hesperia 75 (2006) SELLA CACATORIA Pages I?J2 A Study of the Potty in

Archaic and Classical Athens

To the memory of Peter Corbett, it and who figured out, Piet de Jong, so it for artfully rendering

ABSTRACT

a an This article provides detailed publication of early black-figure infant/child or seat, potty, found in the Athenian Agora, including a series of brilliant wa tercolors by Piet de Jong. Later red-figure representations show such vessels use. in The potty is attributed to the Gorgon Painter, and the chronological range of such vessels is reviewed by gathering earlier and later examples of the form, both those preserved in the archaeological record and those known was through iconography. Finally, the authors suggest that the term A,aoocvov used in to refer to such antiquity highchairs-cum-chamber pots.

INTRODUCTION

a were an In 1947 fragments of "curious stand" (Fig. 1) found in abandoned on well shaft the lower slopes of the Hill of the Nymphs, not far from the Athenian Agora.1 The well itself, designated deposit A 17:1, yielded mate rial dating to the earlier part of the second quarter of the 6th century b.c. (ca. 575-560 b.c.), and the black-figure style of the stand, described by as Homer Thompson bold and open,2 is in general keeping with this date. was The stand subsequently reconstructed from fragments and partially restored in plaster; itwas inventoried among the pottery as P 18010. In his description of the vessel in the preliminary report for the excavations as as of 1947, Thompson provided much detail possible, laying down versus basic facts about the stand (e.g., interior exterior, principal front, decoration, use on the basis of wear) in an attempt to understand better its

1. Thompson 1948, pp. 184-185, Sylvie Dumont, and Craig Mauzy. would also like to thank the anonymous nos. 2-3. The authors would like The color illustrations were pi. 65, (Figs. 3-6) Hesperia readers for their suggestions, to thank the director of the made the on excavations possible by generous support Ols Lafe for his help with research of theAthenian McK. of the Louise Taft Fund. the Agora, John Semple Spe Gorgon Painter, and Sarah Morris for to the cial thanks are due to Patrick for us Camp II, permission study Finnerty teaching about ?xxoava. and the staff of the and Anne Hooton for the 2. 184. potty, Agora drawings Thompson 1948, p. For in and 21. We see excavations, including Jan Jordan, presented Figs. 18,19, style, Boardman 1974, pp. 14-30.

? The American School of Classical Studies at Athens 2 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

an function. His description?in authoritative, scientifically worded style an sure was characteristic of archaeologist not quite of what found?is worth quoting in part: a on [The vessel] consists of drum-shaped upper member supported a a flaring base. Between these two members is diaphragm pierced a by large round hole. The interior of the drum is accessible also an an through opening with arched top in its side wall. The base a on two proper is pierced with much smaller round opening each of sides, and it is reinforced at its lower edge by two massive lugs each two of which is pierced transversely by small round holes. The walls are an one very heavy, having average thickness of about centimeter.3 on to was Thompson went describe the decoration of the vessel, but it clear that the identification of P 18010 had stumped him. was The purpose for which the utensil intended is puzzling and more its interpretation ismade difficult by the lack of comparative worn material. That itwas actually used is proven by the much state of the rim of the drum and of the front part of its floor, i.e., just was within the window. The elaborate design shows that it not, like so a many black-figured stands, intended simply for the support of round-bottomed lebes or the like. That it served as a brazier is ruled trace out by the absence of any of burning.4 a Having cogently ruled out several possibilities?a normal stand for footless vessel and the purposes of cooking?and having determined through its condition that the vessel was used in antiquity, Thompson associated the de mieux?with or an stand?-faute psykters, wine-coolers, interpretation was in part suggested by the provision for drainage. Drainage facilitated, Thompson believed, by the hole in the bottom (i.e., in the floor of the were bowl), while the round openings in the base he thought probably for were were out. handling; these all interpretations that subsequently borne As for the lesser holes in the lateral lugs, Thompson first considered that they to masses "may have been made only assist the firing of these heavy of clay; no a they show signs of wear."5 In later publication, however, he concluded on were on two that the holes the lugs for supporting the stand metal rods and that the vessel could be (re)moved by withdrawing the rods.6 a P 18010 quickly became curiosity, yet another of those puzzling vessels of the Athenian black- and red-figure style that defied straight ves forward interpretation. But unlike many of its contemporaries, the sel was not to languish very long, for shortly after its discovery Peter Corbett, then of the British Museum, recognized the pots function.7 On

184. see xvii. Corbett s famil which then featured 3. Thompson 1948, p. Agora XXX, p. stand, prominently 4. 185. with not least in the Museum. Corbett never Thompson 1948, p. iarity red-figure pottery, Agora 185. the of the on a this nor are we 5. Thompson 1948, p. representation potty published identification, 241. chous in the British Museum aware of of his notes on the 6. Thompson 1976, p. (see any subject, white with Archaic was 7. The Attic red-figure and below, Al), together the but he duly credited with the found in the Athenian and Classical from the Athe correct Eva Brann ground pottery pottery interpretation by was for nian led him to the correct Agora originally assigned pub Agora, (1961, p. 363;Agora VIII, pp. 100-101, lication to the late Peter E. Corbett; identification of the function of the nos. 600-603). sella cacatoria: a study of the potty

Figure 1.Athenian black-figure potty, Agora P 18010: (a) front view; (b) back view; (c) side view. Courtesy Agora Excavations 4 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

the basis of red-figure representations, Corbett identified the enigmatic as a a or stand child's commode: potty by any other name, "potty-chair," as was even it later called by Dorothy Thompson.8 Thereafter, rela area tively small fragments of similar commodes from the of the Classical were on Agora easily identified by Eva Brann,9 who went to establish that such stands could be traced back at least to the second half of the b.c. 7th century more was Much than this, P18010 destined to attain "celebrity status," a prominent and very popular display in the Agora Museum, illustrated on an in many of the guidebooks the site, and illuminating mainstay for on anyone working children in classical antiquity.10 Despite its prominence, was never one however, P 18010 properly published, and although of the was largest Attic black-figure vessels known, it subsequently overlooked in the definitive publication of the black-figure pottery from the Athenian Agora.11 An inadvertent result of the commode not having been published is that it has been largely neglected by students of Athenian black-fig ure was never pottery. It mentioned by Sir John Beazley?although he attributed many of the Agora figured vessels discovered in the 1930s, an 1940s, and 1950s?and in many publications it is considered ancient or one Greek "gadget,"12 "a contrivance for purely domestic use," albeit a "gaily decorated with birds and beasts,"13 rather than spectacularly and was idiosyncraticalfy potted and painted black-figure stand. This all the more a as was a shame the vessel skillfully rendered in series of watercolors a one capturing its decoration and similarly artful profile drawing by of the great archaeological illustrators of the 20th century, Piet de Jong (see below, Figs. 2-6). Originally destined to appear in the definitive publication of to the commode, these watercolors were, for the most part, languish for a s decades in the obscurity of metal cabinet in the Architect Office in the Athenian Agora.14 we The purpose of this paper is severalfold. First, seek to complete what Corbett set out to do: to describe P 18010 in detail and to present it in the of later that show such commodes in company red-figure representations on one use. Second, we reunite the commode as a domestic contrivance, the on hand, with its decoration, the other, by publishing the watercolors of

8. missioned a of P which is of the birds in the Athenian Thompson 1971, discussion copy 18010, Agora. at the museum in an exhibit The a lion and under figs. 39, 40. displayed watercolor?showing 9. 100-101. The on childhood in the ancient see a siren chosen to Agora VIII, pp. world; (here, Fig. 3)?was are more 74. illustrate but one of the fabulous and fragments described fully Jurriaans-Helle 2001, p. 38, fig. below. 11.Agora XXIII. monstrous birds that inhabited the P in world of the ancient 10. As Brann (1961, p. 363, under 12. 18010 appeared Brum iconographie on selection the and no. H 16) noted, the stand "is much baugh 1966, p. 49 (illustration Greeks. A of finest visit in the entitled "Mechan most Piet de admired by modern parents who p. 90), chapter representative Jong Museum." It il ical Marvels." illustrations from the Athenian the Agora has been Agora in 13. 241. will soon be lustrated the Agora guidebooks: Thompson 1976, p. published (Papadopou 14. our various a Thompson 1971, fig. 40; Thompson To knowledge, of the los, forthcoming). For sympathetic with 1976, p. 240, fig. 125. It has been fea watercolors of the commode prepared appreciation of de Jong, together most in Piet de one has been an account of his work in Greece and tured recently Neils and Oakley by Jong, only pub as a much reduced black-and his caricatures of famous 2003, pp. 239-241; and, among others, lished archaeologists in Lamberton and of the see Hood 1998. Riihfel 1984, p. 36, fig. 19.The Allard white reproduction day, Pierson Museum, Amsterdam, com Rotroff's (1985, p. 22, fig. 42) overview sella cacatoria: a study of the potty 5

s Piet de Jong. Through the study of the vessel firsthand, aided by de Jong an to uncover illustrations, attempt ismade the identity of the painter?if not vase the potter?of the commode within the kaleidoscope of Attic painters we as as determined by Beazley. Third, review the chronological range, far it can be determined on the basis of the available evidence, of such commodes. seen To this end, P18010 is within the context of earlier and later examples of the form, both those preserved through surviving remains and those a known through iconography. We also discuss number of related but in as variably fragmentary decorated stands that may have served commodes. A final aim of this article is to uncover the word that the Greeks themselves as van so used for such highchairs-cum-chamber pots, or, G. Hoorn stated "ad sedendum summa utilitate infanti est.. . sella cacatoria conveniently, mean infantilis."15 Following Sarah Morris's clarification of the various ings of X?oava/X?aavov, the word used by the Greeks to indicate both a a or we are pair of cooking supports and portable privy night-stool, able to reunite P 18010 with its proper name.16

