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Four New Campana Dinoi, a New Painter, Old Questions J.M

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Four New Campana Dinoi, a New Painter, Old Questions J.M BABesch 82 (2007, 365-421. doi:10.2143/BAB.82.2.2020783) Four New Campana Dinoi, a New Painter, Old Questions J.M. Hemelrijk in collaboration with Elisabeth den Boer Abstract Four new Campana dinoi have come to light: three in the U.S.A. and a fragmentary one in Amsterdam. The publication of one, the dinos in the collection Shelby White in New York, is forthcoming. The other three are published here. We also study a fifth dinos in the U.S.A. and one in Würzburg. It appears that three, rather than two, painters were active in the workshop; this third artisan, whom we call the Hoof Painter, painted the dinoi in Würzburg and Amsterdam. We analyse the style of these painters and of related ware, especially of the Northampton amphorae. Finds show that the Northampton amphorae were not made in Etruria, as we formerly assumed, but somewhere in East Greece. The same holds, we believe, for the Campana dinoi, but new evidence, and especially clay analysis is needed to decide this matter for good.1 The group of the Campana dinoi2 owes its name (figs. 48-54, List B1). This dinos was first attrib- to the original owner of many of its pieces, Gio- uted to the Eight Painter (Hölscher 1975) and vanni Pietro Campana (director of the deposito twenty years later to the Ribbon Painter (Gaultier bank Monte di Pietà since 1832, bankrupt in 1858, 1995, 23). Den Boer calls her new artisan the Hoof imprisoned and then exiled in 1859). We know of Painter because he is inclined, as an afterthought, the existence of 22 of these dinoi (or fragments of to incise hooves through the feet of his satyrs (fig. dinoi: see the Lists at the end of this paper). The 61b). His style is not far from that of the Eight group contains also other vases: two hydriae and Painter, but several characteristics of that painter one or, possibly, two amphorae, perhaps a stand are, as we shall see, consistently lacking. and an askos (see below List D). They are dated We shall first look at three dinoi by the Eight 540-520, some have been found in the same tomb Painter and then at two by the Ribbon Painter. as certain Caeretan hydriae,3 all have, to all like- These five vases are all in the U.S.A, two of lihood, been found in Etruria. There is a close but them are unpublished, while the publication of uncertain relation with the group of the so-called another is forthcoming. Northampton amphorae (List E). Opinions vary as regards the original home of these dinoi and THE EIGHT PAINTER hydriae and their painters (see below). So far, it has been generally assumed that there 1. An unpublished fragmentary dinos by the Eight were two artisans who painted the dinoi, the Painter in the Metropolitan Museum of Art (figs. 1-8; ‘Eight Painter’, formerly indicated as the Painter List A7)7 of Louvre E 736 (below, List A)4 and the so-called Ribbon Painter (Cook/Hemelrijk 1963, by others Description indicated as the Painter of Louvre E 737 and 739; below, List C). The name of the Eight Painter de- New York, Metr. Mus.1971.259 abc (the fragments rives from the 8-shaped ears of his men and boys b and c are now incorporated in the reconstruc- (e.g., figs. 10-16),5 the Ribbon Painter is called after tion); gift of Dietrich von Bothmer. his favourite ornament, the ribbon (figs. 22-27, Preservation: graphically described by R.M. Cook as ‘a zigzag About half the dinos preserved, rebuilt from string of sausages’).6 However, a third painter has numerous, large fragments, one ‘floating’ (fig. 3, now been added: a number of fragments in Am- to right). sterdam, to be published in the next CVA of the Surface well-preserved. Allard Pierson Museum but also described here Shape: not distinct from the other Campana dinoi, (figs. 59-61, List B2), were painted, as Elisabeth finely rounded and with a marked curve at the den Boer in 1986 recognized, by a third painter, shoulder.8 who is also responsible for the dinos in Würzburg Measurements: as reconstructed: Ht. 21.7 cm; 365 Diam. 30.3 cm; Diam. mouth with rim 20.5 cm; his left foot after a jump, his right foot still sus- without rim 15.5 cm; Ht. of frieze of satyrs 9.6 cm9 pended in the air behind the left leg. There is little and, together with the ivy wreath (above) and the overlapping but for nos 5 and 6 (right half of fig. lotus frieze (below), 20 cm. 2 and left end of fig. 3; the tail of no 