Greek Vases in the J. Paul Getty Museum, Volume 3, OPA 2

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Occasional Papers on Antiquities, 2

Greek Vases InTheJ. Paul Getty Museum

THE J . PAUL GETT Y MUSEU M MALIBU, CALIFORNIA VOLUME 3/198 6 Jirí Freí , Senior Curator fo r Research , an d Marion True , Curator of Antiquities, Editors

Sandra Knudsen Morgan, Managing Editor Bénédicte Gilman, Manuscript Editor Lynne Dean, Advisory Editor Karen Schmidt, Production Coordinato r Elizabeth Burke, Photograph Coordinato r Patrick Dooley, Designer Patricia Inglis, Assistant Designe r Kathe Flynn, Production Artist

Typography b y Typographic Servic e Co., Los Angeles Printed b y Gardner/Fulmer Lithograph , Los Angeles

Photographs reproduce d i n this book hav e been provided b y the institutio n that owns th e objec t unless otherwis e specified .

Greek Vase s 3/198 6

Information abou t other Getty Museum Publica- tions ma y b e obtained b y writing to th e Book- store, The J. Pau l Getty Museum, P.O. Box 2112, Santa Monica, California 9040 6

Cover: Red-figure cu p b y th e Briséi s Painter . Malibu, The J. Paul Getty Museum 86.AE.293 . Detail of side B. See article p. 35.

Library of Congress Cataloging-in-Publicatio n Data (Revised fo r vol. 3) :

Greek vase s in the J. Paul Getty Museum.

(Occasional papers on antiquities ; v. 1 , ) English ari d German. Vol. 3 edited b y Jirí Fre l and Marion True . Includes bibliographica l references. 1. Vases, Greek. 2. Vase-painting, Greek— Themes, motives . 3 . Vases, Etruscan. 4 . Vase- painting, Etruscan—Themes, motives . 6 . Vases- California—Malibu. I . Frel, Jirí. II . True, Marion. III . Series. NK4623.M37J2 198 3 738.3 ,0938,074019493 82-4902 4 ISBN 0-89236-058- 5 (pbk . : v. 1 )

ISBN 0-89236-078- X (pbk . : v. 3 ) Contents

Etrusko-korinthische Vase n in Malibu 1 Jdnos Gy Szildgyi

Some Plastic s in Malibu 1 7 William R. Biers

A Kyli x an d Fragment s by th e Borea d Painte r 2 9 Cynthia Hoyt-Grimes

Booners 3 5 Donna Carol Kurtz and John Boardman

Two Pelika i b y th e Pa n Painte r 7 1 Martin Robertson ov yàp r)v àfiio: A Chou s by th e Oionokle s Painter 9 1 Elfriede R. Knauer

Polygnotos: An Iliupersis Scene a t th e Gett y Museum 10 1 Susan B. Matheson

Some Gnathi a Potter y i n th e J. Paul Getty Museu m 11 5 J. R. Green

A Clusiu m Group Duck-Askos in Malibu 13 9 Mario A. Del Chiaro

Dipping a s a Glazing Technique i n Antiquity 14 3 Toby Schreiber This page intentionally left blank D. M. Ronald Dik

Etrusko-korinthische Vasen in Malibu

Jdnos Gy Szildgyi

Schon vor eine m Jahrhundert ware n sic h die Erforsche r archàologischen un d kunstgeschichtliche n Methode n ein - der antike n Kerami k de r Tatsach e bewufit , daf i di e au s zelne Produktionszentren, Werkstatten , Schule n und Mei- Korinth, de m grofite n Export-Zentru m griechische r sterhànde z u isolieren , u m di e Chronologi e un d di e bemalter Tonvase n i m 7 . Jh. v . Chr. , auc h nac h Etrurie n Stilgeschichte de r etrusko-korinthische n Kerami k rekon - massenweise transportierte n Gefâfi e a n Or t un d Stell e in struieren z u konnen : " a tas k which would b e bi g and no t lokalen Werkstatten nachgeahm t wurden. Kriterie n fu r di e very attractive , bu t on e whic h i t i s t o b e hope d wil l b e genaue Unterscheidun g griechische r Produkt e un d ihre r accomplished b y degrees"—wi e e s 196 0 ein hervorragende r etruskischen Nachahmunge n z u finden , schie n au s prak - englischer Etruskolog e ausdriickte. 4 tischen wi e au s wissenschaftliche n Gründe n wichtig . Um Der Impor t vo n korinthischen bemalten Vase n in Etru - 1880 begannen zwei einheimisch e Meister in Tarquinia die rien geh t au f da s 8 . Jh., da s Jahrhundert de r Gebur t de r in de n antike n Gràber n gefundene n korinthische n sowi e eigentlichen etruskische n Kultur , zuriick . Spatesten s u m andere griechisch e Vase n nachzuahmen. 1 Die s gescha h 700 gab e s einheimische Nachahmungen di e ser Gefàfie , di e urspriinglich in ehrlicher Absicht: ab und z u war auc h ihr e aber in de r protokorinthische n Période , d . h . bi s um 625 , Signatur au f den Vase n zu lesen. Spate r abe r verschwande n überwiegend mi t einfache n ornamentale n Motive n ver - die Signaturen, und e s wurde typisc h fiir di e Unsicherheit , ziert ware n un d einstweile n fii r ein e kunstgeschichtlich e die i n de r Beurteilun g de r Echthei t korinthische r Vase n Klassifizierung wenig e Anhaltspunkt e bieten . I n diese r herrschte, daf i man diejenigen , di e nich t ohn e weitere s al s Période ha t di e etruskisch e Keramik—ebens o wi e ander e korinthisch klassifizierba r waren , fii r etruskisch e Nach - Bereiche de r etruskische n Kultur—verschieden e Einfliiss e ahmungen erklàrte . Damit offnet e sic h ein weites Fel d fii r der orientalischen sowie der grofien griechischen Kunstzen- Fàlscher, un d ohn e di e genau e Kenntnis de r Eigenschafte n tren aufgenomme n un d mi t italische n Traditione n ver - der etrusko-korinthischen Vase n lafit sic h nicht vermeiden , schmolzen. I m letzte n Vierte l de s 7 . Jhs . verànder t sic h dafi ma n einfach e Falschunge n korinthische r Vase n fii r dieses Bil d gan z radika l un d unerwartet : i n de r etrus - etrusko-korinthische Original e halt, al s solch e fii r Privâ t - kischen figurale n Vasenmalere i wir d fii r etw a dre i Gene - sammlungen ode r Musee n ankauft , un d si e manchma l rationen da s Korinthisieren , die Nachahmun g korin - sogar in wissenschaftlichen Handbücher n reproduziert. 2 thischer Vorbilder , vorherrschend . Di e Ursache n diese s Die Erforschun g de r etrusko-korinthische n Vasen - Phànomens kônne n wi r nich t gena u angeben , e s ha t abe r malerei ha t abe r auc h ein e andere , wenige r praktisch e zur Ausbildun g einer etrusko-korinthische n figurale n Bedeutung. Ma n hat lángs t de n Quellenwer t diese s Mate- Vasenmalerei gefuhrt , dere n Geschicht e un d Bedeutun g rials fii r di e Kunstgeschicht e de r Etruske r un d fii r di e uns i n grofie n Ziige n bekann t ist. 5 Einig e der wichtigste n Handelsgeschichte de s ganze n Mittelmeere s im 7.-6. Jh. v. Momente diese r Geschicht e konnen auc h durc h di e Vase n Chr. erkannt. 3 Fii r Forschunge n solche r Art war abe r nich t des Gett y Museums beleuchte t werden . genug, zwische n antike n Originale n und moderne n Fal - Am Anfan g de r etrusko-korinthische n figurale n Pro - schungen, zwische n korinthische n Vorbilder n un d ihre n duktion stehe n noc h zwe i Technike n al s gleichberechtig t etruskischen Nachahmunge n z u unterscheiden : ma n sa h nebeneinander: di e polychrom e un d di e schwarzfigurige . sich gezwungen , de n Versuc h z u unternehmen , mi t Gegen 625-620 erscheinen , ungefàh r gleichzeiti g in beiden

1. D . A. Amyx, CalifStClAnt 1 (1968) , 14 , Anm. 3, 27-28; D. v. rung de r etrusko-korinthische n figurale n Vasenmalere i von G. Kuble r Bothmer, Calif StClAnt 3 (1970) , 42. ("Some Etrusca n Version s of Corinthian Ceramics," Marsyas 2 [1942] , 2. Z . B., A. Rumpf, Malerei und Zeichnung der klassischen Antike. 1-15) is t leide r unbeachte t geblieben . Vgl . zuletzt J. G. Szilágyi , Handbuch der Archàologie, Bd. 4 (Miinchen , 1953) , Taf. 14,2 ; A. Hus, Les "Entwurf de r Geschicht e de r etrusko-korinthische n figiirliche n Vasen - siècles d'or de l'histoire étrusque (Briissel , 1976) , Taf. 45,b. malerei," in Romische Frühgeschichte, von A. Alfóldi (Heidelberg , 1976) ; 3. A . BlakewayJRS 25 (1935) , 145 . J. G. Szilágyi, Etruszko-korinthosi vazafestészet [Etrusko-korinthische 4. W . L. Brown, The Etruscan Lion (Oxford, 1960), 52. Vasenmalerei] (Budapest , 1975) , ungarisch . 5. De r erste, verdienstvolle Versuch einer vollstàndige n Klassifizie - 2 Szilαgyi

Abb. la. Etrusko-korinthisch e Olpe . Seitenansicht . H : Abb. lb. Vorderansich t de r Olpe , Abb. la. 29 cm. Malibu , Th e J . Pau l Gett y Museu m 86.AE.393.

Techniken, di e erste n Vertrete r de s ausgepràgte n Korin - sondern auc h di e ganz e Friihperiod e de r etrusko-korin - thisierens: de r Castellani-Male r und de r Maler der bàrtige n thischen Vasenmalere i rekonstruieren . Diese r bedeutend e Sphingen. De r erster e ha t Vasen , die ausschliefilic h korin- und àufiers t produktiv e Künstle r hat , nac h unsere m heu - thische Forme n aufweisen—iiberwiegen d klein e Arybal - tigen Wissen , gege n 62 5 i n Vulc i sein e erste n Vase n mi t loi —mit eingeritzte n Zeichnunge n un d aufgesetzte n schwarzfigurigen Tierfriese n dekoriert . Trot z de s vor - Farben verziert . Er hat i n einer einstweile n nicht nàher lo- herrschenden Einflusse s der korinthischen Vasenmalerei de r kalisierbaren Werkstat t Siidetrurien s im letzte n Vierte l de s spàtprotokorinthischen un d de r sogenannte n Übergangs - 7. Jhs. gearbeitet, scheint abe r keine grofi e Wirkung auf di e periode (u m 640-620 ) weise n dies e Vase n auch ostgriech - zeitgenossischen Meiste r ausgeiib t z u haben . Gan z ander s ische un d einheimisch e Ziig e auf . Nichtsdestowenige r verhàlt e s sic h mi t de m Male r de r bàrtige n Sphingen. 6 spiegelt sic h in seinen Werke n eine unverkennba r originell e Anhand seine r libe r hunder t bekannte n Werk e làfi t sic h Stil- un d Formenwel t wider , besonder s i n seine r frühe n nicht nu r sei n personliche r un d ktinstlerische r Lebenslauf , Glanzperiode (gege n 625-605) . Di e Besuche r de s Gett y

6. Übe r di e kiinstlerische Laufbahn de s Malers der bàrtige n Sphin- aus Bler a (Inv . Nr . 8-575 9 un d 8-5764) . Ic h kenn e nu r zwe i weiter e gen zusammenfassend , s . Szilágyi, in La civiltà arcaica di Vulci. Atti delX Werke de s Maler s in Museen de r Vereinigte n Staaten: au s seine r frühe n Convegno di Studi Etruschi e îtalici (Florenz , 1977) , 51-54 ; fu r ei n Ver- Période eine Olpe in Boston (Museu m of Fine Arts 13.71 ; A. Fairbanks, zeichnis seine r Werke , s . Szilágyi , Etruszko-korinthosi (oben , Anm . 5), Museum of Fine Artst Boston. Catalogue of Greek and Etruscan Vases, vol. 1 31-38. [Cambridge, Mass. , 1928] , Nr. 494, Taf . 48); und au s seine r mittlere n 7. D . A. Amyx, i n Studi in onore di L. Banti (Rom, 1965) , 2 un d Période ein e Oinocho e in Philadelphia aus Pitigliano , in der Nah e vo n Taf. 4,a-b ; Marion Tru e and Jirí Frel , Greek Vases. The Molly and Walter Vulci (Universit y Museum MS 642; E. H. Dohan, Italic Tomb-Groups in Bareiss Collection, Th e J. Pau l Getty Museu m (Malibu , 1983) , 83 , Nr. the University Museum [Philadelphia , 1942], Taf. 51,5) . 197 (86.AE.393) . Aufier diese r Vas e befinden sic h nur zwe i Olpenfrag - 8. E s gibt noc h ach t weitere Exemplar e in den Vereinigte n Staaten: mente an der Westkiiste, beide im Lowie Museum in Berkeley und beid e zwei in Washington, D.C. (The Nationa l Museum of Natural History Etrusko-korinthische Vasen 3

der protokorinthisierende n Tierfries e de s Maler s de r bàr - tigen Sphinge n wa r altmodisc h geworden . Sein e Versuch e mit neuen Vasenformen , Maltechniken und Malweisen, die seine mittlere Période gegen die Jahrhundertwende be- zeichnen, wurden zum Teil von der neue n Generatio n auf - genommen un d weitergefiihrt , e r selbs t abe r wurd e woh l beiseite geschobe n un d ha t sic h schliefilic h entschlossen , nach Caere , de m andere n grofie n Zentru m Siidetruriens , umzusiedeln. In Caer e ha t di e etrusko-korinthisch e Vasenmalere i etwas spàter eingesetz t al s in Vulci un d ha t sic h scheinba r auf ein e einzig e Werkstat t beschrànkt , w o iiberwiegen d grofie Vorratsamphore n geform t un d verzier t wurden . Si e werden Schuppenamphore n (italienisch : anforoni squamati) genannt, da die ganzen Gefàfikorper , aufie r de n ein bis drei Tierfriesen, mi t eingeritzte n Schuppe n bedeck t sind . Aus dieser Werkstat t sin d zu r Zei t 12 5 Amphore n un d sech s Gefàfie verschiedene r andere r Forme n mi t figuraler Ver - zierung bekannt. Ein e dieser Amphoren ist aus dem Kunst - handel in s J. Paul Getty Museum gelangt. 8 Das Gefàfi , da s hie r zum erste n Mal gezeigt wir d (Abb . 2a-f)9 ist 59,5 cm hoch und vollstŕndig erhalten. Das System de r Bemalun g is t da s übliche : Di e Mündung, de r Hals und di e Henkel sind mit dunkelbraune m Firni s über - zogen; di e Schulterzon e un d de r groñer e unter e Tei l de s Korpers sin d mi t de n eponyme n Schuppe n bedeckt . Si e

Abb. le. Seitenansich t de r Olpe, Abb. la. haben eingeritzt e doppelt e Konturen , die mit eine m Zirke l gezogen sind ; die Zirkelspitze hat i n der Mitt e de r Schup - pen ihr e Spu r hinterlassen . Inmitte n jede r Schupp e is t ei n abwechselnd mi t rote r un d gelbe r Deckfarb e gemalte r Museums konnen ein e Olpe—die Lieblingsform des Malers Fleck zu erkennen. Da s untere Schuppenfèld is t durch ein e in diese r Périod e —bewundern (Abb . la-c). Di e Vas e dünne, ausgespart e Lini e geteilt . Di e Korperornamenti k wurde vo r etw a zwe i Jahrzehnten vo n Professo r D . A. wird unte n durc h ein sich auf dem konische n Fuf i fortset - Amyx verofïentlich t un d de m Male r zugewiesen. 7 zendes, eingeritzte s Zungenmuste r abgeschlossen ; jed e Der Male r de r bàrtige n Sphinge n ha t mi t seine r Tàtig - zweite Zung e is t mi t rote r Deckfarb e bernait . Unte r de r keit erreicht , daf i de r damai s einsetzend e korinthisierend e Schulterzone, a n de r grofite n Ausdehnun g de s Gefàfikor - Geschmack i n de r etruskische n figuralen Vasenmalere i fu r pers, làuf t ei n vo n zwe i Flechtbàndern 10 gerahmte r etwa drei Generationen vorherrschen d wurde , und daf i de r rechtslàufiger Tierfrie s herum . E s handel t sic h iiberwie- Vorrang in dieser Produktion dem im letzten Viertel de s 7 . gend u m di e gewohnliche n Teilnehme r solche r Prozes - Jhs. neu aufbliihende n Vulc i zukam. Sein personlicher Weg sionen: Lowen, Panther , Hirsch , Hindin (?) , Eber, Hasen . war abe r nicht s o erfolgreich. Gegen Ende de s Jahrhunderts Die Hauptansich t de r Vas e wir d i n de r Mitt e de r eine n kamen neu e Tendenze n i n de r Kuns t Vulci s auf ; di e Wel t Seite zwische n zwe i Hase n un d de r Hindi n durc h ein e

391982-3), zwe i i n Sant a Monic a (Privatsammlung) , un d j e ein s i n 9. Inv . Nr. 71.AE.289 . Fii r di e bereitwilli g erteilte Publikations - Bloomington (Indian a Universit y Art Museum 73.59.2 ; W. G. Moon , erlaubnis, fu r Foto s un d weiter e Auskiinft e gilt mei n herzliche r Dan k Greek Vase Painting in Midwestern Collections [Chicago , 1979] , 10-11) ; Dr. Jirí Fre l und de r Direktion des J. Pau l Getty Museums. Boston (Museu m of Fine Arts, Leihgab e L-37-1970; Hesperia Art, Bul 10. Di e eingeritzte n Konturlinie n des Flechtbande s sin d mi t de m letin 4 7 [1969] , A.22) ; Kansa s Cit y (Nelso n Galler y o f Art , Atkin s Zirkel gezeichnet; e s gibt eine Spur der Zirkelspitze in der Mitte, die mit Museum of Fine Arts 47-43, from Cerveteri; William Rockhil l Nelson einem gelbe n Flec k bedeck t ist . Da s Flechtban d selbs t is t mi t rote r Gallery of Art and Mary Atkin s Museum of Fine Arts, Handbook of the Deckfarbe gekennzeichnet . Collection, 4th ed. [1959], 270); und South Hadley, Mass. (Privat- sammlung; Szilágyi , i n La civiltà arcaica di Vulci, oben , Anm . 6, Taf . 16,b-c). 4 Szilágyi

Abb. 2a. Etrusko-korinthisch e Amphora . H : 60, 5 cm . Malibu , Th e J . Pau l Gett y Museum 71.AE.289 .

Abb. 2b. Ausschnit t de r Amphora , Abb. 2a. Etrusko-korinthische Vasen 5

Abb. 2c. Ausschnit t de r Amphora , Abb. 2a.

Abb. 2d. Ausschnit t de r Amphora , Abb. 2a.

Abb. 2e. Ausschnit t de r Amphora , Abb. 2a.

Abb. 2f. Ausschnit t de r Amphora , Abb. 2a. 6 Szilágyi

Abb. 3a -b. Etrusko-korinthisch e Oinochoe . Links: Vorderansicht ; redits: Rückansicht . H: 27,9 cm . Malibu, Th e J. Pau l Gett y Museum 86.AE.394.

Abb. 3c. Seitenansich t de r Oinochoe, Abb. 3a. Abb. 3d. Seitenansich t de r Oinochoe, Abb. 3a. Etrusko-korinthische Vasen 7

ungewôhnliche Grupp e vo n vie r Vogelfiguren , wohl dre i bekannten Amphore n dieser Formgrupp e zeuge n i n ihren Wildenten un d ei n Geier , gekennzeichnet . Ei n weitere r Tierfriesen vo n seine r Hand . E s is t gu t erkennbar , welc h Vogel erscheint link s von dieser Gruppe, zwischen den zwe i grofien Einfluf i sei n Erscheinen auf die anderen Meiste r der Hasen un d de m si e folgenden Panther . Ai s Füllornamente mittleren Période der Werkstatt, in den Jahrzehnten u m di e erscheinen ausschliefilic h Punktrosetten . Di e eingeritzt e Jahrhundertwende ausiibte . Die Gruppe de r spàte n Schup - Innenzeichnung de r Tierfigure n wir d durc h aufgesetzt e penamphoren wurd e hingege n vo n Maler n de s "plumpe n rote Bemalung bereichert (Innenkonture n au f den Vogeln , Stils" bemalt, und zwa r meisten s nich t mehr mi t Tierfrie - Kreuz au f dem Hinterschenke l der Vierfiifiler , usw.) . sen, sonder n nu r mi t je zwe i Tierfigure n in de r Schulter - Auf Grun d de r Grabfund e diirft e di e Werkstat t de r zone auf beiden Seite n der Vase. Schuppenamphoren etw a vo n 620/61 0 bi s u m 58 0 tati g Da ei n bedeutender Teil de r Schuppenamphoren i n dem gewesen sein . Will ma n innerhal b diese r Périod e di e rela - Villa Giuli a Museum in Rom erst nach de r Restaurierung , tive Chronologie der einzelnen Vasen bestimmen, s o bieten die jetzt endlic h in Angriff genomme n worde n ist , nàhe r sich zwe i Ausgangspunkt e an : di e Stilentwicklung der untersucht werden kann , ware e s verfrüht, de n Versuc h zu Tierfriese un d di e Wandlung der Vasenform . Was di e er - unternehmen, di e neu e Amphora in Malibu innerhal b de r stere betrifft , konnt e ma n au f de n Friese n de r Schuppen - Gruppe eine r bestimmten Meisterhan d zuzuweisen. Soviel amphoren dre i Stilgruppe n unterscheide n (mi t einige n steht abe r nac h de n obe n Gesagte n fest , daf i si e auf Grund Übergangserscheinungen) : de n Miniaturstil ; eine n Stil , fu r ihrer Formeigenschafte n sowi e de s Miniaturstil s ihres vo n den langgestreckt e Tierkorpe r bezeichnend sin d (italienisch : der spatprotokorinthische n Traditio n beeinflufite n Tier - stile allungato) ; und eine n verwilderten Spàtsti l mit gro b ge - frieses i n die friih e Période de r Produktio n der Schuppen - zeichneten, kau m gegliederten , plumpe n Tierfigure n [stile amphoren gehort . Di e doppelte n Konturlinie n de r pesante).n I m Anschlufi a n diese stilgeschichtlichen Beobach- Schuppen un d einig e Ziig e de s Tierfrieses , vo r alle m di e tungen is t de r unlàngs t allz u frii h verstorben e hollàndisch e Vogelfiguren, deute n au f die Endphas e diese r Période , Archàologe Ronal d Di k durc h di e Untersuchun g de r gegen 610-60 0 v . Chr., hin. Formen de r Schuppenamphore n zu r Unterscheidun g eine r Die Werkstat t de r Schuppenamphore n diirft e nu r zu r friihen, eine r spate n und eine r dritte n Gruppe gelangt, di e e r Befriedigung lokale n Bedarfs gearbeite t haben ; al s si e ihr e "Bearded Sphinx Amphorae" nannte. 12 Tàtigkeit gege n 58 0 au s unbekannte n Griinde n einstellte , Das Wichtige ist, dafi die Ergebnisse der Formanalys e im brach di e etrusko-korinthisch e Vasenproduktio n in Caer e grofien un d ganze n mi t dene n de r Stiluntersuchun g über - ab. Anders in Vulci. Hie r wurd e da s Wer k de s Maler s de r einstimmen. Di e friihesten Schuppenamphoren , dere n bartigen Sphinge n u m di e Jahrhundertwend e vo n eine r charakteristische Ziig e "th e slightl y conve x semiconica l Reihe talentvolle r und eigenstandige r Meiste r fortgesetzt . foot, pear-shape d o r somewha t ova l body , concav e neck , Unter ihne n rag t besonder s de r Pesci a Romana-Male r echinus-mouth an d vertica l strap handles " sin d (Dik , hervor, ei n "zweisprachiger " Meister , de r sein e friihe n S. 30), wurden iiberwiegend mit Tierfriese n im Miniatur - Vasen mi t polychrome r Techni k ausfiihrte , spàte r aber , stil dekoriert . Gege n di e Jahrhundertwende erschein t ein e gegen Anfan g de s 6 . Jhs., ei n fruchtbare r un d wirkungs - Weiterentwicklung dieser Form, die Friese im stile allungato voller Dekorato r vo n schwarzfigurige n Gefafie n wurde. 13 tràgt. Mit Recht wurden di e Vasen dieser Gruppe von Dik Zu seine m engere n Krei s ha t unte r andere n auc h de r vo n "Bearded Sphin x Amphorae " genannt . Um di e Zeit , al s Professor Amy x erkannt e un d benannt e Volunteer-Maler diese Formvariant e aufkam , diirft e de r Male r de r bartige n gehôrt.14 Vo n seinen insgesam t sech s bekannte n Vase n is t Sphingen au s Vulc i nac h Cerveter i iibersiedel t sein , u m eine Oinocho e mi t de n Lieblingsfigure n (Ziegen , Eber , dort i n de r einzige n etrusko-korinthische n Werkstat t de r Panther, Vogel ) de s Malers im Tierfries, ebenfalls im Getty Stadt sein e Tàtigkei t fortzusetzen : etw a 2 0 vo n de n Museum (Abb . 3a-d).15 Si e wurd e vo r fiinfzeh n Jahre n

11. Vgl . Szilágyi , in La civiltà arcaica di Vulci, oben , Anm. 6, 53. wird (Seattl e Ar t Museum Cs.20.14 ; Amyx, oben , Anm. 7, Taf . III) . 12. Ronal d Dik , in Classical Antiquities in Utrecht 1 , Archaeologia Amyx selbs t ha t ih m noch ein e weiter e Oinocho e im schweizerischen Traiectina, 1 3 (Groningen , 1978) , 30-37. Sein e absolute n Datierunge n Kunsthandel zugeschrieben (oben , Anm. 7 , Taf I,c-d), und G. Colonna sind etwas zu hoch gegriffen, da sie sich mitunter au f die al testen Fund- schreibt ih m (brieflich ) eine n Telle r au s Vulc i z u (Vulci , Antiquario, stiicke der Graber griinden. 64234; G. Riccioni un d M. T . Falconi Amorelli, La Tomba della Panate- 13. Übe r de n Pesci a Romana-Maler s . Amyx, oben , Anm. 7, 9-10 ; naica di Vulci [Rom, 1968] , 44 , Nr. 27). Ein e weiter e Oinocho e von Szilágyi, Wissenschajtliche Zeitschrift der Universitàt Rostock 1 6 (1967) , seiner Han d befan d sic h im amerikanische n Kunsthande l (J . M. Eisen - 549, und derselbe , i n Studies in Honour of D. A. Amyx, im Druck. Vgl. berg, Art of the Ancient World 2, Katalog [New York, 1966] , Nr. 2, mit die wichtigen Bemerkungen von M. Martelli, in Prima Italia, Katalog Abbildung), un d e s gib t eine n unveroffentlichte n Telle r de s Maler s in (Museo Pigorini, Rom, 1981), 104 . Edinburgh (Roya l Scottish Museum 1956.456). 14. Oben , Anm. 7, 10-11 . Der Male r ha t seine n Name n vom Vol - 15. Inv . Nr. 86.AE.394. S . Greek Vases. The Molly and Walter Bareiss unteer Par k in Seattl e erhalten , w o sein e ander e Oinochoe aufbewahr t Collection, oben , Anm. 7 , 83, Nr. 198 . 8 Szilágyi

Abb. 4a. Etrusko-korinthische r Teller . Obère Seite. Diam: 25,7 cm . Malibu, Th e J. Pau l Getty Museu m 71.AE.237 .

Abb. 4b. Unter e Seit e de s Tellers , Abb. 4a . Etrusko-korinthische Vasen 9

Abb. 4c. Seitenansich t de s Tellers, Abb. 4a .

Abb. 4d. Ausschnit t des Tellers, Abb. 4a . von Amy x beschriebe n un d de m Male r zugewiesen, 16 wa s es làfi t sic h auc h vermuten , daf i di e Begriinder der Werk - hier ein e ausführlicher e Behandlun g de s Gefàfie s überflüs - statt—oder de r Werkstatten—ihr e Kuns t i n Vulc i selbs t sig macht . erlernt haben . Jedenfall s is t di e sekundàr e Bedeutun g de r Der Ubergan g de s Pesci a Romana-Malers zur schwarz - tarquiniensischen Werkstatte n gegenübe r Vulc i i n kiinst- figurigen Techni k und zugleic h die Tàtigkeit einige r wei- lerischer wie auch in kommerzieller Hinsicht unbestreitbar . terer interessante r Malerpersonlichkeite n eroffnen di e Das gil t fü r ail e drei Hauptgruppen de r lokale n Schule, die zweite Périod e de r etrusko-korinthische n Vasenmalere i sich gan z deutlic h voneinande r unterscheide n un d de n (etwa 590-560) . Dies e Périod e is t einerseit s durc h de n überwiegenden Tei l de r tarquiniensische n Produktio n absoluten Vorran g der Vulcente r Werkstatten, andererseit s bilden. E s gibt doch einige Einzelgànger, die sich—in enge r durch di e sich schnel l uniformisierende Massenproduktion oder lose r Verbindung mit eine r de r dre i Hauptgruppen — gekennzeichnet. Unsere s Wissen s gibt e s in dieser Périod e durch bemerkenswert individuell e Ziige auszeichnen, dere n aufier Vulc i nu r ein e einzig e etruskisch e Stadt , i n de r künstlerisches Profi l abe r mangel s genügende n Beweis - etrusko-korinthische Vasen mit figürlicher Verzierun g her- materials nu r langsa m erkennba r wird . I n dies e Reih e gestellt wurden : Tarquinia , wo u m 590-58 0 gan z unver - gehort de r Male r de s Tellers , de r unlàngs t fü r da s Gett y sehens ein e neu e Schul e i n Erscheinun g trat. 17 Ihr e Museum erworbe n wurd e un d hie r vorgeleg t werde n dar f Abhàngigkeit vo n Vulc i offenbar t sic h nich t nu r i n de r (Abb. 4a-d). 18 Entlehnung von Vasenforme n un d Stilelementen , sonder n Die For m is t nicht griechisch , sondern ha t sic h au s ein-

16. Amyx , oben , Anm. 7, 10 , mit Taf . l,a-b . StEtr 40 (1972) , 19-73 . 17. Zusammenfassen d übe r di e Schul e vo n Tarquinia , s . Szilágyi , 18. Inv . Nr. 71.AE.237; Durchmesser: 2 6 cm; Hohe: 6,2 cm. 10 Szilágyi

den horizontale n Rundhenke l einfüge n un d in ihrer Mitte zwei diametra l entgegengesetzt e Osen bilden . Das Syste m der gemalte n Dekoratio n is t ebenfall s da s gewohnliche : innen in der Mitte drei konzentrische Kreise , auf dem mitt - leren ein aufgesetzter, roter Streifen; der Tierfrie s wird vo n zwei rote n Linie n umrahmt . I m Frie s fünf grasend e Tiere: drei Ziegen , ein Hirsc h un d ein e Hindi n nac h links . Füll - ornamente sin d Fleckrosetten , meisten s mi t eingeritzte m Kreuz. Di e im Vergleic h zu de n gleichzeitige n Vulcente r Darstellungen plumpen Tiere verraten au f den ersten Blick, dafi wir e s mit eine r provinzielle n Werkstatt z u tun haben , deren Erzeugniss e meisten s zu r Befriedigun g lokale n Bedarfs dienten ; ih r Verbreitungsgebie t überschrit t auc h innerhalb Etrurien s nu r seh r se l ten di e Grenzen de s Terri - toriums de r Stadt. 21 Nicht anmutige r al s die Tiergestalten sin d die geritzte n Innenzeichnungen un d di e purpurne Deckfarbe , di e daz u dienen, de m hintere n Oberschenkel , de m Bu g und de r Brustpartie Volume n zu gebe n un d zugleic h di e Muskeln anzudeuten. Dies e Innenzeichnunge n sin d auc h sons t ziemlich wei t vo n de r Naturwahrhei t entfernt , abe r ihr e recht folgerichti g abstrakt e Stilisierun g hat hie r besonder s individuelle Züge, di e e s ermóglichen, de n Tierfrie s eine m der weni g bekannte n tarquiniensische n Vasenmaler , de m Kithara-Maler, zuzuweisen . Frühe r beschrànkt e sic h sei n Oeuvre au f zwei Olpen, mit dene n drei stilverwandte Tel - ler verbunden wurde n (Abb . 5, 6a-b).22 E s genügt, nur di e Hirsche im vierte n Frie s de r Olpe n i n Rom un d i n Tar - quinia mi t de m Hirsc h au f dem Telle r in Malibu z u ver - gleichen, um sic h davon zu überzeugen, daf i alie drei Vasen derselben Han d entstammen. In Kenntnis de s neue n Teller s kann abe r dasselb e mit Sicherhei t auc h vo n eine m unver - Abb. 5. Etrusko-korinthisch e Olpe . Rückansicht . Tarqui - offentlichten Telle r i n Tarquini a (Inv . Nr . RC 8556 ) nia, Museo Nazionale RC 1638 . behauptet werden , de r frühe r unte r de n stilverwandte n Stücken stand . Sei n linkslàufiger Tierfrie s besteh t au s vie r heimischen Traditione n gege n End e de s 7 . Jhs . i n Vulc i grasenden Ziegen und eine m Vogel ; die Mafie de r Vas e sind entwickelt. Si e erschein t mi t figurale r Verzierun g zu m mit dene n de s Teller s in Malibu identisch . ersten Mal bei dem Pescia Romana-Maler19 und wird fast Aus gutem Grund e wurd e frühe r vermieden , de n Telle r unveràndert ein e de r typische n Forme n de r etrusko - in Tarquini a dem Male r de r zwe i Olpen zuzuweisen . Di e korinthischen Vasenmalere i in den Vulcente r Werkstatten . Olpen rage n námlic h au s de r Meng e de r Produkt e de r tar - Ihre einfacheren , mi t geometrische n Motive n verzierte n quiniensischen Schul e wei t hervor , un d zwa r nich t durc h Exemplare überleben sogar die orientalisierende Période.20 ihre künstlerische n Qualitaten , sonder n durc h di e ikono - Auch di e Vas e in Malib u zeig t ihr e gelàufige n Züge : de r graphische Bedeutun g ihre r Darstellungen . Menschen - flache Telle r ha t eine n Fdngfufi , unterhal b de s Rande s figuren sin d au f de n etrusko-korinthische n Vase n de r befmdet sic h eine Pille , i n die sic h die zwei eng anliegen - mittleren—ebenso wi e de r spàten—Périod e àufiers t selten ,

19. CVA, Paris , Bibliothèque Nationale 1 , Taf. 19 , Nr. 1 , 4, 6 und 8 . korinthischen Vorbildern (z.B. , O. Montelius, La Civilisation primitive en 20. Ein e systematisch e Untersuchun g de r For m steh t noc h aus . Italie 2 [Stockholm , 1904] , Taf . 209, 3 un d 21) . Dohan s Frühdatier ung Dohan, oben , Anm. 7, 95-96, nah m an , daf i die Anfànge de r For m bis dieses Tellertypus wurde allgemei n akzeptiert, auc h in Fallen, in denen um di e Mitte des 7 . Jhs. zurückgegangen sei n dürften. Si e gründete ihr e der Grabzusammenhan g gan z eindeuti g dagege n spricht (vgl . z.B. Ric- frühe Datierun g auf Graber, in denen Teller dieser For m zusammen mi t cioni und Falcon i Amorelli, oben, Anm. 14, 43). protokorinthischen ode r frühkorinthische n Vase n zutag e kamen ; di e 21. Ums o bemerkenswerter is t es, dafi drei tarquiniensische Telle r des letzteren sin d aber wenigstens zu m Teil etruskische Nachahmunge n vo n hier behandelte n Typu s in Karthag o un d da s Fragmen t eine s weitere n Etrusko-korinthische Vasen 11

Abb. 6a. Etrusko-korinthisch e Olpe . Seitenansicht . Rom , Abb. 6b. Seitenansich t de r Olpe , Abb. 6a. Museo di Villa Giuli a 81799 . viel meh r noc h ganz e Szene n mi t menschliche n Teil - Nachzeichnungen einige r Teil e der Friese , die hie r fü r nehmern: di e meisten Vasenbilde r sind monotone Wieder - weitere Diskussio n vorgelegt sind , konnen daz u helfen , da s holungen von einigen wenigen Tiertypen und heraldische n Werk de s Maler s um weiter e Stück e z u bereicher n (Abb . Schemen. Ums o auffallende r sin d einig e Gruppen au f de n 6c-e, 7a-b). I m zweite n Frie s de r Olp e de s Vill a Giuli a Olpen de s Kithara-Malers . Beide Olpe n sin d au s viele n Museums erschein t ei n Jàger i m Knielau f mi t eine m Scherben zusammengesetzt , mi t erhebliche n Ergànzunge n Krummstab (lagobolon) i n de r erhobene n rechte n Hand ; besonders a n de r Olp e i n Tarquinia . Ihre r ausfiihrliche n mit de r andere n pack t e r eine sitzende Sphin x am Schwan z Publikation soi l hie r nich t vorgegriffè n werden . Wir be - (Abb. 6c) . Im dritte n Frie s sieh t ma n zwische n zwei gra - schrânken un s daru m au f di e Reproduktio n de r beide n senden Tiere n eine n bewaffnete n Krieger , worauf ein e Gefŕfie23 (Abb. 5, 6a-b). Unsere sehr unvollkommenen zweifigurige Szen e folgt : ei n Fufîkàmpfe r ha t eine n au s

Gefàfies i n Sain t Biais e bei Marseill e zutage kamen . Vgl . Szilágyi, Museo di Villa Giuli a 81799 ) dan k de r freundliche n Bemiihunge n von "Entwurf," oben, Anm. 5,189 . Neuerdings hat R. Zueca, in // commercio Maria Antoniett a Rizzo nac h Foto s de r Soprintendenz a ail e Antichit à etrusco arcaico (Rom, 1985), 267, Abb. 3 , das Fragment eine s in Sardinien dell'Etruria Méridionale, Negat. Nr. 90007-8. Aile drei diirfen hier dan k gefundenen tarquiniensische n Teller s verôffentlicht . der grofiziigigen Erlaubnis der Soprintendente, Professo r Paol a Pelagatti, 22. Übe r de n Maler, s . Szilágyi, oben, Anm. 17, 62-63. verôffentlicht werden . 23. Abb . 5 ( = Tarquinia , Museo Nazionale RC 1638 ) nac h Gabi - netto Fotográfic o Nazionale , Negat. 92420 ; Abb . 6,a-b ( = Rom , 12 Szilágyi

Abb. 6c. Zeichnun g de r Olpe , Abb. 6a.

Abb. 6d. Zeichnun g de r Olpe , Abb. 6b.

Abb. 6e. Zeichnun g de r Olpe , Abb. 6b. Etrusko-korinthische Vasen 13

Abb. la. Zeichnung . Tarquinia RC 1638 , Abb. 5 . seinem Zweiradwage n zuriicksinkende n Mann angegriffe n und is t i m BegrifF , ih m mi t de m Schwer t (? ) i n seine r erhobenen Rechte n de n Todesstof i z u versetzen . Vo r de m Einzelpferd de s Gespanne s lieg t auf einem Klappstuh l eine riesengrofie, ofïènba r tot e Gestalt ; be i seine m Kni e is t ei n der griechische n Kithar a âhnliche r Gegenstand , de r de m Maler seine n Name n gegebe n ha t (Abb . 6e). Weite r recht s ist ein e Grupp e vo n Tiere n (Abb . 6d): ei n Panthe r mi t einem Hase n au f de m Riicke n un d ei n Lowe ; libe r de m Schwanz de s Lowe n steh t ei n Vogel , un d iibe r seine m Riicken fliegt ei n anderer . Die Olp e in Tarquini a zeigt nu r i n ihrem dritte n Frie s Abb. lb. Zeichnung . Tarquinia RC 1638 , Abb. 5 . menschliche Gestalten : eine n au f eine m Klappstuh l sit — zenden Man n (?) , a n desse n Fuf i ei n Tierchen , vielleicht eine Maus , hinaufklettert, un d vo r ihm ein e star k beschà - nicht der Ort für eine ausführliche Untersuchun g de r Dar- digte Darstellun g mit eine r Menschenfigur . Umso reiche r stellungen. Einig e Problème biete n sic h aber scho n be i de r sind di e Fries e a n verschiedenen , mitunte r gan z unge - ersten Betrachtun g de r Bilde r zu m Weiterdenke n an . Da s wohnlichen Tiergestalten : Seemonster , Schreckgestalten , erste bezieht sic h auf die etruskische Mythologie. usw. Hier se i nur ei n Ausschnitt au s de m vierte n Frie s ge - In de n letzte n Jahrzehnte n wurd e vie l darübe r disku - zeigt (Abb . 7a) mi t einem Kampf von reale n und phantas - tiert, inwiewei t bei de n etruskische n Meister n archaische r tischen Gestalten , dere n Korpe r miteinande r verwachse n Zeit ein e Kenntnis der griechische n Mythologie angenom- sind. E s is t kau m z u entscheiden , u m wieviel e Schreck - men werden kann.24 Ein Teil der Forscher ist geneigt, die wesen e s sic h überhaupt handelt . Unmittelba r vo r diese r vermutlich mythische n Darstellunge n i n de r etruskische n Szene steh t i m Bildfel d ei n isolierter , de r "Kithara " de r Kunst, die in der griechische n Uberlieferun g nicht bezeug t anderen Olp e âhnlicher Gegenstand , de r abe r hie r vie l sind, ai s Zeugen gründlicher Kenntniss e von uns verlorene n weiter vo n dem griechische n Musikinstrument entfernt is t griechischen Mythenfassunge n seiten s de r etruskische n als dort (Abb . 7b). Künstler zu betrachten.25 Grundsŕtzlich kann man natür- In Kenntni s de r Arbeitsweis e un d de r künstlerische n lich dies e Moglichkei t nich t ausschliefien , auc h wen n ein e Stellung de r antike n Vasenmale r is t es—vornehmlic h i n solche Annahme wenig für sich hat.26 Viel überzeugender Etrurien—nicht besonders auffallend, dafi ein Maler Vasen- erscheint abe r auc h di e polar e Gegenthes e nicht , nac h de r bilder mi t s o unterschiedliche m Inhal t fertigt e wi e de r es sich in der archaische n Kuns t der Etrusker meistens (ode r Meister de r zwe i Olpe n un d de r zwe i Teller . E s is t hie r wenigstens oft ) u m mifiverstandene , soga r sinnlos e

24. Di e Literatur iibe r di e Diskussio n etwa be i R. Hamp e un d E . 25. Vo r alle m R. Hamp e un d E . Simon, Griechische Sagen in der Simon, JbZMusMainz 1 4 (1967) , 79-82 ; T . Dohrn , RomMitt 73-7 4 frühen etruskischen Kunst (Mainz , 1964 ) un d ihr e Schule. (1966/1967), 15-16; K. Schauenburg, in Stele N. Kontoleon (Athen, 26. S . etwaj. Boardman , JHS 8 5 (1965) , 241 ; J. Heurgon, Gnomon 1980), 101 , Anm. 53; vgl. auch G. Colonna, in "Pyrgi," NSc 2 4 (1970) , 37 (1965) , 838 . II supplemento, 62 . 14 Szilágyi

Wiedergaben ode r um ein e rein optische Übernahme grie - aufier Ach t lassen . Dadurc h wir d di e Berechtigun g eine r chischer My then ode r griechische r ikonographische r Sche - rein griechische n Deutung auc h in solchen Falle n in Frag e men handelt. 27 I n eine m Punk t sin d sic h jedoch di e gestellt, i n dene n di e etruskisch e Darstellun g de r grie - Verfechter von beiden Thesen einig: nàmlich da n e s sich bei chischen Versio n gena u entspricht . Vie l meh r noc h i n diesen etruskische n Darstellunge n um—sinnvoll e ode r Fallen, be i dene n wi r meh r ode r wenige r bedeutend e sinnlose—Wiedergaben griechischer Mythen handelt . Abweichungen feststellen konnen . Si e müssen be i weite m Eine Deutun g au s de r etruskische n Mythologi e wurd e nicht unbeding t un d i n jedem Fal l di e Unkenntni s de s in den letzten Jahrzehnten kaum versucht.28 Es wurde den etruskischen Meister s ode r sein e Gleichgultigkei t gegen - Etruskern mitunte r soga r di e notig e Phantasi e abge - über de m Inhal t de r Darstellun g widerspiegeln . E s sollt e sprochen, "um sic h selbst eine n Mythos zu schaffen." 29 Auf immer sorgfàlti g erwoge n werden , o b de n Abweichunge n die religionsgeschichtliche n Schwierigkeiten einer solche n nicht ein e Bedeutun g zukommt , o b e s sic h nicht um ein e Auffassung sowi e auf die Gegenargumente, di e sich aus de r interpretado Etrusca de s dargestellte n griechische n Mythos30 dürftigen epigraphische n un d de r überwiegen d spàte n li- oder soga r u m di e Wiedergab e eine s etruskische n Mytho s terarischen Traditio n ergeben, sol í hie r nich t eingegange n in griechische m Kostüm handelt . Volli g berechtig t schein t werden. Fü r uns steh t fest , daf i die Denkweise der Etruske r der Versuc h einer solche n Deutung in Fallen, bei denen ei n am Anfang ihrer Geschichte im wesentlichen mythisch war bedeutungsvoll scheinende s etruskische s Bildmoti v über - und daf i si e auc h ein e eigen e Mythologi e haben mufiten , haupt kein e griechische n Vorbilde r hat . Di e mythisch e deren anfànglich e episch e Forme n un d Stofï e un s freilic h Interpretation solche r Bildmotive sol i jedoch ga r nicht ver - mangels genügende n frühe n schriftliche n Beweismaterial s absolutiert werde n un d di e mythologische noch weniger . meistens unbekann t ode r bestenfall s verschwomme n sind . Kehrt ma n mi t solche n Gedanke n z u de n Bilder n de s Anderseits kan n kei n Zweife l darübe r bestehen , daf i di e Kithara-Malers zurück , s o ma g einerseit s nich t verkann t unmittelbare Berührun g mi t de r griechische n Kultu r sei t werden, daf i di e auffallenden , einzigartige n ikono - dem 8 . Jh. auc h au f diese m Gebie t tiefgreifend e Folge n graphischen Motiv e inmitte n de r gelàufige n Tiergestalte n hatte, und zwar in zweifacher Weise: zum einen die Aneig- der etrusko-korinthische n Fries e erscheinen . Ihr e i n nung de r epische n Stoff e de r griechischen Mythologie, zum gewissem Mafi e dekorativ e ode r bestenfall s nu r allgemein - anderen de n Zwang , auch di e einheimische Mythologie in mythische Bedeutun g is t nich t z u leugnen . Anderseit s Wort un d Bil d nac h griechische r Art darzustellen . dürfen wir annehmen, daf i die ungewohnlichen Szene n de r Die unleugbare n Zeugniss e de r Verbreitun g de r grie - beiden Olpe n nich t rein e Phantasiespiel e ode r gehaltlos e chischen Mythe n i n Etrurie n spreche n nich t gege n di e Improvisationen sind—auc h di e seh r mittelmàfiige Quali - Existenz eine r etruskische n Mythologie . Die Vermutun g tàt de r Ausführun g sprich t ehe r dagegen—sonder n wenig - liegt abe r nahe , daf i di e epische n Forme n der—meisten s stens teilweis e au f Geschichte n un d Gestalte n de r wohl mündlichen—etruskische n Mythenerzàhlunge n i n etruskischen Mythologi e hindeuten, di e freilich nich t ohn e ihrer neue n (ode r i n einige n Falle n i n ihre r ersten ) Aus - Benützung de s griechische n ikonographische n Typen - pràgung star k vo n de r Ausdrucksweis e de r griechische n schatzes ihr e bildlich e Formulierung erhielten . Prinzipiel l Mythologie beeinflufi t worde n sei n dürften . Ahnlic h ist di e Môglichkeit nich t von der Hand zu weisen, daf i di e müssen wir un s auc h da s Verhàltni s de r bildliche n Fassun- Mischwesen de r tarquiniensische n Olp e (Abb . 7a), de r sit - gen etruskische r Mythe n zu ihre n griechische n Bildvorla - zende Man n i m dritte n Frie s desselbe n Gefàfie s (mi t de m gen vorstellen . Viele von diese n wurde n scheinba r einfac h Màuschen, eine m typisc h etruskische n Episodis t figurale r übernommen ode r nachgeahmt . Doc h dar f ma n hie r di e Darstellungen31) oder der Sphingenjŕger der anderen Olpe grundsàtzliche Mehrdeutigkei t de r Sagenmotive , noc h (Abb. 6c ) di e zeitgenossische n etruskische n Betrachte r de r mehr abe r diejenig e de r ikonographische n Motiv e nich t Vasen a n bekannt e Persone n un d Episode n ihre r Mytho -

27. Vgl . L. Banti, StEtr 24 (1955/56) , 15 0 mit Anm. 19, und danac h etruskischen Kunst (Mainz, 1974) ; J. P . Oleson, AJA 79 (1975) , 189-200 ; besonders die Aufsatze von G. Camporeale und T . Dohrn. H. Prayon, RomMitt 84 ( 1977), 181-196; derselbe, in Die Aufnahmefrem- 28. Ein e der wenigen , bedeutenden Ausnahmen is t da s Buch von A. der Kultureinjlùsse in Etrurien (Mannheim , 1981), 107-109 ; J. Christian- Alfoldi, Die Struktur des voretruskischen Romerstaates (Heidelberg , 1974 ) sen, Analecta Romana Instituti Danici 13 (1984), 1 1 und Abb. 5 (zur Abb. mit seine n zu m Tei l àufiers t problematischen , abe r nichtdestowenige r 7a). Vgl . O.J. Brendel, Etruscan Art (Harmondsworth , 1978) , 84 , 442, anregenden Gesichtspunkten un d Ausfuhrungen . S . unter andere n auc h Anm 3 . noch E . Simo n Jdl 8 8 (1973) , 37-42 ; E . Hil l Richardson , JWalt 3 7 31. E s genüge , nu r au f di e Freske n de r Tomb a dell e Olimpiad i i n (1977), 91-101, weiterhin unten, Anm. 30. Tarquinia hinzuweisen: M. Moretti, Nuovi monumenti della pittura etrusca 29. Dohrn , oben, Anm. 24, 26. (Mailand, 1966) , 118 . 30. Wi e da s auc h i n de r neuere n Literatu r of t erwoge n un d aner - 32. J . Wiesner, "Fahre n un d Reiten, " ArchHom 1, Kapite l F (Gót- kannt wird . Vgl . unte r anderen M. Schmidt , ZAeS 97 (1971) , 122-125 ; tingen, 1968) , 65; P. A. L. Greenhalgh, Early Greek Warfare (Cambridge, I. Krauskopf, Der thebanische Sagenkreis und anderegriechische Sagen in der 1973), 34, 175 , Anm. 25 (unte r Berufung auf Bronson). Etrusko-korinthische Vasen 15

Abb. 8. "Pontisches " Lydion . Zeichnung . Tubingen, Archàologische s Institut 67.5809 .

logie erinnerten. Und wer weifi, o b hinter de n Darstellun- Kunst, wohl i n Anlehnung an orientalisch e Vorbilder , vie l gen de r Abbildun g 6 e nich t ein e etruskisch e Versio n de s früher, spàtesten s im letzten Vierte l de s 7 . Jhs., erscheint. 34 Mythologems de r gottliche n Zwilling e gegensàtzliche r Beachtenswert is t hingegen di e Tatsache , daf i nicht nur di e Natur, etw a de s kriegerische n Zetho s un d de s Sànger s Wagendarstellung, sonder n auc h di e ganze Kampfszene di e Amphion de r griechische n Mythologie, steckt? Fortsetzung eine r Bildtraditio n ist, deren Anfàng e minde - Es lohnt sic h aber, einige Bilder de s Kithara-Malers auch stens i n di e griechisc h spàtgeometrisch e Vasenmalere i unabhàngig vo n ihre m eventuelle n Gehal t al s rein e zurückreichen: dor t erschein t au f eine m attische n Krate r Bildschemen z u untersuchen . Fü r da s Gespan n i n Abbil - zum erste n Ma l in de r griechische n Kuns t da s vo n de m dung 6 e gilt vollig , wa s im Zusammenhang mi t griechisc h Kithara-Maler wiede r aufgegriffèn e Schem a de s Unter - geometrischen Vasenbilder n beobachtet wurde: "Di e Dar- liegens eines Wagenfahrers gegenüber einem Fufikŕmpfer.3! stellung eine s Einzelpferdes vor dem Wage n is t al s formel- Deutet dieser—ga r nich t typische—Fal l au f di e grie - hafte Wiedergabe eine s Zweigespanns z u verstehen, ebens o chisch geometrische n Wurzel n der Ikonographi e de r spàt - wie die Angabe eines einzigen Wagenrades."32 Das Pferd orientalisierenden Bildkuns t Etrurien s hin , s o sin d un s selbst ha t unverkennba r korinthisierend e Züge . Nu r setz t freilich di e Weg e de r Vermittlun g verborgen geblieben . I n der Pafigan g mi t abgewinkelte m Vorderbei n i n de r eine ander e Pdchtung , i n di e Zukunf t weis t di e Betrach - korinthischen Vasenmalere i ers t au f Pferdedarstellunge n tung de r Jagdszene Abbildung 6c . Die Jagd au f ein Raub - der mittelkorinthischen Période ein,33 was aber für die tier mit lagobolon, der typischen Waffe bei der Hasenjagd,36 Olpe de s Kithara-Maler s keinen zwingende n Datierungs - ist a n sic h ei n Unsinn . Da abe r da s Them a i n de r etrus - wert hat , d a de r Pafigan g de r Pferd e i n de r etruskische n kischen Kunst des 6. Jhs. ofters vorkommt,37 mochte man

33. H . Payne, Necrocorinthia (Oxford , 1931), 73. mit einem einzigen unbewehrten Lenke r dargestellt ist , wirklich imme r 34. Z . B., F. Hiller, Marburger Winckelmann-Programm, 1963 , 42-4 3 an Wettkampfszene n denke n müsse n (s o Greenhalgh , oben , Anm. 32, und Taf . 14 ; M. Bonamici, I buccheri con jigurazioni graffite (Florenz , 26-39), schein t àufiers t fraglich . 1974), Taf. 16a , 19b , 23b, 28b, usw. Über da s vorherrschende Schem a de r 36. Zuletz t K. Schauenburg, Jagddarstellungen auf griechischen Vasen orientalisierenden Pferdedarstellunge n vgl . jetzt E . Rystedt, Acquarossa, (Hamburg und Berlin , 1969) , 2 1 mit Anm. 11 0 und 111 . vol. 4 (Stockholm , 1983), 126 . 37. Einig e Beispiele bei R.-M. Becker , in Praestant Interna. Festschrift 35. CVA, Louvr e 11 , III H b , Taf. 5,1 1 mit Tex t von F . Villard. Zur für Ulrich Hausmann, herausgegebe n von B. v. Freytag gen. LôringhofF , Deutung vgl . G. Ahlberg, Fighting on Land and Sea in Greek Geometric D. Mannsperge r un d F . Prayon (Tubingen , 1982) , 203-204. Vgl . jetz t Art (Stockholm , 1971) , 16 . Der Wagenlenke r de s Kithara-Maler s ha t G. Camporeale , La caccia in Etruria (Rom , 1984), 111-114 , 134 , 139 . keine WafFen, doch nichts deute t darauf hin, daf i e s sich um eine n Ein- zelkàmpfer handelt , de r Kriege r und Wagenlenke r zugleic h war (vgl . Wiesner, oben, Anm. 32, 73). Ob wir in solchen Fallen , wo de r Wage n 16 Szilágyi

lieber a n ein e sinnvoll e Deutung, al s a n ei n rei n optisch - tion au s eine r Meng e vo n kleine n Salbgefafien , überwie - dekoratives Motiv denken . Da s solí hier inde s dahingestell t gend mi t monotone n Wiederholunge n vo n ein- ode r bleiben. Immerhi n is t e s abe r bedeutsam , daf i da s i n de r zweifigurigen A u s zü gen au s frühere n Tierbildern . Die spatorientalisierenden Kuns t Etrurien s verbreitet e Moti v Orientalisierung al s künstlerisch e Ausdrucksweis e hat ihr e auch i n de r folgenden , "ionisierenden " Périod e de r etrus - Aktualitat verloren . E s schein t au f de n erste n Blick , daf i kischen Kultu r au f eine m Lydio n de r sogenannte n pon - von de n etrusko-korinthischen Vasenwerkstatten kei n Weg tischen Grupp e erscheint 38 (Abb . 8). Di e zeitlich e zum Paris-Male r und z u de n übrige n Meister n der "pon - Entfernung de r zwe i Vase n is t nich t grofi : di e Olp e de s tischen" Vasenbilde r führt. De r ga r nich t isoliert e Fal l de r Kithara-Malers is t gege n 570-56 0 v . Chr. entstanden , da s Jagdszene de s Kithara-Maler s beweist aber , daf i di e Tren - Lydion kan n i n di e Jahr e u m 550-54 0 datier t werden . nung doc h nich t s o stren g war , daf i e s in de r etruskische n Zwischen de n beide n Zeitpunkte n lieg t abe r di e Grenze , Kunst ein e zah e ikonographisch e Traditio n gab , di e fàhi g die die spàt- un d suborientalisierend e etrusko-korinthisch e war, auc h ohn e griechisch e Hilf e di e Kluf t zwische n de n Epoche de r etruskische n Vasenmalere i von dem folgenden , zwei Welten des künstlerischen Ausdrucks zu überbrücken . vollig erneuerte n monumentale n Figurensti l de r zweite n Hàtte si e nu r sinnlos e dekorativ e Bildscheme n bewahrt , Hàlfte de s 6 . Jhs. trennt . I n ihre r letzte n Périod e (etw a ware dies e Tradition kaum s o lebenskràftig gewesen . gegen 560-540 ) besteh t di e etrusko-korinthische Produk - Museum of Fine Arts Budapest

38. Becker , oben, Anm. 37, 201, Abb. 2 (danac h unser e Abb. 8 ) un d Taf. 42,5. Some Plastics in Malibu

William R. Biers

The J. Paul Getty Museum has in its collections a small The stud y o f plastic vases of the sevent h an d sixt h cen- group o f plastic vases and vas e fragment s o f the sixt h centuries B .C. ha s attempte d i n recen t year s t o delineat e th e tury B .C., reportedl y foun d i n souther n Italy. 1 Although production o f particular centers , somewha t i n reactio n t o fragmentary i n th e extrem e wit h onl y thre e complet e the "Corinthianization " of th e materia l tha t followe d examples, thi s collectio n of plastic s provide s a glimps e of Payne's pioneering work in Necrocorinthia.2 Many types the impor t trad e in Magna Graecia during thi s period. An originally assigne d t o Corinth hav e now found homes else - interesting fac t i s that th e materia l ca n b e broadl y divide d where, an d ne w informatio n and bette r chronologies con- between tw o of the period' s majo r productio n centers, Eas t tinue to appear in the cours e of excavation. The small Getty Greece (mainl y Pdiodes ) an d Corinth . I n th e followin g collection i s a sampl e o f the expor t productio n of two o f pages th e object s fro m thes e tw o area s of production ar e the principa l centers and, in som e cases , th e influenc e tha t discussed, and representativ e example s ar e presented i n cat - these object s ha d o n th e loca l potter y industry . Th e fac t alogue form . Those object s considere d t o b e relate d t o th e that the attribution s ar e often no t completel y positive indi- major productio n centers but no t mad e ther e are presente d cates how much work ha s ye t t o b e done in this fascinatin g along with th e actua l imports a s an indication of the influ - corner of Greek art. 3 ence tha t thes e imports ha d on local manufactures . By fa r th e greates t percentag e of fragments ca n b e clas - The subjec t o f loca l copie s o f adaptation s o f importe d sified a s East Greek or derived from East Greek prototypes . vases i s a n interestin g problem , on e bese t with man y dif - The larges t numbe r o f thes e fragment s belon g t o figure s ficulties o f interpretation a s wel l a s with a simpl e lac k of with femal e heads, whethe r fro m familia r standin g korai , knowledge. In many cases , th e specifi c attribution of a par - alabastra, o r sirens . These figure s were very common in th e ticular objec t t o a production cente r mus t b e tentativ e a t latter par t of the sixth century, an d mos t ar e generally con- best, du e t o th e fragmentar y natur e o f th e material , th e sidered t o hav e bee n mad e o n Pdiodes . Among th e Gett y difficulties of attribution on the basi s of fabric, and th e lack plastics, femal e head s predominate , althoug h no t enoug h of clea r understandin g o f the productio n an d distributio n remains o f th e res t o f th e figur e t o determin e whethe r a patterns of each center . Despit e thes e inherent weaknesses , kore or siren is indicated. All of the fragment s ar e decorate d it was decided to publish these fragments a s a representativ e with polychrom e matt e pain t i n Ducat' s "techniqu e terr e collection. A conservativ e approach ha s bee n taken , group - cuite." In th e Gett y collection, plastic vases painted i n thi s ing th e materia l int o tw o broa d categorie s representin g technique ar e foun d alon g wit h thos e decorate d i n vase - imports fro m th e tw o majo r center s an d loca l copie s o r painting technique. 4 Althoug h th e surfac e colo r o f th e adaptations dependen t upon them . fragments varie s fro m re d t o yello w t o tan , ther e i s n o

Abbreviations: short pape r i s concerned. Higgins 1 : R. A. Higgins, Catalogue of the Terracottas in the Department of I mus t than k Jirí Fre l fo r permissio n t o publis h thi s collectio n and Greek and Roman Antiquities, British Museum, vol . 1 (London, the staf f of the J. Pau l Gett y Museum for makin g my visit s there both 1954). useful an d delightful . This articl e i s th e firs t o n th e object s fro m th e Higgins 2: R. A. Higgins, Catalogue of the Terracottas in the Department of favissa in the Getty Museum. Greek and Roman Antiquities, British Museum, vol . 2 (London, 2. H . Payne, Necrocorinthia (Oxford , 1931) , 170-180. This work and 1959). the earlie r M. I . Maximova, Les vases plastiques dans VAntiquité [époque VPGJ. Ducat , "Les vases plastiques corinthiens," BCHK1 (1963) , 431- archaïque), M . Carsow , trans. (Paris , 1927 ) ar e the basic , original studie s 458. of Greek plastic vases of the Archai c period. VPR:J. Ducat , Les vases plastiques rhodiens archaïques en terre cuite. Bibl. 3. Thank s mus t als o b e expresse d t o D . A. Amyx an d t o Jirí Fre l des Ecole s Française s d'Athène s e t d e Rome , fasc . 20 9 (Paris , for encouraging me to proceed with th e publication of these plastics even 1966). though ou r knowledg e in this are a i s perhaps not ye t complete enoug h 1. Thes e plastics , once in a private collectio n in Switzerland, were to mak e many definitiv e attributions . part of the content s o f an ancient favissa said to hav e been discovere d in 4. Fo r a n explanatio n o f the difference s i n techniqu e o f Pdiodian Lucania. The Getty Museum's portion of the deposit reportedly includes plastic vases, se e Higgins 1 , 19-20 . all th e plasti c vase s an d vas e fragments , an d i t i s with the m tha t thi s 18 Biers

obvious differenc e in the interior fabrics, nor d o an y of th e hole behind th e ear s clearly indicates tha t thi s wa s th e to p heads see m simila r i n fabri c t o thos e piece s tha t migh t b e of a plastic vase, perhaps i n the for m o f a horse protome . considered of local origin . The smal l portion of the to p of a foot vas e mus t als o b e There i s on e fragmen t tha t ca n b e definitel y attribute d considered East Greek (No. 12, fig. 12). This fragment pre - to th e typ e of alabastron whos e to p i s formed in the shap e serves only th e vase-mouth an d a small portion of the plas - of a woman's bus t (No . 1 , fig . 1). Th e lac k of tresse s o n tic thong s o f th e sandal . Thes e foo t vase s ar e a problem, either sid e of the fac e coupled with th e absenc e of any indi - and thei r exac t provenienc e i s a s ye t unsettled . Th e foo t cations of hair down the bac k would indicat e that the hea d vase i s relate d t o a n extraordinar y vas e tha t i s birdlik e i n does no t belon g t o eithe r a standing kor e o r a siren . Two character (No . 13 , figs . 13a,b) . Th e fabri c o f thi s vas e i s fragmentary siren s and th e tail s of two other s are , however , almost identica l t o tha t o f th e foo t fragment ; thu s i t i s preserved. The mor e complet e exampl e of the tw o i s illus- probably correc t t o assig n i t a s wel l t o Eas t Greece . Th e trated her e (No . 2, fig . 2). Thi s i s a typica l representativ e hole a t th e wide end of the vas e must hav e been fo r a vase- of th e type , thoug h rathe r worn , whic h ma y b e date d mouth, fo r th e eye s on th e rounde d fron t en d mus t stan d around th e en d of the sixt h century . The remaining femal e for th e creature' s face , much like the strang e owl in Boston, heads, generall y thought t o come from Pdiodes , most likel y whose hea d merge s int o it s body . Another bird, perhap s a belong to th e common vases in the form o f a standing kor e dove, originall y matt e painted , ca n als o b e attribute d t o holding a dove. Made in two-piece molds, these vases usu - East Greece , probabl y Pdiodes , on th e basi s o f fabric an d ally bor e a simple, spreading vase-mout h perche d incon - other paralle l features (No . 14 , fig. 14). The bird i s missing gruously o n th e to p o f th e figure' s head . I n th e onl y its hea d a s wel l a s th e vase-mouth , whic h originall y ros e fragment t o preserv e anything of the body of the vas e (No. from it s back . 3, fig . 3), th e vase-mout h i s unfortunatel y broke n away . The smal l bull' s hea d (No . 15 , fig. 15 ) ma y als o b e a t This type of vase has been extensively studied, especially by least derive d fro m Eas t Gree k type s i f not actuall y pro - Ducat, who produce d a rathe r detaile d classificatio n based duced there . Perhap s thi s i s a western versio n of a popular on facia l features . Ou r material , however, doe s no t permi t East Greek shape . such a minut e classification . Moreover, in a situatio n i n The secon d an d smalle r grou p o f fragment s i s Corin - which camer a angl e and lighting can make a critical differ - thian or Corinthian derived. Included in this group ar e th e ence in classification, it i s perhaps bes t to confin e ourselve s well-known restin g hare s tha t ar e s o commonly found in to th e illustratio n of representative pieces . A representativ e Archaic context s throughou t th e Mediterranea n (No . 16 , group of heads is shown in figures 4 through 7 . fig. 16) . Severa l fragment s ar e preserve d o f th e similarl y In additio n to th e man y commo n kor e vase s fro m Eas t crude but commo n seate d ram s (Nos . 17 , 18 ; figs. 17 , 18). Greece, there ar e als o a number of plastic vases in the shap e A ver y interesting offshoo t i s a complete, squarel y built of males , standing , seated , o r kneeling . The smal l hea d i n standing ram , mos t probabl y a loca l produc t inspire d b y figure 8 i s par t o f this group . It s bloate d feature s indicat e the Corinthian imports (No . 19, fig. 19). A finished hole in that it belongs t o a type of dwarf-figure vas e attributed b y the to p o f the hea d indicate s tha t th e figur e wa s indee d a Higgins to Rhodes. A second male head, thi s time bearded , vase an d thu s fulfille d th e sam e functio n a s th e importe d also belongs t o a vase (No . 9, fig. 9). The feature s fin d n o plastic vases—thoug h probabl y a t a lowe r price—fo r th e exact parallel s amon g Rhodia n or Corinthia n terracottas , local consumers. Copie s of resting Corinthian rams ar e no t and thi s head ma y well b e a local product . unknown, bu t a standin g ra m i s unusual . A ste p furthe r Clearly o f Pdiodian origin i s a fragmentar y helmeted - away from Corinthia n plastic vases ar e fragment s o f plastic head vas e (No . 10 , fig. 10) , which wa s fire d t o a reddis h adjuncts tha t perhap s onc e adorne d pots . Her e th e Corin - sheen rathe r tha n th e usua l black . Little vase s of this typ e thian typ e o f ram' s hea d i s strangel y cappe d b y a plasti c are ver y commo n an d mus t hav e bee n highl y prize d i n snake, which drape s itsel f over the head of the animal (Nos. antiquity. Althoug h o f a different fabric , th e excellen t 20, 21 ; figs . 20 , 21) . Unfortunately , onl y thes e fragment s horse's hea d (No . 11 , fig . 11 ) als o find s parallel s amon g remain to us , and no obvious, close parallels spring to mind , examples assigne d t o Rhodes—on e of the bes t pieces in th e although i t i s temptin g t o speculat e wha t kin d o f objec t collection, th e qualit y of its painting is quite high. A spou t these once adorned . Als o probabl y a western imitatio n of a

5. Som e "komast" figure s ar e illustrated in VPC, figs . 7 , 11 , 15, 16, photographs tha t illustrat e ever y catalogue d piece . Basi c informatio n 17 and in Higgins 2 , pis. 26, 27. I would lik e to than k Mario n True fo r about ever y piece is given, and parallel s or speculation s ar e adde d a t th e examining no . 2 3 t o confir m th e absenc e o f an eyebal l on th e panthe r end. Measurements ar e alway s maximum preserved dimensions . When skin. recognizable fragments o f mica appea r in the fabri c of a particular piece, 6. Th e presen t catalogu e i s designe d t o amplif y an d explai n th e it is so indicated. In an attempt to document fabric colors, Munsell Color Some Plastic Vases 19

imitation of a Corinthian form i s a fragment o f an aidoion vase (No . 22), illustrate d in figure s 22a,b . I t find s a ver y close parallel in a complete example found a t Syracuse . A larg e wheel-made fragmen t o f a squatting mal e figur e (No. 23, fig. 23) i s one of the most interesting pieces in this small collection. As the catalogu e entry indicates, it is probably part of a figure similar t o th e well-known Corinthian "komast" figures , though i t i s wheel-made an d large r tha n the Corinthia n figures , whic h averag e a tota l heigh t o f only slightl y mor e tha n th e heigh t o f th e Getty' s singl e fragment.5

CATALOGUE6

1. HEA D FRO M AN ALABASTRON (fig . 1 ) Fabric 7.5YR7/8 (reddis h yellow), highly micaceous ; Figure L No . 1 . Head from an alabastron. Malibu, The J. break 10YR7/ 2 (ligh t gray); preserved height : Paul Getty Museum 78.AE.271.il. 6.4 cm, diameter (mouth) : 3. 0 cm 78. AE.271.il

Single fragment preservin g worn head an d vase-mouth . Broken a t a n angl e below the chin . For th e type , se e VPR, pi . 11,1 ; Higgins 1 , 44-45, nos . 47, 48. This type i s also known in alabaster, an d an example is in the Getty collection. Se e S . K. Morgan, "An Alabaster Scent Bottl e i n th e J . Pau l Gett y Museum, " Getty Mus] 6-7 (1978-1979) , 199-202 .