A BLACK-FIGURE POTTY IN THE ATHENIAN AGORA

Fragments of the potty, P 18010, were found discarded in well A 17:1;17 context at no sorting of the lots the time of discovery yielded further frag ments of the stand and it is clear that the vessel did not enter the well as an

intact object. Agora P 18010, like all known similar commodes, is basically a combined bowl-on-a-stand, with an arched hole cut into the front of the bowl for the baby's legs (Fig. l:a).18 A hole in the center of the floor of a the bowl facilitates passing of excrement, and set of holes in the stand, one a one in the front (Fig. l:a) and corresponding in the back (Fig. l:b), at facilitate lifting.19 Two pierced lugs the base of the stand (Fig. l:c) may or also have been used for mobilizing immobilizing the stand (see below). was to a As Dorothy Thompson remark, "it comfortably fits child [what a a or she earlier called "young aristocrat"] of year two."20 The vessel was

van source 15. See Hoorn 1909, p. 30. The of the funerary pottery is this debris to help fill in his defunct to ceme 16. Morris 1985, esp. p. 402; Papa likely be the nearby Archaic well. a resem dopoulos 1992. tery (Young 1951, pp. 72-78). A well 18. For different form, 17. head in the fill a see Erzen Agora XII, p. 383;Agora XXI, (P 18276) found upper bling modern bedpan, and 329. The con of the well indicates that the well had Basaran p. 96; Agora XXIII, p. 1990, p. 158, fig. 20, from tents of the well include a of out of use. A of the Ainos to the range gone fragment (Enez), Turkey, dating and an typical domestic household shapes wellhead preserves inscription 1st century b.c. The authors do not XII: no. no. K so it is to (Agora kados, p. 348, 1590; (AgoraXXI, p. 88, 1) identifying provide dimensions, difficult no. as a a or lekane, p. 359, 1746; chytra, p. 371, the object the "neck of well" and know if this is child's commode no. banded a which not. was a 1922; oinochoe, p. 246, giving personal name, Eukles, It found in grave, and may no. as well as that be the owner of the a to 141), objects belong Lang suggests may represent practice similar the better to contexts that was a sepulchral (votive well, possibly indicating this placement of feeders in the graves of no. a no cup: Agora XII, p. 335, 1422; household well. As household well infants. The authors thank Billur in horsehead amphora: Agora XXIII, longer use, well A 17:1 would have Tekkok for this reference. no. lid of a a convenient for the 19. Cf. 101. pp. 102-103, 20; skyphos provided place Agora VU!, p. krater: no. of 20. Agora XXIII, p. 153, 408; disposal damaged cemetery pottery; Thompson 1971, discussion no. the homeowner have out plate: Agora XXIII, p. 270, 1404). may sought under fig. 40. 6 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Figure 2. Drawing of Agora P 18010 by Piet de Jong, showing profile, and elevation, plan. Courtesy Agora Excavations

reconstructed from fragments preserving substantial portions of the bowl and stand, including the complete profile. The missing parts?including the lower portion of about half of the stand and parts of the bowl flanking the arched restored in The surfaces are worn opening?were plaster. very on are on in parts, especially the upper body, though they better preserved the side opposite the opening of the bowl. Wear is particularly noticeable in many of those parts that came into contact with the child, such as the edges of the arched opening and the rim of the bowl. a P 18010 stands to height of 0.343 m, which is virtually identical to the measurement of the diameter of the base: 0.345 m. The diameter m. of the rim of the bowl at its outer edge is approximately 0.230 Piet a de Jongs drawing of P 18010 (Fig. 2), prepared at scale of 1:2, shows as as a both the profile and elevation of the potty-chair, well plan of it, viewed from above. The stand itself is broad and splays rather than flares (i.e., the outer profile is concave) toward the resting surface, which is flat. an a The base is offset from the stand by articulated molding, with double SELLA CACATORIA: A STUDY OF THE POTTY J

at echinus face the lower edge. On the preserved side of the lower stand a as a there is rectangular reinforcement (Fig. l:c)?described "massive lug" m by Thompson21?about 0.152 long and pierced transversely by two small m one round holes, each about 0.010 in diameter. Only of these reinforce ments is preserved; the other is totally restored in plaster. The holes of the are no reinforcement pierce the base at its thickest point; there correspond ing vertical holes piercing the base in line with the horizontal holes. It is were as highly unlikely that these small holes for firing, Thompson first s were suggested, but Thompson later suggestion, that these holes intended to better secure the stand, is reasonable. The holes seem to show traces of wear on a their lower sides indicative of rope threaded through them.22 are On the front and back of the stand neatly cut, roughly correspond ing, circular holes (maximum diameter 0.038 m), one of which is in line with the larger arched opening of the bowl, to facilitate lifting (Fig. l:a, b). move An adult could the child in the chair by putting her fingers through maneuver the round holes and lifting. Without these holes, the person ing the potty would have to lift from the rim or junction of the bowl and was or stand: both would offer precarious grips if the baby uncooperative heavy. In profile the upper stand is almost vertical and is offset from the a were bowl by substantial ridge molding. The stand and bowl clearly made as were separate components that subsequendy combined. The two elements were as connected by the floor of the bowl?what Thompson referred to was on was the "diaphragm"?that the surface which the child seated. a The bowl itself is neatly rounded and is surmounted by substantially thickened, round rim. The large arched opening for the baby's legs is about m 0.160-0.164 wide. Although the arch is largely restored, its position is no reasonably clear. The floor of the bowl is flat and nicely smoothed, doubt to a accommodate the baby's bottom. There is large opening in the center m are on of the floor, about 0.082 in diameter. Wheelmarks clearly visible the interior of the bowl.

The clay of P18010 is the standard Athenian fabric, relatively fine, with the normal range of impurities. The clay body, wherever visible, and the to reserved surfaces have fired in the range of reddish yellow pink (Mun sell 7.5YR 7/6-7/4) and pink (5YR 7/4). are Both the stand and the bowl decorated in black-figure technique, well captured by Piet de Jong in individual studies that even include details as of the incised lines (Figs. 3-6). In these, in other watercolors of the or Athenian black- red-figure pottery that de Jong prepared for publication an from the Agora, the artist displays uncanny ability to capture the line of the original painter of the pot, whether that line was incised or in relief.23 His paintings restore something of the original life to much-worn surfaces. He revives the deteriorated decoration on the front of the stand 21.Thompsonl948,p.l84. especially wear are and on the side of the bowl. The on the of the 22. The patterns compa surviving decoration back rable to those visible in the is suspension stand and bowl considerably better preserved (Fig. l:b).Wherever black holes of loomweights. glaze survives, it ismostly fired red, slightly darker only for small patches, 23. Here we refer to the relief line with traces of added red for details of both the and floral decoration, characteristic of Athenian figured red-figure; no traces of added white survive. The interior of the bowl and see in although Beazley's description Caskey and the underside of the stand are reserved. There are no traces of black Beazley 1931, passim; Seiterle 1976; glaze Robertson 16. on cut or 1992, esp. p. any of the edges openings. The outer edge of the molded foot is KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Figure 3.Watercolor by Piet de Jong showing lion and siren flanking the hole on the front of the stand of P18010. Painting no. 352. Courtesy Agora Excavations

Figure 4.Watercolor by Piet de Jong showing geese flanking the hole on the back of the stand of P18010. no. 355. Painting Courtesy Agora Excavations SELLA CACATORIA: A STUDY OF THE POTTY

Figure 5.Watercolor by Piet de Jong showing siren to right of the large arched opening of the bowl of P 18010. Painting no. 354. Courtesy Agora Excavations

