at Athens Cab. Med. = Bibliotheque Nationale, Cabinet des Medailles, Paris Campbell = M. T. Campbell, "A Well of the Black-figured Period at Corinth," Hesperia 7, 1938, pp. 557-611 Caskey-Beazley = L. D. Caskey and J. D. Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, London, 1931-1963 Cook =- J. M. Cook, "Part III. The Agamemnoneion," in A. J. B. Wace, "Mycenae 1939-1952," BSA 48, 1953, pp. 30-68 Corbett = P. Corbett, "Attic Pottery of the Later Fifth Century from the Athenian Agora," Hesperia 18, 1949, pp. 298-351 Corinth VII, iii = G. R. Edwards, Corinth, VII, iii, CorinthianHellenistic Pottery, Princeton, 1975 CorinthXIII = C. Blegen, H. Palmer, R. Young, Corinth,XIII, The North Cemetery,Princeton, 1964 CVA = Corpus VasorumAntiquorum Delos XXI = C. Dugas, ed., Exploration archeologique de Delos, XXI, Les vases attiques d figures rouges, Paris, 1952 Deubner, L., Attische Feste, Berlin, 1932 EAA = Enciclopediadell'arte antica classica e orientale EVP = J. D. Beazley, Etruscan Vase Painting, Oxford, 1947 Furtwangler, A., Beschreibungder Vasensammlungin Antiquarium,Berlin, 1885 Hahland = R. Hahland, Vasen um Meidias (Bilder griechischer Vasen), Berlin, 1930 Hesperia = Hesperia, Journal of the American School of Classical Studies at Athens

x

ABBREVIATIONS AND BIBLIOGRAPHY

Hoppin = J. C. Hoppin,A Handbookof Attic Red-figuredVases,Cambridge,1919

IG II = InscriptionesGraecae, II, Berlin, 1877-1895, edited by Ulrich Koehler with indexes by Johannes Kirchner

Instituts Jahrb.= Jahrbuchdes deutschenarchdologischen JHS = Journalof HellenicStudies der GriechenII, Vienna,1965 Jiithner,J., Athletischen Leibesiibungen Kunze, E. and Schleif, H., "Bericht iiber die Ausgrabungen in Olympia, II," Jahrb. 53, 1938 Langlotz = B. Graef and E. Langlotz, Die antiken Vasen von der Akropolis zu Athen, Berlin, 1909-1933

Metzger,Imagerie= H. Metzger,Recherchessur l'imagerieathenienne,Paris,1965

Metzger, Representations= H. Metzger, Les representationsdans la ceramiquedu IVe siecle, Paris, 1951

M.F.A. = Museumof Fine Arts, Boston M.M.A. = MetropolitanMuseumof Art, New York

Necrocorinthia= H. Payne, Necrocorinthia.A Study of CorinthianArt in the Archaic Period, Oxford, 1931

N.M. = NationalMuseum(Athens,Naples, Madrid) Noble, J. V., The Techniques of PaintedAttic Pottery,New York, 1965

OlynthusXIII = D. M. Robinson, Excavations at Olynthus,XIII, Vases Found in 1934 and 1938, Baltimore, 1950

Palmer.See CorinthXIII Oxford,1971 Paralipomena= J. D. Beazley,Paralipomena, Pease = M. Z. Pease,"A Well of the Late Fifth Centuryat Corinth,"Hesperia6, 1937,pp. 257-316

Perachora II = T. J. Dunbabin, ed., Perachora, The Sanctuaries of Hera Akraia and Limenia, II, Pottery,

Ivories,Scarabsand OtherObjects,Oxford,1962 Pickard-Cambridge,Dithyramb2= A. W. Pickard-Cambridge,Dithyramb, Tragedy, and Comedy, 2nd ed., rev.

by T. B. L. Webster,Oxford,1962

Pnyx, II = L. Talcott et al., Hesperia, Supplement X, Small Objectsfrom the Pnyx, II, Princeton, 1956

RAL = Accademiadei Lincei,Classedi scienzimorali,storichee filologiche.Rendiconti

Richter-Hall = G. M. A. Richter and L. F. Hall, Red-figured Athenian Vases in the Metropolitan Museum

of Art, New Haven, 1936

Richter-Milne = G. M. A. Richter and M. Milne, Shapes and Names of Athenian Vases, New York, 1935 Robinson, D. M., Harcum, C. G., Iliffe, J. H., A Catalogue of the Greek Vases in the Royal OntarioMuseum of

Archaeology,Toronto, 1930 Roulez,J., Choixdes vasespeintsdu Museed'Antiquitesde Leyde,Ghent, 1854 Vasen,Berlin,1927 Rumpf,A., Chalkidischen Schefold,K., KertscherVasen,Berlin,1930 zu denkertscherVasen,Berlin,1934 Schefold,K., Untersuchungen S.M. = StaatlicheMuseen,Berlin Sparkes-Talcott.See AgoraXII Tillyard,E. M. W., TheHope Vases,Cambridge,1923 Trendall,A. D., Phlyax Vases,2nd ed., London, 1967 Van Hoorn = G. Van Hoorn, ChoesandAnthesteria,Leiden,1951 Watzinger= C. Watzinger,GriechischeVasenin Tiibingen,Reutlingen,1924 Webster,T. B. L., PotterandPatronin ClassicalAthens,London,1972

I INTRODUCTION Late in the thirdquarterof the 5th century,Corinthianpottersbeganto producered-figurepottery, imitatingboth in choice of shapesand decorationthe Attic potteryof the time. Fragmentsof this imitationredfigureon Corinthianclay havebeennotedfromthe firstAmericanexcavationsat Corinth, and even earlier,in 1885,Furtwanglerrecognizeda red-figurekraterin Berlinas of CorinthianmanufromAtticby the palercolorandfinertextureof the clay. facture.1Corinthianredfigureis distinguished Local clay colors are not invariable,however,and minordifferencesin the clay mineraland inclusions along with variationsin firingconditionscan producegradationsin color and textureof sherdswhich makethe place of manufactureuncertain.The darkestCorinthiancannotalwaysbe separatedfromthe palestAttic. Theseextremesarerare,andin generalthe combinationof the colorandtextureof the clay consideredtogetherwith the qualityof the glaze and the style of paintingmake Corinthianred figure easilyidentifiable. Pieces of Corinthianred figurehave been found at the Argive Heraion,2the Agamemnoneionat andOlympia.5Fourteencompletevasesof the fabricfromunknownproveniences Mykenai,3Perachora,4 are on display in the Athens National Museum.6Apart from the briefest excavation notices, this material

has not beenpublished.Clearly,a studyof this revivalof the Corinthianfigured-pottery industryis long overdue. The collection,descriptionand analysisof the Corinthianred figurefound at Corinth,its definitive and historicalsignificance,is the purposeof this volume.The Catalogue,meansof dating characteristics and stylisticanalysisof the paintingare treatedin individualchapters.The technicalproblemsof reproducingred figureon Corinthianclay and the reasonsfor the attempt,late in the 5th century,are best discussedat the beginningas a generalintroductionto and definitionof the fabric. The Corinthianpotterfacedmajortechnicaldifficultiesin his attemptto achievea reasonablefacsimile of Attic redfigure.Corinthianclayis not suitablefor the reproductionof the red-and-black colorscheme of Attic red figure.7The clay mineralin Corinthiansoil producesa non-lustrousblack glaze, dull in comparisonto Attic. In addition,Corinthianclay containstoo much calcium in proportionto iron, which further dulls the glaze and makes it cloudy, often with a green tinge.8For the same reasons, the

unglazedclay does not fire red, but a pale imitationof the Attic red clay could be achievedby the applicationof a red-ochermiltoswashto the reservedareas.The reservedareasare sometimescovered 1 A.

in Antiquarium,no. 2939. Furtwangler,Beschreibungder Vasensammlung J. Caskeyand P. Amandry,"Investigationsat the Heraion of Argos, 1949," Hesperia21, 1952, no. 317, p. 208, pl. 59. 3 Cook, F4 and F2, p. 58, pls. 20, 22. 4 PerachoraII, nos. 2792-2809, p. 286, pl. 116. 5 E. Kunze and H. Schleif, "Berichtiiber die Ausgrabungenin Olympia,II." p. 39, fig. 25. 6 Athens, N. M. 1391, 1405 (161), 1412(160), 1428, 1473, 1543(126), 1544 (125), 1668 (31), 12260(121), 16025, 16026(24), 17289 (138), 17471, 17472. 7 For the techniqueof Attic red figure see J. V. Noble, The Techniquesof PaintedAttic Pottery. 8 M. Farnsworth,"CorinthianPottery: TechnicalStudies," AJA 74, 1970,pp. 9-20. I would like to take this opportunityto thank Miss Farnsworthfor her help and advice in my attemptsto duplicateblack glaze with clay from the Corinthia.She, togetherwith C. K. Williams,II, was of invaluable assistanceboth in locating suitableclay beds and preparingglaze. With her help, I was able to approximatethe dull Corinthianblack glaze from local clay. 2

INTRODUCTION

2

with a red-buff slip under the miltos, but Corinthian clay is more finely grained than Attic and requires a slip not for surface smoothness but only to cover the pale color of the clay. In general, the glaze tends to peel less from the slipped pottery. Attempts to improve the black glaze by using an imported, less calcinous clay are doomed to failure: if the composition of the glaze differs significantlyfrom that of

the clay of the pot, it does not adhere,and the decorationpeels off.9 The inferiority of Corinthian black glaze became apparent as early as the 6th century with the rise of

Attic blackfigure.The Corinthianartist,facedwith the fact that no matterhow skilledhis paintinghis end product would inevitably be second-rate because of the unsuitability of his materials, soon gave up the black-figure market to Athens'l and later made no attempt to duplicate early red figure. Painting undoubtedly continued at Corinth,but the best painters were no longer working on pots. One indication of the direction of Corinthian painting in the late 6th century is a series of wooden plaques found at

Pitsa near Corinth." Corinthian pot painting in the late 6th and early 5th century was limited for the most part to conventionalizing patterns painted directly on the plain buff Corinthianclay,l2 and a silhouette and outline animal style represented at its best by the Vrysoula Classical deposit.l3 An interesting series of small

of the gods and heroesin this black cupsand platespaintedwithwhatseemto be comicrepresentations outline technique, originally thought to be Boiotian, has proved to be Corinthian.l4Although interesting

mythologically,these crudelydrawnlittle cups do nothing to enhancethe artisticreputationof 5th century Corinthian pot painters. A few fragmentarypieces of large vases painted in a polychrome figure style have turned up in the forum area'5and more in the Demeter and Kore Sanctuaryon Acrocorinth.16

The drawingon the fragmentsis excellent,but the styleseemsmoresuitedto largepaintingthanto pots. The fabrichas not been studiedin any detail,but so little of it has been found,and so muchof this in the DemeterSanctuary,thatit seemslogicalto concludethatit is theworkof a fewpainters,not primarily pot painters,producingoccasional,very specialpiecesfor sanctuaryor festivaluse. With the exception of an occasional brilliant piece in the polychrome outline technique and the hasty

"Haloan"warecups,figuredpot paintingwasvirtuallynon-existentin Corinthfromthe late 6th century until the first attempt at Corinthianred figure late in the third quarterof the 5th century. Consequently, when figured pot painting was revived in Corinthian workshops, the pot painters found themselves doubly handicapped. Not only were their materials inferior, but they were one hundred years behind in their painting skills. Athenian painters had had a century of experiencein red figure to develop formulas for portraying the human figure in every possible position, to master foreshorteningand a type of per-

spective.The Corinthianpot painterhad no suchred-figuretraditionand no set of anatomicalformulas fromwhichto draw.This problemis particularlyclearon 15 (PI.2), one of the earliestpiecesof Corinthian red figure.The painterhas not masteredthe three-quarter view but has resortedto the stiff,old9 The technical theories above have all been substantiatedby experimentswith slips and glazes made from the clays presently availablein the Corinthia.Clay was collectedfrom clay beds near the Potters' Quarter,the so-calledTile Works,Aspropotamos,the forum area, Acrocorinth,and the nearbytown of Solomos. Slips and glazes werepreparedfrom these and appliedto tiles made from these same clays. As might be expected, the clays found at the Potters' Quarterand "Tile Works" were most successful,and glaze madefrom theseclays and appliedto tiles of the same clays producedreasonableapproximationsof the dull blackglaze characteristic of Corinthianred figurewhichhave adheredto the tiles for the past two years.The red clay fromAcrocorinthwhich Farnsworthhad suggested in her article (op. cit., footnote 8 above) as a possibility for Corinthianred pottery did not fire successfully.It had too high a calciumcontent. A wash made from red ocher now availablein the town of New Corinthprovidedthe pale pink color of the miltos wash used to cover the natural buff color of Corinthianclay on most Corinthianred figure. 10Necrocorinthia,p. 111. 11A. Orlandos,"The Discovery of PaintedPinakes near Corinth," AJA 39, 1935, p. 5. Also Orlandos,"Pitsa," EAA VI, 1964. 12Campbell,no. 128, p. 593, fig. 16. Pease, nos. 65-121, pp. 283-287, figs. 20-22. 13E. Pemberton,"The Vrysoula ClassicalDeposit from Ancient Corinth," Hesperia39, 1970, pp. 265-312. 14 See A. D. Ure, "Boeotian Haloa," JHS 69, 1949, p. 18; idem, "The God with the Winnowing-fan,"JHS 72, 1952, p. 121; J. Boardman,"A Sam Wide Group Cup in Oxford," JHS 90, 1970, p. 194. 16 Pease, no. 235, p. 311, fig. 40. 16R. Stroud,"TheSanctuaryof Demeterand Kore on Acrocorinth,PreliminaryReportII: 1964-1965,"Hesperia37, 1968,pl. 93, a.

INTRODUCTION

3

fashioned technique of profile head on directly frontal body. His attempt to render the breasts of the female figurein profileis a failure. It is true that there is Attic painting of the late 5th centuryas awkwardly drawn as this Corinthianpiece, but that is obviously hasty, assembly-linework; it is justifiable to assume

that, consideringthe technicaldifficultiesinvolvedin producingearlyCorinthianred figure,some care was taken in the drawing,and the awkwardnessis indicativeof the artist'sinexperienceratherthan apathy. In a remarkablyshorttime, beforethe end of the century,a numberof Corinthianpot paintersdid achievea more than competentstyle. The Corinthianpainters,the HermesPainterand the Pattern Painter,are certainlyas good as the averageAttic pot painterof the late 5th and early4th centuries.It is interesting,however,that throughoutits durationof some75 years (see ChapterITI)Corinthianred figureremainedremarkablyconservativein style. Corinthianpaintersneverattemptedthe multi-level scenesso popularon the Attic pots of the time and avoidedthe addedcolorsand gildingthat delighted Attic painters,or at leasttheircustomers.Whetherthis restraintwas due to taste or a reluctanceto add to the alreadynumerousdifficultiesof producingthe imitationwareis impossibleto say. One of the most interestingquestionsaboutCorinthianredfigureis why,in the fourthquarterof the 5th century,afterone hundredyearsof ignoringthe technique,did Corinthianpottersbeginto workin red figuredespitethe numerousdifficulties? Themost attractivetheoryis that, with the beginningof the PeloponnesianWar,tradebetweenAthensandCorinthwas cut off andAttic potterybecamedifficultto obtain.Facedwith a dropin the supplyof the fashionableAttic potteryand no correspondingdropin demand,Corinthianpottersbeganto producetheirownversionof redfigurefortheestablishedCorinthian market.This theoryis supportedby the suddendecline in Attic importsin the gravesof the North Cemeteryat this time and by the contemporary replacementof the popularAttic white-groundlekythoi by Corinthianimitations.17 By the earlyfourthquarterof the 5thcentury,the Corinthianimitationlekyalmost thos has totallyreplacedits Attic prototype.Corinthianredfigure,however,neverenjoyedsuch enough for the theory of PeloponnesianWar completesuccess over its Attic rival. Embarrassingly traderestrictions,Attic red figurecontinuesto appearin quantityin the domesticcontextsof the last quarterof the 5th century.Everydepositthat produceda largeamountof Corinthianred figurealso produceda comparableamount of Attic. Clearly,the Corinthianswere somehowimportingAttic potteryduringthe PeloponnesianWar.18 What, then, was the impetusfor Corinthianpottersto begin to imitateAttic red figureat precisely this time?A closerlook at the subjectmatterof the Corinthianimitationshelpsanswerthis question. Thereare the predictablenumberof symposiaand Dionysiacscenesbut very few mythologicalscenes and almostnone of the domesticwomen'sscenesthat are so popularin late 5th centuryAttic painting. on Corinthianvasesshowspecificeventsor areappropriate A largeproportionof the representations for specialoccasions:thetorch-racevictorycelebrationson 21, 35, and59; thedramaticsceneson 73 and87; the lekythoi,145 and 146, from a woman'sgrave;the cup, 171,with an athleticscenefroma youth's grave; the seriesof smallbell-kraterssuitablefor trophiesor dedications,24, 25, 85, 86 and 87. Thereis no doubtthatthe Atheniansoften speciallyorderedvasesfromtheirlocal potters.In a sense, name is a special order. The most famous Attic dramatic commemorativepot every vase with a KcOaoS of Pronomos krater (ARV2,p. 1336, no. 1) on which the flute player, poet and members is, course, the of the chorus are identifiedby name. A bell-krater(ARV2,p. 1333, no. 1) is an instance of a pot ordered for a torch-race victory; the first six letters of the tribal name Antiochis are painted on the fillet of the tribal hero, who appears as a torch racer,and the potter signs with patronymicand deme name belonging to the tribe.

17

CorinthXIII, pp. 141-143. See also Deposit 1, pp. 15-16.

s1 See pp. 15-16, 17-18.

4

INTRODUCTION The tradition of ordering vases for specific people or special occasions in Corinth is well attested by a

numberof Corinthianblack-figurepots on whichthe individualsare identifiedby name.19Particularly relevant is the Middle Corinthianaryballos found at Corinthwith the inscriptionnrroXvTEp-rroS w-rupfoas (Polyterpos Pyrvios leading the chorus and to him, himself, an olpe).20 rrpoXopEuoiEvosavToSEFoio?Tra

This must have been the prizefor a chorusleader.At least one Attic red-figurepainter,the Pantoxena Painter (ARV2,p. 1050, nos. 1, 2), made vases especially inscribed for a Dorian, possibly a Corinthian.21 The main thing that all specially ordered vases, whether they be athletic, dramatic, or funerary, have in common is that their value lies in their timeliness. If a buyer wants a vase to commemoratea dramatic

or athleticvictory,or oneappropriate fora specificburial,he is naturallygoingto wantit at a specificbut not alwayspredictabletime. Combiningthe facts that a largepercentageof Corinthianred figureis of this type of special-occasionpottery,and that its productionbegins early in the PeloponnesianWar, it is logicalto concludethat, althoughthe Corinthianswereable to buy Attic red figureduringthe war (probablythrougha thirdparty),they could not communicatewith an Attic potterto orderanything specific or depend upon receiving anything at a specific time. It was to meet this need that Corinthian workshops began to imitate Attic red figure. Once the techniquewas masteredand the market established, they expandedinto other subjectsand continued to compete with Attic until the middle of the 4th century. 19For one example,see M. Milne, "ThreeNames on a CorinthianJar," AJA 46, 1942,pp. 217-218, but especiallyNecrocorinthia, no. 480, pp. 287, 162, fig. 70, 'AAivT-ra Eii'. 20 M. and C. Roebuck, "A Prize Aryballos," Hesperia24, 1955, pp. 158-163. See also A. Boegehold, "An Archaic Corinthian Inscription,"AJA 69, 1965, p. 259; M. Guarducci,"Tre iscrizioni archaichedi Corinto," Annuario,N.S. 21-22, 1959-60, pp. 281283; L. Threatte,"An Interpretationof a Sixth CenturyCorinthianDipinto," Glotta 45, 1965, pp. 186-194. 21 Cab. Med. 846. -rravrotEva KaXc KopivSot; Boston, M. F. A. 10.224 TravToiEva KopivSoi ro .... la KaXacs.Also see H. R. Immer-

wahr, James SpruntStudies46, 1964, p. 21.

I

THE PAINTERS differentpainterscan definitelybe identifiedon the Corinthianred-figurevasesnow extant.Over one half of the pots and fragmentsfound at Corinthcan be attributedto one or anotherof these to be attributed,but a few pieces painters.Most of the restof the materialat Corinthis too fragmentary

Six

(most notably 89, 129, 171) must belong to as yet unidentifiedpainters. In addition, all of the thirteen

Corinthianred-figurevases now on displayin the AthensNationalMuseumcan be assignedto one of these six painters. The purpose of this chapter is to discuss the distinguishingfeatures of the six identifiable Corinthian red-figurevase painters, as determinedfrom their most complete and characteristicvases, to place them

in the developmentof Corinthianredfigure,and to give a completelist of the piecesattributedto them. In several cases the best example of a painter's work is found in the Athens rather than the Corinth collection. Often two fragmentsfrom the Corinth collection can be connected only by their resemblance to a third piece in Athens. For this reason I have included as much of the Athens material as possible in this publication of Corinth finds for identificationof the painters and for comparanda.1The reasons for the assignment of most of the individual fragmentsare set forth in the Catalogue.It is an interestingfact of the organization of the Corinthian pottery industry that the differencesin painting and potting style which distinguish the painters and workshops from one another are accompanied by corresponding differencesin the quality of the glaze and the coloring agents used to imitate Attic red clay. Each workshop must have had its own source of clay and each painter his own approximateformula for the mixing of black glaze. Consequently, variations in glaze techniques are discussed as well as painting style in identifying the painters. THE PELIKAIPAINTER

The earliestidentifiablehand in Corinthianred figurebelongsto the painterof the pelike2. I have namedhimthe PelikaiPainterbecauseof his preferencefor this shapeoverthe morepopularbell-krater. characteristic of his paintingis its flatness,and his worstworkis moreeasily The most distinguishable In better efforts. his than his figuredrawinghe showsalmostno interestin the thirddimension recognized viewbut is andlittleknowledgeof how to representhumananatomy.He rarelyattemptsa three-quarter frontal Other idena head on of a contentwith the old-fashionedformula body (2, 15). directly profile tifiablefeaturesof his figuresare large,wide-openeyeswith two linesfor the upperlid, the lowerone of whichextendsto the bridgeof the nose, the loose profileof the mouthand slightlyrecedingchin, and the solid mass of hairon the women,generallypulledbackin a bun with one curldanglingin front of the ear. ThePelikaiPainterpanitson fine,well-levigated claythatdoes not needa slipfor surfacesmoothness; to the clay, and colorsthe reservedareaswith a adheres well he achievesa fairlygood blackglazethat 1 I am grateful to the Greek ArchaeologicalService and to Dr. BarbaraPhilippakiin particularfor permission to study the Corinthianred figure in the Athens National Museum, and to publish all but the pelikai which will be included in a forthcoming corpusof all red-figurepelikai from the Athens National Museum.

6

THE PAINTERS

pink ocher wash. He uses relief contour very sparingly, and his interior relief lines are not overly thick. Dilute glaze and applied white, sometimes covered with a pink wash, are used for fillets, cloaks, wreaths and other decorative elements. Despite the generalmediocrity of the Pelikai Painter's style, he was capable of producingan occasional piece of very skillful and delicate draftsmanship.In fact, the gap between the best and the worst of his

workis so greatthat did they not appearfromtime to time on the samepots it wouldbe impossibleto assign them to the same hand. For instance, compare the delicate drawing of the eye of Bellerophon and the careful use of relief lines on side A of 15 to the heavy, hasty drawing on side B (PI. 2). Again, in the profiles of the four women on 121 he shows the variation possible within his work (Pls. 18-20). The face of the woman on the left is exceptionally well drawn with complete relief contour and a detailed eye; the woman on the right stares cow eyed and slack mouthed into her mirror. While this hydria displays

the best of the PelikaiPainterit also makeshis limitationsclear. His most painstakingdraftsmanship cannotconcealhis helplessnessin drawingthe humanbody or in givingany senseof movement.Even here in one of his best works the figures are badly proportioned and stiff, but he manages to conceal much with carefully drawn drapery. A number of small squat lekythoi in the Corinth collection may also be by the Pelikai Painter. The women on 133 (PI. 24) and 138 (PI. 23) show the same wide-open eye, solid hair and sketchy flat drapery as 15. 134-137 (PI. 24) should also be assigned to the same painter because of their close correspondence

in drawing,subject,qualityof glaze, and shape.These lekythoiare all slight, hasty works, and it is difficult to be certain whether they should be assigned to the Pelikai Painter himself or to severalpainters within his workshop. The stemless cup 173 (PI. 28) also belongs in this group. The work of the Pelikai Painter can be placed in the last quarter of the 5th century and the very beginning of the 4th century. The calyx-kraterfragment 15 appearedin the early fill of Deposit 8 along with a fragment of an Attic calyx-kraterdatable to 420-410 B.C.His pelikai are all the short, simple shape of the late 5th century; none of them show the high flaring neck or overhanging lip that develops on the Attic pelikai of the 4th century.2The shape of his squat lekythoi also points to a date in the late 5th century. Only one of his pots appears in a context of the early second quarter of the 4th century (1, Deposit 4, PI. 1), and the shape of the pot itself is closest to the pelikai of the late 5th century. ContemporaryAttic parallels for the larger works of the Pelikai Painter are hard to find. His style is decidedly old-fashioned. The simple, heavy, one-register figures on 15 can be compared more closely with the work of the much earlier Kleophon Painter3than with the ornate, multi-leveled style of the Attic

withwhichit wasfound.The simplicityandprimitiveness of the drawingon the kratermust calyx-krater be due to inexperiencein the red-figuretechniqueratherthanhaste,as may be the case with the squat lekythoi.The kraterwas an ambitiouspiece, and obviouslysome effortwas put into its painting.It is true that the better-preserved portionis from side B, but on a calyx-kraterthe qualityof the drawing shouldnot varydrasticallyfromside A to sideB. The lekythoiof thePelikaiPainter,on the otherhand, easilyfindparallelsin the sloppiersub-Meidianworkof the late 5th century,4and the styleof the hydria 121 is distinctlyMeidian. THE HERMESPAINTER

An extraordinary improvementcan be seen in the drawingof the next Corinthianred-figurepainter. I havecalledhim the HermesPainterafterthe mainfigureon his best-preserved workin Corinth,a bellkraterwhichshowsHermesleadingHeraklesinto Olympos(30, Pls. 6, 7). His workfirstappearsin the 2 A good discussion of the developmentof the pelike shape appears in the San Francisco fascicle of the CVA (U.S. 10) by H. R. W. Smith, in the entry for the Lambrospelike, pl. 20, p. 41. 3 Cf. A-H-S, pl. 193; ARV2, p. 1143, no. 2. 4 Cf. Corbett, no. 9, p. 313, pl. 81.

THE PAINTERS

7

late 5th century (40, Deposit 4, P1. 10). The Hermes Painter is the best of the Corinthianred-figurevase painters, and the quality of his drawing does not suffer in comparison with the best Attic vase painting of the late 5th century. On his better pieces his hand is easily distinguishable, since there is no other Corinthianvase painterwho consistently approachesthe quality of his drawingor masteryof the technical problems of duplicating Attic black glaze with Corinthian materials. He is the only Corinthian painter who makes extensive, competent use of the relief line in drawing profiles. The line between the nose and mouth on his better figures is never blurred; the mouth, nose and chin are always distinct. The eyes of his figures are renderedwith skill and some subtlety, avoiding the wide-open, cow-eyed stare drawn by so many Corinthian vase painters. His knowledge of anatomy is adequate, and he has no difficultywith the three-quarterview. The bodies are sometimes outlined with relief contour (34, 62, Pls. 9, 12, 34) and sometimes not (30,40). The internaldetails of his figuresare drawnwith a wiry, broken relief line. Applied white and solid black glaze are common for the decorative elements. He uses dilute glaze to draw the separate strands of hair but rarely to add color to other parts of the vase. He delights in rather fussily decorated drapery, covered with eyelets, dot rosettes, palmettes and wave patterns drawn in his careful, broken relief line. To imitate the Attic black-and-redcolor scheme, the Hermes Painter covers his figureswith a red-buff slip, but the handle zone and rim decoration often appearunslipped.His black glaze approachesthe luster of good Attic glaze but often tends to crack, although it rarely peels. A fugitive red wash can be seen over the slip of the reservedareas on many of his pots, but it deepens the red color of the slip rather than contrasting with it. The Hermes Painter also shows a wide variation in the quality of his work. Although his best work is easily distinguished,many of his lesser pieces show a close connection with the Pelikai Painter, of whom it seems likely that the Hermes Painter was a more talented student and successor. The relationship between the artists is most clearly seen on two vases. The first is a pelike in the Metropolitan Museum in New York5 (P1. 32). The scene is a dancing satyr in front of a seated maenad. The maenad with her wide eye, open mouth and generally vacuous expression could easily be by the Pelikai Painter. But the Pelikai Painter never drew such an active satyr with swirling tail and realistic, detailed musculature.The second is 31 (PI. 8). The Eos there is one of the Hermes Painter's sloppiercreations and recalls the Pelikai Painter, while the general movement of the scene and in particular the position of Kephalos are sure signs of the Hermes Painter's hand (compare 30, PI. 7, and the New York pelike). Some fragments found at Perachora and published in PerachoraII are by the Hermes Painter.6The Perachorapieces are from a small bell-kraterand apparentlyshow an assembly of the gods. The drawing of the profile of Athena on fragment a and the bandeddecorationof the scepterswith full black glaze are definitely the work of the HermesPainter.The use of the heavy relief line and the red-buff slip on these fragments are also indicative of his work. There is no problem finding general Attic parallels for the style of the Hermes Painter. He falls easily into the group of the more careful late 5th century pot painters. The torch racer and the drawing of the torch hand guard on 35 are very like those on the vase in London signed by Nikias as potter.7In addition to a general resemblanceto the work of the Kekrops Painter, as Corbett points out, the Athena on the krater by the Hermes Painter at Perachora bears a strong likeness to a warrior on an amphora by the Suessula Painter in New York.8 More specific parallels for the drawing and composition of the works of the Hermes Painter are harder to find. As a Corinthian painter, he has a style of his own, distinct from the Attic schools of the late 5th century. This is most apparent on his namepiece depicting the 5 M.M.A. 57.43. Gift of Ernest Brummer.I would like to thank Dr. Dietrich von Bothmerfor permissionto study and publish this picture. 6 PerachoraII, no. 2793a-d, pp. 286-290, pl. 116. 7 London, B. M. 98.7-16.6. ARV2,p. 1333; Hoppin, II, plate on p. 219. For a similar torch racer by the Nikias Painter, see C. Blegen et al., TroyIV, ii, no. 24, pl. 303. 8 M.M.A. 44.11.12, ARV2,p. 1344, ARVS, fig. 122.

8

THE PAINTERS

apotheosisof Herakles(30, PI. 7). In late 5th to early4th centuryAttic vase paintingit is a common, fairly standardized scene with Hermes leading a quadriga carrying Herakles and Athena or Nike. In

almost all Attic examplesthe chariotis being led to the left, while on the Corinthiankraterit moves right.9In addition,the Atticpaintersgenerallyuse the flyingchariotto depicta complexsceneon at least two levels, Olymposabove and the land of mortalmen below. The HermesPainter,althoughhe is the most skilledof Corinthianvasepainters,neverattemptsmorethanone level,evenin this scenewhichso obviouslycalls for it. The HermesPaintercontinuedto workwellinto the firstquarterof the 4th century,sincea pot by his hand,the kraterwith the apotheosisof Herakles,was found in a contextof the earlysecondquarterof the 4th century(Deposit 5). By this time, however,two other painterswith very differentstyles were dominatingthe Corinthianred-figuremarket. THE PATTERNPAINTER

Thefirstof these,anotherfollowerof the PelikaiPainter,wasproducinglargequantitiesof Corinthian red figurein the first and secondquartersof the 4th century.This painter,called the PatternPainter because of decorative patterns on drapery and furniture, is technically second only to the Hermes Painter in his duplication of Attic black glaze. In fact, although the Pattern Painter's black glaze never equals the best of the Hermes Painter's, he more consistently achieves a glaze that could pass as mediocre

Attic and is not subjectto the cracklingthat so often spoilsthe HermesPainter'spots. He uses a lighter slip than the HermesPainterand it is often difficultto detectunderthe red miltos wash. The PatternPainter'sdrawingis neversketchyor fussy.He makesno use of reliefcontourbut instead often outlineshis profileswith diluteglaze. He drawshis figuresin long, fluid,controlledlines. Thisis particularlynoticeablein the interiordrawingof 55 (PI. 11); Dionysos' draperyat the hips and the interioroutlineof his lowerleg are each done with two strong,solid relieflines. His figuresat theirbest conveya lively senseof movement.Especiallywell done is the dancingsatyron 56 (P1.12). One of the most recognizablecharacteristics of the PatternPainteris his extensiveuse of dilute-glaze washand full glazefor decorativedetail.This techniqueis particularlynoticeableon 55: the satyr'stail and drinkinghorn, the couch, footstool, and thyrsos,and the maenad'sbox, braceletand headband are all washedwith dilute glaze. The PatternPainter also uses appliedwhite more than any other Corinthianpainter.The stemlesscup 175 (P1.29) is an exampleof this. His style with its distinctpreferencefor diluteglaze insteadof whitein most cases could be calleda subduedpolychrome. Otherclear indicationsof the PatternPainter'shand are the sometimesacorn-shapedears of his figures,as on the maenadon 55 and the torchraceron 59 (P1.12).The distinctanatomicalmarkingsof his maletorsosare usuallydrawnwith two finerelieflines for the semi-profiled pectorals,a shorttransverseline betweenthe pectoralsfor the sternum,two finelinesfromthe sternumto the navel,oftenwith two shorttransverselinesjust abovethe navel,and a line of diluteglaze from navelto pubes. A pelike with two athletes(inv. no. 1473)in the AthensNationalMuseumcan be attributedto the PatternPainter. In the chronologyof Corinthianred figure,the PatternPainterbeginsto work sometimeafter the HermesPainter.None of his work appearsin Deposit 4, but a great deal is found in Deposit 5. No potteryby his hand appearsin any contextlaterthan the earlysecondquarterof the 4th century.The qualityof his glaze and his restraineduse of reliefline are comparableto the techniqueof the Pelikai Painter,and his work does begin wherethe latter leaves off. He may be consideredanothertalented studentof the PelikaiPainterand a thirdmemberof his workshop.Thepossibilityof sucha relationship 9 For a list of Attic sceneswith the apotheosisof Herakles,see Metzger,Representations, pp. 210-212. Add Pnyx, II, cat. no. 255, pl. 24, to the left, and London, B. M. F 102, to the left. Bell-kraterfragmentin Oxford, Ashmolean G 739, CVA, 2 [G.B.9], III I, 67 [431], 15, Hermes to the left.

THE PAINTERS

9

is most apparent on the stemless cups, 173 (PI. 28) by the Pelikai Painter and 175 by the Pattern Painter. The shape of the shallow stemless cups with the saucerfoot and egg-and-dotdecorationaroundthe tondo is unusual, and they were probably produced by one workshop (see 171-176). The face of Dionysos on 175 recalls the woman of 173, but the drawing of the body in three-quarterview and the use of applied white is much more advanced. The differencein the stage of development of the shapes reinforces the differencein drawing; 175 is a shallower cup than 173 and therefore later in the series. A fragment of another one of these cups (172, P1. 28) is in the style of the Hermes Painter and provides another link between the three painters. It is these cups and the squat lekythoi that give the clearestimpression of the three, the Pelikai, Hermes and Pattern Painters, working together in one workshop and influencing one another's work. On the

lekythoi,138 (P1.23) in particular,wherewe can see the flat, stiff drawingof the PelikaiPainter,the ornament of the Pattern Painter, and the good glaze of the Hermes Painter combined, it is difficult to decide whether we have an earlier work by one of the two later painters or a later, technically improved pot by the Pelikai Painter. These cups and lekythoi and a numberof other small fragmentsunattributable by style to any one of the painters (63-75) I have assigned simply to the "PatternWorkshop", sometimes leaning toward one of the painters. The Pattern Painter himself, like all Corinthian red-figurepainters, is eclectic in his choice of Attic models. Parallels for the composition of 55 and the position of the satyr can be found in the freer work of the Dinos Painter and his school.10The Dinos Painter's work is more careful, and he does use relief

contour.Thepanther-footed couchon this samekrateris matchedmostcloselyby a kraterby the Nostell Painter1; the dancing satyr on 56 derives ultimately from those of the Nikias Painter on a krater in Gotha.12

THE SKETCHPAINTER(S)

Meanwhile another painter, the Sketch Painter, whose work begins about the same time as the Hermes Painter, begins a line of Corinthian red figure completely independent from that of the Pelikai Painter

and the PatternWorkshop.The SketchPainter'swork first appearsin the late 5th-early4th century contextof Deposit4 (78, P1.14). He uses a verypale, fine Corinthianclay and no slip. The blackglaze adheresverybadly to his vases,and the ocherwash contrastswith the pale, unslippedclay, givinghis figuresa palepinkratherthana vividredcolor.He drawscarefully,takingthe troubleto makean elaboratepreliminarysketchwhichis often still visible.His style of sketching,in fact, is one of his more He drawslong, easy sketchlines, often looped at the joints, as at the elbow identifiablecharacteristics. of 78, or the chin of 82 (see Pls. 33-35). He seldomuses reliefcontourfor the profilesof his figuresbut sometimesoutlinesthe body (82, 83, PI. 14).The interiordetailsare renderedwith short,sketchyrelief lines and sometimeswith shinyyellowdiluteglaze. The qualityof the SketchPainter'sdrawingis erratic,sometimesextremelyfine(78, 80, P1.14)and on otherpieces only recognizableby the sketchlines and the poorly adheringglaze. He is the most long livedandproductiveof Corinthianred-figurevasepainters.In fact, the time spanof his workis so great and the quality of his drawing so varied, it is likely that with the Sketch Painter we are dealing with at least two painters working very closely and using the same materials and technique-teacher and student or father and son. It is difficult to draw the line between the two, however.The earlier work is definitely 10 By the Dinos Painter himself: see Hahland, pl. 12,a. ARV2, p. 1159, no. 2. For his school, a pelike by the Somzee Painter, Richter-Hall, no. 153,p. 193, pl. 152 (thereattributedto the Dinos Painter);ARV2,p. 1159,no. 2. The SomzeePainteris, according to Beazley, "close to the Chrysis painter" (ARV2, p. 1159). The Chrysis Painter belongs to "the school of the Dinos painter" (ARV2,p. 1158). 11Metzger,Representations,pl. XXI, I; ARV2, p. 1422, no. 1. 12 J. D. Beazley,"PrometheusFire Lighter,"AJA 43, 1939,pl. 14. Also see Pnyx, II, no. 248, "descendantof the Nikias painter's satyrs."

THE PAINTERS

10

superior to the late, but many pieces bridge the gap. It is just possible that the Sketch Painter is one longlived artist whose work degenerates very rapidly toward the end. The earliest piece by the Sketch Painter is a fragment of a symposium found in Deposit 4 (78). From its style, it ought not to be dated later than the last decade of the 5th century.The early work of the Sketch Painter as exemplified by this fragment is strongly influenced by the Suessula Painter, who, although primarily an Attic painter, produced at least two Corinthian vases, 76 (PI. 13) and 77 (PI. 14), both of which were found in Deposit 4. The profile of the youth on 78, the dribbly rendering of his hair, the drawing of the musculature in shiny yellow dilute glaze all are derived from the youth on the Suessula Painter's krater 76. The Sketch Painter's draftsmanshipon the symposium fragment is actually better than the Suessula Painter's, but it is still derivative. The influence of the Suessula Painter can be seen on other figures by the Sketch Painter. The tainia of the man on 79 (PI. 14) is tied in an unusual way very like that of a youthful torch racer on a krater by the Suessula Painter in the British Museum.l3In addition, looped sketch lines are visible on a photograph of the British Museum vase. A fragment from the Potters' Quarter by the Sketch Painter, KP 2723, depicts a satyr whose tail is drawn in solid black glaze, like that of a satyr by the Suessula Painter in New York.14 The middle work of the Sketch Painter shows less dependence on the Suessula Painter. He has, by the first quarter of the 4th century, dispensed with the use of shiny dilute glaze for musculature. One very fine fragment of a bell-krater, 80, from Deposit 5, showing a bull being led to sacrifice is remarkably

similar to an Attic stamnos from a late 5th centurywell in the Athenian Agora.15To Beazley the stamnos recalls the Dinos Painter.16 Sometime in the late first quarter of the 4th century the Sketch Painter's work seems to begin to

disintegrate,and it becomes increasinglydifficultto tell if one is dealing with the late, sloppy work of the original painter or that of an inferior successor. The worst piece is undoubtedly a small bell-krater, 85 (P1. 15), found in Deposit 10, a drain of the third quarter of the 4th century. A fragment of another krater, 83 (PI. 14), in the better style of the Sketch Painter was found in this same deposit. At this point, two vases in the style of the Sketch Painter in the Athens National Museum are very helpful. The pots themselves are twins: large (ca. 0.24 m. high)Attic Type A skyphoi with narrow bases and a pronounced compound curve, probably dating to the second quarter of the 4th century. The identical shape of the vases leads one to believe that they were made at the same time by the same potter. Both are painted in the technique that is recognizable as the Sketch Painter's, with no slip, pink wash, sketch lines and peeling glaze, but the painting style of the two is different. One, 160 (PI. 26), is very finely drawn, comparable to the best work of the Sketch Painter. It shows the beginning of a horse race with a nude youth on horseback and a trumpetersounding the start. The drawing of the horse and rider is very like that on 12 (PI. 2); the flute girl on 81 (P1. 14) is similar to the trumpeter. The hair of a figure on a small Attic Type A skyphos, 163 (P1. 28), is rendered in the same manner as that of the rider on 160. The other Athens skyphos, 161 (PI. 27), shows a satyr and Dionysos dancing. The satyr wears a panther skin, carries his club in his right hand and a plate of fruit in his left hand. The drawingis not so fine and gives a heavier impression than that on the other skyphos. Rather thick, dark lines of dilute glaze are used for the interiormarkings and the profiles are looser and messier than is usual for the SketchPainter. It seems clear that at the time the two skyphoi were painted, in the second quarter of the 4th century, two painters were at work in the workshop of the Sketch Painter: one, the original Sketch Painter, at the end of his career after forty years of painting, the other his student. Severalfragmentsat Corinth can be attributed to the student of the Sketch Painter. 83, from Deposit 10, is a male figure in the sketch 13London, B. M. 55.4-22.1. ARV2, p. 1345, no. 12. 14 M.M.A. 44.11.13. ARV2, p. 1344, no. 5. P 10542, Corbett, no. 5.

15 16

ARV2,p. 1190, mentionedin the discussion of 80.

THE PAINTERS

11

technique wearing a leopard skin, carrying a club and bowl of fruit in a pose almost identical to the satyr on 161. The drawing of the torso of this figure is very close to the middle Sketch Painter style of 80.

The Dionysos on 82 bears a great resemblanceto the satyr on the Athens skyphos, 161. The small bellkrater, 85, from Deposit 10, by technique and glaze should be placed in the Workshop of the Sketch Painter. The drawing, however, is too sloppy to attribute. An earlier pelike by the Sketch Painter,

Athens, N.M. 16025, depicts a seated female with a strigil, very similarlydressed, but drawn much more competently than the seated female on 85. In summary, combining the information provided by the Corinth fragments and the Athens National

Museum vases, it can be concluded that the Sketch Painter's workshop was producing Corinthian red figure from the late 5th century to the mid-4th century. The products of the Workshop are recognizable by their pale wash and peeling glaze and can be divided into three painting styles: early Sketch Painter, strongly influenced by the Suessula Painter, lasting to the end of the 5th century; middle Sketch Painter, a fine independent Corinthian style covering the first quarter of the 4th century; Student Sketch Painter, the latest of Corinthian red-figure painters, beginning in the second quarter of the 4th century and including 83 (?); possibly an original by the Sketch Painter from which his student took the satyr on 161

(P1. 27). THE PAINTEROF CORINTHC-37-455 (86) The sixth and final definitely recognizable hand in Corinthian red-figure vase painting is that of the

painter of 86, 87 and 127. These three vases display a common experimentaltechnique for the imitation of Attic red figure. Large portions of the figures, instead of being reserved completely, are rendered by

applied white painted directly over the black glaze and colored pink by a furtherapplication of red miltos wash. Since only three examples of this applied-color fabric survive, it can be assumed that very little of the fabric was ever manufactured and that the experiment was unsuccessful. Whether the painter of this

doubly fake, red figure also attempted to produce the more canonical version is doubtful. His drawing style with heavy chin and bulbous nose does not appear on any other pieces of Corinthian red figure. Two relatively whole pieces of this fabric were found in datable contexts. 86 (PI. 15) came from Deposit 4

and by the shape of its foot can be dated to the beginning of the 4th century.17127 (PI. 21) is from Deposit 5, but its shape is not later than the turn of the century.18From the dates of these pots, it can be concluded that this experimentaltechnique is not one of the first fumbling attempts to imitate Attic redfigure,but rathera laterunsuccessfulinnovationintroducedafterthe imitationindustrywas established. These pieces may represent the attempt of another potter's shop to share in the market for Corinthian red figure created by the Pelikai, Hermes and Sketch Painters. They are more interestingas evidence for another large potter's workshop in Corinth at this time than as a type of Corinthian red figure. Three workshops and six painters constitute a very small figured-potteryindustry, and it is inevitable in such a small group that there be cross-connections and communications among them. They were all attempting to sell to the same limited market and must have been aware of one another's work. In addition, given a group of painters that began as imitators of Attic, it is predictablethat they would copy one another's work as well. This accounts for certain otherwise puzzling similarities among the works of

clearly separate Corinthian red-figure artists. Compare, for instance, the composition on the Hermes Painter's name vase, 30 (Pls. 6, 7), with the horse's hooves cutting across Hermes' chlamys, to that on

the Sketch Painter's skyphos, 160 (P1.26), with the horse's hooves cutting across the trumpeter'scloak. Again, the Dionysos by the Student Sketch Painter on 161 (P1.27) bears a close resemblanceto the satyr 17 For a discussionof the developmentof the bell-kraterfoot in the late 5th to early 4th century,see E. M. W. Tillyard, TheHope Vases,pp. 4-8. 18See Van Hoorn, Athens, N. M. 13031,no. 97, fig. 76, 410-400 B.C., and no. 278, fig. 13, around 400 B.C.

THE PAINTERS

12

on the New York pelike by the Hermes Painter. These pieces are clearly painted by differentpainters but

one mustbe awareof the other'swork,or else be usingthe sameprototype. These cross-workshop connections within Corinthianred figurecan also be seen clearly in the secondary ornamentation on the vases. No single workshop or painter has a monopoly on a certain motif. All the

Corinthianpaintersare especiallyfond of the egg-and-dotband. It is seen aroundthe tondos of the PatternWorkshop'sstemlesscups, on the Pelikai and HermesPainters'pelikai, the Pelikai,Pattern and HermesPainters'kraters,and the skyphoiof the SketchPainterand his workshop.Othertypes of secondarydecoration are too scarceand fragmentaryto make any generalizations.No identifiablepainter uses a specific meander and saltire band more than once. They all vary the style of their palmettes continually. Nothing useful can be said about the ever-presentleaf decoration on bell-krater rims. The Hermes Painter does seem to favor a wave pattern below the figurezone on bell-kraters(31,38 and Berlin, S.M. F 2939) and a palmette with an elongated central stalk (30 and 52); but since both of these only

these wouldnot occur occasionallyon his attributedvases and he uses othermotivesindiscriminately, seemto be a foolproofsignof his hand.In fact, due to the fragmentarystateof the corpusof Corinthian red figureand the closenessof the painters,furtherstudyof the secondarydecorationwouldbe of little profit. As has been noted above, six painters is a minimal number for two generations of pot painting from 425-350 B.C. The number can be increased somewhat by the unassignedpieces and the possible fragmentation of the identified painters, but from the Corinthian red figure now extant, it seems doubtful that there were many more than the six painters identified. The small number of painters indicates that the production of Corinthian red figure was never a large industry, even at its height in the early 4th century.