2. FRAGMEN T OF A SIREN (fig . 2) Fabric 5YR5/6-6/6 (yellowis h red-reddish yellow) , highly micaceous ; preserved height : 12. 5 cm 79. AE.103

Front portion of siren preserved, forming part of profile bird bod y with fronta l head turne d t o right ; unpierced lug on back . Broke n awa y just behin d feet ; vase-mout h pre - served onl y in broken stub on to p of head. Figur e made in two molds , front an d back ; sea m visibl e on inside . Finger marks ca n b e see n insid e front half . Trace s of red on ches t and aroun d broke n stu b of vase-mouth. Hai r tresse s ren - dered plastically, three on each side of head and down back. Hair rendere d i n squares, endin g in points. Oval fac e wit h almond-shaped eye s and smiling mouth . For th e type , se e VPR, pi . 10,1-2 , 11,7 ; Higgins 1 , 52-54, nos . 75-78, especially no. 75, pi. 16.

Chart reference s ar e included, although th e autho r i s fully awar e of the Figure 2. No . 2. Fragment of a siren. Malibu, Th e J. Pau l problems involve d wit h th e us e o f such charts . Color s var y with th e Getty Museum 79.AE.103. viewer, th e ligh t source, and variou s other factors , a s well as , of course, with firin g conditions. The readings were made under artificial , fluores- cent light. 20 Biers

3. FRAGMEN T O F A STANDING KOR E (fig . 3) Fabric 5YR6/8 (reddis h yellow), micaceous ; preserved height : 9. 3 cm 78.AE.271.8

Single fragment broke n just abov e waist and a t right sid e of head . Mold-made , worn, chip s missin g from fac e an d right hand . Tw o strands of hair in square s hang dow n o n either sid e of chest; hair scalloped over forehead . For th e type s an d problem s associate d with thei r classi - fication, se e VPR, 61-89 . This example belongs to korai "en vêtement rhodien, " VPR, 63-65 ; Higgin s 1 , 48 , no . 57 , with dov e in left hand .

4. HEA D O F A KORE (fig . 4) Fabric 7.5YR7/4 (pink) , micaceous; preserve d height: 6. 4 cm 78.AE.271.9

Single fragmen t o f fron t hal f o f molded head , broke n below chin ; vase-mouth broke n away . Severe mouth, wide eyes wit h distinc t lids . Surfac e blemishe s o n fac e perhap s indicate reworked mold. Wear s headband; trace s of a plastically rendere d hai r stran d o n right . Re d o n vase-nec k below missin g mouth.

5. HEA D OF A KORE (fig . 5) Figure 3. No . 3. Fragment of a standing kore . Malibu, Th e Same fabric a s No. 4, but badl y discolored by burning; J. Pau l Getty Museum 78.AE.271.8. preserved height : 6. 1 cm; diameter (lip) : 3. 0 cm 78.AE.271.17

Single fragmen t broke n belo w chin ; chi p missin g fro m vase-mouth. Trace s of white sli p o n face . Feature s simila r to No . 4 bu t eye s thinner , uppe r li p more highl y arched . Also wear s headband ; parin g evident on back of head.

6. HEA D O F A KORE (fig . 6) Fabric 7.5YR7/8 (reddis h yellow); preserved height : 5.7 cm; diameter (lip) : 3. 0 cm 78.AE.271.16

Single fragment , broke n belo w mouth. Feature s simila r to No. 5, but uppe r li p makes mor e definit e V-shape.

7. HEA D O F A KORE (fig . 7) Same fabric a s No. 4, but whiter ; preserved height : 6.7 cm Figure 4. No . 4. Head of a kore. Malibu, The J. Pau l Gett y 78.AE.271.15 Museum 78.AE.271.9 . Mended fro m tw o fragments . Broke n awa y below chin ; vase-mouth missing , nose chipped . As above , excep t hai r indicated down back with worn incised lines. Also belonging t o thi s group of heads of korai in the Gett y collectio n are: 78.AE.271.10 , 12-14 , 18 , 80.AE.81.18 , 21 (rea r portion of head) . Some Plastic Vases 21

Figure 5. No . 5. Head of a kore. Malibu , The J. Paul Gett y Figure 6. No . 6 . Head o f a kore. Malibu , The J. Paul Gett y Museum 78.AE.271.17 . Museum 78.AE.271.16 .

Figure 7. No . 7. Head of a kore. Malibu , The J. Paul Gett y Figure 8. No . 8. Hea d o f a dwarf . Malibu , Th e J. Pau l Museum 78.AE.271.15 . Getty Museu m 80.AE.81.17 .

8. HEA D OF A DWARF (fig . 8) Fabric 5YR6/6 (reddis h yellow); preserved height : 3.25 cm ; preserve d width (bac k to front): 3. 0 cm 80.AE.81.17

Single fragment, mended from tw o pieces, broken belo w chin an d a t to p of head wher e onl y hol e fo r vase-mout h remains. The fat fac e an d somewhat protrudin g eye s sug - gest tha t a dwarf i s represented . I n technique , i t belong s with th e korai . See Higgins 1 , 56-57, nos . 86-93, pl . 18. 22 Biers

rinthian heads , se e K. Wallenstein, Korinthische Plastik des 7. und 6. Jahrhunderts vor Christus (Bonn , 1971) , especially pis. 10 , 15 , 22, 30, 31. A loca l origi n ma y b e th e bes t con- clusion fo r thi s piece , perhap s base d o n a Peloponnesia n prototype ( I am indebte d t o Jirí Fre l for thi s suggestion) .

10. HELMETED-HEA D VAS E (fig . 10 ) Fabric 2.5YR5/8-4/8 (red) ; preserve d height : 5. 0 cm 79.AE.92

Single fragmen t preservin g fron t o f head. Ghos t o f twelve-petaled rosette s o n chee k piec e an d a ten-petale d rosette o n forehea d guard . Fac e fire d reddish ; eyebrows , eyes, and mustache outline d in black. Oval eye s with pupils

Figure 9. No . 9 . Mal e head . Malibu , Th e J. Pau l Gett y touching both lids . Museum 78.AE.271.19 . Typical sixth-century helmeted-head vase ; VPR, 7-29 .

11. HORSE' S HEAD (fig . 11 ) Fabric 10YR8/2 (white) , nonmicaceous; preserve d height: 4. 4 cm; preserved length : 6. 5 cm 78.AE.271.21

Single fragment , broke n a t animal' s neck . Jagge d hol e behind ear s indicates where vase-mout h woul d hav e been . Details o f harness, eyes , an d man e painte d i n black ; teet h colored red . The placemen t of the spout , behin d th e ear s rather tha n between them , th e striped mane, and th e dotted harnes s ar e paralleled individuall y i n differen t example s o f Ducat' s Type G ( VPR, 110) . The harness is particularly close to tha t on a n exampl e i n Vienna ; A . Oliver , Jr. , "Horse-Hea d Aryballoi," AK 7 (1964) , pi. 17,4.

Figure 10. No . 10 . Helmeted-hea d vase . Malibu , Th e J. 12. TO P OF A FOOT VAS E (fig . 12 ) Paul Getty Museum 79.AE.92. Fabric 5YR7/6-7/8 (reddis h yellow), slightl y micaceous; maximum preserved height : 4. 9 cm 9. MAL E HEA D (fig . 9) 78.AE.271.20 Fabric 7.5YR7/6 (reddis h yellow), slightl y Single fragmen t preservin g vase-mouth , neck , an d a micaceous; preserved height : 5. 0 cm portion o f the vas e proper . Fla t stra p handle . Ray s on to p 78.AE.271.19 of mouth, horizontal strokes on edge. Neck decorate d wit h Single fragment , broke n a t neck . Finished , circula r hole red an d blac k dot-rosettes and eight-petaled , incise d black for vase-mout h o n to p o f head. Blac k preserve d o n hair , rosettes. beard, and trace s on lip for a mustache. Hai r scallope d over The preserve d plasti c lace s indicat e tha t thi s fragmen t forehead. Narro w fac e endin g in pointed beard . Ova l eye s belongs t o a group of foot vase s belonging to Ducat' s Type set unde r arche d brows and betwee n wide lids, pupils out - B (" à réseau"), VPR, 182-185 . Ducat consider s thes e foo t lined b y incision ; sever e mouth ; larg e pointe d nose . Fro m vases t o b e Rhodian; others prefe r t o plac e them simpl y in worn mold ? East Greece. The lon g fac e an d narrow , pointe d bear d d o no t fin d a For a n exampl e wit h similar , horizonta l strokes o n th e good paralle l among eithe r Rhodia n or Corinthian exam- edge of th e mout h bu t wit h th e mor e commo n tongue s ples. Fo r th e usua l bearde d mal e in Rhodian plastic vases , above the laces, see VPR, 183, no. 9 = MuM Auktion 16 see VPR, 61-8 9 an d passim , especially pi. 11,2-3; for Co- (1956), 20 and pi. 13,67. Some Plastic Vases 23

Figure 11. No . 11. Horse's head. Malibu, The J. Paul Getty Figure 12. No . 12 . Top of a foot vase . Malibu, Th e J. Pau l Museum 78.AE.271.21 . Getty Museum 78.AE.271.20.

Figure 13a. No . 13 . Bird vase . Malibu , Th e J. Pau l Gett y Figure 13b. To p of bird vase , figure 13a . Max. W: 4.6 cm. Museum 78.AE.271.23 .

is ornamente d wit h roughl y incised , black-glaze d sec - 13. BIR D VAS E (figs . 13a,b ) tions—long stroke s indicatin g wings or , a t least , fligh t Fabric 5YR7/6-7/8 (reddis h yellow), slightl y Between these wings and immediatel y behind th e micaceous; preserved length : 7.7 cm; preserved feathers. vase's mout h i s a n irregularl y cross-hatche d area , agai n height: 4. 8 cm probably representin g feathers . Th e front , o r rounde d en d 78.AE.271.23 of th e vas e i s ornamented wit h mor e controlled feathering, Single fragmen t wit h hol e fo r vase-mout h a t rounde d appearing t o indicat e overlapping feathers. Abov e thi s are a end. Ova l shap e taperin g t o a squared-off end , simila r t o are tw o crudel y incise d eye s in blac k circle s of glaze. Th e the genera l shap e of floating waterfowl . The uppe r surfac e tapering en d o f th e vas e i s als o painte d black , lik e a tail . 24 Biers

Figure 14. No. 14 . Dove . Malibu , Th e J. Pau l Gett y Figure 15. No . 15. Fragment of a bull's head. Malibu, Th e Museum 78.AE.271.5 . J. Pau l Getty Museum 79.AE.96.

The bod y i s simpl y rounde d o n th e bottom ; n o fee t ar e of forked tail . Mold-made, traces of white slip. Bird show n indicated. sitting; fee t attache d separatel y a s woul d hav e bee n hea d The shape is a more elongate d an d footles s versio n of th e and vase-mouth . seventh-century bir d typ e fro m Pdiode s i n th e Britis h This belong s t o Ducat' s "oiseau x d e techniqu e terr e Museum (B.M.C . 60.4-4.30 , Higgin s 2, no . 1602 , pi. 2). cuite" ( VPR, 153-154) . For an almost exac t parallel, see C. The form , with th e sam e squared-off tai l bu t muc h mor e Blinkenberg, Lindos, fouilles de Y acropole, 1902-1914, vol . 1, globular, i s common fo r Corinthia n sirens ( VPC, figs . 22 , Les petits objets (Berlin, 1931) , 586, no. 2426, pl. 113. 23). One might expect , then , a head t o ac t a s a filling hole , but th e existenc e o f what appea r t o b e eye s o n th e fron t 15. FRAGMEN T OF A BULL'S HEAD (fig . 15 ) above th e incise d feathering present s a problem. Could th e Fabric 5YR6/8-7/8 (reddis h yellow); preserve d object b e considere d a n owl, whose apparen t lac k of a dis- height: 5. 1 c m cernible nec k ofte n cause s its hea d t o merg e wit h it s bod y 79.AE.96 in ancien t plasti c representations ? Fo r example s o f plasti c Single fragment, broke n a t neck, lef t ea r missing . Tips of vases so constructed, se e F . Johansen, "De r e r Uglen," Med- horns broke n away . A suspensio n (? ) hol e i s preserve d delelser fra Ny Carlsberg Glyptotek 3 2 (1975) , 99-118 , figs . between th e righ t ea r an d th e righ t horn . A hol e i n th e 11 and 1 5 ( a standing Eas t Gree k owl in Boston, Museum neck behin d th e horn s indicate s th e positio n of the vase - of Fin e Arts 80.599) . The vas e would the n b e cappe d b y a mouth. Th e hea d i s covere d wit h blac k glaze , an d detail s simple fillin g hole , perhap s a n aryballo s mouth , whic h are rendere d b y incision . would accor d bette r wit h th e shap e of th e presen t break . The hea d vaguel y resemble s othe r bul l protome s The crud e natur e of the decoratio n an d th e libertie s take n assigned t o Pdiode s bu t ha s n o exac t parallels . Se e VPR, with th e natura l form remind one of some Etruscan plastic 102-106, especiall y Type D, pi. 14,4 . The suspensio n hol e vases. However, the fabri c of the Gett y piece appears iden- seems t o b e a n unusua l feature . Thi s bul l ma y b e a loca l tical t o tha t of No. 12 , and peculiarl y shaped bir d vase s ar e rendition of the Eas t Greek type . by n o mean s unknown i n Eas t Greec e (cf . Higgin s 2, no . Also perhap s belonging to thi s general Eas t Greek grou p 1604, pi. 2). is a fragmen t i n th e Gett y collectio n of a molded haunc h of a n animal , 81.AE.1 5 (5YR7/6 , reddis h yellow , mica - 14. DOV E (fig . 14 ) ceous; preserved height : 5. 3 cm). Fabric 7.5YR8/4-8/6 (pink-reddish yellow) , micaceous; preserved height : 4. 1 cm; preserve d 16. CORINTHIA N HAR E (fig . 16 ) length: 7. 0 cm Fabric 10YR8/4-7/4 (ver y pal e brown); preserve d 78.AE.271.5 height: 5. 0 cm; preserved length : 8. 3 cm Single fragmen t missin g head, vase-mouth , an d portio n 78.AE.271.6 Some Plastic Vases 25

Figure 16. No . 16 . Corinthian hare. Malibu , Th e J. Pau l Figure 17. No . 17 . Head of a Corinthian ram. Malibu, Th e Getty Museum 78.AE.271.6. J. Pau l Getty Museum 79.AE.81.4.

Complete. Finishe d vertica l hole throug h to p o f head , suspension hol e throug h bas e o f ear s behin d head . Bod y wheel-made; head, tail , and leg s handmade. Trace s of blac k glaze o n fee t an d tail . Th e bod y wa s onc e covere d wit h black dots , representin g th e creature' s coat , an d a few ca n still b e seen . See VPC, fig . 28, for thi s type . Anothe r example in th e Getty collection , 78.AE.271.7 , display s the sam e fabric an d technique. Preserve d height : 4. 6 cm, preserved length : 7.7 cm. Complete, but ear s broken away behind suspensio n hole.

17. HEA D O F A CORINTHIAN RAM (fig . 17 ) Fabric 10YR8/2-8/3 (whit e to very pale brown); preserved height : 4.1 5 cm; preserved length : 5.5 cm 79.AE.81.4

Single fragmen t o f restin g ra m preservin g handmad e head an d horn s an d portio n of wheel-made body . Orific e in to p o f head; suspensio n hol e throug h cente r o f horns , Figure 18. No . 18 . Head of a Corinthian ram. Malibu, Th e which ar e simply thin coils of clay. Traces of red on muzzle. J. Paul Getty Museum 79.AE.81.2 . See VPC, fig . 27, fo r th e type . Anothe r simila r Gett y fragment i s 79.AE.81.1.

19. STANDIN G RAM (fig . 19 ) 18. HEA D O F A CORINTHIAN RAM (fig . 18 ) Fabric 7.5YR8/4-8/6 (pin k t o reddis h yellow) , Same fabric and techniqu e a s No. 17 ; preserved slightly micaceous ; preserved height : 6. 5 cm; height: 3. 6 cm preserved length : 8. 8 cm; diameter (hole) : 0.8 cm 79.AE.81.2 79.AE.99

Single fragment , a s above , bu t muzzl e broken away . Complete. Blocklik e shap e on short , squar e legs . Horns However, portio n o f bod y preserve d wit h brow n spots ; made o f coils o f clay an d unpierced ; tai l separatel y added . traces of black glaze also on horns . Probably mold-made , bu t n o joining line s visible. Surfac e Another simila r Getty fragment i s 79.AE.81.3. pared; trace s o f blac k o n muzzle , horns, an d chest . Ver y 26 Biers

elaborate example s fro m Athen s with plasti c snakes, se e K. Kiibler, Die Nekropole des spàtern 8. bis frühen 6. Jahrhunderts. Kerameikos, Ergebniss e de r Ausgrabungen , vol . 6 , par t 2 (Berlin, 1970) , Kerameikos 149, pis. 38-40.

21. RAM' S HEAD WITH A SNAKE (fig . 21) Fabric 7.5YR7/4 (pink) ; preserved length : 4.7 cm 79.AE.98.2 an d 79.AE.98. 3 (snake )

Like No. 20 in technique, excep t snak e restore d in position. Stripe s blacker on snake , and eye s hollowed out .

22. FRAGMEN T O F AN AIDOION VAS E (figs . 22a,b ) Fabric 10YR8/4-8/6 (ver y pal e brown to yellow) ; preserved height : 6. 0 cm 78. AE.271.22

Single fragment , mos t o f testes broken away ; peni s an d

Figure 19. No . 19 . Standin g ram . Malibu , Th e J. Pau l pubes handmade . Pube s squared-off , bu t slightl y gabled ; Getty Museum 79.AE.99. suspension hole s throug h to p an d outsid e o n eithe r side . Finished hol e on to p fo r vase-mouth. Decoratio n in fade d faint trace s of a concentric circl e on lef t shoulder . black o n pubes , checkerboar d o n back , zigzag s o n sides . Local versio n of a Corinthian ram bu t standing , unlik e Front of pubes and teste s decorated wit h dots . Peni s pared ; the restin g pos e common fo r Corinthian and othe r exam - faded blac k dot a t end . ples. A numbe r o f local imitation s of common Corinthian In technique, fabric , and decoration our fragmen t i s very hares and ram s ar e known; often th e determinatio n appear s close t o a n exampl e i n Syracus e (Muse o Archeologico to hav e bee n mad e solel y on th e basi s of fabric color; see E. 3049), which , however , ha s a single , square d maeande r Lissi, "La collezione Scaglione a Locri," AttiMGrecia, n.s. 4 painted o n th e revers e an d straigh t blac k lines on th e side s (1961), 118-119 , nos . 202-206, pl. 57. Etruscan imitation s of th e mor e strongl y gable d pubes . Th e fabri c of the tw o have als o been identified; P. Mingazzini, Vasi della collezione vases i s ver y similar , and whe n th e Syracusa n exampl e i s Castellani (Rome , 1930) , 159-160 , no . 402 , pi. 31,1 (Vill a examined togethe r with undoubtedl y Corinthia n plastics, Giulia 51981) , VPR, 10 1 n. 1 ( a ram) . Th e genera l shap e its fabri c look s ver y different , havin g a mor e distinctl y and treatment of the horns indicat e that all these rams wer e yellow appearance . Johanse n consider s th e vas e in Syracus e derived fro m Corinthian prototypes rathe r than fro m Eas t a Sicilia n imitatio n of a Corinthia n type , an d th e Gett y Greek types . There , complet e ram s ar e differentl y con - example woul d appea r t o b e i n a simila r category . Se e F . structed; se e VPR, 100-101 . Johansen, "E n 0stgraesk Parfumeflask e fr a 6 . Arh. f. Kr.," Meddelelserfra Ny Carlsberg Glyptotek 3 3 (1976) , 96, fig. 25. 20. RAM' S HEAD WITH A SNAKE (fig . 20) Fabric 7.5YR8/4 (pink) , slightly micaceous; 23. FRAGMEN T OF A MALE FIGUR E (fig . 23) preserved length : 4.8 cm Fabric 7.5YR8/4-7/4 (pink); preserved height : 79.AE.98.1 8.85 c m 79. AE.82 Single soli d fragment , broke n a t neck . Ram' s muzzl e missing. Snak e attache d t o ram' s hea d i n antiquity. Ram' s Single fragmen t o f a seate d mal e figure , broke n al l horns preserve d a s coile d strip s of clay, a s on No. 19 . Red around; whee l mark s on interior. Preserved i s a portion of and brown stripes on neck, horns, and down back of snake . the figure' s rounde d bell y an d on e thigh , whic h extend s Incised circle s for snake' s eyes , X incise d on head , an d tw o outward beyon d th e curv e of the body . A break a t th e thi n incised line s run down length of head. end o f thi s uppe r le g indicate s tha t th e lowe r le g woul d With n o fillin g hole , the ram s did not functio n a s vase s have extended dow n from th e kne e a t almos t a right angle . but perhap s a s decoration fo r vases. One i s reminded of th e A panthe r ski n wa s drape d ove r th e body . The lef t sid e of elaborate seventh-centur y vase s from Athen s with plasti c the skin , includin g approximately hal f th e hea d an d le g adjuncts o f animal, human, an d floral shapes . Perhap s ou r ending in a paw, i s preserved o n thi s fragment , extendin g rams decorate d similar , local vases . Fo r on e o f th e mor e over the uppe r thigh . The outlines of the pel t and th e claw s Some Plastic Vases 27

Figure 20. No . 20. Ram's hea d with a snake. Malibu, Th e Figure 21. No . 21. Ram's hea d with a snake. Malibu, Th e J. Pau l Getty Museu m 79.AE.98.1. J. Pau l Gett y Museu m 79.AE.98. 2 an d 79.AE.98.3 (snake) .

Figure 22a. No . 22. Fragmen t of an aidoio n vase . Malibu, Figure 22b. Fron t of aidoion vase , figure 22a . The J. Pau l Getty Museu m 78.AE.271.22.

are incised ; within th e pel t outlin e th e ski n i s rendere d i n and lowe r le g ar e place d i n th e sam e genera l relationshi p purple; outside , a thin line of black glaz e provide s a border. ( VPC, passim ; a shor t discussio n o f thes e vase s wil l b e The uppe r thig h i s decorated wit h a n oblon g groupin g o f included i n D. A. Amyx, Corinthian Vase-Paintings of the ten vaguel y lozenge-shape d blobs , a semicircula r line , an d Archaic Period, vol . 2 (i n press). Even close r i s the positio n dimple line s a t th e knee . of th e famou s Corinthian seate d male figur e holdin g a cu p The pos e of th e figur e mus t hav e resemble d tha t of th e in th e Louvre , illustrated i n figures 24a, b (E . Pottier, CVA common squattin g Corinthian komasts, in which the thig h Louvre 8 , pis . 3-4 [France , pis . 500-501]; idem , "Le saty r 28 Biers

Figure 23. No . 23. Fragment of a male figure. Malibu, Th e Figure 24a. Komas t figur e wit h vase . Paris , Musé e d u J. Pau l Getty Museum 79.AE.82. Louvre CA 454. Photo : Courtes y Musé e d u Louvre. boveur," BCH 1 9 [1895] , 225-235). This figure als o wear s a panther skin , which hang s down his back, but i t is spotted and hang s symmetricall y ove r th e buttock s rathe r tha n being drape d partiall y ove r th e uppe r thigh , a s o n ou r example (ibid. , 230, fig. 2). The lozenge design on the thigh appears t o b e a clums y cop y o f a common Archai c bod y ornament, whic h i s foun d i n a mor e organize d for m o n human figure s in Archaic vase-paintin g a s well a s on Co- rinthian komast s (B . Fellmann , "Zur Deutun g friihgrie - chischer Korperornamente," JdJ 93 [1978] , 1-29 . Thi s type of desig n i s illustrate d i n figs. 1 1 [no . 15] , 15 , 16 , an d i s discussed o n pp . 14-18 . Fo r th e desig n in a group o f nin e elements o n a komast in Bonn, se e fig. 16) . The similarit y o f our fragmen t t o th e Louvr e figure i s striking. Ther e i s n o certainty , however , tha t th e Gett y fragment i n fact belonge d t o a plastic vase, although it ma y have. I t would hav e been considerabl y larger than th e aver - age molde d Corinthian komast, whic h generall y measure s 9-10 cm in total height. The color and composition of th e fabric of the Getty fragment ar e well within th e parameter s of Corinthian clays , although th e renderin g of the second - Figure 24b. Bac k view of figure 24a showing panther skin . ary desig n an d th e panthe r ski n d o no t see m u p t o th e Photo: Courtesy Musée du Louvre . quality one might expec t on a Corinthian terracotta o f this size. One peculiarit y i s th e lac k of an eyebal l on th e hea d of the panthe r skin . Two curving lines seem rathe r to indi - cate a close d eye . Again , perhap s "Corinthia n derived" i s the bes t description.

University of Missouri, Columbi a A Kyli x an d Fragment s by the Boread Painter

Cynthia Hoyt-Grimes

small fragmen t i n th e Gett y Museu m (fig . 4a) , whic h belongs t o th e sam e hand, als o displays this palmette type. 4 It to o belong s t o a kylix, whic h wa s thicker-walle d tha n the Gett y cup . It s petal s tota l twenty-thre e an d ar e draw n likewise outwar d fro m th e centra l heart . The fragmen t o f the Samo s cu p tha t survive s preserve s a n entir e palmett e Hesiod, Theogony, 265-269 from th e sam e zon e (fig . 2b). I t differ s fro m th e previou s A Laconia n kylix in the J. Paul Getty Museum presents type only in its inner detail. Of the eigh t type s o f palmette s the thir d extant cop y of the subjec t fro m which it s painte r attributed t o th e Borea d Painter, onl y thes e two type s ar e derives his name—the Boreads' pursuit of the Harpies (figs . identically proportioned. 5 la-c).1 Th e kyli x ca n b e date d circ a 550-54 0 B.C., no t Below th e handle-frieze , th e thre e cup s ar e markedl y much late r tha n th e earlies t exampl e in Samos (figs . 2a-b ) similar. Purpl e band s an d horizonta l line s alternat e or th e Borea d Painter' s nam e piec e in th e Muse o di Vill a between decorativ e friezes . Th e friez e o f ray s tha t stretc h Giulia (fig . 3).2 Thes e thre e cups , which undoubtedl y up from below are the same thin type.6 Tongues, a type reflect th e us e of a workshop prototype, provid e an oppor - unconnected a t th e top , alternat e purpl e an d black. 7 Th e tunity t o examin e th e way s i n whic h th e Borea d Painte r Boread Painte r mad e goo d us e o f a pomegranat e wit h a n altered hi s composition. angled base-ste m an d crosse d top , whic h h e preferre d o n The pottin g o f th e Gett y kyli x duplicate s tha t o f th e the outsid e o f his cups , while using a different sor t wit h a Villa Giuli a cup , an d th e outsid e decoratio n fro m li p t o simple top-stem aroun d th e insid e of the tondo . The Getty handle-zone is comparable.3 Above the palmette frieze, the and Vill a Giuli a cup s an d th e Gett y fragmen t al l share thi s Getty cu p i s offset b y two nea t lines (fig . lb), whereas th e kind o f pomegranate i n thei r tondo s (figs , la , 4b), whil e Villa Giulia cup' s friez e is marked by three lines, irregularly the Samos cup differs again (fig. 2a).8 On the outside, con- thick an d carelessl y drawn . Th e horizonta l palmettes tha t centric circle s continue th e painte d decoratio n t o th e ste m extend fro m th e handle s o n bot h cup s ar e o f a standar d of al l thre e cups : ther e ar e a total of thirteen circle s on th e type, differin g only in the numbe r o f petals: th e Gett y cu p Getty kylix an d eigh t on th e Samo s fragments , whil e eight had twenty-six , while th e Vill a Giuli a cu p ha s twenty . A of unequa l spacin g remai n o n th e Vill a Giuli a kylix . Th e

Abbreviation: Pottery Foun d i n Cyprus, " Acta Institua Atheniensis Regni Sueciae 2 6 Stibbe: C. M. Stibbe, Lakonische Vasenmaler des sechsten Jahrhunderts v. (1977), 81 , pi. 18,9-10. Chr. (Amsterdam , 1972) . 3. Th e Borea d Painte r introduce d thi s shape ; se e Stibbe , 21-22 , 1. Th e J. Paul Getty Museum, 85.AE.461. Se e J. Fre l and M. True, Formgruppe V , fig. 6. The restore d heigh t o f the Gett y kylix i s 1 2 cm; Greek Vases: Molly and Walter Bareiss Collection (Malibu, 1983), 68, no. restored diamete r a t it s widest poin t 19. 2 cm; restored diamete r o f th e 16. I would lik e t o than k Jiri Fre l an d Mario n Tru e fo r invitin g m e t o foot 8. 9 cm; height of the bowl 6. 6 cm; height of stem 5. 4 cm; thickness study this kylix during my internship a t the Getty Museum and for their of wall a t the bowl's base 0.5 cm, 0.2 cm at its lip. The kylix was restore d kind assistanc e an d man y suggestion s whil e I was writing thi s article . I by Patrici a Tuttle in the Getty Museum. am als o grateful t o Alan Griffith s of University College, London, for his 4. Malibu , Th e J. Pau l Gett y Museu m 82.AE.39.19; 3. 3 x 1. 9 cm. keen observations an d t o Marianina Olcott, California Stat e University, This fragmen t ca n also be dated circ a 550-540 B. C. San Jose , fo r he r helpfu l suggestions . Th e attributio n o f the kyli x wa s 5. Se e B. B. Shefton, "Thre e Laconia n Vase Painters" BSA 4 9 made b y Dietrich von Bothmer. (1954), 300 . Shefton use d th e handle-palmett e a s his criteria for dating : 2. Samos , Archaeological Museum K1540, from th e Heraio n (fou r "This order i s based upo n th e putativ e development of the handle orna - fragments remain) ; Rome, Museo di Villa Giulia , fro m Cerveteri . For ment." Fo r those palmette type s attribute d t o th e painte r b y Stibbe, se e a recen t bibliography , see Stibbe , no. 119 , pis. 37,1; 38,1-2; 39,1-2; an d his pag e 92, particularly types 1 2 and 13 . no. 122 , pi. 41,1-3. Stibbe dates these cups to 575-570 B. C. 6. Se e Stibbe, 92, type 1 . I am most gratefu l t o C. M. Stibb e for suggesting a fourth cu p by th e 7. Se e Stibbe, 92, type 8 . Boread Painte r in some fragment s fro m Amathous (Cyprus ) tha t show 8. Se e Stibbe, 91, types 1 and 3 . On the Villa Giulia cup, the pome - the exergu e feline' s hindquarters ; i t ma y wel l b e a sphinx, but equall y granates on the outsid e wer e in part restore d incorrectl y (Stibbe , 231). may b e a lion . Se e E. Gjersta d e t al. , "Greek Geometri c an d Archai c 30 Hoy t-Grimes

Figure la. Tond o o f kyli x b y th e Borea d Painter . Restore d diam : 19. 2 cm . Th e J . Pau l Gett y Museum 86.AE.461.

Figure lb. Profil e of kylix, figur e la . Restored H: 1 2 cm. A Kylix and Fragments by the Boread Painter 31

Figure lc. Undersid e of kylix, figure la .

Getty kyli x an d th e Samo s fragment s hav e surviving stems, cords anothe r versio n i n whic h th e Boread s sla y th e but onl y th e Gett y cu p ha s an y par t of the foot , whic h ha s Harpies. On e fall s int o a rive r i n th e Péloponnèse , whil e been painte d blac k bot h insid e an d ou t wit h a reserve d the othe r fall s a t th e Strophade s Islands. 11 Th e Borea d base. Painter's compositio n o f thi s pursui t adequatel y indicate s The tondo scene s in the thre e cups ar e strikingly similar. certain deat h for th e Harpies , sinc e th e Boread s clutc h thei r The son s of Boreas , Zete s an d Kalais , gra b th e throat s o f victims' necks . Therefore , a variant myt h mus t have existe d their victims—th e Harpies , who wer e sent by Zeus t o tor - in th e Péloponnès e in which th e Harpie s wer e slain, either ment th e blin d Phineus. Thi s aeria l chas e is widely known unknown t o o r ignore d b y Hesiod . The Borea d Painter' s from th e Argonautica o f Apollonius Rhodius. 9 I n tha t ver - understanding of the myt h mus t b e relate d t o th e traditio n sion, the Boread s rushe d nea r their victims , but graspe d fo r found i n Apollodoros' Library. them i n vain. Iri s the n intervene d an d turne d th e Boread s This subjec t i s first foun d i n vase-painting a t th e en d o f back. A scholias t o n thi s passag e testifies t o a Hesiodic ver - the sevent h century i n a similar composition, which Beaz- sion in which Hermes stop s th e pursuit. 10 Apollodoro s re - ley called "the earlies t representatio n of the legend. " I t sur -

9. Apolloniu s Rhodius, Araonautica, ii.282-287. 11. Apollodoros , i.9.21.6; (Hesio d frag . 15 5 M.-W. )

10. Scholias t on Apollonius Rhodius, Argonautica, ii.296-297 (p . 15 0 He mistake s th e spellin g of Hesiod's see Theogony 267. Wendel) = Hesio d frag. 15 6 M.-W . 32 Hoyt-Grimes

Figures 2a-b. Fragmen t o f kylix b y the Boread Painter . Left: the lef t fee t of the Harpies; right: palmette on exterior. Samo s Archaeo - logical Museum K1540 . Photos : Courtes y Samo s Archaeologica l Museum.

Figure 3. Tond o of kylix b y the Boread Painter . Rome , Muse o di Villa Giulia . Photo: Courtes y Muse o di Villa Giulia .

Figure 4a. Exterio r o f kyli x fragmen t b y th e Borea d Figure 4b. Interio r o f kylix fragment , figur e 4a. Painter. L : 3.3 cm. Malibu, Th e J. Pau l Gett y Museum 82.AE.39.19. A Kylix and Fragments by the Boxead Painter 33

vives o n a fragmentar y bow l b y th e Nesso s Painter , wit h technique fo r th e female s an d incisio n for th e males . In an y the preserved inscription APEIITIA.12 The same scene case, the Harpies' knees ar e rendered alik e on the Getty an d appears again, this time with Phineu s stil l a t his table, in an Villa Giulia cups, and knee s ar e consistently likewise drawn ornamental ivory group from Delphi.13 Pausanias describes on al l pairs o f Boreads, wit h mal e knee s survivin g on al l the grea t thron e a t Amyklai , whic h als o presente d th e three cups. 18 myth: "Kalaï s an d Zete s ar e drivin g of f the Harpie s fro m A compariso n of the thre e fragmentar y version s o f th e Phineus."14 Thi s monument wa s surel y know n t o ou r nearer Harpie s suggest s a possibl e reconstructio n o f th e vase-painter, bu t unfortunately , th e composition s canno t missing hands on th e Getty cup. The angular doubl e wings be compared . of th e Gett y Harpie s ar e mor e lik e th e wing s on th e Samo s In thi s aeria l pursuit , th e Borea d Painte r relieve s th e cup, differin g onl y i n th e alternatin g purpl e an d blac k usual rectangula r structur e o f Laconia n tond o com - feathers (however , thi s colo r schem e i s als o foun d o n th e positions throug h swirlin g wing s an d outstretche d Villa Giulia cup). On th e Getty cup, the positioning of th e limbs, makin g th e exergue , s o common in Laconian vase- right arm of the neare r Harpy and th e placemen t an d angl e painting, almos t cumbersome. 15 O n th e Gett y cu p (fig . of he r elbo w paralle l the treatmen t of the remainin g righ t la), th e Borea d Painter ha s centere d hi s composition well , forearm an d elbo w of th e Harp y o n th e Samo s fragment . so tha t th e spac e behin d th e elbow s of the Boread s woul d Therefore, th e Gett y Harpy , lik e th e Samo s Harpy , ma y not hav e bee n a s star k a s th e sam e are a in th e Vill a Giuli a have held her skirt with a clawed hand.19 This sort of tondo (fig . 3). I n th e exergu e a lio n o n th e Gett y kyli x cupped han d i s reminiscent o f one o f the Nesso s Painter' s replaces a sphinx in th e Vill a Giulia , which , wit h it s pro - Harpies, yet interestingly enough, th e clawed Nessos Harpy truding tongue, seems humorously appropriate.16 does not hol d he r skirt . It ca n be certain tha t on th e Gett y The huma n figures , worke d in doubl e outline , provid e tondo, th e neare r Harpy' s lef t forear m appeare d a t wais t many anatomica l comparisons . Th e mos t characteristi c level, sinc e bot h th e Samo s fragmen t an d th e Vill a Giuli a features of the Borea d Painter' s style , accordin g t o Stibbe , cup show th e lef t forearm appearin g there . The Harpy's lef t are found in his rendering of eyes, ears , abdominal muscles, shoulder i s hidden o n al l three example s o f this scene . hipbones, and knees.17 On the Getty cup, the eyes, ears, Whether th e Gett y Harpy's left han d hold s her skir t or a n and knee s alon e suppor t a n attributio n t o him . Unfortu- amphora is uncertain.20 nately, the abdomina l muscles ar e missing on eac h cup, an d Many othe r detail s on th e Getty, Samos, and Villa Giuli a the hi p (althoug h rendere d o n th e Vill a Giuli a cup ) wa s vases ar e comparabl e wher e the y survive : the Boread s eac h omitted o n th e Gett y cup . Th e almond-shape d eye s ar e have lon g hai r wit h adde d purpl e wreaths ; th e thumbnai l heightened wit h eyebrow s tha t follow th e shap e of the eye . is indicate d o n th e neare r Boreads ' lef t hand ; th e neare r Only on e ea r survive s on th e Gett y cup , tha t of a female , Harpies hav e fiv e division s in thei r bang s (fringe) ; purpl e but i t i s more like th e standar d Borea d Painter ea r observe d is adde d t o th e eyeball s of th e Boreads , an d adde d purpl e by Stibb e tha n eithe r th e mal e o r femal e ear s tha t surviv e alternates with incisio n on th e hindquarter s o f the exergu e on th e Vill a Giuli a cup . The knee s provid e a slight chang e animals. in rendition , which ca n b e attribute d t o th e us e of outline There ca n be no doub t tha t all three cups wer e execute d

12. J . D. Beazley, The Development of Attic Black-Figure. Sathe r Clas - Stuart-Jones: "Bathykle s was employed to utilize the present of gold sent sical Lectures, 24 (Berkeley , 1951), 15 . by Croesu s to Sparta on the decoration of the temple of Apollo at Amyk- 13. Delph i Museum 1355, of Corinthian workmanship. It is though t lai," Select Passages from Ancient Writers Illustrative of the History of Greek to b e close to what would hav e been found on the "Chest of Kypselos": Sculpture (Chicago , 1966), 27. "Etwa u m dieselb e Zei t wi e di e beide n lakonische n Schale n entstan d 15. Th e absenc e of a groundline i s due t o flight. Fo r a groundlin e eine au s ungezáhlten Fragmente n wiedergewonnen e Elfenbeingrupp e in indicating the sea , se e Stibbe, no. 222. The us e i s not wholl y consistent . Delphi, di e ein e gut e Vorstellun g gibt, wie wir un s di e Relief s an de r 16. Th e Samo s cup als o has a sphinx, Stibbe, 230. verlorenen Kypseloslad e zu denke n haben. " (P . Blome, "Da s Gestort e 17. Stibbe , 89. Mahl de s Phineu s au f einer Lekytho s de s Sapphomalers, " AntK 2 1 18. Th e divisiona l line s radiatin g fro m th e kneeca p o f th e neare r [1978], 72). The "Chest of Kypselos" was dedicated a t Olympia accord- Boread on the Vill a Giulia cup were omitted . ing t o Paus . v. 17.1 1 : 19. Th e neare r Vill a Giuli a Harpy' s righ t elbo w woul d b e slightly higher, makin g th e ar m itsel f mor e acutel y angled , a positio n mor e appropriate fo r carrying an object . Stibb e also noticed th e cuppe d han d of a komas t b y th e Borea d Painte r (no . 141) , bu t scale , subject , an d The parallel in Delphi testifie s t o th e popularit y of the composition. technique mak e it exceptional. 14. Paus . iii.18.15 : 20. I t i s less likely that the Getty Harpy should hold a n amphora an d dish a s does the Vill a Giuli a Harpy; the similarit y of the angula r doubl e wings t o thos e of the Samo s Harpy , a s well a s th e similarl y positione d right arms, make it likely that the Getty Harpy held her skirt with bot h On th e architec t Bathykle s th e Magnesia n se e Paus . iii.18. 9 an d H . hands. 34 Hoyt-Grimes

Figure 5a. Exterio r o f kyli x fragmen t b y th e Borea d Figure 5b. Interio r of kylix, figur e 5a. Painter. L: 4.9 cm. Malibu, Th e J. Pau l Gett y Museum 82.AE.39.15 .

at nearly the sam e time. Stibbe placed the Samo s cup earlier with a n incise d line. Th e petal s radiatin g from th e cente r than th e Vill a Giuli a cup , an d if this i s correct, th e Gett y have bee n distinguishe d wit h incisio n agains t th e blac k cup ma y b e onl y slightl y later . I t ha s evolve d beyond th e glaze that appear s above an d below . The palmette' s nec k i s Villa Giuli a cu p i n thre e importan t respects : th e outsid e marked a t to p an d botto m wit h tw o incise d lines , an d decoration i s more careful ; th e figure s fi t th e tond o mor e purple ha s bee n adde d a s a triangula r fil l i n th e stem . An evenly; an d th e substitutio n o f the lio n fo r th e sphin x in incised lin e i s used t o emphasiz e th e base-lin e of the adde d the exergu e relieve s the abundanc e o f wings. I t remain s t o purple. A trac e o f the offse t li p survives on th e fragment , be see n how man y example s of this composition still sur - while a thic k ban d o f black remain s belo w th e palmett e vive an d whethe r th e Borea d Painter himself designed th e frieze. Th e survivin g tond o decoratio n i s a serie s o f thin prototype. concentric circles . A kyli x i n th e Louvr e b y th e Borea d Painter21 offer s a striking comparison ; it ha s th e sam e typ e The Gett y Museum ha s ye t anothe r smal l fragmen t of palmette , wit h th e sam e repeate d patter n o f concentric (82.AE.39.15) measurin g 4. 9 x 3. 2 cm, which als o belong s circles i n th e tondo . Th e Gett y fragmen t mus t therefor e to th e Borea d Painte r (figs . 5a-b) . Agains t a dar k back - belong t o anothe r kyli x o f thi s typ e an d mus t hav e bee n ground, a complete handle palmette survives . Added purpl e decorated b y th e Borea d Painter. is use d fo r th e palmette' s heart , whic h ha s bee n outline d University Colleg e University of London

21. Louvr e S 4373; see Stibbe, 143. Booners Donna Carol Kurtz, John Boardman

The white-groun d kyathos in the J. Pau l Getty Museum produced fo r som e tim e in Athens, probably in meta l an d (figs, la-d , 11 ) i s a n earl y an d fin e exampl e o f a typ e o f wood mor e ofte n tha n clay . Thi s typ e o f kyatho s ca n b e vase that was produced in Athens for a relatively short time . seen on black - an d red-figur e vases , usuall y in representa - The styl e o f decoratio n suggest s tha t i t wa s painte d b y a tions of drinking parties. 3 Th e footed kyathos , with whic h contemporary o f Psiax in the las t decade s of the sixt h cen - we shal l b e concerned , wa s apparentl y mad e i n cla y i n tury B .C. The principal figure is a reveler wearing a costum e Athens for less than fifty years.4 The workshop of Nikos- associated wit h th e Ionia n poe t Anakreon , who cam e t o thenes i s th e firs t know n t o hav e specialize d in i t fro m Athens about th e tim e th e vas e wa s painted . around 53 0 B.C . Som e kyatho i were decorate d i n th e red - Part on e of this article , by Donna Carol Kurtz , discusse s figure technique, bu t i t was essentially a black-figure shape. the shape , technique, an d styl e of decoration of the kyathos . Nikosthenes5 supplie d Etruscan s a s wel l a s th e hom e Part two , by John Boardman, is devoted t o representation s market. His special neck-amphora wa s modeled on a shape of Anakreon an d hi s boon companions on Athenian black - already well establishe d in the nativ e bucchero fabri c wher e and red-figur e vases. 1 a foote d kyatho s wa s als o known. 6 Shap e an d decoratio n of th e Etrusca n kyathos, however, admit considerabl e vari - PART ONE: THE KYATHOS ety,7 an d th e for m whic h mos t closel y resemble s th e Atti c Kyathos i s the nam e conventionall y given to tw o type s figured vas e may b e late r tha n th e earlies t mad e in Athens.8 of dippe r o r ladle , which wer e mad e i n a variety of mate - Bucchero kyatho i ca n hav e patterne d rim s an d molde d rials.2 Th e footles s kyathos , wit h lon g thi n handle , wa s attachments o n th e bow l an d handle . Th e kyatho i whic h

Abbreviations: "the Swinger " and "the Affecter" are related formation s tha t have read - In additio n t o standar d abbreviation s th e followin g ar e use d i n thi s ily been accepted. In his published works, however, he tended not to use article: some forms which he had adopted in his notes—Drooper (Droo p Cup), ABFH:]. Boardman , Athenian Black Figure Vases, a Handbook (London, Lipper (Li p Cup), Pigger (th e Pig Painter). "Booners" seemed a subject 1974) . fit for such familiarity. ARFH: J . Boardman, Athenian Red Figure Vases, a Handbook (London , -er, suffix 6. Also -ers . Introduced fro m Rugb y Schoo l int o 1975) . QxforclUniversity slang , orig. at University College, in Michael- BAdd: L. Burn an d R. Glynn, comps., Beazley Addenda (Oxford , 1982). mas Term , 1875 ; use d t o mak e jocular formation s o n sbs., b y Brandenburg: H. Brandenburg, Studien zur Mitra (Munster, 1966) . clipping or curtailing them and adding -er to the remaining part, CB: L. D. Caskey and J. Beazley, Attic Vase Paintings in the Museum of which i s sometimes itself distorted . Oxford English Dictionary, Suppl . I (1972) , 967 , s.v. Fine Arts, Boston 2 (Oxford, 1954), 55-61. Cohen: B. Cohen, Attic Bilingual Vases (Ne w York, 1978) . 2. B . Sparkes and L. Talcott, Agora, vol. 12 (Princeton, 1970) , 143; Eisman: M. Eisman, "Attic Kyatho s Painters" (Ph.D . diss. , University Sparkes, JHS 8 2 (1962) , 13 1 n. 90 ; Eisman, AJA 77 (1973) , 71-73 ; of Pennsylvania, 1970 . Ann Arbor, University Microfilms). Eisman, passim. Hoppin: J. C. Hoppin, A Handbook of Greek Black-figured Vases (Paris, 3. Fo r example, on the black-figure jug made by Xenokles for Klei- 1924). sophos (Athen s 1045 ; ABV, 186 ; Hoppin, 145 ) and Paseas' squa t red- Kurtz: D. C. Kurtz, Athenian White Lekythoi (Oxford , 1975) . figure lekythos (Berli n 1960.32 ; ARV, 163.1 2 bis and 1630; JbBerlMus 3 LIMC: Lexicon Iconographicum Mythologiae Classicae 1 (Zurich, 1981). [1961], 118-119) . Mertens: J. R. Mertens, Attic White-Ground: Its Development on Shapes 4. Eisman , 11-12, 43-50, 825-828 . Other than Lekythoi (New York, 1977). 5. ABV, 216-237 an d 690; Para, 104-109 ; BAdd, 26-27. MuM: Miinze n und Medaillen, Basel (catalogue s of sales). 6. Giroux , RA 1966,13-32 ; Bothmer, RA 1969 , 7; Verzár, AntK 16 Pfuhl, MuZ: E. Pfuhl, Malerei und Zeichnungen der Griechen (Munich , (1973), 45 - 56; Eisman, GettyMusJ 1 (1974), 43-54 . 1923; reprint ed. , Rome, 1969) . 7. Canciani , AntK21 (1978) , 1 8 n. 4 (with bibliography); T. Ras- 1. Thi s article could hav e bee n title d "A White-Ground Kyathos mussen, Bucchero Pottery (Cambridge , 1979) , 110-116 ; Ramage, BSR 38 in Malib u an d Observations o n Representations of Anakreon and His (1970), 30. Boon Companions. " We preferred th e more economical nickname use d 8. J . Beazley and F. Magi, La Raccolta Benedetto Guglielmi nel Museo in the course of writing it. Its formation ma y puzzle some. The -er/-er s Gregoriano Etrusco, vol. 1 (1939), 128-130 ; Rasmussen (supra , note 7), suffix ha s long bee n affecte d i n Oxford—Pragger Wagge r (Princ e of 113-114 give s reason s for thinking that Atti c potter s wer e inspire d by Wales), th e Giler (St . Giles), th e wagger-pagger-bagger (wastepape r Etruscan shape s and not vice versa. basket) — although it is now falling out of use. Beazley was not immune; 36 Kurtz and Boardman

Figure la. White-groun d kyathos . Malibu , Th e J . Pau l Figure lb. Sid e of kyathos, figur e la . Getty Museu m 77.AE.10 2 and 78.AE.5 .

Figure lc. Sid e of kyathos, figur e la . Figure Id. Bac k of kyathos, figur e la . Booners 37

Figures 2a-b. White-groun d kyatho s attribute d t o Psiax . Würzburg, Marti n vo n Wagner Museu m (Universit y of Würzburg) 436. Photo: Courtesy Martin von Wagner Museum.

have bee n preserve d wit h Nikosthenes' signatur e a s maker 9 have angula r profiles : th e straigh t wall s of th e bow l tape r without curvatur e t o a substantia l dis c foot . Ther e ar e n o patterns around th e outsid e o f the rim , and th e figure s ar e set ou t i n a frieze , a s the y ar e o n Nikostheni c neck - amphorae. Th e stra p handle i s black an d i t ha s n o decora - tive additions.10 Psiax i s the fines t painte r o f Attic kyatho i and th e artis t who ha d th e greates t influence ove r younger me n decorat - ing them.11 The shape of two kyathoi in Würzburg and Milan (figs . 2a-b , 3) , th e onl y example s tha t hav e bee n firmly attribute d t o him, is diffèrent fro m tha t of the kya - thoi signed by Nikosthenes.12 The rims of Psiax's kyathoi

9. ABV, 223 , nos. 60-66; Hoppin, 189, 192, 209. The kyathoi of th e Harrow Clas s (Para, 304 ) als o have very angular profile s but loo k quit e different fro m thos e signed by Nikosthenes . 10. Th e anima l head attache d t o th e handl e o f Prague 16.5 2 (ABV, 223.63;J. Freí , Recké Vázy [Prague , 1956] , fig. 26) i s alien (Para, 304) . Whole animal s or anima l protomes coul d be attache d t o th e summit of the handl e of Etruscan bucchero kyathoi . Compare: Gli Etruschi e Cerv- eteri, ex. cat. (Milan , 1980) , 185 , no. 4 (bird), and Galerie für alte Kunst, Fortuna, sal e cat . (Zurich , 1979) , no . 4 (bovin e head) . Se e als o supra , note 7 . 11. ABV, 292-295 , 338 , 609, 674, and 692 ; ARV, 1 , 6-8, 1617-1618 ; Figure 3. White-groun d kyatho s attribute d t o Psiax . Para, 127-128 , 305, 321; BAdd, 38 , 72. Milan, Muse o Poldi Pezzol i 482 . Photo: Cour- 12. Milan , Muse o Poldi Pezzol i 48 2 (ABV, 293.15 ) an d Würzbur g tesy Muse o Poldi Pezzoli . 436 (ABV, 294.16) . 38 Kurtz and Boardman

are patterned , an d thei r handle s ar e elaboratel y decorated . bowl ar e missing , th e shap e ca n b e reconstructe d o n th e Although the y follo w Nikosthenes ' chronologically , the y basis of th e profil e o f th e lo w broa d bow l whos e thin wall s Other than Lekythoi (New York, 1977). have only a slight curvature.18 They are not straight like They are also white-ground.14 Although this technique those o f th e kyatho i signe d b y Nikosthenes , no r ar e the y was not new to the Athenian Kerameikos,15 it was only sinuously curvin g lik e thos e o f th e kyatho i painte d b y now establishin g itsel f firmly , possibl y predominantl y i n Psiax. The shap e of th e bow l i s mos t lik e tha t o f a numbe r the workshop of Nikosthenes,16 who made and signed two of kyatho i tha t ar e her e calle d 'early ' t o distinguis h the m white-ground oinochoa i wit h molde d head s attache d t o from th e earliest , mad e an d signe d b y Nikosthenes , an d their necks. 17 from th e mos t commo n late r forms , whic h see m t o hav e The Gett y kyatho s i s white-ground , an d lik e Psiax' s been influenced b y Psiax . kyathoi, i t ha s a pattern aroun d th e outsid e of th e ri m an d Most o f th e "early " kyatho i hav e blac k figure s o n re d a molded hea d a t th e joi n o f th e handl e t o th e mouth . Th e ground.19 Ther e are , however , som e tha t ar e wholl y black , technical qualit y i s high , th e shap e i s wel l fashioned , an d apart fro m a ban d aroun d th e outsid e o f th e mout h rim , the whit e sli p wa s expertl y applied . Th e incisio n o n th e which i s either reserve d with th e patter n painted in black 20 black silhouett e i s even , an d th e color s hav e been carefull y or blac k with decoratio n in adde d colors. 21 Ther e i s als o a t and tastefull y adde d bot h t o th e figur e decoratio n an d t o least one example decorated in Six's technique22 —an the molde d femal e head . Qualit y an d polychrom y attrac t unusual an d neve r ver y popula r technique , whic h wa s our attentio n an d wi n ou r appreciation . Th e kyatho s exploited a t thi s tim e b y som e member s o f Nikosthenes ' might hav e belonge d t o a symposias t wh o like d t o hav e a workshop23 and by Psiax.24 The foot of some of these pretty gir l t o accompan y hi s drinking . "early" kyathoi i s a n inverte d echinu s like th e on e restore d Although th e foot , much o f th e handle , an d part s of th e for ou r vase . Th e handl e i s entirel y black , bu t i t i s embel -

13. Shape s of Attic kyathoi have bee n extensivel y studied b y Eisman infra, not e 22) . T o thes e ca n b e adde d a fragmentar y kyatho s i n th e (Eisman, 18-2 1 an d ibid., Archaeology 28 [1975] , 78). Vatican (2371a-d ; RendPontAcc 50 [1977/78] , 262 and 267 , fig. 57). 14. I n Mis s Richter' s publicatio n of th e Mila n kyatho s (AJA 4 5 Eisman (AJA 7 7 [1973] , 71) compare d two more kyathoi with thos e [1941], 587-589) sh e records tha t the light in the gallery had been poo r assigned t o th e Painte r of Vatican 480: Louvre F 16 3 and Munich 1961 . and that she had been unabl e to examine the vas e personally. Some tech- Louvre F 16 3 features a centaur betwee n larg e eye s tha t ar e rimmed in nical feature s ha d mad e m e wonde r i f it wa s i n fac t a white-groun d white paint . The additio n of the larg e eye s might plac e thi s vas e bette r kyathos an d no t a red-ground. I should lik e t o than k Drs . A. Molfin o with othe r "early " kyatho i tha n wit h thos e b y th e Painte r o f Vatica n and G. Arrigoni fo r confirmin g that th e kyatho s i s indeed white - 480. The shap e of Munich 196 1 (se e infra , not e 22 ) suggest s tha t i t i s ground. later. 15. Th e earliest atteste d use of the technique in Attica is the pattern - Among unassigne d "early " kyathoi with figure s in frieze s lik e thos e band surroundin g th e exterio r o f th e mout h ri m of Nearchos' signe d kyathoi by the Painter of Vatican 480 are several which introduce a band kantharos foun d on the Akropolis: Athens, National Museum, Akropolis of ivy aroun d th e exterio r of the mouth rim—fo r example, a kyathos in Collection 611 ; ABV, 82.1 ; ABFH, fig . 49. the Vill a Giuli a (n o number ) o n whic h th e nam e "Lydos " appear s 16. Merten s (33-35 ) favor s th e worksho p in which Andokide s was (Canciani, AntK 2 1 [1978] , 17-22 ) an d another , wit h a frieze of ath- active, a s do Cohen (45-53 , 120 , 153-157 ) an d Dietric h von Bothmer letes, recently on th e German market (Hamburg , Termer). (BMMA [Februar y 1966] , 207). Dyfri Williams , howeve r (JbBerlMus Other kyathoi of "early" shape replace the conical knob on the handl e 24 [1982 ] ,26), supports th e clai m of Nikosthenes. Se e also Kurtz, 12 . with a twiste d spu r an d introduc e larg e eye s whic h ar e sometime s 17. Louvr e F 11 7 and 116 ; ABV, 230 , nos . 1-2 ; Hoppin , 254-255 ; rimmed in white paint. The examples cited here do not hav e a pattern - Mertens, 31-33; Williams (supra , not e 16) , 26-27. band aroun d th e mouth rim : once Castl e Ashby (38 . CVA, pi . 25.1-2) 18. Heigh t to rim (a s restored) : 6.8 8 cm. Height to handl e (a s pre - now Mr . Kallimanopoulos; Swis s private collectio n (woma n runnin g served): 9.6 3 cm . Maximum diamete r o f bowl: 9. 5 cm . Sixtee n frag - between larg e eyes , lion s a t th e handles) , b y th e sam e hand a s th e last ; ments (77.AE.102 ) comprise th e bod y an d handl e portion s wit h th e Maplewood, Mr. Noble (Dionysia c procession betwee n larg e eye s tha t molded femal e head . Thre e fragment s tha t wer e acquire d subsequentl y are painted white and picked out in black paint). Louvre Cp 1105 4 may (78.AE.5) giv e additional portions of the handl e an d th e bod y of cock belong here , althoug h Eisma n (609-61 0 an d AJA 77 [1973] , 71 ) wa s L. Herber t Cah n had alread y determine d tha t th e coc k fragment (the n inclined t o place it near Psiax owing to th e application of white ground. in hi s possession ) di d no t belon g t o th e fragmentar y kyatho s no w i n Kyathoi assigne d t o th e Hanfman n Painte r (se e infra , not e 31) ar e nea r Heidelberg (an d previousl y in Amsterdam) illustrate d here in figure 5 . the "early" shape and combine the twisted spur and rounded ivy leaf on See infra, not e 36. the handle. They als o have no patterns around th e mouth rim. 19. Beazle y attributed thre e to the Painter of Vatican 480 (ABV, 609 ; 20. Beazle y (ABV, 609 ) compare d two kyathoi in Munich (inv . nos. Para, 304). The mouth rim s of these kyathoi are undecorated, an d ther e 1964 and 1963 ) with thos e by the Painter of Vatican 480 (se e supra, note are fine lines encircling the bowl beneat h th e friez e of figures. The han - 19). Their simple scheme of decoration was attractive and probably pro- dles ar e surmounte d b y a knob an d embellishe d wit h a raise d centra l duced in greater quantity tha n presen t published evidence suggests. Th e ridge tha t terminate s i n a rounded iv y leaf, which ha s tw o tin y "rive t calyx-shaped bowl of Munich 196 2 (ABV, 609.5 ) an d th e twiste d spu r holes" above . Th e kyatho s onc e i n Castl e Ashby (no w owne d b y Mr. and palmett e o n the handle , in the manne r o f later kyathoi, also suggest Kallimanopoulos) ca n serv e a s a n example : CVA Castl e Ashby , pi . 24. production over a period of time. 1-3. Beazle y compared thes e three kyathoi with tw o which ar e painte d Attic kyatho i decorated i n this wa y ca n resembl e Etrusca n buccher o black (se e infra , not e 20) an d anothe r decorate d i n Six's technique (se e kyathoi wit h incise d pattern s o n th e rim . Compare, fo r example : E. Booners 39

lished with a knob o r twiste d spu r a t th e summit , a raise d kyathoi wit h embellishe d handles . Th e angula r iv y leaf in central ridge , an d a singl e pendent, rounde d iv y leaf. Th e this positio n on th e Mila n vas e i s without exac t parallel . most popula r patter n fo r th e mout h ri m i s ivy, which i s Reservation o f decorativ e feature s i s new o n kyathoi. 27 I t sacred t o Dionysos , god of wine, an d therefor e appropriat e focuses attentio n o n contour s o f th e handl e tha t woul d to decoratio n of drinking vessels. 25 show u p mor e prominentl y o n a meta l vase . Reservatio n Shape an d genera l schem e o f decoration lin k th e Gett y requires additiona l time an d troubl e an d occur s onl y o n a kyathos to the "early" kyathoi, but th e white-ground tech - small number of finer kyathoi,28 which also have molded nique an d molde d hea d attache d t o th e handl e remin d u s heads like Psiax's. The satyr head29 on the kyathos in Milan of Psiax , whos e kyatho i have a calyx shape . The thi n wal l is fine r tha n th e femal e hea d o n th e Wiirzbur g kyathos . of th e Gett y bow l taper s towar d th e bas e wit h a gentl e That femal e head resemble s th e on e o n th e Gett y kyathos , curve no t unlik e th e caly x o f a flower. Th e kyatho s i n whose handle could als o have had reserve d embellishments . Wiirzburg (figs . 2a-b) i s more typica l of finer lat e sixt h - Finely incise d line s on both side s of the fron t surfac e of th e and earl y fifth-century kyatho i than i s his kyathos in Milan Getty kyatho s ru n paralle l t o th e edg e abou t tw o m m (fig. 3) , whose elaborat e toolin g and patternin g ar e excep - below it—a feature of some Etruscan bucchero kyathoi.30 tional an d withou t exac t parallel . Th e latte r look s lik e a Although Beazle y attributed kyatho i to painters , h e lef t special piece by an imaginative potter and painter.26 The many in stylistic groups o r unassigned. Michael Eisma n ha s handles o f both kyatho i are surmounted b y a twisted spur . endeavored t o distinguis h new painters, 31 an d on e of these The spur , th e raise d centra l ridg e t o whic h i t i s attached , is th e Hanfman n Painter . On e o f th e kyatho i assigne d t o and th e ornamen t i n which i t terminate s ar e reserve d the Hanfman n Painte r (infra , figs . 6a-c) , hi s nam e piece , against th e blac k ground . Th e penden t ornamen t o n th e is white-ground. The shape of this painter's kyatho i is sim- Wiirzburg vas e i s a palmette , whic h i s standar d o n late r ilar t o tha t of the Gett y vas e (althoug h non e ha s bee n pre -

Simon, The Kurashiki Ninagawa Museum (Mainz, 1982), 181, no. 114. See Lagunillas vases . also Rasmussen (supra , note 7). 28. Th e kyathoi in Milan an d Wiirzburg see m t o b e model s for The scheme of decoration was, however, popular in Athens for vessels examples known to me that belong near the Group of Vatican G 57 (see of other shapes . Among drinking vessels, compare black cups with ivie d infra, not e 49) . Kyathoi wit h molde d head s in this Grou p hav e black rims (e.g . Richmond 62.1.9 ; Tara, 99 ; Ancient Art in the Virginia Museum handles with twiste d spur, media n ridge, and pendent palmette . Thos e [Richmond, 1973] , 84, no. 100); mastoi (e.g . Philadelphia, University with reserve d handle-decoration also have molded heads, and their stan - Museum S 4862; Athens, Agora P 24556; Heidelberg, University S 23; dard o f figure-drawing i s abov e th e averag e fo r the Group. Berkeley CJ^4 4 , pi. 165); and mastoids (e.g . Orvieto , Faina Collection 15 1 an d 8-2 (CVA California 1 , pi. 173a-c) i s unassigned, and the handle wit h Florence V 27 , which belon g t o th e Pistia s Clas s [ABV, 627.ii.l-2] partly reserve d decoratio n doe s no t belong to the kyathos t o which it discussed infra, not e 68) . was added (ibid. , 26 and Eisman, 437). A white-ground kyathos in the 21. Merten s (87 ) mention s tw o fragments fro m th e Agora (A-P Vatican (20721. RendPontAcc 50 [1977/78], 261-262 and 266, figs. 1513 and 1656) tha t could hav e come from simila r black kyathoi. 55-56) ha s a partly reserved handle and molded female head, ivied rim, 22. Beazle y (ABV, 609) compared Londo n B 696 with kyatho i by and doves at the handle in a style reminiscent of Psiax. This fragmentar y the Painte r of Vatican 48 0 (supra, not e 19) . Eisman (102-104 ) com - kyathos may be compared with another , als o white-ground with ivie d pared Munic h 196 1 with kyatho i by that painter principall y becaus e of rim, in a private collectio n in Lugano (Para, 305 ; MuM 22 [1961] , pi. the unusua l technique . I t has the calyx-shaped bowl an d handle wit h 45, no. 144 ) which Beazley placed near the Group of Vatican G 57 (Para, twisted spu r an d palmette o f later kyatho i (se e supra, not e 20) , whic h 305). Eisman (AJA 7 7 [1973] , 71) placed it near thi s Group and Psiax. suggest continue d production in the technique. Eisman (608 ) liste d one Beazley ha d also compared th e ivied ri m of the Lugano kyathos wit h other kyatho s in genuine Six' s technique: Leningrad E4474. another red-groun d exampl e in Orvieto (293 ; ABV, 613.2 ) whic h i s 23. Kurtz , 12 , 116-120. near th e Group of Vatican G 57. The Orvieto kyathos' handl e i s not 24. Londo n 1900.6-11.1 ; ABV, 294.25; Kurtz, pi. 1.3. preserved abov e the fine molded female head. The handle of the Lugano 25. To m Carpenter draw s my attention t o Plut. Mor. 648E and Ath. kyathos i s said t o hav e bee n restore d (MuM 22 [1961] , 76), and one xv, 675d. wonders if it was not similarly decorated. Beazley compared the Orvieto 26. Mertens , AntK 22 (1979) , 27-28. head wit h th e one on Psiax's kyathos in Wiirzburg an d with thos e on 27. Reservatio n wa s selectively applied earlier , in Attica an d else- two kyatho i in the Group of Vatican G 57 (ABV, 611, nos. 2 and 5), where, to parts of the handles. The jug painted by Kleisophos (se e supra, whose handle s hav e n o reservation . Th e Orvieto hea d als o resemble s note 3 ) i s an example, althoug h i t ha s clay snake s instea d of molded another o n a red-ground kyatho s i n the Louvre (C A 3309; AJA 11 heads. On metal prototypes se e H. Payne , Necrocorinthia (Oxford , 1931) , [1973], 71; Revue des Arts 4 [1954] , 234, no. 21 and fig. 11) with partl y 214 and n. 1. Some of the oinochoai decorated by the Painter of London reserved handle , ivied rim, and lively styl e of drawing not unrelated to B 62 0 (se e infra, not e 36 ) hav e partly reserved handles and some do not, that of our Malibu kyathos . but al l have molded female heads attached t o the upper and lower ends, 29. Eisman , 146 . Satyr protome s o n metal vase s ar e discussed mos t which suggest s tha t reservatio n an d molded head s nee d no t be com - recently by T. Weber, Bronzekannen (Frankfurt , 1983) , 130-13 7 (wit h bined. These oinochoai are roughly contemporary with Psiax' s kyathoi, bibliography). as i s an unusual, high-stemme d kantharo s wit h molde d female head s 30. Compar e Galerie für alte Kunst, Fortuna, sal e cat. (Zurich , 1979) , attached t o the join of handle t o mouth rim (interior) . The kantharos no. 4; Rasmussen (supra , note 7), 112-116. was previously in the collection of Count Lagunillas and is now in the 31. AJA 11 (1973) , 71-73 . Hanfman n Painter : AJA 11 (1973) , 71 State Museum , Havana. R. Olmos i s preparing a publication of the and Eisman, 105-124 . 40 Kurtz and Boardman

Figure 4. Molde d femal e hea d fro m a kyathos. Prague , Figure 5. Fragment s o f a white-ground kyathos . Heidel - National Galler y 16/52 . Photo : Courtes y berg, Archaeologica l Institut e (Universit y o f National Gallery . Heidelberg) 26 3 (incorporatin g Amsterda m 2162). Photo: Courtesy Archaeological Institute , Heidelberg. served with a molded head), an d cock s almost alway s stan d Attic black-figur e vase s th e dotte d an d crosse d embattle - at th e handles . I t i s not, therefore , surprisin g that th e Gett y ments appea r o n article s o f dres s mor e ofte n tha n i n kyathos ha s bee n associate d wit h him . We shal l now loo k pattern-bands framing figure scenes.33 They also appear on closely a t th e vas e an d tr y t o determin e whethe r i t wa s the costume s o f the marbl e statue s of maidens (korai ) fro m painted b y Psiax , th e Hanfman n Painter , o r b y anothe r the Athenian Akropolis.34 An extremely fine clay female artist. head in Prague (fig. 4)35 was once attached to the handle The outsid e o f th e ri m o f th e Gett y kyatho s ha s a n of a kyathos. Th e woman wear s a diadem, lik e th e Akro - unusual pattern : a n embattlement wit h fiv e tiny dots in th e polis maidens , decorate d wit h a well-drawn embattlemen t intervals, painte d i n blac k o n th e whit e groun d betwee n with thre e dot s in th e intervals . An embattlement patter n fine blac k lines . This patter n i s not foun d o n th e "early " with fou r dot s i n th e interval s wa s carefull y execute d a t black-figure kyathoi32 or, in this form, on Psiax's. The pat- about thi s time by the Painter of London B 620 on a white- tern o n hi s kyatho i in Milan an d Würzbur g i s a simpler, ground oinochoe. 36 Thes e oinochoa i may hav e bee n mad e visually bolde r embattlemen t i n which area s of light an d in th e worksho p of Nikosthenes, and lik e his signe d oino- dark ar e balanced . Th e dotte d embattlemen t an d th e choai, the y ar e white-groun d wit h molde d cla y heads. 37 crossed embattlement , whic h differ s fro m th e precedin g in The painter' s embattlemen t ha s invite d compariso n wit h the substitutio n o f crosse s fo r dot s i n th e intervals , wer e the on e o n th e Gett y kyathos , bu t it s executio n i s muc h possibly mor e commo n amon g painte d architectura l an d finer. The figur e styl e of the painte r als o looks diffèrent: h e woven textile patterns than preserved evidenc e suggests. On likes animal studies, which h e render s very sensitively , and

1. Cambridge , Mass., Fogg Art Museum, 1969.15 (figs . 6a-c). they ar e mor e commo n on white ground ; cf . a n alabastro n i n London 2. Heidelberg , University S 50; CVA 1 , pi. 41.4. (see infra , not e 69) an d a kyathos in Leningrad (se e infra , not e 36). Se e 3. America n private collection; Eisman, pis. 7-8. also Mertens, 81. 4. Toled o (Ohio) Museum of Art 66.110 ; C1^4 1 , pi. 30. In addition to thes e embattlements wit h dot s or dotted crosse s (usu - 5. Munic h 1943 ; Archaeology 28 (1975) , 7 6 (part) . ally saltire) , ther e ar e example s wit h crosse s an d square s alternating in 6. Londo n B 465. the intervals; cf. Agora 1656a- b (se e supra, note 21). Others have squares 32. The y usually have a band of ivy (se e supra , note 19) . in th e interval s which ar e crosse d (Sain t Georg e cross ) an d dotted . Cf. 33. Costume s o n th e Françoi s Vas e (Florenc e 4209 ; ABV, 76.1; a white-ground diadem of a female head vas e from the Akropolis ( 1062; ABFH, fig . 46) indicat e that the patterns were well established in textiles E. Langlotz, Die antiken Vasen von der Akropolis zu Athen [Berlin, 1933], before th e middle of the sixth century. Se e P. Cecchetti, StMisc 19 ( 1971/ 96 and pi. 83). The establishe d traditio n of the patter n i s attested from, 72), pis . 11-19 . The patter n ca n als o b e foun d o n vase s contemporar y for example , dress-patterns on a "Melian" amphor a (G . Richter, Korai with th e Gett y kyathos, e.g. , th e dres s of an unusual winged Athena on [London, 1968] , pi. x-d). a skyphos in Orvieto (Faina Collection; RomMitt 12 [1897], pi. 12) . The 34. Richte r (supra , note 33), 100-101 , no. 18 1 and 102 , no. 183 . The style o f drawin g invite s comparison s wit h Berli n 209 2 (ABV, 610.1 ; simple embattlement als o occurs: cf. ibid., 74-75, nos. 116-117 . Eisman, pi. 13). 35. Prague , National Gallery, 16/52;J. Frel (supra , note 10), figs. 27- The pattern s ca n borde r red-groun d blac k figure s (a s o n Akropoli s 28. plaque 2526 ; O . Graef , Die antiken Vasen von der Akropolis zu Athen 36. Leipzi g T 428 , frags. ABV, 434.5 ; CVA 2 , pi. 39.1-2. Painter of [Berlin, 1925] , 246 and pi. 104), but in the period of the Getty kyatho s London B 620: ABV, 43 4 and 697; Para, 187 ; BAdd, 54 ; Mertens, 85-87. Booners 41

his human figures hav e high-set , rathe r smal l eyes , whic h figure mask-amphora in Copenhagen:46 those are much impart a somewha t sa d expression . Th e Gett y patter n is , rounder an d hav e a larg e re d pupil . No t al l vases with a however, closely paralleled on fragments o f a white-ground tiny-pupil ey e ar e earlie r tha n thos e wit h a large-pupi l kyathos in Heidelberg38 (fig. 5), which must have been eye,47 bu t th e latte r typ e i s prevalent o n kyatho i associate d painted b y th e sam e artist . with th e follower s of Psiax. Large eye s fram e th e centra l figure o n th e Getty kyatho s The Hanfmann Painte r use s the black-figur e type of ey e and se t hi m apar t fro m th e subsidiar y figures a t th e han - and sometimes rims it with white on red ground.48 The dles. Large eyes d o not appea r on th e ver y earlies t kyathoi, tendency t o ri m th e ey e on whit e o r re d groun d ca n als o nor ar e the y commo n o n th e "early " examples , whic h be observed in the Group of Vatican G 57,49 whose artists seemed t o prefe r figure s in friezes. Psiax' s kyathos in Mila n seemed t o lik e adde d whit e fo r a variet y o f details . (fig. 3 ) preserve s th e friez e style , wherea s th e kyatho s i n Although littl e remain s o f th e white-groun d kyatho s i n Wiirzburg (figs . 2a-b) display s figure s betwee n eye s an d Heidelberg (fig . 5), ther e i s enough t o determin e tha t th e figures a t th e handle s i n the manne r o f later kyathoi . Large large eye s wer e rimme d i n whit e an d tha t the y turne d eyes ha d bee n popula r o n drinkin g vessels fo r som e time . upward a t th e oute r corner s lik e thos e o n th e Gett y Their shap e an d coloratio n change d bot h ove r th e year s kyathos. and from workshop to workshop. The eye s themselves can , The cock s a t th e handle s o f th e Gett y kyatho s (figs , therefore, help to place a vase stylistically.39 lb-d) ar e rendere d i n a s much detai l a s the dresse d komas t The eye s o n th e Gett y kyatho s ar e incompletel y pre - who i s framed b y th e larg e eyes . The y too , therefore , ca n served. We canno t b e certai n how man y ring s ther e were , provide good material for comparisons and possible attri- nor ho w the y wer e colored , but thei r shap e can b e recon - bution. Cocks50 were popular on drinking vessels, possibly structed. Th e eye s ar e relativel y small and elongated . Th e because the y wer e favore d gift s betwee n me n an d boys . A outer corner s poin t upward , an d th e lachryma l ducts ar e cock i s being exchanged o n a kyathos tha t Eisman assigned long and curving. The outlines ar e strongly curved, and th e to th e Hanfman n Painter : th e lover s stan d betwee n larg e eyes ar e rimme d i n whit e paint . Th e applicatio n of a eyes, and large cocks stand at the handles.51 Winged fig- "second white " t o th e whit e groun d i s unusual. 40 Th e ures—birds o f various specie s an d composit e winged crea - outer rin g of the ey e i s painted red . The next ring , of equal tures, suc h a s sirens , sphinxes , pegasoi , an d hippalek - size, i s painted white . Judging from th e shap e and colora - tryons —were ver y popula r handle-figure s o n kyathoi , tion o f the eye s (a s preserved) , w e ma y assum e tha t ther e probably because wings are excellent space fillers, an d plum- was a larg e centra l blac k are a wit h a tin y red-do t pupil . age ca n b e ver y colorful . Th e cock s on th e Gett y kyatho s This type of eye is not uncommon in Attic black-figure.41 are amon g th e mos t detaile d an d colorfu l o n Atti c black - Compare thos e on th e Wiirzburg kyatho s (whic h are not , figure vases . Th e whit e groun d ha s give n th e painte r a n however, rimme d i n white ; "secon d white " i s a s ye t extra dimension , and h e ha s bee n generou s i n his applica- unknown in Psiax's work42) and those on Psiax's red- tion of white and re d paint. The long, thin tendril that rise s figure cups in Cleveland43 and Munich.44 Then contrast behind th e cock , loops gracefully, and terminate s i n a pen- the shap e and coloratio n of the eye s o n th e bilingua l cup s dent blosso m (her e with incise d petals) ca n b e considere d that bear Psiax's name without a verb45 and on his black - part of the cock motif.52 It is included by Attic and non-

Beazley (ABV, 697 ) compare d th e pattern-work o n kyathoi in Len- 173; Mertens, 59; Mertens, MMAJ 9 (1974) , 93; Kurtz, 28-29, 44-54. ingrad (B4473 , ex Botkin ; Mertens , 8 2 an d pi . 12.1 ) an d Heidelber g 41. Cohen , 247, 250, 275. (University 263 ; our fig . 5) wit h tha t of the Leipzi g oinochoe. Mertens 42. Mertens , 35-40; Kurtz, 9-12 . (82 an d vi ) tentativel y retaine d th e associatio n of th e vase s with th e 43. Clevelan d (Ohio) 76.89; ARV, 7.7 ; W. Moon and L. Berge, Greek painter. Th e attributio n o f th e Heidelber g (an d joining Amsterdam) Vase Painting in Midwestern Collections (Chicago , 1979), 104-105 . fragment t o th e Painter of London B 620 (BABesch 50 [1975] , 164 , 176, 44. Munic h 2587 ; ARV, 7.8 ; Jb 1 0 (1895), pi. 4. fig. 20 ) i s base d o n a misunderstanding o f Beazley's comments o n th e 45. Ne w Yor k 14.146.2 ; ARV, 9.1 ; G. M. A. Richter, Red-figured pattern-work. Th e bes t comparison fo r th e Gett y komas t i n the wor k Athenian Vases in the Metropolitan Museum of Art (Ne w Haven, 1936) , of th e Painte r of London B 62 0 i s Peleus on th e nam e vas e in London: pis. 2. 2 an d 8.2 . Munich 2603 ; ARV, 9.2 ; AJA 1 0 (1895) , 487-488 an d ABV, 434.1 ; LIMC 1 , pi. 59 (Achilleu s 27). pi. 22. 37. R . V . Nicholls ha s kindl y draw n m y attentio n t o th e relatio n 46. Copenhage n 4759 ; ABV, 293.6 ; CVA 3 , pl. 107.1. between th e molded heads on these oinochoai and those on a large group 47. Cohen , 294, 307, 317, 329, 342, 371, 388 (ey e types on red-figur e of archai c terracott a statuettes . Broadly speakin g th e head s on th e oin - cups). ochoai have les s detail than thos e on the kyathoi and give the appearanc e 48. Se e supra, note 31, nos. 4 (Toled o 66.110) an d 5 (Munic h 1943) . of veiled faces . Se e infra, note s 71 and 78 . 49. ABV, 610-613 , 711; Para, 305 ; BAdd, 68 ; Mertens, 82-83. 38. Se e supra, note 36. 50. MuM34 (1969), 35-36 (with bibliography). 39. Cohen , 240-522 ("ey e cups") . 51. Toled o 66.110. See supra, note 31. 40. C . H. E. Haspels, Attic Black-figured Lekythoi (Paris, 1936), 88-89, 52. BSR 1 1 (1929), 1 4 (Beazley). 42 Kurtz and Boardman

Figure 6a-b. White-groun d kyatho s attribute d t o th e Hanfman n Painter . Cambridg e (Mass.) , Fog g Ar t Museum 1969.15 . A supporter o f Sardis in recognition of Mrs. lise Hanfmann and eleven seasons of hospitality. Photos: Courtesy Fogg Art Museum.

