The Early Black-Figured Pottery of Attika in Context (C. 630–570 Bce) Ii Foreword

foreword i

The Early Black-Figured Pottery of Attika in Context (c. 630–570 bce) ii foreword

Monumenta Graeca et Romana

Editor-in-Chief John M. Fossey FRSC (McGill University & Montreal Museum of Fine Arts)

Associate Editor Angelo Geissen (University of Cologne)

Advisory Board Christiane Delplace (CNRS, France) Christine Kondoleon (Museum of Fine Arts, Boston) Nota Kourou (University of Athens) Gullög Christine Nordquist (University of Uppsala) Michael Vickers (University of Oxford)

VOLUME 17 foreword iii

The Early Black-Figured Pottery of Attika in Context (c. 630–570 bce)

By Alexandra Alexandridou DPhil

LEIDEN • BOSTON 2011 iv foreword

Cover illustration: Detail of the Nessos amphora, Athens, National Museum, 1002. Courtesy National Museum of Athens. See also pages 49–50, 150 (Athens 801), and Fig. 32 in this volume.

This book is printed on acid-free paper.

Library of Congress Cataloging-in-Publication Data

Alexandridou, Alexandra-Fani, 1980- The early black-figured pottery of Attika in context (ca. 630-570 BCE) / by Alexandra Alexandridou. p. cm. — (Monumenta Graeca et Romana, ISSN 0169-8850 ; v. 17) Includes bibliographical references and indexes. ISBN 978-90-04-18604-0 (hbk. : alk. paper) 1. Pottery, Greek—Greece—Attike. 2. Vases, Black-figured—Greece—Attike. 3. Pottery, Greek—Greece— Attike—Themes, motives. 4. Vase-painting, Greek—Greece—Attike. 5. Attike (Greece—Antiquities. 6. Attike (Greece—Social life and customs. 7. Attike (Greece—Commerce. I. Title. II. Series.

NK4648.A47 2010 738.30938’5—dc22 2010044681

ISSN 0169-8850 ISBN 978 90 04 18604 0

All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.

Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. contents v

CONTENTS

Acknowledgments ...... ix List of Illustrations ...... xi Bibliography ...... xiii Abbreviations ...... xli

Chapter One: Introduction – History of Research of Attic Black-Figure ...... 1

Chapter Two: Attic Early Black-Figured Shapes ...... 7 Mixing Vessels ...... 7 Skyphos-krater ...... 7 Egg-shaped krater ...... 9 Column-krater ...... 9 Lebes ...... 11 Pouring Vessels ...... 12 Louterion ...... 12 Oinokhoe and Olpe ...... 14 Drinking Vessels ...... 15 Skyphos ...... 15 Cup ...... 16 Kantharos ...... 17 Chalice ...... 19 Transport Vessels ...... 19 Amphora ...... 19 Hydria ...... 22 Loutrophoros ...... 24 Lekane and Lekanis ...... 26 Plate ...... 27 Oil, Perfume and Cosmetic Containers ...... 27 Lekythos ...... 27 Aryballos ...... 28 Exaleiptron ...... 29 Amphoriskos ...... 30 Pyxis ...... 31 Conclusions ...... 32 Attic “Korinthianising” Shapes and the Symposion ...... 32 Illuminating Attic burial customs: Early black-figured shapes and offering trenches . . . . . 34

Chapter Three: Attic Early Black-Figure Painters ...... 39 The earliest generation of black-figure painters ...... 39 The early sixth century ...... 41 Mobility of potters and painters ...... 46 vi contents

Chapter Four: Attic Early Black-Figure Iconography ...... 49 Heroes ...... 49 Herakles ...... 49 Perseus ...... 52 Bellerophon ...... 53 Meleager ...... 54 Trojan Cycle ...... 55 Peleus and Thetis ...... 55 The Judgement of Paris ...... 56 Akhilleus receiving armour from Thetis ...... 57 Funeral Games for Patroklos ...... 58 Departure of Antilokhos or of Amphiaraos ...... 59 Warriors’ Duels ...... 60 Deities ...... 61 Hermes ...... 61 Aglauridai ...... 63 Potnia and Despotes Theron, as well as comparable figures ...... 63 Mythological Figures ...... 65 Silenoi and Nymphs ...... 65 Harpyiai ...... 67 Generic Scenes ...... 67 Symposion and Komasts ...... 67 Horses and Chariots ...... 69 Processions of Women ...... 72 Animals and Protomes ...... 73 Animals ...... 73 Animal and Human Protomes ...... 75 Conclusions ...... 76

Chapter Five: Distribution of Attic Early Black-Figured Pottery ...... 81 Distribution within Attika ...... 82 Domestic Contexts ...... 82 Sanctuaries ...... 83 Nekropoleis ...... 86 Distribution outside Attika ...... 91 Aigina ...... 91 Korinthia ...... 91 Central Greece ...... 92 Islands ...... 93 Northern Greece ...... 94 Western Asia Minor and neighbouring islands ...... 94 Eastern Mediterranean ...... 97 North African coast: Egypt ...... 97 Kyrenaike ...... 98 The Black Sea area ...... 98 Etruria ...... 99 South Italy ...... 101 contents vii

Sicily ...... 101 Southern France ...... 103 Spain ...... 103 Conclusions ...... 104 Traders of Attic early black-figured pottery ...... 108

Chapter Six: A Ceramic Approach to Early Archaic Attika ...... 111

Appendix I: Catalogue of the Attic Early Black-Figured Vases ...... 119 Appendix II: Distribution Tables ...... 181 Appendix III: Distribution Maps ...... 205 Appendix IV: List of Painters ...... 213

Indices Index I: Painters, Groups ...... 217 Index II: Shapes ...... 218 Index III: Sites ...... 220 Index IV: Subjects and Iconographic Elements ...... 223 Index V: General ...... 225 Index VI: Museums and Collections ...... 225

Illustrations 1–60 preface and acknowledgements ix

ACKNOWLEDGMENTS

My interest in pottery, early archaic Attika and its social history goes back to my undergraduate studies at the University of Athens. But it was in Oxford that the initial idea for studying this particular subject came up, after a relevant discussion with my supervisor Professor D.C. Kurtz, who kept supporting me until the fulfilment of this task. During this long engagement, I have been assisted by a number of people, without which the final result would have been definitely poorer. Except for my supervisor, I would like to thank Sir John Boardman (Oxford), Dr. Maria Stama to poulou (Oxford), Dr. Irene Lemos (Oxford), Dr. Thomas Mannack (Oxford), Professor Robin Osborne (Cambridge), Professor Mogens Hansen (Copenhagen), Professor Alexander Mazarakis Ainian (Volos), Dr. Alessandra Sulzer and †Dr. Eleni Hatzivassileiou for reading and discussing parts of the earliest version of this study offering valuable comments. Dr. Rune Frederiksen (Athens) should be warmly thanked for closely following all the stages of this work and for his constant encouragement. I am indebted to Dr. Bettina Kreuzer (Freiburg), who helped me with a number of issues that came up all these years, while she supported the idea of publishing this study in the present form. The present study would be poorer without the study of material from a number of museums around Attika. Therefore, I would like to thank the National Museum of Athens and the director Nikolaos Kaltsas, the curator of the vase collection Mrs. Elisavet Stasinopoulou, as well as Dr. Georgios Kavvadias and Mrs. Eleni Zosi for allowing me to study and publish a large number of vessels of the collection, offering constant support. In addition, the Museum of Kerameikos and the 3rd Ephoreia of Prehistoric and Classical Antiquities, the Museum of Brauron, and the archaeologist Anastasia Ramou for her assistance, the Museum of Marathon and the 2nd Ephoreia of Prehistoric and Classical Antiquities and the Museum of Aigina. I would also like to thank the German Archaeological Institute at Athens and the staff of the Photo Archive for provid- ing me the permission to access the illustrations of the excavated Akropolis material, which are not included in the publication of 1925 by Graef and Langlotz. I am more than indebted to the Greek Archaeological Society and its Secretary General Dr. Vasileios Petrakos, for allowing me to study and use unpublished information from the archive of Phoivos Stavropoullos concerning the excavation of the North Nekropolis of Vári. Dr. Petrakos has also granted me the permission to study unpublished material from the sanctuary of Nemesis at Rhamnous, being assisted by Dr. Konstantinos Kalogeropoulos, whom I would like also to thank. Finally I am thankful to Dr. Norbert Kunish, responsible for the publication of the black-figured pottery from Miletos, for sharing his observations concerning the early black-figured pottery with me. This study would not have been fulfilled without the financial help by the States Scholarship Foundations (IKY) to which I am indebted. I would also like to thank Brasenose College in Oxford for the research grants that provided. I owe a lot to my friend and colleague Dr. David Saunders (Getty Museum, Malibu), who undertook the task of dealing with the language problems of the final version of the manuscript, while constructively commenting on the contents. Finally, Dr. Theodore Papaioannou should be thanked for assisting me with the realisation of the maps. Lastly my family and in particular my parents, have not ceased to encourage and support me all these years with every possible way. Therefore this book is dedicated to them δείγμα ευγνωμοσύνης, since I would never have come so far without them. list of illustrations xi

LIST OF ILLUSTRATIONS

1. Standed skyphos-krater. Athens, National Museum, 16382 [Vári 57]. Courtesy National Museum of Athens 2. Skyphos-krater. Athens, National Museum, 907 [Provenance Unknown 72]. Courtesy National Museum of Athens 3. Egg-shaped krater. Athens, Agora Museum, P 17486 [Athenian Agora 74]. Courtesy American School of Classical Studies at Athens 4. Column-krater. Athens, National Museum, 16388 [Vári 86]. Courtesy National Museum of Athens 5. Column-krater. Würzburg Universität, Martin von Wagner Museum, H5831. [Provenance Unknown 128]. Courtesy Martin von Wagner Museum der Universität Würzburg. Photo Karl Oehrlein 6. Lebes. Athens, National Museum [Vári 142]. After Callipolitis-Feytmans 1985, 45, fig. 18. 7. Lebes. British Museum, 1971.11-1.1. [Provenance Unknown 211]. Courtesy London, British Museum 8. Louterion. Athens, National Museum, 16386 [Vári 238]. Courtesy National Museum of Athens 9. Louterion. Athens, National Museum, 16387 [Vári 239]. Photo author 10. Ring-collar oinokhoe. Athens, Agora Museum, P 24945 [Athenian Agora 253]. Courtesy American School of Classical Studies at Athens 11. Olpe. Athens, National Museum, 19176 [Vári 307]. Courtesy National Museum of Athens 12. Tankard. Athens, National Museum, 19050 [Vári 397]. Photo author 13. Komast skyphos. Athens, National Museum, 528 [Korinthos? 433]. Courtesy National Museum of Athens 14. Komast cup. Athens, National Museum, 1106 [Greece 508]. Courtesy National Museum of Athens 15. Kantharos. Athens, National Museum, 19174 [Vári 593]. Courtesy National Museum of Athens 16. Chalice. Athens, National Museum, 995 [Vourvá 603]. Photo author 17. Chalice. Athens, National Museum, Vlastos Collection [Spáta 602]. Photo author 18. One-piece amphora. Athens, Agora Museum, P 1247 [Athenian Agora 604]. Courtesy American School of Classical Studies at Athens 19. Horsehead Amphora. Athens, National Museum, 1003 [Athens 684]. Courtesy National Museum of Athens 20. Neck-amphora. Athens, National Museum, 16380 [Vári 785]. Courtesy National Museum of Athens 21. Neck-amphora. Athens, National Museum, 16395 [Vári 788]. Photo author 22. Neck-amphora. Athens, National Museum, 16396 [Vári 793]. Photo author 23. Hydria. Athens, Kerameikos Museum, 8405 [Kerameikos 870]. D-DAI-ATH-Kerameikos 8405 24. Loutrophoros-amphora. Athens, National Museum, 19170 [Vári 1096]. Photo author 25. Lekane. Athens, National Museum, 998 [Vourvá 1200]. Courtesy National Museum of Athens 26. Plate. Athens, National Museum, 19171 [Vári 1300]. Photo author 27. Lekythos. London, British Museum, B30 [Korinthos 1316]. Courtesy London, British Museum 28. Aryballos. Athens, Kerameikos Museum, 60 [Kerameikos 1339]. D-DAI-ATH-Kerameikos 2729 xii list of illustrations

29. Exaleiptron. Athens, National Museum, 19172 [Vári 1355]. Photo author 30. Amphoriskos. Bonn, Akademisches Kunstmuseum, 597 [Boiotia 1361]. Courtesy Bonn, Akade- misches Kunstmuseum 31. Pyxis. Athens, Kerameikos Museum, 687 [Kerameikos 1373]. D-DAI-ATH-Kerameikos 3021. Photo H. Wagner 32. Detail of the neck of a neck-amphora. Athens, National Museum, 1002 [Athens 801]. Courtesy National Museum of Athens 33. Skyphos-krater. Athens, National Museum, 16400 [Vári 60]. Courtesy National Museum of Athens 34. Skyphos-krater. Athens, National Museum, 16384 [Vári 59]. Courtesy National Museum of Athens 35. Skyphos-krater. Athens, National Museum, 16399 [Vári 61]. Courtesy National Museum of Athens 36. Neck-amphora. Athens, National Museum, 16398 [Vári 795]. Courtesy National Museum of Athens 37. Neck-amphora. Athens, National Museum, 16389 [Vári 786]. Courtesy National Museum of Athens 38. Loutrophoros-hydria. Athens, Fetiche Tjami, 1957-Aα 71 [Sanctuary of the Nymphe 1011]. After Papadopoulou-Kanellopoulou 1997, pl. 33. 166 39. Wall fragment. Berlin, Antikensammlung, F3987 [Athens 87]. Courtesy Antikensammlung Staat- liche Museen zu Berlin, F3987. Photo Ingrid Geske 40. Lekane. Rhodos, Archaeological Museum, 5008 [Ialysos 1242]. Courtesy Rhodos Archaeologi- cal Museum 41. Lebes. Athens, National Museum, 15499 [Phársalos 147]. Courtesy National Museum of Athens 42. Olpe. Athens, National Museum, 19159 [Vári 310]. Courtesy National Museum of Athens 43. Skyphos. Athens [Athens 431]. After AD 19, 1964, Chron., pl. 59b 44. Lekythos. Nicosia, Cyprus Museum, 1958IV223 [Cyprus 1324]. Courtesy Nicosia, Cyprus Museum 45. Lekythos. Florence, Museo Archeologico Etrusco, 3740 [Provenance Unknown 1333]. Courtesy Museo Archeologico Nazionale di Firenze Antiquarium 46. Olpe. Athens, National Museum, 16285 [Vári 309]. Photo author 47. Skyphos. Athens, National Museum, 996 [Vourvá 425]. Photo author 48. Lebes. Herakleion, Archaeological Museum [Gortyna 149]. After Bakır 1981, pl. 81 49. Kantharos. Athens, National Museum, 19174 [Vári 593]. Courtesy National Museum of Athens 50. Standed skyphos-krater. Athens, National Museum, 16384 [Vári 59]. Courtesy National Museum of Athens 51. Fragment. Eleusis Archaeological Museum [Eleusis 1417]. After Hünnekens 1987, pl. 177. 1 52. Plan of the North Nekropolis of Vári. After Karouzou 1963, 47, fig. 40 53. Plan of the enclosure of the North Nekropolis of Vári. After BCH 61, 1937, 450, fig. 13 54. Miniature support. Athens, National Museum, 19157 [Vári 1410]. Photo author 55. Miniature lebes. Athens, National Museum, 19159a [Vári 141]. Photo author 56. Plan of the Vourvá tumulus. After Stais 1890a, pl. XIII.3 57. Lekane. Athens, National Museum, 1000 [Vourvá 1202]. Photo author 58. Plan of the Marathon tumulus. After Stais 1893, 49 59. Fragmentary amphora. Unknown collection, B217 [Berezan 860]. After Skudnova 1957, fig. 1 60. Amphora(?) fragment. Excavation, 1501 [Olbia 1532]. After Levi 1964, fig. 37. 1 bibliography xiii

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ABBREVIATIONS

AA Archäologischer Anzeiger AAA Αρχαιολογικά Ανάλεκτα εξ Αθηνών ABV Beazley, J.D., 1956: Attic Black-figure Vase-painters (Oxford). ActaArch Acta Archaeologica ActaHyp Acta Hyperborea Add 2 Carpenter, T.H., Mannack, T. & Mendonça, M., 1989: Beazley addenda: additional references to ABV, ARV2 and paralipomena (Oxford). AD Αρχαιολογικόν ∆ελτίον AE Αρχαιολογική Εφημερίς ΑΕΜTH Αρχαιολογικό Έργο Μακεδονίας και Θράκης AJA American Journal of Archaeology AJAH American Journal of Ancient History AJP American Journal of Philology ΑΚ Antike Kunst AM Mitteilungen des deutschen archäologischen Instituts. Athenische Abteilung. AncW Ancient World AnnAStorAnt Annali di archeologia e storia antica AR Archaeological Reports ArchCl Archeologia Classica ARV 2 Beazley, J.D., 1963. Attic Red-figure Vase-painters(Oxford). ASAtene Annuario della Scuola Archeologica di Atene AttiMGrecia Atti del memorie della società Magna Grecia AZ Archäologische Zeitung BaBesch Bulletin antieke beschaving BAPD Beazley Archive Pottery Database BASOR Bulletin of the American Schools of Oriental Research BCH Bulletin de Correspondence Hellénique BdA Bolletino d’Arte BMCR Bryn Mawr Classical Review BMFA Bulletin of the Museum of Fine Arts Boston BSA Annual of the British School at Athens BSR Papers of the British School at Rome BTCGI Bibliographia topographica della colonizzazione grecia in Italia e nelle isole tir- reniche ClAnt Classical Antiquity ClMed Classica et Mediaevalia ClPh Classical Philology CQ Classical Quarterly CRAI Comptes rendus de séances de l’Académie des inscriptions et belles lettres CronA Cronache di archeologia CSCA California Studies in Classical Antiquity xlii abbreviations

CVA Corpus Vasorum Antiquorum DArch Dialoghi di archeologia DHA Dialogues d’histoire ancienne DocArcMerid Documents d’archéologie meridionale DossAParis Dossiers d’archéologie Ergon Έργον της Αρχαιολογικής Εταιρείας EMC Echos du Monde Classique GRBS Greek, Roman and Byzantine Studies HArq Huelva Arqueológica IstMit Istanbuler Mitteilungen JahrBerlMuseen Jahrbuch der berliner Museen JARCE Journal of the American Research Centre in Egypt JdI Jahrbuch des deutschen archäologischen Instituts. Athenische Abteilung JHS Journal of Hellenic Studies LIMC Lexicon Iconographicum Mythologiae Classicae MarbWPr Marburger Winckelmann-Programm MededRom Mededelingen van het Nederlands Istituut te Rome MÉFRΑ Mélanges de l'école française de Rome, Antiquité MetrMusJ Metropolitan Museum Journal MonAnt Monumenti Antichi MonPiot Monuments et mémoires de la Fondation Eugène Piot MünstBeitr Münsterische Beiträge zur antiken Handelsgeschichte MusHelv Museum Helveticum NC Numismatic Chronicle NSc Notizie degli scavi di antichità OJA Oxford Journal of Archaeology OF Olympische Forschungen OpAth Opuscula Atheniensia ÖJh Jahreshefte des Österreichischen archäologischen Instituts Para Beazley, J.D., 1971: Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red- figure Vase-painters (Oxford). PΑΕ Πρακτικά της Αρχαιολογικής Εταιρείας PIA Papers from the Institute of Archaeology PP La parola del passato QAL Quaderni di archeologia di Libya RA Révue archéologique REA Révue des études anciennes ScrMed Scripta Mediterranea SGE Soobshcheniia Gosudarstvennogo Ermitazha StMisc Studi Miscellanei history of research of attic black-figure 1

CHAPTER ONE

INTRODUCTION HISTORY OF RESEARCH OF ATTIC BLACKFIGURE

The following study is a contextual analysis of and fine-decorated pottery attracted scholarly Attic pottery starting with the introduction of interest. In the early nineteenth century, the dis- the black-figure technique in Attic workshops at covery of thousands of vases during the excava- c. 630 bce and continuing until late in the first tions of the Vulci cemeteries brought a new era quarter of the sixth century when Korinthian in the history of collections. The vases were ini- influences are gradually abandoned, a wider tially valued as objects of art and it was due to iconographic repertoire is adopted and Attic vases their decoration with mythological scenes that are exported on a much larger scale. The vast they gained the attention of scholars (Sparkes, majority of black-figured pottery during this 1996: 37-55; Rouet, 2001: 7-24; Nørskov, 2002: period comes from known contexts which greatly 27-71). Vase study at the time was aesthetic, influ- facilitates the study and any conclusions to be enced by the neo-classical movement, and stim- drawn. Since some of the studied vessels are prod- ulated by the publication of Hamilton’s collection ucts of workshops active in the Attic countryside, (D’Hancarville, 1776-1777). the term Attic is used instead of Athenian. The early history of the formation of vase col- This study offers as complete an overview of lections, as well as of the scholarship around early black-figure Attic production as is possible, them, was summarized by Otto Jahn in his intro- given the challenges faced with the survival and duction to the catalogue of the vases in Munich availability of evidence. It is divided into five published in 1854 (Jahn, 1854). By this time, the chapters, with this first chapter serving as an known black-figured vases had been recognised overview of preceding scholarship on black-fig- and classified as “altgriechen” by Gustav Kramer, ure. Following chapters study the shapes and their who underlined the importance of studying their functions, the painters, the contemporary iconog- style and provenance (Kramer, 1837). His method raphy, the distribution and the trade mechanisms of classification, which did not take period, style, of Attic pottery, and finally provide an overview or fabric into account, was also mimicked by of archaic Attika through its decorated pottery. Jahn, who, in turn, published a descriptive inven- Based on the rich ceramic evidence, the primary tory of the Munich vases after being inspired by aim is to facilitate an archaeological approach to the catalogue of the British Museum vases of 1851 late seventh-and early sixth-century Attic society (Birch, 1851). Of the earliest Attic black-figure, and to prompt discussion on a number of issues only the François Vase (Florence, Museo Archeo- that remain unexplored or puzzling. logico Etrusco, 4209, ABV 76.1, Boardman, Studying pottery in close relation to its context 1974: fig. 46. 1-8), found in 1844 in Chiusi, was is one of the various aspects of ceramic research, included in Jahn’s catalogue. It was thought to which, over many centuries, followed a number be the starting point for the Attic black-figure of different paths. Greek vases fascinated collec- series; an idea which survived for some decades. tors and researchers even in the late fifteenth Vases dated before the François Vase and after century when they formed part of Italian collec- the Dipylon style were known as Protoattic. The tions. It was, however, not until the eighteenth term was first used in German—“frühattisch”— century that vase collections flourished in Europe by Johannes Böhlau, who demonstrated that 2 chapter one – introduction

Protoattic pottery derived from Attic Geometric followed until the publications of Beazley and and, though far from the developed black-figure, Payne, the term “Attico-Korinthian” was used for it was the forerunner of the François Vase (Böh- labelling all early sixth-century Attic vases deco- lau, 1887). rated with animal friezes in order to denote a Due to a lack of relevant ceramic finds, a gap special class (Beazley, 1923: 199; Payne, 1931: 190; existed between Protoattic pottery and the Smith, 1944: 252; Kleinbauer, 1964: 355-370). The François Vase. The decade of 1880-1890 was term “Korinthian-Attic” was first used by Hol- marked by a number of new discoveries that werda in 1890 for the group of Tyrrhenian began to bridge that gap. The finds were published amphorae decorated with animal friezes, because primarily by German scholars who favoured a they posed a problem of origin. He considered stylistic approach (Rouet, 2001: 4-5). Furtwängler them contemporary with the Vourvá vases and adhered to this approach in his publication of placed them at the beginning of Attic black-figure the late seventh-century “Schüssel aus Aigina”, (Holwerda, 1890). A few years later, Thiersch which he later included in the catalogue of the (1899) preferred the term “Tyrrhenian” for these Berlin Museum’s collection (Furtwängler, 1882; amphorae. Löschcke was among the first to 1885). As soon as the first finds came to light in attribute them to Attic painters, pointing out their Italy, their inscriptions were carefully recorded. connection with Korinthian and in general with Initially they were regarded as the prime criterion Peloponnesian prototypes (Löschcke, 1876: 108). for the classification of pottery (Gerhard, 1831), As early as 1892, when the first finds from the but Furtwängler showed that they were not ade- excavations on the Athenian Akropolis came to quate as a means of classification unless they were light, some scholars denied Korinthian influence followed by a stylistic study. on the Vourvá vases and preferred a “Khalkidian”; In 1883, Otto Benndorf published two frag- they were seduced by the so-called Panionian ments from Phaleron and Aigina (Phaleron 223, theory (AA 8, 1893: 18). According to Panionism, Aigina 225) close in style to the louterion (Benn- Greek art originated in Ionia and students of dorf, 1883). The next vase of special importance vase-painting tried to apply East Greek elements was the so-called Nessos amphora (Athens 801), wherever possible (Cook, 1997: 295-296). In the found in 1890 (AD 6, 1890: 5) and published by catalogue of the Louvre vase-collection by Edmont Stais and Wolters in Antike Denkmäler (1891: Pottier, “attico-ionien” was selected as the more 46-48), who classified it in the same series as the appropriate label for the seventh-century Attic louterion. Although the Nessos amphora and the vases (Pottier, 1899: 558-559). Pottier’s Panionian Aigina vases are among the earliest Attic black- approach was influenced by the cultural environ- figured, they have been considered antecedents ment in France at the time, where, after the to the “regular black-figure style”, as represented archaeological projects of Persia and Egypt, the by the François Vase. idea of interrelation of Mediterranean cultures As a result of new archaeological finds in the predominated (Gran-Aymerich, 1998: 292; Kurtz, 1890s, the list of early black-figured vases grew 2004: 259-286). According to Böhlau’s study of considerably. Vases from the Vourvá and Mara- Aiolic ceramic products, black-figure originated thon tumuli were an important addition as they in Aiolis, while the animal style was assigned to raised a number of questions. The excavator, Euboia, from where it expanded into Korinthos Valerios Stais, classified the finds either as “Attico- and Attika (Böhlau, 1898: 115-116). The same Korinthian” or “Korinthian-Attic” and discussed idea was shared by Hopkinson and Baker-Penoyre the influence of Korinthian pottery on Attic early (Hopkinson & Baker-Penoyre, 1902) and by black-figure (Stais, 1890; 1893). The question had Nilsson (Nilsson, 1903: 140) in his study on the also been raised by Wilish (1892), who had tried Vourvá vases. It persisted as late as 1923 when to distinguish Korinthian from Attic elements on Ernst Pfuhl insisted there were Ionic elements in the louterion from Aigina. In the decades that the Attic “animal style” (Pfuhl, 1923: 124). history of research of attic black-figure 3

New material facilitated further research on and recognized the Nessos Painter as the earliest Attic vase-painting and its sources of influence. Attic black-figure painter with a clear personality. In 1897, an amphora from the area of Peiraieus, Apart from vases already known, the list also stylistically close to the Nessos amphora, fitted included fresh discoveries from Vári, the Kera- into the existing gap (Peiraieus 800). Couve called meikos and the Athenian Agora which added it Protoattic and placed it in a “transitional” significantly to the existing corpus. period that came before the introduction of the In 1934, the National Museum of Athens pur- black-figure technique (Couve, 1897: 67-86). chased a number of vessels which came to light Some fragments from a vase of similar style, after illegal activity had taken place in Vári. signed by Sophilos, were discovered in the same Examination of the finds led to a systematic exca- year at Menídhi in Attika (Menídhi 245). Because vation (see below). The North cemetery revealed of their animal decoration, Wolters connected a significant quantity of vases dating from 630 them with the Vourvá vases and Tyrrhenian to 570 bce. The results were published in brief amphorae (Wolters, 1898: 22). Some decades in archaeological reports, before appearing in later, the pottery from the excavations on the Beazley’s catalogue of 1944, and in his Attic Black- Athenian Akropolis was published by Graef and figure Vase-painters of 1956, the latter of which Langlotz. The black-figured vases were classified included as many as five hundred potters and into two groups: the ‘Gruppe der Nessosamphora’ painters (Beazley, 1956). The primary publication and the ‘Vourvá style’, with the latter considered of the Vári material, by Semni Karouzou, appeared the first class of the Attic black-figure (Graef & in 1963 (Karouzou, 1963). It was followed by two Langlotz, 1925: 40, 51). articles almost two decades later (Karouzou, 1982; Even the earliest finds were posing questions 1985). Unfortunately, only part of the finds was regarding black-figure classification, attribution, published. Karouzou expressed her debt to Bea- and study. Wilhelm Klein, Paul Hartwig, and zley and attributed the vases to specific hands, Adolf Furtwängler (Hartwig, 1893; Furtwängler while placing them in the general history of Attic & Reichhold, 1904) were the first to attempt to vase-painting. identify specific vase-painters based on the sig- The discoveries in the Kerameikos from the natures of potters or of painters on the vases 1930s onwards added to the Vári vessels and (Rouet, 2001: 25-40). It was Sir John Beazley, who provided the missing links in the development devoted his life to the study of vase-painting and of early black-figure; a large number of seventh- completed the formidable task of distinguishing and early sixth-century vases were found. Based individual hands of painters, as well as the rela- on the new discoveries, the director of the Kera- tionships between them. He followed the German meikos excavations, Karl Kübler, published Altat- aesthetic approach, establishing the study of indi- tische Malerei in 1950, which was dedicated to vidual style not only for “good” work, or those the development of Attic vase-painting from the vases with signatures, but for all vases. His method end of the eighth until the beginning of the sixth was used by Giovanni Morelli in the late nine- century (Kübler, 1950). Two decades later, he teenth century to classify Italian Renaissance published, in detail, the finds from the Kera- painters (Bothmer, 1990; Robertson, 1976; 1985; meikos, creating a sequence based, not only on Boardman, 2001: 128-138). In 1928, Beazley pub- stylistic criteria, but also on their association with lished his Sketch of Attic black-figure, recogniz- the Korinthian vases found with them or with ing the Nessos amphora as “a typical black-figure material from other sites, such as Vári (Kübler, vase” and attributing it to the painter with the 1970). Altattische Malerei was followed by Beaz- conventional name the Nessos Painter (Beazley, ley’s The Development of Attic Black-figure (1951), 1928: 6-11). Beazley’s first list of black-figure where he examined the use of the terms “Proto- painters was published in 1944 (Beazley, 1944). attic” and “black-figure”. The starting point of There he defined the term “early black-figure” this discussion can be found in Cook’s publication 4 chapter one – introduction of Protoattic pottery (1934-1935), where he in detail the work of individual painters and applied Beazley’s method. Cook studied a corpus workshops of the period, while establishing a of material, dating from the end of the eighth to relative chronology. the late seventh century, including finds from the The stylistic approach has been the prevailing Kerameikos and Vári excavations. Based primar- feature of Attic pottery studies. It is still followed ily on Korinthian pottery and the chronology by a number of scholars and clearly demonstrates given by Payne in his Necrocorinthia (1931: 181- the substantial impact Beazley and his methods 209, 346-347), Cook accurately dated the Attic had on pottery research. Critism of the studies pottery in his corpus, dating which was later con- following Beazley’s methods was voiced by Whit- firmed by the excavations in the Athenian Kera- ley (1997), who received a reply from Oakley meikos and Agora, where Korinthian and Attic (1998). After Beazley’s death in 1970, the future vases were often found together. The vases have of pottery research was brought into discussion, been attributed to painters with conventional and his work was seen as the starting point for names, based on stylistic criteria, and were exploring several new directions (Robertson, divided into three chronological periods: Early, 1976; Isler-Kerenyi, 1979; Hoffmann, 1979). In Middle and Late. His “Late Protoattic” included the 1980s and early 1990s, Michael Vickers and vases on which the black-figure technique was David Gill offered a radical view: painted vases already in full use, since, according to Cook, were simply slavish copies of metal vessels “early black-figure” is a technical and not a chron- (Vickers, 1983; 1985; Vickers & Gill, 1994). ological term. On the other hand, Beazley main- Although strongly criticised by a number of tained that from the last decades of the seventh scholars (Boardman, 1987; Cook, 1987), they did century, Attic vase-painters had a settled tech- set an agenda far removed from stylistic matters nique and that “Late Protoattic” was black-figure and they threw light on issues concerning pottery in its early stage. Unlike the Protoattic vases, production, as well as the role of vases and met- which had been characterized as “quarter” or als in ancient society. During the past thirty years, “semi” black-figure, the new technique is fully the proceedings of a number of pottery confer- employed on the Peiraieus and the Nessos ences are characteristic of the “post-Beazleyan” amphorae (Beazley, 1951: 12-13). The issue was approach. Shapes and functions, techniques, raised in the publications of the Protoattic and organization of workshops, distribution and black-figured vases from the Athenian Agora, trade, are only some of the aspects that are where the excavations by the American School at tract ing the focus of recent scholarship. This is of Classical Studies at Athens from 1931 onwards not limited to Attic pottery, but has also included resulted in the discovery of a large quantity of non-Athenian wares.1 pottery. This allowed for the extensive study of Recently, it has been demonstrated convinc- the different shapes, painters, and an overview ingly that pottery can be used as a tool for the of the development of Attic black-figure. Brann reconstruction of social history, when studied in (1962: 25), Moore and Philippides (1986: 73) close relation to its context. The contextual concluded that the problem lay in a difference approach to Protoattic pottery by Robin Osborne between a style of painting on one hand, and a (1989) and James Whitley (1994a) proved to be technique on the other. A detailed study of the of immense importance for drawing conclusions transition from Late Protoattic to black-figure was more recently undertaken by Ludwig Hünnekens 1 For the recent pottery conferences, see Brijder, 2003. (1987). His doctoral thesis, which included a To these add Villanueva-Puig et al. 1999; De la Genière, number of unpublished vases and fragments, 2006; Oakley & Palagia, 2009; Tsingarida, 2009. The pro- focused on the stylistic development of Attic ceedings of the recently organised conference Pottery’s markets in Ancient Greek World (8th-1st cent. bce), Uni- vase-painting from around 630 to 590 bce. Fol- versité Libre des Bruxelles, 19th -21th June 2008 will be pub- lowing Beazley’s model, he traced, and studied lished in the future. history of research of attic black-figure 5 concerning aspects of seventh-century Attic the first quarter of the sixth century bce, a period society, for which literary sources are silent. The marking the initial steps towards the further present study is extending the chronological development and acme of the polis of Athens. frame of this contextual analysis to the end of attic early black-figured shapes 7

CHAPTER TWO

ATTIC EARLY BLACKFIGURED SHAPES

This chapter examines the Attic vase-shapes in in-turned rim, a counterpart of the Korinthian use from c. 630 to 570 bce. They are divided into pyxis (compare the early seventh-century exam- five categories which have been established based ples with Korinthian: Athens, Kerameikos on their function. Although the development of Museum, 1158, Kübler, 1970: pl. 4; Athens, Kera- the shapes is also studied, the focus is placed on meikos Museum, 1151, Kübler, 1970: pl. 5; for their uses and the purposes they might have the Korinthian shape, cf. Payne, 1931: 295-296; served, as indicated by their archaeological con- Hopper, 1949: 223-225; Amyx, 1988: 459-460). text. Since the vast majority of early black-figured The early black-figured skyphos-krater, which vases are of known provenance, discussion of also has a standed variant, does not seem depen- their function is relatively secure. Based on the dent upon Korinthian prototypes. evidence of shape, the conclusions explore con- The better preserved late seventh-century temporary Attic funerary practices, the use of standed examples come from Vári (Vári 57-59). shapes in sanctuaries and the adoption and devel- A conical support is directly attached to the bot- opment of the symposion in Attika. tom of the vases (Moore & Philippides, 1986: 30). The attachment of an open vessel to a support was not new in Attic workshops, as demonstrated MIXING VESSELS by the series of Geometric and Protoattic kraters, as well as the Protoattic standed bowls (Athens, Skyphos-krater (Appendix I, nos. 1-73) Kerameikos Museum, 150, Kübler, 1970: pl. 44; The skyphos-krater is an Attic shape closely con- Athens, Kerameikos Museum, 147, Kübler, 1970: nected with funerary rites. It occupies a promi- pl. 45; Athens, Kerameikos Museum, 136, Kübler, nent position in the shape-repertoire in the last 1970: pl. 54; Athens, Kerameikos Museum, 137, quarter of the seventh century, but ceases to be Kübler, 1970: pl. 55; Kübler 1970, 156). An imme- produced after the first quarter of the sixth. With diate parallel to the Vári pieces is a Protoattic the exception of two examples from Aigina, standed krater from Aigina, now in Berlin (Ber- almost all the examples come from Attika. lin, Antikensammlungen, A35, CVA Berlin, Anti- The early black-figured shape is a large deep quarium 1, pl. 25). The only difference between bowl with two horizontal strap handles and a rim the two is the shape of the Protoattic fenestrated flanged or formed to receive a lid. The shape support. The earliest black-figured skyphos-kra- shares common features with the deep-bodied ters have been attributed to the Painter of Berlin kraters of Late Geometric I with strap handles, A34 and painters working in his style (Keramei- which did not survive after the end of the eighth kos 28-36, Vourvá 63). They have deep, wide century (Coldstream, 1968: 48). Its immediate mouth, curved walls and a heavy foot. A similar predecessor can be found in the mid seventh- shape is maintained by the earliest of the three century Attic lidded-kotylai (Athens, Kerameikos Vári kraters, which has a lower body and a Museum, 142, Kübler, 1970: pls. 48-49; Athens, heavier support (Vári 57. Fig. 1). By the early Kerameikos Museum, 143, Kübler, 1970: pl. 51), sixth century, the kraters have taller bowls with a development of the Korinthian shape with an straighter walls. The Kerameikos Painter’s lighter 8 chapter two shape, with a small foot and ribbon handles, is (Vári 57-61). Whether they had pierced bottoms reminiscent of the kotyle (Provenance Unknown for libations cannot be determined since the lower 72-73. Fig. 2). The shape of an early sixth-century part of their body has not been preserved. The vessel from Perakhóra, decorated with dancing decoration of the standed examples on one side women, is peculiar (Perakhóra 445). The dimen- follows the seventh-century tendency for frontal sions, as well as the body and the rim, are remi- accentuation of the marker-vases. If not broken niscent of skyphos-kraters and the earlier lidded- intentionally in a trench as part of the funerary kotylai, but its rim points to skyphoi of Korinthian ceremony, they could have been placed near the type (Malagardis, 2008). The very fragmented single burial, as the most monumental offerings shapes of the Group of the Dresden Lekanis may to the dead.1 It is likely that they were filled with be considered the latest examples of the series liquid offerings. (Akropolis 23-25). The discovery of a substantial quantity of frag- Most skyphos-kraters have been discovered in ments of skyphos-kraters in the wells of the Athe- nekropoleis. In contrast to their predecessors, the nian Agora questions an exclusive use of the lidded-kotylai, found in offering trenches, the shape in funerary ceremonies in the seventh cen- Kerameikos examples served as markers for the tury (Athenian Agora 1-20). The wells of the grave-tumuli (although in many cases their exact Agora are associated with domestic contexts, but context is not known, when found in association since the area was used as a burial ground until with tumuli, they served as markers). The late around the end of the seventh century, the finds seventh- and early sixth-century trenches prima- from the wells could be secondary fills from rily contained eating, drinking and pouring vases, burials too. As a result, the function of the shape while large open shapes, like the Protoattic lid- in the Agora cannot be easily determined, ded-kotylai, are absent. The only open vessel was although use as a mixing vessel in everyday life the marker, the skyphos-krater. Since most of the is very likely. vessels are glazed inside, they could have served Most of the early sixth-century examples were a double role, being used for a libation and, recovered from sanctuaries (Akropolis 21-25, instead of being burnt in the trench, were placed Akropolis North Slope 26, Mounikhía 64-66, on the mound to symbolise the after-burial meal. Eleusis 67). The almost complete absence from Their absence from the Kerameikos after the first the Attic nekropoleis suggests that the shape had quarter of the sixth century might be due to the lost its funerary significance by that time (Kera- reuse of the amphora as grave markers (Kübler, meikos 53-55). Unlike the majority of the funer- 1970: 158). Since kraters were wine containers, ary kraters, the interior of kraters from cultic the Geometric and Protoattic markers have been contexts is not glazed, but most are decorated connected with male burials (Boardman, 1988: with black bands. The Mounikhía kraters might 172; Houby-Nielsen, 1992: 358). Although the have been standed (Palaiokrassa, 1991; 65-66). skyphos-krater is not a direct descendent of the During the eighth and seventh centuries, open Geometric shape, it might have had the same vessels with high foot or attached to supports meaning. In contrast to the Kerameikos, in the were very common in the sanctuary. A locally Attic countryside skyphos-kraters appear in produced late seventh-century standed krater of trenches (see below). The krater from the Vourvá small dimensions and fragmentary supports trench does not show signs of secondary burning. come from the sanctuary of Artemis at Brauron Its glazed interior does not exclude an actual use (Brauron 222, 1498, 1499). These early black- for a libation or as a container of goods before figured examples can be considered predecessors being smashed in the trench (Vourvá 63). All the skyphos-kraters from the North nekropolis of 1 These vessels were bought from the National Museum Vári were found in association with tumulus I in a very fragmentary state, after being illegally excavated and they were probably recovered from a trench from the tumulus. attic early black-figured shapes 9 of the later krateriskoi, which are found at all the by a short foot (Athens, National Museum, 17762, Attic sanctuaries of Artemis as part of their ritual CVA Athens, Musée National 2, pl. 1). The early furniture (Palaiokrassa, 1989; 1994: 2). The kra- black-figured shape seems to be a further devel- teriskoi are reminiscent of Protoattic kraters and opment of these Geometric and Protoattic kraters their interior is decorated with brown or black and two seventh-century examples from the bands. They must have contained liquids that Agora can be considered its immediate anteced- were poured around the altar of the goddess ents (Athens, Agora Museum, P 22693, Brann, (Kahil, 1977: 86-89; 1981: 253-254; 1988b). The 1962: pl. 5. 95; Athens, Agora Museum, P 4948, Mounikhía and Brauron kraters could have served Brann, 1962: pl. 34. 549). Although the early a similar purpose. seventh-century Boiotian stamnos has been considered the source of influence for the Attic shape Egg-shaped krater (Appendix I, nos. 74-75) (Young, 1939: 128-130), it was a parallel development to the Protoattic standed kraters, and was The egg-shaped krater—the predecessor of the also influenced by Kykladic prototypes (Cold- lebes-gamikos2—is considered an odd variant of stream, 1968: 204; Ruckert, 1976: 29). the krater, which ceases to exist by the last quar- The Geometric and Protoattic predecessors of ter of the seventh century (Moore & Philippides, this shape are funerary; a role also retained by 1986: 168). Only two early black-figured examples the early black-figured example from Vári. The are known; one from the Athenian Agora (Athe- Agora krater was found in a well, but it might nian Agora 74. Fig. 3) and another from the have been part of the secondary fill which came South-East nekropolis of Vári (Vári 75.). from a grave area, as in the case of its Protoattic A type of ovoid krater existed in the late eighth predecessor (Athens, Agora Museum, P 4948, century, having developed from the large standed Brann, 1962: pl. 34. 549). It was found in the area Geometric Dipylon kraters. Examples, assigned of the Tholos Cemetery. Unlike the Geometric to the Geometric Workshop of Athens 894, show kraters that stood as markers, the lack of addi- how the body is deepened and the support dimin- tional evidence precludes a similar conclusion for ished (Athens, National Museum, 990, Boardman, the Agora examples. 1998a: pl. 45; Paris, Musée du Louvre, CA3256, Boardman, 1998a: pl. 70), probably under the influence of the Kretan pithos or the large Column-krater (Appendix I, nos. 76-130) Kykladic kraters (Brann, 1962; 41-42; Coldstream, The column-krater is known as the “Korinthian 1968; 86). A series of standed Protoattic kraters krater par excellence”. It is referred to in a follows the same development (Berlin, Antiken- number of sources and inscriptions as κρατὴρ sammlung, A18, CVA Berlin, Antiquarium 1, pl. Κορίνθιος or κρατὴρ Κορινθιουργής, and the 8; Berlin, Antikensammlung A16, CVA Berlin, name is also attested to by graffiti found under Antiquarium 1, pl. 8; Berlin, Antikensammlung the base of some Attic red-figured vessels. The A29, CVA Berlin, Antiquarium 1, pl. 14; Berlin, earliest Korinthian column-kraters date to the Antikensammlung A22, CVA Berlin, Antiqua- end of the seventh century bce (Payne, 1931: 300; rium 1, pl. 12; Berlin, Antikensammlung A24, Amyx, 1958: 198; 1988: 504-505; for the graffiti, CVA Berlin, Antiquarium 1, pl. 15), while others see Bakır, 1974: 7-8). stand closer to the late seventh-century egg- The discovery of a Geometric clay fragment, shaped kraters, with the support being replaced although it was shown that it belonged to a clay throne (Callipolitis-Feytmans 1977), it was falsely 2 The earliest lebes gamikos, found at Old Smyrna, has interpreted as the handle-plate of a krater, lead- been assigned to Sophilos: Izmir Archaeological Museum, ing to the conclusion that the shape is an Attic 332, ABV 40.20, Bakır, 1981: pls. 39-45. The shape is not discussed in the chapter since the known example is isolated invention (Young, 1939: 173; Moore & Philippides marking the initial steps to the shapes’ further development. 1986: 23). The earliest indisputable Attic column- 10 chapter two krater was found at the North nekropolis of Vári. Early Korinthian kraters (compare to: Athens, Bakır (1974: 65) dates it just before 600 bce and National Museum, 12432, Weinberg, 1943: pl. Tiverios (1981: 124, no. 552) early in the last 26). The slightly later krater by Sophilos, with a quarter of the seventh century (Vári 86. Fig. 4). short neck and cylindrical body, copies Early and Whether the Attic example follows Korinthian early Middle Korinthian examples (Provenance prototypes or is an independent invention is a Unknown 130: Bakır, 1974: 60-62). The kraters matter of controversy (Tiverios, 1981: 126-127; by the KY Painter show the further development Harrison, 1993: 38-43). Its shape and proportions of the shape (Provenance Unknown 123-128. Fig. are reminiscent of the Early Korinthian column- 5); the bodies are slimmer, necks taller, and the kraters without handle-plates, with the difference columns support rectangular, almost vertical, that their handles are less vertical and are con- plates, characteristics of the late Middle Korin- nected to the rim with a strap (Korinthos thian kraters (Vatican City, Museo Gregoriano Museum, C-37-277, Weinberg, 1943: pl. 32; Ko - Etrusco Vaticano, 126, Bakır, 1974: pl. 2. 2; Paris, rinthos Museum, C-31-184, Weinberg, 1943: pl. Musée du Louvre, E629, Payne, 1931: pl. 34). The 24; Blegen, Palmer & Young, 1964: 43-46). They upper part of the body is divided into two friezes, share a deep, cylindrical body and a short neck. one dedicated to the figure decoration and the Although the Vári find has been dated earlier other to animal friezes. than the Early Korinthian series, its shape can Due to their sympotic use, the majority of still find parallels among the Korinthian black- known early black-figured column-kraters come glazed kraters (Korinthos Museum, T2710, Ble- from settlements (Athenian Agora 76-84, Ko- gen, Palmer & Young 1964: pl. 89. X-135; rinthos 90-91, Phokaia 92-94, Klazomenai 95, Korinthos Museum, C-62-572, Amyx & Law- Sardeis 96, Xanthos 97, Berezan 116, Massalia rence, 1975: pl. 70, An225). Kraters, having com- 121). The shape is an essential element of the mon features with the later column-kraters, are banquet, as the starting point of the distribution produced in Korinthian workshops from the Geo- of wine. It may have been created as a substitute metric period (Blegen, Palmer & Young 1964, for the lebes, whose construction was more dif- 43-47; Harrison 1993, 40). Although common ficult and costly because it needed a support features between the column-krater and the Attic (Richter & Milne, 1935: 6-7; Gericke, 1970: 38-39; Geometric and Protoattic kraters, lebetes, or lou- Tiverios, 1981: 121-124; Lissarague, 1990). Exam- teria can be found,3 they cannot easily be com- ples have also been recovered from sanctuaries pared to the Vári example, which is chronologi- (Akropolis 85, Aigina 88-89, Naukratis 98-114, cally distant enough and which, if the fragment Kyrene 115, Himera 120). Their absence from from the Athenian Akropolis (Akropolis 85), now structures that could have been used for dining in Amsterdam, belongs to a column-krater, it suggests that the kraters served as votives, offered, should not be still seen as an isolated find (Crie- either for their own sake, or for their contents of laard & Crouwel, 1990: 13-15). wine, grain, or oil (Schaus, 1985: 94-95; Moore, The proportions of two fragmentary early 1987: 2; Möller, 2000: 198). sixth-century examples from Phokaia (Phokaia With the exception of the Vári krater, the 92) and Naukratis (Naukratis 98) follow closely shape is absent from the Attic nekropoleis during those of the Vári krater. The decoration appears the late seventh and early sixth centuries. The on enclosed panels on the handle zone, with the presence of the shape at the trench of tumulus I rest of the surface remaining black, as on the is interesting. Based on the evidence of the large number of skyphos-kraters from the same con- 3 For example, a Late Protogeometric krater from Nea text, it seems that large mixing vessels must have Ionia shares a number of common features with the Vári served a very specific ceremonial purpose at this krater, but the chronological distance is too large for influence to be claimed. For the krater, see Lemos, 2002: 50, fig. occasion. The column-krater could have been 76. 1. filled with wine and offered to the dead. Beyond attic early black-figured shapes 11

Attika, early sixth-century fragments from kraters ered predecessors of the black-figured lebetes or lebetes come from a tumulus at Cortona (Cor- (Boardman, 1970: 105; Callipolitis-Feytmans, tona 118-119. Paribeni, 1992: 141-142). Because 1970: 112; Lullies, 1971: 48; Williams, 1983: 11; the symposion was connected to both the Etrus- Morris, 1984: 26) they derive from oriental, metal can lifestyle and to their beliefs surrounding the prototypes (Amyx, 1988: 477; Sakowski, 1997: afterlife, the krater and all its variants, were 13-14). A late seventh-century example from the among the most common Attic imports found small nekropolis of Vári (Vári 142. Fig. 6) and a in Etruria throughout the sixth and fifth centuries fragmentary standed lebes from the Kerameikos (Murray, 1988: 243; Reusser, 2002: 127). with attached mourning female figures (Kera- meikos 140) continue the development of the Lebes (Appendix I, nos. 131-213) Geometric and seventh-century shape. The attached female protomes on the Vári lebes might The lebes is a large round-bottomed bowl with a suggest a Korinthian prototype (Callipolitis-Feyt- support. Although scholars prefer the term dinos, mans, 1985: 46-47), but the shape belongs to the literary sources and inscriptions on the vases sug- Attic tradition. gest that lebes was the shape’s ancient name and The earliest Attic black-figured lebes has been was interchangeable with krater (Richter & Milne, attributed to the Gorgon Painter (Provenance 1935: 9-10; Amyx, 1958: 199-200). The lebes has Unknown 210). It is chronologically close to a a very short neck and no handles, and its round fragmented example from Samos (Samos 170). shape allows for the uninterrupted decoration of The shape had a prominent position in Sophilos’ the entire surface. Attic workshops produced this repertoire (Provenance Unknown 211. Fig. 7). shape continuously from the early sixth through His lebetes are round, like the Korinthian (Cal- to the late fifth century, but it was never as com- lipolitis-Feytmans, 1975: 29; Kreuzer, 1998a: 8-9). mon as the more practical column-krater. The The decoration is divided into friezes; the top is well-preserved bronze lebetes seem to have influ- often devoted to human figures, while the rest of enced clay vessels. Standed metal lebetes may the body and the support are covered with animal have developed from earlier metal cauldrons with friezes. The introduction of the shape in the Attic protomes. These were common offerings in sanc- repertoire has been assigned to Korinthos, where tuaries from the eighth century onward and were it had been produced since the second half of the inspired by the North-Syrian, late-Hittite im- seventh century (Payne, 1931: 210, 277; Callipoli- ported vessels. After the middle of the seventh tis-Feytmans, 1970: 112; 1975: 30; Amyx, 1988: century, the production of over-sized examples 479; for the Korinthian dinos, see Callipolitis- came to an end and cauldrons are replaced by Feytmans, 1970; Amyx, 1988: 475-479; Harrison, bronze lebetes without protomes. This change 1993: 45-49). probably coincided with the vessel’s use in the The Korinthian origin of the Attic lebes has symposion (Herrmann, 1966: 142; Callipolitis- been questioned and Attic metal lebetes or Pro- Feytmans, 1970: 105; Herrmann, 1979: 137, 154; toattic clay examples have been seen as prototypes Williams, 1983: 11-12; Gauer, 1991; Sakowski, (Williams, 1983: 15; Harrison, 1993: 50-51).4 The 1997: 1-24). absence of Attic metal lebetes and the chrono- There are a number of seventh-century Attic logical gap between Protoattic and the earliest clay cauldrons with figures attached to their rim, black-figured examples do not support an Attic and their bowl attached to a support (Mainz origin of the shape. The discovery of a Transitional Universität, 153, Hampe, 1960: pls. 8-10; Mainz Universität, 154, Hampe, 1960: pls. 14-20; Mainz 4 The Protoattic lebes from the Agora of the third quar- Universität, 155, Hampe, 1960: pls. 22-23; Athens, ter of the seventh century, claimed to be the predecessor of the early black-figured shape, is strongly “Korinthianising”: Kerameikos Museum 147, 148, 150, Kübler, 1970: Athens, Agora Museum, P 26724, Brann, 1962: pl. 6.103. pls. 45, 43, 44). Although they have been consid- Brann, 1962: 44. 12 chapter two

Korinthian lebes at Vári suggests that Athenian scholars applied the term louterion to this shape, potters knew the shape and recognised its poten- epigraphic and literary sources employ it only tial for decoration (Callipolitis-Feytmans, 1970). for the stone broad-shaped standed basins (Amyx, It seems that the Attic funerary clay lebetes were 1958: 221-228). Most of the known examples have probably considered inappropriate for sympotic an echinus foot, except for the standed louteria use and a new shape was introduced from Ko- recovered from the dromos of the Mykenaian rinthos. tholos tomb at Menídhi (For the shape cf. Brann, According to the iconographic evidence, 1962: 43; Callipolitis-Feytmans 1965; Moore & le betes were used to warm water before bathing, Philippides, 1986: 32-33). or served as prizes in athletic contests (Gericke, The earliest known examples date to the third 1970: 88-93; Lullies, 1971: 49-50; Pap alexandrou, quarter of the eighth century (Athens, Agora 2004: 9-63). They also appear in sympotic scenes Museum, P 25634, Brann, 1962: pl. 6. 98; Athens, where they are used like the column-krater. Agora Museum, P 8360, Young, 1939: fig. 121; This sympotic function explains their discovery Athens, Agora Museum, P 21233, Brann, 1962: largely in domestic contexts (Athenian Agora pl. 18. 323). The earliest black-figured louterion, 131-135, Korinthos 146, Karabournáki 148, found in Aigina and attributed to the Nessos Phokaia 151-155, Larisa 156, Smyrna 157-165, Painter (Aigina 247), is large with a pointed body, Sardeis 173-175, Daskyleion 189-190, Histria 191- cylindrical shoulder, handles attached to it, and 193, Berezan 194, Massalia 204-207, Béziers 208, a spout that rises over the rim (Callipolitis-Feyt- Spain 209), as well as in the Samian Heraion mans, 1965: 22-25; Kübler, 1970: 190). The rim (Samos 170-171), where cultic symposia were is slightly divided from the shoulder and fairly organised (Kreuzer, 1998a: 32-41). In other offset on the later fragmentary example from the sanctuaries, lebetes served as votive offerings Kerameikos (Kerameikos 237). The shoulder (Akropolis 136-138, Aigina 143-145, Gortyna 149, receives most of the decoration. Two later exam- Miletos 166-169, Lindos 172, Naukratis 176-188). ples, made by a follower of Sophilos, share ele- Two clay cauldrons with attached protomes ments with contemporary lebetes and column- were recovered from Attic nekropoleis, sharing kraters. The body and foot are reminiscent of the the same funerary function with their seventh- column-krater, while the height is similar to the century predecessors (Kerameikos 140, Vári 142). lebes (Vári 240, Kerkyra 250). TheMenídhi loute- The Vári lebes was burnt in the grave, while the rion by Sophilos follows a different pattern Mení-( example from the Kerameikos stood as a marker, dhi 245). The rim, separated by a short neck from like the earlier skyphoi-kraters which are rare by the shoulder, is closer to the earlier Attic column- this time. Attic lebetes of the Korinthian shape kraters (Callipolitis-Feytmans, 1965: 22-25; Bakır, are absent from the early sixth-century Attic ce- 1981: 50-51; Harrison, 1993: 55-56). meteries, and, though examples are few, they are With its spout for pouring, the shape of the found at nekropoleis overseas, although in the louterion suggests it was a water container, case of Chiusi (Chiusi 199-202), the shape comes though carrying of hot water for a bath seems from all kind of contexts, without being exclu- unlikely (Callipolitis-Feytmans, 1965: 41-42; sively funerary (Pitane 150, Cortona 195-198, Diehl, 1967: 299). The examples from habitation Toscany 203). contexts (Athenian Agora 230-235, Phokaia 251) probably shared the same functions as kraters and lebetes. The spout would then facilitate pour- POURING VESSELS ing (Brann, 1962: 43). With the exception of one example from the Kerameikos, which served as Louterion (Appendix I, nos. 230-252) a marker (Kerameikos 237), all the known black- The louterion is a wide krater with a spout and figured examples recovered from Attic funerary loop handles attached to its shoulder. Although contexts were discovered in the North nekropolis attic early black-figured shapes 13 of Vári (Vári 238-242). Three, two of which are fact that they were not burnt excludes the pos- of large dimensions, can be associated with tumu- sibility that they were used in ritual meals and lus I, most likely coming from a trench (Vári points to their role as offerings to an unidentified 238-239. Figs. 8-9). Two louteria were placed ancestor after they were used for libations (Hägg, inside built-grave Γ(8), which contained an adult 1987: 96; Pimpl, 1997: 148; Boehringer, 2001: cremation (Excavation Diary: 29-30). Only one 96-97). of them could be identified among the known It seems that from the Geometric period material from the nekropolis (Vári 241). A relief onward, the shape was associated with tomb and pithos placed next to the head of the deceased ancestor cults; a large number of Late Geometric contained two more louteria, found together with louteria were recovered from the sacrificial pyres miniature Korinthian oil and drinking shapes of the Sacred House at the site of Plato’s Acad- (Excavation Diary: 62-63). Finally, an example emy, which can be linked to a number child urn- was discovered inside a layer of ashes that covered burials and the development of a funerary cult adult and child burials that were detected in a (Mazarakis & Alexandridou in print). The dis- small enclosure (Vári 242). covery of a louterion at the doorway between The shape has been connected with the funer- buildings XXVI and III at Thorikos led to the ary bath brought to the dead. Death was seen as suggestion that the edifices were related to the a natural pollution and the corpse had to be cult of dead (Mazarakis Ainian, 1997: 147, with washed and anointed. This purification process detailed bibliography), while Hägg interpreted as could continue, with the family of the deceased louteria the kraters (in particular cat. no. 145. bringing water to the grave. Apart from its puri- Burr, 1933: 578; Hägg, 1987: 96) from the Geo- fying power, water was believed to satisfy the metric oval edifice excavated on the North slopes thirst of the dead (Ginouvès, 1962: 244; Callipoli- of the Areopagos, which seem to have had a cul- tis-Feytmans, 1965: 42-43; Andronikos, 1968: 2-4; tic use (For the oval building and the votive Kurtz & Boardman, 1971: 150-151; Parker, 1983: deposit, cf. Burr 1933; Brann 1962, 109-110; 35; Rodhe, 2000: 162-166). Thesekhthonia loutra Antonaccio 1995, 121-126; Mazarakis Ainian must have been libations necessary to the rites of passage such as death, rather than an ablution 1997, 86-87; Deoudi 1999, 68-70; Boehringer (Thimme, 1964: 16-29; Danforth & Tsiaras, 1982: 2001, 68-72; D'Onofrio 2001). The louteria from 13; Parker, 1983: 35; Garland, 1985: 72-74). The the Vári tumulus and from the Menídhi tholos louterion served as a symbol of this ritual, as is tomb played a specific role at two funerary cer- clearer in the case of a miniature example from emonies; the first to honour a recently heroised Phaleron (Athens, National Museum, 2341, Cal- deceased and, the other a chronologically distant lipolitis, 1965: pl. IVa-c). After use, it seemed ancestor, both venerated through a long-lasting appropriate the vessel to be offered to the dead tomb cult. (grave Γ(8) at Vári) or to mark the grave (Kera- The louterion is almost completely absent from meikos 237). contemporary sanctuaries. A late seventh-century Elaborate louteria of a unique shape, includ- fragment was found on the Akropolis (Akropolis ing a support, from the dromos of the Myke- 236) and, if the shape has been correctly identi- naian tomb at Menídhi (Menídhi 243-245), are fied one more from the sanctuary at Rhamnous exceptional and indicate the wealth of the dedi- (Rhamnous 246). Outside Attika, a late seventh- cators (Wolters, 1898; 1899; Callipolitis-Feyt- century louterion by the Nessos Painter, as well mans, 1965: 43-65). Although these vessels have as two fragments not, however, securely associ- been connected with a heroic bath of funerary ated with the shape, are known from Aigina character for the deceased (Ginouvès, 1962: 249), (Aigina 247-249) and one from Kerkyra that was their absence from sanctuaries and other sites of placed as an offering in an adult’s grave (Kerkyra ancestor cult require a different explanation. The 250). 14 chapter two

Oinokhoe and Olpe (Appendix I, nos. 253-269) substantially to the shape’s development. The shape was more common in black and plain ware Because of their everyday use as pouring vessels, (Sparkes & Talcott, 1970: 58-59; Moore & Philip- the oinokhoe and the olpe are common products pides, 1986: 41). of the Attic workshops. The broad-based The olpe, with a continuous curved profile and oinokhoe, with a tall neck and round body, a trefoil mouth, was a late eighth-century Attic appears in the Early Geometric period, as a sur- invention (Appendix I, nos. 270-397), with the vival of a Protogeometric shape. It was produced, earliest decorated example dating to the Middle primarily in small sizes, until the end of the sev- Protoattic period (Athens Agora Museum, enth century (Young, 1939: 208; Brann, 1962: P 22550, Brann, 1962: pl. 33. 544; Brann, 1962: 36-37; Coldstream, 1968: 14, 22; for examples, 40). The earliest black-figured olpai, with a plump see Brann, 1962: nos. 44-51; for the Protogeo- body and a large echinus foot date to the late metric shape cf. Desborough, 1952: 47-53; Lemos, seventh century (Delos 332, Naukratis 356). The 2002: 67-72). example assigned to the Nessos Painter is very The early black-figured ring-collar oinokhoe fragmentary (Kerameikos 303). The earlier exam- is not reminiscent of the Geometric or Protoattic ples have a more circular body (Vári 307. Fig. shape (Athenian Agora 253. Fig. 10). It has a 11), which becomes taller and slimmer over time trefoil mouth, a wide neck and a round or ovoid (Vári 310. Fig. 42). Some examples, probably body. The trefoil oinokhoe, a variant of a Geo- inspired by metal prototypes, have a round, rather metric type, was favoured in Korinthian work- than a trefoil mouth (Vári 307, Aigina 325, Pitane shops from the second half of the seventh century. 339. Scheibler, 1961: 33-34, 44; Moore & Philip- Sharp angles between neck and body and a ring pides 1986: 40). The shape of the olpe allows for foot are its main characteristics. It lacks the plas- the application of panel decoration and it might tic ring of the Attic examples, found on the Ko - have been on this shape that it appeared for the rinthian broad-bottomed oinokhoai produced first time. The Ram Jug Painter applied the panel from the seventh century (Amyx, 1988: 479-483). decoration on two of his olpai and he could Only a limited number of Attic early black- be the introducer of this (Karouzou, 1956: 42; figured ring-collar oinokhoai have been pre- Brann, 1962: 24). On some examples, however, served. The source of inspiration for the shape is the decoration runs around the body. The area not apparent. Its neck can be paralleled with a above the panel is either plain or decorated with number of Attic late eighth-century oinokhoai a frieze of ornaments or figure-scenes (Moore & (Athens, Agora Museum, P 21579, Brann, 1962: Philippides 1986: 32, 40). pl. 5. 80; Athens Agora Museum P 23457, Brann, A rare variant of the oinokhoe has a vertical 1962: pl. 5. 81), while the fullness of its body lip, taller than the body and a handle that swings points to Early Korinthian prototypes, from up above the rim. It derived from the Middle which it varies in a number of other details. Geometric tankard, common during the eighth Therefore, the Attic shape might be the result of century (Young, 1939: 207; Coldstream, 1968: 23, numerous local and external influences, while its 47, 86). During the seventh century, it becomes decoration scheme in panels is Attic rather than less rounded and flat-bottomed, while its profile Korinthian.5 The earliest examples belong to the acquires a continuous curve (Athens, Kerameikos Gorgon Painter and his circle, who contributed Museum 1279, Kübler, 1970: pl. 12). Τhe unpublished tankard by the Anagyrous Painter closely 5 Sparkes and Talcott claim that the shape may have derived from the Protoattic oinokhoe with some Korinthian follows the Late Geometric Ib shape with a wide influence: Sparkes & Talcott, 1970: 51, no. 4. Harrison dis- flaring rim, a tall wide neck, a very rounded body, tinguishes between oinokhoai with round and ovoid body and a handle connected to the body with a strut and suggests that the former originates from the Early Korin- thian form with variations, while the latter may have been (Vári 396). The application of the decoration influenced by the Korinthian aryballos: Harrison, 1993: 83-85. stands very closely to the Geometric examples. attic early black-figured shapes 15

Animals occupy the neck, dotted rosettes the 154). Τhe examples from Samos were probably junction of neck with body, while the lower part used during symposia, while the rest, coming of the body is glazed (compare for example to from sanctuaries, should be interpreted as offer- Coldstream, 1968: fig. 10j). Unlike the Geometric ings to the deities and could have been used for shape, this tankard has a conical foot. libations before being dedicated. The later example by the Lotus Painter differs Only plain or black-glazed miniature oinokhoai from the Late Geometric prototypes and can be have been preserved in Attic funerary contexts seen as a development of the Protoattic; it has a and were primarily placed in child urn-burials wider and shorter neck, flaring walls, and a tall in the Eridanos, Vári, Marathon and Phaleron body, clearly divided from the neck. It has a cemeteries (Young, 1942: figs. 27-31; Schlörb- conical rather than a flat foot Vári( 397. Fig. 12). Vierneisel, 1966-1967: figs. 17.2, 18.4; Kallipolitis, The oinokhoe by the Kerameikos Painter is close 1963: pl. 58b; Arapogianni, 1985: pl. 87d). The to the Vári example with a broad and tall neck, oinokhoai found in graves overseas, however, are but almost vertical walls. Its lower part is concave black-figured (Kymai 263, Vietri sul Mare 264, with a broad conical foot (Kerameikos 395). The Taranto 266). Olpai were recovered from trenches decoration, divided into two zones, occupies the at Kerameikos and Vári (Kerameikos 303-306, rim and the body. The early sixth-century exam- Vári 307-313). Their funerary use is occasionally ples were recovered from offering trenches and emphasized by the addition of plastic mourners seem to have retained the funerary use of their over the handle (Kerameikos 304). Only a few Geometric predecessor, the tankard. painted examples served as grave offerings in In later vase-iconography, oinokhoai and olpai Attic graves (Laurion 314, Marathon 315, Athens appear in sympotic scenes where they are used 318). Olpai are primarily found outside Attika for ladling wine from the krater and pouring it (Melos 334, Ayía Paraskeví 335, Khalkidike 336, into cups (Richter & Milne, 1935: 18; Gericke, Pitane 339-341, Kameiros 351, Rhodos 353-354, 1970: 32-35). Although the representations of the Cerveteri 381-382, Caudium 383, Nola 384-385, olpe are rarer, the archaeological evidence sug- Taranto 386-387). gests a widespread use of the early sixth-century shape in habitation contexts (Athenian Agora 270-300, Korinthos 328-329, Karabournáki 337, DRINKING VESSELS Thasos 338, Phokaia 343-344, Klazomenai 345- 347, Smyrna 348, Sardeis 355, Histria 380, Mas- Skyphos (Appendix I, nos. 402-462) salia 388, Baou de Saint Marcel 389). Oinokhoai also served domestic needs, but almost exclusively The skyphos is a deep cup with two horizontal in Attika (Athenian Agora 253-261). A single handles near the rim. It is one of the main Attic example is known from overseas (Berezan 267). drinking vessels, produced by Attic workshops Only two early sixth-century oinokhoai were from the Protogeometric period onward. The found in sanctuaries, in both cases outside Attika Geometric skyphos is a shallow bowl, with an (Naukratis 262, Gravisca 265). On the other hand, offset rim and disc foot. By the end of the eighth a large number of olpai come from sanctuaries century, the foot disappears and the more verti- around the Mediterranean (Aigina 319-327, Pera- cal rim is hardly set off from the body. Only khóra 330-331, Delos 332-333, Samos 350, Mile- subgeometric skyphoi, decorated with a reserved tos 349, Lindos 352, Naukratis 356-377, Tocra band on the handle zone were preserved from 378, Daskyleion 379), but just a few are known the first half of the seventh century and were in from the Athenian Akropolis (Akropolis 301- production until the end of the fifth (Brann, 1962: 302). Naukratis seems to have been the major 46-49; Coldstream, 1968: 14, 18, 48, 86-87; Mala- market for the early black-figured olpai of the gardis, 1986: 7-16; for the Protogeometric types circle of the Gorgon Painter (Venit, 1988: 153- of skyphos: Lemos, 2002: 33-48). 16 chapter two

Despite the long tradition of the skyphos in pl. 17. 1-2; Kallipolitis, 1963: pl. 57; Arapogianni, the Attic repertoire, it was not the Geometric 1985: pl. 93a; Young, 1942: figs. 25-31). shape that was decorated in the new black-figure technique. Rather, sixth-century Attic potters Cup (Appendix I, nos. 463-591) copied, almost exactly the Korinthian kotyle. This was a thin-walled deep bowl, resting on a ring During the sixth century, Athenian potters pro- foot and with horizontal handles near the slightly duced a number of variations of fine-decorated in-turned rim (Payne, 1931: 294; Amyx, 1988: cups, shallow bowls with an offset rim and two 457-458). Kotylai had been imported to Attika horizontal handles; the Komast cup is the earliest. from the Protokorinthian period and the first Its name derives from its decoration with the Attic imitations are chronologically close to their komos and it was produced from the early sixth Korinthian precursors (Young, 1939: 146). The century, becoming less common by the second first early black-figured skyphoi of “Korinthian” quarter of the same century when the Siana cup type were produced by the Komast Group and appears (Brijder, 1983). their shape remains unchanged during the first By the last quarter of the seventh century, the quarter of the sixth century (Korinthos? 433. Fig. Pre-komast cup, a development from the sub- 13). Two different scenes occupy both sides of geometric Attic skyphos, was divided into three the skyphos, separated by floral ornaments under categories by Brijder, with the two earliest dating the handles, while in some cases the decoration to the last quarter of the seventh century (Brijder, can be continuous around the vase (Provenance 1983: 59-63). The series of Pre-komast cups were Unknown 462). The main subjects are the komos considered predecessors of the Attic Komast cup and Komast dancers. (Brann, 1962: 47-48; Brijder, 1983: 44-48). The Skyphoi are found in habitation contexts earliest black-figured examples have been assigned (Athenian Agora 402-408, Korinthos 432-439, to the Komast Group (Greece 508. Fig. 14). They Megara Hyblaia 459-460, Spain 461) and in Attic have a short offset rim, a deep body, and a stem- sanctuaries (Akropolis 409-415, Kiápha Thíti 422, less conical foot, imitating the Middle Korinthian Rhamnous 427, Mounikhía 428, Eleusis 429), as cups, though with a number of modifications well as overseas (Perakhóra 440-445, Sáni 446, (Moore & Philippides, 1986: 62). In Korinthos, Samos 449-452, Naukratis 453-455, Gravisca 456). decorated cups began to be produced in the Mid- In the case of Perakhóra, the burnt debris and dle Korinthian period, continuing the tradition the discovery of a hestiatorion suggest that they of a Protokorinthian shape decorated with linear could have been used in ritual banquets (Payne, patterns (Payne, 1931: 296, 310; Amyx, 1988: 1940: 53-66; Tomlinson, 1977: 197-202; Baum- 462). Because of a number of minor differences, bach, 2004: 16). Although not found in graves Korinthian influence has been rejected and the overseas—with the possible exception of the sky- Attic Komast cup has been interpreted as an phos from Tamassos (Cyprus 453)—some early entirely indigenous shape (Brijder, 1983: 50). black-figured skyphoi are known from Attic However, it is better to assume that the Komast nekropoleis, mostly from offering trenches (Kera- Group, also responsible for the introduction of meikos 416-417, Vári 418-421, Anavyssos 423, the Korinthian skyphos to Attika, slightly modi- Vourvá 425, Athens 430-431). In contrast to the fied the Korinthian shape, while integrating East majority of the skyphoi found overseas, which Greek influences (Moore & Philippides, 1986: 62; are decorated with Komasts, the funerary exam- Amyx, 1988: 463, no. 76). The potters knew the ples from Attika have animals or figure scenes plain Attic version, but, as in the case of the sky- on them. Subgeometric skyphoi, and not the phos, it was not used as a prototype for the newly-introduced black-figured shape, occur in painted shape. Moreover, the depiction of the child urn-burials (Schlörb-Vierneisel, 1966-1967, komos points to Korinthos. Korinthian influence attic early black-figured shapes 17 has also been observed on the Pre-komast cup The literary sources and the inscriptions on of type B, while East Greek influence has been vases suggest that the ancient name of the shape identified on some late seventh-century Attic and was kylix (Richter & Milne, 1935: 24-25; Sparkes Middle Korinthian cups, indicating interaction & Talcott, 1970: 5). The shape was widely dis- between the different workshops (Payne, 1931: tributed around the Mediterranean, reaching 296; Brann, 1961: 350; Brijder, 1983: 48, 50, 61; most of the markets where Attic pottery came to for the Korinthian and the East Greek influences dominate. Cups were recovered from a variety on the Attic Komast Cups: Williams, 2009: 3-4). of contexts. The shape was a basic drinking ves- During the first quarter of the sixth century, sel, used for the consumption of wine during the the shape generally remains the same. Each side symposion, and has been found in settlements of the cup is decorated with two or three dancing (Athenian Agora 463-464, Korinthos 481-483, komasts, a lotus palmette ornament under the Karabournáki 502-503, Thasos 504, Lesbos 509, handles and rosettes or a net pattern on the rim. Phokaia 515, Smyrna 516-520, Klazomenai 521- The interior is painted black. Minor differences 522, Cyprus 538, Daskyleion 548-549, Histria 550, can be observed on the cups of a few painters Berezan 551, Sybaris 565-566, Megara Hyblaia working in the manner of the KX Painter, like 571-572, Monte Iato 575, Spain 582-591). They the Painter of New York 22.139.22, the Painter also served as votive offerings in a number of of Copenhagen 103, and the Béziers Komast sanctuaries, mostly outside Attika (Akropolis Painter (Brijder, 1983: 48). 465-466, Kiápha Thíti 472, Aigina 477-480, Pera- A number of cups of the Komast Group have khóra 484-492, Isthmia 493, Delphoi 495-501, exceptional dimensions. The KX Painter is asso- Thasos 504-506, Samos 523-534, Lindos 535-537, ciated with a cup with a convex exterior rim and Naukratis 539-545, Tocra 546, Kyrene 547, a much deeper body than the usual (Samos 523). Gravisca 562-564). The large number found at Similar vessels have also been attributed to the Perakhóra and Korinthos demonstrates that they KY Painter (Korinthos 483, Thasos 504). Their were preferred for their close resemblance to local shape and proportions place them closer to the products (Dunbabin, 1962: 335). The special earliest Siana cups. The KX Painter may have pieces by the KX Painter from Samos are luxury produced a double cup comparable to the East items, bought by the local aristocracy who used Greek shape with features close to the Middle them during the ritual dinners that took place in Korinthian cups. It was found at the Samian the sanctuary, before dedicating them to the god- Heraion (Samos 529). A fragmentary example dess (Kreuzer, 1998a: 32-41). A few cups come from the Athenian Akropolis has been assigned from Attic funerary contexts (Kerameikos 468- to the same potter, even though it has been dec- 471, Thorikos 473, Kephisiá 474, Athens 475-476). orated by a Korinthian. The shape is unique; no Although the shape is more common in sanctu- other Attic examples are known, and, as a result, aries and settlements overseas, there are examples it has been associated with the KX Painter (Kreu- from nekropoleis, mainly in Etruria and South zer 2009a). Double or multiple cups are distinc- Italy (Isthmia 494, Greece 507-508, Pitane 510- tive to Samian workshops and probably served ritual purposes. The convex outer contour of the 514, Cerveteri 552-557, Chiusi 558, Poggio Peli- rim is also an Ionic, Samian trait (Brijder, 1997: cia 559-561, Taranto 567-570, Gela 573, Motya 1-10; for the Samian cups, cf. Walter, 1957: 574). 35-51). Parallel to the series of painted Komast cups run the plain cups. The earliest, dating to Kantharos (Appendix I, nos. 592-597) the late first quarter of the sixth century, imitate the cups in the manner of both the KX Painter The kantharos is a double-handled cup with a and the KY Painter (For the Class of Athens 1104, deep bowl, an attribute of Dionysos on the Athe- cf. Sparkes & Talcott, 1970: 88; Brijder, 1983: nian vases after 550 bce. Unlike the skyphos and 88-90). cup, it does not seem to have been a common 18 chapter two drinking vessel in Attika (Carpenter, 1986: 118- while the best preserved example is slightly later 123). A Late Protogeometric invention, favoured and belongs to the Anagyrous Painter. During during the Early Geometric period, it resembles the eighth and seventh centuries, Boiotian kan- the Geometric skyphos, except with a low coni- tharoi were copying Attic Geometric and Protoat- cal foot. By the Middle Geometric period, it ac- tic prototypes. In addition to this, the decoration quires high handles, a tall, upright rim, and a on the sixth-century Boiotian examples imitates straighter profile, characteristics that remain the Komast Group and the KX Painter (Ruckert, unchanged during the eighth century. Although 1976: 35-37; Rasmussen, 1985: 33-34). This evi- rarer, high-handled kantharoi were still produced dence seems to point towards an Attic origin of during the seventh century (Desborough, 1952: the shape. On the other hand, if survival is not 102-110; Brann, 1962: 51-52; Coldstream, 1968: accidental, the scarcity of the early sixth-century 11, 14, 18, 23, 48, 86; Kübler, 1970: 171; Lemos, Attic kantharoi rather supports the argument that 2002: 54). it must have been the Attic painters who were The early sixth-century shape does not seem inspired by Boiotian examples (compare for to have developed from this Geometric shape. example with the Boiotian kantharos: CVA Hei- Beazley’s A1 type has a cul with flaring walls that delberg, Universität 1, pl. 24. 5-6). curve inward towards a tall stem, a broad flat Unlike the Boiotian kantharoi, which primarily foot and strap handles that rise above the rim served funerary purposes and were placed in (Beazley & Caskey, 1931: 14-18). The earliest graves, the majority of the early-sixth-century examples date late in the first quarter of the sixth Attic kantharoi, which are of exceptional quality, century and are scarce. Contemporary represen- come from Naukratis where they were offered as tations of the shape appear on contemporary votives (Naukratis 595-597). If correctly identi- vases by the KX Painter and Sophilos (Kera- fied, the single Attic example known from the meikos 417, Provenance Unknown 211, 462). The Akropolis served the same purpose (Akropolis shallow-bottomed or the deep kantharoi were a 592). The kantharos by the Anagyrous Painter common grave offering in sixth-century Boiotia was found in a long trench excavated inside (Kilinski, 1990: 57-58). tumulus I of the Vári nekropolis (Vári 593. Fig. The origin of the shape in early Attic black- 15). It was found together with oinokhoai, a plate, figure may have been inspired by Etruscan buc- an exaleiptron, a skyphos, and two hydriai, almost chero or by Etruscan metal models and their Attic all of which are assigned to the Lotus Painter. metal imitations (Courbin, 1953; Cook, 1968: 236; The kantharos fits into the sympotic character of Rasmussen, 1985: 38; Brijder, 1988: 109-111; for the trench-ceremony, but it is exceptional due to Etruscan bucchero, see Ramage, 1970: 1-61 and its figure decoration. Its themes—the struggle of esp. 27-29). Examples of bucchero were found in Herakles with Nereus and a frontal chariot—do Korinthos, Perakhóra, Kerkyra, Ithaka, Delos, not have any funerary connotations. This myth- Khios, Samos and Rhodos (Villard, 1962: 1626). ological episode is common on liquid containers, The earliest Attic clay examples are contemporary like hydriai, and could have been applied on a with the earliest Boiotian and, therefore, it is dif- drinking shape containing wine. On the other ficult to know whether the shape appeared first hand, the depiction of the frontal chariot might in Attic or in Boiotian workshops. In Boiotia, the simply allude to the wealth of the deceased and shape was produced throughout the sixth century his immediate circle (For the depictions of the and is considered a local invention, independent struggle of Herakles with Nereus and frontal of Etruscan influence that provided the inspira- chariots, see below 51-52, 72). The vessel clearly tion for the Attic examples (Kilinski, 1990: 58). stands out from the rest and raises the question The KX Painter and his circle, whose style was of its primary purpose and use. Does it represent imitated by the Boiotian Dancers Group, has been a special commission for this occasion or could assigned almost all the early black-figured pieces, it have been a personal belonging of one of the attic early black-figured shapes 19 dedicators which served sympotic needs before to the Late Geometric shape of the high-rimmed appearing in this particular funerary context? In bowl, common in the Attic nekropoleis during any case, its chronological distance from the the late eighth century (Coldstream, 1968: 34, 48, inhumation found in the tumulus excludes the 86). The bowl by the Anagyrous Painter has more possibility that it belonged to the deceased. flaring walls and its foot differs from the flat or high-fenestrated Geometric examples, but can be Chalice (Appendix I, nos. 598-603) seen as an early sixth-century development of this Geometric shape. It was found at Spáta, prob- The chalice, a drinking vessel with a flaring wall, ably in a grave, because of its good state of pres- narrow rim, cul, horizontal handles, and a coni- ervation. Eighth-century high-rimmed bowls cal foot, is a late eighth-century Khiot invention, come from graves of the area (Philadelpheus, imitated by Attic workshops. Some seventh-cen- 1920-1921: 131-138). The Anagyrous Painter is tury Khiot examples, found in the Agora and on known for decorating shapes that imitate Geo- the Akropolis, might have acted as the inspiration metric or Protoattic prototypes and his bowl, a for Athenian potters (Cook, 1949: 160; Brann, continuation of a Geometric shape, was an ideal 1961: 357; Lemos, 1991: 199). Only a limited burial gift (Callipolitis-Feytmans, 1974: 70-71). number of Attic chalices are known and they date In contrast to the Khiot chalices, which were from the first quarter of the sixth to the early not for everyday use but were offered as votives fifth century (Moore & Philippides, 1986: 57-58). in sanctuaries (Lemos 1991: 199, 224-225), the The Khiot Proto-chalices are close to the sky- Attic examples have been found in the wells of phos’ shape, with a convex profile, tall upright the Agora (Athenian Agora 598-601). As imita- rim, and broad ring base. By the last quarter of tions of a Khiot shape of fine quality, it is likely the century, the bowl becomes smaller, the rim that they were owned by the upper social classes higher, and the ring base develops into a low and were possibly used in luxurious symposia. heavy conical foot (Lemos, 1991: 8). The Attic On the other hand, the earliest Attic chalice was chalices are the only known imitations of the recovered from a funerary context, in particular, shape to be found outside Khios. One has been the offering trench of theVourvá tumulus (Vourvá attributed to Sophilos. It is a close imitation of 603). The possibility of this chalice’s domestic the late seventh-century Khiot prototypes (Vourvá use before ending up in the trench cannot be 603. Fig. 16) with a low conical foot, while the ignored, but due to the rarity of the shape, it is rim has been developed to become the wall of more likely that it was intended for this special the vessel (Lemos, 1991: 10-11. Compare to: funerary ceremony, as an appropriate symbol of Boardman, 1967: 103, fig. 60d). The Agora exam- the after-burial banquet. ples, attributed to the Group of the Dresden Lekanis, are too fragmentary to allow for a reconstruction of their shape (Athenian Agora 598- TRANSPORT VESSELS 601). The decoration is applied to the flaring parts Amphora (Appendix I, nos. 604-664) of the wall and is divided into zones (Moore & Philippides, 1986: 57-58). An open shape, assigned The one-piece amphora has round handles and to the Anagyrous Painter (Spáta 602. Fig. 17) has a continuous curve between the flaring mouth also been connected with the Khiot chalices and the echinus foot. Beazley distinguished three and, in particular, the mid seventh-century exam- types, with the earliest—type B—produced by ples with a deep squat bowl and high walls (com- Attic workshops from the first half of the seventh pare to: Boardman, 1967: 103, fig. 60c). With its century, becoming more common during the ribbon, rather than cylindrical, horizontal han- second and third quarters of the sixth (Beazley, dles, imitating those of the contemporary Attic 1922: 70-71; Brann, 1962: 30; Moore & Philip- plates and lekanai, the shape seems closer in form pides, 1986: 4). The earliest examples have a 20 chapter two globular body and short neck (Attika 641), like anced proportions (Veii 653, Italy 659. Scheibler, examples of Subgeometric one-piece amphorae 1961: 32-33; Moore & Philippides, 1986: 6). of the third quarter of the seventh century (Ath- The series of horsehead amphorae forms a ens, Agora Museum, P 22714, Brann, 1962: pl. 2. special class of the one-piece amphora (Appendix 22). By the last quarter of the seventh century, I, nos. 665-750). On the panels of both sides, a the amphorae are slender and tall-necked with horsehead is shown facing right and wearing a decorations better fitted to their shape (Eleusis simple halter. The head follows a Protoattic pro- 638, Athens 639, Attika 642). Many of the earli- totype and remains unchanged during the period est black-figured examples are decorated with of their production which began in the early sixth different subjects on their body and neck. The century (Athens 684. Fig. 19). Although the Nes- bodies have large figures, separated from the neck sos or the Gorgon Painter and his circle have by glazed lines and framed by floral ornaments been credited with the invention, they might have (Kerameikos 636, Athens 639, Attika 642, Aigina been following the same Protoattic prototype. The 643). Sophilos and the Gorgon Painter imitated amphorae appear in different sizes, with the larger this decorative scheme which disappears by the ones found in Attika and the smaller ones in second quarter of the sixth century (Athenian Etruria and Sicily. The majority were recovered Agora 619, Provenance Unknown 664). The Nes- from the Attic nekropoleis, either used as urns sos Painter occasionally chose a single subject to for children’s burials, as grave-markers, or as occupy both the body and the neck of the offerings in the trenches. Some bear signs of amphora (Athenian Agora 604. Fig. 18, Athens repair suggesting a secondary use. Smaller horse- 639). The siren on the amphora from Attika occu- head amphorae of the second quarter of the sixth pies the vase’s neck and body, but it is included century from the West were also discovered in in a panel, whose sides are seen next to the han- graves. Their small size makes it likely that they dles (Attika 641). were imported for their contents (Picozzi, 1971; Unlike lebetes and kraters, the decoration of 1972; Birchall, 1972; Kreuzer, 1998c; for the the one-piece amphora cannot be arranged in invention of this type of decoration: Picozzi, 1971: running friezes and, as a result, panel decoration 53; Moore & Philippides, 1986: 77). Literary and becomes dominant in Attic black-figure (Moore iconographic evidence emphasize the amphora’s role as a storage vessel for products such as wine & Philippides, 1986: 5-7). One of the earliest and oil. Even though it does not often appear in examples of ornamental decoration in a panel sympotic scenes, it might have been used as a appears on an amphora from the Agora of the container for unmixed wine. It is possible then first half of the seventh century (Athens, Agora that the horsehead amphorae were used in sym- Museum, P 6463, Brann, 1962: pl. 2. 21). The posia, before finding their way to the nekropoleis. panels are usually decorated with single, con- The concentration of the shape in the wells of fronted animals, human or animal, protomes. A the Athenian Agora favours such a use (Athenian fragmented piece with a female protome from Agora 665-672. Richter & Milne, 1935: 3, Schei- the Agora belongs to the earliest black-figured bler, 1985: 63-73; Kreuzer, 1998c: 109-111). The examples (Athenian Agora 610). The panel is horse protome acted as a symbol of the élite, small and its position is high on the vase empha- whose interests included both horse ownership sizing the neck and shoulder contour. The rest and symposia, and amphorae bearing it were of the vase is glazed. The Gorgon Painter and his chosen to accompany the aristocratic deceased circle used panel decoration on olpai and ampho- (For the horse protome, its meaning and a rae. During the first quarter of the sixth century, detailed bibliography, see below 75). the panel becomes wider and can extend below From the Protogeometric period, Attic work- the body’s maximum diameter. The shape of the shops produced neck-amphorae, with the neck amphora develops towards more slender and bal- sharply separated from the body (Appendix I, attic early black-figured shapes 21 nos. 751-812). They were mostly used as cinerary or flaring rim, and an ovoid body (Athenian urns (Desborough, 1952: 5-43; Lemos, 2002: Agora 762-764). The Marathon amphora, assigned 56-59). The early Geometric examples have a tall to Sophilos, has a taller neck and slimmer, more narrow neck, flaring ring foot, and a rounded pointed body (Marathon 797). It might have been body with a tendency towards slimmer propor- influenced by the contemporary loutrophoros- tions. During the eighth century, the foot is amphorae. During the second quarter of the sixth almost vertical and the rim rolled in a manner century, neck-amphorae acquire an ovoid body, reminiscent of the slightly later commercial SOS an echinus mouth and foot, as well as round han- amphorae (Coldstream, 1968: 14, 17, 22, 47, 85). dles like the amphora of the Group of the Dres- The mid seventh-century Nessos amphora in den Lekanis from Taranto, though its rim is New York has a more pointed body, with a reminiscent of the Nessos amphora (Taranto slightly flaring ring foot (New York, Metropolitan 811). Most of the early sixth-century examples Museum, 11.210.1, Ahlberg-Cornell, 1992: fig. are decorated with animal friezes covering body 189), features imitated by the late seventh-century and neck. Occasionally, a single animal or other Peiraieus amphora, with the shoulder of the lat- figure appears on the neck. ter being flatter, creating a sharper angle with the According to later vase-inscriptions, the name neck (Peiraieus 800). The slightly later Nessos kados was applied to the amphora whose purpose amphora from Athens is slimmer, with a broad in literary sources is associated with wine, water, lip and a row of knobs on the lip’s underside, or oil. In the iconography, amphorae are usually probably imitating rivet-heads (Athens 801). Its shown in market and festival scenes as contain- handles are decorated with an elaborate open- ers of agricultural products. They are not com- work pattern; characteristic of a number of Pro- mon in sympotic scenes (Richter & Milne, 1935: toattic amphorae, Theran pithoi, Rhodian, and 3; Gericke, 1970: 64; Scheibler, 1985: 60-73). A Boiotian-Tenian relief pithoi, which might have large number of late seventh-and early sixth- been inspired by basketry (Caskey, 1976: 40; Eb- century one-piece and neck-amphorae were binghaus, 1993: 17-18; for the suggestion that found in the Athenian Agora, where they prob- they imitate metalwork, see Schäfer, 1957: 88-90; ably served domestic needs (Athenian Agora 604- Mylonas, 1957: 24). Late seventh-century ampho- 634, 751-784, 813-827; for the problems concern- rae may have a high neck and a torus mouth ing the material from the Agora, see below 82-83). (Athenian Agora 759) or a flaring mouth and The quality of the examples from areas of habita- double handles (Athenian Agora 751), remaining tion suggests that they were luxury items. Eve- close to the contemporary one-piece amphorae. ryday storage needs were probably met by large The better preserved late seventh-century exam- plain vessels or transport amphorae. In Attika, ples of amphorae come from Vári and all were the pieces from sanctuaries are few and most date found in the trench associated with tumulus I. to the sixth century. The majority are poorly pre- Some of large dimensions were 55 or 60 cm high. served and often the type of the shape cannot be Their body can be ovoid with a flaring mouth distinguished (Brauron 637, Eleusis 799, Akro- (Vári 785. Fig. 20, Vári 790, 791, 792), or more polis 828-832, Akropolis North Slope 635, 833- elongated with a tall neck and calyx-shaped rim 834, Hymettos 841). Amphorae are also attested (Vári 786, 788, 789, 793. Figs. 21-22). The deco- in the Attic nekropoleis. The dimensions of the ration of the neck is framed by the handles, while seventh-century Nessos and Peiraieus neck- large-scale figures of animals and monsters amphorae suggest a solely funerary use. The occupy most of the body. Occasionally, a small former, although often referred to as a marker, animal frieze will appear under the main scene. according to the excavation report it must have Extant early sixth-century amphorae are not been an urn (AD 6, 1890: 4-5), while the latter numerous, but their shape varies. They are usually is thought to have been a grave marker. Contem- small, with vertical handles, flaring foot, vertical porary one-piece amphora of smaller dimensions 22 chapter two could have served either as urns (Eleusis 638) or Hydria (Appendix I, nos. 868-882) as markers (Kerameikos 636). The Berlin amphora The hydria is part of the Attic shape-repertory by the Nessos Painter was probably funerary too from the Late Helladic IIIC and Submycenean (Attika 642). A hole was made in its base, perhaps periods. Protogeometric examples are known, for pouring liquid offerings, and subsequently 6 with the majority dating to the Late Protogeo- repaired (Brommer, 1962: 3). Similar funerary metric (Desborough, 1952: 43; Lemos, 2002: uses should be associated with a number of late 66-67). From the middle of the eighth century, seventh-century amphorae of unknown type hydriai with banded decoration predominated (Kerameikos 835-838, Olympieion 839). (Brann, 1962: 34-35; Sparkes & Talcott, 1970: Late seventh-century funerary neck-amphorae 200). By the early seventh century, the new cook- derive exclusively from Attika. With the excep- ing-ware hydria replaces the banded, as well as tion of an example from the South-East cemetery the painted funerary hydria, which followed the of Vári (Vári 796), they are all concentrated in shape and decorative scheme of the Geometric the trench associated with tumulus I of the North neck-handled amphora, with a longer, narrower, nekropolis (Vári 785-795). Their dimensions and more pointed body and a concave neck (Young, quality of decoration imply special commissions, 1939: 209; Coldstream, 1968: 60; Sheedy, 1992: indicating wealthy buyers and the social signifi- 11-15). The painted hydria reappears in the Attic cance of the deceased. The shape is not found in repertoire during the first quarter of the sixth any other trench in Attika which would suggest century, but there are few preserved examples. the special character of the ceremony. Like the Only one fragmentary example from Samos, standed skyphos-kraters, it is possible that the contemporary with the Gorgon Painter, belongs amphorae were used to carry liquid offerings. to the first generation of black-figure painters Later in the sixth century, there are two examples (Samos 880). The later hydriai by the KX Painter of funerary neck-amphorae from Attika; one was from the Kerameikos and Samos provide a more found in the trench of the Marathon tumulus complete idea of the round-bodied type of the (Marathon 797), while the exact context of the shape (Kerameikos 870. Fig. 23, Samos 879). The other is not known (Athens 802). Samos example has a conical foot and a relatively Fragments of late seventh-century amphorae flat-shaped shoulder. The junction between shoul- were found outside Attika (Aigina 643, Smyrna der and body is emphasized by a ring, while the 805, Samos 646, Cerveteri 862). During the sixth decorative animal friezes are divided by plastic century, they are predominant in domestic rings too. The Kerameikos hydria, is similar to (Phokaia 644, 846, Smyrna 645, 847-849, Sardeis that from Samos, but has a flatter shoulder and 855, Xanthos 808, Tell Defenneh 708-710, Dasky- wider decoration zones. Its neck is massive and leion 651, Berezan 860-861, Massalia 660, 865, slightly concave, while its foot is flaring. It has Spain 866) and cultic contexts (Samos 647-648, large horizontal strap handles attached to the 806-807, 849-854, Naukratis 649-650, 809, 856- body at the point of the greatest diameter. The 859, Gravisca 864, Leuca 656). The known funer- connection between neck and shoulder is empha- ary examples, found overseas, are not numerous sized by a ridge (Kreuzer, 1998a: 9-10). A slightly and are mostly of the one-piece type (Cerveteri later hydria, decorated in the manner of Sophilos, 652, Veii 653, Tarquinia 654, Poggio Pelicia 655, shares the same shape and decorative character- Italy 657-659). istics (Vári 871). The slimmer hydriai by the Lotus Painter with taller necks is an example of the shape’s development (Vári 874-876). Unlike 6 Although Boardman saw a functional purpose of the the earlier examples, animal friezes now appear markers’ pierced bottoms, Houby-Nielsen successfully showed on their necks. that they could have been used for liquid offerings to the The early black-figured hydriai might have deceased. Boardman, 1988: 171-179; Houby-Nielsen, 1996: 42, no. 5. been influenced by Middle Korinthian examples attic early black-figured shapes 23