Figure 6.Watercolor by Piet de Jong showing floral motif on the back of the bowl opposite the arched opening of P18010. Painting no. 353. Courtesy Agora Excavations IO KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

as solidly covered with black glaze, is the entire rectangular reinforcement. There is a broad horizontal line above the level of the reinforcement, which serves as on the ground line for the figured decoration. Below the line, either a side of the reinforcement, is black-glaze running loop (Figs. l:b and 4). are on There two pairs of creatures the stand, each pair heraldically on flanking the front and back holes. The hole the front of the stand, below a a the larger arched opening of the bowl, is flanked by lion (left) and siren area a (right); the immediate of the hole itself is flanked by floral motif (Fig. 3). As indicated in the painting by Piet de Jong, only the upper portion mane of the lion survives; he strides right with head down, teeth bared. The is drawn close to the body and indicated with long fringes of incision picked out in added red. Additional incision emphasizes the musculature and rib s a cage of the beast. The lion tail loops up and returns to end in short fringe touching his back. The loop of the tail probably extended up onto the bowl, but the area immediately above the lion ismissing and restored. on a a To the right of the hole the front of the stand is siren, bird with a on woman's head (Fig. 3). She stands to left two widely placed, streaky, an undefined feet. Her body is elongated oval with the wings curling up are and forward in awhirl of feathers. The tail feathers and wing feathers a indicated with incised lines. Her profile head features pointy nose, full wears a crown lips, and rounded chin. She fillet around the of her head, tresses at and her long hair falls in added red cinched the back of her head a to by red band. The added red is fugitive and difficult discern from the seem brownish-red color of the fired black-glaze slip. Traces to indicate not that the flesh of the siren's face, body (but wing), and hair originally had was added red. Added white not used for the flesh of the siren, although female flesh is commonly indicated in this way in the black-figure style. on an Encircling the hole the front of the stand is entwined lotus and narrow palmette motif (Fig. 3). Two lotus buds project vertically upward a two flanking the hole from double figure-of-eight tendril. The tendrils are a joined below the hole and topped by small palmette. The lion's head overlaps the left lotus bud. The floral is intricate and detailed, but shows some hastiness in execution. The horizontal bars on the lotus buds, for instance, bear two different incised waves. The fronds of the left lotus some suffer confusion, probably the result of the overlap with the lion's on head. Added red is used to highlight the palmette fronds and the bars the lotus buds. The hole on the back of the stand is flanked by two birds that are probably geese (Fig. 4). In supporting the identification of these long necked birds, it is important to note that among domestic birds, neither common numerous ducks nor swans were in antiquity, though references in ancient literature to goose breeding?and fattening?make it clear that the was a goose familiar sight.24 Indeed, Homer himself mentions in the Odyssey a (19.536-537) that Odysseus's wife, Penelope, in dream, kept 20 geese:

KOCTOCOIKOV ?eiKOOl 8?ODCJIV Xfjv?? JLlOl TTUp?V 24. For geese, swans, and ducks in ?? oS?octo?, koc? xa o(piv ?cx?vojuoc?e?GOpOCOOOC. the classical world, see Lamberton and Rotroffl985. I have in the house that come forth from the water Twenty geese 25. Trans. A. T. Murray, Cambridge, as 1919. and eat wheat, and my heart warms with joy Iwatch them.25 Mass., sella cacatoria: a study of the potty II

on The heraldicalfy arranged geese have horizontal, ovoid bodies and stand on two widely spaced, streaky, curving feet similar to those of the siren the front of the stand. The long neck of each bird curves up and back so that the beak touches the chest. Incision is used to define feathers and divisions on a row on the body. Added red appears in of dots the neck and body of on a the birds, in patches the body (separated by thin band of black glaze on outlined in incision), and the tail feathers. Although the recurved neck common vase serve position is in painting for long-necked birds, it does here to echo a curvilinear theme evident in the form and decoration of the curve vessel. On the geese, the of the neck is followed by the curvilinear on even incision the body and the oddly curving feet. Moreover, the geese's curves are echoed by both the looped pattern below, the loop of the lion's tail on on the front, and the various loops of the elaborate floral motives front even and back. The repetition of curving lines complements the graceful one rotundity of the bowl and the flare of the stand. The overall effect is of balance and visual interest. on a The creatures stand single ground line that encircles the base. on a Below the ground line the back of the stand is thick, streaky, looped zone on line. The corresponding the front of the stand ismissing; enough survives, however, to suggest that it is unlikely that the front bore the same runs to loop pattern. On the back, the loop up the preserved lug and overlaps it. The molded ridge at the juncture of the stand and bowl is covered with a a area painted band. This band continues for short distance onto the of worn at the arched opening, but it ismostly this point. Nothing survives of area to a the the left of the large opening. To the right is the figure of siren (Fig. 5). Although the general form is clear, only its upper half survives, and it is very much worn, especially the front. It is the genius of Piet de to amost or worn a Jong restore, in subtle manner, missing parts of figure to a sense in order convey of the original draftsmanship, while also making it clear what part of the original survives and what is restored. The siren to on stands left, probably the familiar widely spaced, streaky curving feet, and looks back around to the right. She opens and stretches her wings. The wing feathers, wing bars, tail feathers, and tail bar are all indicated with same incision. The face bears the pointy but rounded nose, full lips, and as on rounded chin the siren the stand. The hair again is long and wavy, a crown a topped with fillet at the and cinched with band at the back. The ear on more this siren is carefully rendered, resembling Ionic volutes. The so worn surface is badly that detection of added red is difficult. Piet de none on Jong indicated his drawing, but it is possible to see traces of red on on the tail bar and possibly the feathers of the upper (far) wing. on The best-preserved surface the object is the back of the bowl, op posite the arched opening and centered above the hole on the stand. This area an is decorated with intricate floral motif made up of large, horizontally mirrored lotus buds and vertically mirrored palmettes, symmetrically inter laced by tendrils (Fig. 6). The lotus buds feature flaring spines, teardrop a shaped central petals, and crisscrossed horizontal band. The palmettes are are compact, round forms with scalloped edges. The palmette fronds divided by incised lines and are set off from the heart with a double line. 12 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

connect an The interlaced tendrils the elements in elaborate figure-of-eight pattern. Additional, tightly curved tendrils project from the palmettes, and are within the knotlike tendril pattern smaller, opposing, fanlike palmettes. Added red is used throughout to pick out individual fronds of the lotus buds and palmettes. The floral motif respects the same ground line as the siren on the front. Below there is a broad, wavy line that continues from the front of the to bowl around the back, and presumably the other (missing) side. The are outer and upper faces of the rounded rim painted; the rim interior is reserved.

THE VASE PAINTER OF AGORA P 18010

The characteristics of the black-figure style place the potty in the early first quarter of the 6th century B.c. Residual Protoattic decorative ele wave ments?the broad in the bowl exergue and the loop pattern in the an stand exergue?indicate that this is example of early black-figure.26 The choice of animals represents the influence of Corinth, the city from which Athens learned black-figure, but the pairing of animals heraldicalfy marks a distinctively Attic diversion from the Corinthian style.27 were That there few painters of early Attic black-figure pottery makes not the identification of the hand easier, but necessarily straightforward. on Idiosyncrasies of style place the black-figure decoration the potty in the manner was of the Gorgon Painter, who active in the early 6 th century. By we mean as "manner" that itmay be the hand known the Gorgon Painter or or himself another painter working alongside him in his employment under his tutelage. Followers of the Gorgon Painter who have identi as fiable styles?such Sophilos, the Deianeira Painter, and the Istanbul as not Painter28?may be ruled out, the burden of details do add up to any one of their individual mature styles. It remains possible, however, that a one more this vessel is product of of these identifiable followers, painted an closely to the master's style during apprenticeship?a school piece. In seems attribution of any figured pottery, it best to be conservative, remind we ing ourselves continuously how little know of workshop organization during the period. It is the lion from the front of the stand, with teeth bared and head most to down (Fig. 3), that links the style securely the Gorgon Painter's workshop in its early years. The Gorgon Painter and his workshop love use as lions: they them readily both in friezes and solitary decoration.29 The are as can or as lions often striding, in P 18010, but they sit crouch well. a Distinctive of the Gorgon Painter's depictions of felines is downward so to orientation of the mouth, that the line of the mouth is perpendicular

line as a 28. 1981. Deianeira 26. For the wavy typical 27. Beazley [1951] 1986, p. 16, Sophilos: Balar see n. a Protoattic motif, Brann 1961, 25. For discussion of the Corin Painter: Payne 1931, pp. 191-193; Wil nos. F H on pi. 81, 43-45,47-49, 47,52 thian influences Athenian pottery liams 1986. Istanbul Painter: Kilinski to the second half of the in the 54, all dating production Subgeometric period 1978; Bakir 1978. b.c. 7th century Cf. also the decorative (that is, during Protoattic and Proto 29. The workshop may have motifs of B1-B6 below see the illustrated corinthian), Papadopoulos 2003, introduced solitary, striding animal (Figs. 16-19). esp. pp. 222-224. motif; see Scheibler 1961, pp. 42-43. SELLA CACATORIA: A STUDY OF THE POTTY 13