Attic painters an d was probably inspired by the cock's long, cock R white . Both fac e th e handl e an d direc t thei r col - thin sickl e feathers , whic h ris e abov e hi s bac k i n gentl e orful tai l plumage towar d th e fron t o f the vase . curves. Cocks als o face d th e handl e o n th e white-groun d kya - The Gett y cock s (figs , lb-d) an d thei r accompanyin g thos i n Heidelber g (fig . 5) , whos e dotte d embattlemen t florals ar e incompletel y preserved. Th e coc k t o th e lef t o f and white-rimmed eyes hav e alread y bee n compare d wit h the handl e (coc k L ) wa s mad e nearl y complet e b y th e those o n ou r kyathos . Onl y on e coc k (R ) ha s bee n pre - incorporation of a fragment previousl y in the possessio n of served. H e ha s a larg e roun d eye , wit h a secon d rin g o f Herbert Cahn. 53 Onl y th e for m o f th e feet i s uncertain . incision definin g th e pupi l an d a n additiona l line of inci - The ey e an d bea k ar e define d b y incision . Th e com b an d sion a t th e oute r corner . His beak i s incised. His comb an d wattle ar e picke d ou t i n red , an d th e point s an d blad e of wattle ar e red, and hi s hackle is dotted white . His plumage, the com b ar e rendere d wit h considerabl e care . The nec k i s as preserved , i s very lik e th e Gett y cocks' , apart fro m th e well-proportioned, an d th e throa t ha s a strong , conve x definition o f the saddl e feather s i n white paint . Th e cock s curve. The hackle is dotted white , and it s feathers ar e indi - were certainl y painte d b y th e sam e han d a s thos e o n th e cated belo w i n incise d (pendent ) points . Thre e layer s o f Getty kyathos , and the y ar e among th e earlies t example s of short win g feathers compris e th e covert . Eac h feather i s a type of handle-figure tha t i s popular on later kyathoi. outlined wit h incisio n an d picke d ou t wit h a do t o f re d The Hanfmann Painter's cocks (figs . 6a, c) ar e also early. paint. Ther e wer e apparentl y tw o layer s of long flight Perhaps h e o r th e painte r o f the Gett y kyatho s introduce d feathers, an d thes e were se t apar t from th e cover t by a scal- them t o th e shape , an d perhap s h e i s th e painte r o f th e loped lin e o f incision , whic h wa s als o embellishe d wit h Getty kyathos . If he is , the cock s on hi s kyathoi ought t o white paint . Ther e wer e fou r o r fiv e lon g saddl e feathers , look like those on the Getty vase. Superficially the y do, bu t and eac h wa s full y outline d with incision . Th e tw o lon g close inspection of the Fog g kyathos reveal s distinctive styl- sickle feather s wer e painte d i n black . The tai l feather s ar e izations tha t do no t appea r o n th e kyatho i in Malibu (figs , in tw o layers , se t apar t b y a scalloped line of incision. Th e lb-d) o r i n Heidelber g (fig . 5). Fo r example , th e oute r tail feather s o f cock L were alternatel y painted red , those of ring of incision definin g the ey e has a n elliptical line adde d

53. Se e supra, note 18 . two kyatho i that h e assign s t o th e painte r a s late works: Toledo 66.110 54. Cambridge , Mass., Fogg Art Museum 1969.15; AJA 77 (1973) , 71. and Londo n B 465 . All o f the kyatho i have twiste d spu r an d rounde d 55. Eisma n (AJA 77 [1973] , 71) assign s four kyatho i to th e painte r ivy lea f on th e handle , excep t Londo n B 46 5 whos e handle , a s well a s that see m t o b e more closel y related t o eac h othe r tha n the y ar e t o th e molded head , ma y b e alien . Th e larg e eye s o n Toled o 66.11 0 an d o n Booners 43

Figure 6c. Sid e of kyathos, figure s 6a-b . Figure 7. Detai l from th e red-figur e pane l o f a bilingua l amphora attribute d t o Psiax . Madrid , Muse o Arqueolσgico Naciona l 11.008 . Photo: Courtes y Museo Arqueolσgico Nacional . to the outer corner . The Hanfmann Painte r mus t hav e liked from tha t of the Malibu an d Heidelber g kyathoi.55 this detail, for he gav e it to Dionysos on hi s name vase (fig. Psiax painte d a t leas t on e coc k an d severa l type s o f 6b) i n the Fog g Museum. 54 Th e hackle s o f the Fog g cock s winged creatures . The coc k (fig . 7) i s miniature work. He are shor t an d fringe d both abov e and below , in contrast t o appears a s Ares ' shiel d blazon , execute d i n black-figure in the mor e naturalisti c rendering on th e Malibu an d Heidel- the red-figur e pane l o f the bilingua l amphor a i n Madrid , berg kyathoi. which was made and signed by Andokides.56 Although the Another distinctiv e feature i s the elliptica l wing wit h a cock i s ill preserved, w e ca n b e certai n tha t h e wa s ver y chevronlike formation (Fog g coc k L) settin g off the shor t carefully drawn . H e i s delicatel y built , lik e Psiax' s figure s feathers o f th e cover t fro m th e lon g flight feathers. Thi s generally, an d differentl y feathere d fro m th e cock s seems to hav e bee n th e Hanfman n Painter' s favorit e typ e described s o far . His hackle wa s apparentl y lightl y stipple d of wing, but h e knows other types , too , and on e of them i s with incisio n and no t fringe d below. There ar e tin y arc s of also Psiax' s favorite : Fog g coc k R' s win g cover t ha s tin y incision on hi s wing cover t an d a scalloped lin e of incision arcs of incision, which giv e a feather y effect . A scallope d between th e cover t an d th e flight feathers . Th e saddl e line of incision set s these feathers apar t fro m th e long fligh t feathers ar e outlined with incision . Since this figure is small feathers, an d th e outlin e o f th e win g posteriorl y i s scal - and il l preserved , w e need to look at Psiax's other bird s an d loped. The saddl e feathers of the Hanfman n Painter' s cock s birdlike creature s to hav e a better ide a abou t hi s style . tend no t t o b e show n individuall y bu t in a mass, which i s There i s a n ow l on th e black-figur e amphor a i n Bres - fringed belo w wit h incision . The tai l feathers ar e usuall y cia.57 It , too, i s a shield device , bu t rendere d i n Six' s tech - layered an d colored . Th e leg s ar e jointed an d th e shank s nique. The shap e and formation of the wing i s like the littl e have long spurs. Unlike th e Malib u an d Heidelber g cocks , cock's. I n th e black-figur e pane l of the bilingua l amphor a they regularl y fac e forward , directin g thei r plumag e in Munich,58 there are also wings—on Hermes' boots. toward th e handle. Although the rendering of the cock s o n Unlike th e wing s describe d s o far , thes e ar e sprea d an d the kyatho i assigne d t o th e Hanfman n Painte r varies , a present a doubly curved profile. Their coverts have tiny arc s coherent styl e seem s t o emerge—on e whic h stand s apar t of incision . Th e flight feather s ar e graduate d i n size . Th e

Munich 194 3 are rimmed in white paint. Earlier Eisman (678-679 ) ha d 57. Brescia , Museo Civico ; ABV, 292.1 ; P . Arias, M. Hirmer, and B. left th e London kyathos unassigne d an d ha d compare d i t with vase s by Shefton, A History of Greek Vase Painting (London , 1963) , pis. 6 8 an d the Theseu s Painter . xx. 56. Madri d 11.008 . ARV, 7.2 . 58. Munic h 2302 ; ARV, 6.1 ; CVA 4 , pi. 153. 44 Kurtz and Board m an

Figure 8. Detai l o f a red-groun d kyatho s "near " Psiax . Compiègne , Musé e Vivene l 1073 . Photo : Courtesy Musé e Vivenel . wings of the sphinxes on the Würzburg kyatho s (fig . 2b) 59 Psiax's cock s woul d loo k whe n painte d o n a large r scale . must hav e looke d lik e this , a s d o thos e of Pegasos on th e Many mor e example s coul d b e given , and the y coul d b e exterior of the bilingua l cu p in New York, 60 whic h bear s taken from othe r shape s too, but they would probabl y only Psiax's nam e withou t a verb . Th e raven s i n th e tond o of confirm th e widespread influenc e of Psiax and th e different this cu p hav e win g formation s lik e th e Bresci a owl' s an d source o n which th e painter of the Getty kyathos seem s to like th e phallu s bird o n a white-ground kyathos in Berlin, have drawn. 65 which i s the nam e vas e of the Group of Berlin 2095 61— one The cock s o n th e Gett y kyatho s hav e provide d goo d of the group s tha t Beazle y placed near Psiax. The body an d material fo r comparison . Eve n if they hav e no t reveale d tail feather s of the phallus bird ar e like the siren' s on a kya- who painte d th e kyathos , the y hav e decrease d th e likeli - thos in Leningrad that Beazle y als o place d nea r Psiax. 62 hood o f this being either th e Hanfman n Painte r o r Psiax . Another composit e creature i s the hippalektryon. He ha s We must now turn to the dressed komast. He will b e some - the forepar t of a horse an d th e bod y of a cock.63 The hip - what les s helpfu l tha n th e cock s fo r tw o reasons : (1 ) hi s palektryon on a kyathos in Compiègne tha t i s "near" Psia x costume i s unusual , an d i t cover s a significant part o f th e (fig. 8) 64 probabl y give s a fairl y accurat e pictur e of how body; an d (2 ) tha t par t of his body which i s exposed ha s

59. Se e supra , not e 12 . Some of the figure s on th e vas e are restored : 63. Schauenburg , AA 1981 , 338 n. 17. E. Langlotz, Griechische Vasen in Würzburg (Munich , 1932) , 82. 64. Compiègn e 1073 . ABV, 295.2 . This type of hippalektryon coul d 60. Se e supra, note 45. have inspired the artis t of an unusual bilingua l cu p in Mr. Noble's col - 61. Berli n 2095; ABV, 610.1 ; H. Licht, Sittengeschichte Griechenlands, lection (Maplewood ) : ARV, 159-16 0 and 1621 ; Cohen, 263-272 and pi. vol.3 (Dresden , 1928) , 76. 53.3-5. Epiktetos ' red-figur e hippalektryo n on a plat e onc e i n Castl e 62. Leningra d B415; ABV, 295.2 . Ashby (ARV, 77.92 ; CVA, pi . 41.3) an d no w in the Metropolita n Booners 45

Figure 9. White-groun d plat e attributed to Psiax. Basel, Antikenmuseum 421. Photo: Courtesy Antikenmuseum.

little anatomica l detail. He seem s to hav e a head tha t i s too The "collar " of the chiton i s white, an d th e hem i s dotted large fo r hi s body . Thi s i s partl y du e t o th e headdress , a white. Th e fold s in the skir t ar e incise d in broadly spaced , mitra tha t i s wrapped aroun d it , and partl y t o th e abun - wiggly lines . H e wear s soft , re d boot s lace d aroun d th e dance of hair that projects from i t at the crown. The hair is ankles an d supplie d with lon g tongues . Ther e ar e n o ana - painted red , and th e renderin g of the strand s at th e crow n tomical detail s in hi s uppe r limb s an d fe w in th e lower , recalls the cocks ' combs. His beard i s also red and very full ; although th e latera l and media l aspects of the shank s hav e komasts dresse d i n this costume regularl y have heavy bear d been distinguished , and i n th e media l th e kneeca p i s growths, perhaps a s an overt sign of masculinity to counte r defined b y a n ope n loo p of incision. H e carrie s a specia l any ide a th e unsophisticate d Athenia n migh t hav e ha d type of lyre with swan-hea d terminals . The lyre and detail s about hi s Easter n dres s being effeminate . Hi s ey e i s large , of his dress are discusse d in part two of this article. low-set, an d carefull y incised , imparting a lively an d aler t Beazley's study 66 of the dresse d komast s liste d onl y on e expression. His nose is straight and slender. His short chito n black-figure example— a white-ground plate in Basel (fig. has shor t sleeve s in which th e buttonhole s hav e bee n 9) b y Psiax. 67 Thi s komast wear s exceptionall y rich cloth - drawn, although the buttons themselve s wer e never added . ing an d carrie s a wonderfull y elaborat e lyr e wit h long ,

Museum, New York (1981.11.10) , may als o be compared. handle of a fragmentary white-ground kyathos in the Vatican and thos e 65. Fo r example, a red-ground kyathos once in Mr. Hattatt's collec- on anothe r white-groun d kyathos in Lugano (se e supra , not e 28 ) als o tion (Ne w Milton, Hampshire) on which Psiax' s wing type is used both reproduce Psiax' s wing types . for th e cock that stands between the large eyes and for the doves that fly 66. CB,58 . toward th e handle. A kyathos in Fiesole (Costantin i collection; CVA 1 , 67. Basel , Antikenmuseum 421 (e x Kβppeli); ABV, 294.21 . pi. 35.1 ) ma y hav e bee n painte d b y th e sam e hand. Th e dove s a t th e 46 Kurtz and Boardman

gracefully curve d arm s mad e of horn an d terminatin g in Malibu hea d belong s t o th e "Pragu e Group, " whic h h e well-defined swans ' heads . He dance s to th e musi c of th e names afte r th e exceptionall y fine hea d i n Prague (fig . 4). double pipe s playe d by a woman. His short-sleeved chito n In thi s Group he als o includes the female heads on two red- reaches mid-calf , unlike th e Gett y komast's . Hi s mitr a i s ground calycifor m kyatho i i n Brussel s an d Rome . Th e wreathed wit h ivy . His soft boot s hav e no tongues , an d h e Brussels kyathos 72 belong s t o th e Grou p o f Vatican G 57 , wears a shor t mantl e lik e a shawl . In severa l respect s th e of whic h i t ma y b e a lat e member. 73 Th e kyatho s i n th e plate i s unusual. I t was probabl y painted at th e tim e when Villa Giulia 74 i s unassigne d bu t i s probabl y als o t o b e the Ionia n poe t Anakreo n wa s i n Athens . Contemporar y counted amon g th e late r member s o f this Group. 75 representations o f famous morta l men ar e exceedingl y rar e The Malib u lady' s fac e i s painte d white . He r nec k ha s in Athenia n vase-painting , bu t i t i s temptin g t o se e thi s been painted white too, and sh e may have worn a necklace . plate a s one of those rare examples . Her long , reddis h brow n hair i s kep t of f her fac e b y a re d The techniqu e an d iconograph y of the Base l plat e mak e band with whit e dots. Thre e long , wavy tresses hang fro m us thin k agai n abou t Psiax , ye t th e figur e styl e o f th e behind eac h ea r an d ove r he r imagine d shoulders . Curl s Malibu kyatho s doe s not see m to b e hi s any mor e tha n th e over he r forehea d ar e indicate d b y a singl e ro w of raise d shape of the kyathos, its pattern-work, or its general schem e "dots." Her eye s and brows are picked out in the sam e color of decoration . The painte r wa s surel y influence d b y Psiax , of pain t a s he r hair . He r lip s ar e no t defined . Sh e i s a les s however, an d ma y eve n hav e worke d wit h hi m at som e elaborate versio n of the Pragu e lady , who ha s a triple ro w time, jus t a s h e ma y hav e worke d wit h th e Painte r o f of curls over he r forehea d (lik e the saty r on Psiax' s kyatho s London B 62 0 an d th e Hanfman n Painter . Lik e Psiax , h e in Mila n [fig . 3] ), a fancy diadem, earrings , an d eye s with too ma y hav e been attracte d t o small , white-ground vases both th e iri s and pupi l painte d in. of unusua l shapes , suc h a s th e masto s (o r mastoid ) an d A definitiv e stud y of the Malibu hea d an d it s relation to alabastron. A mastoi d o f th e Pistia s Class 68 i n London 69 others o n Atti c vase s an d terracott a statuette s mus t awai t seems to have similarly stocky figures and som e comparabl e Nicholls' publication . Here onl y genera l comment s ca n b e renderings, secon d white , an d incisio n tha t ca n b e scratchy . made. Th e qualit y of the hea d i s nearly a s goo d a s tha t of An alabastron , als o in London,70 has dotte d embattlement , the finest example known, the hea d in Prague (fig . 4). The rich polychromy, and livel y maenads, who encircle the vas e shape of the kyathos, its technique, an d element s o f it s dec - in pairs , wearin g mitra i tha t ar e twic e rendere d lik e ou r oration all suggest that th e vas e was made at about th e sam e komast's wit h luxurian t locks of hair projectin g from th e time a s Psiax's. If the handle had been preserved mor e com- crown. A clos e examination of vase s like these might reveal pletely, th e relatio n of th e kyatho s t o thos e wit h partl y more clearl y th e identit y of th e painte r o f th e Gett y reserved handle-decoration76 would be clearer. The latter kyathos. belong "near " th e Grou p o f Vatican G 57 . The y hav e molded female head s quite lik e th e on e o n ou r vase 77 an d The Molded Female Head testify t o th e very considerable influenc e of Psiax. R. V. Nicholls i s preparin g a comprehensiv e stud y o f Clay heads , and occasionall y ful l figures , had lon g been Attic terracotta s tha t wil l als o tak e accoun t o f the molde d selectively applie d t o vase s in Attic a an d elsewhere , bu t clay head s attache d t o vases. 71 H e ha s suggeste d tha t th e molded head s (predominantl y female) becam e popular o n

68. ABV, 627-628 ; Para, 309 ; BAdd, 68-69; Mertens, 89-95; Karydi, B. Brussels R26 7 AM 11 (1962) , 105-110; Mertens, AntK22 (1979) , 28-30. Villa Giulia, Castellani 58 2 69. Londo n B 681; Para, 309 ; Mertens, 91-95 an d pi. 13.2. C. (o r parallel variant ofB?) Gett y (figs , la-d ) 70. Londo n B 669; Mertens, 9 9 and pi. 14.5. Kanellopoulos Group 71. Nicholl s ha s mentione d th e head s in previous publications: BSA A. Kanellopoulo s Mus. 546 47 (1952) , 217-226 an d in The Eye of Greece, D. Kurtz an d B . Sparkes, Munich 242 2 (red-figur e hydria by Phintias) eds. (Cambridge , 1983) , 93 . Jiri Fre l discussed th e head s on kyatho i in Satyrs an d Ladie s Group Sborník Ndrodního musea v Praze, vol . 13 , no. 5 (1959), 235-236. Haspel s A. Sa n Francisc o L74.46.2 Compiègne 107 1 (supra, not e 40) , 10 5 ha s compare d th e head s on som e of the kyathoi Milan, Poldi Pezzol i 482 (fig . 3 ) with thos e o n ono i fro m th e Golono s Grou p (ABV, 481 ; Para, 220 ; B. Würzburg 43 7 BAdd, 59 ) which wer e probably mostly decorated b y followers of Psiax. Munich 198 6 (an d restore d o n 1987 ) The head s o n th e ono i ar e not , however , closel y relate d t o thos e C. Berkele y 8- 2 described her e in connection with th e Getty kyathos. Eisman (27 , 153 ) D. Cambridge GR.9.193 7 lists and describe s all the head s known to him. Probably nea r this Group, the following series : R.V. Nicholl s (persona l communication , December 13 , 1982 ) sug - Würzburg 43 6 (figs . 2a-b ) gested the following tentativ e arrangement : Orvieto 29 3 Oxford 1939.11 3 Prague Group A. Pragu e 16/5 2 Nicholls provisionally lists Louvre F 16 4 as Kanellopoulos Group an d Booners 47

some Attic vases during the last decades of the sixth centur y denburg.84 Th e lis t whic h follow s her e i s slightl y longe r when terracott a statuette s o f a certai n typ e bega n t o b e and i s given, a s muc h a s anything , for eas e of reference i n produced i n quantity. 78 Thes e statuette s ar e mos t ofte n the discussio n which follow s an d i s probably still not com- female. Th e molde d facia l features an d hairstyle s o f some plete. The mai n criterion ha s bee n to pic k ou t th e dresse d of th e earlies t example s ar e broadl y comparabl e t o th e komasts (or , rarely , symposiasts ) wearin g th e full-lengt h smaller head s attache d t o th e handle s o f kyathoi. 79 Th e chiton ( a short on e on No. 2: fig. 11 ) with himatio n (non e exceptionally fin e modelin g of the Pragu e hea d make s u s on Nos . 1 , 2: figs. 10b , 11). I do not give full description s o r think o f the marbl e kora i an d o f the serie s of head vase s references, bu t relevan t extra s ar e signale d (wher e verifi - which als o begin s in Attica at abou t thi s time.80 The addi - able) b y the following key , and ther e i s fuller discussio n an d tion o f small molde d head s t o shape s tha t ar e know n t o description of some pieces later. have bee n prize d i n meta l an d t o hav e bee n embellishe d with protomes, 81 remind s u s tha t potters , coroplasts , an d H = headdres s (turba n or relate d type ) painters82 coul d dra w inspiratio n fro m contemporarie s E = earring s practicing other art s and craft s in Athens. P = paraso l B = boot s PART TWO: THE BOON COMPANION S L = lyr e (barbiton, unles s otherwise stated ) The classi c study of the dressed komasts, commonly now associated with th e sta y in Athens of the Ionia n poet Ana - The number s o n Beazley' s lis t ar e given in parenthesis fol - kreon, wa s mad e b y Beazle y i n hi s publicatio n of th e lowing the item numbers. The order i s only roughly chron- Boston vase s in 1954 . He declare d th e komast s t o b e me n ological. I n th e keys , colon s divid e figures, doubl e colon s disguised a s women an d believe d tha t wher e a figure play s the two side s of a vase. a lyr e o r i s alone , h e i s mean t fo r Anakreo n himsel f an d that wher e ther e ar e mor e tha n one , the y ma y b e regarde d 1. Rhode s 12.200 , black-figure amphora (figs . lOa-b) . as hi s "boon companions. " Th e subjec t ha s bee n take n u p ABV, 115 , 3, Lydan; CVA 1 , pi. 19.2 (infra , not e 93). (HB, since by various scholars.83 I return to it, partly prompted sleeveless chiton : two youths). by the Malibu kyatho s and partly because a close inspection of th e possibl y relevant figure s suggest s that th e associatio n 2. Malibu , Th e J. Pau l Gett y Museu m 77.AE.10 2 an d with Anakreo n an d hi s arriva l i n Athen s ma y no t b e s o 78.AE.5, black-figur e kyatho s (figs , la-d , 11) . (HBL , straightforward an d tha t ther e ar e othe r feature s tha t indi - short chiton). cate a change in Athenian komast an d symposias t behavio r that i s perhap s mor e importan t tha n th e effec t o f a singl e 3. (1) Basel , Antikenmuseum, Kαppeli 421, black-figure Ionian immigrant. The representationa l evidenc e i s full an d plate (fig . 9). ABV, 294 , 21 , and Para, 128 , Psiax ; Kunst- best considered firs t without specia l referenc e t o Anakreon. werke der An tike, ex . cat . o f collection of Robert Kappel i Indeed, referenc e t o line s of Anakreon will b e see n to hav e (Basel, n.d.), D 3 . (HBL : girl piper). confused th e issue no little . Th e startin g point i s Beazley' s list (pp . 58-60). It was repeated , wit h additions , by Bran- 4. Kassel , Hessische s Landesmuseu m A L g 57, red -

Louvre CA 3309 (se e supra , not e 28 ) a s near Satyrs an d Ladie s Group. pi. 11 ) whos e qualit y i s equal t o tha t of the Pragu e lad y (her e fig . 4) 72. Brussel s R267 ; ABV, 612.29 ; CVA 1 , pi. 4.3a-c. and vastly superior t o that of the lions of the Clas s of the One-Handle d 73. Eisman , 368. Kantharoi (ABV, 346; ABFH, fig. 217). 74. Rome , Villa Giulia 582 ; P. Mingazzini, Vasi della Collezione Cas- 82. Bothme r (RA 1972 , 83-92), publishing a unique pai r of stands tellani (Rome , 1930) , 306 and pi. 89.8-9. of about 52 0 B.C. tha t ar e decorated in mixed techniques an d embellished 75. Eisman , 631-632 . with molde d femal e head s broadly comparable t o thos e on some of the 76. Se e supra , not e 28. kyathoi, discusse s the work of potters, painters, an d coroplasts . 77. Nicholl s place s them in or nea r his Satyrs an d Ladie s Group; se e 83. Notably : J. Frel , Revue des Arts 8 (1958) , 202-208; H. Branden- supra, not e 71. burg, Studien zur Mitra (Munster , 1966) ; H. Kenner, Das Phnomen der 78. R . A. Higgins, Greek Terracottas (London, 1967), 72. verkehrten Welt in der Griechisch-Romischen Antike (Bonn , 1970) , 113 - 79. The Eye of Greece (se e supra , not e 71), 93. 116; T . B. L. Webster , Potter and Patron in Classical Athens (London , 80. ARV, 1529-1552 ; Para, 501-505; Beazley,JHS49 ( 1929), 38-78. 1972), 54-55, 110 , 116-117; A. Greifenhagen, Alte Zeichnungen nach un- 81. Se e supra , note s 1 7 (oinochoai) , 27 (oinochoa i and kantharos) , bekanntengriechischen Vasen (Munich, 1976) , 23 -24; H. A. Shapiro, AJA 28 (kyathoi) , 2 9 (meta l vases), 37 (oinochoai) , 71 (kyathoi , onoi , an d 85 (1981) , 138-140 . hydria). Th e head s cited her e ar e usuall y female an d onl y rarel y male . 84. Brandenburg , 77-81 . There ar e als o animal heads on Attic vases contemporary with th e Getty kyathos. Cf . a n exceptionall y fin e lion' s hea d o n a n unusua l white - ground hydria in the Petit Palai s (310 ; ABV, 668 , s.v. "Karystios"; CVA, 48 Kurtz and Boardman

Figure 10a. No . 1 . Black-figure amphora, Lydan . Rhodes, Figure 10b. Detai l of amphora, figur e 10a . Photo: author . Archaeological Museum 12.200 . Photo: Cour- tesy Archaeological Museum of Rhodes. figure kalpi s (fig . 12). MuM Auktion 5 1 (1975) , no . 152 , 5, 6 ; ARFH, fig . 178. (L , tied headcloth : : HPB). pi. 35 , attribute d t o Nikoxeno s Painter ; Kassel , Staatlich e Kunstsammlungen, Antikenabteilung , Funde aus der An tike 10. (6) Madri d 11.009 , red-figur e stamno s (fig . 16) . (Kassel, 1981) , no. 56 . (H symposiast : youth). CVA 2 , pis. 6-8. (Eigh t figures-P, tie d headcloth : HPL : HP : P, tied headcloth : : HP : HP : HP : H). 5. (2) Copenhagen , Nationa l Museum 13365 , red-figur e calyx-krater fragment s (figs . 13a-b ; tw o fragment s only) . 11. Rome , Conservatori , red-figur e pelike . ARV2, 283 , ARV2, 185, 32, and Para, 340, Kleophrades Painter; CVA 8, 4, Painte r o f Louvre G 238 ; CVA Muse i Capitolini , 2 , pi. 259, pls. 331-333; ARFH, fig. 131. (HPL, also symposiast). 22.1-2. (HB L : two girls) .

6. (3) Florenc e 3987 , red-figure pelike. CVA 2 , pi. 33.1- 12. (7 = 28? ) Formerl y Rome , Cippico , red-figur e 2. (HL , shoes :: Dionysos?). stamnos. ARV2, 291, 25, Tyszkiewicz Painter; AA 1977, 209-210, fig . 12 . (Tie d headcloth , P [twice ] : gir l wit h 7. Munic h 2317 , red-figur e neck-amphor a (fig . 14) . barbiton : : P : man : girl with kithara). ARV2, 226 , 3 , Eucharides Painter ; Ci^ 4 5 , pis. 211.9, 212.2 . (HL : : similarly dresse d girl with barbiton). 13. (8) Paris , Peti t Palai s 336 , white-groun d lekythos . ARV2, 305, 1, Painter of Petit Palais 336; C^4, pi. 33.3 (the 8. (5) Munich 2326, red-figure neck-amphora. ARV2, woman o n 335 , pi. 33.2 i s similarly dressed) . (HB?) . 273, 18 , Harrow Painter ; CVA 2 , pis. 55.1, 56.5. (HP) . 14. (9) Pari s G 286 , red-figure cu p (fig . 17). ARV2, 443 , 9. (4) Pari s G 220 , red-figur e amphor a (figs . 1 5 a-b) . 229,Douris. (H). ARV2, 280 , 1 1 and Para, 354 , Flying-Ange l Painter ; CJ^ 4 6, pi. 42.3-4; Revue des Arts 8 ( 1958), 202, 207-208, figs . 1 , 15. (10) Munic h 2647 , red-figur e cu p (fig . 18). ARV2, Booners 49

438, 132 , Douris;Jdl31 (1916) , pi. 3. (H : man). Dιlos, vol . 21 (Paris , 1952) , pis . 22, 24, no. 27. (HP : girl piper). 16. (11) Brussel s R332, red-figur e cu p (fig . 19). ARV2, 380, 169 , Brygos Painter ; CVA 1 , pi. 1.2 . (Tie d headcloth , 27. Zurich , Hirschman n G 56 . H. Bloesch, ιd., Greek B). Vases from the Hirschmann Collection (Zurich , 1982) , no. 36, Pan Painte r (Isler) . (HL). 17. (12) Pari s G 285 , red-figure cu p (fig . 20). ARV2, 380, 170 , Brygos Painter ; C . Lenormant an d J. d e Witte , 28. Malibu , Th e J. Pau l Gett y Museu m 76.AE . 102.7, Elite des monuments cιramo graphiques (Paris , 1844-1861) , red-figure pelik e fragments , Pa n Painte r (Bothmer ) (fig . vol. 4 , pi. 93; E. Pottier , Vases antiques du Louvre (Paris , 24). (H : H). See M. Robertson article , p. 71. 1897-1922), pi . 134 ; M. Wegner, Der Brygosmaler (Berlin , 1973) , pl. 37b. (HPB). 29. ( 16) Adri a B 497, red-figure column-krater. CJ^ 4 1, pl. 5.5 ; G. Fogolari and B. M. Scarfi, Adria Antica (Venice , 18. Pari s C 10813 , red-figur e skypho s (figs . 21a-b) . 1970), pi. 8.1. (HP: youth). ARV2, 381 , 175, Brygos Painte r (ver y late) . (Tie d head - cloth, L : girl). 30. (16 bis) Athens , fro m Perachora , red-figur e column-krater. ( H :: H). 19. Basel, Cahn 60, red-figure cup. ARV2, 414, 30 and Para, 372 , Dokimasia Painter ; Archologisches Institu t der 31. Tarquini a 682 , red-figure column-krate r fragment . Universitat Zurich, Das Tier in der Antike, ex . cat. (Zurich , ARV2, 583 , below 1 , undetermined earl y Mannerist . (L). 1974) , no. 259; Dionysos, Griechische Antiken, ex. cat. (Ingelheim am Rhein, 1965) , no. 71, pi. 7. (HE, lyre). 32. ( 17) Bosto n 13.199 , red-figure lekythos . ARV2, 588 , 73 an d Para, 393 , undetermined earl y Mannerist ; CB , pi. 20. Malibu , th e J. Paul Gett y Museum 86.AE.293 , red- 51.99; ARFH, fig. 334. (HL). figure cu p (figs . 22a-b) . Para, 372 , 8 bis , Brisιis Painter ; Helmut May , ed., Weltkunst aus Privatbesitz, ex . cat. (Co- 33. (21) Clevelan d 26.549 , red-figur e column-krate r logne, 1968) , A 33, pis. 14-15; Wegne r (supra , No. 17), pi. (fig. 25) . ARV2, 563 , 9, Pig Painter; CVA 1 , pis. 25.1, 26. 26d. (Thre e time s H, shoes : girl pipe r : girl with P : girl :: (HEP : HEL : H). three times H, shoes : girl pipe r : girl with P). 34. (20) Rhode s 13.129 , red-figure pelik e (figs . 26a-b) . 21. Adolphseck , Schlos s Fasanerie , 56 , red-figure leky - ARV2, 564 , 28, Pig Painter; CVA 1 , pi. 3. (HL : girl : : H : thos. C^4 1 , pi. 40.4. (HL). H).

22. Switzerland , privat e collection , red-figur e pelike . 35. (18) Cambridge , Mass. , Fog g Museu m o f Art ARV2, 184, 26, Kleophrades Painter (late). (HB : girl 1959.125, red-figure column-krater. ARV2, 566, 3, Pig piper). Painter manner ; CVA Robinso n 2 , pis. 28, 28a. (HL).

23. (13) Chius i C 1836 , red-figure cup . ARV2, 815 , top 36. (19) Athens , Agor a P 7242 , red-figur e column - 2, Painte r o f Philadelphia 2449 ; Ci^ 4 2, pi. 23. (HP and krater fragment. ARV2, 566, 4, Pig Painter manner. (L). krotala : P : H : : man : HP : girl). 37. Adria B 248, red-figure amphora. ARV2, 571, 71, 24. Malibu , th e J. Paul Gett y Museu m 86.AE.386 , red- Painter of Leningrad; CI^4 1, pi. 32. (H : HL). figure cup fragment (fig . 23). "Follower of Douris" (Beaz - ley). (H : girl with barbiton). 38. Corint h CP 998 , red-figure fragment . ARV2, 573 , 14, Painter o f Leningrad manner. (H). 25. (14) Berli n 2351 , red-figure neck-amphora . A . Greifenhagen, Alte Zeichnungen nach unbekannten grie- 39. (22) Vienn a 770 , red-figur e column-krate r (fig . chischen Vasen (Munich , 1976) , no. 12, figs. 19-20 . (PBL) . 27). ARV2, 576, 33, Agrigento Painter; CVA 2, pi. 92.3. (HP: gir l with lyr e :H). 26. (15) Mykonos, red-figure neck-amphora. ARV2, 508, mid 4, Aegisthus Painte r manner ; C. Dugas, Les Vases 40. (23) Bologna 239, red-figure column-krater. ARV2, attiques figures rouges. Exploratio n Archιologique d e 532, 50, Alkimachos Painter; G . Pellegrini, Catalogo dei vasi 50 Kurtz and Boardman

Lenormant an d d e Witt e (supra , No . 17) , vol. 4, pi. 92 . (HP: gir l pipe r : HP).

The principa l element s of th e dres s an d equipmen t o f these komasts can now b e studied, on e b y one, befor e con - sidering th e ensembl e i n term s o f komast behavio r i n Athens an d of the possibl e rol e of Anakreon.

Headdress The headdres s of the komast s is perhaps their single mos t striking feature. It looks to u s utterly feminine an d ha s don e much t o sustai n th e argumen t tha t al l thes e figure s ar e deliberately transvestite . Th e truth, a s usual , i s a little mor e complex, an d i n it s way , i t bring s u s close r t o a prope r understanding o f these figures . Th e headdresse s have bee n studied i n som e detai l b y Brandenbur g i n hi s Studien zur Mitra (M٧nster, 1966) , an d I generall y concu r wit h hi s conclusions, but a slightly different though mor e summar y presentation o f the evidenc e i s called for. Figure ΞΞ. No . 2. Black-figure kyathos. Malibu , Th e J . Since Brandenburg's identificatio n of the mitra has bee n Paul Gett y Museu m 77.AE.10 2 an d 78.AE.5 . challenged by Tolle-Kastenbein,85 it is probably safer to Diam. of rim: 9. 5 cm. defer discussio n o f what wor d o r word s wer e use d t o describe th e headdres s that concern s u s an d t o concentrat e greci dette necropoli felsinee (Bologna , 1912) , 96 . (H P : two on th e representations . W e ar e dealing with a headdress that men an d gir l with barbiton). is wrapped an d knotte d aroun d th e hair—no t a one-piece cap lik e th e sakko s o r kekryphalos . I n th e perio d o f ou r 41. (24) Bologn a 234 , red-figur e column-krate r (fig . illustrations, th e mid-sixt h to th e mid-fift h century , an d 28). ARV2, 524 , 20, Orchard Painter ; L . Deubner, Attische on th e figure s we ar e studying , it i s a long strip of material Feste (Berlin , 1932) , pi. 21.3. (H P : H : girl pipe r : HP). commonly wor n a s a turban, passe d around th e hea d sev - eral times . Brandenburg' s distinctio n between representa - 42. Naple s 3176 , red-figure neck-amphora . ARV2, 638 , tions showing it tied in horizontal, parallel bands and thos e 49, Providence Painter . (HL). where th e fold s overla p an d mee t at a n angl e (hi s type s b and a , respectively ) seem s of no ver y grea t importance . I n 43. Dresden 323, red-figure pelike. ARV2,665,4, Ethiop these forms lon g bac k hai r ma y escap e between th e over - Painter; AZ, 1865 , pi. 194. (H, but no t a komast?) . lapping fold s a t th e bac k o r crown of the head . The head - dress can als o be worn wit h a broad, foldles s stri p holding 44. (25) Londo n E 308 , red-figur e neck-amphora . the back hai r and th e res t tied over the forehea d an d crown ARV2, 673 , 7, Zannoni Painter ; CVA 5 , pi. 55.2. (HL). (commonly see n on wome n i n th e Classica l period ) — Brandenburg's typ e c . And it may b e worn without com- 45. (26) Bari , red-figur e column-krater . (Si x times H, pletely coverin g the hai r but bound lik e a fillet (whic h w e one with lyre) . may regar d a s normall y narrower , ofte n plumpe r o r padded, an d shorter ) an d tie d toward the back o r sid e wit h 46. (27) Palazzol o Acreide , red-figur e column-krater ? the long ends falling o n or toward th e shoulders—th e typ -

85. I n RA 1977 , 23-36. 88. J . Boardman , Greek Emporio (London , 1967) , 161 , fig. 108 , no . 86. M . Roaf, Cahiers de la Dιlιgation Archιologique Franηaise en Iran 748, pi. 5 9 and for the date, p. 158 . For the simpler form cf . J. Boardma n 4 (1974) , 126-127, pl. 34.3 for the Lydian; and cf. K. de Vries, Expedition and J. Hayes , Tocra, vol. 2 (London, 1973), pi. 14, no. 807. From Ionia it 15.4 (1973) , 32-39 ; G . Walser , Die Volkerschaften auf den Reliefs von reaches Etruria: e.g., with barbiton too, on Louvre CA 604 6 (J . G. Szil - Persepolis (Berlin, 1966) , 63, figs. 6.6,8, pis. 45-47,49; M. Wfler, Nicht- agyi, Prospettiva 24 [1981] , 3, fig. 1 and p. 20 n. 24; komast-satyrs). And AssyrerneuassyrischerDarstellungen (Kevelaer , 1975),65,67,117,189,195 , on Ponti c vases , a s London 1926 . 6-28. 1 (L. Hannestad, The Followers and 23 1 for relevant illustrations. of the Paris Painter [Copenhagen , 1976] , pi. 47; komast s with perizo - 87. G . M. A. Richter, Handbook of Greek Art (London , 1959), 263, mata). Fro m Athen s o r Ioni a i t reache s Chalcidia n black-figur e a s fig. 384 . Reggio 116 9 (A. Rumpf, Chalkidische Vasen [Berlin an d Leipzig , 1927], Booners 51

Figure 12. No . 4. Red-figure kalpi s by the Nikoxeno s Painter. Kassel , Hessisches Landesmuseum A Lg 57. Photo: Courtes y Hessische s Landesmuseum.

ical headdres s fo r Dionyso s fro m th e fift h centur y o n dated fro m th e 570' s to abou t 550 , th e figure s commonl y (Brandenburg, 133-148) . I call this a tied headcloth t o dis- wear pointed caps , and a n exceptionally well-drawn exam- tinguish i t from th e hair-concealin g turba n tha t concern s ple (an d on e o f the earliest ) make s it clea r tha t thes e cap s us most closely , but th e basi c material is probably th e same . were, or on occasio n coul d be, turbans 88 (fig . 31.1). Examples fro m ou r catalogu e ar e shown in figure 29. In mainlan d Greec e we mee t th e ca p with paralle l fold s As a n easter n headdres s the turba n i s well atteste d fro m worn b y a gir l pipe r o n a Sparta n cu p (bu t foun d i n India t o Lydi a (fig . 30), an d i n th e perio d tha t w e ar e Samos89) (fig . 31.2) an d o n a n Atti c komas t (fig . 31.3), studying, it i s best shown o n th e Achaemeni d monument s both befor e abou t 560. 90 (Mos t Atti c komast s ar e bare - showing subjec t peoples. 86 Easter n monument s sho w i t headed.) A similar , finer ca p i s worn b y a bearded head o n exclusively a s a headdress for men, but in Anatolia a sixth- a mid-centur y Droo p cup. 91 Ther e ar e som e od d Atti c century fresc o fro m Gordio n show s a woman wearin g komasts on anothe r cu p of about thi s date 92 who danc e in one.87 chitons an d wea r caps , to whom w e shal l return, but thei r It i s the man' s turban tha t i s first depicte d in Greek art . caps are one-piece, pointe d or with lappets—probabl y east - On th e Chia n komas t chalices , whic h ar e probabl y t o b e ern bu t nothin g t o d o wit h ou r turbans . Nex t come s a

pi. 3 6 below : Polyxena) . An d a t Veli a th e turba n i s see n on a n ivor y Vasenmaler (Amsterdam, 1972) , pi. 58, Arkesilas Painter . plaque (Archaeological Reports for 1976-1977, 48 , fig. 4). In East Greece 90. J . Boardma n an d J. Hayes , Tocra, vol. 1 (London, 1966) , pi. 75, it i s shown on coin s of Knidos: H. A. Cahn, Knidos (Berlin , 1970) , pis. no. 1038 . 12.7-9, 1 6 (probably folded and not the ca p of the type listed infra, not e 91. Athens , private collection; ABV, 203 , 2 Kallis Painter; E. Vander- 97), 13.31 , 33; 16.67 . An early coin of Phocaea: E. Langlotz, Studien zur pool,4¿4 4 9 (1945) , 438. nordostgriechischen Kunst (Mainz , 1975), pi. 2.4. There i s a turban on a n 92. Amsterda m 3356 ; ABV, 66 , 57, Heidelberg Painter; A. D. Tren- East Greek (? ) asko s from Tarquinia : Szilágyi (supra) , 2 , figs. 1-2 . Fo r dall an d T . B. L. Webster, Illustrations of Greek Drama (London , 1971) , Laconia se e nex t note . 20-21,1.8. 89. Samos/Berlin : AA 1964 , 563 , fig . 31a; C . M. Stibbe, Lakonische 52 Kurtz and Boardman

figure (ou r No. 1 , fig. 10b ) on an amphora o f unusual shap e in Rhodes, 93 whic h i s take n fo r Attic , thoug h i t woul d perhaps repa y th e inspectio n o f a cla y analyst. 94 O n on e side two naked youths , one with aphorminx, th e other wit h a drinkin g horn , ar e accompanie d b y a ma n wearin g a sleeveless chiton , th e skir t o f which h e raise s slightl y t o reveal boot s (figs . lOa-b) . H e i s wearin g a turba n o f narrow fold s bound clos e t o hi s scalp . The vas e is of abou t 540-530 an d h e ma y fairl y b e regarde d a s th e firs t o f our dressed komasts , bu t i t i s tim e t o conside r th e relevan t women's headdresse s down to thi s date . The cap s worn b y women o n Eas t Gree k vase s ar e no t sufficiently detaile d t o revea l whethe r turban s ar e intended.95 Th e evidenc e fro m Athen s i s very slight until th e 520's. Th e bes t example , showin g th e paralle l folds clearly, is o n a "hea d lip-cup " in Munic h o f th e middl e o f th e century.96 Ther e is , however, a type of cap worn exclusively by wome n an d show n o n vase s of the middl e of the cen - tury o r just afte r whic h i s clos e fittin g lik e a kekryphalo s (hairnet) an d ofte n supplie d wit h a smal l loop a t th e crow n (like som e mal e pilot) (se e figs . 31.4-8) . It ma y b e decorate d with all-ove r cross-hatching, bu t a vertical strip rising from ear t o crow n o n som e example s suggest s tha t i t coul d b e

Figure 13a. No . 5 . Red-figur e calyx-krate r fragment s b y 97 stitched fro m segments. Langlot z ha s suggeste d tha t th e the Kleophrade s Painter . Copenhagen , cap i s of Lydian origin , which i s possible. Somethin g simi - National Museu m 13365 . Photo : Courtes y National Museum . lar, but with a brim, appear s on coin s of Phocaea, but thes e are n o earlie r tha n th e Athenia n vase s (fig . 31.10).98 I t i s not a turba n an d i s no t wor n b y men ; indeed , o n a cu p with severa l suc h cap s for girls, a male hea d i s turbaned . From th e 520' s o n th e turba n become s reall y popular . Taking firs t it s us e b y women, we se e it worn in symposia c

93. Rhode s 12.200 ; ABV, 115 , 3, Lydan; Clara Rhodos, vol. 4, 75, figs. 51-52; CVA 1 , pi. 19.1-2. I follow Beazle y (CB , pp. 9 , 60) i n denying this the title "psykter," rathe r tha n Bothmer (ArtB 5 7 [1975] , 122) . We use th e wor d conventionally , and in antiquity it probably applie d t o a variety of vessels which served a s coolers, whether mad e for the purpose or not . "Psykter " i s best reserve d fo r th e mushroom-shape d vase , "eared" or "earless" ; for which se e now S . Drougou, Der attische Psykter -W٧rzburg, 1975) , with 35-3 6 o n th e Rhode s vase . The Taleide s oin) ochoe (Berli n 31131 ; ABV, 176 , 2 and 670 ; Para, 73 ) ha s a similar profile to the lower wall. If, as seems likely, the profile indicate s us e for cooling, the fac t tha t thes e vases are basicall y designe d fo r th e handlin g of wine may be an argument in favor of the similarly profiled psykte r being used for win e rather tha n fo r th e coolant (whic h Drougou prefers) . 94. It s underfoot graffit o i s uninformative about origin : A. W John - ston, BSA 7 0 (1975) , 152 , no. 3 6 an d idem , Trademarks on Greek Vases Fragmen t o f th e Copenhage n calyx-krater , Figure 13b. (Warminster, 1979) , 36. figure 13a . 95. Bu t cf. the Phocaea n coin cited supra, note 88 . 96. Munic h 2167 ; ABV, 677 ; Pfuhl, MuZ, fig . 252. 97. Example s are : Hea d lip-cup s b y Sakonide s (Berli n 3152 ; ABV, 171, 13 ; A. Rumpf, Sakonides [Leipzig , 1937 ; Mainz, 1976] , pl. 28e, f) and the Epitimos Painter (Ne w York 25.78.4; ABV, 119,9 ; Para, 48; Ci^4 2, pi. 10; M. Tiverios, Ho Lydos kai to ergon tou [Athens , 1976], pi. 60b). The Amazon on a Lydan fragment (Athens , Ker.; ABV, 107 , 2; Tiverios [supra], pi. 75a) an d a maenad on the New York Lydos krater (31.11.11 ; Booners 53

or Dionysia c setting s a s wel l a s (thoug h les s frequently) more sobe r occasions . A t partie s i t ma y b e wor n b y gir l pipers or hetaira i in various stage s of undress, an d it is seen on nake d girl s of uncertain status , dressin g or a t an altar . It is also worn b y maenads. It may b e worn b y goddesses, and by morta l women fetchin g wate r a t Athens ' fountai n houses." It i s in these years too tha t we begin to se e th e sakkos , a somewhat loose r headdres s tha n th e cap s on mid-century black-figure representation s jus t discussed , an d ofte n wit h a tai l o r point behind. Like th e turban , it ca n b e worn b y heroines, maenads , hetairai , an d housewives. 100 Th e mal e use of the turba n from th e 520' s o n bring s u s t o th e main group of the dresse d komasts , but no t exclusivel y to them , and ther e ar e othe r occurrences , individua l an d general , t o Figure 14. No . 7 . Detai l o f red-figure neck-amphor a b y be considered first. O n a cup by Epiktetos of about 51 0 on e the Eucharide s Painter . Munich , Antiken - of the sons of Eurytos, terrified b y Herakles, is seen wearing sammlungen 2317 . Photo : Courtes y Anti - a turban.101 His brothers ar e bareheaded and unkempt, an d kensammlungen. they al l wear knee-lengt h chiton s wit h anima l skins . Olmos take s thi s exoti c dres s a s oriental , but Oichalia , Among komast s an d symposiast s a wide variety of dress where Euryto s ruled , i s no farthe r eas t tha n Euboea , an d and undres s i s combined with th e wearin g of the turban , the turba n simpl y recall s th e symposio n settin g in whic h especially down to th e earl y fifth century . Thereafter , th e the challeng e an d disput e brok e out, an d whic h i s promi - turban i s mainly reserve d fo r the dresse d komast, an d afte r nent in vase representations o f the event . the middl e of the centur y th e stri p of cloth i s n o longe r Then, on a Nikosthenes Painte r kantharo s of about 500 , shown worn a s a hair-covering by men, but a s a tied head - a reclining Dionysos is shown wearing a turban and himat- cloth. I cite representative example s only , until we reach th e ion only , an d thi s i s matched b y a possible Dionyso s on a dressed komasts . black-figure skyphos. 102 Perhap s the only remarkabl e thin g An earl y exampl e of the turba n a t a symposion i s on a is that th e divine patron of the symposion i s not see n more cup in the manner of the Lysippides Painter of about 520, 104 often wit h th e turban. In later art h e commonly wears th e where thre e me n ar e turbane d (tw o others wreathed , an d tied fillet o r headcloth. 103 the sixth, a piper, bare-headed; all recline). There ar e othe r

ABV, 108 , 5 ; Rumpf [supra] , pi . 21). Maenad s o n th e Kalli s Painte r 181 (maenad) , 18 2 (gir l piper) , 235. 1 (Ariadne) , 271 (Eos) . The y ar e cups, Naples Stg . 17 2 (ABV, 203 , 1 ; CVA 1 , pi. 21) an d Athens , privat e particularly common o n Krokotan vases; ci.JHS 7 5 (1955) , pis. 4.1, 5.1, collection (supra , not e 91; with th e turbane d mal e head) . A woman a t 8.3, 15.8 . At th e fountai n house , e.g. , CVA Londo n 6 , pis . 88.4 , 90. 2 the loom on the New York lekythos by Amasis (31.11.10 ; ABV, 154 , 57; (B332, 334; ABV, 333 , 27, Priam Painter an d 365 , 72, Leagran = better , BSA 3 7 [ 1936/37], pi. 6 ; MonPiot 6 0 [ 1976], 43, fig. 8). On a Tyrrhenian BSA 3 6 [1935/36] , pi. 22b). Both als o in G. M. A. Richter, Perspective amphora, Bolligen , private collection (R. Blatter , AW 11A [1980] , 13, (London, 1970) , figs. 122 , 123 , with fig . 12 0 (Bosto n 61.195; Para, 147 , 5 fig. 1 ; attending a wedding). New York , Bothmer (ABV, 685 , Painte r bis, Priam Painter) . of Vatican 309, 21 bis; a naked dancer) . Eileithyi a before Zeu s on a belly 100. A sample in ARFH to the end of the century: figs. 5.3 (maenad), amphora wit h th e Birt h of Athena in Basel (Tessi n loan ) attribute d t o 9.1 (amazon) , 5 6 an d 61. 1 (nereids) , 6 2 (Atalanta) , 10 9 (nake d girl) . Group E (K . Schefold, Goiter una Heroen [Munich , 1978] , 17 , fig. 4). One wit h a loop behin d a s o n th e earlie r caps , on Toled o 61.2 3 (Para, Hetairai a t work : Akr . 1639 , pi . 85 , cu p frag . (ABV, 198 , belo w 2) ; 147, 5 ter, Priam Painter ; CVA 1 , pi. 23.2). Munich 1432 , Tyrrhenian (ABV, 102 , 98; CVA 7 , pi. 318.1). On th e Six 101. R . Olmos-Romera , MadrMitt 1 8 (1977) , 14 5 on th e dress ; fo r phiale (MuM Auktion 2 6 [1963] , no. 122 , pi. 41) hai r escapes , s o i t i s the cup, pi. 35b (Palerm o V 653 ; ARV2, 73 , 30; CVA 1 , pi. 5.1). I do no t probably not a closed cap . think eithe r Herakle s o r Euryto s appea r o n th e black-figur e lekythos , 98. E . Langlotz, v4M77 (1962), 115 ; idem (supra , note 88), pis. 2.14- ibid., pi. 34c, where tw o archer s with pointe d cap s draw o n eac h other . 16, cf . 1 3 (Knidos) , 3.1 ; idem, Die kulturelle unà ku'nstlerische Helle- Cf. als o on th e Euryto s cup , Brandenburg , 121-122 . O n a stamno s of nisierung der Kùsten des Mittelmeers durai die Stadt Phokaia (Cologne , about 48 0 (C . Isler-Kerenyi, Stamnoi [Lugano , 1977] , 36-42) th e son s 1966), 24-25 , figs . 12-14 , 16 ; figs . 18 , 21, of Massilia, ar e close r t o th e wear longer , girde d chitons an d easter n caps. Attic type. Fo r th e Knidian coins se e supra , note 88. 102. Bosto n 00.334 ; ARV 2, 126 , 27; Pfuhl, MuZ, fig . 320; CB, 11-12 , 99. I cite illustrations that give a good sample: ARFH (red-figure of pi. 68 . Laon 371001; C^4 1 , pi. 24.7, 9 . circa 530-50 0 B .c.), figs . 2 3 (nymph) , 2 7 (hetaira) , 34. 2 (companio n 103. Brandenburg , 133-148 . of Helen), 38.1 (hetaira) , 55. 2 (Aphrodite) , 71 (hetaira) , 75. 2 (dancin g 104. Th e Bomfor d cup , Oxfor d 1974.344 ; J. Boardma n A4 (1976) , girl), 10 7 (maenad?) , Ill (maenads), 11 3 (maenad) , 12 2 (nake d gir l a t 285, figs. 6-8 . altar). ABFH (for black-figure down to the early fifth century), figs. 54 Kurtz and Boardman

Figure 15a. No . 9 . Red-figur e amphor a b y th e Flying - Figure 15b. Detai l of amphora, figur e 15a . Side B. Angel Painter . Sid e A . Paris , Louvr e G 220 . Photo: Courtesy Musιe du Louvre . instances towar d th e en d o f the century , a s o n a Leagra n only turban s an d thei r customary loincloths. 108 Mos t tur - stamnos i n th e Vatican. 105 Othe r dres s i s tha t customar y baned komasts , however , wea r onl y a short cloa k aroun d for th e occasion—himation only. The turban was preferre d their shoulders , leaving the body bare109 an d they ar e ofte n for th e representatio n o f th e mor e vigorous , o r at leas t booted. upright, activit y o f the komast . On th e Kleisopho s oino - We come now to the komasts dresse d in chitons. We met choe106 th e livel y komast s ar e star k nake d bu t fo r turban s a forerunne r o n th e unusua l Rhode s vas e of about 540 - and boot s (fo r two of the five). N o hint of the transsexua l 530 (No . 1 , fig. 10b) . Some twent y year s late r come s th e or feminin e here , a t an y rate , an d th e naked , turbane d figure o n the Malibu kyathos (No. 2, fig. 11) with hi s short, komasts remai n quite common. The Krokota n vase s favor tight chiton . And at abou t th e sam e time we hav e th e fine naked men in turbans, walking or drinking in a vineyard.107 komast on Psiax' s white-ground plate in Basel (No . 3, fig. There ar e komast s o n th e Perizom a Grou p vase s wearing 9), accompanie d b y a similarly turbane d gir l piper . Neare r

105. Vatica n 415 ; ABV, 388 , 3, Group of Louvre F 314; C. Albizatti , 58 and Oxford 1919.46 ; B. Philippaki, The Attic Stamnos [Oxford , 1967] , Vasi antichi dipinti del Vaticano (Rome, 1925-1939), pi. 62. And, e.g. , the pi. 10.1 , 2) an d 5 (Tarquini a 1749; L. Campus, Cerαmica attica a figure Oltos cup, Berlin 4221; ARV2, 61 , 73; CVA 2 , pi. 54.2 , 3. nere [1981] , no. 8, pi. 59). 106. Athen s 1045 ; ABV, 186 ; Pfuhl, MuZ, fig . 254 ; CJ^4 1 , pi. 2.1-3. 109. Som e examples: the black-figure tondo to Epiktetos' cup, Berlin 107. E.g. , ABV, 206 , 8 and below 2 = Munic h 205 0 (JHS 7 5 [1955] , 2100 (ARV2, 71 , 7; Pfuhl, MuZ, fig . 175 ; CVA 2 , pi. 54.4); on the Nikos- pi. 11.4) ; and Heidelber g 277 (ibid. , pis . 4.1, 15.8 ; ABFH, fig . 182). Cf. thenes Painter's cup, Paris G 4 bis (ARV2, 125 , 16; CVA 19 , pi. 74.1); the Brandenburg, 81-82. red-figure cup, Vienna 1777 (CVA 1 , pi. 3.1); the Hegesiboulos Painter's 108. A specialty of the Beaune Painter: ABV, 344,2- 3 (Orvieto , Faina name vase , New Yor k 07.286.4 7 (sid e B; ARV, 175 ; G. M. A. Richter Booners 55

the en d of the centur y ther e i s an exceptiona l example, in red-figure, of a dressed (chito n and himation) komast who has joine d a symposio n (No . 4 , fig . 12) . Now th e mai n series begins with th e Kleophrade s Painte r fragment s (No . 5) o n which w e se e agai n th e ful l dres s assumed at a symposion and, on the other sid e of the vase , for a komos wit h song. Thes e see m th e onl y example s o f th e turba n an d chiton fo r reclinin g symposiasts , an d o n No. 4 th e associ - ation with th e komos is immediate. The firs t quarte r of the fifth centur y bring s over a dozen furthe r examples . I draw attention onl y t o No . 7 (fig . 14 ) fo r th e fine headdres s arranged mos t lik e tha t wor n b y women ; t o No . 9 (figs . 15a-b) fo r it s associatio n wit h th e tie d headcloth ; an d t o No. 1 0 (figs . 16 , 29) fo r th e variet y of ways in which th e long, multi-wrapped turban coul d b e worn. With th e dressed komast wearing a tied fillet o n No. 9 we may compare th e Brygo s Painter' s Alcaeus 110 o r th e figur e wit h a broad, tie d fillet (No . 16 , fig. 19 ) o n a cu p b y th e sam e artist. On the Harrow Painter amphora (No . 8) th e komas t with a paraso l i s bareheaded . Al l are otherwis e full y dressed. Figure 16. No . 10 . Red-figure stamnos . Madrid , Muse o Arqueológico Naciona l 11.009 . Photo : Cour - In th e secon d quarte r o f th e centur y ther e ar e rathe r tesy Museo Arqueológico Nacional. more examples , nearl y hal f o f them o n Manneris t vases . The headdres s i s generall y no t s o elaboratel y draw n (a n male association i s with dresse d komasts, who exhibit othe r exception i s No. 38), but i t i s als o possibl e tha t o n som e exotic feature s ye t t o b e discussed , an d thi s continue s examples th e turba n ha s bee n replace d b y th e one-piec e through th e first hal f of the fifth century , when som e of sakkos. This is not al l that eas y to distinguish from a more the dresse d komasts apparentl y com e to exchang e i t for th e simply draw n turban , thoug h th e sakko s i s mor e com - feminine sakkos . monly patterne d wit h dots . I t might b e a sakko s tha t We ma y now consider th e name of this turban headdress. appears in the 470' s fo r dresse d komast s b y Douris and th e Brandenburg identifie d i t a s a mitra, an d it s earl y recor d Brygos Painte r (Nos . 14 , 15 , 17 , figs. 17 , 18 , 20), but the y in text s certainl y matches closel y th e representationa l evi - do no t closel y match thos e the y giv e their women. Later , dence. Fo r easterners Herodotus names it as worn b y Baby- the Pi g Painter' s sakko i seem more plausibl e (Nos . 33, 34, lonians ( i 195.1 ) an d Kissio i (nea r Susa , vii 62.2), and th e figs. 25 , 26a-b) , thoug h agai n the y d o no t closel y matc h word itself may be of eastern origin (Brandenburg , 9 -10).111 the headdres s h e give s women o n hi s vases . On th e othe r In Gree k texts it is often described a s Lydian (ibid. , 53, 57). hand, th e Agrigent o Painter's mal e an d female headdresse s We hav e see n Lydian me n an d a Lydian-period woman at do resembl e eac h othe r (No . 39, fig. 27). This i s the first Gordion wearin g a turban, an d both Alkman (frag . 1.67 - time tha t w e ma y eve n suspec t tha t thi s wholly feminine 68 Page) an d Sappho (frag . 98.10-1 2 Lobel-Page: ¡itrpápa) headgear ha s bee n worn b y male komasts . have th e mitr a a s a headdress for Lydia n women. But it i s To summariz e th e representationa l evidence : th e turban , also name d a s wor n b y men , notabl y athletes , oriental s an eastern headdress worn principall y b y men, comes t o b e (especially priests) , symposiast s an d Dionyso s himself , worn durin g th e sixt h centur y i n Eas t Greec e an d th e poets (e.g. , Aristophane s name s Anakreon , Alcaeus , an d Greek mainlan d by women and b y men—but the n only a s Ibycus [Thesm. 160-163 ] ), and by Herakles and Achilles in symposiasts o r komasts. By the end of the century its special their feminin e moments wit h Omphal e an d th e daughter s

and L. F. Hall, Red-Figured Athenian Vases in the Metropolitan Museum of good naked , turbane d komas t shoulderin g a barbiton on Munic h 870 3 Art [Ne w Haven, 1936], pi. 10) ; the black-figure fragment from Selinus (ARV2, 1582 , 1; F. Hauser,JdI 1 0 [1895] , figure on p. 161). (Palermo; ABV, 676 ; MonAnt 3 2 [1927] , pi. 92.9) ; the black-figure Pis- 110. Munic h 2416 ; ARV2, 385 , 228; ARFH, fig . 261 ; E . Simon and M. tias Clas s cup , onc e Hop e 8 3 (ABV, 627 , 6 ; Tillyard, The Hope Vases and A. Hirmer, Diegriechischen Vasen (Munich, 1976) , pi. 150. [New York , 1923] , pi. 6), and another , Elvehje m Museum, Madison, 111. A full recor d of the turban in the eas t in Brandenburg, 111-12 7 Warren Moon, Greek Vase-Fainting in Midwestern Collections (Chicago , and se e supra, note 86. In Hesiod (frag . 1. 4 West) it is already a woman's 1980), no. 70. On th e Haimon Painter's lekythos , New York 41.162.1 3 belt, but in Homer a piece of male protective dress (Brandenburg, part (ABV, 538 , 1 ; CVA Gallati n 1 , pi. 7.8) full-lengt h himati a are worn. A O- 56 Kurtz and Boardman

Figure 17. No . 14 . Red-figur e cu p b y Douris . Paris , Figure 18. No . 15 . Red-figur e cu p b y Douris . Munich , Louvre G 286 . Photo : Courtes y Musιe d u Antikensammlungen 2647 . Photo : Courtes y Louvre. Antikensammlungen. of Lykomedes . Representationa l evidenc e make s clea r tha t think tha t the word applie d at all periods to a piece of clot h these figure s di d no t al l wear th e mitr a a s a turban . Th e of the sam e shape and proportions or that it could be wor n Dionysiac certainl y wea r i t mor e ofte n a s a tie d fille t o r in onl y on e way . Both th e continuit y and th e man y vari - headcloth. Telle-Kastenbein , wh o object s t o Branden - ations in practice in tying th e hai r ca n b e readil y observe d burg's definitio n o f the mitra , believe s tha t it applie s onl y in art , an d ther e i s no nee d t o fin d a new wor d fo r ever y to a Kopfbinde wor n eithe r a s a knotted fillet o r a s a shorter, such variation . Consider th e varietie s o f form whic h th e ornate, an d ofte n shaped (apparentl y stiffened ) bindin g for word kylix mus t hav e served, or th e word amphoreus wher e the hair. That th e long strip might be worn in this manner , there wa s als o variety of use. Our Gree k mitrephoros wore a as a tie d headcloth , w e hav e observe d already : e.g . o n ou r turban i n th e sixt h century , preferre d a tie d headclot h o r Nos. 9 , 10 , 12 , 16 , 18 , or th e Brygo s Painter's Alcaeus. 112 fillet i n the fifth—lik e a Dionysos—while his female com - A possibl e explanatio n i s that th e mitr a wa s at firs t th e panion use d he r mitra stil l to cove r more of her hair . Thus, eastern headdres s consistin g of a stri p of cloth wor n a s a the shap e of th e mitr a certainl y change d ove r time . Th e turban. A s such i t was borrowe d by th e Greek s an d wor n more w e lear n abou t Gree k us e o f "technical" word s fo r not onl y a s a turba n bu t als o a s a loose r hai r bindin g dress, utensils , o r implements , th e les s precis e tha t us e (Brandenburg's typ e c) o r simply as a tied headclot h (a s it proves t o hav e been , an d i t woul d b e a pit y t o exclud e might als o b e in the east , fig. 30). There wa s n o difficult y associations o f words an d representation s throug h insisting in transferrin g th e ter m t o th e ordinar y tie d fillet , eve n on over-precis e identifications. when mad e of a shorter, narrower , even padded strip , especially onc e th e fashio n fo r th e ful l turba n wa s goin g out , Dress in th e firs t hal f of the fift h century . It would b e wrong to With on e o r tw o exceptions , t o b e remarke d i n a

112. Supra , not e 110 . Other use s of the word, a s for a belt (se e supra , support identificatio n wit h somethin g loosel y tie d an d with lon g ends note 111) , suggest something longe r tha n a short hairban d o r fille t an d when worn a s a fillet . Booners 57

Figure 19. No . 16 . Red-figure cu p b y th e Brygo s Painter . Brussels , Musιes Royaux R332. Photo: Courtesy Musιes Royaux.