PELIKAIPAINTER Attributed: 1, 2 4 15, 20-24, 28, 2

25, 26,

8, Athens N.M. 17472

Possiblyalso: 3, 25-27, 29, 105 See also Pattern Workshop

HERMESPAINTER Attributed:13, 30-36, 38, 39, 41-43, 52 Possibly also: 37, 40, 44-51, 75, 145, 146, 172 See also Pattern Workshop PATTERN PAINTER

Attributed:55, 56, 58-60, 175 Possibly also: 57, 62

PATTERNWORKSHOP Attributedto the Workshopin general:61, 63-67, 69, 96, 140-143 Attributedto the Workshopbut closestto the workof the PelikaiPainter:72, 133-137,139 Attributed to the Workshop but closest to the Hermes Painter: 68, 70, 71 SKETCH PAINTER WORKSHOP Early Sketch Painter: 9, 78, 79, KP 2723, Athens N.M. 1476, PerachoraII, no. 2794 (fragment) Middle Sketch Painter: 12, 80, 81, 160, 164, Athens N.M. 16025 Student Sketch Painter: 73, 83-85, 161

SketchPainteror his student:82, 114, 165 PAINTER OF CORINTH C-37-455, (86)

Attributed:86, 87, 127 SUESSULAPAINTER Attributed:76 (Beazley),77

II

THE DEPOSITS (Plate36) Scattered fragments of Corinthian red figure have been found in all areas of the Corinth excavations sincethey werebegunin 1896.The Asklepieion,Theater,NorthCemetery,forumarea,Acrocorinth and the Potters' Quarter have all produced their share of Corinthian as well as Attic red figure.1The

numberof datable,closeddepositscontainingCorinthianred figureis relativelyfew, but studyof these depositsdoes makepossiblea reasonableestimateof the lifespanof Corinthianredfigureand its popularityin comparisonwith Attic at differenttimes. Thefirstpurposeof the followinglist is to analyzethe evidencethatexists,independentof the painting style, for the chronologyof Corinthianred figure.The shape developmentof plain and black-glaze waresprovidesthe most consistentstandardfor the chronologicalsequenceof the deposits,sincemany containverylittlefiguredpottery,but it is a raredepositthat does not includeexamplesof severalplain or black-glazeshapesthat can be placedin a datableseries.2Coinsare mentionedwhentheyprovidea morespecificor widelydifferentdate. The depositlist is arrangedin roughlychronologicalorder;each entryincludesthe locationof the deposit,3the Corinthianredfigurefoundin it, the date,and a discussionof the materialfromwhichthe date is derived.Deposit 1 as the earliestcontextof Corinthianred figureis discussedin considerable detail, both for the date and the historyof Corinthianimitationsof other Attic wares.Whenevera deposithas been previouslypublished,the discussionis kept as brief as possible. The list includesthirteendatabledeposits.4No Corinthianred figureappearsin any contextearlier than the earlyfourthquarterof the 5th century(Deposits1 and 3), and no relativelywholepieceshave been found in any depositslater than the late thirdquarterof the 4th century(Deposit 10). The stray fragmentsthat have been found in Roman or Byzantinelevels, or for which no accuraterecordof stratificationhas beenkept, are groupedby generalareaof excavationin orderto give an indicationof the distributionof the fabric.The last groupincludesall the piecesfor whichthe provenienceis entirely unknown.Everycataloguedpiece from the Corinthexcavationsthus has a deposit or group number whichis includedin its Catalogueentry.The numberof eachdepositis placedin its properlocationon the map of the centralareaand environsof Corinth(P1.36). 1 Five fragmentsof Corinthianred figure were found in the Potters' Quarter;they will be publishedby Cedric Boulter in J. L.

Benson, Corinth,XV, iii, ThePotters' Quarter:ThePottery. 2 In the dating of black-glazewares I rely heavily on the comprehensivepublication of the Athenian Agora materialby Brian Sparkes and Lucy Talcott, AthenianAgora, XII, Black and Plain Pottery. For Corinthianpottery, I owe much to Hazel Palmer's excellent study of Classical Corinthian shapes in Corinth,XIII, The North Cemetery.Unfortunately, G. R. Edwards'volume, Corinth,VII, iii, CorinthianHellenisticPottery, came out after this volume was submittedfor publication. I was unable to make use of it and have only added cross referencesto his deposits where our studies overlap. 3 In many cases the deposits are identifiedby the letters and numbers of their field-gridlocations. In the early excavationsthese grids changedfrom year to year and from field notebook to field notebook, so that the grid numbersdo not refer back to any fixed map of the site. They are still useful for identification,however. 4 The material from the Athens National Museum included in the Catalogue is without any useful provenience,having been obtained from private sources.The Corinthianred figure found in the excavation of the Sanctuaryof Demeter and Kore through 1972has been includedin the Catalogue.Since the depositsand stratigraphyof the Demeter Sanctuaryare still understudy and will be publishedseparately,I have not includedthem in this study of the deposits.

14

THE DEPOSITS

Deposit 1: A stone sarcophagus grave.6

P1. 31

Location:Outsidethe North City Wall, nearthe northwestcorner. Corinthian red figure: 171. Date: Late third to early fourth quarter of the 5th century B.C. In addition to the Corinthian red-figurestemless cup, this grave contained 9 vases, all of Corinthian manufacture; 3 white-ground pattern lekythoi (C-32-224 to C-32-226), 4 skyphoi (C-32-199 to C-32-201 and C-32-229), a small stamped kantharos (C-32-228), a trefoil oinochoe (C-32-227). The oinochoe and skyphoi are indispensable offerings in 6th and 5th century Corinthian graves and are generally of Corinthianmanufacture.6Three of the 4 skyphoi in this grave are of the type called "rounded skyphoi"7 in the publication of the North Cemetery graves. The earliest examples of this shape are dated there to after the middle of the 5th century.8The three from this deposit are closest in shape to one from another grave datable to the third to fourth quarter of the 5th century,9and to several from a well of the third quarter of the 5th century.10 This shape of a thin-walled skyphos with a flaring ring foot and two horizontal handles below a plain rim corresponds to what is called the Corinthian-type skyphos in Attic black glaze. Although Palmer calls the 5th century Corinthianversion of this shape a "directimitation" of the Attic shape, its development can be traced in Corinthian pottery directly and continuously from the Protocorinthian ray-based kotyle.11The shape itself, then, should not be considered an imitation of Attic. The decoration, with the application of a red wash to the reservedarea above the foot, might be consideredan attempt to imitate the red of Attic clay, but at the time the rounded skyphos is becoming popular in Corinth, the Attic skyphos of Corinthian shape is no longer decorated with a reserved zone above the foot but instead is entirely black glazed or crosshatched in this area. The red-washedzone in the Attic version of the shape is most popular in the 6th century and is very rarely found later.12Pease notes this discrepancy in decoration 5 CorinthField Notebook no. 125, pp. 155, 156, 0. Broneer, 1932. 6 Corinth XIII, p. 80. 7 No consistent nomenclatureof Corinthiancup shapes has yet been established. Humfry Payne's identificationof the typical Protocorinthianthin-walledcup with flaringring foot and horizontalhandlesbelow a plain rim as the kotyle provideda useful term for this shape which can be applied to its various stages of developmentfrom the 8th to the 4th century(see Necrocorinthlia, p. 294). The term kotyle has found general acceptanceonly in referenceto 8th and 7th centuryversions of the shape, and even there it is argued that kotyle is not the true Greek name (see Richter-Milne,p. 27). The 6th, 5th and 4th century versions of the shape are most often called skyphoi, although the definitivecharacteristicsof the shape remain constant. Severalterms have been coined to distinguishbetweenthe skyphos type that developeddirectlyfrom the Protocorinthiankotyle and the Attic modificationof the shape with a torus ring foot and heavier walls. Beazley names the kotyle the "Corinthian-type" skyphos and the Attic modificationthe "Type A" skyphos (ARV2,p. li). Sparkesand Talcott, too, call the kotyle the "Corinthiantype" skyphosbut identifythe Attic modificationwith the torus foot as the "Attic Type A" (AgoraXII, p. 81). Palmeralso discards the term kotyle and calls both versionsof the shape skyphoi but does not make a broad division betweenan Attic and a Corinthian type. Instead, she divides the skyphos into a number of smaller classes by variationsin both shape and decoration(CorinthXIII, pp. 105-108 and 123-128).The kotyle or Corinthian-typeskyphosbecomes,dependingon its stage of developmentand/or decoration, the semi-glazedskyphos, the roundedskyphos,or the ovoid skyphos. The Attic type is identifiedas the skyphos with heavy or torus foot. The 4th centuryversion of the Attic type is called the Laphaesskyphos after a graffitoon a cup of this shape from the North Cemetery.The extensivesub-divisionwithin Palmer'sterminologyprovides a useful shorthandfor identificationof specificcups in a detailed study but tends to obscure the general pattern of shape development.The classes of semi-glazed,rounded and ovoid skyphoi representthree stages in the developmentof the shape, not three differentshapes as one might be led to believe. For the sake of consistency I have used throughoutthis study the Sparkes-TalcottAthenian Agora terminology. This proves awkwardin manycases, particularlywhenthe place of manufacturemust be identified.Suchphrasesas "Attic, Attic TypeA skyphos" and "Corinthian,Attic Type A skyphos" are unfortunatebut preferableto adding another name to an alreadyover-definedshape. In citing parallelsfrom the North CemeteryI have given Palmer's more specific group names in addition to the Sparkes-Talcott classification.The Palmer group names prove particularlyuseful for combinations of shape and decoration that are specifically Corinthianand thereforehave no place in the Attic system. 8 CorinthXIII, pp. 127-128. 9 CorinthXIII, Grave 367, no. 6, pl. 59. 10Pease, nos. 218-221, p. 308, fig. 37. See Deposit 3. 11Protocorinthian:S. Weinberg,Corinth,VII, i, TheGeometricand OrientalizingPottery, Cambridge, Mass., 1943, no. 246, p. 65, pi. 33. Early Corinthian:ibid.,nos. 261-263, p. 67, pl. 35. Middle Corinthian:CorinthXIII, Grave 155, nos. 4 and 5, p. 179, pi. 22. Late Corinthian:CorinthXIII, Grave 221, no. 2, p. 204, pl. 33. Late 6th, early 5th century: Campbell,nos. 89-119, pp. 589-591, figs. 15-20. Earlyto mid-5thcentury:CorinthXIII, Graves295, no. 1, p. 227, pl. 43; 340, no. 1, p. 244, pl. 52; and 341, no. 3, p. 245, pi. 51. Third quarterof the 5th century: CorinthXIII, Grave 357, no. 3, p. 250, pl. 56. 12 AgoraXII, pp. 81, 82.

THE DEPOSITS

15

between the Attic Corinthian-type skyphoi and their so-called Corinthian imitations in the late 5th century well she publishes.l3Neither in decoration nor in shape, then, is the Corinthianrounded skyphos an imitation of contemporaryAttic pottery. The fourth skyphos in the grave is of an unquestionably Corinthian type. It falls into Palmer's semiglazed Group ii14 and Pease's conventionalizing class.15In shape it is closest to a semi-glazed skyphos in a North Cemetery grave of the early fourth quarter of the 5th century.16 The squat oinochoe, too, can be placed in a Corinthian series. Its shape is that of Palmer's large trefoil oinochoai which were most popular in the first half of the 5th century;17its size (0.072 m. high without the handle), however, corresponds to that of a group of small trefoil oinochoai that gradually replace the large size in the second half of the 5th century.l8 This oinochoe is probably a transitional piece between the two series with the size of one and the shape of the other. As such it can be dated to the third quarter of the 5th century. The small stamped kantharos is another unusual piece. Kantharoi are not common offerings in Corinthian graves; only two others have been found in 5th century graves of the North Cemetery.19 The shape of this kantharos is also rare. It appears to be a miniature of the Attic sessile kantharos with low handles and stamped decoration. The full-size Attic shape is dated to the third quarter of the 5th century.20Two other miniature Corinthian versions of this Attic shape were found in the excavations of the Potters' Quarter, in late 5th century contexts.21 The three white-groundpattern lekythoi in the grave are definite copies both in shape and decoration of a common Attic type. As such, they are interestingboth for their date and for the history of Corinthian imitations of Attic pottery. Attic white-groundlekythoi first appear in the graves of the North Cemetery in the second decade of the 5th century;most popular are the Beldam-shapelekythoi with ivy decoration.22 Toward the end of the third quarter of the 5th century, Corinthian imitations of these lekythoi begin to appearin the graves of the North Cemetery.The Corinthianimitation goes through severalminor changes in shape and decoration by which it is divided into three chronological groups.23The lekythoi from the North City Wall grave with their red-washed necks and close adherence to the Beldam shape can be placed in the first group which Palmer dates to the third to fourth quarter of the 5th century. Shortly after its first appearance, the Corinthian version of the white-ground pattern lekythos totally replaces its Attic prototype in Corinthian graves. The development of the imitation white-ground lekythos at this particular time is one of the major argumentsfor the theory that the Peloponnesian War, making the importation of Attic pottery difficult, was the impetus for the development of local products to replace the unavailableAttic. The presence of the earliestpiece of Corinthianred figurein the same grave with the earliest of the imitation white-ground lekythoi is also a strong point in this argument. One important differencebetween the two cases is that the white-ground imitations completely replace the Attic originals, while Corinthian red figure never wholly replacesAttic. Every deposit of the period that contains a representativesample of figuredpottery 13

Pease, p. 308. XIII, pp. 124-125.

14 Corinth

15 Pease, p. 283. The terms semi-glazedand conventionalizingoften overlapin Corinthianpottery terminology.Semi-glazednow most often refersto a fairly plain decorativeschemein which a part of the vase has been left unglazedby dippingor by more careful reserving,and the rest coveredwith black glaze. Conventionalizingis generallyused for the decorativeschemein which the majority of the vase is left in the naturalbuff color of the clay, and decorativepatternssuch as meanders,palmettesand lotuses are painted in black glaze, dilute brown glaze and applied red. Pease uses "conventionalizing"for both these types of decoration. 16CorinthXIII, Grave 409, no. 5, p. 266, pl. 66. 17 CorinthXIII, p. 130.

18 Corinth XIII, pp. 132-133.

19CorinthXIII, Grave 330, no. 4, p. 239, pl. 49, Corinthian;Grave 338, no. 5, pl. 52, Attic. 20 AgoraXII, no. 633, pp. 115-116, pl. 27. 21 KP 222; KP 1997 - Circle Deposit. 22 Corinth XIII, p. 154. 23

Corinth XIII, pp. 141-143.

16

THE DEPOSITS

has some Attic red figure. Attic black-glaze shapes also continue to be imported throughout the Pelopon-

nesianWar.24 The pottery in this grave outside the North City Wall can be dated at the latest to the early fourth

quarterof the 5th century.The burialalso containeda singlebronzestrigilindicatingthat the gravewas that of a youth. The Corinthian red-figurecup with its representationof a young athlete was probably made specificallyfor this burial and therefore can be placed with the latest material in the group in the early fourth quarter of the 5th century. The grave itself falls into a group which, by its preponderanceof Corinthian pottery, indicates the drop in Attic imports at the beginning of the Peloponnesian War. The appearanceof the earliest piece of Corinthianred figure in this context is yet another sign of this pheno-

menonand the Corinthianpotters'reactionto it. Deposit2: North CemeteryGrave418. Location:The North Cemetery. Corinthianred figure:145, 146. Date: Late 5th century. Published:CorinthXIII, p. 270. This grave in the North Cemetery proper is somewhat later than the grave of Deposit 1. In addition to the mandatory Corinthian-made skyphos and oinochoe, it contained 6 Corinthian white-ground

lekythoiof Palmer'sGroupiii, the black-neckedversionwhichis later than the Groupi lekythoiin It is interestingthat while the graveheld only Deposit 1 and is dated to the end of the 5th century.25 imitationwhite-groundlekythoi and Corinthianred figure,in black glaze it containedan Attic squat lekythosof the last decadeof the 5th century,showingthat sometradewas beingsuccessfullyconducted betweenAthensand Corinthat that time. As a rule, the few Attic imports of the late 5th century found in the North Cemetery are plain or standardizedvases. The most imaginative are a squat lekythos decorated with a single bird of the Mina Painter type (Corinth XIII, Grave 422, no. 10)26 and a palmette lekythos (Corinth XIII, Grave 422,

no. 13). This generallack of distinctionis true also of the earlierimportsin the North Cemetery.The blackfigureof the followersof the majorityare kylikeswhich,whendecorated,carrythe unremarkable Haimon Painter or standardizedpalmettes. Late black-figurelekythoi are also plentiful.

The occasionalred-figurepiece is not outstanding.Only 8 red-figurevases have been found in the cemetery: 3 glaux skyphoi (CorinthXIII, Grave 342, no. 5; Grave 344, no. 9; Grave 346, no. 6), 2 mid-5th century cylinder lekythoi (Corinth XIII, Grave 306, no. 4; Grave 307, no. 3), 1 large fragment of a Mannerist column-krater (Corinth XIII, X 264), a late 5th century chous (Corinth XIII, Grave 426, no. 17), and a squat lekythos (Corinth XIII, Grave 422, no. 10). Because of the scarcity of red figure

in the North Cemetery,it is statisticallyinvalidto drawany conclusionson the dateof the introduction of Corinthianred figureor its lifespanfrom the potteryfound there.Since there are only 6 pieces of Attic red figurefromthe cemeterybeforethe late 5th century,one can not reasonablysay thatthe absenceof Corinthianred figureuntil the end of the 5th centuryis due to anythingbut chance and the Thereis also a gap in the sequenceof burialsin the North Cemeterybetween povertyof the cemetery.27 24 The North Cemeteryitself from the fourth quarterof the 5th century producedan Attic skyphos (Grave 404, no. 6), one ivy lekythos (Grave 404, no. 7), a black-glazesquat lekythos (Grave418, no. 14), a squat palmettelekythos (Grave 426, no. 18), a redfiguresquatlekythos(Grave422, no. 10),and a red-figurechous (Grave426, no. 17).The LechaionCemeteryproducedan Attic squat lekythos of the last quarterof the 5th century(C. W. J. and Mary Eliot, "The LechaionCemeterynear Corinth," Hesperia37, 1968, no. 58, p. 364, p1. 108). A woman's gravein the same trench as Deposit 1 held two Attic red-figuresquat lekythoi of the last decade of the 5th century: C-32-26and C-32-142.

25 Corinth XIII, p. 142.

26

CorinthXIII, p. 272, fig. 23. For the probableAttic manufactureof this vase, see below, p. 74, 187Q. 27The North Cemetery,the LechaionCemetery,and otherindividual gravesfound in the areanorthwestof the city are all relatively poor, producinglittle figuredpottery of any merit. Another cemeterymust have existed to serve the wealthiercitizens of Corinth. The large number of Corinthianred-figurevases from the area of Corinth in the Athens National Museum must be the result of

THE DEPOSITS

17

the late 5th century and the mid-4th century.28This gap unfortunatelycoincides with the most popular

period of Corinthianred figure and makes the North Cemeterymaterialof little furtheruse in this study. Deposit 3: Well at E-K: 3037.29 Location: Southwest Forum area, at the foot of the stairs that led up through the West Shops to the

precinctof TempleE. Corinthianred figure:117. Date: 460-420 B.C.

Published:Pease,pp. 257-316; Corinth VII, iii, p. 201 (deposit10). Littlecan be addedto the discussionof the potteryand date of this well as publishedby Pease.The latestmaterialin it is contemporary with Deposit 1. The well groupwithits greatervarietyand quantity of potteryis more usefulin a statisticalsurveythan the limitedgravegroupsof Deposits 1 and 2. The well containedfragmentsof 20 red-figurevases, 19 Attic, and 1 Corinthian.30 Manyof the Attic vasesdateto the decade430-420B.C.Thepresenceof fragmentsof only one Corinthianred-figurekrater in comparisonto so many Attic figuredvases indicatesthat, althoughCorinthianred figurewas being at the time this well was filled,it had not yet begunto rivalAttic red figurein popularity manufactured and that, in spite of the PeloponnesianWar,Attic potterywas still beingimportedin some quantity. The amountof Attic potteryfromthis well datableto the decade430-420necessitatesreconsideration of the North Cemeterystatisticsthat seemto indicatethat the PeloponnesianWardrasticallycut down Attic importsin Corinth.The percentageof Attic to Corinthianpotteryin this well does not vary significantlyfrom that in wells of the earlyto mid-5thcentury.Studyof 5th centurydepositsat Corinth shows that, although Corinthianpotters offeredlittle competitionto Attic figuredwares, they did producethe greaterpart of the domesticpotteryused in Corinththroughoutthe 5th century.The beOnthe otherhand,the suddendisappearance changethispattern.31 ginningof thewardidnot significantly of Attic potteryfrom the North Cemeterygraves of this periodmight be due to a numberof causes. Since gravesusually contain homogeneousgroups of potterymade at a specifictime for a specific purpose,theyprovidea moresensitiveindicationof a short-termchangein tradethanwellgroups,which of aremost oftenan accumulationof at leastseveralyears'refuseandgivea moreaccuraterepresentation long-termtrends.The absenceof Attic potteryin gravesof the earlyfourthquarterof the 5th century fromthe North Cemeterycouldeasilybe the resultof a sudden,but verybrief,cutbackin Atticimports. grave robbing from a wealthy cemeterynear Corinth.Also, a cemeterywith the burials of the first half of the 4th centurythat are missingfrom the North Cemeteryis necessarysomewherenear Corinth.A likely place for a wealthycemeteryto be located would be outside the east section of the city on the road to KenchreainearKraneionwhich was reputedto be a prosperoussuburbof Corinth (see J. Frazer,Pausanias'sDescriptionof GreeceIII, London, 1898, p. 18, note on II, 2, 4, "Craneum"). 28 Corinth XIII, p. 123. 29 CorinthField Notebook no. 144, pp. 177ff., R. Howland, G. Davidson, 1934. 30

Pease, nos. 3-22 and 217, pp. 260-272 and 307. A count of the most common and useful domestic shape, the skyphos, in various contexts easily proves this point. The unpublishedwell at K-23, dated to the first to second quarterof the 5th century,yielded41 Corinthian-madeskyphoi and 9 Attic. The Corinthian-madeskyphoiare mostly semi-glazedand divide about evenly into Attic and Corinthiantypes. Two of the Attic imports were of the Corinthiantype, and 7 were of Attic Type A. A slightly later well excavatedin the westernforum area in 1970(Forum West Trench4N, Well 1) produced4 Attic-manufacturedskyphoiand 30 Corinthian.Threeof the Attic skyphoiwere of Corinthian type and the fourth was an Attic Type B (glaux).Twenty-fiveof the Corinthian-madeskyphoiwere the Corinthiantype of Palmer's semi-glazedGroup i; 3 were the slightlyearlierCorinthiantype with fine rays at the base, and 1 was of the roundedtype. One body fragmentappearsto be from a Corinthianversion of an Attic Type A skyphos. The well at E-K: 30-37 (Deposit 3) contained 16 Corinthian-madeskyphoi against 16 Attic. Eleven of the Corinthian-manufactured skyphoi were of the Corinthiantype of Palmer's semi-glazedgroup; 4 were of the Corinthiantype of Palmer'sroundedgroup, and 1 was an Attic Type A. The Attic imports divided into 6 Attic Type A skyphoi and 10 of the Corinthiantype. Lamps presenta majorexceptionto the generalpreponderanceof Corinthianproductsin domesticwares. The early 5th century lamps found at Corinthare overwhelminglyAttic. From the well at K-23 15 lamps were Attic and 5 Corinthian.The well at E-K: 30-37 produced10 lamps, 5 Attic, 4 Corinthianand 1 of unidentifiedfabric; the 1970 Forum West well, 37 Attic and 3 Corinthian. This percentageis reversedby the end of the 5th century.The late 5th century-early4th centurywell at b-c: 18-19 (Deposit 4) yielded 12 Corinthianlamps against 1 Attic. 31

18

THE DEPOSITS

The presence of three Attic squat lekythoi and a chous in the Cemetery shows that importation was resumed at least by the last decade of the century (see footnote 24 above, p. 16). Alternatively, the drop in Attic imports might be another indication of the growing poverty and unpopularity of the North Cemetery which culminated in its almost total abandonment in the first half of the 4th century. Attic imports of the late 5th century should be looked for in the more wealthy graves of this period which most certainly have not been found in the North Cemetery. Whatever the cause, the combination of the material of Deposits 1 and 3 clearly places the origin of Corinthian red figure in the early fourth quarter of the 5th century. Deposit 4: Well at b-c: 18-19.32 Location: The area of the South Stoa terrace, northwest of the Roman Bema. Corinthian red figure, catalogued: 40, 54, 76-78, 86, 97, 112, 143, 148, 151. Rim and base fragments uncatalogued: C-37-437, C-37-438, C-37-441-C-37-443, C-37-2753-C-37-2755. Date: Late 5th-early 4th century. Published: Mentioned, with a photograph of the more interesting material, by Charles Morgan in his report of the 1937 excavations at Corinth, AJA 41, 1937, pp. 547-548, fig. 11; CorinthVII, iii, p. 216 (deposit 79). This well contained one of the largest deposits of Corinthian red figure, producing fragments of 17 Corinthian red-figurevases in comparison to 10 Attic. It contrasts sharply with the well of Deposit 3 with its fragments of a single red-figurekrater of Corinthianmanufacture.It seems clear that Corinthian red figure developed and began to rival Attic between 420 B.C., the lower date of Deposit 3, and the time that the well at b-c: 18-19 was filled. The well has not yet been fully published, but a brief survey of the pottery in it reveals a great deal from the late 5th and first quarterof the 4th century and none of the shapes characteristicof the second quarter of the 4th century.33As in earlier deposits, the majority of the pottery is of Corinthian manufacture,but there is still a significant amount of Attic black glaze. Again, the skyphos as the most common shape provides a useful measure both for the date and for the percentage of Attic to Corinthianwares. Sixteen skyphoi, 4 of Attic origin and 12 Corinthian,were kept from the well. Three of the Attic skyphoi are Attic Type A and not much later in developmentthan those of Deposit 3, showing no sign of the compound curve characteristicof the shape in the 4th century;34 the fourth Attic skyphos is of the Corinthiantype with a finely rayed base and the narrowingproportions of the late 5th century.35The remaining skyphoi are all of Corinthian manufacture. Four are Attic Type A,36slightly later than the Attic-manufacturedversions in the well, just beginning to develop the inward curve before the lip which becomes more pronounced as the 4th century progresses. Five are of the Corinthiantype with a red-washedreserved area above the foot.37The closest parallels in shape and 32 Corinth Field Notebook no.

162, pp. 67-84, C. H. Morgan, 1937. a majorproblemin the dating of this well. A piece of Corinthianred figurefrom the well, C-32-444,joins (= 97) with a fragmentfrom the drain at b-f: 19-20 (C-32-253,Deposit 5) which must be dated to the second quarterof the 4th century.The drainand well are very near one anotherand wereexcavatedat the same time, but the materialfrom the well is distinctlyearlier than the drainfill. It is probablethat at the time the drainwas filled,in a generalalterationand raisingof the level of the area in the second quarterof the 4th century,the same fill was spreadover the top of the alreadyfilled well. Thejoining red-figurefragmentmust have come from this level of the well. The excavatornoted (Field Notebook no. 162) many "Corinthianimitations of Attic and late Attic red-figuresherds"from the first0.80 metersof the well and from 0.80 to 2.60 m. From 2.60 m. down, the potterywas kept separately in 50 cm. lots to see if the characterof the fill changed. Since in the end all of the pottery from the well was put together, one can assume that the fill did not change, and that the Corinthianred figurethat was noted at the higherlevels continuedto the bottom of the well. There is now no way of determiningwhich of the Corinthianred-figurefragmentscame from the upper levels of the well and might be part of the later drain fill. Therefore,the Corinthianred-figurefragmentsfrom the well can be dated by their context no more closely than betweenthe upper date of the well and the lower date of the drain-late 5th to mid-4th century.It is because of the mix-up of some of the well and drain pottery, I assume, that the two groups are given the same date (second quarterof the 4th century) in CorinthVII, iii, pp. 216, 217 (deposits 79 and 80). 34 C-37-490,C-37-502,C-37-506.For closest parallelssee Corbett,no. 24, pl. 85: 1. 35 C-37-489.Parallel, Agora XII, no. 318, p. 257, pl. 15. 36 C-37-428,C-37-434,C-37-435,C-37-446. 37 C-37-430-C-37-433,C-37-450. 33 Thereis

THE DEPOSITS

19

decoration are rounded skyphoi from late 5th century graves in the North Cemetery. The base of a sixth,38totally black, Corinthian-typeskyphos was kept; the over-all glazing is unusual for Corinthiantype skyphoi of Corinthian manufacture,but common on the Attic-made ones of the later 5th century. Only one of the Corinthian-manufacturedskyphoi was of the uniquely Corinthian semi-glazed type.39 The decorative scheme of carefully reservingthe lower half of the body dies out in domestic contexts by the early 4th century, while the rounded skyphos rises correspondinglyin popularity for a short time.40 The disappearance of the semi-glazed skyphos, which until this time had constituted the majority of Corinthian-madeskyphoi, is also accompanied by a rise in the percentage of imitation Attic Type A skyphoi. It must be noted, however, that this rise in imitations is not due to a shortage of previously imported Attic, Attic Type A skyphoi, but rather to a decline in the popularity of the Corinthiantype.41 Furtherindication of the amount of late 5th century material in this well are fragments of 6 Corinthian white-ground lekythoi42of Group iii similar to those found in the North Cemetery grave of Deposit 2. The most interesting evidence for the skill and output of Corinthian potters of this period is a series of 13 cup-skyphoi from the well whose closest Attic parallels date to the early 4th century.43The cups are all very finely made with delicate walls and elaborately molded feet. They fall into two distinct groups with two different patterns of reserving and banding on the undersides corresponding to two styles of interior stampedpalmette patterns.These two series of cups indicate at least two potters' shops of the late 5th to early 4th century turning out pottery of a high quality which can be recognized as an imitation of a distinctly Attic type. According to the Athenian Agora chronology of Attic black-glazed pottery, the light-walled stamped cup-skyphos first appears in the third quarterof the 5th century and continues until the beginning of the second quarter of the 4th century, at which time the cup-kantharosbegins to replace it in popularity.44 The large numberof cup-skyphoiin this well suggeststhat the fill dates to the time of maximumpopularity of this shape, the first quarter of the 4th century. The absence of kantharoi reinforces this date. The lamps from the well also point to an early 4th century date. Twelve lamps were found in the well, 11 Corinthian and 1 Attic. The single Attic lamp is an early Type 23C, a type which originates in the first quarter of the 4th century and continues into the second quarter.45Four of the Corinthian lamps were of this type. The rest of the lamps from the well are earlier, belonging to groups that are popular in the late 5th and last into the early 4th century. Deposit 5: Drain at b-f: 19-20.46 Location: South Stoa terrace running north-northwestvery near the well of Deposit 4. Corinthian red figure, catalogued: 1, 10, 13, 21, 26, 27, 30, 45, 50, 55, 59, 80, 81, 97, 114, 127, 144. Uncatalogued rim and base fragments: C-37-249, C-37-251-C-37-253, C-37-255, C-37-256, C-37-259C-37-261, C-37-267. Date: First to second quarter of the 4th century B.C. Published: Mentioned in the excavation report of 1937 by Charles Morgan, AJA 41, 1937, p. 547; G. D. Davidson, Corinth,XII, The Minor Objects,Princeton, 1952, deposit XI, pp. 17-18; CorinthVII, iii, p. 217 (deposit 80). 38

C-37-427.

1, p. 277. Late Group ii. semi-glazedskyphosdoes survivein 4th centurygraves.See Palmer'ssemi-glazedskyphosGroupiii, very sloppy CorinthXIII, pp. 124-126, but it is no longer semi-finetable ware by any definition. 41 As has been seen in earlier deposits, the Attic Type A skyphos was never heavily imported(footnote 31 above, p. 17). 42 C-37-417-C-37-419,C-37-420,C-37-420 bis, C-37-421a,b. 43 C-37-340; C-37-343 + C-37-344 + C-37-357; C-37-345; C-37-346 + C-37-358; C-37-347; C-37-349; C-37-350; C-37-351; C-37-352;C-37-353;C-37-355;C-37-356;C-37-359.Parallel, AgoraXII, no. 603, p. 278, pl. 26. 44 Agora XII, p. 111. 45 AgoraIV, p. 60. 46 CorinthField Notebook no. 162, pp. 84-101, C. H. Morgan, 1937. a3 C-37-465.See CorinthXIII, Grave 437, no. 40 A versionof the

20

THE DEPOSITS

This deposit is the largest single source of Corinthian red figure yet discovered. It produced fragments of 25 Corinthian red-figurevases and 18 Attic. The amount of pottery of every sort from the drain fill is in itself remarkable;over 100 pieces were kept, and of these over 25 per cent are red figure. The high percentage of figured pottery can not be matched by any other deposit at Corinth. The drain fill should be dated to the second quarterof the 4th century, since many of the black-glazed shapes show slightly further development than their counterpartsin Deposit 4 which is dated to the first quarter of the 4th century.47Again, the skyphoi provide a good point of comparison. Eleven skyphoi weresaved,4 of Atticmanufactureand 7 Corinthian.TheAttic skyphoidividedinto 3 of Attic TypeA48 and 1 of Corinthian type.49The latest Attic, Attic Type A skyphos shows somewhat more contraction below the lip than its latest Attic or Corinthian counterpart in the well of Deposit 4, but still is early

4th centuryat the latest.50The Corinthian-made skyphoibreakdowninto 4 of Attic TypeA,512 Corinthian,521 semi-glazed,53and 1 miniature.54The latest Attic Type A skyphos shows a definite compound curve in profile, although it is still quite stocky and cannot be later than the early second quarterof the 4th century.55The two Corinthian-typeskyphoi have narrower bases than their well counterparts, and the red wash above the base has been replaced by crosshatching. Skyphoi with crosshatchingabove the foot are definitely later in Corinthian series than those with a plain, reserved, red-washed band. The earliest examples from the North Cemeteryfall into Palmer's class of ovoid skyphoi which she dates to the middle to the third quarterof the 4th century.56None of the examples from the drain have as narrow a base as the North Cemetery examples, and they should therefore be dated to the first half of the 4th century, providing the transition between the rounded and ovoid skyphoi that is missing from the North Cemetery because of the lack of burials in the early 4th century.57

The final indicationthat the date of the drainis later than the well Deposit 4 is the presenceof 4 Attic stampedcup-kantharoi58 along with the equallysignificantabsenceof any cup-skyphoi.The well, on the otherhand,containeda numberof cup-skyphoi.Onecan logicallyassumethat the timebetween the fillingof the well and that of the drainis the periodin whichthe cup-kantharoswas beginningto replace the cup-skyphos in popularity, sometimeafter 375 B.C.59 It is interestingthat all the cup-kantharoi fromthe drainare of Attic manufacture.Thisindicatesthat while the Corinthianswere followingthe Attic trendin buyingthe new shape,the changefrom cupwas so recentthatthe Corinthianpottershadnot yet begunto producea copy skyphosto cup-kantharos of the new shapeto competewith the Attic. Thisis anothersign of the continuinginfluenceof the Attic potteryindustryon the Corinthian.

47 Much of the pottery from the drain is contemporarywith, or even earlierthan, the latest materialfrom Deposit 4. None of it, however,is as early as the earliest well pottery, and very little can be placed in the 5th century. Only four lamps were found in the drain, and they offer no help in distinguishingthe date of the drain fill from that of Deposit 4. They are all of Type 21C which can be dated to the late 5th to early 4th century (AgoraIV, p. 48). Severallamps of this type were found in Deposit 4. 48 C-37-228,C-37-230,C-37-582. 49 C-37-224. 50 C-37-228.Parallel,Agora XII, no. 348, p. 259, pl. 16.

51 C-37-170-C-37-173. 52 C-37-175, C-37-176. 53 C-37-174. 54 C-37-177.

55 The nearestparallelis

AgoraXII, no. 349, p. 260, pl. 16, but the Corinthianone shows more curve and must be slightly later. 56CorinthXIII, p. 128 and Grave 447, no. 2, p. 280. 57Ibid. Crosshatchingas a decorative patternon Corinthian-typeskyphoi comes into vogue over fifty years later in Corinththan in Athens (see above, Deposit 1 and footnote 11). Since the shape develops almost simultaneouslyin both cities, the differencein decorationshould be attributedto a differencein taste ratherthan to some sort of "culturallag" betweenAthens and Corinth.The plain reservedband above the foot on Corinthian-typeskyphoi continuesto be more popular than crosshatchingdown throughthe third quarterof the 4th centuryin Corinth(see below, Deposit 10). 58 C-37-211,C-37-212, C-37-217,C-37-229.Two of these have been published in Agora XII, nos. 648, 649, p. 282, pi. 56, as the earliestexamplesof cup-kantharoi.They are dated there to 390-380 B.C. 59AgoraXII, p. 111.

THE DEPOSITS

21

In summary, although no one piece of pottery in the drain deposit need be dated later than the latest material in Deposit 4, the presence of new shapes and decorative patterns, along with the absence of

certainearliershapes,indicatesa later date for the draindeposit.From the combinedinformationof Deposits4 and 5, it can be said that the periodof maximumproductionand popularityof Corinthian red figure lasted from the end of the 5th century into the second quarter of the 4th century.

Deposit6: The SacredSpring. Location: The central area of the Sacred Spring, particularlyaround the mud-brickaltar. Corinthian red figure: 2, 3, 4, 17, 22, 23, 28, 72, 95, 103, 116, 120, 122, 129, 132, 134, 135, 140, 141, 152,

157, 173, 174, 180. Date: Late 5th, early4th centuryB.C. Published: C. K. Williams, II, "Excavationsat Corinth, 1968," Hesperia 38, 1969, pp. 36-63; "Corinth,

1969: ForumArea," Hesperia39, 1970,pp. 1-39; "Corinth,1970:ForumArea," Hesperia40, 1971, pp. 1-34. Recent excavations in the temenos of the Sacred Spring have revealed evidence for construction and

repeatedalterationof the shrinefromthe late 8th centurythroughthe Hellenisticperiod.Eightbuilding phases have so far been distinguished.The area is still under study, and no final conclusions concerning the absolute dates of the phases can be drawn without further excavation. Preliminaryfindings indicate that phases 2 and 3 cover the 5th and early 4th centuries in the Spring, and the finds from these levels

contributevaluableinformationfor the datingof the Corinthianred figure.No Corinthianred figure has been found in the levels of phase 2, the latest pottery from which is dated to the middle of the 5th

Numerousfragmentsof Attic redfigure,however,werefoundin the fill that datesthe end of century.60 2. phase Phase3 is distinguishedby the constructionof a mud-brickaltarwhichwas rebuiltthreetimes. No secureevidencefor the date of the efirst altarhas yet been uncovered;it can be placedwith confidence only sometime after the end of phase 2. A major alteration of the sanctuary took place between the construction of altars 2 and 3 and can be dated with some certainty from the quantity of pottery and

Corinthianred figurefirstappearsin coins in its fill to the firstto secondquarterof the 4th century.61 in connection with altars3 and 4. and at time of reconstruction Sacred the this the Spring 4, 23, 122, 140, 141 and 152 all come from a gravelfill broughtin to raisethe level of the sanctuary duringthe reconstructionin phase 3. 28 and 132 come from a dumpof about the same time.622, 22 and 95 werefound in the far easternsectionof the sanctuary,far fromthe mud-brickaltars.The area betweenthe altarsand this partof the sanctuaryhas not yet been excavated,and the floorlevelsof the two sections have not been coordinated.The three fragmentsin questionare definitelyfrom levels betweenaltars2 and4 is uncertain. withinphase3, but whetherbefore,during,or afterthe reconstruction A coin (69-254)foundwith22 and95 is datedto the firstquarterof the 4th century.Nothingfoundwith 2 need be later than the end of the 5th century. A smallpile of relativelyintactpotterywas foundon the last floorof altar2 withthe gravelfill of the reconstructiondumpedimmediatelyabove it.6372, 157, 173, and 174 all werefound in this pile. This smalldepositis of interestnot onlyfor its date,whichshouldbe the timeof the alterationof the sanctuary in phase3, but also for its functionin the sanctuary.Unlikethe potteryfromthe gravelfill, whichcould have been broughtin from anywhereand is not necessarilyconnectedwith the rites of the Spring,the potteryfoundon the altarfloorwasmostlikelyusedin the sanctuaryandis the resultof a generalclean60C. K. Williams, II and Joan E. Fisher, "Corinth, 1970: Forum Area," Hesperia40, 1971, p. 31. The pottery from phase 3 of the Springproves to be deceptivelyearlier than the coins (ibid., p. 20). This could easily be the case in phase 2, where there are no coins to correctthe false impression. 61 Ibid., pp. 16-22, 32-33, and p. 15, note 11. 62

Ibid.

c3 C.

K. Williams,II, "Excavationsat Corinth, 1968," Hesperia38, 1969, p. 56.

THE DEPOSITS

22

up before the reconstruction. None of the shapes from this deposit are typical votives; most are cooking

and householdware.The Corinthianred figureincluded2 shallowstemlesscups, suitablefor libations, and small fragmentsof 2 kraters.A numberof squat lekythoi with women's scenes have been found in the Spring, but none appeared in this or other deposits that can be definitely connected with sanctuaryuse; rather they were part of the artificial terracing fill which could have been brought into the Spring from

elsewhere. The fill brought in at the end of phase 3 to cover the last altar produced one sherd of Corinthianred

figure,134. Fragmentswerealso foundin variouslevelsof phase4, e.g. 116, 135. The end of phase4 is tentatively dated to the third quarter of the 4th century. No relatively whole pieces of Corinthian red figure have been found in any levels later than final alteration of phase 3. A number of fragments (17, 103, 180) have been found in the fill for the racecourse alteration which is probably concurrentwith the

beginningof phase7 and datesto the thirdquarterof the 4th century. Deposit 7: Well V.64

Location: Area of the Julian Basilica, the west half of the south aisle of the cryptoporticus.

Corinthianred figure:56. Date: Early4th century. When Well V was excavated in 1915, the excavator noted that it produced many sherds of the "late

fine style" and good blackglaze.Unfortunately,only 3 piecesfrom the well can be foundat this time: 2 Attic red-figure vases and the 1 Corinthian red-figure sherd. The Attic red figure is consistent with a date in the early 4th century. One is a common shallow askos with a panther;65the other is a shallow stemless cup with saucer foot, attributed to the Q Painter66(Paralipomena,p. 500, no. 13; ARV2, p. 1519,no. 13).It is impossibleto assigna firmdate to this well, since so few piecesof pottery

from it are available.From the informationin the Notebook and the potterythat does remain,it can be tentativelydatedto the early4th century. Deposit8: Fill for a 3rdcenturyterrace.67 Location:West of the northsectionof the West Shopsand south of TempleC. Corinthianred figure:15, well use fill; 118, cisternfill; 147, rubbleterrace. Published:S. Weinberg,"A Cross-sectionof CorinthianAntiquities,"Hesperia17, 1948, Groups E and F and no. 5. Date: Early3rdcenturywith some earliermaterial. Excavationspreparatoryto buildingan annexto the CorinthMuseumin 1940uncoveredevidenceof activity east of the Museum in the Neolithic and Early Helladic periods and from Geometric through Turkish times. Almost all indications of 5th and 4th century habitation were destroyed by later leveling and terracingoperations. A well and cistern apparentlyof this period were put out of use by a re-terracing of the area in the first quarter of the 3rd century. The well contained pottery of two differentperiods. The upper fill in the well dates to the construction of the terrace and contains 3rd century West Slope kantharoi.68In the mud at the very bottom of the well, a considerable amount of pottery reportedly dating to the late 5th century was recovered. Only the figured pottery from this level can be definitely identified: the one piece of Corinthian red figure and one large fragment of an Attic red-figurecalyxkrater. The style and composition of the Attic krater are most like the Lambros pelike in the manner of the Kadmos Painter which is dated to 420-410 B.C.69The use period of this well then can be dated to 64Corinth Field Notebook no. 81, pp. 301-315, C. W. Blegen, 1915. 65 CP 1701.

66CP 885. A picture of this cup is publishedin AJA 34, 1930, p. 339. 67 CorinthField Notebooks nos. 186, p. 305, 187, pp. 178-179, 188, p. 334, J. Kent, 1940. 68 S. 69

Weinberg, Hesperia 17, 1948, E5 and E6, p. 231, pl. 85.

H. R. W. Smith, CVA, San Francisco 1 [U.S. 10], 20 [480] and 21 [481]. ARV2,p. 1187, no. 1.

THE DEPOSITS

23

the late 5th century; however, a greater amount of pottery definitely from the earlier level would be needed to fix the date with any certainty. 118 is from the fill of the cistern put down with the terrace; this is identical to the upper well fill. 147 is from the rubble packing of this same 3rd century terrace.70 Deposit 9: Well at P-27.71 Location: The Southeast Building. Corinthian red figure: 119. Published: CorinthVII, iii, p. 217 (deposit 81). Date: Mid-4th to early 2nd century B.C. This deposit is of little value in the study of Corinthian red figure, since it yielded very few fragments of figured pottery: 1 fragmentarypalmette of a Corinthian bell-krater and 3 small pieces of Attic red figure. In addition, its stratigraphyis confused. Although the majority of the inventoriedpottery is black glaze of the mid-4th centurywith Attic Type A skyphoi of more developed shape than those in Deposit 5, one Megarian bowl fragment from the well was catalogued. This can be dated at the earliest to the beginning of the 3rd century.72Different types of fill were noted in the excavation but not in the catalogue. The uncertaintyof the stratigraphyalong with the limited amount of figuredpottery makes further study of this deposit unprofitable. Deposit 10: Filled drain and storage system under South Stoa terrace.73 Location: South Stoa terrace, southwest of Roman Bema. Corinthian red figure: 25, from pit at N-0:21-23; 83 and 85, from drain between Buildings I and II. Date: Late third to fourth quarter of the 4th century. Published: Pit at N-0:21-23, C. H. Morgan, II, "Excavations at Corinth, 1936-37," AJA 41, 1937, p. 547, pl. XIII, 2; CorinzthVII, iii, pp. 221--222(deposit 90). Drain between BuildingsI and II, C. K. Williams, II, "Corinth, 1971: Forum Area," Hesperia 41, 1972, nos. 17-58, pp. 155-163. The excavations of 1937 and 1971 have provided abundant evidence that 5th century buildings under the South Stoa terrace were destroyed and the area rebuilt at a higher level around the end of the third quarter of the 4th century. The pottery from the pit at N-0:21-23 dug in 1937 and that from a drain along the south and west walls of BuildingI excavatedin 1971are undoubtedlypart of a contemporaneous fill brought in for the re-leveling operation. The general character of the dumps and the latest skyphos shapes and lamp types are the same from both areas. In addition, at least one piece of pottery from the pit dug in 1937 joins with a sherd from the 1971 drain.74The east-west arm of the drain in fact runs along the north side of the pit.75 All of the pottery from the drain was saved for study, providing the most complete body of material yet available for a statistical survey. Since the drain and the pit pottery almost certainly belong to one deposit of contemporaneously dumped fill, I date the miniature Corinthian red-figurekrater found in the pit with the drain material but limit the statistical survey to the more complete body of material from the drain.

70 This piece is reportedto be "from a pocket of fi61discoveredbeneaththe stratumof the firstlevellingoperation"and therefore late 5th century(Weinberg,op. cit. [footnote 68 above], p. 229). 71 Corinth Field Notebook no. 191, pp. 113-121, S. Weinberg, 1947. 72 H. A. Thompson,"Two Centuriesof HellenisticPottery," Hesperia3, 1934, p. 315. 73CorinthField Notebooks no. 162, pp. 164-170, no. 163, pp. 10-75 and 158-172, C. H. Morgan,1937;no. 506, R. Mason, no. 508, M. Katzev, no. 512, S. Herbert,nos. 514, 517, S. Bancroft, all 1971. 74 C-37-2655joins C-71-338.See C. K. Williams, II, "Corinth, 1971: Forum Area," Hesperia41, 1972, no. 18, p. 156. 75 Ibid., p. 154. The pit which was identifiedas a cistern in 1937 is now consideredto be one of two wine cellars associatedwith the 5th centurybuildingsin the area.