the ground line (or nearly so).30 The mouth is carefully drawn open and baring teeth. Ingeborg Scheibler notes that the corner of the lion's mouth in more early works is rounded and later becomes boxlike.31 According to her career scheme, the rounded mouth would place the potty early in the of the or Gorgon Painter his workshop. She further notes that early works have ears a on rounded and lack tuft of hair the top of the head,32 again placing on the lion the potty among the early products of the Gorgon Painter's are as workshop. His lions' eyes large, depicted two concentric circles with to an triangles the side. There is usually incised eyebrow, frequently arched. mane The is drawn stiffly, close to the body, and indicated with flamelike locks, sometimes drawn with double-incised lines.33 Although the lower half of the lion ismissing, the axilla (the junction of the front leg and body) is preserved. The Gorgon Painter indicates the anatomy of the axilla with a rounded incision, sometimes recurved or doubled. The incised line extends up from the foot and often continues down the underside of the animal's uses on belly. The painter this detail all striding quadrupeds.34 Finally, the an upswept tail, with incised lines at the base and incised tuft at the tip, is a also characteristic of the Gorgon Painter's work.35 on The siren the front of the stand (Fig. 3) also has close parallels in the work of the Gorgon Painter and his associates (see, e.g., Figs. 7, 8).36 most The distinctive characteristic of sirens and sphinxes by the Gorgon curves Painter's workshop and followers is the wing that up and toward a the head with incised wing feathers forming pinwheel pattern.37 Siren are rest on bodies ovoid, and two widely spaced, often sketchily drawn, curving leg lines usually lacking claw articulation. The wing is divided from a can a the body by double line, and the wing feathers be double or single zone as of individual horizontal feathers that pinwheel they ascend.38 The are onto rear can more tail feathers incised the of the ovoid body, but be on more distinct carefully drawn examples. The hair of the Gorgon Painter's a crown sirens and sphinxes is held back by fillet around the and a second band loosely cinching the hair at the back of the neck. These fillets are distinguished with incision and added red.39The hair typically hangs down

34. n. 30. Scheibler 1961, p. 15.Many E.g., Kassel T669 (see 33, Beazley Addenda2 3;Agora XXIII, are an oino with ram from at no. examples known; see, e.g., above); olpe Laurion p. 119, 139, fig. 4, pi. 17, attributed to the Manner of the to choe, Athens, National Museum tributed Gorgon the Gorgon Painter. Louvre E 817: no. Ashmolean Museum no. 19176, ABV9, 16; Paralipomena 7; Painter, V505, ABV9, 7; Paralipomena 6; Beazley no. Scheibler 1961, p. 4, fig. 5. ABV10, 4; Beazley Addenda2 3; CVA Addenda2 2. 31. Scheibler 1961, p. 15. Oxford 2 [Great Britain 9], pi. 13 37. Scheibler 1961, p. 12. 32. Scheibler 14-15. with Caudium 38. Both on a 1961, pp. [414]:l-2; olpe bull, versions appear plate 33. the Salerno Museum in See, e.g., olpe KasselT669, Excavations, (no theWalters Art Museum, 48.215, no. 13 Ad Cerchiai 16. no. Paralipomena 7, ter; Beazley number), 1995, pi. ABV9, 18, 679; Paralipomena 7; CVA 1 35. Kassel T669 n. denda2 3; Kassel [Germany 35], E.g., (see 33, Beazley Addenda2 3; Scheibler 1961, Louvre pi. 27 [1707]: 1-3. An oinochoe frag above); amphora fragment, p. 19, fig. 20. P CP Louvre 11 39. ment, Agora 25366 (Paralipomena 8; 10628, CVA [France 18], Scheibler 1961, p. 12. See, e.g., Addenda2 attributed to the 123 of the sirens on the in theWalters Beazley 3), pi. [796]:l-2 [Manner Gor plate Art stand Manner of the Gorgon Painter by Beaz gon Painter]; fragment, Agora Museum, 48.215 (n. 38, above); a mane axilla P on a ley, preserves and nearly 23215, Agora XXIII, pp. 169-170, sphinxes and sirens dinos in the identical to that of the lion but no. which no. potty's 532, pi. 51, Moore (p. 169) Louvre (Fig. 10), E 874,ABV8, 1, to a see describes as the Painter or probably belongs chimaera; "by Gorgon 679; Paralipomena 6; Beazley Addenda2 no. in his this attribution is Agora XXIII, p. 193, 708, where manner"; based, 2; CVA Louvre 2 [France 2], pis. 14 on Moore calls the double line for the in part, the tufted tail. [63]:3,15 [64]:l-2,16 [65]:l-2,17 locks of the mane "an unusual feature." 36. Agora P 13113: ABV10, no. 24; [66]:l-2,18 [67]:1. 14 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Figure 7. Fragment of anAthenian attributed to black-figure amphora the Gorgon Painter, Agora P 13113 Courtesy Agora Excavations

in three to five divided locks;40 in contrast, the sirens on the potty stand one and bowl have single wide lock. There are, however, occasional examples on of the single lock works by the Gorgon Painter,41 although its pres ence master or here may place the potty farther from the hand of the else career. on early in his The facial profile of the siren the front of the stand matches those of typical sirens and sphinxes of the workshop (Fig. 8). The a eye is large, feature used to single out important figures, and is formed two corner by concentric circles and flanking triangles at the of the eye.42 on same The siren the side of the bowl displays many of the details on as a that mark the siren the stand work by the Gorgon Painter and his workshop: the ovoid body, hair fillets, facial details, and overall propor tions. We have found no parallel, however, for the pose of this siren in the to Gorgon Painter's workshop. The siren stands the left, looks back right and fluffs its wings. The pose of the right-facing head and slightly raised more common wings varies from the pose of avian figures with outstretched wings favored by the Gorgon Painter's workshop. Sphinxes, sirens, and are geese all occasionally shown in profile with their wings extended (albeit more awkwardly).43 The gesture here is much naturally depicted, and it not a does carry with it the imposing, threatening connotation that siren or sphinx with outstretched wings would.

in not 40. Scheibler 1961, p. 12. A pyxis Bucharest, City Museum preserve this detail. a on attributed to 43. For 41. See, e.g., siren fragments 20263, the Gorgon sphinxes, see, e.g., plate, a in a New Painter the authors of CVA Bucha Walters Art Museum 48.215 from closed shape, Jersey by (n. 38, rest of a private collection, Paralipomena 7, 2 [Romania 2], pi. 12 [57]:5-8, above); fragment krater, Athens, no. no. also features sirens with National Museum 96 [Beazley Archive 350303, p. 15, single (from Munychia), on no no. with image; for the Beazley Archive locks of hair. The sirens the pyxis number, ABV8, 3; Papaspyridi see are similar to those on the Karusu 64.2. For Database, www.beazley.ox.ac.uk]; very potty. 1937, pi. sirens, e.g., a on an in the P no. sphinx olpe Louvre, 42. Scheibler 1961, p. 13.Typically, oinochoe, Agora 997, ABV9, 15; A to there is a transverse line at the corner 474, that Beazley assigned the Paralipomena 7; Beazley Addenda2 3; of the both sirens and no. 64. Class of the Early Olpai, which he mouth, giving Agora XXIII, p. 188, 671, pi. as or con human women a For described "more less closely two-dimensional, geese, e.g., oinochoe, Agora "archaic on the no. nected with the Gorgon Painter and profile smile" (as P 15002, ABV 10, 5 [Manner of the his no. on Addenda2 followers," ABV9, 10; Paralipo sphinx Louvre E 817, Fig. 8), but Gorgon Painter]; Beazley 3; mena 35. the worn surface of the no. 64. 9; Scheibler 1961, p. 35, fig. potty does Agora XXIII, p. 188, 672, pi. SELLA CACATORIA: A STUDY OF THE POTTY 15

Figure 8.Athenian black-figure attributed to the amphora Gorgon Painter, Louvre E 817, detail. Courtesy Mus?e du Louvre

on The geese the back of the stand also find parallels in the work of the Gorgon Painter's workshop (see, e.g., Fig. 9).44Their ovoid bodies, divided a are on by double, curving line, quite similar to the geese the exterior of an to on exaleiptron attributed the painter himself.45 The bodies the exaleip tron are on geese also painted in added red and they stand curving, ill as on on a an defined feet do those the commode. A goose fragment of to amphora from the Agora attributed theManner of the Gorgon Painter46 as shares the looping neck adorned with red dots well as the characteristics of the body (see also Fig. 9). The Gorgon Painter revels in the intricate details of complicated florals. name His vase, the celebrated Louvre dinos (Fig. 10), has four similarly elaborate friezes of interlaced, side-by-side lotus and palmettes.47 The Nessos Painter had utilized interlaced lotus and palmettes both as friezes and complicated filling ornaments,48 but it is the Gorgon Painter who