Figure 20. No . 17 . Red-figure cu p b y th e Brygo s Painter. Paris , Louvre G 285 . Photo: Courtesy Musιe du Louvre. 58 Kurtz and Boardman

Figure 21a. No . 18 . Red-figure skypho s b y th e Brygo s Figure 21b. Sid e B of skyphos, Louvre C 10813 . Painter. Paris , Louvre C 10813 . Photos: Cour - tesy Musιe du Louvre. moment, th e criterio n fo r identificatio n o f ou r dresse d the century . On a cup b y the Heidelber g Painter, t o whic h komasts ha s bee n th e wearin g o f full-lengt h chito n an d reference ha s alread y bee n made 114 fo r th e od d headdresse s himation. Mos t komast s o f our perio d ar e nake d o r wea r of th e dancers , th e dres s i s shown t o knee - an d t o ankle - only a shor t cloa k roun d thei r shoulders . Th e ful l chito n length. And on a hydria of about th e sam e date (circ a 560), and himatio n is worn otherwis e b y women, b y Dionysos , four me n in long chitons danc e to th e piper , who wear s a and b y senio r male s o f myth o r contemporar y societ y mini-chiton.115 A comparabl e thoug h tighter-fittin g (where generally , t o judge fro m th e vases , th e himatio n chiton i s worn o n the Malibu kyatho s (No . 2, fig. 11). The alone sufficed) . Earlier , in th e sixt h century , chiton s ar e male komast s i n the chito n ar e generall y describe d a s me n shown commonl y worn b y men , no t onl y i n Athens, bu t dressed a s women, 116 but al l that i s really odd abou t the m also fo r instanc e o n Corinthia n vases. Thucydides ( i 6.3 ) is that the y ar e dresse d at all , since th e chito n i s a s prope r considered th e chiton male dres s of the recen t pas t in Ionia dress for men a s it i s for women, an d thi s i s more tru e of and Athens . representations fro m th e first hal f of the sixth century tha n Early in the sixth century th e komast dancer s of Corint h of thos e from th e en d o f the centur y whe n Dionyso s an d and Athens , if dressed a t all , wore a close-fitting , short - the elderl y are more often s o favored. If there ha d bee n an y sleeved tuni c whic h wa s probabl y mad e u p a s a typ e o f serious attemp t t o show th e men a s women, the exclusively short chiton. 113 Nearer th e middle of the centur y ther e ar e feminine dress, the peplos , would surel y hav e been chosen . some unusual studie s o f dancers in longer dress, though th e It wa s easie r to danc e in, being open alon g one side , and in short komas t chito n is still see n well into the secon d hal f o f representations th e artist' s intention would hav e been made

113. A . Greifenhagen , Fine attische schwarzfigurige Vasengattung seem irrelevant here: A. Greifenhagen, AA 1978 , 538, figs. 61-62 . (Kτnigsberg, 1929) ; A. Seeberg, Corinthian komos vases (London, 1971). 116. E.g. , T. B. L. Webster, The Greek Chorus (London , 1970), 14-15; 114. Above , p. 51, with not e 92 . Trendall an d Webste r (supra , not e 92), 20. A later, chitoned choru s o n 115. MuM Auktion 3 4 (1967) , no. 121 , pi. 31.1 do not know what t o a cup by the SabourofFPainter (ARV2, 837,10 ; MuM Auktion 5 6 [1980] , make of the me n in chitons with pointe d cap s and carryin g snakes, on no. 103 ; now Malibu, th e J. Pau l Getty Museum, 86.AE.296). the strang e an d poo r lat e black-figur e skyphos , Pari s F 410 , but the y Booners 59

Figures 22a-h No . 20 . Red-figur e cu p b y th e Brisιis Painter . Above: sid e A; below: side B. D: 30. 2 cm . Malibu, The J. Paul Gett y Museum 86.AE.293 . 60 Kurtz and Boar aman

Figure 23. No . 24. Red-figur e cu p b y a follower o f Douris. Estimated D a t shoulder : 21. 6 cm. Malibu, Th e J. Pau l Gett y Museu m 86.AE.386.

Figure 24. No . 28. Red-figure pelik e fragments b y the Pa n Painter . Fragmen t a , L: 6.85 cm; fragment b , L: 4.1 cm. Malibu, The J. Pau l Getty Museum 76.AE. 102.29 and 76.AE . 102.30. Booners 61

more clear . Tha t in one of the earlies t example s of the lon g them wit h th e top s of their boot s both turne d dow n an d dress for komast s (th e Heidelber g Painte r cup ) th e head - left uprigh t o n th e sam e vase. 118 Example s ca n easil y b e dresses may b e o f eastern origi n ma y no t b e withou t sig - multiplied, an d othe r varietie s o f boo t observed—shor t nificance. In East Greece the chiton was eve n mor e favore d ones o n th e Kleisopho s oinocho e (supra , p . 54) , wit h for men , a s witnesse d b y many vas e paintings an d th e fac t tongues o n black-figur e vases, 119 o r tighte r fitting 120— that th e dresse d kouro s is , in sculpture, a n Eas t Gree k spe - these all for turbaned komasts . The y ar e worn by girls, too , ciality an d no t a mainland one . I t was worn in Lydia too , but onl y hetairai—otherwise naked. 121 and wit h th e boots , a s par t o f the "eas y living" dres s rec - A hig h proportio n o f ou r dresse d komasts , especiall y ommended b y Kroiso s (Hdt . i 155.5) . early, wea r boots , an d man y ar e o f the nove l variet y wit h The onl y rea l poin t o f differenc e betwee n ou r dresse d rolled o r downturned tops . Ther e i s little doubt tha t thi s i s komasts an d thei r predecessor s i s th e fac t tha t th e earlie r the kothornos, an d severa l source s declar e i t of Lydian dressed dancer s ar e performin g in unison , o r wit h recog - origin.122 I n Herodotos ' stor y ( i 155.5 ) Kroiso s recom - nizable and repeate d steps or postures, to the music of pipes . mends it , with th e chiton , a s appropriatel y relaxe d an d They ar e making their contribution, no doubt, t o th e earl y degenerate costume fo r Cyru s t o insis t tha t Lydian s wear , history o f th e Gree k theate r an d chorus . Ou r dresse d to deflec t the m fro m mor e warlik e activity. And it was th e komasts may danc e but no t in unison, an d thei r interes t i s soft, capaciou s kothornos tha t Alkmaio n wor e an d wa s abl e rather in song an d th e barbiton, thoug h pipe s are played to o to stuf f with gol d dus t in Herodotos' accoun t (v i 125 ) o f in man y scenes . At any rate , b y their tim e an d i n our onl y Kroisos' generosit y t o him . Thes e sof t boot s hav e a lon g source o f evidenc e —vase-paintings —th e semiforma l history in Anatolia. komast dance s hav e disappeared , an d th e artist s devot e It ma y b e tha t th e wor d kothornos wa s applie d als o t o themselves rather t o th e conduct o f the symposio n an d th e some of th e othe r varietie s o f sof t boo t observe d o n ou r reveling which accompanies it. komasts, an d th e specia l variet y create d for th e stag e in th e To summarize , w e ma y sa y tha t ou r dresse d komast s fifth century 123 bear s onl y superficia l resemblanc e t o it s wear clothe s which, in the fift h century , wer e mor e appro - sixth-century predecessor . priate t o women, senio r citizen s of life o r myth, and Dio - nysos, but that the y ca n be seen to be continuing a tradition Earrings in whic h the dress , especially favore d b y Eas t Gree k male s On Nos . 1 9 an d 3 3 (fig . 25) th e dresse d komast s wea r and familia r too for men in mainland Greece , had als o been earrings. I n mainlan d Greec e onl y wome n wor e earrings , worn b y mal e dancers , an d at a time when, if impersona - and pierce d ear s identifie d th e easter n male ; a Lydia n in tion of women ha d bee n intended, th e peplo s would hav e Xenophon, Anab. ii i 1.31. The wearin g of earrings b y me n been the obviou s choice . Non e wor e a peplos . in th e non-Gree k eas t i s readil y attested , neares t hom e i n Lydia an d Cyprus, 124 bu t Lydi a ha s prove d th e sourc e of Boots other element s in our komasts ' dress , and althoug h b y th e Before th e 520' s komast s normall y g o barefoot . Onc e time th e earring s appea r o n ou r vases , it ma y hav e bee n they ar e shod , th e boot s ar e rarel y o f th e familiar , tight- difficult t o tak e them a s othe r tha n feminine ; still , havin g fitting typ e wit h tongue s t o pul l the m on , bu t ar e soft , been misle d identifyin g th e "purel y feminine " i n othe r sometimes comin g hig h u p th e cal f wit h th e top s ofte n items, w e shoul d conside r whethe r thes e to o migh t no t turned dow n o r rolled . There ar e goo d example s of black- have been par t o f the origina l male appare l o f our dresse d figure komast s in the tondi of cups by Oltos and Epiktetos , komast. Ar e they atteste d on men in those areas of the Eas t the latte r als o being turbaned. 117 O n work s b y th e Dikaio s Greek worl d whic h see m t o hav e transmitte d th e mitra - Painter and , later , th e Antipho n Painter , w e ca n observ e turban? For a start, Anakreon' s butt , Artemon, wore them ,

117. Basel , Antikenmuseum, ex-Ludwig (ARV2, 55,2 0 and Para, 326 , 120. Pari s G 4 bis, red-figure cu p (supra , not e 109) . Oltos; Antike Kunstwerke aus derSammlung Ludwig, vol . 1 [Basel, 1979], 121. E.g. , pulling on he r boot s on th e Kαppeli cup , Para, 325 , 4 9 bis ; 91, no . 33) . Berli n 210 0 (supra , not e 109) . Cf . th e skypho s nea r th e Kunstwerke der Antike, ex . cat . of collection of Robert Kappel i (Basel , Theseus Painter, Tarquini a 637 (Para, 259 ; Cl^4 1 , pi. 18). n. d.), D 5 ; and th e Boot Painter's girls, a s ARFH, fig . 382. ; Londo n E 767 , red-figure psykter ; ARV2, 31 , 6 Dikaios Painter ; 122. K . Erbacher, Griechisches Schuhwerk (W٧rzburg, 1914) , 58-62 .118 CJ>^4 6 , pi. 104 , la, c . New York , Schimmel , red-figur e cup ; Para, 362 , M. Bieber , RE, s.v . "Kothurn," 1. Antiphon Painter ; O . W. Muscarella , ed. , Ancient Art in the Norbert 123. Ther e ar e n o goo d ground s fo r regardin g th e kothornos as essen- Schimmel Collection (Mainz, 1974), no. 61. tially feminin e (se e E . Simon, The Ancient Theatre [London , 1982], 13- 119. Munic h 3050, black-figure cup; ABV, 206 , 8 , Krokotan; JHS 7 5 14; A. Kossatz-Deissmann,JdI 9 7 [1982] , 71-72). (1955), pi . 11.4 . A s worn b y wome n o n Leningra d 284 , black-figur e 124. R . D . Barnett, JHS 6 8 (1948) , 9 (Phrygian) , 18 . Greek refer - neck-amphora (ABV, 335 , mid 1 ; H. Licht , Sittengeschichte Griechen- ences to easterners in RE, s.v . "Inaures " an d Dio Chrys. 32.3 . lands, vol. 2 [Dresde n an d Zurich, 1925] ,187). 62 Kurtz and Boardman

Figure 25. No . 33 . Red-figur e column-krate r b y th e Pi g Painter . Clevelan d Museu m o f Art 26.549 , A . W. Ellenberge r Sr . Endowment Fund . Photo: Courtes y Clevelan d Museum of Art. graduating fro m woode n stud s t o gol d (abou t th e differ - earrings wer e a n acceptabl e elemen t o f stylish, if foppish, ence betwee n ou r No . 1 9 an d No . 33) , bu t h e ma y b e a male dres s at the time that th e komas t appare l w e have been special case , a s we shal l see . Seventh-centur y mal e cla y fig- studying wa s bein g regularl y worn. ures from Rhodes , Chios , an d Samo s hav e pierced ears. 125 At th e en d o f th e centur y th e ivor y bo y fro m Samos , a Lyres fitting fo r a lyre, ha s inlai d ear-discs; 126 stylisticall y h e ha s From abou t 52 0 o n a ne w typ e o f lyre i s depicte d o n Anatolian, probabl y Lydian , connections . Gorgoneio n Athenian vase s —the barbiton (o r barbitos). I t ha s long , Group bust-vase s and a n Ionia n face-kantharos offe r mal e straight arms , no t th e curving goat-horn arm s of the ordi - heads with decorate d lobes , but possibly borrowed from th e nary lyre , nor th e heav y constructio n an d soundbo x o f the molded o r painte d decoratio n o f thei r femal e counter - kithara o r phorminx. It s long strings an d lo w notes made it parts.127 Ther e ar e dotte d mal e lobe s show n o n Chia n an d particularly valuabl e a s accompaniment fo r the mal e voice . Caeretan sixth-centur y vases 128 an d som e interesting - With on e exceptio n (No . 19 ) it is the onl y lyre type han - looking kouro s ears. 129 dled b y our dresse d komasts . On e of the earlies t examples , It seem s more tha n possibl e tha t i n parts of East Greec e on Psiax' s plate (No . 3, fig. 9), ha s a n elaborat e form wit h

125. J . Boardman , Greek Emporio (London , 1967) , 19 1 citing fo r 1978), fig. 54 . Samos, .4M66 (1941) , pi. 15.1244 ; for Rhodes, R. A. Higgins, Catalogue 127. Higgins , vol. 2 (supra , not e 125) , pi . 7.1613 . Bosto n 98.925 ; of the Terracottas in the Department of Greek and Roman Antiquities, vol . 1 ARV2, 1529 , 1 and 1697 ; Samos vi.l, pi . 55. In these and th e followin g (new ed. , London, 1954-), pi. 2.7. notes I am indebted t o Christopher Simo n for relevant observations . 126. D . Ohly, AM 7 4 (1959) , 48-56, Beilag e 87-93 ; B . Freyer - 128. T . B. L. Webster, JHS 4 8 (1928) , 198-19 9 citin g hi s pi. 1 1 and Schauenburg, Elfenheine aus dem samischen Heraion (Hamburg , 1966) , E. R. Price , JHS 4 4 (1924) , 215 , fig. 56; 219 , fig. 63; pi. 6.6. Ther e ar e 19-26, pi . 2 ; J. Boardman , Greek Sculpture, Archaic Period (London , several othe r example s o n male s on Caeretan vases. Booners 63

Figures 26a-b. No . 34. Red-figure pelik e by the Pi g Painter. Left: sid e A; right: side B. Rhodes, Archaeological Museum 13.129 . Photos: Courtesy Archaeologica l Museum of Rhodes.

twisting arms , which appear s on a number o f other vase s 5. Pari s F 314 , black-figure stamnos . ABV, 388 , 1 , Group of th e lat e sixt h centur y an d mus t represen t it s earliest , of Louvre F 314.

130 most ornat e form. Th e followin g i s a list of representa- 6. Brussel s A 1652 , black-figur e psykter . ABV, 387 , 19 , tions of this type : Acheloos Painte r manner ; CP^ 4 iii , pl . 25.5; S . Drougou , .Derattische Psykter (W٧rzburg, 1975) , pl. 13.1 1. Basel , Antikenmuseum, Kαppeli 421, black-figure plat e 7. Berli n 4029 , added-colo r stamnos . ABV, 672 ; Jdl 4 3 by Psiax (fig . 9). Our No. 3. (1928), 339, fig. 6. 2. Londo n B167 (part) , black-figure stand (fig . 32). Para, The typ e seem s to have originated in East Greece,131 an d 169. Pindar (frag . 12 5 Snell ; in Ath. 635d) say s it was invente d 3. Havana , Lagunilla s Collection , black-figur e pelike . by Terpande r of Lesbos t o answe r th e high-pitche d pektis ABV, 340 , top 3 , Painter of the Vogel l Pelike . (Ath. 626a) . Athenaeu s 175 e ha s Anakreo n th e inventor , 4. Paris , Institu t Nιerlandais, Fondatio n Custodia , Col - and it was mentione d b y both Sapph o and Anakreo n (Ath . lection F . Lugt 3650, black-figure pelike . 182f). Kritias , whose grandfathe r wa s Anakreon' s favorit e

129. Notabl y o n th e Leipzi g kouros, wit h re d dot s o n th e lobes ; A . Orlandou, vol . 3 (Athens , 1966) , 208ΝL;J. Tzedakis, AAA 3 (1970) , 111- Rumpf i n Antike Plastik. Walter Amelung zum 60. Geburtstag (Berli n 112; M. Wegner, Musik und Tanz. Archaeologi a Homιrica (Gottingen , and Leipzig , 1928), 21 8 (= G . M. A. Richter, Kouroi [London , 1960] , 1968), figs. Ik, 2i. no. 58 , not recorded) . 131. Cf . M. Wegner, Das Musikleben der Griechen (Berlin , 1949) , 42- 130. Th e elaborate d arms , though no t th e genera l proportions, see m 45, 198-200 . J. M. Snyder, C//67 (1972) , 331-340 an d eadem , AJA 8 0 anticipated i n the Bronz e Age . Se e C . A. Long, The Ayia Triadha Sarco (1976), 189-190 , o n th e classica l barbiton. phagus (Gothenburg , 1974) , 38 and nn. 48-52; N. Platon in Charisterion 64 Kurtz and Boardman

in Athens , call s th e poe t philobarbitos (frag . 3 Diels ; Ath. 600e). The sourc e and dat e of introduction of the barbiton to Athens i s very clear .

Parasols Many of our dresse d komasts carr y parasols and onl y o n No. 2 0 (figs . 22a-b ) d o a woman an d a smal l gir l carr y their parasol s for them . In fac t ou r vase s provide th e vas t majority o f all Greek representation s o f parasols from th e sixth century an d firs t hal f of the fifth . Othe r known rep - resentations ar e o n a lat e black-figur e fragmen t fro m th e Akropolis, whic h show s a woma n wit h one; 132 o n th e Penelope Painte r skyphos , wher e a fine lad y (Basilinna , it may be ) i s protected b y on e carrie d for her b y a satyr; an d on th e Partheno n frieze , wher e Ero s support s on e fo r hi s mother.133 The y wer e carrie d fo r girl s in th e panathenai c Figure 27. No . 39 . Red-figur e column-krate r b y th e procession, an d i t i s no t surprisin g t o discove r i n Gree k Agrigento Painter . Vienna , Kunsthistorische s Museum 770 . Photo : Courtes y Kunsthisto - literature that they ar e regarded a s utterly feminine, t o pro- 134 risches Museum . tect fai r skins, an d the y ar e frequentl y show n handle d by women in the fourt h century , especiall y on Sout h Ital - ian vases . But was thi s s o always , everywhere? I n the eas t a parasol wa s n o woman' s to y but a mark of status, fit to b e held ove r th e Grea t Kin g himself , symbolizing the way h e cast the shado w o f his protection over his people. That thi s remains tru e wel l int o th e Classica l perio d i n Anatolia is apparent o n th e "Nerei d Monument " a t Xantho s i n Lycia.135 Amon g the ric h gift s o f Artaxerxes t o hi s Creta n guest, Entimos, was a gilded parasol (Ath . 49f), but we ar e not tol d wha t h e did with i t when h e took it home . In Athenia n ar t ou r firs t parasol-holde r i s a man . H e appears o n eithe r sid e o f a n eye-cu p o f abou t 530-520 , wearing himation and chito n and o n hi s hea d wha t look s like a ca p i n th e for m o f a woman' s head. 136 H e i s no t certainly a komast, but the only other figure s with th e same odd headdres s ar e onl y a little late r in date—nake d youth s dancing t o a pipe r an d youth s i n shor t chiton s dancin g with draw n swords. 137 Th e headgea r remain s mysteriou s but seem s to hav e festive associations . It seem s very likely , then , tha t th e paraso l wa s know n first t o Greek s a s th e orienta l insigne of a mal e dignitary, which in the exotic society of Archaic Lydia or East Greece fell int o women' s hand s too, and tha t althoug h this was t o

132. Akr . 682, Graef, vol. 1 , pi. 46. Figure 28. No . 41 . Red-figur e column-krate r b y th e 133. Berli n 2589 ; ARV2, 1301 , 7; L. Deubner, Attische Feste (Berlin , Orchard Painter . Bologna , Muse o Civic o 234 . 1932), pi. 18.2 . E Brommer , The Sculptures of the Parthenon (London , Photo: Courtes y Muse o Civico . 1979), pi. 105. In the hands of a maenad o n ARV2, 621 , 34 and 42 , Villa Giulia Painter . 134. RE, s.v . "Schirm"; Deubner (supra , note 133) , 31 n. 1 4 (Panath - enaea), 49 (not a t Skira). 135. C . Picard, La Sculpture, vol. 2, part 2 (Paris , 1939) , 871, fig. 353 . And cf . E. W. Klimowsky, SchwMhll 13/1 4 (1964) , 121-134 . 136. Naple s 2729; well discusse d b y F . Brommer in "Kopf iiber Kopf, " Antike und Abendland 4 (1954) , 42-44 wit h fig . 1; CB, 57, n. 1 ; CVA Booners 65

be it s Classica l Greek function , it s appearance in mainland modern scholars , wh o reac t instinctivel y t o th e combina - Greece was at firs t in men's hands only an d in the contex t tion of funny hats, long dresses , parasols, an d earrings . And of the komos . they woul d hav e looke d rathe r lik e wome n eve n t o thei r contemporaries i n Athens , wh o wer e nevertheles s mor e At thi s point a summary of the representational evidenc e naturally awar e tha t som e men wor e long dresse s and hats , for ou r dresse d komast s an d thei r antecedent s ma y b e had wor n an d n o doub t stil l di d wea r earrings , an d tha t attempted. To many scholar s the y hav e seeme d to be delib - the Grea t Kin g sa t unde r a parasol . Give n th e settin g of erately impersonatin g women. But th e origi n o f every wine and son g and th e effeminacy attributed to those areas detail of their dres s i s found t o b e male , especiall y in th e from whic h thi s dres s an d behavio r derived , i t i s likel y East Gree k world an d in the mor e overtl y orienta l society enough tha t th e feminine aspec t becam e emphasize d o r of thei r wealth y an d influentia l neighbors , th e Lydians . even sough t after , especiall y onc e th e sakko s wa s adopted . Though th e mai n serie s begins onl y in the 520's , element s But thi s wa s no t tru e transvestis m an d ma y neve r hav e of thei r dres s ar e see n earlie r i n Greece—th e wearin g of become so . the chiton , th e od d headdress . Th e wearin g o f earring s The serie s end s befor e th e middl e of the fift h century , and th e origins of the distinctive barbiton lyre can be trace d and th e lat e examples, man y on Mannerist vases, may eve n in th e Eas t Gree k world , an d i n Lydi a an d th e barbaria n be throwback s t o Archai c behavior rathe r tha n portrayal s east the distinctive boots an d parasols . of the contemporary. But comparably exotic dress, with it s The representation s o n Athenian vases from th e 520' s on feminine connotations, was still to be seen in artists' quarte r bring al l these elements togethe r an d demonstrat e the m in parties. Aristophanes ' pictur e of Agathon in th e Thesmo- a komo s settin g in which th e turbaned , chitone d figures , phoriazusae ha s rightl y bee n understoo d a s in the traditio n with th e barbiton, boots , parasol , an d sometime s eve n ear - of ou r dresse d komasts , wit h th e hat , chiton , himation , rings, strike a distinctive and indee d discordant not e besid e girdle, shoes, and barbiton.139 And the wearing of women's the traditional near-naked male s of the drinking party. The clothes a t a party coul d com e t o b e a somewha t tasteles s origins o f thi s specia l komas t behavio r mus t b e sought , display tha t ha d nothin g necessaril y t o d o wit h transves - with thei r dress and appurtenances , i n an East Greek worl d tism practice d for sexual, fertility, o r cult purposes. 140 heavily influence d by th e behavio r of their eastern neigh- Most o f the element s o f our dresse d komast s begi n t o bors. At n o poin t in th e earl y histor y of their dres s an d appear in som e profusio n on Athenia n vases in th e 520's , behavior i s there an y seriou s reaso n t o believ e that imper - and from abou t 52 0 on the full-dress versions ar e seen. This sonation of women wa s deliberatel y intended. This is mad e suggests a gradua l infiltratio n o f Eas t Gree k habit s int o especially clea r b y th e wa y in which th e me n d o not wea r Athenian komas t life , culminatin g around 52 0 in a specia l dress that we know to b e exclusively feminine—the cap s of addiction o n th e par t o f some reveler s t o a wholehearte d the mid-centur y black-figure vases, th e sakko s (excep t a t display o f thi s exoti c behavior . Th e genera l tren d i s the end of our series), the peplos—while any of these would answered i n Athenia n art—i n sculpture , vase-painting , have serve d a s a n instan t indicatio n o f at leas t partia l but architecture—by increasing awareness of East Greek, Ionia n deliberate transvestism . No r d o the y shave . No r d o the y styles, some of which mak e a profound and lasting impres- wear th e basi c equipmen t of drag artist s everywhere—fals e sion.141 I n th e cas e of behavio r i n th e komos , s o ampl y breasts. All othe r element s share d wit h wome n ar e proved, demonstrated b y the vases, we can turn to literary evidenc e by evidenc e othe r tha n vas e representations , t o hav e ha d to illustrate , if not necessaril y explain , the change ; an d thi s male association s also . (Thin k o f th e appallin g mistake s brings u s to Anakreon. that might b e mad e b y the uninformed trying t o interpret Anakreon wa s bor n i n Teos , a cit y o f Ionia , i n abou t

138 pictures of bearded Scotsme n wearin g kilts.) 572.142 In the fac e of the advancin g Persians, his townsmen Still, the y loo k lik e women—to o readil y perhaps t o left Teo s t o settl e i n Abdera , o n th e nort h coas t o f th e

Adolphseck 1 , pis. 14.1 , 4; 16.3-4. 140. S o Philostratos, Imagines 1.2 , admits changes of dress, either way, 137. Bromme r (supra , note 136) , figs. 2-4. in th e komos . Th e stor y o f th e boy s dresse d a s women , dancin g fo r 138. Cf . letter to the London Times of December 24,1980 from Janetta Demeter, to deceive the Megarians (Plut . Solon 8) possibly , but not nec - Hutchinson: essarily, conceals cult transvestism. They wore mitrai, "dresses," and san- "Sir, While in a shop i n Hampstead th e othe r da y th e assistan t dals. On transvestism in general se e Kenner (supra , note 83), section XI . turned to me and said : 141. Notabl y in sculpture , th e korai . Les s emphaticall y in vase - 'Can I helo you, Sir?' painting; cf. D. A.Jackson, East Greek Influence on Attic Vases (London, Tm a girl, I replied. 1976) an d architecture . 'Oh,' sh e sai d in all honesty. 'It was th e earrin g that mad e m e 142. C . M. Bowra, Greek Lyric Poetry (Oxford, 1961) , chapter 7 gives think tha t you were a boy.' " a good survey of his life an d works, and for dates cf. J. P . Barron, CQ 1 4 139. J . N. Snyder, Hermes 10 2 (1974) , 244-246. (1964), 219-222, 228-229 (an d M. L. West, CQ 20 [1970] , 206-208). 66 Kurtz and Boardman

Figure 29. Example s of mitrai on catalogued pieces . Drawing by the author .

Figure 30. Example s of eastern headdresses, after Wαfler (se e not e 86), figs. 13 8 ( = 1 : men of Carchemis h a t Nimrud) ; 47 , 5 1 ( = 2, 3 : Phoenician s a t Nimrud, Nineveh , etc.); 10 3 (=4: North Syria n neo-Hittites at Khorsabad) ; 11 3 ( = 5: Phrygian s at Khorsabad); 1 4 ( = 6: Judaeans at Nineveh); 136 ( = 7: men of Carchemish a t Nimrud). Compar e th e Greek krobylos with th e last. Booners 67

Figure 31. Example s of other Gree k headdresses . Drawing by th e author .

Aegean, in about 525 ; and som e of his poem s reflec t a sta y behavior i s clear . Tha t h e alon e wa s responsibl e fo r it , i s in Thrace . At some stag e he wa s sai d t o hav e been retaine d another matter . Afte r all , we hav e see n severa l element s by Polykrates , tyrant of Samos, to b e family music-master . introduced t o Athen s befor e hi s arriva l (th e turban , He was a t the Samia n court for the las t years of the tyrant' s chiton-wearing komasts , probabl y th e boots) , an d Spart a life. Wha t Anakreon' s specia l contributio n to th e wa y of may hav e known some sooner still. 144 I t i s far mor e prob - life a t Polykrates' court ma y hav e been i s not eas y to judge, able tha t h e i s a symptom of this ionicizing trend , an d w e but i t wa s a styl e which enjoye d a reputatio n late r fo r it s need t o look more closel y at our evidenc e fo r his life, inter- extravagance an d sensuality ; an d Klearchos , th e Hellenistic ests, eve n appearance . Fo r on e thing , hi s poetr y i s not a n moralist, attributed th e rui n of Polykrates t o hi s emulation expression of wild, effeminat e abandon . of sof t Lydia n way s (fnÀwaa s rà Avôœv /xaÀa/ca , Ath . He love d pleasur e an d san g unaffectedl y abou t it . He ha d 540f). I n suc h a context , perhaps , Anakreo n coine d th e little interes t i n war o r politics . Ye t he i s unusually digni - 143 word \voo7ra0ds (frag . 13 6 Page; frag. 15 8 Gentili). fied an d decorous...eve n a t hi s mos t relaxe d an d Polykrates wa s kille d i n 522 , an d Anakreo n sought th e unabashed Anacreo n ha s a reserv e of strength an d detach - hospitality o f anothe r tyrant' s court , i n Athens . Indee d ment which serve s his character an d hi s art. There i s always "Plato" (Hipparchos 228b ) say s that Hipparchos sent a pen- a hint tha t h e doe s not trea t hi s amusement s too seriously , tekonter t o fetc h him. Either at th e murde r of Hipparchos that h e know s thei r tru e worth . And when thi s reserv e i s in 51 4 or a t the expulsion of Hippias in 510, Anakreon must present, ther e i s no questio n of his poetry bein g degrade d or degrading . (Bowra , Greek Lyric Poetry [Oxford , 1967] , have lef t Athens , perhap s fo r Thessaly , bu t h e certainl y 307). returned an d died there in the 480's , ful l o f years and wine. His poetry epitomizes tha t lif e of Ionia which we have seen Though interes t in the barbiton was obviously not exclu- to li e behind th e appearanc e and dres s of our komasts ; an d sively Anakreon's , hi s associatio n wit h i t was sufficien t for Anakreon's arriva l i n Athen s coincide s closel y wit h th e a later writer t o think tha t h e invented it (se e supra , p. 64). main serie s of representations, o r a t leas t th e firs t commo n With Alcaeu s an d Ibycu s h e i s name d b y Aristophane s appearance of most o f the relevan t details . That hi s arriva l (Thesm. 160-163 ) a s on e o f the ol d poet s who wor e th e in Athen s i s t o b e associate d i n som e wa y wit h thi s ne w mitra145 an d dance d extravagantly . Ther e i s nothin g spe -

143. Anecdote s abou t Lydia n softnes s in Athenaeus 515d-516c . procession of Lydians (Plut. Aristides 17) . We need not dwell upon Spar- 144. On e of the earlies t turban s i n mainland Gree k ar t i s worn b y a ta's specia l relations with Samo s from th e end of the seventh centur y on Spartan (se e supra , not e 89) . In th e late r par t o f the previou s centur y (on which now P . Cartledge, CQ 3 2 [1982] , 243-265). Alkman ha d com e t o Spart a fro m Sardi s an d kne w th e Lydia n mitr a 145. Frag . 3 7 Gentil i (no t Page) , if really his , give s floral mitra i t o (frag. 1.67-6 8 Page) . In Spartan symposi a w e als o mee t th e sof t boot s Eros. early (Louvr e E 672 ; BSA 4 9 [1954] , pi . 52b). Artemis Orthia had a 68 Kurtz and Boardman

Figure 32. Black-figur e stand. London, British Museum B 167 . Photo: Courtesy th e Trustee s of the British Museum .

cific i n thes e records t o sugges t hi s responsibilit y fo r a rev - of th e sixt h century ; o n tw o i t clearl y identifie s a figure , olution i n th e Athenia n komos , bu t w e ca n reac h him o n and o n th e thir d i t ma y d o so . Thes e should tel l u s some - vases too , an d thes e hav e bee n ou r sol e evidenc e fo r th e thing abou t popula r view s o f Anakreon' s behavio r an d behavior with whic h h e i s now regularl y associated . dress.146 O n a cu p b y Olto s o f abou t 520-51 0 h e wear s His nam e appear s on thre e vase s in th e las t twenty year s himation an d wreat h only , playin g a barbiton, wit h n o

146. Thes e vase s hav e bee n muc h discussed . Cf . CB , 57 , 60-61 ; K . [Museum Folkwang , Essen, 1982] , no. 57 ; Kyknos' on hi s shield (Akr. Schefold, Die Bildnisse der antiken Dichter, Denker und Redner (Basel , 2555, Graef, vol. 1 , pi. 105); Ajax's on the hyacinth that spran g from hi s 1943), 50-51; idem, Griechische Dichterbildnisse (Zurich , 1965) , 4-6, pis. blood (o n a n Etrusca n red-figur e stamnos , Cabine t de s Mιdailles 947 ; 2a, 3a ; H. Brandenburg 86-87 , pis . 1 , 2; G. M. A. Richter, Portraits of J. D. Beazley , Etruscan Vase Painting [Oxford , 1947] , 53-54, pi . 11.4 , the Greeks (London , 1965), 77, figs. 291-292 . Settecamini Painter ; J. M. Moret, RA 1979 , 27 , fig. 19). Architectural 147. J . D. Beazley, The Kleophrades Painter (Mainz , 1974) , 15-16 ; H. sculpture behave s otherwise . On th e Eretri a pediment th e ese is mor e Immerwahr, AJA 6 9 (1965) , 152-154 . likely to be part of a discreet signatur e tha n (illegibl e from below , on th e 148. Londo n E 44; ARV2, 318 , 2; Pfuhl, MuZ, % 401 ; see Diod . iv chariot rail ) o f Theseus ' name . O n th e Siphnia n Treasur y friez e th e 12.2 an d Apollod . i i 5.1. Compare Enkelados ' nam e on hi s helme t names ar e o n th e backgroun d an d lowe r border , th e signatur e o n th e (Copenhagen 13966 ; Para, 48 , Epitimo s Painter ; CVA 8 , pi . 325.1) ; shield. At Tegea and on the Pergamon Alta r (cf . M. Robertson, History Athena's on her alta r (Akr . 1220; Graef, vol . 1 , pi. 67); and Esse n A 176 ; of Greek Art [Cambridge , 1975] , 164 ) th e inscribe d name s ar e outsid e Para, 166 , 108 ; H. Froning , Katalog der griechischen und italischen Vasen the relief s altogether . Booners 69

exotic features whatever . Unles s Olto s adde d th e nam e a s has wishe d t o associat e with hi s name . Th e remar k abou t an afterthought, h e ha d n o stron g views about Anakreon' s women ha s bee n use d to support th e view tha t the dres s we appearance. On a lekytho s b y th e Gale s Painte r o f abou t have considere d wa s deliberatel y transvestite. And a recen t 510-500 h e wear s chito n an d himatio n and play s th e bar study allow s Anakreon's disapprova l no mor e o f the ma n biton. Hi s hea d i s badl y damaged , an d eithe r a sakko s o r than of his dres s (whic h i s taken fo r transvestite ) an d see s tied headcloth (th e more likely, I think) ha s bee n restored . the poe m a s "good-humore d abuse." 150 Th e line s ar e This i s closer to the figure s of the dresse d komasts. And on quoted b y Chamaileon (in Ath. 533f ) a s a commentary on our No . 5, of about 500 , where ther e ar e fully dressed , tur- Artemon's ris e from povert y to luxury, without allusio n to baned figures , a fragment show s part of a dressed (presum - effeminacy; an d w e are , at an y rate , tryin g t o loo k at th e ably turbaned , bu t w e canno t b e sure ) figur e holdin g a original context through the quotation of a quotation. barbiton, o n on e (th e only on e preserved ) ar m of which i s Artemon, Anakreon says, used t o wear a berberion (take n the name Anakre [on (fig. 13b). A word o r name beginning for a shagg y garmen t o f some sort) ; "wasped" wrapping s A... befor e th e figure , if it names him, is perhaps unlikel y ( KOiXvtiixar èo(j>r]Kœiiéva ) whic h surel y refer s t o a turban, to b e A[nakreo n again . Othe r figure s o n th e vas e wer e binding th e hair tight151 an d incidentall y looking very lik e named, on e sing s "IOOO," an d ther e wer e drinkin g mot - a wasp's striped body, a s on our No. 5; wooden astragal s in toes o r ditties. 147 The barbiton playe r migh t b e mean t fo r his ears, 152 which mus t b e th e simples t form o f decorative Anakreon himself , bu t thi s i s not absolutel y certain . It i s plugs for the ea r lobes ; and a n old oxhide shield cover for a unusual fo r a figure t o b e name d o n a n adjacen t objec t o r cloak. H e mixe d wit h whores 153 an d wa s ofte n public - on on e tha t h e i s holding. It could see m appropriat e t o d o ly pillorie d an d scourged . No w h e ride s i n carriage s so if the objec t i s especiall y associate d wit h him , whic h (ooíTivéup) —mule-carts , mor e probabl y bein g contraste d might see m to b e th e cas e here. So , when Onesimo s label s here with hi s former reliance on his feet than with th e more Eurystheus on the pithos in which h e has take n refuge fro m virile chariot; he wears gold earrings (Ka0epfiara, more Herakles, w e ar e reminde d tha t h e ha d speciall y prepare d probably earring s tha n necklace) ; an d h e carrie s a littl e this bunker for such an eventuality.148 ivory parasol , lik e women (yvvai&v avrcos). Clearl y Arte- The fifth-centur y statu e of Anakreon recognized in mon ha s progresse d i n wealth an d indolence , rathe r tha n copies show s him naked bu t fo r a cloak ove r hi s shoulder s effeminacy, sinc e h e ha d wor n earring s an d a headdres s and wearin g a plai n fillet. 149 Non e o f thi s suggest s tha t before, an d w e ar e not oblige d to believ e such dres s eithe r there wa s in the minds of hi s contemporarie s an y very spe- effeminate o r transvestite , especiall y sinc e it was combine d cific associatio n of Anakreon with th e komas t behavio r w e with a n old oxhide cover fo r his flanks. S o the words "lik e have bee n studying , beyon d it s genera l suitabilit y t o hi s women" refe r t o th e specia l characte r o f his new gar b an d background; an d o n No . 5 hi s nam e coul d hav e bee n perhaps specifically and onl y t o th e paraso l which th e poe t prompted mor e b y th e barbiton o n whic h i t appear s ( a makes a s trivia l a s h e ca n wit h a diminutive (oKLadioKr\v mocking kalos , perhaps) tha n by the (assumed ) dres s of its k\€.§avTÍvr\v). Thi s reall y i s sof t livin g an d migh t deserv e player or eve n hi s identity . the taun t o f effeminacy . Th e whol e poe m show s tha t Finally ther e i s on e poe m o f Anakreon's whic h allude s Anakreon belong s t o a society in which suc h dres s was tol - to earrings , a headdress , a parasol , an d effeminacy , an d erated—if sometime s laughe d at—an d Artemo n i s bein g which ha s considerabl y bedevile d previous enquiries (frag . described not in a komos but in the streets. This is no mor e 43 Page ; frag. 8 2 Gentili). Sinc e th e allusion s appear in th e than we might expect , an d we ar e not obliged to think tha t course o f an attac k o n on e Artemon , i t ha s bee n though t Anakreon disapproved (o r even wholeheartedly approved ) that Anakreo n himsel f disapprove d o f th e ver y element s of the whole getup.154 which moder n scholarship , o n th e evidenc e o f the vases , "Anacreon's personalit y emerge s clearl y from hi s frag -

149. Richte r (supra , not e 146) , 76-77 , figs . 271-290 , th e origina l joined. Otherwise there i s something of an astragal pattern in the ribbed dated "circ a 440"; J . Frel , Revue des Arts 8 (1958) , 203-206. ear cover s show n in Cypriot an d Eas t Gree k art : J. M. Hemelrijk , 150. W.J . Slater, Phoenix 3 2 (1978) , 185-194. Cf. also CB, 56; Bowra BABesch 3 8 (1963) , 28-51. (supra, not e 142) , 297-300. Slater' s cas e is well answere d b y M. Davies 153. Fo r his association with girls , a s pimp or lover, see frag. 37 2 Page. in Mnemosyne 3 4 (1981) , 288-299 , defendin g Anakreo n agains t Anakreon i s attacking effeminacy in frag. 79 . transvestism. Se e also , in this vein, H. A. Shapiro, AJA 8 5 (1981) , 138- 154. Fo r furthe r recor d of effeminacy in his work w e hav e onl y hi s 140, an d C . Brown , Phoenix 3 7 (1983) , 1-1 5 (i n not e 5 4 h e see s a n desire t o behav e a s a very restraine d o r not very restraine d (dependin g earring on Myson's Kroisos, but there i s none). on th e reading) maena d (frag . 356.a. 6 Page ) an d a phrase for an effem- 151. Alread y so used in Iliad 17.52 . inate step (frag . 113) . 152. I n the sixt h centur y a Lydian gir l wen t t o he r grav e with gol d earrings an d tw o stylize d gol d astragal s (A . Greifenhagen , AntK 8 [1965], 13-19 , pi. 6.4-5). I wonde r whethe r the y wer e in som e way 70 Kurtz and Boardman

merits an d ha s littl e resemblanc e to th e senil e and bibulou s l'ambivalence sou s le sign e d e Dionysos, " Annali del Sem rake who wa s create d in his name by hi s imitators." 155 And inario di Stud i del Mondo Classico. Archeologia e Storia An tica we shoul d perhap s not b e to o read y t o la y a t hi s doo r th e 5 (1983) , 11-32 , wit h severa l illustration s o f relevan t sole responsibilit y fo r al l th e Lydopathi c licens e o f lat e figures. Archaic Athenian komasts . Another physica l contributio n fro m th e eas t t o th e Greek symposio n wa s th e us e an d appearanc e of sieve an d ADDENDUM ladle, a s show n i n man y Gree k symposio n scenes . Th e Robert Gu y draw s m y attentio n t o th e appearanc e o f practice wa s a n ol d eastern on e (cf . P . R. S . Morey, I ra nica our komast s on a cup fragmen t (Colma r Painter ) i n a pri- An tiqua 1 5 [1980] , 181-197), an d th e instrument s ar e no w vate collectio n (Centr e Island , Ne w York ) an d o n a well illustrate d i n th e fin e silve r example s i n Ne w York , column-krater fro m th e 198 3 excavation s a t Gravina . which are purely Lydian-Achaemenid (BMMA, Summer The subjec t i s further discussed , in its socia l context , b y 1984, 41-43 ; th e articl e inexplicabl y describe s the m a s F. Frontisi-Ducroux an d F . Lissarrague in "De l'ambiguitι Greek).

155. C . M. Bowra (supra , note 142) , 307 . Two Pelikai by the Pan Painte r

Martin Robertson

The Gett y Museum ha s fragment s o f two pelikai b y th e tainly belong s t o B . A loos e fragmen t wit h part s of figures Pan Painter . On e i s a very large and elaborat e vase , a mas- (fig. lg ) mus t com e fro m th e right-han d par t o f A bu t terpiece of great beaut y fro m th e artist' s earl y career . This cannot b e exactl y placed (se e infra) . pelike i s important both for the connection s i t shows wit h The uppe r edg e of the uppe r borde r i s about leve l wit h productions of other craftsme n i n the Kerameiko s an d fo r the to p of the handle-root . On th e lowe r part of the sur - the subjec t matte r o f its exceptionally interesting pictures . viving handl e i s a red-figur e palmett e (fig . lc; trace s ar e The othe r pelik e belongs t o a special grou p of small vases, preserved o f the lowe r part of the correspondin g palmett e whose witty an d charming decoration was dashe d off wit h at the other handle , fig . Id). The enclosin g line hangs fro m careless mastery b y the painte r in his prime. volutes, an d a second pai r of volutes han g fro m th e lower I firs t sa w th e larg e pelik e (figs , la-k ) i n fragments. I n part of the lin e on eithe r sid e of the narrow , pointed, cen - spite of its sa d condition , Jiri Fre l had arrange d it s dona - tral, ribbe d leaf , which i s extended ove r th e enclosure . Th e tion t o th e Gett y Museum, for it was of splendid quality.1 surviving palmette i s lopsidedly drawn, with fiv e rounded , Dr. Fre l had though t Myso n was th e artist , an d th e styl e unribbed leave s on on e sid e an d fou r on th e other . certainly resemble s tha t o f Myson's bes t work . Bu t i t Above eac h panel i s a band of black silhouette palmette s seemed t o m e tha t th e qualit y wa s to o fin e an d tha t th e on their sides, enclosed in a running line with volute s abov e hand wa s in any cas e another's—the Pa n Painter's . Late r I and below . At the side s is a two-line net, an d a t the bottom found tha t tw o fragment s i n th e Louvr e tha t ha d alread y is a maeander. Upper and lower borders exten d to the oute r been ascribe d t o th e Pa n Painte r b y Beazley 2 belonge d t o edges of the sid e borders bu t d o not circl e the vase . this vase , on e o f them eve n joining. Thi s observatio n wa s Side A containe d mor e figure s tha n sid e B, and I there - also mad e independentl y b y Huber t Giroux . The tw o fore trea t it a s the front o f the vase ; but ther e i s no distinc- Louvre fragment s an d furthe r piece s from th e mouth an d tion in care or quality between th e two sides. neck ar e no w o n permanen t loa n t o th e Gett y Museu m Side A. Dionysia c (figs , la , e-f, h-i) . In the cente r i s a and ar e incorporated in the restore d vase . bearded figur e t o right . H e wear s a wreat h o f narrow , The survivin g remain s o f th e pelik e compris e part s o f pointed leaves , probabl y myrtle, drawn in red-figure; long mouth an d neck , on e handl e (B/A) , an d substantia l part s hair extend s dow n hi s neck , on e loc k loos e behind , tw o of both figur e panels. Th e foo t an d lowe r parts of the vas e more brough t forward ; lon g chito n an d ove r i t a short , are lost , an d ther e i s no join betwee n fragment s tha t giv e richly patterne d garment , whic h hang s in heav y fold s t o parts of the maeande r below the pictures (wit h part s of th e his waist; and on top a himation across both shoulder s a s a picture on sid e A) an d th e main fragments fro m highe r u p shawl. Behind his back appear s the rump of an animal, and on th e vase , so that th e height of the pictures i s conjectural he bends, both arms stretched forwar d an d down, evidently (see infra , p . 73). The fragmen t givin g th e junction of the busy wit h it s head . Hi s knee s mus t hav e bee n ben t (se e left-hand sid e an d botto m border s (fig . le) almos t cer - infra, p . 73) . Immediatel y in front o f him (figs , la , h) i s

Abbreviations: inars on it, and I have learnt much from student s and othe r scholar s in In additio n to the standar d abbreviation s an d Beazley' s abbreviation s many places . Som e particula r debt s ar e acknowledge d i n the notes . At in ARV and ABV, th e following hav e been used : the XII . Internationa l Congress of Classical Archaeolog y in Athens in Beazley, Panm.:]. D . Beazley, Der Pan-Maler (Berlin , 1931) . September 198 3 I gave a paper on it, "Corn an d Vin e o n a Vase by th e Beazley, Pan P.:]. D. Beazley, The Pan Painter (Mainz , 1974) . Pan Painter," which i s appearing in the Acta of that congress. The present Becker: R.-M. Becker, Formen attischer Peliken von der Pionier-Gruppe article is a much fulle r publicatio n with som e changes. his zum Beginn der Friihklassik (Boblingen , 1977). 1. Th e J. Pau l Getty Museum 81.AE.62. Height a s restored: 3 0 cm. Follmann: A.-B. Follmann , Der Pan-Maler (Bonn , 1968). Height from to p of handle to bottom of palmette: circa 1 5 cm. Diameter Langlotz: Erns t Langlotz , Die antiken Vasen von der Akropolis zu Athen of mouth : circa 17. 5 cm. The interio r of the po t i s black, shiny insid e (Berlin, 1933) . the neck, matte an d rough under th e shoulder, becoming smoother an d .Langlotz, W٧rzburg: Erns t Langlotz , Griechische Vasen in W٧rzburg darker lower down (Munich, 1932) . 2. Louvr e C 10833 ; ARV2, 558 , no. 130 ; Jdl 8 7 (1972) , 83, fig. 16. I hav e been interested i n this vase for some years and hav e held sem - Now Malibu , The J. Pau l Getty Museum L.81.AE.45, 12 Robertson

Figure la. Pelik e by the Pa n Painte r (sid e A). Reconst . H: Figure lb. Sid e B of pelike, figure la. approx. 3 0 cm . Malibu , Th e J . Pau l Gett y Museum 81.AE.62.

the raise d right hand of another figure , grasping a sacrificial slants up a n almos t vertical shaft wit h a big palmette fmial . knife wit h a patter n o f stud s o n th e handle . Th e blad e Almost th e whol e surfac e o f th e adjoinin g fragmen t ha s (which i s washe d wit h thinne d blac k an d edge d wit h a flaked away , bu t ther e remain s alon g th e left-han d edg e a double line 3) i s lyin g dow n alon g th e almos t vertica l wavy loc k of hair. forearm. A vin e loaded with grap e clusters, whic h spread s The diagona l line s an d dot s o n th e shaf t ar e typica l of over the whole background, appear s to spring from th e to p scepters (spiraling , barber pol e decoration) ; but th e finial , of the knife handle , and on e might suppose that it, too, wa s though no t unique , would b e unusua l (th e regula r scepte r held i n this hand, bu t somethin g jutting diagonall y down head i s a lotus on a rather smalle r scale ) an d th e relie f lin e to th e right fro m th e wrist ca n only b e the vinestock pass - edging th e shaf t o n th e righ t suggest s that i t might rathe r ing behind th e hand. The stoc k must eithe r hav e been held be the back of a throne. Such a seat back on a slightly earlie r in anothe r han d o r bee n growing from th e ground. At th e fragment fro m th e Akropoli s make s a good paralle l to th e extreme righ t ar e remain s o f a figur e facin g lef t (figs , angle an d t o th e larg e palmette finial , bu t th e shaf t ther e i s la, d): th e bac k o f the hea d survive s wit h just trace s of a undecorated.4 Th e loos e fragmen t (fig . lg) ha s t o belon g red-figure wreath ; end s o f long hai r ar e lyin g dow n th e in thi s area , but it s interpretation is uncertain. The straigh t back; trac e o f himation (?); betwee n th e bac k o f the hea d edge is almost horizontal and should probably be at the to p and th e end s of the hai r th e contou r i s lost , but acros s it (as i t i s placed i n the illustration) . Th e feature o n th e lef t

3. I t is possible tha t two overlapping knives ar e meant . Th e patter n are cited; for another certai n one, se e infra , not e 65 . of studs on th e handl e (s) i s just lik e the pattern on the knif e handle s in 4. Langlotz , pi. 42, no. 562 ; ARV2, 22 , no. 3 . Typical lotus-toppe d the cas e carried b y a n Egyptia n on th e Busiri s pelike (infra , not e 26 ; scepters, e.g. on the painter's Ferrar a pelike, infra, note 36 . He sometime s knife case , Beazley, Panm., pi. 8). Those ar e small knives, for flaying an d makes the lotus unusually big: Zeus' on the Marpessa psykter , infra, not e dividing a carcass ; th e instrumen t (s) her e ar e fo r th e slaughter . Th e 20 (R. Lullie s an d M. Hirmer, Griechische Vasen der reifarchaischen Zeit corresponding weapon on the Busiris vase, dropped an d not clearly vis- [Munich, 1953] , pi. 79) an d o n th e Ganymed e Nola n (Bosto n 10.184 ; ible i n th e illustrations , ha s a differen t kin d o f handle . Knif e cases : ARV2, 553 , no. 39; Beazley, Panm., pi. 18, 1). Palmette fmials : Triptole - Kraiker, Gnomon 9 (1933), 644-645; Fuhrmann, ΤJh 3 9 (1952) , 27-30; mos' on the Triptolemos Painter's nam e vase (infra, note 77; EncPhotTel, Beazley, Pan P. (1974), 3 n. 17 . Four example s an d a possible fift h on e vol. 3 , 21); Hera's i n Makron's Judgment o f Paris (Berli n 2291 ; ARV2, Two Pelikai by the Pan Painter 73

Figure lc. Handl e palmett e of pelike, figure la . Figure id. Handl e A/B of pelike, figure la .

would the n give part of the breas t and throa t of the animal. can b e see n abov e th e maenad' s face) , an d th e lef t foo t of The narrow objec t with centra l relief line i s perhaps part of one of them i s brought roun d th e lower part a s if climbin g the vinestock ; an d th e othe r trace s (includin g a tiny ar c of (figs, la , f). It could b e linke d t o eithe r figur e but i s mos t relief line on th e extrem e right ) mus t belon g t o th e figur e probably th e satyr's , a s otherwis e on e woul d expec t t o se e holding, o r associate d with, th e vine. 5 The reconstructio n his foot on th e ground t o th e right. No fragmen t wit h par t of thi s sid e of the picture , however, remain s conjectural . It of the lower border actuall y joins any piec e from th e uppe r is discusse d furthe r i n connectio n wit h th e meanin g o f part of the picture , but th e approximat e positio n is assured the scene . by th e curv e of the vase . It would no t b e possibl e t o dra w Behind th e centra l figur e grow s a n ivy-covere d tre e out th e figure s o f saty r an d maena d an y further , an d i t (figs, la , f , h , i) i n whic h a littl e maena d an d saty r ar e follows tha t th e knee s of the bi g central figur e mus t hav e taking a grea t interest . Th e maenad , a thi n fille t o n he r been quit e sharpl y bent . Th e identificatio n of th e figure s loose hair , a spotted anima l skin over he r chiton , stands on and the interpretation of this extraordinary scene are dis the lef t sid e o f the tree , he r skir t disappearin g behin d th e cussed infra.6 trunk, whil e o n th e othe r sid e th e satyr , who ha s nothin g Side B. Departur e o f Triptolemos (figs , lb , j, k) . In th e on hi s head , looks straight ou t a t u s fro m behin d th e tree . center Triptolemo s (figs , lb , j) sit s o n hi s winge d whee l Both reac h thei r righ t hand s high up it (th e satyr' s finger s seat.7 Hi s wreath , draw n i n red-figure , is , lik e tha t o f th e

459, no. 4; CVA 2 , pi. 85); Attic heroes on the Syrisko s Painter's Athens 6. Th e followin g relie f contour s ca n b e see n o n sid e A : centra l calyx-krater (Akr . 735; ARV2, 259 , no. 1 ; Langlotz, pi. 61); one nearl y figure—all preserve d excep t hai r (relie f dots on forehea d hair) ; animal's as larg e a s ours , Zeus ' o n a n amphor a b y th e Painte r o f th e Munic h rump; right-han d figure(s)—th e scepte r with it s finial ; vin e branche s Amphora (Leningra d St . 1637; ARV2, 245 , no . 3 ; A. A. Peredolskaya , but not grap e clusters (whic h hav e relief dots); loose fragment—all pre - Krasnofigurnye atticheskie vazy v. Ermitazhe: katalog [Leningrad , 1967], served; satyr—al l preserved; maenad—al l preserve d excep t hair ; most of pi- >•>) • tree. Dilut e wash : line s o n animal' s rump ; knife-blade ; maenad' s hair . 5. Thi s tiny relief-contoured arc might possibly belong to a compass- Added red : vine leaves; narrow band o n maenad's hair. drawn circle , but it cannot b e accommodate d t o th e whee l of Triptole- 7. I hav e formerl y committed th e commo n erro r o f referring t o mos' sea t on sid e B. See infra , not e 72 . Triptolemos' "car" an d a m gratefu l to M. Metzger fo r showing me tha t 74 Robertson

Figures le-g. Thre e fragment s o f a pelik e b y th e Pa n Painter . Fragmen t e , L : 3. 2 cm ; fragmen t f , L : 7.1 5 cm ; fragment g , L: 2.3 cm . Fragment s e an d g ar e no t include d in th e reconstruction . Malibu , Th e J . Paul Getty Museum L.81.AE.45.1-3.

central figur e o n sid e A , probabl y myrtle , bu t her e th e seems th e mother' s province , an d th e characterizatio n o f leaves have a rib. His hair lie s loose in a mass down his bac k the name d figure s in the closel y relate d pictur e by Makron and i n separate locks ove r hi s shoulders . H e wear s a belte d (discussed infra) , whic h show s a slightl y late r moment , chiton an d a himation wrapped roun d hi s knees and I sup - confirms this . So , perhaps , doe s th e goddess ' polos-lik e pose round hi s bac k a t wais t level . I t doe s not com e ove r headdress,9 thoug h i n fac t i t i s not a polo s bu t a turrete d his left shoulde r an d ca n hardly have been brought u p ove r crown: th e contou r o f her bar e hea d show s abov e it. He r the right . There i s a trace of something behin d hi s hair, but hair hang s like Triptolemos', and sh e wear s earring, chiton, it could not b e a himation edge like Demeter's. Hi s legs ar e and himation . He r lef t han d i s empt y lik e his . All four bare below th e tightl y wrappe d himation , so th e chito n i s hands ar e marvelousl y drawn . On e o f the tw o fragment s a shor t one . Th e larg e whee l i s eight-spoked; o r rather , a s formerly i n the Louvre , which Beazle y ascribe d t o th e Pa n can b e see n in les s fragmentary pictures , th e fou r spoke s of Painter, i s tha t whic h give s mos t o f the tw o righ t hands , the fa r whee l ar e show n symmetricall y betwee n thos e of Triptolemos' lef t ar m an d lap , sea t arm , an d wing . Th e the nea r wheel. 8 Th e nea r wing mus t hav e reache d back - other forme r Louvr e fragmen t i s th e loos e piec e wit h th e ward, while th e fa r on e come s forward behind th e arm s of back o f th e whee l an d par t o f th e goddes s behin d (fig . Triptolemos an d th e goddes s who stand s before hi m (figs , lb) : Kore, who stand s in profile to the right, wearing a long lb, j, k) . He extend s hi s empt y lef t han d forward , whil e chiton an d ove r i t a short , patterne d garmen t wit h wid e the finger s of his right han d clos e on th e end s of the grain- folds, exactl y like that worn b y the central figure on sid e A. stalks just release d from th e goddess ' hand . She holds a jug, surel y of metal, low in her righ t hand . Th e It i s often difficul t o r impossibl e t o say , in a picture lik e sleeve shows tha t th e lef t ar m wa s lifted , an d trace s in fron t this without inscriptions, which figur e represents Demete r of th e sleev e an d behin d Triptolemos ' hai r ma y b e fro m and whic h Kore ; but th e actua l handin g ove r of the grai n something hel d in her lef t hand. 10

this i s wrong. He ha s pointe d ou t (H . Metzger, Les représentations dans seat an d Athena' s skir t a s sh e mounts , an d th e binding s ar e show n o n la céramique attique du IVe siècle [Paris , 1951] , 234 n. 6 ; idem, Revue des the nea r but not th e fa r four (spok e bindings: AE 1978 , 93 with n . 4). études grecques 95 [1982] , 473) that , whether winge d or not, it is a chair 9. See , however , infra , with not e 17 . or stoo l with wheels . Th e point had bee n made before b y Furtwàngle r 10. Th e followin g relie f contour s ca n b e see n on sid e B : Triptole - (AG 2 , 20 8 n. 1 ; FR 2 , 24 n. 2), a s Metzger notes , but neithe r schola r mos—all preserved excep t hair ; chair wheel; Demeter—face, throat , mos t has ha d muc h effec t o n general usage . Se e infra , not e 71. of crown, arm and hand, small parts of drapery (he r hair , from bro w to 8. Thi s is not made perfectly clear on the Pan Painter's Ferrara Trip - ear, i s drawn in close-se t relie f lines) ; Kore—arm an d han d wit h jug; tolemos (infra , wit h not e 36) , bu t see , e.g. , th e chario t o n th e Berli n garments s o fa r a s the y ar e preserved . N o dilut e wash . Adde d red : Painter's calyx-krater, Athens, Akr. 742 (ARV 2, 205 , no. 117 ; Langlotz, grains talks. pi. 59) , where th e spoke s of the fa r whee l disappea r behin d th e whee l Two Pelikai by the Pan Painter 75

Figure lh. Detai l of side A of pelike, figure la . Figure li. Detai l of side A of pelike, figure la .

