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Evelyn Radford Source: the Journal of Hellenic Studies, Vol Euphronios and His Colleagues Author(s): Evelyn Radford Source: The Journal of Hellenic Studies, Vol. 35 (1915), pp. 107-139 Published by: Society for the Promotion of Hellenic Studies Stable URL: http://www.jstor.org/stable/624527 Accessed: 19-12-2015 04:24 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Hellenic Studies and Cambridge University Press are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Hellenic Studies. http://www.jstor.org This content downloaded from 128.114.34.22 on Sat, 19 Dec 2015 04:24:49 UTC All use subject to JSTOR Terms and Conditions EUPHRONIOS AND HIS COLLEAGUES.1 [PLATE IV.] THE Euphronios problem is more than twenty years old: in 1893 Hartwig, in his Meisterschalen, first attcibuted to the painter <Ones>imos the Troilos kylix in Perugia bearing the single signature 'Ev4pbvto9 EdrolfOEV. Since then the question has been considerably extended and modified, and the moment has perhaps come for some sort of summary of results. The attempted answer to the particular question does not profess to be a solution of the whole of and problem •ypajrEv Wrol'oev. Dispassionate analysis of style tends more and more to separate potter from painter in most well-known workshops. Makron was in all probability directly or indirectly responsible for the painting of all Hieron's vases, Brygos a potter solely. It is, however, impossible to generalise on the subject. In the black- figure period there is the notable exception of Exekias: there is no differ- ence of style between the vases signed 'EKcLta9 ErolI4oev and 'Eijcta9 'Ytpae icarolve Me. Again in the strong red-figured period we have the instance of the Gotha kylix (F.R.H. iii. Abb. 7), with its inscriptions aota&ev (retrograde) and a dubious inscription ending eavE (left to right)-i.e. a potter's signature, The painter's name is clearly that of Pasiades, the style of the exterior unmistakeably that of his other vases; 2 but these are signed with droilvaEv. Here, then, is a contemporary of Euphronios whose droI'a-ev includes Eypa'erv. Nor was the relation of potter to painter the same in every case Sometimes the one, sometimes the other, was the dominant partner; for we may conclude that where a signature occurs constantly alone, and rarely in conjunction with other names, the potter or painter in question was his own master, and gave his name, so to speak, to the firm. Hieron is an instance of a potter, Duris of a painter in this capacity. Clearly, in the former case, the potter's name was of most account, since so eminent an artist as his colleague Makron only signed one of his many paintings. Of Duris' signed vases, on the other hand, only five bear other potter's names, and one, it is 1 I wish to thank especially M. Pottier, Dr. Museums. Zahn, and Dr. Sieveking for facilities afforded 2 The interior appears to be by Peithinos. to me in the Louvre, the Berlin and Munich 107 This content downloaded from 128.114.34.22 on Sat, 19 Dec 2015 04:24:49 UTC All use subject to JSTOR Terms and Conditions 108 EVELYN RADFORD expressly stated, he made himself. The evidence of style and that of the favourites' names forbid us to regard all these five as early works painted by Duris for other and independent potters; rather we must suppose him to have been throughout his own master, with potters working under him. In the case of Euphronios, it is most probable that the vases signed with i'papev were painted for independent potters. The coupling of his name with that of Chachrylion, a potter of some standing and senior to Euphronios, and the probable attribution to the latter's brush of the beautiful Patroklos kylix made by Sosias, point to this conclusion. The Signed Vases of Euphronios and their Dating. The vases, fourteen in number, which bear the name of Euphronios, followed by ypagev or drol7o-ev, form at the same time the most fascinating and the most problematic series in the history of signed vases. They are by no means of equal merit, but none are without interest, and all of skilled workmanship. The modification of the style', and the marked technical advance make it certain that the series covers a considerable period, and enable us to conjecture with some certainty the relative dates of their production. The evidence of the favourites' names, known to us from sources outside this cycle, corroborates that of style. But the question of dating