44. P 4727: no. Adden Agora fragmentary 46. P 22310, Agora XXIII, p. 120, Paralipomena 2, 6; Beazley rim an attributed to no. see of amphora the 142, pi. 18; pp. 76,120 for da2 1; Boardman 1974, p. 21, fig. 5. Manner of the Moores attribution to the Manner of ornaments: see an Gorgon Painter, Agora Filling amphora no. the Painter. the P no. XXIII, p. 120, 141, pi. 18;ABV 12, Gorgon from Agora, 1247, ABV S, 2; no. Addenda2 4. 47. Louvre E 874 n. no. Adden 26; Beazley (see 39, above). Paralipomena 2, 4; Beazley 45. National Museum 48. Friezes: see the da2 no. Athens, Nessos Paint 2;^gw?XXIII,p. 115, 117, ers name 19172, Scheibler 1964, p. 97, vase, Athens, National pi. 13. no. figs. 18,19. Museum 1002, ABV4, 1, 679; l6 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Figure 9. Fragment of an Athenian to black-figure amphora attributed the Manner of the Gorgon Painter, P 4727. Exca Agora Courtesy Agora

as a brings the motif into prominence major decorative element. Not only does he exploit the potential of the motif for friezes, but he also features it as an a eye-catching individual ornament. For example, cruciform lotus/ on an as a palmette motif is used the neck of amphora from the Agora can serve dividing element between heraldic animals, but it also as the an a main motif.49 As independent motif, the floral takes cruciform shape with horizontally mirrored lotuses and horizontally mirrored palmettes interlaced with symmetrically looped tendrils. on cru The floral P 18010 varies from the Gorgon Painter's typical ciform floral in several small details. Normally, the two vertical lotus buds are a separated by reserved area; here the bases of the buds blend together at center. with the joined tendrils The addition of the subsidiary palmettes a within the tendrils opposite the main palmettes represents flourish not present in other examples. Typically the Gorgon Painter and workshop a on or prefer tightly undulating line the band of the lotus at the center of the palmette. The palmettes here have neither, but rather the band of the lotus features crosshatching. The hatching has parallels in the Gorgon move Painter's workshop,50 but may the potty farther from the master's

49. Neck P 4727 n. 1 motif: (see 44, Hamilton-Margos 1985, p. 83, fig. 4; ford 2 [Great Britain 9], pi. [402] :30; no. to above); Agora XXIII, p. 120, 141, Florence, Museo Archeologico Etrusco amphoriskos attributed the Manner pi. 18 (floral not illustrated). Dividing N 3737, Marzi 1981, p. 50, figs. 5, 6. of the Gorgon Painter by Payne (1931, element: on a reat amphoriskos, Berlin, Antik 50. E.g., lid from the Keramei p. 193), accepted by Beazley, but no. to to ensammlung F 3983,^_5F12, 28; kos attributed the Manner of the tributed the Painter of Istanbul 7314 no Paralipomena 8; Beazley Addenda2 4; Gorgon Painter, number, ABV12, by Bakir (1978, pp. 36, 38,43), Berlin, CVA Berlin 5 no. 29 archive no. F 3983 n. [Germany 45], pi. 54 [Beazley 300112, Antikensammlung (see 49, Archaeo with a a from [2199]:l-3; olpe,T?bingen, image]; fragment from closed above); olpe Laurion attributed to to logical Institute, 5445/28, Scheibler shape from Naucratis attributed the the Manner of the Gorgon Painter, Main Manner Painter be Museum V505 n. 1961, pp. 6,15, figs. 7, 8,18. of Gorgon ("may Ashmolean (see 34, motif: amphora, Brussels, Mus?e the painter himself"), Oxford, Ashmo above). et Royaux d'Art d'Histoire A 3483, leanG 550, ABV13, no. 41; CIA Ox SELLA CACATORIA: A STUDY OF THE POTTY V

Figure 10. Athenian black-figure dinos with stand. Name vase of the Gorgon Painter, Louvre E 874. Courtesy Mus?e du Louvre

at center hand. Although not common, the teardrop-shaped petal the of the lotuses has parallels in other florals from the workshop.51 The central on teardrop petal also appears the florals of the Ceramicus Painter, whose on female heads and animal bodies share traits with those the potty.52 Clearly the Ceramicus Painter operated within the workshop orbit of as the Gorgon Painter, but other features, such the heavy-jawed female

no. have a 51. See, e.g., the cruciform floral meikos VI.2, p. 500, 105, pi. 97; female heads normally single an ABV no. Kerameikos lock of hair the from the neck of amphora, Agora 19, 6; plate, 43, overlapping shoulder, no. Painters P 4727 (n. 44, above), where the Kerameikos VI.2, p. 503, 109, pi. unlike the Gorgon divided at center of the no. Kerameikos teardrop appears the 98; Paralipomena 12, 7bis; Beazley locks; see, e.g., oinochoe, Addenda2 6. The Ceramicus Painter's Kerameikos no. palmette. 42, VI.2, p. 502, 108, have the same no. no. 1. 52. Florals with central teardrop sirens/sphinxes whirligig pi. 98;ABV18, 1,444, Kera and articulated and his petals: lekanis, Kerameikos 39, wings bodies, l8 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

heads and animals that look out, up, or back (but never down), make the an source Ceramicus Painter unlikely for the potty's decoration. One anomalous characteristic of the potty's decoration?for the period in general and the Gorgon Painter in particular?is the absence of filling b.c. ornament.53 Black-figure painting of the first quarter of the 6th century marks the last gasp of the horror vacui that dates back to the Geometric zones seem period. The unadorned spaces of the potty's decorative ahead of their time, their balance and symmetry overriding clutter. The black on figure masters of the mid-century, Lydos and Exekias, would capitalize a the effect imparted by spare setting. The potty is not the only example of the Gorgon Painter exploring on name this technique: it is also used his vase, the dinos with stand in the Louvre (Fig. 10). On the dinos, the painter resists using filling ornaments throughout, but he utilizes the empty space best to emphasize the main scenes: a a the beheading ofMedusa and battle. The result is stunning and innovative composition, especially in comparison to the visually cluttered work of the generation before the Gorgon Painter.54 On the potty, the a nature lack of filling devices may be reflection of the utilitarian of the object, but the painter's evident skill and patience in decorating P 18010 is seen so one similar to that inmany other pieces produced by the workshop, not cannot conclude that the potty did receive the painter's full attention. was a Instead, it is possible that the uncluttered decoration way of impart to an ing monumentality this atypical shape used by atypical audience for can early black-figure: children. We imagine the animals delighting the child in the way that goods emblazoned with Winnie the Pooh delight modern children. The apotropaic aspects of the roaring lion and hybrid as as sirens might even act talismans for good health, demonstrated by use the child's regular of the potty, though animals and animal friezes on as on were used not just black-figure pottery but also elsewhere, such so to woven fabrics, one should not impart too much significance their use on P 18010. a It is not surprise to find another work associated with the Gorgon Painter among the black-figure vessels excavated in the Athenian Agora. or or More than 50 pieces attributed to the Gorgon Painter himself, in near are on his manner, published inAgora XXIII the black-figure pottery. most vase As Mary Moore has noted, the Gorgon Painter is the prolific painter of the early 6th century b.c., but what is equally important is that many of his products remained inAthens.55

53. See, e.g., Louvre E 817 (n. 36, Attica. It is clear from these numbers in 8. that not all of the vases from the above), the amphora illustrated Fig. are in 54. Cf., e.g., the Nessos Painter's Athenian Agora included the name vase, Athens, National Museum database. Additional vases with prove n. nances are 1002 (see 48, above). distributed throughout the to 55. Agora XXIII, p. 75. A search of Mediterranean from Turkey France, with the other cluster the Beazley Archive Database (n. 41, only significant includ in above) for the Gorgon Painter, being Italy.The Beazley Archive vases in not known ing his manner, returned 153 does include every vase, a records, of which 103 include prov but it does offer good sample. enance; 54 of these are from Athens or sella cacatoria: a study of the potty 19

11. Athenian chous Figure red-figure (Al), unattributed, London, British Museum 1910.6-15.4, showing child in Trustees of highchair/potty. Courtesy the British Museum

ANCIENT ICONOGRAPHY AND EXPERIMENTAL ARCHAEOLOGY

Two Athenian red-figure representations originally assembled by Corbett a a vessel similar (Figs. 11,12), together with third (Fig. 13), clearly show a The three to Agora P 18010 in use, with child happily seated inside. vessels are a and chous, cup, lekythos.56