Figure lj. Detai l of side B of pelike, figure la . Figure lk. Detai l of side B of pelike, figur e la . 76 Robertson

The attributio n of the drawing s o n thi s vas e to th e Pa n ative order of this artist' s work s ar e difficul t t o establish . Painter ca n quickl y b e justified. On e nee d onl y compar e Follmann makes a more elaborat e attempt t o group mos t the bearde d hea d on sid e A with those , similarly wreathed , of th e vase s in a date d sequence. 21 I canno t alway s follo w of Poseido n o n a column-krate r i n Ba n an d a Nola n i n her, an d sh e seem s at time s to o subtle , a s when sh e place s Schwerin,11 o r th e god' s head o n a volute-krater fragmen t the tw o Schweri n Nolans , whic h I should gues s had gon e in Boston 12; o r th e beardles s head s on sid e B with tha t o f into th e kil n togethe r an d neve r bee n parted , i n two suc - Artemis on a volute-krater fro m th e Akropolis, 13 or a ner - cessive phases . Bu t he r vie w o f what i s earl y agree s in a eid's on a second Nola n in Schwerin. 14 Th e littl e saty r ha s general wa y with mine , an d al l these five piece s come into much i n common wit h th e Pa n Painter' s fronta l herms, 15 her thre e earliest groupings—th e Bosto n fragmen t int o th e and th e maena d i s particularl y lik e th e blon d Thracia n first, th e Marpess a Group (490-480) ; th e Schweri n Posei - woman o n a column-krater i n Munich.16 Al l other detail s don an d th e Bar i column-krate r int o th e secon d (abou t confirm th e ascription . Compare , fo r instance , th e half - 480); an d th e Akropoli s volute-krater an d th e Schweri n closed, empt y hand s of Demeter an d Triptolemo s with th e nereid int o the thir d (480-470) . hand o f the Schweri n nereid , whos e headdres s i s adorne d The Marpess a psykte r seems , in it s extrem e an d man - with a n arcad e exactl y lik e tha t o n Demeter' s crow n bu t nered elaboration , t o stan d a littl e apar t fro m an y othe r the other way up.17 The painter is particularly fond of the work o f th e painter . Th e drawin g o n ou r pelike , thoug h red-figure myrtl e wreath , ofte n addin g i n re d th e loope d not muc h les s careful , seem s stronge r an d mor e sensitive , tie at the back omitted on our vase.18 Triptolemos' wreath and I should judge i t to b e a little later . I am no t sur e how here is the onl y one I know on which the painte r give s th e valid ou r absolut e dating in decades is, but o n th e conven - narrow, pointe d leave s a centra l rib , but h e doe s thi s fo r tional reckoning , I should pu t th e Gett y pelik e around 48 0 leaves of the sam e form, space d upright alon g th e Stιphane or no t lon g after . Thi s get s perhap s som e confirmatio n of Artemi s o n th e Akropoli s volute-krater (whos e fron t from consideratio n o f another elemen t i n the desig n of th e hair i s treated exactl y lik e Demeter's on our vase ) an d o n a vase, whic h relate s i t t o th e wor k o f othe r painter s an d white-ground lekythos in Leningrad.19 potters. In al l points th e drawin g o n th e Gett y pelik e seem s t o If the figure-work is unmistakably th e Pa n Painter's , th e me to go most closel y with tha t on the fragmentary volute - same cannot b e sai d of the ornament . Th e artis t decorate d kraters i n Athen s an d Boston , th e column-krate r i n Bari , a numbe r o f larg e pelikai , but thi s (whic h i s amon g th e and th e tw o Nolan s i n Schwerin , al l surel y work s fro m largest) i s th e onl y on e o n which th e picture s ar e framed ; early i n th e painter' s career . Beazle y i n ARV2 applie s th e and ther e i s no othe r appearanc e in the painter' s wor k of a word "early " onl y (amon g these ) t o th e firs t two ; but i n band o f black silhouette palmettes . Seve n very large pelikai Pan-Maler (p . 15 ) h e speak s of the Schweri n vases , an d a with picture s frame d just lik e thes e and wit h simila r red - related Nola n in Copenhage n wit h Hermes , a s olde r tha n figure palmette s at th e handle s were put togethe r b y Beaz - some of the painter' s othe r vase s of this shape , and a s link - ley a s th e Clas s o f Cabine t de s Mιdailles 390. 22 Fou r o f ing bac k t o th e Marpess a psykter in Munich, which is uni- them ar e ascribe d t o th e Syleu s Painte r i n hi s yout h

- versally recognize d a s amon g th e Pa n Painter' s earlies t ("Painter o f th e W٧rzburg Athena, " Att. V.y 112 ; recog pieces.20 Beazley dates the painter's activity between about nized a s th e firs t phas e of the Syleu s Painter, ARV} 164) ; 480 an d 45 0 bu t remark s tha t th e datin g an d eve n th e rel - the fift h i s said t o recal l him; the sixt h i s given to th e Sire n

11. Bar i 4402 ; ARV2, 550 , no. 4 ; Follmann, pi. 12, 1 (pis . 10-1 2 giv e 103; Beazley, Panm., pis . 14, 2 and 6,1) . a ver y usefu l collectio n of heads). Schweri n 1295 ; ARV2, 553 , no . 37 ; 16. Munic h 2378; ARV2, 551 , no. 9 ; Beazley, Panm., pi . 26,1. Beazley, Panm., pi . 20,1; Follmann, pi. 12,2. 17. Supra , note 14 . In a Triptolemos scen e by a late Mannerist , th e ; Bosto n 95.58 ; ARV2, 552 , no. 21; Beazley, Panm., pi . 13,3; CB 2 Duomo Painte r (column-krater , W٧rzburg 569 ; ARV2, 1117 , no . 5 .12 supplement, pi . 11,4 . Further discussio n infra , with not e 52. Langlotz, W٧rzburg, pl. 194) , the goddess in front of Triptolemos wears 13. Athens , Akr. 760; ARV2, 552 , no. 20; Follmann, pi. 10,3 (photo - a crow n with vertica l leave s an d a hastily draw n upside-dow n arcad e graph of Artemis' head); Beazley , Panm,, pi . 12,2; Langlotz, pi. 65. like tha t o n th e Malib u pelike . Sh e hold s a scepter an d a jug. Langlot z 14. Schweri n 1304 ; ARV2, 553 , no . 38 ; Beazley, Panm., pi . 20,2; calls her Kore , and th e goddes s behind th e seat , who wear s a sakkos and Follmann, pi. 10,5. holds two torches, h e calls Demeter. I should prefer t o reverse the names, 15. O n tw o small pelikai: Louvre C 10793 ; ARV2, 555 , no. 92; E. B. but it is, a s often, impossible to b e sure. Harrison, Archaic and Archaistic Sculpture. The Athenia n Agora , vol. 11 18. E.g. , Follmann , pi . 12,1-2 . I t i s omitte d agai n o n th e Bosto n (Princeton, 1965) , pl. 65a; E. Simon, Die Gotter der Griechen (Munich , fragment, supra , note 12. 1 speak for the sak e of convenience o f "myrtle," 1969), 308 , fig. 295; an d Berli n 1966.62 ; ARV2, 1659 , no . 9 1 bis (Para, but the identification, though very likely, is not certain. It might be olive 386); Hesperia Art Bulletin 22 , no. 9 . The large r an d grimme r characte r or laurel. on a column-krater i n Naple s (ARV2, 551 , no. 13 ; Beazley, Panm., pi . 19. ARV2, 557 , no. 121 ; Beazley, Panm., pi . 14,1. 30,1) i s les s like our satyr . Compar e als o the fronta l Nike and Ero s o n 20. Nolan : Copenhagen 4978; ARV2, 553 , no. 36 ; CVA\ pi . 131a-c. two earl y lekytho i in Oxford, 31 2 an d 1920.5 8 (ARV2, 556 , nos . 102 , Psykter: Munich 2417; ARV2, 556 , no. 101 ; Beazley, Panm., pis . 12, 1 and Two Pelikai by the Pan Painter 11

Painter; an d th e las t i s sai d t o recal l th e Argo s Painter . Copenhagen pelik e in the Class , bu t Becke r i s surely righ t Becker23 subsume d th e Clas s a s the earlies t member s o f her in associatin g i t closely ; an d th e idiosyncrasie s i n th e XIX, Worksho p of the Syleu s Potter, a very large grouping potter-work tha t sh e point s ou t ar e hardl y greate r tha n which sh e see s as dominating pelike production for a couple others sh e note s between vase s in Beazley's list . Knauer ha s of decades , taking over abou t 48 0 from he r IV , Class of the noted29 tha t th e maeande r on on e sid e i s just lik e on e use d Nikoxenos Painter' s Pelikai . Sh e note s som e divergence s on two members o f the Class , Louvr e G 22 3 an d 22 9 (on e between differen t member s o f Beazley's Class , bu t accept s by th e Syleus , th e other b y the Sire n Painter). The form of its overal l unity an d th e probabilit y that i t i s th e produc t the maeande r i s one of the point s in which a good dea l of of a single workshop. She associate s two more vase s with it: variety i s shown. a fragmentar y piec e i n Leningra d b y th e Flying-Ange l It ha s bee n observe d tha t th e Triptolemo s Painte r o n Painter, whic h ha s bee n wildl y restored , an d a complet e occasion collaborate d wit h th e Flying-Ange l Painte r an d and ver y fin e vas e in Copenhage n b y th e Triptolemo s that h e als o ha d a worksho p connectio n wit h th e Pa n Painter o f which w e shal l have more t o say. 24 Becke r fur - Painter.30 Th e evidenc e suggeste d t o Beazle y tha t th e ther point s ou t tha t a smal l versio n o f th e sam e typ e i s works in question, though the Triptolemos Painter's draw - provided b y the vase s assigned b y Beazley to th e Painte r of ing on them was still in purely archaic style, must dat e fro m Louvre G 23 8 an d describe d b y him a s "nea r th e Flying - a tim e when man y vase-painter s ha d alread y move d int o Angel Painte r an d linke d b y th e maeande r with th e Gera s an Earl y Classica l phase . Thi s seem s irrefutabl e fo r th e and Argo s Painters." 25 Th e las t tw o ar e closel y relate d t o rather sligh t pelik e fro m Rheneia, 31 th e revers e of whic h one another , an d thei r pelika i (apar t fro m a specia l Clas s was decorate d b y th e Flying-Ange l Painte r i n hi s lat e of small ones by the Gera s Painter which we shall be notic- manner: th e painter , thoug h n o innovato r himself , show s ing later ) ar e include d by Becke r in XIX. Wit h th e lates t clear influence from th e ne w mood . members o f XIX sh e associate s th e Pa n Painter' s grea t The Triptolemo s Painter's connectio n wit h th e Pa n Busiris pelike in Athens,26 which she dates to the seventies Painter i s establishe d b y thre e ver y fragmentar y stamnoi , or sixties . Anothe r pelik e fragmen t wit h border-pattern s two of which bea r pictures b y th e former , th e thir d a pic- which sugges t that th e vas e may have belonged t o the Clas s ture b y th e latter. 32 Beazle y observe d tha t techniqu e an d of Cabinet de s Mιdailles 39 0 i s Athens, Akr. 620, placed b y finish o f th e pottin g in on e o f th e Triptolemo s Painter' s Beazley near the Syleus Painter.27 pieces was just lik e that in the Pa n Painter's , whil e th e Pa n The Malibu vas e surely goes into Becker's XIX, bu t on e Painter's vas e an d th e secon d Triptolemo s Painter' s vas e should perhap s b e cautiou s o f actually assignin g i t t o th e had closel y simila r handle-ornaments and , unde r th e pic - Class of Cabinet de s Mιdailles 390. One hesitate s to attrib - tures, rathe r poo r maeander s apparentl y draw n b y neithe r ute s o fragmentar y a vas e firml y t o a Class . Besides , th e artist but fo r both by the sam e assistant. incomparably finer drawing of the figure-work also sets the The Pa n Painter' s caree r lies mainly in the Early Classi- Malibu vas e apart fro m othe r vase s in the Class . In this las t cal period. If this stamnos picture belongs to a mature phas e respect, however , th e Triptolemo s Painter' s pelik e i n of hi s work , the n th e Triptolemo s Painter's tw o stamnoi , Copenhagen28 goe s with th e Malib u vase , fo r there , too , for al l the archai c purit y o f their drawing, must b e place d the pattern-work , which i s typical of the Class , i s foreign there too . A s ha s bee n noted , however , th e Pa n Painte r to th e painter' s usua l practice . Beazle y di d no t pu t th e varies hi s style in ways tha t quit e often mak e it difficult t o

13,1; Lullies and Hirmer (supra , note 4), pis. 70-79. 30. Beazle y in K. Schauenburg, ιd., Charitιs. Studie n zur Altertums- 21. Follmann , 21-47 (date d groups , 36-43). wissenschaft (Bonn , 1957), 138-139 . Further link s between th e Tripto - 22. ARV2,2SA. lemos Painte r an d th e Flying-Ange l Painte r hav e been observe d b y R . 23. Becker , vol. 1 , 48 and nos . 142-149 . Guy (^4L 4 Abstracts 3 [1978] , 44) an d b y E. Knauer who i s preparing a 24. Flying-Ange l Painter : Leningra d 619 ; ARV2, 280 , no. 15 ; Pere- monograph on th e Triptolemos Painter. dolskaya (supra , note 4), pi. 34,3-4; Becker no. 146 . Triptolemos Painter: 31. Mykonos ; ARV2, 362 , no. 21, and 280, no. 18 ; C. Dugas, Les vases see infra , not e 28 . attiques figure rouges. Exploration Archιologique d e Dιlos, vol . 21 25. ARV2, 283 ; Becker, nos. 150-153 , 157 . (Paris, 1952) , pl. 3,7; Becker , vol. 1, 43 an d no . 133 . The furthe r link s 26. Athen s 9683 ; ARV2, 554 , no . 82 ; Beazley, Panm., pis . 7-10 an d observed betwee n th e tw o artist s (las t note ) confir m th e lat e dat e for 11,1; Becker, vol. 1 , 52 and no. 174 . See supra, not e 3 . their collaboration. 27. ARV2, ISA, nea r the top; Langlotz, pi. 48. 32. Fragment s o f all thre e ar e in the Louvre : Pan Painter , C 10822 , 28. Copenhagen, Ny Carlsberg 2695; ARV2, 362, no. 19; Becker, ARV2, 552, no. 22, part LIMC 1, pi. 123 Achilleus 657; Triptolemos vol. 1 , 50 and no . 152 ; E. Knauer, 125 BWPr. (1973) , fig. 20 ; F. Poulsen, Painter 1 , C 1083 4 (als o Florenc e 1 9 B 41), ARV2, 361 , no. 3, (A) Char Aus ein alter Etruskerstadt. De t kgl. danske Videnskabernes Selskab , itιs (supra , note 30), pi. 18; Triptolemos Painter 2 , C 10835 , ARV2, 361 , Historisk-filologisk Raekke , 12 , 3 (Copenhagen , 1927) , pis. 12-13 , 14 , no. 5 . fig. 25 ; LIMC 1 , pi. 591, Amphitrite 78 a (B). 29. E . Knauer (supra , note 28), 26 n. 86. 78 Robertson

be sur e how t o plac e a n individua l piec e i n chronological together in the decoration of this Class of large pelikai soo n relation to the rest . The style of drawing on the spars e frag - after 480 , an d tha t the y cam e togethe r again , in diffèren t ments o f this stamnos (showin g Achilles a t feas t abov e th e circumstances, a t a later date . corpse of Hector) i s unusual: highly elaborat e and , thoug h Of cours e ther e ar e man y othe r possibl e scenarios . Th e unquestionably th e master's , not eas y to parallel exactly in Malibu vas e migh t indee d belon g t o th e Class , bu t th e his work. I find i t not inconceivabl e tha t i t i s early, of th e Copenhagen on e migh t b e a late r revival ; o r th e stamno i same tim e a s ou r vas e thoug h i n a differen t manner , i n may reall y belon g t o th e sam e earl y phas e a s th e pelikai . some ways more reminiscen t of the Marpess a psykte r (on e Neither o f these alternative s appear s t o m e probable , bu t of th e tw o Triptolemo s Painte r stamno i ha d th e no t the questio n remain s wid e open. W e may hop e fo r furthe r common subjec t o f Marpessa). If this dating were correct , enlightenment fro m curren t studie s o f th e Triptolemo s it woul d sho w th e Triptolemo s Painter workin g alongsid e Painter.351 should perhaps apologize for spending s o much the Pa n Painte r at a n earl y stag e in th e latter' s caree r an d time o n suc h a n inconclusiv e investigation; but th e ques - so probably not a late one in his own. tion of relations between majo r artist s and workshops seems On balance , however , i t seem s t o b e unlikel y tha t th e to me of central importance a t present in the study of Atti c Ransom o f Hector fragment s ar e t o b e place d s o earl y in red-figure. W e shal l return briefl y t o th e Copenhage n the Pa n Painter' s oeuvre . I n som e detail s th e drawing , pelike in connection with subjec t matter . though more mannered an d les s pleasing, recalls that on th e On a second larg e pelike, found a t Spina, the Pan Painte r lovely dino s fragment s i n the Vlast o collection,33 which i s treated th e subjec t o f Triptolemos again. 36 Th e drawin g is surely alread y matur e work , thoug h no t late . Thi s woul d much weake r an d i s surel y late r tha n th e Gett y pelike . put th e Triptolemo s Painter' s collaboratio n with th e Pa n Beazley, when he first listed the vase (in Der Pan-Maler), Painter i n approximately the sam e period a s hi s collabora - noted it s inferiority t o th e Busiri s vase (th e onl y othe r big tion with th e Flying-Angel Painter an d would confir m th e pot of this shape then assigne d t o th e painter). He wa s no t idea tha t h e preserve d a purel y archai c styl e int o a tim e even quit e sur e that i t was fro m th e master' s hand, bu t h e when other s ha d abandone d it . expressed no view then or later on its dating. Follmann does The Pa n an d Triptolemo s Painters hav e each a substan - not lis t i t amon g th e piece s groupe d b y dating , bu t sh e tial bod y o f work attribute d t o them , an d hithert o ther e appears to impl y tha t i t i s contemporary wit h th e Busiri s has bee n n o sig n of contact betwee n the m excep t i n th e vase, which sh e place s 470-460. Becke r associate s it wit h case of these stamnoi. The Malibu an d Copenhage n pelika i her smal l section XI, whic h seem s to cove r som e time.37 I seem now t o b e further evidenc e fo r such contact , an d on e would suppos e tha t i t come s nea r th e en d o f th e artist' s might therefor e expec t the m t o belong to th e sam e time a s career, twenty years or more afte r th e Getty vase . the stamno s fragments. If the stamno i ar e rightl y place d in The two Triptolemos pictures shar e an overall similarity the Early Classical period, then th e resemblanc e o f the two of composition but revea l very diffèren t approache s to th e pelikai to th e Clas s of Cabinet de s Médaille s 39 0 must b e a theme. O n th e Spin a vas e Triptolemos agai n occupie s th e deliberate reviva l o f a n ol d fashion , rathe r a s som e Lat e center, seate d to the right (th e normal direction). He wear s Archaic painter s revive d the eye-cup. 34 I do not , however , a red-figure myrtl e wreath (th e leave s unribbed), an d think tha t thi s i s th e case . Becker's chronolog y suggest s a again hi s mantle i s wrapped tightl y roun d hi s knees, leav - date of around 48 0 o r no t lon g after fo r th e Clas s of Cab- ing th e lower legs bare . Onc e mor e eigh t spoke s are show n inet de s Médaille s 390 , an d w e hav e see n tha t just suc h a in th e sea t wheel, but this time both wings point backward. time seem s probable on other ground s fo r the Getty vase . I His mantle , whic h muffle s hi m t o th e nec k s o tha t w e should gues s tha t th e Pa n Painte r an d th e Triptolemo s cannot tel l whethe r h e wear s a chiton beneath it , conceals Painter wer e independently enlisted among the various art- his right ar m an d hand , while in the lef t h e holds a scepter ists who , i n a situatio n whic h escape s us , wer e brough t which rest s on th e footboard . Thre e goddesse s ar e shown ,

33. ARV 2, 552 , no . 38 ; Follmann , pis. 3 an d 11,5 . Beazle y give s it there i s much ornament : betwee n th e handle s abov e eac h picture , neither a n absolut e no r a relative date. Follman n puts it in her ver y late upright palmett e an d lotus ; al l aroun d th e vas e belo w th e pictures , Apollon-Artemis group (460-450) . I should suppose that both this and maeander with elaborat e an d unusua l pattern-squares ; unde r eac h the Pa n krate r itself, which sh e date s about 460 , come a bit earlier in the handle, palmett e an d lotu s complex . Fo r th e pictur e on th e othe r side , artist's career , close to the Busiris pelike (supra , note 26, which sh e dates see infra, with not e 75 . 470-460), wit h th e dino s fragment s perhap s bein g th e earlies t o f th e 37. Follmann , 37; Becker, vol. 1 , 29-30, no. 94. Becker's XI is called three. "Spàtere Pelike n de s Berline r Malers, " but th e thre e sh e list s b y tha t 34. ARV 2, SI. painter (nos . 92 , 92a, 93) ar e from hi s early to his middle period. 35. Se e supra, not e 30 . 38. O n Makron' s skyphos eac h of the two named goddesse s holds a 36. Ferrar a 1499 ; ARV, 554 , no . 83 ; CVA 1 , pi. 1,4-5 ; N. Alfieri , torch in one hand. On th e Altamura Painter's Londo n volute-krater ( E Spina (Bologna , 1979) , figs . 69-70 . Th e picture s ar e no t framed , bu t 469; ARV2, 589 , no. 1 ; T. B. L. Webster, Niobidenmaler [Leipzig , 1935], Two Pelikai by the Pan Painter 79

one behin d Triptolemo s and two , close together , i n fron t torches.41 O n a vas e fro m late r i n th e centur y Demete r of him. All thre e wear chiton an d himation. The one imme- pours win e into a phiale held b y Triptolemos, and behin d diately i n fron t o f Triptolemo s stand s frontally , lookin g her stand s a frontal figure wit h a torch in either han d an d toward him. Her hair i s looped up, she wear s a fillet adorne d the nam e Hekat e written besid e her. 42 with uprigh t leaves , an d he r himatio n ha s a crenellate d No grai n is shown in the Spina picture. Surprisingly, this border alon g its upper edge . She holds a torch in either hand . is the cas e in a good many picture s of the scene ; but in all Beyond he r a goddess stands in profile t o th e left , hai r down others I know where th e grai n i s omitted, the libatio n fo r her back , a crown wit h uprigh t flowers o n he r head , righ t departure i s taking place.43 Th e whee l in the Spin a picture arm an d hand conceale d in the muffling mantl e from whic h does not res t o n th e ground, s o the winged seat is thought the lef t han d issue s t o hol d a scepter . Th e thir d goddess , of a s airborn e o r takin g off , bu t th e effec t o f th e quiet , behind th e seat , stand s in profile t o right , similarl y muffle d muffled figures wit h thei r scepters i s to sugges t les s a scene and likewise holding a scepter; one cannot tel l in which han d of action than a formal presentatio n of cult figures. On th e as it i s hidden behin d th e wing . He r hair , too , i s down he r Malibu vas e the articulation of the far wing and its forward back, and sh e wear s a leafless Stιphane. reach hav e a restles s air , emphasizin g th e dramati c Three goddesse s appea r in this scen e on Makron' s sky - moment—the actua l handin g ove r of the grai n to b e fol - phos also , where all figures ar e named. There the third god- lowed swiftl y b y departure . dess is the loca l nymph, Eleusis, who stand s at th e extrem e Much neare r in feelin g t o thi s than i s the Pa n Painter' s right liftin g he r skir t with on e hand , a flower i n the other , own late r vas e is the beautiful skyphos in London—already but without distinguishin g attribute. Alfieri an d Arias give mentioned—which Makron painted for the potter Hieron 44 the sam e nam e t o th e thir d figure o n th e Spin a vase , th e (figs. 2a-d). On tha t vas e the painter present s a larger cas t one behin d Triptolemos , and the y thin k tha t th e tw o and ha s chose n a s hi s moti f th e actio n tha t follow s th e torches distinguis h Kor e in th e cente r fro m he r mothe r handing ove r of the grain . The figure s unde r th e handle s who hold s a scepte r on th e right . I do no t thin k thi s i s a and o n th e bac k o f the vas e (all , like thos e o n th e front , safe assumption 38 an d prefe r t o interpre t th e thre e differ - with thei r name s writte n besid e them ) ar e linke d t o th e ently. On a lekythos in Leningrad of earlier and finer styl e main scene . We shal l return to them , but fo r th e momen t the Pa n Painte r dre w a goddes s holding a torch in eithe r we may conside r th e Mission picture alone . hand.39 Ther e ar e sligh t difference s fro m th e torc h holde r We hav e alread y notice d Eleusi s a t th e right-han d end . on th e Spin a vase: on the lekythos the upright leaves of the She wears a Stιphane with uprigh t leaves, and her himation , headdress ar e se t o n a patterne d crow n instea d o f a fillet, worn lik e a shawl over both shoulders , i s brought u p ove r the hai r i s loose, th e chito n dotted , an d th e borde r of th e her hair . In front o f her stand s Kore (name d Pherophatta) , himation run s alon g it s lower edg e an d i s not crenellated . her hai r loope d u p unde r th e Stιphane, whic h agai n ha s Also, the torches ar e held to the other side . The two figures, upright leave s and i s more elaboratel y decorate d tha n tha t however, ar e s o alik e in conception an d pos e that I find i t of Eleusis . Sh e ha s a necklace , an d he r himation , wor n i n impossible to believ e that th e artis t did not intend to rep - the usua l wa y ove r th e lef t shoulde r bu t kilte d u p s o tha t resent the sam e person. The figure o n the lekythos was first only th e hanging corners reac h below the knees, ha s a cren- published a s Artemis , bu t Beazle y questione d this , sug - ellated and dotted border along both upper an d lower edge. gesting that sh e might b e Hekate, or possibly the mother of She hold s a torch in her lef t han d an d in her righ t a metal a mortal bride.40 This last suggestion, which Beazley jug, raise d t o pour win e into th e phial e that Tripptolemos dropped in ARV2 wher e h e call s her "Hekate(?), " i s not in (sic) hold s in his right hand . He ha s a myrtle wreath wit h question fo r th e Spin a vase ; bu t I se e th e tw o sceptere d unribbed leaves , loos e hai r an d a light growt h o f whisker, figures at th e edge s ther e a s Demete r an d Kor e an d th e long chito n an d himatio n worn normally , an d i n hi s lef t third a s Hekate , wh o i s constantl y show n wit h tw o hand h e lift s th e grain . Both wing s of the sea t reach back - pl. 1) , three goddesse s each hold a torch in one hand. In front o f Trip- of the bride's mother; her nam e i s written nex t to her on both vases. tolemos stands Kore(?) with a jug in the other; beyond her Demeter (?), 42. Hydria , London E 183 ; ARV2, 1191 , no. 1 ; CVA, pi . 84,2. Hekate grain in the other ; th e thir d goddes s stands behind th e chair , with th e is named als o in a Triptolemos scene on a calyx-krater in Duke Univer- other hand empty (Hekate?—se e infra with note s 41 and 42). sity by Polygnotos: Para, 442 , no. 27 bis. 39. ARV2, 556 , no. Ill; Beazley , Panm., pi. 17,2 (an d se e next note). 43. I t has bee n questione d whethe r th e libation i s really for Tripto - 40. Beazley , Panm., 24 , no. 50 (Beazley , Pan P., 14, no. 61). lemos' departure, partly because of the occasional omission of the grain. 41. E.g. , on th e Persephon e Painter' s nam e vas e (bell-krater , New See G . Schwartz , ΤJh 5 0 (1972/73) , Hauptblatt, p. 131 , with earlie r York 28.57.23; ARV2,1012, no . 1 ; Pfuhl, MuZ, fig . 556 ) where she lights references. the way for Kore to meet he r mother who stands waiting with a scepter; 44. Londo n E 140 ; ARV2, 459 , no. 3. the Peleus Painter's nam e vas e (calyx-krater, Ferrara T.617; ARV2, 1038 , no. 1 ; Alfieri [supra , note 36], fig. 148) , where sh e seem s to ac t the par t 80 Robertson

Figure 2a. Skypho s with th e name of Hieron a s potter, painted by Makron (Sid e Figure 2b. Handl e B/A of skyphos, figur e 2a . A). London , British Museu m E 140 . Photo: Courtesy th e Trustee s of Photo: Courtesy th e Trustees of the the British Museum. British Museum.

Figure 2c. Sid e B of skyphos, figure 2a. Photo: Courtesy the Trustees of the British Figure 2d. Handl e A/B of skyphos, figur e 2a . Museum. Photo: Courtesy th e Trustees of the British Museum. Two Pelikai by the Pan Painter 81

ward, an d betwee n win g an d whee l i s tucke d a rearin g action—stooping wit h ben t knee s t o lea d forwar d a n snake. Only th e fou r spoke s of the nea r whee l ar e shown , animal i s surely not a god's way. A secon d poin t i s perhaps but th e tai l o f the fa r snak e i s distinguished . Behin d him even more significant. When a vine is shown in a Dionysiac stands Demetr e (sic), neare r th e spectato r tha n th e wing . context, i t i s normally held by , or at leas t se t clos e besid e She wear s a patterne d crow n wit h crenellations , an d he r the god himself. If that i s the cas e here, then Dionysos mus t himation, draped normally , is woven all over with band s of have appeare d i n th e lacun a o n th e right , whic h woul d figures separate d by narrower strip s of ornament. Sh e hold s make sens e of the respectfu l approac h b y th e centra l figur e both hand s forward , with grai n in th e left , torc h i n th e with hi s animal. right. So fa r I thin k w e ca n b e sure , bu t I fee l n o certaint y On th e Malibu vas e the Pan Painte r showe d th e momen t about th e reconstructio n i n th e lacuna . Th e mos t seriou s at whic h Demete r hand s Triptolemo s th e grain , bu t th e question, perhaps , i s whethe r i t containe d on e figur e o r next mov e i s anticipated b y the libation-jug in the han d of two. If there i s only one, the n th e go d himself held u p th e Kore behind th e seat . One might have expected he r t o hol d knife o r knives. Alternatively one could think tha t th e rol e a phial e in he r othe r hand , bu t th e wa y th e ar m i s raise d of a companion, a saty r o r maena d probably . If there wa s makes thi s unlikely , an d th e trac e remaining behind Trip - such a figure , it mus t hav e stoo d beyon d th e god , over - tolemos' hea d cannot belon g to a bowl. If that i s really part lapped b y him , whethe r h e himsel f were standin g o r of something hel d by Kore, it may hav e been a torch. Mak- seated.46 Th e bac k o f a hea d an d th e hai r lyin g dow n th e ron's pictur e shows th e scen e a few moments late r (fig . 2a). back belo w it (fig . la) mus t surel y b e Dionysos' . Ther e i s The mother ha s retire d behind th e seat , the daughter come s not muc h roo m t o accommodat e a secon d hea d betwee n forward, an d th e libation , whic h immediatel y precede s this and th e hand with th e knife, but it could be done. Th e departure, i s in progress. The two pictures hav e in common god's head is considerably neare r the upper borde r tha n tha t rich detai l and fin e drawing, and the y see m alik e in spirit , of the centra l figure, and (eve n though tha t figur e is bend - too. W e shal l find a link betwee n th e revers e of Makron's ing) i f Dionysos were seated on a throne, it must hav e stood skyphos an d th e other picture on the Getty pelike, to whic h on som e sort of dais. 47 we must no w turn. The artis t severa l time s draw s hai r lik e th e god' s here: a The Mission of Triptolemos is a popular subjec t in Attic long han k i n solid blac k lying down the bac k an d splayin g vase-painting a t thi s period, and th e Pa n Painter' s render - out in separate strands a t th e end . H e give s much th e sam e ing here , though wit h it s own particularities , presents n o coiffure t o Triptolemo s on th e Spin a vas e an d ver y likel y serious problems o f interpretation. The situatio n i s widel y also on ours , bu t her e combine d wit h loos e lock s o n th e diffèrent fo r th e pictur e on th e othe r side . Tha t i t i s Dio- shoulders.48 A closel y simila r renderin g o f hai r fro m a nysiac i s not in doubt. Th e presenc e of a satyr an d maena d figure that , like ours, i s otherwise los t i s given on the beau - and o f the vin e which spread s over th e backgroun d make s tiful volute-krate r fragmen t i n Boston.49 By an odd chanc e that certain . On e migh t a t firs t b e tempte d t o tak e th e the bearde d an d myrtle-wreathe d hea d whic h survive s figure i n th e cente r fo r th e go d himself , but tha t wil l no t intact o n tha t fragmen t i s on e o f the bes t parallel s i n th e do. Th e fac t tha t th e wreat h i s probably myrtle , certainly painter's wor k t o th e centra l figure in our picture . not ivy, is not conclusiv e agains t th e identification. The ivy The interpretatio n of the Bosto n fragmen t i s of interes t wreath i s the norm fo r Dionysos (an d indee d fo r his com- to us . Agai n a vine spread s in the background , an d on e of panions too) , but ther e ar e unquestionabl e example s o f the the tw o head s must b e Dionysos' . Beazle y at firs t assume d god wearin g myrtle , an d at leas t on e clos e i n tim e an d that hi s wa s th e survivin g wreathed one , the n hesitated , character t o thi s vase. 45 W e shal l com e bac k t o thi s ques - inclining t o th e largel y los t on e o n th e righ t fo r th e win e tion, but ther e ar e othe r reason s for thinking tha t th e cen - god, bu t finally , h e cam e t o thin k hi s firs t opinio n mor e tral figur e i n thi s pictur e canno t b e Dionysos . Firs t th e likely.50 I t seem s probabl e tha t i t wa s th e myrtl e wreat h

45. Se e Beazley , AJA 4 3 (1939) , 631; CB 2 (1954) , 45, no. 93; AntK 47. Fo r a n alternative possibility, se e infra , with note s 70-72. 1 (1958) , 6 . Among certain example s th e neares t in time and characte r 48. A varian t schem e shows th e end s turned u p an d tie d in a littl e to ours i s on a hydria by the Kleophrade s Painte r (AntK 1 [1958 ] ,5-8, bag, e.g. , Artemis ' on th e nam e vas e and o n a charming lat e lekythos , figs. 1- 8 o n pis . 2-5; ther e date d abou t 480) . Se e furthe r infra , wit h London E 57 9 (ARV 2, 557 , no . 117 ; Beazley , Panm., pi . 25, 1) . Thi s notes 50 and 51. fashion was favored by the Pan Painter's imitator, the Alkimachos Painter. 46. A pai r o f figures sid e b y sid e an d overlappin g i s found i n th e 49. Supra , with not e 12 ; and se e nex t note . painter's wor k o n a neck-amphora i n Naples: Stg. 225; ARV 2, 553 , no . 50. J . D. Beazley, Attic Red-figured Vases in American Museums (Cam - 32; Jb 7 6 (1961) , 68, fig. 24; Follmann, pi. 12,6 (heads) . There , however , bridge, Mass., 1918) , 116 ; Att. V. (1925) , 100 , no. 4 (in these he take s the the pictur e i s of a pipe duet, an d th e two figures, standing in the cente r surviving wreathe d hea d t o b e Dionysos) ; Beazley , Panm., 21 , no. 1 5 of the scene , are equal, not on e subordinat e t o th e other . (the othe r mor e probable) ; ARV (1942) , 362, no. 1 7 (non-committal: 82 Robertson

that cause d hi m t o hesitat e ove r thi s identification ; an d when h e returne d t o it, he pointed out tha t thi s was not a n insuperable bar . A t tha t tim e h e di d not kno w th e Kleo - phrades Painter's hydria , and when he came to publish that, he did not mentio n thi s fragment, 51 bu t i t i s the stronges t confirmation tha t th e myrtle-wreathe d hea d o n th e frag - ment ma y b e Dionysos. That ide a i s now further strength - ened b y the appearanc e on the Malibu fragmen t o f a myrtle wreath in a certainly Dionysiac context. The identificatio n on th e Bosto n fragment , however , remain s open . Lik e a s the hea d i s to tha t o n th e Gett y pelike , it i s even neare r t o (almost a replica of) Poseidon' s on the Bari column-krater, and th e sam e god's on th e Schweri n Nolan i s closely simi - lar.52 I t evidently corresponde d t o th e youn g artist' s con - cept of the sea-god, and it would not surpris e me if he wer e the myrtle-wreathe d go d o n th e Bosto n fragment , too , back t o bac k wit h Dionyso s in som e gatherin g of deities. The two ar e not often particularly associated, but on Mak- ron's skypho s the y ar e nea r neighbors , separate d onl y b y Poseidon's wife , Amphitrite , an d the y d o appea r togethe r on a few vase s of this time.53 To return to th e Gett y picture: we can , I think, sa y tha t it showe d Dionyso s on th e right , standin g o r seated , alon e or with a companion. He (o r th e othe r figur e if there wa s one) hold s u p th e knif e o r knives , an d th e anima l whic h Figure 3. Pelik e by th e Eucharide s Painte r (sid e A). For- the centra l figure i s bringing up mus t therefor e b e fo r sac - merly Base l ar t marke t (MuM.) . Photo : rifice. I think tha t th e way the weapon i s held, even if ther e Widmer. is only one , cannot b e for the stroke, but simply for display; but whichever i s intended, I know nothing like it. We ma y also note tha t if the palmette-topped shaf t i s a scepter, tha t is mos t unusua l fo r Dionysos . I kno w n o othe r cas e in which hi s staf f i s other tha n a thyrsos o r a n ivy stick; an d we ma y furthe r not e tha t i n wha t survive s o f thi s scen e there i s no thyrso s an d n o iv y wreath, unusua l omission s from a Dionysiac picture. Before we conside r th e meanin g of a scen e which ha s s o man y peculia r features , w e mus t look at no t th e leas t of these: what i s going on a t th e left , behind th e centra l figure . The tall , mushroom-shape d objec t covere d wit h blac k ivy leave s is strange, bu t it would b e har d t o se e it a s any - thing but a n ivy-covered tree, an d ther e ar e a few parallel s

"gods"); CB 2 (1954) , 45, no. 92 (probabl y the surviving head; parallel s cited for myrtle-wreath). 51. AntKl (1958), 6. 52. Supra , note 11. 53. Makron' s skyphos: supra, with not e 44, and furthe r infra . Posei - don appear s with Dionyso s on tw o red-figur e stamno i of around thi s time: Louvre G 18 4 (ARV2, 296 , Troilos Painter no . 6; CJ^4, pi . 15,7-8; side A , Dionysos , Poseidon , Hermes , goddess ; sid e B , warrior's depar - ture); an d London E 455 (ARV2, 217 , top no . 1 , late manner o f Berlin Painter; CVA, pi . 21,5; side A, Judgment o f Paris; sid e B, Nike pouring Figure 4. Chous . Athens, National Museum 19.390 . Photo: wine for Poseidon, Dionysos standing behind her). There ar e also black- Courtesy Nationa l Museum. figure examples, notably a late neck-amphora in W٧rzburg ( Wiirzburg Two Pelikai by the Pan Painter 83

which mak e th e identificatio n certain . On e w e shal l b e tree—ivy. Soo n the y wil l mak e wreath s an d thyrso s head s considering later ; anothe r i s on a pelike of much th e sam e from it , and it will becom e on e of the constant an d centra l date by the Eucharides Painter 54 (fig . 3) . Here the branche s features o f Dionysia c worship and life . issuing al l the wa y up leav e n o doub t tha t a tre e i s meant . By a luck y chanc e w e hav e a pictur e whic h seem s t o What on e migh t a t firs t glanc e tak e a s simila r branche s follow immediatel y on thi s little scene . It is on a fragmen- from th e sid e of the Pa n Painter' s tree , immediatel y abov e tary chou s in Athens (fig . 4),56 which i s a generation late r the maenad' s head , ar e actuall y a n extensio n o f the vine ; than our vas e though I suppose the Pa n Painte r migh t stil l but abov e those a dead branch i s in fact drawn, issuing fro m have bee n workin g when it was painted, sometime aroun d the spreadin g to p of the tre e (fig . li), an d anothe r o n th e mid-century. Beazley must hav e known it but does not lis t other side , above the vine over the central figure's head (fig. it. I n his admirable publication, Bezerra d e Menese s places lh). Th e tree s on th e two vase s are of different kinds. The it, surel y rightly, in the circle of th e Villa Giulia and Euaion Eucharides Painter' s tall , narro w on e with n o pronounce d Painters, th e "academi c wing " o f Earl y Classica l vase - area of spread , might b e a cypress; the wide top of th e othe r painting. I t show s a n ivy-covere d tree wit h a maena d o n suggests a pine or a deciduous tree . The two plants occup y the lef t an d a satyr on th e right . Bezerr a d e Menese s (fol - the sam e position on vase s of the sam e shape , though th e lowed b y Coch e d e L a Fertι) suggest s that wha t i s shown Eucharides Painter' s i s a much smalle r an d slighte r piece , is th e worship of Dionysos Dendrites, the god a s tree . Th e but th e on e o n tha t vas e an d th e pilla r whic h close s th e tree show n in thi s pictur e i s th e natura l form imitate d in picture o n th e othe r sid e ar e onl y topographica l adjunct s the stak e with a mask of the god attached , whic h i s shown (if symbolic ones) t o the erotic scene. On th e Pa n Painter' s on th e so-calle d Lenea n vases . He point s ou t tha t o n on e vase the tree i s certainly a significant feature of grea t interes t of thes e th e stak e i s wreathed wit h ivy. 57 Thi s wa s a rea - to tw o of the actors . I conclude that the Eucharides Painte r sonable an d probabl e suggestion ; bu t th e pictur e o n ou r very probably borrowed the motif from th e Pa n Painte r o r vase, unknow n t o thes e scholars , make s i t necessar y t o from som e related painting. think again . It does not see m possible to me to separate the What i s the interest of the maenad an d saty r in this tree? two pictures . Both th e actio n of satyr an d maena d an d th e Surely the ivy which cover s it; and this, taken together wit h context mak e i t implausible to interpre t th e Pa n Painter' s the absenc e of iv y wreath s an d thyrsoi , gives, I think, a key picture a s illustratin g th e worshi p of Dionysos Dendrites . to th e whol e scene . This i s plainl y no t a n ordinar y Dio- If my explanation of i t i s right, then the Empedokles chou s nysiac revel , but al l the point s in which i t i s peculiar ca n gives the next moment. With bot h hands the maenad hold s be explained if we se e it a s the beginning. O n th e other sid e out a wreath: the firs t iv y wreath, which sh e ha s just mad e of th e vas e Demeter send s out he r chose n mortal , Tripto - with strand s plucke d from th e tree . Th e saty r bend s for - lemos, t o brin g th e gif t o f grain to mankind. On thi s sid e ward, a s though he hopes she will put it on his head (whic h Dionysos offer s th e earth' s othe r grea t gift , th e vine , t o a is alread y boun d wit h a fillet) ; bu t hi s hand to o i s raise d mortal protιgι, wh o correspond s t o Demeter' s Triptole - toward th e wreath , an d perhap s the y wil l rathe r tak e i t mos. This , th e figur e i n the cente r o f the picture , i s mos t together to Dionysos, who will wea r it. Later they will fin d probably to b e named Ikarios. 55 Dionysos has brought him a fennel stal k an d ti e a bunch of ivy leaves to that , an d it the vin e (whethe r it i s shown stil l hel d in the god' s han d will becom e th e god' s scepte r an d th e chie f badg e of hi s or alread y planted) an d demand s a sacrifice from him. Ika- followers. rios bring s u p th e victim , an d Dionyso s o r hi s minio n The storie s o f Triptolemos and Ikario s mak e a natura l shows him th e knif e h e mus t use . Meanwhil e two of th e pair. Teiresia s in Euripides' Bacchae draw s a n explici t par - god's train , foragin g around, hav e mad e a new an d won - allel between Demete r with he r gif t of bread an d Dionysos derful discovery : a mas s of bright leave s festooning a dea d with hi s of wine,58 bu t h e doe s no t mentio n th e morta l

.no t in ABV, Langlotz , W٧rzburg, pl . 58; E. Gerhard, Auserlesene 55. Se e infra, with not e 62 ;194 griechische Vasenhilder, vol. 1 [Berlin , 1840-1858] , pi. 47), an d a los t 56. Athens , N.M. 13.390 (Empedokles) ; not i n Beazley ; U. T. neck-amphora (no t i n ABV; Gerhard , AV 1 , pi. 48). On th e first , Bezerra de Meneses, BCH 8 7 (1963), 309-321, figs. 1-2 ; E . Coche de La Dionysos riding a bull on one sid e is paired with Poseido n ridin g a bull Fertι in R. Bloch, Recherches sur les religions de l'antiquitι classique (Paris, on th e other ; o n th e second , Poseido n wit h lowere d trident i s led by 1980), fig . vii with tex t t o it. I am gratefu l t o Ruth Glyn n an d Tom Hermes t o Dionyso s and Ariadn e with silen s (B , warriors' departure). Carpenter o f th e Beazley Archive for bringing this vase to my attention, See T. Panofka, Poseidon und Dionysos (Berlin , 1845) . and t o Dr. Alexandri of the Nationa l Museum in Athens for the pho - 54. Base l market (MuM Sonderliste R, Decembe r 7 , 1977 , lot 50; not tograph and permission to publish it. in Beazley ; Becker, vol. 1, 13 4 and no . 107a) . I am gratefu l to R. Gu y 57. Bezerr a d e Menese s (supra , not e 56) , 315-319 , figs . 5 (ivie d for bringin g thi s vas e to m y attention , an d t o Herber t Cah n fo r th e stake) an d 6 . photograph an d permissio n t o publis h it (photo : Widmer). Fo r th e 58. Line s 278-285. Dodds in his Euripides Bacchae, (Oxford , 1944) , other example , se e infra, with not e 56. ad loc, quotes Euripides' contemporary, Prodikos, in a similar sense. Also, 84 Robertson

intermediaries throug h whom thes e blessings wer e spread . a figure of fun. Th e richl y cla d and nobl e figure on the Pa n Many centurie s late r Nonnu s i n hi s Dionysiaka tol d th e Painter's vas e is differently conceived , a worthy counterpart story o f Ikarios a t lengt h an d expressl y parallele d i t wit h to princ e Triptolemos of Eleusis. The shor t patterne d gar - that of Demeter's emissar y Triptolemo s (claiming the god' s ment h e wear s ove r hi s long chiton has som e likenes s t o a gift a s th e bette r one) . Thi s i s much th e fulles t version w e kind of "tabard" worn b y Dionysos on a vase by the Berli n have of the legen d of Dionysos an d Ikarios ; the other s ar e Painter an d b y a . maena d o n a vas e b y th e Andokide s all late—Apollodorus, Hyginus, and a scholiast on Homer. 59 Painter,63 bu t th e latte r i s quit e withou t fold s an d evi - It i s certain, however, tha t it was th e subjec t o f a poem b y dently o f very stif f materia l indeed . Althoug h s o littl e i s Eratosthenes in the thir d centur y B.C., 60 an d i t i s just pos - preserved of Ko re in the other picture, she i s clearly wearing sible tha t i t wa s treate d i n th e fift h centur y i n los t play s a garment identica l to Ikarios' , and I suppos e it i s a ritua l which bore the same name a s the Hellenistic poem, Erigone. vestment. Neithe r Nonnus no r an y of the othe r survivin g Erigone hanged herself , an d he r stor y wa s tol d a s a n aition sources tel l directl y o f the inauguratio n of sacrifice t o of th e swingin g ritual (aiora) at th e Atti c festival Anthes - Dionysos, bu t ther e i s som e reaso n t o thin k tha t i t di d teria. In the story of Ikarios this Erigone is his daughter, bu t figure in the story. Hyginus relates how a goat damage d th e there i s anothe r versio n i n whic h sh e i s th e daughte r o f vines an d Ikario s killed i t and fro m it s skin mad e th e firs t Aigisthos, and it is quite uncertain which wa s the subject of askos t o hol d wine . H e quote s a lin e fro m Eratosthenes , plays recorde d b y Phrynichus, Sophocles , an d Kleophon. 61 which appear s slightly corrupt but i s easily emended t o sa y The stor y o f Ikarios tells , with mino r variations , ho w that i n Ikari a the y firs t dance d aroun d a goat . Hyginu s Dionysos came to him with th e gift o f the vine and showe d associates thi s with askoliasmos, th e gam e of balancing o n him ho w t o mak e win e from th e fruit ; how , at th e god' s inflated an d greas y wineskins , which wa s apparentl y par t behest, he carrie d th e goo d new s an d th e potion to others ; of the fun at th e Dionysia at Athens; but Hiller concluded , and how h e wa s kille d b y peasants who, afte r enjoyin g th e as did Powell,64 that it must in fact refer to the sacrifice of early stage s of drunkenness, conclude d in the hangover tha t a goat. It is easy to understan d ho w th e story of the killin g they ha d bee n poisone d o r bewitched . The y hi d Ikarios ' of a peccant goa t coul d b e fuse d wit h on e abou t th e initi - body unde r a tree , bu t i t wa s foun d b y hi s faithfu l bitch , ation o f goa t sacrifice . Th e goa t i s th e regula r victi m i n Maira, who led his daughter Erigon e to the spot, where sh e sacrifices t o Dionysos . I t i s tru e tha t goat s o n Atti c vase s hanged hersel f from a bough. The Attic deme of Ikaria wa s tend t o b e shaggie r tha n th e anima l in our pictur e appears , certainly fro m Archai c times a n importan t cente r fo r th e but very little of it i s left, an d th e degree of shagginess varies worship of Dionysos, an d i t i s a reasonabl e gues s that thi s greatly. A goa t i t must surel y be . A relativel y smooth on e is a n ol d loca l legend . Othe r names , however , associate d appears on a vase only a little late r tha n thi s one, in a con- with othe r localities , are mentioned b y late writers in context of great interes t t o us . nection wit h th e receptio n o f th e go d i n Attica : Kin g This i s a janiform kantharo s fro m Spina, 65 wit h th e Amphiktyon, an d Pegaso s of Eleutherai. 62 I n th e absenc e front hea d depictin g Dionysos and th e rea r a satyr. Beazle y of early literary source s we must kee p an open mind o n th e assigned th e saty r hea d t o hi s Clas s K (Toront o Class) an d actual nam e t o b e give n to th e figur e on ou r vas e an d t o the red-figur e picture s t o th e Syrisko s Painte r (perhap s others on archai c vase s to b e discusse d in a moment. Ikarios school pieces) . Alfier i date s it 480-460, an d I would sup - seems to m e th e mos t likely , an d I therefor e us e that , bu t pose that it comes nearer the end than the beginning of tha t with thi s caution . Th e importan t poin t i s tha t ou r vas e span. In the picture above the Dionysos face th e god appears shows Dionyso s endowing a mortal with th e vine a s a gif t again, seate d on th e groun d t o lef t wit h a cushion behin d for mankind , just a s Demete r endow s Triptolemo s wit h him; in his lef t han d i s a vine, one branc h of which disap - grain in the othe r picture . pears behind hi s right le g after passin g in front o f his righ t Nonnus describe s Ikarios as a rustic clown, something of arm, whic h i s stretche d forwar d wit h a larg e kantharo s

nearer th e time of our vase , se e Pindar, Isthm., 7 , 3-5, where the poet 22-28b; E. Diehl, Antk Lyr. Graec, vol. 2 (Leipzig , 1925) , 236, frag. 5 . speaks of Dionysos a s seated by Demeter. 61. Se e A. C. Pearson , Fragments of Sophocles, vol. 1 (Cambridge , 59. Nonnus , Dion., 47 , 34-425 (comparison , 45-55). Apollodorus , 1917), 173-176 ; S. Radt, Tragicorum Graecorum Fragmenta 4 , Sophoclis iii 14, 1 (coupling Ikarios' welcome of Dionysos with Keleos ' of Demeter (Gottingen, 1977) , 232f. , frags . 235 , 236. E. Maass tried t o show (Phil- at Eleusis). Hyginus, Poet. Astr. II , 4 (se e infra, with notes 60, 64). Schol. ologus 77 [Leipzig , 1921] , 1-25) tha t Sophocles' Erigone wa s a satyr play Il, 10 , 27. Se e RE an d W. H. Roscher, Ausfiihrliches Lexikon der grie- on th e them e of Dionysos an d Ikarios . Hi s thesi s ha s me t with littl e chischen and ro'mischen Mythologie (Hildesheim , 1965 ) s.vv. "Ikarios, " acceptance and is certainly not proven, but we may keep an open mind "Erigone," and "Maira." on R. Pfeiffer' s dictu m (Kallimachosstudien [Munich , 1922] , 10 7 n. 1) 60. E . Hiller, Eratosthenis carminum reliquiae (1872) , 94-114 , frags . that it is improbable tha t any pre-Hellenistic poe t treate d the story of 27-34; J. U. Powell, Collectanea Alexandrina (Oxford , 1925) , 64ff. , frag . Erigone, daughter of Ikarios. Two Pelikai by the Pan Painter 85

Figures 5a-b. Neck-amphor a b y the Priam Painter. Left: sid e A; right: side B. Compiègne, Musé e Vivene l 975 . Photo: Hutin .

toward a pointed amphora leaning at his feet. On th e othe r of th e kin d w e hav e alread y notice d in a context of sacri- side, abov e th e saty r face , i s a tabl e wit h a bell-krate r fice.66 Th e animal here has surel y been sacrifice d to the god underneath it , and stretche d ou t on th e table , fee t in air, is in th e picture on the other side . Hair i s lightly indicated on the carcas s of a he-goat. At the head (o n the left sid e of the the body in brown, but th e contours ar e smoothly drawn. picture) a man in a short chiton, patterne d loin-cloth , an d A cu p b y th e Heidelber g Painte r o f around th e mid- shoes (workin g garb ) stoop s ove r it, busy with a knife; a t sixth centur y show s i n th e tond o tw o identica l figure s the tai l a chubby child, nake d bu t fo r shoes, holds the goa t facing eac h other : beard , iv y wreath, long chiton , fringe d steady b y th e hin d legs . Muc h o f th e uppe r par t o f th e himation muffing th e righ t arm , drinking horn in the lef t figure scen e is missing, including the man's head an d shoul- hand. Either figure by himself would b e identified withou t ders an d th e uppe r par t o f the child' s hea d an d face , bu t hesitation a s Dionysos, but Beazley suggested tha t the dop- between them , abov e th e goat' s forelegs , hang s a knife cas e pelgánger migh t b e Ikarios. 67 Several slightl y late r picture s

62. Paus . 1,2,4, with a mention of Ikarios (cf . 20,2; 38,8); Schol. Aris- eri, Spina (Bologna , 1979), 9-10, figs. 25-27. toph. Acharn., p . 383 G. 66. Se e supra, with not e 3 . 63. Berli n Painter ; neck-amphora , Munic h 876 6 (Para, 342 , t o 67. Louvr e CA 576 ; ARV 2, 63 , no. 3 ; BeazleyJHS 5 1 (1931) , 278, ARV2, 1700 , no. 2 1 bis; Müjb 31 , [1980] , 6-9 , figs . 1-2) ; Andokide s no. 3 , an d 283 , figs. 25-27 . Th e unexplaine d subject s o f the exterio r Painter: amphora , Ne w Yor k 63.11. 6 (Para, 320 , to ARV 2, 1617 , no. 2 might conceivabl y b e associabl e wit h som e form o f the Ikario s story: bis; J. Boardman , Athenian Red Figure Vases. A Handbook [London , side A, three bearde d me n capering naked between two pairs of bearded 1975], fig. 6). See Müjb 3 1 [1980] , 7 . men standin g clothe d with spears ; sid e B , between a pair of standing, 64. Hille r (supra , not e 60) , 105-109 , frag . 33 ; Powell, (supra , not e bearded men , two pairs of youths, one on left with a dog, converging on 60), 64, frag. 22. a bearde d ma n movin g left , al l with spear s and clothed , the youth s in 65. Ferrar a T.256 B VP; ARV2, 266 , no. 85, and 1537 , no. 5. N. Alfi- chlamys only. 86 Robertson

by th e Affecte r sho w Dionyso s handin g a kantharo s t o a tradition of Ikarios being sent out into the world, like Trip- bearded man; thes e have been, rather hesitantly , interprete d tolemos, t o sprea d th e deity' s gift ; indee d suc h a mission i s in th e sam e way. 68 Th e decorativ e characte r of the Affec - incompatible with hi s story a s we hav e it. I find i t easier to ter's wor k an d hi s eviden t lac k in genera l o f narrative o r suppose that , thoug h th e paralle l with Triptolemo s i s cer - dramatic interes t hav e mad e scholar s understandabl y loat h tainly explicitl y mad e o n thes e tw o black-figur e vases , to build muc h on hi s representation . Bu t if my interpreta - what the y actuall y sho w i s th e go d himsel f bringing th e tion of the fa r mor e detaile d an d specifi c scen e on th e Pa n vine to Ikarios . The wingin g of one sea t and no t th e othe r Painter's vas e is right, it adds strength t o th e ide a tha t Ika - by th e Pria m Painte r migh t possibl y b e mean t t o se t th e rios may b e meant i n these Archaic pictures . god off from th e mortal. If the tiny curve d ar c of relief line The Missio n of Triptolemos begin s t o appea r i n Atti c at th e edg e of the loos e fragmen t o f the Pa n Painter' s vas e vase-painting i n th e thir d quarte r o f th e sixt h century , (fig. lg) 72 i s compass-drawn (i t i s too smal l for on e t o b e when th e Affecter seems to have been active, but h e ha s lef t sure), i t could b e fro m a wheel-rim, and w e shoul d hav e no pictur e of it. I t i s not ver y popular i n black-figure an d here Dionysos neither standin g no r seate d on a throne, bu t not very often associate d with Dionysia c scenes,69 but ther e on a wheeled sea t like Triptolemo s on th e othe r side . Th e is one exceptiona l piece which i s of peculiar interest fo r our palmette-topped shaf t woul d the n b e th e sea t back . Trip - enquiry. O n on e sid e o f a neck-amphor a no w i n Com - tolemos' sea t i s most ofte n a backless stool, but o n a t leas t piègne (figs . 5a-b) 70 th e Pria m Painter , rathe r lat e in th e one exampl e i t ha s a tall , vertica l back endin g i n a griffi n sixth century , dre w Triptolemo s on hi s wheele d sea t wit h head.73 grain in both hand s and Herme s walkin g in front lookin g I a m awar e o f n o red-figur e vas e othe r tha n th e Pa n back a t him . Triptolemo s i s bearde d an d th e sea t ha s n o Painter's pelik e which present s th e paralle l between Trip - wings; thes e ar e bot h regula r feature s in black-figure rep - tolemos an d Ikario s so clearly, but a number sho w th e Mis - resentations though no t in red-figure. The artis t ha s paire d sion of Triptolemos balance d b y a conventional Dionysia c this with a unique scen e on th e othe r sid e o f the vase . A revel. A splendi d exampl e i s a volute-krate r at Stanfor d satyr walk s in front, lik e Herme s i n the pictur e of Tripto- recently publishe d b y Isabell e an d Anton y Raubitsche k lemos, wit h a kantharo s i n hi s lef t hand , th e righ t han d with a convincing ascription to th e Kleopho n Painter an d raised t o stead y a larg e amphor a o n hi s lef t shoulder . a most valuabl e survey of the Triptolemos theme, which o n Behind him comes a winged sea t with a cart-wheel (quit e the Stanfor d vas e ha s ver y unusua l features. 74 Th e Diony - diffèrent fro m th e chario t whee l Triptolemos ' sea t alway s siac picture on th e bac k i s linked to the othe r b y the move - has).71 O n thi s sit s Dionysos , o r a figure indistinguishabl e ment an d glanc e of Pan (named ) unde r on e handle . from Dionysos : beard , iv y wreath , chito n an d himation , On som e vases the picture of Triptolemos is balanced b y kantharos i n the lef t hand , vin e with cluster s i n the right . one which relate s to him in a slightly differen t aspect—no t The painte r i s making th e paralle l betwee n th e tw o grea t as the emissar y t o mankind bearing a divine gift, bu t a s th e gifts a s clearl y and strongl y a s th e Pa n Painte r o r Nonnus . mortal protég é o f a deit y o r deities . Thu s o n th e Spin a As notice d i n note 70 , Triptolemos an d Ikario s ar e paire d pelike the Pa n Painte r pair s Triptolemos and th e Eleusinia n in a n identica l way, traveling on wheele d seats , on anothe r goddesses on one sid e with, on the other, a youth receiving black-figure amphor a tha t i s no w lost , an d mor e tha n a shield an d helme t fro m a woman, wit h a secon d woma n century ag o Strub e suggeste d tha t th e "Dionysos " shoul d bearing greave s an d a warrior in attendance . Beyon d rea - really b e calle d Ikarios . Tha t i s possible ; bu t ther e i s n o sonable doub t the y ar e Achille s an d hi s goddess-mothe r

68. ABV, 241ÍE , nos . 23 , 34 , 37, 44, 46, 60 , and 89 ; H. Mommsen, 117 n. 45 (i n a study of other aspect s of this interesting painter' s icon - Der Affecter (Mainz , 1975), nos. 59 , 70, 87, 92, 103 , 106 , and 109 , pis. 67, ography an d styl e on which a fuller wor k i s promised). 75, 94, 101 , 115, 119 , and 123 . The two principal figures, without their attendants, were shown als o 69. Thre e black-figur e neck-amphorae tha t d o hav e such a pairing on th e two sides of a lost black-figure neck-amphora (Lenorman t col - are liste d by I. and A . Raubitschek i n Studies in Athenian Architecture, lection) o f the sam e date: Lenormant an d d e Witte, El, vol. 3, pl. 49A; Sculpture and Topography Presented to Homer A. Thompson. Hesperia, sup - Overbeck, KM, pis . 5a-b an d 15 ; A. B. Cook, Zeus: A Study in Ancient plement 2 0 (1982) , 11 0 n. 7 . This important articl e gives ful l referenc e Religion, vol . 1 (Cambridge , 1914-1940) , 214 , figs . 5a-b . Triptolemo s to earlier discussion s o f Triptolemos' Mission in Attic vase-painting an d carries a scepte r a s wel l a s th e grai n ears , an d th e seat s of both hav e lists the black-figure examples (109f , n. 3). Se e further infr a with not e chariot wheels without wings. As noted by Cook, loc. cit., n. 1, C. Strub e 74. (Studien iiber dem Bildkreis von Eleusis [Leipzig , 1870] , 8) suggeste d that 70. Musé e Vivenel 975 ; ABV, 331 , no. 13 ; Gerhard (supra , not e 53), the Dionysia c figur e her e wa s Ikarios , Dionysos' protég é paire d wit h pi. 41; CVA, pi . 10; AJA 8 2 (1978) , 376, figs. 5-6. I am mos t gratefu l t o Demeter's. I owe this important reference t o Dr. Gerda Schwarz of Graz, C. Lapointe , Director , Musé e Vivenel , fo r th e photograph s (clich é who i s preparing a book on Triptolemos. Hutin) an d permission to publish them. Hammond and Moon (AJA 8 2 71. Th e car t whee l i s really more suitabl e t o th e travelin g seat tha n [1978], 376) se e th e Dionysos picture a s a "parody" of the Triptolemos; the chariot wheel, since chariot s wer e built fo r standing in and cart s for see als o W. Moon, Ancient Greek Art and Iconography (Madison, 1983) , sitting in. Good example s ca n b e see n on th e Amasi s Painter's wedding Two Pelikai by the Pan Painter 87

Thetis, wit h a nerei d an d eithe r Patroklo s o r Antilochos , Triptolemos' Missio n i s balance d b y th e punishmen t o f depending o n whethe r thi s i s th e firs t o r secon d sui t of Aglauros an d Herse : Demeter' s goo d bo y agains t Athena' s armor.75 Th e pelik e by the Triptolemos Painter in Copen- bad girls. 79 Th e pairin g of Triptolemos with Marpess a o n hagen76 ha s identicall y compose d picture s o n eithe r side . a Manneris t amphor a i n London 80 seem s looser , Apollo' s On on e i s a unique renderin g of Triptolemos. He sit s interest in Marpessa bein g of a different kind and , further , (named) t o lef t o n a stool with a patterned clot h ove r it. rejected. A skyphos in Brussels, attributed to the Painter of He i s bearde d (a s normall y in black-figur e bu t almos t the Yal e Lekythos, 81 ha s o n on e sid e Triptolemo s and o n never i n red-figure); his hai r i s looped u p unde r a myrtl e the othe r th e Initiatio n o f Herakles, anothe r god-chose n wreath. H e hold s a scepte r i n hi s lef t hand , leanin g i t mortal, bu t her e plainly th e common Eleusinia n setting i s against hi s shoulder, right hand extende d with a phiale into a point of greater importance . The skypho s look s ahead t o which a standing goddes s pours fro m a jug, whil e sh e lift s fourth-century treatments . grain i n he r lef t hand . Behin d Triptolemos stands th e Of particula r interes t ar e th e othe r figure s o n th e sky - second goddes s with a wreath in both hands . Th e revers e phos by Makron, whose Triptolemos picture, as we noticed, of th e painter' s nam e vase , a stamnos i n the Louvre with a stands in a close relation to that on the Pan Painter's Malib u normal Triptolemo s pictur e o n th e front, 77 show s a pelike.82 Under handle A/B, behin d Eleusis, sits Eumolppos bearded figure , th e twi n o f the Copenhage n Triptolemo s (sic, fig . 2d), a n Eleusinia n figure o f importance, s o con - but no t named , standin g frontal , scepte r i n lef t hand , nected wit h th e mai n scene . H e look s ove r hi s shoulde r empty phial e in right, betwee n tw o flaming altars . Behind toward it, but hi s knees turn th e other way, linking him to the alta r on th e lef t stand s a goddess with a torch in either the deities on the back. Under a n added-red myrtl e wreath hand; behind th e other alta r th e secon d goddes s is pouring his long hai r i s loose on hi s shoulders; h e wear s chito n an d wine on the flames fro m a jug. The bearde d figur e ha s bee n himation an d hold s a scepter . Unde r th e othe r handle , called Keleo s o r Pluton , but a s Beazle y point s out, 78 "th e behind Demeter, sit s Poseidon (fig . 2b), whose son Eumol- persons on B might b e expecte d t o b e th e sam e a s on th e pos i s sometimes sai d to b e though thi s may in origin b e a Ny Carlsber g pelike. " To sugges t o n thi s evidence , a s h e confusion betwee n differen t characters o f the sam e name. 83 very tentativel y does , tha t th e inscriptio n o n th e pelik e Poseidon, too , wear s chito n an d himatio n and ha s a n might b e a mistake , seem s ba d method . Perhap s i n bot h added-red myrtl e wreath , unde r whic h hi s hai r i s looped cases w e migh t se e th e ma n a s th e matur e Triptolemos , with onl y on e lock loose . He too looks over his shoulder a t back in Eleusis, his mission completed. the scen e of Triptolemos' departure, but by the direction in On th e othe r sid e of the Copenhagen pelik e a youth sit s which h e sits, he belongs with th e figures on the back. Next to th e lef t o n a stoo l with a patterne d cloth , exactl y lik e to him hi s wif e Amphitrit e stand s to lef t lookin g bac k a t Triptolemos o n th e fron t bu t wit h nothin g in hi s hands . her husband . He r hai r i s looped up unde r a reserved fillet , Behind hi m a femal e figur e stand s with a wreath in both and wit h he r righ t han d sh e lift s he r himation , exposin g hands, agai n exactl y lik e th e goddes s behin d Triptolemo s the chiton with dee p overfold. Nex t to Eumolpos ( a swa n on th e other side . The standing figure in front o n this side , or goos e walk s betwee n them ) stand s Zeu s t o righ t i n however, i s Poseidon, trident in right hand, fish in left, an d chiton an d himation , hi s hai r loope d u p (on e loc k loose ) the picture undoubtedly show s Theseu s between Poseido n under a red-figure myrtle wreat h (th e wreath s of Eumol- and Amphitrite : anothe r morta l with hi s divin e patrons . pos an d Poseido n ar e i n adde d red) , scepte r in lef t hand , On th e Frankfor t cup with th e nam e o f Brygos a s potter , thunderbolt in right. Between Zeus and Amphitrite, occu - lekythos (New York 56.11.1 ; Para, 66 , below; AntK3 [1960] , pi. 7), and 78. ARV2, 1648 , addenda to p. 361. the racin g cart o n th e Burgo n Panathenaic (Londo n B 130 ; ABV, 89 , 79. Frankfort , Liebieghaus ST V 7 ; ARV2, 386 , below; K. Schefold, no. 1 ; JHS 8 0 [1960] , pi. 2). A processional ship cart in which Dionysos Gottersagen (Munich, 1981) , 50, figs. 57-60 (A and B). The tondoshow s rides with satyr s on some late black-figure skyphoi is fitted with wheel s Poseidon pursuing a woman, and the name of Aithra has been suggested , of thi s type : Athens , Akr. 1281 ; Langlotz, pi. 74; Haspels , ABL, 250 , but i t would b e stretching the evidenc e t o se e her e another allusio n to no. 29; Bologna 130 ; CVA, pi . 43; Haspels, ABL, 25 , no. 15 . Theseus. Anothe r cu p wit h th e nam e o f Brygo s a s potter , los t an d 72. Se e supra, with not e 5 . known onl y in a brief description (ARV2, 398 , no. 10) , balanced Trip - 73. Bell-krater , London E 496; ARV2, 620 , Villa Giuli a Painte r no . tolemos with Menelao s and Helen. If Aphrodite were shown protecting 23; RbmMittll (1912) , Beilage at 286, 2. Helen, it could fin d a place in this context. 74. I . an d A. Raubitschek (supra , note 69), 116f, pi. 15b. 80. Londo n 95.10-31.1; ARV2, 583 , no. 1 ; CVA, pis . 4,1 and 12,4 . 75. Supra , with note s 36, 37. The appea l of Thetis and Eo s to Zeu s 81. Brussel s A 10 ; ARV2, 661 , no. 86; CVA, pi . 18,1 . on th e bac k o f th e Oreithyi a Painter's bell-krate r wit h Triptolemo s 82. Supra , with not e 44. (Palermo V 779; ARV2, 496 , no. 5; CVA, pis . 35-37) relate s to the same 83. Se e Roscher (supra , note 59), s.v. "Eumolpos." theme but hardly makes a parallel in the same way. 76. Supra , note 28. 77. Louvr e G 187 ; ARV2, 361 , no. 2; CVA, pi . 20, 3 and 6 . 88 Robertson

Figures 6a-b. Fragment s o f a small pelike by th e Pa n Painter . Malibu , The J. Pau l Gett y Museum 76.AE. 102.29-30.

pying th e cente r of this sid e (fig . 2c), stand s Dionyso s t o Kleophrades Painter , whic h wa s mentione d abov e fo r it s right wit h lon g hai r loos e o n hi s shoulder s unde r a red - myrtle-wreathed Dionysos. 85 What th e go d carrie s her e i s figure iv y wreath . Hi s righ t han d i s muffle d unde r hi s neither thyrso s no r fenne l stal k bu t simpl y a spra y o f ivy . mantle. As staff he ha s a fennel stalk , but instea d o f a bunch None o f th e figure s i n th e pictur e ha s a thyrsos , bu t th e of ivy leave s tied to the top to make a true thyrsos , he hold s satyr wh o recline s pipin g a t th e god' s fee t an d th e thre e two loos e ivy sprays there . maenads who cavor t aroun d hi m wea r iv y wreaths i n The Missio n of Triptolemos i s certainly the mai n them e added red. 86 Th e maenads ' blond hair i s loose, an d the y ar e of this vase , but th e attitude s o f the figure s unde r th e han - strikingly lik e th e gir l in the Pa n Painter' s picture. One of dles an d th e Eleusinia n characte r o f Eumolpos sho w tha t them, too , look s ful l at u s lik e th e saty r there . Th e Kleo - the whol e decoratio n ha s a unity . Th e reason s fo r th e phrades Painter i s of a very different temperament fro m hi s choice of the othe r deitie s ar e not clear , but Dionyso s take s considerably younge r rival ; bu t thes e tw o vases , whic h pride of place o n th e reverse , and thi s i s evidently anothe r must b e ver y clos e t o eac h othe r i n date , see m t o m e als o case of the pairing of the gift s of grain and vine. In the ligh t unusually alik e i n feeling—an unexpecte d an d attractiv e of th e Pa n Painter' s picture , it i s of interest tha t th e win e rapprochement. god i s given an unfinishe d thyrsos. 84 Two fragment s fro m th e tw o side s of a smal l pelik e in We ma y en d wit h anothe r loo k at th e hydri a b y th e Malibu (fig . 6a-b) wer e ascribe d t o th e Pa n Painte r b y

84. I am grateful to Lucilla Burn of the British Museum for drawing 88. ARV2, 555 , nos. 88-92; 1659 , nos. 9 1 bis, 92 bis, and 9 3 bis. my attentio n to the importance o f Dionysos on Makron's skyphos . 89. Becker , vol. 1 , 54-55, an d nos . 190-197 . 85. Supra , with note s 45 an d 51. 90. Vienn a 3727; ARV2,555, no . 88; CVA, pi . 76,1-3; Beazley, Panm., 86. Thi s corrects a misstatement i n my "Corn and Vine on a Vase by pi. 23,1-2. Louvre G 547; ARV2,555, no . 89; CJ^4 d, pi. 46,1-3; Beazley, the Pa n Painter, " supra , at the beginning of the notes . Panm., pi . 23,3; Follmann, pi. 9,1. 87. Malibu , Th e J . Pau l Gett y Museu m 76.AE . 102.29 an d 91. Beazley , Panm., 13 ; Beazley, Pan P., 4. 76.AE. 102.30. I am mos t gratefu l t o Dr. von Bothmer fo r allowing m e 92. Follmann , 40, 43. Se e supra, note 33 . to publish this vase. Fragment a—Maximu m length: 8 cm. Within neck , 93. C B 2 , 55-61; lis t of 28 vases , 58-60. The y ar e furthe r discusse d shiny black; within body , rough black. Fragment b—Maximu m length: by John Boardma n in an article in this volume, p. 35. 5 cm . Within, roug h black ; relie f contour : lowe r par t o f lef t sid e of 94. Alkimacho s Painter : list , C B 2 , no . 23 ; Mannerists : ibid. , nos . skyphos; no dilute black or adde d color . 17-22. Two Pelikai by the Pan Painter 89

Dietrich vo n Bothmer, who als o identifie d an d presente d Follmann, who date s that piec e late r in the painter' s caree r the right-hand part of fragments a and b. 87 than I do, puts som e with it , some later still. 92 Non e surel y Fragment a , 76.AE . 102.29—Under a band of ovolo, two is early , an d I shoul d suppos e tha t ther e ar e fifteen o r "Anakreontic" komast s fac e on e anothe r in a dance. Of the twenty year s between th e two Getty pelikai . one on the left, onl y th e front of the head remains , wearing "Anakreontic" komast s (bearde d reveler s in drag) wer e a sakkos , with th e ea r an d a bit of temple hai r in front o f listed an d discusse d b y Beazley. 93 Our s ar e th e first t o b e it, o r rathe r belo w it, showing that th e hea d wa s ben t ver y recognized i n th e wor k o f the Pa n Painter , thoug h ther e sharply, looking a t the ground. More survives of his partner, are example s b y artist s who stan d in some relation to him: whose hea d wa s likewis e bent forward , thoug h no t quit e one b y the Alkimachos Painter an d severa l from th e Man - so far . The sakko s on hi s head swing s up with th e forc e of nerist workshop. 94 On e o f thes e i s o n th e onl y lekytho s the movement. Ea r an d templ e hair ar e preserved , with a n attributed to the Mannerist workshop, and it is said to hav e eyebrow an d par t of an ey e and of the beard , a s well a s th e been found wit h on e by the Pan Painter which it resemble s broad nec k an d par t of the himation which cover s a n ar m in shap e and ornament. 95 Th e skypho s hel d by the woman flung bac k an d u p (th e lef t if the figur e i s in front view , on our secon d fragmen t show s tha t th e motif wa s a drink- right i f in back). ing scene , but whether sh e was strictly part of a komos, on e Fragment b, 76. AE. 102.30—The front o f a woman's hea d cannot b e sure. On a hydria fragment b y the Berlin Painter , is preserved t o just below the mouth, and he r lef t ar m an d a naked woman in a sakkos, with a cloak loosely slung over hand extende d forwar d wit h a large skypho s hel d upright her shoulders , hold s a bi g skypho s o n he r extende d lef t by the foot. The edge of a garment i s visible at the shoulder , hand bu t look s th e othe r way. 96 Sh e clearl y belong s t o a and sh e wear s a sakkos, th e templ e hair appearing below it. komos, and our woman may have too. That the edg e of the Profile an d interio r of the fragment s sho w tha t th e to p of woman's garmen t o n ou r fragmen t look s more a s thoug h the skypho s i s about leve l with th e left-hand man' s ea r o n it i s part of a dress than of a loose cloa k doe s not rul e ou t fragment a . The woman was probably seated, but sh e coul d this context, but the figure in the Pan Painter's work who m have bee n crouchin g o r bendin g forward , possibl y i n a she mos t resemble s i s diffèrent . O n a slight bu t charmin g dance. Abov e her forehea d appear s the narrow end of some lekythos i n Have r ford College, 97 whic h mus t belon g t o object, conceivabl y a drinking horn. There wer e no doub t much th e sam e tim e a s th e littl e pelika i an d i s simila r i n two figure s on eac h sid e of the vase . character, a woman wearin g sakkos , chiton , an d himation The vas e mus t hav e belonge d t o th e Clas s o f th e Pa n sits t o lef t wit h a cak e (perhaps ) i n her lef t han d an d he r Painter's Smal l Pelikai, 88 whic h Becke r subsume s i n he r right han d hel d forward wit h a large skyphos . In front o f XX, Clas s of the Smal l Pelikai by the Gera s Painter. 89 Th e her stand s a slave girl with a ladle in her righ t han d poise d pictures whic h th e Gera s Painter put s o n hi s vase s of this above th e skypho s an d a phial e i n he r lef t hand . A cu p kind ma y perhap s be thought of as crude imitation s of the hangs o n th e wal l an d a lidde d psykte r stand s betwee n Pan Painter's . Th e drawin g on ou r fragment s i s undoubt - them.98 Bothmer has noted how closely the pair resemble edly b y th e Pa n Painter , a s Bothme r saw . On thes e littl e the woman and girl on the Louvre pelike99 and charmingly vases he sketche s scenes, often odd ones, quickly an d freely , suggests that the y ar e th e sam e people, perhap s members of sometimes the y ar e careless , bu t the y ar e almos t alway s the painter' s household , a t work an d relaxing . It would b e fresh an d delightful . Ou r fragment s hav e thes e qualities to natural t o restor e ou r figur e o n th e line s of that one , an d a hig h degre e an d see m particularl y close t o th e master - that may well be right; but ours seems more mouvementιe pieces of the Class , th e Vienna fisher-pelike an d on e in th e and he r activ e participatio n in a komos o n th e line s sug - Louvre with a mistress an d a slave girl a t a big tub, probably gested abov e canno t b e ruled out. washing clothes. 90 Beazle y speak s of the Clas s a s belonging to th e sam e perio d a s th e Bosto n Pan-krate r itself, 91 an d Cambridge

95. Bosto n 13.199 ; ARV2, 558 , no. 73 ; CB 2, 55-61 n. 93, 55ff., no . on an d th e positio n of the ladl e fit s bette r wit h Bothmer' s vie w (se e 99, pi. 51,3, list no. 17 . See Beazley, 55. next note) tha t it is being ladled from th e skyphos into th e bowl in the 96. Athens , Akr. 933; Langlotz, pi. 77; ARV 2, 210 , no. 177 ; D. C . girl's hand . On e woul d think , however , tha t th e larg e skypho s canno t Kurtz an d J. D. Beazley, The Berlin Painter (Oxford , 1983) , 105 , no. 66, have muc h in it, for unlik e thos e o n th e Gett y fragmen t an d o n th e pis. 30 and 60a . fragment b y th e Berli n Painte r (supra , with not e 96) , the skypho s o n 97. H . Comfort, Attic and South Italian Painted Vases at Haverford Col- the Haverford vase is not held underneath, but apparently by one handl e lege (Haverford , 1956) , no. 24 ; ARV 2, 557 , no . 116 ; J. V . Noble, The (on th e fa r side , though the handle tha t should correspond t o it on th e Techniques of Painted Attic Pottery (New York, 1965), fig. 125 . See follow - near side is not shown). ing notes . 99. Bothmer , AJA 6 1 (1957), 310. 98. Th e actio n i s no t perfectl y clear . Nobl e (supra , not e 97 , 19) , seems to imply tha t wine is being ladled from th e psykter, but the lid is 90 Robertson

POSTSCRIPT that wine (in added red ) i s shown pouring from Kore' s jug. When I wrote this article, I knew th e Louvre fragment s Thus th e Pa n Painte r her e combine s th e libatio n with th e only in photograph. When I examined th e originals , I sa w moment of handing ove r th e grain-ears . For Adolf Greifenhagen o n hi s eightieth birthda y

A Chous by the Oionokles Painter

Elfriede R. Knauer

The J . Pau l Gett y Museu m ha s a red-figur e chous , a and continue d dee p into th e fourth . Amon g th e preserve d wine jug o f a typ e wel l documente d i n classica l ar t an d choes, smaller o r miniatur e example s prevail. 4 literature (figs , la-c , g). 2 Undecorate d fo r norma l every - The vas e i n th e Gett y Museu m i s on e o f th e fe w full - day us e bu t adorne d with figure-wor k fo r specia l purposes, size, red-figur e shape- 3 vessel s t o hav e survive d fro m th e the chou s stands out amon g th e te n know n type s of oino - first decade s o f th e fift h centur y B.C. 5 Typicall y i t ha s a choai fo r it s siz e an d sturdiness. 3 Thes e potter y pitcher s bulbous body which rise s in a continuous curve from a lo w were designe d fo r ladlin g an d pourin g wine . Firs t con - spreading foo t int o a stee p neck. It s trefoi l mout h i s onl y ceived in Attic a abou t th e middl e of th e sixt h century B.C. , moderately pulled i n an d i s flat o n top . Th e slightl y slopin g the shap e wa s wel l establishe d b y th e earl y fift h centur y spout facilitate s pouring . Th e handle , triangular i n section ,

Abbreviations: body marking s i n dilute glaze . The y ar e preserve d o n th e man' s right Add: L. Burn and R. Glynn , comps., Beazley Addenda, Additiona l Ref- shoulder an d (partly ) on hi s legs , on th e fillet , cloth-patter n an d cloth erences to ABV, ARV2 an d Paralipomen a (Oxford , 1982) . fringes, and on the ivy wreath of the chous. Added red is found on leaves BPP: B. A. Sparkes and L. Talcott, Black and Plain Pottery of the 6th, 5th of th e wreat h o f the ma n (muc h worn ) an d o n strap s of the basket . and 4th Centuries. Th e Athenia n Agora , vol. 1 2 (Princeton , Remains of a preliminary sketc h ca n b e see n on th e lef t thig h of th e 1970). youth, on the lef t hee l of the reveler , an d o n the basket . Circa 470 B.C . 1. Aristophanes , Thesm. 633: onácpiov ZévvXX T¡TT]0€V' o ó yàp i)v àfiis References: H. Cah n an d A . Emmerich, Masterpieces of Greek Vase (Xenylla requeste d a basin , fo r ther e wa s n o chambe r pot). The Loe b Painting, 7th to 5th century B.C ., ex . cat . (Ne w York, 1964) , no. 30; Welt- translation (B . Bickle y Roger s [1924 , reprin t 1972 ] reads : Scaphium kunst aus Privatbesitz, ex . cat . (Cologne , 1968) , no. A 3 5 (K . Schauen- petiit Xenylla, matula enim non aderat. I would like to thank Rudolf Kasse l burg); D. von Bothmer an d J. Bean , Greek Vases and Modern Drawings who befor e it s publicatio n ha s generousl y opene d t o m e th e page s of from the Collection of Mr. and Mrs. Walter Bareiss, ex . cat . (Ne w York , Poetae Comici Graeci, vol . 3, 2 , Aristophanes. Testimoni a e t Fragmenta , The Metropolita n Museum of Art, 1969) , 5 , no. 59 ; Greek Vases: Molly R. Kasse l an d C . Austin , eds . (Berli n an d Ne w York , 1984) . Se e als o and Walter Bareiss Collection, ex . cat . (Malibu , Th e J. Pau l Gett y note 11. Museum, 1983) , no . 38 , pp . 5 4 an d 77 . (Th e firs t thre e reference s ar e I a m much indebte d t o Dietrich von Bothmer fo r his comments an d owed t o D. von Bothmer). criticism of the manuscrip t an d fo r liberal access to hi s photo collection I than k Jin Fre l for permission t o publish the chous and Marion True and notes . He doe s not, however , shar e my conviction as to th e ascrip - for providing both a careful description of the vase's condition and muc h tion of the vase . aid from afar . 2. Malib u 86.AE.237 . Height : 2 3 cm ; diamete r (belly) : 18. 6 cm ; 3. Fo r the classification of shapes, see ARV 2, XLIX-L , chous : oino- diameter (foot) : 12. 3 cm. Portions ar e broken and repaired , with severa l choe, shap e 3. G. M. A. Pdchter an d M . J. Milne , Shapes and Names of small parts missing an d restore d i n plaster, including the lowe r bac k of Athenian Vases (New York, 1935) , 18-20 . the left le g and th e front of the left foot of the youth; part of the bottom 4. G . Van Hoorn, Choes and Anthesteria (Leiden , 1951); A. Rumpf, and spou t o f the jar h e holds ; par t o f th e lef t thig h of the man . Th e "Attische Feste-Attische Vasen, " BonnJbb 16 1 (1961), 208-214; A. Grei- chous is glazed insid e (poorly ) and out; the glaze has misfire d on a large fenhagen, "Ei n Satyrspie l de s Aischylos? " 118. Winckelmannsprogramm part of the surface , an d th e chou s i s unglazed beneat h an d a t th e lowe r (Berlin, 1963) ; BPP, 14fF. , 60-62. J. R. Green , "A Series of Added-Red - edge of the foot . Relie f lines o f the ornamen t includ e tw o line s eac h Figure Choes," A4 4 (1970) , 475-487; idem , "Choes of the Late r Fift h framing th e uppe r border ; th e undulatin g lin e of th e border-pattern ; Century," BSA 6 6 (1971) , 189-228 . Se e als o idem, BICS no . 1 9 (1972) ; and th e handle-palmette throughout , excep t within th e tendril coils and E. M. Stern, "Kinderkannche n zu m Choenfest, " Thiasos (Amsterdam , the reserve d shield above . Relie f contours ar e foun d on all of the man' s 1978), 27-37; A.J. Clark, "The Earlies t Know n Chous by th e Amasi s body excep t hi s right hand, chi n (beard) , hair , an d th e sol e of his right Painter," MM A] 1 5 ( 1981 ), 35-49 (referenc e owe d to D. von Bothmer) ; foot; throughou t th e boy' s bod y an d al l objects hel d b y him, except i n see als o tex t t o th e tw o choe s in Würzburg, Marti n vo n Wagne r

2 the outlin e of th e hea d an d bot h soles ; (th e damage d contou r o f th e Museum H5387 and H4937, ARV , 871,95 , CVA 2,24-28 , pis . 16,17,1- man's righ t forear m wa s retouche d b y a restorer , a s wer e th e glaz e 2, 18 , 19,1-4 . Fo r oinochoa i picture d o n vase s see : H . Gericke , between th e fingers of his right hand an d th e boy's nos e and eye). Relief Gefafidarstellungen auf griechischen Vasen (Berlin, 1970) , 147-160 . I a m lines ar e found on th e ear , brow , moustache, upper edg e of beard, fillet , much oblige d to J. R. Gree n wh o enlightene d m e o n th e developmen t penis, an d mantl e fold s of the man, on th e fringe s of the boy' s hair , an d of th e shap e by generously providin g a sequence of his profile drawing s on th e patter n an d string s of the basket . Relief lines affecte d b y damage of choes from th e firs t hal f of the fift h century . to surfac e include th e boy' s ey e an d brow , the basket , and probabl y th e 5. Othe r examples , with reference s in Add: ARV2,118,2 (Para, 332 ) ; contour o f the ivy-decke d chous ; also damaged ar e mos t of the interior 210,186 (1634 ; Para, 343 ; Add, 97) ; 210,187 ; 229,46 ; 242,7 8 (Add, 100) ; 92 Knauer

Figure la. Chous , front . Malibu , The J. Pau l Getty Mu- Figure lb. Sid e of chous, figure la . seum 86.AE.237 .