24

THE DEPOSITS

Examples of the latest material from the drain are published in the report of the 1971 excavations. The lowerdatefalls around330-320B.C.,76but a numberof piecesfromthe secondquarterof the 4th century

The publishedcatalogueis only a smallselectionof the moreintersurviveduntil the drainwas filled.77 estingand datablepotteryfromthe drainwhichin fact produceda vast quantityof householdpottery, both semi-finetablewaresand cookingpots. Some 136 skyphoi alone were found along with a comparablenumberof one-handledcups, bowls of varioussorts,and a varietyof cookingware. The skyphoibreakdowninto 116of Corinthianmanufactureand 20 Attic. The Attic skyphoiinclude 16AtticTypeA and4 of the Corinthiantype.Onehundredandfourof the Corinthian-made skyphoiare Attic Type A, and 12 are of the Corinthian type.78Clearly, by the middle of the 4th century, the Attic

TypeA skyphoshas totallyreplacedthe Corinthiantypeas everydaytablewarein Corinth.The changeover from the Corinthianto the Attic-typeskyphosappearsto have takenplace with no intermediate stage in which importedAttic versionsof the Attic Type A skyphoswere dominantand thereafter imitatedby Corinthianpotters(see Deposits3, 4, 5). This is markedlydifferentfrom the development of Corinthianred figureand the Corinthianwhite-groundpatternlekythoi. The proportionof Attic to Corinthianpottery in this deposit again demonstratesthe continued strengthof the Corinthianpotteryindustry.Almostall of the everydaypotteryis beingsuppliedlocally. Attic importsare limitedto a few especiallyfine or unusualshapes.79 The finerCorinthian-made pieces from the drainare not imitationsof the more delicateAttic black-glazeshapesbut ratherparticularly Corinthianshapes,oftenwith the conventionalizing color schemeof buff,brownand red.80The earliest black examplesof the CorinthianPhlyax-kratershape (for figuredexamplessee 73 and 74) with the squatbell-shapedbodyon a low ringfoot, withknobsat the sidesof the handles,appearin this deposit.81 The one relativelywholepieceof Corinthianredfigurefromthe drain,85, is a smallversionof this shape withoutthe handleknobs. This draindepositof the thirdquarterof the 4th centurygives the lowerdate for the manufactureof Corinthianred figure.No relativelywhole pieces have been found in later deposits,and fragmentsof only three Corinthian red-figurevases were found in the fill of the drain, the one almost complete, small bell-krater, one body fragment of a large krater, and uncatalogued rim fragments of another large bellkrater.The pit at N-O :21-23 produced a large portion of another small Corinthianred-figurebell-krater. The presence of so little Corinthianred figure among such a large amount of pottery in an area that had previouslyproduced the largest deposits of Corinthianred figuremost likely indicatesthat the manufacture of the imitation fabric had stopped some time before the laying of the fill and that the Corinthian redfigure pieces found in the drain are survivals from the second quarter of the 4th century.82The nearly

completepiece from the drain and the fragmentsfrom the pit are both from small trophy-sizebellkraterswhichcould be expectedto be kept as heirlooms. 76 Ibid., nos. 24 and 25, p. 157, pl. 25, Corinthian-typeskyphoi, 350-330 B.C.; nos. 27 and 28, pl. 25, Attic Type A skyphoi, 350-330 B.C.;no. 53, p. 162, pl. 27, lamp close to Type 25 A Prime (AgoraIV), last quarterof the 4th century; no. 37, p. 159, pl. 26, fish plate, 325 B.C. 77 Ibid., no. 43, p. 160, pl. 27, Attic lamp filler, ca. 350 B.c.; no. 30, pl. 25, Attic calyx-cup,second quarterof the 4th century; no. 33, pl. 26, kyathos, to the mid-4th century. 78The decorationof Corinthian,Corinthian-typeskyphoicontinuesto differfrom theirAttic counterparts.Only one of the skyphoi from the drain showed the common Attic decoration of crosshatchingabove the foot; two were completely black, which is also a common Attic scheme.The rest had a plain reservedband above the foot; this is the most common decorationfound on Corinthian, Corinthian-typeskyphoifrom the early 5th centuryon, but is rarelyfound on the Attic versionof the shapelaterthan the 6th century. 79 Seven cup-kantharoiwere found in the drain, all Attic made. See also the calyx-cup C-71-49and the fluted guttus C-71-130in the 1971 excavationreport (Hesperia41, 1972, nos. 30, 42, pp. 159, 160). 80 Ibid., no. 44, p. 160, pl. 27, Corinthianlamp filler; no. 46, p. 161, pl. 27, Corinthianpyxis. 81 Ibid., no. 20, p. 156, pl. 24, and C-71-317,plus large fragmentsof several others. It is interestingthat these earliest black examples of the shape are very small, standingonly about 0.14 m. high. The later versionsare all full size (Weinberg,op. cit. [footnote 68 above, p. 22], E2, p. 231, pl. 85). The earlier figured Phlyax versions, Berlin, S. M. F 2939, Athens, N. M. 1391 and 73, are also full size. The red-figureexamplefrom the drain is small. Since the drain is in an area of cult activity, one might consider these small kratersdedicationsor trophies. For definitionof the CorinthianPhlyax shape see below, p. 34. 82Very little Attic red figure was found in the drain or pit: two stemless-cupfragments,one krater fragment and a small squat palmettelekythos from the drain; from the pit, one krater sherd.

THE DEPOSITS

25

Deposit11: Manholeat MuseumWest G-2.83 Location:West of the Museumand northeastof TempleE. Corinthianred figure:99, 102. Date: Last quarterof the 4th century. Published:S. Weinberg,"Excavationsat Corinth, 1938-39,"AJA 43,/1939,p. 596; CorinthVII, iii, p. 207 (deposit35); and mentionedby D. B. Thompson,"OstrakinaToreumata,"Hesperia,Supplement VIII, CommemorativeStudies in Honor of TheodoreLeslie Shear, Princeton, 1949, p. 367, note 12.

The fill of this manholecontaineda largeamountof potteryfrom the middleto the end of the 4th century. The latest vase is an Attic Type A skyphos with the very narrow base characteristicof the last

The majorityof the potteryis Corinthianmade;particularlyinterestingis the quarterof the century.84 appearance of an early Corinthian Phlyax krater with a garland around the handle zone. These kraters are squatter with lower, wider feet than the one published from the early 3rd century terrace fill of

Deposit885and exemplifyan earlierversionof the shapewhichfirstappearsin the thirdquarterof the 4th centurydrainfill of Deposit 10. The presence of only two fragments of Corinthian red figure among so much fine ware of other types would suggest that it had gone out of style by the end of the 4th century.This is borne out by the scarcity

of Corinthianred figurein all depositslaterthan this time. Deposit12: Depositnorthof ShopIV.86 Location:Colonnadeof the SouthStoa directlynorthof ShopIV. Corinthianred figure:6, 75, 82. Date: Firsthalf of the 3rdcentury? Published: Mentioned by 0. Broneer, Corinth,I, iv, The South Stoa and its RomanSuccessors,Princeton,

1954,pp. 7, 8, and 95; "Excavationsat Corinth1946-47,"Hesperia16, 1947,p. 238; CorinthVII, iii, pp. 218-219(deposit 87). In the excavationsof 1946someremainsof a smallbuildingpredatingthe SouthStoawerefoundunder the South Stoa colonnade. Within the north room of this building there was uncovered a deposit of pottery, settled in and around a 6th century well. The pottery ranges from mid-4th century to the first half of the 3rd century; the latest pieces are two West Slope kantharoi both closely paralleled byvases

froman early3rdcenturycisternin the AthenianAgora.87 Deposit13: Cuttingin bedrock.88 Location:SouthStoa terrace,southeastof the RomanBema. Corinthianred figure:92. Date: Early3rdcentury. This is a smalldepositwhichcontained,in additionto the red-figurefragment,somefine black-glaze sherds and a coin of Antigonos Gonatas datable to the early 3rd century. The following groups contain all the pieces of Corinthian red figure not found in significant datable

contextsor whoseprovenienceis unknown.Area of excavationis given wheneverit is known. 83 Corinth Field Notebook no.

184, p. 48, S. Weinberg,1938.

84 C-38-572. Closest parallel, Agora XII, no. 353, p. 260, pl. 17. This is the latest object I found from the manhole although

Edwards(CorinthVII, iii, p. 207) believes the deposit goes down to 275 B.C. 85Weinberg,op. cit. (footnote 68 above, p. 22), E2, pl. 85. 86CorinthField Notebook no. 194, pp. 107-126, 0. Broneer, 1946. 87 H. Thompson, op. cit. (footnote 72 above, p. 23). C-46-108 is a later version of B 4, p. 335; C-46-109 is paralleled by B 19 and B 20, p. 338. The presence of a Vandal coin (A.D. 408-450) casts some doubt on the validity of this deposit, and no exact strati-

graphy was recorded.See Edwards'interpretation,CorinthVII, iii, p. 219. 88 Corinth Field Notebook no. 147, p. 119, R. Howland, 1935.

THE DEPOSITS

26 Group1: Forum Area

SouthStoa terrace Agora Southwest Pit south of SouthStoa storeroomXVII SacredSpring,cleaning SouthStoa terrace,Byzantinefill SouthStoa terrace,Byzantinepit TempleE SouthStoa terrace SacredSpring TempleE 5th to 4th centuryB.C.housein front of SouthStoa SouthStoa terrace SouthStoa terrace,southwestof the RomanBema NortheastAgora, Byzantinelevels, boundedon the east by the Julian Basilicaand on the South by the CentralShops ForumCentral 67 68, 70 TempleE SouthStoa terrace 73 88 Agora Southwest,foundationsof the West Shops NortheastAgora,medievaldrain 90 Southof TempleE 96 100 Agora Southwest 101 NortheastAgora,Byzantinelevels 105 SacredSpring,cleaning SouthCentralAgora,draincuttingwith "mostlyGreekfill" 106 Southof TempleE 108 149 SouthStoa terrace 115, 154 ForumSouthwest 166 SouthStoa constructionfill 167, 168 SacredSpring ForumSouthwest 172 SacredSpring 176 SouthCentralAgora,Byzantinepit 178 SouthStoa terrace 179 SacredSpring 183 7 9 11 12 16 34 37 38 49, 57 60 61 64 65 66

Group2: Found in the Asklepieion with no record of specific area of stratigraphykept: 35, 53, 62, 69, 89, 107, 109, 110, 182, 184 Group3: The Theater 46, 63, 150 Group4: Miscellaneous

14 32 41, 58 79 91

North slope of TempleHill Museumtrialpit Towardthe North CityWall North slope of TempleHill North Marketarea

THE DEPOSITS

27

94 113

East CityWall Bathsof Eurykles

128

From a box of antiquities confiscated by the Corinth police in 1928. The good condition of the material suggests grave robbing, but there is no more detailed information of provenience.

159

The box was publishedby L. T. Shoe,"A Box of AntiquitiesfromCorinth,"Hesperia1, 1932. OakleyHouse South,west of TempleE

Group5: No knownprovenience 5, 8, 18, 19, 29, 36, 42-44, 47, 48, 51, 52, 71, 74, 84, 87, 93, 98, 104, 111, 130, 131, 133, 136, 137, 139, 142, 153, 156, 158, 163, 165, 169,,17 175, 177, 181, 185, 186

Vasesfrom the AthensNationalMuseum 24, 31, 121, 125, 126, 138, 160, 161

Piecesfromthe Sanctuaryof Demeterand Kore on Acrocorinth 20, 33, 39, 123, 124, 155, 162, 164

IV

CATALOGUE All measurements are in meters; those of sherds are the maximum preserved. All photographs are at a scale

of 1:2 unlessotherwiseindicated. A. PELIKAI1-14

Thepelikewas a popularshapein the Corinthianred-figurerepertoire.In additionto the 12fragments catalogued from the Corinth collection, five complete Corinthian pelikai are on display in the Athens National Museum (N.M. inv. nos. 1473, 1476, 16025, 17471 and 17472) and one in Nauplia. Two more have been identified certainly: one in the New York Metropolitan Museum (inv. no. 57.43) and one in the Reading University Museum (inv. no. 87.35/25).1Judging from the number of complete vases of this shape from unknown contexts in collections outside Corinth, one may assume that the pelike was

a populargravegift in late 5th centuryCorinth.2 The shape of the pelike shows little development in Corinthian red figure. No whole examples have been uncovered at Corinth, but those existing in other museums are all the squat, rather simple shape of the Attic pelikai of the last quarterof the 5th century. None show the 4th centuryAthenian preference for the tall, slender shape, or high flaring neck with the handles touching the elaborate overhanginglip, exemplified by the later pelikai from Olynthos3and the numerous pelikai of Beazley's Group G.4 The Corinthian pelikai were not all produced in one decade as their similarity of shape might lead one to believe. The standardizationof the form illustrates rather the Corinthianpotters' conservativetendency

when dealingwith an importedshape.The paintingstyles on the pelikaishow a time span of over 30 years from the earliestPelikai Painter(1, 2, and Athens, N.M. 17472)throughthe PatternPainter (Athens, N.M. 1473) to the middle Sketch Painter (Athens, N.M. 16025). 1 (C-37-234)Pelike P1. 1 Deposit 5. H. (as restored) 0.165, max. Diam. 0.130. Many joining fragmentspreservemost of the foot, about two thirdsof the body, most of the neck, one handle,and none of the rim. Restoredin plaster. Globular body, continuouscurve from mouth to base; short, broad neck; straphandlesfrom shoulder to just belowmouth;moldedringfoot, groovebetween

undersideof floor and foot where they meet at a sharpobliqueangle.Restingsurfaceof foot andunderside of floor reserved,exteriorglazed with reserved groovebetweenfoot and body. A. Drapedyouth standingright,wearinga himation over his left shoulder, his right arm, preservedto elbow, extendedto right,probablyholdinga staff,the bottom of whichcan be seen to lowerright.He wears

1 I would like to thankDr. Dietrich von Bothmerfor bringingthe New York pelike to my attention, and ProfessorA. D. Trendall for telling me of the one in Reading, of which A. D. Ure kindly supplieda study photograph. 2 No red-figurepelikai have been found in the gravesof the North Cemetery,but this is a strongerargumentfor the povertyof the cemeterythan againstthe pelike as a graveoffering.The pelike was a common graveofferingelsewherein the 5th century.It was the most numerousand importantshapefound on Rheneia(DelosXXI); S. Karouzou("Un tombe de Tanagra,"BCH95, 1971,pp. 138145) maintainsthat the Attic red-figurepelikai of the 5th centurywere manufacturedalmost exclusivelyfor grave use. 3 OlynthusXIII, nos. 48 and 49, pp. 100-101, pls. 62 and 63. ARV2,p. 1473,Painterof Salonika34262. The two-degreehydria lip startsas earlyas the Lambrospelikeon Attic pelikai(420-410 B.C.)and is presenton a pelike of the Meidias Painter(H. R. W. Smith, CVA, San Francisco 1 [U.S. 10], 20 [480], and discussion). A pelike from a grave at Tanagra "near the Pronomos Painter" (Beazleyin S. Karouzou,op. cit. [footnote 2 above], p. 124, note 22) shows the two-degreehydrialip with ovule decoration. 4 ARV2,pp. 1462ff.; ca. 370 B.C.and later.

PELIKAI a wreath.He standsabove,not on, a reservedbaseline. An egg-and-dotpatternabove on the centerportion of the neck. B. Very fragmentary.Draped youth standing to left. Preservedare his right hand and lower arm extendedto left holdinga staff,his drapedrightankle andfoot drawnfrontally,and his left shoulder.Behind him to right a tall stele. He standsabove a reserved base line. Egg-and-dotpatternon centerof neck. No relief contour. Relief line for interior detail. Reservecontourfor head. Applied white for wreath on A. The egg-and-dotpatternon the neckwas meant to be one egg longer;relieflines for it are visible,but the areawas not reserved.Miltos and light slip on all reservedsurfaces.Green-blackglaze, fairly lustrous, chipped.Glaze inside neck, dilute wash inside body. Wheelmarksvisibleon lowerbody exterior. By the PelikaiPainter.The eye with the heavylids, the loose mouth and recedingchin of the youth on side A are all typical. Comparewith 4 and 15. The

29

black glaze varyingfrom dull to shiny. Dilute-glaze wash brushedon interiorand for "cloak" on righthand athlete.Miltos. No slip. Sketchlines visible. By the PelikaiPainter.Again,the profilesare recognizable. The flat, frontal anatomicalmarkings are also indicative.Comparewith 15 and also with a pelikein the AthensNationalMuseum,inv. no. 17472, on whichthe frontalfiguresof two athletes,with their large heads, straightline for clavicle,and single line from pectoral to navel, are definitelyby the same artist as this vase. From the extreme flatness and stiffnessof drawing,2 is probablyfrom early in his career, ca. 420 B.C.or a little later.

date the pot, however, because of the conservative tendencyof Corinthianpotters.The singleyouth with a staff is a common motif on pelikaithroughoutthe 5th century.For a close parallelin decoration,see Delos XXI, no. 24b, pl. 10. The attemptat a threequarterview, althoughnot completelysuccessful,is daringfor the PelikaiPainter.Judgingfrom this small advance in drawing techniqueand its provenience, I would place this pot late in his work and date it to the beginningof the 4th centuryB.C.

3 (C-72-71a-c) Pelikefragments P1. 1 6. H. W. Th. 0.003. Mended Deposit a) 0.029, 0.060, from two joining fragments.b) H. 0.032, W. 0.057, Th. 0.003. Mended from two joining fragments. c) H. 0.023, W. 0.025,Th. 0.003. a) Lower-body fragment preservingpart of egg patternat bottom of figurezone, above which is the foot of a drapedfigurefacingright. b) Lower-bodyfragment preservingproper right foot and some draperyof the figure on a, and the bottom of a staffwhichhe holds to left. c) Upper-body fragment showing the torso of a figurewearinga chitonand himation. No relief contour. Relief line and dilute glaze for drapery detail. No slip. Miltos on reservedareas. Good black glaze on exterior. Dilute-glazewash on interior. Probably by the Pelikai Painter. Compare with side B of 1.

P1.1 2 (C-70-42a, b) Pelikefragments Deposit6. Two fragments:a) H. 0.072,chord0.084. Mendedfrom threefragments.b) H. 0.23, W. 0.018. Th. of both a and b 0.003. a) Body and beginningof neck fragment.At right, torso of a frontalnude athleteholdinga strigilin his extendedright hand. His right side is preservedfrom shoulderto knee.His bodyis in a modified"S" curve. A band of dilute glaze, possibly a cloak, crosseshis upperchestfromhis rightshoulder.At farleft, another nude athlete: head to right, body frontal, preserved from head to thighs. His left arm is extended,the missingleft hand probablygraspinga staff,the lower part of which is preservedto right. Betweenthe two athletesa stele or post, less than waisthigh. b) Bodyfragment.Shoulderand rightarmof a nude figure,headand bodyfacingright,armextendedright. Preservedare part of neck, chin, shoulderand arm to below elbow, smallpart of torso. Partial,thin,sketchyreliefcontourfor hand,bottom surfaceof arm and leg of right-handathleteon a and for upperfigureon b. Reliefline and heavyblackglaze usedfor interiordetail.Reservecontourfor head.Fair

4 (C-70-47)Pelikefragment P1. 1 Deposit 6. H. 0.086, Diam. of mouth0.086, Diam. of neck 0.075. Mendedfrom elevenpieces. All of neck,most of mouth,partof shoulderon one side and upperhalf of one handlepreserved.Gently curvingshoulder,short wide neck, rim flaringout to very slightly overhanging, outward-thickenedlip. Straphandlesmoldedonto neckand curvingup under but not touchinglip. A. At far left, head and shouldersof a woman moving right. She wears a chiton and an elaborate snood or hairnetwith stringstied in bows projecting out behind her. To right we can see the top of a decoratedbox she is carryingwith eggs on top, which may suggesta weddinggift. Above her on the neck, a wreath decoration to left between thin reserved bandsthat stopsjust beforethe handlezone. B. (Not illustrated.)Sametype of wreathdecoration as on side A, on neck. Brokenjust below this. No relief contour. Thin relief lines for interior markings.Reserve contour for head. Thick applied whitefor hairnetwith miltosoverit. Verydarkmiltos over all reservedsurfaces.No slip. Good black glaze,

shape is closest to Attic versions of ca. 430-420 B.C.: CVA, Oxford 1 [G.B. 3], 20 [112], 6; CVA, Providence 1 [U.S. 2], 20 [73], 3. The shape cannot be trusted to

30

CATALOGUE

flakingand peelingbadly aroundfigures.Good glaze on insidebecomingstreakyon shoulder. By the Pelikai Painter. Comparethe profile with those on 1, 13, 20, 121 and 125. The angle to the lip and the heightof the handlesplace it earlyin the 4th century. See OlynthusXIII, black-glazed example no. 238, pl. 139.The wedding-giftsceneis muchmore commonon hydriaiand loutrophoroithan on pelikai in Attic red figure, but Corinthian potters rarely attemptedthese shapes and placed the genre scenes on the shapesthey did make.The closestAttic parallel for the elaborate headdressof the woman on this fragmentis a much simpler,two-bandedversion, on

b) Lower-borderfragment. Egg-and-dot pattern borderedby a reliefline above and belowthe reserved band. At far right, unidentifiedpiece of draperyor heel, and very scarceremainsof applied-whiteground line. Relief contour for legs of youths and separating reservedborderbandfrom figurezone. Reliefline for interiordetail, particularlyankles. Appliedwhite for flower.Red-buffslip. Fair blackglazewith some signs of burning.Very dilutewash inside.

7 (C-72-27)Pelike(?)fragment PI.2 Group 1. H. 0.045, W. 0.041, Th. 0.004. Mended an Attic hydria in Munich, ca. 430 B.C.: CVA, Munich 5 from two joiningfragments. Lowerbody from pelike or oinochoe.An egg-and[Germany20], 232 [967], 4. This headdresswas a favoriteaccessoryof the Pelikai Painter.See 23 and dot band marksthe bottom of the figurezone. Above this are two rocks in added white with the foot of a 125. drapedfigurestandingon top of them. No relief contour. Interior detail renderedwith 5 (CP 1704)Pelikefragment P1. 1 H. W. Th. 0.006. 5. relief line. No slip. Miltos on reserved surfaces. 0.043, 0.046, Group Shoulder-to-neckfragmentof a closed vessel with Appliedwhite.Thin blackglaze. shoulder sloping more vertically than horizontally, 8 (CP 2704)Pelike(?)fragment P1.2 curvinggentlyinto a wide neck. Head and shoulderof a youth, facing left, wearing 5. H. W. 0.004. Th. 0.060, 0.077, Group a spiked wreath,his right arm extendedto left and Fragmentfrom shoulder. At right, right half of down. Trace of draperyover his left shoulder.Badly torso of a nude male, chest frontal, right arm outpeeledreservedobjectin frontof him,possiblyflowing stretched.At left, piece of drapery,probablyhanging drapery. The glaze was in better condition when from the outstretchedarm of the figure. Relief contouron youth. Relief line going to dilute originallyinventoriedin the 1920's:an aryballoswas seen in the background,and some applied white glaze for interior markings.Fair, dull black glaze. Blob of glazeinsidefromneck.Pinkslipwithtracesof remainedon the fillet. Relief contourfor youth's profile.Reservecontour miltos. for head. All color and glaze, except for one black This fragment could be from a large oinochoe chip to indicateits formerexistence,has peeledfrom ratherthan a pelike. Thereis a Corinthianred-figure wreath.One assumesthe wreathwas in appliedwhite, oinochoe with a semi-drapedyouth from Mykenai: although this rarely peels the black glaze with it. Cook, F4, p. 58, pl. 20. Fairly lustrous black glaze, badly peeled. No slip, miltos.No traceof glaze or washinside. 9 (C-34-144)Pelikefragment PI. 2 Group 1. H. 0.079, W. 0.065, Th. 0.006. 6 (C-46-120a, b) Pelikefragments P1. 1 Body fragment.Buttocksand upper legs of semiDeposit 12. Two fragments:a) H. 0.055, W. 0.106, drapedmanwalkingright.He wearsa heavy,bordered Th. 0.005.Mendedfromfivejoiningpieces.b) H. 0.060, himationdrapedloosely about him. No reliefcontour.Draperyoutlinedin diluteglaze. W. 0.047, Th. 0.006. Feet and Relief lower line of various thicknessesused for interior a) Lower-body fragment. legs, of two each other youths facing undraped, closely. markings.Dilute and full glaze for zigzag borderof The youth on the right may be seated (see 97 for a cloak. Miltos and slip. Dull green-blackglaze. No clearerexampleof this position),his left leg extended glaze on interior. and slightlyraised;the weightis on his right,whichis Probablyby the SketchPainter,earlyin his career. held back. The youth to left is leaningforwardon his The chlamyshangssimilarlyon a youth leavinghome right foot, heel of left foot raised.A small piece of on an amphora by the Suessula Painter, M.M.A. draperyhangs down in front of his right knee. The 17.46.1:ARV2,p. 1344, no. 2; Richter-Hall,pl. 162. extended left foot of the first youth overlaps and covers part of the right foot of the second youth. 10 (C-37-262)Pelikefragment P1.2 There are faint remains of a wavy, applied-white Deposit 5. H. 0.061, W. 0.078, Th. 0.004-0.005. groundline below theirfeet. At far left, a flowerand Lower-bodyfragment.At right,nudelegs of a man, part of a volute. Below the figurezone, only the top all weighton his right leg which is seen in profileto part of an egg patternis preserved. left; only the toes of his left foot, seen frontally,are

CALYX-KRATERS touching the ground. At left, drapery piled on a chair or rock. Below the figure zone, reserved band with wave pattern. No relief contour, except for reserved band, but very marked 3 mm. line around figures. Relief line for interior details, peeling. Miltos, no slip. Fair, chipped, green-black glaze. Very dilute wash on interior with one large black dribble. 11 (C-37-773) Pelike fragment P1. 2 W. Th. 0.003-0.004. 1. H. 0.037, 0.046, Group Lower body fragment. Naked legs of youth moving right. Weight on proper right leg, left bent and slightly raised. No relief contour. Dilute glaze for interior detail. Dull black glaze badly peeled. Miltos. No slip. Pls. 2, 33 12 (C-69-113) Pelike fragment Group 1. H. 0.067, chord 0.105, Th. 0.004-0.005. Mended from three pieces. Body fragment. Front of horse moving right, preserving all of left foreleg and top of right, left leg raised high. There is part of a cloaked figure at far right. Calf and thigh of nude rider on the horse and reins are visible. No relief contour preserved. Relief line and shiny yellow, dilute glaze for interior detail. Very sketchy drawing with short broken strokes. Preliminarysketch lines visible. Dark miltos. No slip. Dull black glaze; streaky, dilute black glaze inside. By the Sketch Painter, toward his middle period but while he was still using shiny yellow, dilute glaze for some of his interior markings, in the manner of the Suessula Painter. Compare the drawing of the horse, with its sketchy three-quarterview of the chest, with the rendering of the bull on 80. The subject and composition of 12 are very similar to 160, which shows the beginning of a horse race. The drawing on this piece is very fine, particularlyin the details of the rider's leg and foot. 13 (C-37-263) Pelike fragment Deposit 5. H. 0.051, W. 0.101, Th. 0.005.

P1. 2

31

Fragmentof upper body as it begins to curve up into neck. Head and shouldersof a bearded satyr headwreathed. facingright,chestright,foreshortened, To right, a thyrsos.Furtherright,the top of a head, wearinga wreathand fillet. No reliefcontour;reservecontourfor heads.Thick appliedwhite and yellowdilutewash for wreaths'and part of thyrsos.Relief line for all interiordetail.Full glazefor most thyrsosberries,whitefor a few. Brown wash on thyrsos, miltos on other reservedsurfaces. Light slip. Glaze overfiredfrom greenblack to light brown;unglazedinteriorwith patchesof dilute'glaze whichhaverun from neck. By the Hermes Painter. The satyr's snub-nosed profileand the careful,detaileddrawingof his eye are not paralleledon any vase in Corinthor Athens. A satyr on a Corinthianpelike in New York (M.M.A. 57.43,P1.32) has a profileand eye verylike the one on thisvase.The New Yorkpelikeshowsa satyrstanding in front of a seated maenad; our fragmenthas the satyrbehindthe seatedmaenad.The'lip on the New York pelikehas the sameprofileas 4. The drawingof the New York satyr with heavy, fluid but sketchy lines for the chest is unlike anythingby the Pelikai Painter, although the maenad recalls somewhatthe women of the latter. The close Iconnectionbetween the Hermes and the PelikaiPainterscan be seen on this vase particularly. 14 (C-29-162)Pelike(?)fragment PI. 2 4. H. W. Th. 0.006. 0.072, 0.055, Group Lower-bodyfragmentfrom a closed, ovoid shape. A womanfrom the waist down, walkingleft. Her left foot is preservedabove a reservedband of blob eggand-dot pattern. The lower folds of drapery are renderedby loops. No reliefcontour.Fine reliefline for drapery.Dark miltos, no slip. Fairly good blackiglaze tending to green.Chipped.Interiorunglazed,one blob dripping down. The veryrudimentary drawingof the egg patternon the lowerborderof this pieceis muchlike that on the bell-krater55 by the PatternPainter.

15-19 B. CALYX-KRATERS

The calyx-kraterwas not a commonshapein Corinthianredfigure.Fragmentsof only fivehavebeen havebeen identifiedwith certainty;only thosefragmentsthat comewithoutquestionfromcalyx-kraters includedunderthis heading.A numberof fragmentslistedunderbell-kraterscouldbe fromeithershape but havebeen labeledsimply"krater"ratherthan "bell-krater". Just as the Corinthianpotterspreferredto stay awayfrom the moreelaborateversionsof the pelike and did not often attemptmore intricateshapessuch as hydriai5or loutrophoroi,they preferredthe 5 Thereis one Corinthianred-figurehydria(121) with a very Meidianwoman's scene. Corinthianpottersdid producevery successful black-glazehydriai with ribbed bodies and knotted handles. Two were found in Deposit 5.

32

CATALOGUE

solid, simplebell-kraterto the more complicatedcalyx-krater.Whena Corinthianpotterdid take the it seemsto havebeen an ambitiouspiece,and the qualityof painting troubleto producea calyx-krater, matched the effort of the potting. See 15 and 16 particularly. 15 (C-40-417a-d) Calyx-krater fragments Pls. 2, 34 Deposit8. Manyfragments,somejoining,preserving most of rimand a largepartof upperbody. Est. Diam. of rim0.390. a) H. 0.130,W. (as chord)0.160.Mended from threejoining pieces. b and c) H. 0.040, chord 0.325. Mendedfrom ten joining pieces. d) H. 0.020. a) Rim and body fragment.At far left, the upper portion of the head of a youth facing left, wearinga helmet, with two spear points projectingabove and behindon his right side. In front of him and slightly above, a large wing, drawnwith horizontalstrokes. This is probablyBellerophonon Pegasos.To right of this pair, facing awayfrom them,a womanstanding, head in complete profile to right and body threequarterright (but not properlyforeshortened).She is preservedto just below the waist and wears a thin peplos.Relieflinesunlikebraceletson both wristsmay Her indicatesome sort of long-sleevedundergarment. waist left is extended at arm raised. In arm level, right her left hand she holds a long garland;threedots are visible at its end. To right, a youth, head in profile right, body frontal, preservedto waist. He wears a very elaboratefillet and decoratedcloak over his left arm.He is leaningforwardslightlyand may be sitting, or reaching for something. Reserved tooled band betweenbody and rim,wreathof pointedleavesto left on rim, another reservedtooled band between rim and outward-thickened,slightly everted lip. Two reservedbandsinsidemouth 0.055 m. apart. b and c) (Not illustrated.)Fragmentsfrom rim and beginningof body. Top of two laurel branchesand somepossiblefeatherson backareall thatis preserved beyondthe samerim decorationdescribedon a. d) (Not illustrated.)Very small, upper-bodyfragment: feathers. Relief contourfor all that remainsof Pegasosand Bellerophon,back of woman's neck, laurel branches on b and c, and feathers on d. The Pegasos and Bellerophonare probablypart of a differentand more finely drawn scene than the youth and woman who, facingin the oppositedirection,are most likelyon the back(sideB) of the krater.Reliefline and diluteglaze for details.Reservecontourfor heads,hair solid with reservecontour.Applied white for youth's fillet and remainsof wreathon woman'shead,and one berryon one of the laurel brancheson b, c. Traces of dark miltos on all reservedareasotherthan Pegasos'wing. The miltos has worn completelyawayin some places, and the figures appear never to have been slipped. Thin, streakygreen-blackglazefiredto light brownin places. It has not peeled but seems rather to have been too thin in some places. Sketchlines visible.

Published by S. Weinberg, Hesperia 17, 1948, p. 230, El, pl. LXXXV.This is one of the bestpots by the Pelikai Painter.The profilesand eyes are again typical of his work (comparewith 1 and 2), but the largesize of the calyx-kraterlends a certaindignityto the figuresthat is lackingon the pelikai.The drawing of the small part of the Pegasos and Bellerophon preserved,with its completerelief contour and fine attentionto detail,showsthe carefuldraftsmanship of the better work of the Pelikai Painter. From the flatnessof the drawingof the figureson B and the inabilityto drawthe woman'sbreastsin three-quarter view, I would date this kraterfairlyearlyin the work of the Pelikai Painter, ca. 425 B.C.

16 (C-37-2329a-e) Calyx-krater P1.3 fragments 1. Five H. W. 0.073, fragments:a) 0.067, Group Th. 0.009at rim,0.006on body.b) H. 0.042,W. 0.050, Th. 0.006.c) H. 0.040,W. 0.076,Th. 0.007.d) H. 0.021, W. 0.039,Th. 0.006.e) H. 0.090,W. 0.055,Th. of body wall 0.010, Diam. of handle0.040. a) Body and beginningof rim fragment.Reserved tooled groove betweenbody and rim. Out-flunghand andwristof maenador satyrprojectingin frombroken rightedge.At left, a pieceof swirlingdrapery,probably from another figure. Maenad's hand twisted interestingly. b) Bodyfragment.Neck and lowerface of a maenad to rightwith headflungback. She is wavinga thyrsos over her head of which only the staff,passingbehind her head,is preserved.Thereare tracesof a fawn skin pinnedover her left shoulder. c) Body fragment.Upper legs of a man, moving right, weight on right leg, left leg raisedand bent at the knee. Probablya satyrin a danceposition.See 56 for this position,with weighton otherleg. Partof his left leg is coveredby the heavy, bordereddraperyof anotherfiguremoving right, out of the range of the fragment. d) Raisedupperarmof a figurecarryinga fawnskin. e) Handlestumpand part of calyx. Edge of figure zone with rudimentaryivy patternboundingit. Complete relief contour, except for profile of maenadon b whichis well drawnin diluteglaze, and one hand of the maenadon a to retainthe illusionof the twisted,flutteringhand. Dilute glaze for separate strandsof maenad'shair on b, and washedoverfawn skin on d. The dots of the fawn skinsare also in dilute glaze. Red-buffslip, no miltos. Sketch lines visible. Fair black glaze,going dull and brownin places. Thesefragmentsarefromone of thefinestCorinthian red-figurepots yet found. It is too fragmentaryto

BELL-KRATERS attributewith certainty,but the hand of the maenad is close to that of the satyr on the New York pelike (M.M.A. 57.43) by the HermesPainter(P1.32). The hair of the maenad,the use of reliefcontour,and the quality of the slip and glaze would also fit with the work of the HermesPainter.This kraterwas a monumental pot for Corinthianred figure. From the size of her head,the maenadmusthavebeen some0.30 m. tall; adding the rim above and the calyx and stem below, the vase must have stood nearlyhalf a meter high. The closest Attic parallelfor this pot is the name vaseof thePothosPainter(CVA,Providence1 [U.S. 2], 23[76], 1; ARV2, p. 1188, no. 1) which shows a similar Bacchic revel. The Pothos Painter's krater depictsa maenadwith her armflungout, a fawn skin drapedover it, much like the fragmentaryarm on d. The maenadis also reminiscentof those by the Dinos Painter on the Naples stamnos, N.M. 2419: ARV2, p. 1151, no. 2; A-H-S, pls. 206-211. A pelike in the Louvre, inv. no. G 433, near the Dinos Painter, accordingto Hahland,p. 11 and pl. 1 (ARV2,p. 1342), is also in the same spirit. The Pothos Painter kraterin Providencedates to

33

a convexcalyx.The calyxis decoratedwitha meander. On the upper body above a black-glazedshallow groove separatingthe calyx and upper body are the feet of two mantledfiguresfacing each other. No relief contour. Relief line for interiordetails. Orange-buff slip.Tracesof miltoson reservedsurfaces. Good black glazeinsideand out. 18 (CP 1720)Calyx-krater P1.3 fragment H. W. Th. 0.004. 5. 0.062, 0.046, Body Group fragment. At left, shoulderand upraisedproperleft arm of a figure seated on a horse, only the mane of which is preservedat the far right, movingright.The rideris wearinga cloak and holdingup a tray of offeringsof whichonly the hangingfilletsare preserved. Relief contour for rider. Relief line for interior marking.Applied white for fillets. Miltos and slip. Good, lustrous, slightlygreenishblack glaze. Sketch linesvisible.

19 (CP 1678)Calyx-kraterfragment PI. 3 Group 5. H. 0.023, W. 0.043, Th. 0.005. Body fragment,concave. Part of the wing of an Eros or Nike rising verticallyfrom shoulderas he or ca. 420 B.C. she movesright. No relief contour. Heavy relief line for interior PI. 3 17 (C-72-141)Calyx-krater fragment markings.Dilute glazefor pin feathers.Red-buffslip; Deposit 6. H. 0.076, W. 0.053, Th. 0.006. Fragmentof a slightlyoutflaringupperbody above tracesof miltos. Good blackglaze.

20-120 C. BELL-KRATERS

The bell-kraterwas by far the most popularshapein Corinthianred figure.Figuredfragmentsof havebeencataloguedhere,andrimfragmentsof at least34 othersexistin the Corinth over80 bell-kraters collection.6

Althoughthe Corinthianshave been creditedwith the inventionof the column-krater,the ancient name of which may in fact have been Kopiv$ioupyiS7,the bell-kraterdid not become popular in Corinthian fabric until the first imitation of Attic red figure.8The fragmentarycondition of the Corinth collection and the absence of feet and bases, which are the most diagnostic elements for the shape dating of bellkraters, make any conclusions about the shape development of the Corinthian bell-kratertenuous. One whole example of a Corinthianbell-kraterhas been preservedin Athens (31). It is by the Hermes Painter, and its foot is the simplest version of the two-degree molded krater foot, which in Attic pottery would date to the end of the 5th century.9The shape of the bowl and the placement of the handles on 31 are close to the two fragmentary bell-kraters by the Pattern and Pelikai Painters at Corinth (55 and 27). From their general resemblance, it can be assumed that their feet would also have been similar. This

simplefoot wouldhavebeendecidedlyold-fashionedin the firstquarterof the 4th century,whichis the 6 Corinth Pottery Lot 7138. This numbercan be used only as a minimum, since there is no record of how many rim, base, and other non-figuredfragmentshave been discardedover the years of excavationsat Corinth. 7A. Rumpf, ChalkidischenVasen,pp. 45, 123.J. D. Beazley,"SomeInscriptionsonAttic Vases," AJA 31,1927,no. 13,pp. 350-351, and "Some Inscriptionson Vases," AJA 45, 1941,no. 9, p. 597. Particularlyinterestingis the fact that the column-kraterwhose inscribedundersideis the major piece of evidencefor this identificationis by the SuessulaPainter,whose connectionwith Corinthis discussedin ChapterII, p. 10 and under 76. 8 This is not surprising.The bell-kraterseems to have been primarilya figuredshape, and plain bell-kratersare rare even in Attic. See Agora XII, p. 55. 9 Betweennos. 2 and 3 in Tillyard'sdiscussionof kraterfeet in TheHope Vases,p. 6.

34

CATALOGUE

most productiveperiod of the PatternPainter.From this, it may be tentativelyconcludedthat the Corinthianpotters showed the same conservatismin their bell-kratersas their pelikai, changingthe shape verylittle in forty to fiftyyearsof manufactureat Corinth. Thereis one strikingexceptionto this generalconservativetrend.Towardthe end of the firstquarter of the 4th century,Corinthianpottersdevelopeda distinctlyCorinthianbell-kratershapeunlikeanything in Attic. I have namedthe shape the CorinthianPhlyaxkraterbecauseof the appearanceof Phlyax scenes on several examples of it. The shape (Athens, N.M. 1391, PI. 29) is a deep, squat bowl set on a low,

wide, ring foot in two degreeswith no stem betweenthe foot and bowl. The lip is in two degreesand decoratedwith a chevrondesign or ovules like the 4th centuryAttic pelike or hydrialip. This short, squatshapewas antitheticalto the Attic taste of the 4th centurywhichgenerallyinclinedtowardheight and slenderness.Anotheruniquefeatureof these CorinthianPhlyaxkratersis the applicationof small clay knobs at eitherside of both handles.The knobs are often decoratedas flowers.No wholefigured examplesof this shapehavebeenfoundat Corinth,but therearefragmentsof at leastthreein the collection (73 and 74, and KP 2727fromthe Potters'Quarter).Onewholeexampleis on displayin the Athens NationalMuseum(Athens,N.M. 1391,PI.29) and one, previouslyin Berlin,has beenlost (S.M. F 2939, P1.31). Thesetwo pots, the Berlinone by the HermesPainterand theAthensexample,possiblyby the HermesPainterbut too sloppyto attributepositively,show somedevelopmentof this shape.The Berlin krateris shorterwith a widerfoot and handlesset lower than the later Athens example.The shape, althoughbasicallysquat, does follow the 4th centurytrend to elongation.In additionto the figured fragments,severalwhole black-glazeversionsof this shapehave been found at Corinthin 4th century contexts.10 Theyoftenhavean applied-white-and-pink garlandaroundthe handlezone.The shapeof the CorinthianPhlyaxkratershowsthat Corinthianpottersevenin theirimitativeproductswerenot always dependenton Attic prototypes. Four smallbell-kratersin the Corinthcollectionare also worthyof note for theirshape(25, 85-87). Theyare all obviouslytoo smallto serveany practicalpurposeas mixingbowls. Suchsmallbell-kraters are not unusualin Attic or South Italianware, and, as on the Corinthianexamples,they often show athleticor dramaticscenes."l Consideringthe subjectmatterand the impracticalityof their size, it is likely that these small kraters are trophies or dedications.

20 (C-65-523)Bell-kraterfragment No relief contour. Interior detail done with relief P1.3 Acrocorinth Sanctuary of Demeter and Kore. line that has almost all peeled. Dilute glaze or faded H. 0.095, W. (as chord) 0.135, Th. 0.005. Mended black for the youth's swordstrap.No slip. Miltos on from six joining fragments. all reservedsurfaces.Badlypeeling black glaze inside Rim and upper third of body. This fragment and out. preservespartof two membersof a processionmoving By the Pelikai Painter.Note the large eye of the To female a a left, figurewearing light peplos woman, with eyebrowextendingall the way to the right. and carryinga box with a scarf in front of her. She bridge of the nose. The frontally drawnchest of the wears her hair in an elaborate lampadion with a youth is also typical. Compare with 2 and 4. The decoratedheadband.In front of her, a youth standing woman's headdressis very similarto that of the leftwith righthand on hip and his weighton his rightleg, hand figureon the hydria 121 by the PelikaiPainter. chest frontal and head in profile right. He is nude PI. 3 except for a petasos hangingbehind his head and a 21 (C-37-250)Bell-kraterfragment sword strap across his chest. A himation is draped 5. H. W. Th. 0.006. Mended 0.098, Deposit 0.125, casuallyover his forearmsand around his back. On from fivejoiningpieces. the rim, a wreathpatternto right. 10 C-38-560,C-38-563, Deposit 11. C-71-316,C-71-317,Deposit 10. C-72-25. 11Nike and a racer,J. Jiithner,AthletischenLeibesiibungender GriechenII, pls. 34 and 35, a. CVA, Norway 1, 42, youths. CVA, Laon 1 [France20], 36 [908], 5, athletes. Oxford, Ashmolean 1932.517,Trendall,Phlyax Vases2,no. 51. Private collection, Turin, ibid.,no. 63. In additionto the athleticand dramaticvases, thereis a whole group of small Boiotian red-figurebell-kraters,decorated with women'sheads, that should not be overlooked.A. D. Ure, "BoeotianVases with Women's Heads," AJA 57, 1953,pp. 245-249.

BELL-KRATERS Body fragment.Torch-raceprocession.l2At left, a youth preservedfrom chest to knees, nude exceptfor a himationdrapedover his left shoulder.His legs are seen in profileto right,rightknee bent, weighton left left; he may be leg. His chest is turnedthree-quarters lookingbackto left. In his left hand he holds a torch preservedto just abovethe hand shield,righthand on hip. To right is the right side from neck to hip of anotheryouth. His chestand armare drawnfrontally, some draperyaroundhip. No relief contour. Relief line and dilute glaze for interior detail.Appliedwhite for torch hand shield. Miltos over all reservedsurfaces.Very thin slip, or none. Black glaze dull. Looped sketchline at elbow. By the Pelikai Painter. Comparethe torch guard with that on 59 by the PatternPainter.This must be almost exactlythe same scene as on 59, but the two fragmentsare not from the same pot. On these two fragmentsthe close connection between the Pelikai and the PatternPainterscan be seen. Comparethe flat drawingof the chest of the right-handyouth with those on 2 and 15. 22 (C-69-131)Bell-kraterfragment P1.3 Deposit 6. H. 0.050, W. 0.081, Th. 0.004. Mended fromtwo joiningpieces. Body and beginningof rim fragment.Head and shouldersof two dancinggirls moving left. The girl at left is playing the double flute and wears a thin peplosand a fillet.The girlbehindher to righthas her right hand on the first girl's left shoulder.She, too, wearsa fillet. In the field behindthem hangs a tainia with long strings.Reservedband betweenbody and rim, and also insiderim. Paintbadlypeeledbut thereappearsto be no relief contour.Reservecontourfor head(?),hairsolidblack. Reliefline, now peeled,for interiordetail.Right-hand girl'sprofilein diluteglaze.Diluteglazefor decoration on hangingfillet. Appliedwhite with pink wash and dilute glaze over it for the filletswhich the girls are wearing.Hangingfillet in thickappliedwhite,colored pink with miltos and shadedwith dilute glaze.Miltos on all reservedsurfaces.No slip. Interiorsketchlines visible. By the PelikaiPainter.The wide-open,heavy eyes, the hair of the left-hand girl, and the fall of her draperyare all similarto 15.

35

23 (C-72-75)Bell-kraterfragment P1.3 Deposit 6. H. 0.048, W. 0.070, Th. 0.005. Mended from two joiningpieces. Upperbody and beginningof rim. Head of woman facing right.Her hair is tied back by crossingstrings. She wearsan earring. No relief contour. Relief line for eye. Reserve contour for head. Applied white with pink wash for headdress. Thin buff slip (?). Miltos on reserved surfaces.Dull black glaze. By the Pelikai Painter. Comparewith 4 and 125. Note the headdressand the eye. 24 (Athens,N.M. 16026)Smallbell-krater PI. 4 H. 0.160, Diam. rim 0.180, Diam. foot 0.070, max. Diam. (at handle zone) 0.135. Intact except for one chip from rim. Hollow, pedestalring foot in two degrees.Lower degree convex in profile; upper degree low, vertical and inset, scarcely more than a fillet. Bell-shaped body. Rim flares outward with a slightly outwardthickenedrolledlip, tooled grooveon exteriorbetween rim and lip. The inside of the foot is reserved,unslipped,and washed with miltos. Resting surface black glazed. Lower degree of foot black glazed, upper degree reservedandcoloredwithmiltos.A narrow,horizontal, reservedline marks the bottom of the figure zone. Above the figurezone the rim is separatedfrom the body by a narrowreservedline. Rim decoratedwith a wreathpatternto leftwhichdoesnot runcontinuously but is brokenoff aboveeachhandle.The tooledgroove between rim and lip is reservedand colored with miltos. Two reserved, miltos-painted bands run aroundthe inside of the rim. A. At left, a woman seatedto right on a rock. She wears a light peplos and is drawn completely in profile. She holds extended in both her hands a necklacewhichshe appearsto be offeringto a woman who is approachingher from right. The woman on the rightis standingwith her rightfoot forwardfacing the womanto left. She wearsa chitonover whichis a heavilyborderedhimation.She offers a large box of fruit and nuts to the otherwoman,holdingit forward in her righthand. Both womenwearwreaths.A floral volute springsup from the groundbetweenthem.

12The torch race, or victory ceremonyafterthe race, was a popular subjectin Corinthianred figure.There are three other representationsof youths (35, 59, 161B) holding torcheswith the hand guardthat Giglioli has shown to be typicalof the torch race (RAL, ser. 5, 31, 1922, pp. 330f.) and one representationof a bull sacrifice(80) that is very close to Attic scenes of the sacrificeafter the torch race (see discussionunder 80). The only other evidencefor a Classicaltorch race at Corinthis Pindar'sreferencein Olympian XIII to a certainXenophonof Corinthwho won seventimes at the Hellotia. The scholiaidentifythis as a festivalof Athenaat Corinth in which young men run carryingtorches(Scholiaveterain Pindaricarmina,ed. A. B. Drachmann,Leipzig, 1903-27, I, pp. 367-369). Consideringthat there is good evidencefor torch races honoring at least five gods in 5th centuryAthens-Hephaistos, Prometheus, Athena (IG 12,84: the regulationsfor the Hephaisteiain 421/20 B.c.), Pan (Herodotos,VI, 105)and ArtemisBendis(Plato, Republic, 327a and 354a),it is likely that therewas more than one torch-racegod in ClassicalCorinthand one should not assign all torch-race scenes to Athena Hellotis on the basis of the single survivinglate literaryreference.Also, the presenceof the dancing satyr on 35 and Dionysos on 161 suggestsa more Bacchic festival for some of the Corinthiantorch racers.

36

CATALOGUE

B. A maenadstandsfacingleft holdinga thyrsosin her outstretchedright hand. She wears a chiton and heavily borderedhimation,and a wreathin her hair. Behindheris a tall stele or perhapsa buildingcolumn. In front of her is a floral volute which is the reverse image of the one on side A. No relief contour. Relief line and full glaze for interior details. Reserve contour for heads. Applied whitewithdarkredmiltosoverit for the rockon sideA. Appliedwhite with a pink miltos wash over it for all wreaths.The smallerfruits in the gift box on side A are done with the same appliedwhitewith pink overwash while the largerones are reservedwith a pink wash. No slip; miltos on all reservedsurfaces.Very thin black glaze. By the Pelikai Painter.Note particularlythe wide eyes and heavy hair. Comparewith 15 and 22. In shapethis vase is very similarto the small bell-krater 25, and the wreathpatternon the rim brokenby the handlezone is distinctive.Althoughthe drawingon 25 is too plain and fragmentaryto attributewith any certainty, the shape and supplementarydecoration would place it at least in the same workshopas this krater.

slip. Thin black glaze fired chocolatein some places, unsuccessfulin others, good on stem, peeling inside. Undoubtedlythe samesubjectand shapeas 86. This krater,however,is done entirelyin the conventional, reserved red-figuretechnique; the stem is slightly taller,so thisvasemaybe somewhatlater.Themantled youth is too standardizedto attributeto any painter. He does beara certainresemblanceto the youthon 85, but can be more closely associatedwith the Pelikai Painter.See discussionunder24.