(Kreuzer, 1998a: 10), like those by the Dodwell 1992: fig. 11; Heidelberg, Archäologisches Insti- Painter (Amyx, 1971: 1-48; 1988, 498). The Mid- tut der Universität F162a, Stibbe, 1992: figs. dle Korinthian hydriai are round-bodied, usually 29-30). The overall appearance of the earliest with a ridge between neck and shoulder and black-figured hydriai can be compared to some round handles, but their overall shape and foot early Lakonian bronze examples (United States, keep them separate from the Attic examples Private Collection, Stibbe, 2004: figs. 15-16). (compare, for example, to: CSCA 4, 1971, pl. 7; Fine-decorated hydriai do not seem to have CVA Berkeley, University of California 1, pl. 6. been favoured by the early black-figure painters. 2; CVA Copenhagen, Musée National 2, pl. 89. No examples are known from the last quarter of 1). The tall, almost straight-sided neck is a com- the seventh century. A few early sixth-century mon characteristic of both wares and continues hydriai come from the Athenian Agora (Athenian the tradition of the Geometric household hydriai. Agora 868-869), Korinthos (Korinthos 877), and The hydriai with the tall straight neck and the Smyrna (Smyrna 878), where they must have been wide outspreading rim by the Lotus Painter stand used as water carriers, like the Geometric banded closer to the Geometric examples. and cooking-ware hydriai. The later vase-repre- A significant number of bronze hydriai have sentations verify such a use (Gericke, 1970: 48-49; been preserved (Diehl, 1964; Rolley, 1982; Stibbe, for the uses of the shape in everyday life see most 1992; 2000; 2004: 1-40; 2005: 21-31), allowing for recently: Trinkl, 2009: 155-158). The shape is rare a comparison of vessels in clay and in metal. The in the Kerameikos. No painted hydriai from the earliest bronze hydriai of the last quarter of the end of the eighth to the beginning of the sixth seventh and the early sixth centuries have a round centuries have been found here (Kübler, 1970: shoulder, a heavy-looking rim, decorated with 34). Two early sixth-century examples from horizontal grooves, a low and broad neck, and a trench R are known, only one of which is pub- flaring foot. Contemporary Attic examples seem lished (Kerameikos 870. Fig. 23. Vierneisel, 1964: to share some of these characteristics. The rims 41-42). On the other hand, there is an interesting of the Kerameikos hydria are reminiscent of early concentration of painted hydriai dating late in sixth-century Lakonian examples (Bern, Histo- the first quarter of the sixth century at the North risches Museum, 11620, Stibbe, 1992: fig. 32; nekropolis of Vári. These examples were all found Budapest, Museum of Fine Arts, 600, Stibbe, in trenches or sacrificial pyres, like the early sixth- 2005: figs. 1-4; Stibbe, 2000: 5. Some of the slightly century Kerameikos hydriai (Vári 871-876). Due later hydriai by the Polos Painter share the same to the shape’s rarity in contemporary contexts, feature, cf. Athens, National Museum, ABV 49.1, they must have been specially ordered for a funer- BAPD 305265). Although the vertical handle of ary purpose: as carriers of water, they contributed the Vári hydria (Vári 871) follows the Geometric to the purification process needed after death. tradition, being attached to the neck and not the Already occurring in the Geometric period, rim, it can be compared to the simple handles of hydriai could be placed inside or on the top of the early bronze examples (Santa Maria, Capua graves, or in offering groups, similar to the later Vetere Museo, 264138, Stibbe, 2004: fig. 49). The trenches (Kübler, 1954: 30; Diehl, 1964: 121). handles of the earlier Kerameikos and Vári exam- Beyond Attika, early black-figured hydriai were ples have a metallic look, copying, not the hori- discovered at the sanctuaries of Samos and Nau- zontal handles of the bronze hydriai, but those kratis (Samos 879-880, Naukratis 881). House- of black-figured lekanai and lekanides, a shape hold hydriai, primarily produced locally, are com- also preserved in bronze (Athens, Kerameikos mon offerings in a number of sanctuaries of Museum, M136, Kübler, 1970: pl. 127). On the female deities, such as Demeter or Hera. They bronze hydriai, this handle type becomes more were dedicated by women on occasions associated common from the mid sixth century (Vienna, with marriage or birth (Boardman & Hayes, 1966: Kunsthistorisches Museum, ASVI2907, Stibbe, 15; Coldstream, 1973; Metzger, 1985; Schaus, 24 chapter two

1985: 95; Kron, 1984: 292-297; 1992: 611-650; a round body and a massive foot (Sanctuary of Kreuzer, 1998a: 35). At Samos, Hera is honoured the Nymphe 890-892), become more slender with as kourotrophos and nymphe and the ceremonial a more elegant echinus foot in the work of the household vessels might have been used during Gorgon Painter (Sanctuary of the Nymphe 938- purification ceremonies associated with the clean- 943). The shorter necks of the Gorgon Painter’s ing of the image of Hera in Imbrassos (Diehl, are taller and slimmer in examples by the KX 1964: 180-181; Kreuzer, 1998a: 40-41). However, Painter and Sophilos. The KX Painter’s loutro- the fine-decorated hydria by the KX Painter phoros from the Kerameikos has a tall and slen- should be connected with the ritual symposia, der neck, an elegant body, and foot (Kerameikos held during Hera’s festivals (Kreuzer, 1998a: 1095). The Anagyrous Painter’s shape is still close 33-34. Generally for the ritual use of the shape to that of the Geometric amphora, with a short in the sanctuaries, cf. Trinkl, 2009: 161-170). neck and a slim body (Vári 1096. Fig. 24). Dur- ing the first quarter of the sixth century, the neck Loutrophoros (Appendix I, nos. 883-1103) is most often decorated with a procession of women while animal friezes are placed on the The loutrophoros is known in two variants: the rest of the body. The handles and the rim are loutrophoros-amphora and the loutrophoros- decorated with incised rosettes. Animal friezes hydria. Both have an elliptical body, tall narrow are also found on the neck of some loutrophoroi. neck, calyx-shaped rim, strap-handles, and an The name of the vase suggests that it was a echinus or flaring foot. They are distinguished by carrier of water for bathing. The study of written their handles; the amphora has strap handles on sources shows that the term loutrophoros refers each side of the neck, whereas the hydria has a to a vase when associated with funerary rites and vertical handle on the back from the shoulder to to a person when associated with a wedding (for the neck and two small horizontal handles on a discussion of the sources, see Mösch-Klingele, the shoulder (Moore & Philippides, 1986: 18-19). 1999: 273-274; 2006, 3-7). Although the function The early seventh-century Analatos hydriai have of the vessel is ambiguous, its context and ico- been considered the earliest loutrophoroi. Their nography could allow for a clearer interpretation shape can be traced back to the Geometric funer- of its use. The sanctuary of the Nymphe provides ary neck-amphora, which, from the early Geo- continuous evidence from the third quarter of metric period, becomes taller and slimmer. Dur- the seventh century until the late Hellenistic era ing the Late Geometric period, neck-handled (For the sanctuary, see below 83-84). Nymphe, amphorae are less common and the Early Pro- the name of the honoured deity, is identical with toattic potters adopt the hydria as the principal the ancient Greek word for bride. She is an inde- shape, giving it an ovoid body and a concave pendent mythical figure, who was probably con- neck, without developing the characteristics of sidered the main protector of marriage, without the later loutrophoros-hydria (Cook, 1968: 47; the need of a more specific name (Kyrkou, 1997b: Karydi, 1963: 90; Sheedy, 1992: 11-15).7 902; Brouskari, 2004: 35-36; Parker, 2005: 442- The sanctuary of the Nymphe on the South 443; Mösch-Klingele, 2006: 11-19).8 The charac- slope of the Akropolis revealed a large number ter of the Nymphe underlines the nuptial use of of loutrophoroi. The earliest black-figured exam- the loutrophoroi found at her sanctuary. The ples have been attributed to the Nessos Painter processions of women, depicted on the necks of and his circle. Their loutrophoros-hydriai, with

8 The discovery of a classical inscription in the sanctu- 7 The Early Protoattic Analatos painter has been assigned ary and the decoration of a red-figured loutrophoros with a number of hydriai: Athens, National Museum, 313, Sheedy, the wedding of Admetos and Alkestes have been considered 1992: pl. 5. 1; Melbourne, National Gallery of Victoria, D23, as signs of a khthonic character of the Nymphe at that time. AK 39, 1996, pl. 13. 3; Bochum, Kunstsammlungen der Ruhr- It remains unknown, whether she had a similar character Universität, CVA Bochum, Kunstsammlungen der Ruhr- earlier or it was acquired over time. Brouskari, 2004: 36; Universität 1, pls. 10-12. Kyrkou, 2000: 287-297. attic early black-figured shapes 25 a large number of these vessels, are of a festive died before marriage, and was therefore, either character and probably represent the loutropho- symbolically married to Hades, or seen as need- ria—the carrying of water from the Kallirhoe ing a spouse in the world of the dead. It is an spring for the couple’s nuptial bath on the day “epitomy” of the wedding, as part of the family’s of the wedding (Ginouvès, 1962: 267; for the ico- attempt to give the deceased the bridal bath nography of the processions, see below, 72-73). (Ginouvès, 1962: 257-258; Boardman, 1988: 177- The wedding ceremony is a rite of passage, sep- 178; Sabetai, 1993: 140; Mösch-Klingele, 1999: arating the bride and groom from the life they 275; 2006: 22-23. Bergemann denies the connec- lived as children. The water not only purifies, it tion of the vessel with unmarried deceased: Berge- provides fertility and, as a result, must obtained mann, 1996:163-174). Like the wedding cere- from a specific source. After the wedding the mony, funerary practices served as a rite of bride could offer the vessel to the Nymphe passage. Therefore, khthonic or bridal, theloutra (Ginouvès, 1962: 421; Parker, 1983: 18-31; Oak- had a single purpose (Danforth & Tsiaras 1982: ley & Sinos, 1993: 15-16; Mösch-Klingele, 2006: 13; Garland, 1985: 72-74; Oakley & Sinos 1993, 7-19). 15; Mösch-Klingele, 1999: 273-275). Founding a The shape of the loutrophoros, decorated with new oikos after marriage was of great importance processions of women on the neck, is dominant for the community; the inclusion of the shape in among the sixth-century offerings to Nemesis at the early sixth-century offering trenches served the sanctuary at Rhamnous. There, the goddess as a reminder of the special condition of the has been associated with shepherds, farmers and unmarried deceased, whose premature death pre- the successful completion of agrarian activities. vented him from fulfilling his civic duty. The In addition, she has been assigned a khthonic intentional breaking of loutrophoroi in trenches character, based on the loutrophoroi offered to or in cremation burials is attested later in the her and considered to have a funerary purpose sixth and fifth centuries, as indicated by their state (Petrakos, 1999: 188-190, 196-197). According to of preservation; a number of examples must have the sources, order and indignation characterize originally come from nekropoleis of Attika, Nemesis. There is no known connection between extensively looted in the early twentieth century the goddess and the dead, while her agrarian (Sabetai, 2009). character has come into question (Parker, 2005: The evidence from the sanctuary of the Nym- 406-407, 476). Based on the evidence from the phe suggests that the shape was primarily for sanctuary of the Nymphe, the dedication of bridal purposes, but it follows two lines of devel- loutrophoroi at Rhamnous might indicate that, opment. The vessels either bear wedding iconog- at least during the sixth century, there was a close raphy and are found at cult places associated with link between the goddess and women and the marriage (such as the sanctuary of the Nymphe), shape could point to nuptial rites. or funerary themes, and are used for funerary Loutrophoroi are also found in nekropoleis. A purposes. It is not surprising that late sixth- and Middle Protoattic loutrophoros-hydria of local fifth-century examples from nekropoleis could be manufacture comes from a funerary pyre explored decorated with wedding scenes, since the vase at the South-East nekropolis of Vári (Kallipolitis, played a role in both occasions (Sabetai, 1993: 1963: 122-123). A number of black-figured 129-146). loutrophoroi-amphorae from the first quarter of Do the loutrophoros-amphora and loutropho- the sixth century were preserved in grave contexts ros-hydria indicate a differentiation based on and specifically in offering trenches (Kerameikos gender? Although Mösch-Klingele concluded that 1095, Vári 1096, Vourvá 1097). Their funerary the variants point to different functions—the use is occasionally underlined by the addition of amphora is connected with funerary and the plastic mourning females (Kerameikos 1095). The hydria with nuptial rites (Moesch, 1999; Mösch- loutrophoros was probably seen as symbol of the Klingele, 2006: 3-34, 117-121)—it seems more bridal bath which was offered to someone who accurate to interpret them as indications of 26 chapter two

gender (Boardman, 1988: 171-175; Sabetai, 1993: Lekanis (Vourvá 1198, Korinthos 1216, Samos 145-146), a differentiation also implied by the 1239, Gravisca 1273). A limited number of frag- evidence of the later marble loutrophoroi (Kokula, mentary lids show a profile, repeating that of the 1984: 136). The presence of loutrophoroi-ampho- bowl, with the stem of the knob flaring slightly rae in offering trenches, which have been linked towards the top. The early sixth-century knob is to male deceased, strengthens the argument in short. The bowl is decorated with animal friezes, favour of an association of the variant with the tondo with a figure or an ornament, such as unmarried males. On the other hand, the domi- a Gorgoneion, or confronted horse protomes. The nance of the hydriai in the sanctuary of the Nym- scheme of decoration on the lid follows that of phe points to female dedicators expressing piety the bowl, decorated with one or two animal to the goddess who could offer protection to their friezes (Karouzou, 1963: 64-73; Lioutas, 1987: marriage. 90-95; Moore & Philippides, 1986: 52-53). With the possible exception of one piece from Lekane and Lekanis (Appendix I, nos. 1104- the sanctuary of Artemis at Mounikhía (Mounikhía 1280) 1203), all the known late seventh-century lekanai come from tumulus I of the North nekropolis of Lekane and lekanis are names applied to the two Vári.9 They have been assigned to a number of types of flat, wide bowls with two horizontal han- painters, some of whom are not represented else- dles; the former being lidless, the latter lidded. where in Attika. The earliest belong to the Nessos In the sources, lekane refers to a multi-purpose Painter. Early sixth-century examples are known vase that could be used for carrying food, while from the offering trenches in the Kerameikos, the lekanis was a common bridal gift, as implied Vári, Vourvá and Marathon (Kerameikos 1138- by fifth- and fourth-century vase-scenes (Richter 1139, Vári 1140-1194, Marathon 1195, Vourvá

& Milne, 1935: 23; Lioutas, 1987: 12, n. 30). 1198-1202). The context of the earliest lekanai Lidless lekanai have a broad flat, projecting points to a special funerary use, often underlined rim, two horizontal ribbon handles, and a flaring by the addition of mourning figures on the han- foot (Vourvá 1200, 1202. Figs. 25, 57. Lioutas, dles (Vári 1187) or the monumental size of the 1987: 69-86). The Late Geometric bowl, a descend- shape (Marathon 1195. Lioutas, 1987: 13). Eating ant of the large Geometric plate with return han- shapes, like plates and lekanai, were present at dles, is the antecedent of the shallower early the offering trenches of the Kerameikos from the black-figured shape. It is deep, with flaring sides, Late Geometric IIb until the end of the seventh a flat rim and one or two handles, and by the century. It is possible that they were not only late seventh century, it acquires a ring foot which offered for their own sake, but could have been flares more and a higher rim (Brann, 1961: 365; filled with perishable goods. The mortuary use of 1962: 44). In the Attic repertoire, they appear the shape at the trench-ceremonies seems well- almost two decades earlier than the lidded lekanis, established during the first quarter of the sixth which originates in the first quarter of the sixth century, especially in the Attic countryside. The century (Athenian Agora 1104-1126, Vourvá quantities excavated at Vári are characteristic 1198, Aigina 1210, Korinthos 1216, Samos 1234, though few were found at the Kerameikos. Naukratis 1248-1249, 1253-1254). Unlike the Three lekanai of the Ragusa Group and a few lekanai, they appear over a longer period of time unattributed examples served as grave offerings and their shape does not change significantly (Laurion 1196-1197, Athens 1204, Attika 1205- (Breitfeld-von Eickstedt, 1997: 55-61). The earli- 1207). Some early sixth-century lekanai are found est known fragment belongs to a lid associated with the circle of the Gorgon Painter (Cortona 9 It is probable that the late seventh-century lekane pub- 1270). Lidded examples have been attributed to lished by Dunbabin might have come from the same context the KX Painter and the Group of the Dresden (Attika 1206). attic early black-figured shapes 27 in graves outside Attika (Delphoi 1217, Thebes are of Callipolitis-Feytmans’ Type B, inspired by 1218, Ialysos 1242-1243, Cortona 1270-1271, the subgeometric plates. They have a flat or con- Kymai 1272, Ragusa 1278). By the same time, the vex floor and curved rim. The ring base is recessed shape appears in habitation and cultic contexts, beneath the floor, while the curve of the rim and not only within Attika (Athenian Agora 1104- the shape of the foot can vary, as in the case of 1126, Akropolis 1127-1133, Akropolis North the Kerameikos’ plate (Kerameikos 1298; Calli- Slope 1134-1137, Mounikhía 1203), but also over- politis-Feytmans, 1974: 25-33, 150-151, 204). seas (Aigina 1208-1215, Korinthos 1216, Kythnos Although not absent from the Athenian Agora, 1219, Troia 1220, Phokaia 1221-1224, Smyrna the early sixth-century plates served funerary and 1225-1230, Klazomenai 1231-1232, Miletos 1233, religious purposes rather than domestic, and were Samos 1234-1241, Sardeis 1244-1245, Naukratis primarily recovered from sanctuaries and cem- 1246-1261, Kyrene 1262-1263, Daskyleion 1264- eteries. Some come from offering trenches. Since 1267, Histria 1268-1269, Gravisca 1273-1274, they bear painted decoration and are not glazed, Sybaris 1275, Megara Hyblaia 1276, Selinous their use was symbolic (Kerameikos 1297-1298, 1277, Massalia 1279, Spain 1280). Vári 1299-1305). Many of the known examples from Attika were found on the Akropolis (Akro- Plate (Appendix I, nos. 1281-1311) polis 1286-1295). Their monumental dimensions, like clay-plaques, offer an unimpeded field for The plate is not common in the Attic black-figure decoration, making them ideal votives. Their shape repertoire (For a detailed study of the unglazed surface is inappropriate for food, and shape: Callipolitis-Feytmans, 1974; for the Geo- together with the holes for suspension on their metric and Protoattic shape: Brann, 1962: 45-46). rims, underlines their votive character (Calli- It is not an original Attic shape, but a copy of its politis-Feytmans, 1974: 17-21). Later sixth-cen- Korinthian counterpart (Callipolitis-Feytmans, tury pieces were found at the sanctuaries of the 1962: 118-119; Amyx, 1988: 469). Korinthian and Nymphe, Brauron, and Eleusis (Callipolitis-Feyt- Attic examples share a broad, flat bottom, a flar- mans 1974, 299-407). The shape is not common ing rim and ribbon handles. outside Attika. One example was found in a grave The majority of the known Attic early black- (Naxos 1307) and a few in domestic (Korinthos figured plates belong to Callipolitis-Feytmans’ 1306, Lesbos 1308) or cultic contexts (Naukratis type A, with a convex rim and a flat floor. Their 1309-1310). dimensions and secondary elements differ from workshop to workshop. They are either decorated with a central tondo and concentric friezes that OIL, PERFUME AND COSMETIC cover the body and the rim, or with vertically CONTAINERS drawn figures that occupy the interior. Despite its monumental dimensions, the earliest example Lekythos (Appendix I, nos. 1312-1337) from the Akropolis has similar characteristics Lekythos is the term applied by archaeologists to with the Transitional Korinthian plates (Akro- the oil-container with a narrow neck, a flaring polis 1291). The plates by the Gorgon (Akropolis foot, and a short vertical handle attached to its 1286-1287, Akropolis South Slope 1296, Vári shoulder. The “Deianeira” type is the earliest 1299, Naukratis 1309, Provenance Unknown black-figured version, named after the subject on 1311), Kerameikos (Kerameikos 1297-1298), and a lekythos by the Deianeira Painter, now in the Anagyrous Painters (Vári 1300-1302. Fig. 26) fol- British Museum (Korinthos 1316. Fig. 27). It low closely the Early Korinthian shape. Some imitates the Korinthian alabastron and has a early sixth-century plates are smaller with a dou- biconical body, an echinus foot, a curving mouth ble roll foot and belong to type AII (Athenian rounded on the top, a thick drip ring, and a short Agora 1284). Only a few contemporary examples concave handle (Richter & Milne, 1935: 4-15; 28 chapter two

Haspels, 1936; Kurtz, 1975: 5-22; Moore & Philip- than perfume, since their mouth does not have pides, 1986: 43-47). By the second quarter of the the special shape of later examples that enabled sixth century, it was replaced by the shoulder-type the perfume to be collected inside its cup-like lekythos, an Attic invention, copying a Samian interior (Sparkes & Talcott 1970: 150-151 and prototype closely associated with the lydion (De nos. 1097-1100). A single lekythos is known from la Genière, 1984: 91-98). Attic cultic contexts (Sounion 1314). The earliest One of the earliest Attic lekythoi was found known funerary example comes from an early in the Agora and differs from the later elongated sixth-century cremation burial in the Kerameikos. “Deianeira” types, being closer to the heavier and It is black-glazed and an isolated example in con- rounder Late Protokorinthian alabastra (Athenian temporary Attika (Kerameikos 1313). The rarity Agora 1312). Most of the preserved “Deianeira” of the shape at contemporary nekropoleis was lekythoi are associated with the Gorgon Painter probably due to the fact that it was primarily and his circle. The shape remains almost the same produced for everyday uses. Additionally, until during the first quarter of the sixth century, with around 560 bce when offering trenches and minor differences in decoration, which can cover places went out of use, the placement of oil ves- the round body and be framed by a reserved black sels inside the graves was not encouraged. The band above the foot. Occasionally, floral zones introduction of the shoulder lekythos coincides or smaller figure scenes appear on the shoulder. with new burial practices and becomes the main Contemporary with the elongated lekythoi, are funerary oil vessel (For a possible connection of the round, shoulderless versions (Rhitsóna 1320, the shoulder shape and the Lydian tryphe, cf. Provenance Unknown 1329), influenced by the Houby-Nielsen, 1995: 166-168). Korinthian round aryballos (Haspels, 1936: 3). The majority of the known early black-figured Both types can be black-glazed, with parallel red lekythoi were found outside Attika. Some come lines on their shoulder. The shoulderless version from domestic contexts and, unlike those from was more popular and remained in use until the the Athenian Agora, they are decorated in the end of the fourth century. The Agora examples black-figure technique and not glazed (Korinthos show that over time the shoulder was gradually 1316-1319, Spain 1328). Although absent from flattened (Sparkes & Talcott, 1970: 150-151). Attic graves, a number of black-figured lekythoi According to the sources, the term lekythos is were placed in graves outside Attika (Rhitsóna broadly used for several types of oil containers 1320, Pitane 1322, Kameiros 1323, Cyprus 1324, (Richter & Milne, 1935: 14-15; Oakley, 2004: 4-6). Selinous 1327). They are also present in sanctuar- Oil played an important role in body care, but ies, where perfumes and scented oils were appro- compared to the aryballos and the alabastron, the priate votive offerings, especially for female god- lekythos would have been more difficult to carry. desses such as Hera and Demeter. With the On some later red-figured vases, it appears in exception of an example from Naukratis (Nau- depictions of women’s quarters. The shape is kratis 1325), the rest are glazed (Dugas, 1928: pl. more common in funerary iconography, since oil 38. 452, 545, pl. 43B. 543-544; Boardman & and perfumes were needed for the purification Hayes, 1966: nos. 1114-1115). of the corpse. On the fifth-century white lekythoi, examples can be seen in baskets, hanging from Aryballos (Appendix I, nos. 1338-1352) the stele or placed on the steps of the tomb (Has- pels, 1936: 128; Gericke, 1970: 77; Oakley, 2004: The aryballos, an oil-container favoured mainly 205). by Korinthian potters, was rare in Attika. By the Attika yielded a limited number of early black- end of the eighth century, the imports of Early figured lekythoi. Only a single decorated example Protokorinthian globular aryballoi probably led comes from the Athenian Agora (Athenian Agora to the introduction of the shape (Coldstream, 1312), while its contemporaries are black-glazed. 1968: 86; Callipolitis-Feytmans, 1976: 139). These may only have contained table oil rather Sub geometric aryballoi, an adaptation of the attic early black-figured shapes 29

Korinthian shape, with a round mouth and flat 1343-1344), but the majority come from the Attic bottom, were produced until the late seventh nekropoleis (Kerameikos 1339, Kalývia 1340, century (Brann, 1962: 38; for the Korinthian Keratéa 1341, Anavyssos 1342). Since aryballoi shape: Payne, 1931: 291; Amyx, 1988: 441-442). are depicted in association with athletes, it has The early black-figured examples are close imita- been suggested that the shape accompanied male tions of the Korinthian Transitional shape. Some deceased (Houby-Nielsen, 1995: 141). However, are larger, with a less globular body and a disc- the shape is shown with women in bridal, eve- like ring on their long neck (Delos 1343, Prov- ryday, or sympotic red-figured scenes, precluding enance Unknown 1347, 1351). The animal deco- an exclusive connection between aryballoi and ration is applied around the body, with an men (Schwarz, 1985: 29-32). additional frieze occasionally appearing on the shoulder. The earliest Attic examples (Kerameikos Exaleiptron (Appendix I, nos. 1353-1360) 1339. Fig. 28, Delos 1344, Kameiros 1345, Prov- The ancient name of the vessel with a vertically enance Unknown 1348-1349) seem to have been in-turned rim is not known. In modern scholar- made and decorated by Korinthians (Callipolitis- ship, a number of names and functions have been Feytmans 1976). suggested,10 but exaleiptron seems the most con- The aryballos found in the cemetery of the vincing and will be retained here (Scheibler 1964). ancient demos of Kephale (Keratéa 1341) has a The exaleiptron was produced in Attika from round, but not flat-bottomed, body, a disc-shaped the late seventh to the beginning of the fourth mouth, and a strap handle extending from the century bce. It has an angular or rounded tube mouth to the shoulder (Buchholz, 1963: 470-472). serving as a container and an incurved rim with It imitates Payne’s class B of rounded aryballoi, a deep overhang. From the period under consid- which flourished during the Early Korinthian eration only a limited number of examples are period. Later in the sixth century, Nearchos and preserved and these fall into two main variants. the Amasis Painter decorated this type, but it The tripod type, which constitutes the majority remained rare and its production ceased after of the sixth-century examples, has each leg the introduction of the red-figure technique. By attached to the receptacle (Moore & Philippides, the end of the sixth century, an Attic aryballos 1986: 49). Characteristic are the fragmentary appears that is significantly different from the pieces from the Akropolis (Akropolis 1353-1354) Korinthian shape; it can be handleless or with and the example by the KX Painter found on one or two handles attached to the shoulder and Aigina (Aigina 1356). It is interesting that the a hemispherical mouth (Beazley, 1931; Schwarz, exaleiptron by the KX Painter has a lid and a 1985: 27-32; Moore, 1997, 50-51). small spout at the top. The second variant has a The ancient name of the vase is not known, central support and a flaring foot attached to the but lekythos is a term widely used for oil contain- bottom of the receptacle (Vári 1355. Fig. 29, ers (Richter & Milne, 1935: 16). From the middle Samos 1358, Ialysos 1359). The earliest example until almost the end of the sixth century, arybal- from the Samian Heraion dates to the early sixth loi of Korinthian shape appear on Attic black- century and imitates Early Korinthian examples and red-figured vases, as well as on marble (Kreuzer, 1998a: 13). The Vári shape has similar funerary stelai. They accompany athletes as a conventional palaistra attribute, and are usually shown suspended by a string through the handle. 10 The shape is referred to as plemokhoe: Richter & Milne, 1935: 22; Koukou, 1993: 79. For the use of the term for a Moreover, they were a common gift from the shape, close to kernos, see Brommer, 1980: 544-549. It is erastes to the younger eromenos (Gericke, 1970: commonly mentioned as kothon: Cook, 1962-1963: 32; 75-77; Koch-Harnach, 1983: 155). Sparkes & Talcott, 1970: 180-181; Moore & Philippides, 1986: 49, although the sources connect the name with a Some of the Attic early sixth-century aryballoi Lakonian cup: Lazzarini, 1962-1963: 365; Scheibler, 1968: were dedicated at the Delian Heraion (Delos 389-392. 30 chapter two grooved handles of metallic look as an Early Ko - exaleiptra from the Akropolis suggests that they rinthian exaleiptron from Old Smyrna (Ander- had not been used in domestic contexts prior to son, 1958-1959: pl. 23.78). By the early sixth cen- being offered. Decorated examples of the shape tury, Korinthian potters produced exaleiptra with are not known from the Athenian Agora—only a low, rather than a conical foot, version which two black-glazed examples date to the first half was imitated by the Attic workshops (Provenance of the sixth century (Sparkes & Talcott, 1970: Unknown 1360. Scheibler, 1964: 91-93; for the nos. 1137-1138)—and they are also absent from Korinthian shape: Payne, 1931: 297-298; Amyx, domestic contexts overseas. In contrast to the 1988: 470). The shape was favoured by the Boio- Boiotian exaleiptra, their iconography and con- tian sixth-century workshops, but their shapes text is not indicative of their use. There is no and decoration differ significantly from those of reason for disassociating them from women: the their Athenian counterparts (Kreuzer, 2009b). examples from the Akropolis, filled with scented The shape of the exaleiptron indicates that it oils, could have been dedicated by women to the was used for carrying liquids, and the incurved female deity. A male use in the palaistra is dif- rim would have prevented spilling. The Korin- ficult to verify due to lack of relevant evidence. thian example from Smyrna preserved traces of In the case of the example by the Kerameikos a scent that suggests perfume, probably mixed Painter, found at the Samian Heraion, it is pos- with oil or water (Anderson, 1958-1959: 143). sible to argue for a use during the symposia held Mostly due to later vase evidence, the shape has there (Kreuzer, 1998a: 34 and n. 294). been exclusively associated with women (Schei- bler, 1964; De la Genière, 1980: 59). The iconog- Amphoriskos (Appendix I, nos. 1361-1366) raphy of the white lekythoi indicates a funerary The earliest examples of painted “Panathenaic function for the shape. It is shown being carried amphoriskoi”, which served as containers for by women on their visit to the tomb and can be scented oil, date to the first quarter of the sixth accompanied by other oil vessels. Since its closed century. The series continues during the fifth and shape does not facilitate a libation, it probably fourth centuries, as close imitations of the con- contained oil or perfumes, offered to the dead as temporary Panathenaic amphorae (Beazley, 1946: part of the purification process (Scheibler, 1964: 9-16). Only five early sixth-century amphoriskoi 82-88; 1968: 396; Gericke, 1970: 82-84; Koukou, of this type are known. Their shape, with the SOS 1993: 81; Oakley, 2004: 42). On the other hand, pattern on the neck, is close to that of the SOS the iconography of the sixth-century Boiotian amphora, while reminiscent of the later Panathe- examples inspired from activities associated with naic. Some were found in Boiotia and mistakenly men suggests that the shape might have served thought to be Boiotian products (Ure, 1933: 21). sympotic purposes, since ointments are known The shape was probably introduced together with to have been used at the end of the symposia. the black-figure technique by the Attic Painter The lids, covering all the Boiotian examples, of Istanbul 7314, who moved to Boiotia (Boiotia would prevent the contents from evaporating. 1361. Fig. 30. Bakır, 1978: 41; Kilinski, 1990: 4-5). According to Kreuzer, the lidless Korinthian and Although the Middle Korinthian painted ampho- Attic shapes might also be linked to men, as con- riskoi are similar in shape and decorative ele- tainers for powder for athletic purposes (Kreuzer, ments to their contemporaries (Amyx, 1988: 2009b). 497), produced by the Painter of Istanbul 7314 There are very few extant Attic early black- (for example, compare to: Bonn, Akademisches figured exaleiptra. Only three are known from Kunstmuseum 395, Kilinski, 1990: pl. 2. 1; Oslo Attika: two offered on the Akropolis (Akropolis 6909, CVA Public and Private Collections, Nor- 1353-1354), and, one burnt in a Vári sacrificial way 1, pl. 4. 3), an influence from one ware on pyre (Vári 1355). The high quality of the Attic the other cannot be definitively proven. attic early black-figured shapes 31

Unlike the painted amphoriskoi, the black- amphoriskoi seem to have served the same pur- glazed miniature examples are more common poses, but only a single example comes from a during the first half of the sixth century and known context: a grave at Kameiros (Kameiros widely distributed. Their shape imitates the 1362). coarse-ware commercial amphorae, known as Since the written sources do not refer to a per- SOS, used for the export of Attic olive oil and fume industry in Attika, it has been suggested probably wine, and produced from the end of that the potters decanted perfume into these con- the eighth until the second quarter of the sixth tainers which had arrived from elsewhere (Law- century bce (Young, 1939: 210-211; Brann, 1962: rence, 1964: 103-106). The amphoriskos was not, 32; Johnston & Jones, 1978; Gras, 1987; Docter, however, the only perfume vessel produced by 1991; Descat, 1993). They have a long, balloon- the Attic workshops. Moreover, the SOS pattern shaped body that becomes slimmer during the on the neck indicates an Attic product and sug- seventh century, a cylindrical neck, and foot and gests it could have contained scented oil that a rim set off by a ridge (Sparkes & Talcott, 1970: could be used in funerary rituals or offered to 155-156). The amphoriskoi are broad-shouldered, the gods. with a small foot, vertical handles connecting the neck and shoulder and a convex mouth. The Pyxis (Appendix I, nos. 1367-1380) decoration is limited to a number of red lines or a reserved band on the shoulder and the SOS Epigraphic and literary sources suggest that the graffito on their neck. Although the shape was ancient name of the vessel, a container for cos- also produced by Korinthian potters, the relation- metics or jewellery, was kylixnis or livanotis. Its ship between the two fabrics is not clear and there connection with women is confirmed by later is no indication of influence either way. The Ko - vase-representations, where the pyxis appears in rinthian examples date to the first quarter of the scenes with women (Richter & Milne, 1935: 20; sixth century and are thought to be slightly ear- Milne, 1939; Gericke, 1970: 86-87). Early black- lier than the Attic (Payne, 1931: 314, 324; Amyx, figured examples, recovered primarily from the 1988: 496). However, the context of an Attic Attic nekropoleis, are few, but after 550 bce their example from the South-East nekropolis of Vári numbers increase considerably (Roberts, 1978). dated the vessel to the end of the seventh century Although the pyxis has a long history in the Attic (Kallipolitis, 1963: 118, fig. 4). Its shape is remi- Geometric repertoire (Coldstream, 1968: 17, 48; niscent of late seventh-century SOS amphorae Young, 1939: 201), the early sixth-century shape and of Middle Korinthian examples, but it is not is a direct copy from Korinthian models and certain whether it influenced the shape of the appears in two variants: the cylindrical concave- latter. Black-glazed amphoriskoi were recovered sided type with two upright cylindrical handles, from funerary contexts in Attika (Kübler, 1970: which was present in Korinthos from the Tran- pl. 103; Schlörb-Vierneisel, 1966-1967: pl. 18. sitional period; and, the tripod pyxis, a rare Early 1-2), the Greek mainland, Western Asia Minor, Korinthian shape (Payne, 1931: 292; Amyx, 1988: and the West (see for example: Akraiphia: Ergon 446, 454). 1992, 54, fig. 66; Thasos: ΑD 27, 1972, Chron., Pyxides of the cylindrical type have been dis- 520-522; Pitane: Tuna-Nörling, 1995: nos. 1399- covered in the Agora (Athenian Agora 1367), the 1414; Etruria: MonAnt 42, 1955, nos. 4, 6, 9; Kerameikos (Kerameikos 1373-1374), and the Bosio, 1986: 85, fig. 12; MonAnt 22, 1913, pl. LIV, West Cemetery of Eleusis (Eleusis 1377-1378). 5; Taras: Lo Porto, 1959-1960: fig. 157d;Bd’A The better preserved Kerameikos example has 1962, 155, fig. 1d; 157, fig. 8C), as well as from concave sides, a lid curving slightly towards the sanctuaries of female goddesses (Dunbabin, 1962: cylindrical knob, and cylindrical handles attached pl. 143, nos. 3668-3673; Dugas, 1928: pl. 13, nos. to the upper part of its body. It is decorated with 572-583). The early sixth-century Panathenaic animal friezes (Kerameikos 1373. Fig. 31). The 32 chapter two earliest tripod pyxides come from the Akropolis marriage and fertility, while kra ters or comparable and the Kerameikos and are almost contemporary open shapes with supports are found at the sanc- (Akropolis 1368, Kerameikos 1374). Their broad tuaries of Artemis at Mounikhía and Brauron. legs receive animal decoration and the interior These shapes are found largely in Attika and only is glazed. A later lidded example from the mature a few examples have been recovered from more phase of Sophilos has broader legs, offering more distant sites. space for decoration, while the interior is made The second category includes shapes that have smaller by the addition of a rim (Provenance been introduced from Korinthos, either as direct Unknown 1380). Most known examples date to copies, such as the column-krater and the lebes, the second quarter of the sixth century and have or with variations, like the lekythos. It is worth been attributed to the Swan Group (Moore & noting that, although shapes like the lebes, plate, Philippides, 1986: 49-50). skyphos, aryballos and pyxis were continuously The shape does not seem to have been favoured produced from the Geometric period by Attic by the early sixth-century potters; only a limited workshops, during the first quarter of the sixth number of pieces were preserved. With the excep- century they are abandoned and replaced by Ko- tion of a single example (Athenian Agora 1367), rinthian versions. The Gorgon Painter and his pyxides are absent from the wells of the Athenian circle seem to have contributed to the creation Agora. On the other hand, the shape made it an of the early sixth-century oinokhoe and leky- ideal gift for the patron goddess and it is prom- thos—both modified from Korinthian proto- inent among the Akropolis finds (Akropolis 1368- types—and the Komast Group likewise to the 1372). At the same time, its presence in funerary adoption of the Komast skyphos and cup (Har- contexts is strong: pyxides were placed in offering rison, 1993: 101-103). Korinthian vessels were places and inside the graves (Kerameikos 1373- imported to Attika from the early seventh cen- 1374, Thorikos 1375-1376), while miniature tury. Kotylai, pyxides, aryballoi, and kotylai- examples furnish child burials (Eleusis 1377- pyxides of small sizes were favoured, mainly as 1378). During the Geometric period, pyxides were offerings to the dead. Since the Attic workshops connected to female deceased (Strömberg, 1993: were producing large vases, these imports prob- 23, 53-54), and the same may be true of the early ably satisfied the need for small vessels and were sixth-century examples found in graves. soon imitated by Attic potters (Callipolitis-Feyt- mans, 1986). In addition to the imported vessels, the presence of Korinthian potters and painters CONCLUSIONS in Attika, as indicated by a number of early black- figured vases, may have had an impact on Attic pottery production (see below 46-47). Attic “Korinthianising” Shapes and the Symposion With the exception of oil and perfume contain- The early black-figured shapes can be divided into ers, which do not seem to have occupied a signi- two main categories. The first category includes ficant position in the shape repertoire of Attic those that continue a Geometric or Protoattic potters, and of the plate—considered an ideal tradition, such as the amphora, skyphos- and egg- votive offering and therefore commonly found shaped kraters, loutrophoros, louterion, and in Attic sanctuaries—most of the Korinthian lekane. Some of these are closely associated with shapes introduced in the Attic workshops during funerary purposes—the egg-shaped and skyphos- the first quarter of the sixth century are sympotic. krater, as well as the louterion—, and are found The symposion, a male activity that centred on primarily in the Attic nekropoleis. Others such the consumption of wine, played a major role in as the loutrophoros, found in large quantities at the archaic Greek poleis as an important part of the sanctuary of the Nymphe and of Nemesis at the aristocratic life-style (Murray, 1982; 1983a; Rhamnous, have a ritual function connected with 1983b; 1990b; Vetta, 1983; Schmitt-Pantel, attic early black-figured shapes 33

1990; 1992). As a ritual of conviviality, it could tive of domestic debris, although they might also strenghten the social relations between members have contained vessels originally coming from of the aristocracy, as indicated by the symposia graves or sanctuaries (For the character of the organised in the Samian Heraion (Kreuzer, 1998a: Agora finds, see below 82-83). Protoattic and 32-41). Banqueting seems to have played an im- subgeometric olpai, oinokhoai, cups, skyphoi, portant role in Korinthian cults, as suggested by kraters, and lebetes were among the seventh- the archaeological evidence from the sanctuary century Agora finds, while the late seventh-cen- of Demeter and Kore on Akrokorinthos, Hera at tury olpai and skyphos-kraters can also be con- Perakhóra and Poseidon at Isthmia (Payne, 1940: sidered part of sympotic ware. According to 53-66; Bookidis, 1990: 86-94; 1993; Morgan, 1994; Brann, the houses were quite poor and not elab- 1998: 77-79; Bookidis et al., 1999). Moreover, the orately furnished (Brann, 1962: 108). A number large number of vessels associated with drinking of seventh-century drinking vessels, bearing graf- (mainly kotylai, oinokhoai and kraters) from Ko - fiti that identifies their owner, have been found rinthian settlement contexts, as well as the pre- in the area which was later occupied by the Tho- dominance of cups among the sixth-century Attic los. These have been seen as indications of dinners imports to Korinthos, demonstrate that the sym- of public character attended by local aristocrats posion was also associated with non-cultic activ- (Lang, 1976: 30; Baurain-Rebillard, 1998). How- ity (Hannestad, 1992; Thomassen, 2003, fig. 41). ever, the discovery of a potter’s workshop there Although it has been suggested that Korinthian makes such a hypothesis difficult to defend con- column-kraters were mainly produced for over- clusively (Papadopoulos, 2003: 126-185). seas markets and especially Etruria (De la Genière, Burnt animal bones, deposits of ashes and the 1988), the preserved evidence from Korinthos is predominance of drinking cups at the Attic peak indicative of production that was also destined sanctuaries have been associated with sacrifices, for the local needs (Cristofani & Martelli, 1991: drinking rituals and, presumably, banqueting, but 10-11, fig. 2). The significant role of the sympo- evidence of ritual dining is weak in contrast to sion in Korinthos is further indicated by the ear- that from Samian and Korinthian sanctuaries liest sympotic representations on Korinthian (Landgon 1976: 77-78, 106; Lauter, 1985: 131-133; vases that predate their Attic counterparts by Mazarakis Ainian, 1997: 143-144). The use of the almost two decades (Dentzer, 1982: 78, 95). word dais in a Solonian poem, referring to euno- Sympotic shapes were not unknown in Attic mia, may allude to the sharing of sacrificial meat workshops. Standed lebetes with attached clay and to ritual dinners, but archaeologically it can- figures, kraters, and drinking shapes are attested not be verified (Solon fr. 4.9-10; Schmitt-Pantel, in the seventh-century Kerameikos and Vári and 1992: 37-38). are closely associated with the trench-ceremo- The lack of excavated seventh- and sixth-cen- nies.11 Interestingly, the number of “Korinthian- tury domestic contexts within Attika, with the ising” Attic sympotic from early sixth-century exception of the Athenian Agora, does not facil- Attika is very limited, especially when compared itate definitive conclusions concerning the sym- to their contemporaries found overseas (Tables 16-17). However, the seventh- and early sixth- potic life of the Athenians. The available evidence century sympotic evidence from habitation areas from the Agora and the cult places shows that, within Attika is scarce, primarily due to the lack during the seventh century, elaborate symposia of excavated domestic contexts (Whitley, 1994a: of a symbolic character, with wealthy participants 35). The wells of the Athenian Agora are indica- were primarily connected with mortuary practices and offering trenches. Although the trench-ceremonies were probably indicative of the sympotic 11 The only shape from the late seventh-century trench lifestyle of the deceased, archaeological evidence of tumulus I from Vári that can be associated with the symposion is the column-krater (Vári 86). Drinking vessels are throws light only on the funerary aspect of the completely absent. symposion. The orientalising character of the 34 chapter two sympotic shapes has been noted, but it is not sure They are mostly found filled with ashes, bones of that the clay vessels from the Kerameikos’ small animals or birds, most probably fowls, and trenches were imitating metal and ivory proto- burnt and broken sherds of various shapes. The types used in everyday symposia (Houby-Nielsen vessels were probably placed on a wooden table- 1992, 356-357; Kistler, 1998: 50-54). like structure, before being set on fire. The stratig- Early sixth-century Attic sympotic ware was raphy shows that the ritual took place while the discovered at a number of sites around the Med- grave was still open. The best preserved examples iterranean in a variety of contexts. The quality of were found in the Kerameikos and contained a the vessels is indicative of the value accorded to large amount of the seventh-century Protoattic the Attic pottery by the buyers. The shapes served pottery that is known from Attika. The shapes— domestic needs, as indicated by the finds in for mixing, pouring, eating, and drinking—indi- domestic contexts from the coast of Western Asia cate a funerary ceremony of sympotic character. Minor, Southern France, and the Iberian Penin- The combination of shapes and their number do sula. They are also present at a number of sanc- not allow for the reconstruction of an actual serv- tuaries around the Mediterranean, where offered ice, but rather constitutes its symbol which as votives, although a connection between par- reflected the wealth and lifestyle of the deceased ticular shapes and specific deities cannot be traced (Kurtz & Boardman, 1971: 75, 145; Houby- (Schaus, 1985: 94-95; Moore 1987, 2). In the Nielsen, 1992; 1995; 1996; Kistler, 1998: 31-77, Heraion of Samos, members of the élite from dif- 147-171). The trench-finds have been approached ferent poleis participated in ritual symposia that differently by scholars; they were either seen as took place in the sanctuary during Hera’s festi- grave offerings (Kübler, 1959: 87-88; 1970: 87-92) vals. The fine-decorated Attic vessels were used or as remains of a meal (D’Onofrio, 1993). The in these banquets prior to being offered to the features of the offering trenches and places have goddess (Kreuzer, 1998a: 32-41). The Attic drink- been thought to recall Homeric values and despite ing shapes from Perakhóra might be similarly the lack of osteological analysis, they have been associated with the ceremonial banquets attested associated with male burials, based on the evi- in the sanctuary (Payne, 1940: 53-66; Baumbach, dence of the shapes of the markers, their con- 2004: 14-16). Attic banqueting pots are also found nection to the consumption of wine, and the among the grave offerings in Etruria and South iconography of the finds (Murray, 1983: 198; Italy. In Etruria, the symposion was connected Houby-Nielsen, 1992: 358; 1996: 48-49. For a with beliefs in afterlife, as demonstrated by the juxtaposition of the Homeric banquet and the wall-paintings in the tombs. Drinking vessels and trenches, see Kistler, 1998: 152-161). kraters were among the most common Attic Although the Kerameikos revealed a large sixth-century imports, chosen mainly for their amount of the known Protoattic material, an sympotic significance (Murray, 1988: 243; Reusser, important number of late seventh-century vases 2002: 127). come from the Attic countryside, the North nekropolis of Vári in particular.13 There, the rich- Illuminating Attic burial customs: Early black- est finds are associated with tumulus I, which figured shapes and offering trenches contained a single adult inhumation. A large Many of the earliest black-figured vases come 13 from Attic nekropoleis, and, in particular, the For the excavation of the nekropolis and the finds, see below 86-88. See also Alexandridou, 2008; 2009. The offering trenches. These long, shallow ditches study of the excavation diary and of an unpublished man- were introduced in late eighth-century Athens, uscript by the excavator Phoivos Stavropoullos, after the and continued to be used until around 560 bce.12 kind permission granted by Vasileios Petrakos, General Secretary of the Archaeological Society of Athens, reveals new elements concerning the finds from the nekropolis. Moreover, some of the information included in the archae- 12 For the revival of the trenches in Attika in the late ological reports, which I used for the cited articles, proved fifth and fourth centuries, cf. Houby-Nielsen, 1998. to be wrong and is revised here. attic early black-figured shapes 35 number of vessels of a wide variety of shapes destroyed by illegal actions. They could have been were recovered: a column-krater, skyphos-kraters, found in the destroyed central part of the long some standed and lidded, more than forty leka- trench. In any instance, they should not be asso- nai, louteria, neck-amphorae, some of large ciated with the small number of the later eating, dimensions, and possibly three horsehead ampho- pouring and carrying vessels from the trench, rae. The vases are of exceptional quality, and in since the shapes and state of preservation of the many cases richly decorated with mythological former point to a funerary ceremony of a differ- and generic scenes. Many of of the earliest exam- ent, rather special character. A comparison with ples have been assigned to the Nessos Painter relevant finds from Athens is instructive: and his circle and are dated to the last quarter of the seventh century. The latest reach the second – The late seventh-century column-krater is quarter of the sixth century, as shown by an unique. unpublished lekane by the Polos Painter (Athens, – Skyphos-kraters are numerous within the National Museum, 16332). These vessels were trench of the Vári tumulus, but they occur in bought by the National Museum, after being ille- the Kerameikos only as grave-markers at the gally removed from the tumulus in 1934; joining time. However, a number of Protoattic exam- fragments, later discovered by the excavators, ples dating earlier in the seventh century were verified their original provenance. found in trenches (trench β, 670-660 bce: Kü- In 1936, the systematic exploration of the bler, 1959: 18-21; 1970: 427-447; trench γ, mid- tumulus brought to light a well-constructed mud- dle of the seventh century: Kübler, 1959: 22-24; brick trench, reaching the length of 14 m. A plate, 1970: 453-470; trench ζ, 640-625 bce, Kübler, a tankard, an oinokhoe, a kantharos, two hydriai, 1959: 27-30; 1970: 474-481). Many examples an exaleiptron, a skyphos, as well as some smaller, have been found in the late seventh-century undecorated vases were revealed in fragments wells of the Athenian Agora suggesting that from a small part of the excavated trench (For (if they are not part of secondary fills) they details on the finds, see below). The exaleiptron were not confined to funerary use, but were by the Gorgon Painter is the earliest (Vári 1355). used in domestic contexts. Almost all the figure-decorated shapes are locally – An important number of neck-amphorae and produced and can be assigned to the Lotus louteria were found in the Vári trench. These Painter. They span the first quarter of the sixth shapes have been found in trenches or offering century and extend even later. A large quantity places in the Kerameikos earlier in the seventh of vase-fragments was discovered over the trench, century (trench 2, Kübler, 1954: 17, 250-252. but no further details are given. A sacrificial pyre A louterion was found in the offering place G, was uncovered in close proximity to the trench, dating to 640-625 bce, AA 1964: 453), but no under a layer of stones; it was filled with plates neck-amphora is known from the last quarter and cups dating between 575-550 bce (Excavation of the century, while the single early sixth- Diary 16-20.5.1939: 125). East of the long trench century louterion served as a marker. Louteria Stavropoullos discovered a stone pavement, a are present in the Agora from the end of the large part of which was destroyed by the looters. eighth century, but known examples are scarce The Western part of the pavement covered the (Brann, 1962: 43). According to the publication adult grave (Excavation Diary 20.8.1936- of the black-figured pottery, only three date to 29.8.1936: 71-75, 1-3.7; 7.8.1937: 77-85). the late seventh and early sixth centuries, in- Which then, is the original context of the large dicating that the shape was mainly destined bulk of early black-figured vessels? Stavropoullos for funerary purposes. In contrast to the large linked them to the long trench, although he did concentration of neck-amphorae at Vári, all not deny that they might come from another of which are contemporary, the published ex- covered by the layer of stones, which was largely amples from the Agora (not more numerous) 36 chapter two

span the third and last quarter of the seventh suggested by the fact that some, like the neck- century. amphorae, have been attributed to painters that – The one-piece amphora seems to have been are not represented elsewhere (Alexandridou, more common in the Agora (Moore & Philip- 2008). Their discovery in theVári trench, their pides, 1986: 32-33). quality, as well as the special character of the – The earliest known black-figured lekanai are ceremony of which they were a part, underlines concentrated in the Vári trench and are not the importance of the deceased and the wealth found elsewhere until the early sixth century of his family or his wider social circle. (Lioutas, 1987: Table 2). The Kerameikos pre- The treatment of the deceased is peculiar, add- served only two examples, dating to the late ing to the uniqueness of this burial; instead of first quarter of the sixth century, while the being primarily cremated, as dictated by the con- earliest lekane from the Agora dates early in temporary burial practices, he was buried in a the same century. shaft grave covered by a layer of stones. The – Pouring, eating, and drinking vessels, common excavator reports parts of an animal skeleton next features of the funerary ceremonies taking to the grave and some broken vases with linear place in the Kerameikos, are not found in the decoration (Excavation Diary 23.7.1937: 81). By Vári trench. the early seventh century, primary cremation replaced inhumation, which was prominent in This material lacks the sympotic character of the Attika since the second quarter of the eighth Kerameikos’ evidence and indicates a mortuary century (Houby-Nielsen 1992; Morris, 1995). ceremony with a different character. This is also Seventh-century inhumations are few and they implied by its state of preservation; the vessels belong mostly to adolescents (Morris, 1987: do not show any signs of secondary burning indi- 20-21; 1995).15 The size of the grave (1.85 m.) cating that they were not part of a ceremony indicates an adult. If this is the case, could this including fire. Although they most likely come choice of burial have expressed the desire of the from a trench, they do not seem to constitute a dead’s kin to follow an older custom in an attempt symbolic manifestation of a symposion. They to reinforce a strong connection with the past? were offerings to the deceased, but whether or In contrast to the earliest vessels, the slightly not they were intentionally broken cannot be 14 later shapes found in the long trench are com- concluded (Alexandridou, 2009). The vessels, pletely different. Some bear signs of fire, but the especially those of large dimensions, could have excavation diary did not preserve any information been offered for their own sake, but the good concerning their context, other than they were quality of the firing and the glaze of the majority found in a very fragmentary state (Excavation of vessels support the assumption of an actual Diary 20.8.1936: 71). In any case, their shapes use. The louteria might have been used for water are comparable to those from the Kerameikos libations, while the column-krater, lekanai, and trenches and point to the known funerary trench- the richly decorated large amphorae could have ceremony with the sympotic connotations. contained food or liquid offerings. A number A number of trenches as well as offering of shapes, such as neck-amphorae, louteria, places associated with individual graves, or with lekanai and column-kraters, are either absent or group of burials, were explored at the nekropolis. scarce in the late seventh-century Agora and the Offering places, also mentioned as sacrificial Kerameikos. They must have been specially pyres, are composed of ashes, charcoal, remains commissioned for the occasion and this is further of bones of fowls and burnt fragments of pottery, often covering large and wide areas. Early black- 14 According to Stavropoullos, the vessels were bought from the museum in a very fragmentary state. Stais suggested that the vessels from the Marathon and Vourvá trenches 15 For the definition of the age groups, cf. Houby-Nielsen, were broken intentionally: Stais, 1890: 322; 1893: 55-56. 1995: Appendix 2, 177-178. attic early black-figured shapes 37 figured material comes from the trench found in and a sacrificial pyre extending to the middle of association with grave E, two pyres (one detected the sixth century were dedicated to the deceased. East of this grave, and the other, marked as α-α, According to Whitley (1994b: 217-218), all found running parallel to the North wall of the trenches can be seen as expressions of aristocratic enclosure North of grave E), and a layer of ashes tomb cults. However, it is only the evidence from that covered a number of adult and child crema- the countryside and not the Kerameikos that can tions and echytrismoi (β-β) (For details concern- be associated with a cultic activity. This funerary ing the graves and the finds, see below 86-88). cult centred on trenches has been compared to Except for the finds from pyre β-β, mostly con- those associated with Bronze and Iron Age bur- taining figurines and miniature Korinthian oil ials and attested to in a number of sites in Attika shapes, the other trenches and sacrificial pyres (Whitley, 1994b: 223-224; Houby-Nielsen, 1996: revealed heavily burnt, and intentionally broken 53-54; Polignac, 1996: 37; Boehringer, 2001: 111).16 drinking, eating, and ladling vessels, but hydriai Characteristic are the similarities between the and loutrophoroi, as well as Korinthian oil and shapes dedicated to the deceased of the Menídhi drinking shapes are also present. The addition of tholos tomb and those from the Vári tumulus mourning figures on some of the lekanai and the (For the Menídhi tholos tomb, see below 90-91). unglazed interior of the eating and drinking vases The deposit at the dromos of the Menídhi tomb indicate their symbolic character. In two cases has been paralleled to a trench (Antonaccio, 1995: iron knives are reported to have been found, 109; Boehringer, 2001: 118). Large louteria are unlike the evidence from the Kerameikos, where found in both contexts, with those from Menídhi objects of metal or precious metals are absent being standed (Wolters, 1899). The standed sky- (Kübler, 1959: 101). The shapes are reminiscent phoi-kraters from Vári are reminiscent of the of those coming from the early sixth-century latter. Kerameikos, in particular trench R (Vierneisel, A sacrificial pyre, dating to the third quarter 1964), while they can be compared to the finds of the seventh century (if not earlier), was detected from the trenches of the tumuli at Vourvá and over a number of child and adult burials in a Marathon (see below). small enclosure attached to the larger containing As indicated by Stavropoullos’ descriptions, the a number of grave buildings (Fig. 53). The mate- vases from each trench and the pyres were con- rial from this context is of a special cultic char- temporary. The only exception is pyre α-α, next acter and due to the presence of figurines of to the enclosure wall, where, as in the case of various types can be compared to the finds from tumulus I, the activity extends for several decades two Late Geometric IIb sacrificial pyres excavated reaching the fifth century bce. A chronological at the Agora (Grave groups XI and XII. Young, range of the vessels is also attested at the trenches 1933: 44-67) and more closely to the objects from excavated in association with the Vourvá and the votive deposit discovered over the ruins of a Marathon tumuli; the vessels in the former case ninth-century oval edifice on the North slopes of date from the last quarter of the seventh century the Areopagos (Burr, 1933; Brann, 1962: 109; to the late first quarter of the sixth, while in the Antonaccio, 1995: 121-126; Mazarakis Ainian, latter from the early sixth to the early fifth cen- 1997: 86-87; Deoudi, 1999: 68-70; D’Onofrio, tury. This chronological span observed at the 2001), as well as those from the dromos of the Attic countryside radically contrasts to the evi- tholos tomb at Menídhi. The sacrificial pyre dence from the Kerameikos, where the vessels covered two adult graves (27, 33), three child from each trench are contemporary. burials (30-32), and a funerary urn (32), which This observation points to a kind of tomb cult (Kistler, 1998: 41-42), more evident at the case 16 For tomb cults in Attika: Antonaccio, 1995: 102-126; of tumulus I, where, apart from the large sample Boehringer, 2001: 47-103. For the issues regarding these of vessels that were illegally excavated, a trench cults: Mazarakis Ainian, 2004. 38 chapter two could represent a family group. If the layer of the The tomb cults in Attika linked to trenches or offerings is contemporary with the burials, then pyres seem to have had the same character with these are the earliest of the nekropolis, dating to those centred on Bronze or Iron Age deceased, the early third quarter of the seventh century. which have been adopted by the locals as ances- The burials and their venerations could be tors (Antonaccio, 1995: 245-246). The difference brought into comparison with the evidence from lies in the chronological distance separating the the aristocratic cemetery by the West Gate of dedicators from the dead; the cults over trenches Eretria, where adult cremations, the earliest of address to those of the recent past who were which dates to 720 bce, were found together remembered, at least initially, by the dedicators. with a number of child urn-burials. By the early The finds from tumulus I ofVári seem to have seventh century, a triangular enclosure was con- been linked to an important member of the structed over the area and a bothros containing higher social class of the area. His recognition as vessels extending from the second quarter of the an ancestor might have decided the choice for seventh century together with ashes and animal inhumation rather than cremation and the cultic bones—remains of sacrifices and ritual meals— character of the ceremony which is closer to the was excavated Southwest of the triangle. Although cults at the Bronze Age tumuli in Attika. This earlier, this group of burials presents comparative must have been the case of the occupant of grave elements to the case of the Vári deposit. In par- E, who was also inhumed, and received a large ticular, some of the shapes from pyre β-β, like number of offerings placed in a trench, which the louterion and, especially, the terracotta figu- unlike the examples from the Kerameikos, was rines find parallels to those revealed from the reaching the edge of the grave. The absence of Eretria bothros (Bérard, 1970; 1972; 1982; Anto- trenches from the South-East nekropolis may naccio, 1995: 228-232; for the bothros contents: suggest that the North was confined to individu- Bérard, 1970: 65, n. 2). Veneration acts are known als who were members of the local ruling class to have been addressed to founding families of and received special honours (Alexandridou, settlements during the Early Iron Age (Vitsa, 2009). Minoa) (Mazarakis Ainian, 2007-2008: 385-386 The study of the production of vase-shapes with further bibliography). The deceased of Ere- reveals a number of changes taking place in the tria cannot be associated with the foundation of early sixth century, the most drastic being the the settlement (Altherr-Charon & Bérard 1980, prominence of “Korinthianising” characteristics. 238; Bérard 1982, 101, n. 59-60), which has been A contextual approach to the material provides placed earlier, but they must have been connected important insights into Attic burial customs and with a major event of the Eretrian history (Hall, the trench-phenomenon in the Attic countryside. 2006: 7). At the case of Vári, the initiation of this Moreover, it poses questions about the role of cult might have been provoked by the role of the the symposion in Attic social life. family in the early development of the local community. attic early black-figure painters 39

CHAPTER THREE

ATTIC EARLY BLACKFIGURE PAINTERS

THE EARLIEST GENERATION OF Almost all the painters of the first black-figure BLACKFIGURE PAINTERS generation have been associated with a limited number of vessels of particular shapes. The The extant late seventh-century vases and frag- Painter of Berlin A34 (ABV 1; Para 1; Add2 1), ments indicate that the contemporary pottery for example, has been almost exclusively assigned production, which was almost exclusively to sat- kraters, in particular skyphos-kraters (Walter- isfy local needs, was limited and dependent upon Karydi, 1997: 390), which, apart from two exam- a few potters. The restricted production and dis- ples from Aigina (Aigina 69, 225), all come from tribution suggests that the same person under- the Kerameikos (Kerameikos 28-36. Tables 1, took the tasks of making and decorating the pots 5.1). His repertoire must have included some (Hünnekens, 1987: 105; cf. generally Hemelrijk, amphorae, as an amphora fragment from the 1991). Based on stylistic criteria, the work of a Agora (Athenian Agora 813) can be associated number of individual painters has been distin- with his style. A fragment of a neck-amphora guished. The evidence is too scanty to allow for (Athenian Agora 754), a support from the Athe- a detailed study of the painters’ careers, defining nian Agora (Athenian Agora 1381), and some their ‘early’ from their ‘late’ phases. Indeed skyphos-kraters, like the example from Vourvá according to Hünnekens (1987: 241), this is only (Vourvá 63), are decorated by a painter or paint- possible in the case of the Painter of Berlin A34 ers following his style. and the Nessos Painter. On the other hand, there The work of the contemporary Peiraieus is enough available to show that painters, such Painter, named after the monumental amphora as the Painter of Berlin A34 and the Nessos from Peiraieus (Peiraieus 800), is poorly known Painter, had a number of followers working in (ABV 2-3; Para 1; Add2 1). The riders’ amphora their manner. Although Hünnekens (1987: 105) from the Kerameikos is a well-preserved vase of disassociated the Khimaira Painter from the Nes- his (Kerameikos 636). An amphora fragment with sos Painter, he defined the products of a number a chariot from the Agora (Athenian Agora 815), of painters working in his manner, who formed along with a support from Aigina (Aigina 1418), part of the “workshop of the Khimaira Painter” and three fragments from the Kerameikos (Kera- (Hünnekens, 1987: 104-129). There exists the pos- meikos 1485-1487), two of which are from open sibility that the master and his students belonged vessels (skyphos-kraters?), were possibly pro- to the same workshop, even though their reper- duced by him too. Interestingly a fragment of an tory does not indicate conclusively that any open vessel, possibly a krater which has been con- organisation existed in the workshop’s shape- nected to him, was found at Histria (Histria 191). production. A well-defined circle of painters is Like the Painter of Berlin A34, he decorated a formed by the Lion, the Bellerephon, and the small variety of large shapes, almost all for funer- Pegasos Painters, whose amphorae are very close ary purposes. stylistically, and, therefore, would argue that they The Nessos Painter is the only one among his must have been working in the same workshop contemporaries who decorated a large number (Hünnekens, 1987: 183-184). of vessels in a variety of shapes. The majority of 40 chapter three his work is found within Attika, although some Mount Hymettos (Hymettos 841), and a lid frag- vases have been found on neighbouring Aigina ment of a skyphos-krater from the Agora (Athe- (ABV 4-6; Para 1-6; Add2 1; Karouzou, 1963: 123- nian Agora 3). The second can be assigned an 136; Moore & Philippides, 1986: 74-75) and three unpublished louterion (Vári 238) and a lekane amphora fragments, two of which are decorated from Vári (Vári 1149). by painters of his circle, come from sites in the Three more painters, identified by Karouzou Mediterranean far removed from Attika (Samos (1982; 1985), were active during the late seventh 646, Smyrna 805, Cerveteri 862). The skyphos- century. As noted above, the Lion, Bellerophon krater and the amphora dominate his shape- and Pegasos Painters, who were most probably repertory, but a number of loutrophoroi identi- working in the same workshop, have only neck- fied as his or by painters following his style, was amphorae attributed to them (Vári 786-795). All found at the sanctuary of the Nymphe (Sanctuary of the neck-amphorae have been found in asso- of the Nymphe 890-901). Finds dated to the late ciation with tumulus I at the North nekropolis seventh-century from this sanctuary are not of Vári. Their vessels are not made of the local numerous, and he is the only painter whose work buff clay and their concentration at this particu- has yet been identified among the discovered lar site cannot be taken as an indication that the fragments. painters were working in the area. The evidence The Nessos Painter seems to have been an in - is rather more suggestive of special commissions novative artist. It is possible that he was respon- addressed to these specific painters (Alexandri- sible for the introduction of the column-krater dou, 2008). and the lidless lekane into the Attic shape rep- Local clay was used for a number of objects, ertoire, since the earliest black-figured examples mostly miniature vessels, which were recovered have been identified as his. The originality of his from the same nekropolis. They were found in work is also seen on the monumental standed the sacrificial pyre covering a number of adult skyphos-kraters (Vári 57-59). These shapes were and child burials in the small enclosure and date found at the North nekropolis of Vári in asso- to the third quarter of the seventh century. A ciation with Tumulus I that covered the burial careful visual inspection of the vessels’ clay shows of a very important member of the local community. Their special character indicates that the that its colour is reddish yellow (Munsell 7,5 YR painter was most probably working on a special 6/6) and has brown mica, as in the case of the commission for this particular funerary occasion. vessels by the locally working Anagyrous Painter. The painter’s skills are explicit in his vibrant, Moreover, their surface was covered with a whit- often monumental, iconographic scenes. The Nes- ish slip, a typical characteristic of the local vessels sos Painter shows a special preference for He - (For the local clay of Vári, cf. Kallipolitis, 1965: rakles and monstrous figures, such as the Gorgons, 115). The miniature standed lebes with attached but he also provides a glimpse into contemporary mourning figures on the rim Vári( 141) and the life with his representations of elaborate proces- miniature support (Vári 1410) are decorated with sion of women on loutrophoroi from the sanctu- floral and linear patterns of red-brownish paint ary of the Nymphe (Sanctuary of the Nymphe on the vessels’ whitish surface. Five similar sup- 892) and on one of his skyphos-kraters from Vári ports, which according to the unpublished report (Vári 59). of the excavator, were found at the same spot, His style was influential, and a number of were decorated in the same manner, followed in painters have been identified as working in it. In the case of the clay ekphora chariot with mourn- particular, the work of two of his associates can ing figures too (Athens, National Museum, be better defined. The style of the first is identi- 26747). The ceramic finds from this layer seem fied on a support from Eleusis (Eleusis 1417), an to belong to the same hand, while they clearly amphora from the peak sanctuary of Zeus on indicate the existence of a peripheral workshop attic early black-figure painters 41 or workshops, serving the needs of the local Group. This large circle of painters, whose work inhabitants. spans almost two decades, was very productive At the same time, local pottery production is and they have been associated with a variety of suggested by an unpublished krateriskos and a shapes. The impression given is that the work support dedicated at the sanctuary of Artemis at was divided among them, with the Gorgon Brauron (Brauron 222, 1413). They have loop Painter undertaking the decoration of different patterns and are made of a pale brownish clay shapes produced by his associates. The distribu- with a high concentration of black and brown tion of their shapes in Attika and elsewhere is inclusions. Local workshops must have under- indicative of the organization of pottery produc- taken the production of krateriskoi (Monaco, tion at that time. 2000: 125). Olpai occupy a prominent position in the rep- Like their Protoattic predecessors, the first ertoire of these painters and have been widely generation of black-figure painters predominantly distributed throughout the Mediterranean. With focused on large vessels like the amphora and the exception of few examples by the Gorgon the skyphos-krater. Smaller shapes are very few Painter, the rest of the olpai have been decorated with only olpai and lekanai to have been pre- by painters working in his style or the style of served. This reality is relevant to the shapes' uses, the Group of the Early Olpai. The Painter of mostly destined for funerary purposes. In many Istanbul 7314 has been attributed only lekythoi cases, special commissions to particular painters and amphoriskoi, although a fragment of an olpe or workshops can be suggested. Moreover, the from Pitane is thought to belong to a painter Nessos Painter and his circle would produce working in his manner (Pitane 341). He worked shapes to be used as dedications in sanctuaries, in the circle of the Gorgon Painter, but at some as seen, in the case of the loutrophoroi for the point he moved to Boiotia where he introduced Nymphe and the supports, kraters or krateriskoi the black-figure technique. A lekythos discovered from the sanctuary of Artemis at Mounikhía there must have been part of the painter’s belong- (Mounikhía 64-65). ings when he moved (Boiotia 1321). While his work belongs to the period of his activity in Attika one of his amphoriskoi was made in Boiotia THE EARLY SIXTH CENTURY (Boiotia 1361. Kilinski, 1990: 4-5). Lekythoi and amphoriskoi were not common in the Attic rep- During the first quarter of the sixth century there ertory at that time. Only one lekythos of unknown seems to be an increase in the number of potters provenance belongs to the Gorgon Painter him- and painters involved in the Attic black-figure self (Provenance Unknown 1329). Instead, the production and the quantity of known vases is shape was favoured by the Deianeira Painter and larger (Tables 2, 5.2). The Gorgon Painter is active the Painter of the London Olpai, who also deco- early in the sixth century (ABV 8-13; Para 6-9; rated a few olpai. It is worth noting that the Add2 2-4; for his olpai and amphorae: Scheibler, Deianeira Painter shows a special interest in 1961), while, during the late stage of his career, mythological incidents, such as depictions of the there appears to be a number of painters working struggle between Herakles and Nereus and Nes- in his style (Williams, 1986: 67). Some individual sos abducting Deianeira. The Painter Big Ears, a personalities have been recognised. The work of minor follower of the Gorgon Painter, has been the Painter of Istanbul 7314 was identified by assigned one-piece amphorae and a large Bakır (1978) and Kilinski (1978), while, more oinokhoe.1 recently, the Deianeira Painter, the Painter of the London Olpai, closely associated with the Gorgon Painter, and the Painter Big Ears have been added 1 The one-piece amphorae (Paris, Musée du Louvre CA3327, ABV 9.8 and Basel Market, Kunstwerke der Antike, by Williams (1986). Payne (1931: 191) first iso- Auktion 51, no. 115, pl. 18) are not included in Appendix lated six vases, which he assigned to the Deianeira I, since their provenance is not known. 42 chapter three

As noted, the Gorgon Painter decorated dif- occasion. It was not uncommon for the painter ferent shapes than those painted by his associates; to undertake commissions, as shown by his lebes all the skyphos-kraters, the exaleiptra, the majority from Phársalos (see below). of plates, loutrophoroi, and lebetes have been The KX Painter, active during the first quarter attributed to him. All the lebetes were found of the sixth century, decorated a substantial quan- overseas, while the rest, with the exception of a tity of vessels (ABV 23-28; Para 14; Add2 6-8). plate from Naukratis (Naukratis 1309), were A number of painters were working in his style; found in Attika. The painter probably dealt with Brijder (1983: 48) identified the work of the shapes that served particular purposes, like the Painters of New York 22.139.22, and of Copen- monumental plates found on the Akropolis, the hagen 103, as well as of the Béziers Komast exaleiptron from Vári, and the loutrophoroi from Painter. The KX Painter favoured small shapes. the sanctuary of the Nymphe. Cups and lekanai are the most numerous, fol- Sophilos, a leading figure in the Attic vase- lowed by skyphoi. His larger shapes include a production during the first quarter of the sixth significant number of loutrophoroi, all of which century, is stylistically close to the Gorgon Painter were found in the sanctuary of the Nymphe, and in his later years (ABV 37-43, 681, 714; Para in lesser quantites, lebetes and amphorae, the 18-19; Add2 4; Karouzou, 1937; Bakır, 1981). The majority of which come from outside Attika. The Gorgon Painter might have been his teacher production and distribution of the cups is indic- (Karouzou, 1937). Sophilos is the earliest Attic ative of the division of work between the painter painter whose name is known from his signatures and his associates. Evidence indicates that the (for the signatures, see esp. Bakır, 1981: 5-7). His KX Painter decorated only large, luxurious cups, work extends over three decades beginning while the common shape was left for his associ- around 600 bce, but the work of his circle of ates. All the cups assigned to the painter come painters extends to the late 570’s. He is very pro- from the Heraion of Samos. Some depict elabo- ductive and, unlike most of his contemporaries, rate sympotic scenes. He is innovative and exper- who limited themselves to animal friezes, he imented with shapes, producing cups of large attempted a number of mythological and epic dimensions with convex rims, which are closer scenes. Some of the scenes, such as the procession in shape to the earliest Siana cups (Samos 523). of deities to Peleus’ house, were undoubtedly of He followed East Greek prototypes and shaped his own invention (Brownlee, 1995: 367-368; two double cups, found on Samos (Samos 529) Baurain-Rebillard, 1999: 134-138, 155-160). Large and the Athenian Akropolis (Akropolis 467). The vessels dominate his repertoire, with the lebes East Greek influence on his cups, in combination being the most frequent. Amphorae and loutro- with the concentration of the painter’s cups at phoroi are well represented while pouring and the Heraion, led to the assumption that he might drinking shapes are few. Three lekanai, as well have worked on the island for a period of time, as a chalice, and a loutrophoros-amphora by his using Attic clay (Pipili, 2000; 2003). There is, hand were found in association with the tumulus however, no evidence for exports of Attic clay to at Vourvá. The lekane was not favoured by Sophi- support this claim (although there is possibly los and only six belong to his hand. The examples evidence for exports of Khiot clay to Naukratis: from Vourvá are the only known lekanai from Lemos, 1991: 2). It is more probable that the KX Attika by him (Vourvá 1199-1201). The chalice Painter was a skillful craftsman who benefited that copies a Khiot prototype is unique (Vourvá from external influences and produced luxurious 603). These vessels were found in an offering pieces for his élite clientele, who participated in trench and it is quite possible that they were ritual dinners at the Samian Heraion. His lekanai specially commissioned. The chalice can be taken and amphorae were mostly destined for Western as an indication that Sophilos’ intention was Asia Minor and Naukratis and are poorly repre- to produce a distinctive shape for this funerary sented in Attika. attic early black-figure painters 43

The shape repertory of the KY Painter is quite family of the deceased commissioned all the limited (ABV 31-33; 680; Para 16; Add2 9). He required vessels for this funerary occasion at a has been associated with very large number of particular workshop. This is also implied by the cups, but very few skyphoi, lekanai, or olpai. group of shapes, all assigned to the KX Painter Except for typical Komast cups, he attempted (Kerameikos 305, 417, 1095), which were found shapes of exceptional dimensions, with traits in offering trench R of the Kerameikos (Viernei- resembling the Siana cups, like those of the KX sel, 1964). The Kerameikos Painter is associated Painter (Korinthos 483, Thasos 504). In contrast with a fragmentary lebes (Samos 170) and an to the latter, who painted a number of lebetes exaleiptron from the Heraion of Samos (Samos but only a single column-krater, the KY Painter 1358), which have been thought to be not only shows a preference for the shape of the column- the earliest shapes in his production, but also in krater; six well-preserved samples belong to him, the Attic black-figure (Kreuzer, 1998a: 86). An but unfortunately they come from unknown con- exaleiptron by the same painter is also known texts (Steinhart, 1992). The painters forming the from Ialysos (Ialysos 1359). The shape is otherwise Komast Group decorate shapes similar to the KY rare in the Attic workshops. Painter. Column-kraters, skyphoi, and lekanai are The evidence suggests that during the period found among their work, but the cup dominates, in question, various painters and workshops with the vast majority found outside Attika. In focused on particular shapes. Sophilos undertook contrast to the KX Painter, the amphora is almost mostly large vessels, in particular, lebetes. The completely absent from the repertory of both the number of his lekanai is very limited, while olpai, KY Painter and the Komast Group. Interestingly, skyphoi, and cups are almost absent. The large a number of loutrophoroi from the sanctuary of production of cups, largely destined for overseas the Nymphe belong to the Komast Group, but trade, is linked to the KY Painter and the Komast none to the KY Painter himself. Group, while the KX Painter created special ver- Τhe Kerameikos Painter (ABV 18-20; Para 12; sions of the shape which would end up at the Add2 6), whose work is almost entirely limited Samian Heraion for the élite banqueting there. to decorating small shapes, is contemporary with The KX Painter, and some painters working in the KX Painter (For the relationship between his manner, as well as the Gorgon Painter, deco- the Kerameikos and the KX Painters: Kreuzer, rated lebetes, like Sophilos, while the KY Painter 1998c: 260-265). Two loutrophoroi from the and the Komast Group painted column-kraters. sanctuary of the Nymphe and a lebes from Samos The production of olpai and, to a large extent, of are the only exceptions. The items known to be amphorae belongs to the circle of the Gorgon his are not numerous and the lekane is the most Painter. represented shape in his repertory. The majority The work of the Panther Painter (ABV 18.1-6; of his shapes come from Attika. Except for three Para 11-12; Add2 6), the Androsiren Painter (ABV supports from the Athenian Agora (Athenian 18.1-2; Para 10) and the Painter of Athens 16407 Agora 1388-1390) and two loutrophoroi from the (Para 13) is only known from lekanai. The pro- sanctuary of the Nymphe (Sanctuary of the Nym- duction of the Panther Painter can be placed in phe 999-1000), the rest come from the Kera- the early sixth century. The Androsiren Painter meikos. A plate was found in a burnt layer of is almost contemporary, while the lekanai by the grave 38 (Kerameikos 1297), while the rest—a Painter of Athens 16407 should be dated later in plate, an olpe, a flat-mouthed oinokhoe, and two the first quarter of the sixth century (Lioutas, lekanai, dating to 580 bce—were discovered in 1987: 71-77). With the exception of a fragment the offering trench and place φ (Kerameikos 1298, of a lekane by the Androsiren Painter (Selinous 304, 395, 1138-1139. Kübler, 1970: 66-67). Since 1277) recovered from the sanctuary of Malopho- all the vessels from the offering group were dec- ros at Selinous, all the known lekanai come from orated by the same painter, it suggests that the tumulus I of the North nekropolis of Vári. 44 chapter three

A skyphos and a support from the Athenian skyphos-krater, a shape which disappeared from Agora seem to belong to a painter working close the Attic repertory by the end of the first quarter to the Panther Painter, but not by the painter of the sixth century. All their skyphos-kraters himself (Athenian Agora 402, 1387). The clay of were found on the Akropolis. Interestingly, the the lekanai from Vári does not point to local Group followed Khiot prototypes and made three production, but their concentration there is con- chalices, all coming from the Athenian Agora. nected to their purpose, linked to the special The representation of the Group at the sanctuary ceremony organised in honour of the deceased of Nemesis at Rhamnous is worth noting, espe- interred in tumulus I (Alexandridou, 2008). cially when taking into account the rarity of vases Despite the limited number of lekanai assigned by their contemporaries at the sanctuary. Three to each of the painters, it might be possible to loutrophoroi and three supports belong to them, suggest that they focused on the decoration of shapes both closely linked to the character of the this particular shape. deity and the ceremonies taking place there. The The work of the Group of the Dresden Lekanis clay of the vessels, as well as the shapes, do not marks the transition from the first to the second imply a local origin. Some members of the Group quarter of the sixth century. The Painter of the show an interest in figure-decorated scenes. The Dresden Lekanis has been distinguished as an depiction of the Kalydonian boar hunt on the individual personality (ABV 21-22, 680; Para 14; fragmentary lebes from the Agora (Athenian Moore & Philippides, 1986: 78). He was trained Agora 134) and the Judgement of Paris on the in Attika, where he worked for a period of time, neck of the loutrophoros are characteristic of before emigrating to Boiotia, where—identified their work (Provenance Unknown 867). today as the Horse-bird Painter—he decorated a In addition to those working in Athens, there large number of vessels, mainly alabastra, follow- are painters identified as being active in the Attic ing a strong Korinthianising style (ABV 22-23, countryside using local clay resources. The 680; Para 14; Add2 3; Payne, 1931: 202-203; Kilin- Anagyrous and Lotus Painters were working at ski, 1986; 1990: 7-13; for the assumption that the area of Vári. As discussed above, the existence some of the Group’s vessels are Boiotian, cf. of local workshops in that area in the seventh Payne, 1931: 201; ABV 22). An exaleiptron found century has already been established. The Anagy- at Korinthos and made of Korinthian clay (Amyx rous Painter, named after the ancient demos, & Lawrence, 1975: 59-60), suggests that one of must have worked in Athens before moving to the members of the Group could have worked Vári. The clay of his bowl from Spáta implies there for a period. A study of the material from that the vase probably belongs to this first stage the sanctuary of the Nymphe allowed for the of his career (Spáta 602). With the exception of identification of another member of this Group, a support from the Athenian Agora (Athenian one who is given the conventional name the Agora 1390) thought to have been ‘exported’ from Painter of the Old Women (Papadopoulou- Vári to Athens (Callipolitis-Feytmans 1974: 70; Kanel lo poulou, 1997: 94).2 This painter has been Moore & Philippides, 1986: 78), the rest of his associated with loutrophoroi (Sanctuary of the vessels come from the North nekropolis of Vári. Nymphe 1036-1045, Rhamnous 1100), a neck- He was mostly associated with small shapes, like amphora (Athenian Agora 769) and skyphoi plates, lekanai, and pouring vessels, but a loutro- (Anavys sos 423), two of which come from the phoros-amphora from his hand is also known. Samian Heraion (Samos 451-452). His loutrophoros-amphora (Vári 1096), tankard Most of the shapes of the Group come from (Vári 396), and bowl (Spáta 602), closely follow Attika. They decorated the latest examples of the Geometric and Protoattic prototypes, which are not common in the Athenian workshops at that time (Callipolitis-Feytmans 1974, 70-71). The at - 2 Τhis is my translation for the Greek name Ζωγράφος των Γραιών given by Papadopoulou-Kanellopoulou. tribution of a kantharos to the painter is puzzling attic early black-figure painters 45 since the source of inspiration for the shape pos- Painters, they were made at the periphery, most sibly lies with Etruscan models and Boiotian pro- probably somewhere in Eastern Attika. They were totypes (Vári 593). Moreover, it is the only shape found at such sites as Sounion, Laurion, Thorikos, by the painter that is decorated with figure-scenes. Marathon, and Rhamnous, where contemporary Although his production shows the persistence products from non peripheral workshops are of old-fashioned prototypes, the kantharos indi- rather rare, as well as the neighbouring island of cates that he was aware of the developments in Kythnos. They have been associated with a vari- contemporary Athenian workshops, while being ety of shapes, but primarily with miniature ves- open to external influences, possibly from Boiotia. sels, that were aimed at serving particular ceremo- The shape, as well as the choice of its icono- nial and funerary needs. Even though made in graphic scenes, seem to have been inspired by Attika, their products found their way to Athens the work of the KX Painter. The latter has been where they are represented at the Athenian associated with a number of kantharoi, one of Agora, the Akropolis and the sanctuary of the which shows a frontal chariot (Naukratis 595). Nymphe. They are also found elsewhere in the Moreover, the struggle of Herakles with Nereus Mediterranean (Phokaia 93, Berezan 267, Ragusa in shown on a neck-amphora of his from Samos 1278. Boardman, 1998b with full catalogue of the (Samos 806). It is, however, uncertain why the vases of the Group). Anagyrous Painter chose a shape which not only The Painter of Eleusis 767 is a minor painter was out of favour by the early sixth-century Attic who has been associated with a limited number workshops, but also seems to have been mostly of vases, some of which—four loutrophoroi from destined for overseas trade. A special commission the sanctuary of the Nymphe—are simply stylis- is a possibility. The question whether the vessel tically close to his work (ABV 21, 1-3; Para 13; was a personal belonging before ending up in the Add2 7). Although it has been suggested that he trench remains open. In contrast to his other might have worked outside Athens, in particular, shapes, the kantharos lacks a special funerary at Eleusis, with the fenestrated support from the character and it might have initially served an Agora (Athenian Agora 1396) being an import everyday sympotic need. from Eleusis, (Boardman, 1974: 19; Moore & The Lotus Painter was identified by Callipoli- Philippides, 1986: 78; Monaco, 2000: 124), the tis-Feytmans (1974: 207-209), who thought of representation of his work on the Akropolis and, him as “provincial”. He decorated small shapes, primarily at the sanctuary of the Nymphe, and like tankards and plates, as well as larger ones, the clay of the vessels, do not support such an like hydriai and loutrophoroi. Although accord- interpretation (Tiverios, 2009: 280). His known ing to Callipolitis-Feytmans (1974: 209), his work production shows that he was working on cere- covers the period 565-520 bce, her dating seems monial shapes, destined for offerings at sanctu- too low. The loutrophoroi from the sanctuary of aries. the Nymphe show that the latest work of his The early sixth century is rich with evidence extends to the late second quarter of the sixth for painters and groups working in the Attic century bce (Papadopoulou-Kanellopoulou, periphery using local resources. They covered 1997: 91). The clay used for two of his loutro- local demands, as in the case of the Anagyrous phoroi from the sanctuary of the Nymphe seems and Lotus Painters, but had access to the Athe- to have been from the local resources of the Vári nian markets and, like the Ragusa Group, even area. Thus it is likely that the dedicators, living to overseas trade routes. By the second quarter in the area of Anagyrous, visited the sanctuary of the sixth century, when the number of the after obtaining the vessels from the local work- known painters almost doubles, it seems that pot- shop. tery activity is concentrated in Athens and rural The paler clay of the vases of the Ragusa Group workshops decline and eventually disappear (Wil- suggests that, like the Anagyrous and the Lotus liams, 1995: 143-144). Kilns, which could identify 46 chapter three ceramic workshops, are rare. An archaic kiln is The strong ‘Korinthianising’ character of the known from Herakleidon Street in Athens, while early Attic black-figured pottery, more evident two seventh-century kilns were discovered at during the first decades of the sixth century, Skála Oropoú (Hasaki, 2002: 332-334, with should be closely associated with movements of detailed bibliography; for the location of the Korinthian potters and painters into Attika. archaic workshops in Attika: Monaco, 2000: 124- Although one should not underestimate the influ- 125). Nevertheless, no examples that could be ence of imported Korinthian vessels on local Attic associated with the workshops discussed above production, the movement of people seems to have come to light. Therefore, association of items have played a much more prominent role in the with local workshops has been based entirely on dissemination of the Korinthian style. The activ- the type of clay used. ity of Korinthian painters in Attika can be now dated to the end of the Early Iron Age. A late eighth- or early seventh-century kiln, found MOBILITY OF POTTERS AND PAINTERS under the later Tholos in the Athenian Agora, seems to belong to a Korinthian-trained potter The study of extant early black-figured vessels (Monaco, 2000: 29-32; Papadopoulos, 2003: 222- provides new information on the issue of potters’ 224; 2009, 232-235). mobility. Linear B tablets allow potters’ move- The early sixth century provides more comments, which seem to have been quite common plete evidence. In 1950, Dunbabin published a during the early periods, to be traced back as far late seventh-century lekane (Attika 1206), which as the Late Bronze Age (Tiverios, 1981: 158, 163; he assigned to a Korinthian painter who had 1989a: 617-618; Papadopoulos, 1997: 449-462). trained in the workshop of the Korinthian Sphinx In Attika, there are indications that during the Painter (Amyx, 1988: 70-73) before moving to late eighth and seventh century potters of Athens where he worked using Attic clay Kykladic, Korinthian or other origins lived and (Dunbabin, 1950). Since the only known late worked there. An imported Late Geometric seventh-century lekanai come from the North amphora from Syros, found at the Athenian nekropolis of Vári and tumulus I, it is not Agora, indicates the existence of islanders in Early Iron Age Athens (Papadopoulos & Smith- improbable that the published example most son, 2002). According to Sheedy (1985: 170, 173, probably comes from the same context (the same 189-190), the Parian Ad Painter worked in hypothesis has been recently made by Williams: Athens during the late eighth century. The strong Williams, 2009: n. 1). More vessels made of Attic Kykladic influences on Protoattic vessels, in com- clay, but painted by Korinthians, have been added bination with the fact that Kykladic imports to to the repertoire over the decades. The earliest Athens in the eighth and seventh centuries are Attic black-figured aryballoi (Kerameikos 1339, rare, point to movements of people rather than Delos 1343, Kameiros 1345, Provenance Unknown of products (Brann, 1962: 28; Papadopoulos & 1348-1349) have been attributed to a group of Smithson, 2002: 185-186). A number of Proto- Korinthian painters, stylistically close to the Ko- attic painters have been thought to be non- rinthian Sphinx Painter, who were working in Athenians who learned their craft elsewhere Attika at that time (Callipolitis-Feytmans, 1976: before moving to Attika (Brann, 1962: 24). On 152). Although made of Attic clay, the animals the other hand, Athenian artisans could also relo- on a background filled with dots on a number of cate far from Attika, as is indicated by a lebes fragments of loutrophoroi from the sanctuary of found at Incoronata, some kilometres from the Nymphe, suggest a Korinthian painter (Papa- Metapontion, which, although locally-produced, dopoulou-Kanellopoulou, 1997: 80). It is interest- was decorated by the Analatos Painter (Denoyelle, ing that, in contrast to the aryballoi, when paint- 1996). ing loutrophoroi the Korinthian applied his style attic early black-figure painters 47 on a purely Attic shape that was serving a par- sustained (Pipili, 2000; 2003), but his shapes from ticular ceremonial purpose. More recently, Kreu- the Heraion clearly illustrate the influences felt zer studied the fragments of a cup from the Athe- among different workshops. nian Akropolis, which seem to belong to a Mobility of potters and painters can also be double cup comparable to that by the KX Painter detected within Attika. The Anagyrous Painter from the Heraion of Samos (Akropolis 467). learnt his craft in an Athenian workshop before Therefore, the shape has been attributed to the moving to Vári. The buff clay with the brown same potter, but the decoration seems to have mica of the area might also have been used by been applied by a Korinthian working in Athens Sophilos and the KX Painter for their skyphoi (Kreuzer, 2009). and hydriai which were found at the North These craftsmen can be recognised as the pred- nekropolis of Vári (Vári 418-419, 871-873). ecessors of the firstmetoikoi (For metoikoi, see Unfortunately, the vessels remain unpublished Whitehead, 1977). According to Plutarkhos and further detailed study of the clay was not (Solon 24. 4), Solon introduced a law which possible. But if this case is accepted, since the allowed foreign craftsmen to settle in Athens with lower quality of the Vári clay excludes the pos- their families and become citizens. Since, how- sibility of clay exports from Vári to Athens, it ever, the archaeological evidence for foreign pot- might then have been the painters that moved to ters in Attika predates the Solonian law (if the Vári for a period of time. In addition, it is tempt- literature is to be accepted as accurate), then ing to suggest that even the Nessos Painter, the Solon might have simply attempted to promote majority of whose shapes are concentrated at and regulate this phenomenon, aiming to boost Vári, might have worked there for a short period the Athenian economy. Mobility of potters and while fulfilling this special commission. Some of other artisans from, and to, Athens is also attested his Vári shapes are unique and, especially in the to later, during the Archaic and Classical periods case of the large skyphos-kraters, his stay there (Papadopoulos, 2003: 223-224). would save them from damage that might be In addition to Korinthians living and working incurred when transporting them from Athens. in Attika, Attic potters could move to other pro- Whether the concentration of shapes at Vári by duction centers. The Istanbul Painter and the painters not known to have come from elsewhere Painter of the Dresden Lekanis moved to Boiotia points to a similiar situation cannot easily be at some point in their careers. Although attrac- sustained due to the limited evidence or the use tive, the assumption of Pipili that the KX Painter of non-local clay. could have worked on Samos cannot be easily attic early black-figure iconography 49