Figure 1c. To p view of chous, figure la .

Figure Id. Detai l of chous, figure la . A Chous by the Oionokles Painter 93

Figure le. Revers e of chous, figure la . Figure lf. Handle-palmett e of chous, figure la .

Figure Ig. Profil e o f chous, figur e la . Drawin g b y Marth a Bree n Bredemeyer. 94 Knauer

has it s roo t halfwa y up , at th e greates t width o f th e body . orations o f red-figur e choe s t o displa y rathe r uncommo n Taut in outline , th e handl e juts ou t abov e into th e orifice. 6 patterns.9 A heart-shape d circumscribe d palmett e wit h Less typical tha n it s form , however , i s th e decoratio n o f seven hangin g petal s an d a blac k do t i n th e cente r shiel d the Gett y chous (fig . Id). Th e picture , unframed, i s define d rivets the handle-roo t t o th e bod y of the vas e (figs , le-f ) . 10 by a n uppe r an d lowe r border . Th e maeande r bas e differ s from ordinar y one-directiona l band s b y it s alternatel y THE PICTUR E volte-facing units : a pai r o f maeander s t o right , a cross - A bearde d revele r wit h broa d dotte d fille t an d wreath , square, a pai r o f maeander s t o left , a checkerboard , a pai r naked bu t fo r a mantle slun g ove r hi s lef t shoulde r an d hi s of maeander s t o right , a checkerboard, a pai r o f maeander s left an d uppe r righ t arms , appear s in hi s grea t excitemen t to left , an d a fina l cross-square. 7 Th e pronounce d uppe r almost unawar e of hi s boy-servant' s rescu e operation. Th e border, a s wid e a s th e cente r foi l o f th e mout h an d thu s small procession , o n it s wa y t o th e right , ha s com e t o a enhancing th e stee p neck , display s a n unusua l patter n o f stop, an d th e bo y mus t hav e turne d aroun d t o answe r hi s alternating tear-shape d drops , frame d b y th e dense , snak y master's cal l fo r th e substitut e receptacle : "fxiτa 77a?."11 curves o f a relie f line . Althoug h thi s patter n occur s onl y The reveler' s grand gesture , half-open mouth , an d inspire d rarely o n cerami c shapes, 8 it i s no t unusua l fo r borde r dec - upward gaz e seem t o reflec t hi s devotio n t o th e go d whos e

242,79 (1638) ; 544,66-67; 595,71 bis (1660 ; Para, 394); 595,72 (Para, 513 ; H. A. G. Brijder, ed. , Ancient Greek and Related Pottery. Proceedings of Add, 129) ; 606,8 3 (Add, 130) ; 607,8 4 (Add, 130) ; 607,85-86 ; 607,8 7 the Internationa l Vas e Symposium , Amsterda m 1984 . Allar d Pierso n (1661); 611,4 0 (1661 ; Para, 396 ; Add, 131) ; 658,22; 688f,255-257; 776, 1 Series, vol. 5 (Amsterdam , 1985) , 198-201. (1669; Para, 416 ; Add, 141) ; 776, 2 (1669) ; 871,91-9 5 (Para, 426 ; Add, 8. Dietric h von Bothmer adduce s the kalpis , Palermo 766 , and th e 147). pelike, Boston 1971.34 3 (ARV2, 254, 5 "Recall s th e Syleu s Painter"); se e Chous i s a measure of capacity. Fo r th e lates t discussio n of the liqui d The Museum Year 1971-72, Th e 96th Annual Report of the Museum of contents o f such jugs, se e Clar k (supra , not e 4), 47-49, an d H. Busing, Fine Art s Boston , 43ff . Fo r sid e B , which display s tha t patter n a t th e "Metrologische Beitrage, " Jdl 9 7 (1982) , 1-45 , esp . 28f : on e chou s = bottom o f the frame , se e Bulletin of the Museum of Fine Arts, Boston 7 8 3.2825 liters . The chou s in th e Gett y Museu m hold s 3.0 5 liter s whe n (1980), 32 , no . 12 . The patter n recur s o n th e abacu s of th e sphinx' s filled wit h ric e to th e bottom of the nec k an d 3.5 5 liter s when fille d t o column on side A. It is met with alread y on the late Corinthian oinochoe the brim (measure d b y Marion True). 2610; se e T.J . Dunbabin , ed. , Perachora: The Sanctuaries of Hera Akraia 6. Fo r th e changin g characteristic s i n the cours e of the firs t hal f of and Limenia, vol . 2 (Oxford , 1962) , pi. 11 2 an d p . 273 , with furthe r the fift h century , se e BPP, pi. 6 and 60-63; J. R. Gree n (supra , not e 4), references (kotyle , kothones; a similarly decorate d kotho n from a mid- (1970), 484f; (1971) , 189-191 ; and (1972) , 6f. In a letter of November sixth-century tom b in Sindos wa s shown b y M. Tiverios at th e Collo - 11, 1983 , J. R. Gree n writes: quium on Greek Vases , Beazley Centenary, London , June 25-26, 1985) . "...earlier i s taller-looking with th e greates t diamete r relativel y There ca n hardl y b e a direct connection . Th e patter n i s als o met wit h high. In earlier version s th e formation of the mouth i s relatively as a decorative devic e on a carved piec e of furniture on a Locrian relief simple: mor e upright , les s full y modelled , th e cla y a t th e li p (circa 45 5 B.C.) i n Reggio, Calabria . Se e K. Schefold, Die Gottersage in squared off more than thinned. In the view from above , the fron t der klassischen und hellenistischen Kunst (Munich , 1981) , fig. 30. It als o and back halve s of the mouth tend to be more equal in size, with occurs in vase-painting a s a molding pattern belo w the volutes of altars , the side s pulled in only slightly. The overal l tendency i s for th e e.g.: ARV2, 203,101 ; 319,6 ; 554,82 ; 574,9 ; an d whe n depictin g chase d back hal f to widen , almost a t th e expens e of the front , s o tha t 2 ultimately, in the third quarte r o f the century, one ha s somethin g metal vases , see e.g . the omphalos cu p held by Phoinix, ARV , 369,4 , or much mor e lik e a tru e trefoil . Similarly , whe n see n fro m th e the oinochoe of Persephone, ARV2, 496,5 . The pattern als o occurs a s th e front, th e mouth begin s t o sprea d out mor e an d th e cla y is made neck decoratio n of an Etruscan amphor a in Gτttingen, se e P . Jacobsthal, thinner a t th e lip . While thi s happens , th e bod y become s Gottinger Vasen (Berlin , 1912) , pl. III.8. A stylize d kym a seem s to b e plumper an d th e centre of gravity drops. " intended throughout . He suggest s tha t th e shap e of the Gett y Museu m chou s b e compare d 9. See , e . g., Van Hoorn (supra , not e 4) figs . 6 , 12 , 23, 29, 38, 74, 82, with th e Tarquinia Painter's choes 2 871,91-95 ) an d lean s toward (ARV , 88, 118 , 128a , 141 , 183, 184 , 198 , 397, 407a, 498 , 510 ; Jdl 8 6 (1971) , 110 , a dat e of circa 470 B.C. A usefu l compariso n i s provided on plat e 8 7 of 112, 11 5 (referenc e fro m D . von Bothmer).

2 , C^4 Munic h 2 : The mouth of the Berlin Painter's chous (2453 , ARV2, 10. Cf. , e. g. , ARV , 210,18 6 (Add, 97) ; 210, 187 ; W٧rzburg H5387 210,187) ha s a flat to p an d th e greates t diamete r i s found hig h on th e CJ^4 2 , pi. 17,1-2 , an d ARV2, 595,7 1 bis . The palmett e o f the Gett y jug, muc h lik e th e Gett y chous , whil e th e mouth of the late r chou s by chous should g o between th e Berlin Painter's and tha t of the W٧rzburg the Niobid Painte r (2454 , ARV2, 607,84 ) i s sharpened an d thinne r an d chous. Unfortunately , the handle-palmettes o f choes are rarely pictured. has th e widest diamete r lowe r down. 11. Eupolis , frag. 351,5K. (A)... ris dirtv "«JUÎÔ« naV irpβros fiera^v 7. Fo r a maeander that similarly change s direction, see the chous by mvcov; (B) UcL\afn)8iKΣv y e rovro rov&vprma KGU oocpσv oov (A. "...Who the Berlin Painter , ARV2, 210,187 . More important for the Getty chou s first sai d 'slave , a chamber pot ' in the midst of his drinking? B. Yes, that seem th e parallel s fo r th e checkerboard s o n Nolan s b y th e Providenc e is a wise and Palamedi c concei t of yours" ). ( Athenaeus, The Deipnosoph-

Painter; cf. , e. g., ARV2, 636, 4 and 637,34 . For a schematized tabl e of the ists, vol. 1, trans. G . B. Gulick [Cambridge , Mass. and London , 1927].) maeanders of the Providence Painter , se e E. Papoutsaki-Serveti, O zogra- The fragmen t come s from Athenaeu s ( I 17d) who credit s Eupoli s with phos tes Providence (Athens, 1983) , pis. 2-5. Fo r the developmen t o f the first usin g the term fiis. Meinek e identified the gadget's advertiser, (A), maeander on Nolans of pupils of the Berlin Painter see : C. Isler-Kerιnyi, whose achievemen t i s likened by hi s interlocutor, (B), to thos e of th e "Hermonax i n Zurich, II : Di e Halsamphora Haniel, " AntK 27 (1984) , archinventor Palamedes , a s Alkibiades. 54-57, esp . 55f . Cf. not e 23 . Se e als o the observation s o n th e direction Moments of crisis must have occurred frequently during symposia an d and symmetr y of maeander border s b y B. Otto, "Dekorative Element e komoi. Vase-painter s too k th e subjec t u p a s eagerl y a s di d writers of in de n Bildschσpfungen de s Kleophrades - un d Berliner-Malers, " in comedy. Kasse l an d Austi n (supra , not e 1) , 160 , frag. 280 (wh o alread y A Chous by the Oionokles Painter 95

gift h e mus t hav e sample d t o a grea t extent , a s wel l a s t o (fig. 3) . No t onl y doe s i t sho w on e o f th e youn g reveler s express hi s patheti c urgency . Yet , becaus e o f hi s arouse d profaning a bande d wate r jar , bu t i t als o show s a wast e state, nature' s cal l i s force d t o wait . Th e boy' s attitude , basin (oicαfaov), which was occasionally used as a urinal.14 however, i s calm an d matte r of fact . While shoulderin g hi s The Gett y chou s ma y wel l hav e serve d a s on e o f th e master's knotty stick , togethe r with th e string s of a picni c officially gauge d win e vessel s require d at th e Choes , th e basket, neatly covere d b y a fringed embroidere d napkin , h e second an d mai n da y o f th e Athenia n sprin g festiva l of th e

proffers th e larg e jug an d steadie s it t o wai t thing s out. 12 Anthesteria, sacre d t o Dionysos , whe n th e ne w win e wa s High-handled round-mouthe d jugs, bande d an d occa - first sampled. 15 Fo r tha t day' s drinkin g contest , partici - sionally wit h a flat bottom , muc h lik e th e plai n on e hel d pants brought thei r own jugs , th e choes , from whic h t o fil l out b y th e boy , hav e been found i n th e lowes t level s of wel l their cups . A specia l market da y wa s hel d befor e th e festiva l deposits i n th e Athenia n Agor a (shap e 9) . Thi s attest s t o to provid e th e contestant s with th e necessar y pitchers. Th e their us e a s wate r jars. There is , however, inscriptional evi - victor wa s regale d with a ski n ful l o f wine b y th e Archo n dence an d indication s fro m red-figur e vase-painting s tha t Basileus, Athens ' highes t magistrate . O n th e sam e da y o f

they wer e als o use d a s urinal s (ajtiiSes ) (fig . 2). 13 A cu p b y the Choes , Athenia n childre n thre e year s of ag e wer e fes - the Dokimasi a Painter in th e Gett y Museum bear s this ou t tively admitte d t o th e religiou s community an d presente d

take not e of the presen t articl e a s forthcoming) assembl e the pertinen t Louvre G 311 , ARV 2, 365,54 . This is the only other parallel to the Getty parallels t o thro w ligh t o n a fragmen t fro m Aristophanes ' comed y reveler's specia l physica l stat e known t o me . Arreste d in hi s unstead y Apftjuara 7 7 Kevravpos, preserve d by Pollux (X 185 ) : aXk eis KOLÔOP Xa^o)v dancing step , a youth i s offered a jug by a n understandin g companio n Tiv ovpei 1T17JIV0V (tak e the pitched vessel and mak e water into it!). Th e who, however , shield s hi s eye s a t th e sight . Ther e were , i n addition, centaur Pholo s seem s to encourage Herakles to have recourse to a water- special portabl e container s available t o th e Athenia n partygoe r o f th e proof substitute receptacl e durin g their drinking bout. We se e th e sam e mid-fifth centur y B .c. The classica l urinal i s beehive-shaped, decorate d measures being adopted i n a mythical scenari o a s in daily life . Women, with glaze d bands ; it has a horizontal strap-handle o n top and a hooded though les s conspicuous a t Athenian social events and therefor e les s pic- opening high up on the shoulder. Fo r examples se e BPP, pi. 96 , nos. 2012 tured, reverted to identical measures; cf. the passag e from Aristophanes ' and 2013 , and p. 231, and, by the sam e authors, Pots and Pans of Classical Thesm. (se e title of this article) and the tondo picture of a kylix in Berlin Athens (Princeton , 1958), fig. 22. Eupolis (se e supra , not e 11 ) may have in th e manner o f the Foundr y Painter (ARV 2, 401,11) : a naked woman thought of similar model s when he ha s th e a/u s discusse d b y Alkibiades using a cla y basi n (oKayiov). Fo r th e basin' s shap e an d decoration , and hi s partner . I t ha s bee n argue d b y B . A. Sparkes (JHS 9 5 [1975] , compare ou r figur e 3. The woman may b e a hetaera, though sh e i s pic- 128) tha t th e smal l number of such vessel s found (onl y hal f a dozen in tured unaccompanied . On e shoul d compar e th e desperat e attempt s t o the Agora excavations) a s well a s the fact that they ar e never represente d retain som e privacy of such a girl relievin g herself while a n aulet e trie s on vase-painting s ma y spea k agains t th e identification , thoug h h e to infring e o n it ; se e th e hydria , Louvre G 51 , ARV2, 32,1 , near th e admits tha t suc h a sophisticated shap e is wholly i n line with lat e fifth- Dikaios Painter . Th e domesti c dunghil l seem s to hav e been the normal century developments . I t should b e sai d tha t thei r absenc e on vase s is answer fo r the housewife (Thesm. 485) : es TOV Koirpuv ovv epxofwa (I g o but natura l sinc e scene s of symposia pete r ou t alread y abou t th e middle to th e dunghil l now) . Children's need s were catere d t o with practica l of th e fifth century . If w e ge t a glimps e o f komoi, i t i s in mythica l stools (lasaña) know n from bot h vase-paintings an d a n actual find. Se e disguise, an d her e the receptacle s used ar e naturally traditional. (Cf . th e the miniatur e chou s o f abou t 440/43 0 i n th e Britis h Museum , G R chous mentioned i n Jdl 8 6 [1971] , 11 2 n. 9 and th e chou s Athens 1218 , 1910.6-15.4, depicting an "enthroned" toddler , with a toy and a minute ARV2, 1212,2 , color photo in B. Philippaki, Vases of the National Museum chous next to it on the floor. Th e vase is reproduced in : D. Burr Thomp- of Athens [Athens , n. d.], fig. 50, our figur e 2). That onl y a few of the son, An Ancient Shopping Center. Excavations of the Athenian Agora, pic- beehive urinals were found in the Agora may have its reason in their not ture book no . 1 2 (Princeton , 1971) , fig. 40, together wit h th e carefully being particularl y suitable fo r bein g dumpe d i n wells, in spit e of that decorated objec t foun d in th e Agor a excavations. Se e als o th e stemles s age's surely rathe r limite d concep t of hygiene. As we saw , fifth-century cup, Brussel s A 890 , ARV 2, 771,1 , akin t o th e Sotade s Painter; an d th e symposiasts di d us e oinochoa i of the sam e shape a s the many wate r jars lekythos, Berlin F2209 , ARV 2, 1587, 2 (to p of page). Fo r more classica l found i n th e wells . Onl y a single on e (Agor a P 28053) , however, wa s references to the chamber pot , se e RE I , 1 s.v. Afiis, 1837f . (Mau). Athe - found bearin g the inscription afiis scratche d o n the shoulder afte r firin g naeus (XI 519e) make s th e Sybarite s th e first t o inven t chambe r pot s (BPP, 8 , 65 , an d 23 1 an d Sparke s [1975] , 12 8 n . 34 , pi . Xllf). Thi s and carr y them t o their drinking parties . Fo r vase-paintings o f mortals plainly show s th e fel t nee d fo r keepin g the m apar t fro m th e ordinar y or immortal s relievin g themselves , se e K . Schauenburg , 2EIAHN0 2 water jugs. The rar e occurrenc e of a clearly designated aids a t the Agora OTYW,RomMitt$l (1974), 313-316 (reference from D. von Bothmer). possibly hints a t a different final restin g place for discarde d specimens — One of the vase s listed by Schauenbur g i s the Gett y chous , tw o other s perhaps the dunghill . had alread y appeare d in BPP, 65 n. 41. 14. I t wa s see n by D. Williams t o b e identica l with ARV 2, 413,12 . 12. Dietric h vo n Bothme r note s tha t th e basket , unusually , ha s a Malibu, The J. Paul Getty Museum 82.AE.121. The shallow metal basin foot. However , footed basket s occur no t infrequentl y with th e Brygo s (7To8avmTrjp) use d b y symposiasts fo r washing their fee t serve d a t time s Painter, cf . ARV2, 371,2 4 (twice) ; 372,33; 377,106; 379,150.1 found on e also a s a urinal . Herodotu s make s thi s eviden t i n hi s amusin g repor t instance wit h Onesimos , ARV 2, 318,2 . Von Bothmer als o observe s tha t about ho w th e commone r Amasi s make s himself respecte d a s kin g b y the stick helps to stead y the vessel , sinc e time is involved. the Egyptian s b y havin g a golde n "washpot " turne d int o th e muc h 13. Fo r such jugs se e BPP, 63-65, for a list of red-figure cups showing revered imag e of a native deity (11,172) . the jugs about to be and being used a s apiSes: 6 5 n. 41. Numbe r 2 of tha t 15. Fo r the Anthesteria, se e L. Deubner, Attische Teste (Berlin, 1932 ; list, a cup by the Foundry Painter, ARV 2, 402,1 3 in East Berlin, wa s lost reprint Berlin, 1956) , 93-123; A. Pickard-Cambridge, The Dramatic Fes- in Worl d Wa r II. Add the calyx-krater by Epiktetos in the Villa Giulia , tivals of Athens (Oxford , 1927 , 1968 2; revise d b y J. Goul d an d D . M. ARV2, 77,90 , an d th e earl y komo s cu p b y th e Triptolemo s Painter , Lewis), 1-25 ; H . W Parke , Festivals of the Athenians (London , 1977), 96 Knauer

Figure 2. Atti c red-figur e oinochoe , abou t 43 0 B.c . Athens , National Archaeological Museum 1218 .

Figure 3. Cu p b y the Dokimasia Painter. Diam. : 22.4 cm. Malibu, The J. Paul Getty Museum 82.AE.121. A Chous hy the Oionokles Painter 97

Figure 4. Sid e B of Nolan amphor a b y th e Oionokle s Painter . Bernisches Historische s Museum 12215 . Photo: Cour - tesy Bernisches Historische s Museum.

Figure 5 . Sid e A o f Nolan amphor a b y th e Oionokle s Painter . Paris , Louvr e G 210 . Photo : M. Chuzeville; courtesy Musιe du Louvre. 98 Knauer

with miniatur e choes, amon g other gifts. Numerous exam - Breathless pursui t i s th e mai n subjec t o f his scene s o n ples hav e bee n foun d i n children' s tombs ; henc e th e larg e Nolans, be this pursuit amorous o r bellicose, male afte r male , number of such vessel s in existence. Most of them bea r pic- male afte r female, o r vic e versa. On th e narrower fiel d o f his tures of the manifold joyous activities of that initiation day . tall lekytho i ther e i s roo m fo r just on e figure , stridin g o r Since a large ivy-decked chous stand s on th e ground in running, an d on e wonder s whethe r th e pertainin g partner s our picture , it would b e temptin g to imagin e th e revele r may hav e bee n picture d on companion pieces lost to us . and hi s pais o n thei r wa y t o th e sanctuar y o f Dionysos' One of the painter's favorite themes is Dionysos with hi s Iv Aifivais o n the evening of the day of the Choes. Accord - followers. Onc e Dionyso s is shown rushing along a s a par - ing to an old ritual, however, the participants were required ticipant i n a wild chas e of satyrs an d maenads . He appro - "not t o deposi t in the temple s th e wreaths which the y ha d priately wear s a chitonisko s an d hig h embade s an d worn.... Rather eac h shoul d la y hi s wreat h aroun d hi s manipulates a huge snak e with th e hel p of his thyrsos. 20 In choes pitcher an d tak e it to th e priestes s in the templ e 'in the engaging scen e on a Nolan in Bern, the god seems more the marshes ' and the n perform the further sacrifice s in th e himself, gazin g in rapt attentio n a t a bald-pated sile n who sanctuary."16 Bu t no t onl y i s ou r revele r stil l wearin g hi s is nimbly dancin g an d beatin g tim e for himsel f with cas - own wreath , beside s a fillet , ther e ar e als o to o man y pic - tanets. Wine flows fro m Dionysos ' tilted kantharos . On th e tures know n tha t sho w wreathe d vessel s in the contex t of back o f this vase , a saty r luckil y ha s pai d attentio n t o th e ordinary symposia. 17 Thus , i t seem s safe r t o loo k a t ou r scene (fig . 4). The expressiv e gestur e o f his right ar m indi - tippler a s a n ordinary partygoer. cates concern abou t th e preciou s liqui d bein g los t an d respectfully signal s tha t h e i s o n hi s wa y t o replenis h th e THE PAINTE R god's kantharo s fro m hi s wine skin. 21 The chou s i n th e Gett y Museu m ha s neve r bee n This saty r lend s himsel f wel l t o compariso n wit h th e ascribed.18 On e woul d lik e t o assig n i t t o th e Oionokle s Getty reveler . Th e expansiv e gestur e o f the arm , th e con - Painter. Beazle y list s him among th e earl y classi c painter s cave small of the back, the protruding buttocks, which cor - of smaller pots, especially of Nolans and lekythoi, an d call s respond t o th e bulging belly , a s well a s the rigidnes s of the him a follower o f The Providenc e Painter . Th e Oionokle s erect bod y ar e ver y similar , thoug h differentl y motivated . Painter wa s give n hi s nam e fo r th e kalo s inscription s o n The feature s an d physica l type of the Getty symposias t ar e four o f hi s Nolans. 19 Hi s mai n wor k consist s o f neck - also muc h lik e thos e o f Herakle s o n th e Nola n i n th e amphorae an d lekythoi . On e column-krate r an d th e frag - Louvre (fig . 5), who i s wrecking the hous e of hi s crue l ment of a loutrophoros are known in addition to one oino - employer, Syleus. 22 choe o f shape 1 . The Gett y vas e would b e hi s only chous , The protagonist s o n vase s b y som e o f th e Oionokle s thus far . Painter's contemporarie s ten d t o portray rather vapi d ges -

107-120 and E . Simon, Festivals of Attica, An Archaeological Commentary 19. ARV2, 646-64 9 (1603 ; Para, 402) . In Add (134 ) th e Oionokles (Madison, 1983) , 92-99. Se e als o th e literatur e supra , not e 4 an d th e Painter appear s in the actua l entry a s wel l a s in the inde x a s Oinokles important chapte r "Anthesteria " i n W . Burkert , Homo Necans: The Painter. Add now a s a fifth mentio n of th e kalos-nam e (EONOKUQ) Anthropology of Ancient Greek Sacrificial Ritual and Myth, trans . P . Bing the Nolan b y the Painte r of the Pari s gigantomachy : MuM Auktion 63 , (Berkeley, Lo s Angeles , an d London , 1983) , 213-247 , esp . 216-226 , Kunstwerke der Antike (Basel , 1983), lot. 42. which elucidate s th e somber backgroun d of the festival . 20. Ne w York 41.162.21, ARV2, 646,1 . The Nolan by the Providenc e 16. Phanodemos , F . Jacoby, ed. , Die Fragmente der griechischen Histo- Painter, Londo n E 303 , ARV2, 636, 4 shoul d b e compared : a similarl y riker (Berli n an d Leiden , 1923-1958) , 32 5 F 11 ; Burkert (supra , not e attired Dionyso s with a snake fights a giant. When not a spectator bu t 15),321f. engaged i n battl e o r partakin g in th e thiasos , Dionyso s ofte n wear s a 17. Whil e decke d ou t storag e an d mixin g vessel s occur frequentl y short o r tucked-u p chito n an d "Thracian " boots. Cf. e.g . th e stamnos , (see th e cu p b y th e Dokimasi a Painter, Berli n 2309 , Para, 372,1 1 bis), London E 439, ARV2, 298 , in style not unlike the Hephaisteion Painter ; decked ou t choe s on vase-painting s ar e rare . See , fo r example, a cup by the oinochoai by the Blenheim Painter, ARV2, 598, 2 and b y the Niko n the Foundr y Painter, ARV2, 403,3 4 (1706) ; A. D. Trendall, Greek Vases Painter, ARV2, 651,19 ; also the bell-krater near the Peleus Painter a s well in the Logie Collection (Chris t Church , Ne w Zealand , 1971) , no . 30 , as th e Hektor , ARV2, 1037, 1 an d th e calyx-krater , Group o f Vienna already adduce d b y Sparkes and Talcott , BPP, 6 2 n. 27, and th e choe s in 1104, ARV2, 1078,2 . W٧rzburg, H538 7 and H4937, ARV2, 871,9 5 (se e supra , note 4). They 21. Inv . 12215 , ARV2, 646,3 . I. Jucker, Aus der Antikensammlung des have n o obviou s connectio n wit h th e Anthesteria . Th e majorit y o f Bernischen Historischen Museums (Bern , 1970) , no. 55, pis. 20-21.1 owe wreathed choe s are to b e found o n miniature choes clearly intended for a copy of the catalogue to the kindness of its author. The photo i s cour- the festiva l (e.g. , van Hoorn [supra , note 4], figs. 300a , 307 , 360 , 367 , tesy of the museum. For similar scenes of Dionysos with tilted kantharo s and 469, to note onl y thos e where the wreaths ar e les s casually depicted in nee d of a refill o n on e sid e of the pot an d a satyr o n th e othe r eage r than on countless others) . to serv e his master , se e th e pelik e by th e Argo s Painter, ARV2, 289,1 3 18. Herber t Cahn kindly inform s me tha t in July 196 3 a photo wa s and th e Nola n b y th e Brygo s Painter, ARV2, 383,198 . Fo r a kantharo s sent to Beazley , who wa s il l a t th e time and did not pronounc e o n th e being actuall y fille d fro m a skin , se e th e cu p b y th e Kodro s Painter , piece. I a m muc h oblige d to Donn a Kurtz , wh o confirme d thi s afte r ARV2, 1270,17 . checking the vase' s records in the Beazley Archive . 22. Paris , Louvre G 210, ARV2, 647,18 , Add, 134 . The photo i s by M. A Chous by the Oionokles Painter 99

ticulations, a flaw partl y cause d b y th e shap e of th e surfac e to b e filled . In contrast , th e actor s of the Oionokle s Painte r are ofte n redeeme d b y th e consonanc e o f a speakin g loo k and meaningfu l gestures . One feel s tha t Beazle y must hav e listed ou r painte r a s a followe r o f th e Providenc e Painte r for th e attentio n bot h pa y t o th e languag e o f th e eyes . While i t i s primarily th e radian t orb s of the immortal s tha t the Providenc e Painte r emphasizes, 23 th e eye s of mos t o f the Oionokle s Painter' s creatures , thoug h goggle-lik e a t times, becom e instrument s o f intens e communication. 24 His mor e stati c figure s ofte n engag e i n ritua l o r officia l functions.25 The y ar e alread y imbue d wit h th e purposefu l tranquillity tha t wa s t o becom e th e hallmar k o f th e Clas - sical period . There ar e man y tellin g trait s in th e pictur e on th e Gett y chous which ca n b e parallele d in th e oeuvr e of th e Oiono - kles Painter . Compare , fo r example , th e sharpl y bent , ye t slightly rubbery lef t ar m o f the attentiv e pais, hi s han d seiz - ing tw o thing s a t once , with tha t o f th e saty r o n B o f th e Nolan i n Ne w Ybr k (fig . 6). 26 Her e th e saty r manage s single-handedly a ful l win e ski n an d a kantharos . A clos e parallel t o th e Gett y pais i s found o n th e Nola n i n Oxfor d where a saty r shoulder s a wineski n wit h hi s lef t ar m an d holds a barbiton with hi s outstretche d righ t arm . O n thes e two vase s articulation of the uppe r limb s an d finger s i s vir - tually identical. 27 Figure 6. Sid e B o f Nola n amphor a b y th e Oionokle s Particular t o th e Oionokle s Painte r i s a narrow , shawl - Painter. Ne w York , Th e Metropolita n Museu m like mantl e slun g ove r th e nec k an d arms . I t i s frequentl y of Ar t 09.221.41 . Photo : Courtes y Th e Metro - politan Museum of Art. densely pleated, occasionally caught under a belt, an d wor n by bot h sexes. 28 With grea t consistency , th e littl e droplik e weights sewn into th e mantle' s selvage-ends jut ou t almos t

Chuzeville, courtes y Musιe d u Louvre , Antiquities Grecque s e t fields!); fo r th e Gett y chou s checkerboards , cf . ARV2, 637,34 . Fo r th e Romaines (th e photo i s owed to the kindnes s of Alain Pasquier) . Typ - Providence Painter's maeanders , see the referenc e i n note 7 . ical, too , i s th e slightl y tiptil t nose , especiall y noticeabl e o n a three - 24. Se e Pluton and Persephon e on th e Nolan in the Louvre, ARV2, quarter face ; cf . ARV2, 647,19 , (Add, 134) . Herakles wear s a wide fillet , 648,25. like th e Mykonos symposiast, ARV2, 648,29 , which i s close in shape to 25. Se e Athena pausing in the ac t of writing o n a tablet on a Nolan the Getty reveler's, although being in added red , it lacks dots. These ar e in th e Cabine t de s Mιdailles 369 , ARV2, 348,3 1 (Add, 134) , o r th e found, however , on that of the New York saty r (se e infra , fig . 6). Such hoplite cutting off a lock from hi s forehead on the lekythos in Cleveland voluminous headbands as these, decorated with row s or groups of dots— 28.660, ARV2, 648,3 7 (Add, 134) . which ca n b e eithe r intersperse d wit h vertica l zigzag s o r arrange d i n a 26. Ne w York , Metropolita n Museu m o f Art 09.221.4 1 (Roger s stepped pattern (produce d by twisting the material?) — are much favored Fund), ARV2, 646,6 . I am gratefu l to Dietric h vo n Bothmer an d Joa n by symposiast s i n the secon d quarte r of the fift h centur y an d ar e ofte n Mertens fo r lettin g m e stud y th e piece s in the Metropolita n Museu m worn combine d with leaf y wreaths , a s ca n b e observe d o n th e Gett y and to the trustee s for their permission to publish the photograph. chous. The y ar e frequentl y met with , fo r example , in the work o f the 27. Oxfor d 1965.106 , ARV2, 646, 4 (Para, 402) . For a similarly out - following painter s (fo r the sake of brevity, only one example is listed for stretched han d holdin g th e handl e o f a jug, lik e th e Gett y boy , se e each): th e Triptolemo s Painte r (ARV2, 365,61) ; th e Brygo s Painte r ARV2, 648,29 . (ARV2, 380,172) ; the late r Douri s (ARV2, 437,128) ; Makron (ARV2, 28. Wit h males : ARV2, 647,13 ; 647,22 ; 648,24 ; 648,30 ; 648,3 5 466,106); the Pan Painte r (ARV2, 551,15) ; the cu p assigne d t o the Tar- (belted); 649,43; 649,45 (Add, 134) ; 649,47. With females : ARV2, 646, 1 quinia Painte r (K . Schefold , Meisterwerke griechischer Kunst [Basel , (belted); 646, 4 (Para, 402) ; 647,11 ; 647,1 6 (Add, 134) ; 647,1 7 (Para, 1960], no. 220); the Painter of the Brussels Oinochoe (ARV2, 775, 2 and 402). The plain cloak—short and usually without a border—is, of course , 3); an d th e Euaion Painter (ARV2, 792,51) . Such fillet s ma y hav e bee n often wor n b y komasts (mor e rarely by warriors) alread y in early red- fashioned fro m woolle n cloth . figure; see , fo r example , th e kyli x attribute d to th e Epidromo s Painte r 23. See , for example, the name piece ARV2, 635, 1 (Add, 133 ) ; 641.80. by von Bothmer ( Wealth of the Ancient World [Beverl y Hills, 1983] , no. For mortal s se e e.g . ARV2, 640,67 ; 641,8 3 (Add, 133) ; 642,101 . Th e 7) o r with painter s of the Coarse r Win g (e.g. , the cu p b y th e Nikos - Oionokles Painte r share s with th e Providenc e Painte r certai n checker - thenes Painter, ARV2, 125,13) . It becomes more frequent , however , in board maeande r borders; cf . ARV2, 636, 4 and 647,1 4 (dot s in the white the 470' s an d 460's , ofte n worn i n combination with th e wide , dotte d 100 Knauer

horizontally, defyin g th e law s of gravity.29 Additional fea - summary executio n of the design. 32 Wher e preserved , th e tures that ca n b e matched in other piece s by the painter are : dilute-glaze marking s o f the muscle s ar e carefu l an d pro - hands articulate d b y relie f line s whic h carr y th e contou r fuse. Whe n discernible , th e preliminar y design i s equall y into th e wris t whe n see n fro m outsid e an d ofte n almos t meticulous, tracin g th e bodies ' outline s wit h fe w across it when see n from inside 30; pronounced squar e heels pentimenti. and hig h insteps ; rounde d anklebones ; tau t sinoida l eye - Except fo r a number o f warriors, perhaps occasioned b y brows touchin g th e roo t o f th e frequentl y pointe d nose ; the stil l fres h memorie s o f the Persia n wars, 33 th e Oiono - small, roun d ear s with onl y a modicum of interior artic - kles Painte r give s u s fe w mortals . Thus , th e chou s in th e ulation; and shor t dens e beards for mature men , apparentl y Getty Museum i s a welcome addition to our knowledg e of the post-Persia n vogue. 31 Ther e i s a noticeable predilection Athenian lif e settlin g down t o a more relaxe d pac e in th e for generou s patterning—folds , cuirasses , decorate d mate - decade after th e grea t confrontation . rials, lavis h curls—in spite o f a genera l tendenc y towar d a Philadelphia

fillet discusse d supra, for example with th e late Douris (ARV2, 445,257 ) (Para, 402) ; 649,43; 649,44 (Add, 134) ; 649,45 (Add, 134) . and especiall y hi s followers . The cloaks ' edge s ar e consistentl y square d 31. Th e long , wedge-shaped an d well-groome d spiky beards of the off instea d o f showing undulatin g ends . My surve y wa s facilitate d b y Late Archai c perio d giv e wa y t o shorte r one s abou t thi s time . Th e Robert Guy' s generousl y lettin g m e se e a xero x o f hi s unpublishe d bobbed hai r of the Gett y pais i s done in relief lines, different fro m th e Oxford Ph.D . dissertatio n "Th e Lat e Manne r an d Earl y Classica l Fol - coiffures of other youths by the Oionokles Painter. But where the painter lowers of Douris" (1982) . To my knowledge, none of the abov e painter s gives u s th e old-fashione d bear d (ARV2, 648,25 ; 648,34 ; 648,3 7 [Add, uses the short mantle s o consistently—or for that matter fo r both sexes— 134] ), he doe s us e relie f line for the stif f top hair; thus, th e boy' s fring e as doe s th e Oionokle s Painter , whos e renderin g o f the dens e fold s i s is not a n isolated feature .

2 unmistakeable. Onl y occasionall y d o squared-of f edge s occu r (ARV , 32. Cuirasse s an d shiel d apron s (eyes) : ARV2, 646, 7 (Add, 134) ; 647,11; 648,24; 648,29; 648,37), yet the pleating remains dense . 646,8; 648,35; 648,3 7 (Add, 134) ; 649,47. Decorated material , including 29. E.g. , ARV2, 646,1 ; 646,8 ; 646,10 ; 647,11 ; 647,12 (Add, 134) ; pelt (ofte n dotted ) an d dow n abov e win g bar s (ofte n V-shaped) : 647,13; 647,14; 647,16 (Add, 134) ; 647,17 (Para, 402) ; 647,21 (Add, 134) ; ARV2,646,6-7 (Add, 134) ; 646,10 (Add, 134);647,11;647,1 6 (Add, 134) ; 647,22; 648,25; 648,27; 648,30; 648,34; 648,39; 649,44 (Add, 134) ; 649,4 5 647,17; 648,31 (Add, 134) ; 649,42 (Para, 402) ; 649,44 (Add, 134) ; 649,45 (Add, 134) . (Add, 134) . 30. E.g. , ARV2, 646, 3 (Add, 134) ; 646, 4 (Para, 402) ; 646,6 ; 646,8 ; 33. ARV2, 646, 7 (Add, 134) ; 646,8 ; 648,35 ; 648,3 7 (Add, 134) ; 646,10 (Add, 134) ; 647,11; 647,12 (Add, 134) ; 647,18 (Add, 134) ; 647,21 649,47. (Add, 134) ; 647,22 ; 648,25 ; 648,29 ; 648,3 7 (Add, 134) ; 648,39 ; 649,4 1 Polygnotos: An Iliupersis Scene at the Getty Museum

Susan B. Matheson

Scenes of Aja x seizin g Kassandra , whic h ar e extracte d appears, wearin g a n elaboratel y decorate d versio n o f th e from, o r part of , a narrative representation of the Iliupersis, Attic helmet , with hinge d chee k piece s worn folde d u p t o occur o n numerou s Atti c black-figur e an d Sout h Italia n show winglike undersides. Dilut e glaze i s used for the divi - red-figure vases . They are , however, les s common on Atti c sions an d tai l o f its crest . Athena' s hai r i s rathe r elaborat e red-figure vases . Significant iconographie changes that tak e for thi s period , with th e curl s acros s he r forehea d an d i n place betwee n th e Atti c black-figur e representation s an d front o f he r ea r indicate d b y raise d dots . He r mout h i s those of Sout h Italian vases can be traced through surviving slightly open , an d sh e appear s to watch with som e distres s Attic red-figure examples of the episode. The most strikin g as, on the opposite sid e of the statue , Aja x seize s Kassandra . of thes e changes i s the transformatio n of the stridin g full - From th e positio n of Kassandra's hea d relativ e to thos e sized Athen a of the black-figur e scenes into th e smal l of th e othe r figures , it i s clear tha t sh e i s seated or kneeling Archaic imag e of the goddes s tha t i s accompanied, o n th e at the fee t of the Athena statue, eithe r on the statu e base or South Italia n vases , by a representation of the goddes s her - on a n alta r in front o f it. Th e crouching pose that charac - self. The earlies t surviving representation of this dual man- terizes man y black-figure and earl y red-figure examples of ifestation o f Athena, i.e . both th e goddes s an d he r image , the scen e does not appea r to be use d b y Classical and Sout h occurs o n a fragmentary red-figur e volute krate r in th e J . Italian vase-painters . Kassandr a wear s a dotted band in he r Paul Gett y Museu m attribute d t o Polygnoto s an d databl e hair with thre e uprigh t red leave s at the front. Th e surviv - to circ a 440-435 B.C . (fig . la).1 ing fragment s o f the vas e giv e no hin t a s t o whethe r sh e Only a small portion of the Aja x an d Kassandr a scen e is was clothe d o r nude , an d ther e i s not enoug h consistenc y preserved o n th e Getty krater, but th e identificatio n of the in othe r representation s o f the subjec t t o permit confident subject i s confirmed by inscription s labeling Athena, Kas - restoration of this important detail. sandra, an d Ajax. 2 A fronta l statu e of Athena occupie s th e A bearde d Aja x reache s fo r Kassandra' s shoulde r wit h center o f the composition . The goddes s i s shown wearing his righ t han d (on e canno t tel l whethe r h e hel d a sword) an Attic helmet an d holding a spear and shield . The richl y and hold s a shiel d o n hi s lef t arm . Th e shield' s interior , decorated peplo s an d th e arrangemen t o f the hai r in lon g decorated wit h a four-pointe d star , i s black ; th e sectio n corkscrew curl s t o th e shoulder s an d a n orderl y ro w o f behind Ajax' s arm , however , i s execute d i n dilut e glaze , spiral curl s acros s the forehea d designat e thi s a s a n Archaic possibly unintentionally . His baldric , abdomina l muscles , image. Th e tonin g of th e hai r wit h dilut e glaz e furthe r and nipple s ar e draw n in dilute glaze, an d hi s Corinthian differentiates th e statu e from th e figure s around it. helmet i s toned with th e same material. He wears a chlamys To th e righ t o f th e statu e th e goddes s Athen a hersel f over on e shoulder , bu t i s otherwise nude. 3 Behin d Ajax a

Abbreviations: On th e artist-Beazley' s "Polygnoto s I-se e ARV 2, 1027-33 , 1678 - Arias, "Tomb a 136" : P . E. Arias, "Dalle Necropoli di Spina , L a Tomb a 1679, 1707 , and Para, 442 . 136 di Valle Pega," RivIstArch n.s . 4 (1955) , 95-178 . 2. Inscription s in added-red are now largely ghosts: between th e heads Davreux, Cassandre: J. Davreux , La légende de la prophetesse Cassandre of th e two Athenas:A0£NA; to the right of Ajax' s helmet, abov e Kassandra, (Liège, 1942) . interrupted by the larg e chip at the break: KA [$£A]N[APA]; t o the right LIMQ "Aia s II": O . Touchefeu , "Aia s II, " LIMC 1 , 336-51, pis. 253 - of Ajax' s helmet, higher than the last inscription, next to the break: Al AS; 268. to th e right of the goddes s Athena's helme t crest : M (N ([...], suggestin g Moret, L'Ilioupersis: J . M. Moret, LTlioupersis dans la céramique italiote. an additiona l figure t o th e righ t of those remaining, perhap s Menelaos , Bibliotheca Helvetica Romana 1 4 (Rome, 1975) . although hi s presence would be unusua l i n this scene. 1. Malibu , TheJ. Pau l Getty Museum 79.AE.198 . Preserved height: 3. Ajax' s lack of bod y armo r i s unusual fo r this date. He i s similarly 28.8 cm ; diamete r o f the mouth : 47. 7 cm ; height o f the friez e o n th e undressed on an amphora in New York by the Ethiop Painter (56.171.41 ; neck: 8. 8 cm. I am gratefu l t o Marit Jentoft-Nilsen fo r providing these ARV2, 666.12 ; LIMC, "Aia s II, " no . 63) , but no t consistentl y s o unti l dimensions. the lat e fift h an d fourt h centuries (e.g. , a cup b y th e Codru s Painte r i n The vas e i s attributed t o Polygnoto s b y Jifi Frel . It i s a pleasur e t o the Louvre [G 458; ARV2, 1270.11 ; LIMC, "Aia s II," no . 67] an d almos t express my gratitud e t o him for hi s invitation t o publis h thi s vas e an d all th e South Italia n versions fro m th e fourth century). The full y arme d for hi s generous assistance throughout th e cours e of my study . Ajax in red-figure vase s usually wear s a composite cuirass . 102 Matheson

Figure la. Volute-krate r by Polygnotos (sid e A). Malibu, TheJ. Pau l Getty Museum 79.AE.198 .

Figure lb. Sid e B of volute-krater, figur e la . Polygnotos: An Iliupersis Scene 103

young femal e attendant o r priestes s flees to th e left , lookin g back a t th e scen e behin d her. 4 Sh e wear s a chito n an d himation an d carrie s a box decorate d with a red rosett e an d tendrils o n he r head . T o th e lef t o f thi s figur e ar e trace s o f the inverte d palmett e surroundin g th e fron t roo t o f th e krater's handle . Six satyr s an d fiv e maenad s cavort in a friez e aroun d th e krater's nec k (figs , la-c). 5 O n sid e A tw o o f th e satyr s ar e completely nud e an d carr y wineskins , whil e th e thir d bends over with a leopard ski n drape d acros s his back . On e of th e satyr s carrie s a forke d stick . On e maena d wear s a chiton an d himation , whil e th e othe r tw o wea r a belte d peplos wit h a leopar d ski n drape d ove r thei r lef t arm , i n one cas e pinned at th e righ t shoulder . Eac h maena d carrie s a differen t object : on e a leopard, on e a forked stick , an d th e third a thyrsos , whic h sh e swing s at th e bendin g satyr . A wreath (? ) an d a kantharo s ar e suspende d i n th e field . O n side B on e maena d wear s a chiton, th e secon d a peplos. Th e Figure lc. Nec k detai l of side B of volute-krater, figur e la . maenad wearin g a chito n apparentl y carrie s a thyrsos ; he r hair i s wor n unfastene d an d he r hea d i s throw n bac k i n been collecte d mos t recentl y b y Odett e Touchefe u fo r th e ecstasy. The peplos-cla d maena d wear s a Stιphane an d car - Lexicon Iconographicum Mythologiae Classicae.6 Black-figur e ries tw o lighte d torches . Sh e i s pursue d b y on e o f thre e representations of the subjec t ar e remarkabl y consistent (fig . satyrs. A secon d satyr , i n th e cente r o f th e composition , 2). Ajax , wearing a bell corslet over a short chiton, 7 hi s fac e appears t o hav e droppe d a n amphora . Th e thir d satyr , a t covered by hi s Corinthia n helmet, approaches from th e left , the fa r left , carrie s a torch . T o th e fa r righ t o f th e scen e sword in hand. Facing him i s Athena, striding left, he r righ t stands a thyrsos , with a kantharos abov e it in th e fiel d (fig . arm raise d a s sh e brandishe s he r spear. 8 He r shield , held o n lc). her lef t arm , fill s th e cente r o f th e picture. 9 Beneat h it , Representations o f th e Aja x an d Kassandr a scen e hav e beside it , o r eve n partl y behin d it , Kassandr a crouche s o r

4. O n th e identification of similar fleeing female s a s priestesses, se e 6. LIMC, "Aia s II." T o this list, ad d a black-figure cup in the col - T. B . L. Webster, Monuments Illustrating Tragedy and Satyr Play, BIC S lection o f Mr. an d Mrs . Arthu r J . Frank , o n loa n t o th e Elvehje m Supplement, no . 20 (1967) , 146-147, where th e priestes s in an Ajax an d Museum of Art, Universit y of Wisconsin, Madison, unattributed, circa Kassandra scene is identified as Theano, wif e of Antenor; Moret, L 'Iliou- 520 B.c., in W. G. Moon, ed. , Greek Vase Painting in Midwestern Collec persis, 22-23 , followin g Beazley , C B 3 , 62-64, identifie s th e figure s a s tions, ex. cat. (Ar t Institute of Chicago, 1979) , no. 59, where th e subjec t servants. is unidentified. It has subsequentl y bee n recognized b y Moon in AJA 8 5 5. Adde d red: ivy wreaths worn by satyrs; crowns of maenads except (1981), 504 ; an d a fragmentar y red-figur e kyli x b y Onesimo s i n th e figure 4 on side B; torch flame of figure 4 on side B. Dilute glaze: side A, Getty Museum, 83.AE.362, illustrated here, figure 4. L t o R borde r o f figure l' s himation; spots on leopar d skin of figure 3; Earlier literature on Ajax an d Kassandr a includes primarily: Davreux, pine cone end of thyrsos; side B: interior details of torches held by figures Cassandre; Arias , "Tomb a 136, " 109-16 ; C B 3 , 62-65 ; F . Brommer , 1 an d 4 ; abdominal muscle s and kneecap s of figure 3 ; pattern o n falle n Vasenlisten zur griechischen Heldensage, 3r d ed . (Marburg , 1973) , 382 - amphora. 386; Moret, Vllioupersis, 11-27 . There i s a tooled groov e a t th e junction of neck an d body , wit h a 7. Onc e h e seem s to wea r just a chiton (LIMC, "Aia s II," no . 19) , band of black tongues in reserved rectangle s below it on the vase's shoul- and only once does he appea r to be nude (LIMC, "Aia s II," no . 36). der. Another tooled groove marks the top of the satyr and maenad frieze, 8. Lik e the Athena s o n Panathenaic amphorae, sh e probably reflect s while abov e th e friez e i s a n offse t pattern-ban d o f alternating lotuse s an Archaic image of Athena, possibly from th e Akropolis in Athens. The and palmette s ( 8 palmette s o n sid e A). Above the lotu s an d palmett e identification o f th e statu e i s beyon d th e scop e of thi s paper , bu t fo r band i s another offse t band of egg pattern, a tooled groove, and a convex discussions o f the question , se e C . J. Herington , Athena Parthenos and band with a n ivy and berr y pattern . Th e ivy leaves are reserved , whil e Athena Polias (Manchester , 1955) ; D . vo n Bothmer , " A Panathenai c the vin e an d th e six-berr y cluster s ar e i n adde d color , which i s no w Amphora," BMMA 11-1 2 (1952-1954) , 52-56 ; J . H . Kroll , "Th e faded bu t wa s probably red. A final ban d of egg-pattern ring s the lower Ancient Imag e o f Athen a Polias, " i n Studies in Athenian Architecture, outside edg e of the lip . The palmette , eg g pattern , an d iv y bands ar e Sculpture, and Topography Presented to Homer A. Thompson. Hesperia Sup - interrupted a t th e poin t wher e th e krater' s handl e orginall y covere d plement, no . 2 0 (1982) , 65-76; Stell a G. Miller , "A Miniature Athena them. Red was h ha s bee n applied to th e undersid e of the lip and al l the Promachos," Hesperia Supplement, no . 20 (1982) , 93-99. tooled grooves . 9. Show n onc e in profile in black-figure: LIMC, "Aia s II," no . 33 a The mouth i s black glaze on top; the vessel's interior is black glaze t o (this i s not Ajax' s shield, a s state d on p . 351); more commonly in red- the base of the neck, with a reserved ban d unde r th e shoulder an d thin - figure, e.g. , LIMC, "Aia s II," no . 44. ner, uneve n blac k glaze insid e the body . 104 Matheson

Figure 2. Amphor a by an artist in Group E. Berlin, Antikensammlung F 1698. Photo: Courtesy Antiken - sammlung, Staatlich e Musee n z u Berlin.

Figure 3. Plat e by Paseas . New Haven, Yal e University Art Gallery 1913.169 . Photo : Courtesy Yal e University Art Gallery. Polygnotos: An Iliupersis Scene 105

kneels a t th e en d of her ru n to th e shelte r of the goddess. 10 diminutive Archai c Athena statu e i s th e famou s Vivenzi o Although facin g Athena , sh e turn s he r hea d bac k towar d hydria b y th e Kleophrade s Painter. 15 I t show s a slightl y Ajax. I n man y depiction s sh e grasp s Athena' s shield . I n reduced figur e standin g o n a base , wearin g a peplo s ( a scale, Kassandra varie s from full-size d an d adul t to dimin - rather plai n on e compare d t o th e on e on th e Getty krater ) utive an d childlike, 11 mor e commonl y th e latte r a s th e and with a hint of the "Archaic smile" to ad d t o her imag e artist accommodate s he r figur e t o th e spac e unde r th e of venerability . On a krate r i n Boston, 16 th e Altamur a shield. Her dres s varies from a short chiton and chlamy s t o Painter introduce s frontalit y t o th e statu e to distinguis h it total nudity , with som e versions showin g her nud e excep t further fro m th e surrounding figures; almost all subsequent for a chlamy s drape d acros s he r ches t an d bot h arms. 12 images ar e frontal . Th e Niobi d Painter, 17 th e Ethio p Such variation s in detail, however, d o not alte r th e under - Painter,18 an d som e artist s i n th e Grou p o f Polygnotos 19 lying similarit y o f the three-figur e grou p i n black-figure continue t o reduc e th e siz e of the statu e while increasin g vases. the siz e of its bas e correspondingly. Th e relativ e position s As might b e expected , th e earlies t red-figur e represen - of th e head s o f Kassandr a an d th e Athen a statu e o n th e tation o f Aja x an d Kassandra , o n a plat e attribute d t o Getty krate r indicat e tha t thi s statue , too, must hav e stoo d Paseas in th e Yal e University Art Gallery (fig . 3),13 ha s a on a substantia l base . In th e numerou s Sout h Italia n ver - good dea l in common with th e black-figure versions. Onc e sions whic h succee d th e Atti c scene s in th e lat e fift h an d again th e scen e i s limite d t o th e thre e mai n characters : a fourth centurie s B.c. , the developmen t reache s it s conclu- diminutive Kassandr a betwee n Ajax , who grasp s her b y th e sion when th e statu e and it s base are place d in an architec - arms, an d Athena , behin d whos e shiel d sh e seek s refuge . tural setting. 20 Th e correspondin g chang e i n Kassandr a But here , in the spirit of experimentation that characterize d from smal l to larg e scal e occurs mor e quickly : sh e achieve s early red-figur e vase-painting , Pasea s ha s reverse d th e full adul t scal e at th e tim e o f th e Kleophrade s Painter' s composition t o sho w wha t i s essentiall y th e traditiona l hydria an d maintain s it thereafter . black-figure scen e from behind . Th e resul t i s t o increas e The questio n remain s a s t o whethe r th e black-figur e the dramati c effec t o f th e scene . N o longe r i s Kassandr a artists intende d thei r Athena s t o b e understoo d a s statues . shielded fro m Aja x an d th e viewe r b y Athena' s shield . Beazley believed that in the Ajax an d Kassandr a scene s "the Instead sh e appear s befor e th e insid e o f th e shield , poi - figure of Athena alway s depict s a statue."21 J. Davreux, fol - gnantly smal l in scal e an d nude , wit h he r ar m linke d lowed by Arias and Touchefeu , distinguishes two types: ( 1 ) through Athena' s an d he r han d clutchin g the goddess ' that of most black-figur e representations, i n which Athen a drapery a s Aja x pull s her away . The conjunctio n of Ajax's herself trie s t o protec t Kassandr a agains t th e antagonis t hand, Kassandra' s elbow, and Athena' s arm , which focuse s Ajax, an d (2 ) th e typ e represente d b y th e Vivenzi o hydria the ey e on the dramatic a s well a s the pictorial center of the and th e Earl y Classical an d Classica l example s cite d above , scene, could not hav e been executed i n black-figure; Paseas in whic h th e figur e of Athena i s a statue of the goddess. 22 has clearl y understood th e potentia l of the ne w red-figur e K. Schefold , i n hi s discussio n o f representation s o f statues technique an d ha s exploite d it for dramatic effect . on vases , consider s th e questio n "meaningless " (sinnlos), Paseas' Athena appear s to b e a statue, a side view of th e although h e doe s stat e tha t i t wa s th e red-figur e painter s one see n on the Getty krater. Sh e stands stiffly with he r fee t who firs t consciousl y represente d Athen a a s a statue. 23 together an d he r gaz e fixed, with n o indication of response Davreux's distinctio n implies that onl y th e stati c stand - to th e scen e befor e her . Similarl y stati c Athena s o n late r ing Athena s (bot h fronta l an d profile ) represen t statues , red-figure vase s fro m Athen s an d Sout h Ital y ar e clearl y while the striding militant typ e represents the goddes s her - designated a s statue s b y thei r reduce d scal e an d Archai c self. Bu t a n importan t cu p b y Onesimo s showin g scene s dress.14 A relativel y early exampl e of this trend towar d th e from the Iliupersis, recently acquired by the Getty

10. Fo r a variatio n with a n altar , whic h i s uncommo n i n black - figure Athena statue, see figure 4, infra . figure, se e LIMC, "Aia s II," nos . 3 8 and 41. 16. Bosto n 59.176 ; ARV2, 590.11 . 11. Adul t an d ful l scale : e.g., LIMC, "Aia s II," nos . 3 8 and 42 ; small 17. Bologn a 268; ARV2, 598. 1 below. and childlike : e.g. , LIMC, "Aia s II," nos . 22, 23, and 28 . 18. Ne w York 56.171.41 ; ARV2, 666.12 . 12. Clothed , e.g., LIMC, "Aia s II," no . 28; nude, e.g. , LIMC, "Aia s 19. Grou p o f Polygnotos , Cambridge , Corpu s Christ i Colleg e 43 ; II," no . 39; chlamys only, e.g. , LIMC, "Aia s II," nos . 33 a and 34 . ARV2, 1058.114 . Painter of London E47 0 (nam e vase) , British Museum 13. Yal e University Art Gallery 1913.169; ARV2, 163A; LIMC, "Aia s E 470; ARV2, 615. 2 below. II," no . 51 . 20. E.g. , LIMC, "Aia s II," no . 56. 14. E.g. , LIMC, "Aia s II," nos . 5 4 and 6 7 (bot h Attic) an d virtuall y 21. CB3,64 . all South Italia n versions . The Archaic dress is usually a peplos, in con- 22. Davreux , Cassandre, 140-141 , 157; Arias, "Tomba 136, " 113 ; trast to the chiton worn by the other figures ; if the statue wears a chiton, LIMC, "Aia s II," 350 . it generall y ha s archaizin g zigzag or swallowtail folds. 23. K . Schefold, "Statuen au f Vasenbudern,"^/ 5 2 (1937) , 41. 15. Naple s H 2422 ; ARV2, 189.74 . For a contemporary stridin g red- 106 Matheson

Figure 4. Kyli x attribute d to Onesimos a s painter. Malibu, The J. Paul Getty Museum 83.AE.362.