26 (C-37-264+ C-37-270)Kraterfragment P1.6 H. 5. W. Th. 0.005. Mended 0.080, 0.081, Deposit from two joiningfragments. Body and beginningof rim fragment.An athlete's arm,holdinga strigil,extendsin from rightbreak.At left a Nike(?). Only the lower part of her face is preserved,looking back toward the athlete over a very stiffly drawn wing. Two halteres hang in the backgroundbetweenthe two figures. Reliefcontourfor undersideof athlete'sarm.Relief line for interiordetail.Miltos on all reservedsurfaces, no slip. Fair but splotchyblack glaze. Possiblyby the PelikaiPainter.Note the similarity of the handholdingthe strigilto that on 2. If this is by 25 (C-37-2665a-g) Smallbell-kraterfragments P1.3 the PelikaiPainter,the differencein skill displayedon I Deposit 10. a) H. 0.085, W. (as chord) 0.085, the wing of the Nike and the Pegasos wing on 15 is Th. 0.003.Mendedfromtwojoiningpieces.b) H. 0.060, striking. W. 0.029, Th. 0.003. Mendedfrom two joiningpieces. P1.5 c) H. 0.059, Diam. of stem 0.048, Th. 0.004. Mended 27 (C-37-239)Fragmentarybell-krater from two joining pieces. d) H. 0.035, W. 0.036, 5. H. 0.190 H. Diam. at Deposit (restored 0.250), Th. 0.003. e) H. 0.026, W. 0.055, Th. of rim 0.005. handle zone 0.227, Th. 0.006. Mended from many f and g) H. 0.022, W. 0.065, Th. of rim 0.005. fragmentsand restoredin plaster. of small like 24 and 86 Three quartersof the body from stem to rim with bell-krater,very Fragments in shapeand size. all of one handleand one stumpof the otherpreserved. a) Largepart of body and beginningof rim. Com- None of the stem or rim remains.Almost all of the plete picture preservedon one side. A cloaked boy glaze has peeled,apparentlymore from over cleaning facingrighttowarda tall stele with rudimentaryIonic than from naturalprocesses. A. At far left, the lowerhalf of a womanwearinga base. Hanging on the wall behind him, two halteres side by side. He stands on a reservedground line light peplos or chiton, standingto rightwith rightleg borderedby streaksof dilute glaze. Wreathdesignon bent at the knee and her weighton her left leg. From the little paint that remainson the upperportion,she rim. No ridgeor groovesettingoff body from rim. to have her right hand on her hip and to be appears b) Body and beginningof rimfromotherside. Hand a scarf in her outstretchedleft hand. On holding extendedto left witha strigil.Partof a palmetteto left. line in front of her, a small floral volute. At ground c) Lower body and stem with very beginningof far right is the lower half of another woman also foot. Diam. of stem 0.037, of lower body 0.075. wearing a long-skirtedgarment. Between the two Scrapedgroove betweenbeginningof foot and stem. women,the lowerlegs and lower tip of an Eros'wing. d) Part of a leg, but probablydoes not belong to Tracesof appliedwhite remainon the Eros' legs. this vase. B. Almost all of the glaze is gone, but thereappear e, f (not illustrated)and g) Rim fragments.Wreath to have been mantledfigures. on rim, tooled groove betweenrim and small, slightly Under each handle a palmetteflankedby volutes evertedlip. Reservedband insiderim. Wreathpattern reachingto just below the handle stumps.Below the stops for handlezone on e. figurezone, a reservedband with egg and dot. No relief contour. Reservecontour for head, dot No relief contour; relief lines for interior detail. mouth. Dilute glaze to outline figures.Relief line for Thin slip. Miltos on all reservedsurfaces; applied interiordetail, particularlyheavy for eyes. Miltos, no white. A scrapedgroove indicativeof some sort of

BELL-KRATERS pottingerrorrunsaroundthe vase at the knee level of the figures. Too littleis preservedof the paintingon this vase to say much about the style. It is almost identical in shape and size to 55 (by the PatternPainter)but is stylisticallycloserto worksby the PelikaiPainter.See particularlythe lekythos 138. The completecovering of the Eros in appliedwhite is the most extensiveuse of addedcolor in any Corinthianred figure. PI. 6 28 (C-70-53a-f, h) Bell-kraterfragments Th. 0.005. chord 6. a H. + f) 0.180, 0.110, Deposit Mendedfrom23joiningsherds.b) H. 0.035, W. 0.050, Th. 0.006.Lower-bodyfragment.c) H. 0.019,W. 0.028, Th. 0.008.Lower-bodyfragment.d) H. 0.034,W. 0.024, Th. 0.007.e) H. 0.028,W. 0.020,Th. 0.006.h) H. 0.011, W. 0.031, Th. 0.005. Wall fragment. From fragmenta this appearsto be a fairlyslender bell-krater,curvingin quicklyto a narrowstem. a) Preservesthe far left of the lowerbody of side A, and the far rightof side B. Side A: the feet and lower legs of a voluminouslydrapedfemale runningright; she is wearinga light garmentthat billowsaroundher legs. Behindher in the handlezone are the lower two thirdsof a palmette.Directlyto left, on the far right of sideB, is the lowerhalfof a figurestandingleftwearing a simplydrawnhimation.A reservedbandwithegg and dot runs beneaththe figurezone all aroundthe fragment. b and d) Non-joiningfragmentsbut certainlyfrom one figure.Front foot and lowerleg of lightlydraped woman runningleft; behind her the beginningof a palmette; below, an egg-and-dotpattern. These are from far rightand handlezone of side A. c) Egg-and-dotband below figurezone. e) At right,ankleto left; at left, basket. h) Neck and part of right shoulderof a woman running right, wearing a light chiton. Probablythe samewomanas on a. Relief contourfor the women's feet and for ankle on e. Relief line varyingfrom light to very heavy for interior markingson side A. Lustrous black glaze tendingtowardbrown,firedto streakybrowntoward bottom, badlypeeledon b. Miltos. Buff slip. Publishedby C. K. Williams,It, Hesperia40, 1971, no. 39, p. 33, pl. 9 (a only).The sceneon sideA should be reconstructedas two women facing each other from either side of the vase, with a third figure in between.Sincethe ankle of the middlefigureis small and undraped,it is probablyan Eros, and the composition of the scenewould be much like that on 27. A good workby the PelikaiPaintergivinga greatdeal of attentionto the drapery,drawingmany folds in a strong, wiry, relief line. The detail is much more carefulthan his ordinarywork, and the use of relief contour greater,but comparewith the fine drawing on 121, also by the PelikaiPainter.

37

PI. 6 29 (CP 2716) Fragmentof smallkrater Group 5. H. 0.033, W. 0.029, Th. 0.005. One fragment,concavein profile,from the wall of a small krateror large Attic Type A skyphos. The fragmentis beginningto curveout for the rim and is most likely from a small bell-krater. Head and shouldersof a naked youth facing left and moving right. He wears an ephebic headband withapex.He is finelydrawnwithgreatattentiongiven to eye and ear; the ear is renderedas a figureeight. Relief contourfor profileand headband;reliefline for interior markings. Reserve contour for head. Dilute glaze for hair with headbandreserved.Miltos on all reservedsurfaces.No slip. Fair black glaze. Thisis a finepieceof drawingandappearsto beearly. It recallsthetorchracerson the neck of a volute-krater from Spina by Polion: Alfieri,Arias, Hirmer,Spina, pi. 108, ca. 420 B.C.; ARV2, p. 1171, no. 1. Perhaps a

good work by the PelikaiPainter. Pls. 6, 7 30 (C-37-237)Fragmentarybell-krater Deposit 5. H. 0.320, max. Diam. 0.385,Th. (toward base) 0.011. Mendedfrom 30 pieces, not all joining, restoredin plaster. About half of the rim, half of the upperbody, both handles, two thirds of the lower body, but none of the stem or base preserved.Reservedtooled groove betweenlip and rim. Handlestumpsjust above waist level of figures. A. At right,Hermes,preservedfrom head to waist, walking right, wearing a spiked crown, a chlamys caught up over his left arm, and a petasos dangling fromhis neck.He carriesthe kerykeionin his left hand. He facesbacktowardleft and raiseshis rightarmin a beckoninggestureto a horse followinghim from left. Onlythe head of the horseis preserved,and that only partially.The otherpreservedpiece of side A is at far left, showing the back of a chitoned figure leaning forwardto right,overa chariotrail,and the beginning of a wheel; this is probablythe chariotdriverfor an unpreservedchariot that the horse at the far right is pulling. Some dilute brush strokes coming in from right indicate a horse's tail. Wreathto left on rim. Exceptionallyfine drawing. B. Typicalside B. The heads, shouldersand feet of two drapedyouths movingright; middlesection of a third drapedyouth is preservedat the right. This is even more crudelydrawnthan usual; even the wreath on the rimis indistinct,and the youthsare grotesquely elongatedto fit the space. Undereachhandle,a palmettewithvolutespringing fromboth sides.The volutesareconfinedto the handle zone and do not projectinto thefigurezone.A stopped meanderand dotted saltire-crossband all aroundthe vase below the figure zone. In the part preserved, seven meandersand only one saltire,this one below the handle. Area between handles reserved;around

38

CATALOGUE

stumps, a plain reservedband with no decoration. The rim wreathpatterndoes not continuethroughthe handlezones. Relief contour for profile of Hermesand head of horse. Relief line of varying thicknessesand dilute glazefor interiormarkings.Miltos. Slip on figuresbut apparentlynot in handle zone. Good but overfired green-blackglaze, badly crackledall over, peeling in places. Applied white for Hermes'wreath,kerykeion and chlamyspin. The name vase of the Hermes Painter. Note the careful relief contour of the profile and compare it with 34 and 35. The scene is probablyan apotheosis of Herakleswith Hermes leading, and Athena and Heraklesin the chariot in the missing section. This subjectwas popularin late 5th and 4th centuryAttic pls. XXII, 1, painting.See Metzger,Representations, XVIII, 1, 2, and 3, XXIX, 1; Pnyx, II, no. 255. Most Attic examplesshow Hermesleadingthe quadrigato left in contrastto the Corinthianversion.The closest Attic parallelfor the positionof the Hermesis another fragment from the Pnyx, Pnyx, II, no. 202, ca. 420 B.C.

The Attic pieceis againreversed,with Hermesmoving left. The drawing on the Corinthianpiece is more delicate. PI. 8 31 (Athens,N.M. 1668)Bell-krater H. 0.265, Diam. rim0.265, Diam. foot 0.126,Th. at rim 0.006. Complete, mended from many pieces. Restoredin plaster. Hollow, pedestalring foot in two degrees.Lower degree,convexin profileand ca. 0.021 m. high; upper degree,low, verticalandinset, scarcelymorethan a fillet. Bell-shapedbodywithhandlesbeginningca.0.20m. from base and rising to 0.035 m. below rim. The rim flaresoutwardwith a slightlyoutward-thickened rolled lip. Tooled grooveon exteriorbetweenrim and lip. Inside of foot reserved,unslipped,and unpainted. Resting surface black glazed. Lower degree of foot black glazed,upperdegreereservedand paintedwith miltos.A narrowbandwherefoot meetsstemreserved and colored with miltos. A dotted wave pattern to right runningcontinuallyaroundthe vase marksthe bottom of the figurezone. The wave bandis bordered above and below by a narrowreservedband enclosed by thick relieflines. Above figurezone, rim separated from body by a narrowreservedband and decorated by a wreathpatternto left. The tooled groovebetween the rim and lip is reservedand painted with miltos. Two reservedmiltos-coloredbands run around the insideof the rim. A. Eos (Dawn) pursuingKephalos.On left Dawn flies to right, neitherfoot touching the ground. She

reachesout toward Kephaloswho is fleeingto right but is turnedback facingDawn to beat her off with a club or lagobolonwhichhe holds in his upraisedright hand.13In his left hand he holds two spears,the tops of whichare cut off by the handlezone. Dawn wearsa flowingDoric peploswith a heavyblackband around the upper-foldhem and lower (skirt)hem; the peplos is fastenedat the shoulderswith pins. Her hair is tied up in a bun with a curl underthe ear. On her head, a triple-spikedcrown in applied white. The feathers of her wings are renderedin two rows with vertical relieflines and decoratedwith randomrows of circles and dots. Kephalosis wearinga knee-length,sleevelesschiton decoratedwith a band of branchesand waves above the hem and with three-dotrosettesscatteredthroughout. Over this, a heavily borderedchlamysfastened witha roundpin at his rightshoulder,leavinghis right armfree and coveringhis left arm.He has an appliedwhite wreath in his hair and his petasos has fallen back over his rightshoulder.He also wearshigh-laced sandals.Behindhim, over his left shoulder,a setting crescentmoon in applied white with a pink miltos overwash.Adding to this night scene is a star which appears between Dawn and Kephalos. The star is painted in applied white and consists of ten points arounda centraldot. B. Two mantled youths, facing each other. The youth at right faces left with left arm coveredby his himation and holding a strigil in his extendedright arm. From his right wrist dangle an aryballosand a largesponge.The youth at left facesright.His left arm is coveredby his himationandhis rightarmis extended holdinga staff.In the fieldbetweenthe two youthsis a discusdecoratedwith a dottedcross. Under each handle is an eleven-leavedpalmette flankedby shortvolutes. Reliefcontourfor feet and armsof Dawn but none for her profile.The surfacearoundKephalos'face is badly eroded and it is impossibleto say if there was reliefcontourfor his profile.No other reliefcontour. Relief line and full-to-dilute black glaze used for interior detail. Reserve contour for heads. Dawn's eye is executed in particularlycareful relief line. Appliedwhitefor wreathsand for the star;whitewith a pink wash for the moon. Added purplefor youth's filleton B and for the stringsholdingthe aryballosand spongeto his wrist. Miltos and slip over all reserved surfaces except for the area between the handles, which is reservedand washed with miltos but not slipped.Dull, thin, badly peeledglaze inside and out. Dawn's rape of Kephalos is a common scene on Archaic and ClassicalAttic vasesl4,but the story of

13 For Kephaloswith lagobolonsee J. Roulez, Choix des vases peints, pl. VI. The club on the Corinthianvase, if it is a lagobolon, is heftierthan the average.The Corinthianscene is unusualin that KephalosresistsDawn's advanceswith considerablymore force than is shown on Attic representations.The heavier, more club-like lagobolonaccords with this deviation. 14 See T. B. L. Webster,Potter and Patronin ClassicalAthensfor the attributedvases.

BELL-KRATERS

39

the Attic huntsman does not seem a particularly generally extend their hands palms down. See two appropriate subject for one of the few Corinthian red- kraters from Al-Mina: Metzger, Representations, pl. figure mythological representations. Dawn is reported XXI, 1 and 2; ARV2, p. 1422, no. 1 and p. 1333, no. to have carried off four youths in her time: Kephalos 11. The only representation of a possible oklasma (Apollodoros, I, 9, 4), Tithonos (Apollodoros, III, 12), dancer holding a tympanon palm up is on an Attic Orion (Apollodoros, I, 4, 4; Homer, Odyssey V, krater in Madrid (N.M. 11080): Metzger, Represen121-124) and Klitos (Homer, Odyssey XV, 250). Since tations, pl. XVI, 4. The Dionysos on the Corinth on Attic vases only Tithonos and Kephalos are named, fragment bears a resemblance to one on another fragit has becomecustomaryto identifyschoolboyswith ment from Al-Mina: JHS 59, 1939, p. 34, fig. 83. lyres as Tithonos and huntsmen as Kephalos.15 It is 33 P1. 7 (C-65-541) Krater(?)fragment interesting to speculate that the Corinthian krater may Acrocorinth Sanctuary of Demeter and Kore. illustrate the obscure Klitos, who, as an Argive and a H. 0.040, W. 0.025, Th. 0.004. cousin of Amphiaraos, would be better known in Fragment from the upper body of a small open Corinth. skyphos or small krater. The sherd preserves shape: By the Hermes Painter; not one of his most careful a small part of the torso and proper left arm of a only works, but still characteristic.Compare Kephalos with an embroidered chiton. The Hermes on 30. Eos shows the influence of the Pelikai figure wearing elaborately neckline is decorated with waves bordered by a band Painter.Last decadeof the 5th centuryB.C. of dots above and below. The mid-section of the garment displays a garland interspersed with eyelets. 32 (C-31-300) Bell-krater fragment PI. 7 Not enough is preserved to be certain about the Group 4. H. 0.079, W. 0.057, Th. 0.005. Mended presence of relief contour, but the decoration of the from two joining pieces. chiton is drawn with a sharp, wiry, relief line. Thin Body fragment. Head and shoulders of Dionysos Miltos. Black glaze inside and out. seated to right with head facing left. He wears a slip. the Hermes Painter. Compare with Kephalos' By wreath and an ornamented cloak from the waist down. chiton on 31. A female hand is extended toward him from left, Pls. 9, 34 holding a partially preserved round object, probably 34 (C-37-2326 a, b) Bell-krater fragments a tympanon; the lower arm is covered by a longGroup 1. a) H. 0.070, W. 0.180, Th. 0.012. b) H. sleeved oriental garment. 0.065, W. 0.105, Th. 0.006. Relief contour for woman's arm and tympanon. a) (Not illustrated.) Rim fragment. Wreath to left Relief line for interior detail. Dilute glaze for Dionysos' with berries. Outward-thickened lip tooled off from profile, curls and some detail on cloak. Applied white, body, resulting groove reserved. Two reserved bands tending toward yellow, for the wreath and an unex- 0.037 m. apart inside mouth. b) Body and beginning of rim fragment. At left the plained dot on the tympanon. Buff slip. Very faint head and shoulders of a youth facing right, seated left. traces of miltos. Fair green-black glaze. By the Hermes Painter. The decoration of Dionysos' His left arm is at his side, his right arm raised. A himation is typical of this painter and closest to his small piece of wreath can be seen on what is preserved bell-krater in Athens, 31, but compare also 55 and 60 of his head. He holds a laurel branch which crosses his by the Pattern Painter. It is often difficultto distinguish left shoulder and extends into the field to right. To the plainer work of the Hermes Painter from that of right of this is a scepter leaning slightly to left. At far the Pattern Painter. The woman in oriental dress with right, top of a woman's head. She wears her hair piled a tympanon may be an oK?aoacadancer. The oklasina on top of her head with the ends loose. There are some was probably introduced into the Dionysiac cult from remains of a headdress or wreath. The rim is tooled the oriental ritual of Sabazius at the end of the 5th off from the body and the resulting groove reserved. Relief contour for everything but woman's head on century (see Metzger, Representations,pp. 148 and 150, with a list of the vase representations).Numerous rep- b, which has reserve contour. Relief line for interior resentations of this dance are painted on Attic pots detail. Dilute glaze for separate strands of woman's of the late 5th and early 4th centuries. Two Boiotian hair, applied white for her headband, his wreath, and red-figure kraters also show this dance: A calyx-krater, laurel berries on b. Glaze badly peeled, green to Athens, N.M. 12683: Metzger, Representations, no. chocolate. Buff slip with traces of miltos. 86, p. 149; Bieber, Jahrb. 32, 1917, pp. 61-62, fig. By the Hermes Painter. Compare the profile with 31. A bell-krater, Athens, N.M. 1397: Hermes 71, those on 30, 35, and 43. The youth with a laurel branch 1936, p. 292. Although the costume and the tympanon is probably Apollo. For Apollo in the Bacchic circle, on the Corinth fragment are typical of the oklasma, seated with a laurel branch, see Metzger, Representathe position of the hand is not. Oklasma dancers tions, pl. XXV, 1; Erbach Painter, ARV2, p. 1418, 15Caskey-Beazley,II, no. 83, p. 37.

40

CATALOGUE

no. 5, early 4th century.The woman to right with 37 (C-32-61)Bell-kraterfragment P1.9 sceptercould be Leto. For a representationof Leto Group 1. H. 0.082, W. 0.046, Th. 0.005. with a scepter and her hair up, see Metzger,RepreFragmentfrombody and beginningof rim.Partially sentations,pl. XXIV, 4; Painter of London E 543, preservedhead and torso of a naked youth, looking left but moving right, chest frontal. He wearsa fillet ARV2,p. 1348, no. 1. with two spikes,and his left armis raised.Thereis no 35 (C-31-329)Bell-kraterfragment 9 room for him to be holdinganything;he is probably P1. W. Th. 2. H. 0.006. Mended 0.095, 0.113, Group beckoningto someonebehind,like the Hermeson 30. This is a common pose for Hermes as guide; see from two joining pieces. Fragmentfrom body and beginningof rim. Cele- Pnyx, II, no. 255. Reservedgroovebetweenbody and brationafter a torch race. At left a satyr (he is very rim, wreathon rim, reservedband inside mouth. No reliefcontour.Reservecontourfor head. Fairly handsomefor a satyr-no pug nose; the only indication is his tail)preservedfromforeheadto tail, looking solid, darkdiluteglazefor hair.Reliefline for interior right,body frontalbut twisted.His rightarmis raised detail and line betweenrim and body. Appliedwhite to left and above his head. His left arm is lower, for headdresswith traces of miltos over it. Miltos broken off at the shoulderbut probablyholding a preservedon reservedbands but not on figure.Pinktorch, the upper part of which is preservedto right. buff slip. Fair blackglaze. Sketchlines visible. The torch has a hand shieldand is burning.To right Probablyby the HermesPainter. of the torch,the head of a youth. He wearsthe spiked headdresstypicalof the torchrace.A reservedgroove 38 (C-72-170a-f) Bell-kraterfragments P1. 10 betweenbody and rim. At the breakat far left, indiGroup1. a) H. 0.058,W. (as chord)0.126,Th. 0.007. cation of the handleattachmentand reservedarea. Mended from two joining fragments.b) H. 0.045, Full reliefcontourand reliefline for interiordetail. W. 0.080, Th. 0.006. Mended from two joining Interiorsketchlinesvisible.Reservecontourfor head. fragments.c) Max.pres.dim.0.039.d) Max.pres.dim. Dilute glazefor satyr'stail, youth'shair,and wash on 0.063. e) Max. pres. dim. 0.059. f) H. 0.068, W. (as torch staff. Applied white for torch flames and fillet chord) 0.150, Th. (lip) 0.015. Mended from two and dots of headdress;spikesreserved. joiningfragments. By the HermesPainter.Compareprofilewith those fragment.A reservedwave pattern on 30 and 34. The torcheswith hand guardsand the to a) Lower-body marksthe bottom of the figurezone. Above right triple-spikedwreathsidentifythisas a torch-racescene. this, the lower legs of a nude male figure,probablya See G. A. Giglioli,RAL, ser. 5, 31, 1922,p. 330. The to right; between his feet a drinking satyr, dancing subjectof the ceremonyafterthe torchraceis common horn. To right, the knee and lower leg of a draped in late 5th and early4th centuryAttic painting.For a a seated female. To left, part of a figure, probably list, see Metzger, Representations, pp. 351-355. The decoratedwith knottedstrings. finepaintingstyleon the Corinthianfragmentwiththe tympanon b) Upper-bodyfragment.To right,part of bearded attentiongiven to details of the torch guardand the chin and properright arm of a satyr who faces left headdressis closest to a bell-kraterby the Nikias Painter in the British Museum (inv. no. 98.7-16.6), holding a tympanon. To left, a female figure of whom only the chin and properleft arm and shoulder ARV2,p. 1333, no. 1; picturein Hoppin, II, p. 219; for a betterpicture,see K. Reinhardt,Hermes85, 1957, are preserved.She wears a chiton and bracelets;her arm is extendedas if to receivethe tympanonor give p. 125.Also close is a kraterby the SuessulaPainterin it Aachen:ARV2,p. 1345,no. 11; Metzger,Representa- to the satyr whom she faces. The tympanon is tions,pi. XLVI, 4. OtherCorinthianportrayalsof the decoratedwith a centraldot rosetteand four pairs of torch-raceceremonyare 21 and 59, and possibly80. dots on the side with knottedstringsprojectingfrom them. 36 (CP 1699)Bell-kraterfragment c) (Not illustrated.) Body sherd under handle. PI. 9 Centralleaf of palmette and adjacentleaf on each Group5. H. 0.057, W. 0.072, Th. 0.007. Fragmentof body and beginningof rim. Partially side. At top corner of sherd, part of reservedband preservedhead and shoulderof a youthfacingleft. To underhandle. right the top of a scepterleaningleft. Rim tooled off d) (Not illustrated.)Handle-zonesherd. Reserved from body; groove and area slightlybelow, reserved. band betweenhandle attachmentswith part of place Reservedbandinsiderim. of attachmentpreservedat right of sherd. Reliefcontourfor scepter,staffand back of youth's e) Rim sherdpreservinglip. Wreathpatternrunning neck.Reservecontourfor head.Reliefline for interior left. Reservedband at lower edge of lip on exterior. detail. Hair renderedin slightlythinnedglaze. Good Top of lip blackglazed.Interiorblackglazedwith two black glaze, now crackling.Miltos, slip. reservedbands, one at bottom of lip, one at bottom of rim. By the HermesPainter.

BELL-KRATERS

41

f) Rim sherd preserving lip and small parts of upper chiton on c is drawnin this sametechnique.Thin buff body. Wreath pattern to left on rim. On body to left, slip. Miltos on all reservedsurfaces.Dull black glaze the top of a white-rayed crown. To right, a small part insideand out. of the top of another crown. By the HermesPainter.Comparethe draperyon a No relief contour. Relief line, full and dilute glaze with that of Kephaloson 31. The broken relief line for interior detail. Applied white with pink wash for and the eyeletsare more characteristicof the Hermes strings of the tympanon on a, white with yellow Painterthan the PatternPainterto whose work this dilute-glaze wash for the decoration of the tympanon mightalso be compared.For a similarflyingfigureto on b, plain white for bracelet and crowns. Buff slip. that on a, see a bell-kraterin the British Museum, Miltos on all reserved surfaces. Good black glaze B.M. 1917.7-21.1:Metzger,Representations,pl. XXXV. The figureon the Britishkrateris a Nike and is also inside and out, crackled in places. A lesser work by the Hermes Painter. The drapery drawnat a smallerscale than the rest of the figures. and profile of the woman on a still show the influence On b the detailedand revealingdrawingof the chiton of the Pelikai Painter, but the added color, the quality is unusuallycarefulfor Corinthianred figure.Herethe of the glaze and slip, the lively movement of the satyr painteris imitatingthe Meidianstyle of the late 5th on b and the wave pattern under the figure zone all centurymore closelyand ambitiouslythan usual.For a similarseated figure to that on b see the Meidias point to the Hermes Painter. 39 (C-65-522 a-c) Bell-kraterfragments PI. 9 Acrocorinth Sanctuary of Demeter and Kore. a) H. 0.071, W. (as chord) 0.135, Th. 0.006. Mended from two joining fragments. b) H. 0.050, W. 0.049, Th. 0.005. c) H. 0.028, W. 0.065, Th. 0.006. a) Lower-body fragment. To left, part of handle zone with an enclosed eleven-frond palmette and a floral decoration around it. To right, lower body of a female figure. She is wearing an elaborately decorated chiton with a wave pattern around the hem and embroidered eyelets throughout; the hem of her dress swirls up and to left. Her right foot is high off the ground. From her tilted position and swirling drapery she should be flying. To left, the bottom of a decorated scarf or himation, which she is probably wearing, hangs down. To right, the drapery of another figure. b) Fragment from the upper body of the same pot. It preserves the proper left arm, breast and torso of a female figure on a larger scale than the one on a. She wears a light, clinging chiton and a decorated himation draped over her shoulder and arm. From the way the himation falls she is probably seated. c) Lower-body fragment.Feet and hemline of another figure with feet to right, wearing a light chiton over which is a more heavily bordered cloak, only the hem of which we see. These feet could belong to the woman on b from size, position, and similarity in the drapery. No relief contour preserved. The interior details on a are drawn with a thin, broken relief line which has peeled in many places leaving traces of what looks like dilute glaze below. This same yellow color appears throughout the pot. It is impossible to say with certainty whether this is a thin slip or the remains of peeled glaze, or a combination of the two. On b the details of the himation are drawn with the same peeling relief line as on a; no traces of relief line remain on the folds of the chiton, however. These appear to have been drawn either with dilute glaze or with full black glaze that has faded to yellow. The

Painter'shydria of Phaon with Demonassa:A-H-S, pl. 216. The Meidiasvase is datedaround410 B.C.

40 (C-37-2756)Bell-kraterfragment P1. 10 Deposit 4. H. 0.065, chord0.008, Th. 0.005. Body fragment. Torso, upper legs, and proper rightarmof a youthreclining,legs to left, drapedfrom waist down, his right arm extendedleft. There is a smallpart of a staffor scepter,identifiedby its striped decoration,preservedat far right. Symposium;the position of the youth's hand suggestshe is playing kottabos.

Relief contour on staff. Relief line for interior markings.Dark red miltos and pink-buffslip. Some sketch lines visible. Preliminarysketchingshows the hand was originallyintended to be more upright. Good but mottledblackglaze. From the qualityof the glaze and the barber-pole stripeson the scepter,probablyby the HermesPainter. If so, it is one of his earliest pieces. The drawing, however,is equallyclose to a fragmentby the early SketchPainter(78) afterthe SuessulaPainter,and the striped scepter also appears on the krater by the SuessulaPainter(76). ft is possible that the Hermes Painter,too, was influencedby the SuessulaPainter. The detail of the drawingon this torso is not nearly so fine as that by the SketchPainter(78). 41 (C-30-89)Bell- or calyx-kraterfragment P1. 10 W. Th. 0.007. 4. H. 0.053, 0.044, Group Mid-section of a seated woman facing left. She wears a cross-girt peplos with heavy overfold, a necklace,and braceleton rightwrist.At the left edge of the fragmenta hand is extendedtowardher from below. Reliefcontourfor shoulder,wristand innersurface of arm.Reliefline for all interiordetail.Appliedwhite and yellow for necklaceand bracelet.Interiorsketch lines visible. The glaze inside and out is thick and lustrous but going to green on exterior.Good red-

42

CATALOGUE

No relief contour. Heavy relief line for interior orangeslip with tracesof miltospreserved.Fine work both in glaze techniqueand drawing. markings.Fair to good green-blackglaze. Miltos and By the HermesPainter.The Eumenideson a South slip. Italian kraterwear similarcross-girtchitons: Bieber, Possibly by the HermesPainter. HGT2, p. 27, fig. 96.

42 (CP 1700)Kraterfragment PI. 10 Group 5. H. 0.048, W. 0.048, Th. 0.006. Body fragment,beginningto turnout for rim.Head and shoulders of a filleted youth facing left, chest frontal. He holds a jumping weight in his upraised right hand. Almostcompletereliefcontour:nose,chin,shoulders, and head; none on jumpingweightand mouth. Head in reserve contour. Relief line and dilute glaze for interior detail. Pupil of eye in dilute glaze. Slip and tracesof miltos.Appliedwhitefor fillet.Lustrousblack glazefiredto brownin places. By the HermesPainter.The youth's profilerecalls a Heraklesbell-kraterin the BritishMuseumby the Painter of London F 64: ARV2, p. 1420, no. 6; Metzger, Representations,pl. XXIII.

43 (CP 1727)Bell-kraterfragment PI. 10 5. W. H. Th. 0.005. 0.037, 0.049, Group Upper-wall fragment.Profile, right shoulder and upperarmof a womanfacingleft but standingfrontally and possiblymovingright.Thereis a smalltraceof a necklaceon her neck at the break.Very close to left, the hand of another, larger figure holding a staff. Thereis a traceof whitenearthe staffwherethe sherd breaks. Complete relief contour. Relief line for interior markings. Applied white with yellow, dilute-glaze wash for necklace.Trace of dilute wash on peplos. Good black glaze, brown in places. Buff slip and miltos on all reservedsurfaces.Interiorsketch lines visible. By the HermesPainter.Comparewith 30 and 34.

46 (C-29-214)Bell-kraterfragment PI. 10 Group3. H. 0.048, W. 0.071, Th. 0.005. Body fragment.At left, mid-sectionof a woman wearingpeplos with long overfold,her left hand extended to right holding something, probably an offering box from which a fillet hangs down. She wearsa braceletand her draperyis blowingto right. At far right, a small piece of drapery of another figure moving right. Between these two figuresis a reservedarea of which only the very top is preserved, possiblya rock altar. No reliefcontour.Relieflinesof varyingthicknesses for interiormarkings.Some very strong,well drawn. Thick applied white with yellow dilute glaze for bracelet.Very faded appliedwhite for hangingfillet. Buffslip and slighttracesof miltos.Good blackglaze. Possiblyby the HermesPainter. 47 (C-67-171)Bell-kraterfragment P1. 10 5. H. W. Th. 0.006. 0.023, 0.050, Group Bodyfragment.Raisedfronthoof of a horsemoving right.Rest of pictureunclear,but the reservedareato right could be the bordered chlamys of a figure leadingthe horse, as on 30. Relief line outliningthe reservedareasthat remain. Reliefline of varyingthicknessesfor interiormarkings. Orange-buffslip and traces of miltos. Good, but cracking,blackglazenow chippedandbadlyscratched. Possiblyby the HermesPainter. 48 (CP 2709) Bell-kraterfragment PI. 10 Group5. H. 0.052, W. 0.040, Th. 0.006. Body fragment.Neck and upperforelegsof a horse movingright,wearingan ornamentedhalter.Onlythe foot of the rider is preserved.In front of the horse, part of a fillet probablyhangingfrom anotherunpreservedfigureto right. No relief contour. Strong relief lines for interior markings.Appliedwhite for fillet with tracesof pink miltos turnedyellow in places. Dilute-glazewash for reins.Miltos and slip. Fair to good black glaze. From the quality of the glaze, probably by the HermesPainter.The decoratedhalteris common on Attic vases of the late 5th and 4th centuries. See A-H-S, pls. 212 and 215.

44 (CP 1719)Kraterfragment PI. 10 Group5. H. 0.030, W. 0.038, Th. 0.005. Body fragment, beginning to turn out for rim. Shoulderand upperarm of a womanin a peplos. She is probablyfacing right since there is a trace of fillet stringprojectingto left which shouldbe comingfrom her head. No relief contour. Relief lines for peplos. Applied white for fillet strings.Blackglazefiringto red brown on exterior.Buffslip and tracesof miltos. Good black glaze on interior. 49 (C-70-379)Bell-kraterfragment P1. 10 Possiblyby the HermesPainter. 1. H. W. Th. 0.005. 0.048, 0.035, Group 45 (C-37-268)Kraterfragment PI. 10 Body fragment.Chest and forelegs of a prancing horsewith decoratedhaltermovingright.At the right Deposit 5. H. 0.042, W. 0.040, Th. 0.004. Body fragment.Woman's hand holding decorated break his legs seem to be collidingwith outturning for handleattachment. phialeto left.

BELL-KRATERS Relief contour. Thin but very high relief for interior markings. Applied white on halter. Dilute glaze on left leg. Miltos and slip. Good black glaze. By the same hand as 48.

43

a) Bodyfragment.Shoulderto mid-thighof a naked youth seated on a bench. Legs to left, chest threequartersfrontal, leaning back on extendedleft arm. To right,the legs of anothernakedyouth in profileto left, weighton properleft leg, rightleg bentwith right ankle crossed over left shin, staff to his right. Most likely a palaistrascene. b) Fragmentof lower body in handlezone. Part of palmettewith verticalvoluteson eitherside. Reserved band with dottedtrianglesbelow. No relief contour. Relief line for interior detail. Glazebadlypeeled.Miltos, no slip. Possiblyby the SketchPainter.The palmettewith long centralstalk, however,is like that on 30 by the HermesPainter.Comparethe triangleband with the lip decorationon 73. A bell-kraterfragmentof nonAttic fabric from the Agamemnoneionat Mykenai carriesthis samepatternbelow the figurezone. Cook, Fl, pl. 22. Comparealso with the patternon 54.

50 (C-37-269) Bell-krater fragment PI. 10 Deposit 5. H. 0.047, W. 0.049, Th. 0.006. Lower-body fragment. Drapery with embroidered flowers, staff cutting across field; below, basket of fruit, eggs and omphalos loaf of bread. Below that, a band of wave pattern. Perhaps couch in banquet scene with food on floor next to it. Too little remains to be certain about relief contour. Relief line and dilute glaze for interior markings. Dilute-glaze wash over staff and basket. Food done in thick applied white with dilute-glaze wash over it. Miltos, no slip. Fair black glaze. Probably by the Hermes Painter. A complete Attic calyx-krater of the early 4th century in Athens (N.M. 12253) shows a symposium with similar legless couch PI. 12 covered by a rosetted cloth, a staff cutting across the 54 (C-37-438a, b) Bell-kraterfragment field. The Athens example even has the same crenelDeposit4. a) H. 0.008,W. 0.145,Th. 0.007.Mended from sevenjoiningpieces.b) Handle. ations at the bottom. 51 (CP 2711) Krater fragment PI. 10 H. W. 5. 0.005. 0.024, 0.056,'Th. Group Body fragment. Figure with a staff, standing frontally, proper right hand on waist, left hand holding staff, wearing an elaborate costume, embroidered with applied white above waist. Possibly Athena. Very worm-like fingers. Beginning of another figure with staff to right. Relief contour for staff. Relief line of varying thicknesses for interior markings. Traces of applied white on upper part of costume, dilute glaze at belt. Miltos and slip. Dull black glaze. Possibly by the Hermes Painter. Compare the fingers of Eos on 31. 52 (CP 2705) Bell-krater fragment P1. 10 H. W. 5. Th. 0.006. 0.080, Group (as chord) 0.112, Mended from three pieces. Lower-body fragment from handle zone. Elaborate palmette with volutes springing from either side. Below figure zone, a reserved band with egg-and-dot pattern. No relief contour. Relief line going to dilute glaze in egg and dot. Miltos and thin slip. Good black to brown-black glaze. By the Hermes Painter. The palmette with long central stalk and the position of the flanking volutes are identical to the palmette on 30. 53 (C-31-330 a, b) Bell-krater fragments PI. 10 Group 2. a) H. 0.066, W. 0.086, Th. 0.004. b) H. 0.069, W. 0.114, Th. 0.005.

a) Lower-bodyfragment.Feet and lower legs of a man wearinga himation,standingleft. Typicalside B mantlefigure.To right, part of a handle-zonevolute and palmette.Belowfigurezone, a reservedbandwith zigzagdottedabove and below. No relief contour. Relief line and dilute glaze for interiormarkings.Miltos, no slip. Dull black-brown glaze,badlypeeling. Possiblyby the HermesPainter.See 53. 55 (C-37-238)Fragmentarybell-krater P1.11 Deposit 5. H. 0.205, as restored0.245, restored Diam. of rim 0.300. Mended from many fragments and restoredin plaster. Profilefrom mouthto beginningof stem preserved. Approximatelyone third of rim preserved,most of side A, both handlezones, all of one handleand both stumps of the other, and the lower half of side B. None of the foot remains. A. Threefigures;in the center,Dionysos reclining on a couch, his legs extendedtowardleft, face right, chest frontal. He leans his left elbow on a decorated pillow and holds a thyrsosin his upraisedrighthand. He is drapedfrom the waist down. The couch itself is leopardspotted with three paw-likefeet at the front end, the centralone frontaland the rightand left ones in profileright and left, respectively.In front of the couch, a footstool. A bunch of grapeshangs in the fieldaboveandleft of Dionysos.At right,a satyrfacing left toward Dionysos, body and legs frontal, but twisted slightlyto right, enough to show his tail in profile.He is extendinga drinkinghorn in his right hand towardDionysos and holds a trefoil oinochoe, drawn frontally, in his left. At far left, a standing

44

CATALOGUE

womanfaces Dionysos. She wearsa very light peplos with decoratedyoke, necklaceand earring.Her chest and legs are drawnfrontallybut turnedslightlyright, weight on her left leg, right raisedslightly.She holds a box towardDionysosin her left hand; her rightarm is raised.Shewearsherhairin the lampadionstylewith headband and a three-spikedwreath in almost completelyfaded white. B. In the center, a stele. To right and left of the stele, the lower half of a drapedmale facingit. There is a staff in front of the right-handyouth. Under each handle, a palmetteflankedby volutes. Area between handles and around stumps reserved. Below the figurezone, all aroundthe vase, a band of sloppy ovules tilted left. Wreath to left on rim; a sharp ridge between body and rim, and just below this a reservedband.A reservedtooledgroovebetween rim and slightly outward-thickenedlip. Inside the mouth, two reservedbands0.038 m. apart. No relief contour. Relief line and dilute glaze for interiormarkings.Profilesoutlinedwith dilute glaze; dilute-glazewash on couch, thyrsos, drinkinghorn, satyr'stail, and woman'sheadband.Dilute glazeused for hair curls and necklace,and probablyearringof woman on side A. Miltos on all reservedsurfaces. Glaze green black, peeling. Traces of applied white on bunch of grapes,almost completelyworn off. In the handle zone particularlythere appears to have been miltos but no slip, possibly a thin slip on the figures. Thisis the mostcompletevaseby the PatternPainter preservedat Corinth, and it displays well his most distinguishablecharacteristics:the easy, competent drawingof figureswithoutreliefcontour,extensiveuse of diluteglaze for a polychromeeffect,and interestin decorativepatterns.The closestAttic parallelsfor the compositionand subjectof this piece can be found in the work of the Dinos Painterand his laterfollowers, the "plainergroup" of the early 4th century:ARV2, pp. 1418-1424.For the prototype of this scene, see the Berlindinos by the Dinos Painter:ARV2,p. 1152, no. 3; Hahland,pl. 12,a. For a similarcouch draped with a leopard skin, see the early 4th centurykrater from Al-Minaby the Nostell Painter:ARV2,p. 1422, no. 1; Metzger,Representations, pl. XXI, 1. 4th Early century. 56 (CP 1001)Bell-kraterfragment P1. 12 7. H. W. Th. 0.006. 0.088, 0.112, Deposit Body fragment.Dancingsatyrpreservedfrom chest to foot. Legs to right;weighton bent left leg, rightleg raisedand flungforward;chest three-quarters frontal, tail in profile; left hand raised to waist and holding unidentifiedobject, which hangs like drapery but could be bottomof drinkinghorn as in 55, or a torch. His rightarmis not preservedbut mustbe raisedto at least shoulderlevel. At left, a calyx-krater;above this

extended from left, a female hand and wrist with bracelets,holding something,probablya tympanon, with tracesof white stringsprojectingfrom it. To far right, a reservedarea for handle stump and three leavesof a palmette.Piece of anotherfloralornament betweensatyr'sfeet. No relief contourexcept for small of satyr'sback. Reliefline for interiormarkings;dilute-glazeline from navelto pubes.Dilute-glazewash on handlezone and rim of calyx-krater,tympanon,satyr'stail, and object in his hand. Red-buffslip on all reservedsurfaces; traces of miltos. Applied white for bracelets and possiblestringsfrom tympanon.Good black glaze. By the Pattern Painter. Compare the anatomical markingsof this satyrwith those on 55. For Attic satyrsin the same spirit,see the Nikias Painter'sbellkraterin Gotha: AJA 43, 1939,pl. 14; ARV2,p. 1334, no. 19. A similar calyx-krateris representedon a fragmentarydinos by the Dinos Painter: ARV2, p. 1152,no. 6; Hahland,pl. 5. 57 (C-70-378)Bell-kraterfragment P1. 12 1. H. W. Th. 0.004. 0.035, 0.055, Group Bodyfragment.Upperlegsof a nakedmale,probably a satyr, runningleft, carryinga short staff or torch, only the bottom of whichis visible. No reliefcontour.Relief line for interiormarkings. Dull blackglaze.Red-buffslipwithno miltospreserved. Probablyby the PatternPainter. 58 (C-30-83)Bell-kraterfragment P1. 12 Group4. H. 0.062, W. 0.080, Th. 0.006. Body fragment.Part of couch with cushion and embroideredpillow. In front of it, part of a small table with fruit, nuts, and bread on top. To right, a volute and part of a palmette.At left on the pillow, one fingerof the personlying on the couch is visible, and possibly hair-it is difficultto distinguishfrom pillow decoration. Reliefcontourfor tables.Reliefline and diluteglaze for interiordetails.Appliedwhitefor food. Fair black glaze. Gold-buffslip and miltos. By the PatternPainter.Comparewith 55. 59 (C-37-254)Bell-kraterfragment P1. 12 Deposit 5. H. 0.074, W. 0.180, Th. 0.006. Mended from two joining pieces. Body and rim fragment.Torch-racevictory procession.At left, headand shouldersof a youthmoving right.He wearsa filletwith spikedverticalprojections and holds a lightedtorchwith a hand shieldin his left hand. To right, the wing and top of the head of the next figurein the procession,almostcertainlya Nike. Wreath on rim separatedfrom body by a reserved band which is missingon far left. No tooled groove between body and rim. Reserved band ,inside the mouth.

BELL-KRATERS No relief contour. Relief line, dilute and full glaze for detail. Miltos and a red-buff slip. Applied white with dilute wash over it for fillet, spikes, torch flames and hand shield; some dilute wash on torch staff. Fair glaze going dull and sticky in places. By the Pattern Painter. Compare the ear of the youth with that of the maenad on 55. Note the difference in technique between the wing of the Pattern Painter's Nike and the Hermes Painter's Eos on 31. The Pattern Painter renders the interior markings simply with solid dots of full black glaze; the Hermes Painter uses relief line to draw numerous eyelets over the wing surface. For the ceremony after the torch race, see 35 and 40, and footnote 12 above, p. 35. 60 (C-32-153) Bell-krater fragment P1. 12 Th. 0.005. 1. H. W. 0.069, 0.100, Group Body fragment. Bottom of a heavily draped figure, probably Dionysos, moving left. He wears an elaborately decorated, full flowing garment, with central division and sandals. Stopped meander below figure zone. No relief contour. Relief line and dilute glaze for detail. Applied white dots on robe's border. Very scant remains of miltos, dark miltos used for sandal straps. Pink-buff slip. Good glaze. There is an extra layer of clay slip on lower half of sherd. It must be a repair of some accident before firing, or perhaps a repainting. By the Pattern Painter. For a similarly costumed Dionysos, see the pelike by the Painter of Louvre G 433: Hahland, pl. 1; ARV2, p. 1342, no. 1. Late 5th century.

45

Miltosand slip.Dull, badlypeeling,brown-blackglaze, almostnone left inside. Possiblyby the PatternPainter.For a similarpose, see Pnyx, II, no. 261, "first quarter of the fourth century."On the Pnyxfragment,the womanis leaning on a tympanon.Possiblyourfragmentshowsa tympanon ratherthan a pillow. 63 (C-28-135)Bell-kraterfragment PI. 12 Group3. H. 0.041, W. 0.054, Th. 0.006. Body fragment.Mid-sectionof woman in swirling drapery,most likely a maenad. No relief contour. Strong relief line for interior markings.Miltos and slip. Good black glaze. PatternWorkshop. 64 (C-72-26)Bell-kraterfragment P1.12 Group 1. H. 0.055, W. 0.045, Th. 0.004. Body sherd. Draped figure carrying a staff or thyrsos.He is wearinga chitonwitha heavilybordered himationor chlamysover it. A small piece of black glaze cutting horizontallyacross the bottom break may representthe hem of the chiton,in whichcase it is short like the one worn by Kephaloson 31. No reliefcontour.Relieflinefor interiordetailalong with full glaze for hems. Orange-buffslip. Tracesof miltos. Good black glaze inside and out. PatternWorkshop.

PI. 12 61 (C-72-155) Bell-krater fragment W. Th. 0.006. 0.115, Group 1. H. 0.032, Upper body and beginning of rim. At left, the top of a wreathed male head facing left. The figure holds a trefoil oinochoe in his upraised left hand. At the right-hand break, nose and forehead of another figure facing left. A bunch of grapes hangs between the two. At far left is the beginning of another bunch of grapes. A symposium scene. Reserved band on interior at juncture of body and rim. No relief contour. Applied white with a yellow, dilute-glaze wash for wreath, oinochoe and grapes. Orange-buffslip. Traces of miltos on reserved surfaces. Good black glaze inside and out. Pattern Workshop.

65 (C-36-306)Smallkraterfragment PI. 12 Group 1. H. 0.041, W. 0.020, Th. 0.005. Body fragment.At left, part of properleft arm of a woman holding out a tympanonto right. A small piece of her chiton sleeve can be seen at the far left break.At right,partof lowerleg and handof a naked -figure holding a wreath,moving left. The tympanon is decoratedwith a wavepatternaroundthe edge, and thereare stringsprojectingfrom it. Thereare remains of a doublebraceleton the woman'swrist. No reliefcontour.Relief line for interiormarkings. Faded applied white for wreath, tympanon strings and bracelet.Miltos and slip; good black glaze. PatternWorkshop.Judgingfrom the size and scale of the fragmentand whatremainsof the figuredscene, this should be another small kraterwith an athlete and seated female (see 85 and Athens pelike N.M. 16025).Wave patternson tympanaare not common, but the projectingwhite stringsidentifyit certainly.