CHAPTER FOUR

ATTIC EARLY BLACKFIGURE ICONOGRAPHY

Mythological and daily scenes appear on only a attempted to abduct Deianeira and, his fight small number of the extant early black-figured against the centaurs living on Mount Pholoe dur- vases. This is largely due both to the dominance ing his visit to Pholos on his way to Mount Ery- of animal friezes and to the small volume of pro- manthos. duction for this period. The following chapter The centaur is the first hybrid to appear in examines each of the preserved mythological Greek art, with the earliest terracotta statuette themes, taking into consideration their develop- from Lefkandi (Eretria Museum, 8620, BSA 65, ment and their possible meanings in association 1970, pls. 7-11) dating to the last quarter of the with the vessel’s shape, use and archaeological tenth century bce (For studies on centaurs in art: context. There are six main sections to the chap- Baur, 1912; Fittschen, 1969: 88-128; Arnold, 1972; ter, the first of which is dedicated to heroes. The Schiffler, 1976; Leventopoulou et al., 1997; second section focuses on scenes inspired by the Padgett, 2003: 3-27). The more common type of Trojan cycle, while deities, like Hermes and the centaur has equine, rather than human, forelegs Aglauridai, are examined in the third. The fourth and is almost an exact parallel to those repre- section is comprised of other mythological figures sented in the Orient (Arnold, 1972: 140, 205-206 while the fifth looks at various generic scenes. and cat. nos. 37-39, 41-42). In Attika, this human- The final section discusses the decorative role and equine hybrid first appears on Late Geometric meaning of animals, monsters, and protomes. vases, without being part of a mythological nar- Despite the meagre evidence, it is possible to rative (Rombos, 1988: 232-244). Since the context identify and examine both the continuity and the of the vessels on which centaurs appear was changes of the themes that occur between the largely funerary, they have been given khthonic late seventh- and early sixth-centuries. Moreover, significance (Fittschen, 1969: 104-108; Müller, the meaning of the scenes, as well as their pos- 1978: 31). Instead, they should be conceived of sible associations with the contemporary social as wild creatures living on mountains, far from background, will be discussed. human civilization, whose disorderly and violent behaviour can threaten civilized human life (Padgett, 2003: 3-5, 20-23). HEROES Two early black-figured vases depict Herakles attacking Nessos, with the scenes focusing on dif- Herakles ferent moments in the encounter (For the subject, Scenes of heroes battling against various creatures cf. Fittschen, 1970: 161-171; Brommer, 1984: play an important role in early black-figure dec- 48-52; Díez de Velasco, 1992: 838-847; Knauss, oration, especially during the last quarter of the 2003: 275-279). The earliest known representa- seventh century. Though more than one hero is tions of this narrative are on Protoattic vases with included in the repertoire, Herakles occupies the the amphora, now in New York, preserving a very prominent position. Two of Herakles’ encounters detailed depiction of the incident (New York, with centaurs are preserved on early black-figured Metropolitan Museum, 11.210.1, Ahlberg-Cor- vases: the struggle with centaur Nessos, who nell, 1992: fig. 189). In early black-figured, the 50 chapter four scene occupies the neck of the Nessos amphora from Vári (Vári 60. Fig. 33). On it Herakles wears (Athens 801. Fig. 32). On it, Herakles attacks the a short khiton and runs after two galloping cen- centaur from the left. Deianeira is absent, pos- taurs while holding his bow. The better-preserved sibly due to the lack of space. Nessos, weak and centaur is bearded and is looking back towards helpless, tries to supplicate his attacker by touch- Herakles with fear. Some decades later, the same ing his chin. Herakles holds a sword, a feature scene is treated in a more dramatic way on a unparalleled in Attic black-figure (Díez de fragmentary louterion signed by Sophilos (Mení- Velasco, 1992: 846). Related to this piece, and dhi 245). Some centaurs are already shot and found outside Attika, the myth is depicted on an Herakles is shown dragging one by the hair as it ivory plaque from the sanctuary of Orthia in attempts to supplicate to him. Herakles’ bow lies Sparta, dating to the third quarter of the seventh on the ground. Both vases come from funerary century bce (Sparta Museum, 15350, Marangou, contexts. The skyphos-krater was among the fine 1969: 55-57 and fig. 41). Here, Herakles is strug- vases offered to the honoured deceased of tumu- gling with the centaur and, again, Deianeira is lus I at Vári, while the louterion was offered to missing. Although the figures lack attributes, their the occupant of the Mykenaian tholos tomb at poses are strikingly similar to those on the Nes- Menídhi.1 Despite the chronological difference, sos amphora. it might not be accidental that this scene appears On an early sixth-century Attic lekythos, He- on two comparable shapes both of which were rakles is shown pursuing Nessos, who is holding given to deceased who were honoured as ances- a doll-like Deianeira in his arms (Korinthos tors. 1316). This is the first known example where The Pholos episode alludes to the symposion, Deianeira is held in this way by the centaur; it is with the centaurs being punished by Herakles an iconographic scheme mostly followed by the because they did not respect the hospitality sixth-century Attic painters. The painter added offered to him and ruined it. Therefore, the cen- a panther in front of the centaur, possibly as an taurs are depicted as threats to one of the main obstacle (Williams, 1989: 61-62). Herakles wields features of the archaic polis, which Herakles, a club, as in Bakkhylides’ account (Bakkhylides, armed with arrows, is represented as trying to Dithyramb 16.34). Because of the number of epi- defend (Valenza-Mele, 1986: 338-340; Hölscher, sodes depicted that involve Herakles and cen- 2000: 291-292). The sympotic implications of the taurs, or of centaurs abducting women, it can be theme become more prominent later in the sixth difficult to identify the centaur as Nessos. In this century. By 530 bce, Attic black-figure painters instance, the depiction of a female figure on the depict Herakles opening the wine jar or ladling centaur’s back or in his arms points to this being wine, often assisted by Pholos. The last quarter Nessos. On the Nessos amphora the inscriptions of the sixth and the first quarter of the fifth cen- secure the identification (Díez de Velasco, 1992: tury, see the hero banqueting as Pholos’ guest 844-845). (Noel, 1983: 141-150; Wolf, 1993: 41-42, 155-156; In contrast to the struggle with Nessos, the Leventopoulou, 1997a: 701-702; 1997b: 709; earliest representations of the Pholos episode are Schmölder-Veit, 2003a: 166-169; 2003b: 170-173). known from seventh-century Korinthian and not An association of the theme’s sympotic connota- Attic vases (Athens, National Museum, 1114, tions with the shapes and context of the early Ahlberg-Cornell, 1992: fig. 179; Berlin, Antiken- black-figured examples from Vári and Menídhi sammlung, 2686, Ahlberg-Cornell, 1992: fig. 178; is not obvious. Although the skyphos-krater Florence, Museo Archeologico, 79252, Ahlberg- might have served sympotic needs, it is mostly Cornell, 1992: 112, fig. 7). Herakles is shown kneeling while trying to kill a number of centaurs 1 The similarities between the cults centred on the with his arrows. In Attika, the first known depic- Mykenaian tomb and the Vári trench have been already tion is on a late seventh-century skyphos-krater noted. See above 37. attic early black-figure iconography 51 found in funerary contexts, and the louterion is human figure is depicted fighting with a sea- a funerary, rather than sympotic, shape. The monster on a Korinthian vase (Athens, National choice of this mythological scene cannot be given Museum, 421, Dunbabin, 1962: pl. 22. 421), any khthonic implications, but it probably added which has been thought to be the earliest repre- to the vases’ splendour, indicating the dedicators’ sentation of the episode (Arvanitaki, 2006: 55-58), wealth. as well as on an island gem (London, British On two late seventh-century Attic vases, Museum, 212, Ahlberg-Cornell, 1992: fig. 185), Herakles is shown freeing Prometheus (Vári 59. the earliest certain representations of the incident Fig. 34, Phaleron 223). Later, the incident appears are on six Attic vases (Vári 593, Samos 806, Boio- on a few mid sixth-century amphorae and on an tia 1321, Naukratis 1325, Provenance Unknown early fifth-century cup( Brommer, 1984: 84-88; 130, 882), which have been dated to the first quar- Gisler, 1994: 539-542). The punishment of Pro- ter of the sixth century (Ahlberg-Cornell, 1984: metheus is found earlier in the Peloponnesos, but 14-17). The painters followed a similar icono- Herakles is absent. On a mid seventh-century graphic scheme. Herakles, not yet identified by Lakonian ivory plaque, Prometheus is shown the lion-skin, attacks the fish-tailed Nereus from being attacked by the eagle of Zeus (Athens, behind, grasping him around the neck. In some National Museum, 15534, Marangou, 1969: fig. instances he has a quiver and a bow on his back, 43). The same motif appears on two bronze shield while in others a sword at his waist. A snake or bands from Olympia (Olympia Museum, B4992, a lion protome are occasionally attached to the AD 17, 1961-1962, pl. 137a; Olympia Museum, back of the sea monster, indicating Nereus’ abil- B1732, Kunze, 1950: pl. 68). Their similarities may ity to transform into different creatures. He rakles point to a local, pre-Hesiodic tradition which looks back, because Nereus is mutating, while seems to have ignored Prometheus’ liberation by the latter faces the opposite direction. On the Herakles. The early black-figured scenes include only fragment in Maidstone (Provenance Unknown Herakles, Prometheus, bound to a post, and the 882), Nereus has white hair, conforming to his flying eagle. Prometheus occupies the centre of Homeric and Hesiodic description as Halios the image. Herakles kneels on the left, holding Geron (Hesiodos, Theogonia 233-235, 263-264, his bow and shooting his arrows at the flying 930-934, 1003-1007; Ilias 1.538, 1.556, 18.141, eagle. On some later Tyrrhenian amphorae, the 20.107, 24.562; Odysseia 24.58). Sophilos enriched scene is enriched by the inclusion of divine figures the scene with Hermes and male spectators (Prov- who are watching the central episode (Gisler, enance Unknown 130). 1994: 540-550). Although the punishment of Pro- The Attic scenes contain similarities to the metheus is known in the seventh-century Pelo- island gem, which suggests that the motif of a ponnesos, depictions of Herakles’ attempt to free struggle between a human and a sea creature was Prometheus have not been preserved from else- not unknown in the earlier iconography. How- where and might be an Attic invention (Shapiro, ever, based on the extant evidence the depiction 1990: 121). The late seventh-century Attic scenes of a struggle between the easily recognized He - appear on funerary vases, but are not khthonic. rakles and Nereus may have appeared first in The eagle, sent by Zeus and shot by Herakles, Attika. Although aware of the lack of relevant does not seem to be a symbol of an unknown, historical documents, Ahlberg-Cornell (1984: 18, wild environment, associated with the Under- 103) suggested that the episode could allude to world, as has been suggested (Müller, 1978: 118). the aim of Solon and his reforms to create social The struggle between Herakles and a sea mon- stability. Unfortunately, the connection between ster, which can be identified as Nereus, the sea early sixth-century Attic scenes and the contem- deity, is introduced into the Attic repertoire porary social and political circumstance is weak. during the early sixth century bce. Although a Taking this into consideration it cannot be 52 chapter four

overlooked that the early black-figured scenes reliefs from Samos (Samos Museum, 726, Ahl- usually adorn hydriai or small neck-amphorae, berg-Cornell, 1992: fig. 200) and Sparta (Athens, implying that the depiction of the sea-god Nereus National Museum, 15365, Ahlberg-Cornell, 1992: was considered appropriate for liquid containers. fig. 201), where Gorgo is depicted with a large A fight between a man, whose image is poorly round head in frontal view, large eyes, open preserved, and a figure with upraised arms that mouth, and serpent hair. has a human upper body, a bull’s head and a The incident of decapitation was not unknown large fish-tail is depicted on an amphora fragment in the Attic repertoire, as implied by a mid sev- from Samos, and has been credited to the KX enth-century bronze relief from the Akropolis Painter (Samos 852). The hybrid has been inter- (Athens, National Museum, Akropolis Collection, preted as Akheloos and the scene as Herakles’ Ahlberg-Cornell, 1992: fig. 199). The earliest struggle with him (Kreuzer, 1998a: 49-51), a known painted representation is found on a Pro- theme that is often represented on Attic vases toattic amphora from Eleusis dated to the second from the middle of the sixth to the first half of quarter of the seventh century and shows the the fifth century (Isler, 1970; 1981: 32-34). How- pursuit of Perseus by the Gorgons (Eleusis ever, on most Athenian vases Akheloos has an Museum, Ahlberg-Cornell, 1992: fig. 203). The animal or centaur body and a human head rather myth appears on a number of vessels by the Nes- than that of a bull. The tail is reminiscent of sos Painter, notably his name-vase (Athens 801). Okeanos on the lebes by Sophilos, which is also In contrast to the Eleusis amphora, Athena and decorated with the procession of gods to the Perseus are omitted and the painter focuses on house of Peleus and Thetis (Provenance Unknown the Gorgons. The beheaded Medusa is shown 211). Moreover, the fragmentary figure, inscribed falling, while her sisters fly over the sea in the as Okeanos on the François Vase, seems closer “knielauf” position. On one of the decorated to the Samos example. The ear which has been metopes of a louterion by the Nessos Painter, preserved shows that Okeanos had an animal Perseus is running away, followed by Athena head, as well as a fish tail, like the KX Painter’s (Aigina 247). Both figures are identified through creature, which has been identified as Akheloos inscriptions. The Gorgons might have appeared (Cahn, 1994: 31-33). The scene from Samos also on another metope, but the vase is fragmentary includes the lower part of a figure with a spear and the scene uncertain. On a number of amphora and a chariot. These could have served as space fragments, attributed to the same painter, parts fillers, but their purpose of symbolism cannot be of Gorgons have been preserved. Due to their interpreted. The episode on the amphora from fragmentary state, the exact arrangement of the Samos is too fragmentary to be accurately iden- scenes, and how closely they followed that on the tified. Nessos amphora, cannot be known (Akropolis 828, Kerameikos 836, Cerveteri 862). A skyphos- Perseus krater and a fragmentary amphora from Vári with Perseus killing the Gorgo and being pursued by running Gorgons are contemporary with the her immortal sisters, Stheno and Euryale, is one above (Vári 61, 795. Figs. 35-36). The scenes are of the earliest narrative subjects in Greek art. The probably alluding to the same myth, although the earliest known representations on Kykladic relief painters are more interested in the representa- amphorae date to the second quarter of the sev- tions of the monsters, and they exclude Perseus enth century and tend to depict the moment of and Athena. Gorgo’s decapitation (Paris, Musée du Louvre, By the early sixth century, this myth appears CA795, Ahlberg-Cornell, 1992: fig. 198; Paris, in the main frieze of a lebes assigned to the Gor- Musée du Louvre, CA937, Ahlberg-Cornell, 1992: gon Painter (Provenance Unknown 210). The no. 116). These are followed by slightly later ivory beheaded Medusa is collapsing while her sisters attic early black-figure iconography 53 are running after Perseus. On the left, Athena Gorgons on large-scaled seventh-century funerary and Hermes are shown. The scene lacks the late vessels are chosen for their guardian and pro- seventh-century monumentality. Perseus and the phylactic function, and their power to expel the Gorgons look as if they are walking quickly rather fear of death. than fleeing, and the gods seem passive. In Attika, pursuit scenes continue throughout the sixth cen- Bellerophon tury, but scenes depicting Perseus beheading the Bellerophon was a Korinthian hero and his fight Medusa only occur into the middle of the century against the monstrous Khimaira which took place (Roccos, 1984: 338-348; Krauskopf, 1988: 320). in Lykia, appeared on Korinthian vases from the Gorgons and the gorgoneion combine human middle of the seventh century. The earliest vases and superhuman characteristics, and their follow the same scheme (Aigina Museum, 235, demonic nature is intended to create fear. Their Schefold, 1993: pl. 22; Boston, Museum of Fine role can be apotropaic, keeping away negative Arts, 9510, LIMC VII, 2, Pegasos, fig. 213): the powers while offering protection. In later literary hero is shown on his winged Pegasos attacking sources, Gorgo is referred to as khthonia, living from the right. The monster has a lion’s head and in the Underworld. The gorgoneion appeared in Greek art from the early seventh century, and body, a serpent-tail, and a goat’s head coming developed under a number of factors, such as out of its back (Steuben, 1968: 11-13). Near Eastern influences and their introduction The earliest known representation of the myth, into this particular mythical incident (Karagior- is slightly earlier than the mid seventh-century ga, 1970: 103-111; Floren, 1977: 9-73; Belson, Korinthian depictions of it. It appears on a 1981: 189-192; Burkert, 1987b: 10-40; Krauskopf, standed lebes from Incoronata of Metapontio 1988: 316-317; Frontisi-Ducroux, 1988: 27-40; (Orlandini, 1988: 1-16). Although the shape fol- 1989: 156-160; Childs, 2003: 64-65; Tsiafakis, lows local prototypes, its style of painting points 2003: 85, 90). The open mouth, the tongue, and to the Athenian Analatos Painter (Denoyelle, the dangerous teeth are the main characteristics 1996: 82-85). In this instance, the Khimaira is a of the gorgoneion. Although Attic early black- Protoattic lion with a goat’s and snake’s head on figure iconography suggests that this style of its back, both of which are turned in the direction depicting the gorgoneion was already established of Pegasos and the hero. The goat is shown spit- in Attika by that time, seventh-century Korinthos ting flames. Although the tail of the monster is was the first to develop a fixed type (Halm-Tisse- intended to be as that of a snake, lack of space rant, 1988: 211-221; Krauskopf, 1988: 316-319). forced the painter to add its head separately. This Apart from vase-painting, gorgoneia are used in scheme is not found in other seventh-century architectural sculpture at a number of sites in representations. Greece, South Italy, and Sicily during the seventh The theme appears in the early black-figure and sixth centuries. In Attika, gorgoneia are used repertoire, adapted to the monumental style of as antefixes and akroteria on the Akropolis. The depiction of the late seventh-century tradition. earliest known akroterion dates to the second On a fragmentary skyphos-krater by the Nessos quarter of the seventh century, while the antefixes Painter, Bellerophon, mounted on Pegasos, is belong to the second half of the sixth (Belson, attacking Khimaira from the left (Kerameikos 37). 1981: 1-135 and especially for Attika: 14-15, 196- The latter is turned towards him. The Nessos 197). Painter’s Khimairai are thought to be closer to The powerful, apotropaic image of the Gorgo, the literary descriptions. They are large and pow- whether or not it was included in the narrative erful, and their monstrous, dangerous character of the Perseus myth, justifies the tendency of the is emphasized (Steuben, 1968: 85; Schmitt, 1966: earliest black-figure Attic painters to focus on 343). They are of the dragon-type, with a lion’s the monster and not on the myth. Depictions of head and forepart, and a serpentine body, from 54 chapter four which a goat’s forepart emerges in the middle. By the end of the first quarter of the sixth cen- Unlike the Korinthian examples, the heads of the tury, the myth appears on a loutrophoros-hydria three animals are turned towards Bellerophon from the sanctuary of the Nymphe (Sanctuary of and Pegasos. Although comparable elements can the Nymphe 1011. Fig. 38). The quality of the be found on the Khimairai of Melian gems and design is poor and, unlike the late seventh-cen- other Kykladic or Kretan works, the Attic dragon- tury examples with a clear Attic character, Khi- type seems to be an invention of the Nessos maira closer resembles the Korinthian prototypes. Painter, who concentrated more on the monster The serpentine body is reduced to a snake-tail than on the conflict (Ohly, 1961: 1-11; Kübler, and a small goat’s head comes out of its lion’s 1970: 215-216; Schmitt, 1966: 344; Grabow, 1998: body. It seems that the lion has horse’s hooves. 272). An amphora from Aigina suggests that the The theme, inserted in one of the animal friezes painter used Khimaira as a decorative element, of the vase’s body, has acquired a decorative role. prior to its inclusion in the Bellerophon myth Meleager (Aigina 643). The Khimairai on two late seventh-century Meleager is the central hero of the Kalydonian neck-amphorae from Vári retain the monumen- boar hunt, in which a number of heroes partici- tality of the Attic style, but the dragon-type body pated. Most of the existing Attic depictions date is abandoned (Vári 786, 789. Fig. 37). The mon- prior to the middle of the sixth century (the rich- sters have a serpentine tail and a goat’s forepart est of them being on the François Vase), while which emerge from a lion’s body. Both goats’ red-figured scenes are few (Woodford, 1992: 414- heads spit flames, emphasizing their dangerous 435). Scenes depicting Meleager can be distin- nature. The figure of Bellerophon presents close guished from generic hunting scenes either by similarities with the Korinthian examples. On one the inscriptions identifying the figures, or by the amphora, he is shown holding a spear and on presence of Atalanta. The heroic nature of the the other a sword. The painters do not seem inter- incident is emphasized by the number of heroes ested in the narrative; Bellerophon on his Pegasos that participate and the dangerous boar (Barrin- and the monster occupy different sides of the ger, 2001: 154-155). vessels, facilitating a large-scaled representation The earliest confirmed depiction of the myth of the encounter (Schmitt, 1966: 343; Jacquemin, is on a fragmentary lebes from the Athenian 1986: 257). Agora, dated late in the first quarter of the sixth The same subject may have decorated a late century (Athenian Agora 134). The boar appears seventh-century amphora from the Athenian in the centre, walking rather than rearing as it Agora (Athenian Agora 816). On the fragment does on the majority of the later scenes. On the only parts of the wings of Pegasos and the Khi- left, a man with a stone, followed by a small dog maira’s snake-tail have been preserved preventing drawn in outline, and Akastos, are attacking the a reconstruction of the scene and the style of boar. Pegaios is shown bleeding beneath the boar. depiction of the monster. On a contemporary On the other side, the figures of Meleager and olpe fragment, parts of Pegasos’ neck and Khi- Atalanta are partly preserved. The painter might maira’s back are shown (Athenian Agora 273). have followed a different tradition, since the other The latter might have been of the dragon-type versions of the hunt identify Ankaios as the boar’s since the goat protome is placed lower on the victim, and not Pegaios. Moreover, the direction body. But, in contrast to the contemporary Attic of the action toward the right is unusual (Young, examples where all three heads face the rear, the 1935: 438-441; Moore & Philippides, 1986: 178- goat and lion heads probably face forward, as on 179). the Korinthian examples (Moore & Philippides, Slightly later is a column-krater by the KY 1986: 192). Painter with a boar hunt on the upper frieze. It attic early black-figure iconography 55 follows the same scheme and direction as the TROJAN CYCLE Agora lebes, with a standing boar flanked by two groups of two men with spears (Provenance Peleus and Thetis Unknown 126). The scene is fragmentary and it The wedding of Peleus and Thetis, part of the might be a generic hunting scene. It lacks inscrip- Kypria, is known from Proklos’ account in the tions as well as some of the iconographic ele- Khrestomathia (Davies, 1988: 36, F3). Homer ments, such as the victim underneath the boar refers to the incident and to the presents that the that would be expected if this was depicting gods brought to Peleus (Ilias 16.143-144, 17.194- Meleager’s boar hunt. A fragmentary scene from 196, 443-444, 18.82-85, 19.390-391). However, the Agora (Athenian Agora 631) has been simi- the depiction of the procession of gods to the larly interpreted (Moore & Philippides, 1986: house of Peleus is possibly an Attic iconographic 104). Papadopoulou-Kanellopoulou (1997: 98) invention, as it is not known elsewhere. The ear- interpreted a scene on a loutrophoros from the liest representation of the couple on the wedding sanctuary of the Nymphe as a boar hunt (Sanctu- chariot appears on a Kykladic amphora (Kavála ary of the Nymphe 1039). However, the armed Museum, 1068, Ahlberg-Cornell, 1992: fig. 68. rider does not seem to be connected with the Oakley & Sinos 1993: 24-25, 44). The two earliest boar, but rather, they are both parts of an animal extant representations have been assigned to frieze. Sophilos, who decorated a number of his kraters Hunting scenes are known from Korinthian and lebetes with scenes from the Trojan Cycle, workshops from the end of the seventh century often labelling his figures and stories (Brownlee, and might have inspired the Athenian examples. 1995: 367-368; Baurain-Rebillard, 1999: 134-138, Despite the lack of attributes or inscriptions that 155-160). The Erskine lebes, now in the British could place the scene in Kalydon, elements of the Museum, is the best preserved example (Prove- mythic scene, such as the man fallen under the nance Unknown 211); the one from the Akro- boar, are present (Woodford, 1992: 415-417; polis is fragmentary (Akropolis 137). They are Schnapp, 1997: 284; Barringer, 2001: 10-45). In both signed by Sophilos (Bakır, 1981: 5-6). The Attika, the subject appears primarily on sympotic theme appears on a fragmentary lebes from shapes such as cups and lebetes. Since the sympo- Chiusi dated to the second quarter of the sixth sion was closely connected with a particular life- century which has been associated with the style, the early sixth-century sympotic ware was painter of London B76 (Iozzo, 2009). It was found close to the François Vase, on which the same decorated with scenes expressing noble ideals. procession is depicted in a frieze running around Hunting had an educational role, preparing its body (Iozzo, 2006: 111, 125, with extended youths to be citizens, and it is closely connected bibliography on the François Vase). Kleitias fol- with warfare in ancient literature. Both the hunter lowed Sophilos’ representation, albeit with a and the warrior embody aristocratic values number of variations (For a comparison of the (Schnapp, 1997: 278-286, 458-462; Barringer, scenes on the two vessels, see Stewart, 1983: 2001: 10-46). Although the Kalydonian boar hunt 53-74). Sophilos and Kleitias did not portray the belongs to the mythic sphere, it can still be asso- wedding, as known from the literary sources, but, ciated with members of the upper classes, espe- instead, depicted the procession of the gods to cially since heroes were considered part of their Pelion and the feast that would follow the wed- genealogy (Knittlmayer, 1997: 63; Ellinghaus, ding. No depictions of this procession are known 1997: 256). after the second quarter of the sixth century. In contrast, the struggle between Peleus and Thetis is found on more than 400 vases dating from the end of the sixth to the middle of the fifth century (Vollkomme, 1994: 268-269). 56 chapter four

The subject of Peleus and Thetis occupies the The symposion was a widespread activity within main frieze of Sophilos’ lebetes. On the right side aristocratic circles and there is no reason to of the scene, the painter used the house of Peleus invoke a particular ideal associated with Solon to separate the front and back ends of the proces- to explain its presence. sion. In front of it, Peleus is depicted as waiting for the gods, some of whom are walking, while The Judgement of Paris the more important deities are riding in chariots Another episode in the Kypria, mentioned, only (Williams, 1983: 22-32; for the inscriptions: Ki- briefly, by Homer, is the judgement of Paris lian & Develin, 2001: 12-19, 22). The majority of which led to the Trojan War (Ilias 24.27-30; the figures lack distinguishing attributes and are Davies, 1981: 56-62; 1988: 31, 5-11). Three depic- not depicted in their canonical form. The inscriptions of the episode, from the seventh century tions identify the figures and connect image and have been preserved, the earliest of which appears text to enrich the narrative (Brownlee, 1988: 84; on a Protokorinthian olpe, the Chigi vase, dated 1995: 368). The Akropolis lebes is very fragmen- to 640 bce (Rome, Museo Nazionale Etrusco di tary, but Sophilos probably followed the same Villa Giulia, 22679, Ahlberg-Cornell, 1992: fig. scheme of decoration. On a contemporary frag- 69). Paris is inscribed as Alexandros, a name commentary column-krater from the Athenian Agora, monly used by Homer, and is shown standing only an anta, a column, and part of a door to on the left, while Hermes leads the three god- Peleus’ house have been preserved (Athenian desses, all identified by inscriptions. Hera is first, Agora 78). followed by Athena, and then Aphrodite. The Sophilos’ inspiration has been variously attrib- slightly later ivory comb from the sanctuary of uted to an epithalamion by Stesikhoros (Stewart, Artemis Orthia has preserved the earliest repre- 1983: 53-74. Contra: Williams, 1983: 33; Thomas, sentation of Paris seated on a throne (Athens, 1985: 33-35; Brownlee, 1988: 84), to Korinthian National Museum, Marangou, 1969: pl. 78a). The free-painting (Payne, 1931: 100), or to the proces- scene follows the Korinthian scheme and the sional rituals during Panathenaic Games (Thomas, order of the goddesses in procession was prob- 1985: 36-42); all assumptions remaining specula- ably the same (Marangou, 1969: 108). On a tive. The provenance of the London lebes is seventh-century Parian polychrome krateroid- unknown, but its state of preservation suggests amphora (Paros, Archaeological Museum 2652, that it might have been placed in a grave. The Lemos, 2009: fig. 1, color pl. 10A) the procession fragmentary vase was recovered from the Akro- of the goddesses follows a different direction, polis and it might have been a wedding present having them moving to the right (Zapheiropou- that served the feast before being offered to Athe - lou, 2008). na. The purpose of the vessel and the preferences In the Attic repertoire, the episode appears for of the purchaser might have influenced the paint- the first time in the early sixth century, decorat- er’s choice of subject (Williams, 1983: 32; Brown- ing three vases. The earliest depiction is preserved lee, 1988: 83-84). Isler-Kerényi (1993: 7-9; 2004: on an unpublished hydria found in a sacrificial 22-26; 2007: 218-219) attempted to associate pyre excavated at the North nekropolis of Vári Dionysos’ presence with the symposion and with (Vári 872).2 The scene occupies the handle zone contemporary Solonian reforms and morality, and is framed by a siren to the left and a panther however, her arguments are too theoretical and to the right. Hermes, with his kerykeion, is the analysis does not appear to be straightforward. The decoration of the lebes should not be connected to the social and political circum- 2 The Late Protoattic fragmentary krater with a male stances with which the painting is contemporary. figure inscribed as AΛ has been also read as AΓΑΜΕΜΝΩΝ and therefore its connection with Alexandros and the judge- It is more likely that the scene was associated ment remains problematic. Athens, National Museum, 2226, with the vases’ function and the buyers’ status. ABV 1, BAPD 300004. Beazley, 1935: 475. attic early black-figure iconography 57

leading three female figures towards Paris, who majority of the vases show Hera at the front, it is seen walking quickly to the right with his head is possible that the Attic painter followed the turned towards Hermes and his right arm raised. same scheme (Raab, 1972: 69, 84-85; Kossatz- Paris, shown bearded with a long khiton, is head- Deissmann, 1994: 186-187). ing towards a rich edifice with a large half-open The Judgement of Paris was one of the few door, framed by two columns in antis. The three epic themes that appeared frequently in Greek goddesses are shown standing, while Hermes and art from the second quarter of the seventh cen- Paris are moving quickly. Their gestures indicate tury (Clairmont, 1951; Raab, 1972; Kossatz-Deiss- that Paris is escaping and Hermes is negotiating mann, 1994: 176-188). It has been favoured by as trying to catch up with him. The figures of the Athenian painters during the sixth and the goddesses are badly preserved and it is not known early fifth centuries and was used to decorate a whether they were holding any attributes. The variety of shapes. Two main schemes are fol- edifice probably stands for Paris’ rich palace, since lowed: Hermes leads the goddesses to Paris, who the early and mature black-figure Attic painters either waits patiently or, in the second scheme, depict him as the prince of Troy (Kossatz-Deiss- at tempts to escape (Hampe, 1981: 494-529; Tiv- mann, 1994: 186-187). This hydria then preserves erios, 1981: 17-25; Kossatz-Deissmann, 1994: the earliest depiction of an indecisive Paris, who 176-188; Hedreen, 2001: 182-213). The earliest is trying to escape the judgement. literary evidence places the scene on Mount Ida, A contemporary fragmentary scene with a male but it is only in the fifth century that painters figure moving to the right, his head turned back, depict the setting. From the early fifth century, and one hand raised follows the same scheme Paris is sometimes depicted as a shepherd, with (Athens 87. Fig. 39). In this example as well, Paris additional figures of gods, goddesses, or heroines is bearded, he wears a khiton and a mantle, and connected with the Trojan War, being intro- is placed between sirens. The scene has been duced. The theme was less common on Korin- interpreted as Paris trying to escape his judge- thian, Lakonian, and Khalkidian vases. Since it is ment. The way in which the figure is depicted is not attested in the extant sources, and the scene comparable to the one on the Vári hydria. has not been inspired from a lost poem, the depic- Almost contemporary is the fragmentary scene tion of Paris in flight might have been introduced on the neck of an amphora attributed to the by an innovative Attic painter at the end of the Group of the Dresden Lekanis (Provenance first quarter of the sixth century and then adopted Unknown 867). The drawing of the figures is care- by the later Attic black-figure workshops. There- less. Hermes, wearing winged boots that seem to fore, the introduction of the subject in the Attic have been influenced by East Greek parallels workshops should not be ascribed to Korinthos (Lemos, 2009: 135), is shown leading three female (in favour of a transmission via Korinthos: Lemos, figures. The interpretation of the scene was ques- 2009: 135. Contra: Tiverios, 1981: 23-24). tioned (Tiverios 1981: 23, n. 36) and the figures were considered as Nymphs or Kharites, but it Akhilleus receiving armour from Thetis is most possible that they are the goddesses approaching Paris. The first is holding a wreath, According to the literary sources, Akhilleus re- and the second, with her body in frontal view, ceives armour on two occasions. Homer mentions a skeptron. Unlike the majority of the later that it was his father, Peleus, who offered the first Athenian black- and red-figured vases, here set before his departure for Troy (Ilias 17.194- the procession moves from right to left, as on 197, 18.82-85), Euripides (Elektra 442-451) the seventh-century Lakonian and Korinthian Nereids from Euboia. After the death of Patroklos examples. The identification of the goddesses is and the loss of his first set of armour, Thetis difficult because wreaths, flowers, and skeptra are requests Hephaistos to forge a second set for common early sixth-century attributes. Since the Akhilleus, which she then transports to the 58 chapter four

Trojan plain (Ilias 18.126-144, 368, 616, 19.10- (Lowenstan, 1993: 213-215). The existence of the 11). In the Nereids, Aisckylos describes the second theme in Korinthian and Kykladic art more likely arming of the hero by Thetis and the Nereids, suggests a wide distribution of these epic tales, probably inspired by a lost epos narrating the than it does a direct influence of the Korinthian departure of Akhilleus from Phthia (Döhle, 1967; (Friis-Johansen, 1967: 107) and Kykladic exam- Kossatz-Deissmann, 1981: 122). ples on the Athenian ones. The earliest arming scene is from the neck of Armour was highly prized and ownership of a mid seventh-century “Melian” amphora, where armour as a requirement for serving in the hop- a man receives a Boiotian shield from a female lite phalanx presupposes wealth. Therefore, arm- figure (Mykonos Museum, 666, Ahlberg-Cornell, ing scenes with weapons have been associated 1992: fig. 101). The same scheme is found on an with the sixth-century aristocracy. In the case of Argivo-Korinthian bronze band from Olympia Akhilleus’ arming, the scenes also hint at the (Olympia Museum, B986, Kunze, 1950: pl. 62). heroic world, underlining and reinforcing a con- The figures are not identified by inscriptions and, nection between the élite and the legendary although the Boiotian shield—as a descendant of heroes. By the fifth century, Boiotian shields the Mykenaian—, suggests a heroic scene, the become less frequent in iconography and the dis- interpretation of the figures as Akhilleus and play of wealth in this fashion was probably con- Thetis is not definitive. sidered hybris rather than power (Knittlmayer, The earliest Attic scene where the identification 1997: 63-64). of the figures is irrefutable occurs on a lekane assigned to the KX Painter (Ialysos 1242. Fig. Funeral Games for Patroklos 40). It follows the same heraldic scheme, flanked The chariot race on a Protokorinthian aryballos by the animals in the frieze. Akhilleus’ arming from Syracuse has been interpreted as the earli- appears on a number of mid sixth-century Athe- est depiction of the funeral games in honour of nian vases. Thetis is followed by the Nereids, who Patroklos as organised by Akhilleus, on the Tro- also carry pieces of armour. Akhilleus can be jan plain (Beazley, 1951: 107, n. 32; Johansen, bearded, naked, or partly armed. Nereids are 1967: 90; Amyx, 1988: 648; Stefanek, 1990: 1-15). present on red-figured vases, where Akhilleus can Inscriptions are lacking and identification based be seated, and he is occasionally depicted as solely on its similarities with Homeric description mourning the loss of Patroklos (Kemp-Linder- is troublesome. It remains a probability, but it mann, 1975: 152-164; Kossatz-Deissmann, 1981: cannot be identified with any certainty. Chariot 123-125, 127; Barringer, 1995: 44-48). races are part of the Protokorinthian repertoire Whether the earliest depictions with Akhilleus and, despite the absence of identifying inscrip- and Thetis indicate the first or the second arming tions, some of the depictions have been connected of the hero is a matter of controversy. During with heroic funeral games (Amyx, 1988: 648). the fifth century, the differentiation becomes This epic theme is the earliest subject from more difficult, since Aiskhylos introduced the the Ilias (23.257-897) that can be indisputably Nereids into the Trojan episode and may have identified in Attic vase-painting. Its earliest influenced the vase-painters. Although the earli- appearance is on two fragmentary lebetes by est arming scenes, like those on the Mykonos Sophilos (Phársalos 147. Fig. 41, Smyrna 160. amphora and the Attic lekane, are more likely to Touchefeu-Meynier, 1997: 951; Kossatz-Deiss- allude to the Trojan plain (Ahlberg-Cornell, 1992: mann, 1981: 119,121-122; Brownlee, 1995: 367). 66-67; Kossatz-Deissmann, 1981: 71-72, 122. The lebes, found East ofPhársalos , was signed by Contra: Friis-Johansen, 1967: 92-104), the painters Sophilos as painter. Only part of the winning did not necessarily follow Homeric text, but chariot’s horses and a stand full of miniature took elements from different oral traditions spectators are preserved, followed by the inscrip- attic early black-figure iconography 59 tion Ἄθλα ἐπὶ Πατρόκλῳ. At the right side of vase. A race with five chariots is shown with the fragment, the inscription Aχίλες suggests that Akhilleus as agonothetes. Although the scene fol- the hero was present. The chariot scene might lows the Homeric description, Kleitias gave his have been the only subject covering the entire charioteers different names, and, unlike Sophilos, frieze of the lebes, with the support being both he did not include the spectators’ stand (Kreuzer, the starting and the finishing point (Brownlee, 2005: 186-187). 1988: 82. Contra: Friis-Johansen, 1967: 91). Apart from the inscriptions that identify this Despite the fragmentary state of the vase, the as the heroic event, the figures have no attributes stand for the spectators may be a representation and the scenes seem to be generic athletic events, of the Homeric description of the Akhaians seated without any heroic or mythological associations. together, some higher than the others. Their The interest that painters might have had in ath- excitement could allude to the disagreement of letic contests, and the foundation of the Isthmian, some of the heroes during the games (Ilias 23.457- Nemean, and Pythian Games might have con- 498; Brownlee, 1988: 82). The same iconographic tributed to the choice of such a theme (Friis- theme has been recognised on a lebes’ fragment Johansen, 1967: 91; Roller, 1981: 116-117; 1982: from Smyrna, also by Sophilos (Smyrna 160). On 144-145). Moreover, chariots, as well as horses, it the hooves of two running chariot horses, and have been employed as symbols of wealth from two male spectators, seated on a stand are pre- the Geometric period (Dentzer, 1982: 438-441; served, as on the Phársalos lebes. The scene is Rombos, 1988: 161-184; Manakidou, 1994: 95-97). not inscribed and its interpretation as Patroklos’ The scenes, inserted in the heroic sphere, decorate funeral games is open to debate. However, its two lebetes, large sympotic vessels, underlining attribution to Sophilos, who undoubtedly painted the connection of chariots and the symposion the scene on the Phársalos lebes, supports such with the lifestyle of a particular social class. Elab- a suggestion. orate races were already part of the Attic reper- The Phársalos lebes has been associated with toire from the Late Geometric period and they a local cult to Akhilleus, but could also have continue to be so during the seventh century served as a prize in an athletic context organized (Rombos, 1988: 92-131; Roller, 1982: 123-140; there (see below 93). The spelling mistakes in the Manakidou, 1994: 21-38). Therefore, the scene inscription—which might indicate Thessalian ele- should not have followed Korinthian prototypes ments—as well as the special nature of the subject, (Friis-Johansen, 1967: 92; Roller, 1981: 117; Ste- suggest that the vase could have been specially fanek, 1990: 14-15). commissioned by a wealthy Thessalian (Jeffery, 1984: 53; Kilmer & Develin 2001: 19-22). Inscrip- Departure of Antilokhos or of Amphiaraos tions played an important role in the work of Sophilos (Brownlee, 1995: 367-368; Baurain- A scene on a fragment from the Athenian Agora Rebillard, 1999: 134-138, 155-160; Kilmer & (Athenian Agora 1452) has been interpreted as Develin, 2001). In this instance, he decided, not the departure of Antilokhos (Moore & Philip- only, to name Akhilleus and the charioteer, but pides, 1986: 322-323) or of Amphiaraos (Brown- to identify the scene further by adding the title: lee, 1995: 366). On it is preserved part of a fron- Ἄθλα ἐπὶ Πατρόκλῳ. The use of these inscrip- tal chariot, the lower part of a female figure, a tions might imply that the viewers were not very grieving old man, and an inscription fragment familiar with the subject matter, and that, if the XOΣ over the latter’s head. Antilokhos partici- vase was specially commissioned by a Thessalian, pated in the Trojan War and was killed by the painter wanted to guarantee that the scene Memnon (Odysseia 3.451, 4.188). Rarely was he would be recognised easily (Kreuzer, 2005: 203). depicted on Attic vases. Instead, when he appeared This subject is slightly later adopted by Kleitias, it was in a secondary role (Meynier-Touchefeu, and decorates the lower neck frieze of the François 1981: 837). On some red-figured vases he is 60 chapter four shown either on a chariot, or standing in front charioteers show that they are waiting for the of his father, Nestor, before he departs for Troy conclusion of the duel, supporting the claim by (Berlin, Antikensammlung, F2264, ARV2 60.64, Homer that the chariots’ role was limited to trans- LIMC I, 2, “Antilochos”, fig. 4; Vatican, Astarita porting heroes to the battlefield Ilias( 2.273-274, 763, ARV2 1623.64bis, LIMC I, 2, “Antilochos”, 2.359-360, 2.399-400). The lack of inscriptions fig. 6). does not allow the scene to be connected to a The old man on the Agora fragment is remi- particular heroic battle (Mennenga, 1976: 128- niscent of the secondary figures in the scenes of 129; Knittlmayer, 1997: 53). Amphiaraos’ departure, as known from a number Duels between Greeks and Trojans might have of sixth-century Attic vases (Krauskopf, 1980: been depicted on a fragmentary cup from Samos 105-116; 1981: 694-696, 706-707). As a result, the (Samos 530). The preserved fragments show an inscription XOΣ has been associated with the son armed rider, inscribed Hippothoos, as well as two of Amphiaraos, Amphilokhos, who is represented more riding warriors, inscribed ME and ΘΕ. Hip- as a small child being held by a woman, while pothoos, together with his brother, was killed in the old man is a seer (Bakır, 1981: 75; Brownlee, the battle to reclaim the dead Patroklos (Ilias 1995: 366). Most of the known Amphiaraos 27.286-318). A second fragment shows parts of departure scenes date from c. 575 bce to the end the two chariot horses. According to Karouzou, of the sixth century. Despite the scarcity with on the now lost cup’s fragments, Menelaos and which chariots are shown frontally in Amphiaraos Aias were depicted in procession (Karouzou, scenes (see for example a fragment of a Tyrrhe- 1937: 135). Kreuzer suggested that duels were nian amphora: Oxford, Ashmolean Museum, probably painted on the middle of the cup, and G137.53, ABV 96.11, CVA Oxford, Ashmolean were flanked by chariots (Kreuzer, 1998: 43-44). Museum 2, pl. 1. 36) contemporary Attic depic- There are occasional battle scenes on Protoat- tions of frontal chariots suggest that these can be tic vessels, most of which consist of warriors considered an iconographic element pointing to meeting in conflict, either individually or in warriors’ departures, like that of Patroklos on the groups (Berlin Antikensammlung, A40 and A41, kantharos by the KX Painter (Naukratis 595). Morris, 1984: pl. 18 and 8; Berlin, Antikensam- Warriors’ departures appeared in Greek art from mlung, 33, Morris, 1984: pl. 21; Athens, Kera- the seventh century and become more frequent meikos Museum, 73, Morris, 1984: pl. 26). A during the sixth (Wrede, 1916; Fittschen, 1969: support in Munich provides the earliest extant 194-196; Krauskopf, 1981: 706; Spiess, 1992). example of a duel over a body (Munich, Antiken- They are known on Protoattic vases from the sammlungen 8936, Vierneisel, 1967: 241-245, second quarter of the seventh century (Athens, figs. 1-3). Similar scenes are known in Korinthos National Museum, 17762, CVA Athens, Musée since the late seventh century bce (Payne, 1931: National 2, pl. 1; Athens, Agora Museum, P 17403, 99, 115-116; Steuben, 1968: 44-50; Amyx, 1988: Brann, 1961: pl. 67). 646). Combatants, with variations in armour and dress, are on foot and may be flanked by horses. Warriors’ Duels Inscriptions identifying the figures are not always added (Among the earliest Korinthian examples: One of the earliest representations of fights Athens, National Museum, Ahlberg-Cornell, between two warriors, having an epic character, 1992: fig. 87a-b; Paris, Musée du Louvre, MNC is preserved on the lebes by the Gorgon Painter, 669, Ahlberg-Cornell, 1992: fig. 88). A late sev- now in the Louvre (Provenance Unknown 210). enth-century East Greek plate with a single-com- Two combatants holding shields and ready to bat scene is reminiscent of Early Korinthian attack with their spears are depicted on the upper scenes. Inscriptions identify the figures: Euphor- frieze of the vase’s back side. Two chariots with bos, fought over by Menelaos and Hektor (Lon- male charioteers flank the scene. The poses of the don, British Museum, 60.4-4.1, Ahlberg-Cornell, attic early black-figure iconography 61

1992: fig. 100). The early black-figure battling The earliest depictions of the god are on two scheme can be compared to that on the mid Kretan bronze plaques from the sanctuary of seventh-century Protoattic conical support in Hermes and Aphrodite at Sými Viánnou in Krete, Berlin, suggesting that Attic painters did not nec- dating to the late eight and the first quarter of essarily follow Korinthian prototypes (Berlin, the seventh century bce (Herakleion Museum, Antikensammlung, A40, Morris, 1994: pl. 18). 3157, Lebesi, 1985: pl. 1. A1; Herakleion Museum The early sixth-century scenes are the precur- 3158, Lebesi, 1985: pl. 2. A2). Hermes is shown sors of the “duel over a body” composition, which as a beardless, naked, young male holding a staff. seems to appear for the first time in Attic black- Being also of a khthonic nature, he was wor- figure iconography in the repertoire of the C shipped as a vegetation deity (Lebesi, 1985: 158- Painter (London, Private, Leventis Collection, 179). During the seventh century, Hermes, once Brijder, 1983: pl. 14c). A larger number of heroic more as a youth with a staff, appears on a “Melian” duels, depicted in a variety of schemes, dates to funerary hydria (Delos Archaeological Museum, the end of the sixth and early fifth century bce 1355, Zapheiropoulou, 2003: pl. 63. 80) and has (Ellinghaus, 1997: 11-165). They do not illustrate been interpreted as psykhopompos (Zapheiro- reality, but express Homeric and aristocratic poulou, 2003: 43-44). ideas. Duels, alluding to the Trojan War, under- If this identification is correct, then the earli- line the strength and courage of the individual est Attic representation of the god is on an warrior, in keeping with ideals of the élite of amphora fragment by the Nessos Painter, found sixth-century society. War is a private prestigious in the area of the Olympieion (Olympieion 839). affair for the nobles and not for their polis. The Only the lower part of the figure’s legs have been depiction of rich helmets and shields with the preserved, but the winged sandal and part of a addition of chariots, as on the Louvre lebes, staff behind his legs point strongly to the figure underlines the importance of the armour that being Hermes. The first indisputable scenes are could only be afforded by the wealthiest of the in the manner of the Gorgon Painter (Nola 385, citizens (Knittlmayer, 1997: 63-68; Ellinghaus, Provenance Unknown 122). On the olpe from 1997: 256). The preserved early black-figured Nola, the god is standing on a floral ornament, scenes of duels decorate sympotic vessels, under- flanked by two sphinxes. He is easily identified lining a connection between symposion and war by his kerykeion and is shown beardless, like the as parts of the lifestyle of a particular class. figures from Krete and the Kyklades. If not included purely for decorative purposes, the floral ornament might be chosen to emphasize the DEITIES god’s connection with vegetation. With the omis- sion of the floral ornament, Hermes appears in Hermes the same scheme on a slightly later olpe by the Representations of deities are rare in Attic early KX Painter (Vári 310. Fig. 42). The god is hold- black-figure; they are mostly seen assisting heroes, ing his kerykeion, but here he has acquired the while incidents concerning their lives or deeds beard that will characterise him until the fifth are ignored. Hermes, identified by his kerykeion century. The same scene, with sirens rather than and shown as an isolated figure between sphinxes sphinxes flanking the god, decorates an olpe from or sirens, is the only Olympian god who appears the Kerameikos associated with the same painter on his own with sufficient frequency to provide (Kerameikos 305). On these vases, the animals a reasonable basis for the theme’s study (Akro- are larger than Hermes. Unlike the olpai, where polis 21, 831, Sanctuary of the Nymphe 1019- Hermes occupies a prominent position on the 1020, Kerameikos 237, 305, Olympieion 839, Vári panel, on a lekane from Thebes (also by the KX 310, 871, Marathon 797, Thebes 1218, Naukratis Painter), he is included in the animal frieze that 179, Nola 385, Provenance Unknown 122, 812). covers the upper part of the body. Here, he stands 62 chapter four between sirens (Thebes 1218). The majority of god was given a khthonic role. With this in mind, known scenes with Hermes in this scheme belong the scenes on vases found in sanctuaries cannot to Sophilos and painters working in his style. easily be explained. Their context does not sup- They appear on a variety of shapes derived from port a funerary-khthonic interpretation. Was the funerary and votive contexts. In most instances, representation of the god simply a method used Hermes is flanked by sirens and is included in by Athenian painters to interrupt the monoto- the animal friezes. It is worth noting that on nous character of the animal friezes? Since almost all the vases from funerary contexts he Hermes is part of the wider animal zones and appears between sphinxes, and on those from does not occupy a prominent position (as for sanctuaries mostly between sirens. But, due to example on the panels of the funerary olpai), his the scanty evidence, it cannot be known for cer- role might have been decorative. It seems that tain if this was a conscious choice on the part of contemporary painters often added human fig- the painter, and if the animals chosen had a par- ures in their animal friezes, probably aiming at ticular meaning. This iconographic scheme seems making them more interesting. Apart from to disappear from the Athenian iconography by Hermes, female figures or men holding sticks or the middle of the sixth century. An amphora in spears that cannot be associated with any par- Boston (Boston, Museum of Fine Arts, 1941.913, ticular deity or mythological figure, are shown CVA Boston, Museum of Fine Arts 1, pl. 18) and flanked by wild animals, as part of the animal a fragmentary lekanis from Eleusis (Eleusis friezes. Museum 2692) are the latest known examples. The depiction of Hermes on these early sixth- In the Homeric Hymn, Hermes appears as century Attic vases can be considered as the protector of herd animals and shepherds, while archaeological evidence for the concept of the in Homeric epics, his connection with land and god in contemporary Attic cult life. Although shepherding is prominent (Chittenden, 1947: 105; later literary sources refer to a number of cults Siebert, 1990: 380). However, the fantastic ani- in association with Solon, Hermes is not found mals that flank him on the vases do not suggest (Shapiro, 1996: 127-133). Based on literary evi- that he is a vegetation god. Moreover, his repre- dence, khthonios Hermes received offerings dur- sentations differ from the despotes theron scheme, ing the Khytroi, the third day of the Anthesteria. known in the Greek world from the early eighth The offerings are closely connected to the myth century bce (see below 64-65). In contrast to the of the flood and were meant to appease Hermes, despotes, shown holding lions or birds, Hermes who controlled the passages to the Underworld. is depicted standing between the animals, without The Anthesteria is considered a very ancient any physical contact. Athenian festival and it has been suggested that Literary sources also identify Hermes as the it predated the Ionian Migration of the early first god of boundaries. He appears as psykhopompos millennium bce (Burkert, 1983: 213-243; 1987a: for the first time in theOdysseia (24. 1-14), where 237-242; Hamilton, 1992: 5-62; Parker, 2005: 290- his role as “crosser of borders” is extended to 316). Although there is no literary or archaeo- include the borderline between living and dead logical evidence for the celebration of this festival (Burkert, 1987a: 157-158; Sourvinou-Inwood, during the early sixth century, the contemporary 1996: 103-106). The funerary context of the vase-iconography suggests that the khthonic sta- “Melian” and many of the examined Attic vases tus of Hermes was well established in Attika by (Kübler, 1970: 239; Müller, 1978: 208), as well as that time. Even if the depictions of Hermes might the funerary connotations of sirens and sphinxes have acquired a purely decorative role over time, (Tsiafakis, 2003: 74-83) point to the god’s role as the earliest scenes on funerary vases carry this psykhopompos. The inspiration might have come special meaning. from the Kyklades, where the Kretan vegetation attic early black-figure iconography 63

Aglauridai should be seen in association with the cults at the sanctuary. Aglauros and Pandrosos are closely On two fragments of a skyphos-krater by Sophilos, related to Athena Polias (Kearns, 1989: 24-27, found on the Athenian Akropolis (Akropolis 22), 60-61, 139-140, 192-193; Burkert, 1990: 40-59; a number of deities are depicted (Bakır, 1981: Lupu, 2005: 146-147; Parker, 2005: 216-217, 221- 26-27; Shapiro, 1989: 104-105; 1995: 40-41; 222, 427, 434, 449). Based on later archaeological Kilmer & Develin, 2001: 26-27). Two women with evidence, Aglauros was worshipped in a cave on mantles are shown in procession, followed by a the East side of the Akropolis, while a little tem- bearded man with a sceptre. Only one of the ple, dedicated to Pandrosos, was adjacent to the female figures is inscribed: ΠΑΝΔΡΟΣΟΣ. She Erekhtheion, where the tomb of Kekrops and an is followed by her sister Aglauros and their father, altar to Poseidon were situated. The scenes on Kekrops. The partly preserved kerykeion in front this skyphos-krater can thus be taken as a veri- of the women could have been held by Hermes, fication of the relation of these deities with the who was probably guiding the figures. On the patron goddess, Athena, and of their worship on second fragment, the head of a horse is shown. the Akropolis (Travlos, 1971: 72, 213-214; Bakır, Next to it is the inscription ΠΟΣΕΙΔΩΝ, and to 1981: 27; Kron, 1981: 294; Shapiro, 1989: 101-102, its right the upper part of a bearded man along- 104-105; Hurwit, 1999: 204). side to a female figure. The figures were standing on a chariot. If the inscription can be associated Potnia and Despotes Theron, as well as comparable with the male figure, then his female companion figures is undoubtely Amphitrite (Bakır, 1981: 26-27, 68; Shapiro, 1989: 104-105). On the contrary, accord- Representations of men and women depicted ing to Sourvinou-Inwood (2008: 129), Poseidon between animals are known from the Geometric should be the figure, which has not been pre- period, with horses and goats being more com- served and was more probably shown alongside mon in Attika (Spartz, 1962: 40-41; Rombos, the horse, while the divine couple on the chariot 1988: 275-283). The earliest appearance of the could have been Zeus and Hera. potnia theron in Greek art is in the Kretan rep- The scene is not easy to interpret. The two ertoire, and dates to the end of the eighth century. groups of figures were facing each other and did By the first half of the seventh century this type not form part of a procession. Aglauridai are is also adopted in the Kyklades, Boiotia and rarely depicted on Athenian vases. The vase of Sparta. Her earliest depictions on pottery are Sophilos suggests that in earlier iconography they found on Early Korinthian vases. On the earliest do not appear as a triad (Kron, 1981: 283-298). examples, the potnia is naked and unwinged, fol- Sourvinou-Inwood (2008) saw the scene as the lowing a Kreto-Mykenaian tradition. Later she is earliest depiction of the contest between Athena winged, after oriental prototypes. She can be asso- and Poseidon for the establishment of their cult ciated with a number of creatures, with lions and in Athens, with Kekrops and his daughters, as birds being the most common. The character of well as other deities being present as witnesses. the figure is emblematic and suggests a deity This suggestion might be tempting, but, as also dominating nature and its wild aspects. In some noticed by the author, there is no black-figure cases, her relation with fantastic creatures, such depiction of Poseidon riding a horse. More as sphinxes or griffins, might point to a khthonic importantly the literary sources, on which it was role and a relation to the Underworld, with the based, as well as the earliest representation of the potnia ruling over destructive powers. The icon- myth on the Parthenon pediment, are from a ographic elements vary widely and she can be much later date. shown in frontal or profile view, holding one or In any case, since the vessel was found on the two animals, or simply flanked by them. Krete, Akropolis, its subject, obviously of an Attic origin, the Peloponnesos, and Rhodos seem to have 64 chapter four played an important role in the development of carries weapons (Herakleion Museum, Boardman this type (Christou, 1968; Icard-Gianolio, 1997: 1961, fig. 50B. Müller, 1978: 54; Blome, 1982: 1026-1027; for the Kreto-Mykenaian origin of 65-67). Though still rare, the subject is introduced potnia, see Thomas & Wedde, 2001: 3-14). with variations in mainland Greece during the On an amphora from Marathon (Marathon seventh century. The man can be winged, repre- 797), Sophilos depicted the orientalised type of sented as despotes orneon, or flanked by different a winged female figure holding two lions. The animals or hybrids. A connection with a specific same scheme was copied on a skyphos, with a god is impossible. The focus in the image is the winged woman holding panthers (Athens 431, man’s power over nature (Spartz, 1962: 40-41; Fig. 43), and on a plate fragment from Naxos, Müller, 1978: 146-154; Lambrinoudakis, 1997: where she appears with a siren (Naxos 1307). On 558-559). an early sixth-century lekythos, the Painter of the Although slightly different, the depiction of a London Olpai changed the scene (Provenance naked man holding a lion and a panther on a Unknown 1333. Fig. 45). A woman, wearing a lebes assigned to the Gorgon Painter can be inter- khiton and a himation, is shown in profile, preted as despotes theron (Provenance Unknown flanked by a large lion and a panther. Two flower 210). The man, who is included in one of the buds connect her with the animals. The addition animal friezes, is not larger than the lions and of vegetal elements occurs on some of the earliest does not occupy a prominent position. On an representations of the potnia theron (Hera kleion early sixth-century exaleiptron, he is shown hold- Museum, Blome, 1982: pl. 7. KB5; Athens, Na- ing a deer by the horns and a donkey by the ear tional Museum, 355, Simon, 1985: 57, fig. 51). (Aigina 1356) and on a lekanis, there are two Although the connection between the goddess sirens (Korinthos 1216). On two lekythoi by the and vegetation has been denied (Kahil, 1984: 738- Deianeira Painter, there is no clear connection 739; Marinatos, 2000: 97) the Attic figure should between the man and the lions flanking him still be identified as a potnia. The same scheme, (Cyprus 1324. Fig. 44, Provenance Unknown with the absence of the flower buds and the addi- 1330). He is touching one of them slightly and tion of a male protome under the handle, appears was probably meant to be a despotes theron. On one example, he is naked and on the other dressed on a lekythos by the same painter (Provenance in khiton and boots. He looks back as he runs to Unknown 1336). Local variations of the potnia the right, with a fillet around his head and a type were very common. For example, on an Early sword hanging from his back. The lack of Korinthian olpe, only potnia’s bust is shown attributes does not allow for the identification of between panthers (Paris, Musée du Louvre, E603, a specific god, such as Apollon who is later shown AK 6, 1963, pl. 21. 3-5). Later in the first quarter as a master of animals flanked by lions (Lambri- of the sixth century, female figures were shown noudakis, 1984: 221-233). It is not possible to flanked by animals on a number of Attic loutro- securely identify the figure and it might that the phoroi, as elements in decorative animal friezes painter attempted a variant of the despotes (Sanctuary of the Nymphe 989, 1074). The lack scheme. of attributes or inscriptions does not allow the The despotai and potniai by the two painters Attic potniai to be identified with Artemis (Mari- working in the manner of the Gorgon Painter natos, 2000: 92-95). decorate lekythoi. With the exception of the leky- Unlike potnia, despotes theron is a rare subject thos from Cyprus, which comes from a grave, in the Attic iconography. It was originally an their context is unknown. The similarities of the Oriental theme and it appears on Kretan metal- iconographic scheme and their state of preserva- work by the first half of the eighth century. The tion suggest that they might also have served bearded man is the same size as the animals and, funerary purposes. Whether the figures have although a conflict is not implied, he occasionally khthonic implications or are intended to allude attic early black-figure iconography 65 to the deceased cannot be determined. It seems ure has been interpreted as Daidalos (Simon, that both painters showed a particular preference 1995: 408), but the axe-like tool he is holding on for this theme, which is slightly later than the the Attic vases suggests agriculture rather than known depictions of Hermes between wild ani- woodworking. The satchel is not an attribute of mals in the manner of the Gorgon Painter and Daidalos, who, moreover, is rarely depicted on which might have provided the inspiration. Attic vases (Nyenhuis, 1986: 315-317). There is On a few early sixth-century Athenian vases, insufficient evidence to allow for definitive con- a winged male figure is shown in a scheme com- clusions to be made on the meaning of Aristaios’ parable to the early black-figureddespotai . In two depictions. His representations can be compared cases, he has been interpreted as Aristaios, the with contemporary male winged figures, shown son of Apollon and Kyrene, born in Libya (Cook, running between lions or sphinxes, who decorate 1984: 603-607). Hesiodos calls him pastoral Apol- three lekanai from Vári (Vári 1180, 1182, 1183). lon (Hesiodos, Theogonia 977). Horai and Gaia Unlike Aristaios, they cannot be connected with made him immortal, according to Pindar, while a specific mythological figure, and their role was Zeus and Apollon agreus and nomios (Pindaros, probably decorative, suggesting the painter’s Pythian Odes 9.59-65). The Muses taught him attempts to minimise the monotous character of prophesy, healing, the cultivation of olives, and the animal frieze. The inspiration might have been how to make cheese and beehives (Apollonios of provided from Korinthos. A number of Middle Rhodos 2.500-527, 4, 1132-3; Diodoros of Sicily Korinthian vases depict winged male with short 4.81-82). Aristaios is rarely depicted in Greek art, khitons, in the same running pose (Heland von, and was first recognised by Karouzou (1946-1948, 1970: 19-32; Cook, 1984: 606). 37-46). On a mid seventh-century ivory plaque from Sparta (London, British Museum, 1954.9- 10-1, AM 87, 1972, pl. 36. 1. Marangou, 1972: MYTHOLOGICAL FIGURES 77-83) and on a late seventh-century terracotta plaque from the Argive Heraion (Athens, National Silenoi and Nymphs Museum, 14214, Karouzou, 1946-1948: figs. 3-4), he is winged, bearded, and holds a mattock and Silenoi, hybrids combining human and equine a small pot, in which he carries oil, milk, and elements, appeared in Attic vase-painting at honey. around 580 bce, together with their female The earliest Attic example appears on an olpe companions, the nymphs. In the Homeric Hymn from Vári associated with the Kerameikos Painter to Aphrodite (5. 262-263), silenoi are associated (Vári 309. Fig. 46). Unlike the seventh-century with nymphs and live in the mountains. In the images, in these examples Aristaios is beardless, Hesiodic catalogue of women, attested by Strabon wears a short khiton, and is runnig, holding an (10.3.19), they are referred to as satyroi. The axe-like implement and a satchel. In the satchel sixth-century literary sources employ both names there are three little vessels probably intended to and maintain the connection with nymphs with- be associated with honey, oil, and milk, while the out any reference to Dionysos (Carpenter, 1986: axe-like tool has been interpreted as mattock or 77-79; Simon, 1997: 1109). As followers of the as axine. Like the despotai in the manner of the god, they appeared for the first time on the Gorgon Painter, he is flanked by lions. He is François Vase, where they are inscribed as silenoi. depicted on the neck of an amphora from the Silenoi have a human form with a horse’s tail Athenian Agora which is contemporary to the and ears, hairy bodies, and, occasionally, hooves. above (Athenian Agora 764). There, he appears Variations are common, depending on the alone, holding the same axe-like implement, but painters’ imagination. In contrast to the centaurs, no satchel. Aristaios was rarely depicted on Attic they are not isolated from the human world, but vases during the centuries that followed. The fig- are closely attached to Dionysos. Their main char- 66 chapter four acteristics are their love for drinking and their with a large phallos seems to shout, underlining uncontrollable sexual appetite, which undoubt- the violent character of the episode (Isler-Kerényi, edly leads to misbehaviour. As a result, authors 2004: 13). The scene suggests that the association portray them in a negative light (Hesiodos fr. of the silenoi with donkeys is earlier than that 123, Strabon 10.3.19). Their physical animal with Dionysos and emphasizes their hybrid, half- attributes justify their relations with a number animal nature (Bažant, 1984: 42; Lissarrague, of animals, especially donkeys, with which they 1988: 335-338; Padgett, 2000: 52). Two slightly can exchange roles or even have sexual relations later pursuit scenes are closely connected (Athe- (Lissarrague, 1988: 335-351; 1990a: 228-236; nian Agora 134, Lindos 172). A hairy, bearded 1990b: 53-81; 1990c: 208-210; 1993: 207-220; ithyphallic silenos is pursuing a nymph who is Padgett, 2000: 43-70). holding a stone and running away with her head The name and nature of their female compan- turned back. On an early sixth-century skyphos ions have led to a number of discussions. Since from Perakhóra, a nymph is shown dancing with they are inscribed on the François Vase as a silenos (Perakhóra 443). nymphs, they should not be confused with main- The iconographic evidence suggests that, dur- ads, the followers of Dionysos, who run in a wild ing the sixth century, relationships between ekstasis to the mountains with fawn-skins and nymphs and silenoi were friendly, as also implied thyrsoi in honour of the god (as described by by literature. They are shown dancing together Euripides in the Bakkhai). Nymphs are mythical or having sexual intercourse. With the exception personages, while mainads are mortal and are of the Perakhóra skyphos, the early black-figure not associated with the silenoi (Edwards, 1960: pursuit scenes seem to differ. Although the 78-87; Hedreen, 1994: 48-54). nymphs’ reaction towards the wild character of The earliest Attic representations of silenoi the silenoi is unclear (Mcnally, 1978: 106-107; belong to the first quarter of the sixth century. Hedreen, 1994: 59-60), the violent character of Some earlier representations appear on seventh- the pursuit episodes is well-illustrated by early century Korinthian and Milesian vases, but the sixth-century painters. By the end of the sixth fragmentary state makes the attributions difficult century, red-figured nymphs become aggressive, (Simon, 1997: 1132). A number of ring-collar avoiding any physical contact with the silenoi. oinokhoai, all decorated in the manner of the This iconographic change is related to their trans- Gorgon Painter, depict two confronted protomes formation into followers of Dionysos and to their of silenoi (Athenian Agora 253, Gravisca 265, new attributes (Mcnally, 1978: 101-135; Carpen- Taranto 266, Provenance Unknown 268). The ter, 1986: 82; Hedreen, 1994: 59-65). choice of this motif for the shape of oinokhoe by On the fragmentary lebes of the KX Painter the same stylistic group does not seem random. (Cortona 196), the silenoi are not followed by The use of protomes was a common feature of their female companions, but are shown in pro- the early sixth-century iconography, and silenoi cession, carrying sympotic vessels (Tommaso de, were suitable for ladling vessels used for wine 1992: 146). The scene is reminiscent of the pro- and drinking. cession of naked komasts on a skyphos by the On early black-figured Attic vases, two con- same painter (Provenance Unknown 462). Civi- trasting types of silenoi coexist: the violent and lized silenoi appear on a cup fragment from the civilized. In the former case, the silenoi are Naukratis (Naukratis 543), where they play the shown pursuing nymphs, while in the latter, they pipes and on a fragment of a lebes, where they participate peacefully in sympotic activity (Isler- appear in procession, with the lead holding a Kerényi, 2004: 13-26; 2007: 65-75). On a lekythos karkhesion (Provenance Unknown 213). It is in the manner of the Gorgon Painter, a silenos probable that both scenes can be associated with is shown riding a donkey that bites a frightened the symposion. The connection of silenoi with nymph (Provenance Unknown 1334). The silenos wine might have inspired the painters to intro- attic early black-figure iconography 67 duce them into sympotic scenes on banqueting death (Vermeule, 1979: 75). However, the appear- shapes, thereby creating a comic effect (Lissar- ance of the Egyptian figures is closer to that of rague, 1990a: 228-236; 1993: 220). Although they the sirens, and the connection between the Har- are represented alone on pursuit scenes, in sym- pyiai, Phineas and the Boreads does not support potic contexts they appear in groups, underlining a khthonic interpretation (Kahil, 1988a: 449-450). the collective character of this activity (Isler- Although the early black-figured louterion was Kerényi, 2004: 18). probably found in a grave, its decoration does The early black-figured scenes suggest that not appear to be connected with its context and silenoi and nymphs were not always associated use. with Dionysos, although the presence of the god has been assumed (Hedreen, 1992: 74; Isler- Kerényi, 2004: 18). Their earliest depiction with GENERIC SCENES the god is on the François Vase (Carpenter, 1986: 80). The connection of nymphs with Mount Nysa Symposion and Komasts and Dionysos’ childhood cannot be verified by The earliest known depictions of the symposion the existing iconography (Moraw, 1998: 31-35). are on late seventh-century Korinthian vases. During the sixth century, a series of sympotic Harpyiai scenes appear on the upper frieze of Middle The earliest representation of the female winged Korinthian column-kraters, with three or four demons, known as Harpyiai, occurs on an Attic couches occupied by male banqueters. The sym- early black-figured louterion assigned to the Nes- posiasts can be accompanied by other guests, sos Painter (Aigina 247). In the early sources, musicians, or hetairai, while bows and shields Harpyiai are winged women who later acquire a hang from the wall in the background. Occasion- monstrous character. For example, Aischylos ally, dogs are painted under the couches (Fehr, (Eumenides 50-52) compares them to Erinyes, 1971: 26-35; Dentzer, 1982: 78-86). The addition while Homer associates them with the winds and, of inscribed names can indicate that the sympo- according to him they take away the humans that sion is mythological, as on the Eurytios krater, die without glory (Odysseia 1.241, 14.371, 20.77). where Herakles is depicted banqueting as a guest Hesiodos (Theogonia 265-269; fr. 150-156) nar- of the king (Paris, Musée du Louvre, E635, Payne, rates in detail their punishment by the Boreads 1931: pl. 27). for stealing the food of Phineas. The subject entered the Attic repertoire almost On the Attic louterion, Harpyiai are shown as twenty years later, when the KX Painter, influ- rapidly-moving winged female figures; the move- enced by Korinthian scenes, depicted a frieze of ment is implied by the placement of their hands couches with male banqueters accompanied by and legs. They are located on a metope of the women, on one of his cups from Samos (Samos shoulder zone of the vessel. The Boreads might 523). Some hold kantharoi, while mastoi hang have appeared on the other side of the vase, but on the wall. Under the elaborately decorated its fragmentary state does not allow for certainty klinai (Kyrieleis, 1969: 162), dogs eat leftovers of (Vojatzi, 1982: 51-71). The pursuit of Harpyiai the meal, as would be found in Middle Korinthian by the Boreads is part of sixth-century Lakonian banquet scenes (Fehr, 1971: 35; Dentzer, 1982: iconography (Pipili, 1987: 21) and was rare in 95). The scene is crowded, and instead of show- Attika until the early fifth-century, when they are ing the figures dining, it represents the entertain- depicted with Phineas and with the Boreads omit- ment that followed the symposion (Fehr, 1971: ted (Kahil, 1994: 387-391). Based on the Homeric 59; Kreuzer, 1998a: 45). Sympotic entertainment account, Harpyiai have been connected with the also appears on a slightly later skyphos from Egyptian ba-soul birds and are associated with Vourvá, with two couches, each with a pair of 68 chapter four reclining male symposiasts, a dog under one of on Samos, or with the terracotta figurines offered them, and youths serving (Vourvá 425. Fig. 47). to her (Baumbach, 2004: 161). More Attic sym- The furniture is less ornate than that on the posia are known from the second quarter of the Samos cup (Pipili, 1993: 17). There are compa- sixth century. Riding, warrior, or hunting scenes rable iconographic elements on a number of are often associated with them (Dentzer, 1982: fragmentary early sixth-century Attic vessels 117-118; Brijder, 1983: 54-55, 114-116, 126-127). pointing to sympotic scenes (Athenian Agora 82, The reclining banquet was introduced from the Samos 524, Cortona 196, Toscany 203). Near East where it was a royal privilege, and was An inscription on a cup fragment from Samos adapted to the lifestyle of the Greek aristocracy identifies one of its male banqueters as Toxeus, (Dentzer, 1982: 429-431). Literary sources suggest the son of King Eurytios, which indicates that that it played a significant role in the Greek poleis, the scene is mythological (Samos 529). It is then specifically as a male activity and as an expression probable that the KX Painter depicted Herakles of the aristocratic mode of life (see above 32-33). banqueting with Eurytios on one of his pieces Lyric poems, usually performed during symposia, (Kreuzer, 1998a: 46-47). The scene does not seem praise the activities that were exclusive to the to have been influenced by the late sixth-century contemporary aristocracy, such as war, horse rid- Attic representations of the reclining Herakles ing, and hunting (Dentzer, 1982: 429-449). On (Wolf, 1993: 12). Since the vase was found on the Korinthian vases, armour, shown hanging on Samos, the epic poem Oichalias Halosis by the the walls, underlines the heroic ideals of the ban- Samian Kreophylos, dated around 700 bce, may queters and the role of their participants as war- have been the source of inspiration for the Attic riors. Although absent from Attic vases, the rich- painter, or for the Samian who could have com- ness of the furniture, and the connotations to missioned the vase (Huxley, 1969: 105-106; Dav- riding, hunting, or battles emphasize the aristo- ies, 1988: 149-153; Olmos, 1988: 117-119). cratic character of the symposia (Fehr, 1971: 53; Based on the inclusion of a lion-skin hanging 1990: 193). from a couch, a comparable scene on an early The early black-figured examples appear on sixth-century fragmentary skyphos by the KX cups, skyphoi, lebetes, and column-kraters, all of Painter (Samos 449) has been associated with the which are sympotic vessels. The Vourvá skyphos Herakles and Eurytios symposion (Kreuzer, and the vessels from Cortona and Tuscany, dec- 1998a: 48-49). However, on the early black-fig- orated with sympotic scenes, were found in funer- ured vases, Herakles is shown holding his armour, ary contexts since the symposion must have been wearing a short khiton, and there is no lion-skin. associated with the deceased (Murray, 1988: 243; The identification of the figure as Herakles is Reusser, 2002: 127). On the other hand, the scenes dependent upon inscriptions, as is done with the on the Samian vases probably represent ceremo- Eurytios krater. Although the lion-skin and the nial banquets organised in the sanctuary. The club appeared in Korinthian scenes from the sec- shape of the cups and their elaborate decoration ond half of the seventh century, they are not usu- suggest that they were specially commissioned ally combined and have not been established as by local aristocrats. The East Greek type ofklinai - his attributes. In Attika, they become regular only legs, depicted by the KX Painter, strengthens this after the 560’s (Boardman, 1990: 185-186; Arvani- assumption (Brijder, 1997: 7-10; Kreuzer, 1998: taki, 2006: 220-221). Separated from the sympotic 36-41; Pipili, 2000: 415-416). scene, the Samos skyphos also depicts a cow suck- Closely connected with the symposion are the ling her calf (Kreuzer, 1998a: 48-49). Such a scene Attic padded dancers, commonly known as was rare in sixth-century Athens (Boulogne, komasts (Seeberg, 1971; 1995; Smith, 1997). They Musée Communale, 476, ABV 377.245, LIMC V, are a late seventh-century Korinthian addition, 2, ‘Herakles’, pl. 90. 2535), and it might be con- introduced to Attic vase-painting by the Komast nected with cattle sacrifices at the altar of Hera Group late in the first quarter of the sixth century. attic early black-figure iconography 69

The earliest consistent series of komasts on ary- have been interpreted as depictions of early sixth- balloi, alabastra and vessels, associated with the century satiric performances (Hedreen, 1994: 134. symposion, such as kraters, lebetes and oinokhoai, An example is: Athens, National Museum, 664, are preserved on Korinthian pottery (For the Smith, 1997, pl. 8b). association between komasts, oil vessels and ath- Evidence from the early sixth-century Attic letes, see Isler-Kerényi, 2007: 20-21). In Attika, iconography does not support these views. Musi- they are depicted on cups and skyphoi for the cal instruments are only occasionally included in most part, but can be also found on column- these scenes and the dancers are not obviously kraters. Two or three confronted male komasts drunk or ithyphallic. Two skyphoi, each depicting are shown dancing, covering both sides of a cup a procession of komasts carrying musical instru- or skyphos. On column-kraters, they may be sin- ments and sympotic vessels (Kerameikos 417, gle or as a confronting pair. They can be male or Provenance Unknown 462. Fig. 43), along with female, naked or with the padded costume. a column-krater (Provenance Unknown 127), Drinking horns (adopted from Korinthos), mix- where the komasts are shown dancing around a ing vessels, or musical instruments are the lebes or a column-krater, again with drinking attributes for male komasts. Attic painters focused vessels and musical instruments, suggest a con- on the dance, rarely depicting a context. By the nection between komasts and the symposion. This second quarter of the sixth century, the dancers assumption is strengthened by scenes on the later appear in sympotic, mythological, or everyday Siana cups (Steinhart, 1992: 508-510; Smith, 1997: scenes, as seen on Siana cups and Tyrrhenian 71). The comic effect they create fits sympotic amphorae (Smith, 1997: 42-53). occasions, without alluding to any physical or Although the revellers were previously assigned moral inferiority of the akletoi (Fehr, 1990: 191). a mythical or religious significance, they are now Their association with banquets and leisure—key seen as mortals celebrating (Payne, 1931: 118-124; features of the aristocratic life—is undeniable, but Seeberg, 1971: 79-80). They do not replace silenoi their identification as members of the upper social (in favour of the association of komasts with classes, as is occasionally implied by their clothes Dionysos and silenoi: Isler-Kerényi, 2007: 14, 33, and hairstyles, seems too ambitious (Kaeser, 1990: 68-69), despite their participation in Dionysiac 284-286; Schäfer, 1997: 30-32). scenes on Korinthian and Attic vases (Payne, 1931: 121; Brommer, 1937: 21; Webster, 1954: Horses and Chariots 584; Trendall & Webster, 1971: 15; Carpenter, 1986: 89; Hedreen, 1992: 132-134).3 The singing Riders, inserted into chariot friezes or isolated in and dancing drunken men have been considered panels, were part of Attic iconography from the the predecessors of comic actors and part of the last decades of the eighth century. They do not development of early Greek theatre (Greifenha- imply military action, but rather are indicative gen, 1929: 57-65; Pickard-Cambridge, 1962: 171; of races and can be viewed as symbols of social Ghiron & Bistagne, 1976: 213-296; Schöne, 1987: status (Rombos, 1988: 161-184). During the early 12-17), with similarities having been noted seventh century, friezes of riders with torsos in between their padded costumes and those of the frontal view were depicted in a non-military con- later comedians (Webster, 1953-1954: 192-201; text. They hold the reins with one hand and spur Hedreen, 1992: 132). Similarly, komasts included the horse on with the other in a scheme inspired in Korinthian scenes of the return of Hephaistos by Protokorinthian vases (Athens, Agora Museum, P 754, Brann, 1962: pl. 24. 414; Berlin, Antiken- 3 The Amasis Painter included komasts in his Dionysiac sammlung, A16, CVA Berlin, Antiquarium 1, scenes, probably as an experiment, under the influence of pl. 7. 2; Berlin, Antikensammlung, A42, CVA the reorganization of the City Dionysia: Simon, 1983: 101- 104; Carpenter, 1986: 88-89; Shapiro, 1989: 84-100; Smith, Berlin, Antiquarium 1, pl. 32). The earliest known 1997: 135-136. Attic black-figured riders appear on an amphora 70 chapter four from the Kerameikos (Kerameikos 636). They are Sophilos, where eight riders are depicted together shown confronted around a siren that stands on with an Aeolic capital and a tripod, which sug- a floral ornament. Unlike the Protoattic examples, gests a race (Gortyna 149. Fig. 48). Bakır (1981: they are in profile, holding the reins of the horses 84) interpreted the scene as part of the funeral with both hands. The scene is reminiscent of those games for Patroklos, but the lack of inscriptions that depict confronted horses tied to a tripod, suggests a generic athletic event. Similar scenes which are known in Attika from the middle of appear in Korinthos from the last quarter of the the eighth century (Rombos, 1988: 261-267). Flo- seventh century. In these examples, tripods are ral ornaments between confronted horses or common and, even when they are absent, Ko - riders, comparable to those of the Peiraieus rinthian equestrian scenes have been consistently amphora, also appear on seventh-century “Me- interpreted as athletic contests (see for example: lian” vessels (Mykonos, Archaeological Museum, Taranto, Museo Archeologico Nazionale, 4173, 616, Ζapheiropoulou, 1985: fig. 26; Mykonos, Lo Porto, 1959-1960: figs. 12-13. Amyx, 1988: Archaeological Museum, 617, Ζa pheiro poulou, 648). Sophilos’ vase is slightly earlier than the 1985: fig. 28; Mykonos, Archaeological Museum, reorganization of the Great Panathenaia in 566/5 565, Ζapheiropoulou, 1985: fig. 32; Ζapheiro- bce and, although the existence of some form of poulou, 1985: 45). A rider on the fragmented festival prior to this should not be excluded, it oinokhoe from the Agora is close in date and had a local character and probably did not include style to the Kerameikos riders (Athenian Agora gymnastic and hippic games (Kyle, 1987: 22-24; 270), while a comparable scene on a fragmented 1992: 79-80; 1996: 116; Shear, 2001: 507). As a louterion belongs to the early sixth century (Prov- result, a connection between the Sophilan scene enance Unknown 252). A frieze of galloping and Panathenaic Games is not convincing (Con- horsemen in profile, holding the reins with both tra: Mandelartz-Maul, 1996: 52-56). Generally, hands, is depicted at a large scale on a slightly tripods have been seen as symbols of contests later skyphos-krater from Vári (Vári 58). and victory, and Attic iconography shows that By the early sixth century, mounted riders are they were given as prizes in athletic activities until shown in the panels of olpai and amphorae. They the second quarter of the fifth century (Roller, usually wear short khitoniskoi, hold the reins with 1982: 101-102; Kephalidou, 1996: 104-109). The both hands, occasionally, carry sticks, and have scene probably points to hippic contests that took fillets around their heads. On two Deianeira leky- place in Athens, as is implied by the Geometric thoi the riders follow the Korinthian scheme, and Protoattic iconography. An Athenian inter- holding the reins with one hand while encourag- est in athletic games is also implied by the depic- ing the galloping horse with the other (Egypt tion of a foot race on a contemporary loutropho- 1326, Selinous 1327). Additional figures, such as ros from the sanctuary of the Nymphe (Sanctuary a sniffing dog under the belly of the horse, are of the Nymphe 998); a theme already known from present, but rare. Riders may also appear in the Late Geometric era and the vases of the work- friezes on some column-kraters and lebetes, or shop of Athens 894 (Rombos, 1988: 213). The be inserted into animal friezes. In addition to scene could have been inspired either by Athenian galloping riders, a scene of a striding male figure, participation in Panhellenic Games, which goes holding his horse by a tether is preserved on a back to the seventh century, or by other Athenian fragmented krater (Provenance Unknown 129). sporting activities (Kyle, 1987: 20-21, A53, A27, Although rider scenes have been associated A60). According to literary sources, Solon pro- with athletic contests, the necessary icono- moted a law that granted rewards for Athenians graphic elements are absent and, therefore, the who were victorious in Olympic and Isthmian interpretation cannot be confirmed (Mandelartz- Games (Plutarkhos, Solon 23.3; Diogenis Laertios Maul, 1996: 49-59). The only contemporary 1.55; Diodoros of Sicily 9.2.5.). Current research exception is the scene on a lebes, attributed to has interpreted this as part of the lawgiver’s attic early black-figure iconography 71 attempt to promote civic unity by having the polis dides 6.12; Isokrates 16, 33; Aristoteles, Politika actively participating in the victory of the athlete 1289b35-36). Only a few families could afford (Kyle, 1984: 91-105; 1987: 15-22, 178-180; Mann, horses for equestrian games. The inability of 2001: 70-81). Even if this theory is valid, whether Athenians to win the Olympic chariot races until or not the Solonian law might have inspired these 592 bce and the dominance of a limited number scenes is difficult to conclude. of aristocratic families in the list of equestrian Depictions of armed riders have been pre- victors at the Panhellenic Games support this served in the early black-figure iconography. On interpretation (Bugh, 1988: 28-29). The iconog- a skyphos from the Akropolis, a rider holds two raphy points indirectly to possession of horses spears, a round shield, and is wearing a helmet and places the rider among the wealthier Attic (Akropolis 412). Armed riders decorate late Geo- citizens. metric and Protoattic vases, but their context does Apart from horses, chariots are also used as not provide evidence for the existence of a devel- emblems of wealth. The earliest representations oped cavalry in Attika during the eighth and of chariots date to the second half of the sixteenth seventh centuries. The horse served as means of century (Crouwel, 1981; 1992). They appear on transport for heavily-armed warriors to the bat- Attic vases from the eighth century onward, usu- tlefield, where they would fight on foot (Green- ally on secondary friezes of large vases decorated halgh, 1973: 88-90; Wees van, 2004: 66-68. In with prothesis scenes. Some Late Geometric favour of the existence of an early Attic cavalry: chariot scenes indicate races, but this should not Worley, 1994: 36-50; Schäfer, 2005: 236). During be consistently associated with funerary practices the early sixth century, armed horsemen that (Ahlberg-Cornell, 1971: 184-186; Rombos, 1988: appear in Korinthos can be divided into different 92-131). Four-horse chariots are first depicted in categories according to their armour (Brouwers, friezes during the last decades of the eighth cen- 2007: 305-319). On an early sixth-century tury where they are part of a procession at funer- amphora, a rider is wearing a helmet and is hold- ary or athletic events. Chariot friezes continue to ing a crop (Athenian Agora 626), while on a appear into the Early Protoattic, with an increase contemporary olpe a rider wears a Korinthian in the emphasis on racing (Rombos, 1988: 103- helmet, a cuirass and holds a spear (Marathon 128, 131-132; Ahlberg-Cornell, 1971: 186, 196; 315). Shields are missing from both figures, but Roller, 1982: 123-140; Manakidou, 1994: 10-12, still, both have been considered cavalrymen 21-23). By the second quarter of the seventh cen- (Greenhalgh, 1973: 100-101, 130). Despite the tury, four-horse chariots are more prominent, lack of references to an Athenian cavalry in the becoming an established type by the middle of literary sources before the middle of the fifth the century (Manakidou, 1994: 23-98). On the century, early sixth-century iconography may late seventh-century amphora from Peiraieus, point to some form of cavalry in development, there is a depiction of a pair of two-horse char- although it probably had a limited role in archaic iots, driven by a man and a youth (Peiraieus 800). warfare of central Greece. Military specialization Since the vessel most probably comes from a seems to have developed by the late sixth and funerary context and must have served as a tomb- early fifth centuries (Bugh, 1988: 41, 47; Wees marker (Couve, 1897: 69), the chariots might be van, 2004: 196; Schäfer, 2005: 233-242). intended to be part of a funerary procession or The majority of the extant early black-figured simply to emphasize the social status of the Attic scenes focus on the image of the horse deceased. and its rider, usually young and often naked. By the early sixth century, some early black- The literary sources confirm that hippotrophia figured Attic vases show a frontal chariot in the presupposed wealth, especially in rocky terrain centre of their compositions (Athenian Agora 83, found around Attika; the region consisted of 400, Akropolis 219, Akropolis North Slope 833, small farms ill-suited for raising horses (Thouky- Vári 593. Fig. 49, Ialysos 1243, Naukratis 595, 72 chapter four