5 crosses the Clay: fine, with no grits nor micaceous particles. shin of no 6): perhaps it is here that the painter The colour is light dull orange, somewhat glossier started and finished painting the frieze.15 in the surface wash. Shoulders are frontal, arms are wildly thrown Surface: dilute wash; black varying from lighter about, some straight backwards (no 3, figs. 1-2, and brown to darker black; a patch under two satyrs probably no 8 (right end of fig. 3), of whom only (nos 2 and 3) has misfired.10 the right foot, left shin and left hand with lower Inside: solid black below, but streaky black under arm are preserved); other arms are bent at the the shoulder. elbows. The left elbow is often lifted high (nos 1- 2, 5-7; figs. 1-2). As is the habit of the painter, there Ornaments are curious double, curved incisions in calves and thighs (figs. 1-6). There are numerous coloured (red Rim: radial wriggles (fig. 8), dubbed ‘pipe-cleaners’ or white) curves and lines scattered over body and by von Bothmer. Outer edge of lip once painted limbs,16 apparently meant as some sort of anatom- thinned black. Three friezes (one on the shoulder ical markings,17 but very inadequate and now and two on the body) between double borderlines hardly visible (see figs. 4-5, nos 2-3; clearly shown (light brown) of varying width; the borderlines on the old drawing of the dinos List A5, fig. 5a). under the lotus-bud frieze are farther apart than The style of the Eight Painter is unmistakable the others (fig. 7). but, unfortunately, also clumsy. The painter had no Shoulder: stiff ivy wreath (figs. 1-3, 8, 45Ba) with knowledge of the structure of bones and muscles: leaves with very long, sharp tips; the central branch especially awkward are his hands and arms (e.g. and twigs are in thinned paint and straight. figs. 4-5). Lower belly (figs. 3, 7, 45A type 6): lotus-bud frieze The contours of his figures are always incised. touching both borders (five and a half flowers Typical are the long, solid red hair with notched preserved). Buds red (or reddish/brown); red not ends (on the shoulder), the short straight incisions entirely painted directly on clay, the lower part for forehead bangs (figs. 5-6), ears pricking up- applied on some very thinned underpaint.11 Outer wards, tiny snub satyr-noses (uptilted), the typical leaves of lotuses nearly touching each other at the East Greek eye18 with eyebrow sharply marked, tops of the buds. The central petals are diamond- the double stripes for mouths, and the sharply shaped with a long tip, they are separated from pointed locks in the beards (each lock separately the outer leaves by reservation (‘floating’ between drawn)19 and in the tails. The bellies are marked them, as it were). Flowers and buds are slenderer with folds by tiny incised curves. Often there are than on most other dinoi (fig. 45A type 6); they rest short, double or triple incisions inside the bend of on thick knobs and are interconnected by slackly- the elbows and in armpits (e.g. figs. 2 and 6, nos 4 pendant double curves.12 On other dinoi there and 7). Note also the tiny curves marking some usually is a frieze of thin, long spikes above the knees (nos 2-6, figs. 4-7) and ankles (nos 6-8, fig. 3). black bottom, but this is lacking here. But the most striking characteristic of the figures Base: painted ‘black’; decorated with four sets of of this painter is that the genitals are consistently three red lines, one around the centre, the second drawn right through (or on) the upper part of the some way up, three cm below the third set, which thighs on the near side (passim). is two cm below the upper circle. In spite of this clumsiness, the figures form a pleasant pattern against the light background. The figures (figs. 1-6) One wonders why these happy brutes are jump- ing so joyfully and rhythmically around the vase: Remains of nine satyrs rhythmically dancing to one would like to believe that they are dancing on left, beating the ground with force (only small the rhythm of a flute player now lost (flute players parts preserved of nos 1, 5, 8 and 9).13 They have are not rare on the dinoi), but this remains uncer- human feet; wild beards and long tails with very tain.20 sharp locks. Originally there may have been 13 satyrs (possibly 14).14 The following dinos was published in 1928 but All lift their right leg to hit the ground, only the has been known since 1899.21 Yet, it deserves a badly preserved no 5 (fig. 2) is coming down on brief discussion.
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