62 (C-31-324) Krater fragment P1. 12 Group 2. H. 0.028, W. 0.071, Th. 0.007. Body fragment. Mid-section of a woman in a crossgirt chiton, sitting to left, leaning her left elbow on a pillow to right. No relief contour. Relief line of varying thicknesses for interior markings. Yellow dilute glaze on belt.

PI. 12 66 (C-37-757)Kraterfragment Group 1. H. 0.040, W. 0.042, Th. 0.005. Bodyand beginningof rimfragment.Female'shand raised holding a thyrsosup over her head and tilted down behind her. Reservedband betweenbody and rim and on inside of rim. Very slight trace of wreath beginningon rim.

46

CATALOGUE

Relief contour for thyrsos handle. Glaze fired 71 (C-36-2066)Bell-kraterfragment P1. 12 chocolate. Miltos and red-buff slip. Glaze badly Group5. H. 0.061, W. 0.105, Th. 0.006. Lower-bodyfragment.Hind leg of horse; piece of peeledaroundhand. PatternWorkshop. draperyprobablyhangingfromrider;to right,part of palmetteand volute. Below the figurezone, a band of P1. 12 reservedwaves. 67 (C-72-146)Kraterfragment No reliefcontour.Relief line for interiormarkings. Group 1. H. 0.049, W. 0.075, Th. (at beginningof Red slip and miltos. Good blackglaze. rim) 0.006. Mendedfrom two joining pieces. Upper body and beginningof rim fragment.Parts Judgingfrom the glaze and the wave decoration, of the heads of three horses moving left, probablya from the Pattern Workshop, possibly the Hermes team drawinga quadrigasince no ridersare visible. Painter. All drawn in profileto left. Interiorblackglazedwith reservedband at beginningof rim. 72 (C-68-123a, b) Bell-kraterfragments PI. 14 No relief contour. Relief line for interior detail. 6. H. W. Th. 0.004. MendDeposit a) 0.510, 0.045, No slip. Miltos on reservedsurfaces.Thin blackglaze. ed from two joining pieces. b) H. 0.031, W. 0.030, PatternWorkshop.Comparewith 123. Th. 0.004. a) Body fragment. Corner of a couch with an 68 (C-32-255bis)Kraterfragment PI. 12 ornamentedcushion and a leg with a volute capital. In front of the couch, part of a small table with an Group 1. H. 0.033, W. 0.034, Th. 0.006. out to turn for rim. beginning Body fragment Top omphalosloaf of breadon top of it. of horse'sheadandmane,goingleft,withan effeminate b) Bodyfragment.Armpitandforearmof a reclining hand from right. malefigureleaninghis leftelbowon a cushiondecorated Relief contour for hand and wrist. Relief line of verylike the one on a. Rightedge of fragmentappears varyingthicknessesfor interiormarkings.Dilute glaze to be turningout for a handleattachment. for horse's ear. Fair green-blackglaze. Miltos and Reliefcontourfor couch.Reliefline and diluteglaze for interior detail. Applied white, colored pink, for slip. PatternWorkshop.HermesPainter(?). bread with stripes of dilute wash radiating from center.Good lustrousblackglaze. Miltos on cushions 69 (C-31-326)Bell-kraterfragment P1. 12 and figure, but not on wooden parts of couch or table, which have been washed with yellow-brown Group2. H. 0.046, W. 0.081, Th. 0.005. Fragmentof body and beginningof rim. Partially diluteglaze. Buff slip. This is a fine pieceof work,fromthe PatternWorkpreservedheadsof two youthsfacingeach otheracross a forked laurel branch.The left-handyouth wears a shop, probablyby the PelikaiPainter.See 138 for the petasos. Reserved bands at beginning of rim and carefuluse of a fine, wiry relief line by this painter. inside rim. Parallelsfor a couch with as elaboratea volute as the Reliefcontourfor laurelstemand branches.Reserve one on this fragmentare rare later than the Eretria contour for head of right-handyouth with hair of Painter.See Athens, N.M. 15308,an oinochoeby the slightly thinned glaze. Relief line for eyes of both Eretria Painter in E. Bielefeld, Zur griechischen youths. Dilute glaze for profile of left-handyouth's Vasenmalerei des 6. bis 4. Jahrhundertsvor Christus, nose. Miltos and slip. Fair green-blackglaze. Halle, 1952, fig. 18. A comparablyexecuted chair PatternWorkshop. appearson the kraternear the Talos Painter:ARV2, p. 1339, no. 4; Hahland,pl. 13. The same kind of 70 (C-32-160)Smallbell-kraterfragment P1. 12 cake with applied pink appears on the Somzee Painter's pelike in New York (M.M.A. 75.2.27): Group 1. H. 0.051, W. 0.042, Th. 0.004. of and of rim. body Partially Fragment part preserved ARV2,p. 1159,no. 2; Richter-Hall,pl. 152. head of youth facing right, wreathed.Beginningof unidentifiedobject at right break. Wreath on rim. 73 (CP 534 + CP 2710) Bell-kraterfragment PI. 14 Rim tooled off from body and resulting groove Group 1. H. 0.070, W. 0.200, Th. 0.005. Mended reserved. from four pieces. Reliefcontourfor profileand youth'swreathleaves. Fragmentof rim and beginningof body. OutwardRelief line for eye. Fair black glaze, badly peeled flaringrim, overhanginglip in two degrees.Head and inside. Miltos, no slip. Applied white for part of shouldersof a bearded,hunch-backedPhlyax actor. wreath.Fine work. Wreathcarefullydone with every He is underthe roof or canopy of some sort of strucleaf outlined. ture. Just as the fragmentbreaksto right is the beThe finenessof the work is comparable,on a larger ginningof the handleattachmentand the left side of a small, applied clay knob, decoratedas a flower. scale,to 129. PatternWorkshop.HermesPainter(?). At the left-handbreak,back of head of anotherfigure

BELL-KRATERS with a long roll of hair or draperydown the back of its neck, and a crookedstaff.On the rim, a wreathto left. On the lower degree of the lip, three rows of triangles,the middle row connected,the upper row pointing down ratherthan up. The upper degree of the lip, which is hardlymore than a fillet, is reserved and set off from the lower by a narrowblack-glazed groove.Interiorsolid black. Relief contourfor actor's profile.Heavy relief line miltos. No slip. for interiormarkings.Well-preserved Dull green-blackpeeling glaze. Brush-strokedilute glaze for ends of hair and moustacheof actor. This fragment was published by Luce, AJA 34, 1930,p. 342, and the proveniencecorrectedby Hill in AJA 35, 1931,p. 51. It was listedin Trendall'sPhlyax

47

earringsanda necklace.Herleftarmis extendedtoward the right possibly holding an uncurledpine wreath, the top of which is visible to right. Reservedband betweenbody and rim on both exteriorand interior. One reliefcontourline markingbottom of reserved bandbetweenbody and rim.Reservecontourfor head and solid glazefor hair. Relief line for interiordetail. Dilute glaze for peplos embroideryand aroundneck. Thick applied white for necklace and earrings,and wreathand branch.Glaze badly peeled.Dark miltos. Thin slip(?). By the Hermes Painter(?).The woman is very similar to the Deianeira on the CorinthianPhlyax krater:Berlin, S.M. F 2939 (P1.31). Second quarter of the 4th centuryB.C. For a similarpine branchin an no. before the left-hand was athletic context see Athens, N.M. 1473, a Corinthian 15, Vases2, figure joined. It is one of the series of CorinthianPhlyax kraters red-figurepelikeby the PatternPainter. discussed in the introductionto this section. The P1. 13 Phlyax actor on the right is very close to the cooks 76 (C-37-447)Fragmentarybell-krater 4. Pres. H. 0.195 from mouth to attacked by geese on Athens, N.M. 1391 (PI. 29). lower Deposit body, Whatexactlyis happeningon this fragmentis unclear. restoredH. 0.280, Diam. of rim 0.295. About two thirdsof the rim and half of sidesA and The remainsof the facial featuresof the figureon the left are extremely un-lifelike, but neither do the B preserved,little of lower body, nothingof stem or features resemble any known Phlyax mask type. base; half of one handleremains. Fairly stout bell-shapedbody, outturnedrim with Perhapsit is a cult statue,the buildinga temple,and the crooked staff a key. See also the PaestanPhlyax an everted, outward-thickenedlip separated from fragment: Trendall, Phlyax Vases2, no. 86; Bieber, rim by a reservedgroove. A. Leave-takingor homecoming.Youth in center HGT2,p. 136,fig. 494. The lines and dots decoratingthe roof above the preserved from head to upper thighs, wearing a figures are very similar to those on the buildingon chlamys with a heavy border and pilos helmet. He 85 B. This similarityand the qualityand color of the standsleft, chest frontal,weighton left leg with right glaze togetherwith the lack of slip suggestthat this leg raisedand bent at knee as if restingon a rock or fragmentis also a late productof the SketchPainter's base. He carriestwo spearscrookedin his left arm. Workshop.However, a complete CorinthianPhlyax There is a wreathover his helmet. At left a woman krater,unfortunatelylost and availableonly in photo- stands facing him, preservedto waist, face in profile right,holdinga decorated graph, Berlin, S.M. F 2939 (PI.31), appears to be to right,chestthree-quarters phialein herupraisedleft hand.Shewearsa light,lowby the HermesPainter. cut peplos and three-spikedwreath. At far right PI. 14 stands an older male figure, completely preserved 74 (CP 2720) Bell-kraterfragment exceptfor his face and rightfoot. He faces left, chest Group5. H. 0.047, W. 0.045. Fragmentfrom the handle zone of a Phlyax bell- three-quartersleft, weight on left leg, right leg bent. krater with the characteristiclump of added clay He wearsa himationwith a thick borderover his left decoratedas a flower. Two small pieces of drapery shoulderand hanging down from around his waist. from the figure zone are preservedat the left-hand He has a sceptercrookedin his left arm and his right break.A smalltip of the handlepalmetteis preserved forearmis extendedto left at waist level. Part of a wreathis preservedon his head.Belowhis feet a small at lower right. bandremains. No reliefcontourremains;reliefline, mostlypeeled, portionof a meander-and-dotted-saltire for interior markings of drapery. Miltos, no slip. On rim,a wreathto left. No decorationaroundhandle Dull blackglaze. stump. Area directly underneathhandle reserved. Insidethe rim two reservedbands0.045 m. apart. Secondquarterof the 4th century. B. Two drapedyouths with room for a third. The PI. 14 one at left wearsa himationover his left shoulderand 75 (C-46-117)Bell-kraterfragment acrosshis chest; his right hand is tuckedinto it. His Deposit 12. H. 0.044, W. 0.057, Th. 0.005. and shouldersface right, his feet and legs left. of and head and rim. Head of beginning Fragment body and to right faces right,completelyswathedin The of seated woman a youth looking right upper body down, with body frontal. She wears a light peplos his himation,preservedonly to knee level. Both wear with decorated yoke, a wreath with three points, fillets. In the field betweenthem above their heads a

48

CATALOGUE

double school tablet. At lower left, top of three meanders.This patterndoes not continuearoundthe lower body to meet the one on side A; it stops definitelybeforethe handlezone. Relief contouron A for spears,scepter,phiale,and left leg of right-handfigure; none on B. Light relief line and shiny yellow, dilute glaze for interiordetail. Dilute glaze for profiles of all figures and hair of centralfigure; darker,almost full strengthglaze for hair of other two figures; the dark borders of the cloaks on A are paintedwith full-strengthblackglaze. Applied white for all wreaths and fillets. Traces of miltos on all reservedfigures,over a very thin pinkbuff slip. Fairly good, lustrous black glaze, fired splotchygreenblackin some places. Publishedby CharlesMorgan, AJA 41, 1937, pp. 547-548, pl. XIII, 2. Attributed to the Suessula Painter by Corbettand acceptedby Beazley,ARV2, p. 1345,no. 13. The scene on A is much plainerthan the SuessulaPainter'stypical style. He usuallydraws morecomplicatedscenesof severalfiguresin elaborate costume engaged in battle and makes extensiveuse of added white. His most elaboratevase is a neckamphora in the Louvre depicting a multi-leveled gigantomachy:A-H-S, pl. 221; ARV2, p. 1344, no. 1. A neck-amphorain New York (M.M.A. 17.46.1): ARV2,p. 1344,no. 2; Richter-Hall,pl. 162, is one of his simplestworks and comes closest to the Corinth krater. It shows a young warrior leaving home, standingwith his horse and two spears.To his right is an old man in much the samepositionas the righthand figureon the Corinthkrater.To left is a woman with a phiale. There is one more figure on the New York vase, another young warrior standing to far right. In addition, appliedwhite is used in quantity. The youth'shorseis entirelywhite;the old man'shair and beardare white. The old man on the New York amphorais dressedmuch more elaborately,wearing a decoratedchiton under his himation. The central composition,however,is similarto the Corinthvase. The mantle figureson the reverseof the Corinthian krater are almost identical to those on the back of another New York neck-amphoraby the Suessula Painter(M.M.A. 44.11.12:ARV2,p. 1344,no. 5), and are also similarto those on a bell-kraterof his in the British Museum (B.M. 55.4-22.1: ARV2, p. 1345,

no. 12). These same mantlefiguresappearon 77, the only other exampleof the SuessulaPainter'swork at Corinth. Theclayof theCorinthkrateris definitelyCorinthian, and the hand of the reverse,at least, is that of the SuessulaPainter.The uncharacteristic simplicityof the obversecan be explainedas the painter'scateringto local taste. This vase and the fragment77 are the only examplesof an Attic painterpaintingon a Corinthian pot. How long the SuessulaPainterstayedin Corinth, whyhe cameandwhyhe left aremattersof speculation.

As for the date of the kraterand the SuessulaPainter's stay in Corinth, Beazley mentions it in his article, "MiniaturePanathenaics,"BSA 41, 1940-45, p. 17. He identifiesit, probablyfrom Morgan'sexcavation reportphotographs,as an Attic red-figurekrater,of "about 425 B.C.". Allowing for the conservatism of

Corinthiantaste, I would date it slightly later, ca. 420-410 B.C. 77 (C-37-445) Bell-krater fragment

PI. 14

Deposit 4. H. 0.085, W. 0.137, Th. 0.004. Mended from two pieces. Upper-body and rim fragment. Rim separated from body by a reservedtooled groove; slightlyoutturnedlip separatedfrom rim by deep reservedtooled groove. Typical side B: head and shouldersof two youths facing each other. Both wearfilletsand himations; the one on the rightholds a staffin his extended righthand.Wreathon rim. Two reservedbandsinside rim.

No reliefcontour.Reservecontourfor heads; hair solid glaze. Thick relief line for interior markings. Dilute glazefor lower profiles.Thin appliedwhitefor fillets.Dull black-brownglaze firedrust red in places. Miltos and slip. Wheel marksvisible on body. By the SuessulaPainter.See 76. 78 (C-37-2757)Bell-kraterfragment Pls. 14, 34 Deposit 4. H. 0.060, chord0.090, Th. 0.005. Body fragment.Part of head and torso of youth reclining, head and legs left, chest twisted threequartersfrontalfrom left. In his upraisedright hand he holds a phiale.He is drapedfrom waist down. An additionalpieceof draperyhangsfromhis left shoulder and a staff,whichhe must be holdingin his upraised left hand, leans across it. To right are the hand and some draperyof anotherfigure,standing. The glazeis badlypeeled,but thereappearsto have been little relief contour; some is preservedoutlining the youth's chin. Relief line and shiny yellow, dilute glaze for interior markings. The youth's hair is paintedin a sloppytriangularmass of corkscrewcurls with dilute glaze. Miltos, no slip. What is left of the glazeis dull greenblack.Manysketchlinesare visible. Particularlydistinctiveis one on his arm, looped at the bent elbow. See Plate 34. By the SketchPainter,his earliestpiece. In painting this pot he must have been stronglyinfluencedby the SuessulaPainter.Comparethe renderingof the hairof the youth with that on 76 A. The drawing of the musculatureis similaron the two. The detailsin shiny yellow, dilute glaze on 76 A do not show up on the photographbut areverylike the ones on thisfragment. The SketchPaintertorsois also verysimilarto those of the youths at a symposiumon a column krater in Madrid(N.M. 11045):ARV2, p. 1345, no. 8; CVA, Madrid2 [Spain2], 11 [94], 1.

BELL-KRATERS 79 (C-29-205)Bell-kraterfragment P1. 14 Group4. H. 0.056, W. 0.043, Th. 0.006. Fragmentof body and beginningof rim. Head and shouldersof a beardedman, possiblyHerakles,facing frontal.He wearsa filletand right,chestthree-quarters carriesa torch restingon his right shoulder.A cloak swirls around his right shoulder. Wreath on rim. Reservedband insiderim. All black glaze peeled.No reliefcontourpreserved. Relief line now gone from interior markings.Dark miltos on reservedareas.No slip. Fine drawing. By the early Sketch Painter.The looped tainia is similar to one on a figure on a fragmentarybellkrater by the Suessula Painter in London (B.M. 55.4-22.1):ARV2,p. 1345, no. 12. The beardedmale figure,cloak swirling,torch over shoulder,is close to a man on a bell-kraterin Vienna representingthe sacrificeafterthe torchrace:Metzger,Representations, pi. XLVI, 5. Pls. 14, 35 80 (C-37-257)Bell-kraterfragment Deposit 5. H. 0.080, W. (as chord)0.185, Th. 0.005. Mendedfrom six joining fragments. Fragmentof body and beginningof rim. A bull beingled to sacrifice.At far right,a woman,preserved from shoulders to below waist, walking right but probablylookingback to left. She is wearinga peplos with what appearsto be a fringed scarf tucked into the belt; she holds a staff in her left hand and is reachingback to the horn of the bull with her right. Part of the head of the bull, the forequarters,and the left front leg, which is raised, are preserved.He is wreathed and appears to be moving peacefully to right. To left, obscuringthe mid-sectionof the bull, is the torso of a man. He too is movingrightbut may be lookingbackleft. He is nakedexceptfor a possible cloak overhis left shoulder.He holds a reinleadingoff towardthe bullin eachhand,buthow theyareattached to the bull is obscuredby a break.The reinin his right hand leads off towardthe bull's horns; the one in his left hand goes towardthe nose. Preservedare part of a reservedband betweenbody and rim and, at the far right, a reservedarea beginningto curve out for the handle. Reservedband inside rim. The glaze has peeled very badly leavingan incised appearancewhereverreliefline has peeled,but as far as it is possible to tell, there is no relief contour. Reliefline was usedfor interiordetail.Diluteglazefor bull'sscalpandwreath.Miltoson all reservedsurfaces. No slip.Wheelmarkscan be seenverydistinctlybelow rim. From what remainsof the glaze, it appearsto have been fairlylustrous.The preliminarysketchlines are very noticeable.See Plate 35. By the SketchPainter.The compositionanddrawing of this fragmentare like those of a fragmentaryAttic stamnosfromthe AthenianAgora(P 10542):Corbett, no. 5, pls. 78 and 79. The Attic stamnosshowsa restive

49

bull being led to sacrificeby a womanin front and a man at its side. To Beazleythe drawingof the Attic vase "somewhatrecalls the Dinos painter": ARV2, p. 1190, underno. 32. The presenceof racerson the othersideof theAtticvase,andthefactthatthewoman leading the bull carriesa torch with a hand guard, place its subjectas the ceremonyafterthe torch race, and it falls into a whole series of such scenes. For a list, see Metzger, Representations, pp. 351-355, and

idem,Imagerie,p. 112. The similarityin composition betweenthe Attic stamnos and an early 4th century calyx-kraterin Mannheim(ARV2,p. 1435; Metzger, Representations, pl. XLVI, 3) causes Corbett to hypothesizethat "both are faithfulrepresentationsof the samemodel" (Corbett,p. 349). If this is true, one mightsay that the SketchPaintersaw the samemodel. The Attic stamnos,Mannheimkraterand Corinthian fragmentsare the only representationsof this scene that show a womanor Nike actuallyleadingthe bull. The Corinthian fragment differs from the Attic versionsin one significantway: the bull is not restive. As a resulthis forelegsare not raisedand do not cut across the drapery of the figure leading him. The figurewith the reinsat the bull's side is leaningback, as if trying to restrainthe bull. It seems that the Corinthianpainter did not entirely think out the dynamicsof his scene. There are, of course, a number of bull-sacrifice scenesin Attic redfigurethat haveno connectionwith the torchrace. E. M. Hooker,in "The Sanctuaryand Altar of Chrysein Attic Red-figureVase Paintingof the Late Fifth Century"(JHS 70, 1950, pp. 35-41), cites four such representations.The compositionof one of these, a pelike in Leningrad(ARV2,p. 1346, no. 1; Beazleyidentifiesthe hand as the Kiev Painter, but Schefoldprefersthe PronomosPainter),is similar to thatof the Corinthfragment:a youth,leadinga bull to an altar,standsbesideit, leaningback and holding in each hand reinswhichlead off to the bull's horns. This youth, however,wears an elaborate,decorated chiton,while ours is nude. In dealingwith scenesof bulls beingled to sacrifice in the late 5th century,one must alwaysconsiderthe Nike parapetfriezeas a possiblemodel(R. Carpenter, The Sculptureof the Nike Parapet, Cambridge, Mass.,

1929,p. 22, pl. 7). Whateverthe primaryor secondary model for the Corinthianfragment, stylisticallyit clearlyfalls into the late 5th century.Whetherit in fact shows the ceremonyafterthe torch race or some other sacrificeis a matter of speculation,but the presenceof threeotherCorinthianvasesdepictingthe torch-race ceremony (21, 35, 59) favors the interpretationof our scene as part of that rite. 81 (C-37-258)Bell-kraterfragment PI. 14 Deposit 5. H. 0.055, W. 0.082, Th. 0.005. Mended from two joiningfragments.

50

CATALOGUE

Body and rim fragment.Head and hands of a girl playing the double flute, facing right. She wears a wreathin her hair of almostcompletelyfaded applied white. Wreathon rim, reservedgroove betweenbody and rim,reservedbandinsiderim.Thinreliefcontour. Relief line for interiordetail. Added white for girl's wreath.Glaze badly peeled but what is left is a dull, mottled green black, much better inside. Miltos. No

Body fragment.Only the torso of a male figureis preserved.He is moving to right and holds a box decoratedwith a chevrondesign in his extendedleft hand; two applied-whitenuts or berriesshow on the top of the box. He carriesa club overhis rightshoulder and must be holdingit in his missingright hand. He wears a leopard skin over his shoulders,knotted in the centerof his chest.A pieceof draperyfromanother figure hangs behind the box to right. Possibly a slip. By the SketchPainter.The clay, conditionof glaze Herakles. and scaleof drawingarecloseto 80. The two fragments Relief contour for left arm and hip of Herakles. could be from the same scene. If so, the woman is a Reliefline for interiormarkings.Miltoson all reserved flautistat a bull sacrifice.The drawingof the flautist surfaces. No slip. Applied white for nuts on tray. is similarto the trumpeteron the Athens skyphos160 Most of the blackglazeand reliefline has peeled.The sketchlines are visible. by the SketchPainter. By the StudentSketchPainter.The drawingof the Pls. 14, 33 torso 82 (C-46-116)Bell-kraterfragment is similarto, althoughnot as good as, 79. The Deposit 12.H. 0.11,W.(as chord)0.17.Mendedfrom compositionis particularlycloseto the Athensskyphos elevenjoining fragments. 161witha andsatyr.Themusculature Partof rimand body preserved.Outward-thickened, on this dancingDionysos is drawn more finely than on the fragment evertedlip, offsetfrom rim by reservedgroove. Athensskyphos. Dionysos sitting to left on a chair looking left, P1. 14 wearinga wreath,holdinga thyrsosin his upraisedleft 84 (CP 2717) Bell-kraterfragment W. Th. 0.006. 5. H. 0.050, 0.040, Group hand, kantharosin extendedright hand. A wine skin is hangingon the wall to left. At far left, back of head Body fragment beginning to turn out for rim. with long hair and left shoulderof a naked,reclining Properleft side of a nudemale figure,left armbent at youth. White garland hanging between the two elbow and raisedacrosshis torso. Possiblya dancing figures.At far right,part of an arm of anotherfigure. satyr.Althoughneithertail nor head is preservedby Wreathto left on rim. Two reservedbands 0.041 m. which to identifythe figureas a satyr,his position is very similar to a dancing satyr on a fragment of apartinsiderim. The glaze is verybadlypeeledleaving"etched"line Corinthian red figure from the Potters' Quarter, wherereliefline has disappeared.Definiteremainsof KP 2727. Relief contour for arm; relief line for interior relief contour on wineskin,kantharos,body and chin of Dionysos,but not for the rest of the profile.Dilute markings.Miltos on reservedsurfaces.No slip. Fair glaze for outline of nose and long curls of Dionysos black glaze badlypeeling. and some interiordetail and musculature,relief line By the SketchPainter. for rest. Reserve contour for head, and solid glaze, 85 (C-71-220)Fragmentarysmallbell-krater PI. 15 most of which has peeled, for mass of hair. Miltos 10. H. 0.104, est. Diam. of rim 0.150. Deposit well preservedon torso of Dionysos and thyrsos. Mendedfrom thirteen joining pieces.About one third Very prominentsketch lines, drawn in long looping of body, two thirds of rim and one handle stump lines,most noticeableonjaw of Dionysos.SeePlate33. all of base missing,but the shape may be preserved; No slip.Thickappliedwhitefor the berriesthat remain a small version of the Corinthian Phlyax shape, on the wreath. without the handleknobs. By the SketchPainter.Very close to the Dionysos Stout to outward-turning with satyron the skyphosby the late SketchPainterin rim withbell-shapedbody rising The handles start just lip. Athens (161). This fragmentis either one of the last above the overhangingthe of mid-point body. worksof the originalSketchPainter,or the best work A. The centralfigureis a woman,seatedto rightbut of his student who painted 161. I would date it looking back to left. She wears an off-the-shoulder ca. 375 B.C. chiton with wave pattern on bodice and hem. Her This type of young, rather vapid Dionysos is hairis tied backin the lampadionfashion,with a long commonin 4th centurypainting.See CVA,Altenburg white cord that dangles behind. She also wears a 2 [Germany18], 58 [843], 1, bell-krater,inv. no. 336; whitedot wreath.In her extendedleft hand she holds ARV2, p. 1442, ca. 390 B.C. The Corinthian fragment a large, crudelyforeshortened,circularobject with a is not from as elaboratea vase. dot rosettein the center.Projectingto rightfrom this 83 (C-71-368)Bell-kraterfragment PI. 14 object are knotted strings of applied white. This is Deposit 10. H. 0.048, W. 0.083. Mendedfrom five probablya badly drawn tympanon.Two strokes of white on her left wrist indicatea bracelet.Her right joining pieces.

BELL-KRATERS51 arm is missing.Beneathher, to left, are very faded, curved strokes of white that representthe rocks on whichshe is sitting.Beneathher feet is a wide, plinthlike, reservedband. Hangingin the upperleft field is a loop-shapedwreath with applied-whitedots. The rest of side A and the handlezone to left are missing, but thereis no room for anotherfigure. B. A youth stands to right, wearing a himation drapedover his left shoulderand underhis rightarm, then falling to the ankles.He holds a fillet with long stringsin his extendedrighthand; his left hand is on his waist.To his rightis a tallpillarwithan overhanging fasciaprojectingto left. On the fascia are two vertical lineswith dots on each side whichmay be a schematic representationof a triglyph,or a bolt by which he is going to attach his fillet to the building.Behind the youthis a badlydrawnsteleor turningpost with black glaze separatingthe upper from the lower section. Below him is a reservedband. The youth is sloppily drawnwith dot mouth, applied-whitewreathand two curlsin front of his ear. The rim on each sideis decoratedwith a leaf pattern to left with reservedband below, interruptedby the handlezones. Enoughof one handlezone remainsto see that therewas no palmette.Thereare two reserved bands0.015 m. aparton the interiorof the rim. The glaze has peeledbadly,particularlyaroundthe profilesof the figures,whichsuggeststherewas at one time relief contour. Relief line and dilute glaze for drapery. No slip. Miltos on all reserved surfaces. Appliedwhite. Looped sketchlines visible. A late, sloppy productfrom the Workshopof the SketchPainter.The seated woman is similarto one, on an earlierpelike by the Sketch Painter (Athens, N.M. 16025),who wearsthe same sort of dressand is seatedin the same positionon a pile of applied-white rocks, looking back at a naked athlete carryinga discus.The Athenswomanholds a strigilinsteadof a tympanonin her left hand. For a tympanonwith a central dot-rosettedecorationand white strings, see Metzger, Representations,pl. XVI, 4, a bell-krater from Madrid.For a youth giving a maenada tainia, see Berkeley8.5330, CVA, Universityof California (Berkeley)1 [U.S. 5], 42 [223];ARV2, p. 1303,no. 1. The composition and subject of this vase and the Athenspelikebringto mind the Romanmosaicin the Agonotheton at Corinth showing a naked athlete with a palm branch facing a seated woman to the right who holds a shieldwith the inscriptionE[YTY]XIA (Broneer,AJA 37, 1933, p. 561 and pl. LXIV). Could the femalefigureon the Corinthianpots be an earlierpersonificationof Eutukia?Eutukiais a woman with Aphroditeon a squat lekythosby the Makaria Painter:Paralipomena, Reports p. 479; Archaeological the the 16. In late 5th 61, 1962-63, century fig. p. for circles of Dionysos and Aphrodite mingle, and Eutukiacould equallywell be the name of a maenad.

86 (C-37-455)Smallbell-krater P1.15 Deposit4. H. 0.105, Diam. at rim as restored0.130. Many joining fragmentspreserveall of the foot and base, about two thirds of the body and over half of the rim. Small bell-krater,continuouscurvefrom mouth to base,with outturnedrim, thinhandles,bodynarrowing to a slenderstem,highpedestalringfoot in two degrees, the lower half vertical,upper in ogee curve, slightly moldedat top. A. Nude youth, running in a semi-crouchingposition

to right, or possibly standingwith his left foot on a missingblock to right. Head, arms,legs in profileto right; chest three-quartersfrontal. His weight is on his right leg; his left foot is raised.His right hand is on his waist, his left arm extended and holding a strigil. In front of him is a turningpost. Base line below the figure.Singlediagonalleaf patternleaning to left on rim. B. Youth with himationover left shoulder,holding staff, facing right. Behind him a stele (column?). Both stand on base line. Same leaf patternon rim. No reliefcontour.Reliefline for interiordetail.The techniqueon this vase is an interestingcombinationof redfigure,reservedareasand appliedpaint.The youth and turningpost on A havebeenreservedin the usual, fairly carefulmannerand coveredwith a red miltos wash.The strigiland baseline, and some of the leaves, have been paintedover the black glaze with the same red wash. Some of the leaves appear to have been very sketchilyreservedand then coveredby red wash extending over the black-glazearea. Similarly,the central area of the youth on B was reservedand covered with wash, but one can see that the outer edgesof the figurehavebeenpaintedoverblackglaze; likewise the stele, base line and much of the rim pattern have been painted over black glaze on this side. The wreathdecorationon the rim is done in the same way with appliedpaint overlappingthe glazed areas. Good black glaze. Dilute glaze inside foot. Restingsurfaceglazed. Two other Corinthianvases have been paintedby this painterin the same applied-colortechnique,87 and 127. Stylistically,the youth with his bulbousnose and heavy chin is unlike anythingelse in Corinthian red figure.Anothersmallbell-kraterof approximately the sameshape,24 by the PelikaiPainter,is on display in the Athens National Museum. Early attemptsto achieve red figure by the application of red paint over black glaze are known both in Attic and in Etruscanredfigure.Towardthe end of the 6th century, Attic lekythoi painters were experimentingwith "Six's technique": ABL, p. 392; Beazley, Greek Vases in Poland, p. 8. Etruscan vase

paintersbefore the middle of the 5th centurytried in whichfigures,instead "a kind of pseudo-red-figure, of beingreservedin the nativecolourof the vase, were

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CATALOGUE

paintedon top of the black background,"EVP, p. 3. The Etruscansrenderthe interior detail by incision ratherthan by paintas do the Corinthians.Corinthian pottersoccasionallyuse appliedcolor over blackglaze to simulateredreservedbandson the Attic black-glaze shape. A good exampleof this techniqueis the Corinthian,Attic Type A skyphos, C-71-34.The composition of the Corinth krateris most like another small kraterin Laon: CVA, Laon 1 [France20], 36 [908],5. The shape,and the date of Deposit 4, would place this kraterat the beginningof the 4th century. The small size of the kratersuggestsits use as a prize or dedication. 87 (C-31-83+ CP 2577) Smallbell-kraterfragments P1. 15 Group 5. a (C-31-83):H. 0.100, W. (as chord) 0.085. Body fragmentfrom just below rim to below figure zone wherebell is beginningto curvebackin. Mendedfrom threepieces. b (CP2577):H. 0.050,W. 0.062.Rim and beginning of bodyfragment,slightlyoffsetlip separatedfromrim by tooled groove; body separatedfrom rim by redpaintedtooled groove. a) Comic actor runningto left, chest frontal, with swordor clubin his righthand.His rightsidepreserved from chin to foot; on his left side only his leg and genitalsremain.He runs with both feet raisedabove a narrowgroundline. b) Head and shouldersof a beardedman to left holding a hatchet in his right hand raised over his head. Verticalzigzagpatternon rim. This pot is paintedfor the most partwithpink wash over the black glaze. The torso and part of the leg of the figure on a were reservedand paintedpink. No relief line; the interiormarkingsare done with dilute glaze. Smoothlustrousblack glaze, fired shiny bright red, on lower half of exterior and interior, peeling slightlyon rim and lip. The pink paint has peeled off thefiguresin someplaces,takingthe blackglazewithit. By the same painteras 86. For technique,see that entry. b is listed in Trendall, Phlyax Vases2, no. 6.

For phalliccomic actors,see ibid.,nos. 192, 196, 197, pi. XII. 88 (C-34-2488)Kraterfragment P1. 15 1. H. W. Th. 0.005. 0.021, 0.041, Group Body fragment. Small part of hindquartersof a horse movingright. Relief line for interiormarkings.Good to brownblack glazeinside.Miltos and slip. 89 (C-31-318)Kraterfragment P1. 15 Group2. H. 0.075, W. 0.050, Th. 0.005. Body fragment. Youth, preservedfrom neck to knees, nude except for a himationover his left arm.

Facingleft, weighton right leg, left leg bent, body in an "S" curve.Remainsof unidentifiedobject(tendril of a largewreath?) to left. In his left hand he holds a staff that fades into the draperyfolds. Unidentified lines at rightbreak. Complete relief contour. Heavy relief line for interiordetail. Dull black glaze. Very slight tracesof miltos.Glazealmostall peeledfrominside.Pinkmiltos can be seen underneathpeeledblack glaze on exterior and interior; it must have been applied before the blackglaze,all overthe vase. The body of the youthis a gold brown rather than pink, more like a dilute glaze or slip. The drawingand the coloringof this fragmentare unlike anythingelse in Corinthianred figure.It may not be Corinthian,but it is definitelynot Attic. The exaggerated"S" curveof the youthhas manyparallels in Attic paintingof the last decadeof the 5th century. See the Herakles on the bell-kraternear the Talos Painterin the Villa Giulia: Hahland,pl. 13; ARV2, p. 1339,no. 4. Also Corbett,no. 3, pl. 77. 90 (C-37-1154)Bell-kraterfragment P1.15 Group 1. H. 0.059, W. 0.068, Th. 0.004. Lower-bodyfragment.Legs of nakedmale walking right, fillet string danglingbehind. Part of palmette furtherleft. No reliefcontour.Relief line for interiormarkings. Appliedwhite with red wash over it for fillet. Miltos, no slip. Fair black glaze turning cloudy in places. Sketchlines visible. 91 (C-30-128)Bell-kraterfragment P1. 16 4. H. Th. W. 0.005. 0.060, 0.040, Group Bodyfragment.Rightsideandarmof a manwalking left with himationaroundwaist.His armis raisedand he is holdingsomethingno longerpreservedfromwhich fillet stringshang down over his arm. To his right, a small cornerof draperyfrom anotherfigure. No reliefcontour.Relief line for interiormarkings. Miltos over slip. Badly fired, peeling black glaze. Appliedwhite and dilute glaze for fillet strings. 92 (C-35-86)Krateror skyphosfragment P1. 16 13. H. W. Th. 0.004. 0.037, 0.039, Deposit Body fragment.Knee of a female in a chitoniskos which swirlsabove the knee; she moves left carrying a staff. Relief contourfor staff.Heavyreliefline and dilute glazefor interiormarkings.Mottledgreen-blackglaze. Slip and miltos. Thereis some possibilitythat this could be a female torch racer.Representationsof such racesto Artemis at Brauronhave been suggestedby Lily G. Kahil, "Autourde l'Artemisattique," AntikeKunst8, 1965, p. 20.

BELL-KRATERS

53

PI. 16 93 (CP 1688)Kraterfragment Group5. H. 0.040, W. 0.075, Th. 0.005. Body fragment.At left, bent knee of man with a dottedfawn or lion skin hangingdown from aboveon eitherside of his thigh.At left break,a smallreserved areathatmayrepresenthisotherleg.To right,billowing draperyof a woman movingto right, below which is the top of a chariotwheel. Perhapsthis is a fragment of an apotheosisof Herakles,showing him entering the chariotdrivenby Nike. Completeheavyreliefcontour.Heavyrelief line for interiormarkings.Dilute-glazewash over fawn skin. Red-buffslip, badly scratched.Uneven brown-black glaze, now chipped. The draperyand heavy relief line are similar to 94 and 92.

Italiotecalyx-kratershowingArion with his lyre on a dolphin: Robinson and Harcum, Greek Vases at TorontoII, Toronto,1930,no. 410,p. 207,pl. LXXVIII. A Corinthian kylix in the Louvre shows padded dancerswitha dolphinandtriton:Pickard-Cambridge, Dithyramb2,p. 172, fig. 6. Dolphins, however, are often used in 5th and 4th centuryAttic vase painting merelyto indicatethe sea. A stamnosby Polygnotos showing Kastor and Polydeukesriding over the sea has dolphinsprojectinginto the handlepalmettelike ours. CVA, Oxford 1 [G.B.3], 29 [121], 1; ARV2, p. 1028, no. 6. Nereids often ride dolphins: CVA, Bonn 1 [Germany1], 31 [31], 1; M.M.A. 31.11.13, Richter-Hall, pl. 143. For examples of dolphins indicatingonly the sea, see Metzger,Representations, pls. III, 3; II, 5; XL, 2.

94 (C-32-215)Kraterfragment PI. 16 Group4. H. 0.040, W. 0.041, Th. 0.006. Body fragment.At right,raisedfoot and ankleof a figure moving left. At left, calf of another figure wearinghigh-lacedsandalsand a cloak which hangs below knee. See 174. Heavy, double relief contour for ankle and foot. Relief line of varyingthicknessesand dilute glaze for interiormarkings.Badlydamagedslip.Possiblemiltos. Very dull, splotchy green-black-brown glaze. The heavyreliefline is similarto that on 92 and 93.

97 (C-37-253+ C-37-444)Bell-kraterfragment P1.16 Deposits 4 and 5. H. 0.121, W. (as chord) 0.144, Th. 0.006. Mendedfrom five pieces. Lower-body fragment. At left, feet and lower draperyof a simplydrawnfigurewho wearsa bordered garment. In center, agitated lower legs of a satyr seatedon a rock or chairwith both feet off the ground andlowerpartof his tail danglingbehind.At far right, lower part of a figure,probablyfemale, standingto left wearinga light, long-skirtedgarment.Below the figure zone, a reserved band with single hooked meander.The scene is strange.PossiblyAthena and Apollo threateningMarsyas. No relief contour; relief line and dilute glaze for interior detail. Dilute glaze for satyr's tail and full glazefor himationborder.Pink slip and miltos. For a similarlyseated Marsyaswith Apollo in his long, flowingkitharodecostumeto left, see the name vase of the MarsyasPainter:Metzger,Representations, pl. XXI, 3.

95 (C-69-132)Kraterfragment PI. 16 Deposit 6. H. 0.042, W. 0.065, Th. 0.006. Mended from fourjoiningpieces. Bodyfragmentas it beginsto turnout for rim.Head and right arm of a satyrfacing right holding out an ivy branch. No reliefcontour.Relief line for interiormarkings. Dilute glaze for profileand curls. Most of hair solid blackglaze.Appliedwhite,now faded,for ivy. Miltos, no slip. Fair black glaze, now chipped. 98 (CP 1689)Kraterfragment P1. 16 H. 0.037, W. 0.043, Th. 0.005. 5. Group 96 (C-35-970)Bell-kraterfragment P1. 16 Body fragment.Kneesof nudemale, seatedto right 0.007. 1. H. W. Th. 0.056, 0.050, Group with left handin lap. Part of palmetteto right. Lower-bodyfragment.Head of dolphinfacingright No reliefcontour.Veryheavyreliefline for interior towarda handlepalmette.Scrollabove. Miltos and pink slip. Splotchygreen-black Relief contour on dolphin. Heavy relief line for markings. glaze, chipped. interiormarkings.Heavyreliefline has peeledaround eye. Dilute-glazewash on dolphin. Miltos, no slip. Miltos still remainsvery dark; dull green-blackglaze. 99 (C-38-557)Bell-kraterfragment P1.16 Th. 0.007. W. 11. H. The the Pattern from 0.101, 0.100, heavy Deposit Workshop. Possibly circulardrawingof the eye of the dolphinis like that Fragmentof body just beginningto curve out for of the Phlyaxactor on 73. The Corinthdolphinwith rim. Head, left shoulderand upraisedright hand of its short snout resemblesa dolphin on a lost Phlyax beardedsatyr. He wearsa fillet tied aroundhis head vase illustratedby Crosby:"Five Comic Scenesfrom with an end danglingin front of his left ear and one Athens," Hesperia24, 1955,p. 83, fig. 2. The dolphin ivy leaf over his forehead.Reservedareabeginningto appearingin Corinthianart bringsto mind the stories turn out for handlejust wherethe sherdis brokenoff of Arion ridingthe dolphin,and Melikertes/Palaimon to right. Small section of reservedband on inside of carried to Isthmia on one. There is a 4th century rim preserved.

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CATALOGUE

No reliefcontour.Reservecontourfor head. Relief line for interiordetail. Solid to dilute glaze for hair. Thick black glaze overfiredto sticky greenin places. Appliedwhiteforfillet.Miltosandbuffslipthroughout. The surfaceof the sherdhas been badly scratched. The drawingof the satyr'seye is notable;it is done with one continuousline, looped for the pupil. The eye of 100 is drawnin the sameway. No othereyes on Corinthianred figureare drawnin this manner,and I have found no Attic parallels. 100 (C-33-446)Kraterfragment P1. 16 Group 1. H. 0.036, W. 0.037, Th. 0.004. Upper-wall fragment. Head and shoulders of a wreathedand filleted satyr. He is looking left, chest frontal,rightarm extendedto left at shoulderlevel. No relief contour. Relief line for interior detail. Glaze badly peeled on exterior,but good black on interior.Thick appliedwhite with yellow, dilute-glaze wash for wreathand fillet. Comparethe eye with that on 99. 101 (C-37-657)Bell-kraterfragment P1. 16 Group 1. H. 0.054, W. 0.085, Th. 0.006. Body fragment beginning to turn out for rim. Profile and shoulder of youth facing right with himation over his left shoulder. His right arm is extendedtowarda ball(?)with strings.To right,a bit of anotheryouth's himation. No relief contour. Thin relief line for interior markings.Applied white for string.Traces of miltos and of good red-buffslip. Very mottled, green-black glaze.Interiorfireda good, shinyred. The profileof this youth is very similarto that on 102. They are probably by the same hand. For illustrationof balls with stringsin vase painting,see G. Schneider-Herrmann, "Der Ball bei den West-

104 (C-63-704)Kraterfragment P1. 16 Group5. H. 0.042, W. 0.050, Th. 0.006. Body fragment.At right, part of a drapedwoman standingwith hand on waist, wearinga braceletor long-sleevedundergarment.Hand of anotherfigure, holdinga staff or torch, projectingfrom lower left. No reliefcontour.Relief line for interiormarkings. Miltos, no slip. Green-blacksplotchy glaze. Sketch lines visible. 105 (C-69-110)Bell-kraterfragment PI. 16 Group 1. H. 0.070, W. (as chord)0.105, Th. 0.004. Body fragmentwith part of handle.At left, middle part of drapedwoman standingwith her left hand on her hip. Directly to right of her, handle stump borderedby very rudimentarytonguepattern.Part of palmettepreservedbelow handle.Area underhandle reserved.Four applied-whitedots with pink wash between arm and handle. Featherystrokes in same appliedpink to right, hangingfrom her drapery. No relief contour. Relief line for interior details. Fair black glaze. Thin fabric.Miltos, no slip. Possiblyby the PelikaiPainter. 106 (C-36-132) Fragment from small open shape: P1. 16 skyphosor krater 1. H. Th. W. 0.004. 0.017, 0.035, Group At left, hand with flute(?);right,neck and shoulder of a drapedfigure. Too small to know if relief contour exists. Relief line for interior markings.Miltos and slip. Brownblack glaze, badly peeledfrom inside.

107 (C-31-328)Bell-kraterfragment P1. 16 2. H. W. Th. 0.005. Mended 0.130, 0.111, Group fromtwo joiningpieces. Lower-bodyfragment.Palaistrascene. Legs of two The one at right has his left leg turnedright youths. griechen," Bulletin Antieke Beschaving 46, 1971, and his right leg frontal with the bottom of a staff p. 123. directlyto left. The youth at left has his left leg turned 102 (C-38-558)Kraterfragment P1. 16 left and his right leg raised, probablyresting it on something.They standon a borderof meanderbroken Deposit 11. H. 0.049, W. 0.071, Th. 0.006. Bodyfragmentbeginningto curveout for rim.Head by dotted-crosssquares.The meanderis enclosedby relief lines which it touches above and below within and shouldersof a cloakedyouth standingleft. No relief contour. Relief line for interior detail. the reservedband. No relief contour. Relief line for interior detail. Miltos, thin slip. Glaze dull, sticky, greenblack. Buff slip and miltos. Sketchlines veryprominentwith Comparewith 101. miltos lodgedin them. Fair black glaze. 103 (C-72-142)Bell-kraterfragment P1. 16 108 (C-35-969)Bell-kraterfragment P1. 17 Deposit 6. H. 0.038, W. 0.054, Th. 0.004. Body sherd preservingat upper right-handbreak Group 1. H. 0.063, W. 0.089, Th. 0.007. the beginningof outturningfor handle. On the left, Body and part of rim fragment.Partiallypreserved the rear end and tail of a horse movingleft. The tail headsof two youthsfacingeach other.Verysmallpart projectsinto and is brokenoff by a handle-zonefloral of draped shoulder of right-handyouth preserved. tendrilto right. Both wear spiked wreaths.There is a strigilbetween No relief contour. Relief line for interior detail. them, held by the left-handyouth. Wreath on rim, Orange-buffslip. Miltos on reservedsurfaces.Good reservedband betweenbody and rim and also inside black glaze inside and out. rim.

BELL-KRATERS

55

No relief contour. Relief line for interior detail. interiormarkings.Dilute glazefor ends of hair and in Applied white for wreaths. No miltos(?). Pink-buff outlineof wreathon rim. Appliedred for fillets.Poor, dull, mottledbrown-blackglaze. slip. Good black glaze. 109 (C-31-325a, b) Bell-kraterfragments PI. 17 2. H. W. Th. 0.006. 0.061, 0.029, Group a) b) H. W. Th. 0.005. 0.022, 0.055, a) Lower-bodyfragment.Foot and staff on border panel, of which only part of one dotted-saltiresquare is preserved.To left possiblestele or otherfigure. b) (Not illustrated.)Drapedshoulder. No reliefcontour.Relief line for interiormarkings. Dilute glaze for saltire. Dark miltos. No slip. Fair green-blackglaze,almostall peeledfrom interior.

113 (C-29-155)Bell-kraterfragment P1. 17 Group4. H. 0.054, W. 0.055, Th. 0.004. Body fragment.Mid-sectionof a figurecompletely wrappedin a himation,facingright.From side B of a medium-sizedbell-krater. No relief contour. Relief line and dilute glaze for interiormarkings.Miltos and slip. Dull black glaze. 114 (C-37-266)Bell-kraterfragment P1. 17 Deposit 5. H. 0.110, W. 0.075, Th. 0.006. Mended from two joiningpieces. Body fragment.Parts of two cloaked figures. At right, shoulderto foot of properright side of a man movingleft, right arm extended,holdinga short staff in his left hand.He wearsa himationwrappedaround his waist,and probablyover his missingleft shoulder. To left, halfof anotherdrapedfigure.Below,a reserved band with a dotted horizontalzigzag enclosed by a reliefline. No relief contour. Relief line and dilute glaze for detail. Dull green-blackglaze. Miltos, no slip. Possibly by the Sketch Painter.Comparewith 53 and 54.