Provenance Unknown 129, 212). The representa- ments and poloi to demonstrate their wealth and tions are mostly from fragments and are found the richness of the procession (Kyrkou, 1997a: on large sympotic vessels, like lebetes or kraters. 424-425). Early sixth-century scenes are similar. Chariots and symposia have associations with the The women wear peploi and mantles and, occa- élite. The theme is also known from Korinthian sionally, hold branches. On some late sixth-cen- and Boiotian vases, but the Attic examples are tury examples, wreaths and ribbons hang in the the earliest. In all workshops, the composition background, signifying festive elements whose remains the same, with the heads of the pole appearance accords with the significant role the horses turned towards one another, while those loutrophoros played in wedding ceremonies. The of the trace horses facing outward. An unarmed scenes have been interpreted as loutrophoriai— charioteer stands in the chariot with his head in the processions of women to or from the fountain profile. Details may vary. Early black-figure paint- house, carrying water for the nuptial bath of the ers add Hermes, armed male bystanders, or ani- wedded couple—though the loutrophoros that mals on either side (Provenance Unknown 212. would have contained the water often is not Hafner, 1938: 41-42; Ahlberg-Cornell, 1981: 100- shown (Oakley & Sinos 1993: 5, 15; Papadopou- 109; Moore, 1983: 411-414). The chariot alludes lou-Kanellopoulou, 1997: 20-22). That the focus to the heroic world and its warriors, while the is on the festive procession would have been eas- depiction of armed men likely suggests a warrior’s ily understood by contemporary viewers. The departure. earliest representation of the loutrophoria deco- On the fragmentary kantharos from Naukratis, rates an unpublished loutrophoros of the third the charioteer is named Patroklos (Naukratis quarter of the seventh century from the Sanctu- 593). The scene probably depicts his departure ary of the Nymphe. It shows a girl carrying a for battle as recounted in the Ilias (16.218-220). loutrophoros on her head while followed by a An armed Patroklos and an unarmed charioteer flute-player and a female figure. The same theme going to the battlefield appear on a late seventh- appears later on several fifth-century red-figured century Korinthian aryballos (Basel, Private Col- vases (Sabetai, 1993: 150-159). A procession of lection, Ahlberg-Cornell, 1992: fig. 99). Despite women, holding wreaths, on an unpublished frag- the lack of inscriptions pointing to specific myth- ment from the sanctuary of Artemis at Brauron, ological incidents, similar scenes can be found might suggest a festive occasion of a different on seventh-century Naxian and Boiotian vases character, probably connected with the worship (Naxos Museum, 1611, Bournia-Simantoni, 1990: of the goddess Artemis (Brauron 1499). pl. 14a; Berlin, Staatliche Museen, 31013a, Cold- A procession with monumental character stream, 1977: pl. 66c; Athens, National Museum appears on the support of a late seventh-century 7836; Berlin, Staatliche Museen, GI 332-336, skyphos-krater from the Vári nekropolis (Vári Åkerström, 1951: pl. 15. 4. Manakidou, 1994: 27). 59. Fig. 50). The women hold branches and are This suggests that painters in different areas were framed by two Doric columns with spreading probably influenced by similar orally-transmitted echinus capitals (Oliver-Smith, 1970: 54-55). In epic stories. contrast to the evidence from the sanctuary of the Nymphe, this scene cannot easily be con- Processions of Women nected to a specific ritual, and the identification The necks of a number of early black-figured of the building as a temple from the Akropolis loutrophoroi from the sanctuary of the Nymphe (Karouzou, 1963: 93-96) remains purely hypo- are decorated with processions of women. On thetical. The procession by the Nessos Painter is one of the earliest (Sanctuary of the Nymphe reminiscent of that on an earlier krater from 892), dating to the last quarter of the seventh Aigina by the Painter of Berlin A34, possibly century, six women walk to the right, holding coming from a funerary context (Aigina 224). branches and wearing exceptionally lavish gar- The scene on the Aigina krater is fragmentary, attic early black-figure iconography 73 but the female figures are depicted at a large scale. ANIMALS AND PROTOMES They do not hold branches and the columns are missing. Both depictions seem to allude to eve- Animals ryday practices. The context of both vessels would Depictions of animals on their own were already require a funerary procession, but there are no part of the Attic repertory in the period of the indications that the women are mourning. Man- Protogeometric style, and the horse was the first tled women in a comparable procession decorate figure-element to appear in post-Mykenaian the neck of a late seventh-century neck-amphora Greek art. From the eighth century, animals, such from Vári, found in association with tumulus I as horses, lions, goats, deer, boars, dogs, and bulls, (Vári 789). Their identification as mourners is were incorporated into non-narrative decorative likewise problematic (Karouzou, 1985: 72-73). A friezes (Rombos, 1988: 38-77, 214-226). The Pro- procession is also found on an unpublished frag- toattic repertoire included most of these charac- mentary skyphos from the same nekropolis (Vári teristics and introduced composite hybrids of 418). Despite the lack of mourning gestures, this Eastern origin, which appear either in continuous iconographic scheme seems to have been consid- friezes or in panels (Tsiafakis, 2003: 73-104). Dur- ered appropriate for funerary vases. Unlike the ing the last quarter of the seventh century, elab- Vári and Aigina examples, the three female fig- orately coloured animals or hybrids are depicted ures on the neck of an early sixth-century loutro- on large vessels, mostly recovered from funerary phoros-amphora from a Kerameikos trench are contexts. They are usually depicted in panels, shown holding their hands to their heads in grief, either alone or in confronting pairs. In a few cases thereby underlining the funerary nature of the they cover most of the vessel’s surface, as seen scene (Kerameikos 1095). on the skyphos-kraters and the amphorae by the The character of the scene on a skyphos from Nessos Painter. Sphinxes, lions, griffins, khi- Perakhóra can be more easily identified. Ten mairai, and sirens are all depicted on the earliest women are shown, not in procession, but rather black-figured vessels. as dancing without holding hands (Perakhóra The animals seem to be symbolic rather than 445). The chorus is followed by ululations, as elements of a narrative. By the end of the seventh indicated by the inscription YOYO. The scene century, sculptures of animals and monsters— probably refers to a ritual procession taking place lions and sphinxes in particular—marked Attic at the sanctuary of Hera. This theory is supported tombs, and powerful animals—especially lions— by similar depictions on fragmentary vases from are elements of the architectural sculpture of a the sanctuary (Malagardis, 2008). number of early sixth-century religious buildings Iconographic parallels to the early black-figure (Bookidis, 1975). In both cases they are symbols processions, as well as the dancing scene, can be of protective power. Their appearance on large traced back to Late Geometric and Early Protoat- Attic funerary vases supports this assumption tic depictions of male and female figures in (Richter, 1961: 6; Hölscher, 1972: 63-67; Ridgway, friezes. They are usually shown holding hands or 1977: 152-160; Woysch-Méautis, 1982: 74, 84, branches and are interpreted as dancers practic- 101). Although griffins are not known from tomb ing funerary or festive dances (Tölle, 1964; Ahl- sculpture, their appearance on later Klazomenian berg-Cornell, 1971: 261-267; Rombos, 1988: 345- sarkophagoi implies a connection with death, as 351; Buboltz, 2002; for the issue of the Cypriot they do on the Attic vases from funerary contexts. origins of the scene: Kourou, 1985: 415-422). Sirens (Hofstetter, 1990; 1997: 1093-1114; Tsia- fakis, 2001: esp. 7, 18-21) are connected to death already by Homer (Odysseia 12.39-46, 158-160, 197-200, 23.326). By the end of the fifth century, sculpted sirens marked graves and were conceived 74 chapter four as mourners, fulfilling the death lament (Woysch- was the source of inspiration, where “mixed” Méautis, 1982: 91-99). They are not fearful, but animal friezes are known from the first quarter played a positive role in death, by accompanying of the seventh century onward (Müller, 1978: the dead in graves with their songs (Tsiafakis, 84-90; Winkler-Horaček, 2000). Unlike the con- 2003: 74-78). The monumental siren on the large temporary monumental funerary vessels, domes- amphora by the Nessos Painter probably under- tic animals appear among exotic creatures on the lines the vessel’s funerary use (Attika 641). These lekanai friezes. exotic and demonic creatures are not khthonic, From the first quarter of the sixth century, but rather serve as guardians of the tombs and monumental animals or hybrids are no longer of the deceased by averting evil and any other used to cover large surfaces of the vessels. Instead, negative forces (Childs, 2003: 66). Also indicative they are small and appear in panels on the bod- of power are the depictions of eagles or lions ies of olpai and one-piece amphorae, necks of attacking smaller creatures. These scenes imply neck-amphorae, or handle-plates of column- a simple narrative (Hölscher, 1972). The lion- kraters. They lack narrative elements and cannot attack scheme, inspired by Eastern prototypes, be assigned a symbolic significance (Edlung, 1980: was known in Attika from the last decades of the 31). At the same time, animal friezes based on eighth century (Müller, 1978: 119-120; Rombos, Korinthian prototypes were common (Karouzou, 1988: 305-315), though a number of scenes can 1963: 50-65; Lioutas, 1987: 96-142). These occupy be dated to the late seventh century. Some of most of the vessel’s surface, except for the neck these are found on funerary vessels, like the or the upper part which can be decorated with a standed skyphos-kraters from Vári where they different scene, as seen on early sixth-century cover the entire lid. Carnivorous animal attacks loutrophoroi, lebetes, and column-kraters. Early have been associated with heroic death in battle sixth-century louteria, pyxides, plates, chalices, (Markoe, 1989: 112), but late seventh-century hydriai, aryballoi, and amphorae can be covered vases emphasize the powerful and protective role entirely with them. of lions, as seen on early sixth-century Akropolis Attic lekanai with animal friezes have been pediments (Bookidis, 1975: 10-18; Hölscher, 1972: found in the nekropolis of Vári since the late 69-77). seventh century and the animals depicted on Although large-scale depictions of domestic them have been erroneously connected with death animals on large funerary vessels are not common (Müller, 1978: 107). According to a more recent during the late seventh century, the Lion and the view, animal friezes, especially wild animals, Bellerophon Painters chose large-scale water birds should be seen as symbols of man’s insecurity and ducks for some of their amphorae (Vári 788. when confronting the wild environment sur- Fig. 21, Vári 792). Unlike wild animals and mon- rounding him. Animals, as manifestations of the sters, their role in funerary contexts is less clear. alien, represent the world beyond civilization and It is probable that they were chosen purely for the control of the polis (Isler, 1978a: 21-25; Höls- decorative reasons. Comparable is the case of the cher, 1999: 20; Shanks, 1999: 90-107, Winkler- boars painted on the bodies of a few amphorae Horaček, 2000: 235-238; Arvanitaki, 2006: 213). (Vári 785, 794). The use of horse-protomes as Animal friezes occur on most of the early status symbols on the panel of early sixth-century black-figured shapes, without displaying any amphorae, mostly from funerary contexts, is obvious connection between the decorative theme more straightforward. and the use of the vessel. Since the vases have During the last quarter of the seventh century, been discovered in cemeteries, sanctuaries, and animal friezes begin to include different animals domestic quarters, they cannot be conclusively or hybrids.They are primarily depicted on small associated with any particular context. The paint- vessels, like the lekane. The earliest examples have ers seem to combine different animals and mon- been attributed to the Nessos Painter. Korinthos sters to mimic a type of decoration that was easy attic early black-figure iconography 75 to apply without having to carry special meaning have been interpreted both as prize vessels of and in Athens, at least since the late seventh cen- pre-Panathenaic Games (Boardman, 1974: 17-18) tury—earlier in Korinthos—had been established or as rewards received by the Athenian youths and accepted. after the completion of a cavalry training (Scheibler, 1985: 98). The use of this motif from the Geometric period points to depictions of Animal and Human Protomes social status. Literary sources attest that the possession and breeding of horses required wealth Animal protomes are known in the Greek main- (Thouky dides 6.12; Isokrates 16, 33; Aristoteles, land from the middle of the thirteenth century Politika 1289b35-36), and the animal and its rep- (Immerwahr, 1956: 137-141). From the seventh, resentations would have been recognized as a they are part of Korinthian, and especially symbol of status (Davies, 1971: xv-xvi; Bugh, Kykladic iconography (Vacano, 1973: 34-37, 1988: 20-33; Rombos, 1988: 184; Holkeskamp- 50-55). The earliest horse-protomes date from the Stein, 1989: 110-111; Kreuzer, 1998b: 110-111; seventh century. An early seventh-century Pro- Manakidou, 1994: 95-97; Barrie, 1995: 45; Eaverly, tokorinthian oinokhoe from the Kerameikos 1995: 42; Schäfer, 2002: 74-75). The archaeolog- shows the forepart of a horse among tripods ical context of the horsehead amphorae supports (Kerameikos Museum, 1267, Kübler, 1959: pl. this view. 57-8). Geometric representations of horses and Female protomes suit the panels of amphorae tripods are known from Euboia, Attika, and and seem to have an abstract and emblematic Argos and horse protomes are known from the character (Moore & Philippides, 1986: 5; Kreuzer, seventh-century Kyklades (Sheedy, 1985: 160-180; 1998b, 108; Zapheiropoulou, 2003: 42). On one Rombos, 1988: 261-270). The earliest Attic horse- amphora, the horse head is paired with a female foreparts, rather than horse protomes, date to the protome on the opposite side (Athens 693). The mid seventh century. By the third quarter of the inspiration might have come from the Kyklades, century, horse-foreparts are on the body of neck- where, from the middle of the seventh century, amphorae by the Attic Pair Painter (Athens Agora female protomes decorated the necks of hydriai Museum, P 22551, Brann, 1962: pl. 36. 573), prob- and amphorae (Zapheiropoulou, 2003, 42-43). ably a result of Kykladic influence (Brann, 1962: From the end of the seventh century, female pro- 96). Confronted horse protomes decorate the tomes begin to appear on the handles of Korin- neck of a number of late seventh- and early sixth- thian aryballoi or on the handle-plates of column- century amphorae (Athenian Agora 753, 758, 763, kraters (For example: Athens, National Museum, Vári 788), and the tondo of lekanai (Vári 1142, Dunbabin, 1962: pl. 78. 2250, 2262). On the Attic 1151, 1160, Vourvá 1202). horsehead amphora in Munich, the woman is The horse protome appears on the panel of the wearing a necklace, an earring and a fillet around series of so-called horsehead amphorae, which her head. The fragmentary female head on an were produced from c. 600 bce until the second amphora from the Athenian Agora shares the quarter of that century. The type follows a Pro- same features (Athenian Agora 610). On the neck toattic model and remains unchanged through- of an amphora from Vári, dated to the end of out. The emblematic character of the horse on the seventh century, the woman’s face is drawn these amphorae requires an explanation. Since in outline and her hair is decorated with fillets the majority of the amphorae were recovered (Vári 785). By the middle of the sixth century, from graves, the horse protome has been assigned female protomes are used as decorative elements either a funerary khthonic significance (Hackl, on Athenian lip cups. Although their types vary, 1907: 88-89; Malten, 1914: 219-228), or has been they are all characterized by rich jewellery and considered a symbol of Athena Hippia or Posei- fancy hair fillets. The lack of inscriptions or spe- don Hippios (Yalouris, 1950: 54). The amphorae cific attributes identification impossible, but the 76 chapter four quality of the vases and the appearance of the the handle. The main subject is a running male women associate them with the upper classes or female among what might be lions or panthers (Vacano, 1973: 92; Schneider, 1975: 41-43; which are variations of the despotes and potnia Hoesch, 1990: 142-143; Kreuzer, 1998b: 100-102). scheme. The male protome is wearing a fillet and The earliest known male protomes are from has his hair brushed up towards the middle of Korinthos. The depictions may be of isolated or his forehead. It has been interpreted as either a confronted male figures, or inserted in animal bust (Williams, 1986: 62) or as a decoration friezes (Vacano, 1973: 60-61). Few male protomes inspired by the human-headed Etruscan terra- appear on “Melian” vases (Mykonos, Archaeo- cotta canopic urns (Mertens, 1993: 5-12). The logical Museum, 619, Zapheiropoulou, 1985: fig. figure is not included in the narrative of the scene 40; Mykonos, Archaeological Museum, 1320, and its rounded base implies that it is an abbre- Zapheiropoulou, 1985: fig. 76). The earliest Attic viation of a male figure. The vases are stylistically example dates to the third quarter of the seventh close and might have come from funerary con- century where two confronted male bearded pro- texts, as implied by the lekythos from Marion. tomes, their noses almost touching, appear on a The figure’s characteristics, such as his fillet, are fragmentary amphora (Athens, Agora Museum, comparable to those worn by riders on black- P 18525, Brann, 1962: pl. 36. 574). Similar in style figured vases and on contemporary kouroi, and are the two confronted male protomes on the might be indicative of the high social status of panel of an early sixth-century amphora, now in the deceased (Williams, 1986: 65; Kreuzer, 1998b: Copenhagen (Provenance Unknown 663), and 108). If not purely decorative, the protome could the confronted heads of two silenoi, separated by have carried a khthonic symbolism, easily recog- a floral ornament found on a few early sixth- nized by contemporary viewers. Either way, it century ring-collar oinokhoai (Athenian Agora cannot be accurately interpreted or entirely 253, Gravisca 265, Taranto 266, Provenance understood. Unknown 268). The bearded male head in the If not a male siren, a fragmentary figure on a panel of a contemporary amphora from the Agora Protoattic amphora might be a male protome, has a serpentine body with no exact parallels comparable to the early black-figured examples. elsewhere (Moore & Philippides, 1986: 101). Sin- It is inscribed as nyxtopaidias, a child of the Nyx. gle male protomes appear on the panels of a few The vase comes from a funerary context and if early sixth-century one-piece amphorae—all of the suggested reading of the inscription is correct, which were found in the fort of Tell Defenneh— then the figure might have had a khtonic symbol- together with contemporary horsehead amphorae ism (Athens, Agora Museum, P 13323, Brann, (Tell Defenneh 709-710). By the second quarter 1962: pl. 37. 44; for the inscription: Immerwahr, of the sixth century, they seem to have been con- 1990: 10, no. 16). Even if this risky hypothesis sidered suitable decoration for the tondos of cups could be valid, the chronological gap between the and handle-plates of column-kraters (Vacano, Protoattic amphora and the early sixth-century 1973: 38-39, A81-A111). They probably carry the protomes is too large. Moreover, the early black- same meaning as their female counterparts, indi- figured protomes seem to be inventions of a cating well-off purchasers. single painter, without known predecessors or The male protomes on three lekythoi of Deia- successors and therefore their interpretation is neira type, attributed to the Deianeira Painter difficult. and the Painter of London Olpai, both working in the manner of the Gorgon Painter, are more enigmatic (Cyprus 1324, Provenance Unknown CONCLUSIONS 1330, 1336. Fig. 50). A bearded male head in profile is set on top of what seems to be a short, Largely due to the limited ceramic evidence, roundish base. On all the vases, the head is under myths on the earliest black-figured vases are rare. attic early black-figure iconography 77

The Protoattic tradition of narratives on large some seem to have been Attic inventions, others vessels continued into the earliest black-figure. are known earlier from Boiotia and Korinthos, Monumental scenes, with a few large figures illus- where the hero had made his earliest indisput- trating myths known from epic, occur on large- able appearance during the second half of the sized Protoattic vessels. During the seventh cen- seventh century (Boardman, 1990: 187-189). The tury, the tales that had been circulating orally for inclusion of certain mythological encounters in many centuries were transcribed into visual art, the work of early black-figure painters, and the a phenomenon not restricted to Attic art. By that absence of others known from elsewhere (if acci- time, artists had succeeded in making their nar- dents of preservation are excluded) may be ratives easily identified, not only by their con- ascribed to the influence of oral traditions, some temporaries, but also by modern viewers (Ahl- of which were probably more common in Attika berg-Cornell, 1992: 184-188; Shapiro, 1994: 4-10; than others. Individual painters’ taste and skill, Hölscher, 1999: 15-27; for the seventh-century as well as their personal knowledge of oral stories narratives and their connection with the epic definitely played a role. stories, see: Kannicht, 1982: 70-86). The blinding The prominence of those scenes with heroes, of Polyphemos, Odysseus escaping the cave of and Herakles especially, fighting monsters, is not Polyphemos, Perseus and the Gorgons, Herakles only encountered on Attic, but also on seventh- fighting Nessos, Orestes slaying Aigisthos, Mene- and sixth-century Korinthian vases (Arvanitaki, laos and a procession of warriors, Akhilleus and 2006: 219-220). These depictions have been asso- the centaur Khiron are some of the themes known ciated with the contemporary social and histori- from Protoattic vases, most of which were dis- cal circumstances, and with the development of covered on the island of Aigina (Morris, 1984: the polis. Heroes have been seen as protectors of 30-33).4 Some narratives, like the fight of Herak- human civilisation that is threatened by wild and les against Nessos, continued to be part of the dangerous surroundings, and the scenes are sym- late seventh-century repertoire, while others, bolic of the struggle of man against nature (Sha- appearing in the known iconography for the first piro, 1990: 135-136; Hölscher, 1999: 17-20; 2000: time, were introduced. Some of these have been 289-291; Arvanitaki, 2006: 228-229). This theory assigned to the skillful Nessos Painter. Mytho- has been applied by Arvanitaki (2006: 229) to logical scenes were also attempted by the Painter Korinthos and may also be valid for Athens and of Berlin A34, the Bellerophon, and the Pegasos its hinterland, which likewise experienced the Painters. process of the settlement development during the Depictions of heroes fighting wild creatures seventh century (Snodgrass, 1980: 67-92; Morris, occupy late seventh-century Attic painters, and 1987: 62-69, 81-87, 171-210; Osborne, 1989; Herakles with his “uncanonical” deeds has a D’ Onofrio, 1997: 63-88; Mersch, 1996; 1997). prominent position (For the relevant sources on A contextual approach could contribute to a more these “uncanonical” deeds: Boardman, 1990: 6). solid explanation for these iconographical choices, Canonical scenes begin after 560’s5 and while but such an analysis is rather difficult; with only a few exceptions, in particular two fragments 4 For the issue of Protoattic vases rationed to high-class from the Athenian Agora with partly preserved contexts see: Whitley, 1994a: 62-65. Whitley associates the figures of Khimaira and Pegasos (Athens, Agora scarcity of mythological scenes from vases found in Attika with “a hesitancy” of the Attic painters, due to the existing “pattern of restricted controlled consumption”. This matter seems more complicated. The different uses of the vessels— polis Athena: Boardman, 1972; 1975; 1978; 1982; 1984. How- as markers in Aigina, trench offerings in Attika—might have ever, this idea has received serious criticism: Bažant, 1982; played a role, as well as differences in taste and desires of Moon, 1983; Osborne, 1983-1984; Cook, 1987; Blok, 1990. the Attic and Aiginetan nobility. The prominence of Herakles in the earliest black-figure rep- 5 Boardman claimed in a series of articles that there was ertory indicates that his dominance later in the sixth century a politically exploited association between Herakles and the does not necessarily reflect the contemporary political situ- Peisistratids, both shown protected by the goddess of the ation, as Boardman suggested. 78 chapter four

Museum, P 26642, Moore & Philippides, 1986: doned. Large figures that occupied most of the pl. 35. 342; Athens, Agora Museum, P 6457, vessel’s surface disappear and the narrative Moore & Philippides, 1986: pl. 67. 698), all the appears in frieze-like compositions, reminiscent preserved scenes that decorate vases have been of small-scale Late Geometric friezes (Shapiro, found at nekropoleis, where they were used as 1990: 143-144). The treatment of Perseus’ pursuit markers or used in the trench- ceremonies. Their by the Gorgons on the lebes by the Gorgon monumentality and the quality of their decora- Painter is characteristic of this. In contrast to the tion are used to indicate the social status of the late seventh-century preferences, depictions of deceased and his wider circle, while serving as a heroes fighting monsters become scarce; the medium for competitive display as was the ten- struggle of Herakles with Nereus is an exception. dency of the Attic élite (Houby-Nielsen, 1992; D’ At the same time, new mythological scenes, Onofrio, 1993; Whitley, 1994a). The mythological known from epic narratives, begin to emerge. representations cannot be assigned any khthonic Some of the examples have been assigned to interpretations, but when the monstrous figures Sophilos, who appears to have had a good knowl- are detached from the narratives, the emphasis edge of mythology. He uses them, for the most on their apotropaic character makes them suit- part, as the primary decoration of large vessels able for funerary vases. The case of the Gorgons like lebetes. By using inscriptions, he added is characteristic; they can have a protective role sounds to his images. The degree of consistency with the power to expel the fear of death. The in the spelling of the names and the verb ἔγραφσεν elaborate and often monumental contemporary of his signatures proves that he was literate and wild animals and hybrids, like lions, sphinxes, did not face many difficulties when writing and sirens (appearing largely on late seventh- (Brownlee, 1988: 80, 84; 1995: 368; Kilmer & century funerary vessels), seem to have served Develin, 2001). Epic scenes appear in the works the same purposes (Hölscher, 1972: 63-67; Woy- of only a few early sixth-century painters, like sch-Méautis, 1982: 74). the KX Painter and the Group of the Dresden Some late seventh-century narratives find their Lekanis. Orally transmitted folk tales, known to way into the early sixth-century repertoire where the painters since childhood, provided the inspi- important changes can be observed. Although not ration for this kind of iconography. Epics were completely absent in the late seventh century, a memorized and repeated before their written “Korinthianising” trend in iconography becomes forms were acquired, and the painters remem- much more prominent during the first decades bered a number of elements and used them to of the sixth. This is mainly due to the dominance create an epic scene that could be recognised by of the animal friezes, but is also a result of the their contemporaries, often with the help of introduction of purely Korinthian themes, such inscriptions. Even when the epics were written as the komast dancers and the symposion. Ko rin- down, they continued to be transmitted orally, thian influences might also be detected on since readership was not spread (For the issues mythological scenes, such as the Judgement of of literacy and the influence of the epics on Greek Paris and Herakles pursuing the Centaurs, as well art, cf. Haulock, 1982: 180-186; Cook, 1983; as on generic scenes, like the riding contest on Brownlee, 1988: 80, 84; 1995, 368; Harris, 1989: the lebes by Sophilos. As shown above, “Korin- 48; Hurwit, 1990: 193-197; Shapiro, 1990: 137; thianising” is not limited to iconography. It is Ahlberg-Cornell, 1992: 184; Thomas, 1992: also evident in the adoption—either directly or 29-40). with a few modifications—of a number of Korin- The new iconographic choices of the painters thian shapes. reveal an anthropocentrism which is further By the early sixth century, the monumentality underlined by the scenes of daily-life. Everyday of the Protoattic figures, also employed by the activities like fighting, athletic contests, mourn- Nessos Painter and his contemporaries, was aban- ing, and dancing, are present in the Protoattic attic early black-figure iconography 79 and the earliest black-figure repertoire (Schulze, fice scene of a ram on a fragment (Akropolis 2003: 123-126). Riding and chariot scenes, as well 1456), and the fragmentary skyphos-krater with as elaborate festive processions that seem to have Kekrops and the Aglauridai (Akropolis 22), are their roots in the Geometric and Protoattic cho- the only scenes on vases from the Akropolis that ruses, are adopted and used by the earliest black- might allude to contemporary cults and the prac- figured painters. The use of these subjects con- tices of worshippers. Athena and Hermes appear tinued into the early sixth century, with the in a limited number of scenes, and are depicted number of preserved examples increasing. Along- assisting heroes. Hermes is also shown leading side these, new themes, like the symposion, were the goddesses to Paris, or as a bystander. The introduced. In most cases, these everyday scenes wedding of Peleus and Thetis is the only occasion alluded to the lifestyle of a particular class and where a large group of deities is depicted in a allow a glimpse into the interests and activities single scene, although, at that time, many had of the Attic élite. Also representative of the aris- not been associated with what would become tocratic ideals are epic themes such as the wed- their attributes. Hermes is the only Olympian god ding of Peleus and Thetis, the Kalydonian boar represented on several vases. He is flanked by hunt, Akhilleus receiving his armour, and the wild animals in the role of psykhopompos. Later various heroic duels, since epic heroes were con- this composition seems to have lost its original sidered part of their genealogy (Dentzer, 1982: meaning and took on a more decorative charac- 438-441; Manakidou, 1994: 95-97; Knittlmayer, ter. Although Athena and her myths are the main 1997: 63; Ellinghaus, 1997: 256; Kreuzer, 1998b: themes of the pottery dedications from the 100-102). Akropolis throughout the sixth and fifth centu- Sympotic scenes appear primarily on vessels ries, no early black-figured scene found there such as cups, skyphoi, lebetes, and colum-kraters includes the patron goddess. which were destined for the symposion. In these Despite the scanty character of the evidence, instances the painters successfully combined ico- the appearance of deities on a number of early nography with the vessels’ shape and use. The sixth-century vases contrasts with their complete KX Painter chose the theme for his cups knowing absence from the finds dated to the last quarter they would serve the sympotic needs of high-class of the seventh century. The limited role that dei- purchasers banqueting in the Heraion of Samos. ties played in iconography at that time can be Cups, skyphoi, and column-kraters depict ko - associated, on one hand, with the importance of masts, whose comic character is compatible with the peripheral Attic peak sanctuaries during the the sympotic atmosphere. Since they are part of seventh century, where undecorated, and not the activities exclusive to the aristocracy, riders figure-decorated pottery, has been found (see and chariots occupy large sympotic shapes. The below 113) and on the other with the con- processions of women on the necks of loutro- centration of the fine-decorated vases in the phoroi from the sanctuary of the Nymphe are nekropoleis and the offering trenches rather another instance where an iconographic choice than sanctuaries. The depiction of Hermes as was made to be well adapted to the vessel’s use. psykhopompos, initially on shapes from Attic The scenes can be monumental and rich, point- cemeteries, reflects the importance of the nekro- ing to rich purchasers and they provide valuable poleis and of funerary purposes for the cus- evidence of cultic activity, widely practiced by tomers of these vessels. The appearance of Hermes Attic women. on vases from the Athenian Akropolis is contem- Images of contemporary cultic life or scenes porary with the depictions of the wedding of dedicated to the life and deeds of deities are Peleus and Thetis, Kekrops and the Aglauri- almost entirely absent from early black-figure dai, as well as of a ram sacrifice, all decorating iconography. The loutrophoroi from the sanctu- vases that came from the same context. By that ary of the Nymphe are the exception. The sacri- time, trench-ceremonies are declining in the 80 chapter four

Kerameikos while the Akropolis sanctuary ber of changes. The monumental character of the experienced an increase of vase dedications. The previous century is gone. The early sixth-century establishment of the first religious buildings on scenes reveal an anthropomorphic character, the Akropolis at the second quarter of the century while the wide use of the animal friezes makes and the reorganization of the Panathenaic Games “Korinthianising” one of the main characteristics indicate the importance that the sanctuary was of Attic iconography. Later in the sixth century, gaining. This is followed by the depiction of the animals and monsters are abandoned, the myth- armed goddess on a larger number of vessels ological and generic repertory is enriched, and, (Wagner, 1997: 74-83). after the middle of the century, a number of The iconographic study of early black-figured scenes, known from early black-figured vases, vases demonstrates that the early sixth century disappear. At the same time, painters showed an marks a clear break with the seventh. Even though interest in individual heroes and myths, associ- the last quarter of the seventh century saw the ated with Attika in particular, using a few figures continuation of the Protoattic tradition, with the for their scenes (For the iconographic changes work of the Nessos Painter and his contempo- between the first and the second half of the sixth raries being reminiscent of their predecessors, the century, cf. Shapiro, 1990: 114-148). first decades of the following century sees a num- distribution of attic early black-figured pottery 81

CHAPTER FIVE

DISTRIBUTION OF ATTIC EARLY BLACKFIGURED POTTERY

Being the most durable form of material evidence, representation of shapes and painters at each site fine painted pottery is “the archaeological trade- (Appendix II. Tables 1-15). The conclusions mark of the Greek presence overseas” (Osborne, drawn from the tables are discussed in the text. 1996: 31). It was transported almost everywhere The first part of the chapter examines the distri- in large quantities and it is the main source of bution within Attika. It is sub-divided into three information concerning the trade of commodi- main sections, devoted to finds from domestic ties. Circulation studies and attempts at using contexts, sanctuaries and nekropoleis respec- pottery as a tool for understanding ancient trade tively. Each site is discussed separately and the and colonisation are not new phenomena (Payne, pottery context is analysed. The second part of 1931: 181-209; Dunbabin, 1948; Roebuck, 1959; the chapter is dedicated to the distribution out- Cook, 1959). The earliest attempts to study the side Attika, beginning with sites in the vicinity circulation of Athenian pottery date to the first of Attika, then those of central Greece, Western half of the twentieth century (Richter, 1904-1905; Asia Minor, Eastern Mediterranean, the North Bailey, 1940). Beazley’s catalogues marked a new African coast, the Black Sea area, and, finally, era for distribution studies, which focused on the sites of the Western Mediterranean. general circulation of specific groups of pottery The study of trade mechanisms, based on the and on the concentration of imported Greek ves- distribution of the fine pottery, remains very sels at a particular site (Stissi, 1999a; 1999b). The complex and often scholars appear pessimistic last decades have seen publications of Athenian (Cook, 1959: 115; Boardman, 1979: 33). The dis- material from several sites, as well as a synthesis tribution of extant Greek pottery is not repre- of its export to the Mediterranean during the late sentative of the ancient circulation pattern and, seventh and early sixth centuries (Rosati, 1989). therefore, important limitations must be taken The circulation of seventh-century pottery within into consideration (Stissi, 1999a: 351-355; Board- Attika has attracted scholarly interest due to its man, 2001: 293-296). The tables do not aim at association with its contemporary social history suggesting that the data mirrors the late seventh- (Osborne, 1989; Whitley, 1994a). The shapes and and early sixth-century production and distribu- their use in cemeteries, sanctuaries, and habitation in its entirety. The extant vases and frag- tion contexts provide important insights into ments are only a small fraction of the overall everyday life and into the social behaviour of the production. Aside from the problem of preserva- upper classes. The majority of the known prod- tion, an additional issue to be contended with is ucts are indicative of clients from a particular that pottery from a large number of sites remains status. unpublish ed, with only references being made to The aim of the present chapter is the detailed seventh- and sixth-century material in the presentation of the distribution of Attic black- archaeo logical reports (For a list of Attic sites figured vases within Attika and around the that have yielded seventh and early sixth-century Mediterranean from c. 630 to 570 bce. The data pottery, which in many cases is yet to be pub- are presented in tables, illustrating the shape- lished: Morris, 1987: 222-233; D’Onofrio, 1997). production of different painters as well as the Unfortunately, when the pottery from a site is 82 chapter five published, it may only be an indicative sample DISTRIBUTION WITHIN ATTIKA of the excavated fragments, as is the situation with the vases from the Athenian Agora and with Domestic Contexts the loutrophoroi from the sanctuary of the Nym- Only black-figured pottery discovered in wells in phe. The vases published in reports or exhibited the Athenian Agora can be associated with in museums are simply representative of a larger domestic functions. Nevertheless, the conclusion amount of material. For example the fragments that a well points to the existence of a house on display at the Brauron Museum are just a part (Young, 1939: 139; Brann, 1961: 306; 1962: 108; of the collection, but, nonetheless, they can pro- Moore & Philippides, 1986:1) has been vigorously vide an idea of the preferred shapes. Moreover, challenged, especially for the Early Iron Age, the impact of new finds on statistics can easily since, at that time, the area of the Agora seems distort the existing image of the pottery produc- to have served as a burial ground (Young, 1939: tion and distribution. The publication of the 275-279) with pottery workshops also active as black-figured material from the sanctuary of the indicated by the industrial debris from a number Nymphe has added significantly to the number of wells (Papadopoulos, 1996: 2003). Based on of vases assigned to individual painters, but it this evidence, Papadopoulos has rejected the also presents a distorted image of early black- theory that the Agora was inhabited from 1000 figure production, since, based on statistics, the bce onward (Camp, 1992: 33), and insists, rather, loutrophoros emerges as the dominant shape in on its use for burials and potters’ activity until Attika. the Archaic period. However, the discovery of a The tables are created with these limitations seventh-century house near well H 12:17 and in mind and are subject to constant revision in some sixth-century houses around the Agora light of new discoveries and publications. Despite must be taken into account, and clearly their all these uncertainties, the data presented reveal existence points to the use of the area for regular some patterns and allow for a number of conclu- habitation from at least the seventh century sions, which inevitably will be verified or dis- (Thompson, 1940: 3-8; Camp, 1992: 33). carded in light of future evidence. Shape is used The Attic black-figured pottery from the Agora as the primary tool for describing and under- wells covers the entire period of production with standing the circulation of Attic pottery, since it every known shape being recovered (Moore & seems to have been the most important trade fac- Philippides, 1986: 2). With the exception of a few tor. Some of the issues to be addressed are the painters whose work is only found at Vári, all differences between the late seventh- and early the known early black-figured painters are rep- sixth-century production and circulation both in resented (Tables 1-2). Amphorae dominate Attika and overseas, as well as shape-specialisa- among the finds, followed by olpai and oinokhoai, tion and concentration of shapes at particular most of which date to the sixth century. The sites. The context of the vases from different sites skyphos-krater plays an important role in the must be taken into account, since the shapes did seventh century, while by the early sixth lekanai not satisfy the same needs everywhere. Finally, and lekanides become more numerous. With so that a more complete idea of the organisation the exception of the skyphos-kraters, which are of trade can be obtained, the last section of this found largely in the Attic cemeteries, the domi- chapter uses the context of the vases and the lit- nant shapes are all common in domestic contexts erary evidence in order to examine the origin of and suggest that there is no reason to reject the the traders who were responsible for the transport connection of the material with households. of early Attic black-figured pottery overseas. However, it cannot be ignored that some of the contents of the wells may be secondary fills, coming originally from funerary or cultic contexts. distribution of attic early black-figured pottery 83

Therefore, in cases like that of the skyphos-krater, to interpret the finds as if they derived exclusively which seems to have been a funerary shape for from a sanctuary (For the religious character of the most part, caution is needed when interpret- the site by the late eighth century, see Glowacki, ing their function. 1998: 79-85; Holtzmann, 2003: 37-40; for the existence of a Geometric temple on the Akropo- lis: Brouskari 2000, 203-204; for the evidence Sanctuaries during the Dark Ages and the use of the citadel as a settlement, see Gaus & Ruppenstein, 1998; Evidence for early black-figured pottery from the Papadopoulos, 2003: 297-316). Only a very small sanctuaries of Attika is not particularly rich, fraction of the 1.000 Late Geometric fragments partly because the finds remain largely unpub- found in the “Perscherschutt” have been published. Nonetheless what is already known, in lished, so the character and the precise dating of combination with the archaeological reports, the material cannot be clearly established (Graef allows for some conclusions to be made on cul- & Langlotz, 1925: 23; Hurwit, 1999: 89). tic activities, the vases that were preferred as Extant seventh-century bronze objects and pot- offerings, and the workshops producing them. tery sherds are very limited, with the number of A large amount of pottery was found on the archaic imports restricted to some Protokorin- Athenian Akropolis. Graef and Langlotz pub- thian and Khiot vessels (Graef and Langlotz lished 5.000 out of 15.000 fragments dating from included to their catalogue 40 pieces: Graef & the Helladic period to the fourth century bce Langlotz, 1925: cat. nos. 344-384). The earliest (Graef & Langlotz, 1925; Wagner, 1997: 26-28). black-figured fragments remain few, but by the Since only single fragments have been preserved early sixth century their numbers increase reach- from many of these vases, this material needs to ing a peak by 560 bce (Graef & Langlotz, 1925: be considered with care. It seems that a large cat.nos. 472-568; Wagner, 1997: 28. The Akro- quantity of the evidence had been destroyed in polis vases are listed by Graef and Langlotz under antiquity, was washed away, removed, or disre- the term “Vourvá style”, while some are added garded during the modern excavations (Wagner, to the section of the black-figured vases). Sophi- 1997: 11-14; Boardman, 2001: 295). Moreover, los is the best represented early black-figure the final publication does not contain all the exca- painter; half of the vessels attributed to him and vated material and only some of the published found in Attika were recovered from the Akro- fragments are accompanied by illustrations that polis (Table 2). The primary early sixth-century would facilitate their dating. The vases included shapes are amphorae and plates, followed by in the catalogue of this study are those illustrated kraters, exaleiptra, and lekanai. Due to its dedica- by Graef and Langlotz, as well as those included tory function, the plate was one of the basic votive in the archives of the German Archaeological offerings up until the fourth century. Despite the Institute at Athens or in Beazley’s catalogues, and predominance of cups among the pottery offer- it should be kept in mind that conclusions con- ings from the middle of the sixth century, only cerning shapes and painters are based on this two examples, both assigned to the KY Painter, limited sample. date to the first quarter of the sixth century Judging by the pottery that has been published (Akropolis 465-466). and the bronze offerings—and the assumption According to inscriptions and graffiti on vase that these are representative of what was origi- offerings, the open-air sanctuary, excavated on nally excavated—it seems that by the end of the the South slope of the Akropolis (PΑΕ 1957, eighth century the Akropolis had acquired a reli- 23-26; Ergon 1957, 5-12; Travlos, 1971: 361), was gious character. Since the citadel seems to have dedicated to the Nymphe, a deity closely associated been part of the settlement of Athens during the with marriage (Kyrkou, 1997b; Brouskari, 2004: early phases of the Early Iron Age, it is not safe 35-36; Parker, 2005: 442-443; Mösch-Klingele, 84 chapter five

2006: 11-19). The sanctuary received offerings in the KX Painter (Kiápha Thíti422, 472), come an uninterrupted sequence from the third quar- from the peak sanctuary of Kiápha Thíti (Chris- ter of the seventh to the early fourth century bce. tiansen, 2000: 76-77). A very limited number of The mass of the loutrophoroi discovered there Protoattic fragments and an unattributed black- not only underlines the connection of the bride figured fragment, dating to the end of the seventh with the worshipped Nymphe, but also indicates or the beginning of the sixth century (Tourko- the possible existence of a nearby spring, the voúni 1497), come from the sanctuary of Zeus water from which was considered to have powers on Tourkovoúni, which was established during of fertility. Worshippers could have filled the ves- the eighth century (Lauter, 1985b). sels with water from the fountain before dedicat- Seventh- and sixth-century Attic pottery was ing them in the sanctuary (Brouskari, 2004: found at the sanctuary of Artemis at Brauron, 32-37). where cultic activities date from the eighth to the According to the material published, an impor- third century bce. In particular, some pithoi were tant quantity—around 200 fragments of loutro- discovered East of the temple (PAE 1956: 73), phoroi—belongs to the period under considera- while contemporary pottery was also detected on tion, with all the major painters represented. the floor of the small sanctuary (Ergon 1957: 8-21; Their quality and size vary considerably, probably PAE 1950: 177), North of the retaining wall reflecting the financial situation of the dedicators (Ergon 1961: 30-32) and at the area of the temple (Papadopoulou-Kannelopoulou, 1997: 19. Tables of Artemis (PAE 1945-1948: 86; PAE 1955: 118; 1, 2). The shape is not common outside the Ergon 1954-1955: 33). Although they are unpub- sanctuary, suggesting that its production was lished, an idea of the excavated material is pro- mostly dependent upon this particular ritual vided by the sherds on display at the Museum of need. Loutrophoroi are known from the sanc- Brauron. A number of Protoattic and early black- tuary of Nemesis at Rhamnous, where they may figured fragments are exhibited, which were dis- have served the same function. Isolated examples covered in a cave situated on the North side of of loutrophoroi-amphorae come from offering a hill where a prehistoric settlement has been trenches (Kerameikos 1095, Vári 1096, Vourvá detected, Southeast of the later temple of Artemis. 1097), while the earliest loutrophoroi from the The cave, where a number of structures were Agora are few and date to the second quarter of excavated, has been identified as the tomb of the sixth century (Athens, Agora Museum, Iphigeneia, which played an important role in P 7806, Moore & Philippides, 1986: pl. 36. 373; the cult during the first years after the establiment Athens, Agora Museum, P 14371, Moore & of the sanctuary. The structures date to around Philippides, 1986: pl. 36. 374). 700 bce, as indicated by the fine pottery, the During the seventh century, the peak sanctu- figurines, and other offerings that are predomi- aries of the Attic countryside played a major role nantly connected with women (Hollinshead, in the religious life of Attika. Undecorated vessels 1979: 30-35; Themelis, 1974: 11; Antoniou, 1990: of everyday use, like subgeometric skyphoi of 146-147). The earliest fragments date to the sev- Attic or Korinthian shape, were the main dedica- enth century, and one has been assigned to a tory objects, leaving little space for early black- painter working in the manner of the Analatos figure dedications. A late seventh-century panel Painter (Brauron Museum, 1117). The majority amphora from the sanctuary of Zeus on Mount date to around the 560s, and they primarily Hymettos is the least fragmented early black- belong to supports or large open vessels decorated figured find from these sites (Hymettos 841). It with animal friezes. A krateriskos and a support bears a dedicatory inscription and is decorated made of local clay and decorated with loop pat- by a companion of the Nessos Painter (Young, terns (Brauron 222, 1413), a fragment with a row 1940; Langdon, 1976: 13). Two fragments associ- of horseheads (Brauron 1498), and another with ated, respectively, with the circle of Sophilos, and a procession of women (Brauron 1499), as well distribution of attic early black-figured pottery 85 as a one-piece panel amphora of local production dominate, especially after the middle of the sixth with komasts and riders (Brauron 637), can be century. As in the case of the examples from the dated to the end of the seventh and the first quar- sanctuary of the Nymphe, processions of women ter of the sixth century. A fragment of a support decorated the vessels’ necks. According to Petra- is probably to be attributed near the KX Painter kos (1982: 131-142; 1984: 146-209; 1987: 299-302; (Brauron 1414). The clay of the locally made ves- 1999: 194-197), only a few workshops and paint- sels is paler that the Athenian and full of black ers are represented at the sanctuary, either due and brown inclusions. to choices made by the suppliers or to the pref- Open vessels with supports were also common erences of the buyers. The style of Sophilos and finds at the sanctuary of Artemis at Mounikhía, the Group of the Dresden Lekanis has been rec- which, according to the archaeological evidence, ognised, while a large number of finds belong to was in use from the ninth century (Palaiokrassa, the later Polos Painter. From the deposit of the 1991: 16-41). The significant number of Late Geo- fountain of the sanctuary comes a fragmentary metric and Protoattic vases suggests that the support of a vessel, possibly of cultic use, also eighth and the seventh centuries were the acme dating to the first quarter of the sixth century of activity at the sanctuary. All Protoattic paint- (Theocharaki-Tsitoura, 1991: 41-43). ers are represented and the krater was the pre- The early black-figure evidence from the sanc- dominant shape. Early sixth-century finds are tuary of Demeter and Kore at Eleusis is limited. poorer, with the number of the dedications—pre- According to the earliest known dedications, the dominantly cups—increasing only by the last cult was established by the end of the eighth cen- quarter of the sixth century. The earliest known tury bce (Binder, 1998). Due to its association black-figured fragments have been attributed to with the Mysteries, the Telesterion—built over the Nessos Painter and his circle and belong to the Mykenaian Megaron B—was the most sacred supports and open shapes (Mounikhía 64, 65, 428, edifice of the sanctuary (For a Late Bronze Age 1203, 1507). Only a support by the Gorgon origin of Demeter’s cult and an association of Painter (Mounikhía 66) and some slightly later Megaron B with the earliest temple of Demeter: fragments, one of which is assigned to Sophilos Mylonas, 1961: 38-49; Travlos, 1988: 91-92; Kok- (Mounikhía 1508), belong to the early sixth cen- kou-Vyridi, 1999: 23-27; for cultic activities in tury (Palaiokrassa, 1989; 1991: 64-66; 1994). The the Megaron and the question of continuity: Dar- fragmentary open vessels with a high foot should cque, 1981; Cosmopoulos, 2003). The earliest probably be considered predecessors of the kra- Telesterion, a long, rectangular stone construc- teriskoi, shapes used for rituals at the Artemis tion, from which only parts of the external South- sanctuaries (see above 8-9). ern and Eastern walls have been preserved, dates Early black-figured finds are also known from to the early sixth century (Travlos, 1988: 92-93). the sanctuary of another female deity, that of The earliest votive offerings, mostly miniature or Nemesis at Rhamnous. A number of late seventh- medium-sized Attic or Korinthian vessels of poor and early sixth-century fragments were discov- quality, were found in association with the sac- ered in the fill of the retaining wall of the later rificial pyres that have been interpreted asena- temple. The first decades of the sixth century saw gismoi (Kokkou-Vyridi, 1999: 54-75, 159-185). the highest concentration of activity at the sanc- A single early black-figured fragment, dating to tuary, and the archaic temple was constructed 580-570 bce, comes from Pyre B (Eleusis 1510). during this period. The earliest black-figured A large number of vase dedications come from vases are in a variety of shapes, mostly of low the wider area of the sanctuary. Sixth- and fifth- quality, which were probably sold in the vicinity century Attic finds constitute the majority of of the sanctuary. Amphorae, loutrophoroi, plates, vases, but Korinthian oil vessels are also attested pyxides, and skyphoi, which remain largely (Papaggeli, 2002: 183). Shapes associated with unpublished, were unearthed. The loutrophoroi women, like pyxides, lekanides, epinetra, as well 86 chapter five as loutrophoroi, and lebetes gamikoi, dominate which served as tomb-markers and not trench- (Tiverios, 2009: 280-281). A fragment of a sup- offerings. The early sixth-century ceramic trench- port near the Nessos Painter is the earliest known evidence is richer. Eating and drinking shapes black-figured vessel from the sanctuary (Eleusis form the majority, while large, deep vessels are 1417. Fig. 51). It is followed by a slightly later absent. The well-preserved trench R (Vierneisel, amphora fragment with a female protome (Eleu- 1964) and offering place φ (Kübler, 1959: 66-67) sis 799) and an olpe fragment by the Gorgon yielded a variety of shapes, with each group of Painter (Eleusis 317). A Komast skyphos (Eleusis vases being decorated by the same painter. After 429) and a loutrophoros by the Painter of Eleu- 580 bce, when offering trenches cease, oil ves- sis 767 (Eleusis 1101) date to the end of the first sels—such as an early sixth-century black-glazed quarter of the sixth century. lekythos—are placed inside the graves (Kera- The cult at the sanctuaries of Poseidon and meikos 1313). Contemporary subgeometric min- Athena at Sounion was probably established at iature drinking vessels furnished the urns of the middle of the eighth century. Their bothroi children excavated in the area of Eridanos brought to light a large number of seventh- and (Schlörb-Vierneisel, 1966-1967). sixth-century offerings. Some Protoattic clay An early cemetery was discovered North of plaques, followed by a number of other metal the Olympieion enclosure. The pottery sherds offerings, clay figurines and Korinthian vases are range from the late eighth to the second quarter known from the sanctuary of Athena, while mar- of the sixth century (Brann, 1959; Daux, 1960: ble kouroi, bronze and iron statuettes, jewellery, 631-634). A fragmentary standed bowl and an armour, clay figurines, Egyptian scarabs, seventh- amphora have been attributed to the Nessos and sixth-century Korinthian oil-vessels (mainly Painter and fragments of a second amphora to aryballoi), were offered at the sanctuary of Posei- the Gorgon Painter (Olympieion 56, 839, 840). don prior to the erection of the first temple For the most part, isolated early black-figured (Goette, 2000: 19-23, 32-35). So far, since the finds come from a number of cemeteries around finds are yet to be published, the only known Attika. In recent years, the development of the securely identified vessel of the period under con- modern city has led to the investigation of a sideration is a lekythos of the Ragusa Group number of new constructions, settlements, and cemeteries. Although references to archaic finds (Sounion 1314), associated with the temple of are common, the published finds that are relevant Poseidon at Sounion (Stais, 1917: 168-213). to the present study are few. Recently a number of books on the excavations at the different demoi Nekropoleis of Attika appeared, while the publication of the The nekropolis of the Kerameikos in the Eridanos proceedings of a conference on the excavations valley was in use from the end of the third mil- of the last decade in Attika by the 2nd Ephorate lennium bce (Kraiker, 1939; Kübler, 1954; Knigge, of Prehistoric and Classical Antiquities is indic- 1991). The seventh century saw a number of ative of the new material that has come to light changes in Attic funerary practices, with the (Vasilopoulou & Katsarou-Tzeveleki, 2009). introduction of offering-trenches being one of the An important quantity of early black-figured most important. The well-excavated examples pottery comes from the nekropoleis of Vári, from the Kerameikos are the main source of Pro- which lies in the Southern part of Attika, in the toattic vases of high quality (Kübler, 1959; 1970). Southwestern area of the Mesogeia plain and the Although the last quarter of the seventh century Southeastern shoulder of Mount Hymettos, the saw a peak in the number of trenches, they are site of the classical demos of Anagyrous. The poorly furnished, if at all, with the primary finds Geometric and Archaic sherds found at the site being Korinthian oil-vessels. Almost all the con- suggest the existence of an early settlement, temporary Attic vessels are skyphos-kraters, exploiting the fertile plain. This is also indicated distribution of attic early black-figured pottery 87 by the discovery of a number of later farms ond quarter of the sixth century. The systematic (Osborne, 1985: 26-28; Lauter, 1985a: 63-68; excavation of the tumulus revealed a long mud- 1991, 85; ΑD 42, 1987, Chron.: 92-96; Mersch, brick trench and a sacrificial pyre running paral- 1997: 53-58). The concentration of population, lel to it. An exaleiptron by the Gorgon Painter its social differentiation (evident from the élite (Vári 1355), a plate (Vári 1303), an olpe (Vári presence at the excavated nekropoleis), and the 313), a tankard (Vári 397), two hydriai (Vári 875- local pottery production can be considered urban 876) by the Lotus Painter, a kantharos by the features, and indicate that Vári was an important Anagyrous Painter (Vári 593), as well as a sky- sub-centre (Mersch, 1997: 53-58). Two large phos and some smaller vessels were found there. nekropoleis—the North and the South-East— The pyre, detected under a layer of stones, pre- probably served the same community (Morris, served eight vessels, all plates and cups, dating 1987: 68-69. Contra: Osborne, 1985: 26). The from the second quarter to the middle of the former was in use from the second or early third sixth century bce (Excavation Diary: 69-84, 123- quarter of the seventh century and the latter from 127).3 the last decades of the eighth, while in both cases Early black-figured vases were also found in burial evidenc reached the fifth century bce. On the trench associated with built grave E. A plate the hill of Lathoúriza, which borders the Vári with a Gorgon (Vári 1300), a loutrophoros (Vári plain, another settlement was established during 1096), a lekane (Vári 1187) and a tankard (Vári the eighth century bce. The site offered easy 396), all by the Anagyrous Painter, an olpe by access to the rich plain, whose cultivation must the KX Painter (Vári 310), two later hydriai by have been one of the main activities of the settlers the Polos Painter and his companion (Athens, (Lauter, 1985a; Mazarakis Ainian, 1994; 1995). National Museum, ABV 49.1, BAPD 305265), an The systematic excavation of the North nekro- olpe with a bull (Vári 308) together with Ko- polis of Vári (1936-1939) was initiated after the rinthian oil and drinking shapes were excavated National Museum acquired a large number of from the trench (Excavation Diary: 42-47). An richly decorated late seventh-century vessels, olpe (Vári 311), a skyphos (Vári 419) by Sophi- which were illegally removed from the area in los, and a hydria by one of his companions (Vári 1934. The results were published in brief in 871), some unattributed early sixth-century leka- archaeological reports (BCH 60, 1936: 460; AA nai (Vári 1193) and skyphoi were discovered in 1936: 123-125; BCH 61, 1937: 451; AA 1937: 121- an extended burnt layer, detected 1.10 m. East 124; AA 1940: 175-178), but full details concern- of the trench of tomb E’ and should be most ing the excavation and the finds were recorded probably associated with this burial. Another in the excavation diary and a manuscript by sacrificial pyre was found extending parallel to Phoivos Stavropoullos, which never came to the North wall of the enclosure. It revealed an light.1 Four tumuli were explored (Fig. 52). The olpe by the Gorgon Painter (Vári 307), a hydria illegally excavated early black-figured vases from in the manner of Sophilos (Vári 872), and a the large tumulus I have been published by hydria by the Lotus Painter (Vári 874). They were Karouzou (1963; 1982; 1985).2 The earliest are found together with a number of lekanai, skyphoi, dated to the last quarter of the seventh century hydriai of the second quarter and the middle of and many have been assigned to the Nessos the sixth century, as well as a white lekythos dat- Painter and his circle. The latest date to the sec- ing to the fifth. Tumulus 5 covered an enclosure with twenty- five seventh- and sixth-century tombs, five of 1 Except for the excavation diary, a manuscript entitled Αναγυράσιοι Νεκροί was found in his archive kept at the Archaeological Society of Athens. 3 Based only on the brief excavation reports, I have 2 The rest of the discovered material is studied by the wrongly linked some of these vessels to other trenches of archaeologist Eleni Lazaridou, who is responsible for the the nekropolis (Alexandridou, 2009), since I had no access final publication, which is yet to appear. to the excavation diary. 88 chapter five which are marked with stone grave buildings found in trenches, but were burnt inside the (Fig. 53). Primary cremations dominate, but adult graves together with the deceased. An egg-shaped and children inhumations, as well as urn-burials, krater (Vári 75) and two amphorae found there are also reported (AA 1936: 123; AA 1940: 176). belong to the Nessos Painter and his circle (Vári The largest, indicated on the published plan as 796, 842; Callipolitis-Feytmans, 1985: 44-45). 24B is situated in the middle of the enclosure. Kalývia, probably inhabited from the Early Layers with ashes, charchoal, and burnt pottery Bronze Age, also occupies part of the Mesogaia are running parallel to the North and South walls plain and seems to have been an important sup- of the enclosure and among the graves at its East plier of agricultural products. Only an early sixth- side (BCH 61, 1937: 451; AA 1937: 122-123). century aryballos, included in Beazley’s catalogue, Black-figured lekanai and lekythoi dominate, dat- is associated with the site and was probably found ing to the mid- and late sixth century bce. Based in a grave (Kalývia 1340). Recent excavations led on the excavation diary it seems that two loute- to the discovery of a large nekropolis in use from ria decorated with animal friezes, which were the late eighth to the fifth century bce, as well as placed inside grave Γ8, belong to the period under a number of classical houses. However, no early consideration. A comparable louterion was found black-figured vases were published. Earlier dis- together with a lekane of the Ragusa Group (Vári coveries from the area include Protoattic vases 1189) and a number of Korinthian miniature oil and early sixth-century clay plaques (Mersch, and drinking shapes inside a large relief pithos 1996: 136-137; Tsaravopoulos et al., 2001; Tsara- placed next to the head of the deceased, which vopoulos & Papathanasiou, 2009). might have contained an infant burial. Anavyssos is an important settlement of South An adult inhumation, an adult cremation, a Attika, as indicated by the burial evidence that number of child graves, as well as a concentration dates back to the Middle Geometric period (Mer- of child urn-burials were found South of pedes- sch, 1996: 103-108; 1997: 57; D’ Onofrio, 1997: tal ΣΤ’, in an area oriented westwards by the 76). An early sixth-century horsehead amphora Eastern part of the enclosure wall and eastwards and an aryballos are reported to have been found by a retaining wall. They were covered by a wide in the area (Anavyssos 679, 1342). A tumulus, layer (pyre β-β) filled with intact and broken containing Geometric, seventh- and sixth-century vases, mostly Korinthian aryballoi and alabastra, burials has been examined (Kakavogianni, 1984). a unique clay ekphora chariot (Athens, National According to the archaeological report, an Museum, 26747), a number of locally made min- oinokhoe of a peculiar shape and a skyphos that iature supports (see for example Vári 1410. Fig. can be attributed to the Painter of the Old Women 54), a miniature standed lebes with mourners have been recovered from an amphora-urn (Ana- (Vári 141. Fig. 55), a louterion, two askoi in the vyssos 423). shape of a beast of burden with amphorae (Ath- At the mining district of Thorikos on the ens, National Museum, 19165 and 19190), clay Southeast coast of Attika, remains of buildings figurines of a horse with its rider, a dog, three and cemeteries dating back to the ninth century chariot wheels and clay shields. bce have been found. The burial evidence extends At Vári, another nekropolis in use from the to the late fifth century (Mersch, 1997: 54-57). last quarter of the eighth to the fourth century A cup decorated by a follower of the KX Painter bce, was excavated 800 meters to the South-East (Thorikos 473), a pyxis, and two supports of the of the North nekropolis. Some seventh- and sixth- Ragusa Group (Thorikos 1375, 1411-1412) and century finds were local products, as indicated an early sixth-century horsehead amphora by the colour of the clay and the application of (Thorikos 682) were found in graves (Mussche white paint on the surface (Kallipolitis, 1963; et al., 1967a: 25; 1967b: 31 ; 1968: 59; 1969; 1984: 1965). In contrast to the evidence from the North 72). The votive deposit excavated at the Myke- nekropolis, the early black-figured vases were not naian tomb I on the Velatoúri hill of Thorikos distribution of attic early black-figured pottery 89 revealed numerous fragments, dating from the century (Vourvá 63). Three lekanai Vourvá( 1199- first half of the seventh century to the first half 1201), a loutrophoros-amphora (Vourvá 1097), of the fourth century. The majority belong to the a chalice by Sophilos (Vourvá 603), a lekane by middle of the sixth. Korinthian miniature vases the KX Painter (Vourvá 1198), and a skyphos by and oil vessels, as well as Attic lekythoi dominate a provincial workshop date to the late first quar- among the finds. The earliest Attic finds are a few ter of the sixth century (Vourvá 425. Fig. 42). Protoattic skyphoi. A miniature skyphos and a Apart from these vessels, a marble base of a mid- fragmentary pyxis of the Ragusa Group (Thorikos sixth-century kore, signed by the sculptor Phai- 421, 1376) belong to the period under consid- dimos, was found next to the trench (Athens, eration (Mussche et al., 1968: 30-33, 37-39; De - National Museum, 91, Richter, 1960: figs. 284- villers, 1988: 74-75; Antonaccio, 1995: 110-112). 285; D’Onofrio, 1988: 85). An olpe in the manner of the Gorgon Painter is A tumulus, comparable to that at Vourvá, was reported from Laurion (Laurion 314). excavated at Velanidhéza (Stais, 1890c; Mersch, An early sixth-century globular aryballos has 1996: 217-218). Two late sixth-century marble been associated with a grave from the modern stelai (Athens, National Museum 29, Richter, area of Roútseri at Keratéa, North of Thorikos, 1961: figs. 155-158; Athens, National Museum recognized as the ancient demos of Kephale 30, Richter, 1961: figs. 159-160) and a number (Keratéa 1341). The finds from the nekropolis of sixth-century vessels, included in Beazley’s extend from the Geometric period to the fourth catalogues, point to sixth- and fifth-century bur- century bce (Buchholz, 1963: 455-498; Mersch, ial evidence from the area (ABV 467.15, ABV 1996: 138-140). A number of sixth- and fifth- 551.340, ABV 552.364, ABV 564.580, ARV2 110.5, century vases in Beazley’s catalogues, as well as 549.31, 678.19, 719.3, 844.157, 848.225, 1201.1). the Berlin kore (Berlin, Staatliche Museen, 1800, The only early sixth-century finds are two horse- Richter, 1960: figs. 139-146) and a kouros ( Athens, head amphorae, probably found in graves (Vela- National Museum, 1904, Richter, 1960: figs. 291- nidhéza 680-681). 292), were discovered in the area. In Northeastern Attika, Marathon and its fer- A chalice by the Anagyrous Painter in the Vlas- tile district preserved archaeological evidence tos collection, included in Beazley’s catalogue, is from the Neolithic era. A number of nekropoleis supposed to have been found at Spáta (Spáta were excavated in the area (Petrakos, 1995; Mer- 602). Excavations in the area revealed a number sch, 1996: 149-152). An olpe in the manner of of graves, going back to the Late Geometric the Gorgon Painter (Marathon 315) and a sky- period and continuing into the fourth century phos stylistically close to the Ragusa Group (Philadelpheus, 1920-1921; Mersch, 1996: 191- (Marathon 426) comes from the classical ceme- 192). tery of the site known as Skórpio Potámi, while Three kilometres Northeast ofSpáta , a tumu- contemporary miniature vessels accompany a lus, which cannot be located nowadays, was exca- number of children’s burials at Oinoe (Arapo- vated at Vourvá. It contained seven graves, none gianni, 1985: 207-228). Early black-figured finds of which revealed any offerings (Fig. 56). Besides are associated with the so-called tumulus of the grave A, a trench (Θ) contained an early sixth- Athenians, one of the most important monu- century lekane (Vourvá 1202. Fig. 57) and a con- ments of the area (Fig. 58). It has been associated temporary black-glazed olpe in a layer of ashes with the burial of the 192 Athenians who were and bird bones. An exceptionally long trench, killed in the battle of Marathon, based on the marked as I, was dug at the edge of the tumulus, material discovered within the cremation remains, which, unlike Θ, was not covered by it (Stais, composed of a layer of ashes, burnt bones, and 1890: 318-329). The earliest find is a skyphos- early fifth-century black-figured lekythoi (Stais krater by a companion of the Painter of Berlin 1893; Petrakos, 1995: 19-22; Valavanis, 2010 for A34 and is dated to the last quarter of the seventh a detailed account on relevant scholarship). Two 90 chapter five trenches (Γ, Ε) were found in connection with it. the earliest vases from the trench bear signs of A five-meter long brick trench, which contained secondary burning, and therefore the issue of ashes, bones of small animals or of birds and egg their chronological distance from the early fifth- shells, was found near the centre of the tumulus. century remains unsolved. On this basis, the Fragments of burnt vessels covered the entire association of the tumulus with the battle of trench. An amphora by Sophilos and a lekane of Marathon has been questioned and the idea of large dimensions are the earliest finds and have the reuse of an already existing archaic tumulus been dated to the first quarter of the sixth century was put forward (Mingazzini, 1974-1975; Mersch, (Marathon 797, 1195). A black-figured pyxis and 1995; Hsu, 2008). Although there is no reason to a hydria, dating to the middle and late sixth cen- disassociate the tumulus from the burial of the tury, were also found (Athens, Marathon Museum, 192 Athenians, the trench undeniably points to 764α, Petrakos, 1995: fig. 78; Athens, Marathon an early sixth-century funerary ceremony, which Museum, 762α, ABV 393.18, Petrakos, 1995: fig. predates the early fifth-century layer of ashes and 80), while the latest find is a red-figured cup, bones and could be connected with an Archaic attributed to Onesimos (Athens, Marathon burial. Museum, 848, CVA Athens, Musée National 1, In North Attika, Akharnai (modern Menídhi) pl. 13. 5). The second trench, not covered by the is of special interest. The earliest evidence goes tumulus, yielded animal bones and vessel frag- back to the Late Helladic period, while the exca- ments, but the poor state of preservation of both vated burials point to continuous occupation after the trench and its finds does not allow for a more the Mykenaian era. The archaeological evidence detailed description. An ovoid krater, which con- is richer from the fifth to the second century bce tained bones and ashes, occupied the centre of and extends to the Roman period (Mersch, 1996: the tumulus (Marathon Museum, 762β, Petrakos, 93-96; Platonos-Giota, 2004). A fragment of a 1995: 145, figs. 81-82). According to Stais, they horsehead amphora, dating to 580-570 bce, was belong to the strategos, Kallimakhos, or Stesilaos discovered in association with an ancient road (Stais, 1893). The krater has been seen as Bronze (Menídhi 683). Part of a nekropolis that was in Age, Protoattic, Eretrian or a product of a local use from the end of the eighth to the fifth century Attic workshop, influenced by Eretrian proto- bce was excavated at Dekeleias and Demosthe- types.4 It is much earlier than the corpus of the nous Streets, in the centre of the modern demos black-figured lekythoi. The early finds from the and late seventh-century fragments from an open brick trench puzzled researchers, but their inter- vessel were collected (Menídhi 1500. Patrinakou- pretation as relics is not satisfactory (Stais, 1893: Iliaki, 1989; Platonos-Giota, 2004: 120, 134-135). 56; Petrakos, 1995: 24). According to Whitley, the The most well-preserved and impressive already established trench-custom with elements Mykenaian tholos tomb known from Attika has of tomb cult has been adhered to, since the dead been excavated 3.5km South of Akharnai. A warriors were conceived as heroes (Whitley, number of early black-figured vessels and, more 1994b: 213-230). Comparing it with the evidence specifically, louteria were offered to the anony- from the polyandrion excavated at Salaminos mous deceased. Perfume, oil, and drinking vessels, Street, Valavanis (2010) concluded that the exist- as well as horse figurines, clay pinakes, and min- ence of the trench-vessels agrees with the practice iature terracotta shields were among the finds of placing unburnt offerings next to the ashes of dating from the Late Geometric period to the the dead and, therefore, the tumulus cannot be early fifth century (Wolters, 1898; 1899; Calli- connected with an earlier Archaic use. However, politis-Feytmans, 1965: 44-59; Antonaccio, 1995: 104-109; Boehringer, 2001: 118; Platonos-Giota, 4 According to Hsu (2008: 166), it is Mykenaian. In CVA 2004: 43, 116). Their high quality, indicating the Athens, Musée National 1, 7, Karouzou includes it as Pro- dedicators’ wealth, as well as of the importance toattic, view shared by Mingazzini (1974-1975: 11) too. The shape has been compared to the Eretrian examples: Vander- assigned to the deceased, remained unchanged. pool, 1946: pl. 67, no. 318; PΑΕ 1997: 23-24, pl. 9b. No epigraphic evidence identifies the deceased distribution of attic early black-figured pottery 91 and the cult was probably addressed to an imag- and Korinthos (Walter-Karydi, 1997). Athenian ined ancestor, imitating contemporary funerary and Korinthian pottery was found at the sanctu- practices (Antonaccio, 1995: 107; Boehringer, ary of Apollon and the town of Aigina (Kraiker, 2001: 111). The earliest louteria are Geometric. 1951; Felten, 1982), while some of the Protoattic Two richly decorated examples of large dimen- vessels, now in Berlin (CVA Berlin, Antiquarium sions have been assigned to the Gorgon Painter 1), probably derive from graves around the island and Sophilos (Menídhi 244-245). The Geometric (cf. Morris, 1984: 4-8 on the contexts of the vases and Protoattic graves, excavated in the area, point from Aigina). to the existence of a settlement at Menídhi, whose Attic vase exports to Aigina were continuous continuity is reflected by the chronological range during the seventh and sixth centuries. The ear- of the finds from the tholos tomb (D’Onofrio, liest black-figured fragments have been associated 1997: 72). with the Painter of Berlin A34 (Aigina 69, 224- Another site in North Attika is Kephisiá 225, 1447, 1513-1514) and the Nessos Painter (Mersch 1996: 140-141). According to Beazley’s (Aigina 70, 226, 247, 643, 1208, 1419-1421, 1515). catalogue, a Komast cup comes from the area Primarily they are large open vessels and sup- (Kephisiá 474). The vase was probably found in ports, and are associated with mortuary contexts. a grave. Recently, rescue excavations brought to A number of vases by the Gorgon Painter and light a large cemetery, which had been in con- his circle were dedicated at the sanctuary, with tinuous use from the Middle Geometric period olpai and lebetes being the dominant shapes to the fourth century bce. A number of richly (Aigina 143-145, 319-327, 803). By the end of the furnished Geometric graves have been presumed first quarter of the sixth century, lekanai and cups to belong to an aristocratic family of Kephisiá, become common. while the Protoattic ceramic evidence points to The Aiginitans apparently appreciated the the existence of a wealthly local community dur- quality of the Attic vases and considered them ing the seventh century. No early black-figured ideal offerings for their gods and their dead. The vase is known as yet (Skilardi, 2005; 2009). size and elaborate decoration of the seventh- A few early black-figured finds were discovered century examples from the nekropoleis are at the West Cemetery of Eleusis, 750 meters demonstrative of the wealth and taste of the pur- Northwest of the Telesterion, where the earliest chasers (Walter-Karydi, 1997: 393). burials belong to the second half of the Middle Helladic period and continue into the Late Hel- Korinthia ladic. A few Geometric burials have been inves- tigated, while 21 graves date to the seventh and The earliest known Attic black-figured imports sixth centuries; with the exception of one crema- that have been recovered from wells in Korinthos tion, the rest are urn-burials of children (Mylo- are by the Gorgon Painter and his circle (Ko - nas, 1975: 205-300). A large amphora by the rinthos 328). The KX Painter, the circle of Sophi- Nessos Painter was used as a child’s urn (Eleusis los, and the Group of the Dresden Lekanis are 638), while two small early sixth-century pyxides also represented (Korinthos 90, 146, 1357). furnished a pot burial (Eleusis 1377-1378). Komast cups and skyphoi form the majority of the finds. Attic drinking vessels, especially cups, continued to be imported in large numbers dur- DISTRIBUTION OUTSIDE ATTIKA ing the sixth century (Brownlee, 1987). In contrast to the evidence from the Korinthian Aigina wells, only one Attic Pre-komast cup is known The island of Aigina is the only site outside Attika from the North Cemetery (Korinthos Museum, that yielded a significant quantity of Protoattic T1488, Blegen, Palmer & Young 1964: pl. 20. 148- pottery. Aigina produced cooking pots for local 2). The nekropolis was in continuous use from use and imported painted vessels from Athens the eighth century to the Roman period. Imported 92 chapter five wares first appeared during the first quarter of to the late first quarter of the sixth century is an the sixth century and from its second quarter, interesting case (Perakhóra 445). The dominance Attic imports occupied an important place. The of Attic drinking vessels in Perakhóra agrees with predominance of drinking vessels is explained by the evidence from Korinthos and the North cem- the choice of the vase-shapes that were placed in etery (Dunbabin, 1962: 334-335; Hannestad, 1992: graves; Korinthian skyphoi or cups were consid- 157-158). ered essential parts of sixth-century grave fur- The sanctuary of Poseidon at Isthmia, probably nishings (Blegen, Palmer & Young 1964: 13, 80, under Korinthian control, had attracted dedica- 98; Hannestad, 1992: 152-155). tions from the second half of the eleventh cen- The sanctuary of Demeter and Kore on Akroko- tury. Most of the excavated ceramic material is rinthos, where cult activity was already estab- Korinthian and only a limited quantity comes lished by the third quarter of the eighth century, from elsewhere, evidently the personal belongings received Attic products only from the second of the visitors (Gebhard & Hemans, 1992; Geb- quarter of the sixth century, with Siana cups being hard, 1993: 166; Morgan, 1994). SOS amphorae the earliest. The majority of finds, mainly cups and a Protoattic krater fragment are among the and skyphoi, belong to the late sixth and early late-eighth- and seventh-century finds, and the fifth centuries (Pemberton, 1989: I). discovery of a Komast cup has been reported The excavations at the sanctuary of Hera at (Isthmia 493). Attic imports are continuous until Perakhóra, located on a promontory, projecting the fourth century bce (Arafat, 1999: 56).6 A few into the Korinthian Gulf, resulted in the discov- early sixth-century Attic vases were discovered ery of a large number of votive offerings. The in sarkophagos-graves of the cemetery, West of earliest are Early Helladic, although they are not the village of Kyrá Vrýsi. The excavated burials convincingly connected with any cult activity. date to the sixth and fifth centuries and contained Middle and Late Geometric pottery was found Attic and Korinthian pottery (AD 23, 1968, in the deposit of the harbour area, and was asso- Khron.: 142-143; AD 24, 1969, Khron.: 119; Cle- ciated with the earlier temple. The post-Geomet- ment & Thorne, 1974: 401). A cup by the KY ric material, including early Attic black-figured Painter (Isthmia 494) and two plain Komast cups pieces, was recovered from the terrace East of of the second quarter or the middle of the sixth the harbour, where the hestiatorion was situated. century are the earliest finds (Isthmia, IPG-68-90 The majority of the ceramic material is Korin- and Isthmia, IPG-68-91 from the grave I-37). thian, since the sanctuary attracted mostly local Although it has been suggested that the graves worshippers. Alabastra, aryballoi, pyxides, and belong to Athenians, who favoured Isthmian kotylai were among the most common dedica- Games (AD 24, 1969, Khron.: 119), the vessels tions. By the early sixth century, Attic pottery could have been brought from Korinthos and dominates, outnumbering all other non-Korin- accompanied local deceased. thian (mainly East Greek and Lakonian) pottery (Payne, 1940; Dunbabin, 1962; Baumbach, 2004: Central Greece 13-16). Two olpai, attributed to the circle of the The finds from neighbouring Boiotia that date Gorgon Painter, are the earliest Attic finds Pera-( within the period under consideration are khóra 330-331), followed slightly later by Komast isolated. A lekythos and an amphoriskos by skyphoi and cups (Perakhóra 440-444, 484-492), the Istanbul Painter, who seems to have immi- some of which have been assigned to the KY grated to Boiotia at some point during his career, Painter.5 The skyphos with dancing women, were found in Boiotia (Boiotia 1321, 1361). The possibly a product of an Attic workshop, dating amphoriskos, now in Bonn, was probably made

5 Beazley includes in his catalogue eleven feet or fragments of feet from Komast cups: ABV 36.8-18, assigned to 6 The final publication of the archaic pottery from Isth- Komast Group VIII. mia is in preparation. distribution of attic early black-figured pottery 93 in Boiotia, while the lekythos might have been sanctuary at Vryókastro, the site of the ancient among the painter’s belongings brought from capital of Kythnos (Mazarakis Ainian, 2005; Athens (Kilinski II, 1978: 12-13; 1990: 4-5, 13). Maza rakis Ainian & Mitsopoulou 2007). Apart A black-figured lekythos was found at the nekro- from this lekane, the unpublished early black- polis of Rhitsóna, where the majority of the finds figured finds include some lekanai of the late first are Korinthian (Rhitsóna 1320). Most Attic vases quarter of the sixth century and a Komast cup. found there are dated to the late sixth and fifth They were found together with seventh-century century (Ure, 1934: 19-45). A lekane by the KX East Greek and Kykladic, as well as Early and Painter comes from Thebes, most possibly from Middle Korinthian, vases. The main corpus of a grave, if judging from its state of preservation Attic vases dates after 560 bce. (Thebes 1218). Early Attic black-figured oil vessels were found A signed fragmentary lebes by Sophilos (Phár- at the sanctuary of Hera on Delos, where cult salos 147), repaired in antiquity, is an important activity goes back to 650 bce. Until the second find. It was discovered close to an enclosure wall half of the sixth century, when Attic pottery in the area Palaiókastro of Ambélia, 9 km East dedications took the lead, Korinthian vessels con- of Phársalos, where the existence of a local cult stituted the majority, followed by Kykladic, and of Akhilleus has been assumed (Bequignon, 1931: East Greek. Small oil containers, as well as cups 492-493; 1933; Decourt, 1990: 210-214; Katakouta and skyphoi, were very common. The earliest & Toufexis, 1991: 54-55; De la Genière, 1995). It Attic finds are olpai of the Group of Early Olpai may have been a special commission, judging by (Delos 332-333) and aryballoi (Delos 1343-1344. the Thessalian elements of the inscriptions and Dugas, 1928: 4-8). the association of the iconographic theme with According to Bikakis (1985), who studied its context (Baurain-Rebillard, 1999). the Greek pottery in the Naxos and Paros In Central Greece, early black-figured vases are museums, a fragment of a plate and a small open known only from Delphoi. The earliest bronze vessel found on Naxos date to the first quarter votives from the sanctuary of Apollon, indicating cult activity, date to the early eighth century bce. of the sixth century (Naxos 1307, 1518). The plate The earliest pottery finds belong to the middle fragment comes from Aplómata, an area identi- of the century and include Ackhaian, Thessalian, fied as the cemetery of the early town of Naxos, Euboian, Argive, Attic, and Korinthian Geometric and the second fragment from Kamináki, where wares (Perdrizet, 1908: 134-139; Morgan, 1990: the Delion of Naxos was probably situated 106-147). During the seventh century, the major- (Bikakis, 1985: 6-10, 14-18, 131-133, 168-170). ity of the imported vessels are Korinthian and Based on Beazley’s catalogue, an olpe of the East Greek. The earliest known Attic finds are Group of the Early Olpai, now in Brussels, was Komast cups, some assigned to the KY Painter discovered on Melos (Melos 334). Other early (Delphoi 495-500. Brijder, 1983: cat. nos. K46- black-figured finds from the Kyklades are not K50b. These are six out of the sixteen fragments known. that Beazley includes in his catalogue: ABV 36. An early sixth-century louterion, probably the 20-35). A lekane by the KX Painter comes from earliest Attic find from the island, was found at a tomb (Delphoi 1217). Later in the sixth century, the nekropolis of the Garítsa area on Kerkyra the imported cups, skyphoi, lebetes, amphorae (Kerkyra 250). The excavated graves date to the and lekythoi from the nearby cemeteries are Attic seventh and sixth centuries. Most of the grave (Perdrizet, 1908: 154-162; Amandry, 1991: 227- gifts are locally-produced vases, but Korinthian 240). and Etruscan vessels are also present (ΑD 17, 1961/1962, Khron.: 204; ΑD 23, 1968, Khron.: Islands 313-315). A lekane of the Ragusa Group (Kythnos 1219) The sanctuary of Athena Polioukhos on the is among the finds at the recently excavated akropolis of Gortyna yielded a lebes, attributed 94 chapter five to the circle of Sophilos (Gortyna 149). During date from the 570s to the end of the sixth century. the seventh century, Kretan pottery dominated Korinthian drinking and oil vessels, Khiot chal- and imported vases were rare. The Attic lebes is ices, and Etruscan bucchero were also found followed by a band cup of the third quarter of (Sismanidis, 1987; 2000). the sixth century (Rizza & Scrinari 1968: 98-114; An olpe assigned to the Gorgon Painter is the Johannowsky, 2002: 47-48). The lebes could have earliest Attic import to Thasos, followed by a been dedicated to the goddess by an Athenian or number of cups by the KY Painter and his fol- a Kretan with strong links to Athens, after a vic- lowers (Thasos 338, 504-505). They are mostly tory in a horse race. The choice of the shape con- associated with the Artemision, where votives forms to the large number of seventh-century date from the seventh to the second quarter of Kretan lebetes from the sanctuary. Recent exca- the fifth century bce. Among the offerings were vations have revealed sixth-century Attic, Korin- Korinthian aryballoi and jugs, cups and plates thian and Lakonian pottery from a number of from Eastern Greece and the Kyklades. The sites around the island (Erickson, 2005). majority of the Attic vessels date to the second half of the sixth century (Salviat & Weill, 1960; Northern Greece Maffre, 1990; 1991). An early sixth-century black- glazed amphoriskos was found in a pithos burial According to Beazley’s catalogues, an olpe by the at Skála Sotíros (AD 27, 1972, Chron.: 520-525). Gorgon Painter, now in the Louvre, comes from East Greek, Kykladic, Ionian, and Korinthian pot- the region of Khalkidike (Khalkidike 336). A frag- tery were imported to Thasos from the middle mentary skyphos by the KX Painter was discov- of the seventh century. From the second quarter ered at Sáni Pallínis, which received Greek pot- of the sixth, the increasing number of Attic vases tery imports from the eighth century bce (Sáni influenced local production (Ghali-Kahil, 1960: 446. For the Attic finds from the sanctuaries at 17-39, 49-50, 73; Grandjean & Salviat, 2000: 283- Sáni: Tiverios, Arvanitaki & Voutiras, 2009: 150- 291). 151). These come primarily from the islands, but A fragment of the Komast Group (Kavála from the second half of the seventh century Ko- 1519) was found at the sanctuary of Parthenos rinthian vessels take the lead. The establishment in Kavála, ancient Neapolis, which was founded of Poteidaia by the Korinthians around 600 bce by Thasians in the middle of the seventh century. probably facilitated Korinthian imports. Attic Kykladic, Rhodian, Ionian and Korinthian vessels vessels replace Korinthian only from the middle were discovered, while cups constitute the major- of the sixth century, with the majority dating to ity of the late-sixth-century Attic vases (PΑΕ 500 bce (Tiverios, 1989b; Tiverios, Arvanitaki & 1937-1938: 59-67; Bakalakis, 1938; AD 17, 1961- Voutiras, 2009: 153-154). 1962, Khron.: 235-238; ΑD 19, 1964, Khron.: 370- The settlement ofKarabournáki in the centre 372; Lazaridis, 1969: 13-20). of the Thermaic Gulf revealed a few early Attic black-figured vases; a lebes of the circle of Sophi- Western Asia Minor and neighbouring islands los, an olpe or an amphora with a horse protome, (Tables 7.1-7.3) and two Komast cups (Karabournáki 148, 337, 502-503). During the seventh and sixth centuries, The majority of the Attic pottery excavated from Korinthian and East Greek vessels are imported, the Troad dates to 560-530 bce. The earliest followed by transport amphorae from Khios, import, a lekanis’ lid of the circle of Sophilos Samos, and Klazomenai. The earliest Attic finds (Troia 1220), comes from Troia (Korfmann, 1988; are seventh-century SOS amphorae (Tsiafakis, Kossatz, 1988). Almost contemporary is another 2000; Manakidou, 2003). The archaic nekropolis fragment (Troia 1521), erroneously dated to 620- at Ayía Paraskeví, 25km East of Thessaloniki, 600 bce (Tuna-Nörling, 1995: 103-105). An unat- yielded an olpe of the Ragusa Group (Ayía Para- tributed cup, dating to 580 bce, was discovered skeví 335). The graves were richly furnished and at Methymna, a settlement on the Northernmost distribution of attic early black-figured pottery 95 tip of the island of Lesbos (Lesbos 509). An early eighth-century imports (Anderson, 1958-1959; sixth-century Attic plate fragment (Lesbos 1308) Cook, 1958-1959). The earliest Attic black-figured came to light on the akropolis of Mytilene find is a fragment of a neck-amphora attributed ( Williams & Williams, 1985; 1986; 1987; 1988; near the Nessos Painter (Smyrna 805). The Gor- 1989; Schaus, 1992). Here, Attic imports, in par- gon Painter and his circle, the KX Painter, the ticular, cups and skyphoi, dominated, but they Group of the Dresden Lekanis, and Sophilos are are mostly dated to the last quarter of the sixth also represented (Smyrna 157-163, 516-517, 847- or the first quarter of the fifth century. Seventh- 848, 878, 1225-1229). Lekanides are predominant, and sixth-century imported pottery was rare, due but a variety of early sixth-century shapes was to the dominance of Aiolic grey wares, but a found, including amphorae, hydriai, lebetes, and number of Ionian cups and a few Korinthian kraters. By the second quarter of the sixth until fragments were found. Later in the sixth century, the first quarter of the fifth century, cups are the Attic vases overshadowed other Greek imports most common shapes (Boardman, 1958-1959; (ΑD 28, 1973, Khron.: 507-520; Buchholz, 1975; Tuna-Nörling, 1995, 108). Spencer, 1995: 293, 301). The majority of the seventh-century pottery The nekropolis of Pitane has yielded most of imports excavated from Klazomenai are East the Attic black-figured pottery that is known from Greek drinking cups and Korinthian oil vessels, Aiolia, together with Korinthian, East Greek, and mostly found in graves (Ersoy, 2000; 2007). The local pottery. A lebes and some olpai in the man- Attic vases from the settlement on the akropolis ner of the Gorgon Painter are the earliest Attic of Klazomenai date from the early sixth to the finds. There are also four cups by the KY Painter, early fifth century. Three olpai by the Gorgon an amphora, and a lekythos by the Painter of Painter, a column-krater, two cups, and two leka- Berlin 1659 (Pitane 510-514, 844, 1322. Tuna- nides (Klazomenai 345-347, 95, 521-522, 1231- Nörling, 1995: 53-54, 105-108). 1232) belong to the earliest finds (Tuna-Nörling, The Attic imports from Phokaia are compara- 1995: 111; 1996). ble to those from Pitane. A variety of shapes was A horsehead amphora from the sanctuary of revealed. A lebes and an olpe in the manner of Athena at Miletos belongs to the period under the Gorgon Painter (Phokaia 151, 343) are fol- consideration (Miletos 698). A lebes and an olpe lowed by an amphora, two lekanai by the KX by the Gorgon Painter, as well as three slightly Painter (Phokaia 644, 1221-1222), and a cup by later lebetes, two of which can be assigned to the KY Painter (Phokaia 515). The Painter of Sophilos and the KX Painter, were discovered at Berlin 1659 is also represented (Phokaia 94, the sanctuary of Aphrodite on modern Zeytin- 1224). A louterion by Sophilos is an exceptional tepe, together with East Greek and Korinthian find, since the shape is only found twice outside pottery (Miletos 166-169, 349).7 A fragmentary of Attika (Phokaia 251). Although absent during lid (Miletos 1233), probably of the circle of Sophi- the early sixth century, cups are predominant los was found at the archaic nekropolis of Mile- from the middle of the century (Tuna-Nörling, tos, together with sixth-century Attic and Ionian 1995: 107-108; 2002). pottery (Müller-Wiener, Göksel & Graeve, 1988). An isolated fragment of a lebes or a krater dat- Attic pottery is imported on a more regular basis ing to 590-580 bce is the earliest Attic import only from the second quarter of the sixth century. from Larisa (Larisa 156). The Aiolic nekropoleis The earliest Attic finds from Ephesos and Didyma of Gryneion, Myrina, and Kyme revealed vessels date later in the sixth century (Tuna-Nörling, that date to the second and third quarters of the 1995: 111). century (Tuna-Nörling, 1995: 108). The Greek occupation at Smyrna becomes 7 For the sanctuary of Aphrodite and further bibliogra- denser during the eighth century bce. Attic Late phy, see Senff, 2006. The information on the early black- figured finds from the sanctuary of Aphrodite was kindly Geometric pottery, Khiot transport amphorae, provided to me by Norbert Kunish, who is responsible for and Early Protokorinthian vessels are among the the publication of the pottery and whom I warmly thank. 96 chapter five

Early Attic black-figured fragments of excep- (Ialysos 1242-1243, 1359). Although the cup tional quality in a variety of shapes come from dominates from the middle of the sixth century, the sanctuary of Hera on Samos. From the end Komast cups as such are absent. A horsehead of the eighth century, the sanctuary received a amphora dates probably to the second quarter of large number of votive offerings, including Attic the sixth century, when Athenian imports grad- Late Geometric vases. During the seventh and ually increase. An unattributed aryballos (Kamei- sixth centuries, East Greek shapes and Korinthian ros 1345) and a lekythos by the Painter of Berlin aryballoi are found (Walter-Karydi, 1968; Tech- 1659 (Kameiros 1323) are reported from the nau, 1929; Eilmann, 1933; Isler, 1978b; Shipley, nekropolis of Kameiros (Gates, 1979: 36-37; 2003: 42-61). The earliest Attic black-figured frag- Lemos, 1997; Lemos, 2007: 15-16). Attic early ment has been attributed near the Nessos Painter black-figured vessels were dedicated to the sanc- (Samos 646). Despite the large number of olpai tuary of Athena Lindia on the akropolis of Lindos, of the circle of the Gorgon Painter that have been where cult activity dates back to the ninth cen- found at many sites, such as Naukratis, only one tury. A large quantity of seventh- and sixth-cen- example was found on Samos (Samos 350). Many tury pottery dedications come from East Greece. vessels, in particular richly decorated cups, have Korinthian miniature skyphoi and cups that been assigned to the KX Painter and his circle might have served for libations were very com- (Samos 523-534). Unlike the KX Painter, Sophi- mon (Blinkenberg, 1931: 26, 31, 215-334; los is poorly represented at the Heraion. Most of Κarouzos, 1973: 109-133; Konstantinopoulos, the Attic shapes are sympotic and seem to have 1972; 1986). In contrast to the evidence from the been used for ritual dining that took place in the nekropoleis, three Komast cups, all assigned to sanctuary (Kreuzer, 1998a: 32-41). The large the KY Painter, were found at the sanctuary (Lin- number and the quality of the Attic pieces dem- dos 535-537). A fragment by Sophilos has also onstrate the sanctuary’s importance. It is not clear been associated with it (Lindos 172). whether the vases were brought by the worship- Imported Korinthian and East Greek wares are pers or were imported by Samians and bought found at Sardis, the Lydian capital, from the on the island (Tuna-Nörling, 1995: 112). eighth century, but Attic pottery remains limited A few early sixth-century Attic vases were until the middle of the sixth. A lebes near the found at the nekropoleis of Ialysos and Kameiros Gorgon Painter (Sardeis 173) and an olpe by a and the sanctuary of Athena Lindia. Alfred Biliot ti follower of the Early Olpai (Sardeis 355) are the and August Salzmann excavated Kameiros from earliest finds, followed by slightly later vases by 1859 to 1865, but the results were never fully KY Painter (Sardeis 96, 1244), lebetes and ampho- published (Salzmann, 1861; 1867; 1875). Three rae by Sophilos and his circle (Sardeis 174-175, olpai and an amphoriskos of the circle of the 855. Tuna-Nörling, 1995: 117; Ramage, 1997: 3-7, Gorgon Painter, included in Beazley’s catalogues, 65-67). were probably discovered in the course of the Although most of the Attic imports from the nineteenth-century excavations (Kameiros 351, akropolis of Xanthos belong to the last quarter Lindos 352, Rhodos 353-354, Kameiros 1362). It of the sixth century, a neck-amphora by the Gor- is the sample from the later Italian excavations gon Painter (Xanthos 808), a column-krater that form a reasonable basis for the study of the (Xanthos 97) and a number of horsehead amphora Attic imports in the island (Laurenzi, 1929; 1936; were found (Xanthos 701-703). Cups, amphorae, Jacopi, 1931; 1932-1933). According to their hydriai, olpai, lekanides, and lekythoi are the results, East Greek imports were found, but Ko - primary sixth-century shapes. Rhodian pottery rinthian oil vessels were the most common grave and Ionian cups predate the earliest Attic imports, offerings, becoming rarer only after the middle going back to the seventh century. Only two Ko- of the sixth century bce. Two lekanides by the rinthian fragments are known (Metzger, 1972: KX Painter and an exaleiptron by the Kerameikos 188-194; Tuna-Nörling, 1995: 115). Painter from Ialysos are the earliest Attic finds distribution of attic early black-figured pottery 97

Eastern Mediterranean agreed that Naukratis must have been founded during Psammetikhos’ reign (664-610 bce), pos- The earliest Greek pottery known from Cyprus, sibly under the leadership of Miletos. Herodotos is Attic and Euboian Geometric. The late seventh- (2.178-179) distinguishes the residents in Egypt century East Greek and Korinthian imports are from the seasonal traders, who were allowed to not numerous. The earliest Attic black-figured erect sanctuaries, and refers to the poleis that vases belong to the early sixth century and become founded them. It seems that Naukratis was both dominant only after the middle of the century a polis and an emporion, given to the Greeks by (Gjerdstad et al., 1977; Sørensen, 1988; 2001). A the Pharaoh, supervised by his officials and pop- horsehead amphora comes from Salamis (Cyprus ulated by traders from different Greek poleis 704). A Komast cup and an unattributed krater (Möller, 2000: 184-196; 2001; 2005; Hansen, 2006 were found at Amathous (Cyprus 538, 228). The and Demetriou, 2005, in general for archaic Greek majority of Attic vases from Cyprus come from emporia). Marion; the earliest is a lekythos (Cyprus 1324), The excavations at Naukratis revealed an im - decorated in the manner of the Gorgon Painter portant amount of Greek pottery; East Greek, (Perreault, 1986: 166). A skyphos by the KX Rhodian, Milesian and Khiot wares predominate, Painter (Cyprus 453) has been associated with while Korinthian and Lakonian pottery is scarce. the royal tombs at Tamassos (Nicholls & Buch- The earliest Attic imports date to the late seventh holz, 1978: 162-164). century, as shown by an olpe and a lebes (Nau- A number of sites on the Levantine coast kratis 356, 176). By the early sixth century a vari- yielded imported Greek pottery, with the seventh- ety of shapes are found including olpai, lekanai, and sixth-century fragments coming from East column-kraters, and lebetes. The shapes are com- Greece and Corinth (Waldbaum, 1993). Tell parable to those from Western Asia Minor. Most Sukas is the only site that has revealed early Attic of the Attic painters are represented. The vases black-figured pottery. Two fragments belong to by the Kerameikos Painter are of special impor- the early sixth century (Tell Sukas 1522-1523). tance, since, with the exception of imports to The Attic imports increased by the second quar- Samos, the vast majority remained in Attika. ter of the century and by 525 bce dominated at Although most of the imported Attic vases date the coastal areas of Syria. The finds from Tell to 560-530 bce, Naukratis seems to have been a Sukas are associated with a Greek sanctuary, major market for early sixth-century pottery; two established during the last quarter of the seventh thirds of the overseas exports are by the Gorgon century. Korinthian, East Greek and Khiot vessels Painter and his circle, almost half the production were found, but the majority is Rhodian. The by the Group of the Early Olpai, and many vases earliest imported Greek pottery from the habita- by the Kerameikos Painter were found there tion quarters, dating to the eighth century, comes (Venit, 1982: 32-39, 177-179; 1984: 141-144; 1988: from Korinthos, Euboia and the Kyklades (Riis, 67-71; Tuna-Nörling, 1995: 135, 150-157; Möller, 1970: 46-50, 126-127; Ploug, 1973: 92-97, Per- 2000: 127-135). reault, 1986: 151, 155, 165). Greek presence has also been attested at the Egyptian Tell Defenneh, but the pottery finds, North African coast: Egypt (Tables 8.1-8.3) mostly dating after 570 bce, indicate that the site Pottery dating to the middle of the third quarter served as a settlement. The association with the of the seventh century provides the earliest evi- stratopeda referred to by Herodotos (2.30) has dence for Greek presence in Egypt. The date is been questioned and, although the fine-decorated confirmed by the finds at Naukratis. The exca- pottery that has been discovered does not suggest vated material does not support Herodotos’ an exclusively military establishment, Greeks account (2.152-154), which ascribes the founda- might have served as mercenaries at this Egyptian tion of Naukratis to Amasis. It is now generally fort (Venit, 1982: 567-570; Boardman, 2000: 133- 98 chapter five

134; Möller, 2000: 34-35, 204-205). Two panel The Black Sea area (Tables 9.1-9.3) amphorae decorated with male protomes and a Based on the most recent archaeological finds, number of horsehead amphorae are the only early the Greek presence in the Black Sea area goes sixth-century Attic imports (Tell Defenneh 708- back to the early seventh or even the late eighth 716). They were found together with East Greek century bce, during a period of exploration (Pe - fine pottery and transport amphorae. tropoulos, 2005: 15-74), before the establishment of the earliest colonies (Tsetskhladze, 1994; 1998). Kyrenaike Ionian Greeks were involved in the foundation The extramural sanctuary of Demeter and Kore of the settlements in the area, as confirmed, in at Kyrene was probably established about a gen- part, by the dominance of East Greek fabrics until eration after the founding of Kyrene, traditionally the first two thirds of the sixth century, when dated to 630 bce (Schaus, 2006). The earliest Attic products begin to take over. The majority imported fine-decorated vessels from Korinthos, of the excavated pottery comes from East Greek Lakonia and East Greece date to 600 bce. The workshops and the main shapes are sympotic. earliest Attic import is a horsehead amphora Korinthian shapes are limited and they are mostly (Kyrene 719), followed by slightly later vases oil-vessels. Attic imports, quite limited until the assigned to the KY Painter, the Komast Group, middle of the sixth century, also satisfied the local and Sophilos (Kyrene 115, 547, 1262-1263, 1529- needs for drinking sets (Bouzek, 1990: 86-91; 1530). Lekanai, a single cup, and a column-krater 1996; 2007). are the early sixth-century shapes. The large quan- The earliest known Attic find from the Black tity of imported Korinthian and East Greek ves- Sea area is a lebes’ fragment dating to the late sels probably explains the scarcity of Attic ware seventh century from Histria, which was founded (Schaus, 1985: 92-95; 2006; Moore, 1987: 2-4; by Milesians on the West side of the area (Histria Kocybala, 1999: 1-3, 97). 191). The earliest East Greek ceramic evidence The deposits at the sanctuary of Demeter and suggests a foundation date around 630 bce. The Kore at Tocra, the ancient polis of Taucheira, early sixth-century fragments are of exceptional which was founded by Kyrene on the coast of quality and mostly belong to lebetes and lekanai Kyrenaike, contained pottery from a number of (Alexandrescu, 1973: 23-24; 1978: 19-21; 2003: Greek centres: Korinthos, Thera, Krete, Lakonia, 279-284). and Rhodes. Korinthian imports form the major- The island of Berezan, probably a peninsula ity. The earliest date to 620 bce. An olpe, deco- during ancient times, situated South-East of rated in the manner of the Gorgon Painter (Tocra Odessa, is the earliest colony in the North of the 378), an amphoriskos by the Painter of Istanbul Black Sea. Its foundation by the Milesians is dated 7314 (Tocra 1363), a horsehead amphora (Tocra to the third quarter of the seventh century based 718), and a Komast cup are the earliest Attic on the existence of the earliest Wild Goat style decorated finds (Tocra 546). A Pre-komast cup vases. Attic imports span the entire sixth century of type C and a plain Komast cup of type A date (Gorbounova, 1973; Kocybala, 1978: 205-211; also to the first quarter of the sixth century Boardman, 1998c: 201-204; Solovyov, 1999; 2001: (Boardman & Hayes, 1966: fig. 62. 1306 and 117; Kryzhytskyy et al., 2003). The earliest can 1336). In contrast to the Attic evidence from be assigned to the circle of the Gorgon Painter Kyrene, no large vessels or lekanides were found, (Berezan 860-861. Fig. 59) and not to Sophilos while cups are more numerous. Moreover, the (Skydnova, 1957: 48-49). A cup in the manner Gorgon Painter is represented at Tocra, but not of the KX Painter (Berezan 551), a fragment of at Kyrene. The Attic imports continue until a column-krater by the KY Painter (Berezan 116), around 520 to 510 bce, with the cup as the dom- a lebes’ support by Sophilos (Berezan 194) and inant shape (Boardman & Hayes, 1966: 20-22, an oinokhoe of the Ragusa Group (Berezan 267) 41, 57). follow. distribution of attic early black-figured pottery 99