Al Chous Fig. 11 London, British Museum 1910.6-15.4. Walters 1921, p. 139, no. 6, pi. 4:V6; Thompson 1971, fig. 39; Jenkins 1986, p. 32, fig. 37; Garland 1990, p. 161, fig. 21; Fitt? 1997, p. 75, fig. 136; Neils and Oakley 2003, pp. 239-240, no. 41. From Athens. 56. A further possibility noted in H. 0.11m. the literature is that the celebrated a a In a panel with an egg frieze at top and bottom, child sits frontally in in the Knidian a painting by Polygnotos highchair similar to P 18010, looking left.The child holds rattle in its extended Lesche at depicted the young a a Delphi right hand. Its pudgy legs project through hole in the bowl of roughly biconical as Glaukos sitting, Pausanias (10.27.3) chair. The are askew, movement. The stand is conical, but on or a legs slightly suggesting notes, by corselet (KaOrijievoc flares outward at the bottom, much like the base of P18010. Horizontal black-glaze 87u GcopocKi). Davies (1980) wonders a at at and lines the stand base, the junction of stand whether this was, instead, "a child's suggest molding moldings a at the of the bowl. On the to the left of he concludes that "it is bowl, and rounded molding top ground potty," though or to more to understand that Glau the seated child is a banded miniature chous, other small closed vessel; prudent olpe, a wheeled stick or roller leans the frame of the kos was shown seated beside (rather the right toy against panel. this of armor." ca. 440-425 b.c. than upon) piece Unattributed, 20 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Figure 12. Interior of Athenian red-figure stemless cup (A2) attrib uted to the Sotades Painter Work

shop, Brussels, Mus?es Royaux du

Cinquantenaire A890. Courtesy Mus?es Royaux du Cinquantenaire

A2 Stemless cup with wishbone handles Fig. 12 Brussels, Mus?es Royaux du Cinquantenaire A890. ARV2 771, no. 1;Beazley new Addenda2 287; CVA Brussels 1 [Belgium 1], pi. 1 [41]:1; CAH, edition, plates to vols. V and VI, fig. 133:b; Klein 1932, frontispiece; R?hfel 1984, p. 34, fig. 18; Burn 1985, pp. 100-102, pis. 25:1,27:7; Sparkes 1996, p. 77, fig. 111:9;Lewis 2002, p. 8, fig. 0.3; Neils and Oakley 2003, pp. 240-241, no. 42. H. 0.03; Diam. 0.127 m. Exterior black interior with on glaze; white-ground red-figure black-glaze tondo. In woman seated on a stool wears a chiton and tondo, facing right. She her hair is in a wide band. She extends her himation; wrapped arms, palms up, toward a child seated in a device similar to P 18010. The pudgy child faces left, extends its arms toward the its woman, and kicks legs actively. Its hair is rendered with dilute brown, perhaps indicating blond hair. The child's seat is a roughly bi conical the stand is taller than the seat. is apparatus; The child clearly sitting with its legs through a hole in the bowl portion of the chair, which features a rounded rim delineated by two black-glaze lines. ca. b.c. Sotades Painter Workshop, 460

A3 Lekythos Fig. 13 Berlin, Antikensammlungen 2209. ARV21587,no.2;vanHoorn 1909, p. 31, fig. 10; Zschietzschmann 1959, p. 225 (top right). No dimensions available. on awoman Red-figure palmette shoulder. On body, between meander bands, with short hair stands in voluminous belted with central frontally, garment stripe. She raises her left in her her arm out hand, wrapped garment, and extends right ward with palm open. To her left, a child wearing a garment draped over its left shoulder sits frontally in a highchair similar to P 18010, looks right, and mimics the of the woman's arm. chair is made of two a gesture right The elements: curved, roughly hemispherical bowl on a conical, flaring stand. The junction of the two elements is articulated and possibly emphasized with a black-glaze line.The child's legs project through two holes on the bowl of the chair.Unlike the children on Al SELLA CACATORIA: A STUDY OF THE POTTY

Figure 13. Athenian red-figure lekythos (A3), unattributed, Berlin, 2209. Antikensammlungen Courtesy Staatliche Museen zu Berlin

on and A2, the child A3 wears clothing, and although the surface of the vase is restored in the area of the child's is that the lower knees, it possible curving lines on his knees represent the bottom of his garment. Unattributed, ca. 460 b.c.

on The form of P 18010 is similar to that of the vessels depicted the a a three red-figure examples. All share tall, conical base and shallower, more an rounded bowl for the seat. All provide opening for the child's legs, seems to one although the Berlin lekythos depict two holes, not single large hole (see B7, below). The children in the painted examples may be better characterized as infants, from one to three years of age, than young chil dren.57 As Lesley Beaumont has argued, infancy is the first stage of child vase on hood distinguished and represented by painters.58 The child the

57. Although the distinction the choes festival for the first time that third year. For further discussion, see between infants and children in various same It is not clear at Beaumont year. entirely 1994, p. 85; Papadopoulos of can parts the world often be unclear, what point in early childhood the child 2000, p. Ill; for the choes festival see, in a was to Classical Athens when (male) presented the phratry during among others, Burkert 1972, p. 221; child was no longer a baby itwould be the festival of theApatouria, though it Hamilton 1992. to the occurred presented family clan, the phra probably during the first three 58. Beaumont 1994. in most try, and it subsequently participated years of life, and likely in the 22 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Berlin lekythos (A3) does look slightly older with his curly hair and dress, but he sits low in the chair, suggesting that he is still in the infant stage. All three red-figure examples date to the middle of the 5 th century b.c., vase more when painters begin to depict frequently domestic images and women. images of the world of The Brussels cup (A2) and the Berlin women lekythos both show interacting with the child in the chair. The woman on a short hair of the the Berlin lekythos may indicate that she is are slave, but both obviously caregivers to the children and demonstratively worn on engage the children in playful behavior. The garment by the child more a on the Berlin lekythos (A3) makes it likely that it is boy. The child a as the London chous (Al) is probably also boy, the shape itself is associ ated with male maturation rites.59 It should, however, be noted that girls on are a also appear choes, though they usually characterized by topknot are no coiffure.60While there iconographie indications of the gender of the on child the Brussels cup, the cultural preference for male children and the association of female virtue with bearing healthy male children may allow us assume a to that the child represented here is also boy. are The stands depicted in all three red-figure images what may be no on termed "highchairs," and there is way to determine, the basis of ever as iconography alone, whether these highchairs served chamber pots. was as a It is unlikely that the Berlin lekythos highchair being used potty were at the moment, as the child is obviously dressed. Such highchairs a not particularly useful for child who could yet walk, keeping the infant was to happily in place while the mother attending her other duties. The was were age and size of the child for which the potty-chair intended im portant, and it is clear that children "grew out" of such highchairs, inmuch same as were no to the way their clothing, and they doubt handed down was more an exer young siblings. The point made all the clear with early cise in experimental archaeology. A child, rather inappropriately wearing a was to a modern diaper, placed inside P 18010 provide visual match for the London and Brussels vessels (Fig. 14). This particular child?whose name we have not been able to determine?is large, both in terms of height and chubbiness, and seems uncomfortable in the potty-chair. The child ease does not have that air of being at that the children in the red-figure so images effortlessly display, and in all of the photographs in the Agora an Archives the child is in tears, unhappy experiment. was The experiment to be repeated, however, in 1984, this time with success. new was much more The model Elizabeth Carlyle Camp, aged was to about six months (Fig. 15), and although she similar in height the more child who first modeled P18010, she was a little slender.61 The Agora Archives contain an entire roll of film documenting the experiment. At was first, the young Elizabeth placed inside the potty-chair fully clothed.

most 59. See, recently, Ham 1999. (vanHoorn 1951, p. 166, fig. 488). than the babies shown in similar pose on which 60. See, e.g., Athens, National 61. Fig. 14: first published in the red-figure vessels, may was Museum 1739 and 14532 (vanHoorn Thompson 1971, fig. 40; Thompson suggest that infant size smaller in reasons 1951, pp. 68-72, figs. 278,279); Copen 1976, p. 240, fig. 125. Fig. 15: first antiquity. A variety of (e.g., Thorvaldsen Museum 10121 immature maternal be hagen, published inMorris 1985, pi. 103:b. diet, age) might (vanHoorn 1951, p. 124, fig. 539); Ox Both babies pictured sitting in P 18010 cited. Pitt Rivers no number are in relation to the ford, Museum, larger potty-chair sella cacatoria: a study of the potty 23

S?

Figure 14 (left). Unidentified child the exercise lacked the heroic of the sitting in P 18010. CourtesyAgora Although informative, idealized, nudity Excavations so was to red-figure representations, it decided try the experiment without more a clothing and, importantly, without diaper. Figure 15 clearly shows 15 Elizabeth a contented a contrast Figure (right). Carlyle Elizabeth Camp, notable to the child in Figure 14. correct use Camp showing the of the She is at ease in the on potty-chair, her right hand comfortably placed P 18010. potty-chair, Courtesy Agora her knee, her left hand the rim of the bowl at the arched Excavations right holding Like children on a opening.62 beach, this child knew exactly what to do and how to use the was vessel. Indeed, the stand put to appropriate use by Elizabeth the moment was young she placed inside it. Consequently, what as an innocent to began experiment replicate the red-figure representations of children in a a sitting highchair turned into full-fledged illumination of uses as the proper of these vessels: both highchair and potty, "ad sedendum summa utilitate infanti est... sella cacatoria infantilis."63

What this experiment also showed is that for the potty to work most a second would have to efficiently pot been needed catch any discharge; such a pot, placed directly under the opening in the floor of the bowl, would have been hidden by the stand of the commode. Indeed, the use of various

62. The of the London of the arched two small rim. The painter right opening, painter may have changed his chous (Al) may have also intended the dilute curved lines descend from the rim, mind or chosen to eliminate the detail. child to the rim the for a hand the van grip of bowl. To the appropriate gripping 63. See Hoorn 1909, p. 30. 24 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

as pot shapes among adults receptacles for urine and feces iswell recorded as inAthenian iconography, the work of Beth Cohen and Alan Shapiro has use or established.64 Moreover, the of portable night-stools privies is attested name to in the very given them inGreek, Xaaava?together with Aocoocvo (popo? (see below)?not to mention the KO(pivo? (dung basket) referred to as as a inXenophon's Memorabilia (3.8.6.), well the ocua?,which, although more a are chamber pot, is properly urinal.65 Portable night-stools further one implied by references to of the less savory tasks performed by individu as more als, whether officials chosen by lot or, is likely, private entrepre neurial scavengers, under Athenian democracy, that of the KOTCpoAcryoc.66 was to Otherwise, how the kopros be collected and later transported well beyond the fortifications of Athens?