cannot be dissociated from the more difficult question of authorship first raised by Hartwig with regard to the Troilos kylix, and again with a wider application by Furtwiangler. Was Euphronios the most versatile of the vase-painters? Or are versatility and a long life sufficient explanations of such differences in style and technique as are apparent between the works of his supposed first and second periods ? Or was the painter Euphronios the author only of the group of works actually signed @'palev (unquestionably the earliest of the series), the painter who at least once in his early days was associated with a potter of the severe style, Chachrylion ? If so, it is natural to suppose that he was at first a painter attached in all likelihood to the workshop of Chachrylion, and set up in later life a workshop of his own, employing various artists to paint his vases, for there is as much divergence between certain vases with the E7TrolVae signature as between any of these and the vases signed with Happily or unhappily, there is, as usual in problems of vase- painting,,ypagev. no external evidence of any weight; it is on the internal evidence of style alone that any argument can be based. The period covered by the vases in question appears to be one of about forty years, the dates being fairly accurately fixed by the favourites' names employed. The Antaios krater and the Geryon kylix both bear the inscrip- tion KaXh6,while close to one of the hetairai of the Petrograd psykterA.aypov are the words riv 7rve These three vases, Xardo'i together with two fragmentary ones, on whichAe.aype. no such names remain, are from their style the earliest of the series; in the case of the three just named the presence of the name Leagros leaves no room for doubt, for there This content downloaded from 128.114.34.22 on Sat, 19 Dec 2015 04:24:49 UTC All use subject to JSTOR Terms and Conditions EUPIHRONIOS AND HIS COLLEAGUES 109 seems every reason to identify this Leagros with the of that name, killed in 467.3 The name occurs further on anotherarpar'ly7e vase of the potter Chachrylion, on one by Oltos and Euxitheos, on a series of unsigned works of the severe r.-f. style, and even on a few of the b.-f. Thus the beginning of Euphronios' career is fixed at the first few years of the fifth century, c. 500-480 B.C. Of the remaining vases, all signed Elfpdvov derolo~v, two bear the name of Panaitios, two that of Lykos, and one that of Glaukon. The first is found also on several unsigned vases, as well as on one by Duris. The two kylikes of Euphronios, the B.M. Eurystheus and the Boston komrnoskylikes, appear somewhat later in date than the Leagros group, but have not the technical ease of the Perugia or Berlin kylix. They form, with two others, a group of very distinct style. The name Lykos is found on a number of vases of the most advanced 'strong style,' all unsigned but the two kylikes from Euphronios' workshop, namely the Perugia Troilos kylix, and that of the horsemen in Berlin, which bears, besides the signature of Euphronios, that of a painter, Onesimos.4 In the latter case the name of Lykos is combined with that of Erothemis, elsewhere unknown. The Berlin polychrome kylix, the latest of the extant signed vases of Euphronios, has the inscription lrauKmv KaX4F. The Glaukon referred to here and on several unsigned vases, notably the beautiful Aphrodite kylix (D 2) of the British Museum, must be the Glaukon who was a son of Leagros and himself a commander in the year 433. The identification is confirmed by three unsigned vases 5 with the inscription XadEcov KaXeAc~cdypov. With some rough idea of the dating of the Euphronian series, it becomes easier to examine the different groups just distinguished, and to see what light may be thrown on the vexed question of authorship. Let us first try to define the style of the group distinguished by the 'ypalerv signature, and certain other works which there is reason to associate with it, leaving the rest of the series and its attendant problems till later. EUPHRONIOS AS PAINTER. The Signed Vases. The selection which chance has made from among the paintings of Euphronios is happily varied. The three complete vases bearing the signature Ei pvto9 'ypalev are the Antaios krater in the Louvre, the psykter in Petrograd, and the Geryon kylix in Munich; 6 to these must be added the Acropolis kylix fragments representing the marriage of Peleus and 3 Hartwig, Meist.
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