Apollonia Pontike is another Milesian colony at the nekropolis of Banditaccia revealed two on the Bulgarian side of the Black Sea. It was olpai of the Group of the Early Olpai (Cerveteri founded at around 610 bce, as confirmed by the 381-382). The Attic vases were succeeded by excavated material from the nekropoleis. Drink- locally produced vessels, Etruscan bucchero, and ing cups are more common than large vessels. a few Lakonian, Khiot, and Korinthian vases. The From the end of the sixth century, the lekythos last finds date to the third quarter of the fifth became the primary shape. The earliest Attic find century (Ricci, 1955; Reusser, 2002: 58). An am- is a column-krater by Sophilos (Apollonia Pon- phora of the circle of the Gorgon Painter (Cer- tike 117), which was found at a nekropolis of veteri 862), found together with bucchero, Ionian Apollonia on the small island of Saint Cyriace cups, Lakonian vases and imports from Naukra- (Frel, 1960; Reho, 1990: 23-24, 35; Nedev & Pana- tis furnished a grave at Cerveteri (Cristofani, yotova, 2003: 95-99). 1985: 195-199). Another tomb yielded a Komast The earliest Greek pottery from Olbia belongs cup, akin to the KY Painter (Cerveteri 552). A to the end of the seventh century, but the city number of horsehead amphorae are said to have seems to have been fully established only by the been found at Cerveteri, of which only one dates end of the first quarter of the sixth century with to the early sixth century (Cerveteri 721). Five settlers from Berezan. The earliest known Attic cups by the KY Painter and his circle are also imports are a horsehead amphora fragment associated with Cerveteri (Cerveteri? 553-557). (Olbia 720) and two fragments (Olbia 1531-1532. Although the nekropoleis of Vulci yielded a sig- Fig. 60) that can be assigned to the circle of the nificant number of Attic vases, only a few horse- Gorgon Painter (Kocybala, 1978: 228-229). head amphorae belong to the early sixth century Although Daskyleion is situated in Asia Minor, (Vulci 722-727). A variety of shapes are dated it probably belonged to the trade routes leading later in the century; amphorae and cups dominate to the Black Sea and, therefore, will be included (Hannestad, 1988: 116-117; Reusser, 2002: 49-55). here. The earliest Attic imports are a lebes and a Five monumental tumuli were excavated in the lekane in the manner of the Gorgon Painter area of Cortona. Seventh- and sixth-century (Daskyleion 189, 1264). A number of the finds Etrusco-Korinthian vases were found together come from the vicinity of a temenos, probably with Attic black- and red-figured vessels (this is the case of tomb A and B at Camucia: Grassi, associated with Kybele, while others are con- 1992a; Pacini, 1992). Tumulus II in the area of nected with the Satrape Palace. Until the middle Sodo revealed a number of early sixth-century of the sixth century, Attic imports were limited, Attic finds, followed by a few Bucchero plastic overshadowed by the large numbers of Korin- figures. The earliest Attic finds have been assigned thian pottery. The Attic shapes are mainly sym- to the circle of the Gorgon Painter (Cortona 195, potic and do not seem to have a special connec- 863, 1270). Column-kraters, lebetes, amphorae, tion with the cult of the goddess (Tuna-Nörling, and lekanides were among the finds. These large 1999: 9, 15-17, 20-21; 2001; Görkay, 1999: 14-16, sympotic shapes, rare elsewhere in Etruria at that 22-25). time, point to the wealth of the deceased and the special connections between Attika and Cortona Etruria (Tables 10.1-10.3, Map 6) (Grassi, 1992b; Paribeni, 1992). The earliest Attic vessels from Etruria were found The earliest Greek imports to Chiusi are Ko - at Cerveteri. A number of SOS transport am - rinthian and date to the middle of the seventh phorae date to the seventh century, while an century (Christofani, 1987: 283-230; Rastrelli, amphora fragment by the Nessos Painter (Cer- 1993). They were, however, rare and of inferior veteri 862) is the earliest known black-figured quality in comparison to the Attic (Paribeni, import from the Western Mediterranean (Reusser, 1993: 265). The sixth-century Attic imports are 2002: 55). The so-called tomb “dei Vasi Attici” fine sympotic shapes. Four lebetes, three of which 100 chapter five have been assigned to the workshop of Sophilos, to Aphrodite (Torelli, 1971; 1977; 1985; Fiorini, belong to the first quarter of the sixth century 2005: 181-201; for the reintroduction of the view and come from habitation, religious, and funer- concerning a Samian role at the establishment of ary contexts (Chiusi 199-202). A Komast cup by the sanctuary and a cult of Hera, cf. Haack, 2007). the KY Painter, part of the collection in Bucha- The vessels are believed to have been offered to rest, was probably found in Chiusi too (Chiusi the deity by traders and travellers after a safe trip. 558). The Attic imports from Chiusi are of excep- A large number of the sixth-century finds come tional quality, and rare shapes also come from from East Greece, suggesting the presence of there (Iozzo, 2006: 110-118). Samians, Khiots and Milesians (Slaska, 1978; The rich tumulus of Poggio Pelliccia, North- Torelli, 1978; 1982; Vicentini-Boitani, 1978; Bold- East of Vetulonia in the area of Toscany, revealed rini, 1994: 253-263). By the second quarter of the local and imported material. East Greek and Ko - sixth century, Attic vases are dominant and reach rinthian vases were found together with Attic their peak by the last quarter of the century. Large black- and red-figured vases (Talocchini, 1981: shapes constitute the majority of vessels, while 104-108). An amphora in the manner of the Gor- drinking vessels increase in number towards the gon Painter, as well as three Komast cups, are end of the century (Iacobazzi, 2004). The earliest the earliest Attic imports (Poggio Peliccia 559- Attic examples have been attributed to the Gor- 561, 655). A lebes by Sophilos (Toscany 203), as gon Painter and his circle (Gravisca 265, 864). A well as Korinthian vases, and an Ionian cup were skyphos, a lekane and three cups in the manner discovered in a tomb of the “nekropolis princi- of the KX Painter are slightly later (Gravisca 456, pesca” in Castelnuovo Berardenza, in the area of 562-564, 1273). Poggione in Toscany (Pacciani, 1990-1991). The A number of horsehead amphorae are sup- early sixth-century tumuli that have been explored posed to have been found in Etruria, but specific yielded East Greek, Lakonian, and Korinthian find-spots are not known (Etruria 728-741. vessels (Mangani, 1990: 17-19). Cemeteries, sanc- Picozzi, 1971, cat. nos. 41, 45, 53-56 are dated to tuaries and habitation areas were excavated at the first quarter of the century). A few amphorae, Veii, besides the river Cremera, in Southern Etru- assigned to the Gorgon Painter and his circle, to ria, where a one-piece amphora by Sophilos was the Painter of Berlin 1659 and to Sophilos are found (Veii 653). Attic imports were more said to have been found in Italy (Italy 657-659). numerous during the middle of the sixth and the In Campania, the earliest Attic imports have early fifth century, as indicated by the vases from been unearthed from Kymai, Nola, Caudium, and the sanctuary and the settlement (Stefani, 1944; Vietri sul Mare in the area of Salerno. The earli- 1953; Sgubini & Moretti 2001). est Greek imported pottery from the nekropolis A one-piece amphora in the manner of the of Kymai dates to 725 bce (Gabrici, 1913; Burelli Gorgon Painter (Tarquinia 654) and two horse- & Mele, 1989; Boardman, 2000: 168-169). An olpe head amphorae (Tarquinia 745-746) were found in the manner of the Gorgon Painter (Kymai 263) in funerary contexts at Tarquinia. Attic black- and a lekane by the Kerameikos Painter (Kymai figured amphorae are often used as urns. Impasto, 1272) belong to the early sixth century. Kymai bucchero, as well as locally decorated pottery and might have been responsible for the circulation imported wares are found (Pallotino, 1937; Tron- of Attic vases in the area (Cerchiai, 1995: 119). cetti, 1983: 5-6; Hannestad, 1988: 117-123). A The nekropoleis of Nola revealed two olpai by total of 2.500 fragments of Attic black- and red- the Gorgon Painter and his circle (Nola 384-385). figured pottery were recovered from the sanctu- Local pottery, Etruscan bucchero, and Attic ary of the emporion of Gravisca at the port of black- and red-figured vessels were placed in the Tarquinia. Greek presence dates back to the late graves (Jovino, 1993). The earliest imported ware seventh century, but the sanctuary was established found at the nekropolis of Caudium is Geometric at around 580 bce and was probably dedicated Korinthian. The earliest Attic find is an olpe of distribution of attic early black-figured pottery 101 the circle of the Gorgon Painter, which was found imports take the lead (Boschung, 1994: 177-179; together with Ionian cups (Caudium 383). Attic Neeft, 1994). Two early-sixth-century Attic olpai imports increase later in the sixth century (Taranto 386-387) were among the finds in a Late (D’Henry, 1993). An oinokhoe in the manner of Korinthian grave (complesso 80) in Via Leonida the Gorgon Painter comes from a grave, exca- (Lo Porto, 1959-1960: 183-186). An amphora of vated at the coastal site of Vietri sul Mare (Vietri the Group of the Dresden Lekanis (Taranto 810) sul Mare 264). It was followed by early sixth- and a skyphos by the KX Painter (Taranto 457) century local bucchero (D’Agostino, 1968). were found in a tomb together with Korinthian and Khiot vessels, all dated to c. 570 bce (Lo South Italy Porto, 1959-1960: 176-183). A number of Komast cups, listed by Beazley and Brijder, as well as two Poseidonia was probably founded by Sybaris. horsehead amphorae probably come from the Literary sources do not provide a foundation date, nekropoleis of Taranto (Taranto 567-570, 742- but the Korinthian and East Greek vessels date 744). An oinokhoe by the Gorgon Painter the Greek presence to 620-600 bce. A horsehead (Taranto 266) was found in a grave in the area amphora was found in a tomb of the nekropolis of San Giorgio Jonico (Lo Porto, 1990: 78-80). of the colonists, “contrade Laghetto” (Poseidonia An amphora in the manner of the Gorgon Painter 748). During the first half of the sixth century, (Leuca 656) was found at Santa Maria di Leuca Korinthian ware dominated and Attic remained together with Protokorinthian and Korinthian limited (Pedley, 1990: 30, 36; Greco, 1981: 62-64). transport amphorae in association with an eschara The Attic pottery, which was unearthed from the (Forti, 1978: 117-120). The site receives Korin- Heraion, the Athenaion, the hypogean chapel and thian pottery from the seventh century, while the round building of Poseidonia dates to the Attic dominates only during the fifth century second quarter of the century and later. At the (Rouveret, 1978). A large number of the exca- extramural sanctuary of Hera at Sele, imports vated graves at Metauros date to the seventh and began at around 510 bce (Visco, 2003: 47-48; sixth centuries. Korinthian ware dominates, but Johannowsky, Pedley & Torelli, 1983; 1984). Khalkidian vessels are also present (Franciscis, Sybaris, at the Southern end of the “instep” of 1960; Greco, 2006). A skyphos of the Komast Italy, was founded by the Akhaians of the North- Group is the earliest Attic find (Metauros western Peloponnesos at around 720 bce (Board- 458). man, 2000: 178-179). The earliest finds are Early Protokorinthian and Rhodian Geometric vessels. Sicily Skyphoi, cups, and amphorae are among the Attic shapes, which are limited in quantity until late Early sixth-century Attic vases are known from in the sixth century (Paribeni, 1970-1973; Fred- Sicily, but in most cases the finds are isolated. eriksen, 1973-1976: 58; Guzzo, 1988-1989). Two Megara Hyblaia yielded the majority of vases, Komast cups and a lekanis by the KX Painter while, by the second quarter of the century, when belong to the early century (Sybaris 565-566, the number of imports increases, Selinous seems 1275). Taras, a Lakonian colony, founded at the to receive most of the imports, followed by Gela, end of the eighth century according to sources, Syracuse and, finally, Megara Hyblaia (Giudice, has a well-situated port commanding a number 1991: 199-200). Megara Hyblaia was founded of routes (Greco, 1992: 49; Boardman, 2000: 184). c. 728 bce by the Megarians (Graham, 1988; The excavated nekropoleis revealed rich archaic Domínquez, 2006a: 275-276). Korinthian was the ceramic material (Lo Porto, 1959-1960). Korin- main imported Greek ware during the seventh thian oil vessels are numerous, usually accompa- century; other wares include Kykladic, Rhodian nied by Lakonian, Ionian, and Attic. By the third and East Greek. The earliest Attic vases are Late and last quarters of the sixth century, Attic Geometric amphorae, and kraters along with 102 chapter five seventh-century SOS transport amphorae. Two the late eighth and early seventh centuries bce. horsehead amphorae were found in tombs (Mega- The settlers were probably from Rhodos and ra Hyblaia 749-750), while Komast skyphoi and Krete (Holloway, 1991: 63; Boardman, 2000: 177- cups, assigned to the KY Painter, and the Komast 178). Greek pottery was recovered from the tem- Group come from the settlement (Megara Hyblaia ples’ deposits and the nekropoleis. The earliest 459-460, 571-572). An unattributed lekane is imports are North Ionian Geometric cups. Most probably contemporary (Megara Hyblaia 1276). of the Attic imports from the akropolis date to Shapes associated with wine consumption, such the last third of the sixth and the first third of as the cup are dominant throughout the sixth the fifth centuries. Large open vessels, cups and century and suggest a wine-drinking culture at skyphoi were the main shapes. Attic pottery was Megara Hyblaia (Vallet & Villard, 1955: 15-32, also unearthed from four extramural sanctuaries, 71-79; De Angelis, 1994a: 89-94). although the majority was imported from Ko- A Greek presence at Selinous, founded by rinthos and East Greece. A cup by the Painter of Megara Hyblaia, is attested from the second and Copenhagen 103 (Gela 573) is the earliest find third quarters of the seventh century (Rallo, 1982; (Orsi, 1906; Orlandini, 1978: 93-98; De Miro & De Angelis, 1994b). Two fragments of SOS Fiorentini, 1983; Holloway, 1991: 54-60; De la amphorae from the akropolis are the only sev- Genière, 1991; 2003; Curry, 1993: 77-82; Barresi, enth-century Attic finds (De la Genière, 1975: 2003: 9; Greco, 2003). 100-101). The main ceramic evidence comes from The trading post of Motya, founded by Phoini- the sanctuary of Demeter Malophoros and the kians during the early sixth century, primarily excavated nekropoleis. The sanctuary was situated imported Korinthian ware. Attic imports remain outside the city’s walls and the first edifice asso- rare: a Komast cup by the KY Painter and a Siana ciated with the cult dates to 590-580 bce. The cup have been found (Motya 574), but the major- majority of the vessels are Korinthian kotylai, ity of the Attic fragments date to the late sixth alabastra, and aryballoi, followed by local, East century (Isserlin & Plat Taylor, 1974; Curry, 1993: Greek, and Lakonian wares (Dehl von Kaener, 112; Boardman, 2000: 212; Servadio, 2000). 1995a; 1995b). A lekane by the Androsiren Himera was founded by Zankle in the middle Painter (Selinous 1277) is the earliest known Attic of the seventh century (For a recent discussion example (Paoletti, 1991: 132). Korinthian vessels on its establishment: Domínquez, 2006a: 292- form the majority of the imported wares from 295). The Greek pottery from the habitation areas, the nekropoleis, followed by East Greek. By the the sanctuaries and the cemeteries is Korinthian, second quarter of the sixth century, Attic pottery East Greek, and Lakonian (Adriani et al., 1970; takes the lead (Rallo Franco, 1978; De Angelis, 1976). The sanctuary of Athena, whose earliest 1994a: 189-190; Leibundgut-Wieland, 1999; phase dates to the period 625-580/70 bce, revealed Boardman, 2000: 187). An early sixth-century a number of black- and red-figured Attic vases. lekythos by the Painter of Istanbul 7314, now in A column-krater by Sophilos (Himera 120) is the Basel, probably comes from a grave (Selinous earliest (Allegro, 1993: 65-68). From the second 1327). quarter of the sixth century, Attic vessels appear The explored archaic graves from the nekro- in the nekropoleis. Their number increases dur- polis of Rito at Ragusa date from the early sixth ing the last third of the sixth and the first of the to the early fifth century bce. A lekane of the fifth centuries. Ragusa Group (Ragusa 1278) is the earliest Attic A Komast cup probably by the KY Painter or find from tomb 2, followed by later Attic cups his circle was found in the agora of the ancient and Korinthian oil vessels (Di Vita, 1959). city of Iaitas (Monte Iato 575). The earliest Greek Thoukydides (6.4.3) dates the foundation of imports date to the late seventh century bce and Gela to 688 bce, but archaeological evidence derive from Korinthos (Isler, 2000). points to a period of Greek occupation during distribution of attic early black-figured pottery 103

Southern France (Tables 11.1-11.3) Spain (Tables 11.1-11.3) Massalia, founded by Phokaians around 600 bce, The earliest Greek finds from the Southern part imported Attic vessels from its inception. East of the Iberian Peninsula are late eighth- and Greek and Korinthian vessels dominate until the seventh-century Attic SOS amphorae and Ko- second quarter of the sixth century when Etrus- rinthian oil vessels, probably imported by Phoini- can fine pottery and amphorae take the lead. Attic kian merchants. By the end of the seventh cen- products come to prominence only after the mid- tury, the presence of Greek products can be dle of the century and continue to be imported associated with regular Greek activities, including until late in the fourth. The earliest Attic vases the establishment of settlements. East Greek have been attributed to the Gorgon Painter and wares dominate, but sixth-century Attic vases are his circle, while Sophilos is also represented (Mas- also present (Shefton, 1982: 337-358; Rouillard, salia 204, 205, 388, 660, 207-209). Column- 1991: 21-33, 87-89; Domínquez, 2006b: 435-437). kraters, lebetes, a lekane, and cups are the early The earliest Attic imports come from Huelva, an sixth-century shapes (Villard, 1960: 13-19, 27; indigenous Tartessian site with a harbour. A lebes 1992: 164; Shefton, 1994: 62-64; Gantès, 1999: of the circle of the Gorgon Painter was found 365-375; Denoyelle & Hesnard 2006). there (Spain 866). A number of Komast skyphoi Baou de Saint Marcel, a fortified post at the and cups from the urban area of Huelva have a head of a valley situated 7km from the port in slightly later date (Spain 461, 582-590). In Huelva, the territory of Massalia, was occupied from East Greek pottery, mainly from Samos, was the around 575 bce to the end of the second century. most abundant ware from the late seventh cen- Attic, Korinthian, and East Greek wares were tury, followed by a large number of Korinthian channelled through Massalia, implying close con- vases. After 540 bce East Greek imports cease to nections with the main colony. An olpe of the exist at the site and Attic vessels are very limited circle of the Gorgon Painter (Baou de Saint in quantity. A lekane by the KX Painter (Spain Marcel 389) dated around 575 bce, is among the 1280) was found at the nekropolis of Villaricos, finds from the site (Guichard & Rayssiguier, 1990: a Phoinikian city, which imported a number of 47-49). Another fragment has been assigned by black-figured lekythoi later in the sixth-century. Shefton as being close to the Gorgon Painter The number of the Greek shapes from Spain, (Gantès & Rayssiguier, 1980: 74, fig. 9). mostly associated with the consumption of wine, A lebes fragment by the Gorgon Painter and is limited. Although seventh-century finds are a Komast cup were found at the settlement of more numerous in Huelva and other Phoinikian Béziers in occidental Languedoc (Béziers 208, centres, Ampurias marked the most complete and 581). The site is rarely referred to in ancient uninterrupted series of imported Greek wares sources, but the most recent excavations point from the late seventh century. Ampurias, the to a Greek presence there from the last quarter ancient Emporion on the North-Eastern coast of of the fifth until the end of the fourth century, the Iberian Peninsula, was founded by Phokaians when the site was abandoned. The Attic imports, almost at the same time as Massalia as part of a mainly cups, are dated to after 420-410 bce and network of sites used as ports of call or places of are found together with locally produced pottery exchange. The traditional date of its foundation and commercial amphorae from Massalia and is 600 bce, but recent excavations suggest that Etruria. Sixth-century fragments are rare (Jully, the Greek presence intensified around 580 bce 1980: 17-18; 1983: 571-594; Ugolini et al., 1991; (Domínquez & Sánchez, 2001: 85-88, 442-450; Ugolini, 1995; Ugolini & Olive, 1995; Olive, Morel, 2006: 367). Palaiopolis (San Martin de 1995). Ampurias) and Neapolis, as well as the Greek nekropoleis, were the primary places where Greek pottery was found. By the end of the seventh 104 chapter five century, East Greek and Korinthian wares are 2000: 153-158, 203-211), the number of known imported to the region with a lebes, a Komast Protoattic sherds, seventh-century bronze tripods cup, and a lekythos of the Group of the Dresden and fibulae is very limited (Hurwit, 1999: 94-95; Lekanis being the earliest known Attic finds for a detailed analysis of the clay and metal finds (Spain 209, 591, 1328). Attic cups seem to be from the Akropolis: Wagner, 1997: 26-85, 143- common later in the sixth-century, followed by 171; for the eighth-century bronze lebetes: Tou- kraters, amphorae, and lekythoi (Domínquez & loupa, 1972). Comparable evidence comes from Sánchez 2001: 60-67). the peak sanctuaries around Attika where religious activity flourished during the seventh century. Subgeometric drinking, rather than Protoat- CONCLUSIONS tic shapes were common votive-offerings. In many instances they bore dedicatory graffiti The vast majority of late seventh-century black- (Osborne, 1989: 307-309; Morris, 1997: 222-228; figured pottery was found in Attika (Maps 1-2). D’Onofrio, 1995; 1997; Polignac, 1995b; 2002; The produced shapes, their style of decoration Baumer, 2004: 13-17). and their dimensions follow the Protoattic tradi- The archaeological context of the earliest black- tion. A significant quantity of the seventh-century figured vases of the last quarter of the seventh Protoattic pottery is associated with nekropoleis, century leads to similar conclusions. The vases in particular, the offering trenches of the Kera- are predominantly concentrated in nekropoleis, meikos, but also with tomb cults (Antonaccio, with the Attic countryside revealing an important 1995: 102-126; Boehringer, 2001: 47-103) centred amount, while the evidence from contemporary on Bronze and Iron Age burials (Whitley, 1994a; sanctuaries is remarkably limited. The sanctuary D’Onofrio, 1995: 74-76).8 The contextual analy - of the Nymphe on the South slope of the Akro- sis of the Protoattic pottery led Whitley (1994a: polis, where a continuous sequence of fine-deco- 61) to conclude that it was specially produced rated vases from the third quarter of the seventh for the Attic nobles, and primarily intended to century was found, seems to be the only excep- serve their ritual needs, either connected with tion. Unlike the contemporary peak sanctuaries, nekropoleis or with tomb cults (however, Whit- early black-figured, rather than Subgeometric ley has been criticized for a selective use of the vases were offered to the deity. The quality of statistics from the Agora wells and for not some loutrophoroi by the Nessos Painter is com- explaining adequately the presence of these ves- parable to the rich finds fromVári . The special sels in domestic contexts: Rotroff, 1995). Although character of the cult, which required a particular the seventh century saw an expansion of cult shape to be dedicated, associated with women, activities around Attika, dedications and luxury marriage, and fertility, might explain the dedica- offerings at cult places are reduced, when com- tion of decorated vases. pared with those of the eighth century, while The early sixth-century distribution in Attika offering Protoattic vessels to deities does not seem reveals a number of changes during the period to have been widespread (Osborne, 1989: 303- under consideration. The number of the known 309; Polignac, 1995b: 75-81; D’Onofrio, 1995: 60, vases is larger and more potters and painters seem fig. 2). Despite the sacred nature of the Akropo- to have been involved in their production (Tables lis, already established by the Late Geometric 2, 5.2). In contrast to the last quarter of the sev- period, and the possible existence of a temple enth century, only a few fine-decorated vessels and an altar there (Hurwit, 1999: 95-97; Brouskari, by the most productive Athenian painters found their way into Attic cemeteries; the majority of 8 The term “tomb cult” rather than “hero cult” will be finds come from the Athenian Agora and the used here, so that it can be distinguished from the later Attic sanctuaries, in particular the Akropolis and Attic practice addressed to named local heroes. For the use of the term: Antonaccio, 1995: 6. the sanctuary of the Nymphe (Map 4). Most of distribution of attic early black-figured pottery 105 the vases, attributed to the Gorgon Painter and widely exported already from the late eighth his circle, destined for local consumption, were century. This evidence suggests an early interest found in the Agora and on the Akropolis. Only of the Athenians in promoting their products, four come from Vári and the Kerameikos. A but also underlines their insistence of producing similar situation exists for the vases produced by fine pottery only for local needs. The decrease in the KX Painter and by Sophilos. Half of the ves- the distribution of the SOS amphorae by the early sels assigned to the KX Painter from Attika were sixth century coincides with the increasing dis- discovered at the sanctuary of the Nymphe, while tribution of the early black-figured vases (On SOS a smaller number was found at the Kerameikos, amphorae and their contents: Johnston & Jones, Vári, and Vourvá. The KY Painter, the Komast 1978; Gras, 1987; Docter, 1991; Descat, 1993; Group and the Group of the Dresden Lekanis are Tiverios, 2000). Aigina is the only site that yielded very poorly represented, if represented at all, in a continuous sequence of fine decorated Attic the Attic nekropoleis. The only painter to whom pottery from the early seventh century. Only very a number of vases from funerary contexts can be few fragments were discovered at distant sites. attributed is the Kerameikos Painter. He deco- Three amphora fragments by the Nessos Painter rated the only two examples of lekanai found at and his circle come from Samos, Smyrna and the Kerameikos, a shape common in the Attic Cerveteri, two contemporary olpai and a lebes, countryside (Table 2). from Delos and Naukratis and a fragment from The material from Attika suggests that, with Histria (Table 12, Map 1). the exception of a few early sixth-century paint- This picture changes dramatically at the begin- ers, who have been assigned only lekanai, all ning of the sixth century (Tables 14-15, Maps 3, found at Vári, the majority of painters seem to 5). More than half of the known vessels by the have decorated a variety of shapes (Tables 2, 5.2). Gorgon Painter and his circle are found overseas. This contrasts the evidence of the finds found Although largely represented in Attika, a signifi- overseas which indicate that some painters con- cant quantity of vases by the KX Painter was centrated on particular shapes. Loutrophoroi discovered on Samos and at sites of Western Asia occupy an important place in their repertoire, Minor. Most of the production by the KY Painter but this is solely due to the rich evidence from a and painters of the Komast Group come from particular site. The concentration of particular outside Attika. Sophilos is represented at almost shapes at a number of sites depends on the nature all sites that are known to have imported early of the site and the functions that the shapes were black-figured pottery. The majority of the vessels serving (Tables 3-5). That is the case, for example, by the Painter of Berlin 1659 are from Western of the lekanai from Vári and Vourvá, the loutro- Asia Minor (Table 13). phoroi from the sanctuaries of the Nymphe and The coastal sites of Asia Minor, Samos, and Nemesis and the standed open vessels from the Naukratis seem to have been the primary markets Artemis sanctuaries. On the Akropolis, plates are for early sixth-century Attic pottery. On the other clearly connected to votive activity and are, there- hand, the finds from the West are limited before fore, found in quantity (Wagner, 1997: 29-33, 42). the second quarter or the middle of the sixth Changes in distribution are not only implied century, when they came to dominate. It has been by the circulation of Attic vases within Attika, suggested that the production of Attic vases tar- but also by the overseas finds. The extant evidence geted certain markets, like Naukratis, where points to a number of interesting patterns. Like Korinthian ware was not dominant (Venit, 1984: Protoattic, the vast majority of the earliest Attic 153-154). Their circulation should be placed in black-figured vases were produced to satisfy local the wider context of the much larger quantities needs. In contrast to Protoattic pottery, which of East Greek pottery that has been discovered, did not travel far from Attika, the transport SOS and with which it was probably carried (Sørensen, amphorae filled with Athenian oil or wine were 2001: 156). 106 chapter five

The early sixth-century Attic shapes serving decorated by both painters were found in Attika. ritual or funerary purposes, like loutrophoroi, In particular the three known lekanai by Sophi- louteria and plates, rarely are found outside los were all found in a long trench associated Attika. Isolated examples of louteria and loutro- with the tumulus at Vourvá in the Attic coun- phoroi are known from Aigina, Phokaia and tryside. Kerkyra, while only a very few Attic plates were Evidence suggests that, with the exception of found in domestic and cultic contexts elsewhere. skyphoi, the number of sympotic shapes found The majority of the produced carrying shapes, in Attika is small compared to those found over- like amphorae and hydriai, remained in Attika seas (Tables 16-17). Interestingly except for the too. As exports, they primarily reach the Western olpe, the rest are very closely copying their Korin- coast of Asia Minor. A number of early sixth- thian counterparts. century amphorae were found in funerary con- Olpai, prominent in the repertoire of the Gor- texts in Etruria and South Italy. Horsehead gon Painter and his circle, come, not only from amphorae were more widely exported. They are Attika but from Aigina, the coast of Asia Minor, concentrated in Etruria, where they were prob- and Etruria. They have all been associated with ably imported for their contents, before finding the so-called Group of the Early Olpai. None of their way to the nekropoleis (Kreuzer, 1998b: them belongs to the Gorgon Painter and the 111). The necessity for oil and wine also explains majority was found at Naukratis, where other their presence at Tell Defenneh, where they were shapes of this group are absent; two lekanai in imported together with East Greek transport the manner of the Gorgon Painter are the only amphorae. Fine-decorated hydriai are not widely exceptions (Naukratis 1246-1247). Ring-collar distributed, probably due to their funerary role oinokhoai are also decorated in the manner in the Attic nekropoleis. Some isolated examples of the Gorgon Painter and, with the exception are known from the sanctuaries at Samos and of a single example from the Agora, they were Naukratis, as well as from habitation contexts at all found in the West. One ring-collar oinokhoe Korinthos and Smyrna. Oil containers were not is known from Naukratis, but it is by the KY common in the early sixth-century shape-reper- Painter (Naukratis 262). toire of the Attic workshops. Aryballoi and exa- Although very few early black-figured kantha- leiptra are primarily found in Attika, while a roi have been preserved, half of the known exam- number of lekythoi and amphoriskoi come from ples are concentrated in Naukratis. Their simi- sanctuaries and funerary contexts overseas. larities to the Khiot chalices, which were found A number of early black-figured shapes seem in large numbers at the site, imply that the Attic to have been produced primarily to be exported; potters could recognize that Naukratis was an they are found in greater quantity outside Attika ideal market for this particular shape. The excep- and, in some instances, concentrated at particu- tional quality of the vessels underlines their votive lar sites. character (Venit, 1982: 138). The case of the lekanai is characteristic. The The cup is the dominant shape in Etruria and largest concentration is found at the Heraion of Sicily, as well as in Spain, while Korinthos was Samos, but a large quantity is also associated with a market primarily for this shape, and for the the sanctuaries of Naukratis and Kyrene. Western Attic skyphos, a demand which might have en- sites yielded only a few in different contexts. The cour aged an increase in their numbers in Attika shape seems to have been the most common in later in the sixth century (Hannestad, 1992: 158- sanctuaries, where it could have been offered 163). A large quantity of cups by the KY Painter filled with perishable goods. Sophilos and the KX and the Komast Group were exported to the Painter have been assigned many examples, pri- West. Cups by the KX Painter and his circle were marily exported to the coast of Western Asia primarily sent to foreign markets, but those dec- Minor and Naukratis. Only very few lekanai orated by the KX Painter himself are only found distribution of attic early black-figured pottery 107 on Samos. The single exception is a cup from coastal sites of Asia Minor and Naukratis, as well Naukratis, which shares features with his excep- as the Black Sea, where East Greek wares domi- tional pieces from Samos (Naukratis 539). nated and Korinthian products, mostly kotylai Although many skyphoi are known in Attika, and perfume containers, were limited. There the unlike those found overseas, they do not depict Attic shapes were meeting the demands of the the komos and most come from funerary con- buyers for high-quality drinking sets, which, for texts. Column-kraters and lebetes from the Athe- the most part came from East Greek workshops. nian Agora and the Akropolis are very rare, but The distribution of the early sixth-century sym- are found in large numbers in Western Asia potic shapes suggests that the vase production Minor, Naukratis, and Kyrenaike. Lebetes were and trade was organized to a certain degree, fur- prominent among the shapes produced by Sophi- ther supporting the theory of directional trade. los, the vast majority of which were discovered Potters and painters were aware of the particular outside Attika; some might have been specially needs and desires of their customers through commissioned, like the Phársalos example. Early middlemen and traders (Osborne, 1996: 31, 38; black-figured large open sympotic vessels seem Sørensen, 2001: 155; focusing on consumption to be concentrated in the tumuli of Cortona. They and the desires of the consumers: Foxhall, 1998), are not common in Etruria, South Italy, or Sicily, while they seem to have realized that “Korin- where the cup is the only sympotic shape found thianising” could serve as a medium for success- in large numbers, and has been found mostly in ful exports. graves. Except for the evident organization of the vase The distribution of the Attic sympotic ware trade, the shape evidence is indicative of some indicates that the production of sympotic ware degree of specialization within the pottery work- was not primarily intended to satisfy local needs. shops. A number of Attic painters, or groups, Although the lack of well-excavated domestic appear to have concentrated on particular shapes. contexts in Attika, others than the wells of the The circle of the Gorgon Painter and the Group Athenian Agora, might be suggestive of an obser- of the Early Olpai decorated mostly olpai. With vation not representative of the reality, the over- the exception of three examples from Klazomenai, all study of the shape production and distribution none of the olpai found overseas has been attrib- at the time positively points to the efforts made uted to the painter himself. The Gorgon Painter by Attic workshops in order to secure overseas decorated a larger variety of shapes, most of markets. The adoption of Korinthian banqueting which remained within Attika. The KY Painter shapes, some of which also decorated with Ko- and the Komast Group have been primarily asso- rinthian themes, like komasts, shows that a ciated with cups and skyphoi, while the Panther, number of capable potters or workshops Androsiren, and Athens 16407 Painters are asso- attempted to find means of promoting their prod- ciated with lekanai; lebetes were prominent in ucts, rendering them competitive in the Mediter- the repertoire of Sophilos. Organization within ranean markets (the adoption of Korinthian workshops is also implied by the representation shapes and styles for this purpose has been of painters, or groups of painters, overseas. Dur- already noted by Tiverios, 1981: 157-158). ing the late first quarter of the sixth century, most It is evident that the wide circulation of the of the exported vessels to Samos are by the KX Attic skyphos and cup in Korinthia was guaran- Painter, while his contemporaries, the KY Painter, teed by their close resemblance to Korinthian the Komast Group, and Sophilos are poorly rep- prototypes. This seems to have facilitated the wide resented. Cups by the KY Painter were primarily export of the Attic cup in the West at all sites found in the West, while Naukratis and Kyrenaike where Korinthian vases were imported in large received cups and skyphoi by the Komast Group. quantities. On the other hand, the primary mar- Although only a few Attic fragments are known kets for the Attic banqueting shapes were the from the majority of the examined sites, there 108 chapter five seems to be sufficient evidence indicating a deci- has also been suggested for the sites around Sic- sive change in early sixth-century overseas vase ily and Huelva, as well as for Etruria and Massalia production and distribution, especially when pat- (Villard, 1960: 34-35; Giudice, 1991: 206-207; terns are compared to those of the seventh cen- Shefton, 1994: 64). However, the discovery of tury. Solon has been credited with reforms aimed similar shapes by the same painters at adjacent at the development of industry and trade in sites is indicative of the preferences of the clients Attika, but it is not certain whether or not the rather than of the routes followed (Hannestad expanded distribution was a direct result of his 1991: 212-213; for the study of patterns in pottery laws (Curry, 2000: 81). The first examples of finds: Sørensen, 2001). black-figured vases in Egypt and Western Asia Since not all the poleis produced fine ware and Minor predate Solon’s archonship and imply that sixth-century Korinthian and Attic pottery was Solon’s laws, if to be accepted, were most prob- found around the Mediterranean, their presence ably promoting an already existing situation. at a number of sites does not imply direct trade between the production centres and these sites. Traders of Attic early black-figured pottery Vessels could easily have been transported by Shipwrecks that have been discovered show that ships and merchants who did not share their ori- pottery was just a small part of the mixed cargo gin with that of the pottery they carried, as also carried by merchant ships (Parker, 1985; 1992: confirmed by the trademark evidence (Johnston, 16-17, 20-21).9 Although the value of fine-deco- 1979: 48-53, 234-238). Literary sources, the rated pottery is disputed, in part due to the view archaeological evidence of the later trademarks that painted vases are cheap imitations of their in non-Attic script, and the context of Attic vases, metal counterparts (Vickers, 1984; 1985-1986; all indicate that Greek traders, other than Athe- Gill, 1987a; 1987b; 1991), the fifth- and fourth- nians, might have been responsible for the trans- century evidence suggests that pots were regarded port of Attic pottery overseas. as a valuable trade commodity and cannot be According to ancient sources, Aiginitans relied dismissed simply as “space fillers” or as “saleable upon seafaring, since their land was not sufficient ballast” (Boardman, 1988). Evidence from ancient for gaining profit (Figueira, 1981: 230-231). shipwrecks indicates that ships travelled from one Herodotos (4.152, 7.147.2, 9.76.3) mentions an site to another with a number of stops on the Aiginitan trader, named Sostratos, as well as way (Parker, 1992: 21-22). Based on distribution various incidents regarding their ships (Hiller, maps and the origin of the vessels found at dif- 2000). The name Sostratos appears on an anchor ferent sites, the identification of trade routes dedicated to the sanctuary of Gravisca, while a around the Mediterranean has been attempted large quantity of graffiti with the initials SO are (See for example: Boardman, 1968; Tronchetti, inscribed on Attic vessels from Gravisca and 1973, 5-16; Purcaro, 1976; Schaus, 1980: 22; 1985: Naukratis dated around 530-510 bce. These ini- 104; Giudice, 1991: 206-207). Such an attempt tials could point to the Herodotian Sostratos or was avoided here, since early Attic black-figured to another Aiginitan trader of the same family, evidence is too scanty, increasing the likelihood who likely played a major role in the trade with that any conclusions will be misleading (Cook, Etruria (Johnston 1972; 1989; Johnston & Pan- 1959: 117; 1979: 154; Osborne, 1996: 33). Com- dolfini, 2000: 15-16). Aigina was a wealthy city parable early sixth-century material was found that did not produce fine pottery, but, instead, at neighbour ing sites, such as Pitane, Phokaia, imported it from Korinthos and Athens (Figueira, Smyrna, and Klazomenai, as well as at Samos, 1981: 232-233; Walter-Karydi, 1997). It has, Rhodos, and Xanthos. A common trade route therefore, been assumed that Aiginitans traded these wares overseas. Attic exports to Aigina are 9 An example of a vessel carrying mixed cargo of the probably the result of Aiginitan activity and ini- period under consideration is the Giglio shipwreck dated to 600-590 bce: Parker, 1992: 192-193. tiative. The graffiti in Aiginitan script from distribution of attic early black-figured pottery 109

Gravisca, although later than the period under due to the aid given by Kolaios to Korobios, the consideration, suggests that they also participated colonists’ guide. Moreover, they are reported to in the trade of Attic vases to Etruria. A similar have received a piece of land at Kyrene after fight- conclusion has been put forward for Korinthian ing for Arkesilas (Herodotos 4.162-164). How- and Athenian pottery in Naukratis (Boardman, ever, this reference might apply to later events 2000: 125). Though there is no evidence to sup- (Roebuck, 1959: 115). port a claim of Aiginitan involvement in the trade Samian and Rhodian traders are mentioned in with Naukratis prior to 535 bce, the possibility association with the Iberian Peninsula (Herodo- should not be excluded (Kreuzer, 1994: 114-115; tos 4.152; Strabon 3 2.13-14, 14 2.10), but it is Möller, 2000: 75-76; Sørensen, 2001: 156). Phokaia who seem to have played the major role A major role in the trade of Attic vases has in the area. According to Herodotos (1.163), been attributed to Eastern Greeks, due to the Phokaians were the earliest Greeks involved in density of East Greek wares found in conjunction long sea voyages to the Western Mediterranean. with Attic wares at a number of sites, such as the Strabon (4 1.4) states that they reached Massalia coast of Asia Minor, the Black-Sea area, Nau- and presented themselves to the local ruler. The kratis, Kyrenaike, and Spain. Additionally there early sixth-century foundations of Massalia and is literary evidence which often identified the Ampurias, as well as a strong presence at Gravisca, origin of the settlers to these areas. The concen- are all associated with their trading interests in tration of Attic vases in the Samian Heraion sug- the West and their attempt to create a network gests that Samians might have been those who of ports (Rouillard, 1991: 96-101; Morel, 1992; transported the vases there, as well as playing an Shefton, 1994: 61-86; Domínquez, 2006b; Morel, important role in their distribution along Asia 2006). The pottery finds verify activities of Ionian Minor (Kreuzer, 1994: 116-117). The finds from merchants, especially Phokaians, who might have the sanctuary demonstrate that Samos had trad- transported Attic vessels to the Iberian Peninsula, ing connections with a number of overseas sites following a route from South Italy and Sicily (Kyrieleis, 1993: 148), confirming Herodotos’ (Shefton, 1982: 353-358). Samian presence and (3.39.12) and Thoukydides’ (1.13) references to trading activities in the area are also possible, as the island as a thalassocracy. Kolaios, a Samian indicated by Ionian cups of Samian origin from naukleros, is reported to have reached Tartessos Huelva (Domínquez & Sánchez, 2001: 84-85). while sailing for Egypt, probably at around 630 Two major maritime powers involved with bce (Herodotos 4.152). The Heraion was prob- Greek colonization and trading activities in the ably the centre of the polis and the motor for Black Sea area are Miletos and its ally Khios. aristocratic exploration and seventh-century trade Miletos, situated at the crossroads of major trade (Domínquez, 2000: 507-510). routes, was a thalassocracy by the end of the sev- Samians could have been involved in the trade enth century. Its fleet of merchantships is well of Attic products at Naukratis (Kreuzer, 1994: attested and, according to sources, it founded 108-110). The large quantity of East Greek wares ninety colonies (Herodotos 1.17; Diodoros of Si- at the site could also indicate Rhodian, Khiot or cily, fr. 7.11; Plinius, Natural History 5.122). Klazomenian traders. Attic vases found in Miletos was the main colonizer of the Black Sea Kyrenaika could have been carried by Samians. (For Miletos’ motives cf. Greaves, 2007). All sites Although there is little evidence to support in the area, where Attic vessels were found, are Samian presence in Kyrene (Schaus, 1985: 104), Milesian foundations, according to the sources, the Samian origin of a number of the excavated but the excavated material shows that Samians, vessels might indicate trading ties with the island. Khiots, Ephessians, and possibly settlers from Samian vases were also found at Tocra. Accord- Smyrna might also have participated (Ehrhardt, ing to Herodotos (4.152), the Samians were on 1983; Boardman, 2000: 243; Tsetschkladze, 1998: good terms with the people of Kyrene and Thera, 36; Greaves, 2000; 2002: 104; Gorman, 2001). 110 chapter five

Apart from exploiting the tolls on the shipping close association of these enterprises with the through the channels of the island, Khiots might Attic nobility can be seen in the case of Sigeion, have been responsible for carrying goods to the which seem to have been a private venture, East Greek foundations at the Black Sea, as well financed by a number of interested Athenians as to mainland Greece (Herodotos 6.8, 15.16; (Graham, 1982: 143, Stahl, 1987: 211-220; Wel- Aristoteles, Politika 1291b; Roebuck, 1986; Sari- wei, 1992: 147-150; Osborne, 1998: 268). The SOS kakis, 1986: 122-123). The absence, however, of amphorae, which were designed primarily to Attic early black-figured pottery from Khios may carry oil, had a wide circulation from c. 730 bce signify that other East Greek navigators were until the middle of the sixth century (For these involved in its trade. In the case of Miletos and amphorae, see above 105). This is suggestive, not the involvement of Milesian traders, conclusions only of an interest by the Athenians in promot- can be extracted only when the pottery from the ing their products, but also of a possible involve- excavations is fully published. ment in their trade. Korinthian traders are often mentioned in con- Although risky, because of the lack of relevant nection with Attic pottery trade, especially to the evidence, an Athenian participation in the circu- West, where Korinthian pottery dominated at lation of the early black-figured pottery should least until the second quarter of the sixth century. not be ruled out. Unfortunately, concrete infor- The majority of dipinti on Korinthian vases are mation with regard to how and where they might written in Korinthian script, suggesting that they have been active in overseas trade is not available. were transporting their own products. Korinthian The presence of Attic black-figured vessels at the script is not attested on the Attic vases from the Hellespont and in the Black Sea area has been West, but comparable Attic material from Ko - associated with the Athenian establishments of rinthos, South Italy, and Sicily might indicate that Sigeion and, later, of Elaious and their trading Korinthian traders could have carried them activity there (Tiverios, 1981: 161-162; Keen, (Salmon, 1984: 103-116, 143). Korinthian involve- 2000: 67).10 With regard to the Black Sea settlement in the trade of Attic vases at Naukratis and ments, the evidence from early sixth-century pot- Kyrenaike should also be considered (Schaus, tery is limited for the period under consideration 2006: 179; Villing & Schlotzhauer, 2006: 7). and the trade should be associated with the strong Since literary evidence focuses primarily on East Greek presence. A connection between Athe- the internal problems of the polis, there is little nians and the overseas trade of their products evidence of Attic involvement in the overseas has a stronger claim during the later part of the trade of their products. Before the Persian wars, sixth century, when they secured their positions Athenian policy was mainly land-oriented. The at the area, as is indicated by the written sources loss of Salamis from Megara (Herodotos 1.59.4; (Herodotos 5.94.1; Thoukydides 6.59.4). This Aristoteles, Athenaion Politeia 14.1, 17.2; Plutar- situation is further supported by the Attic finds khos, Solon 8-10; Pausanias 1.40.5; French, 1957; from Elaious, the majority of which date after Stahl, 1987: 204-206; Welwei, 1992: 146-147; the middle of the sixth century, which coincides Frost, 1999), the fight at Sigeion that took place with the information for its foundation by Miltia- on land (Herodotos 5.94-95, Strabon 13.599), and des (Tuna-Nörling, 1995: 103-105). the reliance of the polis on the indefensible beaches of Phaleron, suggest the existence of a 10 Although the argument of a secure passage for the naval weakness. On the other hand, the references supplies of corn imported from the Black Sea that could to naukrariai, the expeditions to Sigeion and have been facilitated by a “port of call” in the Hellespont has been questioned, the sixth-century Athenian interest in Salamis, and to Solon’s travels could indicate the the region suggests that grain imports were considered existence of of ships owned by aristocrats from important already at that time and needed to be protected. the end of the seventh century (Haas, 1985; For a detailed account of the controversy, see Keen, 2000. For the imports of grain from the Black Sea to Athens from Gabrielsen, 1994: 24-25; Scott, 2000, 106). The the sixth to the fourth centuries, see Braund, 2007. a ceramic approach to early archaic attika 111

CHAPTER SIX

A CERAMIC APPROACH TO EARLY ARCHAIC ATTIKA

During the last quarter of the seventh century, served the needs of the Attic population and like pottery production in Attika was in the hands of those of the Protoattic style, most were recovered a few potters and painters, to most of which have from the Attic nekropoleis. The seventh century been attributed only a few vases. They were work- saw a number of important changes in burial ing either in Athens or in the Attic countryside, customs. There is a decline in the number of as indicated by a number of vases from Vári and graves, with only a limited number of the adult Brauron. These peripheral workshops used local population being represented in the archaeo- resources and supplied the needs of the com- logical record. In addition, grave goods are munities living in their vicinity. Due to limited decreasing, with metal offerings becoming rare. evidence, establishing the organization behind the A separation of adult and child cemeteries occurs production and identifying shape specialization at this time and cremation becomes the primary of particular painters at that time is difficult. mode of burial for adults, with offerings placed, Based on the context and the use of some of the not inside the grave, but in the offering trenches shapes found, it can be argued that several of the (Morris 1987: 97-109; 1995). The well-excavated painters might have worked on special commis- trenches in the Kerameikos revealed a significant sions, primarily destined for funerary purposes. amount of Protoattic pottery, but, during the The vessels from the trenches and pyres ofVári last quarter of the seventh century, the richest are a characteristic case. ceramic evidence from trenches and sacrificial The dimensions, iconographic themes and pyres is associated with the North nekropolis of styles of decoration of the earliest preserved Vári. black-figured vases are very reminiscent of their The study of the vessels discovered in a number Protoattic predecessors. Almost all the shapes of trenches and pyres of this nekropolis—their produced in the late seventh century continue shapes, the state of their preservation and their Geometric or Protoattic traditions. Mythological chronological span—raises important questions scenes are few, with themes of heroes fighting concerning the character of the trench-custom monsters being predominant. As in the earlier in the Attic countryside. The evidence from part of the seventh century, the scenes acquire a tumulus I clearly shows that the trench-ceremo- monumental character, with a few large figures nies could have had a cultic rather than a sym- occupying the vases’ surface. At the same time, potic character, with vessels being offered to the Korinthian influences are already visible in Attic deceased rather than acting as symbols of the pottery; the column-krater by the Nessos Painter symposion. They might have been filled with appears to have been inspired by Korinthian pro- goods or used for libations before being totypes, while with regard to iconography, he placed, intact or intentionally broken in the decorated his lekanai with mixed animal friezes. trenches. More importantly, in some cases the With the exception of the vases from Aigina discovered shapes are not contemporary with and some isolated fragments from overseas each other, as are the samples from the Kera- (Samos, Naukratis, Cerveteri and Histria), the meikos’ trenches, but span several decades, vast majority of the earliest black-figured vases pointing to visits over a long period of time. This 112 chapter six is also true for the vessels from trenches excavated Houby-Nielsen, 1995: 144, 146, 152-163).1 Since in association with the tumuli at Vourvá and memory and mortuary customs that are associ- Marathon. ated with the deceased kin extend back only a This continuity of use implies a kind of tomb few generations (Humphreys, 1980: 96-126), the cult addressed to the recently heroized deceased, duration of the cult over these trenches or pyres who seem to have been adopted as ancestors, points, instead, to visitors being from the same while this practice can be compared to the cults élite social group rather than from a particular known to have been centred around Bronze and family. Early Iron Age burials in Attika. The Mykenaian Tomb cults have been associated with claims tholos tomb at Menídhi is the most characteristic of land ownership and since, in most cases, they case, due to the continuity of the cult and the have been attested in the older communities of wealth of the finds, which have been associated Attika, they have been interpreted as indicative with an aristocratic ‘hetairos-group’ (Boehringer, of the reactions of the old, rich, and settled com- 2001: 97, 102, 111). The similarities with the finds munities against the foundation of new small from the trench of tumulus I and those from the settlements around them (Snodgrass, 1982; Whit- slightly earlier deposit β-β at Vári are striking. ley, 1988: 177-178). Although the use of tomb In Attika, both the continuity of the trench- cult as a declaration of Attic autokhthony has ceremonies over an extended period of time and been challenged (Antonaccio, 1993: 61-62), the the cults connected with Bronze Age tombs are evidence from the trenches does suggest that predominant in the countryside. According to there was a connection between the tumuli and the archaeological data, they are clear indicators ownership of the land surrounding them (Whit- of the wealth of the dedicators. Evidence suggests ley, 1988: 177-178; 1994b: 224; Polignac, 1995a: that these ritual customs have been employed by 140; Frost, 1996: 84). Whereas it is difficult to certain social groups, rather than by certain fam- prove that their appearance indicates or implies ilies, in order to emphasize, not only their high an existing conflict over land or autokhthony, social status, but also their ties to the area. It is they almost certainly served as a means of self- also possible that these tumuli or Mykenaian definition by the local élite. In particular at the graves are used as connectors to the past and to case of Vári, although the establishment of the the earlier rulers in an attempt to establish and settlement does not date back to the ninth cen- justify their current power (Mazarakis Ainian, tury, marking it as an old community of the countryside, the funerary behaviours attested at 2004: 133, with further bibliography; for tomb the North Nekropolis, could reflect a community cults and their association with aristocrats, see with internal problems, such as rivalries among also Deoudi, 1999: 51-57). It is likely that the strong aristocratic families and with a ruling class deceased of tumulus I at Vári, as well as that of trying to legitimise its power and political claims. built grave E, were important local rulers, adopted The concentration of Protoattic and of the ear- as ancestors by particular groups of people. An liest black-figured pottery in the nekropoleis con- attempt to underline the special identity of the trasts with the evidence from contemporary dead and associate them with the past might be poleis, where rich votives appear in sanctuaries indicated by the fact that they were both inhumed rather than cemeteries (Morris, 1997). In Ko - and not cremated, as the contemporary mortuary rinthos, from c. 750 to 600 bce graves rarely practices would dictate. There is no indication contain offerings, while, during the same period, that the trench-ceremonies express genealogies, dedications at Korinthian sanctuaries increase. but rather evidence points to an expression of This implies a change of attitude within the local social status, with the Vourvá, and probably also élite (Morgan, 1999: 406-409; 2002), rather than the Vári tumuli, containing individuals connected by social relations rather than by family ties 1 This assumption concerning theVári tumuli will be (Humphreys, 1980: 96-126; Morris, 1987: 87-93; verified only with their final publication. a ceramic approach to early archaic attika 113 the promulgation of a funerary law (Dickey, 1992: icated to Zeus as a rain god, suggesting the exist- 101-108). In Argos, a large percentage of the ence of cults associated with vegetation and land elaborate Subgeometric and Proto-Argive vessels fertility. Although some, like the peak sanctuary come from sanctuaries and not from graves, as on Mount Hymettos, might have been used by was the case in the Geometric period (Morgan all Attic residents, evidence suggests that they & Whitelaw, 1991: 94-95). served the needs of the local inhabitants, a situ- Despite the increase in the number of cult sites ation which further reinforced their sense of com- in seventh-century Attika, there is a general munity (Morris, 1997: 222-228; D’Onofrio, 1995; decline in the number of dedications; fine deco- 1997; Polignac, 2002; Baumer, 2004: 13-17). Fine- rated vases were not common offerings at the decorated pottery makes up a very small percent- sanctuaries and luxury objects became rare. This age of the total finds. The modest character of raises an intriguing question as to whether or not the offerings was probably a result of the nature the evidence from the seventh century reflects a of the cult and not the social status of the dedi- rejection of the new polis ideology. The exclusion cators. The graffiti on a significant number of the of the kakoi from the burials and the use of vase dedications, as well as the inscribed early nekropoleis rather than sanctuaries for the display black-figured amphora by the Nessos Painter of wealth and status have been considered indi- from the sanctuary on Mount Hymettos are not cators of a nobility that did not allow the polis indicative of dedicators from lower social ranks. to develop, but, instead, retained the heroic ide- It has been demonstrated that the complicated als and symbolism (Morris, 1987: 205-208; nature of the seventh-century evidence from Houby-Nielsen, 1992). Such alterations are not Attika does not necessarily imply a failure of the limited to Attika, but are found in many regions polis’ ideal. Burial customs seem to have served of Greece suggesting a change in material behav- as the connective link in the absence of a cultural iour and in the conception of the symbolism of centre which would attract the attention of Attic the material world (Whitley, 1994: 51-70). aristocracy. On the other hand, despite the scar- That the mortuary practices and nekropoleis city of figure-decorated pottery, metal, and other provide better contexts for displaying wealth and valuable votive offerings at the peak sanctuaries status does not negate interest and participation around Attika, these cult places might have con- of the élite in cult activities at the Attic sanctuar- tributed significantly to the development of a ies. The quantity of black-figured loutrophoroi communal mentality among the residents, while from the sanctuary of the Nymphe on the South reinforcing their association with the land around slope of the Akropolis demonstrates the impor- them (Polignac, 1995b: 92, 99-100; 1995c: 18; tance of this cult for the Athenians. The vessels 2002). The reaction of the Athenians, just before suggest dedicators coming from all social levels, 620 bce, against Kylon and his attempt to estab- including affluent visitors, as implied by some of lish a tyranny (Herodotos 5.71; Thoukydides the large and richly-decorated loutrophoroi 1.126, 3-12; Plutarkhos, Solon 12.1-9; Andrewes, attributed to the Nessos Painter. It is intriguing 1982: 369; Rhodes, 1981: 79-84; Welwei, 1992: that, at the same time, a limited number of sev- 133-137), which was then followed by the prom- enth-century vases seem to have been dedicated ulgation of Drako’s law (Stroud, 1968; Gagarin, at the Akropolis sanctuary. The special character 1981; 1986: 78-79, 86-89, 112-115; Humphreys, of the Nymphe, closely associated with women 1991: 17-45) suggests that the seeds of political and marriage, might have contributed to the unity were already present (Manville, 1990: 77-82; popularity of the sanctuary. In contrast, most of Frost, 1994: 48-49). the dedications found at the Attic peak sanctuar- The early sixth century sees a number of ies, which flourished during the seventh century, changes in pottery production including an were poorly made Subgeometric drinking shapes. increase in the number of potters and painters. The majority of these sanctuaries occurred at the Some, like the Anagyrous and Lotus Painters, as end of the eighth century and were mostly ded- well as the Ragusa Group were working, not in 114 chapter six

Athens, but in the Attic periphery using local also hint to a change in the daily life of the Athe- clay. The shape production seems to have been nians, with the symposion acquiring a more organised at a certain degree; some painters or prominent position in the early sixth century, as groups would favour particular shapes, with the it was with the Korinthians. Due to the limited chief painter often undertaking different forms number of early sixth-century Attic sympotic ves- from those made by his associates. In a number sels found within Attika—only coming from the of cases, the shapes, iconography, quality of dec- wells of the Athenian Agora—and the lack of oration and the context in which there were sixth-century evidence from other domestic con- found, demonstrate that they have been specially texts, conclusions can be drawn with difficulty. commissioned. In his poetry Solon (fr. 4.9-10) associates nobles’ At that time, Attic vase production has a strong hybris with feasting, emphasizing their tendency Korinthianising character, which on one hand to distinguish themselves from the polis through could be associated with the imports of Korin- commensality (Murray, 1990a). Solon’s use of thian vessels. On the other hand, it should be the word dais points to sacrificial banqueting more strongly seen as dependent on the reloca- (Schmitt-Pantel, 1992: 38), but, again, the evi- tion of Korinthian potters and painters from dence from Attic sanctuaries is too weak to sup- Korinthos to Attika. A number of early sixth- port this. The finds from the seventh-century century vases made of Attic clay, but decorated Kerameikos’ trenches underline the association in a Korinthian manner provide efficient evidence between death, banqueting and upper classes. The of a number of Korinthian artisans working in trench-ceremonies could serve as an indicator Attika at the time. Despite the long tradition of that the symposion was a part of the lifestyle of pottery production in Attic workshops, a number the Athenian nobility already from the seventh of shapes were replaced by their Korinthian coun- century, despite the very limited archaeological terparts. The Athenian potters did not always data from habitation areas. copy directly, but often adapted Korinthian mod- The innovations observed during the first els to local tastes and needs. Unlike oil and per- decades of the sixth century in the Attic shape fume containers, of which only a limited number repertoire were followed by new iconographic have been preserved, the sympotic shapes, fol- themes. Newly introduced epic subjects and daily- lowing Korinthian prototypes, are prominent in life scenes emphasize the more anthropocentric early sixth-century Attic production. This produc- character of the period, which is gradually aban- tion of Korinthian shapes by Attic potters and doning the seventh-century interest in fighting the abandonement of shapes, like the lebes, which scenes of heroes against monsters and hybrids. were produced since the Geometric period, cor- However, the number of preserved figure-scenes respond to the decline in the use, and final aban- is very limited due to the dominance of the ani- donment, of the offering trenches. It seems that mal friezes in early sixth-century iconography, the symposion which during the seventh century, revealing the strong “Korinthianising” character had been closely related to the trench-ceremonies, of the Attic production at the time. was losing its funerary symbolism and, therefore, In contrast to the seventh century and the cir- a new set of shapes was needed; shapes that did culation of pottery within Attika, the early sixth not carry funerary connotations. sees only a small number of finely-decorated ves- Banqueting shapes are limited in Attika, but sels which were made by the most productive of they were widely exported around the Mediter- Athenian painters, finding their way into Attic ranean, where they seem to have been appreciated cemeteries. The majority of those recovered were for their fine quality. Although the use of Ko - from the Athenian Agora, the Akropolis, and the rinthian protoypes for the Attic sympotic ware sanctuary of the Nymphe. Cult activities at the should be better associated with the workshops’ Attic peak sanctuaries decline, while there is indi- effort to promote their products overseas, it might cation that pottery dedications increase on the a ceramic approach to early archaic attika 115

Athenian Akropolis as it becomes the most 1982; 1988; 1993, 169; Viviers, 1992: 219-221). important cult site in Attika. A number of archi- Similarly, the end of the offering trenches indi- tectural terracottas, consisting of antefixes and cates changes in burial customs rather than in eave tiles (the earliest of which date to c. 620 to their splendour. 600 bce) belong to three small buildings that Although the majority of early sixth-century probably existed there at that time, but whose vases were used locally, a substantial number are function is not clear (Vlassopoulou, 1990: nos. found overseas. This wider distribution seems to 1-10; Winter, 2003: 213). While the Akropolis be closely related to the adoption of Korinthian gradually attracted more interest, comtemporary shapes and of the animal friezes by Attic crafts- burial practices associated with the offering men. For the most part, an overseas trade in fine- trenches in the Kerameikos declined and oil ves- decorated pottery did not exist in the seventh sels began to be placed into the graves instead. century. Even though local needs still accounted That the sanctuary was the centre of Athenian for the majority of the vases produced during the religious life is attested to by the reorganization first quarter of the sixth century, the overseas of the Panathenaia and the establishment of the market was growing. Most of the known frag- first monumental religious buildings by the sec- ments of Attic pottery have been found on the ond quarter of the sixth century (Korres, 1996; coast of Western Asia Minor and at Naukratis, 1997; Hurwit, 1999: 98; Brouskari, 2000: 153-158; but they are also present at sites in Italy, Sicily, Holtzmann, 2003: 75-81). Southern France, and Spain. It was in these areas Historically, this period corresponds to the that Attic imports were dominant after the second Solonian reforms. Can Solon be credited for the quarter or the middle of the sixth century. While decline of lavish vessels at the Attic nekropoleis? acknowledging the limitations of distribution According to sources, he introduced funerary studies, particularly the lack of preservation, the regulations (Plutarkhos, Solon 12.7-9, 21.1-2, circulation of different shapes and the represen- 21.5-7; Demosthenes 43.62, 20.104; Cicero Legi- tation of the painters at the different sites does bus 2.59, 2.60, 2.63-66), interpreted either as an not seem random. It clearly points to some sort attempt to limit the display of wealth in private of organization of the pottery production and its funerals in order to affect aristocratic power distribution, supporting the theory of directional (Kurtz & Boardman, 1971: 121-122; Garland, trade. Moreover, it becomes evident that “Korin- 1985: 22; Seaford, 1994: 84-85; Engels, 1998), or thianising” cannot be simply seen as a contem- as an action against women and their role in porary trend, but it should be associated with the funeral rites (Alexiou, 1974: 14-15). A detailed awareness from the workshops’ part that it could analysis of the sources suggests that the Solonian significantly lead to the wider circulation of Attic funerary restrictions, if not later inventions, products in the Mediterranean. The developing aimed at regulating the relationships between the overseas trade of Attic pottery indicates that Ath- living and the dead and at limiting the effect of ens was gradually becoming part of a wider net- the miasma within the city (Blok, 2006). This is work of distribution in the early sixth century, further indicated by the archaeological evidence, thereby setting the stage for the growing circula- which points to a changing attitude towards death tion of fine-decorated Attic pots, which soon (Sourvinou-Inwood, 1983: 44-48; D’ Onofrio, came to dominate the Mediterranean markets. 1993: 143-171; Morris, 1989; 1992-1993; Houby- Any Solonian reforms regarding trade need not Nielsen, 1995). Marble kouroi, korai, and stelai have been the driving force behind the wider were used to display the wealth of the Attic nobil- export of pottery; they might simply have sup- ity and their rivalries in Athens and the surround- ported and promoted an already developing ing countryside. Their continuous use during the situation. It is impossible to determine the degree sixth century does not sustain the theory of a law of involvement of the Athenians themselves in aiming at limiting luxurious displays (D’Onofrio, the trade of their products. Eastern Greeks seem 116 chapter six to have played the main role in this trade, but hippeis, zeugitai and thetai. A fourth class, referred there were also Aiginetan and Korinthian traders. to as pentakosiomedimnoi, may have also existed This does not eliminate Athenian participation. (Rhodes, 1981: 137; Hansen, 1991: 30). According The literary evidence attests to ships owned by to Aristoteles (Athenaion Politeia 7.3-4, 8.1, 47.1, members of the upper classes and, more impor- 26.2), wealth became the criterion for holding tantly, the distribution of the SOS transport office rather than membership in the nobility. amphorae positively points to some participation Further attempts to minimize aristocratic rivalries by the Athenians in the mechanisms of promot- can be found in the establishment of the council ing and distributing fine-decorated Attic pottery. of four hundred (Aristoteles, Athenaion Politeia The preserved pottery evidence indicates that 8.4; Plutarkhos, Solon 19; the existence of the the early sixth century marks an era of changes council has been regarded as a later invention: for Attika. The developments visible in archaeol- Ehrenberg, 1973: 69; Hignett, 1975: 92-96; Mossé, ogy coincide with the arkhonship of Solon, for 1979: 434-435; Sealey, 1976: 120; however, its which a number of later sources provide informa- establishment by Solon is largely accepted: tion. Despite difficulties distinguishing his origi- Rhodes, 2006: 254-255.) Although participation nal laws from later additions, as well as modern was confined to the three highest classes, all mem- controversies on various “Solonian” matters, the bers of the élite and not just a select few were extant information can be taken as a remote echo permitted to serve (Wees van, 2006: 378). The of changes that he might have initiated, which promulgation of laws that applied equally to all seem to be reflected in the archaeological data. citizens, the establishment of the heliaia (Aristo- One of Solon’s primary aims was to protect the teles, Athenaion Politeia 7.3, 9.1; Politika 1373b; city from instability caused by aristocratic rival- Hansen, 1989; 1991: 30), which encouraged all ries. Sources stress the inequality between the citizens to participate in the judicial procedures, citizens of the polis. Aristoteles (Athenaion and the interest given by the lawgivers to numer- Politeia 2.5.1-2) and Plutarkhos (Solon 13.1-14.6), ous private and public events are likely to have reveal that late seventh-century Athens was trou- contributed significantly to altering existing civic bled by a tension between rich and poor, leading attitudes and enforcing the civic mentality (Stahl, 1987: 229-232; Manville, 1990: 148-155; Frost, gradually to a more general stasis. A number of 1994: 50-51; Wees van, 2006: 378). Along with Athenians had lost their land, were indebted to the new laws, cults seem to have played a major the rich, and were sold abroad as slaves. Modern role in the social developments (Osborne 1994; scholarship offers varying explanations for the Blok, 2000: 35-37). Little is known of religious causes of this rural discontent (French, 1956; life in Attika during the Solonian period and any Sealey, 1976: 108-112; Forrest, 1979: 62-63; Mur- reconstruction can only derive from later literary ray, 1980: 191-192; Rhodes, 1981: 90-97; Frost, sources (Shapiro, 1996). Solon has been credited 1987; Gallant, 1982; Manville, 1990: 119-120; with the creation of a calendar of festivals that Foxhall, 1997: 127-128). The existence of fifth- imposed a framework for Athenian religious life. century small- and medium-sized land holdings The few fragments found in the works of later in Attika would indicate that with the seisakhteia authors, and those that have survived the general (“shaking off of burdens”) Solon was able to revision of laws of 401 bce, are indicative of the transform the previously dependent farmers, who sixth-century code’s organization (Parker, 1996: worked the land of the nobility, into small inde- 43-55). Genesia became a new public and com- pendent landowners (Sealey, 1976: 111; Osborne, munal festival for the dead, while previously it 1996: 223). In addition to his land reforms, Solon had been a private celebration. This is the earliest redefined the social classes to create long-term evidence of the state’s intervention in religious stability in Attika. Athenian citizens were divided matters [Parker (1996: 49) does not accept that into three classes based on tele (annual income): Solon might have disturbed the religious practices a ceramic approach to early archaic attika 117 of the gene]. Such measures probably aimed at rulers. Many of the communities around Attika adding public significance to the funerary prac- that gave rise to the classical demoi, like Ana- tices (Philo khoros FGrH 328; Garland, 1992: 29, gyrous, were important sub-centres next to that 35). Moreover, if not a later addition, the ‘σίτησις of Athens, and could have remained unaffected ἐν δημοσίῳ’ referred to by Plutarkhos (Solon by contemporary attempts at the creation of an 24.5), implies the organization of dinners at Ath- idea of communal citizenship, while attempting ens been intended to strengthen the communal to maintain their autonomy from the central polis awareness of the citizens (Schmitt-Pantel, 1992: by underlining their rights over the local land 97-99). Athena’s cult on the Akropolis is not through funerary practices (Frost, 1990: 3-5; 1994: mentioned anywhere in connection with the law- 51; Mersch, 1997: 51-54; Blok, 2000: 35-39; Ale- giver (Shapiro, 1996: 128). The earliest reference xandridou, 2008). By the second half of the sixth to the importance of the patron goddess for the century, under the rule of the tyrants, the cultic polis in one of Solon’s poems (fr. 3) might be life of the polis is extended and the sense of suggestive of the significance that the Akropolis belonging to a larger community develops on a sanctuary began to reacquire. This is archaeo- firmer basis (Shapiro, 1989; Frost, 1990: 3-9; Blok, logically supported by the increase in the number 2000: 17-48). of pottery dedications occurring around the same The detailed study of the early Attic black- time. figured pottery shows that the last quarter of the Although the Solonian laws might have laid seventh century saw the continuation of Protoat- the basis for the development of citizenship ori- tic traditions. At the same time it marked their ented towards Athens, the local ties of the resi- end with the early sixth century leading to the dents of Attika remained strong. The funerary first steps towards a new epoch. The circulation evidence of the countryside shows that his laws and uses of vessels within Attika add a new did not have a uniform effect over all of Attika. parameter to the study of the contemporary polis, Despite transformations in the Kerameikos, the directing the interest to the Attic periphery and élite living in the Attic periphery continued to the developments there, which differ considerably focus on the worship of their ancestors through from those in Athens. mortuary practices and, in particular, through Although many aspects of early archaic Attic funerary ceremonies of a cultic character over society remain blurred, a contextual analysis of offering trenches and pyres. Their insistence on the ceramic evidence, such as this attempted here, employing practices that were already in decay in combination with the existing historical evi- in contemporary Athens demonstrates a conser- dence allows for a better understanding of a num- vatism, as well as the strength of the links the ber of issues, stimulating further discussions on élite had with their area and their old and heroized Attika during a period of immense interest. catalogue of the attic early black-figured vases 119

APPENDIX I

CATALOGUE OF THE ATTIC EARLY BLACKFIGURED VASES

Below is the list of the early black-figured vases and fragments dated c. 630 to 570 bce, on which this study is based. They have been grouped according to shapes; mixing vessels appear in the first section, followed by pouring, drinking, transport and, finally, oil and perfume containers. Supports that cannot be associated with particular shapes, as well as lids have been listed separately. Frag- ments of unknown shapes are added at the end of the catalogue. Each section contains vessels of known provenance. A few vessels of unknown context have been included because their shape or decoration is discussed in the preceding chapters. The vases are arranged according to provenance. Sites in Athens and Attika come first, followed by Aigina, those in central Greece, the islands and Northern Greece. Vessels of Western Asia Minor, Naukratis, Kyre- naike, the Black Sea area, and Western sites follow. Fragments of unknown provenance are added at the end of each section. Each entry states the site where the vessel was found (for example Athenian Agora, Kerameikos etc.), followed by a number. The finds from each site are arranged chronologically; those assigned to known painters are followed by those that are unattributed. The collection, the painter, the scholar who attributed it, a rough date, a reference to an illustration, as well as a brief description of the decoration are included in each entry. Some of the unpublished fragments have been assigned to a painter by the author and this is noted. All dates used in the catalogue are bce and therefore this information is omitted.

MIXING VESSELS

Skyphos-Krater Athenian Agora 5: Athens, Agora Museum, P 26809. Wall fragment of a conical support. Very close to the Athenian Agora 1: Athens, Agora Museum, P 25661. Nessos Painter. 610. Moore & Philippides, 1986: pl. 51. Two non-joining fragments. Near the Nessos Painter 527. [Moore & Philippides]. Late seventh century. Moore Woman. & Philippides, 1986: pl. 39. 401. Athenian Agora 6: Athens, Agora Museum, P 12046. Sphinx or siren. Rim fragment. 610. Moore & Philippides, 1986: pl. 39. Athenian Agora 2: Athens, Agora Museum, P 6116 399. and P 30993. Lid fragments. ABV 4. Perhaps recalls Lion or Khimaira. the Nessos Painter. 620. Moore & Philippides, 1986: Athenian Agora 7: Athens, Agora Museum, P 6577. pl. 40. 406; Hünnekens, 1987: pl. 64. 1-2. Fragments of foot and bowl. Last quarter of the sev- Boar. Spiral filling ornament and step pattern on enth century. Moore & Philippides, 1986: pl. 39. 400. the rim. Sphinx. Hanging spirals. Athenian Agora 3: Athens, Agora Museum, P 21565. Athenian Agora 8: Athens, Agora Museum, P 26656. Lid fragment. Para 5.I.1. Near the Nessos Painter. 620. Bowl and support fragment. Late seventh century. Moore & Philippides, 1986: pl. 40. 407. Moore & Philippides, 1986: pl. 39. 402. Lion. Khimaira and panther. Athenian Agora 4: Athens, Agora Museum, P 7560. Athenian Agora 9: Athens, Agora Museum, P 4277. Lid fragment. Near the Nessos Painter [Moore & Rim fragment. Late seventh century. Moore & Philip- Philippides]. 620-610. Moore & Philippides, 1986: pides, 1986: pl. 40. 403. pl. 41. 409. Animal. Boar. 120 appendix i

Athenian Agora 10: Athens, Agora Museum, Akropolis 23: Athens, Akropolis Museum, 1.496. Wall P 3616. Lid fragments. 630-620. Moore & Philippides, fragment. ABV 22.3. Group of the Dresden Lekanis. 1986: pl. 40. 404. Late first quarter of the sixth century. Graef & Lan- Esses. Palmettes, step pattern. glotz, 1925: pl. 20. 496a-b. Athenian Agora 11: Athens, Agora Museum, P 7866. Animal friezes. Lion, boars, sirens, panther or Lid fragment. 625. Moore & Philippides, 1986: pl. 40. lion. 405. Akropolis 24: Athens, National Museum, Akropolis Boar. Collection, 1.497. Wall fragment. ABV 22.4. Group of Athenian Agora 12: Athens, Agora Museum, P 25268. the Dresden Lekanis. Late first quarter of the sixth Lid fragment. 620. Moore & Philippides, 1986: pl. 40. century. BAPD 300253. 408. Floral ornament. Siren? Horse. Akropolis 25: Athens, National Museum, Akropolis Athenian Agora 13: Athens, Agora Museum, P 4241. Collection, 1.498. Wall fragment ABV 22.5. Group of Lid fragment. Late seventh century. Moore & Philip- the Dresden Lekanis. Late first quarter of the sixth pides, 1986: pl. 41. 410. century. Swan. Siren, floral. Athenian Agora 14: Athens, Agora Museum, P 21699. Akropolis North Slope 26: Athens, National Museum, Lid fragment. Late seventh century. Moore & Philip- Akropolis Collection, AP 1734. Lid fragment. ABV 8.6. pides, 1986: no. 411. Gorgon Painter. Early sixth century. Broneer, 1938, Bird or siren. 446, fig. 1. Athenian Agora 15: Athens, Agora Museum, P 23542. Animal friezes. Geese. Support fragment. Late seventh century. Moore & Sanctuary of the Nymphe 27: Athens, Fetiche Tjami Philippides, 1986: pl. 51. 528. NA-57-Aα2682+1959-NAK 503. Fragmentary support. Lotus, sphinx, siren. Para 4.26. Nessos Painter. Late seventh century. Athenian Agora 16: Athens, Agora Museum, P 21382. Kyrkou, 1997a: fig. 12. Support fragment. Late seventh century. Moore & Confronted sphinxes. Philippides, 1986: pl. 51. 526. Kerameikos 28: Athens, Kerameikos Museum, 801. Bird. ABV 1.2. Para 1. Add2 1. Painter of Berlin A34. Last Athenian Agora 17: Athens, Agora Museum, P 25854. quarter of the seventh century. Kübler, 1970: pls. Support fragment. Late seventh century. Moore & 87-88. Philippides, 1986: no. 529.

Siren, sphinx. A: Sphinxes. B: Curl pattern. Athenian Agora 18: Athens, Agora Museum, P 671. Kerameikos 29: Athens, Kerameikos Museum, 130. Support fragment. Late seventh or early sixth century. Wall fragment. ABV 1.3. Painter of Berlin A34. Last Moore & Philippides, 1986: pl. 51. 530. quarter of the seventh century. Küb ler, 1970: pl. 86. Feline. Swans. Athenian Agora 19: Athens, Agora Museum, P 5303. Kerameikos 30: Athens, Kerameikos Museum, 1362. Lid fragment. ABV 10.25. Gorgon Painter. First quar- Body, rim and handle fragments. Painter of Berlin ter of the sixth century. Moore & Philippides, 1986: A34 or near him [Kübler]. Last quarter of the seventh pl. 41. 412. century. Kübler, 1970: pl. 120. Animal friezes. Felines, swan, lions. A: Animal. B: Curl pattern. Athenian Agora 20: Athens, Agora Museum, P 5520 Kerameikos 31: Athens, Kerameikos Museum, 158. and P 17084. Lid fragments. ABV 22.6. Add2 7. Group Wall fragment. Painter of Berlin A34 or near him of the Dresden Lekanis. 580-570. Moore & Philippides, [Kübler]. Last quarter of the seventh century. Kübler, 1986: pl. 41. 413. 1970: pl. 120. Dicing. Animals and sirens. Animal. Akropolis 21: Athens, National Museum, Akropolis Kerameikos 32: Athens, Kerameikos Museum, 162. Collection 1.499, 1.500, AP 1234. Three wall fragments. Wall fragments. Painter of Berlin A34 or near him ABV 42.3. Near Sophilos [Beazley]. Contemporary [Kübler]. Last quarter of the seventh century. Kübler, with Sophilos [Bakır]. 570. Bakır, 1981: pl. 88. C7. 1970: pl. 122. 162. Men, Hermes?, sphinx. Swan. Akropolis 22: Athens, National Museum, 585a-b. Two Kerameikos 33: Athens, Kerameikos Museum, 164. wall fragments. ABV 40.17, ABV 40.18. Sophilos. 590- Wall fragments. Painter of Berlin A34 or near him 580. Bakır, 1981: pls. 35-36. [Kübler]. Last quarter of the seventh century. Kübler, Bearded man with skeptron (Kekrops). Two women, 1970: pl. 121. one inscribed as Pandrosos. Horse. Inscription A: Swan. B: Curl pattern. Poseidon. Male and female figure on a chariot. catalogue of the attic early black-figured vases 121

Kerameikos 34: Athens, Kerameikos Museum, 230. Kerameikos 48: Athens, Kerameikos Museum, 116. Rim and wall fragment. Painter of Berlin A34 or near Wall and rim fragment. Painter of the Kerameikos him? [Kübler]. 620. Kübler, 1970: fig. 64. 162. riders’ amphora [Kübler]. Peiraieus Painter. Last quar- Windmill pattern. ter of the seventh century. Kübler, 1970: pl. 117. Kerameikos 35: Athens, Kerameikos Museum, 1363. Animal. Wall fragment. Painter of Berlin A34 or near him Kerameikos 49: Athens, Kerameikos Museum, 212. [Kübler]. 620. Kübler, 1970: fig. 64. 163. Wall fragments. Last quarter of the seventh century. Windmill pattern. Kübler, 1970: pl. 121. 122. Kerameikos 36: Athens, Kerameikos Museum, 1364. Lion. Wall fragments. Painter of Berlin A34 or near him Kerameikos 50: Athens, Kerameikos Museum, 132. [Kübler]. 620. Kübler, 1970: fig. 64. 164. Wall fragment. Last quarter of the seventh century. Windmill pattern. Kübler, 1970: pl. 92. Kerameikos 37: Athens, Kerameikos Museum, 154. Sphinx. Wall fragments. ABV 3.3. Para 3.9. Add2 1. Nessos Kerameikos 51: Athens, Kerameikos Museum. Wall Painter. 620. Kübler, 1970: pl. 113. fragments. Last quarter of the seventh century. Hün- Bellerophon against Khimaira. nekens, 1987: pl. 102. 1-2. Kerameikos 38: Athens, Kerameikos Museum, 1366. Lion or panther. Wall fragments. ABV 4. Para 3.11. Nessos Painter. Kerameikos 52 : Athens, Kerameikos Museum, 152. 620. Kübler, 1970: pl. 118. 620-610. Kübler, 1970: pl. 74. Eagle, swan. A: Floral ornaments. B: Linear pattern. Kerameikos 39: Athens, Kerameikos Museum, 122. Kerameikos 53: Athens, Kerameikos Museum, 109. Wall fragment. Nessos Painter [Kübler]. Late last quar- Wall and rim fragment. Sophilos [Bakır]. 590. Kübler, ter of the seventh century. Kübler, 1970: pl. 117. 203. 1970: pl. 122. Step pattern. Sphinx. Couple on a chariot. Kerameikos 40: Athens, Kerameikos Museum, 157. Kerameikos 54: Athens, Kerameikos Museum, 119. Wall fragments. Nessos Painter [Kübler]. 620. Kübler, Rim and wall fragment. Near Sophilos [Bakır]. 570. 1970: pl. 114. Bakır, 1981: pl. 81. B21. Animal. Man’s head. Kerameikos 41: Athens, Kerameikos Museum, 2810. Kerameikos 55: Athens, Kerameikos Museum 129. Wall fragment. Nessos Painter [Hünnekens]. 610-600. 580. Kübler, 1970: pl. 78-79. Hünnekens, 1987: pl. 108. 1-2. A: Two confronted sphinxes with poloi. B: Curl Siren or bird. pattern. Kerameikos 42: Athens, Kerameikos Museum, 101. Olympieion 56: Athens. Fragments. Nessos Painter Wall fragments. ABV 7. Para 2.5.1. Akin to Nessos [Brann]. Last quarter of the seventh century. Brann, Painter. 620. Kübler, 1970: pl. 111. 1959: pl. 44. 2. A: Sirens, floral. B: Curl pattern. Sphinx. Kerameikos 43: Athens, Kerameikos Museum, 1365. Vári 57: Athens, National Museum, 16382. ABV 3.4. Wall fragment. Unknown context. ABV 7. Para 6.2. Para 3.10. Add2 1. Nessos Painter. 610. Karouzou, Akin to the Nessos Painter. 620. Kübler, 1970: pl. 112. 1963: pls. 2-11. Fig. 1. A: Sphinx. B: Curl pattern. Two panthers eating a bull. Under handles: Swans. Kerameikos 44: Athens, Kerameikos Museum, 205. Support: Confronted sphinxes. Wall fragments. Painter of Kerameikos 205 [name Lid: Eagles eating a deer. Siren. adopted for this study]. 620. Kübler, 1970: pl. 115. Back side: Loop pattern. Curl pattern. Vári 58: Athens, National Museum, 16383. ABV 7. Kerameikos 45: Athens, Kerameikos Museum, 206. Add2 2. Nessos Painter. 610. Karouzou, 1963: pls. Wall fragments. Painter of Kerameikos 205. 620. 12-20. Kübler, 1970: pl. 121. 206. Six riders galloping. Floral patterns. Under handles: Floral ornament. Kerameikos 46: Athens, Kerameikos Museum, 211. Support: Confronted sphinxes. Wall fragments. Painter of Kerameikos 205. 620. Lid: Eagles eating animal. Back side: Loop pattern. Kübler, 1970: pl. 115. 211. Vári 59: Athens, National Museum, 16384. ABV 6. Floral patterns. Para 3.13. Add2 1. Nessos Painter. 610. Karouzou, Kerameikos 47: Athens, Kerameikos Museum. Wall 1963: pls. 21-28. Figs. 34 and 50. fragment. 620. Hünnekens, 1987: pl. 108. 1-2. Herakles freeing Prometheus, eagle. Horse. Under handles: Geese and lion. Lid: Two lions. Sup- 122 appendix i

port: Procession of four women holding flowers. Provenance Unknown 72: Athens, National Museum, Two Doric columns. 907. Wall fragment. ABV 19.4. Para 12. Kerameikos Back side: Loop pattern. Painter. 580. Kreuzer, 1998c: figs. 5-6. Fig. 2. Vári 60: Athens, National Museum, 16400. ABV 4. Animal friezes. Panthers, siren, boar, lions, sphinxes, Nessos Painter. Painter of the Gorgons [Hünnekens]. swan, goats. 610. Fig. 33. Provenance Unknown 73: Basel, Bosshard, Bo 154. A: Herakles pursuing two Centaurs. B: Loop pat- Kerameikos Painter. 580. Kreuzer, 1998c: fig. 14. tern. Animal friezes. Female figure between sirens, lions, Vári 61: Athens, National Museum, 16399. ABV 7. birds. Panthers, boar, sirens. Grazing birds. Follower of the Nessos Painter [Karouzou]. Painter of the Gorgons [Hünnekens]. 610. Fig. 35. Egg-shaped krater A: Two running Gorgons. Panther. B: Loop pattern. Athenian Agora 74: Athens, Agora Museum, P 17486. Lid: Eagles eating animal, panther. 625-600. Moore & Philippides, 1986: pl. 50. 520. Fig. Vári 62: Boston, Museum of Fine Arts, 49.65. Follower 3. of the Nessos Painter [author]. 625. Vermeule, 1982: A: Siren. B: Loop ornament. fig. 165. Vári 75: Athens, National Museum. Nessos Painter Sirens. [Callipolitis-Feytmans]. Last quarter of the seventh Vourvá 63: Athens, National Museum, 993. ABV 1. century. Callipolitis-Feytmans, 1985: 43, fig. 14. Compare to Painter of Berlin A34. Last quarter of the A: Sphinxes. B: Loop ornament. seventh century. Stais, 1890a: pl. 10. A: Swans. B: Curl pattern. Column-krater Mounikhía 64: Peiraieus, Archaeological Museum, MΠ5406. Support fragments. Nessos Painter [Palaio- Athenian Agora 76: Athens, Agora Museum, P 27586. krassa]. 610. Palaiokrassa, 1994: pl. 1. 1. Handle-plate fragment. ABV 31.2. Para 16.2. KY Sphinx. Painter. Late first quarter of the sixth century. Moore Mounikhía 65: Peiraieus, Archaeological Museum, & Philippides, 1986: pl. 41. 418. AE5406. Support fragments. Nessos Painter [Palaio- Feline. krassa]. 610. Palaiokrassa, 1994: pl. 1. 2. Athenian Agora 77: Athens, Agora Museum, P 3015. Sphinx. Wall fragment. ABV 36.36, Add2 9. Komast Group Mounikhía 66: Peiraieus Museum. Support and wall VIII, Unallotted. 580-575. Moore & Philippides, 1986: fragment. ABV 8.3. Para 6. Gorgon Painter. Early sixth pl. 41. 417. century. Threpsiadis, 1935: 179-180, figs. 11-12. Bearded komast. Feline. Chariot. Sirens, lions, deer. Athenian Agora 78: Athens, Agora Museum P 13848. Eleusis 67: Eleusis, Archaeological Museum, 846. Wall Wall fragment. ABV 41.26. Sophilos. 580. Moore & fragments. ABV 21.2. Painter of Eleusis 767. First quar- Philippides, 1986: pl. 42. 419. ter of the sixth century. BAPD 300248. House. Under handle, swan. Draped youths, owl. Athenian Agora 79: Athens, Agora Museum, P 26289. Athens 68: Basel, Antikenmuseum, B5430. Close to Handle-plate fragment. 600. Moore & Philippides, the Painter of Berlin A34 [Descoeudres]. 620-610. CVA 1986: pl. 41. 414. Basel, Antikenmuseum 1: pl. 24. 1. Swan. Siren. Athenian Agora 80: Athens, Agora Museum, P 22839. Aigina 69: Aigina Museum, 2844. Support fragment. Wall fragment. Late first quarter of the sixth century. Painter of Berlin A34 [Walter-Karydi]. 640. Walter- Moore & Philippides, 1986: pl. 41. 415. Karydi, 1997: fig. 4. Siren or sphinx. Floral and linear patterns. Athenian Agora 81: Athens, Agora Museum P 4237. Aigina 70: Aigina Museum. Wall fragments. Nessos Wall fragment. Late first quarter of the sixth century. Painter? [Walter-Karydi]. 620-610. Walter-Karydi, Moore & Philippides, 1986: no. 416. 1997: fig. 17. Man with khiton and cloak, siren. Floral chains. Athenian Agora 82: Athens, Agora Museum, P 22330. Samos 71: Vathý Museum, K1561, K3254. Lid frag- Wall fragment. 580-570. Moore & Philippides, 1986: ments. Painter of Berlin 1659 [Kreuzer]. 580-570. pl. 42. 420. Kreuzer, 1998a: pl. 30. 146. Symposion scene. Couch, table, dog. Animal friezes. Birds, sirens, panther or lion. Athenian Agora 83: Athens, Agora Museum, P 17806. Wall fragments. 580-570. Moore & Philippides, 1986: pl. 42. 421. catalogue of the attic early black-figured vases 123

Siren or sphinx, bird, eagle. Feline, goat, horse. Xanthos 97: Istanbul, Archaeological Museum, Frontal chariot flanked by standing figures. A6.3444. Para 18.1. Add2 9. Painter of Xanthos A6. Athenian Agora 84: Athens, Agora Museum, P 26507. 3444. Late first quarter of the sixth century. Metzger, Rim fragments. 580-570. Moore & Philippides, 1986: 1972: pls. 44-45. no. 422. A: Man and youth dancing between sphinxes. Riders. B: Animal frieze. Flying eagle between panthers. Akropolis 85: Amsterdam, Allard Pierson Museum, Naukratis 98: London, British Museum, B101. Wall 2176. Wall fragment. Near the Gorgon Painter [Crie- fragments. Painter of Berlin 1659 [Beazley]. First quar- laard, Crouwel]. Late seventh, early sixth century. ter of the sixth century. Bakır, 1982: pl. 17. Crie laard & Crouwel, 1990: figs. 1-2. Griffin between sphinxes. Dolphin. Naukratis 99: Cambridge, Fitzwilliam Museum, N187, Vári 86: Athens, National Museum, 16388. Nessos Alexandria, Graeco-Roman Museum, 9355. Handle- Painter. 620. Tiverios, 1981: pl. 44. Fig. 4. plate. Painter of Berlin 1659 [Beazley]. First quarter A: Confronting eagles, one with a snake in its of the sixth century. Venit, 1982: pl. CVI; Venit, 1988: mouth. B: Siren. pl. 56. 252. Athens 87: Berlin, Antikensammlung, F3987. Wall Siren. fragment. ABV 25.16. Add2 7. KX Painter. First quar- Naukratis 100: London, British Museum, 88.6-1.599, ter of the sixth century. Beazley, 1951: pl. 16. 4. Fig. Oxford, Ashmolean Museum, G128.18. Wall frag- 39. ments. ABV 33.4. Manner of the KY Painter. First Paris escaping the judgement? quarter of the sixth century. Beazley & Payne 1929: Aigina 88: Aigina Museum, 508. Wall fragment. KY pl. XV. Painter [Felten]. First quarter of the sixth century. A: Warrior and a horse. B: Komos. Felten, 1982: pl. 11. 154. Naukratis 101: Cairo, Egyptian Museum, 26.172. Wall Bull or goat. fragment. ABV 33.5. Manner of the KY Painter. 580- Aigina 89: Aigina Museum, 222. Wall fragment. KY 570. Venit, 1982: pl. CVIII. Painter [Felten]. First quarter of the sixth century. Komast. Felten, 1982: pl. 11. 155. Naukratis 102: Alexandria, Graeco-Roman Museum, Boar. 9317, Oxford, Ashmolean Museum, G131.31. Frag- Korinthos 90: Korinthos Museum, CP-537. Wall fragment from the lower body. ABV 36.2. Connected with ment. Near Sophilos [Brownlee]. 580-570. Brownlee, the Komast Group. 580-570. Venit, 1988: pl. 57. 253. 1987: pl. 12. Komasts, male and female. Panther, siren. Naukratis 103: London, British Museum, B103.21.1. Korinthos 91: Korinthos Museum, CP-2587. Shoulder Wall fragment. ABV 37.4. Connected with the Komast fragment. 585-575. Brownlee, 1987: pl. 12. Group. 580-570. Venit, 1982: pl. CIX. Winged creature. Komast. Phokaia 92: Excavation, 98. Rim, neck and shoulder Naukratis 104: London, British Museum, B103.21.2. fragment. Gorgon Painter [Tuna-Nörling]. 595-590. Wall fragment. ABV 37.5. Connected with the Komast Tuna-Nörling, 2002a: fig. 102. Group. 580-570. Zig-zag lines. Handle-plate: lion’s head. Komast. Phokaia 93: Excavation, 85. Wall fragment. Ragusa Naukratis 105: Oxford, Ashmolean Museum, G131.32. Group [Tuna-Nörling]. 590-580. Tuna-Nörling, 2002a: Wall fragment. ABV 36.1. Connected with the Komast fig. 103. Group. 580-570. CVA Oxford, Ashmolean Museum Lion. 2: pl. 2. 2. Phokaia 94: Excavation, 59. Rim fragment, part of Female komast. handle-plate. Painter of Berlin 1659 [Tuna-Nörling]. Naukratis 106: Alexandria, Graeco-Roman Museum, 590-575. Tuna-Nörling, 2002a: fig. 103. 9519. Shoulder fragment. First quarter of the sixth Rim: Meander. Handle-plate: Griffin. century. Venit, 1988: pl. 56. 250. Klazomenai 95: Klazomenai Museum, 82. Rim frag- Lion. ment, part of handle-plate. 580-560. Tuna-Nörling, Naukratis 107: Alexandria, Graeco-Roman Museum, 1996: pl. 11. 115. 17165. Neck and shoulder fragment. First quarter of Siren?, dolphin. the sixth century. Venit, 1988: pl. 56. 251. Sardeis 96: Manisa, Archaeological Museum, Animal. P 62.306:4613. Handle-plate. KY Painter? [Ramage]. Naukratis 108: Alexandria, Graeco-Roman Museum, 580-560. Ramage, 1997: pl. 28. 40. 9520. Wall fragment. 580-570. Venit, 1988: pl. 57. 254. Lotus palmette ornament. Feline. 124 appendix i