110 (C-31-319a, b) Bell-kraterfragments PI. 17 Group 2. a) H. 0.062, W. 0.078, Th. 0.005. b) H. 0.065, W. 0.072, Th. 0.005. a) Body and beginningof rim fragment.Head and shouldersof a cloakedyouth facing left. He wearsa filletwith ephebicapex.The rim is tooled off from the body with a sloppy reservedband below the resulting ridge. Reservedband inside rim. Wreathon rim. b) Body fragment.Chin, torso and right arm of anothercloaked youth facing right. He is seen from the back, right arm extendedat waist level, himation drapedover his left shoulder. No reliefcontour.Reservecontourfor head. Relief 115 PI. 17 (C-37-2452)Bell-kraterfragment line for interiordetail. Diluteglazefor profile.Applied Group 1. H. 0.044, W. 0.071, Th. 0.004. white with pink wash for fillet. Miltos, no slip. Glaze Rim andbeginningof bodyfragment.Rim separated dull, sticky,greenblack. from body by reservedtooled groove.Reservedtooled groove between rim and lip. Head of youth facing 111 (C-29-206)Bell-kraterfragment PI. 17 right, wreathon rim, reservedband inside. Group 5. H. 0.052, W. 0.070, Th. 0.008. No relief contour, heavy relief line for eye, dot Body fragment beginning to turn out for rim. mouth.Reservecontourfor head; solid hair. Splotchy Profileand right shoulderof youth in himationworn green-blackglaze. Miltos, no slip. overhis left shoulder;he facesrightwitharmextended PI. 17 116 (C-70-54)Bell-kraterfragment right.Reservedband insiderim. No reliefcontour.Relief line for interiormarkings. Deposit 6. H. 0.085, W. 0.066, Th. 0.005. Mended Miltosand slip. Splotchyto lustrousgreen-blackglaze. from two joiningpieces. Body fragmentbeginningto turnout for rim. Head 112 (C-37-448a-d) Bell-kraterfragments P1. 17 and shouldersof a youthfacingleft wearinga himation Deposit 4. a + c) H. 0.017, W. (as chord) 0.195, over his left shoulder.To right,arm of anotherfigure Th. 0.006. Mended from four joining pieces, one of probablywith hand on hip. Reservedbandinsiderim. whichwas inventoriedas c. b) H. 0.055, W. (as chord) No relief contour. Reservecontourfor head. Thin 0.155. Mendedfrom two joining pieces. d) H. 0.045, relief lines for interior markings. Dilute glaze for chord0.120. profile.Miltos,no slip. Fair blackglaze.Wheelmarks and of rim intact Rim Preserves visible. body. upper part a+c) set off from body by reservedtooled groove and PI. 17 separatedfrom everted, slightly overhanginglip by 117 (C-34-1107a-d) Kraterfragments another reserved tooled groove. Typical side B Deposit 3. a) H. 0.034, W. 0.034, Th. 0.005. decoration. Upper part of two youths in himatia b) H. 0.026,W. 0.040,Th. 0.005.c) H. 0.032,W. 0.047, walkingleft, both with fillets on their heads. Wreath Th. 0.005. d) H. 0.030, W. 0.056, Th. 0.005. to left on rim; two reservedbandsinsiderim. Body fragments. b and d) (Not illustrated.)Rim fragments. a) Hand holding the horn of a bull from above, No relief contour. Reserve contour for heads. possiblespearcomingin from left. Perhapsa sacrifice Youth's profile in dilute glaze. Light relief line for scene.

CATALOGUE

56

b and d) Folds of a cloak. c) Draperyof a standingfigureandroundedreserved areato right:rock or perhapsshoulderof a crouching figure. Completereliefcontouron a and c, none on b andd. a and c arefrom sceneon sideA; b and d fromdraped figures on side B. Relief line for interior markings. Dilute-glazewashfor bull'shead on a. Miltosand slip on all reservedsurfaces.Good to cloudy green-black glaze. Publishedin Pease, no. 217, p. 307.

119 (C-47-881)Bell-kraterfragment P1. 18 Deposit 9. H. 0.118, W. 0.062, Th. 0.006. Fragmentof lower body and part of one handle. Right side of handle-zonepalmette,floralvolute, and scroll preserved.Smallpart of a "Z" meanderbelow figurezone remains. Miltos. Slip. Fair glaze.

120 (C-72-66)Bell-kraterfragment P1. 18 Th. One 6. H. W. 0.006. 0.080, 0.095, Deposit mended from two fragment pieces. Fragmentfrom the handle zone of a bell-krater PI. 17 decoratedwith a seven-leavedpalmette enclosed by 118 (C-40-13)Bell-kraterfragment Th. 8. H. W. 0.006. floral volutes. Below the figure is a sloppy stopped 0.045, 0.035, Deposit Feet of two Lower-bodyfragment. figures facing meander. each other above a reserved panel with stopped Buff slip, miltos. Unevenly fired black-to-brown meander. glaze. No reliefcontour.Relief line for interiormarkings. Miltos and slip. Fair brown-blackglaze. Sceneprobablymuchlike that on 6 a. D. HYDRIAI 121-124

The hydriawas not a commonshapein Corinthianred figure.The four certainones havebeen cataloguedhere.A few lower-bodyfragmentsof smallhydriaimay havebeencataloguedas pelikaibut consideringthe large numberof whole Corinthianred-figurepelikaior definitelyidentifiablefragmentsit is more reasonableto class doubtfulpiecesas pelikai. Due to the scarcity of hydriai, it is impossible to make any generalization on the development of the

shape. Corinthianpotters in the 4th centurydid, however,producean eleganttype of black-glazed hydriawith knottedhandlesand ribbedbody.16Theseblack-glazedversionsdo have taller,more ovoid bodies than the one whole Corinthianred-figureexample,121, whichI would date to the 5th century. 121 (Athens,N.M. 12260)Hydria Pls. 18-20 H. (as restored)0.315, max. Diam. (at handlezone) 0.210,Diam.rim0.115.Completeexceptfor ca. 0.05m. of the foot and lower body whichare entirelyrestored in plaster.Mendedfrom manypieces. The body of the hydriais nearlystraightwith the sides flaringout slightlyto a maximumdiameterjust below the shoulder,where two opposing horizontal handles are attached. The shoulder is nearly flat, curving up to a narrow, concave neck. The neck curvesout to a flat, horizontalrim which is recessed to receivea lid. The lip is in two degrees,the lower verticaland convex,the upperlittle more than a fillet which forms an outer borderfor the cover inset. A verticalrolled handlerises from the beginningof the shoulderto join the neckjust below the rim. It does not touch the rim or lip at any point. Domestic scene, probably the Epaulia.The bride sits slightlyto right of center. One female attendant stands behind her to right and two others approach her from the left with gifts. The woman on far right stands to left with her face in profileto left and her 16

The best exampleis C-37-164.

chest frontal.She holds a mirrorin her upraisedright hand. Her hair is short and decoratedwith a pink wreath;she wearsa light peplos. The brideis seated to left, her head and legs drawnin profileto left, her chest frontal.She leans back, restingher left arm on the back of the chair, right arm extendedand raised slightlyin greetingto the woman approachingfrom left. The bride wears a belted chiton and a himation covers her knees. The chair she sits upon is four leggedwitha highback.It is carefullydrawnwith both ear legs visible;the fartherfront leg is hiddenby the legs and draperyof the bride. The first figure approachingthe bride from the left is drawnwith her head in profileto right facing the bride, her left arm extendedin greeting.Therestof herbodyis represented standingfrontallywith her weight supportedby her rightleg. She wearsa light, beltedpeplos and holds a box of giftsat shoulderlevelin herupraisedrighthand. Her hair, like the bride's,is short and decoratedwith a pink wreath.In the field betweenthe two women hangsa tympanondecoratedwith a six-leavedrosette. The womanat far left is shownwithherheadin profile

HYDRIAI to right and her body turned three-quarters right. She wears a light unbelted peplos. Her hair is long and tied up in a lampadion. She holds a long string in her extended left hand which may be the cord for this type of headdress. Below the figure zone is a band of stopped meanders and dotted-saltire squares that continues all the way around the vase. The front of the neck is decorated by a band of five enclosed palmettes separated from each other by pairs of small circles. The palmettes are bordered below by a band of black-glaze tongues and above by a narrow reserved band. The lower degree of the lip is reserved and decorated with sloppy blackglaze chevrons. The upper degree is reserved. The inset for the cover is black glazed. On the back of the vase, below the vertical handle, is a double palmette: the upper palmette has seven leaves, the lower nine. The lower palmette is bordered on each side by a volute tendril which rises and divides into two, sending a tendril above and below each horizontal handle. The upper tendrils project slightly into the figure zone above the heads of the women on either side. The rest of the exterior and the interior of the neck are covered with black glaze. Relief contour for the profile of the woman on the far left; no other relief contour. Fine relief line for eyes, draperyand other interior detail. Reserve contour for heads. Applied white for nuts and eggs on top of gift box. Applied white with pink miltos wash for all wreaths and headbands. No slip. Miltos on all reserved surfaces. Good black glaze, but thin in places. This is an exceptionally fine piece by the Pelikai Painter. The carefully outlined profile and eye of the woman on far left with its distinctly drawn, halfclosed lid are matched only by those of the Pelikai Painter's Bellerophon on side A of 15. The delicate outlining of the rosette on the tympanon is comparable to the leaves and wings on 15. The less skillful signs of the Pelikai Painter's hand are also visible on this hydria. Here again, the painter shows his general reluctance to deal with the three-quarter view. All heads are in direct profile while the bodies are frontal, with the exception of the far left figure where he does attempt to present the torso in a three-quarter view but hides the anatomy by meaningless draperypatterns. His usual problem with proportion is also evident. The heads of the women are much too big for their bodies, although this is masked by the curve of the shoulder, which distorts in any case. The foot and big toe of the bride are gigantic in proportion to her body. Note also the characteristic drawing of the eyes of the bride and the right-hand figure with their wide-eyed stare and the eyebrow extending to the bridge of the nose. This vase with its combination of the worst and the best of the Pelikai Painter's traitsprovides an important reference point for identifying other fragments by the same hand. It illustrates the variation within the

57

Pelikai Painter's work; by studying it we can ascertain the range and limits of the painter's work and assign other fragments of greatly varying quality to him with some certainty. Hydriai with domestic scenes such as this are common among the Attic vases of the late 5th century. For a series of women's scenes on hydriai, see CVA, Louvre 9 [France 14], 54 [639]. Two late 5th century Attic parallels close in shape and decoration to the Corinth vase can be cited: one in the Manner of the Meidias Painter: Wurzburg inv. no. 536, ARV2, p. 1321, no. 7; Langlotz, pl. 197; the other by the Nikias Painter: Louvre CA 161, ARV2, p. 1335, no. 30, CVA, Louvre 9 [France 14], 53 [638], 1, 3-6 and 8. Both of these vases illustrate the relative simplicity of Corinthian red figure in comparison to contemporary Attic. The secondary decoration on this vase, although unusually complex for Corinthian, is plain when compared with the Attic; there are no figures or decoration under the handles, and the double palmette and tendrils leave much of the back of the vase uncovered. From the parallels and shape, ca. 420-410 B.C. 122 (C-72-129) Hydria fragment P1. 20 Deposit 6. H. 0.056, est. Diam. rim 0.11, Th. 0.006. Mended from five joining fragments. Upper part of a hydria preserving part of a convex shoulder curving gently into a concave neck with a sharply outturned horizontal rim, the top of which displays a flat surface recessed to receive a lid. The lip is in two degrees, the lower a torus and the upper little more than a fillet bordering the inset for the lid. The two degrees are separated by a deep, reserved groove. On the neck is the attachment for a vertical, neck-to-shoulder handle. At the junction of the neck and shoulder, opposite the handle, is a band of alternating lotus flowers and palmettes. Complete relief contour. Relief line for interior detail. No slip. Miltos on all reserved surfaces. Good black glaze inside and out. Compare with 121. Neater work. P1. 20 123 (C-61-475 a-d) Hydria fragments Acrocorinth Sanctuary of Demeter and Kore. a) H. 0.020, W. 0.064, Th. 0.003; mended from two pieces. b) H. 0.043, W. 0.033, Th. 0.004; mended from two pieces. c) H. 0.048, W. 0.056, Th. 0.004; mended from two pieces. d) H. 0.064, W. 0.118, Th. (at base) 0.006; mended from four pieces. a) Fragment from a relatively flat shoulder joining a convex upper body, showing the proper right arm and chin of a chariot driver. He holds a goad in his extended right hand and faces left. In front of him is the mane of a horse moving left. Some peeled relief lines on the chest of the driver indicate drapery over his left shoulder.

CATALOGUE

58

b) Shoulderandbeginningof neckfragmentshowing the nose of a reinedhorse movingleft. c) Lower-bodyfragmentpreservingthe forelegsof two horses moving left and the body and extended rearlegs of a third horse in front of them. A narrow reservedband indicatingthe lower limit of the figure zone runs acrossthe bottom of the sherd. d) Lower-bodyfragmentpreservinga running-vine patternbetweentwo narrowreservedbands marking the bottom of the figurezone. The vine stops before the right-handbreak indicatingthe right limit of the figure zone which used only the front panel of the hydria.Abovethe vineat the rightis an undecipherable reserved area, most likely part of a floral design extendingfrom the back of the vase. No reliefcontour.Miltos, no slip. Thin black-glaze exterior.

Shoulder and upper-body fragment, convex in profile.At right,partof an enclosedpalmettepreserving two centralfrondsand five to the left. The palmetteis tiltedto rightwhichwouldbe suitablefor the shoulder decorationof a hydria. To left is part of a figure wearing a plumed helmet and scaled armor, most likelyAthenawearingher aegis. Broken relief contour outlines the left arm of Athena.Thick relief line is used for the scale pattern and crest of the helmet,thinnerreliefline for plume. Diluteglazeoutliningthe plumeand coloringthe scale armor. Thin slip. Miltos on reservedsurfaces.Dull, crackingblack glaze on the exterior; streaky black glaze on interior. By the HermesPainter.For a similarhelmetsee the fragmentfrom Perachora,PerachoraII, no. 2793a, pl. 116.

124 (C-62-943)Hydriafragment P1.20 Acrocorinth Sanctuary of Demeter and Kore. H. 0.060, W. 0.055, Th. 0.005. 125-132 E. OINOCHOAI Only two complete Corinthian red-figureoinochoai and fragments of four others have been found at

Corinth.Four of these are choes (BeazleyShape3), whichin Athensare knownto have been sold at the Anthesteria.17 It does not seemunlikelythatsomeof the Corinthianchoeswerealso madefor festival The one completeCorinthianchous is wreathed,as are many of those associatedwith the purposes. Anthesteriain Athens.l8The appearanceof a Corinthianred-figurechousat the Heroonof Agamemnon at Mykenai suggests that Corinthian choes, too, were manufacturedfor festival use.l9 In addition to the Corinthianpieces, there are two Beazley Shape 4 oinochoai in the Athens National

Museumcollectionof Corinthianred figure. 125 (Athens,N.M. 1544)Oinochoe P1.21 H. (to lip) 0.225, H. (with handle) 0.270, Diam. mouth 0.115, Diam. foot 0.085, max. Diam. body (just below shoulder)0.160. Intact except for a few chips missingfrom rim and handle. Ring foot in two degrees, lower convex, upper concave.The undersideof the foot has a flat resting surface with a concave upper member. There is a deep groovewherethe undersideof the foot meetsthe body; the body projectsdown in a convexnipple.On the exteriorthere is a deep groove where the foot joins the body. Ovoid body with maximumdiameter just below the shoulder.Fairlyflat shoulder,meeting the neck at an almost ninety-degreeangle. Wide, concave neck flaringto a wide mouth and outwardturning,inset rim.Verticalstraphandlefrom shoulder to lip, risingsome 5 cm. abovethe lip. Interiorof foot reservedand washedwith miltos; groovebetweenfoot and body paintedwith black glaze. The figurezone is 17

Deubner, AttischeFeste, p. 97. 9, 85, 144, 173, 295, 300, 449, 462.

18 Van Hoorn, figs. 1, 2,

19 Cook,

pp. 30-68.

borderedbelow by an egg-and-dotband with a relief line above and below. Another egg-and-dot band marksthe transitionfrom shoulderto neck. Neither band continuesaroundthe body of the pot; both stop with the figurezone. Epaulia.Threewomenwith brideat centerreceiving gifts.Thewomanat left wearsa chitonanda himation; she holds her himationup at waistlevel with her right hand. Her hair is done up in a bun and tied with two stringswhich projectout behind her and are tied in bows representedby zigzags.She also wearsa necklace and an earring.The bride standsin the centerdrawn in a crudeattemptat a three-quarter view to left, but facing right. She wearsa droopingpeplos and in her righthandholds a roundobjectwhichmay be an egg, in her left hand a box decoratedwith a "Z" design holding eggs and fruit. A scarf decoratedwith black dots dangles from her hand below this box. The surfaceof the pot in the area of the bride's head is

OINOCHOAI badly damaged and little of her profile can be seen. Her head is covered with a strange, snood-like headdress with a vertical projection at the crown. The black dots that show in the photograph are hair, the reserved areas the headdress. She also wears a necklace. The woman at the far right faces the bride and is also painted in an unsuccessful attempt at a three-quarter view, twisted slightly to the left from frontal. Her left hand is on her waist, her right at her side beginning to hold up the sagging peplos which she wears. In the field between the bride and the left-hand woman hangs a garland. No relief contour. Relief line and full glaze for interior detail. Reserve contour for heads. Applied white with pink wash for headdresses and eggs and fruit; plain applied white for necklaces and earrings. No slip; miltos on all reserved surfaces. Thin, dull black glaze. This is one of the worst extant pieces by the Pelikai Painter. It is badly potted as well as painted. The neck is separating from the body and the handle from the shoulder. The painting suits the pot; it shows all the worst traits of the Pelikai Painter: lack of anatomical accuracy, stiffness, heavily drawn eyes. Note the stringed headdress; compare with 4 by the same painter. The shape is that of a Beazley Shape 4 oinochoe, never a particularly popular shape in Attic red figure. It was most common in the second half of the 5th century and was a favorite shape of the Shuvalov Painter and also of the Bull Painter. For the shape see two by the Shuvalov Painter in Ferrara: CVA, Ferrara 1 [Italy 37], 23 [1667], 1-3; 24 [1668], 1. The foot on the Corinth version is simpler and the pot seems slightly more slender. The two by the Shuvalov Painter date to 430-420 B.C. I would put the Corinthian version later, ca. 420-410 B.C.

59

facing her to left, his head in profile, rest of body frontal.He holds a staffmadefrom a laurelbranchin his righthand.His hairis dressedin long curlsand he is wreathed.He wearsa widehimation,decoratedwith an "X" pattern,whichgoes over his left shoulderand falls straight to the ground. The man to the right standslooking towardApollo, face in profileto left, body frontal,weight on left foot. He holds a staff to his chestin his righthand.The staffis held slightlyoff the groundandthistogetherwiththepositionof his feet suggests that the man is preparingto move off to right.He wearsa himationover his left shoulder.His hair is short and wreathed;he is bearded. No relief contour. Relief line, full and dilute glaze for interior detail. Dilute glaze used for profile of Apollo underhis chin and for curls. Reservecontour for heads. Appliedwhite for woman'sheaddressand for eggs and/or nuts in bowl, white outlinedin pink for Apollo's laurelbranch,white with pink wash for wreaths;the tainia is paintedin darkpink miltos.No slip; miltos on all reservedsurfaces.Good blackglaze over most of the undecoratedexteriorof the vase and on the interiorof the neck. The exteriorof the foot was meant to be completelyblack glazed but only dribbles of glaze reached the lower degree. This accident proves an important technical point: the unglazedportion of the foot is definitelyunslipped and it cannot be arguedthat a hypotheticalslip has peeled away with the glaze, since the area never was glazed. This is one of the few instanceswhere the completeabsenceof slip can be definitelyproved. It is particularlyimportanthere because the glaze on this pot has adheredvery well to the surface.As a result,the argumentthat glaze only adhereswell to a slippedsurfacecan be discarded. By the PelikaiPainter.Note the distinctiveeyes and proportions.The painteris showingmuch more than his usual interest in decorative patternsand added color. This may be a later work influencedby the younger, more ambitiouspaintersin his workshop, the Pattern and the Hermes Painters.Comparethe profileof Apollo with Dionysos on 55 and 175. For discussionof shapesee 125.

126 (Athens, N.M. 1543) Oinochoe P1. 22 H. (to lip) 0.230, H. (with handle) 0.270, Diam. mouth 0.120, Diam. foot 0.085, max. Diam. (just below shoulder) 0.170. Complete. Mended from many pieces. This vase is essentially a twin to 125, in shape and P1. 21 secondary decoration. It was potted more carefully, 127 (C-37-235) Chous max. Diam. 5. H. Diam. of however. 0.105, 0.080, Deposit The scene features three figures: Apollo with his foot 0.048. Mendedfrom ten joining pieces, restored laurel branch in the center, a woman with an offering in plaster. bowl on the left and a man with a staff on the right. Complete profile preserved. Flaring ring foot The woman stands facing Apollo with her face in joining undersideof floor with a concave molding; profile to right, chest frontal. Her right hand is on her undersideconvex, globularbody, short broad neck, waist and in her extended left hand she carries a bowl trefoil mouth.Continuouscurvefrom mouthto base. of nuts or eggs (not a phiale, since it has a clearly Maximumdiameternear center.Ribbon handlewith defined foot) toward Apollo. Beneath the bowl the centralrib, from shoulderto lip. Thumbrest on lip. Decorationon front only. Boar springingto right. woman holds a tainia which hangs down to knee level. She wears a drooping peplos and her hair is tied up in Behindhim a small tree with leaves or berries,below a stringed headdress. Apollo stands in the center him a groundline. Aroundneck, wreathwith berries:

60

CATALOGUE

a garlandwrappedall aroundneck and tied in a knot at centerfront, the leaves going in two directions. All figures done with applied clay paint over the black glaze. The boar is paintedwith a red paint that looks like appliedwhite mixedwith miltos and glaze. Interiormarkingson the boar are made with dilute glaze,tusksin appliedwhite.The branchesof the tree are red, the leavesor berrieswhite.The laurelgarland alternatesred leaves, the central spine white, with white leaves and red spine. The berriesare white on red twigs.The stringitselfis red and ties in a red knot with white outline. Restingsurfaceof the foot reserved,with red wash. Rest of undersidecoveredwith black glaze; thereis a smallridgewherethe concavemoldingmeetsthe floor. Lowerhalf of exteriorof foot reservedwith red wash, rest black glazed. Dull, gray-green-brown-black glaze over all of exterior,interiorof mouth and streakily over interiorof body. From Attic parallels,this jug can be dated by its shape to about 400 B.C.:Van Hoorn, figs. 7, 13, 233 (London,B.M. E 553).A singleanimalis not a common decorationon Attic choes, but one in San Franciscois decoratedwith a singledolphin:CVA,SanFrancisco1 [U.S. 10],25 [485],2. 128 (MP 114)Oinochoe PI. 22 Group 4. H. 0.120, max. Diam. 0.085, Diam. of neck 0.035, Diam. of base 0.050. Intact except for small piece of mouth, restored in plaster; handle brokenand repaired. Beazley Shape 2 oinochoe. Trefoil mouth, wider from back to front than from side to side; short, medium-wideneck; bulbous body with maximum diameterwhereshouldercurvesinto body; continuous curvefrom neck to base, but fairlysharpat shoulder; rudimentarydisk foot, slightly concave underside; cylindrical handle from shoulder to mouth with thumbrest at mouth. Decorationonly on front.Youthwearinga himation over his left shoulder, looking right, body frontal, weighton left leg, rightfoot slightlyraisedand drawn badly in an unsuccessfulattempt at a frontal view. Foreheadto tip of nose concave.Dot mouth.To left, column on plinth base. Probablystartingor turning marker at racecourse. Youth and column on base line. The youth's head overlaps the shoulder area. "Z" meander at base of neck. Underside of foot reserved. Partialreliefcontourfor column,andverythinrelief contour on the boy's properright shoulderand leg. Thick relief line for interior markings. One shiny, greenishlayer of glaze has peeledoff in placesleaving a dullerlayerbelow.Thismakesit difficultto determine theextentof thereliefcontour.Dilute-glazelinebetween column and plinth. Reserve outline for head, solid black hair with dilute-glazecurls over ear. Uneven

gold-buff slip and traces of miltos on all reserved surfaces. The shapedatesthisvaseto about400 B.C. See CVA, Oxford1 [G.B. 3], 42 [134],2. CVA,Laon 1 [France 20], 39 [911], 2 is a very close parallelin shape and decoration.There is another Corinthianexample of this shapeand decoration,but slightlylaterin date, in the New York MetropolitanMuseum,inv. no. 64.107. For a general discussion of youths contemplating turningposts,seeChamoux,"L'Athenamelancolique," BCH 81, 1957,pp. 141-157. 129 (C-70-18)Oinochoefragment P1.24 Deposit 6. H. 0.030, W. 0.039, Th. 0.0015. Mended from two joining pieces. Fragmentof shoulderand beginningof neck from a Beazley Shape 8 (mug) oinochoe. Heads of two youths brokenjust below noses, closely facing each other;both wearivy wreaths.Curvingovertheirheads, coming in from lower right, is an ivy branch.At far right of sherd, two fingersand part of a palm of a stifflydrawnhand.A fine,plasticrope decorationruns horizontallyacrossthe top of the sherdseparatingthe neck from the shoulder. Relief contourfor youths' profilesand ivy branch. Reservecontourfor heads. Thick appliedwhite with pinkwashfor bandsof wreaths.Reliefline for interior markingsand aroundeveryleaf of wreaths.Trace of dilute wash on upper lid of left-handyouth's eye. Miltoson reservedsurfaces.Buffslip. Verygood black glaze; streaky, dark, dilute glaze brushed inside. Extremelythin fabric. Nothing in Corinthianred figureand few pieces in Attic compareto the fine miniaturestyle displayedon this fragment.It can be dated to 420-410 B.C. with the Attic fine style of the late 5th century.See Pnyx, II, nos. 203-208, pl. 18. Also a bell-kraternear the Chrysis Painter, Boston, M.F.A. 95.24: CaskeyBeazley III, suppl. pl. 26; AR V2,p. 1159, and especially

Pothosand Himerosdrawingthe chariotof Aphrodite on the Meidias Painter'shydriain Florence:ARV2, p. 1312,no. 2; A-H-S, pl. 217. The Shape 8 oinochoe is rarelydecoratedwith red figurein the late 5th century,but some examplesdo exist. One in Cracow, "very delicate" with knotted handle, is illustratedin Beazley's Greek Vases in Poland, pp. 59-60, pl. 29: 1; ARV2, p. 1302, no. 28,

the Penelope Painter. Examples of this shape in Corinthianfabric with ribbed body, knotted handle and chaindecorationbetweenshoulderand neck have been found at Corinth in Deposit 4 (C-37-453, C-37-454).For the closestAttic parallelto this shape, see AgoraXII, nos. 216, 217, pl. 11. 130 (CP 2712) Chousfragment Group5. H. 0.040, W. 0.031, Th. 0.005.

P1.24

LEKYTHOI Shoulder and beginning of neck fragment. Part of a satyr's head facing right wearing fillet. Reserved band with egg and dot between neck and shoulder. No relief contour. Reserve contour for head. Relief line for outer egg. Very thin relief line in satyr's ear. Added red for fillet. Slip and miltos. Very dull, greenblack glaze. Dilute wash inside. 131 (C-30-55) Chous fragment P1. 24 0.007. W. Th. 5. H. 0.028, 0.038, Group Shoulder and beginning of neck. Egg-and-dot pattern around base of neck. On shoulder, top of woman's (?) head with wreath. No relief contour. Relief line in egg and dot. Reserve contour for head. Miltos and slip. Good

61

black glaze on exterior, thin and becoming streaky on inside of neck. Applied white for wreath. 132 (C-70-381, formerly C-70-53 g) Oinochoe fragment PI. 24 W. 6. H. Th. 0.005. 0.041, 0.026, Deposit Shoulder and beginning of neck fragment. Top of head of balding satyr wearing wreath. Above, part of a reserved band with egg and dot. No relief contour. Relief line for eye. Dark, dilute glaze for hair. Applied white with miltos for wreath. Good black glaze going to light brown. Traces of miltos on reserved surfaces. Buff-pink slip. Good black glaze inside.

133-146 F. LEKYTHOI All of the Corinthian red-figure lekythoi found at Corinth are of the squat type which became popular

in Attic red figure in the second half of the 5th century.20No cylinder lekythoi of Corinthianred figure have been found, but Corinthian potters did make a white-ground imitation of the Beldam-shape pattern lekythos.21 The Corinthian squat lekythoi are of two types: one (138-146) of a tall ovoid shape, often with a tongue decoration on the neck, most like the Attic type illustrated in CVA, Oxford 1 [G.B. 3], 40 [132], 6; the other type (133-137) more globular with a squatter, almost miniature body, in shape most like CVA, Oxford 1 [G.B. 3], 40 [132], 20. Both shapes of squat lekythos are popular in Attic red figure of the late 5th century, and there seems to be little difference in the subjects painted on the two, although as a rule the better painting goes on the taller shape, with the stouter more often taking the stock decoration of a single head or animal. Women's genre scenes dominate the decoration of both versions of the shape, and this is true on the Corinthian pieces also. The Corinthian lekythoi are carefully potted with attention given to the moldings of the underside and foot. The painting is so hasty and standardized, it is difficult to say whether they are the products of one or more workshops. The short globular lekythoi with their flat drawing are closer to the style of the Pelikai Painter than most of the taller ones, but this difference may be due to the greater expenditure of effort on the taller lekythoi, as is the case in Attic. Certain similarities in the drawing on all of the lekythoi suggest that they come from one workshop, and the variations in drawing and techniques are due to the development of the style of the painters in that one shop, namely the Pelikai Painter, and the Pattern Painter who takes over from him at some undistinguishable point. 133 (CP 1680) Squat-lekythos fragment P1. 24 Th. W. 0.003. 5. H. 0.020, 0.030, Group Shoulder and beginning of neck fragment. From a small lekythos with a high, horizontal shoulder. Ridge between neck and shoulder. Part of head and proper right shoulder of woman facing right but moving left, wearing peplos. No relief contour. Relief line for interior markings. Reserve contour for head. Miltos, no slip. Very good black glaze. Probably by the Pelikai Painter. Compare with the woman on 15. There is little doubt that 133-137 are 20 Richter-Milne, figs. 99-101. 21 See

ChapterIII, under Deposit 1.

by the same hand, whether it is the Pelikai Painter himself or another painter in his workshop. 134 (C-69-120) Miniature squat-lekythos fragment P1. 24 6. H. W. Th. 0.003. Mended 0.035, 0.047, Deposit from three joining pieces. Body fragment, preserved from neck groove to base line of figure zone. Rounded sloping shoulder. Small, globular body, like 136. Woman facing left, walking right. She wears a chiton. Face and most of legs missing. Right arm extended right, left extended left.

62

CATALOGUE

Chest frontal but breasts drawn in profile to right. Hair in lampadionstyle. Reservedgroove separating body from neck of vase. No reliefcontour.Fine, thin, reliefline for interior markings. Reserve contour for head. Good black glaze; miltos, no slip. Pattern Workshop. Compare the drawing of the breastswith 15. P1.24 135 (C-70-104)Squat-lekythosfragment W. Th. 0.004. Mended 6. H. 0.059, 0.056, Deposit from two joiningpieces. Body fragmentpreservedfrom shoulderto below figure zone. From high-shoulderedlekythos. At left, a womanfacingright,dressedin chiton and himation and cap. She extendsa phiale in her right hand over an altar in the center.To right of the altar,facingit, a swan.They are standingabove a base line. No reliefcontour.Relief line for interiormarkings. Badlyworn. Manyfine, straightlines for chiton,long, hooked ones for her himation.Dull, mottled, blackgreen glaze fired rust red in some places. Traces of miltos.Thin slip. Probably by the Pelikai Painter. Compare the woman'shead and cap with Bellerophonon 15. 136 (C-32-291)Squat-lekythosfragment P1.24 Group 5. H. 0.050, max. Diam. 0.046, Diam. of foot 0.032, Th. 0.005. One fragment preservingall of base, about two thirdsof body and smallpiece of neck ridge. Globularbody withverylittle shoulder,not tapering to base; molded, verticalring foot, joining underside of floor at almostrightangle. At right, a woman seated on a now invisiblerock, legs right,facingleft, leaningon her righthand on the rock, left hand on knees. She wearsa chiton, her hair up in a bun. She faces a rock altar in the center; anotherwomanwearinga chiton standsat left, facing the altar and holding a large alabastronover it in both hands. Reservedbase line below them. No relief contour. Thick, sketchy, relief line for interior markings.Reserve contour for head. Dull, green-blackglaze, fired chocolate in places, wearing thin. Miltos mostly worn off; no slip. PatternWorkshop.A good parallelfor this shapeis illustratedin CVA,Oxford1 [G.B. 3], 50 [142],32. PI. 24 137 (CP 1696)Squat-lekythosfragment Group 5. H. 0.040, W. 0.021, Th. 0.004. One fragmentpreservinga small part of a vertical ringfoot with moldedgrooveon exteriorand globular body to below shoulder.Part of lowerbody and wing of a swan or goose above a reservedbase line. No relief contour. Thick sketchy relief lines for feathers. Brown-blackglaze, fired to chocolate in

places and worn. Miltos remainingon undersideof floor. No slip. Comparewith 135 and 136. 138 (Athens,N.M. 17289)Squatlekythos P1.23 H. 0.150, max. Diam. (near mid-point) 0.080, Diam. foot 0.060. Intact. Molded ring foot with a single groove on exterior. Interiorof foot concave,meetingundersideof body at oblique angle with a groove between. Tall, slender ovoid body with tooled groovewhereit meetsnarrow, convex neck; deep conical mouth, flaring outward from neck. Underside and resting surface of foot reservedand washedwith miltos.Undersidedecorated with single dot and two concentriccircles of black glaze. Interiorand exteriorsurfacesof foot painted with blackglaze.Lowerbody blackglazed.A reserved band with an egg-and-dotpatternmarksthe bottom of the figure zone. Groove between neck and body reserved;neck reservedand decoratedwith a sloppy tongue pattern in black glaze. Beneath the handle, an eleven-frondpalmettewith scrollsat eitherside. The figurezone shows a woman at home, flanked by two Erotesbearinggifts. At left, an Erosflies right carryinga box with eggs and nuts, and a scarf. He wearsa headbandbut is otherwisenaked.The woman standsat the centerfacinganotherErosflyingin from right; her head is drawn in profile to right, body frontal. She wears a peplos, a wreath in her hair, earring,necklace,and bracelets.She holds a mirrorin her upraisedleft hand and is looking at herselfas she arrangesa scarf around her right shoulderwith her right hand. To left behind her is a kalathos with strandsof wool showingat the top. Directlybehindher andhalfblockedby herbodyis a stoolwitha decorated pillow. The Eros flying toward her from right is nearlyidenticalto that on left, carryingthe samegifts and similarlyundressed.Both Erotes wear their hair in long curls.The right-handErosflies overa shallow, rectangularobject with eggs at either end. This may be a schematicrepresentationof a threshold. Relief contour aroundleg of stool, lower legs and feet of Erotes,and armsof woman.Relief line, dilute and full glaze for interiordetail.Reservecontourfor heads. Applied white for fillets, headband,eggs and nuts, necklace,earring,bracelets,mirror,and fringe on scarves.The wool in the basketis paintedin applied white with a pink overwash.Extensiveuse is made of diluteglazeas a yellowwash. It has been appliedover the white of the Erotes' fillets, the woman's mirror, and the eggs on the doorsill to give them a golden color. Thereis also a golden,dilute-glazewash on the wings of the Erotes,and on the leg of the stool. Thin slip and miltos on all reservedsurfaces.Good black glaze but overfiredto red and peelingin some places' A late workby the PelikaiPainter.The renderingof the eyes and generalstiffnessof the figuresaretypical,

LEKYTHOI but the experimentation with slip and relief line and the interest in decoration and added color suggest influence on his work by both the Hermes and the Pattern Painters. Late 5th century. 139 (CP 1687) Squat-lekythos fragment PI. 24 5. H. W. Th. 0.004. 0.023, 0.064, Group Shoulder and beginning of neck. High-shouldered, squat lekythos of the same type as 138. Head and shoulders of a woman facing left, chest frontal. She wears a chiton, and there are traces of a triple-spiked wreath on her head. Profile sloppily drawn with very concave forehead-to-nose line. Dot through lower lid of eye and another between mouth and ear. In front of her, the top of an alabastron and the top of another head wearing a wreath. Behind her the extended hand and upper leg of another woman. There is a reserved band below the neck ridge, and on the neck itself tongues separated by fine relief lines dribbling into a continuous black glaze along the ridge. No relief contour. Relief line for interior markings. Reserve contour for heads. Very good black glaze. Faded applied white for wreaths. Buff-red slip. This fragment is from a tall ovoid lekythos such as 138 and 140-142, but the style and subject of the painting are closer to the smaller, more globular lekythoi (133-137). Compare the rendering of the chiton on this piece with that on 134 and the alabastron here with the one on 136. The similarity between the drawing on this tall squat lekythos and that on the globular ones does suggest that they all come from the Pattern Workshop. 140 (C-68-97) Squat-lekythos fragment PI. 24 Deposit 6. H. 0.072, W. 0.075, Th. 0.003. Mended from seven pieces. Body fragment preserving about one third of body from shoulder to bottom of figure zone. Appears to be a rather high-shouldered, ovoid body, the same shape as 138. At left, a standing woman, almost completely preserved, facing right. She wears a chiton with a himation over it and holds a mirror in her right hand at face level. There is a three-dot wreath on her head. Behind her, part of a palmette and a scroll. To right, the back of another woman, running right, wearing a light peplos. Below the figure zone, a reserved band with a "Z" meander. No relief contour. Relief line and dilute glaze for interior markings. Reserve contour for head. Dot mouth. Applied white for wreath. Good black glaze, fired light brown toward bottom. Miltos, thin slip. This fragment and 141 and 142 are undoubtedly by the same hand. The artist of these vases is clearly more interested in the pattern work than the figures on his lekythoi. He expends some effort on the handle

63

palmette and "Z" meander on this fragment and on 142, but draws the figure of the woman on this piece so hastily that he confuses the drapery, painting the end of the himation thrown over the woman's left shoulder with the linen-like pleats of the chiton showing on her free right arm. It is unclear whether the artist of these pots is the Pelikai Painter himself (compare the hooks of the himation on this fragment with 135) at a later, more ornamental stage of his career, the Pattern Painter at his worst, or another painter kept specifically for the assembly-line lekythos work. 141 (C-68-98) Squat-lekythos fragment PI. 24 Deposit 6. H. 0.056, W. 0.043, Th. 0.004. Mended from two pieces. Body and shoulder fragment of high-shouldered, ovoid lekythos. Head to knees of standing woman in chiton and himation, facing left, right arm raised and extended to left. Two dots of wreath on head preserved; hair in bun. No relief contour. Inner markings in relief line fading to dilute glaze toward bottom. Reserve contour for head. Applied white for wreath. Lustrous black glaze, peeling miltos. No slip. By the same hand as 140. 142 (CP 2699) Squat lekythos P1. 24 H. est. 5. max. Diam. Diam. of 0.096, 0.088, Group foot 0.062. Mended from four joining pieces. About two thirds of foot and half of body preserved. Fragmentary profile from foot to shoulder can be reconstructed. Molded ring foot in two degrees curving gently with concave molding into underside of convex floor, a slight ridge where they meet. Ovoid body with high, gently sloping shoulder, maximum diameter toward center. Parts of three draped figures are preserved on front of vase. At far right the feet and lower legs of a woman in chiton or peplos. In the center the foot, facing right, of another woman. To far left the shoulder of another figure wearing a himation. They stand on a reserved band with a "Z" meander running around the whole vase. On the back of the vase is an elaborate palmette with volutes springing from either side which frame the figure zone on the front. The top of the palmette is beginning to turn out for the handle attachment. No glaze on interior; lower half of exterior of foot and underside of foot and floor reserved. The rest is black glazed. No relief contour. Relief line for interior markings. No slip. Miltos on all reserved surfaces. Good black glaze. By the painter of 140 and 141. See discussion under 140. 143 (C-37-440) Squat-lekythos fragment P1. 24 Deposit 4. H. 0.048, W. 0.055, est. Diam. of foot 0.070.

CATALOGUE

64

One fragmentpreservingone third of foot and less of lowerbodywithverybottomof figurezone.Approximatelythe same shapeas 142. Reservedbandwithegg and dot aroundlowerbody. Egg done with thicker,glazedinner line and narrow, relief outer line. Relief line marks off egg pattern above and below, and reservedband above. Above this, piece of draperyof woman moving left; behind her beginningof enclosedpalmette.Thereis a narrow reservedband on the upper glazed exterior of the foot, not present on 142; otherwisethe shape and decorationof the foot are identical. Good black glaze becoming streakychocolate towardbase. Miltos, no slip. Probablyby the painterof 140-142.

Miltos, no slip. Most of the interiormarkingshave worn away leaving light lines in the miltos over the reservedareas. Applied white for necklace,earrings, braceletsand wreaths,and very worn on strings of scarf. Earringsoutlined in worn relief line. Reserve contour for heads, solid black hair. Glaze fired dull, mottledblack to brown, holding fairly well on body of pot. Published in CorinthXIII, Grave 418, no. 10, p. 270, pl. 91. This lekythosand 146, althoughof the same shape as 138-142, are apparentlyby another painterwho pays muchmore attentionto the drawing of his figuresand has little interestin ornament.He takes the trouble to outline his figures with relief contour,and has enoughinterestin draperyto give it somemovementandto decoratethe yoke of the peplos 144 (C-37-265)Lekythosfragment P1.24 on 145. Thereis no doubt that 145 and 146 are by the Deposit 5. H. 0.042, W. 0.034, Th. 0.002. Mended same painter,possiblythe HermesPainteron a very bad day. In shape they are twins; they were found in from two joiningpieces. Feet of Lower-bodyfragment. drapedfigurestanding the same grave; the glaze technique,drawingof the left on a reservedpanel with egg and dot. figures'profilesand decorationof the scarveson the No relief contour. Miltos and slip. Relief line of two vases are identical. The subjects-women with varyingthicknessesfor interiordetail.No glazeinside scarves and mirrors,women being offered gifts by Erotes-are stock scenes on Attic red-figurelekythoi except one drip towardbottom. of the late 5th century.See Beazley,Greek Vases in PI. 24 Poland,pl. 29: 4; Hahland,pl. 11; ARV2,pp. 1324145 (T 2420) Squatlekythos Deposit 2. H. 0.115, max. Diam. 0.064, Diam. of 1326,nos. 44-66 and p. 1336,no. 4. foot 0.046. ovoid body; 146 (T 2422) Squatlekythos P1.24 Deep conical mouth; high-shouldered, vertical ring foot with molded grooves on exterior. Deposit 2. H. 0.120, max. Diam. 0.068, Diam. of Tooled groove between neck and shoulder,reserved foot 0.049. Foot mendedbut the rest is intact. in front, slight groove between neck and mouth; The shape is identicalto 145. At left, naked Eros tooled groovebetweenfloor and undersideof foot. facingright,bendingforwardfrom waist and offering At left a womanwrappedin a himationfacingright, a scarfand box to a woman on the right facinghim. wearinga wreathand earring.Dot mouth, extremely She wearsa chiton and a himationwhich covers her heavy relief line for upper eyelid. Both hands are left armentirely;a braceletis visibleon her rightarm, tucked under her himation; what appears to be a and she wears an earring.Applied-whitedots above torch to her right is peeled glaze. At right a woman the box; markingson the scarf almost identical to walkingaway to rightbut facingback left. She wears those of 145. a light, high-beltedpeplos with a simplyornamented Relief contour appearsto have peeled away from yoke, a braceleton each wrist, necklace,earringand aroundtheEros.Diluteglazefor chinprofileof woman, wreath.In her right hand she holds a decoratedscarf dot mouths for both figures.Relief line for interior with strings,in her left a mirror.Both women stand markings,includingoutline of earring.Appliedwhite above a reservedbase line. Blacktongueson reserved for earring, bracelet, and very faded wreath(?) on panel on neck separatedby fine, black relief lines Eros. Reserveoutlinefor heads, solid black glaze for endingin dots. Blackglazeinsidemouth. Bottomand hair. Publishedin CorinthXIII, Grave418, no. 11,p. 270, restingsurfaceof foot reserved. Thereprobablywas reliefcontour,but it has peeled pl. 91. For discussion,see 145. away leavinga fine "etched"line around the figures. G. ASKOI147-149

Threefragmentary Corinthianred-figureaskoihavebeenfoundat Corinth,all of the standardBeazley Type A.22 22

Richter-Milne, fig. 112.

LEKANIS 147 (C-40-454) Askos P1. 25 of foot H. Diam. 8. 0.083, max. 0.028, Deposit Diam. 0.104. Mended from eleven joining pieces; handle and spout missing. Wide, low disk foot with concave bottom; low, convex, splaying sides; sharp angular transition to shallow convex top. Maximum diameter at transition between sides and top. Judging from the stump, the askos had a strap handle. On one side of top, the head and shoulders of a youth wearing a pilos and cloak in profile to right; on the other side, a hare bounding to right. Bottom of foot reserved; resting surface and outside black glazed. No relief contour. Relief line and dilute glaze for interior details. Miltos on all reserved surfaces. No slip. A very shiny, brown-yellow, dilute-glaze wash for much of the hare's body. Dull, sticky, green-black glaze, fired to reddish brown in places. Dark, dilute glaze on interior. Published by S. Weinberg, Hesperia 17, 1948, no. 5, p. 229, pl. 84. The youth's head on an askos is unusual. The common decorations on Attic askoi are animals, such as the hare on the other side of this piece and the leopards on 148 and 149. Heads do appear often on Attic askoi, but they are generally those of women, Persians, or Arimasps. The head on this askos and a similar one on 184, a plate, have a counterpart on a Boiotian plate in the Athens National Museum (inv. no. 1411) published by A. D. Ure, "Boeotian Vases with Women's Heads," AJA 57, 1953, p. 249, fig. 16, pl. 69. Ure notes, "Heads of men

65

rarely occur as counterpartsto their much more popularsisters."The Boiotianplate may date to ca. 430 B.C. (ibid., p. 249). A helmeted youth's head is

found on a pyxis lid in the ViennaKunsthistorisches Museum:CVA, Vienna 1 [Austria1], pl. 48 [48], 3, and there is a youth's head with pilos in Ferrara: CVA,Ferrara1 [Italy37], 43 [1687],4, inv. no. T 494. Late 5th century B.C.

PI. 25 148 (C-37-2758)Askos fragment Deposit4. H. 0.040, W. (as chord)0.090,Th. 0.003. Fragmentfrom shoulderof Type A askos, broken where it would join lower body. Crouchingleopard with left paw raised. No relief contour. Relief line and dilute glaze for interiormarkings.Miltos, no slip. Mottled, brownblack glaze badlypeeling.Some tracesof a thin wash on interior. PI. 25 149 (C-71-283)Askos fragment Group 1. Max. pres. dim. 0.061. Mended from threepieces. Fragmentof the convexshoulderof a TypeA askos, preservingabout one third of the upper body with indicationof a strap-handleattachmentat lowerright. At left, forequartersof a leopardlying down,facing right.At right,smallpart of a verticalwing,probably an Eros,but possiblya griffin. No relief contour.Relief line and dilute glaze for interior markings. Miltos, no slip. Mottled, dull, brown-blackglaze. Traces of thin wash on interior.

H. LEKANIS150

Thelekaniswas one of the mostpopularshapesin late 5thand4th centuryAtticredfigure.It is almost alwaysdecoratedwith women'sgenrescenes.23The shapeis conspicuousby its absencein the Corinth collection;the one examplewith its unparalleleddecorationof birdsand wormsis more suitedfor a boy's fishingtacklethan for women'spowder.In the 5th century,Corinthianpottersdevelopeda local plain version,an attractivepot with a steppedlid whichapparentlyremainedthe popularform of the lekanisat Corinththroughoutthe 5th and 4th centuries.24 150 (C-28-132) Fragmentary lekanis lid P1. 25 Group 3. H. 0.043, est. Diam. 0.110, max. pres. Diam. 0.091, Th. 0.004. Mended from seven joining pieces; restored in plaster. Complete profile preserved except for top of handle. Narrow handle in center with disk knob with conical depression, shoulder sloping up slightly to a sharply articulated, vertical rim, convex in profile. Conical depression in the knob black glazed, reserved at center. Rest of disk reserved with three concentric circles, two of full glaze enclosing one of 23 24

Pnyx, II, p. 10. Corinth XIII, pp. 146ff.

dilute. Underside of disk and handle stem black glazedwith reservedband at base of stem. From this band five pairs of applied-whitestrokesprojectonto the shoulder.On one side of the shoulder'sexterior are a fragmentarypair of geese facing each other, worms (applied-whitestrokes identical to those projectingfrom the band)hangingfrom theirmouths. On the other side of the exterior a similar goose facing a hare, of which only the ears and part of the head are preserved.Betweenthe two groups, floral ornament.Reservedband at edge of shoulderset off

66

CATALOGUE

by narrow bands of dilute glaze. Rim black glazed with reserved wave pattern. Streaky black-brown glaze on underside of lid. No relief contour. Relief line and dilute glaze for interior markings. Solid black-glaze dots for eyes. Applied white for worms. Dilute wash on feathers and rabbit. Buff slip and traces of miltos. Dull black-brown glaze.