CHRONOLOGY AND TERMINOLOGY

With the identification of the function of P 18010 secure on the basis of was the red-figure representations (Figs. 11-13), it possible to identify fragmentary and previously overlooked examples of babies' commodes. In at com 1961 and 1962, Eva Brann published fragments of least six such were as modes.67 All of these found in the Athenian Agora small fragments or none as as in various wells pits, but is well preserved P 18010. Brann to B.c. on assigned most of the pieces the second half of the 7th century the basis of the style of decoration, though the context of many of the can a more or con pieces indicate date in the earlier 6th century B.c., less a temporary with P 18010. We provide here consolidated list of the pieces assembled by Brann, with only essential information given for each piece; for further details of the shape and decoration, the reader is referred to the original publications.

notes the also were not a of 64. Cohen and Shapiro 2002, esp. nomoi, following: "They logoi body public sweepers see to none the of the pp. 87-89. it that of the dung-collec under supervision astynomoi, 65. For the see tors the within ten stadia but were A similar ?jji? esp. Agora XII, deposits dung private scavengers." no. von Fritz conclusion is reached Ault p. 231, 2012, pp. 376-377, pi. 96; of the city walls" (trans. K. by (1999, and E. New York who notes the were Cohen and Shapiro 2002, p. 88, pi. 22:c. Capp, 1950). p. 555), koprologoi as in Although translated "chamber pot" Camp and Fisher (2002, p. 140) private entrepreneurs?supervised more mention that is some debate as the or in LSJ, the amis is usually equated there part by astynomoi epistatai a to whether the were officials were able to turn a with urinal, and the word has been koprologoi kopronon?"who to basket-handled or contractors. The seminal first and then specifically applied private profit by collecting waste, a article on is E. Owens and it as fertil pots provided with hooded opening the subject by J. by recycling reselling on notes izer." Manure is also a treated high up the side (seeAgora XII, (1983), who (pp. 47-48) that subject nos. are mentioned twice in not in as much pp. 376-377, 2012-2013, fig. 14, koprologoi only by Owens, though all of ancient in detail as Ault with further pi. 96). The opening is specifically literature, Aristophanes by (1999, to the in the inAristotle For additional notes on designed accommodate penis, (Pax 9) and passage references). not cited In with the Athenians and in and the vessel would easily lend here. dealing latter, defecating, particular for use women. to Owens stresses that it was the on what have used to itself by According (p. 48) they may wipe of of the to ensure that the see 2002. Athenaios (12.519e), the invention duty astynomoi themselves, Papadopoulos to the at least 67. Brann the amis is attributed the Sybarites. koprologoi deposited kopros 1961, pp. 332, 363-364, nos. 66. Aristotle, in Ath. Pol. 50.2, in the 10 stades from the city. He concludes F 18,H 16;Agora VIII, pp. 100 text of both nos. 600-603. section of the dealing with officials (p. 48): "Careful study passages 101, the offers several indications that the appointed by lot, specifically asty kopro sella cacatoria: a study of the potty

B3 ?82

B4, fr. b B4, fr. a

16. of Protoattic Figure Fragments commodes: B1-B4. Courtesy Agora Bl Fragment of commode Fig. 16 Excavations P 5417. Well F 12:5 (dumped fill running into the second quarter of the with much that is no. 39. 6th century b.c., earlier). Agora VIII, p. 100, 600, pi. P.H. 0.135; est. Diam. (at seat) 0.280 m. of with remains of hole cut Body fragment preserving portion upper stand, into it (at left side of the fragment), and small portion of bowl, including small portion of seat for the child at the top.

B2 Fragment of commode Fig. 16 P 25398. Storage pit B 14:5 (filled late in the first quarter of the 6th cen no. 39. tury b.c.). Agora VIII, p. 101, 601, pi. P.H. 0.065; est. Diam. (rim) 0.280 m. Fragment preserving small portion of rim of bowl and part of arched cutting to accommodate the legs of the baby. Although the fabric, paint, and feel of this are similar to the different contexts of the two indicate that piece very Bl, pieces cannot from the same vessel. they be original

B3 Fragment of commode Fig. 16 P 26301. Well O 12:2 (late 7th and first quarter of 6th centuries b.c.). Agora VIII, p. 101, no. 602, pi. 39. est. of stand and 0.390 m. P.W. 0.115; Diam. (juncture bowl) Published Brann as a from a babies' commode. by possible fragment Fragment of stand and flat surface at with at the preserves small portion upper juncture bowl, of the to accommodate the of the point presumed opening legs baby.

B4 Fragments of commode Fig. 16 P 25651. Well O 12:2 (late 7th and first quarter of 6th centuries b.c.). Agora VIII, p. 101, no. 603, pi. 39. P.W. est. Diam. 0.290 m. (fragment a) 0.160-0.170; (rim, fragment b) two of rim of bowl Four nonjoining fragments (a-d), preserving portion (b, c), one about a third of of stand and bowl and another smaller preserving juncture (a), a fragment (d) preserving portion of juncture of stand and bowl. Only fragments and b are illustrated. KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

B6

17. of Figure Fragments Protoattic B5 Fragments of commode Fig. 17 commodes: B5, B6. Courtesy Agora P 22738. Well O 12:1 (= Brann's well F, mostly third quarter of the 7th cen Excavations Brann no. 74. tury b.c.). 1961, p. 332, F 18, pi. P.H. 0.160 m. one Three fragments, of which only (a) is illustrated. Of the three nonjoin ing fragments mentioned by Brann, the rim fragments (a, b) do indeed join. The nature of the handle attachment on c not precise fragment is clear.

B6 Fragments of commode Fig. 17 P 17360.Well M 11:3 (= Brann's well H, second half of the 7th century b.c.). Brann 1961, pp. 363-364, no. H 16, pis. 74, 90. P.H. 0.173; est. Diam. (at juncture of bowl and stand) 0.190; est. Diam. (hole) 0.062 m.

Several substantial joining fragments preserving portion of juncture of bowl and stand, including portion of the hole cut into the center of the floor of the bowl.

On the basis of the above pieces, Brann was able to reconstruct two com modes on The a paper. first, Figure 18, is composite drawing supposedly based on an fragments B1-B4, though it is actually amalgamation of the shape and decoration of fragments Bl, B2, and B4. The two thin bands over which a row of is are on loops superimposed based Bl, the profile of on the juncture of the stand and bowl is based B4, fragment a, while the rim profile of the bowl is that of B4, fragment b; the decoration of the rim more exterior, however, closely resembles fragment B2. The form of the rim of is fragment B2 very different, though the curved stripe following the contour of the on arched opening of the bowl Figure 18 is loosely modeled on a on similar, but thinner, stripe fragment B2. There is no attempt to incorporate the tremulous line approaching zigzag framed by horizontal on bands fragment B3. more On the basis of the diagnostic fragments Bl and B4, which, it must be stressed, derive from different contexts, the reconstruction in 18 an a Figure gives idea of what potty of the later 7th-early 6th century may have looked like. Although the diameters of the rim of the bowl and the hole in the floor of the bowl were estimated with reasonable sella cacatoria: a study of the potty 27

LJ

Figure 18 (left). Composite drawing of Protoattic potty (Bl, B2, and B4). accuracy, the height of the stand and the diameter of the preserved lift P. after VIII, 39, are un Finnerty, Agora pi. ing hole in the upper part of the stand only tentative. Similarly nos. 600-603 com known is the form of the base and resting surface, which seems, in parison to the sturdier reinforced base of P 18010, rather slight for the task Figure 19 Composite draw (right). at hand. ing of Protoattic potty (B5 and B6). The second is based on the P. Finnerty, after Brann 1961, pi. 90, drawing, Figure 19, largely B6, though no. H 16 sherds of B5 also assisted in the overall reconstruction.68 In details of form so the piece was similar to P 18010 that Brann concluded: "The present to fragment resembles the stand [P 18010] enough in construction make a was it certain that it is from such chair. The infant placed in the bowl on a were over glazed sitting surface. Its legs passed out the opening the no finished edge which shows the wear."69 Although there is evidence for nor the height of the vessel?neither the upper part of the bowl the lower was as part of the stand survives?the vessel restored by Brann rather low on the basis of the flaring sides of the stand and by analogy with P 18010.70 Not only is the reconstructed vessel in Figure 19 shorter than that shown in a Figure 18 and little smaller than P 18010, but the opening for the child's legs is larger and the bridge higher. As Brann noted, this stand (Fig. 19) seems "also to have been less drawn in at the rim, in short, the child was less constricted."71 one more Since the publication o?Agora VIII, fragments of at least potty have entered the Agora inventory. The piece in question, B7 (P 31849), was found in the fill of the large well excavated in 1937 and designated well was M 17:4, though it only removed from context and inventoried in 1990. was one over The deposit of 20 Persian destruction deposits assembled by as can T. Leslie Shear Jr. and, such, the piece be securely dated to the early 5th century b.c.72