Naukratis 109: London, British Museum, B102.6, Provenance Unknown 123: London, British Museum, 102.11. Wall fragments. First quarter of the sixth cen- 1928.1-17.39. ABV 31.1. KY Painter [Payne]. 580-570. tury. Petrie, 1888: pl. 6. 6. Steinhart, 1992: figs. 22-23. Riders, swan. Feline, goat. A: Siren between two swans. B: Animal frieze. Naukratis 110: Leiden, Rijksuniversiteit Archaeolo- Swans gisch Institut, N29. Wall fragment. First quarter of Animal frieze. Goats and panthers. Owl. the sixth century. Venit, 1982: pl. CV. Provenance Unknown 124: Rome, Musei Capitolini, Bull. 212. ABV 31.2. Para 16. KY Painter. 570. Steinhart, Naukratis 111: Boston, Museum of Fine Arts, 86.519. 1992: fig. 21. Handle-plate fragment. First quarter of the sixth cen- A: Komos. Three pairs of komasts. B: Riders. tury. Venit, 1982: pl. CVII. Animal frieze. Panthers, goats. Lion. Provenance Unknown 125: Athens, National Museum. Naukratis 112: Cairo, Egyptian Museum, 26.169. ABV 31.3. Komast Group [Beazley]. KY Painter [Kard- Handle-plate. First quarter of the sixth century. Venit, ara]. 570. 1982: pl. CVII. A: Komos. B: Animal frieze. Cock between sirens. Rosettes. Animal frieze. Panthers, goats. Youths dancing. Naukratis 113: Boston, Museum of Fine Arts, 88.945. Provenance Unknown 126: Paris, Musée du Louvre, Shoulder fragment. 580-570. CVA Boston, Museum CA12249. ABV 31.4. Para 16. Komast Group [Beazley]. of Fine Arts 2: pl. 108. 2. KY Painter [Villard]. 565-560. Steinhart, 1992: figs. Komasts. 24-25. Naukratis 114: London, British Museum, B103.1. Rim A: Kalydonian boar hunt? Four riders with spears. fragment. First quarter of the sixth century. Venit, B: Three men killing a boar. 1982: no. B177. Animal frieze. Lions, goats, panthers. Lion. Provenance Unknown 127: Berlin, Antikensammlung, Kyrene 115: Kyrene Museum. Shoulder fragment. KY 1966.17. KY Painter [Greifenhagen]. 580-570. Stein- Painter [Moore]. 580. Moore, 1987: pl. 19. 91. hart, 1992: fig. 8. Komasts. A: Komos. Komasts around a lebes. B: Sphinx be- Berezan 116: St. Petersburg, State Hermitage Museum, tween cocks. b.62-53 and b.444. Wall fragments. KY Painter [Gor- Animal frieze. Goats, panthers and swans, siren. bounova]. 570-560. Gorbounova, 1973: fig. 2. Provenance Unknown 128: Komasts. Würzburg, Universität, Apollonia Pontike 117: Paris, Musée du Louvre, Martin von Wagner Museum, H5831. KY Painter. CA1750. Handle-plate. Para 19.24bis. Sophilos [Bea- 580-570. Steinhart, 1992: figs. 9-12. Fig. 5. zley]. Circle of Sophilos [Bakır]. 580-570. Bakır, 1981: A: Komos. B: Sphinx between sirens. Two female pl. 63. figures. Sphinx. Animal frieze. Goats and panthers. Cortona 118: Provenance Unknown 129: Paris, Musée du Louvre, Cortona, Biblioteca Comunale. Wall 2 fragment. 580-575. Grassi, 1992: 154, no. 3. G11251. Wall fragments. ABV 40.23. Para 18. Add Feline. 11. Sophilos [Beazley]. Near Sophilos [Bakır]. 580-570. Cortona 119: Cortona, Biblioteca Comunale. Two Bakır, 1981: pl. 82. B13. non-joining rim fragments. 580. Grassi, 1992: 155, Frontal chariot. Man leading a horse. no. 7. Provenance Unknown 130: Athens, National Museum, Siren. 12587. ABV 40.24. Sophilos. 590-580. Bakır, 1981: Himera 120: Excavation, H74.242, H75.288.1. Wall pl. 18. fragment. Compare to Sophilos [Chiovaro]. Late first A: Herakles fighting Nereus. On the left, two men quarter of the sixth century. Di Stefano et al., 1993: with spears and on the right, Hermes. B: Two 76, no. 83. lions between two sphinxes. Animal frieze. Siren, panther. Massalia 121: Marseilles. Wall fragment. 580. Vasseur, Lebes 1914: XI, 5. Sphinx, lion. Athenian Agora 131: Athens, Agora Museum, Provenance Unknown 122: Basel, Herbert A. Cahn P 26619. Support fragment. Last quarter of the seventh Collection, HC342. Wall fragment. Manner of the century. Moore & Philippides, 1986: pl. 13. 615. Gorgon Painter [Kreuzer]. 600-590. Kreuzer, 1992: 28, Ornamental decoration. 16. Athenian Agora 132: Athens, Agora Museum, Hermes between animals. P 12811. Wall fragment. Compare to the Kerameikos catalogue of the attic early black-figured vases 125

Painter, recalling the KX Painter [Moore & Philip- Aigina 144: Aigina Museum, 1987. Support fragment. pides]. Late first quarter of the sixth century. Moore Gorgon Painter [Felten]. Early sixth century. Felten, & Philippides, 1986: pl. 57. 609. 1982: pl. 9. 118. Animal friezes. Boars, ram or goat. Lotus palmette chain. Athenian Agora 133: Athens, Agora Museum, Aigina 145: Aigina Museum, 838 a,b. Support frag- P 21708. Support fragment. ABV 28.6. Manner of the ments of a lebes? Gorgon Painter [Felten]. Early sixth KX Painter. 585-575. Moore & Philippides, 1986: century. Felten, 1982: pl. 9. 119. pl. 57. 616. Lion. Feline, ram. Below, rays. Korinthos 146: Korinthos Museum, CP-2582, C-35- Athenian Agora 134: Athens, Agora Museum, P 334. 94. Rim fragments. Near Sophilos [Brownlee]. 580-570. ABV 23. Add2 7. Connected with the Group of the Brownlee, 1987: pl. 12. 3. Dresden Lekanis. 580-570. Moore & Philippides, 1986: Rosettes. pl. 58. 610. Phársalos 147: Athens, National Museum, 15499. ABV Komasts, galloping horse and man. Large tripod 39.16. Para 18. Add2 10. Sophilos [by signature]. 580. and draped man with knife. Ithyphallic silenos pur- Bakır, 1981: pl. 6. Fig. 41. suing a nymph. Kalydonian boar hunt. Animal Funeral games of Patroklos. Animal friezes. Felines, frieze. Boar, sirens, lions. goat or deer, lotus palmette cross, lions, sirens, pan- Athenian Agora 135: Athens, Agora Museum, thers. P 24312. Rim and wall fragment. First quarter of the Karabournáki 148: Excavation. Wall fragment. Circle sixth century. Moore & Philippides, 1986: pl. 57. 608. of Sophilos [Manakidou]. 590-580. Manakidou, 2003: Feline, siren or sphinx. On rim, SOS pattern. pl. 31. 2. Akropolis 136: Athens, National Museum, Akropolis Sirens. Collection, 1.609. Wall fragments. ABV 27.35. KX Gortyna 149: Herakleion, Archaeological Museum. Painter. 580. Beazley, 1944: pl. 6. 2. Para 18.4bis. Sophilos [Johannes]. Circle of Sophilos. Komos. Animal frieze. Lion or panther, deer. 570. Bakır, 1981: pls. 80-81. Fig. 48. Akropolis 137: Athens, National Museum, Akropolis Horserace. Riders and a tripod. Animal frieze. Pan- thers, sirens, goats, flying eagle, boar, lions, rams, Collection, 1.587. Fragments. ABV 39.15. Add2 10. panther. Sophilos [by signature]. 580. Bakır, 1981: pl. 3. 5. Pitane 150: Excavation, 97. Rim fragment [lebes or Procession of the gods to the wedding of Peleus krater]. Manner of the Gorgon Painter [Tuna-Nör- and Thetis. Named Estia, Nysai, Leto, Poseidon and ling]. 590-580. Tuna-Nörling, 1995: pl. 37. 97. Amphitrite on a chariot. Column door. Lotus palmette chain. Akropolis 138: Athens, National Museum, Akropolis Phokaia 151: Excavation, 86. Wall fragment [lebes or Collection, 1.586. Fragment. ABV 43.5. Near Sophilos krater]. Manner of the Gorgon Painter. First quarter [Beazley]. Circle of Sophilos [Bakır]. 570. Bakır, 1981: of the sixth century. Tuna-Nörling, 2002a: fig. 97. pl. 83. B17. Head of a horse? Memnon against Akhilleus. Phokaia 152: Excavation, 96. Wall fragment [lebes or Kerameikos 139: Athens, Kerameikos Museum. Wall krater]. First quarter of the sixth century. Tuna-Nör- fragment of a lebes? Circle of Sophilos [Bakır]. 570. ling, 2002a: fig. 98. Bakır, 1981: pl. 84. B28. Lotus palmette chain. Lion or panther. Phokaia 153: Excavation, 68A. Wall fragment [lebes Kerameikos 140: Athens, Kerameikos Museum, 98. or krater]. 590-580. Tuna-Nörling, 2002a: fig. 99. Plastic mourning women on the rim. 570. Kübler, Lotus palmette chain. 1970: pl. 80. Phokaia 154: Excavation, 87. Wall fragment [lebes or Vári 141: Athens, National Museum, 19159a. Minia- krater]. 590-570. Tuna-Nörling, 2002a: fig. 100. ture with attached plastic mourning figures and sup- Animal. port. Third quarter of the seventh century. Fig. 55. Phokaia 155: Excavation, 90. Wall fragment. 580-570. Floral patterns. Tuna-Nörling, 2002a: fig. 101. Vári 142: Athens, National Museum. Mourning clay Animal friezes. heads attached to the rim. Third quarter of the seventh Larisa 156: Istanbul Museum, 6637. Wall fragment century. Callipolitis-Feytmans, 1985: 45, fig. 18. Fig. (lebes or krater). 590-580. Unpublished. Tuna-Nörling, 6. 1995: 108. Linear patterns. Smyrna 157: Izmir, Archaeological Museum, 7. Shoul- Aigina 143: Aigina Museum, 2795. Wall fragment. der fragment [lebes or krater]. ABV 680.3bis. KY Gorgon Painter [Felten]. Early sixth century. Felten, Painter [Beazley]. Close to the KX Painter [Boardman]. 1982: pl. 9. 117. 570. Boardman, 1958-1959: pl. 33. 7. Feline. Linear decoration. Komast. 126 appendix i

Smyrna 158: Excavation, 183. Wall fragments. Sophi- Sardeis 173: Manisa, Archaeological Museum, los [Tuna-Nörling]. 590-580. Tuna-Nörling, 1995: P 63.57:50.31. Wall fragment. By or near the Gorgon pl. 11. 183. Painter [Ramage]. 580. Ramage, 1997: pl. 27. 35. Animal friezes. Felines. Animal friezes. Lotus palmette ornament, feline. Smyrna 159: Excavation, 182. Wall fragment of a Sardeis 174: Manisa, Archaeological Museum, lebes? Sophilos [Tuna-Nörling]. 580-570. Tuna-Nör- P 90.30:9773. Wall fragment. Near Sophilos [Ramage]. ling, 1995: pl. 11. 182. 580-560. Ramage, 1997: pl. 27. 36. Panther. Panther. Smyrna 160: Excavation, BYR, no. 254. Wall fragment Sardeis 175: Manisa, Archaeological Museum, of a lebes? Sophilos [Tuna-Nörling]. 580-575. Tuna- P 63.178:5205. Upper-body fragment. Sophilos? [Ra- Nörling, 2002c: pl. 4. 42. mage]. 570. Ramage, 1997: pl. 27. 36. Funeral Games for Patroklos. Rider. Smyrna 161: Excavation, BYR, no. 270. Wall fragment Naukratis 176: Oxford, Ashmolean Museum, G128.13. of a lebes? Sophilos [Tuna-Nörling]. 580-575. Tuna- Rim and wall fragment. Late seventh century. CVA Nörling, 2002c: pl. 4. 43. Oxford, Ashmolean Museum 2: pl. 1. 2. Chariot and under it lion. Lion, deer. Smyrna 162: Excavation, BYR, no. 271. Wall fragment Naukratis 177: London, British Museum, 1888.6- of a lebes? Sophilos [Tuna-Nörling]. 580-575. Tuna- 1.588. Rim and wall fragment. ABV 27.2. KX Painter. Nörling, 2002c: pl. 4. 44. 580. Beazley & Payne, 1929: pl. XV11. Lion or panther. Panther, boar. Smyrna 163: Excavation, 2045. Wall fragment [lebes Naukratis 178: Hildesheim, Roemer-Pelizaeus or krater]. Sophilos [Tuna-Nörling]. 580-575. Tuna- Museum, 2096. Wall fragment. ABV 41.33. Sophilos. Nörling, 2002c: pl. 4. 45. 570. Siren. Siren, lion. Smyrna 164: Excavation, BYR, no. 258. Wall fragment Naukratis 179: London, British Museum, B100, [lebes or krater]. 585-575. Tuna-Nörling, 2002c: pl. 4. B601.26, Reading, University, 26.II.1. Wall fragments. 40. ABV 39.13, ABV 41.34. Sophilos. 570. Bakır, 1981: pls. Lion or panther. 66-70, CVA University of Reading 1: pl. 23. 40. Smyrna 165: Excavation, BYR, no. 255. Wall fragment. Lotus palmette cross. Animal friezes. Sirens, pan- 585-575. Tuna-Nörling, 2002c: pl. 4. 41. thers, lions, lotus palmette cross. Hermes between Animal friezes. Lion or panther or sphinx, siren or two sirens. sphinx. Naukratis 180: Cambridge, Fitzwilliam Museum, Miletos 166: Excavation. Wall fragment. Gorgon N128. Wall fragment. ABV 39.14. Sophilos. 570. CVA Painter. Early sixth century. Unpublished. Cambridge, Fitzwilliam Museum 2: pl. 21. 33. Miletos 167: Excavation. Wall fragment. Sophilos. Horse, chariot. First quarter of the sixth century. Unpublished. Naukratis 181: Alexandria, Graeco-Roman Museum, Miletos 168: Excavation. Wall fragment. KX Painter. 9314. Rim fragment. Sophilos [Venit]. 570. Venit, First quarter of the sixth century. Unpublished. 1982: pl. CXXX. Miletos 169: Excavation. Wall fragment. First quarter Rosettes. of the sixth century. Unpublished. Naukratis 182: Cambridge, Fitzwilliam Museum, Samos 170: Vathý Museum, K6833. Fragments. Kera- N173. Manner of Sophilos [Bakır]. First quarter of meikos Painter [Kreuzer]. 600-590. Kreuzer, 1998a: the sixth century. Bakır, 1981: pl. 84. B24. pls. 14-15. 70. Feline, siren. Swans. Animal friezes. Deers, boars, panther, fe- Naukratis 183: London, British Museum, B103.14.2 lines. and B103.14. Wall fragment. First quarter of the sixth Samos 171: Vathý Museum, K3382. Fragment of a century. Beazley & Payne, 1929: fig. 2. lebes’ support. Manner of the KX Painter [Kreuzer]. Horses. 585-570. Kreuzer, 1998a: pl. 10. 51. Naukratis 184: London, British Museum, 86.4-1.1229. Rosettes. Wall fragment. Early sixth century. Beazley & Payne, Lindos 172: Istanbul Museum, 4514. Wall fragment 1929: pl. XVII. 7. [lebes or krater]. ABV 42.37. Sophilos. 590-580. Bakır, Animal friezes. Boar, feline. 1981: pl. 35. A35. Naukratis 185: Oxford, Ashmolean Museum, 545. Rim Silenos pursuing a nymphe. Animal friezes. Pan- and wall fragment. Early sixth century. CVA Oxford, thers, ram, deer, sphinxes. Ashmolean Museum 2: pl. 1. 5. Lion. catalogue of the attic early black-figured vases 127

Naukratis 186: Oxford, Ashmolean Museum G128.16, Chiusi 199: Chiusi, Museo Archeologico Nazionale, Toronto, Royal Ontario Museum, 910, 234.14. Wall 250866. Wall fragment. Workshop of Sophilos. 570. fragment. Early sixth century. CVA Oxford, Ash- Iozzo, 2006: pl. I. 7. molean Museum 2: pl. 1. 19. Boar, siren. Animal friezes. Felines, boar, panther. Chiusi 200: Chiusi, Museo Archeologico Nazionale, Naukratis 187: Cambridge, Museum of Classical 250867. Rim fragment. Workshop of Sophilos. 570. Archaeology, NA 206. Rim and wall fragment. Early Iozzo, 2006: pl. I. 8. sixth century. Venit, 1982: pl. CXXVII. Lotus-palmette chain. Panther. Chiusi 201: Chiusi, Museo Archeologico Nazionale, Naukratis 188: London, British Museum, 86.4-1.1154. 67193. Rim fragment. Workshop of Sophilos. 570. Rim and wall fragment. Sanctuary of Apollon. First Iozzo, 2006: pl. I. 9. quarter of the sixth century. Venit, 1982: pl. CXXVIII. Lotus-palmette chain. Horsehead. Chiusi 202: Chiusi, Museo Archeologico Nazionale, Daskyleion 189: Excavation. Wall fragment [lebes or 250865. Wall fragment. 580-560. Iozzo, 2006: 125. krater]. Gorgon Painter [Tuna-Nörling]. 590-580. Winged figure. Tuna-Nörling, 1999: pl. 6. 155. Toscany 203: Excavation. Wall fragments. Nekropo- Galloping horse. lis of Poggione. Sophilos [Mangani]. 590-580. Mana- Daskyleion 190: Excavation. Wall fragment [lebes or gani 1990-1991: 21, fig. 6. krater]. First quarter of the sixth century. Tuna-Nör- Animal frieze. Bull, sirens, panther. Symposiasts. ling, 1999: pl. 6. 156. Massalia 204: Excavation, MCR 11-292. Support frag- Panther? ment. Gorgon Painter. 590-580. Denoyelle & Hesnard Histria 191: Bucarest, Institut d'Archéologie, 21001. 2006: pl. IV. 4. Wall fragment [lebes or krater]. Painter of the riders’ Lion amphora [Kübler]. Peiraieus Painter. 620-600. Alex- Massalia 205: Marseille, Musée Borély. Support frag- andrescu, 1978: pl. 33. 302. ment. Near Sophilos [Bakır]. 570. Bakır, 1981: pl. 84. Horse. B23. Animal friezes. Panther or lion, siren. Histria 192: Bucarest, Institut d'Archéologie, V8426. Massalia 206: Excavation. Support fragment. Near Wall fragment. Gorgon Painter [Dimitriu]. 600-580. Sophilos [Villard]. 580-570. Villard, 1960: 165, fig. 1. Alexandrescu, 1978: pl. 31. 300. Animal friezes. Sirens, lions, boars. Panther. Massalia 207: Unknown Collection. Rim fragments. Histria 193: Bucarest, Institut d'Archéologie. Support First quarter of the sixth century. Vasseur, 1914: X10, fragment. First quarter of the sixth century. 11. Alexandrescu, 1978: pl. 31. 299. Rosettes. Animal friezes. Lion. Béziers 208: Mouret Collection, Fouilles d'Ensérune. Berezan 194: Excavation, B216. Lebes support. Sophi- Wall fragment. Gorgon Painter. 590-580. CVA Mouret los or his circle. 580. Skudnova, 1957: fig. 3. Collection, Fouilles d'Ensérune: pl. 55. 1. Animal friezes. Panther, ram, geese. Lotus palmette cross. Cortona 195: Cortona, Biblioteca Comunale. Wall Spain 209: Excavation. Wall fragment. Ampurias. Cir- fragment [lebes or krater]. Close to the Gorgon cle of the Gorgon Painter or Sophilos [Jurado, Rufete, Painter. 580. Grassi, 1992: 153, no. 2. Garcia]. First quarter of the sixth century. Domínquez Animal. & Sánchez, 2001: fig. 13. 1. Cortona 196: Cortona, Biblioteca Comunale. Wall Animal frieze. Feline, goat. fragments [lebes or krater]. KX Painter [Paribeni]. 580. Provenance Unknown 210: Paris, Musée du Louvre, Grassi, 1992: 145-146, figs. 1a-1e. F874. ABV 8.1. Para 6. Add2 2. Gorgon Painter. 600. Silenoi. One holding a column-krater and another CVA Paris, Musée du Louvre 2, pls. 14.3, 15.1-2, 16.1- an amphora. Symposiast. Animal friezes. Panthers, 2, 17.1-2, 18.1. sirens, felines. A: Perseus fleeing from the Gorgons. Medusa is Cortona 197: Cortona, Biblioteca Comunale. Support falling. Athena, Hermes. fragment. KX Painter? [Paribeni]. 580-575. Grassi, B: Warriors between chariots. 1992: 153, fig. 1. Animal friezes. Sirens, lions, panthers, deer, rams, Lion. birds, swans. Cortona 198: Cortona, Biblioteca Comunale. Wall Provenance Unknown 211: London, British Museum, fragment. KX Painter? [Unknown]. 580-575. Grassi, 1971.11-1.1. Para 19.16bis. Sophilos. 580. Bakır, 1981: 1992: 154, no. 3. pls. 1-2. Fig. 7. Feline. Wedding of Peleus and Thetis. Procession of dei- 128 appendix i

ties. Animal friezes. Sirens, panthers, goats, lions, Painter. Early sixth century. Beazley, 1944: pl. 1. 2. sphinxes. Male figure, bull, lion. Provenance Unknown 212: Paris, Musée du Louvre, Akropolis 221: Athens, National Museum, Akropolis E873. ABV 39.12. Add2 10. 580. Sophilos. Bakır, 1981: Collection, 1.463. Wall fragments. Painter of Berlin pls. 46-48. 1659 [Bakır]. First quarter of the sixth century. Bakır, Frontal chariot between draped men with spears. 1982: pl. 18. Sirens, panther, boar, floral pattern, lotus palmette Symposion. Animal friezes. Sphinxes, felines, pan- cross, lions. Animal frieze. Sirens, panther, ram, ther. boars. Brauron 222: Brauron Museum, 1125. Krateriskos. Provenance Unknown 213: Collection of Arthur S. Late seventh century. Unpublished. Richter. Wall fragment. Sophilos. 580. Padgett, 2003: Loop patterns. 232. Phaleron 223: Luzern, Market, Galerie Fischer. Wall Three silenoi in procession. The first is holding a fragment. ABV 7. Para 6.3. Near the Nessos Painter. karkhesion. The second is inscribed [Σ]ΤΡΑΤΟΣ. Late seventh century. Benndorf, 1883: pl. 54. 2. Herakles releasing Prometheus. Eagle hitten by ar- Unknown Type of Krater-Krateriskos rows. Head of Prometheus. Aigina 224: Berlin, Antikensammlung, A34. Fragmen- Athenian Agora 214: Athens, Agora Museum, tary krater with lid. ABV 1.1. Add2 1. Painter of Ber- P 23159. Wall fragment. Last quarter of the seventh lin A34. Last quarter of the seventh century. CVA century. Moore & Philippides, 1986: pl. 50. 521. Berlin, Antiquarium 1: pls. 22-23. Felines attacking animal. A: Procession of women B: Bird or siren between Athenian Agora 215: Athens, Agora Museum, two lions P 13123. Rim fragment. ABV 26.30. Para 15.15bis. KX Lid: Linear patterns. Painter. 580. Moore & Philippides, 1986: pl. 50. 523. Aigina 225: Athens, National Museum, 2226. Rim and Sphinx. wall fragment. Painter of Berlin A34 [Walter-Karydi]. Athenian Agora 216: Athens, Agora Museum, 640. Walter-Karydi, 1997: fig. 14. P 23159. Wall fragments. First quarter of the sixth Male head inscribed. Agamemnon? Swans. century. Moore & Philippides, 1986: pl. 50. 522. Aigina 226: Aigina Museum. Wall fragments. Nessos Lion. Painter [Walter-Karydi]. 620-610. Walter-Karydi, Akropolis 217: Athens, National Museum, Akropolis 1997: fig. 15. Collection, 1.391. ABV 5.10. Para 4.16. Add2 2. Nessos Animal friezes. Floral chains. Painter. Last quarter of the seventh century. Graef & Aigina 227: Heidelberg, Ruprecht-Karls Universität, Langlotz, 1925: pl. 14. 196, Aigina Museum, 2809a-b. Wall fragments of a Wing, human figure. krater? Last quarter of the seventh century. CVA Hei- Akropolis 218: Athens, National Museum, Akropolis delberg, Universität 1: pl. 31. 4; Hünnekens, 1987: Collection, 1.386. Wall fragment of a steep-walled pl. 14. krater? Nessos Painter [Hünnekens]. Last quarter of Floral chain. the seventh century. Hünnekens 1987, pl. 14. Cyprus 228: Limassol, District Museum, 591/1. Ama- Bird or siren. thous. Wall fragment. Early sixth century. Karageor- Akropolis 219: Athens, National Museum, Akropolis ghis, 1978: fig. 42. Collection, 1.474. Fragment of a standed krater ABV Riders. 8.2. Gorgon Painter. Early sixth century. Graef & Lan- Naukratis 229: Bonn, Akademisches Kunstmuseum, glotz, 1925: pl. 17. 697.83. Wall fragments of a krater. Near the KX Frontal chariot. Sirens, lions, deer. On the support, Painter and Sophilos [Pierkarsi]. 575. Piekarsi, 2001: sphinx. pl. 11. 1. Akropolis 220: Athens, National Museum, Akropolis Lion, ram. Collection, 1.476. Support fragment. ABV 8.4. Gorgon

POURING VESSELS

Louterion sos Painter. Late seventh century. Moore & Philip- pides, 1986: pl. 56. 603. Athenian Agora 230: Athens, Agora Museum, Siren or eagle. P 25364. Shoulder fragment. Para 5.ii.3. Near the Nes- catalogue of the attic early black-figured vases 129

Athenian Agora 231: Athens, Agora Museum, P 3704. Menídhi 244: Athens, National Museum, 15920. Six Shoulder and rim fragments. Last quarter of the sev- wall fragments. Gorgon Painter? [Karouzou]. Early enth century. Brann, 1962: pl. 37. 576. sixth century. Callipolitis-Feytmans, 1965: pl. XV. Animal frieze. Swan, panther, ram. A: Two bulls. B: Lion. Athenian Agora 232: Athens, Agora Museum, Rim: Rosettes. P 26300. Body, rim and handle fragment. Late seventh Menídhi 245: Athens, National Museum, 15918. Eight century. Brann, 1962: pl. 6. 102. fragments. ABV 40.21. Para 18. Add2 11. Sophilos [sig- At the level of handles, a white zone around the nature]. First quarter of the sixth century. Bakır, 1981: body. Below handles, a banded zone. pl. 9. Athenian Agora 233: Athens, Agora Museum, A: Woman, horse. B: Herakles fighting three Cen- P 32874. Body and rim fragments. Gorgon Painter or taurs. close to him [Camp]. First quarter of the sixth century. Animal frieze. Lions, panthers, sirens. Camp, 1999: 259, figs. 3-5. Rhamnous 246: Excavation, 203/553a. Rim and wall Lions. Riders galloping. fragment of a louterion or a lebes. Late seventh cen- Athenian Agora 234: Athens, Agora Museum, tury. Unpublished. P 26295. Body and rim fragment with spout. Early Two confronted lions. sixth century. Moore & Philippides, 1986: no. 604. Aigina 247: Berlin, Pergamonmuseum, F1682, now On left of the spout, animal. lost. ABV 5.4. Para 2.8. Add2 2. Nessos Painter. Late Athenian Agora 235: Athens, Agora Museum, P 5365. seventh century. Beazley, 1951: pl. 5. 2. Rim fragment. Late first quarter of the sixth century. A: Harpyiai. B: Athena and Perseus. Moore & Philippides, 1986: pl. 56. 605. Animal frieze. Sphinx, horses, panthers, bulls. Rim: Rosette. Shoulder: Tongue pattern. Aigina 248: Aigina Museum. Wall fragment. 630-620. Akropolis 236: Athens, National Museum, Akropolis Unpublished. Hünnekens, 1987: pl. 2. 1-2. Collection, 1.387. Wall fragment. Last quarter of the Animal. seventh century. Graef & Langlotz, 1925: pl. 15. 387. Aigina 249: Aigina Museum. Wall fragment and part Sphinx, lion. of the handle. Louterion? 600-590. Kraiker, 1951: Kerameikos 237: Athens, Kerameikos Museum, 1295. pl. 43. 563. Body and rim fragments. Late seventh, early sixth cen- Siren. tury. Kübler, 1970: pl. 76. 90. Kerkyra 250: Corfu Museum, E.61.09. Para 19. Sophi- A, B: Lion and man (Hermes?). Flying bird. Chain los [Beazley]. Corfu Painter [Bakır]. 580-570. Calli- of floral ornaments. politis-Feytmans, 1965: pls. Vb, VI-VIII. Vári 238: Athens, National Museum, 16386. Near the A: Floral ornament, lions. B: Riders. Nessos Painter [author]. Late seventh century. Fig. 8. Phokaia 251: Ankara, Archäologisches Institut der Animal friezes. Florals, lions, siren, eagle?, felines, Universität. Sophilos [Bakır]. 600-590. Bakır, 1981: pls. griffin, boars. 15-17. Vári 239: Athens, National Museum, 16387. Painter A: Sphinxes. B: Lion, boar. of the plate Athens, National Museum, Akropolis Col- Provenance Unknown 252: Private Collection. Wall lection, 1.519 [author]. Early sixth century. Fig. 9. fragments. 590-570. Padgett, 2003: 235. Animal friezes. Sphinxes, lions, boars, water birds. Confronted riders on horses flanking a siren. Vári 240: Athens, National Museum, 16385. ABV 40.19. Para, 18. Add2 11. Sophilos [Beazley]. Corfu Painter [Bakır]. 580. Bakır, 1981: pls. 85-86. Oinokhoe A: Bird between boars. B: Bird between lions. Athenian Agora 253: Athens, Agora Museum, Rim: Rosettes. P 24945. Para 8.1bis. Manner of the Gorgon Painter. Vári 241: Athens, National Museum, 19168. First 600. Moore & Philippides, 1986: pl. 69. 723. Fig. 10. quarter of the sixth century. Unpublished. Floral ornament between the confronted heads of Animal friezes. Male figure, siren, boars, panthers, two silenoi. sirens, lions. Athenian Agora 254: Athens, Agora Museum, Vári 242: Athens, National Museum. Early sixth cen- P 18275, P 18530. ABV 696. 600-590. Moore & Phi- tury. Callipolitis-Feytmans, 1965: fig. 7bis. 1. Unpub- lippides, 1986: pl. 69. 724. lished. Triton. Linear motifs. Lions, water birds. Athenian Agora 255: Athens, Agora Museum, Menídhi 243: Athens, National Museum, 16942. P 23046. Early sixth century. Moore & Philippides, Shoulder and foot fragments. End of the seventh cen- 1986: pl. 69. 725. tury. Callipolitis-Feytmans, 1965: pl. XIVa. Siren. Foot: Siren. 130 appendix i

Athenian Agora 256: Athens, Agora Museum, P 4552. Early sixth century. D’ Agostino, 1968: fig. 9. Wall fragment. Early sixth century. Moore & Philip- Lions, goat. pides, 1986: pl. 69. 726. Feline. Olpe Athenian Agora 257: Athens, Agora Museum, P 4601. Early sixth century. Young, 1939: fig. 4. Athenian Agora 270: Athens, Agora Museum, Siren. P 23451. Wall fragments. Close to the Nessos Painter Athenian Agora 258: Athens, Agora Museum, P 860. [Brann]. Late seventh century. Brann, 1961: pl. 70. G7. Neck and shoulder fragment. First quarter of the sixth Rider on a horse. century. Moore & Philippides, 1986: pl. 70. 728. Athenian Agora 271: Athens, Agora Museum, P 5398. Boar between lions. Wall fragments. Late seventh century. Moore & Philip- Athenian Agora 259: Athens, Agora Museum, pides, 1986: no. 670. P 26781a, b. Wall fragments. First quarter of the sixth Leopard. century. Moore & Philippides, 1986: pl. 70. 729. Athenian Agora 272: Athens, Agora Museum, Animal friezes. Bull, lion, boar, goat. P 26668. Neck and wall fragment. 620-610. Moore & Athenian Agora 260: Athens, Agora Museum, Philippides, 1986: pl. 67. 696. P 26781c. Wall fragment. Early sixth century. Moore Deer. & Philippides, 1986: no. 730. Athenian Agora 273: Athens, Agora Museum, P 6457. Boar. Wall fragment. Late seventh century. Moore & Philip- Athenian Agora 261: Athens, Agora Museum, pides, 1986: pl. 67. 698. P 18533. Wall fragments. First quarter of the sixth Khimaira. century. Moore & Philippides, 1986: no. 731. Athenian Agora 274: Athens, Agora Museum, Goat. P 23470. Wall fragments. Late seventh century. Moore Naukratis 262: Boston, Museum of Fine Arts, 88.1036. & Philippides, 1986: pl. 67. 699. Wall fragment. ABV 31.5. KY Painter. 580-570. Venit, Eagle. 1982: no. B311. Athenian Agora 275: Athens, Agora Museum, Animal frieze. Siren, cock, panthers, goats, bull. P 12581. Wall fragment. Late seventh century. Moore Kymai 263: Naples, Museo Archeologico Nazionale. & Philippides, 1986: no. 700. ABV 679.3bis, 696. Manner of the Gorgon Painter Bird. [Beazley]. Deianeira Painter [Williams]. 580. D’Agos- Athenian Agora 276: Athens, Agora Museum, P 997. tino, 1968: fig. 11. Mouth, neck and wall fragments. ABV 9.15. Para 7.15. Lotus palmette chain. Gorgon Painter. 600. Moore & Philippides, 1986: Vietri sul Mare 264: Collection unknown. Komast pl. 64. 671. Group. 580. D’Agostino, 1968: figs. 1-5. Sirens, geese. Boar, panther. Athenian Agora 277: Athens, Agora Museum, Gravisca 265: Excavation, 73/5766. Wall fragment. P 15002. Wall fragments. ABV 10.5. Gorgon Painter. Manner of the Gorgon Painter. Early sixth century. 600-590. Moore & Philippides, 1986: pl. 64. 672. Iacobazzi, 2004: fig. 1. Swan. Head of a silenos. Athenian Agora 278: Athens, Agora Museum, Taranto 266: Taranto, Museo Archeologico Nazionale, P 18531. ABV 11.14. Para 8.14. Manner of the Gorgon 6504. ABV 10.2. Manner of the Gorgon Painter. 570. Painter. Early sixth century. Moore & Philippides, D’Agostino, 1968: fig. 10. 1986: pl. 64. 673. Head of a silenos. Rider. Berezan 267: St. Petersburg? Ragusa Group [Board- Athenian Agora 279: Athens, Agora Museum, man]. First quarter of the sixth century. Pharma- P 23665. Wall fragment. ABV 714.9 bis. Para 8. Man- kowsky, 1911: 234, fig. 41. ner of the Gorgon Painter. Early sixth century. Moore Water birds. & Philippides, 1986: pl. 67. 703. Provenance Unknown 268: Berlin, Humboldt Uni- Lion. versität, Winckelmann-Institut, D384. ABV 10.3. Man- Athenian Agora 280: Athens, Agora Museum, ner of the Gorgon Painter. Early sixth century. P 10650. Wall fragment. ABV 11.11. Manner of the Mertens, 1993: 8, fig. 9. Gorgon Painter. Early sixth century. Moore & Philip- Head of a silenos. pides, 1986: pl. 68. 704. Provenance Unknown 269: Florence, Museo Archeo- Lion. logico Etrusco, 94683. ABV 10.1. Gorgon Painter or Athenian Agora 281: Athens, Agora Museum, in his manner [Beazley]. Painter Big Ears [Williams]. P 11395. Wall fragment. ABV 11.12. Manner of the catalogue of the attic early black-figured vases 131

Gorgon Painter. Early sixth century. Moore & Philip- Athenian Agora 293: Athens, Agora Museum, P 6156. pides, 1986: pl. 68. 705. Wall fragment. Group of the Early Olpai [Moore & Feline. Part of a reserved eye. Philippides]. Early sixth century. Moore & Philippides, Athenian Agora 282: Athens, Agora Museum, P 2395. 1986: pl. 68. 715. Wall fragment. ABV 13.40. Manner of the Gorgon Siren. Painter. Early sixth century. Moore & Philippides, Athenian Agora 294: Athens, Agora Museum, 1986: pl. 68. 706. P 12527. ABV 14.5. KY Painter. ABV 33.7. Manner of Lion. the KY Painter. Group of the Early Olpai. 585-575. Athenian Agora 283: Athens, Agora Museum, Moore & Philippides, 1986: pl. 69. 716. P 25365. Wall fragment. Para 8. Manner of the Gor- Siren. gon Painter. Early sixth century. Moore & Philippides, Athenian Agora 295: Athens, Agora Museum, 1986: pl. 68. 707. P 25384. Mouth and wall fragments. Early sixth cen- Lion, male figure. tury. Moore & Philippides, 1986: pl. 64. 674. Athenian Agora 284: Athens, Agora Museum, Siren or sphinx. P 25366. Wall fragment. Para 8. Manner of the Gor- Athenian Agora 296: Athens, Agora Museum, gon Painter. Early sixth century. Moore & Philippides, P 26562. Wall fragment. Late seventh, early sixth cen- 1986: pl. 68. 708. tury. Moore & Philippides, 1986: pl. 67. 701. Khimaira. Small bearded figure on the back of a horse. Athenian Agora 285: Athens, Agora Museum, P 3016. Athenian Agora 297: Athens, Agora Museum, Wall fragment. Para 8. Gorgon Painter or his manner. P 26782. Wall fragments. 600. Moore & Philippides, Early sixth century. Moore & Philippides, 1986: pl. 68. 1986: no. 702. 709. Lion. Galloping rider. Athenian Agora 298: Athens, Agora Museum, Athenian Agora 286: Athens, Agora Museum, P 20645. Wall fragment. Early sixth century. Moore P 25367. Wall fragment. Para 9. Compare with the & Philippides, 1986: pl. 68. 711. manner of the Gorgon Painter. Early sixth century. Lion. Moore & Philippides, 1986: pl. 68. 710. Athenian Agora 299: Athens, Agora Museum, Lion. P 25649. Wall fragment. Early sixth century. Moore Athenian Agora 287: Athens, Agora Museum, & Philippides, 1986: no. 712. P 21531. Mouth and neck fragment. ABV 14.16. Group Bull. of the Early Olpai. Early sixth century. Moore & Athenian Agora 300: Athens, Agora Museum, Philippides, 1986: pl. 64. 675. P 20551. Wall fragment. First quarter of the sixth cen- Boar. tury. Moore & Philippides, 1986: pl. 68. 717. Athenian Agora 288: Athens, Agora Museum, Rider galloping. Beneath the horse, a dog. P 12686. Wall fragments. ABV 14.17. Para 9. Group Akropolis 301: Athens, National Museum, Akropolis of the Early Olpai. Early sixth century. Moore & Collection, 1.2210. Wall fragment of an olpe? ABV Philippides, 1986: pl. 65. 676. 27.4. KX Painter. 580. BAPD 300319. Boar. Floral ornament. Athenian Agora 289: Athens, Agora Museum, Akropolis 302: Athens, National Museum, Akropolis P 27749. Group of the Early Olpai [Moore & Philip- Collection. Wall fragment of an olpe? ABV 43.7. Near pides]. Early sixth century. Moore & Philippides, 1986: Sophilos [Beazley]. Circle of the Gorgon Painter pl. 65. 677. [Bakır]. 570. BAPD 305107. Bird. Boar. Athenian Agora 290: Athens, Agora Museum, Kerameikos 303: Athens, Kerameikos Museum. Wall P 27748. Mouth and wall fragment. Group of the Early fragments. Nessos Painter [Unknown]. Late seventh Olpai [Moore & Philippides]. Early sixth century. century. Pariente, 1991: 839, fig. 6. Moore & Philippides, 1986: pl. 65. 678. Siren. Lion. Kerameikos 304: Athens, Kerameikos Museum, 40. Athenian Agora 291: Athens, Agora Museum, Plastic mourning woman on the handle. ABV 19.1. P 23528. Wall fragment. ABV 14.6. Para 9.6 and 8bis. Kerameikos Painter. First quarter of the sixth century. Group of the Early Olpai. Early sixth century. Moore Kübler, 1970: pls. 93, 95, 96. & Philippides, 1986: no. 713. Animal friezes. Sirens between lions, swan, boar, Siren. panthers, goats. Athenian Agora 292: Athens, Agora Museum, P 4337. Kerameikos 305: Athens, Kerameikos Museum, 2870. Wall fragment. ABV 14.12. Group of the Early Olpai. Wall fragments. Para 15. KX Painter [Vierneisel]. 580. 590. Moore & Philippides, 1986: pl. 68. 714. Vierneisel, 1964: pl. 38, a. Lion. Hermes between sirens. 132 appendix i

Kerameikos 306: Athens, Kerameikos Museum, 688. Aigina 320: Aigina Museum, 1980. Wall fragment. 580. Kübler, 1970: pl. 99. Manner of the Gorgon Painter [Felten]. Early sixth Lion. century. Felten, 1982: pl. 9. 124. Vári 307: Athens, National Museum, 19176. ABV 9.16. Head and the horse of a rider. Lotus palmette or- Para 7. Gorgon Painter. Early sixth century. Scheibler, nament. 1961: fig. 5. Fig. 11. Aigina 321: Aigina Museum, 8. Wall fragment. Man- Bull, lion. ner of the Gorgon Painter [Felten]. Early sixth century. Vári 308: Athens, National Museum, 19186. Gorgon Felten, 1982: pl. 9. 125. Painter or his manner [author]. Early sixth century. Rider. Unpublished. Aigina 322: Aigina Museum, 11. Wall fragments. Bull. Manner of the Gorgon Painter [Felten]. Early sixth Vári 309: Athens, National Museum, 16285. ABV 19.3. century. Felten, 1982: pl. 9. 126. Add2 2. Kerameikos Painter. 590. Fig. 46. Boar. Aristaios between lions. Floral between sirens, pan- Aigina 323: Aigina Museum. Wall fragment. Manner thers, swan. of the Gorgon Painter [Felten]. Early sixth century. Vári 310: Athens, National Museum, 19159. ABV Felten, 1982: pl. 9. 127. 14.11. ABV 28.4. Para 9. KX Painter. First quarter of Siren or sphinx. the sixth century. Scheibler, 1961: fig. 36. Fig. 42. Aigina 324: Aigina Museum, 2783. Wall fragment. Hermes between sphinxes. Above lotus palmette Manner of the Gorgon Painter [Felten]. Early sixth chain. century. Felten, 1982: pl. 9. 128. Vári 311: Athens, National Museum, 19049. Para Part of the garment and the feet of a figure. 19.26bis. Sophilos. 580-570. Unpublished. Aigina 325: Aigina Museum, 1993. Wall fragment Men with spears shaking hands between sphinxes. (olpe or amphora). Manner of the Gorgon Painter Vári 312: Athens, National Museum, 19189. Ana- [Felten]. Early sixth century. Felten, 1982: pl. 9. 129. gyrous Painter [Callipolitis-Feytmans]. First quarter Lion. of the sixth century. Unpublished. Aigina 326: Aigina Museum, 1993. Wall fragment Sphinx and lion. (olpe or amphora). Manner of the Gorgon Painter Vári 313: Athens, National Museum, 18883. Lotus [Felten]. Early sixth century. Felten, 1982: pl. 9. 130. Painter [Callipolitis-Feytmans]. Late first quarter of Lion. the sixth century. Unpublished. Callipolitis-Feytmans, Aigina 327: ABV 1974: 207, b. Aigina Museum, 1992. 14.14. Group Lion between two sirens. of the Early Olpai [Felten]. Early sixth century. Felten, Laurion 314: Oxford, Ashmolean Museum, V505. 1982: pl. 10. 131. ABV 10.4. Add2 3. Manner of the Gorgon Painter. Panther. Early sixth century. CVA Oxford, Ashmolean Museum Korinthos 328: Korinthos Museum, C-32-235. ABV 2: pl. 13. 1-2. 14.15. Group of the Early Olpai. 600. Boulter, 1937: Ram. 236, figs. 39-40. Marathon 315: Marathon Museum, K567. Manner of Bull. the Gorgon Painter [Valavanis]. 590-570. CVA Mara- Korinthos 329: Korinthos Museum, CP-2586. Wall thon, Marathon Museum: pl. 6. fragment (olpe or amphora). 580-560. Brownlee, 1987: Mounted warrior with cuirass, spear and korinthi- pl. 14. 6. an helmet. Back side: triangles. Ruminant. Rhamnous 316: Excavation, 85. Neck and body frag- Perakhóra 330: Athens, National Museum, P 3602. ment of a miniature olpe. Ragusa Group [author]. First ABV 15.35. Group of the Early Olpai. 600. Dunbabin, quarter of the sixth century. Unpublished. 1962: pl. 135. 3602. Lion. Sphinx with head of owl. Swan. Eleusis 317: Eleusis Archaeological Museum. Wall Perakhóra 331: Athens, National Museum, P 3603. fragment. Gorgon Painter or his manner [Tiverios]. Wall fragments. ABV 9.14. Para 7. Manner of the Gor- Early sixth century. Unpublished. gon Painter. 600-590. Dunbabin, 1962: pl. 135. 3603. Lion. Siren. Athens 318: Athens. First quarter of the sixth century. Delos 332: Delos, Archaeological Museum, 591. ABV Stavropoullos 1964, pl. 59a. 15.27. Para 9. Group of the Early Olpai. Late seventh Gorgon. century. Dugas, 1928: pl. 44. Aigina 319: Aigina Museum, 1964. Wall fragment. Dolphins. ABV 11.15. Manner of the Gorgon Painter [Felten]. Early sixth century. Felten, 1982: pl. 9. 123. Head of a horse. catalogue of the attic early black-figured vases 133

Delos 333: Delos, Archaeological Museum, 592. ABV Klazomenai 347: Klazomenai Museum. Wall frag- 15.34. Group of the Early Olpai. Early sixth century. ment. Gorgon Painter [Kreuzer]. 590-580. Tuna-Nör- Dugas, 1928: pl. 44. ling, 1996: pl. 15. 130. Anchor. Lion or panther. Melos 334: Brussels, Musées Royaux, A1388. ABV Smyrna 348: Excavation, BYR 84, C13, no. 299. Wall 15.2. Follower of the Group of the Early Olpai. Early fragment. First quarter of the sixth century. Tuna- sixth century. CVA Brussels, Musées Royaux d'Art et Nörling, 2002c: pl. 3. 35. d'Histoire 3: pl. 22. 3. Animal or animal protome on the panel. Lion. Miletos 349: Excavation. Wall fragment. Gorgon Ayía Paraskeví 335: Thessaloniki, Archaeological Painter. Early sixth century. Unpublished. Museum. Ragusa Group [Boardman]. First quarter of Samos 350: Vathý Museum, K2533. Wall fragment. the sixth century. Sismanidis, 1987: pl. 162. 2. Near the Gorgon Painter [Kreuzer]. First quarter of Lion. the sixth century. Kreuzer, 1998a: pl. 22. 86. Khalkidike 336: Paris, Musée du Louvre, MNB2035. Lion, panther or sphinx. ABV 11.6. Manner of the Gorgon Painter. Early sixth Kameiros 351: Paris, Musée du Louvre, A475. ABV century. BAPD 300089. 14.8. Group of the Early Olpai. Early sixth century. Rider and galloping horse. Siren. Karabournáki 337: Excavation. Wall fragment. Lindos 352: Copenhagen, National Museum, 283. ABV Manakidou 2003, 194 (reference). 14.9. Group of the Early Olpai. Early sixth century. Horse protome. CVA Copenhagen, Musée National 3: pl. 100. 3. Thasos 338: Mainz, Johannes Gutenberg Universität, Sphinx. 29. Wall fragment. Gorgon Painter [Ghali-Kahil]. Early Rhodos 353: Paris, Musée du Louvre, A474. ABV sixth century. Ghali-Kahil, 1960: pl. XLI.151. 14.10. Para 9. Group of the Early Olpai. Early sixth Male head. century. Pitane 339: Excavation. Wall fragments. Manner of Sphinx. Rhodos 354: the Gorgon Painter [Tuna-Nörling]. 590-580. Tuna- Berlin, Humboldt Universität, Winckel- mann-Institut, D681. ABV 15.19. Para 9. Group of Nörling, 1995: pl. 35.75. the Early Olpai. Early sixth century. Lion. Bull. Pitane 340: Excavation. Wall fragment (olpe or Sardeis 355: New York, Metropolitan Museum of Art, amphora). Manner of the Gorgon Painter [Tuna-Nör- 26.164.28. ABV 15.1. Follower of the Group of the ling]. 590-580. Tuna-Nörling, 1995: pl. 35. 76. Early Olpai. Early sixth century. Ramage, 1997: pl. 58. Deer? 5. Pitane 341: Izmir Museum, 5811. Manner of the Floral ornament between panthers. Painter of Istanbul 7314 [Tuna-Nörling]. 590-580. Naukratis 356: London, British Museum, 88.6-1.566. Tuna-Nörling, 1995: pl. 35. 77. ABV 15.22. Group of the Early Olpai. Late seventh Floral ornament between lions. century. BAPD 300155. Pitane 342: Excavation. Wall fragments. First quarter Ram. of the sixth century. Tuna-Nörling, 1995: pl. 35. 80. Naukratis 357: Oxford, Ashmolean Museum, G137.16. Swan, lion. Wall fragment. ABV 11.9. Manner of the Gorgon Phokaia 343: Excavation, 81. Wall fragment. Manner Painter. Early sixth century. CVA Oxford, Ashmolean of the Gorgon Painter [Tuna-Nörling]. 590-580. Tuna- Museum 2: pl. 1. 28. Nörling, 2002a: fig. 85. Lion. Horse. Naukratis 358: Oxford, Ashmolean Museum, G128.30. Phokaia 344: Excavation, 69. Wall fragment. First half Wall fragment. ABV 11.10. Manner of the Gorgon of the sixth century. Tuna-Nörling, 2002a: 86. Painter. Early sixth century. CVA Oxford, Ashmolean Rosette. Museum 2: pl. 1. 25. Klazomenai 345: Klazomenai Museum, 129. Wall Lion. fragment. Gorgon Painter [Tuna-Nörling]. 590-580. Naukratis 359: London, British Museum, B102.22. Tuna-Nörling, 1996: pl. 14. 129. Wall fragment. ABV 11.13. Manner of the Gorgon Lion? Painter. Early sixth century. Beazley & Payne 1929: Klazomenai 346: Klazomenai Museum, 3071. Wall pl. XVII. 10. fragment of an olpe? Gorgon Painter or his manner Lion, siren or swan. [Kreuzer]. 590-580. Tuna-Nörling, 1996: pl. 14. 129A. Naukratis 360: London, British Museum, B103.20E. Panther? ABV 12.33. Manner of the Gorgon Painter. Early sixth century. BAPD 300116. Lion. 134 appendix i

Naukratis 361: Oxford, Ashmolean Museum, G137.17. Naukratis 373: Heidelberg, Ruprecht-Karls-Univer- Wall fragment. ABV 13.36. Manner of the Gorgon sität, 200. ABV 15.29. Group of the Early Olpai. Early Painter. Early sixth century. CVA Oxford, Ashmolean sixth century. CVA Heidelberg, Universität 1: pl. 31. Museum 2: pl. 1. 27. 8. Lion. Horse. Naukratis 362: Oxford, Ashmolean Museum, G131.13. Naukratis 374: Oxford, Ashmolean Museum, G137.19. Wall fragment. ABV 13.37. Manner of the Gorgon ABV 15.33. Group of the Early Olpai. Early sixth cen- Painter. Early sixth century. CVA Oxford, Ashmolean tury. CVA Oxford, Ashmolean Museum 2: pl. 1. 29. Museum 2: pl. 1. 31. Hand of a figure. Rosette. Naukratis 375: Brussels, Musées Royaux, A1806. Naukratis 363: Oxford, Ashmolean Museum, G550. Shoulder fragment. Group of the Early Olpai. Early Wall fragment. ABV 13.41. Manner of the Gorgon sixth century. CVA Brussels, Musées Royaux d'Art et Painter. Early sixth century. CVA Oxford, Ashmolean d'Histoire 3: pl. 28. 7. Museum 2: pl. 1. 30. Rosettes. Floral ornament, feline. Naukratis 376: Boston, Museum of Fine Arts, 88.1036. Naukratis 364: Alexandria, Graeco-Roman Museum, Wall fragment. ABV 31.5. KY Painter. 580-570. BAPD 17157. Wall fragment. Manner of the Gorgon Painter 300352. [Venit]. Early sixth century. Venit, 1988: pl. 60. 267. Animal friezes. Siren, cocks, birds, panthers, goats. Horse. Naukratis 377: Dublin, University College, UCD 73. Naukratis 365: Alexandria, Graeco-Roman Museum, Wall fragment. 580-570. Vickers, 1971: pl. 14. 9340. Wall fragment. Manner of the Gorgon Painter Lotus palmette chain. [Venit]. Early sixth century. Venit, 1988: pl. 61. 268. Tocra 378: Tocra Museum and Store Room, 1025. Feline, calyx of a lotus. Wall fragment. Para 8. Manner of the Gorgon Painter Naukratis 366: London, British Museum, 1965.9- [Boardman]. Early sixth century. Boardman & Hayes, 30.843. Wall fragment. Manner of the Gorgon Painter 1966: pl. 70. 1025. [Venit]. Early sixth century. Venit, 1982: pl. CXXXVI. Siren. Horse. Daskyleion 379: Excavation. Wall fragment. First Naukratis 367: London, British Museum, B102.3. Wall quarter of the sixth century. Tuna-Nörling, 1999: fragment. ABV 14.1. Group of the Early Olpai. Inscrip- pl. 12. 202. tion: --]κεστòς με ἀνέθηκε τ’ [Ἀπολλώνι]. Early sixth century. Petrie, 1888: pl. 6. 2. Horse. Siren. Histria 380: Bucarest, Institut d’Archéologie, V8429. Naukratis 368: Alexandria, Graeco-Roman Museum, Wall fragment. Group of the Early Olpai [Alexan- 9384, Oxford, Ashmolean Museum, G137.15. Shoulder drescu]. 580. Alexandrescu, 1978: pl. 35. fragment. ABV 14.7. Para 9.7. Group of the Early Olpai Bird. [Beazley]. Near the Kerameikos Painter [Venit]. Early Cerveteri 381: Rome, Museo Nazionale Etrusco di sixth century. Venit, 1988: pl. 61. 269. Villa Giulia, 20.801. ABV 15.20. Group of the Early Siren. Olpai. Early sixth century. Naukratis 369: London, British Museum, B102.23. Boar. Shoulder fragment. ABV 14.13. Group of the Early Cerveteri 382: Vatican City, Museo Gregoriano Olpai. 600-590. Beazley & Payne, 1929: pl. 15. 10 Etrusco Vaticano. ABV 14.3. Group of the Early Olpai. Panther with a deer in its mouth. Early sixth century. Naukratis 370: Oxford, Ashmolean Museum, Siren. 1912.37A. ABV 15.21. Group of the Early Olpai. Early Caudium 383: Excavation. Wall fragment. Gorgon sixth century. CVA Oxford, Ashmolean Museum 2: Painter. Early sixth century. Cerchiai 1995, pl. 16. pl. 1. 26. Bull. Deer. Nola 384: London, British Museum, B33. ABV 9.13. Naukratis 371: London, British Museum, B102.2. Wall Para 7. Gorgon Painter [Beazley]. Early sixth century. fragment. ABV 15.25. Group of the Early Olpai. BAPD 300067. Inscription. ἀ]νέθηκε τωπόλλωνι τῶι Μιλησίω[ι. Lion. Early sixth century. Petrie, 1888: pl. 6. 1. Nola 385: London, British Museum, B32. ABV 11.16. Cock. Para 8. Manner of the Gorgon Painter [Beazley]. Naukratis 372: London, British Museum, 86.4-1.1171. Painter of the London Olpai [Williams]. 580. BAPD Wall fragment. ABV 15.28. Group of the Early Olpai. 300099. 600. Beazley & Payne, 1929: pl. 15. 32. Hermes on floral ornament between two sphinxes. Horse of a rider. catalogue of the attic early black-figured vases 135

Taranto 386: Taranto, Museo Archeologico Nazionale, Flat-mouthed oinokhoe. Tankard 20847. ABV 15.31. Group of the Early Olpai. 580-570. Lo Porto, 1959-1960: fig. 159. Kerameikos 395: Athens, Kerameikos Museum, 42. Rider. ABV 18.1. Kerameikos Painter. 590-580. Kübler, 1970: Taranto 387: Taranto, Museo Archeologico Nazionale, pl. 98. 108. 20851. Group of the Early Olpai [Lo Porto]. 580-570. Sphinxes, lions. Eagle. Animal frieze. Boar, pan- Lo Porto, 1959-1960: fig. 159. thers, goat. Galloping rider. Vári 396: Athens, National Museum, 19181. Para 13. Massalia 388: Marseilles, Musée Borély and excava- Anagyrous Painter [Kardara]. First quarter of the sixth tion, 497. Wall fragments. ABV 11.8. Circle of the century. Unpublished. Gorgon Painter. 590-580. Vasseur, 1914 : pl. X. 12. Sirens, water birds. Lion. Vári 397: Athens, National Museum, 19050. ABV Baou de Saint Marcel 389: Excavation, C1984. Circle 444.2. Para 22.3ter. Lotus Painter [Callipolitis-Feyt- of the Gorgon Painter. 575. Guichard & Rayssiguier, mans]. Fig. 12. 1990: 50, no. 2. Body: Swans. Neck: Siren between lions. Rosette. Provenance Unknown 390: Basel, Herbert A. Cahn Olpe or Oinokhoe (Uncertain type) Collection, HC999. Wall fragment. Manner of the Athenian Agora 398: Athens, Agora Museum, Gorgon Painter [Kreuzer]. Early sixth century. Kreu- P 23468. Wall fragments. Third quarter of the seventh zer, 1992: 28, no. 17. century. Moore & Philippides, 1986: no. 695. Rider. Bird or siren. Provenance Unknown 391: Heidelberg, Ruprecht- Athenian Agora 399: Athens, Agora Museum, P 8963. Karls-Universität, S20A-C. Wall fragments. Group of Wall fragment. Gorgon Painter or his manner [Moore the Early Olpai [Gropengiesser]. Early sixth century. & Philippides]. Late seventh, early sixth century. CVA Heidelberg, Universität 4: pl. 147. 6-8. Moore & Philippides, 1986: pl. 73. 777. Galloping horse. Lion. Provenance Unknown 392: Paris, Musée Auguste Athenian Agora 400: Athens, Agora Museum, Rodin, 9. ABV 15.32. Group of the Early Olpai. Early P 21572. Wall fragments. Late first quarter of the sixth sixth century. CVA Musée National Rodin: pl. 13. 11. century. Moore & Philippides, 1986: pl. 73. 778. Herakles fighting a centaur. Bird. Frontal chariot, woman. Provenance Unknown 393: Paris, Musée du Louvre, MNC334. ABV 15.36. Para 9. Add2 4. Group of the Early Olpai. Early sixth century. Special flat-bottomed oinokhoe Rider. Athenian Agora 401: Athens, Agora Museum, Provenance Unknown 394: Boston, Museum of Fine P 23483. Early sixth century. Moore & Philippides, Arts, 1973.9. Deianeira Painter [Williams]. 580. Wil- 1986: pl. 72. 766. liams, 1986: fig. 5. Facing swans. Helmet flanked by panthers.

DRINKING VESSELS

Skyphos Unallotted [Moore & Philippides]. 585-575. Moore & Philippides, 1986: pl. 99. 1453. Athenian Agora 402: Athens, Agora Museum, Female komast. Animal frieze. P 23544. Rim fragment. Close to the Panther Painter Athenian Agora 405: Athens, Agora Museum, [Moore & Philippides]. Early sixth century. Moore & P 26788. Wall fragment. The Komast Group VIII, Philippides, 1986: pl. 99. 1451. Unallotted [Moore & Philippides]. 580. Moore & Feline. Philippides, 1986: pl. 99. 1454. Athenian Agora 403: Athens, Agora Museum, Komast. P 21571. Wall fragment. KX Painter [Moore & Phi- Athenian Agora 406: Athens, Agora Museum, lippides]. 580. Moore & Philippides, 1986: pl. 99. 1452. P 15089. Foot. First quarter of the sixth century. Moore Komasts. & Philippides, 1986: no. 1455. Athenian Agora 404: Athens, Agora Museum, Feline. P 26787. Wall fragments. The Komast Group VIII, 136 appendix i

Athenian Agora 407: Athens, Agora Museum, Vári 420: Athens, National Museum, 18996. Ana- P 13268. Wall fragments. First quarter of the sixth gyrous Painter [Callipolitis-Feytmans]. First quarter century. Moore & Philippides, 1986: no. 1456. of the sixth century. Unpublished. Animal frieze. Felines, lion. A: Sphinxes. B: Eagles holding a snake. Athenian Agora 408: Athens, Agora Museum, P 1163. Vári 421: Athens, National Museum, 18881. Lotus Wall fragment. 580-570. Moore & Philippides, 1986: Painter [Callipolitis-Feytmans]. First quarter of the no. 1457. sixth century. Unpublished. Callipolitis-Feytmans, Bird between lions. 1974: 207, a. Akropolis 409: Athens, National Museum, Akropolis A: Lotus-palmette between sphinxes. B: Confront- Collection 1.551. Wall fragments. First quarter of the ed lions. sixth century. Graef & Langlotz, 1925: pl. 19. 551. Kiápha Thíti 422: Excavation, 10A-5. Rim and wall Animal friezes. Panther. Bull. fragment. Close to Sophilos [Christiansen]. Second Akropolis 410: Athens, National Museum, Akropolis quarter of the sixth century. Christiansen, 2000: pl. 6. Collection 1.556. Miniature skyphos. Ragusa Group GA167. [Boardman]. First quarter of the sixth century. Graef Bull, panther. & Langlotz, 1925: pl. 20. 556. Anavyssos 423: Athens. Child’s urn-burial. Painter of Lions, sirens, floral. the Old Women [author]. First quarter of the sixth Akropolis 411: Athens, National Museum, Akropolis century. Kakavogianni, 1984: pl. 11. Collection 1.552. Wall fragment. First quarter of the Sirens. sixth century. Graef & Langlotz, 1925: pl. 20. 552. Thorikos 424:Thorikos, Excavation, TC 63.1417. Min- Sphinx. iature skyphos. Ragusa Group [Boardman]. First quar- Akropolis 412: Athens, National Museum, Akropolis ter of the sixth century. Devillers, 1988: pl. 18. 333. Collection, 1.553. Wall fragments. 580-570. Graef & Birds. Langlotz, 1925: pl. 25. 553. Vourvá 425: Athens, National Museum, 996. 580-570. Mounted warrior with two spears, helmet and CVA Athens, National Museum 4: pl. 6. 1-5. Fig. 47. shield. Animal friezes. Panther, sirens. A: Symposion. Men, one with drinking horn and Akropolis 413: Athens, National Museum, Akropolis women reclining on klinai. Men and youths, one Collection 1.554. Part of the body of a skyphos? First dancing, one seated on stool with skyphos, one quarter of the sixth century. Graef & Langlotz, 1925: playing pipes. Dancing youth, column krater. pl. 21. 554. B: Komos. Men dancing. Ducks. Marathon 426: Marathon Museum, K1265. Miniature Akropolis 414: Athens, National Museum, Akropolis skyphos. Very close to the Ragusa Group [Boardman]. Collection 1.557. Small skyphos. First quarter of the First quarter of the sixth century. Arapogianni, 1985: sixth century. DAI Photo Archive, no. 164. pl. 93a. Sirens, sphinxes. Rosette between birds. Akropolis 415: Athens, National Museum, Akropolis Rhamnous 427: Excavation, 193. Rim fragment. 580. Collection 1.558. Small skyphos. First quarter of the Unpublished. sixth century. DAI Photo Archive, no. 164. Feline. Sphinxes. Mounikhía 428: Peiraieus, Archaeological Museum, Kerameikos 416: Athens, Kerameikos Museum. KX MΠ5407. Wall fragment of a skyphos? Near the Nes- Painter [Kreuzer]. 580. Kreuzer, 1997: fig. 3. sos Painter [Palaiokrassa]. Last quarter of the seventh Man between panthers. century. Pa laiokrassa, 1989: pl. 28a. Kerameikos 417: Athens, Kerameikos Museum. Para Lion. 15. KX Painter [Vierneisel]. Vierneisel, 1964: pl. 38. Eleusis 429: Eleusis, Archaeological Museum. Wall 3. fragment. ABV 37.7. Connected to the Komast Group. Male komasts with drinking vessels and lyre. Late first quarter of the sixth century. BAPD 305055. Vári 418: Athens, National Museum, 19043. Para 15. Komasts. KX Painter. First quarter of the sixth century. Unpub- Athens 430: Athens, National Museum, 22609. ABV lished. 28.2. Manner of the KX Painter [Kardara]. 575. CVA Procession of women. Animal friezes. Athens, National Museum 4: pl. 4. 3-4. Vári 419: Athens, National Museum, 19044. Para Komos. 26bis. Sophilos. 580. Unpublished. Athens 431: Athens. First quarter of the sixth century. A: Male figure with spear between sphinxes. Stavropoullos 1964: pl. 59b. Fig. 43. B: Con fronted sirens. Potnia theron. Confronted sphinxes. catalogue of the attic early black-figured vases 137

Korinthos 432: London, British Museum, B13. ABV Greece 447: Boston, Museum of Fine Arts, 97.366. 25.20. KX Painter. 580. ABV 25.19. KX Painter. Late first quarter of the sixth Sirens, panthers, swans. century. BAPD 300297. Korinthos? 433: Athens, National Museum, 528. ABV A: Lions. B: Lotus palmette chain. 26.22. Add2 7. KX Painter. First quarter of the sixth Smyrna 448: Excavation. Wall fragment. ABV 680. century. CVA Athens, National Museum 4: pl. 1. 1-4. Para 16. KY Painter. 570-560. Boardman, 1958-1959: Fig. 13. pl. 38. 87. Komos. Komast. Korinthos 434: Korinthos Museum, CP-2591. Wall Samos 449: Vathý Museum, K959, K1278. Wall frag- fragment. KY Painter [Brownlee]. 575-565. Brownlee, ments. ABV 347o. KX Painter [Beazley]. 580-570. 1987: pl. 14. 16. Kreuzer, 1998a: pl. 35. 186. Komast. Cow suckling calf. Male symposiast, klinai, women. Korinthos 435: Korinthos Museum, CP-2590. Wall Samos 450: Vathý Museum, K6895. Two wall frag- fragment. Near the KY Painter [Brownlee]. 570-560. ments. KX Painter [Kreuzer]. 580-570. Kreuzer, 1998a: Brownlee, 1987: pl. 14. 11. pl. 36. 187. Komast. Dots. Korinthos 436: Korinthos Museum, CP-2589. Rim Samos 451: Vathý Museum, K6896. Wall fragment. and wall fragment. Komast Group [Brownlee]. 580- Painter of the Old Women [author]. 580-570. Kreuzer, 565 CE. Brownlee, 1987: pl. 14. 15. 1998a: pl. 36. 188. Floral ornament. Siren. Korinthos 437: Korinthos Museum, CP-2592. Rim Samos 452: Vathý Museum, K6897. Wall fragment. and wall fragment. Komast Group [Brownlee]. 570- Painter of the Old Women [author]. 580-570. Kreuzer, 550. Brownlee, 1987: pl. 14. 12. 1998a: no. 189. Korinthos 438: Korinthos Museum, C-62-890. Wall Siren. fragment. Komast Group [Amyx, Lawrence]. 580. Cyprus 453: Cambridge, Fitzwilliam Museum, Amyx & Lawrence, 1975: pl. 71. An96. GR126.1892. Tamassos. ABV 26.24. Add2 7. KX Lotus palmette cross. Floral ornament. Painter. 580. CVA Cambridge, Fitzwilliam Museum Korinthos 439: Korinthos Museum, CP-72-293. Wall 1: pl. 2. 8. fragment and foot. 575-550. Brownlee, 1987: pl. 14. Male komasts dancing. 13. Naukratis 454: London, British Museum. Wall frag- Red line, where the foot joins the body. ABV Perakhóra 440: Athens, National Museum, P 3615. ment. 37.8. Connected to the Komast Group. Wall fragments. 580-570. Dunbabin, 1962: pl. 136. Early sixth century. Beazley & Payne, 1929: pl. 15. 16. 3615. Komast. Man. Naukratis 455: London, British Museum. Rim and Perakhóra 441: Athens, National Museum, P 3616. wall fragment. ABV 37.9. Connected to the Komast Wall fragment. 580-570. Dunbabin, 1962: pl. 136. 3616. Group. Early sixth century. Beazley & Payne, 1929: Floral ornament. pl. 15. 9. Perakhóra 442: Athens, National Museum, P 3617. Sphinxes. Wall fragments. 580-570. Dunbabin, 1962: pl. 136. Gravisca 456: Excavation, 79/4110. Wall fragment. 3617. Manner of the KX Painter [Iacobazzi]. First quarter Floral ornament. of the sixth century. Iacobazzi, 2004: fig. 8. Perakhóra 443: Athens, National Museum, P 3618. Figure. Wall fragment. 580-570. Dunbabin, 1962: pl. 136. Taranto 457: Taranto, Museo Archeologico Nazionale, 3618. 52108. KX Painter [Lo Porto]. First quarter of the Silenos dancing with a nymph. sixth century. Lo Porto, 1959-1960: fig. 160. Perakhóra 444: Athens, National Museum, P 3619. Panthers. Sirens. 580-570. Dunbabin, 1962: pl. 135. 3619. Metauros 458: Collection unknown. Para 17. The Sphinxes, lions. Komast Group, Unallotted. First quarter of the sixth Perakhóra 445: Athens, National Museum, 3637. Tra- century. De Franciscis, 1960: pl. 10, f, 11, a-b. dition of Sophilos. Late first quarter of the sixth cen- Komos. tury. Malagardis, 2008: figs. 1-4. Megara Hyblaia 459: Syracuse, Museo Archeologico Dancing women. Regionale Paolo Orsi, 7.173. Wall fragment. Para 16. Sáni 446: Excavation. Wall fragment. KX Painter [Ti - KY Painter. First quarter of the sixth century. Villard verios]. 580. Tiverios, 1989: fig. 2. & Vallet 1964: pl. 82. 4. Lotus palmette cross. Komast. 138 appendix i

Megara Hyblaia 460: Syracuse, Museo Archeologico Kerameikos 471: Athens, Kerameikos Museum, 46. Regionale Paolo Orsi. Wall fragment. First quarter of Circle of the KX Painter [Brijder]. 580. Kübler, 1970: the sixth century. Villard & Vallet, 1964: pl. 82. 5. pl. 101. Komast. Man with stick [Hermes?], sirens, felines, lotus pal- Spain 461: Excavation. Wall fragment. Huelva. KY mette chain. Painter. 590-570. Domínquez & Sánchez, 2001: fig. 9. Kiápha Thíti 472: Excavation, Ga180. Wall fragment. 1. Close to the KX Painter [Christiansen]. Second quar- Komasts. ter of the sixth century. Christiansen, 2000: pl. 5. Provenance Unknown 462: Athens, National Museum, Ga180. 640. ABV 26.21. KX Painter. 585-580. CVA Athens, Palmette. National Museum 4: pl. 3. 1-4. Thorikos 473: Thorikos, Excavation, TC.64.262. Wall Procession of komasts with drinking horns, kan- fragment. Manner of the KX Painter [Hackens]. 585- tharoi and skyphoi. 570. Mussche et al., 1967a: 95, fig. 98. Komos. Cup Kephisiá 474: Unknown collection. ABV 36.1. The Komast Group VIII, Unallotted. 580-570. Athenian Agora 463: Athens, Agora Museum, P 3435, Komasts. P 4585. Wall fragments. ABV 32.28. KY Painter. ABV Athens 475: Vienna, Kunsthistorishes Museum, 3667. 35.4. Para 17. Komast Group VIII, Unallotted. 580- ABV 32.12. KY Painter [Callipolitis-Feytmans]. 570. 570. Moore & Philippides, 1986: pl. 108. 1658. Brijder, 1983: pl. 4c. Komast. Floral ornament. Komos. Athenian Agora 464: Athens, Agora Museum, P 5891. Athens 476: Munich, Antikensammlungen, now lost. Wall fragments. Para 17. Komast Group VIII, Unal- Wall fragments. ABV 32.24. KY Painter. 570. lotted. Late first quarter of the sixth century. Moore Komasts. & Philippides, 1986: pl. 108. 1659. Aigina 477: Aigina Museum, 52. Wall fragment. KY Komasts. Painter [Felten]. First quarter of the sixth century. Akropolis 465: Athens, National Museum, Akropolis Felten, 1982: pl. 11. 150. Collection, 1444 and 1445. Wall fragments. ABV 32.20. Floral ornament. ABV 32.21. KY Painter. First quarter of the sixth cen- Aigina 478: Aigina Museum, 515. Wall fragment. KY tury. Beazley, 1944: pl. 6. 3-4. Painter [Felten]. First quarter of the sixth century. Floral ornament. Felten, 1982: pl. 11. 15. Akropolis 466: Athens, National Museum, Akropolis Komast. Collection, 1.1420. Wall fragment. ABV 32.23. KY Aigina 479: Aigina Museum, 25. Wall fragment. Kom- Painter. First quarter of the sixth century. Graef & ast Group [Felten]. First quarter of the sixth century. Langlotz, 1925: pl. 79. Felten, 1982: pl. 11. 148. Komast. Komast. Akropolis 467: Athens, National Museum, Akropolis Aigina 480: Aigina Museum, 506. Wall fragment. Collection, 1.591a-c. Wall fragments. Potted by KX Komast Group [Felten]. First quarter of the sixth cen- Painter and painted by a Korinthian painter [Kreuzer]. tury. Felten, 1982: pl. 11. 149. Late first quarter of the sixth century. Graef & Lan- Rosette. glotz, 1925: pl. 23. Korinthos 481: Korinthos Museum, CP-2589. Rim Chariot with armed warrior and charioteer. Rider. and wall fragment. KY Painter [Brijder]. 580-565. Kerameikos 468: Athens, Kerameikos Museum, 4965. Brownlee, 1987: pl. 14. 15. Support fragment of a standed cup. Last quarter of Rosette. the seventh century. Painter of Berlin A34? [Knigge]. Korinthos 482: Korinthos Museum, CP-2591. Wall AA (1984): 31, fig. 9. fragment. KY Painter [Brownlee]. 575-560. Brownlee, Male protome. 1987: pl. 14. 16. Kerameikos 469: Athens, Kerameikos Museum. ABV Komast. 32.25. Add2 4. KY Painter. First quarter of the sixth Korinthos 483: Korinthos Museum, CP-2588a-b. Wall century. Brijder, 1983: pl. 4a. fragments. KY Painter [Brownlee]. 570-560. Brownlee, Komos. 1987: pl. 14. 17. Kerameikos 470: Athens, Kerameikos Museum, 1686. Draped man, woman. KY Painter. Late first quarter of the sixth century. Perakhóra 484: Athens, National Museum, P 3605. Unpublished. Brijder, 1983: no. K23. ABV 32.19. KY Painter. 580-570. Dunbabin, 1962: Komos. pl. 136. 3605. Komast. Floral ornament under the handle. catalogue of the attic early black-figured vases 139

Perakhóra 485: Athens, National Museum, P 3607. Delphoi 499: Delphoi, Archaeological Museum. Wall Wall fragments. ABV 36.13. KY Painter [Brijder]. 580- fragments. ABV 36.20-35. KY Painter [Brijder]. 580- 570. Dunbabin, 1962: pl. 136. 3607. 570. Brijder, 1983: K50a. Komast. Lotus palmette ornament. Perakhóra 486: Athens, National Museum, P 3608. Delphoi 500: Delphoi, Archaeological Museum. Wall Wall fragment. ABV 36.14. KY Painter [Brijder]. 580- fragment. ABV 36.20-35. KY Painter [Brijder]. 580- 570. Dunbabin, 1962: pl. 136. 3608. 570. Brijder, 1983: K50b. Komasts. Lotus palmette ornament. Perakhóra 487: Athens, National Museum, P 3609. Delphoi 501: Delphoi, Archaeological Museum. Wall Wall fragment. ABV 36.15. KY Painter [Brijder]. 580- fragment. ABV 36.2. The Komast Group VIII, Unal- 570. Dunbabin, 1962: pl. 136. 3609. lotted. Late first quarter of the sixth century. Komast. Karabournáki 502: Excavation. Rim fragment. Komast Perakhóra 488: Athens, National Museum, P 3610. Group. 580-570. Manakidou, 2003: 194 (reference). Wall fragment. ABV 36.16. KY Painter [Brijder]. 580- Rosettes. 570. Dunbabin, 1962: pl. 136. 3610. Karabournáki 503: Excavation. Rim fragment. Komast Komast. Group. 580-570. Manakidou, 2003: 194 (reference). Perakhóra 489: Athens, National Museum, P 3611. Rosettes. Wall fragment. ABV 36.17. KY Painter [Brijder]. 580- Thasos 504: Thasos, Archaeological Museum, 85.670. 570. Dunbabin, 1962: pl. 136. 3611. Wall fragment. KY Painter [Brijder]. 570. Brijder, Floral ornament. 1997: fig. 16. 9. Perakhóra 490: Athens, National Museum, P 3612. Komos, woman between draped men. Man danc- Wall fragment. ABV 36.18. KY Painter [Brijder]. 580- ing with kantharos. 570. Dunbabin, 1962: pl. 136. 3612. Thasos 505: Thasos, Archaeological Museum, 59.432. Floral ornament. Wall fragments. KY Painter [Brijder]. 575-565. Maffre, Perakhóra 491: Athens, National Museum, P 3613. 1990: fig. 8. Wall fragment. ABV 36.19. KY Painter [Brijder]. 580- Male komast. 560. Dunbabin, 1962: pl. 136. 3613. Thasos 506: Thasos Archaeological Museum, 59.88. Floral ornament and rays. 570. Maffre, 1990: fig. 7. Perakhóra 492: Athens, National Museum, P 3606. Siren. Rim fragment. ABV 35.12. Komast Group. Late first Greece 507: Copenhagen, National Museum, 103. ABV quarter of the sixth century. Dunbabin, 1962: pl. 136. 28.2. Add2 3. Manner of the KX Painter. Painter of 3606. Copenhagen 103 [Brijder]. 570’s. Brijder, 1983: pl. 2d. Net pattern. Komos. Isthmia 493: Isthmia Museum. Komast Group. 585. Greece 508: Athens, National Museum, 1106. ABV Arafat 1999, 56 (reference). 32.10. Add2 4. KY Painter. 570. CVA Athens, National Isthmia 494: Isthmia Museum, IP3869. Body and rim Museum 3: pl. 2.1(B). Fig. 14. fragment. KY Painter [Clement]. 580-570. AD 23 Komos. (1968): pl. 90b. Lesbos 509: Excavation, E75. Foot fragment. 580. Komasts. Buchholz, 1975: pl. 17f. Delphoi 495: Delphoi, Archaeological Museum. Body Altenate red and black petals. and rim fragments. ABV 36.20-35. KY Painter (Bri- Pitane 510: Istanbul Museum, 9333. Komast cup. KY jder). 580-570. Brijder, 1983: K46. Painter. 575-565. Tuna-Nörling, 1995: pl. 17. 1. Komast. Komos. Delphoi 496: Delphoi, Archaeological Museum. Wall Pitane 511: Izmir Museum, 5662. Komast cup. KY fragments. ABV 36.20-35. KY Painter [Brijder]. 580- Painter [Tuna-Nörling]. 575-565. Tuna-Nörling, 1995: 570. Brijder, 1983: K47. pl. 18. 2. Lotus palmette ornament. Komos. Delphoi 497: Delphoi, Archaeological Museum. Wall Pitane 512: Excavation, 23A. Wall fragments. KY fragment. ABV 36.20-35. KY Painter [Brijder]. 580- Painter [Tuna-Nörling]. 575-565. Tuna-Nörling, 1995: 570. Brijder, 1983: K48. pl. 17. 3. Komast. Komasts. Delphoi 498: Delphoi, Archaeological Museum. Wall Pitane 513: Excavation, 25A. Wall fragment. KY fragment. ABV 36.20-35. KY Painter [Brijder]. 580- Painter [Tuna-Nörling]. 575-565. Tuna-Nörling, 1995: 570. Brijder, 1983: K49. pl. 17. 4. Komast. Komast. 140 appendix i

Pitane 514: Excavation, 24. Rim fragment. 575-565. Samos 528: Vathý Museum, K6905. Wall fragment. Tuna-Nörling, 1995: pl. 17. 5. KX Painter [Kreuzer]. 575-570. Kreuzer, 1998a: pl. 39. Rosette. 205. Phokaia 515: Excavation. Rim fragment. KY Painter Tondo: Gorgoneion. [Tuna-Nörling]. 575. Tuna-Nörling, 2002a: fig. 1. Samos 529: Vathý Museum, K1196. Fragments. KX Komasts. Painter [Kreuzer]. 575-570. Kreuzer, 1998a: pl. 41. 206. Smyrna 516: Izmir, Archaeological Museum, 87. Wall Tondo: Running dogs and man. Body: Riders. Lo- fragment. ABV 680. Para 16.19bis. KY Painter. 570. tus palmette chain. Animal frieze. Symposion. Male Boardman, 1958-1959: pl. 38. figure inscribed as Toxeus. Komasts. Samos 530: Vathý Museum, K1282, K1283, K1284, Smyrna 517: Excavation, BYR no. 292. Wall fragment. K1431. Fragments. KX Painter [Schmidt]. 575-570. KY Painter. 575-565. Tuna-Nörling, 2002c: pl. 1. 1. Kreuzer, 1998a: pl. 41. 207. Lotus palmette ornament. Tondo: Gorgoneion. Body: Three armed riders, one Smyrna 518: Excavation. Rim and wall fragment. 570- inscribed Hippothoos. Horses of a chariot. Part of 560. Tuna-Nörling, 1995: pl. 1. 1. the lotus palmette chain. Rosette. Samos 531: Vathý Museum, K956. Foot. KX Painter Smyrna 519: Excavation. Rim and wall fragment. 570- [Kreuzer]. 575-570. Kreuzer, 1998a: pl. 41. 208. 555. Tuna-Nörling, 1995: pl. 1. 2. Alternate black and red petals. Rosette. Samos 532: Vathý Museum, K958 [now lost]. Frag- Smyrna 520: Excavation. Wall fragment. 570-550. ment. Manner of the KX Painter [Kreuzer]. 575. Kreu- Tuna-Nörling, 1995: pl. 1. 3. zer, 1998a: pl. 41. 210. Komast. Siren. Klazomenai 521: Klazomenai Museum. Very fragmen- Samos 533: Vathý Museum, K6906. Wall fragment. tary. KY Painter [Tuna-Nörling]. 575-565. Tuna-Nör- Manner of the KX Painter [Kreuzer]. 575. Kreuzer, ling, 1996: pl. 1. 2. 1998a: pl. 41. 211. Komasts. Lion? Klazomenai 522: Klazomenai Museum. Wall frag- Samos 534: Vathý Museum, K1451. Rim fragments. ment. Painter of New York 22.139.22 [Tuna-Nörling]. Painter of New York 22.139.22 [Kreuzer]. 575-570. 580-575. Tuna-Nörling, 1996: pl. 1. 1. Kreuzer, 1998a: pl. 41. 212. Komast. Rosettes. Samos 523: Vathý Museum, K1280. Fragments. ABV Lindos 535: Istanbul, Archaeological Museum. ABV 26.28. Add2 8. KX Painter. 575-570. Kreuzer, 1998a: 32.25. KY Painter. 575. Brijder, 1983: pl. 4A. pls. 37-39, 200. Komos. Tondo: Gorgoneion. Lotus palmette chain. Body: Lindos 536: Istanbul, Archaeological Museum. Wall Symposion scene. Three klinai with reclining men and rim fragments. ABV 32.26. KY Painter. 575. Blink- and hetairai. Animal frieze. Lotus palmette cross, enberg, 1931: pl. 125. 2617. sirens, panthers, lions, sphinxes. Komast. Floral ornament. Samos 524: Vathý Museum, K2554, K2555, K953. Wall Lindos 537: Istanbul, Archaeological Museum. Wall fragments. KX Painter [Kreuzer]. 575-570. Kreuzer, fragment. ABV 32.27. KY Painter. 575. Blinkenberg, 1998a: pl. 39. 201. 1931: pl. 131. 164. Symposion. Kline and reclining man. Lotus pal- Komasts. mette ornament. Cyprus 538: Excavation. Wall fragment. First two Samos 525: Vathý Museum, K6904. Wall fragment. quarters of the sixth century. Thalmann, 1977: pl. XIX. KX Painter [Kreuzer]. 575-570. Kreuzer, 1998a: pl. 39. 1. 202. Floral ornament. Siren or sphinx. Naukratis 539: London, British Museum, 1914.3- Samos 526: Vathý Museum, K3856. Fragment. KX 17.10+86.4-1.1061. Wall fragment. ABV 26.26. KX Painter [Isler]. 575-570. Kreuzer, 1998a: pl. 39. 203. Painter. 580-570. Beazley & Payne, 1929: pl. XV. 8, Sphinx or siren, feline. XV. 31. Samos 527: Vathý Museum, K1280a. Rim fragment. Feline, goat. KX Painter [Kreuzer]. 575-570. Kreuzer, 1998a: pls. Naukratis 540: London, British Museum, B103.28. 37-39, 204. Wall fragment. ABV 32.13. KY Painter. First quarter Rim: Lotus palmette chain. Below part of a kan- of the sixth century. Beazley & Payne, 1929: pl. X. 7. tharos. Komast. catalogue of the attic early black-figured vases 141

Naukratis 541: Oxford, Ashmolean Museum, G137.18. Cerveteri? 554: Paris, Musée du Louvre, CP10235. Body and rim fragment. ABV 35.5. KY Painter [Bri- ABV 32.17. KY Painter [Villard]. Late first quarter of jder]. Late first quarter of the sixth century.CVA the sixth century. Brijder, 1983: pl. 3c. Oxford, Ashmolean Museum 2: pl. 2. 4. Komos. Komast. Cerveteri? 555: Paris, Musée du Louvre, CP10236. Naukratis 542: Cambridge, Fitzwilliam Museum, N94- ABV 32.18. KY Painter. 575. Brijder, 1983: pl. 3d. 5.3. Wall fragment. Komast Group [Venit]. Late first Komos. quarter of the sixth century. Venit, 1984: fig. 12. Cerveteri? 556: Paris, Musée du Louvre, CP10238 and Komast. CP10237bis. Rim and wall fragment. ABV 33.2. Man- Naukratis 543: London, British Museum, B103.16, ner of the KY Painter. 575. Brijder, 1983: pl. 2b. London, University College. Sophilos. First quarter of Komast. the sixth century. AM 59 (1934): pl. 10. 1. Cerveteri? 557: Paris, Musée du Louvre, CP10237. Upper zone: Swans. Lower zone: Silenos playing Wall fragment. ABV 33.3. Manner of the KY Painter. the pipes. 575. Brijder, 1983: pl. 2c. Naukratis 544: London, British Museum, 1965.9- Komast. 30.813. Wall fragment. 580-570. Venit, 1982: Chiusi 558: Palermo, Museo Archeologico Regionale, pl. CLXXXVI. 5527. ABV 32.15. KY Painter. Late first quarter of the Lotus palmette ornament. sixth century. Iozzo, 2006: pl. VII.3. Naukratis 545: London, British Museum, 1965.9- Komos. 30.785. Rim fragment. 580-570. Venit, 1982: Poggio Pelicia 559: Florence, Museo Archeologico pl. CLXXXVII. Etrusco. Komast Group. 585-570. Cristofani, 1981: fig. Rosettes. 181. Tocra 546: Tocra Museum and Store Room, 1036. Komos. Para 17. Add2 9. Komast Group [Boardman]. 580-570. Poggio Pelicia 560: Florence, Museo Archeologico Boardman & Hayes, 1966: pl. 74. 1036. Etrusco. Komast Group. 580-570. Cristofani, 1981: Komos. pl. XXI, f-g. Kyrene 547: Kyrene Museum. Wall fragment. The Komos. Poggio Pelicia 561: Komast Group VIII, Unallotted [Moore]. 580. Moore, Florence, Museo Archeologico Etrusco. Komast Group. 580-570. Cristofani, 1981: 1987: pl. 36. 200. pl. XXII, a. Komasts. Komos. Daskyleion 548: Excavation, 576. Wall fragments. KY Gravisca 562: Excavation, 72/25199. Rim and wall Painter [Tuna-Nörling]. 575-565. Tuna-Nörling, 1996: fragment. Manner of the KX Painter [Iacobazzi]. 570- pl. 1. 1. 560. Iacobazzi, 2004: fig. 5. Komast. Komast. Daskyleion 549: Excavation, 514. Rim fragment. KY Gravisca 563: Excavation, 72/26173. Wall fragment. Painter [Tuna-Nörling]. 575-565. Tuna-Nörling, 1996: Manner of the KX Painter [Iacobazzi]. 570-565. Iaco- pl. 1. 2. bazzi, 2004: fig. 6. Rosettes. Komast. Histria 550: Bucarest, Institut d'Archéologie, V19736. Gravisca 564: Excavation. Wall fragment. Manner of Fragment. ABV 36.5-7. KY Painter. Late first quarter the KX Painter [Valentini]. 570-565. Iacobazzi, 2004: of the sixth century. Alexandrescu, 1978: pl. 40. 369. fig. 7 Komast. Floral ornament. Berezan 551: Leningrad, Arch.Inst., B1966g. Rim and Sybaris 565: Sybaris, Antiquarium, St. 12627. Wall wall fragment. Painter of Copenhagen 103 [Brijder]. and rim fragments. Komast Group. 570’s. Pagliardi, 570’s. Brijder, 1983: pl. 2e. Spigo & Rota, 1972: 69, fig. 66. 163. Komast. Wing. Cerveteri 552: Rome, Museo Nazionale Etrusco di Sybaris 566: Sybaris, Antiquarium, 13472. Rim frag- Villa Giulia, 45707. ABV 33. Akin to the KY Painter. ment. First quarter of the sixth century. Spadea, 1970: 575. Brijder, 1983: pl. 4b. 80, fig. 68. 82. Komos. Rosette. Cerveteri? 553: Paris, Musée du Louvre, E742. ABV Taranto 567: New York, Metropolitan Museum of 32.9. KY Painter. 575. Brijder, 1983: pl. 3b. Art, 22.139.22. ABV 27.1. Para 15. Add2 3. Painter of Komos. New York 22.139.22. 575. Brijder, 1983: pl. 1. d-e. Komos. 142 appendix i

Taranto 568: Taranto, Museo Archeologico, 110550. Kantharos Painter of New York 22.139.22 [Brijder]. 575. Brijder, 1983: pl. 2a. Akropolis 592: Athens, National Museum, Akropolis Komos. Collection, 1.588. Wall fragments. ABV 43.6. Near Taranto 569: Taranto, Museo Archeologico, 15.4.58. Sophilos [Beazley]. Not by Sophilos [Bakır]. 570. Bakır, Para 17. The Komast Group VIII, Unallotted. 575. 1981: pl. 87. C4. Komos. Horses of a chariot. The name of Artemis is in- Taranto 570: Taranto, Museo Archeologico, 101656. scribed. Para 17. The Komast Group VIII, Unallotted. 575. Vári 593: Athens, National Museum, 19174. Manner Komos. of the Gorgon Painter [Moore], Anagyrous Painter Megara Hyblaia 571: Syracuse, Museo Archeologico [Ahlberg-Cornell]. First quarter of the sixth century. Regionale Paolo Orsi. ABV 32.22. KY Painter. Late Figs. 15 and 49. first quarter of the sixth century. BAPD 300369. A: Frontal chariot. B: Herakles fighting and Nere- Komos. us. Megara Hyblaia 572: Syracuse, Museo Archeologico Samos 594: Vathý Museum, K6893. Two fragments. Regionale Paolo Orsi, T.167. Body and rim fragments. KX Painter [Kreuzer]. 580-575. Kreuzer, 1998a: pl. 35. Para 17. KY Painter. Late first quarter of the sixth 184. century. Villard & Vallet 1964, pl. 82. 3. Dots and lines. Komasts. Naukratis 595: Cambridge, Fitzwilliam Museum, Gela 573: Syracuse, Museo Archeologico Regionale N131.71, London, British Museum, B601.14. Frag- Paolo Orsi, 26397. ABV 28.1. Add2 3. Painter of Copen- ments. ABV 26.29. Add2 8. KX Painter. 580. Beazley hagen 103 [Brijder]. 570’s. Brijder, 1983: pl. 63b. & Payne, 1929: pl. XV. 17. Komos. Fragment a: Head of a man, inscribed Patroklos. Motya 574: Motya, Museo G. Whitaker. Wall frag- Fragment b: Warrior. Parts of the bodies of two ment. ABV 32.14. KY Painter. 575-570. Payne 1931, horses from a frontal chariot. pl. 51. 4. Naukratis 596: London, British Museum, B601.16 and Komast. 44. Wall fragment. ABV 28.3. Manner of the KX Monte Iato 575: Palermo, Museo Archeologico Regio- Painter. 580. Beazley & Payne, 1929: pl. XV. 4-5. nale, K17171. Body and rim fragments. KY Painter or Deities, including Hermes. his circle [Isler]. 580-570. Isler, 1997: pl. 10. 3. Naukratis 597: London, British Museum, B600.50. Komast. Rim fragment. First quarter of the sixth century. Bea- Massalia 576-580: Excavation. Reference to five Ko - zley & Payne, 1929: pl. XV. 19. mast cups (inv. 269+1430, 270, 328, 21, 1145). Area Decoration not clear. Inscribed Priamos. Panier. Gantès, 1990: 371, fig. 3, no. 21. Beziers 581: Enserune, Musée National d'Enserune, 1944. Wall fragment. Komast Group. Late first quar- Chalice ter of the sixth century. CVA Enserune: pl. 1. 4. Athenian Agora 598: Athens, Agora Museum, P 210. Komast. Body and rim fragment. ABV 22.7. Group of the Dres- Spain 582: Excavation. Rim fragment. Huelva. KY den Lekanis. Late first quarter of the sixth century. Painter. 590-570. HArq 13 (1994): 73-74, fig. 3. 2. Moore & Philippides, 1986: pl. 98. 1442. Komast. Sphinx or siren. Spain 583: Excavation. Wall fragment. Andalusia, Athenian Agora 599: Athens, Agora Museum, P 6822. Province of Huelva. KY Painter. 590-570. Cabrera & Body and rim fragment. ABV 22.8. Group of the Dres- Sanchez 2000: 245, no. 19. den Lekanis. Late first quarter of the sixth century. Komast. Moore & Philippides, 1986: pl. 98. 1443. Spain 584-586: Excavation. Wall fragments of three Sphinx or siren. Komast cups. Some have been assigned to the KY Athenian Agora 600: Athens, Agora Museum, P 5468. Painter. 575. Domínquez & Sánchez, 2001: 10. Cabrera, Wall fragments. ABV 22.9. Group of the Dresden 1988-1989: fig. 2. 17, figs. 14. 267, 268, 270. Lekanis. Late first quarter of the sixth century. Moore Spain 587-590: Excavation. Four Komast cups. Anda- & Philippides, 1986: pl. 98. 1444. lusia. Province Huelva. First half of the sixth century. Sphinx or siren, lotus palmette cross. Animal friez- Cabrera, 1988-1989: fig. 2.18, figs. 14. 269, 271, 272. es. Feline, siren or sphinx. Spain 591: Excavation. Wall fragment. Neapolis Athenian Agora 601: Athens, Agora Museum, d’Ampurias. Late first quarter of the sixth century. P 20553. Wall fragments. First quarter of the sixth Jully, 1983: pl. B5. 6. century. Moore & Philippides, 1986: no. 1441. Komast. Sphinxes. catalogue of the attic early black-figured vases 143

Spáta 602: Athens, National Museum, Vlastos Col- Vourvá 603: Athens, National Museum, 995. ABV lection. ABV 21.2. Add2 6. Anagyrous Painter. First 39.11. Add2 10. Sophilos. 580. Fig. 16. quarter of the sixth century. Fig. 17. Lotus palmette floral between men and sirens. Animal friezes. Sirens panthers, bird, cock, cocks’ Sphinx, lions, sirens, panthers. fight, snake, geese.