The birds on this lid are an unusualdecorationon lekanides. The closest parallel yet found is on a fragmentaryaskos from Mekybernawith two swans facing each other: OlynthusXIII, p. 188, no. 19, pl. 126: 6. The Mekybernaexampleis dated to the first half of the 4th century.

151-170 I. SKYPHOI Fragmentsof 17 red-figureskyphoifoundat Corinthandtwo fromAthenshavebeencataloguedhere. All those whose profiles are sufficientlypreservedto make the distinction between Attic Type A and the

Corinthiantype are of Attic TypeA (151-153,155, 156, 160-166).This shapedoes show development in Corinthianred figure,from the late 5th centuryexamples151, 152, and 162 with hardlyany sign of curve before the lip to 160 and 161 whichdo show a distinctcompoundcurvedatableto the second quarterof the 4th century. Fourfragmentsof owl cups (167-170)may be fromthe Attic TypeB glauxskyphoi,with one vertical and one horizontalhandle.25As their name indicates,these cups are often decoratedwith Athena's symbol,the owl. Manycupswiththis owl decoration,however,are of the Attic TypeA shapewithboth owl cups handleshorizontal;26in the absenceof anyhandlefragmentsattachedto the Corinthian-made it is impossibleto determinewhetherthey are from the Attic TypeA or B shape. Thereare in the Corinthcollectionseveraluncataloguedrim fragmentsfrom oversizedAttic TypeA skyphoi,such as the Corinthianred-figureexamplesin Athens,160 and 161; one such body fragment, 165, has been cataloguedhere in additionto the uncertainfragments157-159.It is possiblethat some fragmentshave been cataloguedas bell-kraters,since small pieces from the upperbodies of the two shapesare indistinguishable. One interestingfact is the large numberof skyphosfragmentsfrom the Sanctuaryof Demeterand Kore. The majorityof the Corinthianred figurefrom the Sanctuarycomesfrom oversizeskyphoi.This would indicatesome sort of dedicatoryuse for such vessels.27 151 (C-37-439) Fragmentary Attic Type A skyphos P1. 25 of Diam. rim 4. H. (as 0.138, restored) Deposit 0.159, Diam. of restored foot 0.090. Twelve fragments preserving parts of rim, body, foot, and half of one handle; the rest restored in plaster. Complete profile can be reconstructed from eight joining pieces. A non-joining handle stump and one piece of side B are also preserved. The shape is closest to that of Attic Type A skyphoi of the late 5th century: Agora XII, nos. 347-348, pl. 16; Corbett, no. 20, p. 317, pl. 85. Torus ring foot, body curving from a flattened base to a slightly outturning vertical rim. Horseshoe-shaped horizontal handle just below rim.

A. Head, torso, upperlegs of a nude athlete facing left, right arm extendedto left, cut off before wrist; chest frontal. He wears a fillet. Above him to right, two haltereshangingin background.Underthe handle to right, a crudepalmettewith squaredleaves and a volute. B. At left, back of the head and shouldersof a youth facing right, wearinga himation over his left shoulder.At far right bottom, part of the base of a stele and beginningof a volute. No reliefcontour.Reservecontourfor heads.Very little thin relief line for interiordetail, but all worn off, givingan etchedappearance.Some diluteglaze in palmetteand volute. Fillet reservedwith no trace of appliedwhite.Miltos on all reservedsurfaces.No slip.

25Agora XII, p. 86. 26 F. P. Johnson, "A Note on Owl Skyphoi," AJA 59, 1955, pp. 119-124. 27 A large, ribbedskyphos from Isthmia dedicatedto Demeter, IP 384, has been publishedby J. Caskey,"Objectsfrom a Well at Isthmia," Hesperia29, 1960, no. 1, p. 168, pls. 54, 55. A similar large ribbed skyphos without the molded figures, C-65-481,has been found at the Acrocorinth Sanctuaryof Demeter and Kore. Fragmentsof a large figuredskyphos, C-64-226,have also been discoveredat the AcrocorinthDemeter Sanctuary;see R. Stroud, "Sanctuaryof Demeter and Kore on Acrocorinth," Hesperia37, 1968, p. 321, pl. 93, a.

SKYPHOI

67

Undersidereserved,blackband on lowerhalf of inner surfaceof foot, restingsurfacereserved.Outsideof foot and lower body solid black glazed.Figurezone starts 0.035 m. from base and goes to top with no separate rim pattern. The youth is drawnstiffly,andthe techniqueis comparableto 171, the earliestdatablepiece of Corinthian red figure.This vase can be dated to about the same

Upper-body fragment beginning to turn out for handle at left break. Part of the head and shoulders of a youth. He wears a chlamys pinned at his right shoulder and a petasos hanging behind. He is looking back to right and moving left. To left, part of the handle-zone floral decoration. Complete relief contour, the majority of which has peeled, but a bit remains on the proper right shoulder time or slightly later, ca. 420 B.C. The cup and the of the youth. Full black glaze and relief line for the skyphosare possiblyby the same hand. drapery lines of the chlamys. Dilute glaze for strands A similarCorinthianred-figureskyphos, but with of hair. Reserved areas coated with a heavy slip, a slightlymore curved,later profile,is in the reserve crackled all over. Dark pink miltos remains on the collection of the BritishMuseum,B.M. 1955.4-18.3. reserved surfaces. Dull black glaze inside and out. The BritishMuseumskyphosis much more skillfully By the Hermes Painter. Compare with 30 and 31.

paintedand is probablyby the early HermesPainter.

152(C-70-105)AtticTypeA skyphosfragment PI.25 Deposit 6. H. 0.051, W. 0.044, Th. 0.005. Rim and upper-bodyfragmentof an Attic Type A skyphos,rim intact, turningout very slightly.Broken on threesides.Head and shouldersof a womanfacing rightwearinga chiton. Hair in a bun. No relief contour. Reservecontourfor head; solid glaze for hair. Thin relief line for interiormarkings. Badly worn. Good black glaze now chipped, miltos wearingoff, leaving a rough reservedarea. No slip. Interiorblack glaze becomingbrowntowardbottom. The head bears some resemblanceto those of the PelikaiPainter:see 15. Ca. 420 B.C. 153(CP2703)AtticTypeA skyphosfragment P1.25 Group 5. H. 0.036, W. (chord)0.045, Th. 0.003. Body fragmentwith beginningof outturningrim. At right, upper part of youth facing right with a himation over his left shoulderand a fillet. At left, floralvolute. No relief contour. Reservecontourfor head, solid glaze hair. Thin relief line, almost all worn off, for interior markings. Faded applied white for fillet. Miltos, no slip. Mottled green-gray-blackglaze, peelingslightly. This piece has developed a more distinct inward curve before the rim than 151 and 152 and must be somewhatlater. Beginningof the 4th centuryB.C.

156 (CP 2707) Attic Type A skyphos fragment PI. 25 Group 5. H. 0.080, W. 0.050, Th. 0.004. Body fragment preserving part of rim. Floral volute ornament. No relief contour. No interior markings. Miltos and slip. Sticky green-black glaze. 157 (C-68-125) Skyphos (or krater?)fragment P1. 25 Deposit 6. H. 0.045, W. 0.040, Th. 0.004. Male torso, naked except for a himation over left arm and shoulder. The right leg is moving right, right hand on waist, chest twisted three-quarters frontal. The left arm is extended to right and is holding a plate of food, the corner of which appears at the right-hand break of the sherd; one egg is preserved on it before the break. No relief contour. Relief line for interior detail. Applied white for egg and miltos. Thin slip. Dull black glaze. 158 (CP 1682) Skyphos (?) fragment PI. 25 Th. 0.005. 5. H. W. 0.025, 0.056, Group Body fragment. Torso of woman in peplos moving left carrying a lekythos in her right hand. She is wearing a bracelet or a long-sleeved undergarment. No relief contour. Relief line for interior markings. Miltos, no slip. Good black glaze, now chipped.

159 (C-65-66) Fragment of a large open shape PI. 25 0.004. W. Th. 4. H. 0.066, 0.059, Group 154 (C-72-29)Skyphosfragment P1.25 Lower-body fragment. The wall is too vertical to be from a bell-krater.Possibly part of a large Attic Type A Group 1. H. 0.053, W. 0.046, Th. 0.004. from an shape, Upper-bodyfragment probably skyphos. Crudely drawn feet and lower drapery of a open a skyphos but possibly a small krater.Back of the youth on a reserved ground line. No relief contour. Relief line for interior markings. head of a drapedfiguremovingrightwith a leaf of a miltos. No slip. Fair to overly thick, green-black Dark to left. behind palmette No reliefcontour.No slip. Miltos on reservedsur- glaze becoming gray.

faces. 160 (Athens, N.M. 1412) Attic Type A skyphos

P1.26

H. 0.245, Diam. rim 0.240, Diam. foot 0.130, max. 155(C-65-521)AtticTypeA skyphosfragment P1.25 Acrocorinth Sanctuary of Demeter and Kore. Diam. body (0.180 above foot) 0.230. Nearly complete. Mended from many pieces and restored in plaster. H. 0.031, W. 0.061, Th. 0.006.

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CATALOGUE

Torus ring foot. Body flaringout from a straightsided,narrow,cylindricalbaseto a maximumdiameter just below the handles,then curvingin and out again for rim. Undersideof foot reservedand decoratedby a centraldot surroundedby three narrowconcentric circlesof blackglaze. Exteriorof foot and lowerbody black glazed with figure zone definedby a reserved band on which dotted-saltiresquaresalternatewith three stopped, broken meanders.On rim, a band of egg-and-dotpattern. Under each handle, a thirteenfrondpalmetteflankedby floralvoluteswhichriseand extendinto the figurezone. A. The beginningof a horse race. To left a naked youth sits on a slightlyrearinghorse.He holds a goad in his upraisedrighthandand graspsthe reinsand the horse's mane with his left. Both the youth and the horse face right, the youth's head in profilewith his body turningto his right.He appearsto be restraining the horsewhilewaitingfor the startingsignalfromthe trumpeterto right. The trumpeterstands facing the youth and horse. He holds in his right hand a long, narrow trumpetwhich he has raised to his lips. He wearshigh-lacedsandals,a knee-lengthchiton belted at the waist, a heavilyborderedchlamyspinnedat his rightshoulderand coveringhis left shoulderand arm, a fillet,anda high-peakedpetasostiedunderhis chin.A bunchof grapeshangsin the fieldbetweenthe figures. B. Two youths stand facing each other. Both wear filletsand himationswrappedover theirleft shoulders, leavingtheirrightarmsfree.The youth to left holds a staff in his outstretchedright hand; the one at right holds a strigil,and an aryballosand a giganticsponge hang by stringsfrom his wrist. Betweenthe youths stands a knee-high rectangularblock: an altar or palaistraseat. No reliefcontour.All interiordetaillineshavepeeled leaving white lines in the pink miltos. The lines are not deep and could be the resultof eitherpeeledrelief line or peeleddiluteglaze.The chitonof the trumpeter and his chlamysare outlinedin shiny, dilute yellow glaze.Appliedwhitefor the grapesin the background; white with pink wash for the trumpeter'spetasos stringsand for spongeand aryballosstringson side B. Manysketchlinesvisible,particularlyaroundthe neck and chin of the rider.Looped sketchlines in the right armsof riderand trumpeter.No slip. Pink miltos on all reservedsurfaces.Thin black glaze almostentirely peeled. A fine work by the SketchPainter.Althoughthere is no reliefcontour,the outlineof the figuresis careful and precise. The arrestedmotion of the horse and rideris realisticallyrendered;the twistedtorso of the rideris particularlyeffective.Theface of the trumpeter, caughtat the momentof blowingthe horn,is also well done.Theloopedsketchlines,the shortbrokeninterior lines, the techniqueand the quality of the drawing definitelyidentifythis as a workof the SketchPainter

himself. Comparewith 161 which is a twin pot but painted by a differenthand. Comparealso with the non-Corinthianskyphos188Q (C-47-85),Plate30. The position of the ridersis similarand the peakedpetasoi are alike,too. It is quitelikely that the SketchPainter took the other skyphosas a prototype. The trumpeter starting the race is interesting. Sophokleshas a chariotrace startedby a trumpetin his Elektra,line 711, but thereare few representations in red figure.A chous by the AltamuraPaintershows a torch race of satyrchildrenstartedby a satyrtrumpeter, Berlin, S.M. 1962.33: Paralipomena, p. 394,

no. 71bis. From the shape this skyphos should date to the secondquarterof the 4th centuryB.C.See New York, M.M.A. 06.1021.205,Richter-Hall,pl. 165; Olynthus XIII, no. 55, pl. 76. 161 (Athens,N.M. 1405)Attic TypeA skyphos P1.27 H. 0.265, Diam. rim 0.260, Diam. foot 0.140, max. Diam. body (0.180abovefoot) 0.250.Nearlycomplete. Mendedfrom manypieces and restoredin plaster. In shape this skyphos is a twin to 160, although slightly larger. The undersideis decoratedwith the samepatternof centraldot and concentriccircles,but the painting is sloppier. Under the handles are the same thirteen-frondpalmetteswith flankingvolutes. The band under the figure zone is an egg-and-dot patternratherthan meanderand saltiresquares. A. Dionysos and companionreveling.On the right, Dionysos, naked except for a cloak over his arms, moves right holding a thyrsosin his left hand and a kantharosin his right. His hair is worn in long curls and a wreathof ivy leavesis bound aroundhis head. His step is livelywith his weighton his left leg, which is bent at the knee, his right leg extendedout behind himwiththe foot off the ground.He looks backtoward his companionto the left. This is a male figurenaked exceptfor an animalskin knotted over his shoulders and a wreathin his hair. He moves rightwith a light, dancing step, both feet off the ground. He holds a platter of food in his upraised left hand and an extinguishedtorch at his side in his right. This figure is probablya satyr;he does not have a tail, but his ear appearsto be a satyr's.The skin has somesloppyspots and is probably a leopard rather than a lion skin. There is a possibilitythat he is a drunkenHerakles ratherthan a satyr but the ear and the leopardskin weigh against this interpretation.A bunch of grapes hangs betweenthe two figuresin the background. B. Two mantledyouthsfacing.The left-handyouth holds a torch with torch racer's hand guard in his outstretchedright hand; a sponge hangs from the samewrist.The youth on the rightholds a staffin his righthand, and wearsa wreathin his hair. No relief contour.Heavy to dilute black glaze for interior details. Reserve contour for heads. Applied

SKYPHOI white for wreathand thyrsosberries.Tracesof white on torch shaft on side B. Many sketch lines visible, some looped. No slip. Miltos on all reservedsurfaces. Thin, badlypeelingblackglaze. By the Student Sketch Painter. See discussion, ChapterII, pp. 10-11. Comparethe Dionysos with 82 and the satyrwith 79 and 83. Secondquarterof the 4th centuryby shape.See 160.

69

By the SketchPainter.The eye is almost identical to those on 160. The profileis a little earlierthan the Athens skyphoi(160 and 161) with the countercurve below the rim much less pronouncedthan theirs. 165(CP2791)AtticTypeA skyphosfragment P1.28 Group5. H. 0.057, W. 0.109, Th. 0.004. Rim and upper-bodyfragmentof an Attic Type A skyphoswith a distinctlyoutturningrim. At the right break,back of the head and part of the shouldersof a male figurefacing right. He wearsa himationover his right shoulder.A garlandhangs above him to the left. On the rim, three rows of triangles,the middle row connected,the upper row pointing down rather than up. No reliefcontour.Reservecontourfor head.Interior lines entirely peeled. Miltos. No slip. Very poor, peelingblackglaze insideand out. By the SketchPainteror his student.Comparethe rim decorationwith 73 and 166. From the rim profile this fragmentbelongs to the second quarterof the

162(C-64-398)AtticTypeA skyphosfragment PI.28 Acrocorinth Sanctuary of Demeter and Kore. H. 0.061, W. 0.065, Th. 0.008. Rim and upper-bodyfragment. From a heavywalled Attic Type A skyphos with no countercurve below rim. The rim is decoratedwith an egg-and-dot pattern on a reservedband. Directly below the rim hangsa boukranion;to righta verticalpiece of cloth, a hangingtainiaor swag. No relief contour. Peeled dilute-glazedots on the boukranionand peeled, dilute glaze for the folds of the swag.No slip. Pinkmiltoson all reservedsurfaces. Badly peeled, dull black glaze on the exterior;good 4th century B.C. solid black glaze on the interior. 166(C-72-152)AtticTypeA skyphosfragment PI.28 Last quarter of the 5th century from the heavy Group 1. H. 0.020, W. 0.051, Th. 0.003. uncurvedrim. Rim fragmentfrom an Attic Type A skyphos or a smallbell-krater.The triangledesignon the 163(CP 1725)AtticTypeA skyphosfragment P1.28 possibly rim is identicalto that on 73 and 165. Group5. H. 0.052, W. 0.040, Th. 0.003. No reliefcontour.Miltos.No slip. Good blackglaze Upper-bodyfragmentpreservingpart of rim. Body insideand out. curvesin gentlyat rimand then out againfor a slightly evertedlip. Egg-and-dotband on rim, stoppingbefore 167 (C-68-186)Owl-cupfragment P1.28 handlezone. Back of head and shoulderof flowingly Th. W. 0.003. 1. H. Mended 0.041, 0.043, Group draped figure moving left; behind him, projecting from two joiningfragments. from the handlezone, part of a floralvolute. Body fragment.Foot, chest and wing of an owl The distinct compound curve of the profile dates facing left. The wing markingsare vertical,the body this fragmentto at least the end of the firstquarterof dotted.To left, an olive spray.Band of streakydilute the 4th centuryB.C. The egg and dot on the rim is the glazebelow the figure. same decorativepattern as on the two large Sketch No reliefcontour.Diluteglazefor interiormarkings, Workshopskyphoiin Athens (160 and 161), and the feathersof owl. Fairly good black glaze on exterior hair of the figureis similarto that of the rideron 160 and peelingfrom interior. whichis by the SketchPainterhimself. Owls facing left are much less common than those facingright,but for examplessee F. P. Johnson,AJA 164(C-72-246)AtticTypeA skyphosfragment PI.28 59, 1955, pls. 35-38, figs. 8, 29, 35, 37, 43, 47, 48. Acrocorinth Sanctuary of Demeter and Kore. Copies of the typical Attic owl cup in Corinthian H. 0.062, W. 0.080, Th. 0.005. Mended from two fabricare not as odd as they firstappear.The owl cup joining fragments. is imitatedin Etruscanand SouthItalianred figureas Rim and upper-bodyfragment of a large, thin- well. Ibid., pp. 122, 123. The majorityof Attic owl walledAttic TypeA skyphos.The rim is reservedand skyphoibelongto the secondand thirdquartersof the decoratedwith an egg-and-dotpattern.Of the figures, 5th century(Beazley,ARV2,p. 982), but examplescan only partof the headof a woman(?, Dionysos?)facing be found in later shapes.Johnson,op. cit., pls. 35-38. left with the hand of anotherfigurein front of her and PI. 28 168 (C-70-377)Owl-cupfragment the head of a thyrsosbehindher. No relief contour. The eye is done very carefully Group 1. H. 0.029, W. 0.037, Th. 0.002. Mended with reliefline. The leavesof the thyrsosare separated from two joining pieces. Body fragment. Interior: black glaze. Exterior: by full blackglaze.Reservecontourfor head.No slip. Miltos on all reservedsurfaces.Black glaze almost part of an owl facingrightwith verticalmarkson the wingsand dottedbody. entirelypeeledfrom exteriorand interior.

70

CATALOGUE

No reliefcontour.Full and dilute glaze for interior if it might have been good at one time. Identicalin markings.Miltos and slip. Black-brownglaze,peeling techniqueto 170. See discussionof owl cups under167. inside. Comparewith 167. PI. 28 170 (CP 2700) Owl-cupfragment 0.003. H. W. Th. PI. 28 169 (CP 2701) Owl-cupfragment Group5. 0.029, 0.027, Body fragmentpreservingpart of a very slightly Group 5. H. 0.045, W. 0.056, Th. 0.003. Body fragmentpreservingpart of a very slightly outturningrim. Upper part of head of owl, a bit of outturning rim. At right, half of an owl's head, olive spraypreservedto the right. No reliefcontour.Full glaze for interiormarkings: possible beginningof a beak. At left, an olive spray. Full for interior black eyes and speckles of owl. Fair black glaze, slightly glaze. glaze Verybadlypeeling No and Thick owl's eyes. slip. peeling.Thickmiltos, peelingoff. No slip. markings, speckles of is left the looks as See 167 and 169. What off. miltos, peeling glaze CUPS171-180 J. STEMLESS

The Corinthianversionof the red-figurestemlesscup is one of the most interestingshapesproduced in the imitationindustryat Corinth.Fragmentsof eight stemlesscups have been foundat Corinth,and they are all of the shallow,light-walled,thin-lippedtype with a smallverticalringfoot whichBeazley calls the "saucerfoot".28As far as can be determinedfrom illustratedexamples,this shallowshapeis rareamongthe late 5th and 4th centuryAttic versionsof the stemlesscup. The latterare most oftenthe deeper,heavy-footedtype with inset or offsetlip illustratedby Ure.29 The versionpopularat Corinthis very shallowand badlybalancedon its smallringfoot, unsuitable for drinkingbut very usefulfor spillinglibations.Two of these cups, 173 and 174, were foundin the Sacred Spring in a deposit definitely associated with the mud-brick altar.30The majority of Corinthian

red-figurestemlesscups are decoratedwith an ovule patternaroundthe tondo, almostunparalleledin Attic cupswhichusuallyhavethe tondoencircledby a meander.Theconsistencyandrarityof this tondo decorationsuggestthat the Corinthianstemlesscups wereall made in one workshop.The shapedoes showsomedevelopment,becomingprogressivelyshallowerandless cup-likefrom173to 175.31Sincethe stemlesscupsweremadespecificallyfor ritualuse, they representanotherset of special-occasion pots in red Corinthian figure. early No red-figureversionsof the more common,deepercup suitablefor drinkinghave been found at Corinth.However,at least two Corinthianpotters'shopsproducedratherelegantstampedversionsof the shape.32 171 (CP 1005)Stemlesscup P1.28 Deposit 1. H. 0.027, Diam. at rim (withouthandles) 0.147,Diam. (withhandles)0.208,Diam. of foot 0.033. Complete,mendedfrom elevenjoiningpieces. Vertical ring foot, molded grooves on exterior, undersideof floor slightlyconvex;broadshallowbowl curving up continuouslyto an almost vertical rim. Undersideof bowl reservedwith black-glazedot in

center and one narrow dilute-glazecircle; interior surfaceof foot black glazed,restingsurfacereserved, exteriorof foot glazed. Exteriorof bowl completely glazed except under handles. Interiorof bowl black glazedwith reservedtondo for figure. Interior:Naked youth standingin front of stele on a plinthbase.The steleis at far left of the tondo and is cut off by the egg-and-dotborder.The boy's head is

28 ARV2, p. 397, no. 48; p. 560, no. 159; p. 771, no. 1; p. 771, no. 2; p. 774; p. 983, no. 9; p. 1262, no. 58. An Attic cup very similar to the Corinthiantype with egg and dot around the tondo exists in the Munich reservecollection, inv. no. 7491. Another is on displayin the Athens National Museum,inv. no. 14638. 29 A. D. Ure, "Red-figureCups with Incised and Stamped Decoration," JHS 64, 1944, pp. 72-75. One Attic example of the saucer-typestemlesscup exists at Corinth(CP 885): Paralipomena,p. 500, no. 13. Its saucerfoot is not noted, however.It is impossible to know how many Attic, saucer-footedexampleshave not been distinguishedin the ARV lists, but very few have been illustrated anywhere. 30 See ChapterIII, under Deposit 6. 31 A slightly earlier, deeper, Corinthianblack-glazeversion of this shape was found in Deposit 3. Publishedby Pease, no. 224, p. 308, fig. 37. 32See ChapterIII, Deposit 4.

STEMLESSCUPS

71

turnedin full profileback left, looking down toward the stele; his chest is shown frontally,legs in profile right,his weighton left leg bent at knee,rightleg back with heel raised,right arm on hip, left arm extended. He is drawn with two right arms. He stands on a reservedflat surface,probablybeginninga race. It is noteworthythat the widespreadstartingposition of the youth does not fit the startinglines of the stadia at Isthmia, Epidauros,and Delphi, but does fit the Corinth startingline. The tondo is borderedby an egg patterndrawnwith two narrowrelieflines and a glazetonguein the center. Reliefcontouronly on rightshoulderof youth.Very obvious 3 mm. line. Relief line and dilute glaze for interiormarkings.Reservecontourfor head,solidhair. No slip. Miltos. Extremelydull blackglaze,peeledon exterior. This is the earliest, definitely datable piece of Corinthianred figureyet found. It was found in the grave of a youth and from the other vases with the burialmust be dated to the decade430-420 B.C., but closer to 430. Stylisticallyit fits in with the plainer Attic pot painting of that time: Ashmolean,inv. no. 306, CVA,Oxford1 [G.B.3], 3 [95],7; ARV2,p. 1298, no. 1. Also, by the CodrusPainter,a cup in Florence: CVA, Florence 1 [Italy 8], 15 [390], 266; ARV2, p. 1271, no. 37. The style is too plain and clumsyto attribute, but it could be the hand of the Pelikai Painterwho is paintingthis early.It is most similarto the skyphos151.

173 (C-68-113) Stemless-cup fragment PI. 28 Deposit 6. H. 0.031, est. Diam. of rim 0.170, Diam. of foot 0.036, Th. 0.004. Mended from eight fragments; restored in plaster. About two thirds of foot, half of bowl and a small part of rim preserved. Profile can be reconstructed. Low ring foot joining convex underside of floor almost at right angle. Bowl broad and shallow, curving up continuously to vertical rim. Interior: a standing woman preservedhead to knees, head in profile right, body frontal, her right hand on her hip. She wears an elaborately over-folded peplos. Tondo bordered by reserved band with egg pattern between lines of dilute glaze. Exterior: black glazed, resting surface of foot reserved; rest of underside reserved except for black band around interior of foot and a small circle and central dot on floor. No relief contour. Relief line of varying thicknesses for interior markings. Reserve contour for head. Dilute glaze in border pattern. Dull, mottled greenblack glaze on interior. Lustrous glaze on outside but turning to streaky brown. Peeling. Miltos over reserved areas. No slip. Published by C. K. Williams, II, Hesperia 38, 1969, no. 3, p. 56, pl. 17, b. By the Pelikai Painter. Compare with the woman on 15. For general Attic painting parallels, see Bologna, inv. no. 422, CVA, Bologna 5 [Italy 33], 134 [1508]; ARV2, p. 1393, no. 41; and CVA, Coll. Mouret (Enserune) 1 [France 6], 6 [235], 2; ARV2, p. 1394, no. 48. Both examples are from the PI. 28 sub-Meidian cup group. The woman on the Corinth 172 (C-71-244)Stemless-cupfragment cup is more heavily drawn with a larger eye and stiffer Group 1. Max. pres. dim. 0.054, Th. 0.004. Floor fragment of a shallow stemless cup, just drapery than the two Attic examples. For the subject she could be watching a satyr, like the of the beginningto turn up for rim at outside break. The womanscene, on the Bologna cup, or taking part in a houseoutturningfor one handlestumpis preserved. hold scene, like the figures on the Enserune example. On the interior,the properleft side of a male figure Given the probable cult use of this shape, the satyr is is preservedfrom chest to knee. He is standingto left, his more likely. and must either be bent

resting slightlyforward, right foot on a rock or stool, or leaning on a staff, left armraised.He wearsa himationhangingfromthe waist down. A reservedband with egg and dot surroundsthe tondo. The exterioris blackglazedwith the spaceunderthe handlereserved. Completerelief contour. Fine, wiry relief line for interior detail. Some dark red miltos remainson the chest of the figure and on the reservedzone under handle. No slip. Good blackglaze. Unusually careful work. The artist gave a great deal of attention to renderingthe bunchingof the draperyaroundthe waist of the figure.He drawswith a short, broken relief line that gives a stiff, starched effect to the drapery.None of the other Corinthian red-figurestemless-cupfragments are done in this careful, stiff style; none use relief contour. Possibly by the HermesPainter.

P1. 28 174 (C-68-114) Stemless-cup fragment Th. 0.004. of rim 6. Est. Diam. 0.150, Deposit Mended from two joining pieces. Interior: a man moving to the right, his weight on his right foot, leaning on a staff, wearing a dotted chlamys with a dark band at the hem and sandals laced to mid-calf. Foot of another figure to left. Tondo bordered by reserved band with egg and dot, diluteglaze band on bottom. Relief contour for staff. Relief line for interior markings. Dilute glaze for sandals. Full glaze for dots on chlamys. Miltos, no slip. Published by C. K. Williams, II, Hesperia 38, 1969, no. 4, p. 56, pl. 17, e. Same shape and technique as 173. The interest in the cloak and sandal decoration suggests the Pattern Painter. For a similar cloak on a maenad in

72

CATALOGUE

a kylix tondo, see Pnyx, II, no. 21, "end of the fifth glaze fired lustrous,streaky,red brown inside, green gray(dull) outside.Buff slip, tracesof miltos. century". P1.29 175 (CP 1705)Stemless-cupfragment Group 5. H. 0.015, W. 0.057, Th. 0.004. Ring foot, completelyblackglazed, reservedbands within, narrow reservedband separatingfoot from floor. Headandshouldersof Dionysosfacingleft, shoulder frontal,wearingan elaboratefillet and three-quarters and wreath, holding a kantharos.A hand extending from the left offers a basket of fruit, nuts and eggs. A reservedband with egg-and-dotpatternaroundthe medallion. No relief contour. Relief line and dilute glaze for interior detail. Reserve contour for head. Applied white for wreath,fillets, kantharosand fruit. Dilute wash over basketand streakon rightshoulder.Miltos and slip. Mottledblackglaze. By the PatternPainter.Thisfragmentexhibitshis use of appliedwhite and dilute glaze and shows closeness to the Pelikai Painter. Compare Dionysos' profile with that of the womanon 173. This cup is decidedly shallowerthan 173. 176 (C-70-380)Stemless-cupfragment PI. 29 1. Max. Diam. Th. 0.004. 0.041, Group pres. Floor fragment.Egg-and-dotborderaroundtondo. Arm of a figure in a long-sleeved,flecked costume carryingan unidentifiedobject. No relief contour. Relief line for interior detail. Appliedwhitefor stripeon sleeveandchestof costume, which has faint red stripes.Miltos. No slip. Brownblack glaze,peelingbadlyin places. The costume with white stripe down the sleeve is typical of Paestan Phlyax actors. Trendall, Phlyax Vases2,no. 182,pl. 11, d. 177 (CP 1708a, b) Stemless-cupfragments P1.29 5. Max. Diam. W. 0.054, Group a) pres. 0.051, Th. 0.003. b) Max. pres. Diam. 0.049, W. 0.030. Two non-joiningfragmentspreservingpart of bowl and rim. Brokenon three sides; rim intact. Shallow bowl with almost flat floor, curvingquicklyup to an almostverticalrim. a) Interior:profileof the head of a youth looking left and up. Tondo borderedby a reservedband with egg and dot betweentwo lines of diluteglaze.On inner edge of exterior,beginningof a reservedband and slightoutturningfor foot. b) Unreadable.Perhapsleg of a Pan, dots for hair on calf, possiblehoof, spilledbasketof fruit with egg pattern behind him. Same egg-and-dot border for tondo. No relief contour. Relief line and dilute glaze for interior markings. Reserve contour for head. Black

178 (C-38-627)Stemlesscup fragment PI. 29 Group 1. H. 0.002, W. 0.042, Diam. of foot 0.043. Fragmentpreservesabout one half of the foot and the floor directlyabove it. Verticalring foot, joining the undersideof the floor sharply.Undersideof floor reservedwithbandsof full and diluteglaze.Foot black glazed, with scraped resting surface, lower half of exteriorjunctionbetweenfoot and floor reservedwith slightgroove. At right,partof a standingwomanwearinga belted light garment, extending a high-handled,stemmed kantharosto a seated figureat the left, facing right, preservedonly from shoulderto knee. This figureis holdingan awkwardlydrawnstaff. The drawinghere is confused,with too many intersectinglines. The left handleof the kantharosis missingentirely. Not enough preservedto be certain about relief contour, but probably none. Strong relief line for interiormarkings,includingtheoutlineof thekantharos. Good blackglaze.Slip and miltos. PatternWorkshop. 179 (C-72-37)Stemless-cupfragment PI. 29 Group 1. Max. pres.dim. 0.056, Th. 0.005. Smallpartof body and shallowringfoot. The tondo is framedby two narrowreservedbands. Withinthe tondo is a representation of a black-figurecalyx-krater. The krateris shownwith a high, two-degreefoot and is cut off by the frame of the tondo. Parts of two figuresare preservedon the upperbody of the krater, both renderedin stick-figuresilhouette. To left, a figurewith handsraisedover head, possiblydancing; to right,the legs (?) of anotherfigure;behindthem a branchof ivy leaves.At the left breakof the sherdis a small piece of draperyfrom the main scene of the tondo. No relief contour. Relief line and full glaze for interiordetails.No slip. Miltoson all reservedsurfaces. Dull blackglaze. For blackfigurerepresentedon a red-figurevase, see the New York pelikeby the SomzeePainter:M.M.A. 75.2.27, Richter-Hall,pl. 152; ARV2,p. 1159, no. 2. This vase, too, shows a black-figurecalyx-krater. 180 (C-72-80)Stemless-cupfragment P1.29 Deposit 6. Max. pres. dim. 0.061, Th. 0.003. Fragmentpreservingpart of one handle and small partof bowl. Onlya smallportionof the bandaround the tondo remainswith one squareof a checkerboard and anotherwith a brokenmeander,ratherthan the egg and dot which is usual on this shape in Corinth. No reliefcontour.Full glazefor interiordecoration. No slip. Miltos on reservedsurfaces.Thin, dull black glaze.

PLATES

73

K. CuPs181-183 One definitelystemmedcup, 181, was found at Corinth,a BeazleyType B,33Richter-Milnekylix Type III.34Small fragments possibly from the bowls of two others are catalogued here. 181 (CP 1706) Cup fragment P1. 29 Group 5. Max. pres. Diam. 0.115, est. Diam. 0.240, W. 0.130, Th. 0.005. Mended from nine joining fragments. Preserves part of bowl and rim. Almost flat floor curving up to vertical rim. Interior: rear legs of a horse with corner of saddle cloth or rider's drapery preserved. Weight on rear legs. Ground under him indicated by a reserved area that runs into the reservedtondo border, with a key meander running left. One line of dilute glaze above the meander and three below it. Exterior: palaistra scene. Parts of three figures standing on a reserved base line with three lines of dilute glaze. At right, a standing youth facing left, wearing over his left shoulder a himation with borders. Center, a naked youth practicing with a discus. He stands left, chest three-quarters frontal, legs bent, his weight on his left foot, left arm bent and raisedto shoulder level, holding a discus in his right hand at knee level. Hanging in the field above and to left, double halteres. At far left, the right half of a simply draped man, preserved from shoulder to feet; he holds a staff to right. He is probably the trainer. No relief contour. Reserve contour for heads, solid glaze for hair. Relief line and dilute glaze for interior markings. Dilute glaze for profiles. No slip. Traces of miltos. Good to dull black glaze, now chipped. Fairly good parallels for this type of cup with horseman in the tondo and athletes on the exterior can

be foundin Atticvasepainting.SeeTillyard,TheHope Vases,no. 170,pl. 27, and Cincinnati,inv. no. 1884.30, published by Boulter in the Cincinnati Art Museum

Bulletin8, fasc. 1, Feb. 1966;ARV2,p. 1351,no. 9. Boulterseesthe influenceof the Parthenonfriezein the horseman tondo and dates it to ca. 410 B.C. The single key meanderaround the tondo is unusual in Attic cups.

182 (C-31-332)Cup fragment PI. 29 W. Th. 2. H. 0.003. 0.027, 0.048, Group Fragmentpreservingpart of the rim intact and the beginningof the bowl. Part of the head and shoulder of a woman wearing a chiton, spiked wreath and earring,facing right. Behindher, a floralvolute. Top of rim reserved. No reliefcontour.Relief line for interiormarkings. Reservecontourfor head.Miltos,no slip. Appliedred for wreath.Dull, foggy, green-blackglaze. P1.29 183 (C-70-374)Cup fragment Group 1. H. 0.030, W. 0.025, Th. 0.004. Bowlfragment.Interior:solidblackglazed.Exterior: back and tail of a satyr. No relief contour. Relief line and shiny yellow, dilute glaze for interiormarkings.Dilute-glazewash for tail. Miltosand slip. Good blackglaze.Sketchlines visible. Possiblyby the SketchPainter.

184-186 L. PLATES There are three plate fragments in the Corinth collection, two of which are early fish plates. PI. 29 184 (C-31-333)Plate fragment Th. 0.003. W. 2. H. 0.006, 0.055, Group Fragmentfrom center of plate preservinga small piece of the ring-footattachmentat outer edge. Head of a youth facing right, preservedfrom nose to neck. He wearsa pilos. Completerelief contour. Hair paintedwith messy, thickbrushstrokesof dark,diluteglazeendingin dots of full glaze. Ear can be seen sketchedin relief line over hair. Miltos peelingoff reservedsurfaces,no slip. Dull black glaze turningfoggy gray. On underside, gray-greendilute glaze. Traces of a reservedgroove betweeninner surfaceof foot and floor. Part of very thin reservedcircletowardcenterof underside. 33

ARV2, p. li.

34Richter-Milne, figs. 163-166.

of helmeted As discussedunder147, representations In to are addition heads rare. the parallelscited youths' there,the head on this fragmentbears a close resemblance to one on a South Italian plate in Tiibingen: Watzinger,F. 18, pl. 45. PI. 29 185 (CP 2719) Fish-platefragment Group 5. Max. pres. Diam. 0.067, Th. 0.012. Floor fragmentof a largefish plate with the underside beginningto turn out for ring-foot attachment. The decorationconsistsof a fish movingrightwith its dorsal fin oriented toward the center of the plate. There is the beginningof a tail fin at the left break. The upper surfaceof the dorsal fin is scalloped;the

74

CATALOGUE

fin is decorated with vertical stripes of red wash, and there are horizontal stripes of dilute glaze on the body of the fish. Black glaze on the underside of the plate with the beginning of a reserved band for the foot. No relief contour. Shiny red-gold slip; good black glaze. For a similar fish-plate fragment of the second quarter of the 4th century, see Pnyx, II, no. 51. The Corinthian painter did not quite so obviously have a perch in mind. P1. 29 186 (CP 2790) Fish-plate fragment Th. 0.007. 5. Max. Diam. 0.08, pres. Group

Rim and outer-edgefragmentof a fishplate.Surface of the plate flat and slightly concave. Rim vertical, overhangingand slightly convex in profile. Scraped groove betweenrim and upperplate surface.Parts of the fins of two fish: they are renderedwith vertical spinesin appliedwhite radiatingfrom a centralstripe of diluteglaze (the centralstripeis only visibleon the right-handfin). The groove aroundthe outer edge of the plate is coloredwith miltos.The rim carriestraces of a wavepattern. No relief contour.Buff slip. Miltos on all reserved surfaces.Applied white and dilute glaze for interior detail.Verysloppywork.

M. QUESTIONABLEPIECES187Q, 188Q The collection and study of the Corinthian red-figureware at Corinth has made it possible to see the technical and stylistic range of the fabric and to judge more certainly than before what oddities do or

do not fall withinthis range.Two vases in the Corinthcollectionpreviouslypublishedas possiblyof Corinthianmanufacture,T 738 (187Q) and C-47-85(188Q), do not fall withinthis rangeand in my opinionwereneitherpottednor paintedin Corinth. P1. 29 187Q (T 738) Squat Lekythos H. 0.097, max. Diam. 0.061, Diam. of foot 0.047. Deep, double-curved mouth, slight flare at lip, groove between mouth and neck and between neck and shoulder. Neck bulges below lip where handle joins. Narrow base, cutting in quickly to a slightly flaring, ring (corrupted torus) foot rounded toward resting surface. Mended from many joining pieces, a few chips missing. Provenience: North Cemetery, Grave 422, no. 10. Swan facing right above a reserved base line, volute plant in front of him, blob behind feet. No relief contour. Relief line and glaze for interior markings. No slip; no miltos except for underside of foot. Published in Corinth XIII, p. 272, fig. 23. Palmer compares it to the Mina Painter's lekythoi. She notes, however, that the clay is unusually pale for Attic and may be Corinthian. Squat lekythoi decorated with a single, sloppy animal or human head were turned out in great numbers for the export trade by late 5th century Attic painters.35 The Mina Painter, ARV2, pp. 1366-1367, the Painter of the Mayence Sphinx, ARV2, pp. 1363-1364, the Worst Painter, ARV2, pp. 1353-1354, and the Straggly Painter, ARV2, pp. 1367-1368, all produced this type of lekythos almost exclusively. The quality of the vases, as may be inferred from the names of the painters, was never very high. As a result it is impossible to identify the Corinthian imitation by the inferiority of its technique or lack of artistic merit. In addition, all of

the definitely Corinthian red-figure lekythoi are decoratedwith women's scenes,and none carriesthe standardizedsingle head or animalmotif commonin Attic. The decoration,then, can be consideredmore Attic than Corinthian. There is nothing in the provenienceof 187Q that arguesagainstan Attic origin.It was found in a late 5th centurygrave,and, althoughAttic importsfall off at that time in the North Cemetery(see ChapterIII, Deposit 2), they never cease completely.In fact, a definitely Attic red-figurelekythos (T 735)36was found

in this samegrave. Finally,the fabric:It is pale for Attic but is much more micaceousthan the common Corinthianclay, andthe glazehasa moremetallicshinethanCorinthian pottersusuallyattained.Consideringthe threeelements together,the common Attic subject,the provenience with anotherAttic vase, and the ambivalenceof the clay, I would say that 187Q is Attic. PI. 30 188Q (C-47-85)Attic Type A skyphos H. 0.175, max. Diam. of rim 0.185, max. Diam. of body (just below handles)0.175, max. Diam. of foot 0.107. Mendedfrom manypieces. Completeprofilepreserved.About one thirdof rim, one handle, and several pieces from body missing. Heavytorusfoot; bodyflaringout fromflat,cylindrical base, maximumdiameterjust below handles,curving in for handlezone and rim and then out for lip. A. At right,a nakedyouth,possiblyHermes,seated on a rock throne,legs right,but chestfrontaland head

35Cf. J. D. Beazley,"Excavationsat Al Mina, Sueidia. III. The Red-figuredVases," JHS 59, 1939, p. 27. 36 Corinth XIII, Grave 422, no. 13, p. 273, pl. 97.

QUESTIONABLE PIECES turned left toward another youth. He wears a petasos and holds a fillet in his upraised left hand; he is leaning his right elbow on the throne. A cloak covers part of the throne. The upper part of the throne is rather shapeless and could easily be an undistinguished rock, but the lower part is drawn so as to appear suspiciously like an Ionic base. There are no interior markings. The youth at left stands right facing Hermes. He is naked except for a cloak over his left arm, one end of which is caught up over his right shoulder; the material in between covers his chest like a bib. He is offering something to Hermes from a flat plate he holds in his left hand, possibly a bunch of grapes in applied white which has now completely faded (see Pnyx, II, no. 94) or perhaps he is sprinkling incense as in Pnyx, II, no. 266. Volutes and an acanthus project into the scene from the handle zone; towards the base the feet of both Hermes and the youth project into the handle palmettes. This is carefully done; the feet do not overlap the palmettes, but rather areas have been cut out for them in an attempt to integrate the handle and figure zones. B. A naked, winged youth, probably Eros, riding horse to right. The heads of both youth and horse are missing. The chest of Eros is three-quarters frontal. He leans back, resting some of his weight on his right hand on the horse's haunch. His feathers are drawn with vertical relief lines crossed at four places by horizontal lines of dilute glaze. The horse is rearing somewhat, its weight on its rear legs, forelegs raised. At the right the forelegs of the horse and the foot of Eros project into, but not over, the handle ornament, just like the figures on side A. At the left the tail of the horse extends into the handle zone. The handle ornament itself consists of a large, central, enclosed palmette under each handle with volutes springing from either side up into the figure zone where they give rise to acanthus forms. The bases of the volutes to each side of side A have been left out to make room for the feet of Hermes and the youth.

75

Around the rim is a reserved band with egg-and-dot pattern. Underside of base reserved with three narrow concentric circles at center. Interior surface of foot glazed; resting surface reserved. Exterior black glazed with top of foot and beginning of body reserved. No relief contour, but carefully drawn nonetheless. Relief line of varying thicknesses and dilute glaze for interior markings. Hermes' hair is drawn with separate strands of dilute glaze. Relief line is not used to distinguish the surfaces of individual intersecting figures, e.g. Hermes' left foot and the rock throne, his right foot and the palmette. They are very clearly separated, instead, by a wide, flat, full black-glaze outline. Good, lustrous black glaze, fired light brown toward the base and red on the underside. The glaze inside has fired red and brown in a very regular circle toward the base. Orange-buff slip, traces of a heavy rust-red incrustation. This second questionable vase is more problematic. It is an Attic Type A skyphos excavated and published in 1947.37 In the discussion of the Corinthian red figure at Perachora, this vase is cited as an example of Corinthian slipped ware.38The shape is paralleled in both Attic and Corinthian red figure.39The clay is not Corinthian; it has an orange-gold color giving the reserved areas rich gold-buff color without need for miltos. It is much coarser grained than Corinthian clay. The painting style finds much closer parallels outside Corinth. The technique of outlining the figures with a wide black band and cutting them into the handle zone is like nothing in Corinthian red figure. An Attic redfigure skyphos in Braunschweig is so close in style that it may even be by the same painter: CVA, Braunschweig 1 [Germany 4], 27 [173], 6. Another skyphos of similar shape and style was published in 1910 as Etruscan.40188Q may not be Attic, but it certainly is not Corinthian.