Museum,24 preserve s a figur e o f a stridin g Athen a o n a peplos skirt stretche d ove r it; the position of this back leg is base, which prove s tha t thi s type could als o b e thought of identical t o tha t o f th e familia r stridin g black-figur e as a statue (fig . 4). A virtually contemporar y black-figure Athenas. representation exist s on a fragmentary hydria by the Priam The literar y source s that refe r to the Ajax an d Kassandr a Painter i n th e Vatica n i n which th e reduce d scal e of th e episode,26 althoug h fragmentar y an d secondhan d a t best , Athena an d it s elevate d positio n relativ e to th e res t o f the are nevertheles s clea r on th e poin t tha t Aja x dragge d Kas - figures mak e th e identificatio n o f it a s a statu e virtuall y sandra awa y fro m a statue o f Athena. It wa s no t onl y hi s certain.25 I t i s a profil e figure , an d althoug h it s fee t ar e violation of Kassandra tha t brough t th e wrat h o f the god s missing, enough of the leg s survives to show the outline of down on Ajax's head , but als o his violation of the image of the uppe r par t o f the cal f of the bac k le g reveale d b y th e Athena at whic h Kassandr a ha d take n refuge , an d whic h

24. Malib u 83.AE.362 ; GettyMus] 1 2 (1984) , 246. I woul d lik e t o Iliupersis o f Arktinos of Miletos a s epitomized by Proclus in the Chres- thank Dyfr i William s fo r allowing m e t o us e thi s illustration prio r t o tomathia. Cf. also the fresco by Polygnotos of Thasos in the Lesche of the his forthcomin g publication of this cup. A second example exists in frag- Knidians at Delphi, Paus . 10.23.6. ments of a cup by the Eleusis Painter, Vienna, University 53 c 23-25 an d 28. Moret , L 'Ilioupersis, 12 . 20; ARV2, 314A; LIMC, "Aia s II," no . 45. 29. E.g. , LIMC, "Aia s II," nos . 44, 38, 60, etc. 25. Vatica n 73 3 (e x Astarit a collection; Para, 147.30 ; LIMC, "Aia s 30. A s she doe s on LIMC, "Aia s II," nos . 60, 64, and 65. II," no . 38. 31. E.g. , LIMC, "Aia s II," nos. 51 , 61, 63, an d mos t Sout h Italia n 26. Fo r a discussion of the literar y sources , se e Davreux , Cassandre, examples. 3-87; Arias , "Tomb a 136, " 114-116 ; LIMC, "Aia s II," 336-337; P . G. 32. Moret , L'llioupersis, 193-225 . Moret traces the motif of hair seiz- Mason, "Kassandra," JHS 7 9 (1959) , 80-93. ing throug h scenes of combat an d sacrifice , noting it s us e by the Kleo - 27. Davreux , Cassandre, 165 ; LIMC, "Aia s II," 336 ; both citing th e phrades Painte r an d it s probable occurrenc e behin d Athena' s shiel d on Polygnotos: An Iliupersis Scene 107

she tor e from it s base a s Ajax dragge d he r away. 27 Polygnotos, an d i t i s repeate d b y numerou s Sout h Italia n J. M. Moret, who with Beazle y believe s that all the Athe- vase-painters.33 Seizin g th e hai r essentiall y replace s othe r nas ar e statues , suggest s tha t th e misunderstandin g ma y methods o f captur e o n vase s date d late r tha n th e Gett y arise fro m th e confrontationa l compositio n of th e black - krater, which i s one of the las t t o show th e old method . figure versions—th e simpl e arrangemen t tha t position s th e The Gett y krate r i s on e o f Polygnotos' mos t ambitiou s Ajax an d Athen a figures a s if they wer e th e primary antag - creations, an d i t represent s th e artist' s matur e styl e a t it s onists.28 Thi s ide a ha s merit . In versions wher e othe r char - peak aroun d 440-43 5 B.C . The characteristi c Polygnota n acters or othe r episode s in the sac k of Troy ar e included, 29 facial typ e i s fully develope d here : a long fac e wit h th e ea r the artist s hav e explicitl y show n a statue ; i n th e black - placed almos t o n a line with th e eye ; a long nose somewha t figure extract s fro m th e large r story , th e artist s hav e elimi - squared of f at it s tip; the mout h slightl y ope n an d wit h a nated th e visua l distinctions in a n effor t t o streamlin e th e distinct downtur n a t it s corner; an d a bulbous chi n joined scene. The additio n of the secon d figur e of Athena whe n to th e lowe r li p by a straight line . All three of his charac - the artis t wante d t o indicat e tha t th e goddes s hersel f wa s teristic nostri l type s ar e foun d o n thi s vase , an d Athena' s present only serve s to confir m th e identit y of the origina l ear exemplifie s hi s distinctive type, which i s shaped like a n figure a s a statue. inverted comm a t o indicate th e thickening at the lobe . Th e The goddes s on th e Getty krate r i s added a s a n observer ; eye i s drawn with thre e lines ; th e iri s i s a n ova l dis c quit e unlike he r black-figur e predecessors , sh e respond s emo - far forward , and tw o opposin g arc s ar e use d fo r th e uppe r tionally t o th e scene , but lik e th e statues , sh e i s unabl e t o lid a s i s frequentl y see n fro m th e mid-fift h centur y help Kassandra . Athena' s rol e a s a powerles s bystande r i s onward.34 Th e hai r i s rendered i n a variety of ways: rathe r affirmed b y th e fac t tha t Kassandr a does not loo k a t her . solid blac k masse s with wav y contour s fo r bot h women , In th e representation s o f Ajax an d Kassandr a tha t pre - with individualize d long wave s framin g Kassandra' s fore - cede th e Gett y krater , th e stres s o f th e confrontatio n head; quit e string y separat e strand s alon g th e edge s of between th e tw o protagonist s i s evident in their pose s an d Ajax's hai r an d beard ; an d a n archaizin g arrangemen t o f the leve l of their action (running , dragging, pleading). Th e raised dot s indicatin g curl s surroundin g Athena' s face. 35 Getty scene , in contrast, i s calm and restrained . Aja x place s Given th e conditio n of th e vase , littl e ca n b e sai d abou t his han d o n Kassandra' s shoulder , bu t h e i s no t visibl y drapery o r anatomica l detail s o n th e majo r figures , asid e dragging her away . Fa r from expressin g fea r o r supplication, from notin g that th e junction of Ajax's arm with hi s bod y Kassandra look s neithe r a t Ajax 30 no r a t th e Athen a is draw n wit h a singl e curve d lin e i n contras t t o earlie r statue.31 Instea d sh e look s straigh t ahead , he r hea d tippe d works where two intersecting lines are used,36 and that his slightly dow n an d he r lip s onl y slightl y parte d i n quiet , abdominal muscle s ar e draw n i n dilut e glaze , whic h seemingly introspectiv e grie f at a n inevitabl e fate . He r rel - replaces the earlie r relie f line for thi s tas k in most (bu t no t ative calm i s shared by the woman fleeing t o th e left . Poly - all) of Polygnotos' mature and late works.37 The drawing gnotos ha s introduced a new kind o f nobility to his figures , is free an d sure , and Polygnoto s ha s abl y represented Ajax' s distinguishing them from thei r Archaic and Earl y Classica l torso i n a recedin g three-quarte r view , mirrore d b y th e predecessors. three-quarter vie w of the insid e of his shield. His restraine d grou p als o stand s in marke d contras t t o As w e se e o n th e Gett y krater , Polygnotos , lik e mos t another comba t moti f tha t enter s the repertory o f Ajax an d vase-painters of the Classica l period , use s two styles , on e Kassandra scenes at this time, that of Ajax seizin g Kassandra for th e figure s i n th e majo r scene s an d a secon d fo r th e from behin d b y th e hai r a s sh e run s t o o r kneel s b y th e smaller figure s i n subsidiary area s like th e nec k o f a volute statue of Athena.32 Th e tw o earlies t example s o f this moti f krater, a s wel l a s i n th e doubl e registe r forma t o f som e are virtuall y contemporar y wit h Polygnotos , on e b y a fol - calyx-kraters an d o n th e shoulder s o f hydriae.38 Detai l in lower of the Niobi d Painte r an d anothe r i n th e Grou p o f these small figures i s minimal, an d thei r styl e of drawing is some black-figure Aja x an d Kassandr a scenes , but h e emphasize s tha t 34. O n th e addition of the third lin e among Periklea n vase-painters, seizing th e hai r fro m behin d a kneeling figur e i s a novelt y whe n i t see S . Karouzou, "Stamnos de Polygnotos a u Musée National d'Athènes," appears in a Greek an d Amazon group on the shiel d of Phidias' Athen a RA (1970) , 236-237. Parthenos; a running Kassandr a seize d fro m behin d b y th e hai r occur s 35. Raise d dot s a s ringlets , e.g., th e Herakle s o n a n amphor a b y th e as earl y a s th e Niobi d Painter' s krate r i n Bologna , 268 ; ARV 2, 598. 1 Berlin Painte r i n Basel, BS 456; ARV2, 1634. 1 bis. below. 36. E.g. , Louvre G 375 ; ARV2, 1032.54 . 33. Painte r o f London E 470 (nam e vase) , Britis h Museu m E470 ; 37. Earl y wit h relie f line : e.g. , Britis h Museu m 96.7-16.5 ; ARV 2, ARV2, 615. 2 below; LIMC, "Aia s II," no . 66 (Niobi d Group). Group of 1027.2 Lat e with dilut e glaze: e.g. , Bologna 275; ARV 2, 1029.18 . Polygnotos, unassigned , Cambridge, Corpu s Christ i Colleg e 43; ARV 2, 38. E.g. , the hydri a in Athens, 14983 , ARV 2, 1032.60 , an d th e frag - 1058.114; LIMC, "Aia s II," no . 54 . South Italian , e.g. , LIMC, "Aia s II, " mentary calyx-krate r in th e Vienn a University collection, 505, ARV 2, no. 58. 1030.33. 108 Matheson

even free r an d mor e fluid tha n tha t of their larger counter - parts. Nevertheless , th e lon g chi n an d othe r signatur e motifs remain . Th e han d i s a s unmistakabl e her e a s in th e rapidly sketche d figure s o n th e reverse s of th e artist' s amphorae an d stamnoi . Of th e other work s from Polygnotos ' mature period, th e amphora i n th e Britis h Museu m showin g th e Missio n o f Triptolemos (fig . 5) appear s closes t t o th e Gett y krater. 39 That Polygnoto s reache d hi s peak betwee n 44 0 and 43 5 B.C . is suggested by the relation of vase s like the British Museum amphora t o th e Partheno n frieze : th e seate d Triptolemo s pulls on e foo t bac k just a s almos t al l the god s on th e eas t frieze do , i n contras t t o seate d figure s o f Triptolemos in earlier work s b y Polygnoto s an d others. 40 Th e line s o f Kore's himation follow closel y the sculptured version of thi s garment wor n b y th e marshal l on Eas t I. The influenc e of the friez e o n th e Gett y krate r i s fa r les s specific , bu t th e downward til t o f Kassandra's hea d an d th e quie t restrain t with whic h sh e an d he r Troja n companion fac e thei r sit - uation mus t surel y reflec t th e dignit y an d repos e o f th e frieze. Mor e obviou s influenc e occur s o n a stamnos in

41 Oxford wit h th e Dioskouroi (fig. 6). Their drapery i s less Figure 5. Amphor a b y Polygnotos . London , Britis h sculptural tha n Kore' s o n th e Britis h Museu m amphora , Museum E 281. Photo: Courtes y th e Trustee s of but th e subtl e distinction s between moderatel y flying an d the Britis h Museum . moderately quie t drapery , th e variatio n in th e downwar d tilt of the head s of the riders , the position s of their petasoi , even th e fluid bu t comple x drawin g styl e o f th e Dino s and abov e al l the basi c composition of overlapping horse - Painter o r Aison . Polygnotos ' las t vase s indicat e tha t h e men reflec t man y o f the essentia l stylisti c elements o f th e continued t o work int o the 420' s but in a stylistic vein tha t 42 Parthenon frieze. led t o Polion 44 rather tha n through the mainstream s o f the The influenc e of the friez e is , of course, no t a s strong in late fifth century , th e Eretria and Meidia s Painters . the work s of Polygnotos a s i t i s in th e Achille s Painter' s The importanc e o f monumental subjec t matter—scene s work o r in certain works by th e Kleopho n Painter. No r i s from th e Troja n epic , amazonomachies , centauromachies , there an y influenc e of the draper y styl e of the Partheno n gigantomachies, an d individua l fights—i n Polygnotos ' pediments i n Polygnotos ' lat e vases . His draper y become s work reflect s hi s artisti c roots an d bring s u s t o a consider - increasingly sketchy an d simplifie d in the lat e works, as, for ation o f his earl y works. 45 Beazle y state s tha t Polygnoto s example, o n th e bell-krate r with a citharode in New Yor k "came fro m th e schoo l of the Niobi d Painter," 46 an d i t i s and th e hydria e i n Athen s an d Brussels, 43 rathe r tha n in hi s preferenc e fo r monumenta l subject s an d comba t moving towar d th e comple x draper y styl e o f th e Eretri a scenes that Polygnoto s owe s th e mos t t o hi s teacher. 47 Hi s and Meidia s Painters , wit h it s dozen s of smal l pleats , o r debt i s less evident in small Morellian details , with th e excep -

39. Britis h Museum E 281; ARV2, 1030.36 . tuι painte r himself , i s the continuin g popularity of scenes of warriors

2 40. Cf . Florenc e 75748 , ARV , 1028.8 , otherwis e fairl y clos e t o leaving home. Onl y one , th e stamno s in Capua (7530 ; ARV2, 1028.5) , Polygnotos' matur e style ; Capu a 7529 , ARV2, 1028.7 ; an d a n earlie r is attributed to Polygnotos, while multiple example s ar e ascribe d t o th e Triptolemos scen e by the Niobid Painte r o n a stamnos in a private col- Hector, Lykaon, and Peleu s Painters, alon g with other s in the group. For lection in Lugano, Para, 395.4 1 ter . departure scene s by the Peleus and Hector Painters, se e Y. Korshak, "Der 41. Th e Ashmolean Museum 1916.68 ; ARV2, 1028.6 . Peleusmaler un d sei n Gefhrte, de r Hektormaler," AntK 2 3 (1980) , 125. 42. Cf . for example, West VII an d Sout h XIX . 48. Louvr e G 375; ARV2, 1032.54 . 43. Ne w Yor k 21.88.73 ; ARV2, 1029.20 . Brussel s R226 ; ARV2, 49. Compar e th e proportions of suc h figures a s the Menelao s on sid e 1032.65. Athens 14983 ; ARV2, 1032.60 . A of the late Niobid Painte r krate r in Bologna, 269, ARV2, 599.8 , or th e 44. E.g. , Ferrara T 127 , ARV2, 1171.1 . central figure in the amazonomachy o n the krater from Ruv o in Naples, 45. Se e Appendix 1. 2421, ARV2, 600.13 . 46. ARV2, 1027 . 50. Nam e vase : Louvr e G 341, ARV2, 601.22 ; krate r fro m Ruvo : 47. Se e Appendi x 2. A secon d connectio n with th e Niobid Painter , Naples, 2421, ARV2, 600.13 . which i s more importan t for th e artist s in Polygnotos' Group tha n fo r 51. Fo r a n exampl e fro m th e Niobi d Group , se e th e krate r b y th e Polygnotos: An Iliupersis Scene 109

Figure 6. Stamno s by Polygnotos. Oxford, Ashmolea n Museum 1916.68 . Photo: Courtesy Ashmolea n Museum. tion of what mus t b e on e of his earlies t works , the pelik e in is carried on her e and elsewher e b y Polygnotos. 51 the Louvr e with Apoll o slayin g Tityos (fig . 7).48 Her e th e The interes t i n th e three-quarte r vie w o f the fac e tha t Niobid Painter' s styl e i s reflected in the tall , angula r Apollo 49 Polygnotos display s on th e Louvr e pelike reflect s bot h th e and in the spiral form of the ear , a detail taken from th e olde r Niobid Painter 52 an d a genera l fondnes s fo r th e devic e in artist whic h Polygnoto s abandon s almos t immediately . Th e the secon d an d thir d quarter s o f the fift h centur y B.C . It is falling Tityos , struc k b y a n arrow , recall s th e afflicte d so n of found o n othe r vase s of this date a s well a s on th e metope s Niobe t o th e lef t o f Artemis on th e Niobi d Painter' s nam e of th e Templ e of Zeus at Olympi a and o n th e Partheno n vase in th e wa y h e brace s hi s kne e o n a rock . Polygnotos ' frieze. Polygnoto s i s eve n mor e libera l i n hi s us e o f th e Tityos lack s th e foreshortene d kne e o f th e fallin g Niobid . three-quarter vie w of the body in combination with a pro- Tityos' pos e i s similar to tha t of the Amazon in another lat e file face , a s see n in the figur e of Ajax o n th e Getty krater. 53 Niobid Painte r work , th e krate r fro m Ruv o i n th e Naple s An earl y example, th e signed stamno s in Brussels with Kai- Museum.50 Th e us e of terrain lines to sugges t rocks— a prac - neus an d th e centaurs , combine s th e three-quarte r vie w tice rar e in th e Niobi d Painter' s wor k apar t fro m hi s nam e with a rocky terrai n lin e underneat h th e centaur' s hoove s vase, although more frequent amon g members o f his Group— (Fig. 8). 54 Th e earl y dat e fo r thi s vase , circ a 45 0 B.C. , is

Painter o f th e Wooll y Satyr s i n Ne w York , 07.286.84 , ARV2, 613.1 . AJA 6 7 (1963) , 43-62; M. Robertson, A History of Greek Art (Cam - Among Polygnotos ' work s wit h terrai n line s suggestin g landscape : bridge, 1975) , 240-270; Cohen (supra , thi s note), 184-186 . ARV2, 1027. 1 both side s (althoug h he still use s the maeande r border a s 52. Niobi d Painter , e.g . ARV2, 599.2 , 602.22, 602.24; Niobid Grou p the groundline for Kaineus, a s he does again in the late krater in Bologna e.g. ARV2, 613. 1 (Painte r o f th e Wooll y Satyrs) ; Polygnotos , e.g. , [275, her e fig . 11 ; ARV2, 1029.18] , in a traditio n reachin g bac k int o ARV2, 1028.15 , 1030.35 , 1032.55 . Se e als o Cohen (supra , not e 51) , 176 - black-figure. O n Kaineu s scenes , se e B . Cohen , "Paragone : Sculptur e 177, on th e possibl e derivatio n of the earlies t three-quarte r view s fro m versus Painting, Kaineus and th e Kleophrade s Painter, " in W G . Moon, monumental painting. ed., Ancient Greek Art and Iconography [Madison , 1983], 171-192; on th e 53. Front view, e.g., ARV2,1027.1,1028.14,1028.15,1029.28,1030.34, stamnos53. by Front Polygnotos view, e.g., in ARV2,1027.1,1028.14,1028.15,1029.28,1030.34, Brussels, see p. 172, and on the krater in 1030.36, 1031.37, 1031.38, 1032.55, 1032.58, 1032.60. Back view, e.g., Bologna, 275 , se e p . 19 2 n. 154) , 1032.53 , 1032.54 , 1032.55 . Within th e ARV2, 1029.18 , 1029.20 , 1031.38 , 1031.47 , 1032.53 . Polygnotan Group , terrai n lines ar e mos t notabl e o n th e pelik e by th e 54. Brussel s A 134 ; ARV2, 1027. 1 (no t visible in this photograph). Lykaon Painter in Boston, 34.79, ARV2, 1045.2 . On the relation between terrain line s in vase-painting of the 460' s to th e 440' s and monumenta l painting, se e E . Simon, "Polygnotan Paintin g and th e Niobi d Painter, " 110 Matheson

suggested firs t b y th e fac t tha t Kaineu s i s fully arme d an d wearing a corslet, a s h e i s in black-figure and Earl y Clas - sical red-figur e representations . B y contrast , h e appear s nude excep t fo r a helmet an d shiel d in Classica l versions , where th e nudit y of the Lapith s in th e battl e a t th e wed - ding feas t o f Perithoos ha s com e t o pervade both the coun - tryside centauromachie s an d th e Kaineu s scenes. 55 Othe r early feature s includ e the Archaic form o f the centaur' s ey e and th e mas s of wavy hai r frame d i n glaz e streamin g ou t behind th e hea d o f the lef t centaur . Four of the fiv e vase s signed b y Polygnotos appea r to b e early, althoug h the y ar e rathe r differen t in styl e fro m th e Louvre pelike. 56 Th e signe d amphor a i n Moscow , whic h Beazley describes a s early without giving his reasons, show s Achilles in retirement o n sid e B (fig . 9) an d Eo s drivin g a biga o n sid e A. 57 The occurrenc e o f two distinc t subject s on th e two side s of the vas e relate s it more t o vase s of th e second quarte r o f the fift h centur y tha n t o (:h e character - istic formula of the second hal f of the century which place s undistinguished singl e figure s o r conversatio n group s o n side B . Drawing the hai r a s a soli d blac k mas s i s als o a n early feature . The signe d Polygnoto s stamno s in th e Britis h Museu m showing Herakle s an d th e centau r Eurytio n (fig . 10) 58 should b e regarde d a s earl y o n th e basi s of the awkwar d proportions of the centaur' s body (leg s too short, body to o Figure 7 . Pelik e by Polygnotos . Paris , Musιe d u Louvr e G long); th e separatio n o f the pectora l muscle s wit h a care - 375. Photo: Courtes y M. Chuzeville. fully drawn , widely space d double line; the us e of relief line for th e abdominal muscles; an d th e stiff , slightl y misunder - stood fold s of Mnesimache's himation . On th e othe r hand , the Polygnota n ea r an d basi c facial typ e ar e clearl y present, and i n spit e o f th e relativel y undeveloped qualit y of th e drawing, th e styl e i s already quit e distinct from tha t of the Niobid Painter . Finally, th e signe d pelik e in Syracus e showin g a Gree k battling a n Amazon (fig . 11) i s related t o th e earl y Louvre pelike in ornament an d us e of terrain lines.59 The propor - tions of the tall, long-legged Greek recal l the Niobid Paint -

55. O n th e chang e from arme d t o nud e Lapiths , se e Cohe n (supra , note 51) , 173-175 . I n Polygnotos ' othe r Kaineu s scene , th e krate r i n Bologna, 27 5 (fig . 11), the Lapit h kin g i s nude excep t fo r hi s helmet , which place s th e vas e late r tha n th e Brussel s stamnos . Th e Bologn a krater show s a n otherwise uncontaminate d countrysid e battle, with th e left centau r wieldin g a branch an d Kaineus ' opponent th e usua l rock. 56. Th e fift h signatur e i s on a fragment i n Reggio Calabria , Muse o Nazionale, ARV2, 1030.2 8 bis ; I hav e see n neithe r th e fragmen t no r a photograph of it. 57. Pushki n Museu m 73 , ARV2, 1030.34 ; "a n earl y wor k o f th e painter," J. D. Beazley, "Citharoedus," JHS 4 2 (1922) , 70 n. 5. 58. Britis h Museum 96.7-16.5; ARV2, mi2, 1678 . 59. Syracus e 23507; ARV2, 1032.53 . B. Philippaki, The Attic Stamnos Figure 8. Stamno s signe d b y Polygnotos . Brussels , Musιes (Oxford, 1967) , 151 , sees a connection in shape and decorativ e pattern s Royaux A 134 . Photo: Courtes y Hirme r Verlag, between th e Villa Giulia Painter an d earl y works by Polygnotos, noting Munich. that the signed pelike 23507 ha s "exactly the same" shape, floral patterns , Polygnotos: An Iliupersis Scene 111

er's lat e figures , bu t Polygnotos ' drawin g styl e i s alread y softer an d mor e fluid tha n tha t of hi s teacher. The Amazon in particula r i s rathe r sligh t an d delicat e compare d t o he r formidable counterpart s o n th e Niobi d Painter' s vases . Another hin t tha t thi s vas e i s still earl y i s the fac t tha t th e Amazon wear s trouser s with definit e hems above th e shoes ; later thes e patterne d garment s appea r t o continu e dow n into th e shoe s like tights. 60 The subjec t o f th e Syracus e pelik e bring s u s bac k t o Polygnotos' preferenc e fo r comba t scene s and othe r mon - umental subjects . Th e Gett y krate r provide s a n importan t new piec e o f evidence tha t no t onl y confirm s thi s prefer - ence, but als o changes our perception of th e relative importance of Trojan subject s i n Polygnotos' oeuvre . I t no w becomes clea r tha t subject s fro m th e Troja n epi c spa n Polygnotos' career , fro m th e earl y Mosco w amphor a through th e Gett y krate r o f his matur e phas e t o th e late r fragmentary krate r i n th e Vienn a Universit y collection, which show s multipl e episode s from th e stor y of Achilles: the nereid s bringin g armor, th e Ranso m o f Hektor, an d Achilles Mournin g fo r Patroklos. 61 I n addition, the Gett y Ajax an d Kassandr a scen e significantly increase s our under - standing of the wa y in which Polygnoto s represente d sub - jects of thi s type in what can be considered hi s major works. Along with th e krate r fragmen t i n Adria with th e deat h of Figure 9. Amphor a signe d b y Polygnotos . Moscow , State Laios an d th e Bologn a krate r wit h Kaineu s an d a centau - Pushkin Museu m of Fine Arts 73 . Photo: Afte r romachy (fig . 12),62 th e Gett y krate r bring s t o thre e th e a museum photo . number o f surviving vase s by Polygnotos where a n epi c o r combat scen e i s treate d o n th e larg e scal e an d wit h th e complexity of composition that ar e particularl y character - istic of the Niobid Painte r an d hi s Group. The Getty krate r remains th e only example of a Trojan subject b y Polygnoto s executed i n this monumental style . This conception of the Ajax an d Kassandr a scen e places Polygnotos securel y in th e tradition o f th e Niobi d Painte r an d verifie s mor e surel y than an y of the detail s on hi s vase s Beazley's perceptio n of the origin s of Polygnotos' style . Yale University Art Gallery

and ornament a s the pelike 22177 in Syracuse by the Villa Giulia Painter . 60. Wit h hems , e.g. , o n th e Niobi d Painter' s krate r i n Palermo, G 1283, ARV2, 599.2 , and a krater nea r the Penthesile a Painte r in Bologna, 289, ARV2, 891 ; with "tights, " e.g., th e closel y related pelike in Syracuse by a member o f Polygnotos' Group, 9317 , ARV2, 1059.132 , and a squat lekythos by Aison in Naples, RC 239 , ARV2, 1174.6 . 61. O n Troja n subjects b y Polygnotos an d hi s Group, se e Appendix 2. On the subject of the Vienna University krater and its possible relation to Aeschylos ' Achilles trilogy , se e H. Kenner, OJh 33 (1941) , 1-24; Web - ster (supra , not e 4), 142-143 , noting the sam e combination of subject s on a large squa t lekythos by th e Eretri a Painter i n New York , 31.11.13 , ARV2, 1248.9 ; T . B . L. Webster , Potter and Patron in Classical Athens (London, 1972) , 91-92. 62. O n the Adria krater, se e Appendix 2, and on the Bologna centau- Figure 10. Stamno s signed by Polygnotos. London, British romachy, supra, not e 55 . Museum 96.7-16.5. Photo: Courtesy th e Trust- ees of the British Museum. 112 Matheson

APPENDIX 1 PROVISIONAL CHRONOLOGY OF VASES BY POLYGNOTOS This lis t i s intende d t o defin e th e parameter s o f th e majo r chronological grouping s discernibl e i n Polygnotos' work . I t obviously doe s not includ e ever y vas e attributed t o Polygnotos , nor doe s i t sugges t a chronologica l arrangemen t withi n eac h phase. I inten d t o dea l wit h bot h thes e issue s i n a futur e publication.

Early, circa 450 B.C . Louvre G 375 , pelike, Apollo an d Tityos , ARV2, 1032.5 4 Villa Giulia 3584, stamnos, symposion, ARV2, 1028.15 Brussels A 134, stamnos, Kaineus and centaurs, ARV2, 1027.1 London 96.7-16.5, stamnos, Herakles and Eurytion, ARV2, 1027.2 Moscow, Pushki n Museu m 73 , amphora, A : Eos in a biga, B: Achilles in retirement, ARV2, 1030.34 Syracuse 23507, pelike, amazonomachy, ARV2, 1032.53

Slightly more developed, but not yet mature, circa 450-445 B.C . Capua 7529 , stamnos, Triptolemos , ARV2, 1028. 7 Capua 7530, stamnos, warrior leaving home, ARV2, 1028.5 Florence 4227, stamnos, Herakles "Auletes," ARV2, 1028.11

Mature, circa 445-430 B.C . Malibu, The J. Pau l Getty Museum 79.AE.198 , volute-krater, Ajax an d Kassandr a London E 281, amphora, Triptolemos, ARV2, 1030.36

Figure 11. Pelik e signe d b y Polygnotos . Syracuse , Muse o Florence 75748, stamnos, Triptolemos, ARV2, 1028.8 Nazionale 23507 . Photo : Alinar i (Anderso n Oxford 1916.68, stamnos, Dioskouroi, ARV2, 1028.6 29315). London E 455, stamnos, sacrifice, ARV2, 1028.9 Once Gotha 51, stamnos, sacrifice, ARV2, 1028.10 Bologna 308, bell-krater, symposion, ARV2, 1029.28 New Yor k 45.11.1, pelike, Perseus and Medusa , ARV2, 1032.5 9 Adria B e 104 , bell-krate r fragments , deat h o f Laios , ARV2, 1029.19

Late, circa 430-420 B.C . Oxford 522, stamnos, amazonomachy, ARV2, 1028.3 Athens 18063 , stamnos , Theseus , Helen , Perithoos , an d Phoibe, ARV2, 1028.1 3 Ferrara T 411, bell-krater, Amazons setting out, ARV2, 1029.21 Ferrara T 271 , hydria , Peleu s an d Thetis , Eo s i n a biga , ARV2, 1032.5 8 Athens 14983, hydria, Menelaos and Helen, ARV2, 1032.60 Brussels R 226, hydria, Zeus pursuing a woman, ARV2, 1032.65 Louvre G 430, amphora, satyrs and maenads, ARV2, 1031.40 Vienna, Universit y 505 , calyx-krate r fragments , wit h tw o rows o f pictures : above , nereid s wit h armo r fo r Achilles ; below, A , Ranso m o f Hektor, B , Achille s Mourning fo r Patroklos, ARV2, 1030.3 3 New Yor k 21.88.73 , bell-krater, citharode, ARV2, 1029.2 0 Bologna 275 , volute-krater , centauromach y wit h Kaineus , ARV1, 1029.18 Only on e previou s attemp t ha s bee n mad e t o impos e a chro - Figure 12. Volute-krate r b y Polygnotos . Bologna , Muse o nology o n th e vase s of Polygnotos. I n he r wor k o n th e relativ e Civico 275 . Photo: DAI Rome, neg . no . 4777 . chronology o f vase-painters in th e secon d hal f of the fift h cen - Polygnotos: An Iliupersis Scene 113

tury C . Isler-Kereny i dates Polygnotos' perio d of activity fro m her work o n th e Peleu s and Hecto r Painters , suggest s that Poly- shortly befor e o r around 45 0 to the 420's and place s his peak late gnotos, the Hector Painter, an d th e Lykaon Painter bega n work - in hi s career , circ a 43 0 ("Chronologi e un d 'Synchronologie ' ing befor e th e Peleu s Painter ("Th e Peleu s Painter an d th e Art of attischer Vasenmale r de r Parthenonzeit, " Zur Griechischen Kunst; His Time, " unpublishe d Ph.D . diss. , Universit y of California , Hansjorg Bloesch zum sechzigsten Geburtstag am 5.Juli 1972. AntK, Berkeley, 1973 , 172) . I am gratefu l to Dr. Korshak for providin g Beiheft 9 [1973] , 23-33, especially p. 26). She considers hi s early me with a copy of her dissertation . Sh e date s the Peleu s Painter' s works to be those with traditiona l themes, such a s scenes of war- career to 445-435/430 ("De r Peleusmale r un d sein Gefhrte, de r riors leaving home an d Triptolemos scenes. Capua 753 0 and 752 9 Hektormaler," AntK 2 3 [1980] , 131 ) an d correctl y point s ou t are thu s early ; on th e othe r hand , th e Triptolemo s stamnos in that th e Peleu s Painte r and , unde r hi s influence , th e Kleopho n Florence, 75748 , i s held t o b e influence d b y th e Partheno n an d Painter ar e mor e obviousl y influenced b y th e Partheno n friez e thus t o b e late r tha n 440 . Other earl y vase s are th e Vill a Giuli a than i s Polygnotos, whom sh e views a s anachronistically looking symposion stamnos , 3584 , th e Louvr e pelik e with Apoll o an d back t o Earl y Classica l style s ("Th e Peleu s Painter an d th e Art Tityos, G 375, and th e signe d stamno s in London with Herakle s of Hi s Time," 163-166 , 172-174 , 192-197) . Sh e doe s not, how- and th e centau r Eurytion , 96.7-16.5 . Onl y passin g referenc e i s ever, sugges t specifi c date s for Polygnotos ' career . Ther e ar e n o made to Polygnotos ' relatio n to hi s teacher , the Niobid Painter , vases by Polygnoto s amon g thos e in the Rhenei a deposit , fro m and it is restricted to citing comparable subjec t matter : amazon - the purificatio n o f Delos in 426/25; ther e are , however , two by omachies an d th e Missio n o f Triptolemos. Th e signe d Brussel s followers of his, a hydria by the Christie Painter, ARV2, 1049.58 , stamnos, A 134 , and th e hydria in Mississippi from th e Robinson and anothe r b y a membe r o f the Grou p of Polygnotos, ARV2, collection (ARV2, 1032.64 ) ar e bot h date d circ a 440 . The y ar e 1061.149. followed betwee n 44 0 and the late 430's by three stamnoi that ar e viewed a s influence d b y th e Partheno n frieze : Oxfor d 1916.6 8 APPENDIX 2 with th e Dioskouroi; Oxford 52 2 with Greek s fighting Amazons ; COMBAT AND EPI C IN VASE S BY POLYGNOTOS, and Florenc e 75748 , Missio n o f Triptolemos. The artist' s peak , THE NIOBI D PAINTER , AND THEIRGROUP S circa 430, is represented by a single vase, the extremel y fragmen - Excluding scene s from th e Trojan Epic, twelve of the seventy - tary krater in Adria with th e death of Laios, Be 104 , and only on e one vase s attributed to Polygnotos by Beazley have combat scenes vase, the krater in Bologna with a centauromachy, 275, is cited a s such a s amazonomachies, gigantomachies , an d centauromachies : characteristic of his latest work s in the 420's . Althoug h n o vase s Brussels A 134 , ARV2, 1027. 1 are specifically mentioned a s examples, thos e with offerin g scene s London 96.7-16.5, ARV2, mi.2 (presumably Britis h Museu m 455 , an d formerl y Goth a 51) ; Oxford 522 , ARV 21028., 3

Dionysiac subject s (presumably , e.g. , Louvre G 406, and Naples , Bologna 275, ARV2, 1029.1 8 ARV2, 1029.25) ; and gigantomachie s (Louvr e G 375 i s the onl y Ferrara T 72 4 B VP, ARV2, 1029.2 2 example of this subject in Beazley's lis t of Polygnotos' work) ar e Paris, Cabine t de s Mιdailles 42 1 an d par t o f 420, ARV2, placed after 440 as subjects typical of the Parthenonzeit. The 1030.30

2 inclusion o f th e gigantomach y i n thi s grou p o f late r subject s London E 280, ARV , 1030.3 5 2 while placing the only vas e representing i t close to 450 points to London E 272, ARV , 1031.3 8 2 the hazard s of a datin g metho d whic h relie s rathe r heavil y on Berlin 2353 , ARV 1031.3, 9 2 subject matter . Unfortunately, Trojan subjects ar e not mentioned Syracuse 23507, ARV , 1032.5 3 2 by Dr. Isler-Kerenyi, since the Getty krater, which wa s undoubt- Louvre G 375, ARV 1032.5, 4 2 edly unknow n t o her , woul d hav e provided a n interestin g tes t Ferrara T 71 1 B VP, ARV , 1032.6 3 for he r chronology . Sh e mention s onl y tw o of the fou r signe d A smalle r proportio n of th e survivin g vase s b y th e Niobi d vases; the amphor a i n Moscow, Pushkin Museu m 73 , whic h Painter an d hi s Group have subjects o f this type: Beazley describes a s early (se e supra , note 57), is not cited. With Niobid Painter: the exception of the influence of the Parthenon frieze , any stylis- Bologna 268 (neck) , ARV2, 598. 1 tic criteri a used in the final lis t ar e not explicit . Palermo G 1283 , ARV2, 599. 2 In additio n to Isler-Kerenyi' s chronology, dates for a numbe r Leningrad 6796, ARV2, 599. 3 of individua l vase s hav e bee n suggested , mos t o f them aroun d Naples 2421, ARV2, 600.1 3 440. A s noted, Beazley describe s the signed amphora in Moscow, Louvre G 341 , ARV2, 601.2 2 73, a s earl y (supra , not e 57) . B. Philippaki link s th e shap e an d Ferrara T 313 , ARV2, 602.2 4 ornament o f the signe d pelik e in Syracuse, 23507, to a pelike by Taranto, no inv. no., ARV2, 602.2 5 the Vill a Giuli a Painte r (se e supra , not e 59) . S . Karouzou places Manner of the Niobid Painter: the stamno s in Athens , 18063 , an d th e pelik e in New York , Athens, Agora P 104 , P 110 , and P 223, ARV2, 609. 7 45.11.1, around 43 0 or a t th e beginning of the 420's (supra , not e Delos, no inv. no., ARV2, 612.4 2 34, p . 252). S . Aurigemma dates the hydria in Ferrara, T 271 , to Painter of Bologna 279: 430-420 B.C . (La necropoli di Spina in Valle Trehha, vol . 1 [Rome , Ferrara T 579 , ARV 612.2, 1 1960], 160) , althoug h i t i s date d circ a 44 0 i n N. Alfieri , P . E. Switzerland, private collection, ARV2, 612. 2 Arias, and M. Hirmer, Spina (Florence , 1958) , 50. Y Korsha k in Bologna 279, ARV2, 612. 3 114 Matheson

Painter of the Woolly Satyrs: Chicago, University , no inv . no., ARV 2, 1057.107 New York 07.286.84, ARV2, 613A Atlanta, n o inv . no., ARV 2, 1058.115 Louvre C 10749, ARV2, 613.2 Mississippi, University , no inv . no., ARV2 , 1058.116 Ferrara T 607 , ARV2, 614.1 2 Villa Giulia 50777, ARV 1059.122, 2 Coulommiers, Ren ι Majure l collection, ARV2, 614.1 3 New Yor k 38.11.4 , ARV 1059.122, 8 Geneva Painter: Athens 1182 , ARV 2, 1059.132 Geneva MF 238 , ARV2615.1 Mulgrave Castle , no inv . no., Para, 44 2 Painter of the Berlin Hydria: Basel, Herbert Cah n collection , Para, 445.5 0 bi s New Yor k 07.286.86 , ARV2,616.3 Scenes from th e Troja n Epi c (no t includin g th e marriag e o f These subject s ar e relativel y rar e amon g vase s b y o r nea r th e Peleus an d Theti s o r departur e o f warrio r scene s wit h Troja n named painter s in Polygnotos ' Group , wit h th e exceptio n o f th e names like Hektor) includ e th e following : Christie Painter : Niobid Painter: Near the Hector Painter: Bologna 268 , ARV 2, 598.1 Leningrad 769 , ARV2, 1037.3 (below ) Reggio di Calabria, n o inv . no., ARV 2, 599.5 (? ) Florence 4004, ARV2, 1038. 5 Bologna 269 , ARV 599.2, 8 Manner of the Peleus Painter: Ferrara T 936 , ARV 2, 601.18 Ferrara T 128 , ARV2, 1041.5 Manner of the Niobid Painter: Ferrara T 300 , ARV2, 1041.6 Bologna 291 , ARV 2, 608.5 Curd Painter: Reggio di Calabria, n o inv . no., ARV 609.2, 6 bi s Syracuse 22833, ARV2, 1042. 4 Athens, Agor a P 21352 , ARV 609.12, 2 Near the Curd and Peleus Painters: Niobid Group: 2 Athens, Agor a P 12641 , ARV , 1043.1 Connected with the Geneva Painter: Guglielmi Painter: Louvre G 482 , ARV2 , 615 Vatican, n o inv . no., ARV2, 1043.1 Painter of London E 470: Naples 1768 , ARV2, 1043.3 Los Angele s A 5933.51.108 , ARV 2, 615.1 Epimedes Painter: London E 470, ARV 2, 615.2 London E 450, ARV 1043.2, 1 Polygnotos: Christie Painter: Athens 18063 , ARV2 , 1028.13 London 64.10-7.1680 , ARV2, 1048.32 Vienna, University , 505 , ARV 2, 1030.33 Bari, n o inv . no., ARV 1048.32, 3 Moscow, Pushki n Museu m 73 , ARV 2, 1030.34 Taranto 107946-7 , ARV 1048.32, 4 Leipzig T 667 , ARV2, 1032.6 2 London 98.7-15.1 , ARV 1048.32, 5 Malibu, The J. Pau l Getty Museu m 79.AE.19 8 Copenhagen 2694 , ARV 1048.32, 6 Group of Polygnotos: Brussels A 133 , ARV 2, 1048.39 Hector Painter: Leningrad 3374 , ARV 1048.42, 0 Vatican, no inv . no., ARV 2, 1036.8

Close to the Christie Painter: Add th e hydri a in the Gett y Museum , 86.AE.97 , attribute d b y 2 Once London, Edward s collection, ARV 1049., 1 D. von Bothmer t o th e Circl e of Polygnotos, probabl y th e Hecto r In contrast , the y ar e wel l represente d amon g vase s b y Painter: armor brough t t o Achilles , published i n M. True an d J . unnamed painter s i n Polygnotos ' Grou p ( Beazley's Grou p o f Frel, Greek Vases: Molly and Walter Bareiss Collection (Malibu , Polygnotos, undetermined) : 1983), no . 117 . Naples 3089, ARV 1050.2, 4 Peleus Painter: Once Paris , Pιreire collection , ARV 1051.12, 0 Magdeburg, n o inv . no., ARV 1039.2, 5 Louvre G 414 , ARV 2, 1051.11 Athens 15299 , ARV 2, 1040.14 Naples 2663 and Leipzi g T 665 , ARV 2, 1051.12 Group of Polygnotos, undetermined: Vatican, n o inv . no., ARV2, 1051.1 3 Perugia 81, ARV 2, 1050.3 Bologna 176 , ARV2, 1051.1 4 Once Gela , Campisi collection , ARV 2, 1054.45 Louvre C 11034 , ARV 2, 1052.28 Ferrara T 5 3 A VP , ARV 2, 1054.46 London 99.7-21.5 , ARV 2, 1052.29 Gela V lxvii , ARV 2, 1054.47(?) Ferrara T 961 , ARV 2, 1053.30 Once Rome, Stron g collection , ARV 1056.92, 3 Naples RC 148 , ARV 1054.52, 0 Cambridge, Corpu s Christi College 43 , ARV 2, 1058.114 Madrid 11013 , ARV 2, 1054.51 Note shoul d als o b e mad e her e of th e fragmentar y krate r b y Naples RC 161 , ARV 2, 1055.74 Polygnotos i n Adri a with th e deat h o f Laios , Muse o Civic o B e

2 Lucerne Market (A . A.), ARV 1056.9, 2 104; ARV 2, 1029.19. On thi s vas e a s a n illustratio n of the Laios o f Syracuse 23629, ARV 1057.102, 6 Aeschylos, se e Webste r (supra , note 4), 142 . Some Gnathia Pottery in the J. Pau l Getty Museu m

J. R. Green

We begin with a small fragment (fig . 1) .* A saty r stands , The drawin g of these two set s of fragments i s undoubt - facing left , holdin g a thyrso s i n fron t o f him in hi s righ t edly by th e sam e hand: th e head s of the satyr s are s o similar hand. Th e figur e i s drawn with incise d lines , an d whit e i s that the y migh t hav e been drawn o n th e sam e morning. It added fo r hi s hair , beard , an d th e ste m o f his thyrsos . Th e is tempting to associate them with th e calyx-krater in Bos- incision i s firm an d consistent , an d th e artis t ha s manage d ton (figs . 3a-b), 4 no t onl y because it i s decorated in poly- to conve y th e roundnes s of body an d ar m with a remark - chrome techniqu e o n th e front an d with incise d outline on able economy. Th e contex t of this piece becomes clearer by the back , a s ar e th e Ne w Yor k fragments , bu t als o because comparison wit h th e fragment s o f another calyx-krater , in the woman o n th e revers e has he r draper y decorate d in th e the Metropolita n Museum o f Art (fig . 2).2 The y depic t a same, individua l manne r a s th e woma n show n movin g satyr standin g befor e a seate d woman , an d sh e mus t hol d right o n th e smalle r Ne w Yor k fragment ; mor e impor - the wreath, a part of which i s preserved betwee n th e satyr' s tantly, the drawin g of her draper y seem s to hav e touches of right han d an d th e edg e of th e sherd . Anothe r fragmen t the sam e style a s tha t of the seate d woman (fig . 2). from th e Metropolitan calyx-krater ha s th e lowe r part of a The Bosto n vas e inevitabl y introduce s th e proble m o f woman moving right, while a fourth piece has som e dotted the Konnaki s Painter, widel y regarded a s the founder o f th e groundline with wha t look s like th e en d of a sash or girdl e Gnathia techniqu e an d style . Ye t scholars ' concept s of this over it. 3 The whol e scen e wa s draw n i n incisio n with a painter hav e been so varied that little security ca n be offere d limited us e of white fo r detail s suc h a s hair, beard , tail , an d in th e classificatio n of this vita l phas e in th e developmen t female flesh. Th e effec t i s pleasing i n its simplicity. On th e of Gnathia pottery. 5 Nevertheless , i t i s probably possibl e t o New Yor k vase , thi s effec t contrast s with th e scen e on th e accept th e attributio n o f th e W٧rzburg fragmen t wit h front, whic h wa s draw n i n a n elaborat e polychrom e tragic acto r an d th e Eumenide s krate r i n th e Hermitag e technique. along with thes e vases and th e Konnaki s fragment s them -

Abbreviations: 2. 10.210.17b-d , Roger s Fund. Publishe d mos t recentl y in Art of S. The following abbreviation s hav e been employed in addition to those in Italy, no . 11 9 (wit h earlie r references) . Dietrich von Bothmer, who ha s normal use : been abl e to compare th e two , agree s that the y ar e unlikel y to b e fro m Art of S. Italy: M. E. Mayo and K. Hamma, eds. , The Art of South Italy. the sam e vase. I am mos t gratefu l to him for hi s help. Vases from Magna Graecia, ex . cat . (Richmond , Virgini a 3. Thi s fragmen t i s shown upside-dow n i n Art of S. Italy, 261 . It Museum o f Fine Arts , 1982) . Ther e i s a convenient outlin e of looks a s if it shoul d com e from th e bas e of the wall , immediately abov e the development o f Gnathia potter y o n pp. 255-259 . the conve x molding ; it is perhaps from th e right of the scene . Bareiss Coll.: Greek Vases. Molly and Walter Bareiss Collection, ex . cat . 4. Boston , Museu m o f Fine Art s 00.363 . H. Bulle, "Vo n grie- (Malibu, The J. Pau l Getty Museum, 1983) . chischen Schauspieler n un d Vasenmalern, " Festschrift fur James Loeb zum Forti: L. Forti, La cerαmica di Gnathia (Naples , 1965) . sechzigsten Geburtstag gewidmet von seinen archaologischen Freunden in Gnathia...Bonn:]. R . Green , Gnathia Pottery in the Akademisches Kunst- Deutschland und Amerika (Munich , 1930) , 30-31, figs. 19a-b ; M. Bieber , museum, Bonn (Mainz , 1976). History of the Greek and Roman Theater, 1s t ed. (Londo n and The Hague , Schneider-Herrmann: G . Schneider-Herrmann , Red-Figured Lucanian 1939), figs. 376-377 , 2 d ed . (Princeton , 1961) , figs. 502a-b ; F . F.Jones, and Apulian Nestorides and Their Ancestors (Amsterdam , 1980) . The Theater in Ancient Art (Princeton , 1951) , no. 33, pi. 9; L. Catteruccia, I a m mos t gratefu l t o Jifi Fre l for hi s invitation t o publis h th e Gna - Pitture vascolari italiote di soggetto teatrale cσmico (Rome, 1951) , no. 77, pi. thia in the Gett y Museum an d t o Marit Jentoft-Nilsen fo r much prac - 12; Forti, pi. 12; A. D. Trendall, Phlyax Vases, 2d ed. (London , 1967), no. tical help . J. M. Murphy ha s pursue d wit h efficienc y an d goo d humo r 177. references inaccessible in Sydney. Fo r photographs and/o r permission t o 5. I n Art of S. Italy, 252 , I describe d hi m a s a "rathe r nebulou s use them , I shoul d als o lik e t o than k G . Beckel , D. von Bothmer , A . figure," an d Amy Brauer in the sam e publication (unde r nos . 121-122 ) Cambitoglou, F.J. Hassel,J . W Hayes , R. V . Nicholls, H. Nicolet,J. V. independently pointe d ou t on e inconsistency . Th e origina l concept wa s Noble, W . Oberleitner , A . Pasquier , K . Schauenburg , A . Steiner , F . Bulle's (supra , not e 4); I am unabl e t o accep t hi s grouping but i t was , Wolsky, and th e Trustee s of the British Museum . of course, based on much les s evidence tha n i s now available . He did not, 1. Malib u 86.AE.444 ; formerl y o n loa n t o th e Metropolita n however, nam e the painter ; th e ter m Konnakis Painter wa s firs t applie d Museum of Art L.69.11.50 . Maximum height: 5. 5 cm; maximum width: by A. RumpfJi//49 (1934) , 17 . On thes e problems, se e als o Forti, 99 - 8.6 cm. Bareiss Coll., 86 , no. 241. Orange-buff (Tarentine ) clay ; probably 100.1 hope to dea l with th e question mor e full y o n another occasion . from a calyx-krater. 116 Green

Figure 1. Fragmen t of calyx-krater (?) . Malibu, The J. Pau l Getty Museum 86.AE.444 .

Figure 2. Fragment s of a calyx-krater . Ne w York , Th e Metropolita n Museum o f Art, Rogers Fund , 10.210.17b-c. Some Gnathia Pottery 117

Figures 3a-h. Calyx-krater , details. Boston, Museum of Fine Arts 00.363. Photo: Courtesy Museu m of Fine Arts.

selves.6 Fro m even this small nucleus, however, it is possible by th e decoration , th e worksho p of the Ros e Painter) bu t to se e som e of the characteristic feature s o f earliest Gnathia : has th e sam e overall characteristics. Late r version s hav e th e the isolatio n of figures agains t th e blac k ground , withou t center o f gravity higher, wit h a mor e globula r bod y an d filling ornament s o r frame ; th e us e of a careful polychromy something o f a ste m betwee n bod y an d foot; 9 the y neve r in combinatio n with incise d outline; and th e employmen t carry figure scenes and only rarel y female heads ; more ofte n of large shapes , at thi s stage all kraters. vines o r wreath s of laurel. Slightly late r i n dat e i s th e epichysi s i n th e Gett y The origi n of the shap e i s difficult t o determine . Ther e Museum (figs . 4a-b). 7 I t i s mad e of a goo d orange-buf f are thre e type s o f epichysis: th e standar d wit h th e flanged clay an d i s carefull y constructe d wit h a narrow , beake d box-body (fig . 6 ) ; the round-bodied like the vases just dis- spout tha t ha s a modele d edge ; a handl e wit h a raise d cussed (figs . 4 , 5) ; and th e flat, whic h ha s a low, squat body curved molding along its outer face ; well-impressed femal e like tha t o f th e flat lekytho s (fig . 7).10 Of vessel s wit h heads at th e uppe r handle-root ; an d th e inne r fac e o f th e closely related function, ther e ar e the flat lekythos , the squat foot se t of f from th e undersid e o f the floor. Th e bod y of lekythos (whic h i s the standar d shape) , and th e bottl e (cf . the vas e is rather squat , and thi s is one of the earlies t exam - figs. 16 , 17), a s well a s two rar e shape s which hav e a trefoi l ples of the round-bodie d typ e in Gnathia. An epichysi s of mouth lik e that of an oinochoe: the lekythos-oinochoe (fig. the sam e type in Mainz (figs . 5a-b ) belong s t o much th e 8), whic h ha s a body lik e tha t o f a bottle o r ou r typ e of same stage. 8 It was mad e in a different workshop (t o judge epichysis,11 an d th e flat jug (fig . 9).12 That is , the mouth s

6. Conveniently , Bulle (supra , note 4), pi. 2 above an d 24-25, figs . l,pl. 6 (42), 18. 9-10; Forti , pis . 10-11 . 11. London , British Museum 67.5-8.1206, CVA 1 , pi. 6 (42), 19. The 7. Malib u 86.AE.447 . Height (inc . handle): 1 8 cm; diameter : 8. 4 edge of the mouth ha s th e sam e molding as that of a bottle, almost a s if cm. Bareiss Coll., 63 , no. 46, 86, no. 244. the potter ha d originall y thrown a bottle mouth an d the n converted it 8. Mainz , RGZM 0.12457 , CVA 2 , pi. 20, 9-10 (alread y attributed into jug form. Se e als o Naple s 8091 7 (sic), CVA 3 , pi. 68, 3. The shap e to th e workshop of the Ros e Painter b y H. Biising-Kolbe). also appear s in metal, as , fo r example , in Archaiologike Ephemeris, 1948 - 9. Th e shap e i s particularly common i n th e year s followin g circ a 1949, 98, fig. 11; K. Ninou, ed. , Treasures of Ancient Macedonia, ex. cat . 330 B.C., bu t it dies ou t nea r th e en d of the century , a s d o mos t of the (Archaeological Museu m of Thessalonike, n.d.) , no. 35 , from Kozani ; smaller oil-vessels . or th e very similar ADelt 1 8 (1963), pi. 226c, from Derveni . 10. Ne w York , Th e Metropolita n Museum of Art 69.11.69 , Parke - 12. Cambridge , Fitzwillia m Museu m GR.69.189 6 (G.258a) , C^ 4 Bernet, New York , Decembe r 4 , 1969 , lot 244; London WT 131 , CVA 1, pi. 43, 26. There ar e not many examples ; mos t ar e ribbed and belon g 118 Green

Figure 4a. Epichysis . Malibu , Th e J . Pau l Gett y Museu m Figure 4b. Sid e of epichysis, figur e 4a . 86.AE.447. Some Gnathia Pottery 119

Figure 5a. Epichysis . Mainz, Romisch - Figure 5b. Sid e of epichysis, figur e 5a . Figure 6. Epichysis . Ne w York, Th e Germanisches Zentralmu - Metropolitan Museu m o f seum 0.12457 . Art, Winslow Carlto n Gif t Fund, 1969 , 69.11.69 .

Figure 7. Flat-bodie d epichysis . Lon - Figure 8. Lekythos-oinochoe . Lon- Figure 9. Flat-bodie d jug, Cambridge , Fitz - don, Britis h Museum WT 131 . don, Britis h Museu m william Museu m GR.69.1896 . 67.5-8.1206. 120 Green

and bodie s of these vessel s interrelate an d ar e almos t freel y interchangeable. Ther e i s even a n example of a flanged box - body wit h a bottl e mouth. 13 Thi s interchangeabilit y i s typical o f Gnathia, wit h it s deligh t i n a variet y of small shapes and it s liking fo r experiment in shapes.14 Neverthe - less, several of these shapes have a considerable history , and where beak-spoute d vessel s ar e concerned , i t i s alway s worth considerin g a n ancestr y i n metal. 15 Th e difficult y lies in demonstratin g a consisten t tradition . Fo r example , there i s a squat , broad-base d vesse l wit h a long , narro w neck an d trefoi l mout h i n Corinthian Geometric, Proto - Corinthian, an d so-calle d Argiv e monochrome. 16 T o judge by it s shape, it is surely more likel y t o b e a n oil-vesse l tha n an oinochoe . I t the n seem s to disappea r fro m th e potter y repertoire, bu t i n late r fifth - an d earl y fourth-centur y Attic red-figure , ther e i s what appear s to b e a refined ver - sion (a s on e woul d expec t i n Attic red-figure). 17 It ha s a beaked spout , an d s o on e ma y suspec t tha t somethin g o f the sor t ha d bee n curren t i n metal— a bronz e exampl e i n Amsterdam canno t b e fa r fro m thes e i n date. 18 Th e Amsterdam versio n i s sai d t o b e fro m nea r Corinth , an d Corinth i s often a source for Apulian shapes . These precedents are probably enough t o account fo r th e flat-bodied epichysis , and ther e i s no difficulty i n supposin g that a n enterprising potter coul d substitute th e mouth of a lekythos, give n th e identit y of function, o r rever t t o th e trefoil mouth of the pottery tradition fo r the flat juglets. It is possibl e tha t th e round-bodie d typ e o f th e Gett y vas e derived fro m th e refine d and revise d version s of Attic red - figure, bu t it s clos e parallelis m with th e bottl e i n shap e development i n th e late r fourt h centur y suggest s tha t th e Figure 10. Atti c red-figur e jug o f specia l shape . Paris , bottle ma y hav e been primary an d th e beak-spou t substi - Louvre G 6 8 (MNB 3562). tuted b y assimilatio n from th e othe r type s o f epichysis. 19 The bottl e als o appear s in bronze i n the late r fourt h cen - tury, fo r example a t Derveni, a fact which migh t als o sup -

to th e earlie r par t o f th e thir d centur y B.C . Othe r example s includ e Auktion 6 3 [1983] , no. 74, pi. 30), the Leningrad krater illustrated in L. Naples (n o number), CVA 2 , pi. 11, 8; Naples 8097 2 (sic), CVA 3 , pi. Forti, RendNap 3 2 (1957) , pl. 1 , Cerámica di Gnathia, pl . 24a, o r th e 68, 6; Karlsruhe B 163 , CVA 2 , pi. 82, 1 3 (taller than most); and Warsa w Richmond askos , Art of S. Italy, no. 126 . 140358, CI^4 6, pi. 24, 3. 15. Se e principall y D . K. Hill , "Th e Long-Beake d Bronz e Jug i n 13. Naple s 80947 , Cl^4 3, pi. 71, 9. Note that the lekythos mouth on Greek Lands, " AJA 6 6 (1962) , 57-63, especiall y 62 ; als o J. R . Green , the box-bodied Sèvres 129 , CVA, pl . 48, 1 3 seems to b e alien, but com- BICS 19 (1972), 8-9. pare the red-figure Como C.75, CVA 1 , pi. 13,3a-b . One does, of course , 16. J . N. Coldstream, Greek Geometric Pottery (London, 1968), 95ff . find th e occasiona l beak-spou t o n th e bod y o f a squa t lekythos , a s It als o occur s i n Atti c Earl y Geometri c whe n th e lekytho s of Proto- London WT 146 , CI^4 1 , pi. 5 (41) , 17 , a variant which als o occur s in Geometric disappears. Attic red-figur e an d blac k glaze , although ther e th e bod y i s rather tha t 17. Brussel s R379, CJ^4 2, III I d, pi. 11,1 , ARV2,1132,181, Washin g of th e shap e II oinochoe: fo r example , Naple s 3122 , ARV 2, 689 , 258 , Painter; Leide n 1922/4.3, BICS 1 9 ( 1972), pi. 3d. Bowdoin Painter ; AM 9 0 (1975) , pi. 28, 3-4; Leningra d 863 , ARV 2, 18. Amsterda m 3367, AJA 6 6 (1962) , pl. 16, 10 ; BICS 1 9 (1972), pl. 1167, 109 , Painte r o f Munich 2335 ; AM 9 0 (1975) , pi. 28 , 2 ; black , 3b-c; I . Kouleiman-Vokotopoulou , Chalkai Korinthiourgeis Prochoi London 67.5-8.1100 . (Athens, 1975) , pi. 34f; note als o ibid., pis. 32a, 32d, 35b, and fig . 23 . 14. Note , for example, the us e of the zuppiera, the experiments wit h 19. On e would b e hard put, though, to demonstrate th e chronolog- bell-kraters (se e J. R. Green , "Ear s of Corn and Other Offerings, " in A. ical primacy of either from th e remaining evidence . Cambitoglou, ed. , Studies in Honour of Arthur Dale Trendall [Sydney , 20. Fro m Derveni, ADelt 1 8 ( 1963), pi. 227b, and Treasures of Ancient 1979], 81 ; Art of S. Italy, no . 123) , an d odditie s suc h a s th e krate r in Macedonia (Archaeologica l Museu m o f Thessalonike , n.d.) , no . 169 ; Sotheby (London ) Sale Catalogue, December 9,1974 , lot 12 3 (now MuM from Poteidaia , ADelt 2 1 ( 1966), pi. 361d, and Treasures of Ancient Mace- Some Gnathia Pottery 121

port th e ide a of the bottle' s bein g the primary shape. 20 in red-brow n with fin e line s of white over fo r th e details . In thi s context it is perhaps worth notin g that th e ques - His hai r was golden. White was use d for his eye, with blac k tion o f the origi n o f the standar d epichysi s remain s unre - lids an d eyebrow , an d blac k fo r hi s mouth . Th e Pa n i s solved. Weigh t of numbers (rathe r tha n chronologica l mostly in white, with gol d fo r the hair on hi s head an d o n considerations) migh t sugges t i t wa s invente d i n Apulia . his leg s a s wel l a s fo r hi s tail ; hi s horn s ar e red-brown . Apulian version s hav e bee n foun d i n Corinth , an d loca l White, no w faded , wa s use d fo r th e groundlines . On th e (and possibl y Attic ) version s hav e bee n foun d at Olyn - ground betwee n th e figures' legs rests a heap of red drapery , thos.21 Ho w th e Apulian s coul d hav e com e t o inven t o r a wreat h abov e it , and, abov e that , a rosette . I n th e fiel d adopt i t i s unclear . Beazle y toye d wit h th e ide a tha t "in above i s a re d sash , it s end s reachin g dow n int o th e are a origin, th e epichysi s i s probably a compound shape ; an imi - between th e figures ' heads ; just abov e it s to p i s a rosette . tation o f a squa t oinocho e standin g i n a concave-side d The scen e is framed o n eac h side by floral-work wit h spira l dish."22 The body of the vas e in fact resemble s most closel y tendrils, fringe d leaves , an d palmett e flowers. A smal l bir d what i s known for Attica a s the pyxi s type C. This type of flies ou t o f the floral-work o n th e right . pyxis wa s curren t i n Athen s durin g th e late r par t o f th e The scen e has char m an d humor . Th e bo y seem s deter- fifth an d th e firs t hal f of the fourth centur y B.C. , an d it wa s mined; h e set s hi s fee t firml y an d clenche s hi s fist . Th e made also in Apulian blac k glaze in a slightly differen t ver - young Pa n i s mor e lith e an d offer s a les s aggressive , eve n sion. Pyxide s were , of course, toilet-boxes , an d thi s simi - good-humored, warnin g with hi s lef t hand . The y ma y o r larity o f purpos e ma y hav e mad e th e ide a o f placin g a n may no t com e t o blows : we ar e lef t t o interpre t th e resul t epichysis mouth an d nec k o n to p mor e attractive . But thi s as we will . Bu t whether the y figh t o r not , th e youn g Pa n may no t b e th e whol e answer . Amon g lat e fifth-century will outsmar t th e slower boy. The floral-work t o either sid e Attic an d Corinthian wares ther e exis t occasional example s emphasizes th e rusti c setting . Eve n th e bir d take s a livel y of a smal l angula r jug lik e tha t i n figur e 10. 23 Th e smal l interest. size, the elongated trefoi l mouth, and th e long neck sugges t Pans belong in the countryside . Often, and especiall y in its possibl e function a s an oil-vessel. The rarity of the shap e South Italia n vase-painting , the y ar e almos t substitute s fo r in pottery , togethe r wit h paralle l manufactur e i n bot h satyrs, whethe r i n thei r relationshi p t o Dionysos , in thei r Athens an d Corint h and aspect s of the shap e itself suc h a s mischievous quality , or i n thei r capacit y a s friend s o f the high-archin g handle , th e overal l form, an d th e deco - man.26 A recentl y publishe d bell-krate r in Benevent o ha s ration o f the shoulder , al l suggest a possibl e prototyp e in a pictur e of a young ma n washin g a t a laver , seemingl y a metal, of which thes e examples ar e reduce d terracott a ver - little surprise d a t th e appearanc e of a young Pa n pourin g sions.24 I t i s quite possible , therefore , tha t th e ide a fo r th e more wate r int o th e basin. 27 The y wer e alway s presen t in standard "Apulian " epichysi s with flanged box-bod y orig - more remot e place s (a s th e youn g herdsma n o n th e Pa n inated with a metalworker who was , in fact, modifying a n Painter's nam e vas e discovered) , an d on e wa s neve r sur e existing type. 25 how the y would reac t at a chance meeting. If the settin g i s To retur n to th e Gett y vase , on th e fron t i s a boy abou t the countryside , th e tim e of day i s clear: it i s midday, tha t to wrestl e with a young Pa n (fig . 4a). Th e bo y i s painte d special tim e in summer i n the islands , Sicily , an d souther n

donia, no. 347. Also M. Comstock an d C. Vermeule, Greek, Etruscan and working. I t i s als o conceivabl e tha t th e Olynthia n and possibl y Atti c Roman Bronzes in the Museum of Fine Arts (Greenwich , Conn., 1971) , examples deriv e independentl y fro m (Corinthian? ) meta l rathe r tha n no. 450 ; A. Andriomenou, BCH 99 (1975) , 571, no. 11 , % 40 . Apulian clay . The Greek example s hav e wider neck an d mouth without 21. Green , i n Studies in Honor of Arthur Dale Trendall (supra , not e the distinct channel in the spout. Olynthus, vol . 5 , pi. 60:9 2 has a distinct 14), 8 1 and nn. 5-6; I. McPhee, BSA 7 6 (1981) , 304. foot; compar e th e meta l versio n mentione d supra , not e 24 , or fo r tha t 22. J . D. Beazley, Etruscan Vase-Painting (Oxford , 1947) , 156 . matter som e of the pyxides . On th e importanc e of Corinth for beak - 23. Paris , Louvre G 6 8 (MNB 3562), ARV2, 1357 , 1 , Rayet Painter , spouted jugs , se e Vokotopoulo u (supra , not e 18) , and fo r meta l olpai , with anothe r i n th e Nobl e collection ; se e als o Para, 479 , 4 4 bis . Fo r see T. Weber, AA 1983 , 187-198 . Corinthian, se e for example, H. Payne, NC, 336 , fig. 191 . 26. O n Pa n i n South Italia n vase-painting , se e K . Schauenburg , 24. Fo r a representation o f a larger versio n in what mus t b e metal , RomMitt 6 9 (1962), 27-42, RomMitt 8 8 (1981) , 108-110, A4,1981,474, see Munich 2455, CJ^4 2, pi. 86 , 9-10, by the Pan Painter. In the context, 483-486; for broader studies , se e R. Herbig, Pan: dergriechische Bocksgott it mus t b e use d fo r wine. (Frankfurt a m Main , 1949) ; P . Borgeaud , Recherches sur le dieu Pan Where oinochoa i are concerned, high-archin g handles usually imply (Rome, 1979) , an d H. Walter, Pans Wiederkehr (Munich , 1980) . On "٠SLOTOS haiiiuv" metal. Fo r example , th e shap e II oinochoe usuall y ha s a low handle in the saty r a s a frien d o f man, se e J.-P. Descoeudre s clay, a high handl e in metal, and thi s i s sometimes imitate d in clay. For Antichthon 1 5 (1981), 8-14. an excellen t treatmen t o f metal oinochoai , se e no w T . Weber , Bronze- 27. Fro m Caudium, tomb 111 , AA 1981 , 481, fig. 27 ; E. Galasso, Tra kannen. Archαologische Studien, 5 (Frankfurt , 1983). i Sanniti in terra beneventana, ex. cat . (Muse o de l Sannio, 1983) , 75, fig. 25. T o speculat e further , th e metalworke r coul d hav e bee n eithe r 71a. Corinthian o r Tarentine , bot h o f them renowne d center s fo r metal - 122 Green

Figure lia. Oinochoe . Sydney , Nicholso n Museum 54.06 . Figure lib. Fron t of figure 11a .