TRANSPORT VESSELS

One-piece Amphora Athenian Agora 614: Athens, Agora Museum, P 25417. Neck fragment. Para 8. Manner of the Gor- Athenian Agora 604: Athens, Agora Museum, P 1247. gon Painter. First quarter of the sixth century. Moore ABV 5.2. Para 2.4. Nessos Painter. 610. Moore & Phi- & Philippides, 1986: pl. 1. 4. lippides, 1986: pl. 13. Fig. 18. Lotus palmette floral. A, B: Sphinx. Floral ornament. Athenian Agora 615: Athens, Agora Museum, Athenian Agora 605: Athens, Agora Museum, P 14485. Wall fragment. ABV 13.43. Manner of the P 6155a. Neck fragment. ABV 7.3. Para 5.4. Near the Gorgon Painter. Early sixth century. Moore & Philip- Nessos Painter. 620-610. Moore & Philippides, 1986: pides, 1986: pl. 2. 11. pl. 1. 1. Horse’s head and mane. Sphinx, siren. Above hanging spirals. Athenian Agora 616: Athens, Agora Museum, P 24952 Athenian Agora 606: Athens, Agora Museum, P 3795. Wall fragment. F 13-14. ABV 5.2. Para 2.4. Near the and P 25370. Neck fragments. Para 9. Compare to the Nessos Painter. 620-610. Moore & Philippides, 1986: manner of the Gorgon Painter. First quarter of the pl. 15. 120. sixth century. Moore & Philippides, 1986: pl. 15. 125. Siren or sphinx. Rider and his horse. Athenian Agora 607: Athens, Agora Museum, Athenian Agora 617: Athens, Agora Museum, P 1235. P 18633. Wall fragment. D 17. ABV 6. Para 5.2. Near Wall fragment. Gorgon Painter or his manner [Moore the Nessos Painter. 620-610. Moore & Philippides, & Philippides]. 600. Moore & Philippides, 1986: pl. 15. 1986: pl. 15. 121. 123. Siren. Siren or sphinx. Athenian Agora 608: Athens, Agora Museum, Athenian Agora 618: Athens, Agora Museum, P 6155b,c. Wall fragments. 620-610. Moore & Philip- P 10507. Wall fragment. ABV 27.36. KX Painter. Late pides, 1986: no. 2. first quarter of the sixth century. Moore & Philippides, Bird. 1986: pl. 15. 126. Athenian Agora 609: Athens, Agora Museum, Youth in a khiton. Inscribed as HEKA. P 18524. Mouth, one handle and part of the body. Athenian Agora 619: Athens, Agora Museum, Late seventh century. Moore & Philippides, 1986: pl. 1. P 15088. Wall fragments. ABV 39.9. Sophilos. 580. 3. Moore & Philippides, 1986: pl. 1. 6. Sphinx. Animal friezes. Bird, feline, eagle, goats, panther. Athenian Agora 610: Athens, Agora Museum, Neck: lotus palmette ornament. P 17393. Wall fragments. 620. Moore & Philippides, Athenian Agora 620: Athens, Agora Museum, 1986: pl. 2. 7. P 12496. Wall fragment. ABV 39.8. Sophilos. First On each panel, female protome. quarter of the sixth century. Moore & Philippides, Athenian Agora 611: Athens, Agora Museum, 1986: pl. 4. 29. P 22151. Mouth, neck and panel fragment. Last quar- Rider. ter of the seventh century. Moore & Philippides, 1986: Athenian Agora 621: Athens, Agora Museum, P 3703. pl. 2. 8. Wall fragment. ABV 43.5. Near Sophilos. 580. Moore Animal. & Philippides, 1986: pl. 4. 30. Athenian Agora 612: Athens, Agora Museum, Lions. P 27324. Wall fragment. 620. Moore & Philippides, Athenian Agora 622: Athens, Agora Museum, P 4596. 1986: pl. 2. 9. Wall fragment. Para 18.2. Add2 10. Painter of Xanthos Ram? A 6.3444. Late first quarter of the sixth century. Moore Athenian Agora 613: Athens, Agora Museum, P 365. & Philippides, 1986: pl. 15. 127. Wall fragment. Late seventh century. Moore & Philip- Sphinx or siren. pides, 1986: pl. 15. 122. Athenian Agora 623: Athens, Agora Museum, P 6660. Swan. Wall fragment. Late first quarter of the sixth century. 144 appendix i

Moore & Philippides, 1986: pl. 1. 5. Brauron 637: Brauron Museum, 1113. First quarter Siren. of the sixth century. Unpublished. Athenian Agora 624: Athens, Agora Museum, A: Komasts dancing. B: Two riders on galloping P 24944. Wall fragment. 600. Moore & Philippides, horses. 1986: pl. 2. 10. Eleusis 638: Eleusis, Archaeological Museum, Z21. A: Male head with snaky body. B: Feline or ABV 679. Nessos Painter. Last quarter of the seventh sphinx. century. Μylonas, 1975: pl. 307. Athenian Agora 625: Athens, Agora Museum, Neck: Joined foreparts of a panther. P 12673. Mouth, neck handles of a panel amphora. A: Sphinx. B: Lion. 590-580. Moore & Philippides, 1986: pl. 2. 12. Athens 639: London, British Museum, A1531. ABV Ram. 3.2. Para 2.2. Add2 1. Nessos Painter. Last quarter of Athenian Agora 626: Athens, Agora Museum, P 2037. the seventh century. Beazley, 1951: pl. 12. 2. Wall fragment. First quarter of the sixth century. Neck: Birds. A, B: Lion. Florals. Moore & Philippides, 1986: pl. 3. 24. Athens 640: Berlin, F1683, now lost. ABV 39.6. Sophi- Mounted warrior. los. First quarter of the sixth century. Athenian Agora 627: Athens, Agora Museum, A: Sphinxes. B: Eagles flying with a snake. P 15887. Wall fragment. First quarter of the sixth cen- Attika 641: Athens, National Museum, 221. ABV 6. tury. Moore & Philippides, 1986: pl. 3. 25. Para 6. Recalls the Nessos Painter [Cook]. Hofstetter, Inscribed ΜΕΛ. 1990: pl. 7. A4. Athenian Agora 628: Athens, Agora Museum, P 4. A: Flying siren. B: Walking siren. Wall fragment. First quarter of the sixth century. Attika 642: Berlin, Antikensammlung, 1961.7. Nessos Moore & Philippides, 1986: pl. 3. 26. Painter [Mommsen & Boardman]. 610-600. CVA Ber- Lion. lin, Antikenmuseum 5: pls. 1. 1, 2. 1-3. Athenian Agora 629: Athens, Agora Museum, P 289. Neck: Confronted panthers. Body: Owl on palmette Wall fragment. Early sixth century. Moore & Philip- between griffins. pides, 1986: pl. 4. 27. Aigina 643: Aigina, Archaeological Museum, 565. Swan. Neck and wall fragments. ABV 3.1. Para 1. Nessos Athenian Agora 630: Athens, Agora Museum, P 5024. Painter. Last quarter of the seventh century. Kraiker, Wall fragment. First quarter of the sixth century. 1951: pl. 45. 565. Moore & Philippides, 1986: no. 26. Eagle. Neck: Sphinxes, wearing poloi. Body: Khimairai. Athenian Agora 631: Athens, Agora Museum, P 5300. Swan. Wall fragments. Late first quarter of the sixth century. Phokaia 644: Excavation, 150. Neck fragment. KX Moore & Philippides, 1986: pl. 4. 31. Painter? [Tuna-Nörling]. 580. Tuna-Nörling, 2002a: Boar hunt. fig. 66. Athenian Agora 632: Athens, Agora Museum, Lotus palmette ornament. Lion. P 22840. Wall fragment. 580. Moore & Philippides, Smyrna 645: Excavation, BYR no. 261. Wall fragment. 1986: pl. 4. 32. Sophilos [Tuna-Nörling]. 580-570. Tuna-Nörling, Warrior. 2002c: pl. 2. 29. Athenian Agora 633: Athens, Agora Museum, Animal frieze. Goat, panther. P 22532. Mouth, neck and handles. 580-570. Moore Samos 646: Vathý Museum, K6797. Neck fragments. & Philippides, 1986: pl. 4. 33. Close to the Nessos Painter [Kreuzer]. 600. Kreuzer, Siren. 1998a: pl. 1. 1. Athenian Agora 634: Athens, Agora Museum, P 267. Sirens or sphinxes. Neck fragment. First quarter of the sixth century. Samos 647: Vathý Museum, K6788. Wall fragment. Moore & Philippides, 1986: pl. 15. 124. Manner of the Gorgon Painter [Kreuzer]. Early sixth Siren or sphinx. century. Kreuzer, 1998a: pl. 1. 2. Akropolis North Slope 635: Athens, National Lion or panther or sphinx. Museum, A-P 312. Shoulder fragment. Gorgon Painter Samos 648: Vathý Museum, K950. Shoulder fragment. [Pease]. Early sixth century. Pease, 1935: fig. 16. 49. KX Painter [Kreuzer]. 580-570. Kreuzer, 1998a: pl. 4. Siren or sphinx. 8. Kerameikos 636: Athens, Kerameikos Museum, 658. Lotus palmette ornament. ABV 3. Para 1. Add2 1. Peiraieus Painter. Kübler, 1970: Naukratis 649: Alexandria, Graeco-Roman Museum, pls. 89-91. 9358. Wall fragment. Komast Group [Venit]. Late first Neck: Centaurs galloping. Body: Siren on floral be- quarter of the sixth century B.C. Venit, 1984: fig. 11. tween horses with riders. Komast. catalogue of the attic early black-figured vases 145

Naukratis 650: London, British Museum, 86.4-1.1197. Painter. Early sixth century. CVA Copenhagen, Musée Wall fragment. First quarter of the sixth century B.C. National 8: pl. 313. 1A, 313. 1B. Venit, 1982: pl. LXXXV. A: Confronted male protomes. Male protome. B: Lion. Daskyleion 651: Excavation, E458. Wall fragment. Provenance Unknown 664: Paris, Musée du Louvre, First quarter of the sixth century. Görkay, 1999: pl. 13. CP10627. Painter of Berlin 1659 [Bakır]. 575-570. 161. Bakır, 1982: pls. 21-22. Floral chain. A: Lion. B: Siren. Cerveteri 652: Cerveteri, 67730. Manner of the Gor- gon Painter. Painter Big Ears [Williams]. 590-580. Horsehead Amphora Cristofani, 1985: 198. Lion. Athenian Agora 665: Athens, Agora Museum, Veii 653: Jena, Archäologisches Institut der Univer- P 12526. ABV 17.43. The Horsehead Amphorae. Early sität, 178. Para 18.7. Sophilos. 600-590. Bakır, 1981: sixth century. Leslie Shear, 1939: 229, fig. 25. pls. 11-12. Athenian Agora 666: Athens, Agora Museum, P 290. Lions. Lotus palmette chain. Sirens. The Horsehead Amphorae. Related to the New York- Tarquinia 654: Tarquinia, Museo Nazionale Tarqui- Athens, Horse-head Group [Birchall]. Early sixth cen- niese, 628. Manner of the Gorgon Painter [Tronchetti]. tury. Moore & Philippides, 1986: pl. 3. 14. 580-570. Tronchetti, 1983: pl. 1. A-B. Athenian Agora 667: Athens, Agora Museum, Ram. P 25352. Wall fragment. Para 10. The Horsehead Poggio Pelicia 655: Florence, Museo Archeologico Amphorae. Early sixth century. Moore & Philippides, Etrusco. Manner of the Gorgon Painter. Early sixth 1986: pl. 3. 15. century. Cristofani, 1981: 205, fig. 180. Athenian Agora 668: Athens, Agora Museum, Siren. P 26636. Wall fragment. Para 10. The Horsehead Leuca 656: Unknown collection, A67. Manner of the Amphorae. Early sixth century. Moore & Philippides, Gorgon Painter [Forti]. Early sixth century. Forti, 1986: pl. 3. 16. 1978: pls. 65-67. Athenian Agora 669: Athens, Agora Museum, Panther. P 18528. Fragments. ABV 16.8. The Horsehead Italy 657: Avallon, 50. Para 7.9bis. Gorgon Painter. Amphorae. Sub-group of Athens 903 [Birchall]. Early 580. BCH 85 (1961): 540, figs. 1-2. sixth century. Moore & Philippides, 1986: pl. 3. 17. Lion. Athenian Agora 670: Athens, Agora Museum, Italy 658: Paris, Musée du Louvre, E816. Painter of P 13385. ABV 16.7. The Horsehead Amphorae. Related Berlin 1659 [Bakır]. First quarter of the sixth century. to the New York-Athens Group [Birchall]. Early sixth Bakır, 1982: pls. 13-16. century. Moore & Philippides, 1986: pl. 3. 18. Panthers between griffins. Swan, panther, siren. Bird Athenian Agora 671: Athens, Agora Museum, between goats. Swan between sirens. P 26631. Fragments. Para 10. The Horsehead Ampho- Italy 659: Paris, Musée du Louvre, E819. ABV 38.5. rae. Early sixth century. Moore & Philippides, 1986: Add2 10. Sophilos. 600-590. Bakır, 1981: pls. 13-14. no. 19. Sphinxes. Panther or lion between sirens. Athenian Agora 672: Athens, Agora Museum, Massalia 660: Wall fragment. Gorgon Painter. Early P 18529. Fragments. ABV 16.9. The Horsehead sixth century. Vasseur, 1914: pl. XI. 7. Amphorae. First quarter of the sixth century. Moore Bird and lion. & Philippides, 1986: no. 20. Provenance Unknown 661: Malibu (CA), The J. Paul Athenian Agora 673: Athens, Agora Museum, P 1248. Getty Museum, 83.AE.428. Part of the neck. Nessos Wall fragment. ABV 16.11. The Horsehead Amphorae. Painter [Frel]. Last quarter of the seventh century. Probably by the Painter of the Syracuse Horse-head J. Paul Getty Museum Journal (1984): 240, no. 46. [Birchall]. Late first quarter of the sixth century. Moore Sirens. & Philippides, 1986: no. 21. Provenance Unknown 662: Paris, Musée du Louvre, Akropolis 674: Athens, National Museum, Akropolis E817. ABV 9.7. Para 6. Gorgon Painter [Zahn]. Early Collection 1.394. Fragment. ABV 16.1. Group of the sixth century. Scheibler, 1961: figs. 1-2. Horsehead amphorae. Early sixth century. Graef & Neck: Lotus palmette ornament. Body: Lotus pal- Langlotz, 1925: pl. 14. mette cross between lions. Swan on lotus palmette Kerameikos 675: Athens, Kerameikos Museum 2784. cross, between sphinxes. Sirens, panthers, goat, li- Early sixth century. Picozzi, 1971: no. 8. ons. Vári 676: Athens, National Museum, 16401. Athens Provenance Unknown 663: Copenhagen, National Sub-group [Birchall]. Early sixth century. Picozzi, Museum, 13796. Para 8. Manner of the Gorgon 1971: pl. 16. 146 appendix i

Vári 677: Athens, National Museum, 16402. Fragment. Aigina 695: Greifswald, Ernst-Moritz-Arndt Univer- Athens Sub-group [Birchall]. Early sixth century. sität, 154. ABV 17.23. Picozzi, 1971: pl. 19. 8. Picozzi, 1971: pl. 17. Korinthos 696: Paris, Cabinet des Medailles 204. ABV Vári 678: New York, Metropolitan Museum of Art, 16.20. Closely related in style with the Painter of the 22.139.7. ABV 16.4. Para 9. Group of the Horsehead Syracuse horse-head [Birchall]. Late first quarter of amphorae. Early sixth century. CVA, New York, the sixth century. Birchall, 1972: pl. XIIIa. Metro politan Museum of Art 3: pl. 1. 1-2. Perakhóra 697: Athens, National Museum. Fragment. Anavyssos 679: New York, Metropolitan Museum, ABV 16.14. Group of the Horsehead amphorae. Early 22.139.7. ABV 16.4. Para 9.4. New York sub-group sixth century. [Birchall]. Early sixth century. Picozzi, 1971: pls. 4-5. Miletos 698: Miletos. Fragment. North of the Athena Velanidhéza 680: Athens, National Museum, 903. temple. 580-570. Picozzi, 1971: pl. 46. 71. Fragment. ABV 16.5. Para 9.5. Group of the Horse- Kameiros 699: Berlin Antikensammlung, F1654. ABV head amphorae [Beazley]. Athens sub-group [Birchall]. 17.39. Early sixth century. Picozzi, 1971: pl. 44. Early sixth century. Picozzi, 1971: pl. 15. 8. Ialysos 700: Rhodos, Archaeological Museum, 15565. Velanidhéza 681: Athens, National Museum, 904. ABV 17.41. Group of the Horsehead amphorae. Early Fragments. ABV 16.6. Group of the Horsehead ampho- sixth century. Picozzi, 1971: pl. 45. rae [Beazley]. Athens sub-group [Birchall]. Early sixth Xanthos 701: Istanbul, Archaeological Museum, A22- century. Picozzi, 1971: pl. 15. 3296. Fragment. Early sixth century. Metzger, 1972: Thorikos 682: Thorikos, Excavation, TC.66.67. New pl. 35. 161. York sub-group [Birchall]. Early sixth century. Muss- Xanthos 702: Istanbul, Archaeological Museum, A22- che et al., 1969: pl. XIVa. 3296bis. Fragment. Louvre-Campana Horse-Head Menídhi 683: Acharnai Museum, MM396. Early sixth Group [Birchall]. Early sixth century. Metzger, 1972: century. Platonos-Giota, 2004: 436-437. pl. 35. 162. Athens 684: Athens, National Museum, 1003. ABV Xanthos 703: Istanbul, Archaeological Museum, A22- 16.3. Group of the Horse head amphorae [Beazley]. 3312. Fragment. Closely related in style with the Athens Sub-group [Birchall]. Early sixth century. Painter of the Syracuse horse-head [Birchall]. Late first Picozzi, 1971: pl. 7. Fig. 19. quarter of the sixth century. Metzger, 1972: pl. 35. 163. Athens 685: Athens, Ephoreia Γ’. Early sixth century. Cyprus 704: Excavation, 7841. Part of the body. Sala- ΑD 18, 1963, Chron.: pl. 47a. mis. Archaic sanctuary. 600-580. Calvet & Yon, 1977: Athens 686: Athens, Ephoreia Γ’. Early sixth century. pl. I. 8. ΑD 22, 1967, Chron.: 112. Naukratis 705: London, British Museum, 1965.9- Athens 687: Athens, National Museum. Para 10. 30.835. Fragment. Early sixth century. Birchall, 1972: Related to the Athens Sub-group [Birchall]. 600. pl. Xc. Picozzi, 1971: pl. 3. Naukratis 706: London, British Museum, 1965.9- Athens 688: Fetiche Tjami, NAK 417α-γ. Wall frag- 30.836. Wall fragment. Closely related in style with ment. Early sixth century. Picozzi, 1971: pl. 18. 22. the Painter of the London Horse head. Early sixth Athens 689: Heidelberg, Ruprect-Carls Universität, century. Birchall, 1972: pl. Xd. 203. Wall fragment. Early sixth century. Picozzi, 1971: Naukratis 707: London, British Museum, 1965.9- pl. 18. 24. 30.837. Wall fragment. Early sixth century. Birchall, Athens 690: Heidelberg, Ruprecht-Karls Universität, 1972: pl. Xe. 204. Wall fragment. New York Sub-group [Birchall]. Tell Defenneh 708: London, British Museum, B125.11. Early sixth century. Picozzi, 1971: pl. 18. 25. Wall fragment. Early sixth century. CVA London, Athens 691: Heidelberg, Ruprecht-Karls Universität, British Museum 8: pl. 101. 5. 205. Wall fragment. Late seventh century. Picozzi, Male protome. 1971: pl. 18. 26. Tell Defenneh 709: London, British Museum, 1952.5- Athens 692: Leipzig, T 349. Wall fragment, now lost. 5.24. Wall fragment. Early sixth century. CVA London, ABV 16.15. Early sixth century. Birchall, 1972: 58, no. British Museum 8: pl. 101. 6. 4. Male protome. Athens 693: Munich, Antikensammlungen, 6070. ABV Tell Defenneh 710: London, British Museum, 86.4- 16.2. Para 9. Group of the Horsehead amphorae. Early 1.1197. Wall fragment. 580-570. Venit, 1982: sixth century. CVA Munich, Museum Antiker pl. LXXXV. Kleinkunst 1: pls. 1. 1, 2. 1-2, 3.1. Male protome. A: Female protome. B: Horsehead. Tell Defenneh 711: London, British Museum, Attika 694: Dresden, Staatliche Kunstsammlungen, B129.1.2. Wall fragment. ABV 17.25. Closely related Albertinum, ZV 1773. ABV 17.27. Related to the Ath- in style with the Painter of the Syracuse horse-head ens Sub-group [Birchall]. Early sixth century. Picozzi, [Birchall]. Late first quarter of the sixth century. 1971: pl. 6. Birchall, 1972: pl. IXb. catalogue of the attic early black-figured vases 147

Tell Defenneh 712: London, British Museum, B129.1. Etruria 729: Paris, Musée du Louvre, E821. ABV 16.21. Wall fragment. ABV 16.2. Para 9.12. Early sixth cen- Closely related in style with the Painter of the Syracuse tury. Birchall, 1972: pl. IXa. horse-head. Late first quarter of the sixth century. Tell Defenneh 713: London, British Museum, 1952 Picozzi, 1971: pl. 34. 5-5-22. Wall fragment. ABV 17.26. Para 9.26. Early Etruria 730: Paris, Musée du Louvre, CP 10622. sixth century. Birchall, 1972: pl. Xa. Related in style with the Painter of the Syracuse horse- Tell Defenneh 714: London, British Museum, 1952 head. Late first quarter of the sixth century. Picozzi, 5-5-23. Wall fragments. Early sixth century. Birchall, 1971: pl. 35. 1972: pl. Xb. Etruria 731: Paris, Musée du Louvre, E822. ABV 17. Tell Defenneh 715: Philadelphia, University Museum, Louvre-Campana Horse-head group [Birchall]. First E 154.1. Neck, shoulder and a handle root. Early sixth quarter of the sixth century. Birchall, 1972: pl. XVIb. century. Venit, 1982: pl. LXXXIV. A: Horse-head. B: Man’s head. Tell Defenneh 716: Reading University, 14.9.80. Two Etruria 732: Paris, Musée du Louvre, CP 10621. Lou- wall fragments. Fragment. First quarter of the sixth vre-Campana Horse-head group [Birchall]. First quar- century. Picozzi, 1971: pl. 46. 70. ter of the sixth century. Picozzi, 1971: pl. 38. Egypt 717: Athens, private collection. Wall fragment. Etruria 733: Paris, Musée du Louvre, CP 10623. Frag- Early sixth century. Venit, 1982: no. B10. ment. Louvre-Campana Horse-head group [Birchall]. Tocra 718: Tocra Museum and Store Room. Fragment. First quarter of the sixth century. Picozzi, 1971: pl. 40. Tocra-Vienna Horse-Head Group [Birchall]. First 53. quarter of the sixth century. Boardman & Hayes, 1966: Etruria 734: Paris, Musée du Louvre, CP 10624. Wall pl. 73.1028. fragment. Louvre-Campana Horse-head group [Bir- Kyrene 719: Kyrene Museum. Wall fragment. New chall]. First quarter of the sixth century. Picozzi, 1971: York sub-group of New York-Athens horsehead pl. 40. 54. Group [Moore]. Early sixth century. Moore, 1987: Etruria 735: Paris, Musée du Louvre, CP 10625. Wall pl. 1. 1. fragment. First quarter of the sixth century. Picozzi, Olbia 720: Excavation, O/69-2918. Kocybala 1978, 235 1971: pl. 55. (reference). Etruria 736: Paris, Musée du Louvre, CP 10626. Wall Cerveteri 721: Rome, Museo Nazionale Etrusco di fragment. Louvre-Campana Horse-head group [Bir- Villa Giulia, 20843. ABV 17.31. Para 9.31. First quar- chall]. First quarter of the sixth century. Picozzi, 1971: ter of the sixth century. Picozzi, 1971: pls. 20-22. Vulci 722: Würzburg, Universität, Martin von Wag- pl. 40. 56. ner Museum, 242. ABV 17.33. Syracuse Horse-head Etruria 737: Rome, Museo Nazionale Etrusco di Villa Group [Birchall]. First quarter of the sixth century. Giulia. Wall fragment. Erlagen Horse-head group. First Picozzi, 1971: pl. 30. quarter of the sixth century. Picozzi, 1971: pl. 39. 47. Vulci 723: Vatican City, Museo Gregoriano Etrusco Etruria 738: Rome, Museo Nazionale Etrusco di Villa Vaticano, 39520. ABV 16.22. Group of the Horsehead Giulia. Wall fragment. Erlagen Horse-head group. First amphorae [Beazley]. Painter of the Aachen horse-head quarter of the sixth century. Picozzi, 1971: pl. 39. 48. [Birchall]. First quarter of the sixth century. Picozzi, Etruria 739: Rome, Museo Nazionale Etrusco di Villa 1971: pl. 26. Giulia. Wall fragment. First quarter of the sixth cen- Vulci 724: Erlagen, Friedrich-Alexander-Universität, tury. Picozzi, 1971: pl. 39. 50. M930. ABV 17.32. Erlagen horse-head group [Bir- Etruria 740: Rome, Museo Nazionale Etrusco di Villa chall]. First quarter of the sixth century. Birchall, 1972: Giulia. Wall fragment. First quarter of the sixth cen- pl. XIIIb. tury. Picozzi, 1971: pl. 39. 51. Vulci 725: Munich, Antikensammlungen, 1362. ABV Etruria 741: Rome, Museo Nazionale Etrusco di Villa 17.34. Erlagen horse-head group [Birchall]. First quar- Giulia. Wall fragment. First quarter of the sixth center of the sixth century. Picozzi, 1971: pl. 32. tury. Picozzi, 1971: pl. 39, 52. Vulci 726: Munich, Antikensammlungen, 1361. ABV Taranto 742: Taranto, Museo Archeologico Nazionale, 17.35. Erlagen horse-head group [Birchall]. First quar- 4349. ABV 17.24. First quarter of the sixth century. ter of the sixth century. Picozzi, 1971: pl. 31. D’Amicis et al., 1994: 180, no. 17. 1. Vulci 727: Munich, Antikensammlungen, 1363. ABV Taranto 743: Taranto, Museo Archeologico Nazionale, 17.42. First quarter of the sixth century. Picozzi, 1971: 20.248. Painter of the Taranto 20.248 horse-head [Bir- pl. 33. chall]. Birchall, 1972: pl. XIVb. Etruria 728: New York, Metropolitan Museum of Art, Taranto 744: Taranto, Museo Archeologico Nazion- 26.60.45. ABV 16.19. Para 9.19. Syracuse Horse-head ale, 4354. ABV 17.24. Painter of the Taranto 20.248 Group. First quarter of the sixth century. Picozzi, 1971: horse-head [Birchall]. First quarter of the sixth cen- pls. 28-29. tury. D’ Amicis et al., 1994: 169, no. 13. 7. 148 appendix i

Tarquinia 745: Tarquinia, Museo Nazionale Tar- Athenian Agora 758: Athens, Agora Museum, quiniese, RC 2802. ABV 17.29. Painter of the Tarquinia P 12208. Neck and shoulder fragment. 620. Moore & RC 2802 Painter [Birchall]. First quarter of the sixth Philippides, 1986: pl. 16. 132. century. Picozzi, 1971: pl. 25. 32. Confronted horse protomes. Tarquinia 746: Tarquinia, Museo Nazionale Tar- Athenian Agora 759: Athens, Agora Museum, quiniese, 633. ABV 17.30. Para 9.30. First quarter of P 25392. Neck fragment. 620. Moore & Philippides, the sixth century. Picozzi, 1971: pl. 24. 31. 1986: pl. 16. 133. Gravisca 747: Excavation, 73/7242. Wall fragment. Male siren. Horse. 580-570. Iacobazzi, 2004: fig. 4. Athenian Agora 760: Athens, Agora Museum, Poseidonia 748: Paestum, Museo Archeologico Nazio- P 22418. Neck fragment. Last quarter of the seventh nale, 21834. London Horse-Head Group [Birchall]. century. Moore & Philippides, 1986: no. 135. First quarter of the sixth century. Picozzi, 1971: Swan. pl. 42. Athenian Agora 761: Athens, Agora Museum, P 4626. Megara Hyblaia 749: Syracuse, Museo Archeologico Neck, mouth and shoulder fragments. 620. Moore & Regionale Paolo Orsi, 11889. Wall fragments. ABV Philippides, 1986: pl. 16. 136. 679. Syracuse Horse-head Group [Birchall]. Late Cock. first quarter of the sixth century. Birchall, 1972: Athenian Agora 762: Athens, Agora Museum, P 13113. Neck and shoulder fragment. ABV 10.24. pl. XIIa. Gorgon Painter. Early sixth century. Moore & Philip- Megara Hyblaia 750: Syracuse, Museo Archeologico pides, 1986: pl. 17. 139. Regionale, 7/162. Fragment. Para 10. First quarter of Lotus palmette cross, siren. the sixth century. Vallet & Villard, 1964: pl. 82. 2. Athenian Agora 763: Athens, Agora Museum, P 10195, P 10651, P 10653, P 26810. Fragments. ABV Neck-amphora 13.42. Manner of the Gorgon Painter. 600. Moore & Athenian Agora 751: Athens, Agora Museum, P 6481. Philippides, 1986: pl. 17. 138. Neck, mouth and shoulder fragment. Third quarter Neck: Horse protomes. Shoulder: Animal friezes. of the seventh century. Moore & Philippides, 1986: Bull, boar. Lower body: Lion, bull, floral orna ment. pl. 16. 128. Athenian Agora 764: Athens, Agora Museum, P 4727. Neck and rim fragment. ABV 12.26. Manner of the Neck: Sphinx. Body: Rider. Gorgon Painter. Early sixth century. Moore & Philip- Athenian Agora 752: Athens, Agora Museum, pides, 1986: pl. 18. 141. P 13323. Neck fragment. Third quarter of the seventh Geese. Winged Aristaios with a pick. Lotus pal- century. Brann, 1962: pl. 37. 577. mette cross. Man and siren. Athenian Agora 765: Athens, Agora Museum, Athens Agora 753: Athens, Agora Museum, P 26563. P 22310. Neck and rim fragment. Manner of the Gor- Neck fragment. Third to last quarter of the seventh gon Painter [Moore & Philippides]. First quarter of century. Brann, 1962: pl. 37. 587. the sixth century. Moore & Philippides, 1986: pl. 18. Horse protomes. 142. Athenian Agora 754: Athens, Agora Museum, P 6486. Geese. Horse. Floral ornament. Fragments. Workshop of the Painter of Berlin A34 Athenian Agora 766: Athens, Agora Museum, P 648. [Moore & Philippides]. 630-620. Moore & Philippides, Neck and rim fragment. Area I-J 17. Manner of the 1986: pl. 16. 134. Gorgon Painter [Moore & Philippides]. First quarter Floral ornament. of the sixth century. Moore & Philippides, 1986: pl. 18. Athenian Agora 755: Athens, Agora Museum, P 5297. 143. Wall fragment. ABV 5.12. Para 5.6. Near the Nessos Geese. Painter. 620-610. Moore & Philippides, 1986: pl. 16. Athenian Agora 767: Athens, Agora Museum, P 825. 137. Shoulder fragment. Manner of the Gorgon Painter Palmette. Sphinx or siren. [Moore & Philippides]. First quarter of the sixth cen- Athenian Agora 756: Athens, Agora Museum, P 1739. tury. Moore & Philippides, 1986: pl. 18. 149. Neck, mouth and shoulder fragment. 630-620. Burr, Siren. 1933: 583, fig. 43. Athenian Agora 768: Athens, Agora Museum, Bird. P 22884a, P 22884b. Wall fragments. ABV 680.38. KX Athenian Agora 757: Athens, Agora Museum, Painter [Moore & Philippides]. Late first quarter of P 17340. Neck and shoulder fragment. 625. Brann, the sixth century. Moore & Philippides, 1986: pl. 19. 1961: pl. 70. H9. 151. Floral ornament. Animal friezes. Feline, panther, lions. catalogue of the attic early black-figured vases 149

Athenian Agora 769: Athens, Agora Museum, Athenian Agora 781: Athens, Agora Museum, P 4255. P 13864. Shoulder fragment. ABV 22.13. Group of the Wall fragment. First quarter of the sixth century. Dresden Lekanis [Moore & Philippides]. Painter of Moore & Philippides, 1986: no. 157. the Old Women [Papadopoulou-Kanellopoulou]. Late Ram. first quarter of the sixth century. Moore & Philippides, Athenian Agora 782: Athens, Agora Museum, P 3579, 1986: pl. 19. 150. P 12379. Neck fragments. Late first quarter of the sixth Siren or sphinx. century. Moore & Philippides, 1986: pl. 19. 158. Athenian Agora 770: Athens, Agora Museum, Animal friezes. Feline, bearded winged frontal fig- P 17966. Shoulder fragment. First quarter of the sixth ure holding a bird by its neck. Bird or siren. century. Moore & Philippides, 1986: pl. 17. 140. Athenian Agora 783: Athens, Agora Museum, Lion. P 25324. Rim fragment. First quarter of the sixth cen- Athenian Agora 771: Athens, Agora Museum, tury. Moore & Philippides, 1986: no. 159. P 31088. Rim fragment. First quarter of the sixth cen- Birds. tury. Moore & Philippides, 1986: no. 144. Athenian Agora 784: Athens, Agora Museum, P 6628. Geese. Neck and shoulder fragment. 580-570. Moore & Athenian Agora 772: Athens, Agora Museum, P 6065. Philippides, 1986: pl. 20. 165. Shoulder fragment. First quarter of the sixth century. Silenos. Moore & Philippides, 1986: pl. 18. 143. Vári 785: Athens, National Museum, 16380. Nessos Lion. Painter or near him [author]. Late seventh century. Athenian Agora 773: Athens, Agora Museum, Unpublished. Fig. 20. P 17341. Shoulder fragment. Early sixth century. Neck: Female protome. Body: Boar. Vári 786: Athens, National Museum, 16389. ABV 2.1. Brann, 1961: pl. 74. H24. 2 Feline. Add 1. Bellerophon Painter. Late seventh century. Athenian Agora 774: Athens, Agora Museum, P 249. Karouzou, 1985: figs. 1-2. Fig. 37. Handle and wall fragment. First quarter of the sixth Neck: owl. Body: Bellerophon on Pegasos, Khim- century. Moore & Philippides, 1986: pl. 18. 147. aira. Vári 787: Athens, National Museum, 16390, New Incised rosettes. York, Metropolitan Museum, 38.11.10. Bellerophon Athenian Agora 775: Athens, Agora Museum, P 648. Painter [Hünnekens]. Late seventh century. Unpub- Wall fragment. First quarter of the sixth century. lished. Hünnekens, 1987: pl. 134. 1-10. Moore & Philippides, 1986: pl. 18. 148. Neck: Deers. Body: Two confronted sphinxes. Lotus palmette chain. Panther. Vári 788: Athens, National Museum, 16395. Bellero- Athenian Agora 776: Athens, Agora Museum, phon Painter [Hünnekens]. Late seventh century. P 21562. Neck and shoulder fragments. 580-570. Unpublished. Fig. 21. Moore & Philippides, 1986: pl. 19. 152. Neck A: Sphinx or siren. Neck B: Two confronted Animal friezes. Felines, sirens. horse protomes. Body: Water birds. Athenian Agora 777: Athens, Agora Museum, P 4824. Vári 789: Athens, National Museum, 16391. ABV 2.2. Neck and shoulder fragment. 580-570. Moore & Para 1. Add2 1. Pegasos Painter [Karouzou]. Late sev- Philippides, 1986: pl. 19. 153. enth century. Karouzou, 1985: figs. 3-4. Animal friezes. Sirens, feline. Neck: Procession of women, goat. Body: Bellero- Athenian Agora 778: Athens, Agora Museum, P 480. phon on Pegasos. Khimaira. Wall fragments. Late first quarter of the sixth century. Vári 790: Athens, National Museum, 16392. ABV 2.2. Moore & Philippides, 1986: pl. 19. 154. Add2 1. Lion Painter. Late seventh century. Karouzou, Animal friezes. Feline, boar, siren, ram, goat, pan- 1982: fig. 12. ther. Neck: Deer. Body: Lions. Athenian Agora 779: Athens, Agora Museum, P 3805. Vári 791: Athens, National Museum, 16393. ABV 2.1. Wall fragment. Late first quarter of the sixth century. Add2 1. Lion Painter. Late seventh century. Karouzou, Moore & Philippides, 1986: pl. 19. 155. 1982: fig. 1. Animal friezes. Hoof, feline, ram, lion, bird or si- Neck: Deer. Body: Sphinxes stepping on floral or- ren. nament. Animal frieze. Swans. Athenian Agora 780: Athens, Agora Museum, P 5008. Vári 792: Athens, National Museum, 16394. Lion Shoulder fragments. First quarter of the sixth century. Painter [Karouzou]. Late seventh century. Karouzou, Moore & Philippides, 1986: no. 156. 1982: figs. 4-5. Animal friezes. Lions, felines. Birds. Ducks. Animal frieze. Swans. 150 appendix i

Vári 793: Athens, National Museum, 16396. Lion Aigina 803: Aigina Museum, 839. Rim fragment of a Painter [Hünnekens]. Late seventh century. Unpub- neck-amphora? Gorgon Painter [Felten]. Early sixth lished. Fig. 22. century. Felten, 1982: pl. 9. 122. Neck: Lion protome. Body: Boar. Linear pattern. Vári 794: Athens, National Museum, Vlastos Collec- Aigina 804: Aigina Museum, 126. Wall fragment of tion. Neck fragment. ABV 2.3. Lion Painter. Late a closed vessel (amphora?). KX Painter [Felten]. First seventh century. Steinhart, 1995: pl. 11. 2. quarter of the sixth century. Felten, 1982: pl. 11. 144. Lion. Rosette. Vári 795: Athens, National Museum, 16398. Lion Smyrna 805: Excavation. Wall fragments. Near the Painter [author]. Late seventh century. Unpublished. Nessos Painter [Tuna-Nörling]. 610-600. Tuna-Nör- Fig. 36. ling, 1995: pl. 10. 169. Running Gorgons. Lotus palmette ornament. Siren. Vári 796: Athens, National Museum. Nessos Painter? Samos 806: Vathý Museum, K1211, K1032. Frag- [Callipolitis-Feytmans]. Callipolitis-Feytmans, 1985: ments. KX Painter [Kreuzer]. 580-570. Kreuzer, 1998a: figs. 15-16. pl. 2. 5. Neck: Floral ornaments. Body: Lion. Back side: Herakles fighting Nereus between sphinxes, sirens Loop pattern. and lions. Lotus palmette ornament. Animal frie- Marathon 797: Athens, National Museum, 1036. ABV ze. Boar. 38.2. Sophilos. 590-580. Bakır, 1981: pls. 30-33. Samos 807: Vathý Museum, K950. Fragments. KX Neck: Sirens, panthers. Lotus palmette cross be- Painter [Kreuzer]. 580-570. Kreuzer, 1998a: pl. 2. 7. tween lions. Lotus palmette cross between sirens. Lotus palmette ornament. On the lotus palmette cross, a small panther. Li- Xanthos 808: Excavation, A20-3268. Neck fragment. ons. Hermes between sphinxes. Gorgon Painter [Metzger]. Early sixth century. Body: Hermes and a youth between sirens and pan- Metzger, 1972: pl. 39. 181. thers. Lotus palmette cross between lions and si- Floral chain. rens. Potnia theron, holding two small lions between Naukratis 809: Oxford, Ashmolean Museum, G128.20. two lions, confronted deers between lions and pan- Neck fragment. ABV 38.4. Sophilos. 580. Bakır, 1981: ther. Bird. Confronted sirens between lion and pan- pl. 65. ther. Bird. Confronted deers between lion and Man between sphinxes. Hermes? panther. Grazing birds. Taranto 810: Taranto, Museo Archeologico Nazionale, Rhamnous 798: Excavation, 89. Neck fragment. Last 20885. ABV 21.2. Group of the Dresden Lekanis quarter of the seventh century. Unpublished. [Payne]. 580. Lo Porto, 1959-1960: figs. 155-156. Grazing horse. Neck: Siren. Deer? Body: Boar attacked by lions. Eleusis 799: Eleusis Archaeological Museum. Wall Lotus palmette cross between sirens. Lions, horse, fragment. 600-590. Hünnekens, 1987: pl. 175. 1-4. boar. Female protome. Taranto 811: Taranto, Museo Archeologico Nazionale, Peiraieus 800: Athens, National Museum, 353. ABV 52127. Painter of Berlin 1659 [Lippolis]. Late first 2. Para 1. Add2 1. Peiraieus Painter. Early last quarter quarter of the sixth century. D'Amicis et al., 1994: of the seventh century. Beazley, 1951: pl. 10. 1. 211, no. 35. 22. Neck: Cock. Floral ornament. Body: Youth and man Cock and hen between sphinxes. Siren between on a chariot. Lion. sphinxes. Athens 801: Athens, National Museum, 1002. ABV Provenance Unknown 812: Florence, Museo Archeo- 4.1. Para 2.6. Add2 1. Nessos Painter. 615-605. Beazley, logico Etrusco. ABV 38.3. Sophilos. 590-580. Bakır, 1951: pl. 10. 2-4. Fig. 32. 1981: pl. 25. Rim: Animal frieze. Geese Neck: Herakles fighting Neck: Anthithetic sirens. Body: Lions. Man [Zeus?] Nessos. Both inscribed. and Hermes between sirens. Body: Running Gorgons. Medusa falling. Bird. Dol- Hermes between sirens. Animal frieze. Lions, si- phins. Swan and owl. rens, sphinxes. Athens 802: Berlin, not known where, F1700. ABV 33.6. Manner of the KY Painter. Flashar & Hiesel, Unknown type of Amphora 1997: 34-35, no. 12 Neck: SOS pattern. Body: Sphinx. Lotus palmette Athenian Agora 813: Athens, Agora Museum, P 4993. between two dancing komasts. Wall fragment. Para 1.4. Painter of Berlin A34. 620. Moore & Philippides, 1986: pl. 34. 340. Swan. catalogue of the attic early black-figured vases 151

Athenian Agora 814: Athens, Agora Museum, P 7835. Athenian Agora 827: Athens, Agora Museum, P 4339. Neck and mouth fragment. Last quarter of the seventh Wall fragment. First quarter of the sixth century. century. Moore & Philippides, 1986: no. 339. Moore & Philippides, 1986: pl. 35. 353. Rosettes. Boar. Athenian Agora 815: Athens, Agora Museum, Akropolis 828: Athens, National Museum, Akropolis P 20678. Wall fragment. Peiraieus Painter [Moore & Collection. Wall fragment. ABV 5.11. Para 4.26. Nes- Philippides]. 620-610. Moore & Philippides, 1986: sos Painter. Last quarter of the seventh century. pl. 34. 341. Gorgon. Chariot. Akropolis 829: Athens, National Museum, Akropolis Athenian Agora 816: Athens, Agora Museum, Collection, 1.389a-d. Fragments of a neck-amphora? P 26642. Wall fragment. Last quarter of the seventh Para 5.5. Near the Nessos Painter [Hünnekens]. Hün- century. Moore & Philippides, 1986: pl. 35. 342. nekens, 1987: pl. 127. 1-4. Khimaira, Pegasos. Floral ornament. Athenian Agora 817: Athens, Agora Museum, Akropolis 830: Athens, National Museum, Akropolis P 31091. Wall fragment. Late seventh century. Moore Collection, 1.758. ABV 10.23. Gorgon Painter. Early & Philippides, 1986: pl. 35. 343. sixth century. Graef & Langlotz, 1925: pl. 48. Animal friezes. Siren or eagle, siren or eagle, head Siren or sphinx. of a man. Akropolis 831: Athens, National Museum, Akropolis Athenian Agora 818: Athens, Agora Museum, Collection 1.757. Fragments. ABV 39.10. Sophilos. P 25343. Wall fragment. Late seventh century. Moore 600-590. Bakır, 1981: pl. 24. & Philippides, 1986: pl. 35. 344. Hermes between sirens. Man with a skeptron Geese. [Hermes?] between lions. Athenian Agora 819: Athens, Agora Museum, Akropolis 832: Athens, National Museum, Akropolis P 26760. Wall fragment. Late seventh century. Moore Collection 1.547. Neck fragment. Para 13. Painter of & Philippides, 1986: pl. 35. 345. Eleusis 767. Late first quarter of the sixth century. Uncertain subject. Man and shield? Graef & Langlotz, 1925: pl. 20. Athenian Agora 820: Athens, Agora Museum, Sphinx, siren. P 25338. Wall fragment. Last quarter of the seventh Akropolis North Slope 833: Athens, National century. Moore & Philippides, 1986: pl. 35. 347. Museum, Akropolis Collection, 1.759. Wall fragment. Dolphin. ABV 12.31. Add2 4. Gorgon Painter. First quarter of Athenian Agora 821: Athens, Agora Museum, the sixth century. Pease, 1935: fig. 2. 2. P 13340. Wall fragment. ABV 27.37. KX Painter. 580. Frontal chariot. Moore & Philippides, 1986: pl. 35. 351. Akropolis North Slope 834: Athens, National Mu - Siren, goat, geese. seum, AP. 34. Wall fragment. ABV 20.2. Near the Athenian Agora 822: Athens, Agora Museum, P 4807. Kerameikos Painter. Early sixth century. Pease, 1935: Wall fragment. 600. Moore & Philippides, 1986: pl. 35. fig. 16. 50. 346. Animal friezes. Siren or sphinx. Two figures? Kerameikos 835: Athens, Kerameikos Museum, 117 Athenian Agora 823: Athens, Agora Museum, P 2394. and 118. Neck fragments. Painter of the Kerameikos Wall fragment. Early sixth century. Moore & Philip- riders’ amphora [Kübler]. Peiraieus Painter. Last quar- pides, 1986: pl. 35. 348. ter of the seventh century. Kübler, 1970: pls. 119. 117, Dancing woman. 118. Athenian Agora 824: Athens, Agora Museum, Snake. Sphinx? P 17918. Wall fragment. First quarter of the sixth cen- Kerameikos 836: Athens, Kerameikos Museum, 103. tury. Moore & Philippides, 1986: pl. 35. 349. Wall fragment. ABV 6. Nessos Painter. Last quarter Siren. of the seventh century. Kübler, 1970: pl. 119. 103. Athenian Agora 825: Athens, Agora Museum, Gorgon. P 20681. Wall fragment. First quarter of the sixth cen- Kerameikos 837: Athens, Kerameikos Museum, 106. tury. Moore & Philippides, 1986: pl. 35. 350. Neck and rim fragment. Nessos Painter or near him Siren or bird. [Kübler]. 620. Kübler, 1970: pl. 116. Athenian Agora 826: Athens, Agora Museum, P 3652. Lion. Wall fragment. First quarter of the sixth century. Kerameikos 838: Athens, Kerameikos Museum, 1374. Moore & Philippides, 1986: pl. 35. 352. Wall fragment (amphora or krater). Last quarter of Animal friezes. Feline or sphinx, geese. the seventh century. Kübler, 1970: pl. 119. 1374. Bull attacked by an eagle. 152 appendix i

Olympieion 839: Athens, National Museum. Wall Samos 852: Vathý Museum, 6800. Fragments. KX fragment. Para 5.2. Near the Nessos Painter. Last quar- Painter [Kreuzer]. 580-570. Kreuzer, 1998a: pl. 3. 6. ter of the seventh century. Brann, 1959: pl. 44. 3. Herakles fighting Akheloos? Animal friezes. Lions, Foot with winged sandals. Hermes? sirens. Olympieion 840: Athens, National Museum. Wall Samos 853: Vathý Museum, K6801. Wall fragment. fragments of an amphora? Para 7.9ter. Gorgon Painter. Manner of the KX Painter [Kreuzer]. 580-570. Kreu- Early sixth century. Brann, 1959: pl. 44. 4. zer, 1998a: pl. 4. 9. Sphinx. Zone of rays. Hymettos 841: Excavation, H163. Wall fragments Samos 854: Vathý Museum, K6802. Wall fragment. [amphora or olpe]. Dedicatory inscription: Ἀνδρογ[---] Sophilos [Kreuzer]. 570. Kreuzer, 1998a: pl. 4. 10. ho ∆[..] τοὶ ∆ι τ’ ἄναχτι hις ἔδρασεν. Near the Nes- Lion. sos Painter. By the same hand: Eleusis 1476, Athenian Sardeis 855: Manisa, Archaeological Museum. Wall Agora 3 [author]. 600. Young, 1940: fig. 9. fragment. Manner of Sophilos [Ramage]. 570-550. Lion. Ramage, 1997: pl. 24. 1. Vári 842: Athens, National Museum. Wall fragment. Animal friezes. Animal, bird, panther. Nessos Painter? [Callipolitis-Feytmans]. Last quarter Naukratis 856: Oxford, Ashmolean Museum, G128.3. of the seventh century. Callipolitis-Feytmans, 1985: Wall fragment. ABV 27.7. Maybe by the KX Painter. fig. 17. 580-570. CVA Oxford, Ashmolean Museum 2: pl. 1. Lion. 11. Aigina 843: Aigina Museum. Neck fragment of an Panther, siren. amphora? Compare to the Painter of the Vári lou- Naukratis 857: Cambridge, Fitzwilliam Museum, NA terion 16387 and the plate Athens, National Museum, 200. Wall fragment. 600. Venit, 1982: pl. LXXXIV. Akropolis Collection, 1.519 [author]. 590. Kraiker, Siren or sphinx. 1951: pl. 43. 564. Naukratis 858: London, British Museum, 86.4-1.1197. Goat? lion. Wall fragment. 580-570. Venit, 1982: pl. LXXXV. Pitane 844: Excavation. Wall fragment. Painter of Male protome. Berlin 1659. 580. Tuna-Nörling, 1995: pl. 35. 78. Naukratis 859: Heidelberg, Ruprecht-Karls Universi- Animal frieze. Feline, siren. tät, J70. Wall fragment. First quarter of the sixth cen- Pitane 845: Excavation, 56. Wall fragment of an tury. CVA Heidelberg, Universität 4: pl. 165. 8. amphora? First quarter of the sixth century. Tuna- Feline. Nörling, 1995: pl. 35. 79. Berezan 860: Unknown collection, B217. Part of body. Deer. Manner of the Gorgon Painter [author]. Early sixth Phokaia 846: Excavation, 62. Wall fragment. Late first century. Fig. 59. quarter of the sixth century. Tuna-Nörling, 2002a: Lion. fig. 76. Berezan 861: Excavation, B216. Wall fragment. Man- Siren. ner of the Gorgon Painter [author]. Early sixth cen- Smyrna 847: Izmir, Archaeological Museum. Wall tury. Skudnova, 1957: fig. 2. fragment (amphora or hydria). Para 9. Manner of the Ram? Gorgon Painter [Boardman]. 590-580. Boardman, Cerveteri 862: Leipzig, Kunstgewerbemuseum. Wall 1958-1959: pl. 33. 2. fragment. ABV 5.3. Para 2.5. Add2 2. Nessos Painter Lions. [Rumpf]. Late seventh century. Beazley, 1951: pl. 2. 1. Smyrna 848: Izmir, Archaeological Museum. Wall Running Gorgon. fragments. Para 9. Manner of the Gorgon Painter. Cortona 863: Cortona, Biblioteca Comunale. Neck Early sixth century. BAPD 350319. fragments. Near the Gorgon Painter [Paribeni]. 580. Lions. Grassi, 1992: 147, figs. 2a-2b. Samos 849: Vathý Museum, K6799. Fragment. Man- Siren. Feline. ner of the Gorgon Painter [Kreuzer]. Early sixth cen- Gravisca 864: Excavation, 2025. Neck-fragment. Man- tury. Kreuzer, 1998a: pl. 1. 3. ner of the Gorgon Painter [Boitani]. 580-570. Iaco- Siren. bazzi, 2004: fig. 2. Samos 850: Vathý Museum, K6870. Fragment of Lion. amphora lid. Manner of the Gorgon Painter [Kreuzer]. Massalia 865: Excavation. Wall fragment. First quar- 580. Kreuzer, 1998a: pl. 30. 144. ter of the sixth century. Villard, 1992: pl. 5. 2. Sphinx, lion or panther. Lion. Samos 851: Vathý Museum, K1423. Number of frag- Spain 866: Unknown collection. Wall fragments. ments. KX Painter [Kreuzer]. 580. Kreuzer, 1998a: Huelva. Circle of the Gorgon Painter. 580. Domínquez pl. 1. 4. & Sánchez, 2001: 10. Cabrera, 1988-1989: fig. 10. 172- Animal friezes. Boar, panthers, sirens. 173. catalogue of the attic early black-figured vases 153

Provenance Unknown 867: New Jersey, private. Neck Smyrna 878: Izmir Museum. Wall fragment [amphora (amphora or loutrophoros). Para 14.2quater. Add2 7. or hydria]. Gorgon Painter or in his manner [Board- Group of the Dresden Lekanis. First quarter of the man]. 590-580. Boardman, 1958-1959: pl. 33. 2. sixth century. BAPD 350067. Lions. Judgement of Paris. Lion, wing. Samos 879: Vathý Museum, K1210. Wall fragments. KX Painter [Kreuzer]. 580. Kreuzer, 1998a: pls. 15-16. Hydria Animal friezes. Gooses, sirens, sphinxes, lions, lotus palmette ornaments. Athenian Agora 868: Athens, Agora Museum, Samos 880: Vathý Museum, K6834. Wall fragments. P 26776. Wall fragments. Late first quarter of the sixth 590-580. Kreuzer, 1998a: pl. 16. 71. century. Moore & Philippides, 1986: pl. 59. 618. Siren. Sphinx or siren. Naukratis 881: Cambridge, Fitzwilliam Museum, NA Athenian Agora 869: Athens, Agora Museum, 201. Wall fragment and handle. First quarter of the P 20707. Rim and neck fragment. Late first quarter of sixth century. Venit, 1982: pl. CXXXI. the sixth century. Moore & Philippides, 1986: no. 619. Lions. Swan. Provenance Unknown 882: Maidstone, Museum and Kerameikos 870: Athens, Kerameikos Museum, 8405. Art Gallery. Wall fragment. Sophilos [Bakır]. Bakır, KX Painter [Kreuzer]. 580. Kreuzer, 1997: fig. 6. Fig. 1981: pl. 64. A38. 23. Panther, lion. Herakles fighting Nereus. Animal friezes. Sirens, boar, panther, deers, lion. Vári 871: Athens, National Museum 19191. Manner Loutrophoros of Sophilos [Bakır]. 570. Bakır, 1981: pls. 72-75. Animal friezes. Lotus palmette, lions, sphinxes. Akropolis 883: Athens, National Museum, Akropolis Hermes between sirens and panthers. Flying eagles. Collection, 1.550. First quarter of the sixth century. Birds, swans. Graef & Langlotz, 1925: pl. 20. 550. Vári 872: Athens, National Museum, 19185. Manner Processions of women. of Sophilos [author]. 580-570. Unpublished. Akropolis 884: Athens, National Museum, Akropolis On shoulder, lotus-palmette. On body, judgement Collection, 1.544. First quarter of the sixth century. of Paris flanked by siren and lion. Below, sirens, Graef & Langlotz, 1925: pl. 18. 530. boar. Sphinx, panther. Vári 873: Athens, National Museum, 18913. Manner Akropolis 885: Athens, National Museum, Akropolis of Sophilos (?). 570. Unpublished. Collection, 1.543. Shoulder fragment. First quarter of Vári 874: Athens, National Museum, 19033. Lotus the sixth century. DAI Photo Archive, no. 100. Painter [Callipolitis-Feytmans]. Late first quarter of Animal friezes. the sixth century. Callipolitis-Feytmans, 1974: 207, e. Akropolis 886: Athens, National Museum, Akropolis Neck: Water birds. Body: Animal friezes. Lotus pal- Collection, 1.545. Wall fragment. First quarter of the mette flanked by two lions, siren flanked by two li- sixth century. DAI Photo Archive, no. 100. ons, water birds. Bird, deers. Vári 875: Athens, National Museum, 19193. Lotus Akropolis 887: Athens, National Museum, Akropolis Painter [Callipolitis-Feytmans]. Late first quarter of Collection, 1.548. Neck fragment. First quarter of the the sixth century. Unpublished. Callipolitis-Feytmans, sixth century. DAI Photo Archive, no. 264 1974: 207, f. Sphinx. Neck: Water birds. Body: Animal friezes. Lion Sanctuary of the Nymphe 888: Athens, Fetiche Tjami, flanked by two lions and birds, lotus palmette 1957-Aα 2686. LH. Shoulder and wall fragment. 630- flanked by sirens. 620. Papadopoulou-Kanellopoulou, 1997: pl. 1. 1. Vári 876: Athens, National Museum. Lotus Painter Part of two animal friezes. Lion, boar, sirens. [Callipolitis-Feytmans]. Late first quarter of the sixth Sanctuary of the Nymphe 889: Athens, Fetiche Tjami, century. Unpublished. Callipolitis-Feytmans, 1974: 1957-Aα 296. LH. Wall fragments. 630-620. Papado- 207, g. poulou-Kanellopoulou, 1997: pl. 1. 2. Neck: Birds. Animal friezes. Sphinxes, feline. Korinthos 877: Korinthos Museum, C-59-1. Frag- Sanctuary of the Nymphe 890: Athens, Fetiche Tjami, ments. KX Painter [Brownlee]. 585-580. Brownlee, 1957-Aα 2666. Base. Nessos Painter [Papadopoulou- 1987: pl. 12. 2. Kanellopoulou]. 610. Papadopoulou-Kanellopoulou, Animal frieze. Feline, goat. 1997: pl. 1. 3. Two confronted dragons. 154 appendix i

Sanctuary of the Nymphe 891: Athens, Fetiche Tjami, Sanctuary of the Nymphe 902: Athens, Fetiche Tjami, 1957-Aα 167. LH. Body. Nessos Painter [Papadopou- 1957-Aα 214. LH. Neck and part of the shoulder. Late lou-Kanellopoulou]. 610. Papadopoulou-Kanellopou- seventh century. Papadopoulou-Kanellopoulou, 1997: lou, 1997: pl. 1. 4. no. 15. Three animal friezes. Sphinxes, lions, sirens. Procession of women, holding branches. Shoulder: Sanctuary of the Nymphe 892: Athens, Fetiche Tjami, Panther, lion. 1957-Aα 192. LH. Neck, rim and handle. Nessos Sanctuary of the Nymphe 903: Athens, Fetiche Tjami, Painter [Kyrkou]. Probably the fragment: Para 2.7. 1957-Aα 200. LH. Neck and part of the shoulder. Late 610. Kyrkou 1997, fig. 13. seventh century. Papadopoulou-Kanellopoulou, 1997: Procession of women, holding branches. Lion, boar. no. 16. Sanctuary of the Nymphe 893: Athens, Fetiche Tjami, Procession of women. 1959-NAK 903. Wall fragment. Nessos Painter [Papa- Sanctuary of the Nymphe 904: Athens, Fetiche Tjami, dopoulou-Kanellopoulou]. 620-610. Papadopoulou- 1957-Aα 234. Neck fragment. Late seventh century. Kanellopoulou, 1997: pl. 2. 6. Papadopoulou-Kanellopoulou, 1997: no. 17. Animal frieze. Water bird, feline. Procession of women, holding branches. Sanctuary of the Nymphe 894: Athens, Fetiche Tjami, Sanctuary of the Nymphe 905: Athens, Fetiche Tjami, 1957-Aα 2952, 1959-NAK 395. Two neck fragments. 1957-Aα 449. Neck fragment. Late seventh century. Nessos Painter [Papadopoulou-Kanellopoulou]. 610. Papadopoulou-Kanellopoulou, 1997: no. 18. Papadopoulou-Kanellopoulou, 1997: pl. 2. 7. Procession of women. Animal frieze. Swans. Sanctuary of the Nymphe 906: Athens, Fetiche Tjami, Sanctuary of the Nymphe 895: Athens, Fetiche Tjami, 1957-Aα 198. LH. Neck and body. Late seventh cen- 1957-Aα 2958. Wall fragment. Nessos Painter [Papa- tury. Papadopoulou-Kanellopoulou, 1997: pl. 3. 19. dopoulou-Kanellopoulou]. 610. Papadopoulou-Kanel- Neck: Procession of women. Body: Animal friezes. lopoulou, 1997: pl. 2. 8. Lions, swans, goats. Handle: Rosettes. Part of the floral ornament. Sanctuary of the Nymphe 907: Athens, Fetiche Tjami, Sanctuary of the Nymphe 896: Athens, Fetiche Tjami, 1957-Aα 286. LH. Body. Late seventh century. Papa- 1957-Aα 2968. Neck fragment. Nessos Painter [Papa- dopoulou-Kanellopoulou, 1997: pl. 4. 20. dopoulou-Kanellopoulou]. 600. Papadopoulou-Kanel- Animal friezes. Floral ornament. Birds, lion siren, lopoulou, 1997: pl. 2. 9. panthers. Procession of women. Below, sphinxes. Sanctuary of the Nymphe 908: Athens, Fetiche Tjami, Sanctuary of the Nymphe 897: Athens, Fetiche Tjami, 1957-Aα 4. LH. Late seventh century. Papadopoulou- 1957-Aα 2671. Rim and neck fragments. Near the Nes- Kanellopoulou, 1997: no. 21. sos Painter [Papadopoulou-Kanellopoulou]. 620. Rim: Rosettes. Neck: Procession of women, hold- Papadopoulou-Kanellopoulou, 1997: fig. 1. ing branches. Body: Two animal friezes. Birds, Procession of women, holding branches. cocks, sirens, animals. Sanctuary of the Nymphe 898: Athens, Fetiche Tjami, Sanctuary of the Nymphe 909: Athens, Fetiche Tjami, 1957-Aα 3135. Rim and neck fragments. Near the Nes- 1957-Aα 278. LH. Body. Late seventh century. Papa- sos Painter [Papadopoulou-Kanellopoulou]. End of dopoulou-Kanellopoulou, 1997: pl. 4. 22. the seventh century. Papadopoulou-Kanellopoulou, Animal friezes. Bird, sirens, lion. 1997: pl. 2. 11. Sanctuary of the Nymphe 910: Athens, Fetiche Tjami, Procession of women. Animal friezes. Bird. 1957-Aα 453 I-III. Neck and rim fragments. Late Sanctuary of the Nymphe 899: Athens, Fetiche Tjami, seventh century. Papadopoulou-Kanellopoulou, 1997: 1957-Aα 218. Part of the body of LH. Near the Nessos no. 23. Painter [Papadopoulou-Kanellopoulou]. 600. Papado- Procession of women. poulou-Kanellopoulou, 1997: pl. 3. 12. Sanctuary of the Nymphe 911: Athens, Fetiche Tjami, Animal frieze. Siren, bird. 1957-Aα 19; Boston Museum of Fine Arts, 79. LH. Sanctuary of the Nymphe 900: Athens, Fetiche Tjami, Body, part of the neck and handles. Last quarter of 1957-Aα 336. Wall fragments of LH. Near the Nessos the seventh century. Papadopoulou-Kanellopoulou, Painter [Papadopoulou-Kanellopoulou]. 600. Papado- 1997: pl. 4. 24; 2002-2005: 207, fig. 3. poulou-Kanellopoulou, 1997: pl. 3. 13. Neck: Procession of women. Body: Animal friezes. Animal friezes. Sirens, swans. Siren, lions, panthers, swan. Sanctuary of the Nymphe 901: Athens, Fetiche Tjami, Sanctuary of the Nymphe 912: Athens, Fetiche Tjami, 1957-Aα 440 I, 2959, II. Wall fragment. Near the 1957-Aα 414α I-III. Wall fragment. Last quarter of Nessos Painter [Papadopoulou-Kanellopoulou]. 600. the seventh century. Papadopoulou-Kanellopoulou, Papadopoulou-Kanellopoulou, 1997: pl. 3. 14. 1997: pl. 4. 25. Animal friezes. Deer, felines, sirens. Animal friezes. Lions, panther, boars. catalogue of the attic early black-figured vases 155

Sanctuary of the Nymphe 913: Athens, Fetiche Tjami, Sanctuary of the Nymphe 925: Athens, Fetiche Tjami, 1957-Aα 3010. Neck fragment. Last quarter of the sev- 1957-Aα 439. LH. Shoulder fragment. Early sixth cen- enth century. Papadopoulou-Kanellopoulou, 1997: tury. Papadopoulou-Kanellopoulou, 1997: pl. 6. 36. pl. 5. 26. Animal frieze. Lions. Animal friezes. Feline, birds. Sanctuary of the Nymphe 926: Athens, Fetiche Tjami, Sanctuary of the Nymphe 914: Athens, Fetiche Tjami, 1957-Aα 413α. LH. Shoulder fragment. Early sixth 1957-Aα 3011. Neck fragment. Late seventh century. century. Papadopoulou-Kanellopoulou, 1997: pl. 6. 37. Papadopoulou-Kanellopoulou, 1997: pl. 5. 27. Animal frieze. Bull, siren. Animal friezes. Birds. Sanctuary of the Nymphe 927: Athens, Fetiche Tjami, Sanctuary of the Nymphe 915: Athens, Fetiche Tjami, 1957-Aα 413β. LH. Wall fragment. Early sixth century. 1957-Aα 21. LH. Body. Late seventh century. Papa- Papadopoulou-Kanellopoulou, 1997: pl. 7. 38. dopoulou-Kanellopoulou, 1997: pl. 5. 31. Animal friezes. Boar, siren, lion, sphinx. Animal friezes. Sphinxes, lions, sirens. Sanctuary of the Nymphe 928: Athens, Fetiche Tjami, Sanctuary of the Nymphe 916: Athens, Fetiche Tjami, 1957-Aα 370 I-II. Wall fragments. Early sixth century. 1957-Aα 8. LH. Body and handles. 610. Papadopoulou- Papadopoulou-Kanellopoulou, 1997: pl. 7. 39. Kanellopoulou, 1997: pl. 6. 32. Animal friezes. Boar, felines, sirens, birds. Animal friezes. Panther, lion, birds, sirens. Sanctuary of the Nymphe 929: Athens, Fetiche Tjami, Sanctuary of the Nymphe 917: Athens, Fetiche Tjami, 1957-Aα 380, Βοston, Museum of Fine Arts, 128. LH. 1959-NAK 1213. Wall fragment. End of seventh cen- Wall fragment. First quarter of the sixth century. tury. Papadopoulou-Kanellopoulou, 1997: pl. 7. 43. Papadopoulou-Kanellopoulou, 1997: pl. 7. 40; 2002- Siren? 2005: 207, fig. 2. Sanctuary of the Nymphe 918: Athens, Fetiche Tjami, Animal friezes. Sphinx or siren, birds. 1957-Aα 2523, II, 1957-Aα 2820. Neck fragments. End Sanctuary of the Nymphe 930: Athens, Fetiche Tjami, of seventh century. Papadopoulou-Kanellopoulou, 1957-Aα 369. LH. Part of the body and handle. First 1997: no. 69; 2002-2005: 208, fig. 4. quarter of the sixth century. Papadopoulou-Kanello- Procession of women, holding branches. poulou, 1997: pl. 7. 41. Sanctuary of the Nymphe 919: Athens, Fetiche Tjami, Animal friezes. Sphinxes, lions. 1957-Aα 199. LH. Body. Early sixth century. Papado- Sanctuary of the Nymphe 931: Athens, Fetiche Tjami, poulou-Kanellopoulou, 1997: pl. 5. 28. 1957-Aα 2524. Handle fragment. First quarter of the Animal friezes. Sphinxes, siren, panthers, lion, deer, sixth century. Papadopoulou-Kanellopoulou, 1997: birds. pl. 7. 42. Sanctuary of the Nymphe 920: Athens, Fetiche Tjami, Rosettes. 1957-Aα 2971. Wall fragment. Early sixth century. Sanctuary of the Nymphe 932: Athens, Fetiche Tjami, Papadopoulou-Kanellopoulou, 1997: pl. 5. 29. 1959-NAK-1214 I-II. LH. Body. Gorgon Painter Animal friezes. Feline or siren, panther, lion. [Papadopoulou-Kanellopoulou]. End of the seventh Sanctuary of the Nymphe 921: Athens, Fetiche Tjami, century. Papadopoulou-Kanellopoulou, 1997: pl. 7. 44. 1957-Aα 445. Wall fragments. Early sixth century. Sirens. Papadopoulou-Kanellopoulou, 1997: pl. 5. 30. Sanctuary of the Nymphe 933: Athens, Fetiche Tjami, Animal friezes. Feline, lions, birds. 1957-Aα 2944. LH. Shoulder and handle fragment. Sanctuary of the Nymphe 922: Athens, Fetiche Tjami, Gorgon Painter [Papadopoulou-Kanellopoulou]. 600. 1957-Aα 483. LH. Shoulder and handle fragment. First Papadopoulou-Kanellopoulou, 1997: pl. 8. 45. quarter of the sixth century. Papadopoulou-Kanello- Sphinx. Handle: Linear pattern. poulou, 1997: pl. 6. 33. Sanctuary of the Nymphe 934: Athens, Fetiche Tjami, Animal frieze. Lions. 1957-Aα 153 I-II. LA? Wall fragments. Gorgon Painter Sanctuary of the Nymphe 923: Athens, Fetiche Tjami, [Papadopoulou-Kanellopoulou]. End of the seventh 1957-Aα 259 I-III. LH. Lower part of the body. Early century. Papadopoulou-Kanellopoulou, 1997: pl. 8. 46. sixth century. Papadopoulou-Kanellopoulou, 1997: Neck: Procession of women. Below bird. Shoulder: pl. 6. 34. Lotus palmette chain. Lion, boar, birds. Below, Animal friezes. Siren, lions, bird. birds. Sanctuary of the Nymphe 924: Athens, Fetiche Tjami, Sanctuary of the Nymphe 935: Athens, Fetiche Tjami, 1957-Aα 138. LH. Body. Early sixth century. Papado- 1957-Aα 63. LH. Body. Gorgon Painter [Papadopou- poulou-Kanellopoulou, 1997: pl. 6. 35. lou-Kanellopoulou]. 600. Papadopoulou-Kanellopou- Animal friezes. Sphinxes, panthers, birds. lou, 1997: pl. 8. 47. Animal friezes. Above, feline, birds, swan. 156 appendix i

Sanctuary of the Nymphe 936: Athens, Fetiche Tjami, Sanctuary of the Nymphe 947: Athens, Fetiche Tjami, 1957-Aα 2272. Wall fragment. Gorgon Painter [Papa- 1957-Aα 2270. Wall fragment. Gorgon Painter [Papa- dopoulou-Kanellopoulou]. End of the seventh century. dopoulou-Kanellopoulou]. 590. Papadopoulou-Kanel- Papadopoulou-Kanellopoulou, 1997: pl. 8. 48. lopoulou, 1997: pl. 10. 59. Animal friezes. Floral, sirens. Animal friezes. Feline, siren, birds. Sanctuary of the Nymphe 937: Athens, Fetiche Tjami, Sanctuary of the Nymphe 948: Athens, Fetiche Tjami, 1957-Aα 2271. Wall fragment. Gorgon Painter [Papa- 1957-Aα 2295. Wall fragment. Gorgon Painter [Papa- dopoulou-Kanellopoulou]. 600. Papadopoulou-Kanel- dopoulou-Kanellopoulou]. 590. Papadopoulou-Kanel- lopoulou, 1997: pl. 8. 49. lopoulou, 1997: pl. 11. 60. Animal friezes. Siren, lions, bird. Animal friezes. Goat, lion sirens, birds. Sanctuary of the Nymphe 938: Athens, Fetiche Tjami, Sanctuary of the Nymphe 949: Athens, Fetiche Tjami, 1957-Aα 377. Rim and neck fragment. Gorgon Painter 1957-Aα 77. LH. Body and handles. Gorgon Painter [Papadopoulou-Kanellopoulou]. End of the seventh [Papadopoulou-Kanellopoulou]. 590. Papadopoulou- century. Papadopoulou-Kanellopoulou, 1997: no. 50. Kanellopoulou, 1997: pl. 11. 61. Procession of women, holding branches. Animal friezes. Bull, panthers, lions. Sanctuary of the Nymphe 939: Athens, Fetiche Tjami, Sanctuary of the Nymphe 950: Athens, Fetiche Tjami, 1957-Aα 332. LH. Body and handle fragment. Gorgon 1957-Aα 272. LH. Body and handle. Gorgon Painter Painter [Papadopoulou-Kanellopoulou]. 600-590. [Papadopoulou-Kanellopoulou]. 590. Papadopoulou- Papadopoulou-Kanellopoulou, 1997: pl. 9. 51. Kanellopoulou, 1997: pl. 11. 62. Animal friezes. Felines, sphinxes, panther. Animal friezes. Lions, sirens. Sanctuary of the Nymphe 940: Athens, Fetiche Tjami, Sanctuary of the Nymphe 951: Athens, Fetiche Tjami, 1957-Aα 148. LH. Part of the body. Gorgon Painter 1959-NAK 662. Wall fragment. Gorgon Painter [Papa- [Papadopoulou-Kanellopoulou]. 600-590. Papadopou- dopoulou-Kanellopoulou]. 600-590. Papadopoulou- lou-Kanellopoulou, 1997: pl. 9. 52. Kanellopoulou, 1997: pl. 11. 63. Animal friezes. Lions, sirens, floral, birds. Animal friezes. Feline, sirens or sphinxes. Sanctuary of the Nymphe 941: Athens, Fetiche Tjami, Sanctuary of the Nymphe 952: Athens, Fetiche Tjami, 1957-Aα 159, 1957, Aα 2303γ. LH. Part of the body. 1957-Aα 2528. Part of the neck. Gorgon Painter [Papa- Gorgon Painter [Papadopoulou-Kanellopoulou]. 600- dopoulou-Kanellopoulou]. Early sixth century. Papa- 590. Papadopoulou-Kanellopoulou, 1997: pl. 9. 53. dopoulou-Kanellopoulou, 1997: pl. 11. 64. Animal friezes. Felines, panthers, lions, goats, si- Procession of women. rens. Sanctuary of the Nymphe 953: Athens, Fetiche Tjami, Sanctuary of the Nymphe 942: Athens, Fetiche Tjami, 1957-Aα 2917, II 1959-NAKM 1221. Part of the neck. 1957-Aα 2303 α-β. LH. Neck. Gorgon Painter [Papado- Gorgon Painter [Papadopoulou-Kanellopoulou]. Early poulou-Kanellopoulou]. 600-590. Papadopoulou- sixth century. Papadopoulou-Kanellopoulou, 1997: Kanellopoulou, 1997: pl. 9. 54. pl. 12. 65. Procession of women. Birds. Procession of women. Sanctuary of the Nymphe 943: Athens, Fetiche Tjami, Sanctuary of the Nymphe 954: Athens, Fetiche Tjami, 1957-Aα 2274. Handle and wall fragment. Gorgon 1957-Aα 389. LH. Part of the neck. Gorgon Painter Painter [Papadopoulou-Kanellopoulou]. 600-590. [Papadopoulou-Kanellopoulou]. Early sixth century. Papadopoulou-Kanellopoulou, 1997: pl. 10. 55. Handle: linear pattern. Body: lion. Papadopoulou-Kanellopoulou, 1997: no. 66. Sanctuary of the Nymphe 944: Athens, Fetiche Tjami, Procession of women. 1957-Aα 2916, Boston, Museum of Fine Arts, 22. Neck Sanctuary of the Nymphe 955: Athens, Fetiche Tjami, fragment. Gorgon Painter. End of the seventh century. 1957-Aα 2645. LH. Neck and part of the shoulder. Papadopoulou-Kanellopoulou, 1997: pl. 10. 56; 2002- Gorgon Painter [Papadopoulou-Kanellopoulou]. 590. 2005: 208, fig. 3. Papadopoulou-Kanellopoulou, 1997: pl. 12. 67. Procession of women. Birds. Procession of women. Shoulder: Siren. Sanctuary of the Nymphe 945: Athens, Fetiche Tjami, Sanctuary of the Nymphe 956: Athens, Fetiche Tjami, 1957-Aα 68. LH. Part of the body. Gorgon Painter 1957-Aα 3012. LH. Neck fragment. Gorgon Painter [Papadopoulou-Kanellopoulou]. 600-590. Papadopou- [Papadopoulou-Kanellopoulou]. 590. Papadopoulou- lou-Kanellopoulou, 1997: pl. 10. 57. Kanellopoulou, 1997: pl. 12. 68. Animal friezes. Swan, siren, lions, goats. Procession of women. Sanctuary of the Nymphe 946: Athens, Fetiche Tjami, Sanctuary of the Nymphe 957: Athens, Fetiche Tjami, 1957-Aα 24. LH. Body and handles. Gorgon Painter 1957-Aα 2930. Part of the neck. Gorgon Painter. [Papadopoulou-Kanellopoulou]. 600-590. Papadopou- Deianeira Group [Papadopoulou-Kanellopoulou]. 600. lou-Kanellopoulou, 1997: pl. 10. 58. Papadopoulou-Kanellopoulou, 1997: pl. 12. 70. Animal friezes. Panthers, sirens, lions, birds. Procession of women. Birds. catalogue of the attic early black-figured vases 157

Sanctuary of the Nymphe 958: Athens, Fetiche Tjami, Sanctuary of the Nymphe 969: Athens, Fetiche Tjami, 1957-Aα 2925, 1957-Aα 2928. LH. Part of the neck 1957-Aα 59; Boston Museum of Fine Arts, 76. LH. and shoulder. Gorgon Painter. Deianeira Group [Papa- Body. KX Painter [Papadopoulou-Kanellopoulou]. dopoulou-Kanellopoulou]. 600. Papadopoulou-Kanel- 585. Papadopoulou-Kanellopoulou, 1997: pl. 21. 111; lopoulou, 1997: pl. 13. 71. 2002-2005: 211, fig. 7. Procession of women. Shoulder: Sphinx. Animal friezes. Sphinxes, boar, lions, panthers. Sanctuary of the Nymphe 959: Athens, Fetiche Tjami, Sanctuary of the Nymphe 970: Athens, Fetiche Tjami, 1957-Aα 2929. Wall fragment. Gorgon Painter. Deia- 1957-Aα 2924. Neck fragment. KX Painter [Papado- neira Group. 600. Papadopoulou-Kanellopoulou, 1997: poulou-Kanellopoulou]. 585. Papadopoulou-Kanello- pl. 13. 72. poulou, 1997: pl. 22. 112. Panther. Procession of women. Sanctuary of the Nymphe 960: Athens, Fetiche Tjami, Sanctuary of the Nymphe 971: Athens, Fetiche Tjami, 1957-Aα 2674, II. 1957-Aα 2945. LH. Neck and shoul- 1957-Aα 2912 and 2974. Neck fragment. KX Painter der fragment. Gorgon Painter. Deianeira Group. 600. [Papadopoulou-Kanellopoulou]. 585. Papadopoulou- Papadopoulou-Kanellopoulou, 1997: pl. 13. 73. Kanellopoulou, 1997: pl. 22. 113. Procession of women. Shoulder: Floral ornament. Sanctuary of the Nymphe 961: Athens, Fetiche Tjami, Procession of women. Lotus palmette chain. 1957-Aα 2947. Neck fragment. Gorgon Painter. Sanctuary of the Nymphe 972: Athens, Fetiche Tjami, Deianeira Group [Papadopoulou-Kanellopoulou]. 600. 1957-Aα 2305. Shoulder fragment. KX Painter [Papa- Papadopoulou-Kanellopoulou, 1997: pl. 13. 74. dopoulou-Kanellopoulou]. 585. Papadopoulou-Kanel- Procession of women. lopoulou, 1997: pl. 22. 114. Sanctuary of the Nymphe 962: Athens, Fetiche Tjami, Lions. 1957-Aα 2926. Neck fragment. Gorgon Painter. Sanctuary of the Nymphe 973: Athens, Fetiche Tjami, Deianeira Group [Papadopoulou-Kanellopoulou]. 600. 1957-Aα 2641. LH. Neck fragment. KX Painter [Papa- Papadopoulou-Kanellopoulou, 1997: pl. 13. 75. dopoulou-Kanellopoulou]. 585. Papadopoulou-Kanel- Procession of women. lopoulou, 1997: pl. 22. 115. Sanctuary of the Nymphe 963: Athens, Fetiche Tjami, Lotus palmette chain. Procession of women. 1957-Aα 42. LH. Body. KX Painter [Papadopoulou- Sanctuary of the Nymphe 974: Athens, Fetiche Tjami, Kanellopoulou]. 585. Papadopoulou-Kanellopoulou, 1957- I. Aα 2297, 2300β, II and 1957 Aα 2300α. Shoul- 1997: pl. 20. 105. der and wall fragments. KX Painter [Papadopoulou- Animal friezes. Sirens, birds, lions, panthers. Kanellopoulou]. 585-580. Papadopoulou-Kanellopou- Sanctuary of the Nymphe 964: Athens, Fetiche Tjami, lou, 1997: pl. 22. 116. 1957-Aα 2661. Neck. KX Painter [Papadopoulou- Animal friezes. Feline, panther, sirens, goats. Kanellopoulou]. 585. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 975: Athens, Fetiche Tjami, 1997: pl. 20. 106. 1959 NAK278, II. 1959-NAK 406. Wall fragments. KX Procession of women. Painter [Papadopoulou-Kanellopoulou]. 585. Papado- Sanctuary of the Nymphe 965: Athens, Fetiche Tjami, poulou-Kanellopoulou, 1997: pl. 23. 117. 1957-Aα 61. LH. Body. KX Painter [Papadopoulou- Animal friezes. Felines, goat, panther. Kanellopoulou]. 580. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 976: Athens, Fetiche Tjami, 1997: pl. 21. 107. 1957-Aα 420, 1957-Aα 2677α, 1957-Aα 2677β-γ. Wall Animal friezes. Siren, boar, lions, panthers, birds, fragments. KX Painter [Papadopoulou-Kanellopou- feline. lou]. 585. Papadopoulou-Kanellopoulou, 1997: pl. 23. Sanctuary of the Nymphe 966: Athens, Fetiche Tjami, 118. 1957-Aα 1218. Neck fragment. KX Painter [Papado- poulou-Kanellopoulou]. 585. Papadopoulou-Kanello- Animal friezes. Deer, panthers, felines, boar. poulou, 1997: pl. 21. 108. Sanctuary of the Nymphe 977: Athens, Fetiche Tjami, Woman. 1957-Aα 452. Wall fragment. KX Painter [Papado- Sanctuary of the Nymphe 967: Athens, Fetiche Tjami, poulou-Kanellopoulou]. 580. Papadopoulou-Kanello- 1957-Aα 147. LH. Part of the body. KX Painter [Papa- poulou, 1997: pl. 23. 119. dopoulou-Kanellopoulou]. 585. Papadopoulou-Kanel- Animal friezes. Lion, panther, boar. lopoulou, 1997: pl. 21. 109. Sanctuary of the Nymphe 978: Athens, Fetiche Tjami, Animal friezes. Sphinxes, deer, panthers. 1957-Aα 2695. Wall fragment. KX Painter [Papado- Sanctuary of the Nymphe 968: Athens, Fetiche Tjami, poulou-Kanellopoulou]. 585. Papadopoulou-Kanello- 1957-Aα 2965. Rim and neck fragment. KX Painter poulou, 1997: pl. 23. 120. [Papadopoulou-Kanellopoulou]. 585. Papadopoulou- Lion. Kanellopoulou, 1997: pl. 21. 110. Sanctuary of the Nymphe 979: Athens, Fetiche Tjami, Lotus palmette floral. 1957-Aα 2976. Neck fragment. KX Painter [Papado- 158 appendix i poulou-Kanellopoulou]. 580. Papadopoulou-Kanello- Two confronted female figures between small si- poulou, 1997: pl. 24. 121. ren and sphinx. Below, part of floral ornament. Procession of women. Sanctuary of the Nymphe 990: Athens, Fetiche Tjami, Sanctuary of the Nymphe 980: Athens, Fetiche Tjami, 1957-Aα 2980+2639. LA. Part of the neck. Komast 1957-Aα 2975. Neck fragment. KX Painter [Papado- Group [Tiverios]. 580-575. Papadopoulou-Kanello- poulou-Kanellopoulou]. 580-575. Papadopoulou- poulou, 1997: pl. 27. 133. Kanellopoulou, 1997: pl. 24. 122. Above, lotus palmette cross between two confront- Procession of women. ed men. Below, two confronted men with spears, Sanctuary of the Nymphe 981: Athens, Fetiche Tjami, followed by two others. I. 1959-NAK 885 and 1957-Aα 2961, II. 1957-Aα 3009. Sanctuary of the Nymphe 991: Athens, Fetiche Tjami, Wall fragments. KX Painter [Papadopoulou-Kanello- 1957-Aα 444 I-II. Wall fragment. Komast Group poulou]. 575. Papadopoulou-Kanellopoulou, 1997: [Papadopoulou-Kanellopoulou]. 575-570. Papadopou- pl. 24. 123. lou-Kanellopoulou, 1997: pl. 27. 135. Animal friezes. Sphinx, boar, panther, goat. Han- Animal friezes. Sirens, feline, birds. dle: Rosettes. Sanctuary of the Nymphe 992: Athens, Fetiche Tjami, Sanctuary of the Nymphe 982: Athens, Fetiche Tjami, 1957-Aα 430. Wall fragment. Near the Komast Group 1957-Aα 419 and 2299. Wall fragment. KX Painter [Papadopoulou-Kanellopoulou]. 575-570. Papadopou- [Papadopoulou-Kanellopoulou]. 575-570. Papadopou- lou-Kanellopoulou, 1997: pl. 27. 136. lou-Kanellopoulou, 1997: pl. 24. 124. Animal friezes. Birds. Animal friezes. Goats, deers, panthers, boar. Sanctuary of the Nymphe 993: Athens, Fetiche Tjami, Sanctuary of the Nymphe 983: Athens, Fetiche Tjami, 1957-Aα 379. Foot. Near the Komast Group [Papa- 1957-Aα 2294α. Wall fragment. KX Painter [Papado- dopoulou-Kanellopoulou]. 575. Papadopoulou-Kanel- poulou-Kanellopoulou]. 575-570. Papadopoulou- lopoulou, 1997: pl. 27. 137. Kanellopoulou, 1997: pl. 25. 125. Boar, lions. Animal friezes. Felines, deer, panther. Sanctuary of the Nymphe 994: Athens, Fetiche Tjami, Sanctuary of the Nymphe 984: Athens, Fetiche Tjami, 1957-Aα 2588. Shoulder and wall fragment. Near the 1957-Aα 2977α, 1957-Aα 2977β. LH. Neck fragment. Komast Group [Papadopoulou-Kanellopoulou]. 575. KX Painter [Papadopoulou-Kanellopoulou]. 575-570. Papadopoulou-Kanellopoulou, 1997: pl. 27. 138. Papadopoulou-Kanellopoulou, 1997: pl. 25. 126. Animal friezes. Feline, siren. Procession of women. Below birds. Sanctuary of the Nymphe 995: Athens, Fetiche Tjami, Sanctuary of the Nymphe 985: Athens, Fetiche Tjami, 1957-Aα 2973. Neck fragment. Near the KX Painter I. 1957-Aα 2977δ, II.1957-Aα 2977ε. Rim and handle [Papadopoulou-Kanellopoulou]. 580. Papadopoulou- fragment. KX Painter [Papadopoulou-Kanellopoulou]. Kanellopoulou, 1997: pl. 27. 139. 575-570. Papadopoulou-Kanellopoulou, 1997: pl. 25. Two female figures. Below, boar. 127. Sanctuary of the Nymphe 996: Athens, Fetiche Tjami, Top of rim: Rosettes. Rim: Linear pattern. 1957-Aα 3134 I, II. Neck fragment. Near the KX Sanctuary of the Nymphe 986: Athens, Fetiche Tjami, Painter [Papadopoulou-Kanellopoulou]. 575. Papado- 1957-Aα 2978. Rim and neck fragment. KX Painter poulou-Kanellopoulou, 1997: pl. 28. 140. [Papadopoulou-Kanellopoulou]. 575-570. Papadopou- Procession of women. lou-Kanellopoulou, 1997: pl. 25. 128. Sanctuary of the Nymphe 997: Athens, Fetiche Tjami, Rim: Rosettes, linear pattern. Below, lotus palmette 1957-Aα 2556. Wall fragment. Near the KX Painter floral. [Papadopoulou-Kanellopoulou]. 570. Papadopoulou- Sanctuary of the Nymphe 987: Athens, Fetiche Tjami, Kanellopoulou, 1997: pl. 28. 141. 1957-Aα 49. LH. Very fragmentary. KX Painter [Papa- Male figure, flying eagle. dopoulou-Kanellopoulou]. 570. Papadopoulou-Kanel- Sanctuary of the Nymphe 998: Athens, Fetiche Tjami, lopoulou, 1997: pl. 26. 132. 1957-Aα 181; Boston Museum of Fine Arts, 20 and Neck: Procession of women. Body: Animal friezes. 53. LH. Neck and part of the body. Near the KX Sphinxes, feline, deers, panther. Handle: Rosette. Painter [Papadopoulou-Kanellopoulou]. 575. Papado- Sanctuary of the Nymphe 988: Athens, Fetiche Tjami, poulou-Kanellopoulou, 1997: pl. 28. 142; 2002-2005: 1957-Aα 3007. Shoulder fragment. Near the KX 211, fig. 8. Painter [Papadopoulou-Kanellopoulou]. 575. Papado- Neck: Three pairs of men with sticks. Body: Man poulou-Kanellopoulou, 1997: pl. 26. 129. chased by two dragons coming out of two foun- Lions. tains (Kadmos?). Below, five athletes running. Sanctuary of the Nymphe 989: Athens, Fetiche Tjami, Sanctuary of the Nymphe 999: Athens, Fetiche Tjami, 1957-Aα 2638. Rim and neck fragment. Near the KX 1957-Aα 41. LH. Part of the body. Kerameikos Painter Painter [Papadopoulou-Kanellopoulou]. 575. Papado- [Papadopoulou-Kanellopoulou]. 575. Papadopoulou- poulou-Kanellopoulou, 1997: pl. 27. 134. Kanellopoulou, 1997: pl. 29. 146. catalogue of the attic early black-figured vases 159

Animal friezes. Sphinxes, lions, panthers, boar, [Papadopoulou-Kanellopoulou]. First quarter of the goats, floral, deer, birds. sixth century. Papadopoulou-Kanellopoulou, 1997: Sanctuary of the Nymphe 1000: Athens, Fetiche pl. 32. 164. Tjami, 1957-Aα 2919. LH. Part of the neck. Keramei- Animal friezes. Lions, birds. kos Painter [Papadopoulou-Kanellopoulou]. 580. Sanctuary of the Nymphe 1010: Athens, Fetiche Papadopoulou-Kanellopoulou, 1997: pl. 29. 147. Tjami, 1957-Aα 374. Part of the neck. Korinthian Procession of women. Below, birds. Painter? [Papadopoulou-Kanellopoulou]. 570. Papa- Sanctuary of the Nymphe 1001: Athens, Fetiche dopoulou-Kanellopoulou, 1997: pl. 32. 165. Tjami, 1957-Aα 2733. Neck fragment. Korinthian Procession of women. Painter? [Papadopoulou-Kanellopoulou]. 590. Papa- Sanctuary of the Nymphe 1011: Athens, Fetiche dopoulou-Kanellopoulou, 1997: pl. 31. 154. Tjami, 1957-Aα 71. LH. Body. Korinthian Painter? Horse. [Papadopoulou-Kanellopoulou]. 575. Papadopoulou- Sanctuary of the Nymphe 1002: Athens, Fetiche Kanellopoulou, 1997: pl. 33. 166. Fig. 38. Tjami, 1957-Aα 2629. Wall fragment. Korinthian Animal friezes. Panthers, bull, dragon. Bellerophon Painter? [Papadopoulou-Kanellopoulou]. First quarter on the Pegasos attacking Khimaira. of the sixth century. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 1012: Athens, Fetiche 1997: pl. 31. 155. Tjami, 1957-Aα 352. LH. Part of the neck and the Animal friezes. Felines, floral. shoulder. Korinthian Painter? [Papadopoulou-Kanel- Sanctuary of the Nymphe 1003: Athens, Fetiche lopoulou]. 585. Papadopoulou-Kanellopoulou, 1997: Tjami, 1957-Aα 113. LH. Korinthian Painter? [Papa- pl. 33. 167. dopoulou-Kanellopoulou]. 590-580. Papadopoulou- Procession of women. Kanellopoulou, 1997: no. 156. Sanctuary of the Nymphe 1013: Athens, Fetiche Procession of women, holding braches. Animal Tjami, 1957-Aα 343. LH. Part of the lower body. friezes. Korinthian Painter? [Papadopoulou-Kanellopoulou]. Sanctuary of the Nymphe 1004: Athens, Fetiche Early sixth century. Papadopoulou-Kanellopoulou, Tjami, 1957-Aα 349. Neck and rim fragment. Korin- 1997: pl. 34. 168. thian Painter? [Papadopoulou-Kanellopoulou]. First Women. quarter of the sixth century. Papadopoulou-Kanello- Sanctuary of the Nymphe 1014: Athens, Fetiche poulou, 1997: no. 157. Tjami, 1957-Aα 2954. Part of the lower body. Korin- Procession of women, holding branches. thian Painter? [Papadopoulou-Kanellopoulou]. Early Sanctuary of the Nymphe 1005: Athens, Fetiche sixth century. Papadopoulou-Kanellopoulou, 1997: no. Tjami, 1957-Aα 381. LH. Neck and rim. Korinthian 169. Painter? [Papadopoulou-Kanellopoulou]. First quarter Birds. of the sixth century. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 1015: Athens, Fetiche 1997: no. 159. Tjami, 1957-Aα 23. LH. Part of the body. Sophilos Procession of women. Silens. [Papadopoulou-Kanellopoulou]. 575. Papadopoulou- Sanctuary of the Nymphe 1006: Athens, Fetiche Kanellopoulou, 1997: pl. 33. 170. Tjami, 1957-Aα 2171. Part of the neck. Korinthian Animal friezes. Panthers, lotus palmette cross, si- Painter? [Papadopoulou-Kanellopoulou]. First quarter rens, goats, panthers. of the sixth century. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 1016: Athens, Fetiche 1997: no. 160. Tjami, 1957-Aα 112+2966. LH. Part of the neck and Loutrophoria. body. Sophilos [Papadopoulou-Kanellopoulou]. 575. Sanctuary of the Nymphe 1007: Athens, Fetiche Papadopoulou-Kanellopoulou, 1997: pl. 34. 171. Tjami, 1957-Aα 3142. Neck fragment. Korinthian Animal friezes. Felines, panthers, horse, sirens. Painter? [Papadopoulou-Kanellopoulou]. First quarter Handles: rosettes. of the sixth century. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 1017: Athens, Fetiche 1997: pl. 32. 162. Tjami, 1957-Aα 386. LH. Part of the neck. Sophilos Rim: Rosettes. Neck: Woman. [Papadopoulou-Kanellopoulou]. 575. Papadopoulou- Sanctuary of the Nymphe 1008: Athens, Fetiche Kanellopoulou, 1997: pl. 34. 172. Tjami, 1957-Aα 151. LH. Korinthian Painter? [Papa- Animal friezes. Sirens, panthers, lions, eagles. dopoulou-Kanellopoulou]. 575. Papadopoulou-Kanel- Sanctuary of the Nymphe 1018: Athens, Fetiche lopoulou, 1997: pl. 32. 163. Tjami, 1957-Aα 478; Boston, Museum of Fine Arts, Neck: Lotus palmette cross. Body: Animal frieze. 14. LH. Part of the neck. Sophilos [Papadopoulou- Sphinx, birds. Kanellopoulou]. 575. Papadopoulou-Kanellopoulou, Sanctuary of the Nymphe 1009: Athens, Fetiche 1997: pl. 34. 173; 2002-2005: 212, fig. 9. Tjami, 1957-Aα 139. LH. Body. Korinthian Painter? Animal friezes. Lions, sirens, panthers. 160 appendix i