68. See discussion in Brann 1961, 70. Brann 1961, pp. 363-364. p. 363. 71. Brann 1961, p. 363. no. 69. Brann 1961, p. 363, under 72. Shear 1993, p. 463. H 16. 28 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

20. of Figure Fragments early b.c. 5th-century potty (B7). Scale 1:3. Courtesy Agora Excavations

B7 Fragments of commode Figs. 20,21 P 31849. Well M 17:4 (early 5th century b.c.). Mentioned in Shear 1993, p. 463. P.H. (fragment a) 0.173; (fragment b) 0.067; est. Diam. (rim) fractionally than 0.240 m. larger Two nonjoining fragments preserving portion of rim and upper body of bowl, two cut including what appear to be portions of holes into the upper body of the bowl. there are minor differences between the two Although fragments, they prob from the same rather than from two almost identical vessels. ably derive vessel, have an almost vertical and a rolled or Both fragments upper body heavy a rounded rim. Fragment a (Figs. 20 and 21, left) also preserves small portion of the floor of the bowl and a fraction of the uppermost part of the stand. Both frag ments have a large hole neatly cut prior to firing on the upper body, immediately below rim. The hole on the larger fragment (a) extends to the floor of the vessel at with the stand. the juncture Standard Athenian fabric; large spall on the rim interior of fragment b. Clay body fired close to light red (2.5YR 6/6); reserved surfaces in parts lighter, closer to reddish yellow (5YR 7/6). Vessel decorated with black-glaze bands, with glaze rather thickly applied, in a to places adhering well, but elsewhere with tendency flake; mostly fired black but near center as sometimes dark reddish brown. Thin horizontal band of upper body which extends onto the cut of the hole on another band preserved, edge fragment a; on wall above hole on a and b. Rim exterior upper immediately fragments painted onto interior as shown. Interior otherwise reserved. solid, with glaze extending

not The number of potties from the Athenian Agora, although great, is sufficient to establish that the basic type of vessel iswell known, at least from the later 7th and earlier 6th century into the 5th century B.c. The on vases B.c. three representations of potties red-figure of the 5th century indicate that the form continued at least through most of the Classical seems was period, particularly inAthens, and it very unlikely that Athens to the only city in Archaic and Classical Greece have used such vessels. The functional character of the potties suggests that the basic form may have lasted for some time. No examples of potties have been recognized or nature from the Geometric period earlier, though the fragmentary of a not the 7th-century examples provides warning that archaeologists may have looked closely enough for such vessels. The discussion above makes SELLA CACATORIA: A STUDY OF THE POTTY 29

P 31849b

of of Figure 21. Drawing fragments b.c. P31849a early-5th-century potty (B7). Scale 1:3. A. Hooton

were to an clear that not all black- and red-figure stands designed hold vessel for wine or water at a or some other open symposium celebratory as area event. Be that itmay, the potties from the of the Classical Athenian Agora show that the form is well established by the second half of the on 7th century b.c. and, the basis of the example from well M 17:4 (B7) can at and later representations, the type be traced Athens into the 5th and b.c. probably the 4th century The philological evidence, however, sug gests that the basic type of vessel, if not the exact form, may have survived through the Hellenistic period and into Roman times. a on see In seminal article the often-misidentified props for pots, 73. Morris 1985; further Papa cooking 1992. Morris uncovered their ancient name?aocgccvo:?which dopoulos cogently always 74. Morris n. 34. For went on to note as 1985, p. 402, appears in the plural.73 She that although X?aava physi ancient see Ar., fr. 462 (Ed ca. comedy, cal cooking props disappeared in the Hellenistic period, 300 b.c., the monds) and the scholia to Pax 1224 to a or word Aaoocvov?in the singular?survived indicate portable privy 1239; Eupolis, fr. 224; Kratinos, fr. 49; (cf. AotGav?xnc ?icppo?). She concluded that this second mean Pherekrates, fr. 88; Plato Com., fr. 116. night-stool texts in have been with the one, Among the medical see, par ing?night-stool?must contemporary culinary "for it is also familiar in later in medical ticular, Hippoc. Tlepi 'ErnKvijaecog 8; 5th-century comedy, appearing 9. For the evidence of a more IJepi Ivpiyycov texts and l?xica. This meaning has longer and active life than do see Poll. Onom. lexicographers, 10.44; X?oava in the Greek kitchen, as it survives into the Latin lasanum."74 lasa Moeris 202.30. For the Latin a as a As Morris explains, in shape and size aocgocvov, in potty-chair, num, see Petron. Sat. 41.9; Hor. Sat. are an no. resembles a brazier; both two-tiered stands with upper bowl and 1.6.109; Hilgers 1969, p. 209, 210, two s.v. lasanum. were designed to receive objects: "the brazier holds coals below, pot Morris 402. a a 75. 1985, p. above, while the potty supports seated child above, container below."75 30 KATHLEEN M. LYNCH AND JOHN K. PAPADOPOULOS

Figure 22. Drawings of braziers of When X?aava as for around 300, no com pot props cooking disappeared the late 8th and 7th centuries b.c. sort mentator could out these various meanings with ease.76 Thus, the two Left to right: Agora P 13656, for Aocaava are, first of a "trivet or stand for a meanings given all, pot" (e.g., P 14269, P 26174. After AgoraVIII, Ar. Pax a nos. 893) and, secondly, "night-stool" (e.g., Hippoc. JJepi Zvpiyymv pi. 40, 623, 626, 627 9).77 There is also the AaGoevoqxSpo?, the "slave who had charge of the some night-stool."78 As Morris elaborates, at time when the brazier (X?aava) and night-stool (Xxxaocvov) resembled each other, the latter may have borrowed the name from the former.79 That time may very well have or a been the later 8th 7th century B.c., the period when number of "new as conveniences in cooking," Brann called them, were invented;80 Brann a a we illustrated number of these in series of drawings, which reproduce here (Fig. 22). In dealing collectively with these fragmentary vessels, Brann are a noted that they from shapes that essentially combine cooking stand a on with portable brazier, and hot coals could be put the bottom and a set on s pot the flanged rim.81 Indeed, looked at from the side, Brann draw a on ing of Agora P 14269 with pot top (Fig. 22, center) looks remarkably like the potties presented in Figures 1,18, and 19?not least the two holes on the lower part of the stand?while the large opening on the brazier on P 13656 (Fig. 22, left) is very similar to the opening P 18010 (see es pecially Fig. l:a). Hence, the Moavov resembled X?aava in form and were to an a or function for both designed support object (either pot a or child) and accommodate something below (either coals a container). By drawing together the evidence from ancient authors, the iconog on raphy preserved Athenian red-figure vases, and the material remains we are in the archaeological record itself, thus able to appreciate potties ?X?aava?in Classical philology, not least in comedy, to see them in use vase in Classical painting, and to find them in domestic contexts inArchaic and Classical Athens.

76. Morris 1985, p. 403. 8(pr|, "cr?voiOev ? Xaaavo(p?poc" 79. Morris 1985, p. 402. 77. s.v. X?aava. Hermodotos in his 80. LSJ, (When poems Agora Vll?, p. 102. 78. s.v. X?aava. The critical wrote of him as "The of the 81. LSJ, Offspring Agora VIII, p. 102. For the cook is in Plut. Mor. 182C he "The slave stand Brann P passage (cf. Sun," [Antigonos] said, ing cites Agora 8396 where it is stated: who attends to is no. 360D), 'Epjio?oxoD my chamber-pot (AgoraVIII, p. 55, 211, pi. 11), with ?? ambv ?v 'H^?od not conscious ofthat!" F. C. a similar to P xo?? 7roififiaGiv [Trans. portable brazier 21805 na?da "o\) Tcaka no. ypaij/avxo?, jioi," Babbitt, Cambridge, Mass., 1931]). (AgoraVIII, p. 103, 625, pi. 40). sella cacatoria: a study of the potty 31

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Kathleen M. Lynch

University of Cincinnati

department of classics

P.O. BOX 210226

CINCINNATI, OHIO 45221-O226

[email protected]

John K. Papadopoulos

University of California, Los Angeles department of classics and

the cotsen institute of archaeology

a2io fowler

los angeles, california 9oo95-151o

[email protected]