Figure 12a. Squa t lekythos . Malibu , Th e J . Pau l Gett y Figure 12b. Fron t of lekythos, figure 12a . Museum 86.AE.446 . Some Gnathia Pottery 123

Italy, when th e hea t shimmers , th e ai r i s still, th e silenc e i s in white; on the shoulder, eg g and dot (white ) wit h a row oppressive, almos t frightening : of yello w dot s below . Below th e scen e i s anothe r ban d of egg and dot . The vas e is carefully made of a strong orange - buff (Tarentine ) cla y with a slight step or ridge at the junction of the nec k an d shoulder , an d a three-step foot . Th e reserved zon e at th e bas e of the wall an d th e uppe r par t of the foot i s strongly reddened; s o too i s the inner fac e of the That i s when a boy might fin d a Pan, an d if he i s stupid, foot, bu t th e undersid e of the floor i s untreated . challenge him before h e i s fully awake . The vas e is typical of its period. The line s of the floral- The figure drawing, the us e of color, and the baggy for m work ar e now fairly unifor m i n their thickness; the flowers of th e epichysi s al l sugges t a relativel y earl y dat e fo r thi s emerging betwee n th e tendril s ar e losin g thei r car e an d piece, certainly the third quarte r of the fourth centur y an d individuality. Ye t we stil l hav e fringe d leaves , an d th e firs t most likel y th e earlie r par t o f it. Th e decoratio n seem s t o tendril o n th e inne r sid e doe s no t ye t reced e int o a tigh t be b y th e sam e han d a s a n oinocho e i n th e Nicholso n spiral bu t turn s bac k o n itsel f onl y once . Th e pos e of th e Museum, Sydne y (figs , lla-b) , wit h a youn g partygoe r figure, too , i s ver y muc h o f thi s phase : relaxe d wit h hi s carrying hi s torc h an d situla. 29 The drawin g of the boy' s weight o n on e leg , exhibitin g littl e rea l movement , bu t eye and mouth i s particularly similar. The Sydney vas e also lacking th e exaggerate d indolenc e of some of the late r fig - gives a goo d ide a of the origina l appearanc e of the boy' s ures.33 Stylisti c classificatio n in this are a is, however, a dif - hair o n th e epichysis . Both boy s als o hav e whit e over th e ficult problem , not leas t becaus e of the apparen t similarit y brown of the skin , on th e Sydne y vas e to outline the righ t of many of these erotes. Th e drawing here is not unlike th e breast, on th e Getty vas e along the uppe r edg e of the righ t work o f th e Ros e Painter , bu t i t canno t b e his . Another arm. On th e latte r it i s more clearl y used a s highlight, an d piece tha t bear s comparison i s a squat lekytho s in the Brit - the techniqu e i s share d wit h a numbe r o f earl y Gnathi a ish Museum with a n Ero s in a very similar pose , attending vases which mus t belon g i n thi s stylisti c area. 30 Th e re d to a kottabos-stand, 34 bu t agai n th e detail s o f body an d and yello w fille t o r garlan d o n th e Sydne y jug echoe s th e florals sho w the hand i s not th e same. Much close r i s a squat symposion,31 an d lik e th e floral-work o n th e epichysis , i s lekythos in Taranto, not only in the pos e (wit h th e substi - relevant to th e scene . On late r vase s such a s those in figures tution of a phiale for the mirror an d a wreath for the sash) 21 or 28 , there i s usually only a horizontal, and it becomes but, mor e importantly , in the detail s of the anatomy , suc h mere pattern-ban d wit h littl e memor y of the origina l as th e drawin g of the breas t o r th e V-lin e a t th e navel. 35 function. The Taranto lekythos has framing plant s of the earlier type, Datable t o th e 330' s B.C . is a squa t lekytho s (figs . composed o f small circles about incise d lines. There i s als o 12a-b).32 A n Ero s stands , facin g right , betwee n framin g a mor e genera l relationshi p to th e wor k o f the painte r of 36 floral patterns ; hi s hai r i s bound i n a kekryphalos , and h e two pelika i i n Mater a an d anothe r i n Bari, bu t fo r th e wears slipper s on his feet, bangle s o n eac h arm, and a neck- moment it is difficult t o define th e plac e of our lekythos in lace. In his lef t han d i s a mirror an d i n his righ t a dotted a consistent worksho p tradition . sash. Red i s use d fo r hi s fa r wing , yello w fo r th e interna l A pelik e in th e Gett y collectio n (fig . 13) ha s a n Eros , details of the figur e an d fo r th e nea r wing. A yello w was h facing left , holdin g a n alabastro n i n hi s lef t han d an d a was applie d ove r hi s slippers , th e mirror , th e righ t sid e of phiale i n hi s right. 37 Th e vas e i s mad e o f a dull-colored the sash , and ove r part s of the floral system s to giv e them clay, somewha t browne r tha n th e norma l "Tarentine " depth. On th e lowe r part of the nec k i s a zone o f tongue s orange-buff. It is a pelike of type 2, that is , with a molding

28. Theocritu s I , 15ff . See A. S. F . Gow's excellent note ad loc. where woman o n th e revers e of the Bosto n krate r (fig . 3b). Fo r slightl y late r he als o refers t o Norman Douglas, Old Calabria, chapte r 40 . There see m versions, compar e fo r example, M. Bernardini, Vasi dello stile di Gnathia to b e no ground s fo r relating our scen e to the contest betwee n Ero s an d (Museo Provincial e Castromediano; Bari , n.d.), pi. 30, 2 and especiall y Pan: se e O . BieJd/4 (1889) , 129-137; B. Neutsch,Jdl70 (1955) , 155 - pi. 30 , 4. 184; Borgeaud (supra , not e 26), 113 , with refs . 34. Londo n F 579, CVA 1 , pi. 1 (37), 11; Forti, pi. 29b. 29. Inv . 54.06 . Height : 14. 4 cm ; diameter : 9. 8 cm . Th e vas e ha s 35. Tarant o 52521. recently been cleaned an d i s illustrated here from a new photograph . 36. Mater a 10119 , fro m Timmar i tom b 2 3 (1911) , Forti , pi . 19c ; 30. Especiall y close to the Sydney an d Getty vases is the calyx-krater Matera 10118 , fro m th e sam e tom b (seate d Ero s wit h phial e an d in Bonn with Ero s pursuing a fawn, Gnathia...Bonn, pl . 1. wreath); Bari 669 7 (standin g Ero s with phial e and hoop). Also clos e t o 31. Compar e th e New York krater , Art of S. Italy, no. 118 . our lekythos i s the bottle Taranto 5492 7 (Ero s pursuing a bird). 32. Malib u 86.AE.446. Height: 18. 3 cm; diameter: 8 cm. Bareiss Coll., 37. Malib u 71.AE.211. Height: 23.4 cm; diameter: 10. 4 cm. Published 86, no. 243. in Art of S. Italy, no. 124 . 33. Th e figure s of Early Gnathia ar e ofte n active , but compar e th e 124 Green

duce th e yellow. (Ther e ar e groups of three white dots ove r the phiale.) The central part of the nearer wing i s a brown- ish red . Ther e ar e som e trace s o f th e preliminar y sketc h preserved, mostl y behin d th e figure' s righ t leg , a s if th e painter ha d bee n unsur e of how t o angl e it. There i s also a pair of lines coming down about halfway between th e win g and the body; they come to a point at the bottom and mus t have bee n intende d fo r th e farthe r wing , th e lower part of which wa s neve r drawn . Above the scen e on th e nec k i s a zone of egg-pattern i n white without dot s o r incise d outline. Ther e i s n o decoratio n o n th e reverse . Th e reserve d band o n th e uppe r par t of the foot i s strongly reddened . To judge b y it s form, th e pelik e is probably to b e date d circa 330-320 B.C . This seem s to b e th e onl y shap e whic h preserves fo r s o lon g th e earl y schem e of a figur e place d simply agains t th e black without fram e or cluttering ornament. The most striking aspec t of the drawing, however, i s the contras t betwee n th e fine , delicat e detai l of the hea d and th e broad, hasty, almost crude strokes for the body, not to mentio n th e omissio n of the farthe r win g (despit e th e preliminary sketch). It is difficult t o find goo d stylistic par - allels despit e th e popularit y of the subjec t matter . A n unpublished fragmentary squa t lekytho s in the Lagioia col - lection, Bari , come s close . I t ha s a seate d Ero s holdin g a wreath in his right hand an d with hi s left supportin g a harp on hi s knee. The drawing of the body shows many stylisti c resemblances to the Getty vase, but the drawing of the hea d is more like that of the body in character, an d s o i s difficul t to compar e with tha t of the Getty pelike. We mov e now t o a group of three joining fragment s i n the Gett y Museum . The y com e fro m a bell-krate r an d seem t o b e mad e o f the relativel y orang e "Tarentine " cla y (fig. 14). 38 On th e lef t i s a plant with a red stem . An Ero s Figure 13. Pelike . Malibu , Th e J . Pau l Gett y Museu m moves right, beating a tambourine, toward a seated woman 71.AE.211. who support s a swan o r goos e on he r raise d lef t han d an d with he r righ t draw s it s beak towar d her lips . The motif i s at th e to p of the nec k an d a foot tha t i s separated off from clearer fro m a replic a on a squa t lekytho s formerly i n th e the body . It is more elaborat e tha n typ e 1 , and a s might b e collection o f the Marques s o f Northampton a t Castl e expected wit h Gnathia , i s the more popular shap e after th e Ashby (fig . 15).39 He r draper y ha s falle n dow n abou t he r early period . The handles , a s usua l wit h thi s type , ar e of waist. It is orange-brown with a red border a t the top. The circular sectio n an d ar e remarkabl y thi n towar d th e top . lines of the fold s see m t o hav e bee n dry-drawn , although The figur e i s drawn in white with yello w interna l detail s it i s possible tha t the y wer e don e in white which ha s sinc e and yellow wash ove r the hair, the phiale, the lower part of vanished. Sh e ha s bangle s on both wrists, a simple necklace , the alabastron , th e leadin g edg e of the farthe r wing , an d and a strin g of beads runnin g abou t he r ches t fro m he r two band s on the lower part of the nearer wing; th e dotted right shoulder . Sh e wear s a sakko s o n he r head . Th e Ero s groundline als o ha s yello w over . Th e decorativ e mark s o n on th e Gett y fragment s ha s bangle s bot h on hi s wrists an d the phiale, mostly chevrons, ar e done in a brown tha t seems on hi s lowe r legs , a necklace , an d a string of beads abou t to b e a more concentrated versio n of the glaze use d t o pro- his ches t wit h anothe r o n hi s righ t thigh . H e ha s golde n

38. Malib u 86.AE.445 . Maximum height : 16. 1 cm. Bareiss Coll., 86 , 39. CVA, pi . 57, 6-7, Christie's , London, July 2 , 1980 , lot 13 ; now no. 242. The two holes a t the top are modern, for the fragments t o han g New York , collection of Gregory Kallimanopoulos. as a plaque. 40. Fo r th e painter , se e especiall y BICS 1 5 (1968) , 40 ; BICS 1 8 Some Gnathia Pottery 125

Figure 14. Fragment s o f a bell-krater. Malibu, The J. Pau l Getty Museum 86.AE.445 .

slippers o n hi s feet . Hi s hair i s bound i n a red kekryphalos , have the elegance or daintiness o f those of the previous gen - and re d i s also used for th e bas e of the Stιphane toward th e eration. The y ar e heavier , jus t a s hi s florals, o r fo r tha t front o f hi s head . Th e dot s fo r th e Stιphane ar e white , matter, hi s line , ar e heavier . Nonetheless , thi s phas e of his whereas th e othe r detail s an d th e ribbon s ar e yellow ; th e work i s goo d an d careful , an d h e stil l use s a n interestin g tambourine i s similarly colored . His hai r i s golden brown. variety of colors, a technique o f which h e i s the las t expo - The farthe r wing i s red with whit e details; the neare r wing, nent i n Middl e Gnathia . Amon g th e characteristic s o f hi s white with re d alon g th e cente r and yello w fo r th e leadin g drawing tha t wil l survive , wit h som e modification , edge and ove r th e pinio n feathers . I n the fiel d betwee n th e throughout hi s caree r i s th e treatmen t o f the eye : a fairl y two figure s hang s a ball with re d markings an d yellow ove r long, slightl y curvin g line fo r th e eyebrow , a shorte r lin e the centra l cross . Th e re d throughou t i s of a particularly parallel to it for the uppe r eyelid , the pupil a s a short strok e deep shade, almost purple . attached t o its end, and th e lower lid as a short strok e below. The drawin g may b e attribute d t o th e Painte r o f Lecc e Also typica l i s th e reticulat e patternin g o f th e woman' s 1075 a t a fairly earl y stag e of his career. 40 His figures d o no t sakkos.

(1971), 34 (bot h these isolating his later, more run-of-the-mill work) ; of his early phase. Gnathia...Bonn, 6- 7 an d n. 25. In the las t I took the London and Bonn pelikai a s his earliest work: the pieces illustrated here enlarge our concep t 126 Green

Figure 15. Squa t lekythos. Formerl y Castl e Ashby . Figure 16. Bottle . Paris, Cabinet de s Mιdailles 1062 .

No on e coul d doubt tha t th e lekythos formerly i n Castle foot reste d on a ris e in the ground. 43 Th e Ero s of figure 1 7 Ashby (fig . 15 ) i s b y th e sam e hand , a s ca n als o b e safel y also matche s th e Ero s of figure 1 4 in man y respects . I t i s said of a pair of bottles in the Cabine t de s Mιdailles in Paris some remov e fro m th e mor e mincin g version o n th e rela - (figs. 16 , 17). 41 Compare th e stoo l of figure 1 6 with tha t of tively lat e pelik e i n Toront o (fig . 18); 44 nevertheless , th e figure 15 . Compare in figures 1 4 and 1 6 the fal l of the drap - elements of the painter' s styl e ca n b e trace d through , par - ery abou t th e wais t an d th e fold s abou t th e uppe r legs ; ticularly wit h hi s nam e vas e a s a n intermediary. 45 Th e compare, also , th e borde r pattern s o f figure s 1 4 an d 16 . Toronto Ero s stil l wear s a sakko s decorate d i n a way ver y Many o f these feature s recu r o n hi s fin e pelik e in Bonn. 42 like that of the woman o f the Gett y fragments . Another detai l commo n t o figure s 1 4 to 1 7 i s t o hav e th e The red-stemme d plan t o n th e lef t o f th e Gett y frag - farther le g of the seate d figur e extende d forward , a s if the ments (fig . 14 ) wa s doubtles s repeate d t o th e righ t of th e

41. D e Ridder 106 2 and 1063 . One shoul d als o add anothe r bottle in 44. Toront o 919.5.4 , D. M. Robinson, C. G. Harcum, and J. H. Iliffe , the sam e collection, Forti, pi. 34d, an d perhap s a fourth, Delepierre 60 . A Catalogue of the Greek Vases in the Royal Ontario Museum of Archaeology 42. Gnathia...Bonn, pis . 8b, 9, 10 . (Toronto, 1930) , pi . 78 , 505 ; A . Rumpf , Malerei und Zeichnung der 43. Th e Ero s of figure 1 7 sit s on a bunc h o f dark re d draper y (o f Griechen (Munich , 1953), pi. 53, 6 ; BICS 1 5 (1968) , pi. 6a; J. W. Hayes, much th e sam e shade a s o n th e Gett y fragments ) whic h i s not clearl y Greek and Italian Black-Gloss Wares and Related Wares in the Royal Ontario visible in the monochrom e photograph ; not e als o his farther wing . Museum (Toronto , 1984) , no. 233 . Some Gnathia Pottery 127

Figure 17. Bottle . Paris , Cabinet de s Mιdailles 1063 . Figure 18. Pelike . Toronto, Royal Ontario Museum 919.5.4.

scene. Th e sam e moti f i s use d t o fram e th e figur e o f a badly preserved , but enough remain s of the drawing of the woman a t a laver on a squat lekytho s in Leiden.46 She hold s eye t o sho w tha t it too i s most likel y b y th e sam e painter, an alabastro n i n he r righ t han d an d reache s bac k t o fi t a at a stag e betwee n th e Gett y fragment s an d th e Leide n slipper on her lef t foot . Behin d he r i s a pillar on which res t lekythos. a heap of drapery an d a mirror. Despit e som e wear t o th e The moti f o f a woma n kissin g a swa n o r goos e i s a n surface, it is clearly by the Painte r of Lecce 1075 . Both th e interesting one. 48 Thes e bird s ar e commo n o n Apulia n drawing and the shape of the lekythos show it must b e later pottery an d ca n wander amon g th e participant s in a rang e than on e normall y expect s suc h plan t work. A bell-krater of scenes ; they are , a s well, favorit e subject s fo r pursuit by in th e Louvre showing a young satyr with a club or lago- erotes and by women. There seem s to b e no consistent dis- bolon als o ha s red-stemme d framin g plants. 47 The figur e i s tinction betwee n th e drawing of a swan and that of a goose

45. Lecc e 1075 : CVA 1 , pi. 5 , 1, 2 and 4; Bernardini (supra , note 33), but se e the reference s cite d supra , note 26. pi. 30,1-3; Forti, pi. 30c . 48. I t recurs on th e painter' s pelik e in Bonn (supra , note 42). Note 46. Leide n BN 1, C. W. Scheurleer, Grieksche Ceramiek (Rotterdam , also the miniature hydria, London F 563, CVA 1 , pl. 1 (37), 12 , or th e 1936), pi. 45 , 129. squat lekythos , Tarant o 11002 . On th e bottl e in th e Cabine t de s 47. Paris , Louvre K 605 bis (ED 150), Forti, pi. 24c (shown in mirror Mιdailles, Delepierre 60 (se e not e 41), the bird seem s to kiss the lips of image). The figur e i s probably a young satyr rathe r tha n a young Pan , a female head, a theme which recur s in later Gnathia. 128 Green

Figure 19a. Skyphoi d krater . Malibu , The J. Pau l Gett y Museum 79.AE.189 .

Figure 19b. Bac k of skyphoid krater , figur e 19a . Some Gnathia Pottery 129

except fo r size . Th e swa n was , o f course , associate d wit h From thi s line in the centra l part han g five pendants drawn Aphrodite an d ha d a prominent plac e in mythology.49 Th e as group s of three diminishing lines. The centra l motif , i n Greeks wer e fon d o f keeping smalle r bird s a s pets , amon g white wit h yello w details , i s a swa n standin g o n a stele , them geese , an d an y creatur e kep t a s a pe t coul d als o b e facing left , it s wings outstretched an d it s head turned back . given a s a love-gift. 50 Thus, o n Apulia n pottery, on e see s The groun d i s shown a s a double ro w of dots from whic h these bird s no t onl y attractin g th e attentio n o f youn g spring tw o yello w branches flanking th e stele . In th e fiel d women51 bu t als o bein g hel d b y a youn g woma n i n th e to either sid e of the swan ar e yellow rosettes with triangula r company o f a young ma n an d a n Eros 52: a pet ma y hav e a petals and whit e diminishin g lines unde r them . Thi s cen - particular sentimenta l value . When a n Eros pursues a goose tral scen e is framed o n eac h side by a descending spray wit h or an y othe r bird , he may b e doing it in imitation of huma n yellow leave s on th e inne r side , whit e leave s on th e outer , behavior: human s do it often enoug h i n vase-painting, an d about a double incise d stem , an d the n iv y descenders. Th e apparently i n lif e a s well , if the stor y relate d b y Plato—o f ivy i s of an individual type with alternatin g re d an d yellow the Macedonia n princ e wh o ha d bee n throttle d an d leaves on incise d stem s and wit h whit e dot-fruit abou t re d thrown dow n a well bu t wa s sai d b y hi s murderer t o hav e centers. A fragmen t o f th e li p an d uppe r wal l ha s bee n fallen down the well accidentall y in pursuit of a goose—was broken an d rejoine d o n th e uppe r left . Ther e i s some slight to hav e an y degre e of verisimilitude. 53 So to o er o tes tra p retouching o f the eg g patter n a t th e break , an d th e zigza g birds and shoo t arrows a t them,54 o r the y ma y pursue the m fillet i s worn in this area . as potential love-gifts , either i n their functio n a s erote s o r The revers e ha s a simpl e pi-shape d arrangemen t o f because the bird itsel f is an erotic symbol which is given its sprays (on double incise d lines, the uppe r leave s of the hor - most explici t expressio n i n the phallos-bir d o r th e winge d izontal an d th e inne r leave s of the descender s ar e yellow ) phallos.55 Bu t for the ladie s o n th e Gett y an d Castl e Ashby framing rosett e an d circl e pendants . Th e circle s an d th e pieces (figs . 14 , 15) , we ma y mor e modestl y interpre t th e rosette ar e yellow ; the diminishin g lines, white. The lowe r geese a s favorit e pets , an d i n view o f th e Eros , a s havin g wall i s reserved an d decorate d with tw o line s of black; th e some sentimental value . clay is strongly reddened. The inne r fac e of the foot i s black; Another piec e to be connected wit h th e Painte r o f Lecce on th e undersid e of the floor i s a broad blac k circl e which 1075, and quit e likely by him, is the Getty's skyphoi d krate r once had a narrower on e aroun d i t (now worn away). Th e (figs. 19a-b). 56 I n shape , th e vas e ma y b e describe d a s a central are a an d th e stri p betwee n th e tw o circle s i s red - very larg e skyphos of Attic type, a type not otherwis e pop - dened, an d beyon d th e circle s ar e th e arm s of a re d cros s ular i n Apulia n Gnathi a wher e fo r th e smalle r standar d with swastika-lik e daub s on thei r ends . drinking vesse l th e lighte r Corinthia n typ e (kotyle ) wa s The re d an d gol d ivy descenders framing the scen e on sid e normally preferred . Th e cla y is of the pale , southern variety . A ar e distinctiv e an d recu r onl y o n a restricte d numbe r o f The vas e i s decorated in a scheme usual fo r ope n vessel s of vases. These include a ver y fin e but wor n asko s in London, this kind , a pi-shape d arrangemen t enclosin g a centra l on whic h the y fram e a swan preenin g it s feathers, 57 an d a motif. On sid e A, at th e lip , are thre e pattern-bands sepa - bell-krater i n Vienna (fig . 20).58 On th e Vienn a vas e th e rated b y doubl e incise d lines : eg g an d do t i n whit e wit h ivy i s horizontal; below, birds fly down t o a basin which i s incised outline; red an d yello w zigzag fille t with a filling of filled with wate r fro m a lion-head spou t just below the ivy. groups of three white dots ; an d the n a line of yellow dots . Not onl y i s the styl e of the iv y the same , but s o to o i s th e

49. Se e recently , K. Schauenburg Jdl 8 7 (1972) , 258fF.; W. Martin i malerei (Hamburg, 1969), pi. 24. For erotes shooting, see e.g., Naples Stg. in Ursula Hockmann and Artje Krug , eds. , Festschriftfür Frank Brommer 508, CVA 3 , pi. 70.3 , or Taranto 52574, Forti, 3 3 n. 17 . A bird caugh t in (Mainz, 1977) , 223-229; I. Krauskopf , Forschungen und Funde: Festschrift a trap forms part of the decoration on the round-bodied epichysis Yale Bernard Neutsch (Innsbruck , 1980), 243-248. 1913.281. 50. Aristophane s specifically mentions the goose among birds used a s 55. Thus , note the comic actor in pursuit of a winged phallos, mim- love-gifts a t Birds 707 . For the dove as a love-gift t o a girl, se e Theocritus icking normal human behavior, on the Harvard fragment, A. D. Tren- V, 132-133 : dall, Phlyax Vases, 2d ed., no. 154 , pi. 4g, and Art of S. Italy, no . 121 . On this whole question, se e mos t recentl y my comments in Greek Vases in the J. Paul Getty Museum 2 (1985) , 111. Als o H. Hoffmann, Sexual and See als o ibid., 96-97. Asexual Pursuit (London , 1977) . At the beginning of the sequence , we 51. As , for example, Art of S. Italy, no . 127. may als o remember how Penelope's pet gees e (Odyssey xix, 535ff. ) wer e 52. A s Art of S. Italy, no . 76; see als o our painter's nam e vas e (supra , killed b y an eagl e in her dream an d then interpreted a s symbolizing th e note 45) wher e the youth stil l holds the bird b y a string. suitors who were to be killed th e next day by Odysseus . 53. Plato , Gorgias 471C . 56. Malib u 79.AE.189 . Height: 30.1 cm. 54. Fo r erotes with bird-traps , see th e Gnathia squat lekythoi : Phil - 57. Londo n F 585, CVA 1 , pi. 5 (41), 19. adelphia L-64-19 , AA, 1981 , 346, fig . 3, CVA 1 , forthcoming; Paris , 58. Vienna , Kunsthistorisches Museum IV 121 . Louvre K 615, K. Schauenburg, Jagddarstellungen in dergriechischen Vasen- 130 Green

the skyphoid krater (fig . 19a). The secon d skyphoi d krate r fro m th e Gett y collection (figs. 2 1 a-b) i s a littl e smaller. 60 I t i s mad e of a slightl y coarse, pale cla y and o n the front ha s a standard scheme . At the lip, it has band s of egg-pattern (white) , re d and yello w fillet, an d then yellow dots bordered by incised lines. Below this i s a vin e fram e enclosin g a swan . Th e vin e ha s a re d stem, an d o n th e horizontal , the righ t side s of the leave s and grap e bunches ar e washe d ove r t o mak e the m yellow , as ar e th e lower sides on th e verticals . The swa n stand s left , shaking it s wings an d preenin g it s breas t feathers . Th e details an d th e bac k o f th e nec k ar e i n yellow . O n th e ground t o th e lef t i s a plant; in the field , a yellow sas h an d a rosette . Th e revers e simply ha s eggs , then yello w dot s a t the lip, and then two white ivy descenders framing a rosett e with yello w center . The vas e may b e attribute d to th e relativel y early stage s of the Laurel Spray Group a s it breaks away from th e circle of th e Ros e Painter . I t i s typical of this Group, an d of th e Knudsen Group which succeed s it, to draw the egg-patter n Figure 20. Bell-krater . Vienna, Kunsthistorisches Museum without dot s o r incise d outlines. What become s more an d IV 121 . more typical i s to put th e horizontal of the vine frame har d up agains t th e lip decoration, without leave s or tendril s on style of other detail s such a s the descending sprays , the rosettes the upper sid e of the stem. 61 Th e Getty vase is an unusuall y with triangula r petal s an d a ring in the cente r (rathe r tha n careful piece : the painters in the Laurel Spray Group tende d the usua l soli d circle) , th e group s o f three smal l diminish - to prefe r faste r productio n of standardized schemes . None- ing lines , an d th e birds ' wing s wit h th e curving , fanlik e theless i t ha s th e characteristi c heav y grap e bunche s an d spread o f the pinion feathers . Th e artis t i s the same. 59 thickly draw n leaves . A proble m in attributing Gnathia vase s is the difficult y o f Another carefu l an d i n man y way s simila r piec e i s a showing links between on e category of decorative scheme and kotyle in the Joslyn Art Museum, Omaha (fig . 22).62 It i s another, betwee n vase s that rel y on figures , florals, vines , o r still clos e t o th e Ros e Painter. Stil l anothe r usefu l compar - ivy. Th e connectio n with th e Painte r o f Lecce 1075 , who i s ison i s a kyathos in Würzburg (fig . 23).63 Here th e grape s known mainl y for o r throug h hi s drawing of figures an d of are just a s blobby a s on th e Getty vase , and th e leave s seem heads, can only b e mad e through subsidiary motifs. Thu s hi s to b e drawn in the sam e style. On th e neck, th e Würzbur g characteristic an d relativel y late pelik e in Toront o (fig . 18 ) vase has th e distinctiv e laurel spray tha t give s th e grou p it s has th e sam e rosettes and th e sam e groups of small diminish - name an d tha t lead s on e o n t o a further serie s which use s ing line s under th e uppe r border . Notic e now tha t thi s same the spra y a s a principa l motif. 64 Indeed , th e kyatho s i s rosette i s found decoratin g th e tympano n hel d b y th e Ero s short-lived a s a shap e in Gnathi a potter y an d seem s vir - on th e Gett y fragment s (fig . 14) . Th e Vienn a bell-krate r tually confine d to thi s group. 65 (fig. 20 ) provide s a link wit h hi s birds , a s doe s the swa n of The nestori s i n th e Gett y Museu m (fig . 24) i s a piec e

59. On e ma y ad d anothe r skyphoi d krate r recentl y o n th e Rom e ner, wh o i s to publis h th e potter y in th e Joslyn Museum' s collection. market o n whic h th e sam e descender s ar e use d t o fram e a sire n wh o The revers e is much more hasty . holds a bird-trap; see to o th e bell-krater Oxford 1939.72 , R. M. Cook, 63. E . Langlotz, Griechische Vasen in Würzburg (Munich , 1932) , pi. Greek Fainted Pottery (London , 1960), pi. 56b (fo r th e bird) . Ther e i s 241, no . 839 , whenc e th e illustratio n here . Th e vas e wa s damage d i n also a serie s of vases decorate d simpl y with thi s sor t o f ivy but wit h World Wa r II and restore d o n th e basi s of Langlotz' illustration . I a m white rathe r tha n re d center s fo r th e fruit . O n presen t evidenc e on e grateful t o Guntram Becke l for much hel p on thi s piece. Als o of much cannot sa y if they ar e by the Painte r of Lecce 1075 . the sam e stage ar e th e bell-krater s Warsa w 198132 , Ci^4 6 , pi. 15 , 4-5, 60. Malib u 79.AE.188 . Height: 25.4 cm. and Compiègn e 1007 , CJ^4 , pi . 24, 1 6 and 18 . The latte r ha s th e sam e 61. I t i s standar d o n th e vine-kotyla i o f the Knudse n Group . On e sort of laurel spray b y the handle s on the reverse . example amon g many: Gnathia...Bonn, pi . 16b . For skyphoid kraters of 64. Cf . Gnathia...Bonn, pi . 8a, an d th e piece s associate d with i t in that Group , se e StEtr 4 2 (1974) , pi. 94b (tw o examples) o r Sotheby's , the text. London, July 10 , 1972 , lot 175 , pi. 46. 65. Amon g published examples , note , i n descendin g chronologica l 62. Ornab a 1951.567. 1 owe my knowledge of this piece to Ann Stei- order, CVA Veron a 1 , pi. 20, 3; CJ^ 4 Naple s 3 , pi. 64, 9; CVA Copen - Some Gnathia Pottery 131

Figure 21a. Skyphoi d krater . Malibu , Th e J. Pau l Gett y Museu m 79.AE.188 .

Figure 21b. Bac k of skyphoid krater , figur e 21a . 132 Green

without clos e parallel. 66 It i s made of a pal e buf f cla y an d has th e characteristi c high-archin g stra p handle s wit h shieldlike disc s attache d fron t an d bac k at thei r highes t point an d a t th e leve l o f th e lip . The vas e i s elaboratel y finished. Not only i s the body ribbed from shoulde r t o base but th e horizonta l handle s hav e doubl e ridge s o n thei r outer face s an d th e foo t ha s bot h vertica l and horizonta l grooving. Th e ribbin g o n th e bod y was , a s usual , planne d before th e applicatio n of the handles . Whil e th e vas e wa s still on th e wheel , shallow preliminary grooves wer e mad e to define the upper an d lower limits for the ribs, which ru n all around th e vase . The ribbin g itsel f was, of course, don e after th e applicatio n of the handles . Th e vas e is completely coated i n glaze. Th e overpainte d decoratio n i s confined t o the disc s an d shoulde r an d i s the sam e on eac h side : on th e Figure 22. Kotyle . Omaha , Josly n Ar t Museum , gif t o f Mrs. W. H. Quigley, 1951.567 . discs i s a star motif with dot s o n th e rim; on th e shoulde r is ivy with dot-fruit . Th e decoratio n i s all done i n white , washed ove r to mak e it yellow. It i s worth comparin g thi s vas e with a nestori s b y th e Varrese Painte r i n a privat e collectio n in Kie l (fig . 25),67 which i s to b e date d circ a 350-340 B.C . The Gett y piec e i s clearly later , a s i s evident bot h fro m th e mor e ovoi d bod y and especiall y fro m th e talle r foot . Th e ribbing , too , extends over a greater par t of the body an d i s more quickl y executed. Al l this , together wit h th e style of the ivy on th e shoulder (widel y space d wit h a painte d ste m an d al l in monochrome yellow) , suggest s a dat e at th e en d o f th e fourth centur y o r eve n in the earl y third . The Varres e Painter' s vas e shows influence s fro m metal , notably th e carefu l ribbing , th e groove d side-handles , th e relief heads on th e discs , th e lion-head protomai where th e vertical handle s mee t th e lip , and th e impresse d egg - pattern o n th e lip . The Gett y vase , thoug h les s elaborate , continues thi s tradition , eve n i n th e shieldlik e appearance of th e discs . Th e relationshi p between metalwar e an d pot - tery i s rarely a simple one. 68 Direc t copies fro m on e t o th e other sometime s occur , but not infrequently pottery shapes can develop a metallicizing tradition of their own, without specific referenc e bac k t o individua l meta l versions , just a s pottery shape s ca n b e take n ove r int o meta l an d hav e a n

; Figure 23. Kyathos . W٧rzburg, Marti n vo n Wagne r hagen 7 , pi . 276 , 3 ; Sotheby's , London , Februar y 23 , 1976 , lo t 293 Museum L. 839. Photo: Afte r Langlot z (1932) . Dublin, University College (e x Hope 342), Proceedings of the Royal Irish Academy 7 3 (1973) , 455, no. 1144 ; Vlaardingen, private collection, Rijksmuseum van Oudheden, Klassieke Kunst uit Particulier Bezit ex . cat. (Leiden, 1975) , no. 595, fig. 237 . For similar vines a t the sam e stage, se e the oinocho e CJ^ 4 Naple s 3 , pi. 65, 11 ; the kotyla i CVA Bologn a 3, pi. 2, 15 ; Toronto 957.153.16, Hayes (supra , note 44), no. 257 (slightl y late r and les s careful), CVA Naple s 3 , pi. 73, 10 , H. Sichtermann, Griechische Vasen in Unteritalien aus der Sammlung Jatta in Ruvo (Tubingen , 1966), pi. 149 , K 97-98, and many unpublishe d kotylai in Ruvo. 66. Malib u 78.AE.320, presented b y R. Collins . Height (a t lip) : 45.5 cm; diameter: 26. 3 cm. Christie's, London, July 12 , 1977, lot 141 , pi. 31; Schneider-Herrmann, 37-38 , fig . 95 ; Art of S. Italy, 274, no. 134 . Some Gnathia Pottery 133

Figure 24. Nestoris . Malibu , Th e J . Pau l Gett y Museu m Figure 25. Apulia n red-figur e nestoris . Germany , privat e 78.AE.320. collection. independent lif e eve n afte r th e shap e has disappeare d fro m pottery an d th e potter y version s hav e develope d i n a dif - ferent direction . The scen e on th e nam e vase of the Maple - wood Painte r i s useful her e (fig . 26).69 The nestori s carrie d by th e woman in the cente r of the scen e seems intended a s metal: note th e ribbin g of the body , th e elaborat e foot, an d the us e o f whit e (washe d yellow ) fo r th e handles . Th e scene i s clearly on e o f welcome fo r victoriou s nativ e war - riors. Although Athenian vase-painters often showed meta l rather tha n cla y vessel s in more elevate d contexts , Apulian s normally see m to have been more litera l in this respect, an d when we se e a metal vesse l we may assum e it really is metal. A. D. Trendall ha s pointe d ou t tha t th e earlies t extan t nes -

67. RVAp, vol . 1, 343, no . 34 ; K. Schauenburg, _/

Figures 27a-b. Cup . Above: profile ; below: interior . Malibu , Th e J . Pau l Gett y Museu m 76.AE.50. torides i n Apulia n red-figur e war e dat e t o th e middl e of terparts tha n ha s bee n supposed , an d thes e vase s certainly the fourth century , wherea s they ar e depicted in red-figur e appear a t a tim e whe n th e Gree k potter s an d painter s o f from a s earl y a s th e Sisyphu s Painte r i n the late r fift h cen - Apulia wer e makin g close r contac t wit h th e nativ e tury.70 Som e of the example s depicte d ar e smal l and argu - populations.71 ably represen t the nativ e Messapian trozzella, bu t other s ar e The Getty vas e is the only known true Gnathia nestoris . larger an d should , lik e th e on e o n th e Maplewoo d vase, b e There ar e a few trozzelle wit h overpainte d decoration, 72 bu t metal. I t i s therefor e quit e possibl e tha t th e nestori s cam e they stan d outsid e th e Gnathi a traditio n proper, eve n into th e repertoir e of the Apulian Gree k potte r fro m metal . though th e decoratio n o n som e of them imitate s Gnathi a There ma y b e a less direct link wit h thei r Lucania n coun - in techniqu e an d i n som e o f th e motif s employed . Th e

70. A . D. Trendall, Gli indigeni nella pittura italiota (Taranto, 1971) , pi. 3 (478) , 4a-b; CVA Goth a 2 , pi. 90, 1-2 ; CVA Warsa w 6 , pi. 22, 3- Iff., and Magna Graecia, vol. 6, no. 9/10 ( 1971 ), 14ff . The Sisyphus Painte r 4; CVA Rennes , pl. 44, 5 and 7 (les s close) ; Vienna IV 296 (unpublishe d vase: London F 174 , RVAp vol . 1 , 1 6 no. 5 5 (wit h earlie r references) ; but very close). All thes e are Campanian . Schneider-Herrmann, fig . 97 . 76. A n exception, though very different in approach, i s the serie s of 71. See , for example, my comments i n Art of S. Italy, 288-292 . small plates which have , in the center, an impressed rosett e which i s then 72. Collecte d by Schneider-Herrmann, 27 . used a s a n earrin g for a red-figure femal e head : e.g. , Zurich 2686 , CVA 73. Art of S. Italy, 256. 1, pi. 48, 6-7 ; RVAp vol . 2, 77 6 no . 14 7 (Amphora e Group) ; Milan , 74. Malib u 76.AE.50 . Height: 5.3 cm; diameter (a t lip): 10. 2 cm. collection "H. A." 286, RVAp vol . 2, 668 , no. 221 , pi. 249, 7 (Chevro n 75. Fo r the shape , compare in general term s CVA Britis h Museum 7 , Group). Some Gnathia Pottery 135

Getty vas e i s likely t o hav e bee n a n experiment , base d o n red-figure versions , bu t lik e othe r larg e vessel s introduced or reintroduce d at th e sam e period , th e shap e wa s soo n abandoned.73 The stemles s cup (figs . 27a-b) i s of somewhat abnorma l form; i t might almos t b e calle d a cup-skyphos, give n th e height of the lip in relation to it s diameter, 74 althoug h th e handles o f a cup-skypho s normall y sprin g fro m a lowe r point o n th e bowl . Th e vas e i s intact but fo r a small frag - ment o f th e li p on sid e B , which ha s bee n restored . I t i s made of a pal e brow n clay , and befor e i t wa s painted , th e center o f th e insid e wa s decorate d wit h a schem e o f si x impressed palmette s linke d b y compass-draw n loops , al l arranged abou t a squar e containin g fou r palmettes . Th e latter have thinner, spikier leaves. The vas e was then dippe d in th e glaze , but th e undersid e wa s lef t unpainted ; no r wa s it reddened . Withi n th e lip is painted a band o f laurel wit h dot-fruit. Th e centra l ri b of each lea f is drawn i n yellow , and th e whol e i s coated wit h a yellow wash . On th e out - side, on side s A an d B , there are , fro m th e lip, two incise d lines, a re d an d yello w band , anothe r incise d line , the n a vine-pattern. Belo w tha t ar e tw o group s o f three dot s o n side A but not on sid e B. The stem s of the vine ar e washe d yellow, a s ar e the right sides of the grape bunches and leaves . The yello w her e and o n th e ban d neare r th e lip is a strong, deep shade; the red is fairly dull. The paint is quite thick an d tends to flake off , almost a s if it were modern, but it is not. The cu p i s Campanian, a s i s evident fro m th e clay , th e shape, th e impresse d decoration , th e styl e o f th e painte d decoration, an d th e quality of the paint. 75 Apulia n potter y rarely combine s painte d an d impresse d decoration, 76 an d Figure 28. Oinochoe . The Auckland Museum 18515 . the styl e of the impresse d decoratio n i s purely Campania n even i f ultimately derive d fro m Athens . I t i s typical , fo r example, to have a square motif in th e center. In Campania , however, impresse d decoratio n i s mor e ofte n combine d with th e characteristi c iv y on a n incise d stem, 77 an d thi s i s a tradition that, a s pointed ou t elsewhere , lead s ultimately to th e Tean o Class ; but ther e ar e occasiona l example s wit h laurel or eve n with laure l and ivy combined. 78 The Gnathi a styl e wa s neve r develope d a t al l full y i n Campania.79 Th e mos t common categor y foun d i s ivy decoration suc h a s ha s just bee n mentioned . I t seem s to hav e been borrowed fro m Apulia , perhap s northern Apulia ,

77. Fo r example , th e Vienn a an d Goth a vase s mentioned supr a in note 75 ; also CJ^4 Gallatin , pi. 64, 7, Naples Stg . 106 , Amsterdam 1401 . 78. O n th e lin k wit h Teano , se e Gnathia...Bonn, 16 , and Art of S. Italy, 258-259. Fo r laurel with ivy about incise d decoration on the stem - less cup , se e J . Dτrig, ed. , Art antique. Collections privιes de la Suisse romande (Geneva an d Mainz, 1975), no. 297. Figure 29. Kotyle . Melbourne , Nationa l Galler y o f Vic - 79. Fo r attempt s t o distinguish Campanian traits , se e L. Forti, "Vasi toria (o n loa n t o th e Universit y o f Mel - del tipo 'Gnathia' provenienti da Pontecagnano," Apollo 1 (1961), 89-98, and La Cerαmica di Gnathia, 131fF . bourne), 175 . 136 Green

friezes an d use d eg g an d do t fo r th e cornice. 82 Bu t tha t may b e pedantry whe n see n from th e wild west .

ADDENDUM Since thes e note s wer e written , th e Museu m ha s acquired two further piece s of Gnathia pottery. The firs t i s the beautifu l fragmen t (fig . 30) onc e in th e collectio n of Karl Zinser, the court jeweler, in Stuttgart. It is well known from Bulle' s publication. 83 A s Bull e saw , th e fragmen t i s from a large calyx-krater , and , a s always , on e find s it dif - ficult t o improve on his description. We have the upper par t of a woman facing right, supporting a lyre by its cross-piece with he r righ t hand . I t i s quite likel y tha t sh e i s a Muse , and possible , give n th e pose , tha t sh e wa s seated . Her flesh is white, her hai r red-brown , it s wave s draw n in a darke r version of the sam e color. At the brows , temples , an d nec k much of the colo r ha s flaked awa y wher e i t overlapped th e white. He r hai r i s hel d b y a broa d headban d i n mediu m brown, whic h support s i t a t th e bac k an d carrie s a diade m Figure 30. Fragmen t o f a calyx-krater. Malibu, The J. Pau l Getty Museum 83.AE.431. on top ; thi s ban d i s folded ove r abov e th e ear s and i s dec - orated with a row of dark dot s a t the front an d with zigzag s and row s of white dots alon g the edges . The diade m i s also some time in th e thir d quarte r o f the fourt h centur y an d white. Sh e wear s a yellow-brown peplos, th e pain t o f to hav e laste d unti l th e earl y third . Anothe r categor y o f which ha s agai n flaked of f where i t la y ove r th e whit e overpainted war e ha s littl e o r n o relatio n to Apulia n Gna - (principally b y he r righ t arm) , an d the n a mantle, whic h thia. This i s the serie s of skyphoi decorated wit h laure l an d comes ove r he r lef t shoulde r an d u p behin d he r neck . I t i s scroll motif s in applie d whit e an d red. 80 Th e us e o f vine- of a relatively pale shade of brown with th e fold s shown b y patterns, floral-work, femal e heads , o r masks , however , darker line s and th e decoratio n with group s of three white seems neve r t o hav e bee n adopte d i n an y consisten t way , dots. Th e details , he r earring , necklace , bracelet , an d lyr e and i t i s difficul t t o isolat e an y worksho p traditions . Th e are don e in a golden brown . Remarkably , th e gol d i s als o Getty cu p i n figur e 2 7 borrow s quit e directl y fro m th e used on th e uppe r sid e of the forear m a s shading t o sugges t Apulian Sidewinde r Group , of which tw o reasonabl y typ - roundness. All thi s i s on a blue-black glaz e of high quality. ical example s ar e give n in figure s 2 8 an d 29. 81 Th e Side - Bulle describe d th e fabri c with som e care , an d s o fa r a s I winder Group , whic h represent s th e vine-decorate d vase s can mak e out , h e wa s th e firs t t o observ e th e type : roug h of th e Dunedi n Group , i s a larg e on e an d wa s produce d pale cla y with a thick coatin g of a finer, more orang e cla y over som e length of time, but i t must giv e a terminus post over it. This i s the typ e I called II I i n my categorizatio n of quern for th e Getty cu p of circa 325 B.C . a t the earliest . Th e Gnathia fabrics. 84 Fo r som e reason , perhap s a shortag e of cup use s the group s o f three dot s o n th e lowe r wall, exag - the bette r material , potters i n th e are a of Taranto adopte d gerates th e trilobat e characte r o f th e grap e bunches , an d the custo m o f throwing large r vase s in thi s coarser , pal e makes the leave s into inverted palmettes. Mor e typical, per- clay and the n dipping the product in a solution of the fine r haps, of its provincial quality is the way the re d an d yello w clay. Th e orange-buf f bot h looke d bette r (an d mor e band i s placed righ t u p agains t th e lip . Apulians were usu - normal) an d forme d a mor e reliabl e foundatio n fo r th e ally ver y consciou s o f th e structur e o f th e decoratio n i n glaze. Smal l vase s suc h a s th e epichysi s (fig . 4), th e squa t relation t o th e for m o f th e vase ; the y sa w thes e band s a s lekythos (fig . 12), and eve n th e bell-krate r fragment s (fig .

80. Fo r example , fro m Cumae , Mon Ant 2 3 (1913) , pi. 109 , 1 and 3 ; tliia...Bonn, 9 and n. 35. from Ñola , M. Bonghi Jovino an d R . Donceel , La necropoli di Nola 82. Th e on e exception that come s to mind i s the cup CVA Stuttgart , preromana (Naples , 1969) , pl. 11, A 3 . The latter se e the m a s an impov- pi. 60 , 6. erished versio n of Saint-Valentin vases , probably under th e influenc e of 83. Malib u 83.AE.431 . Height: 10. 7 cm; width 1 1 cm. Bulle (supra , the Xenon Group. note 4), 22, pi. 2 (color) , whence Fort i pi. 13b. 81. Aucklan d 1851 5 an d Melbourne , Nationa l Galler y of Victoria , 84. A4 , 1977 , 589-562 . on loa n to th e Universit y of Melbourne, Classics Department 175 . On 85. Art of S. Italy, 262-263, no . 120 , with references . the Sidewinde r Grou p i n general , se e BICS 1 5 (1968) , 1 8 an d Gna- 86. Naple s 3249 , from Ruvo . C. Watzinger in FRiii, 367 , pis. 179 - Some Gnathia Pottery 137

Figure 31a. Bell-krater , side A. Malibu, Th e J. Pau l Gett y Figure 31b. Sid e B of bell-krater, figure 31a . Museum 82AE.15 .

14) ar e mad e completel y o f this latte r material , althoug h with tim e eve n the y cam e to b e mad e of the pal e cla y an d dipped. Muses ar e no t commonl y show n o n Gnathi a pottery . There i s a fine example o n th e nam e vas e of the Painte r o f the Bowdoin Muse, where sh e stand s leaning against a rock, holding pipe s i n he r hand. 85 Close r i n man y way s i s th e seated Mus e wit h lyr e on th e well-know n li d in Naples ; she eve n ha s simila r headgear.86 Fort i wa s tempte d t o asso - ciate i t wit h th e Zinse r fragmen t i n style , but , fo r th e moment a t least , th e attributio n does not carr y complet e conviction, eve n if the piec e clearl y belongs t o th e circl e of early painters . The Museum' s othe r recen t acquisitio n i s a fascinatin g bell-krater (figs . 3 1 a-c) tha t ha s bee n publishe d b y Fay a Causey Frel. 87 The shap e is of that specia l typ e (B) , apparently borrowe d fro m Corinth , tha t i s foun d onl y i n th e earlier year s of Gnathia production. 88 As i s normal fo r th e type, th e vertica l face of the foo t ha s a groove b y its uppe r edge; th e stra p handle s ar e ridge d an d hav e protrusion s (spurs) t o eithe r side . The vas e i s taller in appearance tha n Figure 31c. Detai l of side A of figure 31a .

180; J. Charbonneaux , R . Martin , an d F . Villard, Classical Greek Art (London, 1973) , 312, fig. 36 2 (color) ; Forti pi. 9, and se e he r p. 46. 87. Malib u 82.AE.15 . Height: 35 cm; maximum diameter: 39. 5 cm. F. C. Frel , "Prometheus Parodied: A Gnathia Hilarotragedy. " In Studies in Honor of Leo Mildenberg, edite d b y A. Houghton, S . Hurter , P . E . Mottahedeh, an d J. A. Scott (Wetteren , 1984) , 51-55, pi. 7. 88. Se e my comments i n Studies in Honor of A. D. Trendall, edited by A. Cambitoglou (Sydney , 1979) , 81, and 8 7 n. 3 for a brief list of exam- 138 Green

most othe r examples , bu t whethe r th e shap e sequenc e a t from a traditio n o f representations base d o n theater . Th e this point (sa y abou t 360-35 0 B.C. ) i s from squa t t o tal l o r figure doe s not wea r theatrica l costume, no r a mask , bu t vice versa i s difficult t o say . Gnathia shapes in general wer e the iconographie type of the figure clearl y derives from th e in a phase of organization and establishment . Th e stout t o spectacle o f th e stage . Caricature s i n Sout h Italia n vase - slender cycl e was a t its very beginning. The rim and uppe r painting ar e not uncommon, especially in marginally the - wall at th e bac k of the vas e had bee n broke n in antiquit y atrical contexts. 90 At the sam e time the figure, with it s dis- and mende d wit h lea d clamps . The cla y of the vas e i s lik e tended belly , enlarged genitalia, and emaciated limbs, seems that of the Zinse r fragment , a more orang e coatin g over a to hav e al l the symptom s of a classi c cas e of schistosom- pale core, and thi s is a very early example of the technique . iasis.91 One might eve n wonder if the painter had base d hi s The vas e was completely covered with glaz e except fo r th e depiction o n observatio n of an actua l sufferer . Th e diseas e inner face s o f th e handles , th e restin g surface , an d th e seems to have been common enough in Egypt, but we hav e underside, which wer e reserved an d reddened. Much of the no othe r evidenc e fo r i t in Apuli a a t thi s period . If the glaze ha s flaked away , especially from sid e B. painter kne w it , he ma y hav e though t o f it a s a foreig n On sid e A, between spray s of ivy with incise d stems that disease, and to a Greek, that may hav e made it more amus - run dow n obliquel y fro m th e handles , stand s the figur e of ing. This attitude is surely part of the background in a cul- Prometheus, hi s arms outstretched. He is bound to the rock tural sens e to th e portraya l of caricature an d grotesqu e i n and gaze s down t o his right a t a bird tha t in turn contem - the sculpture s an d terracotta s o f Alexandria. 92 Th e plates him. He i s drawn in orange-brown paint with whit e advances made by the followers of Lysippos may have mad e for hi s hair and beard a s well a s for the fetters on his wrists. it possibl e in an artistic sense, but th e other essentia l ingre- Darker pain t i s used fo r the inner details, while th e wound dients were th e Gree k attitud e to the physicall y deformed , just belo w th e breastbon e i s pink an d th e bloo d dar k red . their attitud e toward Egyptians , and, of course, th e close - Incision wa s use d fo r hi s cloak, the bird , an d th e ground- ness of contact i n sufficien t number s i n a settin g suc h a s lines. There ar e also light incisions for the body hair (pubic, Alexandria provided . The attitud e of superiority implie d above th e navel , and on th e chest). 89 On sid e B (fig . 31b), by suc h representation s i s more likel y t o develo p amon g a two iv y sprays com e in from th e handle s an d almos t mee t dominant grou p place d in close proximity t o an d possibl y in th e center , bu t her e th e stem s ar e painted , not incised , feeling uncomfortabl e wit h peopl e differen t i n physica l and ther e i s no evidenc e of dot-fruit. appearance. One would therefor e never claim that the Get - Faya Fre l attribute d th e vas e t o th e Konnaki s Painter , ty's Prometheu s provide d the fir e fo r such a development, probably rightly . I t i s certainly very clos e t o him indeed . but it is a splendid example of Greek humor an d acutenes s She als o pointed out tha t th e representatio n of this cruell y of observation. amusing parod y mus t deriv e fro m th e theater , o r a t leas t The University of Sydney

pies. One ma y als o not e th e piec e in J. V . Noble's collection (Art of S. 91. Se e A. and E. Cockburn, Mummies, Diseases and Ancient Cultures Italy, 264 , no. 123) , which seem s to b e b y th e sam e hand a s Palerm o (Cambridge, 1980) , 3 , 30 , 71 , 79, an d 268 . I a m indebte d t o Mare e 2254, an d anothe r i n a Dutch privat e collection (Klassieke Kunst uit Browne for this reference . particulier Bezit, ex . cat. [Leiden , 1975] , no. 592, fig. 238). 92. N . Himmelmann, Alexandria und der Realismus in der griechischen 89. Fre l (supra , note 87 ) give s a careful account of the evidenc e for Kunst (Tubingen , 1983 ) i s now fundamental . On thes e questions , se e preliminary sketc h in the figure-work . especially pp. 27 ff. and 61 ff. One looks forward t o his treatment of earlier 90. Se e Trendall (supra , note 4), 83. material. A Clusiu m Group Duck-Askos in Malibu

Mario A. Del Chiaro

A red-figure d vas e in th e for m o f a duc k recentl y and abou t leve l with th e ri m of the fille r spou t (compar e acquired b y th e J. Pau l Gett y Museu m (figs , la-b) 1 con - fig. 2 wit h figs . 3 an d 5) . Whe n viewe d frontally , suc h forms t o th e genera l typ e o f Etrusca n vase-paintin g duck-askoi presen t a full y rounde d bod y surmounte d b y assigned b y John Beazle y to his Clusium Group2—a Grou p an aler t an d perk y head. 6 that derive s it s name from a production center believe d b y Despite th e exten t of the missing portions a t the handle , C. Albizzat i an d Beazle y earl y o n t o hav e been locate d in breast, and tail , particularly on th e righ t sid e (fig . lb), the or aroun d present-da y Chiusi, 3 a cit y i n ancien t Etruri a Getty vas e nevertheless retain s ver y shar p an d clea r paint - known i n Roman time s a s Clusium . In recen t years , th e ing, including the added-white paint , which in many othe r Clusium Grou p ha s bee n studie d i n dept h b y Maurizi o cases is only faintl y visibl e or altogethe r missin g because of Harari, wh o ha s considere d th e prickl y questio n o f two its highly fugitiv e nature . A s with othe r fin e duck-askoi of possible centers for the Group, namely, Chiusi and the not - the Clusiu m Group (se e figs . 2 an d 3) , th e Gett y vas e i s too-distant Volterra.4 richly embellished with pattern s o f carefully rendered , styl - The identificatio n askos i s generally give n to a flasklike ized feather s fo r it s wing s an d body . Th e chie f an d mos t vase bearin g a handl e an d a dee p body , normall y wide r conspicuous decoration , however, i s the winged female fig - than high , an d possessin g a spoutlik e orific e fo r fillin g ures—one t o eac h side—wh o fly majesticall y towar d th e which i s placed at or nea r th e vessel' s top. The Gett y asko s duck's breas t with thei r leg s curiously set in a "swimmer's along with other s in the shap e of a duck ar e well suite d fo r kick." If the flying femal e carrie s object s tha t ca n b e iden - pouring liquid s of a precious natur e (suc h a s scente d oils) . tified a s a n alabastro n an d it s dipstick and possibl y a sash— Of al l the duck-asko i attribute d t o variou s Etrusca n cen - as o n th e lef t sid e o f the Gett y asko s (fig . la)—then sh e ters,5 thos e of the Clusium Group ar e characterize d b y th e may b e regarde d a s a Lasa , a n importan t Etrusca n mino r following: a full, taperin g body balanced o n a low ring base divinity bes t associate d wit h th e Etrusca n goddes s Tura n (affecting a floating o r swimmin g duck); a gracefull y (the equivalen t o f th e Gree k Aphrodite). 7 Lasae ar e fre - curved nec k leadin g t o a hea d disclosin g a well-rounded quently painted , an d mor e rarel y depicte d i n relie f (e.g. , eye in relief; a striated bill pierce d by a small hole to permit fig. 4) 8 o n duck-asko i o f th e Clusiu m Group , an d a s a limited emissio n o f it s preciou s content ; a vertica l fille r decorative theme , the y contras t markedl y wit h equall y spout accente d b y a flaring rim ; an d a n arche d handl e common duck-asko i decorate d wit h mal e o r female head s which ma y projec t noticeabl y abov e or—a s I believe origi - in profil e (e.g. , fig. 5).9 nally wa s th e cas e for the Getty askos—somewha t flattened On th e evidenc e of the painting in general an d th e hig h

Abbreviation: Pianu, Ceramiche etrusche a figure rosse (Rome, 1980) , pi. CXII,c. Harari: M. Harari , i7 "Gruppo Clusium" nella ceramografia etrusca (Rome, 7. Se e R. Herbig , Goiter und Damonen der Etrusker (Mainz , 1965) ; 1980). A. Rallo, Lasa, Iconografia e Esegesi (Florence , 1974) ; and, more recently 1. Malibu , Th e J. Pau l Gett y Museu m 83.AE.203 . Presente d b y in regar d t o Lasa e engraved o n Etrusca n bronz e mirrors , C. Sowde r in Vasek Polak. Maximum preserve d height : 13. 5 cm; maximum preserved A Guide to Etruscan Mirrors, N . Thomson d e Grummond, ed. (Talla - length: 2 5 cm; diameter (rin g base) : 5. 0 cm . I wish t o than k Jirν Fre l hassee, 1982), 114-115 . for permissio n to study an d publish the Getty duck-askos . 8. London , British Museu m G 151 . The photograph i s courtesy of 2. J . D. Beazley, Etruscan Vase-Painting (Oxford , 1947) , chapter 5 , the trustee s of the Britis h Museum . Height: 15. 6 cm; length: 23.5 cm. esp. 113-122 . See als o M. Del Chiaro (supra , note 6), 111 , fig . 5 , and in RA, 1978 , 28, 3. Beazle y (supra , not e 2) ; C. Albizzati , "Du e fabbrich e d i vas i a fig. 3 ; and Harari, pis. XXXVI; XXXVII, 2 ; XXXVIII; an d XXXIX . figure ross e (Clusium-Volaterrae), " RomMitt 3 0 (1915) , 129-160 , esp . 9. Florence , Muse o Archeologic o 4232. Height : 13. 3 cm . Fo r th e 152. opposite sid e of the asko s with nea r identica l profile type , se e StEtr 3 5 4. Harari , 47-62. (1957), 480, fig. 4 . Se e als o M. Del Chiaro, "An Etruscan Duck-Askos," 5. Fo r othe r propose d Etrusca n centers of production of early an d MedelhavsMusB 1 2 (1977), 62-69; and Harari, pis. XXIV, XXV, XXVI , late duck-askoi, see M. De l Chiaro, "Late Etruscan 'Duck-Askoi, ' " RA, and XXIV , 1-2 . Ther e ar e example s o f duck-askoi attributabl e to th e 1978, 27-38. Clusium Group which ar e "plain," tha t is , decorated solel y with plum - 6. M . Del Chiaro , "An Etrusca n Red-Figure d Duck-Askos, " age; fo r example , se e M. Del Chiaro, "Etrusca n Vase s a t Sa n Simeon, " BClevMus, Apri l 1976 , 108-115; see p. 109 ; Harari, pi. XXXVI,2; an d G. CalifStClAnt 4 (1971) , 120-121, pi. 3, 1-2 ; als o Harari, pi. XXXV,2-3. 140 Del Chiaro

Figure la. Duck-askos . Malibu, The J. Paul Getty Museum 83.AE.203.

Figure lb. Pdgh t sid e of duck-askos, figur e la . H: 13.8 cm. A Clusium Group Duck-Askos 141

Figure 2. Duck-askos . Paris , Musιe d u Louvr e H 100 . Figure 3. Duck-askos . Cleveland , Clevelan d Museu m of Photo: Courtesy M. Chuzeville. Art 75.23 . Photo: Courtesy Arielle Kozloff .

Figure 4. Duck-askos . London , Britis h Museu m G 151 . Figure 5. Duck-askos . Florence , Muse o Archeologic o Photo: Courtes y th e Trustee s o f the Britis h 4232. Photo: Courtesy Soprintendenza . Museum. quality o f it s detailing , the Gett y duck-asko s mus t hav e (the duck' s neck , th e filler-spout , th e borderin g serie s of been greatl y admire d an d regarde d a s a priz e possession ; circles o n th e uppe r an d lowe r breast , etc.) , fo r th e hea d ancient repai r hole s alon g th e breakag e at th e duck' s nec k fillet an d jewelr y (diadem , necklaces , armlets , bracelets , testify t o thi s hig h status . Th e bod y an d win g feathers earrings), fo r th e shoelace s o r thongs , fo r th e alabastron , (plumage) hav e been execute d carefull y and precisely; note and t o accent th e edge s of the sas h a s well a s the long flight the overlappin g concentric semicircle s o r crescent s of th e feathers o f the flying females. body feather s i n shar p contras t t o th e patter n of the lon g Each femal e wear s th e sam e typ e o f necklac e (beade d plumes wher e th e interna l spin e o f th e flight feather s i s with pendant s and droplets ) an d earrin g ( a button with a painted i n blac k o r white . Thi s meticulou s attentio n t o single pendan t an d droplet) , bu t the y diffe r fro m eac h detail i s augmente d b y th e overal l applicatio n of opaqu e other i n their coiffures : on he r nec k on e Las a sport s lon g black glaz e pain t an d th e ric h adde d whit e which i s gen - and wavy hair that i s tied round the hea d with a thin fille t erously employe d throughout ; fo r th e firs t ran k o f win g (fig. la), 10 whil e th e companio n figur e wear s a n elaborat e feathers, fo r th e dot s an d dashe s on variou s blac k portions diadem an d sphendone (clot h snoo d fo r containing the hair

10. Fo r bot h femal e an d mal e coiffures , th e thi n fille t painte d i n the Clusium Group: se e Harari , pis . VIII, 1; IX; and LIX,3-4 . Se e als o white with a n antennaelike "bow" above the forehead, a loop above th e G. Pianu (supra , note 6), pl. XLVII. ear, an d a trailing end dangling at the ea r ha s parallel s on other vase s of 142 Del Chiaro

neatly of f the nap e o f th e neck ) embroidere d wit h a Louvre b y Painte r On e (fig . 2)18 an d th e fin e specime n in dotted-rosette moti f (fig . lb). 11 Th e latter female i s further the Clevelan d Museu m o f Art assigne d t o Painte r Fou r bejeweled b y a n exceedingl y long , beade d necklac e wor n (fig.3).19 "bandolier" fashio n ove r th e shoulders , acros s th e breasts , Although I believ e i t i s unnecessar y t o detai l obviou s and dow n t o th e uppe r thighs—no t a n unusua l mod e o n similarities—"Clusium breasts, " jewelry (particularl y th e

12 vases of the Clusium Group (se e fig . 3). heavy armlet), general characte r an d attitud e of the bodies , It i s quite clea r tha t th e Las a o n th e Gett y duck-asko s and s o forth—attentio n shoul d b e give n t o som e specifi c (fig. la) , who wear s a long sash (taenia) stolelik e across her details tha t hav e prompted m e t o distinguis h the wor k o f back wit h it s trailin g end s drape d ove r th e uppe r arms , three differen t painter s fo r thes e thre e duck-asko i (figs . carries a n alabastro n i n her lef t han d an d a long dipstick in 1-3). I t should firs t b e note d tha t th e profil e head s of th e her right . He r flyin g companio n on th e opposit e sid e (fig. female figure s on th e Gett y vas e ar e se t in the directio n of lb) support s a metal greav e with he r righ t hand, 13 bu t th e the flight, a featur e tha t contrast s markedl y wit h th e crucial portion of the vas e which woul d hav e depicted he r turned-back profile s of their counterparts o n th e Pari s an d left forearm—an d consequentl y th e lef t hand—i s missing . Cleveland askoi . Likewise , th e genera l characte r o f th e Unfortunately, ther e remain s but a very limited amoun t of wings fo r th e flying figure s i s dissimilar ; the y ar e out - drawing abov e th e breakag e which woul d allo w fo r inter - stretched, on e to each side of th e females ' body , on the Pari s pretation of what sh e hel d in her lef t hand . Nonetheless , I and Clevelan d vases , whereas the y ar e folde d bac k o n th e believe tha t thi s objec t wa s a secon d greav e rathe r tha n a Getty askos . In addition, the differin g stylisti c details pres - Thracian helmet , fo r whic h ther e are , however , prece - ent on th e Getty vas e (figs , la-b ) includ e the proportion- dents.14 Significantly , th e bearin g o f weapon s o r armo r ately smal l head s of the female s i n relatio n to thei r thic k (spear, shield, helmet, greave , cuirass , etc. ) a s on th e Gett y and ponderou s bodie s (compar e th e slende r an d lith e vase, supports Harari' s contention that suc h a female figure bodies o f their counterparts ; figs . 2 , 3), an d th e shor t may b e a nereid rathe r tha n a Lasa, tha t is , a nereid—albei t hatching to indicate the pubic are a and abdomina l muscles , winged15—transporting th e armo r acquire d b y Theti s fo r which i s place d horizontall y between th e breast s an d her so n Achilles. 16 arranged i n two parallel deep and les s deep U's to eac h sid e There ca n b e littl e questio n tha t i n term s o f type an d and belo w a central abdominal line , which terminate s i n a decoration th e Gett y vas e rank s amon g th e bes t example s navel configuratio n wholl y unlik e tha t o f th e Pari s an d of duck-askoi , fo r whic h fou r distinctiv e painters—arbi - Cleveland women . trarily designate d "Painte r One " throug h "Painter Four" — Although th e drawin g of th e mouth s o f th e Gett y have thus fa r bee n individually recognized. 17 Detaile d sty- females show s som e analogy with tha t of their counterpart s listic analysi s o f th e duck-asko i attribute d t o thes e fou r on th e Clevelan d vas e (fig . 3), the profile s of the nos e an d artists ha s convince d m e tha t th e Getty duck-asko s canno t eye differ. On th e Getty vase, the Las a (fig . la) exhibit s th e be assigne d t o any of thes e painters but must b e the product same high-laced shoe s worn b y th e women on th e Cleve - of a fifth an d hithert o unrecognized hand , tha t is , "Painte r land askos ; however, th e narrow fille t tie d a t th e ea r of the Five." Tha t th e vas e ca n b e readil y assigne d t o a Clusium Getty Las a find s it s sol e paralle l on th e Pari s vas e (fig . 2). Group "workshop " on th e evidenc e of its shape and deco - These few but significan t stylistic references fo r th e Getty , ration require s n o elaboratio n here ; however , th e relation- Paris, an d Clevelan d vase s shoul d suffic e t o illustrat e th e ship o f th e Gett y vas e t o an y o f th e know n duck-asko i work o f three individua l artist s an d th e existenc e of a fift h remains t o b e determined. The drawing of the Las a and th e and previousl y unknown painter o f Clusiu m Group duck - winged nerei d on the Getty vase does indicate that it stands askoi activ e at Chius i during the secon d hal f of the fourt h somewhere betwee n th e celebrate d duck-asko s i n th e century B.C . o r perhaps just afte r th e middle of tha t century .

University of California, Sant a Barbar a

11. Simila r sphendone types—that is , appearin g angula r rathe r tha n 15. I t wa s commo n practic e fo r Etrusca n artist s engage d in various rounded behin d th e ear , wit h o r withou t embroidere d design—ar e media to "edit" Greek theme s and personage s in the light of their own known o n Clusiu m Group kylikes : se e Harari , pis. 111,1 ; VI, 1; VIII , 1 ; concepts o r misconceptions . and IX,1 . 16. Harari , 140-141. 12. Fo r Clusium Group vase s other tha n duck-askoi, see Harari, pis. 17. M . Del Chiaro (supra , note 6), 113 . VIII, 1 and IX,2 . 18. Paris , Musιe du Louvre H 100 . Height: 11. 5 cm; length: 19. 5 cm. 13. O n a duck-askos o f the Clusium Group in Florence, se e Harari, 19. Clevelan d Museum of Art CM A 75.23. Height: 15. 3 cm; length: pi. XXXI,2 . 25 cm. 14. Harari , pl. XXXI,1. Dipping a s a Glazing Technique in Antiquity

Toby Schreiber

One of the lesser-used glazing methods in antiquity was the foo t wa s accidentall y immerse d i n th e glaz e solutio n dipping, which i s the proces s of immersing a piece of pot- and subsequentl y cleane d off , perhap s b y spongin g i n a tery in a container of glaze. Dipping produce s a very eve n daubing motion s o a s not to remove any of the raw, unfired coat of glaze compared with applicatio n by brushing. Since clay. This foot wa s no t cleanl y sponged, however , a s small Greek piece s wer e fire d onl y once , dippin g wa s don e o n flecks o f glaz e ar e dotte d ove r th e dippe d portion . Figur e raw ware , which wa s eithe r leather-har d o r dry clay . Raw lc show s a compariso n of the undipped , clea n sectio n of ware absorb s wate r rapidl y fro m th e glaze , necessitatin g a foot fa r left of center with th e dotted, glaze-flecked portion quick, smooth glazing action to prevent cracking or resoft - to th e right . ening of the clay . Because the Greek s use d on e glaz e exclu- The followin g fourth-centur y B.C . Campanian piece s sively, it is necessary to examine th e properties of that glaz e in th e J. Pau l Getty Museum illustrate three differen t dip - better t o understand it s use in the dipping process . ping technique s —single dipping , doubl e dipping , an d In 194 2 Theodo r Schuman n rediscovere d th e ancien t overlapping. technique of making glaz e using the fin e colloida l particle s of Gree k clay . Briefly, th e techniqu e o f glaze makin g wa s SINGLE DIPPIN G as follows : a small , measure d amoun t o f cla y wa s mixe d The foo t o f a duck-askos (fig . 2a, 71.AE.405 ) wa s hel d with a large, measure d amoun t o f peptized wate r (tha t is , by al l five digit s of the glazer' s righ t hand . With hi s fin - water mixe d wit h a n alkal i suc h a s wood ash) . Thi s mix - gertips simultaneousl y touchin g th e bod y o f the vase , h e ture wa s allowe d to settle , with th e coars e particles sinkin g dipped th e entire piece into th e container of glaze, stopping and th e fine r particle s remainin g in suspension . Th e ver y short of the underside but covering all five fingertips in the thin to p portio n becam e th e ancien t Gree k glaze , whic h process. Whe n th e vas e wa s released , th e are a covere d b y was use d bot h i n a thi n solutio n an d i n a n evaporated , the finger s was lef t unglaze d excep t wher e it pooled in th e thicker state . center of each fingerprin t (fig . 2b-d). Figure 2d i s a close- Most Gree k vase s were glaze d with th e brushin g tech - up of the two pools of glaze lef t b y the glazer's littl e finger. nique, usin g both thi n an d thic k glaze , thic k particularly Air pressur e prevented th e interio r of the vas e from bein g in outlining . Th e painter , usin g variou s size s brushe s o r glazed. other simila r tool s of application which h e dipped into th e glaze, painte d th e design s an d backgroun d ont o th e vase . DOUBLE DIPPIN G The nature of the decoration on most Greek vase s lent itsel f Double dippin g i s a glazin g proces s use d o n broad - quite readil y to th e brushing technique . mouthed piece s whereby th e inverte d object i s grasped b y On red-figur e vases where only on e sid e of the vas e was the foo t an d presse d dow n int o a container o f glaze, an d decorated, however , ther e wer e occasion s whe n th e glaze r then sharpl y pulle d upward , forcin g glaz e int o th e insid e dipped th e undecorated sid e of the vas e directly into a thin of th e piece ; finall y th e piec e i s pushed bac k int o th e glaz e solution o f glaze. A fin e exampl e of this i s a n Atti c squa t with a sligh t shakin g motion . Thi s entir e proces s glaze s lekythos i n the Gett y Museu m (fig . la, 80.AE.100 ) of both th e insid e an d outsid e of a vesse l wit h on e continu- which onl y th e handl e an d adjacen t are a were dipped , th e ous, quic k movement . Fo r thi s reason , th e double - remaining portion bein g decorated b y brushing. Time an d dipping techniqu e i s particularl y appropriate fo r glazin g wear hav e mad e i t possibl e t o se e th e delineatio n betwee n raw wares . Thi s techniqu e work s wel l o n vase s wit h a these two glazing techniques, sinc e the dipped portion dis- prominent foot , a s i t facilitate s handlin g th e piec e dur - plays a more eve n coa t (th e broken line in the photo indi - ing th e glazin g process . Figur e 3 a show s thi s proces s cates th e delineation) . Thi s piec e o f potter y wa s rolle d schematically. slightly from sid e to sid e when it was dipped, a s evidence d A stemles s kylix wit h a stamped tond o desig n (fig . 3b, by th e V-shape d (rathe r tha n U-shaped ) patter n of glaz e 71.AE.407) i s an example of the doubl e dipping technique . in th e mouth of the vas e (fig . lb). Also, a small portion of To protect th e very thin handle s o n thi s vessel, th e glazing 144 Schreiber

Figure la. Th e undecorated sid e of an Attic squa t lekythos that was dipped into glaze. H: 12.1 cm. Malibu, The J. Paul Getty Museum 80. AE. 100.

Figure lb. V-shape d glaze-pattern in mouth of lekythos, Figure lc. Smal l flecks of residua l glaz e o n th e bas e of figure la . lekythos, figure la , where the piece was dipped and subsequently sponged . Dipping as a Glazing Technique in Antiquity 145

Figure 2a. Duck-askos . H: 9. 5 cm . Malibu , Th e J. Pau l Figure 2b. Glazer' s fingerprints on the base of duck-askos, Getty Museum 71.AE.405. figure 2a .

Figure 2d. Close-u p of glazer's little-fingerprint o n duck- askos, figure 2a .

Figure 2c. Singl e dipping of duck-askos, figur e 2a . Draw- ing b y Martha Breen Bredemeyer. 146 Schreiber

Figure 3a. Doubl e clippin g the stemles s kylix in figure 3b . Drawing by Martha Bree n Bredemeyer .

Figure 3b. Stemles s kylix . Diam . wit h handles : 17. 5 cm . Malibu, The J. Pau l Getty Museu m 71 . AE.407.

Figure 3c. Uneve n glazin g surrounding th e glazer' s middle- an d ring-fingerprint s o n th e foo t rim of kylix, figure 3b . Dipping as a Glazing Technique in Antiquity 147

Figure 4a. Smal l Campania n pitcher . H: 7. 5 cm . Malibu , Figure 4b. Glaz e overlappin g on pitcher , figure 4a. Draw- The J. Pau l Getty Museum 71.AE.432. ing by Martha Breen Bredemeyer .

Figure 4c. Glaze d undersid e of pitcher, figure 4a . 148 Schreiber

process wa s don e quickly, with th e foo t bein g hel d b y th e discussed above . Th e step s involved in th e overlappin g thumb an d firs t thre e fingers of the glazer' s right hand. I n technique ar e a s follows : first , th e glaze r graspe d th e bod y this exampl e ther e i s n o indicatio n tha t th e exterio r an d of th e inverte d vas e with th e thum b an d firs t thre e finger s interior were glaze d separately , either b y brushing or pour - of hi s righ t han d an d dippe d th e to p two-third s o f th e ing. Onl y two-third s o f th e foo t ar e glazed , an d thos e pitcher int o the glaze , thu s leaving the are a underneath th e irregularly, which i s typical of the result s of the disturbe d four finger s unglazed . Then , whe n th e glaz e dried , h e glaze surfac e o n th e secon d dip . Thi s irregularit y ca n b e reversed th e piece , holdin g it by th e mouth , an d dippe d it seen on eithe r sid e of the middle- an d ring-fingerprint s in bottom firs t int o the glaze , overlappin g th e firs t di p abou t figure 3c . one-half inc h whil e simultaneousl y coverin g th e fou r unglazed finge r marks . Th e botto m o f th e pitche r wa s OVERLAPPING glazed, a n uncommon practic e (figur e 4c). A smal l Campanian pitche r ca n b e recognize d a s havin g While dippin g ha d limite d us e i n antiquity , i t wa s a been glaze d wit h th e overlappin g techniqu e (figs . 4a-b , good techniqu e fo r glazin g a larg e surfac e are a tha t wa s 71.AE.432). Note tha t th e dip s overlap just below the mid - uninterrupted b y design, a s well a s for glazing a number o f section. I n thi s example , th e glaz e applie d wa s quit e thi n vases quickly. in compariso n wit h th e solution s use d o n th e tw o piece s Malibu