370. Broneer,"Investigationsat Corinth, 1946-1947," Hesperia 16, 1947, p. 246, pls. 65, 66. 38 Perachora II, p. 287. 39Attic: New York, M.M.A. 06.1021.181, Richter-Hall,

161. The Attic shapes are closer. 40ArchAnz25, 1910, p. 465, figs. 7 and 8.

p. 217, no. 170, pl. 165; Olynthus XIII, no. 5, pl. 76. Corinthian: 160,

CONCORDANCE I. INVENTORY NUMBERS IN CORINTH Inv. No. C-28-132 C-28-135 C-29-155 C-29-162 C-29-205

C-29-206 C-29-214 C-30-55 C-30-83 C-30-89 C-30-128 C-31-83 and CP 2577

C-31-300 C-31-318 C-31-319a, b C-31-324 C-31-325a, b C-31-326 C-31-328 C-31-329

Cat. No. 150 p. 26 63 pp. 9, 12,26 113 p.27 14 p.26 79 v. 83, 161 pp. 10, 12, 26 111 p. 27 46 pp. 12, 26 131 p. 27 58 pp. 12, 26 41 pp. 12, 26 91 p. 26 87 v. 86 pp. 3, 11, 12, 27, 34 32 pp. 12, 26 89 pp. 5, 26 110 p. 26 62 pp. 7, 12, 26 109 p. 26 69 pp. 9, 12, 26 107 p. 26 35 v. 30, 34, 59, 80 pp. 3, 7, 12, 26, 352

Inv. No. C-31-330a, b

C-31-332 C-31-333

C-32-26 C-32-61 C-32-142 C-32-153

C-32-160 C-32-199 C-32-200 C-32-201 C-32-215

C-32-224 C-32-225 C-32-226 C-32-227 C-32-228 C-32-229 C-32-253 C-32-255bis C-32-291

C-32-444 C-33-446

C-34-144 C-34-1107a-d C-34-2488

Cat. No. 53 v. 54, 114 p.26 182 p.26 184 v. 147 p.26 p. 1624 37 pp. 12, 26 p. 1624 60 v. 32 pp. 12, 26 70 pp. 9, 12, 26 p. 14 p. 14 p. 14 94 v. 93 p.27 p. 14 p. 14 p. 14 p. 14 p. 14 p. 14 p. 1833 68 pp. 9, 12, 26 136 v. 133, 134, 137, 139 pp. 6, 12, 27, 61 p. 1833 100 v. 99 p. 26 9 pp. 12, 26 117 p. 17 88 p. 26

Inv. No. C-35-86

C-35-969 C-35-970 C-36-132 C-36-306 C-36-2066 C-37-164 C-37-170 C-37-171 C-37-172 C-37-173 C-37-174 C-37-175 C-37-176 C-37-177 C-37-211 C-37-212 C-37-217 C-37-224 C-37-228 C-37-229 C-37-230 C-37-234

C-37-235

C-37-237

C-37-238

Cat. No. 92 v. 93, 94 p. 25 108 p.26 96 pp. 12, 26 106 p. 26 65 pp. 9, 12, 26 71 pp. 9, 12, 27 p. 5616 p. 2051 p. 205 p. 2051 p. 2051 p. 2053 p. 2052 p. 2052 p. 2054 p. 2058 p. 2058 p. 2058 p. 2049 p. 2048, 50 p. 2058 p. 2048 1 v. 3, 4, 15 pp. 6, 12, 19 127 v. 86 pp. 11, 12, 19 30 v. 31, 34, 35, 37, 43, 47, 52, 53, 155 pp. 6, 7, 8, 11, 12, 19 55 v. 14, 27, 32, 56, 58, 59, 126 pp. 8, 9, 12, 19, 33

CONCORDANCE Inv. No. C-37-239

C-37-249 C-37-250

C-37-251 C-37-252 C-37-253 and C-37-444

C-37-254

C-37-255 C-37-256 C-37-257

C-37-258 C-37-259 C-37-260 C-37-261 C-37-262 C-37-263

C-37-264 and C-37-270 C-37-265 C-37-266 C-37-267 C-37-268 C-37-269 C-37-270 and C-37-264 C-37-340 C-37-343, C-37-344 and C-37-357 C-37-344, C-37-343 and C-37-357

Cat. No. 27 v. 28 pp. 12, 19,33 p. 19 21 v. 35, 80 pp. 3, 12, 19 p. 19 p. 19 97 v. 6 pp. 18, 1833, 19 59 v. 21, 35, 80 pp. 3, 8, 12, 19, 3512 p. 19 p. 19 80 v. 12, 35, 81 pp. 9, 10, 1016, 11,12,19,3512 81 pp. 10, 12, 19 p. 19 p. 19 p. 19 10 p. 19 13 v. 4 pp. 12, 19

Inv. No. C-37-345 C-37-346 and C-37-358 C-37-347 C-37-349 C-37-350 C-37-351 C-37-352 C-37-353 C-37-355 C-37-356 C-37-357, C-37-343 and C-37-344 C-37-358 and C-37-346 C-37-359 C-37-417 C-37-418 C-37-419 C-37-420bis C-37-421a, b C-37-427 C-37-428 C-37-430 C-37-431 C-37-432 C-37-433 C-37-434 C-37-435 C-37-437 C-37-438a, b C-37-439

26 pp. 12, 19 144 pp. 19, 61 114 pp. 12, 19 p. 19 45 pp. 12, 19 50 pp. 12, 19

C-37-440 C-37-441 C-37-442 C-37-443 C-37-444 and C-37-253

C-37-445 26 pp. 12, 19 p. 1943

C-37-446 C-37-447

p. 1943 C-37-448a-d p. 1943

Cat. No. p. 1943 p. p. p. p. p. p. p. p. p.

1943 1943

77 Inv. No. C-37-450 C-37-453 C-37-454 C-37-455

1943

1943 1943 1943 1943 1943

1943

p. 1943 p. 1943 p. 1943 p. 1942 p. 1942 p. 1942 p. 1942 p. 1942 p. 1938 p. 1836 p. 1837 p. 1837 p. 1837 p. 1837 p. 1836 p. 1836 p. 18 54 v. 53, 114 p. 18 151 v. 153, 171 pp. 18, 66 143 pp. 12, 18, 61 p. 18 p. 18 p. 18 97 v. 6 pp. 18, 1833,19 77 v. 76 pp. 10, 12, 18 p. 1836 76 v. 40, 77, 78 pp. 10, 12, 18, 337 112 p. 18

C-37-465 C-37-489 C-37-490 C-37-502 C-37-506 C-37-582 C-37-657

C-37-757 C-37-773 C-37-1154 C-37-2326a, b

C-37-2329a-e C-37-2452 C-37-2655 and C-71-338 C-37-2665a-g

C-37-2753 C-37-2754 C-37-2755 C-37-2756

C-37-2757

C-37-2758

C-38-557

C-38-558

C-38-560 C-38-563 C-38-572

Cat. No. p. 1837 v. 129 v. 129 86 v. 25, 87 pp. 3, 11, 12, 18, 34 p. 1939 p. 1835 p. 1834 p. 1834 p. 1834 p. 2048 101 v. 102 p. 26 66 pp. 9, 12, 26 11 p. 26 90 p. 26 34 v. 30, 35, 43 pp. 7, 12, 26 16 p. 26, 32 115 p. 26 p. 2374 25 v. 24 pp. 3, 12, 23, 34 p. 18 p. 18 p. 18 40 v. 59 pp. 7, 12, 18 78 v. 40 pp.9,10,12,18 148 v. 147 p. 18 99 v. 100 p. 25 102 v. 101 p. 25 p. 3410 p. 3410 p. 2584

78 Inv. No. C-38-627 C-40-13 C-40-417a-d

C-40-454

C-46-108 C-46-109 C-46-116

C-46-117 C-46-120a, b C-47-85 C-47-881 C-61-475a-d

C-62-943 C-63-704 C-64-226 C-64-398 C-65-66 C-65-481 C-65-521 C-65-522a-c C-65-523

C-65-541 C-67-171 C-68-97

CONCORDANCE Cat. No. 178 p. 26 118 pp. 22, 23 15 v. 1, 2, 21, 22, 24,26,121, 133, 134, 135, 152,173 pp. 2, 5, 6, 12, 22,32 147 v. 184 pp. 22, 23 p. 2587 p. 2587 82 v. 161 pp.9,11,12,25 75 pp. 9, 12, 25 6 v. 118 p. 25 188Q v. 160 119 p. 23 123 v. 67 p.27 124 p. 27 104 p. 27 p. 6627 162 p. 27 159 pp. 27, 66 p. 6627 155 pp. 27, 66 39 pp. 12, 27 20 v. 4 pp. 12, 27 33 pp. 12, 27 47 pp. 12, 27 140 v. 139, 141, 142, 143, 145 pp. 12, 21, 61

Inv. No. C-68-98

C-68-113

C-68-114

C-68-123a, b C-68-125 C-68-186

C-69-110 C-69-113 C-69-120

C-69-131

C-69-132 C-70-18

C-70-42a, b

C-70-47

C-70-53a-f, h C-70-53g = C-70-381 C-70-54 C-70-104

C-70-105

Cat. No. 141 v. 139, 140, 142, 143,145 pp. 12, 21, 61 173 v. 174, 175 pp. 6, 9,21, 70 174 v. 94 pp. 9, 21, 70 72 pp. 9, 12, 21 157 pp. 21, 66 167 v. 168, 169, 170 pp. 26, 66 105 p.26 12 pp. 10, 12, 26 134 v. 133, 139 pp. 6, 12, 21, 22, 61 22 v. 24 pp. 12, 21 95 p.21 129 v. 70 pp. 5, 21 2 1. 15,20,21,26 pp. 5, 12, 21, 28 4 v. 1, 13, 20, 23, 125 pp. 12, 21 28 pp. 12,21

Inv. No. C-70-374 C-70-377 C-70-378 C-70-379 C-70-380 C-70-381 (= C-70-53g) C-71-34 C-71-49 C-71-130 C-71-220

C-71-244 C-71-283

C-71-316 C-71-317 C-71-338 and C-37-2655 C-71-368

C-72-25 C-72-26 C-72-27 C-72-29 C-72-37 C-72-66 C-72-71a-c C-72-75

116 pp. 21, 22 135 v. 133, 137, 139, 140 pp.6,12,21, 22, 61 152 v. 153 pp.21, 66

C-72-80 C-72-129 C-72-141 C-72-142

Cat. No. 183 p. 26 168 pp. 26, 66 57 pp. 12, 26 49 pp. 12, 26 176 pp. 9, 26 132 p. 21 v. 86 p. 2479 p. 2479 85 v. 25, 65, 73 pp. 3, 10, 11, 12, 23, 24, 34 172 pp. 9, 12, 26 149 v. 147 p. 26 p. 3410 pp. 2481,3410 p. 2374 83 v. 161 pp. 9, 10, 11, 12, 23 p. 3410 64 pp. 9, 12, 26 7 p. 26 154 p. 26 179 p. 26 120 p.21 3 pp. 12, 21 23 v. 4 pp. 12, 21 180 pp. 21, 22 122 p.21 17 pp. 21,22 103 pp.21, 22

CONCORDANCE Inv. No. C-72-146 C-72-152

C-72-155 C-72-170a-f C-72-246 CP 534 and CP 2710

CP 885 CP 1001

CP 1005

CP 1678 CP 1680

CP 1682 CP 1687

CP 1688

CP 1689 CP 1696

CP 1699

Cat. No. 67 pp. 9, 12, 26 166 v. 165 pp. 26, 66 61 pp. 12, 26 38 pp. 12, 26 164 pp.12, 27, 66

Inv. No. CP 1700 CP 1701 CP 1704 CP 1705

CP 1706 CP 1708a, b

73 v. 53, 96, 165, 166 pp. 3, 9, 12, 24, 26, 34 pp. 2236, 7029 56 v. 16 pp. 8, 9, 12, 22 171 v.151 pp. 3, 5, 9, 14 19 p.27 133 v. 139 pp. 6,12,27,61 158 pp. 27, 66 139 v.145 pp. 12, 27, 61 93 v.94 p. 27 98 p. 27 137 v. 133, 139 pp. 6, 12, 27, 61 36 pp.12,27

CP 1719 CP 1720 CP 1725 CP 1727

CP 2577 and C-31-83

CP 2699

CP 2700

CP 2701

CP 2703 CP 2704 CP 2705 CP 2707

Cat. No. 42 pp. 12, 27 p. 2265 5 p. 27 175 v. 126 pp. 8, 9, 12, 27, 70 181 pp. 27, 73 177 p.27 44 pp. 12, 27 18 p. 27 163 pp. 10, 27, 66 43 v. 34 pp. 12, 27

79 Inv. No. CP 2709

CP 2710 and CP 534

CP 2711 CP 2712 CP 2716 CP 2717 CP 2719 CP 2720

CP 2790 87 v. 86 pp. 3, 11, 12, 27, 34 142 v. 139, 140, 143, 145 pp. 12, 27, 61 170 v.169 pp.27, 66 169 v.170 pp. 27, 66 153 pp. 27, 66 8 p. 27 52 pp. 12,27 156 pp.27, 66

CP 2791

KP 222 KP 1997 KP 2723 KP 2727 MP 114 T 735 T 738 T 2420

T 2422

Cat. No. 48 v. 49 pp. 12, 27 73 v. 53, 96, 165, 166 pp. 3, 9, 12, 24, 26, 34 51 pp. 12, 27 130 p.27 29 pp. 12, 27 84 pp. 12, 27 185 p. 27 74 pp. 9, 24, 27, 34 186 p. 27 165 v.166 pp. 12, 27, 66 p. 1521 p. 1521 pp. 10, 12 v. 84 p. 34 128 p. 27 v. 187Q 187Q p. 1626 145 v. 146 pp. 3, 12, 16, 61 146 v. 145 pp. 3, 12, 16, 61

80

CONCORDANCE

II. CORINTHIAN RED FIGURE IN OTHER COLLECTIONS CITED BY INVENTORY NUMBER Inv. No. Cat. No. Athens NationalArchaeological Museum

Inv.No. 1544

Cat. No. 125 v. 4, 23, 126

Inv. No. 17471 17472

pp. 16, 12, 27

1391 1405

1412

v. 73 pp. 16,2481,34 161 v.82,83,160,163,164 pp. 16,10, 11, 12, 27,

1476 1543

pp. 16, 12, 28

12260

31 v. 32, 33, 39, 51, 59, 64, 155 pp. 16,7, 12, 27, 33 121

Berlin,StaatlicheMuseen F 2939 v. 73, 75 pp. 12, 2481,34

3512,66, 7539

v. 4, 20, 28, 122

London, British Museum

160 v.12,81,161,163,164 pp. 16,10, 11, 12, 27,

1955.4-18.3

16025

pp. 16,6, 12, 27, 315, 56 v. 65, 85

1668

66, 7539

1428 1473

Cat. No. pp. 16,28 v. 2

p. 16 v. 75 pp. 16,8, 28 pp. 12, 28 126 pp. 16,12, 27

pp.

16026 17289

16,

11, 12, 28

24 v. 25, 86 pp. 16,3, 12, 27 138 v.27,72,139,140,145 pp. 16,6, 9, 12,27, 61

v. 151

New York, Metropolitan Museum of Art

57.43 64.107

v. 13, 16 pp. 75,28 v. 12.8

ReadingUniversityMuseum p. 28 87.33/25

INDEX Page numbers are in roman type, Catalogue entries in bold type. Catalogue numbers on pages which are listed are not themselves listed. Technical details which are a normal part of each Catalogue entry have not been listed separately.For Catalogue entries of principal shapes see TABLE OF CONTENTS. ACANTHUS: 188Q

Acrocorinth: 13; clay from 29. See also Demeter and Kore, Sanctuary of Actor: Phlyax, 73, 87, 96, 176; comic, 87; padded dancers, 96 Added colors: 126; avoided, 3; black, solid, used as, 7, 8, 1515,64, 76; brown wash, 13; pink, 6, 34, see also Applied-color technique; purple, 31; red, 1515; white, 6, 7, 8, 9, 34, 27, 76. See also Dilute glaze and CATALOGUE passim Aegis: 124 Agonotheton: mosaic in, 85 Agora, Corinth. See Forum. Alabastron: on vases, 136, 139 Altar: 46, 135, 136, 160 Anatomy, portrayal of: Hermes Painter, 7, 13, Painter of Corinth C-37-455, 11, Pattern Painter, 8, 56, Pelikai Painter, 3, 5, 6, 2, 29, 121, 125, 134; eyes, 99 Animal style: silhouette and outline, Classical, 2 Anthesteria: 58 Apex: on ephebic headband, 29, 110 Aphrodite: 85 Apollo: 34, 97, 126 Applied-color technique: 11, 86, 87, 127 Argive Heraion: Corinthian red figure at, 1 Arimasps: 147 Arion: on dolphin, 96 Armor: 124 Artemis: Bendis, 3512;at Brauron, 92 Aryballos: on vases, 5, 31, 160 Asklepeion: 13, 26 Askoi: 64; Attic, 22 Aspropotamos: clay from, 29 Athena: on Corinthian red figure, 30, 51, 97, 124; festival at Corinth, 3512;torch race at Athens for, 3512 Athens: torch races at, 3512.See also Anthesteria Athens, National Archaeological Museum: 134, 1627; Corinthian red figure in, 1, 51, 11, 1627,58. See also CONCORDANCE II. Athletes: 2, 26, 65, 85, 151. See also youths. Athletic scenes: on dedications, 34; horse race, 10, 12, 160; on pelike, uncatalogued, 8; on vase from youth's grave, 3, 16; on vases, 53, 75, 85, 107, 128, 160, 171, 181. See also Athletes, Torch race

Attic pottery: black figure, 16; black-glaze comparisons, 147, 15, 18-19, 20; competition with Corinth, 16-18, 20; from Corinth, 13, 15-16; quality of, 16, 187Q; red figure, 16-18, 21, 22, 23, 24; taste, 34, 30, 121. See also Black figure, Imitations, Imports, Trade BANDING: undersides, 19, 173 Ball with strings: 101 Base: Ionic, 25, 188Q; plinth, 128, 171 Base line. See CATALOGUE passim Basilica, Julian. See Julian Basilica Basket: 28, 50, 175, 177. See also Kalathos Baths of Eurykles: 27 Battles: by Suessula Painter at Athens, 76 Beard: 73, 79, 87, 126 Bellerophon: 15, 121, 135 Bema, Roman: 23, 25, 26 Bench: 53, 160 Berlin, Staatliche Museen: 1. See also CONCORDANCE II Bird: 16, 65. See also Owl, Swan Black figure: Attic, 16; Corinthian, 96; pictured on vases, 179 Black-glaze wares: Attic, chronology of, 19, 20, imports continued at Corinth, 16, 17-18; found with Corinthian red figure, 14, 18-19, 22, 23; Phlyax kraters, 34; produced at Corinth, 17, 18, 19, 56, 65; shape development and chronology, 132, 24, 56; use of miltos on, at Corinth, 86 Boar: 127 Boiotian red figure: 2, 3411,32, 147 Bolt: for fastening wreath, 85 Boukrania: 162 Bowl: offering, on vases, 126 Bowls: 24. See also Megarian bowls Boxes: on vases 4, 20, 24, 46, 55, 83, 121, 125, 138, 146 Boys. See Youths Bracelets: 15, 38, 41, 46, 56, 65, 85, 104, 138, 145, 146, 158 Branches: laurel, 15, 34, 69, 126; pine, 75; palm, 85; ivy, 95, 129, 179 Bread: 50, 58, 72 Bride: 121, 125 Buildings: 73, 85. See also Columns

82 Bull: 3512,12, 80, 117

INDEX stemmed: 147, 73; with comic representations of gods and heroes (Sam Wide Group), 2

CAP: 135 Central Shops: 26 DANCERS: 16, 22, 38, 84, 161, 179. See also Oklasma Chair: 10, 72, 82, 97, 121 dancer Chariot: 30, 67, 93, 123, 160; driver: 30, 93, 123 with Attic red figure, 6, 16-18; by coins, 13, Dating: Checkerboard: 180 2160, 25, 2587; with Corinthian white-ground Chevrons: on lip, 34, 121; on box, 83 lekythoi, 15, 16; by context, 13, 17; relative, Chiton: 3, 24, 27, 28, 30, 33, 38, 39, 62, 64, 65, 76, 80, 8-9; by shape, 6, 18-19, 20, 23; stratified, 21-22. 85, 121, 125, 134-136,139,142, 146, 152, 160, 182 See also Chronology, Deposits, Painters, shape Chitoniskos: 92 names and CATALOGUE passim Chlamys: 30, 47, 64, 76, 155, 160, 174. See also Cloak Decoration: of Corinthian type skyphoi, 2478; imitaChoes: Attic, 16; Corinthian, 58, 127, 130, 131 tion of Attic, 1, 19, 2057;plainness of, 121; shared Chronology of Corinthian red figure: 13, 24. See also all Corinthian painters, 12, 24. See also by and CATALOGUE Dating, Deposits Patterns Chrysis Painter (Attic): 910 Circles: between palmettes, 121; underside of vases, Dedications: 34, 66, 86. See also Sanctuary use Deianeira: 75 138, 160, 161, 171, 173, 188Q; on lekanis lid, 150 Demeter and Kore, Sanctuary of: 134,27; Corinthian Clay, Corinthian: calcium/iron ratio, 1, 29; clay red figure from, 66; large vases with polychrome minerals, 1; color, 1, 2, 9, 1515, 187Q, 188Q; figure style from, 2 compared to Attic, 1, 76, 187Q; firing, 1; incluDemonassa: 39 sions, 1, 187Q; sources, 29; texture, 1, 5, 9,188Q; variations in, according to painter and workshop, Deposits: 13-27; cisterns, 22-23; drains, 19-21, 23-24; graves, 14, 15, 16, 17-18; manhole, 25; relative 5, 9. See also CATALOGUE passim usefulness of, 16-18, 22; sanctuaries, 21-22; Cloak: 6, 2, 12, 15, 17, 18, 25, 27, 31, 32, 39, 54, 76, terrace, 22-23; wells, 17-19, 22, 23, 25; without 79, 80, 94, 102, 117, 147, 161, 188Q. See also 26-27 context, Chlamys, Himation Dilute glaze: Hermes Painter, 7; Pattern Painter, 8; Club: 31, 83, 87 Pelikai Painter, 6; Sketch Painter, 9, 10; on Coins: for dating, 13, 2160,25, 2587 conventionalizing skyphoi, 1515.See also CATAColor, added. See Added color LOGUE passim Columns: 24, 85, 86, 128. See also Buildings Dinos Painter (Attic) and School: 9, 10, 16, 55, 56, Conservatism: at Corinth, 3, 28, 31-32, 33-34, 1, 76, 80 121, 171 Dionysiac scenes: 11, 13, 16, 24, 32, 34, 35, 38, 55, Conventionalizing color scheme: 24 56, 57, 60, 63, 65, 66, 82, 84, 85, 95, 97, 99, 100, relief: Hermes Painter, 7; Pattern Painter, Contour, 130, 132, 160, 161, 164, 173, 175, 183; common Pelikai 8, 9; Painter, 6, 2; Sketch Painter, 9. See on Corinthian red figure, 3, 3512 also CATALOGUE passim reserve: Pelikai Painter, 4. See also CATA- Dionysos: torch race in honor of, 3512; on vases, 32, 55, 60, 82, 126, 161, 164, 175 LOGUE passim Discus: 31, 85, 181 Cooks: attacked by geese, on Attic vase, 73 Dramatic scenes: Attic, 96; on Attic commemorative Cooking wares: 24 pot, 3; Corinthian black figure, 96; on dedicaCorinth C-37-455, Painter of: 11, 12. See also list of tions, 34; on vases, 3, 73, 87, 176 attributions, 12. Corinth: excavations, 1, 133, 14, see also under area Drapery: rendering of, Hermes Painter, 7, 145; Pelikai Painter, 6; on vases, 140, 145. See also clothing names; racecourse at, 22, 171 names and CATALOGUE passim Corinth Museum: 22, 25, 26 horn: 38, 55, 56 Drinking Couch: 50, 55, 58, 72 127 96, Dolphin: Crosshatching: on skyphoi, 2057,2478 Crown: spiked, 35, 59, 108, 182; three-spiked, 31, 55, 75, 76, 139; two-spiked, 37; white-rayed, 38. See EARRINGS: on figures, 23, 55, 75, 125, 138, 145, 146, also Headdress 182 East City Wall: 27 Cups, calyx: 2477,2479 one-handled: 24. See also Mug Egg-and-dot pattern: 12, 7028, 1, 6, 7, 14, 27, 28, 52, stemless: 70; Attic, 22, 2482; decoration of, 11; 130, 131, 132, 138, 143, 144, 160, 161, 162, 163, development of shape, 9; at Sacred Spring, 22; 164, 171, 172, 174, 175, 176, 177, 180, 188Q single workshop produced for Pelikai Painter Egg pattern: 3, 6, 14, 173. See also Egg-and-dot and Pattern Painter, 9 pattern, Ovules

INDEX Eggs: on vases, 4, 50, 121, 125, 126, 138, 157, 175 Embroidery. See Patterns, on drapery. Eos: 31, 51, 59 Epaulia: 121, 125 Eros: 19, 27, 28, 138, 146, 149, 188Q Etruscan red figure: 86, 167, 188Q EuInenides: on South Italian vase, 41 Eutukia: in athletic scenes, 85 Experimental technique. See Applied color technique Eyelets: on drapery, 7, 33, 39; on wings, 59 FASCIA:on pillars, 85 Fawn skin: 16, 93 Female figure. See Girls, Women Festival use. See Sanctuary Fillet: 6, 13, 15, 18, 22, 37, 42, 44, 46, 48, 59, 76, 77, 79, 85, 90, 91, 99, 100, 110, 112, 126, 130, 138, 151, 153, 160, 175, 188Q. See also Headdress Fine wares (not Corinthian red figure): 25 Firing conditions: variations in, 1, 13, 15, 30, 120, 188Q Fish: 73, 185, 186 Flowers and floral patterns: 34, 6, 24, 27, 39, 50, 56, 73, 74, 103, 119, 120, 123, 150, 153, 155, 156, 160, 163, 182. See also Lotus Fabric. See Clay Flute: 22, 81, 106 Footstool: 55 Foreshortening: 13, 15, 85. See also Third dimension Forum, Corinth: 13; clay from, 29; deposits from, 1731,26; polychrome figure-style large vases from, 2. See also South Stoa, Sacred Spring GARLAND:around neck of chous, 127; carried by figures, 15; on drapery, 33; hanging, 82, 125, 165; on Phlyax krater, 25, 34 Gilding: avoided, 3 Girls: 22, 81. See also Women Glaze, black: color, 1; Corinthian vs. Attic in quality, 1, 2, 7, 8; cracking, 7, 8; dribbles on interior, 8, 10, 13, 14, 126, 139; luster, 1, 7, 187Q; peeling, 2, 7, 9, 10, 11; variations in, according to painter and workshop, 5, 8. See also Dilute glaze and CATALOGUE passini Goad: on vases, 123, 160 Goose: 150. See also Swan Grapes: 55, 61, 160, 161, 188Q Grave goods: decline in Attic imports, 3, 15-16; red figure scarce, 16-17; suited to occupants, 3, 171; typical, 14, 16, 17-18, 28; twin pots, 145; unusual, 15. See also Deposits. Griffin: 149 Ground lines (applied white): 6. See also Rocks, Base line

Gutti: fluted,

2479

83

HAIMON PAINTER (Attic): 16

"Haloan" ware. See Sam Wide Group Halter: 48, 49 IIalteres: 25, 26, 42, 151, 181 Hatchet: 87 Hare: 147, 150 Heads: 61, 187Q; men's, 147; Persians' or Arimasps', 147; women's, 3411,Boiotian red figure, 147 Headband: 20, 55, 138; ephebic, 29 Headdress: 4, 23, 34, 125, 126. See also Crown, Fillet, Headband Hellotia: 3512 Helmets: 15, 76, 124. See also Pilos Hephaistos: torch races in honor of, 3512 Herakles: 79, 83, 161; apotheosis of, 8, 30, 93; on Attic vases, 42 Hermes: 30, 37, 188Q Hermes Painter: 6-8, 12, 33, 34, 16, 54, 73, 151; compared to Attic contemporaries, 3, 7, 8; favorite pattern, 12; relationship to other Corinthian painters, 8, 9, 11-12, 13, 53, 59, 126, 138, 145. See list of attributions, 12. Himation: 1, 3, 9, 20, 21, 24, 28, 32, 39, 54, 64, 76, 77, 85, 86, 89, 91, 101, 110-114, 116, 121, 125, 126, 128, 135, 140-142, 145, 146, 151, 153, 157, 160, 165, 172, 181. See also Cloak Homecoming: 76 Horses: 12, 18, 30, 47, 48, 49, 67, 68, 71, 76, 88, 103, 123, 160, 181 Hydriai: 31, 34, 56-58, 4 Imitations, Corinthian, of Attic: achieved successfully by Hermes Painter, 7, 39; decoration, 15, 18-19; reason for, 3, 4, 15-16, see Special orders; shapes, 14, 15, 18-19, 20, 24, 33-34, 61, 70; subject matter on, 3, 4, 61, 30, 187Q; technical problems of, 1, 2, 3. See also Applied-color technique, Trade Imports: Attic, in graves, 3, 15-16, 17, 18, 187Q; clay for better glaze, 2; painters (Suessula Painter), 76; typical, 24. See also Trade Incense: 188Q Incision: in applied-color technique, 86 Isthmia: dedications to Demeter at, 6627; Melikertes/ Palaimon at, 96; stadium at, 171 Italiote wares: 96. See also South Italian ware Ivy: 15, 16; on satyr's forehead, 99. See also Branches JULIAN BASILICA: 22, 26

Jumping weight. See Halteres KADMOSPAINTER(Attic), manner of: 22

Kalathos: on vases, 138. See also Basket Kantharoi: stamped, 14-15; on vases, 82, 161, 175, 178; West Slope ware, 22, 25 Kantharoi, cup: (Attic) 19, 20, 2479 Kastor and Polydeukes: 96

INDEX

84 KekropsPainter(Attic):comparedto Hermes Painter,7 Kenchreai: road to, 1627

Kephalos:7, 31, 33, 39, 64 Kerykeion:30 Key: temple,73 Key meander.See Meander Kitharode:Apollo as, 97 KleophonPainter(Attic):comparedto Pelikai Painter,6 Klitos, cousin of Amphiaraos:31 Knobs: on CorinthianPhlyaxkraters,34, 73, 74, 85. See also Lids. Kottabos:40 Kotylai: 14, 147

Kraneion:1627 Kraters:31, 154, 157; at SacredSpring,22 Kraters,bell: 31-32, 33-34, 66, 166; developmentof shape, 1117;decoration of 12, 23

Kraters,calyx: 31-32, 41; effort spent on, 6; comparisonwith Attic, 6; decorationof, 12; on vases, 56, 179 Krater,column:Attic, 16; inventionof, 33 Krater, miniature: 23, 34. See also Sanctuary or festivaluse Krater,Phlyax: shape at Corinth,24, 25, 34, 73, 74, 75, 85 Kyathoi: 2477

Kylikes:Attic, 16; Corinthianblackfigure,96 See Club LAGOBOLON. Lambrospelike:22, 283 Lamp fillers: Attic, 2477;Corinthian, 2480

Lampadion:20, 55, 85, 121, 134 Lamps:1731,2047,23, 2476 Laurel.See Branches Leaves: on rims of kraters,12, 15, 85, 86, Leave-taking:76 LechaionCemetery:1624,27 Lekanides:65 Lekythoi: 61, 187Q; Attic, 16, 2482;Beldam-shape, 15; CorinthianreplaceAttic white-ground,3, 15; parallelsto Attic, 6, 15; at Sacred Spring,22; shape development, 6, 15; show connections between painters, 9; white-ground,black neck version(Palmeriii), 16, 19; white-groundpattern version(Palmeri), 14-15, 16; on vases, 158 Leopard:147, 148, 149; skin, 55, 83, 161 Leto: 34 Libations:70 Lids: for hydria,121, 122; for lekanis,65, 150 Lion skin: 93 Lotus: on conventionalizingskyphoi,1515;on hydriai, 122 Loutrophoroi:31, 4 Lyres: in Attic vase-painting,31; in Italiote vasepainting,96

MAENAD.

See Dionysiacscenes,Women

Male figures. See Men, Youths Mannerist (Attic): 16 Mantles. See Cloaks Marsyas: 97 Mask: Phlyax, 73 Mayence Sphinx, Painter of the (Attic): 187Q Meander: on Attic cups, 70; on calyx krater, 17; on conventionalizing skyphoi, 1515;under figure zone, 30, 76, 97, 107, 118, 119, 120, 140, 142; hooked, 97; key, 181; non-specific, 12; and saltire, 30, 76, 107, 121, 160; stopped, 60, 118, 120, 121, 180; "Z", 119, 128, 140, 142 Megarian bowls: 23 Meidian style: Pelikai Painter, 6, 315,121, 173; Hermes Painter, 39 Meidias Painter (Attic): 283, 39, 121, 129 Melikertes/Palaimon: on dolphin, 96 Men: 8, 9, 10, 16, 38, 54, 55, 57, 61, 72, 76, 79, 80, 83, 84, 87, 90, 91, 93, 98, 114, 126, 157, 161, 165, 172, 174, 181. See also Youths, Athletes Miltos wash: 1, 29, 6, 8, 9, 10, 11, 14, 15, 18, 20, 1, 89; deepens color of slip, 7; variations in, according to painter, 5. See also Applied color technique and CATALOGUE passim Mina Painter (Attic): 16, 187Q Miniature style: 129 Miniatures: 15, 20, 23, 34, 61, 134. See also Dedications Mirror: 121, 138, 140, 145 Mistakes: in painting, 2-3, 1, 80, 126, 140, 171, 178; in potting, 125. See also Anatomy and Threequarter view Models: 3, 9, 11, 80, 160 Moon: 31 Mosaic, Roman: athletic scene, 85 Movement, portrayal of: Hermes Painter, 7,38; Pattern Painter, 8; Pelikai Painter, 6; Sketch Painter, 160; unidentified painter, 145 Mug oinochoe: 129. See also Cups, one-handled Multi-level scenes: lack of, 3, 6, 8, 76 Mykenai: Agamemnoneion at, Corinthian red figure found at, 1, 58, 8, 53 Mythological scenes: Apollo, Athena and Marsyas, 97; apotheosis of Herakles, 6, 7-8, 30, 93; Bellerophon on Pegasos, 15; compared to Attic: Apotheosis of Herakles, 8, 30; Eos and Kephalos, 31; rare in Corinthian red figure, 3; on Sam Wide cups, 2 NAUPLIA:Corinthian red figure at, 28 Necklace: 24, 41, 43, 55, 75, 125, 138, 145 Nereids: on dolphins, 96 Nike: 19, 26, 59, 80, 93 Nike parapet frieze: vase paintings modeled after, 80 Nikias, as potter (Attic): 7 Nikias Painter (Attic): 77, 9, 35, 56, 121

INDEX North Cemetery: 13, 16, 282, 187Q; decline in Attic imports in, 3, 16, 17; graves in, 15,1624, 17-18, 20, 282 North City Wall: 26; grave near, 14-16 North Market: 26 Nostell Painter (Attic): 911,55

85

80, 85, 126, 145, 160; on furniture, 8, 50, 55, 58, 72, 138; gives name to Pattern Painter, 8, 55; less common by Pelikai Painter, 126; reserving and banding, 19, 173; stamped, see Stamped patterns; on tympana, 65, 85, 121. See also Ornament, Wreath, "X" pattern, "Z" pattern Pegasos: 15, 26 OINOCHOAI: 58, 7, 8; development of shape, 11, 15; Pelikai: 51, 8, 28, 56, 15, 85; shape development, 6, from grave, 14, 15, 16; trefoil, 14, 15 (on vases), 28, 31, 34, 1; decoration of, 12, 34 61 Pelikai Painter: 5-6, 12, 28, 33, 61, 121, 133, 140, 55, Olive spray: 167, 169, 170. See also Branches 152, 171; compared to Attic contemporaries, 2, 6; Painter of Corinth C-37-455 in competition Olympia: Corinthian red figure at, 1 Oklasma dancer: 32 with, 11, 86; shares patterns with others, 12; Sketch Painter independent from, 9; teacher of Oriental dress: 32 Hermes Painter, 7, 13, 31, 38, of Pattern Painter, Orion: 31 Ornament: shows connections of workshops, 12; not 8, 9, 175. See list of attributions, 12 See for 12. also identification, Decoration, Peloponnesian War: effect on pottery trade, 3, 4, helpful Patterns 15-16, 17 Ovules: on lip, 34; under figure zone, 55; around Peplos: 15, 20, 22, 24, 27, 31, 41, 43, 44, 46, 55, 75, 76, 80, 121, 125, 126, 133, 138, 140, 142, 145, tondo, 70. See also egg pattern Owl: 66, 167, 168, 169, 170 158, 173 Perachora: Corinthian red figure found at, 1, 7, 12, Owl cups. See Skyphoi, glaux 124, 188Q Persians: 147 PADDED DANCERS: 96 Petasos: 20, 30, 31, 69, 155, 160, 188Q Paestan Phlyax vases: 73, 176 Painters, Corinthian red figure: 5, 12; attributions to, Phaon: 39 12; connections between, 7, 8, 9, 10, 11-12, 13; Phiale: on vases, 45, 76, 78, 126, 135 handicaps of, 2, 3; identification of, 5, 7, 9, 12 Phlyax scenes: 34, 96. See also Krater, Paestan, Actor (see individualpainters); unidentified painters, 5, Pillow: 55, 58, 62, 72, 138 12, 140, 145; variations in quality of work, 6, 7 Painting (not on vases): Pitsa plaques, 2; polychrome Pilos: 147, 184 Pin, for clothing: cloak, 30, 155, 160; peplos, 31 figure style, 2 See Branches Pine. Athletic scenes See Palaistra. Pine wreath: 75 Palm. See Branches Palmettes: on bell-kraters, 23, 25, 27, 28, 30, 31, 38, Pitsa: plaques from, 2 39, 52-56, 58, 71, 74, 85, 90, 96, 98, 105, 119, 120; Place of manufacture: uncertainty of, 1 continual variation, 12; on drapery, 7; elongated Plain wares: shape development and chronology, 13. See also undershape names and CATALOGUE stalk favored by Hermes Painter, 12, 52, 53; on on passim lekythoi, 16, 2482, 138, hydriai, 121, 122, 124; 140, 142, 143; on skyphoi, 1515, 151, 154, 160, Plastic decoration: 6627,129 Plates: 73; comic representations of the gods and 161, 188Q; stamped, 19 heroes on (Sam Wide Group), 2; fish, 2476; on Pan: torch race in honor of, 3512;on vases, 177 Panther: on Attic askos, 22 vases, 157,161, 188Q Pantoxena Painter (Attic): 4 Polychrome figure style: 2 outline technique: 2 Parthenon frieze: influence on vase painting, 181 Pattern Painter: 8-9, 12, 28, 33-34, 14, 55, 140; Pothos Painter (Attic): 16 compared to Attic contemporaries, 3, 9; rela- Potter's Quarter: 13; clay, 29; fragment from, 10, 84; kantharoi from, 15; Phlyax krater from, 34 tionship to other Corinthian painters, 9, 12, 61, 21, 27, 32, 39, 75, 126, 138, 174. See list of Prizes, vases as: 86; aryballos, for chorus leader, 4. See also Dedications attributions, 12 Pattern Workshop: 9, 12; Sketch Painter independent Processions: 20, 21, 59 from, 9; uses egg-and-dot, 12. See list of attribu- Profile: dilute glaze used by Pattern Painter, 8; Pelikai Painter, 6; relief, only extensive use by Hermes tions, 12. in Patterns: 140; on box, 8, 125; conventionalized, Painter, 7; Sketch Painter, 9, 10. See also CATAcrossLOGUE passim 5th late 6th-early centuries, 2, 1515; torch races in honor of, 3512 Prometheus: on hatching, 14, 20, 2478; drapery, 7, 8, 9, 15, Krater: as special order, 3 Pronomos 16, 24, 31-33, 39, 50, 51, 55, 58, 60, 64, 72, 75,

86

INDEX

Proportionof figures:PelikaiPainter,6, 121, 126 Prototypes.See Models Pseudo-redfigure.See Applied-colortechnique Pyxides: Corinthian, 2480 Q PAINTER,(Attic): 22

Questionablepieces:74

Six's technique: 86. See also Applied-color technique Sketch, preliminary: 9, 10, 2, 12, 15, 16, 18, 21, 22, 37, 40, 41, 78, 80, 82, 90, 104, 160, 183; shows changes, 40 Sketch Painter: 9-11, 12, 85, 183; relationship to other Corinthian painters, 11-12, 28, 40, 53. See list of attributions, 12 Sketch Painter Workshop: 10-11, 12, 163; shares patterns with others, 12. See list of attributions, 12 Skyphoi: 14, 1731, 18, 20, 23, 24, 66, 33, 92, 106; decoration of, 12; from grave, 14, 16; terminology, 147. See also under various types and TABLE OF CONTENTS Skyphoi, Attic type A: 10, 147, 1731,1941,20, 23, 24, 25, 66-70, 29, 86, 188Q Skyphoi, Attic type B: 1731,66 Skyphoi, conventionalizing: 15 Skyphoi, Corinthian type: 14, 147, 15, 1731, 18, 19, 2057, 2476, 66; decoration (Attic vs. Corinthian),

Athleticscenes 18 1731, Rays: Red figure,Corinthian:comparedto Corinthianwhiteground lekythoi, 3, 15; concurrentwith Attic red figures,3, 17-18, 19; distributionarea, 1, 13; findspots,1, 13 (see Deposits); industry,size of, 11, 12, 17, 19, 70; lifespan,13, 16, 21, 22, 24, 25, 28; orginsof, 2, 3, 15-16, 17, 18, 21, 171; reason for developmentof, 3, 4, 15; recognizablefeatures, 1, 147, 34, 74, 76, 89, 121, 187Q; technical problems with, 1, 2, 3. See also Chronology, Imitations,Shapes,Tradeand CONCORDANCE 1I 2478 Red-ocherwash. See Miltos cup: 19, 20 Skyphoi, Reliefline, interior:PelikaiPainter,6; PatternPainter, glaux (owl-cup): 66, 167, 168, 169, 170; Skyphoi, Hermes 8; Painter,7; SketchPainter,9. See also Attic, 16, 1731 Profile and CATALOGUEpassim Contour, 147 Skyphoi, Laphaes: and 60 repair: Repainting RACECOURSE: 128, 171. See also

Skyphoi, miniature: 20 Skyphoi, ovoid: 147, 20 Skyphoi, rounded: 147, 1731,19, 20 Skyphoi, semi-glazed: 147, 15, 1515,1731, 19, 1940,20 Slip: lack of, areas of Hermes Painter, 7, Pelikai Painter, 5, Sketch Painter, 9, 10; purpose, 2, Rider: 12, 18, 48, 71, 160, 181 126; red buff, under miltos, 1-2, 7, 8, 1; variations Rocks: 7, 10, 24, 46, 85, 97, 117, 136, 172, 188Q in, according to painter, 5, 8. See also CATARoof: in Phlyaxscene,73 LOGUE passim Rosette: 7, 31, 38, 50, 85, 121 Slipped ware: 188Q SABAZIUS:rites of, 32 Snood. See Headdress SacredSpring:21-22, 26, 70 Solomos, town of: clay from, 29 Sacrifice scenes: 3512, 79, 80, 117. See also Altar Somzee Painter (Attic): 910, 72, 179 Saltiresquare:12, 109. See also Meander South Italian ware: 34, 41, 167, 184 Sam Wide Group:214 South Stoa: house in front of, 26; shop IV, 25; storeroom XVII, 26 Sanctuaryor festival use: choes produced for, 58; Demeter and Kore, Sanctuaryof, 66; large size South Stoa terrace: 18, 19, 23, 25, 26 for, 66; polychromeproducedfor, 2; in Sacred Southeast Building: 23 Spring,21-22, 70; "saucerfoot" cup produced Spears: 15, 31, 76, 117 for, 70, 173; small size for, 2481, 86. See also Special orders for vases: 3-4; at Athens, 3, 4, 58; at Corinth, 3, 4, 16, 58; for graves, 17, 171; Dedications,Miniatures Sandals: 31, 60, 94, 160, 174 reason for development of Corinthian red figure, Satyr.See Dionysiacscenes 4; timeliness, 4 Scarf:20, 27, 39, 80, 125, 138, 145, 146 Specific events and special occasions: common on Corinthian red figure, 3-4 Scepter:7, 34, 36, 40, 76 Scroll: 96, 119, 138, 140. See also Volute Sponge: 31, 160, 161 Shapes:comparisonbetweenpainters,9; development Stadium: starting lines at Corinth, Delphi, Epidauros, of, 13, and see under shape names (TABLE OF Isthmia, 171. See also Racecourse in trend Staff: on vases, 1-3, 16, 31, 36, 40, 43, 50, 51, 55, 57, CONTENTS); elongation Attic, 34; imitationof Attic, 1, 19, 24; standardization,28; 64, 73, 77, 78, 80, 86, 89, 92, 104, 107, 109, 114, twins, 10, 126, 145, 161, 174. See also Dating and 126, 160, 161, 172, 174, 178, 181. See also under shape names Kerykeion, Scepter, Thyrsos Reserved areas: 1515;above foot, 18, 2057,2478; with

miltos, 1, 14, 18, 20; simulatedwith appliedred, 86; with slip, 1-2; undersides, 19. See also CATALOGUEpassim Ribbing:on black glaze, 315,56, 6627,129

INDEX Stamped patterns: on cup-kantharoi, 20; on cupskyphoi, 70; on kantharos, 14-15; palmettes, 19; on stemless cups, 7029 Star: 31 Statue: 73 Stele: 1, 2, 24, 25, 55, 85, 86, 109, 151, 171. See also Column Stool: 138, 172 Straggly Painter (Attic): 187Q Strigil: in grave, 16; on vases, 2, 25, 26, 31, 85, 86, 108, 160 Student Sketch Painter: 9-11, 12; relationship to contemporary Corinthian painters, 11-12. See list of attributions, 12. Style of painting: conservatism of Corinthian, 3, 6; Corinthian, as opposed to Attic, 1, 7; development of, 2, 3, 7, 9, 28, 61, and see under name of painter; non-Corinthian, 89, 160 Sub-Meidian. See Meidian style Suessula Painter (Attic and Corinthian): 10, 9, 76; his Attic work, comparison to, 7, 35; influence on Hermes Painter, 40; influence on Sketch Painter, 10, 11, 12, 40, 78, 79; inscribed columnkrater, 337. See list of attributions, 12 Swag. See Tainia Swan: 135, 137, 187Q Sword: 87 Sword strap: 20 Symposia: common in Corinthian red figure, 3, 40, 50, 61 TABLE:58, 72 Tableware, semi-fine: 24 Tablet: school, 76 Tainia: or swag, 162. See Fillet Talos Painter (Attic): 72, 89 Tanagra: grave at, 283 Temple C: 22 Temple E: 25, 26, 27 Temple Hill: 26 Temples: on vases, 73. See also Columns Third dimension, portrayal of: problem with, 5. See also Foreshortening, Three-quarters view Theater, at Corinth: 13, 26. On vases, see Dramatic scenes Three-quarterview: Hermes Painter, 7, 75; Painter of Corinth C-37-455, 86; Pattern Painter, 9, 56, 175; Pelikai Painter, 5, 1, 15, 21, 121, 125; problems with, 2-3; Sketch Painter, 12, 53, 78, 79; Suessula Painter, 76; unidentified painter, 157, 181, 188Q. See also Third dimension Threshold: 138 Throne. See Rocks Thyrsos: 13, 16, 24, 55, 64, 66, 82, 161, 164 Tithonos: 31 "Tile Works": clay, 29 Tongues: 61, 105, 121, 139, 145, 171

87

Tooling: between sections of pots, 15-17, 24, 25, 30, 31, 34, 36, 55, 70, 77, 81, 87, 110, 112, 115, 125, 134, 138, 145, 178, 186; to correct mistake, 27 Torch: 3512,21, 35, 56, 57, 59, 79, 104, 161 Torch races: compared to Attic representations, 7, 29, 79, 80, 160; subject of a special order at Athens, 3; on vases, 3, 7, 21, 35, 59, 80, 161; for women, 92 Trade, pottery: Attic export, 187Q; competition in Corinth, 11-12, 18; foreign commissions at Athens, 4; Peloponnesian War, effect of, 3, 4, 15, 16, 17-18, 187Q; rivalry with Athens, 2, 13, 16-18, 19, 20. See also Imports Trainer: 181 Tray of offerings: 18, 83. See also Box, Plate Tree: 127. See also Branches Triangles: 53, 73, 165, 166 Triglyph: 85 Triton: on Corinthian black figure, 96 Trophies. See Dedications, Prizes Trumpeter: 81, 160 Turning post: pictured on vases, 85, 86, 128. See also Columns Twins. See Shapes Tympanon: 32, 38, 56, 62, 65, 85, 121 UNDERGARMENT: long-sleeved, 15, 104, 158 VEIL.See Scarf Vine, running: below figure zone, 123 Volute: 6, 24, 27, 30, 31, 52-55, 58, 71, 119-121, 142, 151, 153, 156, 160, 161, 163, 182, 187Q, 188Q; on leg of couch, 72. See also Scroll Votives. See Dedications Vrysoula, Classical deposit at: 2 GLAZE,on interior. See CATALOGUE WASH, DILUTE

passim Wave: on drapery, 33, 39, 85; favored by Hermes Painter, 7, 12; below figure zone, 7, 10, 31, 38, 50, 71; on fish plate, 186; on lekanis rim, 150; on tympanon, 65 Wedding: 4, 121, 125 West shops: 22, 26 West Slope Ware: 22, 25 Wheel marks: 1, 77, 80, 116 Wine skin: 82 Wings: 15, 19, 26, 27, 59, 121, 149 Women: 4, 13-15, 20, 23, 24, 27, 28, 32, 34, 38, 39, 41, 43-46, 55, 56, 62, 63, 65, 66, 75, 76, 80, 85, 92, 93, 97, 104, 105, 121, 125, 126, 131, 133-136, 138-143, 145, 146, 152, 158, 164?, 173, 178, 182. See also Girls Women' scenes: 315, 61, 65, 24, 27, 28, 121, 125, 138, 173, 187Q; rare in Corinthian red figure, 3; from Sacred Spring, 22; from woman's grave, 3. See also Wedding scenes, Women

88

INDEX

Worms: 65, 150 Worst Painter (Attic): 187Q Wreath: 65; in field, 85, 89; on figures, 6, 1, 5, 13, 15, 24, 31, 32, 34, 55, 61, 70, 75, 76, 80-82, 85, 100, 108, 121, 126, 129, 131, 132, 138-141, 145, 146?, 161, 175, 182; on vases, 58, 4, 15, 20, 24, 25, 30, 31, 34, 37, 38, 55, 59, 66, 70, 73, 76, 77, 79, 81, 108, 112, 115, 127. See also Crown, Fillet, Garland, Leaves "X" PATTERN:on drapery, 126

Xenophon of Corinth: 3512

YOUTHS:1, 5, 6, 11, 15, 20, 21, 25, 29-31, 34-37, 40, 42, 53, 55, 59, 69, 70, 76-78, 82, 85, 86, 89, 101, 102, 107, 108, 110-112, 115, 116, 128, 129, 147, 151, 153, 155, 159-161, 171, 177, 181, 184, 188Q. See also Athletes, Men

"Z" PATTERN:design, 125. See also Meander

Zigzag: border on cloak, 9; below figure zone, 54, 114; rim, 87

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