Sanctuary of the Nymphe 1019: Athens, Fetiche Lekanis [Papadopoulou-Kanellopoulou]. 580-570. Tjami, 1957-Aα 9. LH. Sophilos [Papadopoulou- Papadopoulou-Kanellopoulou, 1997: pl. 37. 190. Kanellopoulou]. 575. Papadopoulou-Kanellopoulou, Procession of women. Animal friezes. 1997: pl. 34. 174. Sanctuary of the Nymphe 1030: Athens, Fetiche Animal friezes. Siren, boar, panthers, birds. Hermes Tjami, 1957-Aα 174. LH. Part of the body. Group of between sirens. the Dresden Lekanis [Papadopoulou-Kanellopoulou]. Sanctuary of the Nymphe 1020: Athens, Fetiche 580-570. Papadopoulou-Kanellopoulou, 1997: pl. 37. Tjami, 1957-Aα 432. Part of the body. Sophilos [Papa- 191. dopoulou-Kanellopoulou]. 575. Papadopoulou-Kanel- Animal friezes. Sirens, female figure, lions, hippalek- lopoulou, 1997: pl. 35. 175. tryon. Man between sirens [Hermes?]. Below, boar, pan- Sanctuary of the Nymphe 1031: Athens, Fetiche thers. Tjami, 1957-Aα 160. LH. Part of the body. Group of Sanctuary of the Nymphe 1021: Athens, Fetiche the Dresden Lekanis [Papadopoulou-Kanellopoulou]. Tjami, 1957-Aα 556. Neck fragments. Sophilos [Papa- 580-570. Papadopoulou-Kanellopoulou, 1997: pl. 37. dopoulou-Kanellopoulou]. 575. Papadopoulou-Kanel- 192. lopoulou, 1997: pl. 35. 176. Animal friezes. Sirens, birds, lions. Animal friezes. Floral chain, lions, sirens. Sanctuary of the Nymphe 1032: Athens, Fetiche Sanctuary of the Nymphe 1022: Athens, Fetiche Tjami, 1957-Aα 40. LH. Part of the body and the foot. Tjami, 1957-Aα 344 I-II; Boston, Museum of Fine Arts, Group of the Dresden Lekanis [Papadopoulou-Kanel- 131. Wall fragments. Sophilos [Papadopoulou-Kanel- lopoulou]. 580-570. Papadopoulou-Kanellopoulou, lopoulou]. 575. Papadopoulou-Kanellopoulou, 1997: 1997: pl. 38. 193. pl. 35. 177; 2002-2005: 213, fig. 10. Animal friezes. Lion, sirens, panthers, goat, horse Sirens, rays. protome. Sanctuary of the Nymphe 1023: Athens, Fetiche Sanctuary of the Nymphe 1033: Athens, Fetiche Tjami, 1957-Aα 2994. Part of the neck and the rim. Tjami, 1957-Aα 325. LH. Part of the body. Group of Near Sophilos [Papadopoulou-Kanellopoulou]. 580. the Dresden Lekanis [Papadopoulou-Kanellopoulou]. Papadopoulou-Kanellopoulou, 1997: pl. 35. 178. 580-570. Papadopoulou-Kanellopoulou, 1997: pl. 38. Panther. Rim: Step pattern. 194. Sanctuary of the Nymphe 1024: Athens, Fetiche Animal friezes. Lions, sirens, sphinx. Tjami, 1957-Aα 3008. Shoulder and wall fragment. Sanctuary of the Nymphe 1034: Athens, Fetiche Near Sophilos [Papadopoulou-Kanellopoulou]. 575. Tjami, 1957-Aα 480; Boston, Museum of Fine Arts, Papadopoulou-Kanellopoulou, 1997: pl. 35. 179. 92. LH. Neck. Group of the Dresden Lekanis [Papa- Panther. dopoulou-Kanellopoulou]. 580-570. Papadopoulou- Sanctuary of the Nymphe 1025: Athens, Fetiche Kanellopoulou, 1997: pl. 38. 195; 2002-2005: 213, fig. Tjami, 1957-Aα 2967. Neck fragment. Near Sophilos 11. [Papadopoulou-Kanellopoulou]. 580. Papadopoulou- Procession of women with branches. Kanellopoulou, 1997: pl. 35. 180. Sanctuary of the Nymphe 1035: Athens, Fetiche Sphinxes. Tjami, 1957-Aα 2649 I-II. Wall fragments. Group of Sanctuary of the Nymphe 1026: Athens, Fetiche the Dresden Lekanis [Papadopoulou-Kanellopoulou]. Tjami, 1957-Aα 410 I, II. Wall fragments. Lotus 575. Papadopoulou-Kanellopoulou, 1997: pl. 40. 206. Painter. 575. Papadopoulou-Kanellopoulou, 1997: Animal friezes. Sirens, swan, birds. pl. 35. 181. Sanctuary of the Nymphe 1036: Athens, Fetiche Felines, sphinxes. Tjami, 1957-Aα 337 I and 1955-Aα2635. LH. Upper Sanctuary of the Nymphe 1027: Athens, Fetiche body. Painter of the Old Women [Papadopoulou- Tjami, 1957-Aα 2948. Wall fragment. Lotus Painter Kanellopoulou]. 580-570. Papadopoulou-Kanellopou- [Papadopoulou-Kanellopoulou]. 575. Papadopoulou- lou, 1997: pl. 38. 196; 2002-2005: 213, fig. 12. Kanellopoulou, 1997: pl. 35. 182. Animal friezes. Sirens, swan. Sirens, birds. Sanctuary of the Nymphe 1037: Athens, Fetiche Sanctuary of the Nymphe 1028: Athens, Fetiche Tjami, 1957-Aα 337 II+Apothetis 1955. Lower part of Tjami, 1957-Aα 482. Lower part of the body. Lotus the body. Painter of the Old Women [Papadopoulou- Painter [Papadopoulou-Kanellopoulou]. 560. Papado- Kanellopoulou]. 580-570. Papadopoulou-Kanellopou- poulou-Kanellopoulou, 1997: pl. 35. 183. lou, 1997: pl. 39. 197. Sphinxes, felines, birds. Siren. Sanctuary of the Nymphe 1029: Athens, Fetiche Sanctuary of the Nymphe 1038: Athens, Fetiche Tjami, 1957-Aα 110. LH. Group of the Dresden Tjami, 1957-Aα 2756. Wall fragment. Painter of the catalogue of the attic early black-figured vases 161

Old Women [Papadopoulou-Kanellopoulou]. 580-570. Sanctuary of the Nymphe 1049: Athens, Fetiche Papadopoulou-Kanellopoulou, 1997: pl. 39. 198. Tjami, 1957-Aα 46. LH. Part of the body. Near the Animal friezes. Sirens, swan. Painter of Eleusis 767 [Papadopoulou-Kanellopoulou]. Sanctuary of the Nymphe 1039: Athens, Fetiche 575-570. Papadopoulou-Kanellopoulou, 1997: pl. 36. Tjami, 1957-Aα 422a-b. Part of the body. Painter of 187. the Old Women [Papadopoulou-Kanellopoulou]. 580- Sphinxes, sirens. 570. Papadopoulou-Kanellopoulou, 1997: pl. 39. 199. Sanctuary of the Nymphe 1050: Athens, Fetiche Animal friezes. Sirens, florals, boar hunt. Tjami, 1957-Aα 2762. Wall fragment. Near the Painter Sanctuary of the Nymphe 1040: Athens, Fetiche of Eleusis 767 [Papadopoulou-Kanellopoulou]. 575- Tjami, 1957-Aα 426. LH. Part of the body. Painter of 570. Papadopoulou-Kanellopoulou, 1997: pl. 36. 188. the Old Women [Papadopoulou-Kanellopoulou]. 580- Sphinxes. 570. Papadopoulou-Kanellopoulou, 1997: pl. 39. 200. Sanctuary of the Nymphe 1051: Athens, Fetiche Animal friezes. Sirens, boar, felines, lions. Tjami, 1957-Aα 429. Part of the lower body. Ragusa Sanctuary of the Nymphe 1041: Athens, Fetiche Group [author]. 580-575. Papadopoulou-Kanellopou- Tjami, 1957-Aα 462, Boston, Museum of Fine Arts, lou, 1997: pl. 31. 158. 1a-b. LH. Neck. Painter of the Old Women [Papado- Animal friezes. Floral, felines, birds, rays. poulou-Kanellopoulou]. 580-570. Papadopoulou- Sanctuary of the Nymphe 1052: Athens, Fetiche Kanellopoulou, 1997: pl. 39. 201; 2002-2005: 214, fig. Tjami, 1957-Aα 2768. Wall fragment. Ragusa Group 13. [author]. First quarter of the sixth century. Papado- Procession of women. Animal frieze. Lions. poulou-Kanellopoulou, 1997: pl. 31. 161. Sanctuary of the Nymphe 1042: Athens, Fetiche Animal friezes. Siren, lions, floral, birds. Tjami, 1957-Aα 422 γ-ε. Part of the body. Painter of Sanctuary of the Nymphe 1053: Athens, Fetiche the Old Women [Papadopoulou-Kanellopoulou]. 580- Tjami, 1957-Aα 3136α. Wall fragments. 600. Papado- 570. Papadopoulou-Kanellopoulou, 1997: pl. 39. 202. poulou-Kanellopoulou, 1997: pl. 13. 76. Animal friezes. Horse, bird?, lions, sirens. Woman. Sphinx. Sanctuary of the Nymphe 1043: Athens, Fetiche Tjami, 1957-Aα 477. Part of the lower body. Painter Sanctuary of the Nymphe 1054: Athens, Fetiche of the Old Women [Papadopoulou-Kanellopoulou]. Tjami, 1959-NAK 1044. Part of the rim and neck. 600. 570. Papadopoulou-Kanellopoulou, 1997: pl. 40. 203. Papadopoulou-Kanellopoulou, 1997: pl. 14. 77. Animal friezes. Sirens, boar, feline. Procession of women. Sanctuary of the Nymphe 1044: Athens, Fetiche Sanctuary of the Nymphe 1055: Athens, Fetiche Tjami, 1959-NAK 1220. Neck fragment. Painter of the Tjami, 1957-Aα 338α, I-II; Boston, Museum of Fine Old Women [Papadopoulou-Kanellopoulou]. 575. Arts, 22. Part of the neck. 600. Papadopoulou-Kanel- Papadopoulou-Kanellopoulou, 1997: pl. 40. 204. lopoulou, 1997: pl. 14. 78; 2002-2005: 209, fig. 5. Procession of women. Procession of women. Sanctuary of the Nymphe 1045: Athens, Fetiche Sanctuary of the Nymphe 1056: Athens, Fetiche Tjami, 1959-NAK 1219. Neck fragment. Painter of the Tjami, 1957-Aα 338, I-II. LH. Neck and shoulder frag- Old Women [Papadopoulou-Kanellopoulou]. 575. ment. 600. Papadopoulou-Kanellopoulou, 1997: pl. 14. Papadopoulou-Kanellopoulou, 1997: pl. 40. 205. 79. Procession of women. Animal frieze. Sirens. Procession of women. Sanctuary of the Nymphe 1046: Athens, Fetiche Sanctuary of the Nymphe 1057: Athens, Fetiche Tjami, 1957-Aα 69 I, II. LH. Part of the neck and Tjami, 1957-Aα 3133. Handle and neck fragments. body. Painter of Eleusis 767 [Papadopoulou-Kanello- Early sixth century. Papadopoulou-Kanellopoulou, poulou]. 570. Papadopoulou-Kanellopoulou, 1997: 1997: pl. 14. 80. pl. 36. 184. Procession of women. Neck: Procession of women. Body: Women. Sanctuary of the Nymphe 1058: Athens, Fetiche Sanctuary of the Nymphe 1047: Athens, Fetiche Tjami, 1957-Aα 2743. LH. Part of the neck. Early sixth Tjami, 1957-Aα 2950 I, II. Wall fragments. Painter of century. Papadopoulou-Kanellopoulou, 1997: pl. 14. Eleusis 767 [Papadopoulou-Kanellopoulou]. 570. 81. Papadopoulou-Kanellopoulou, 1997: pl. 36. 185. Procession of women. Sphinxes, sirens. Sanctuary of the Nymphe 1059: Athens, Fetiche Sanctuary of the Nymphe 1048: Athens, Fetiche Tjami, 1957-Aα 3137. Part of the neck. First quarter Tjami, 1957-Aα 67. LH. Body. Near the Painter of of the sixth century. Papadopoulou-Kanellopoulou, Eleusis 767 [Papadopoulou-Kanellopoulou]. 570. Papadopoulou-Kanellopoulou, 1997: pl. 36. 186. 1997: pl. 15. 82. Sphinxes, sirens. Procession of women. 162 appendix i

Sanctuary of the Nymphe 1060: Athens, Fetiche Sanctuary of the Nymphe 1072: Athens, Fetiche Tjami, 1957-Aα 3137α. Part of the neck and the han- Tjami, 1957-Aα 388. LH. Part of the neck, handle and dle. First quarter of the sixth century. Papadopoulou- shoulder. Early sixth century. Papadopoulou-Kanel- Kanellopoulou, 1997: pl. 15. 83. lopoulou, 1997: pl. 18. 95. Procession of women. Neck: Lions. Shoulder: sphinxes or sirens. Sanctuary of the Nymphe 1061: Athens, Fetiche Sanctuary of the Nymphe 1073: Athens, Fetiche Tjami, 1957-NAK 1594. Part of the neck. First quar- Tjami, 1957-Aα 351. Body and handle fragment. Early ter of the sixth century. Papadopoulou-Kanellopoulou, sixth century. Papadopoulou-Kanellopoulou, 1997: 1997: pl. 15. 84. pl. 18. 96. Procession of women. Animal friezes. Sphinx, lion. Sanctuary of the Nymphe 1062: Athens, Fetiche Sanctuary of the Nymphe 1074: Athens, Fetiche Tjami, 1957-Aα 62. LH. First quarter of the sixth cen- Tjami, 1957-Aα 30. LH. Early sixth century. Papa- tury. Papadopoulou-Kanellopoulou, 1997: pl. 15. 85. dopoulou-Kanellopoulou, 1997: pl. 18. 97. Procession of women. Sphinxes, lion. Neck: Female figure between sphinxes. Body: Sanctuary of the Nymphe 1063: Athens, Fetiche Animal friezes. Sirens, horse, lion. Tjami, 1957-Aα 2784. LH. Part of the neck. First quar- Sanctuary of the Nymphe 1075: Athens, Fetiche ter of the sixth century. Papadopoulou-Kanellopoulou, Tjami, 1957-Aα 425. Wall fragment. Early sixth cen- 1997: pl. 15. 86. tury. Papadopoulou-Kanellopoulou, 1997: pl. 19. 98. Procession of women. Animal friezes. Sirens, panther, boar, bird. Sanctuary of the Nymphe 1064: Athens, Fetiche Sanctuary of the Nymphe 1076: Athens, Fetiche Tjami, 1957-Aα 3138. Neck fragment. First quarter of Tjami, 1957-Aα 2634. Wall fragment. Early sixth cen- the sixth century. Papadopoulou-Kanellopoulou, 1997: tury. Papadopoulou-Kanellopoulou, 1997: pl. 19. 99. pl. 16. 87. Animal frieze. Goat, lion. Procession of women. Sanctuary of the Nymphe 1077: Athens, Fetiche Sanctuary of the Nymphe 1065: Athens, Fetiche Tjami, 1957-Aα 2949. Wall fragment. 600. Papado- Tjami, 1957-Aα 2526. Rim and neck fragment. First poulou-Kanellopoulou, 1997: pl. 19. 100. quarter of the sixth century. Papadopoulou-Kanello- Animal frieze. Birds. poulou, 1997: no. 88. Sanctuary of the Nymphe 1078: Athens, Fetiche Procession of women. Tjami, 1957-Aα 454 I-III. Shoulder fragments. 600. Sanctuary of the Nymphe 1066: Athens, Fetiche Papadopoulou-Kanellopoulou, 1997: pl. 19. 101. Tjami, 1957-Aα 43. LA. Body. 600. Papadopoulou- Animal friezes. Sirens, sphinxes. Kanellopoulou, 1997: pl. 16. 89. Sanctuary of the Nymphe 1079: Athens, Fetiche Animal friezes. Horse, sirens, boars, birds. Tjami, 1957-Aα 292 I, II. Two wall fragments. 600. Sanctuary of the Nymphe 1067: Athens, Fetiche Papadopoulou-Kanellopoulou, 1997: pl. 19. 102 Tjami, 1957-Aα 3013 I-II. Rim and neck fragments. Sirens, sphinx. 600. Papadopoulou-Kanellopoulou, 1997: pl. 16. 90. Sanctuary of the Nymphe 1080: Athens, Fetiche Birds. Tjami, 1957-Aα 376. Wall fragment. First quarter of Sanctuary of the Nymphe 1068: Athens, Fetiche the sixth century. Papadopoulou-Kanellopoulou, 1997: Tjami, 1957-Aα 2721. Foot fragment. 600. Papadopou- pl. 19. 103. lou-Kanellopoulou, 1997: pl. 16. 91 Siren, panther. Below, rays. Birds. Sanctuary of the Nymphe 1081: Athens, Fetiche Sanctuary of the Nymphe 1069: Athens, Fetiche Tjami, 1957-Aα 96; Boston, Museum of Fine Arts, 38. Tjami, 1957-Aα 3132. Neck fragment. 600. Papado- LH. Body. 580. Papadopoulou-Kanellopoulou, 1997: poulou-Kanellopoulou, 1997: pl. 16. 92. pl. 20. 104; 2002-2005: 210, fig. 6. Procession of women. Animal friezes. Sirens, lions, panthers, birds. Sanctuary of the Nymphe 1070: Athens, Fetiche Sanctuary of the Nymphe 1082: Athens, Fetiche Tjami, 1957-Aα 2. LH. Early sixth century. Papado- Tjami, 1957-Aα 2955. Wall fragment. 580. Papadopou- poulou-Kanellopoulou, 1997: pl. 16. 93. lou-Kanellopoulou, 1997: pl. 26. 130. Animal friezes. Lion, panther, sphinxes, sirens. Naked man between probably sirens. Below, floral Sanctuary of the Nymphe 1071: Athens, Fetiche ornament. Tjami, 1957-Aα 10. LH. 590. Papadopoulou-Kanello- Sanctuary of the Nymphe 1083: Athens, Fetiche poulou, 1997: pl. 17. 94. Tjami, 1957-Aα 438. Wall fragment. 580. Papadopou- Neck: Procession of men and women. Body: Ani- mal friezes. Lions, panthers, sirens, sphinxes, deers, lou-Kanellopoulou, 1997: pl. 26. 131. swans. Animal friezes. Boar, feline, siren. catalogue of the attic early black-figured vases 163

Sanctuary of the Nymphe 1084: Athens, Fetiche Neck and body: Animal friezes. Sphinxes, boar, Tjami, 1957-Aα 373. LH. Neck and rim fragment. 570. swans, lions, cocks, dogs, deers, hair. Papadopoulou-Kanellopoulou, 1997: pl. 28. 143. Vourvá 1097: Athens, National Museum, 991. LA. Rim: Rosettes. Neck: Procession of women. ABV 38.1. Sophilos. 580. Bakır, 1981: pls. 49-54. Sanctuary of the Nymphe 1085: Athens, Fetiche Neck and body: Animal friezes. Sirens, lions, pan- Tjami, 1957-Aα 20. LH. 575. Papadopoulou-Kanello- thers, boars. poulou, 1997: pl. 29. 144. Rhamnous 1098: Excavation. Fragmentary. Nessos Neck: Procession of women. Body: Animal friezes. Painter [author]. Last quarter of the seventh century. Lions, swan, sirens, panthers. Petrakos, 1999: 196, fig. 112. Sanctuary of the Nymphe 1086: Athens, Fetiche Animal friezes. Tjami, 1957-Aα 2673, 2727, 2678. Neck and rim frag- Rhamnous 1099: Excavation, 302a. Wall fragment. ment. 575. Papadopoulou-Kanellopoulou, 1997: pl. 29. Group of the Dresden Lekanis [author]. 580-570. 145. Petrakos, 1999: 196, fig. 112. Neck: Procession of women. Animal friezes. Feline, boar. Sanctuary of the Nymphe 1087: Athens, Fetiche Rhamnous 1100: Excavation, 333a-b. Wall fragments. Tjami, 1957-Aα 2690 I-III. LH. Wall fragments. 600- Painter of Old Women [author]. 570. 590. Papadopoulou-Kanellopoulou, 1997: pl. 30. 148. Animal friezes. Feline, sphinx, siren, lion. Animal friezes. Lions, bulls. Eleusis 1101: Eleusis, Archaeological Museum, 767. Sanctuary of the Nymphe 1088: Athens, Fetiche ABV 21.1. Para 13. Add2 7. Painter of Eleusis 767. Late Tjami, 1957-Aα 2689 I-II. Wall fragments. 590-580. first quarter of the sixth century. Boardman, 1974: fig. Papadopoulou-Kanellopoulou, 1997: pl. 30. 149. 31. Animal friezes. Panthers, sirens, felines. Procession of women. Animal friezes. Sphinxes, Sanctuary of the Nymphe 1089: Athens, Fetiche sirens. Tjami, 1957-Aα 2530 I-IV. Neck fragments. 580. Papa- Aigina 1102: Aigina Museum, 1987, 1988. Two shoul- dopoulou-Kanellopoulou, 1997: pl. 30. 150. der-fragments of a loutrophoros? ABV 41.35. Near Rim: Rosettes. Neck: Procession of women with the KX Painter [Bakır]. 570. Bakır, 1981: pl. 87. 185. branches. Lotus palmette cross. Sanctuary of the Nymphe 1090: Athens, Fetiche Naukratis 1103: London, British Museum, 88.6- Tjami, 1957-Aα 109. LH. First quarter of the sixth 1.570b-c, 1965.9-30.759. Neck fragment. 575. Venit, century. Papadopoulou-Kanellopoulou, 1997: pl. 31. 1982: pl. CIV. 151. Animal friezes. Bird, siren, lion. Animal friezes. Swans, lions, sphinxes. Sanctuary of the Nymphe 1091: Athens, Fetiche Lekane-Lekanis Tjami, 1957-Aα 2972. Wall fragment. 575. Papadopou- Athenian Agora 1104: Athens, Agora Museum, lou-Kanellopoulou, 1997: pl. 31. 152. P 5354. Wall fragment. ABV 10.26. Gorgon Painter. Animal friezes. Lion attacking deer. First quarter of the sixth century. Moore & Philip- Sanctuary of the Nymphe 1092: Athens, Fetiche pides, 1986: pl. 91. 1297. Tjami, 1957-Aα 878. Neck fragment. 590. Papadopou- Tondo: Whirligig Body: Animal frieze. Goat. lou-Kanellopoulou, 1997: pl. 31. 153. Athenian Agora 1105: Athens, Agora Museum, Procession of women. Rosettes, horses. P 10194. Wall, rim and handle fragment. 580-575. Sanctuary of the Nymphe 1093: Athens, Fetiche Moore & Philippides, 1986: pl. 91. 1300. Tjami, 1957-Aα 2603 I-II. Wall fragments. 575. Papa- Animal frieze. Lions, lotus. dopoulou-Kanellopoulou, 1997: pl. 40. 207. Athenian Agora 1106: Athens, Agora Museum, Animal friezes. Sirens, felines. P 19483. Wall and rim fragment. KX Painter [Moore Sanctuary of the Nymphe 1094: Athens, Fetiche & Philippides]. 580-570. Moore & Philippides, 1986: Tjami, 1957-Aα 52. Small LH. 575. Papadopoulou- pl. 91. 1310. Kanellopoulou, 1997: pl. 41. 208. Sirens. Animal friezes. Birds, sirens. Athenian Agora 1107: Athens, Agora Museum, Kerameikos 1095: Athens, Kerameikos Museum, P 14378. Wall fragments. Ragusa Group [Boardman]. 2865. LA. KX Painter [Vierneisel]. 580. Vierneisel, First quarter of the sixth century. Moore & Philip- 1964: pl. 37. pides, 1986: no. 1306. Neck: Mourning women. Body: Animal friezes. Panther, lion, feline. Swans, panthers, lions, sirens, deers, ducks. Athenian Agora 1108: Athens, Agora Museum, Vári 1096: Athens, National Museum, 19170. LA. ABV P 26546. Wall and rim fragment. Early sixth century. 20.1. Anagyrous Painter. First quarter of the sixth cen- Moore & Philippides, 1986: no. 1298. tury. Fig. 24. Swan. 164 appendix i

Athenian Agora 1109: Athens, Agora Museum, Athenian Agora 1123: Athens, Agora Museum, P 21705. Wall and rim fragment. First quarter of the P 1130. Lid fragments. ABV 24.8. KX Painter. Late sixth century. Moore & Philippides, 1986: pl. 91. 1299. first quarter of the sixth century. Moore & Philippides, Animal frieze. Siren, lotus. 1986: pl. 92. 1336. Athenian Agora 1110: Athens, Agora Museum, Animal friezes. Panther, sirens. P 14690. Wall fragments. First quarter of the sixth Athenian Agora 1124: Athens, Agora Museum, century. Moore & Philippides, 1986: pl. 91. 1301. P 12231. Lid fragment. Late first quarter of the sixth Animal friezes. Panther, goat, sirens, bull, feline. century. ABV 28.5. Manner of the KX Painter. Moore Athenian Agora 1111: Athens, Agora Museum, & Philippides, 1986: pl. 92. 1337. P 5232. Wall fragments. First quarter of the sixth cen- Sirens. tury. Moore & Philippides, 1986: pl. 91. 1302. Athenian Agora 1125: Athens, Agora Museum, Animal friezes. Goats, panthers, sirens, bull, feline. P 23762. Lid fragment. First quarter of the sixth cen- Athenian Agora 1112: Athens, Agora Museum, tury. Moore & Philippides, 1986: pl. 92. 1338. P 4677. Wall and rim fragment. First quarter of the Animal frieze. Siren, panther. sixth century. Moore & Philippides, 1986: pl. 91. 1303. Athenian Agora 1126: Athens, Agora Museum, P 470. Male sirens. Athenian Agora 1113: Athens, Agora Museum, Lid fragment. Late first quarter of the sixth century. P 8973. Wall and rim fragment. First quarter of the Moore & Philippides, 1986: pl. 92. 1339. sixth century. Moore & Philippides, 1986: no. 1304. Animal friezes. Siren, geese. Animals. Akropolis 1127: Athens, National Museum, Akropo- Athenian Agora 1114: Athens, Agora Museum, lis Collection, 1.526. Wall fragments. First quarter of P 13842. Handles, rim, wall. First quarter of the sixth the sixth century. Graef & Langlotz, 1925: pl. 21. 526. century. Moore & Philippides, 1986: no. 1305. Animal friezes. Lions, boar, bird. Lions. Akropolis 1128: Athens, National Museum, Akropo- Athenian Agora 1115: Athens, Agora Museum, lis Collection, 18712. Ragusa Group [Boardman]. First P 4631. Rim fragment. First quarter of the sixth cen- quarter of the sixth century. tury. Moore & Philippides, 1986: no. 1307. Lions. Sphinx or siren, feline. Akropolis 1129: Athens, National Museum, Akropo- Athenian Agora 1116: Athens, Agora Museum, lis Collection, 18744. Ragusa Group [Boardman]. First P 2031. Rim. First quarter of the sixth century. Moore quarter of the sixth century. & Philippides, 1986: no. 1308. Lions. Feline. Akropolis 1130: Athens, National Museum, Akropo- Athenian Agora 1117: Athens, Agora Museum, lis Collection, 1.534a-e. Wall fragments. Ragusa Group P 4678. Fragment. First quarter of the sixth century. [author]. First quarter of the sixth century. DAI Photo Moore & Philippides, 1986: no. 1309. Archive, no. 95. Siren or sphinx. Lion. Athenian Agora 1118: Athens, Agora Museum, Akropolis 1131: Athens, National Museum, Akropo- P 13750bis. Rim fragment. First quarter of the sixth lis Collection, 1.532. Wall fragments. First quarter of century. Moore & Philippides, 1986: no. 1331. the sixth century. Graef & Langlotz, 1925: pl. 21. 532. Siren or sphinx. Animal friezes. Panthers. Athenian Agora 1119: Athens, Agora Museum, Akropolis 1132: Athens, National Museum, Akropo- P 3012. Wall and rim fragment. First quarter of the lis Collection, 1.527. Rim and wall fragment. First sixth century. Moore & Philippides, 1986: no. 1332. quarter of the sixth century. DAI Photo Archive, no. Siren, lion. Athenian Agora 1120: Athens, Agora Museum, 94. P 3012bis. Wall and rim fragment. First quarter of the Lion. sixth century. Moore & Philippides, 1986: no. 1333. Akropolis 1133: Athens, National Museum, Akropo- Deer or goat. lis Collection, 1.528. Two wall fragments. First quar- Athenian Agora 1121: Athens, Agora Museum, ter of the sixth century. DAI Photo Archive, no. 94. P 23891. Lid fragment. Early sixth century. Moore & Tondo: Deer Body: Water birds, siren or sphinx. Philippides, 1986: no. 1334. Akropolis North Slope 1134: Athens, Agora Museum, Siren. AP1200. Wall fragment. Close to the Gorgon Painter Athenian Agora 1122: Athens, Agora Museum, [Roebuck]. Early sixth century. Roebuck, 1940: fig. 15. P 4342. Lid fragment. First quarter of the sixth century. 41. Moore & Philippides, 1986: no. 1335. Lion, cock. Sphinx. catalogue of the attic early black-figured vases 165

Akropolis North Slope 1135: Athens, Agora Museum, Vári 1147: Athens, National Museum, 16416ε. Wall AP1558a-b. Wall fragment. ABV 24.6. KX Painter. 580. fragment. Para 4.24. Nessos Painter. 615. Karouzou, Roebuck, 1940: fig. 15. 44. 1963: fig. 30. Animal friezes. Felines. Tondo: Lion. Akropolis North Slope 1136: Athens, Agora Museum, Vári 1148: Athens, National Museum, 16416γ. Wall AP558. Lid fragment. First quarter of the sixth century. fragments. Para 12. Nessos Painter. 615. Karouzou, Pease, 1935: fig. 16. 43. 1963: pl. 75a. Lion. Feline, siren. Akropolis North Slope 1137: Athens, Agora Museum, Vári 1149: Athens, National Museum, 16404. Painter AP178. Lid fragment. First quarter of the sixth century. of the louterion 16386. Near the Nessos Painter Pease, 1935: fig. 16. 44. [author]. Last quarter of the seventh century. Unpub- Sphinxes, lion. lished. Kerameikos 1138: Athens, Kerameikos Museum, 41. Tondo: Two purple concentric circles. Body: Ani- Mourning plastic female figure attached to the handle. mal frieze. Boar, feline, horse?, sphinx? ABV 19.5. Kerameikos Painter. 590. Kübler, 1970: pls. Vári 1150: Athens, National Museum, 16357. ABV 94-96. 18.1. Para 10.11. Panther Painter. 600. Karouzou, 1963: Tondo: Siren. Body: Animal friezes. Swans, deer, pls. 70-71. panther, lotus palmette cross, sirens. Animal friezes. Lions, panthers, swans, goats. Kerameikos 1139: Athens, Kerameikos Museum, 39. Vári 1151: Athens, National Museum, 16358. ABV ABV 19.6. Kerameikos Painter. 590. Kübler, 1970: pls. 18.1. Panther Painter. 600. Karouzou, 1963: pls. 63-65. 93, 97. Tondo: Two confronted horse busts. Body: Ani- Tondo: Lotus palmette cross. Body: Animal friez- mal friezes. Sirens, lions, swans, panthers. es. Lions, sirens, panthers, swans. Vári 1152: Paris, Musée du Louvre, CA 2990. Wall Vári 1140: Athens, National Museum, 16367. ABV fragments. ABV 18.2. Para 12.16. Panther Painter. 600. 5.6. Para 4.17. Add2 2. Nessos Painter. 615. Karouzou, Animal frieze. Lion, feline, goat. Vári 1153: ABV 1963: pl. 29. Athens, National Museum, 16360. 18.3. Panther Painter. 600. Karouzou, 1963: pl. 69. Tondo: Gorgoneion. Body: Animal friezes. Lions, Animal friezes. Sirens, panther, lions, goats, owl. sirens, bulls. Vári 1154: Paris, Musée du Louvre, CA 2990bis. Wall Vári 1141: Athens, National Museum, 16365. ABV fragments. ABV 18.4. Panther Painter. 600. Para 5.7. 4.18. Nessos Painter. 610. Karouzou, 1963: Animal frieze. Sirens, lions, sirens. pls. 40-43. Vári 1155: Athens, National Museum, 16353. Para Tondo: Gorgoneion. Body: Animal friezes. Lions, 11.1. Panther Painter. 600. Karouzou, 1963: pls. 55, sirens, panther, owl. 56. Vári 1142: Athens, National Museum, 16366. ABV Tondo: Sphinx. Body: Animal friezes. Lions, 5.8. Para 4.19. Nessos Painter. 610. Karouzou, 1963: boars, panthers, sirens. pls. 35-39. Vári 1156: Athens, National Museum, 16354. Para Tondo: Confronted horse busts. Body: Animal 11.1. Add2 6. Panther Painter. 600. Karouzou, 1963: friezes. Lions, bulls, sirens, panthers, owl. pls. 57, 58. Vári 1143: Athens, National Museum, 16414. ABV Tondo: Lion. Body: Animal friezes. Flying eagles, 5.9. Nessos Painter. 610. Karouzou, 1963: pls. 52-54. sirens, goats, lions. Tondo: Gorgoneion. Body: Animal friezes. Go- Vári 1157: Athens, National Museum, 16355. Para ats, bulls, lion. 11.3. Panther Painter. 600. Karouzou, 1963: pls. 59-61. Vári 1144: Athens, National Museum, 16369. Para Tondo: Lion. Body: Animal friezes. Sirens, lions, 4.20. Nessos Painter. 610. Karouzou, 1963: pls.44-45. goats, owls. Tondo: Whirligig. Body: Lotus palmette orna- Vári 1158: Athens, National Museum, 16356. Para ment. 11.4. Panther Painter. 600. Karouzou, 1963: pl. 62. Vári 1145: Athens, National Museum, 16364. Para Tondo: Lion. Body: Animal friezes. Sirens, lions, 4.21. Nessos Painter. 615. Karouzou, 1963: pls.46-48. flying eagles, goats. Tondo: Gorgoneion. Body: Animal friezes. Lions, Vári 1159: Athens, National Museum, 16359. Para bulls, birds, sirens, owl. 11.6. Panther Painter. 600. Karouzou, 1963: pl. 66. Vári 1146: Athens, National Museum, 16363. Para A, B: Animal friezes. Sirens, lions, goats, panthers. 4.22. Nessos Painter. 615. Karouzou, 1963: pls. 49a, Vári 1160: Athens, National Museum, 16361. Para 50, 51. 11.7. Panther Painter. 600. Karouzou, 1963: pl. 67. Tondo: Gorgoneion. Body: Animal friezes. Lions, Tondo: Two confronted horse busts. Body: Ani- owl, sirens. mal friezes. Sirens, lions, goats, panthers. 166 appendix i

Vári 1161: Athens, National Museum, 16405. Para Vári 1175: Athens, National Museum, 16371. Para 11.8. Panther Painter. 600. Karouzou, 1963: pl. 68. 10.4. Androsiren Painter. 600. Lioutas, 1987: pl. 6. 2. A, B: Animal friezes. Sirens, panthers, goats, owls. Animal friezes. Swans, lions, lotus palmette orna- Vári 1162: Athens, National Museum, 16362. Para ment, sirens, water birds, panthers, bulls, sphinxes. 12.11. Panther Painter. 600. Karouzou, 1963: pl. 72. Vári 1176: Athens, National Museum, 16373. Andro- Animal friezes. Sirens, beasts, panthers, lions, siren Painter. 600. Lioutas, 1987: pl. 2. 2. swans. Tondo: Lotus palmette ornament. Body: Animal Vári 1163: Athens, National Museum, 16413. Body, friezes. Male siren, lions, sphinxes, panthers, goats, rim and handle fragments. Para 12.12. Panther Painter. deer. 600. Karouzou, 1963: pl. 73. Vári 1177: Athens, National Museum, 16374. Andro- Animal frieze. Panther, deer, feline. siren Painter [Unknown]. 600. Lioutas, 1987: pls. 2. Vári 1164: Athens, National Museum, 16416α. Wall 1, 3. 1-2. fragment. Para 12.12. Panther Painter. 600. Karouzou, Tondo: Rosette ornament. Body: Animal friezes. 1963: fig. 29. Water birds, lions, male siren, sirens. Tondo: Whirligig. Vári 1178: Athens, National Museum, 16412. Andro- Vári 1165: Athens, National Museum, 16413α. Wall fragment. Para 12. Panther Painter. 600. Karouzou, siren Painter [Unknown]. 600. Lioutas, 1987: pl. 3. 3. 1963: fig. 27. Animal friezes. Panther, male siren, siren. Tondo: Lion. Vári 1179: Athens, National Museum, 16377. Para Vári 1166: Athens, National Museum, 16413β. Wall 12.11. Painter of Athens 16407. First quarter of the fragment. Para 12. Panther Painter. 600. Karouzou, sixth century. Lioutas, 1987: pl. 7. 2. 1963: pl. 74. Animal friezes. Deers, panthers, lions, birds. Animal frieze. Lion, siren, feline, water-bird. Vári 1180: Athens, National Museum, 16407. Para Vári 1167: Athens, National Museum, 16413γ. Part 13.1. Painter of Athens 16407. First quarter of the of the tondo and the foot. Para 12.12. Panther Painter. sixth century. Lioutas, 1987: pl. 8. 2. 600. Karouzou, 1963: fig. 28. Tondo: Purple circle. Body: Animal friezes. Tondo: Water bird. Winged male figure between lion and sphinx?. Vári 1168: Athens, National Museum, 16416γ. Wall Swans, sphinxes, lions swans. fragments. Para 12. Panther Painter. 600. Karouzou, Vári 1181: Athens, National Museum, 16408. Para 1963: pl. 75a. 13. Painter of Athens 16407. First quarter of the sixth Tondo: Horse. Body: Animal friezes. Lions, sirens. century. Lioutas, 1987: pl. 8. 2. Vári 1169: Athens, National Museum, 16416δ. Wall Animal friezes. Deers, lions swans, sirens. fragments. Para 12. Panther Painter. 600. Karouzou, Vári 1182: Athens, National Museum, 16409. Para 1963: pl. 75. 2. 13.3. Painter of Athens 16407. First quarter of the Animal frieze. Siren, feline, goat. sixth century. Lioutas, 1987: figs. 13-14. Vári 1170: Athens, National Museum, 16416β. Wall Animal friezes. Winged male figure between fragments. Panther Painter. 600. Karouzou, 1963: 34. sphinxes. Sphinxes, lions, sirens, flying demon. Tondo: Wheel. Vári 1183: Athens, National Museum, 16378. Para Vári 1171: Athens, National Museum, 16376. ABV 13.2. Painter of Athens 16407. First quarter of the 18.1. Para 10. Androsiren Painter. 600. Lioutas, 1987: sixth century. Lioutas, 1987: pl. 8. 1. fig. 2. 17, 20. Tondo: Concentric circles. Body: Animal friezes. Tondo: Gorgoneion. Body: Animal friezes. Lions, Winged male figure between lion and sphinx. Pan- panther, male siren, bulls. thers, lions, swans, lotus palmette ornament. Vári 1172: Athens, National Museum, 16370. ABV 18.2. Androsiren Painter. 600. Lioutas, 1987: pl. 1. 2. Sphinx, male figure with wings, swan. Tondo: Gorgoneion. Body: Animal friezes. Sirens, Vári 1184: Athens, National Museum, 19052. Late deer, lions, male siren, sphinxes, lions, boar. seventh century. Unpublished. Vári 1173: Athens, National Museum, 16368. Para Tondo: Gorgoneion. Body: Undecorated. 10.3. Androsiren Painter. 600. Lioutas, 1987: pl. 6. 1. Vári 1185: Athens, National Museum, 19180. Para Tondo: Gorgoneion. Body: Animal friezes. Male 13. Near the Kerameikos Painter. 580. Unpublished. sirens, lotus palmette ornament, lions, goats, pan- Animal friezes. Sirens, lions, panthers, boar, deer. thers. Vári 1186: Athens, National Museum, 19182. Near Vári 1174: Athens, National Museum, 16372. Para the Kerameikos Painter [Lioutas]. 580. Unpublished. 10.4. Androsiren Painter. 600. Lioutas, 1987: fig. 11. Animal friezes. Sirens, lions, deer, panthers. 21. Vári 1187: Athens, National Museum, 19177. Ana- Tondo: Whirligig. Body: Animal friezes. Sphinx, gyrous Painter [author]. First quarter of the sixth cen- sirens, male siren, lions, deer. tury. Unpublished. catalogue of the attic early black-figured vases 167

Running dogs. On the upright handles, seated rens, swans and lotus palmette ornament, lions, mourning female figures. rams, deers. Vári 1188: Athens, National Museum, 19194. Lotus Vourvá 1201: Athens, National Museum, 999. ABV Painter [author]. Late first quarter of the sixth century. 41.30. Sophilos. 580-570. Bakır, 1981: fig.106. Unpublished. Callipolitis-Feytmans, 1974: 207, d. Tondo: Siren. Body: Animal friezes. Panthers, si- Animal frieze. Boar between lions, siren between rens, lions, deers. lions, lion between swans. Vourvá 1202: Athens, National Museum, 1000. By Vári 1189: Athens, National Museum, 19054. Ragusa the painter of Athens, Agora Museum, P 22308 Group [author]. First quarter of the sixth century. [author]. First quarter of the sixth century. Alexan- Unpublished. dridou, 2008: fig. 4. Fig. 57. Lions. Tondo: Horse protome. Body: Animal friezes. Vári 1190: Athens, National Museum, 16403. First Water birds, lions, panthers, deers, sphinxes. quarter of the sixth century. Unpublished. Mounikhía 1203: Peiraieus, Archaeological Museum, 84/244. Rim fragment of a lekanis? Nessos Painter Animal friezes. Sirens, sphinxes, lotus palmette or- [Palaiokrassa]. Palaiokrassa, 1989: pl. 4. 2, 80. nament, lions, rams, deer. Linear chain. Vári 1191: Athens, National Museum, 16406. First Athens 1204: Copenhagen, National Museum, 7327. quarter of the sixth century. Unpublished. 590. Lioutas, 1987: pl. 24. 1. Animal friezes. Sphinxes, water birds. Tondo: Swan. Body: Deers, lions, cock, panthers, Vári 1192: Athens, National Museum, 19047. First sirens. quarter of the sixth century. Unpublished. Attika 1205: Dresden, Staatliche Kunstsammlung, Animal friezes. Water birds. Below, lions, deers, Albertinum, ZV2000. ABV 50.2. Ragusa Group [Board- panthers, rams. man]. First quarter of the sixth century. AA (1925): Vári 1193: Athens, National Museum, 19032. Local 101-102, fig. 4. workshop? Late first quarter of the sixth century. Lions. Unpublished. Attika 1206: Athens, British School, now lost. Korin- Animal friezes. Siren among sphinxes. thian painter. Late seventh century. Dunbabin, 1950: Vári 1194: Athens, National Museum, 19183. 570. pl. 17. Unpublished. Animal frieze. Lion, swan, rams, panther. Animal friezes. Lotus palmette beteen sirens, wa- Attika 1207: Dublin, National Museum, 1921.72. ter birds. Below, panthers, goats. Ragusa Group [Boardman]. First quarter of the sixth Marathon 1195: Athens, National Museum, 1043. century. Boardman, 1998b: pl. X. 1-3. First quarter of the sixth century. Lioutas, 1987: fig. Animal friezes. Lions, panther. Lid: birds. 24. 2. Aigina 1208: Aigina Museum, 2799. Wall fragment Tondo: Whirligig. Body: Animal friezes. Fawns, [lekanis or louterion]. Nessos Painter [Callipolitis- deers. Feytmans]. 620-610. Walter-Karydi, 1997: fig. 16. Laurion 1196: Athens, American School of Classical Floral chain. Studies, ASP 141. Ragusa Group [Boardman]. First Aigina 1209: Aigina Museum, 2793. Wall fragment. quarter of the sixth century. Boardman, 1998b: no. KX Painter [Felten]. 580. Felten, 1982: pl. 11. 146. 25. Goat. Lions and birds. Aigina 1210: Aigina Museum, 2794 and 2796. Lid fragment. KX Painter [Felten]. 580. Felten, 1982: pl. 11. Laurion 1197: Athens, American School of Classical 138. Studies, ASP 142. Ragusa Group [Boardman]. First Goats, feline. quarter of the sixth century. Boardman, 1998b: no. Aigina 1211: Aigina Museum, 500. Lid fragment. 26. Komast Group [Felten]. First quarter of the sixth cen- Vourvá 1198: Athens, National Museum, 296. ABV tury. Felten, 1982: pl. 11. 140. 24.7. KX Painter. 580. Lioutas, 1987: pl. 13. 1-2. Goat. Tondo: Whirligig. Body: Animal friezes. Panthers, Aigina 1212: Aigina Museum, 101. Lid fragment. sirens, lions, panthers, rams, deers. Painter of Berlin 1659 [Felten]. First quarter of the Vourvá 1199: Athens, National Museum, 997. ABV sixth century. Felten, 1982: pl. 11. 137. 41.29. Sophilos. 580-570. Bakır, 1981: figs. 107-110. Cock, panther, water bird. Animal friezes. Panthers, sirens, lions, rams, deers. Aigina 1213: Aigina Museum, 2806 and 2807. Lid Vourvá 1200: Athens, National Museum, 998. ABV fragment. ABV 41.31. Sophilos. 580. Bakır, 1981: pl. 62. 41.28. Sophilos. 580-570. Bakır, 1981: fig. 105. Fig. 25. A32. Tondo: Siren. Body: Animal friezes. Panthers, si- Siren, panther, feline, water bird. 168 appendix i

Aigina 1214: Aigina Museum. Lid fragment. Ragusa Smyrna 1227: Izmir, Archaeological Museum, 15. Group [Boardman]. First quarter of the sixth century. Wall fragment. ABV 27.33. KX Painter [Boardman]. Felten, 1982: pl. 12. 134. 570. Boardman, 1958-1959: pl. 34. 15. Goat, lion. Deer, lion. Aigina 1215: Aigina Museum, U.F. 13. Lid fragment. Smyrna 1228: Izmir, Archaeological Museum, 16. Rim First quarter of the sixth century. Moore, 1986: fig. and wall fragment. Group of the Dresden Lekanis 22. 104. [Boardman]. 580. Boardman, 1958-1959: pl. 34. 16. Lion, siren or bird. Male siren. Korinthos 1216: Dresden, Staatliche Kunstsammlung Smyrna 1229: Izmir, Archaeological Museum, 17. Two Albertinum, ZV1464. ABV 21.1. Add2 7. Group of the wall fragments. ABV 680.1ter. Para 14. Group of the Dresden Lekanis. 580. Lioutas, 1987: pl. 18. Dresden Lekanis. 580. Boardman, 1958-1959: pl. 34. Animal friezes. Panther, deer, lion, siren, man be- 17. tween sirens, deer. Lion, boar. Delphoi 1217: Delphoi, Archaeological Museum, 215- Smyrna 1230: Excavation, 252. Lid fragment. Late first 217. Wall fragments. ABV 26.31. KX Painter. 580. quarter of the sixth century. Tuna-Nörling, 2002c: Perdrizet, 1908: 155, figs. 643-646. pl. 5. 59. Panther or lion, deer, lion, siren, panther. Rosette. Thebes 1218: London, British Museum, 1905.7-11.4. Klazomenai 1231: Klazomenai Museum, 82 and 92. ABV 24.3. KX Painter. 590. Lioutas, 1987: pls. 9-11. Lid fragments. Sophilos [Tuna-Nörling]. 580-570. Tondo: Lotus palmette ornament. Body: Animal Tuna-Nörling, 2002b: fig. 7. friezes. Swans, lions, sirens, Hermes, panthers, Sirens, lotus palmette cross. sphinxes, lotus palmette ornament, deers. Klazomenai 1232: Klazomenai Museum. Rim and wall Kythnos 1219: Kythnos, Excavation. Ragusa Group fragment. First third of the sixth century. Tuna-Nör- [author]. First quarter of the sixth century. Mazarakis ling, 1996: pl. 19. 171. Ainian & Mitsopoulou, 2007: 376, fig. 73. Step pattern. Lions. Miletos 1233: Excavation. Lid fragment. Near Sophi- Troia 1220: Excavation, S15.695-3. Fragmentary lid. los? Second quarter of the sixth century. IstMit 38, Circle of Sophilos [Kossatz]. 580. Kossatz, 1988: 401, 1988: pl. 32. 2. figs. 5, 6. Sphinx?, panther. Panther, siren or sphinx, swans. Samos 1234: Vathý Museum, K1219. Five fragments. Phokaia 1221: Excavation. Rim fragment. ABV Kerameikos Painter [Kreuzer]. 590. Kreuzer, 1998a: 680.4bis. Para 15. KX Painter [Tuna-Nörling]. 580- pl. 28. 125. 570. Tuna-Nörling, 2002a: fig. 123. Animal friezes. Sirens or sphinxes, lion, panther. Step pattern. Deer, feline. Samos 1235: Vathý Museum, K6860. Rim fragment. Phokaia 1222: Excavation. Rim fragment. KX Painter Kerameikos Painter [Kreuzer]. 590. Kreuzer, 1998a: [Tuna-Nörling]. 580-570. Tuna-Nörling, 2002a: fig. pl. 28. 126. 124. On the top, zigzag pattern. Siren. Lotus palmette cross. Samos 1236: Vathý Museum, K952. Wall fragment. Phokaia 1223: Excavation. Rim fragment with part KX Painter [Kreuzer]. 580-575. Kreuzer, 1998a: pl. 28. of the handle. Sophilos? [Tuna-Nörling]. 580-570. 128. Tuna-Nörling, 2002a: fig. 125. Lotus palmette cross. Rosette. Samos 1237: Vathý Museum, K6861. Wall fragment. Phokaia 1224: Excavation. Wall fragments. Painter of KX Painter [Kreuzer]. 580-575. Kreuzer, 1998a: pl. 28. Berlin 1659 [Tuna-Nörling]. 580-570. Tuna-Nörling, 129. 2002a: fig. 126. Sphinxes. Panthers. Samos 1238: Vathý Museum, K954. Wall fragment. Smyrna 1225: Excavation, 253. Rim, wall fragments KX Painter [Kreuzer]. 580-575. Kreuzer, 1998a: pl. 28. and handle. Manner of the Gorgon Painter [Tuna- 130. Nörling]. 590-580. Tuna-Nörling, 2002c: pls. 7-8. Floral ornament. Animal friezes. Water birds, lions, deers, panthers. Samos 1239: Vathý Museum, K920. Lid fragment. Smyrna 1226: Izmir, Archaeological Museum. Wall, ABV 25.10. KX Painter. 580. Kreuzer, 1998a: pl. 30. rim and handle fragment. ABV 680.4bis. KX Painter. 147. 570. Boardman, 1958-1959: pl. 34. 14. Siren, lion, boar. Rosette, deer. catalogue of the attic early black-figured vases 169

Samos 1240: Vathý Museum, K1025. Wall fragments. Naukratis 1252: Oxford, Ashmolean Museum, Corfu Painter. Near Sophilos [Kreuzer]. 590-580. G137.10. Wall fragment. ABV 24.5. KX Painter. First Kreuzer, 1998a: pl. 28. 127. quarter of the sixth century. CVA Oxford, Ashmolean Animal frieze. Panther, siren. Museum 2: pl. 1. 10. Samos 1241: Vathý Museum, K940. Wall fragments. Feline, deer. Near Sophilos [Kreuzer]. 570-560. Kreuzer, 1998a: Naukratis 1253: Oxford, Ashmolean Museum, G128.7. pl. 29. 131. Lid fragment. ABV 24.9. KX Painter. First quarter of Animals. the sixth century. CVA Oxford, Ashmolean Museum Ialysos 1242: Rhodos, Archaeological Museum, 5008. 2: pl. 1. 1. ABV 24.1. KX Painter. 580. Lioutas, 1987: fig. G. Fig. Lion. 40. Naukratis 1254: Oxford, Ashmolean Museum, G128.9. Tondo: Whirligig. Body: Animal frieze. Sirens, li- Lid fragment. Near the Komast Group. 580-570. CVA ons, sphinxes, Akhilleus receiving his armour from Oxford, Ashmolean Museum 2: pl. 1. 13. Thetis, panthers, lotus palmette cross, panther, Panther, goat. rams, lions. Naukratis 1255: Alexandria, Graeco-Roman Museum, Ialysos 1243: Rhodos, Archaeological Museum, 6474. 9485. Wall fragment. Connected with the Komast ABV 24.2. KX Painter. 580. Lioutas, 1987: pl. 12. Group [Venit]. 580. Venit, 1988: pl. 63. 279. Tondo: Whirligig. Body: Frontal chariot between Animal friezes. Lion, goat. Hermes and a draped man with spear. Animal friez- Naukratis 1256: Oxford, Ashmolean Museum, G547. es. Sirens, lions, sphinxes, man, Hermes, lotus pal- Wall fragment. Sophilos [Bakır]. 580. Bakır, 1981: mette cross, deers, rams. pl. 65. A29. Sardeis 1244: Manisa, Archaeological Museum, Siren, panther. P 87.2:9382. Lid fragment. KY Painter [Ramage]. 580- Naukratis 1257: Alexandria, Graeco-Roman Museum, 560. Ramage, 1997: pl. 28. 45. Animal frieze. Bird or siren, panther. 9521. Lid fragment. Early sixth century. Venit, 1988: Sardeis 1245: Manisa, Archaeological Museum, pl. 62. 278. P 89.10:9633. Wall fragment. 580-570. Ramage, 1997: Lion. pl. 28. 44. Naukratis 1258: Cairo, Egyptian Museum, 14.9.18.8. Siren. Lid fragment. 600-570. Venit, 1988: pl. 63. 280. Naukratis 1246: Alexandria, Graeco-Roman Museum, Sphinx. 17030. Wall fragment. Manner of the Gorgon Painter Naukratis 1259: Cambridge, Fitzwilliam Museum, 99, [Venit]. 590-580. Venit, 1988: pl. 62. 275. N.170. Lid fragment. First quarter of the sixth century. Animal friezes. Felines, panther, sphinx or siren. CVA Cambridge, Fitzwilliam Museum 2: pl. 20. 9. Naukratis 1247: Toronto, Royal Ontario Museum Lion. 910.234.20. Lid fragment. Manner of the Gorgon Naukratis 1260: Alexandria, Graeco-Roman Museum, Painter [Venit]. 600-580. Venit, 1982: pl. CLXX. 9489. Wall fragment. First quarter of the sixth century. Lotus palmette chain. Venit, 1988: pl. 62. 277. Naukratis 1248: Oxford, Ashmolean Museum, Animal friezes. Felines, bird. G128.15. Lid fragment. ABV 20.3. Near the Keramei- Naukratis 1261: Cairo, Egyptian Museum, 14.9.18.2. kos Painter. Early sixth century. CVA Oxford, Ash- Wall fragment. First quarter of the sixth century. molean Museum, 2: pl. 1. 12. Venit, 1988: pl. 62. 276. Lion. Animal frieze. Panther, bird. Naukratis 1249: Oxford, Ashmolean Museum, Kyrene 1262: Kyrene Museum, Sb.284.6. Rim and wall 1912.33. Lid fragment. ABV 20.4. Near the Keramei- fragment. Komast Group [Moore]. 590-580. Moore, kos Painter. Early sixth century. CVA Oxford, Ash- 1987: pl. 29. 152. molean Museum 2: pl. 1. 12. Rim: Step pattern. Feline. Lion. Kyrene 1263: Kyrene Museum, Sb.255.1-2. Wall frag- Naukratis 1250: London, British Museum, B600.4. ments. The Komast Group VIII, Unallotted [Moore]. Wall fragment. KX Painter [Venit]. 580-570. Venit, 590-580. Moore, 1987: pl. 29. 153. 1982: pl. CLXVI. Animal friezes. Boar, lion. Animal friezes. Feline, caprid. Daskyleion 1264: Excavation, E143. Lid fragments. Naukratis 1251: Boston, Museum of Fine Arts, 88.952. Manner of the Gorgon Painter [Görkay]. 590-580. Wall fragment. ABV 27.32. KX Painter. First quarter Görkay, 1999: pl. 13. 157. of the sixth century. BAPD 300310. Rider. Panther, goat. 170 appendix i

Daskyleion 1265: Excavation, E473. Rim and wall Massalia 1279: Marseilles. Rim and wall fragment. fragment. KX Painter [Görkay]. 580-570. Görkay, 575. Villard, 1960: pl. 3. 11. 1999: pl. 13. 159 Rim: Step pattern. Feline. Rim: Step pattern. Body: Lion. Spain 1280: Madrid, Museo Arqueologico Nacional. Daskyleion 1266: Excavation, E168. Lid fragment. Wall fragment. Villaricos. ABV 24.4. KX Painter. 590- 575-570. Görkay, 1999: pl. 13. 158. 570. García y Bellido, 1948: pl. 129. 2. Rider. Animal frieze. Lion, sphinx. Daskyleion 1267: Excavation, E474. Lid fragment. First quarter of the sixth century. Görkay, 1999: pl. 13. Plate 160. Lion. Athenian Agora 1281: Athens, Agora Museum, Histria 1268: Bucarest, Institut d'Archéologie, V19889. P 6684. Wall fragments. Eridanos Workshop [Cal- Lid fragments. Manner of the KY Painter [Alexan- lipolitis-Feytmans]. Late first quarter of the sixth cen- drescu]. 580-570. Alexandrescu, 1978: pl. 38. 338. tury. Moore & Philippides, 1986: pl. 95. 1389. Animal friezes. Pegasos, siren, panther, goats. Silenoi. Histria 1269: Bucarest, Institut d'Archéologie, V8478. Athenian Agora 1282: Athens, Agora Museum, Wall fragment. First quarter of the sixth century. Ale- P 22268. Floor fragments. Eridanos Workshop [Cal- xandrescu, 1978: pl. 37. 333. lipolitis-Feytmans]. Late first quarter of the sixth cen- Animal friezes. Bird. tury. Moore & Philippides, 1986: pl. 95. 1390. Cortona 1270: Cortona, Museo dell’Accademia Animals. Etrusca. Lid fragment. Circle of the Gorgon Painter Athenian Agora 1283: Athens, Agora Museum, [Paribeni]. 580. Grassi, 1992: 147, no. 3. P 6684. Wall fragment. First quarter of the sixth cen- Animal frieze. Man, lion, feline. tury. Moore & Philippides, 1986: pl. 95. 1388. Cortona 1271: Cortona, Biblioteca Comunale. Lid Sphinx. fragment. 580-575. Grassi, 1992: 155, no. 8. Athenian Agora 1284: Athens, Agora Museum, Feline. P 4240. Floor fragment. Type AII. First quarter of the Kymai 1272: Los Angeles [CA], Merlo Collection. Rim sixth century. Callipolitis-Feytmans, 1974: pl. 52. and wall fragment. ABV 19.7. Para 12. Kerameikos Sphinx, feline. Painter. Early sixth century. Gabrici, 1913: 475, fig. Athenian Agora 1285: Athens, Agora Museum, 178. P 13828. Fragments. Type AII. 600-570. Callipolitis- Rim: Linear pattern. Body: Sphinx. Feytmans, 1974: fig. 39. Gravisca 1273: Excavation, 77/11777. Lid fragment. Lines black, red, white. Manner of the KX Painter [Iacobazzi]. 580-570. Iaco- Akropolis 1286: Athens, National Museum, Akropo- bazzi, 2004: fig. 11. lis Collection, 1.515. Wall fragment. ABV 10.20. Para Feline. 7. Add2 3. Gorgon Painter. Early sixth century. Calli- Gravisca 1274: Excavation. Lid fragment. 580-570. politis-Feytmans, 1974: pl. 14. 2. Iacobazzi, 2004: fig. 82. Tondo: Whirligig pattern. Animal frieze. Sphinxes. Sphinx. Akropolis 1287: Athens, National Museum, Akropo- Sybaris 1275: Sybaris, Antiquarium, St. 26787. Wall lis Collection, 1.514. Fragment. ABV 10.21. Add2 3. fragment. Manner of the KX Painter [Pagliardi]. Late Gorgon Painter. Early sixth century. Callipolitis-Feyt- first quarter of the sixth century. Parliardi, Spigo & mans, 1974: pl. 15. 3. Rota, 1972: 53, fig. 43. 203. Animal friezes. Sphinxes and lions. Siren. Akropolis 1288: Athens, National Museum, Akropo- Megara Hyblaia 1276: Syracuse, Museo Archeologico lis Collection, 1.483. Fragments. 600. Callipolitis-Feyt- Regionale Paolo Orsi, 7/174. Wall fragment. Early sixth mans, 1974: pl. 2. century. Vallet &Villard 1964: 96. Animal friezes. Tondo: Floral ornament. Animal frieze. Akropolis 1289: Athens, National Museum, Akropo- Selinous 1277: Palermo, Museo Archeologico Regio- lis Collection, 1.482. Rim fragment. Early sixth cen- nale. Rim and wall fragment. Androsiren Painter tury. Callipolitis-Feytmans, 1974: pl. 3. 4. [Paoletti]. 600. De la Genière, 1991, 135, fig. 1A-B. Lotus palmette chain. Rim: Step pattern. Lion. Akropolis 1290: Athens, National Museum, Akropo- Ragusa 1278: Ragusa, Museo, 6. Nekropolis of Rito. lis Collection, 1.482bis. Rim fragment. Early sixth cen- Ragusa Group [Boardman]. Early sixth century. Di tury. Callipolitis-Feytmans, 1974: pl. 3. 5. Vita, 1959: fig. 3. Lotus palmette chain. Animal friezes. Water birds, deer, panthers, swan, Akropolis 1291: Athens, National Museum, Akropo- lions. lis Collection, 1.519. Fragmentary. 600. catalogue of the attic early black-figured vases 171

Animal friezes. Lions, panthers, sphinxes, sirens, Vári 1302: Athens, National Museum. Body and rim boar. fragment. Anagyrous Painter [Callipolitis-Feytmans]. Akropolis 1292: Athens, National Museum, Akropo- First quarter of the sixth century. Callipolitis-Feyt- lis Collection, 1.517. Rim fragment. Early sixth cen- mans, 1974: pl. 18. 9. tury. DAI Photo Archive, no. 93. Rim: Lotus palmette chain. Body: Lions, sphinxes, Lotus-palmette chain. arranged above and below a central circle. Akropolis 1293: Athens, National Museum, Akropo- Vári 1303: Athens, National Museum, 19173. Lotus lis Collection, 1.518. Rim fragment. Early sixth cen- Painter [Callipolitis-Feytmans]. Late first quarter of tury. DAI Photo Archive, no. 93. the sixth century. Callipolitis-Feytmans, 1974: pl. 17. Lion. 1. Akropolis 1294: Athens, National Museum, Akropo- Lions. lis Collection, 1.520. Rim fragment. Early sixth cen- Vári 1304: Athens, National Museum. Rim and floor tury. DAI Photo Archive, no. 93. fragments. Lotus Painter [Callipolitis-Feytmans]. 530- Lion, bird. 520? Callipolitis-Feytmans, 1974: pl. 71. 2. Akropolis 1295: Athens, National Museum, Akropo- Lions. lis Collection. Wall fragment. Type AII. 600-570. Cal- Vári 1305: Athens, National Museum. Wall fragments. lipolitis-Feytmans, 1974: pl. 52. First quarter of the sixth century. Callipolitis-Feyt- Animal frieze. Lion, siren or sphinx. mans, 1974: pl. 3. 3. Akropolis South Slope 1296: Athens, Fetiche Tjami, Tondo composition. Swan. 1959NAK792. Wall fragment. Maybe by the Gorgon Korinthos 1306: Korinthos Museum, C-29-154. Part Painter [Papadopoulou-Kanellopoulou]. Early sixth of the floor. 590-580. Brownlee, 1987: pl. 16. 35. century. Papadopoulou-Kanellopoulou, 1972: pl. 93. Floral ornament. On the underside, rider. 105. Naxos 1307: Naxos Museum, AE 76b/137. Wall frag- Tondo: Whirligig pattern. Body: Animal frieze. ment. 580-570. Bikakis, 1985: pl. 34. Sphinx, cock. Potnia theron with siren. Kerameikos 1297: Athens, Kerameikos Museum. Wall Lesbos 1308: Excavation. Fragment from the floor. fragments. ABV 19.6. Kerameikos Painter. 580. Kübler, First quarter of the sixth century. Williams & Wil- 1970: pl. 92. 100. liams, 1986: pl. 2. Tondo: Lotus palmette cross. Feline, bird. Kerameikos 1298: Athens, Kerameikos Museum, 43. Naukratis 1309: London, British Museum, B601.25 Para 12.7bis. Add2 6. Kerameikos Painter. 590. Kübler, and 601.23, Oxford, Ashmolean Museum, G128, 1970: pl. 98. 109. Toronto, Royal Ontario Museum, c46. Fragments. Tondo: Lotus palmette cross. Animal friezes. Deers, ABV 9.19. Gorgon Painter. Early sixth century. Cal- lions, sirens, goats. lipolitis-Feytmans, 1974: pl. 15. 4. Vári 1299: Athens, National Museum, Vlastos Col- Tondo: Gorgoneion. Animal friezes. Lotus palmette, lection. ABV 13.47. Manner of the Gorgon Painter lion, horse. Rim: Animal frieze. Sphinxes, lions. [Vlastos]. Early sixth century. BAPD 300130. Naukratis 1310: Brussels, Musées Royaux, A1862. Gorgon. Fragment from the floor of a stemmed plate. Sophilos Vári 1300: Athens, National Museum, 19171. ABV or near him [Venit]. 570. CVA Brussels, Musées 21.4. Add2 6. Anagyrous Painter. First quarter of the Royaux d'Art et d'Histoire 3: pl. 28. 11. sixth century. Fig. 26. Geese. Tondo: Gorgon. Floral ornaments. Provenance Unknown 1311: Baltimore, Walters Art Vári 1301: Athens, National Museum. Body and rim Gallery, 48.215. ABV 9.18. Para 7, Add2 3. Gorgon fragment. Para 13. Add2 7. Anagyrous Painter. First Painter. Early sixth century. Callipolitis-Feytmans, quarter of the sixth century. Callipolitis-Feytmans, 1974: pl. 14. 1. 1974: pl. 17. 8. Tondo: Gorgoneion. Animal friezes. Rider, lions, Rim: Chain of floral ornaments. Body: Sphinx. sirens, owls, goats.

OIL, PERFUME, COSMETIC CONTAINERS

Lekythos Kerameikos 1313: Athens, Kerameikos Museum, 23. Black-glazed. 580. Kübler, 1970: pl. 103. 111. Athenian Agora 1312: Athens, Agora Museum, Shoulder: Two parallel red lines. P 3287. 600. Moore & Philippides, 1986: pl. 73. 787. Palmette floral, cocks. 172 appendix i

Sounion 1314: Athens, National Museum, 14933. Selinous 1327: Basel, Market, Munzen und Medaillen Ragusa Group [Boardman]. First quarter of the sixth A.G. Painter of Istanbul 7314 [Bakır]. Early sixth cen- century. Stais, 1917: pl. 8. 4.2. tury. Hornbostel, 1980: 56-57, no. 43. Lions. Lotus palmette chain. Riders. Flying eagle. Athens 1315: Munich, Antikensammlungen, 1840. Spain 1328: Barcelona, Museo Arqueologico. Ampu- Manner of the KX Painter [Lullies]. 580. CVA Munich, rias. Para 14.10bis. Group of the Dresden Lekanis. Museum Antiker Kleinkunst 3: pl. 137.1-4. First quarter of the sixth century. Birds, panthers, sirens. Animal friezes. Lion, eagle, sirens. Korinthos 1316: London, British Museum, B30. ABV Provenance Unknown 1329: London, private. ABV 11.20. Manner of the Gorgon Painter [Payne]. 9.17. Gorgon Painter. Early sixth century. Haspels, Deianeira Painter [Williams]. 580. Williams, 1986: fig. 1936: pl. 1. 3. 1a-c. Fig. 27. Lotus palmette cross between sirens. Swan. Dogs chasing hare. Herakles pursuing Nessos, who Provenance Unknown 1330: Berlin, Antikensammlun- is holding Deianeira. Panther. gen, 3746. ABV 11.19. Para 8. Manner of the Gorgon Korinthos 1317: Korinthos Museum, CP-2583. Wall Painter [Payne]. Deianeira Painter [Williams]. 580. fragment. 590-580. Brownlee, 1987: pl. 14. 7 Williams, 1986: fig. 2a. Feline. Dragon with head of a man. Man running between Korinthos 1318: Korinthos Museum, CP-2584. Wall lions. Male protome. fragment. 590-580. Brownlee, 1987: pl. 14. 8. Provenance Unknown 1331: London, British Museum, Siren. 1931.8-10.1. ABV 11.17. Para 8. Manner of the Gorgon Korinthos 1319: Korinthos Museum, CP-2585. Wall Painter. Early sixth century. Haspels, 1936: pl. 1. 1. fragment. 590-580. Brownlee, 1987: pl. 14. 9. Lotus palmette chain. Animal frieze. Bird, lion, deer. Siren or sphinx. Provenance Unknown 1332: Istanbul, Archaeological Rhitsóna 1320: Thebes Museum, 49.255. First quarter Museum, 7314. ABV 11.18. Painter of Istanbul 7314 of the sixth century. Ure, 1927: pl. 13. [Bakır]. 590-580. Bakır, 1978: fig. 1. 2. Siren. Lotus palmette chain. Lions attacking deer. Flying Boiotia 1321: Paris, Musée du Louvre, CA823. ABV eagle. 12.23. Add2 3. Painter of Istanbul 7314 [Bakır]. 590- Provenance Unknown 1333: Florence, Museo Arche- 580. Bakır, 1978: fig. 12a. ologico Etrusco, 3740. ABV 12.21. Manner of the Gor- Herakles fighting Nereus. Helmet between lions, gon Painter [Beazley]. Painter of the London Olpai eagle. Pitane 1322: Excavation. Painter of Berlin 1659 [Tuna- [Williams]. Early sixth century. Esposito & Tommaso, Nörling]. 585-575. Tuna-Nörling, 1995: pl. 39. 99. 1993: 16, fig. 3. Fig. 45. Bird, bird or siren. Part of a griffin-bird. Woman between lion and panther. Kameiros 1323: Berlin, Antikensammlung, F1659. Provenance Unknown 1334: Buffallo (NY), Albright ABV 20.1, Add2 6. Painter of Berlin 1659 [Bakır]. 585- Art Gallery, G600. ABV 12.22. Para 8. Manner of the 575. Bakır, 1982: figs. 1-9. Gorgon Painter. Early sixth century. Boardman, 1974: Animal friezes. Lion, goats, floral, lotus palmette fig. 15. cross, swan, sirens, cocks. Silenos riding on a donkey, which bites a nymph. Cyprus 1324: Nicosia, Cyprus Museum, 1958IV223. Provenance Unknown 1335: Basel, Market, Auctiones Marion. Para 8.19bis, Add2 3. Manner of the Gorgon A.G. Wall fragment. Painter of Istanbul 7314 [Bakır]. Painter [Robertson]. Deianeira Painter [Williams]. 590-580. Bakır, 1978: fig. 10. 580. Williams, 1986: fig. 3. Fig. 44. Lions attacking deer. Flying bird. Man in boots and khitoniskos between lions. Head Provenance Unknown 1336: Basel, Herbert A. Cahn of a man. Lions chasing hare. Collection, 914, 920, 1410. Painter of the London Olpai Naukratis 1325: Boston, Museum of Fine Arts, 88.827, [Williams]. 590. Kreuzer, 1992: 29, no. 18. London, British Museum, 1965.9-30.843. Wall frag- Running woman flanked by panthers. Male pro- ment. ABV 13.45. Para 8.45. Add2 4. Manner of the tome. Gorgon Painter [Beazley]. Deianeira Painter [Wil- Provenance Unknown 1337: Cologny, Fondation liams]. 580. Venit, 1982: pl. CXLII. Martin Bodmer. Painter of Berlin 1659 [Bakır]. 590. Herakles fighting Nereus. Bakır, 1978: pls. 19-20. Egypt 1326: Brussels, Musées Royaux, A1368. Body. Lion. ABV 12.24. Painter of Istanbul 7314 [Bakır]. Early sixth century. Bakır, 1978: figs. 22-23. Rider. Panther. catalogue of the attic early black-figured vases 173

Aryballos Provenance Unknown 1351: Hannover. Kirchrode, Collection G. Lützow. First quarter of the sixth cen- Athenian Agora 1338: Athens, Agora Museum, tury. Benson, 1953: pl. 4. P 25784. Para 21. Polos Painter. 625-575. Callipolitis- Swan, birds. Feytmans, 1976: fig. 7. Provenance Unknown 1352: Cambridge, Fitzwilliam Sirens, sphinx. Museum, GR12.1932. 625-575. CVA Cambridge, Fitz- Kerameikos 1339: Athens, Kerameikos Museum, 60. william Museum 2: pl. 15.10. First quarter of the sixth century. Kübler, 1970: pl. 77. Siren, panthers. 92. Fig. 28. Boar, lion. Kalývia 1340: Athens, National Museum, Vlastos Col- Exaleiptron lection. ABV 49.4. Companion of the Polos Painter. First quarter of the sixth century. Beazley, 1944: pl. 8. Akropolis 1353: Athens, National Museum, Akropo- 3. lis Collection, 1.506. ABV 9.10. Gorgon Painter. 600. Swans, sirens. Graef & Langlotz, 1925: pl. 19. 506. Keratéa 1341: Athens. Close to the Polos Painter? Animal friezes. Lion, sirens, florals. [Buchholtz]. 580. Akropolis 1354: Athens, National Museum, Akropo- Lion. lis Collection, 1.504. ABV 25.14. KX Painter. 580. Anavyssos 1342: Athens, National Museum, 20052. Graef & Langlotz, 1925: pl. 20. 504. 625-575. Callipolitis-Feytmans, 1976: fig. 12. Animal friezes. Floral ornament, sirens, panthers, Lotus palmette floral, panthers, swan. boar, lions. Delos 1343: Delos, Archaeological Museum, B6200. Vári 1355: Athens, National Museum, 19172. Para 7. Para 22.5bis. Companion of the Polos Painter. First Gorgon Painter [Scheibler]. 600. Scheibler, 1964: figs. quarter of the sixth century. Dugas, 1928: pl. 32. 478. 18-19. Fig. 29. Panther, lions,flying eagle, sirens. Rim: Animal frieze. Panthers, sirens, deers. Body: Delos 1344: Delos, Archaeological Museum, B309. Birds. First quarter of the sixth century. Dugas, 1928: pl. 26. Aigina 1356: Paris, Musée du Louvre, CA927. ABV 351. 25.13. KX Painter. First quarter of the sixth century. Swan, lions? Payne, 1931: pl. 51. 3. Kameiros 1345: Berlin, Antikensammlungen, F1093. Sirens, lions, boars, panthers, goats, sphinxes, man, 625-575. Callipolitis-Feytmans, 1976: fig. 10. sirens. Flying eagle, lions. Korinthos 1357: Korinthos, Museum, CP-2575. Frag- Provenance Unknown 1346: London, British Museum, ment of the flat circular band on the top. Group of 1930.12-17.1, ABV 49.5. Connected to the Polos the Dresden Lekanis [Amyx & Lawrence]. Early sixth Painter. First quarter of the sixth century. Beazley, century. Amyx & Lawrence, 1975: pl. 42. 1944: pl. 8. 2. Feline. Sirens, panther. Samos 1358: Vathý Museum, K1240. Fragments. Kera- Provenance Unknown 1347: Dallas (TX), Museum meikos Painter [Kreuzer]. 600-590. Kreuzer, 1998a: of Fine Arts, 1968.29. Compare to the Polos Painter pl. 24. 101. [Boardman]. First quarter of the sixth century. Hoff- Animal friezes. Sirens, swans. mann, 1970: 337-339, no. 162. Ialysos 1359: Rhodos, Archaeological Museum, 13099. Animal friezes. Sphinxes, sirens, lions, panthers, Fragments. Kerameikos Painter [Kreuzer]. 600-590. birds. Kreuzer, 1998c: figs. 16-17. Provenance Unknown 1348: Athens, National Rim: Swans. Body: Animal friezes. Deer, panther, Museum, 20054. First quarter of the sixth century. lion. Callipolitis-Feytmans, 1976: fig. 7. Provenance Unknown 1360: Berlin, Staatliche Mus- Swan, lions. seen, 3328. 600. Scheibler, 1964: figs. 1-4. Provenance Unknown 1349: Athens, National Rim: Birds. Body: Ornaments. Museum, 916. 625-575. Callipolitis-Feytmans, 1976: fig. 8. Flying eagle, lions. Amphoriskos Provenance Unknown 1350: Athens, British School, Boiotia 1361: Bonn, Akademisches Kunstmuseum, A346. First quarter of the sixth century. Callipolitis- 597. ABV 14.2. Add2 4. Painter of Istanbul 7314 Feytmans, 1976: fig. 11. [Bakır]. 580. Kilinski, 1990: pl. 1. Fig. 30. Sirens, swan. Two lions attacking a deer. 174 appendix i

Kameiros 1362: London, British Museum, 64.10- Kerameikos 1374: Athens, Kerameikos Museum, 44. 7.160. ABV 12.27. Add2 4. Manner of the Gorgon 580. Kübler, 1970: pl. 100. Painter. 590-580. BAPD 300110. Siren, lions. Neck: SOS pattern. Body: Lotus palmette chain. Thorikos 1375:Thorikos, Excavation, TC 63.25. Tocra 1363: Tocra Museum and Store Room, 1032. Ragusa Group [Boardman]. First quarter of the sixth Painter of Istanbul 7314 [Bakır]. 590-580. Boardman century. Mussche et al., 1968: 72, fig. 79. & Hayes, 1966: pl. 74. 1032. Birds. Shoulder: Lion. Body: Two confronted lions, lotus- Thorikos 1376:Thorikos, Excavation, TC 63.1546. palmette. Wall fragments. Ragusa Group. First quarter of the Provenance Unknown 1364: Berlin, Antikenmuseum, sixth century. Devillers, 1988: pl. 20. 371. F3983. Painter of Istanbul 7314 [Bakır]. 590-580. Birds. Bakır, 1978: figs. 24-26. Eleusis 1377: Eleusis Museum. Late seventh, early Lotus-palmette flanked by sphinxes. Flying eagle. sixth century. Mylonas, 1975: pl. 253. 202. Provenance Unknown 1365: Basel, Herbert A. Cahn Animal frieze. Swans? Collection, HC836. Painter of Istanbul 7314 [Bakır]. Eleusis 1378: Eleusis Museum. Late seventh, early 590-580. Bakır, 1978: fig. 10. sixth century. Mylonas, 1975: pl. 253. 203. Two lions attacking a deer. Korinthos 1379: Korinthos Museum, C-26-66. Frag- Provenance Unknown 1366: Berlin, Antikenmuseum, ment. 575-550. Brownlee, 1987: pl. 14. 10. 4874. Painter of Berlin 1659. 580. Bakır, 1982: pls. Swan. 27-29. Provenance Unknown 1380: Boston, Museum of Fine Lions, sirens. Arts, F560. ABV 41.27. Sophilos. Bakır, 1981: pls. 26-29. Animal friezes. Lions, sirens, sphinxes, panthers, Pyxis boars, goats. Athenian Agora 1367: Athens, Agora Museum, P 2036. Body and rim fragment. First quarter of the Support (of unknown shapes) sixth century. Moore & Philippides, 1986: pl. 89. 1265. Athenian Agora 1381: Athens, Agora Museum, Lion. P 17155. Wall fragment. Close to the Painter of Berlin Akropolis 1368: Athens, National Museum, Akropo- A34 [Moore & Philippides]. 630-620. Moore & Philip- lis Collection, 1.510. Fragment. ABV 22.10. Group of pides, 1986: no. 588. the Dresden Lekanis. First quarter of the sixth century. Woman. Graef & Langlotz, 1925: pl. 21. 510. Athenian Agora 1382: Athens, Agora Museum, Woman between sphinxes or sirens. P 22695. Wall fragments. Third quarter of the seventh Akropolis 1369: Athens, National Museum, Akropo- century. Moore & Philippides, 1986: pl. 55. 587. lis Collection, 1.505. Foot and rim fragment. First Swan. quarter of the sixth century. DAI Photo Archive, no. Athenian Agora 1383: Athens, Agora Museum, 87. P 10652. Wall fragment. Late seventh century. Moore Lotus palmette chain. & Philippides, 1986: pl. 55. 589. Akropolis 1370: Athens, National Museum, Akropo- Woman. lis Collection, 1.507. Body and foot fragment. First Athenian Agora 1384: Athens, Agora Museum, quarter of the sixth century. DAI Photo Archive, no. P 25375. Wall fragment. Para 9. Compare to the man- 190. ner of the Gorgon Painter [Moore & Philippides]. Lotus palmette chain. Early sixth century. Moore & Philippides, 1986: pl. 51. Akropolis 1371: Athens, National Museum Collection, 531. 1.511. Wall fragment. 570. DAI Photo Archive, no. Lotus palmette cross. 89. Athenian Agora 1385: Athens, Agora Museum, Lion. P 23215. Wall fragment. Gorgon Painter or his man- Akropolis 1372: Athens, National Museum Collection, ner [Moore & Philippides]. Early sixth century. Moore 1.512. Wall fragment. First quarter of the sixth century. & Philippides, 1986: pl. 51. 532. DAI Photo Archive, no. 187. Lion or panther. Horse. Athenian Agora 1386: Athens, Agora Museum, Kerameikos 1373: Athens, Kerameikos Museum, 687. P 25368. Wall fragment. Close to the Panther Painter. ABV 20.2. Add2 6. Painter of Berlin 1659. 590. Kübler, Early sixth century. Moore & Philippides, 1986: pl. 51. 1970: pl. 99. Fig. 31. 534. Animal friezes. Siren, panthers, swan, cocks, goats. Animal friezes. Ram or bull. catalogue of the attic early black-figured vases 175

Athenian Agora 1387: Athens, Agora Museum, tury. Moore & Philippides, 1986: pl. 51. 539. P 20651. Wall fragment. Kerameikos Painter [Philip- Panther. paki]. First quarter of the sixth century. Moore & Athenian Agora 1399: Athens, Agora Museum, Philippides, 1986: pl. 51. 535. P 23097. Ragusa Group [Boardman]. First quarter of Animal friezes. Feline, lions. the sixth century. Moore & Philippides, 1986: pl. 56. Athenian Agora 1388: Athens, Agora Museum, 593. P 24949a-c. Wall fragments. Kerameikos Painter Lion, animal. [Moore & Philippides]. First quarter of the sixth cen- Athenian Agora 1400: Athens, Agora Museum, tury. Moore & Philippides, 1986: pl. 51. 536. P 22471. Wall fragments. 580-570. Moore & Philip- Animal friezes. Man, panther, boar, felines. pides, 1986: no. 543. Athenian Agora 1389: Athens, Agora Museum, Sphinx, feline. P 24949e. Wall fragment. Kerameikos Painter [Moore Athenian Agora 1401: Athens, Agora Museum, & Philippides]. First quarter of the sixth century. P 23222. Wall fragment. Late first quarter of the sixth Moore & Philippides, 1986: no. 537. century. Moore & Philippides, 1986: no. 544. Animal frieze. Feline, siren. Male figure. Athenian Agora 1390: Athens, Agora Museum, Athenian Agora 1402: Athens, Agora Museum, P 5112. Wall fragment. ABV 21.3. Anagyrous Painter. P 23222. Wall fragment. Late first quarter of the sixth First quarter of the sixth century. Moore & Philip- century. Moore & Philippides, 1986: no. 545. pides, 1986: pl. 52. 540. Feline. Lion. Akropolis 1403: Athens, National Museum, Akropo- Athenian Agora 1391: Athens, Agora Museum, lis Collection, 1.385. Wall fragment. ABV 7.ε. Near P 13345. Wall fragment. ABV 22.14. Group of the the Nessos Painter. Last quarter of the seventh century. Dresden Lekanis. First quarter of the sixth century. Graef & Langlotz, 1925: pl. 14. Moore & Philippides, 1986: pl. 52. 541. Panther. Sphinx. Akropolis 1404: Athens, National Museum, Akropo- Athenian Agora 1392: Athens, Agora Museum, lis Collection, 1.386. Wall fragment. Last quarter of P 24651. Wall fragment. Group of the Dresden Lekanis the seventh century. DAI Photo Archive, no. 386. [Moore & Philippides]. Late first quarter of the sixth Sphinx? century. Moore & Philippides, 1986: pl. 56. 591. Akropolis 1405: Athens, National Museum, Akropo- Sphinx. lis Collection, 1.388. Wall fragment of a support? 600- Athenian Agora 1393: Athens, Agora Museum, 590. Hünnekens, 1987: pl. 162. P 25354. Wall fragment. Compare to the Group of the Swan. Dresden Lekanis [Moore & Philippides]. Late first Akropolis 1406: Athens, National Museum, Akropo- quarter of the sixth century. Moore & Philippides, lis Collection, 1.472. Wall fragment. ABV 27.1. KX 1986: pl. 56. 592. Painter. First quarter of the sixth century. Graef & Sphinx or siren. Langlotz, 1925: pl. 18. Athenian Agora 1394: Athens, Agora Museum, Animal friezes. Sphinxes, sirens. P 8779. Wall fragments. ABV 40.22. Sophilos. 580. Akropolis 1407: Athens, National Museum, Akropo- Moore & Philippides, 1986: pl. 52. 542. lis Collection, 1.484. Wall fragments. ABV 42.1. Con- Boar, feline. temporary of Sophilos. 570. Bakır, 1981: pl. 87. C3. Lions, khimaira. Athenian Agora 1395: Athens, Agora Museum, Akropolis 1408: Athens, National Museum, Akropo- P 2034. ABV 21.3. Painter of Eleusis 767. First quarter lis Collection, 1.584. Wall fragments. ABV 43.1. Near of the sixth century. Moore & Philippides, 1986: pl. 55. Sophilos. 570. Bakır, 1981: pl. 83. B20. 590. Panthers or lions. Man with staff between sphinxes. Sphinx. Kerameikos 1409: Athens, Kerameikos Museum. Wall Athenian Agora 1396: Athens, Agora Museum, fragment. Nessos Painter [Hünnekens]. Last quarter P 26638. Early sixth century. Moore & Philippides, of the seventh century. Hünnekens, 1987: pl. 103. 1-3. 1986: pl. 51. 533. Step pattern. Khimaira. Vári 1410: Athens, National Museum, 19157. Last Athenian Agora 1397: Athens, Agora Museum, quarter of the seventh century. Fig. 54. P 23090. Wall fragment. First quarter of the sixth cen- Floral patterns. tury. Moore & Philippides, 1986: pl. 51. 538. Thorikos 1411: Thorikos, Excavation, TC 66.300, TC Siren or sphinx. 68.1116. Ragusa Group [Boardman]. First quarter of Athenian Agora 1398: Athens, Agora Museum, the sixth century. Blondé, 1978: figs. 65-67. P 22308. Wall fragment. First quarter of the sixth cen- Birds, sirens, lions. 176 appendix i

Thorikos 1412:Thorikos, Excavation, TC 68.896. First Athenian Agora 1425: Athens, Agora Museum, quarter of the sixth century. Blondé, 1978: figs. 68-71. P 11400. Lid fragment. ABV 6.3. Para 5.3. Near the Sirens, birds, lions. Nessos Painter. 620-610. Moore & Philippides, 1986: Brauron 1413: Brauron Museum, 1131. Late seventh pl. 94. 1363. century. Unpublished. Swans. Loop pattern. Athenian Agora 1426: Athens, Agora Museum, Brauron 1414: Brauron Museum, 1124. Wall fragment P 25654. Lid fragment. 620. Moore & Philippides, of a support? KX Painter [author]. First quarter of the 1986: pl. 94. 1361. sixth century. Unpublished. Horse. Male figure, siren? Athenian Agora 1427: Athens, Agora Museum, Rhamnous 1415: Excavation, 266a-b. Two non-join- P 9512. Lid fragment. Last quarter of the seventh cen- ing fragments. Compare to the Group of the Dresden tury. Moore & Philippides, 1986: pl. 94. 1364. Lekanis [author]. 580-570. Petrakos, 1999: 186, fig. Boar. 112. Athenian Agora 1428: Athens, Agora Museum, Animal friezes. Lion, sirens. P 24906. Lid fragment. Late seventh century. Moore Rhamnous 1416: Excavation, 423. Two non-joining & Philippides, 1986: pl. 94. 1365. fragments. Compare to the Group of the Dresden Uncertain subject. Lekanis [author]. 580-570. Unpublished. Athenian Agora 1429: Athens, Agora Museum, Animal friezes. Lions, siren. P 20552. Lid fragment. Late seventh or early sixth cen- Eleusis 1417: Eleusis Archaeological Museum. Wall tury. Moore & Philippides, 1986: pl. 94. 1366. fragment. ABV 4.2. Para 5.I.2. Near the Nessos Painter. Uncertain subject. By the same hand: Hymettos 841, Athenian Agora 3 Athenian Agora 1430: Athens, Agora Museum, (author). Hünnekens, 1987: pls. 177, 1-3. Fig. 51. P 22466. Lid fragment. ABV 8.5. Gorgon Painter. Early Lion. sixth century. Moore & Philippides, 1986: pl. 94. 1367. Aigina 1418: Aigina Museum, 2844. Wall fragment Siren. of a support? Peiraieus Painter [Hünnekens]. Last Athenian Agora 1431: Athens, Agora Museum, quarter of the seventh century. Hünnekens, 1987: pl. 8, P 6176. Lid fragment. ABV 10.27. Gorgon Painter. 1-2. 600-590. Moore & Philippides, 1986: pl. 94. 1368. Zig-zag ornament. Feline, lion. Aigina 1419: Aigina Museum. Wall fragment of a sup- Athenian Agora 1432: Athens, Agora Museum, port? Workshop of the Nessos Painter [Hünnekens]. P 26439. Lid fragment. Gorgon Painter or his manner Last quarter of the seventh century. Unpublished. [Moore & Philippides]. Early sixth century. Moore & Hünnekens, 1987: pl. 6. 1-2. Philippides, 1986: pl. 94. 1370. Ornament. Lion. Aigina 1420: Aigina Museum. Wall fragment. Nessos Athenian Agora 1433: Athens, Agora Museum, Painter [Hünnekens]. Last quarter of the seventh cen- P 26536. Lid fragment. First quarter of the sixth century. Unpublished. Hünnekens, 1987: pl. 4. 1-3. tury. Moore & Philippides, 1986: pl. 94. 1369. Ornaments. Feline, sphinxes, sirens. Aigina 1421: Aigina Museum. Wall fragment. Near Athenian Agora 1434: Athens, Agora Museum, the Nessos Painter? 610-600. Kraiker, 1951: pl. 43. 580. P 21569. Lid fragment. Early sixth century. Moore & Feline? Philippides, 1986: pl. 94. 1371. Aigina 1422: Aigina Museum. Wall fragment of a sup- Lion. port? Late seventh century. Kraiker, 1951: pl. 43. 558. Athenian Agora 1435: Athens, Agora Museum, Feline? Floral ornament. P 17831. Rim fragment. 580. Moore & Philippides, Aigina 1423: Aigina Museum, 1996. Wall fragment. 1986: pl. 94. 1372. 600. Unpublished. Hünnekens, 1987: pl. 5. 1-4. Forepart of a man. Swan. Athenian Agora 1436: Athens, Agora Museum, P 3666 a, b, e. Lid fragments. First quarter of the sixth cen- Lid tury. Moore & Philippides, 1986: no. 1373. Animal friezes. Sirens, geese. Athenian Agora 1424: Athens, Agora Museum, Athenian Agora 1437: Athens, Agora Museum, P 17337. Lid fragment. Near the Nessos Painter P 3666c. Lid fragment. First quarter of the sixth cen- [Moore & Philippides]. 620-610. Moore & Philippides, tury. Moore & Philippides, 1986: no. 1374. 1986: pl. 94. 1362. Feline, boar. Floral. catalogue of the attic early black-figured vases 177

Athenian Agora 1438: Athens, Agora Museum, Fragments P 3666d. Lid fragment. Late first quarter of the sixth century. Moore & Philippides, 1986: no. 1375. Athenian Agora 1450: Athens, Agora Museum, Lion. P 26290. Wall fragment of a closed vessel. Manner of Akropolis 1439: Athens, National Museum, Akropo- the Gorgon Painter [Moore & Philippides]. First quar- lis Collection, 1.392. Lid fragment. Late seventh center of the sixth century. Moore & Philippides, 1986: tury? Graef & Langlotz, 1925: pl. 14. 392. pl. 119. 1857. Loop pattern. Lion. Akropolis 1440: Athens, National Museum, Akropo- Athenian Agora 1451: Athens, Agora Museum, lis Collection, 1.539. Fragment. ABV 20. Painter of P 25353. Wall fragment of an open vessel. Para 9. Berlin 1659. First quarter of the sixth century. Compare the manner of the Gorgon Painter. Late first Floral, cocks. Lion. quarter of the sixth century. Moore & Philippides, Akropolis 1441: Athens, National Museum, Akropo- 1986: pl. 121. 1911. lis Collection, 1.536. Two non-joining fragments. First Goose. quarter of the sixth century. DAI Photo Archive, no. Athenian Agora 1452: Athens, Agora Museum, 97. P 18567. Wall fragment of an open vessel. Maybe by Water birds. Sophilos [Moore & Philippides]. 580. Moore & Philip- Akropolis 1442: Athens, National Museum, Akropo- pides, 1986: pl. 121. 1912. lis Collection, 1.537a-b. Two wall fragments. First Frontal chariot. Old man inscribed XOΣ. quarter of the sixth century. DAI Photo Archive, no. Athenian Agora 1453: Athens, Agora Museum, 95. P 7036. Shoulder fragment of a closed vessel. ABV Water birds. 22.12. Group of the Dresden Lekanis. Late first quar- Akropolis 1443: Athens, National Museum, Akropo- ter of the sixth century. Moore & Philippides, 1986: lis Collection, 1.538. Wall fragment. First quarter of pl. 119. 1859. the sixth century. DAI Photo Archive, no. 95. Woman between sphinxes. Water birds. Akropolis 1454: Athens, National Museum, Akropo- Kerameikos 1444: Athens, Kerameikos Museum. lis Collection, 1.491. ABV 10.22. Gorgon Painter. Early Fragments. ABV 12.29. Manner of the Gorgon Painter. sixth century. Karouzou, 1937: pl. 64. 1. Early sixth century. BAPD 300112. Siren or sphinx. Animal friezes. Geese, sirens, goat, panther, lion, Akropolis 1455: Athens, National Museum, Akropo- floral, lotus palmette cross. lis Collection. ABV 12.32. Manner of the Gorgon Kerameikos 1445: Athens, Kerameikos Museum. Painter or the painter himself. Early sixth century. Fragment. ABV 12.30. Manner of the Gorgon Painter. Beazley, 1944: pl. 2. 3. Early sixth century. BAPD 300113. Lion. Lotus palmette cross. Akropolis 1456: Athens, National Museum, Akropo- Athens 1446: Heidelberg, Ruprecht-Karls Universität, lis Collection, 1.764. ABV 13.44. Manner of the Gor- 198. Lid fragment. Last quarter of the seventh century. gon Painter. Early sixth century. Graef & Langlotz, CVA Heidelberg, Universität 1: pl. 31. 6. 1925: pl. 48. 764. Step pattern. Head of a dolphin? Youth holding a ram, man with staff [sacrifice?]. Aigina 1447: Aigina Museum. Lid fragment. Painter Akropolis 1457: Athens, National Museum, Akropo- of Berlin A34 [Hünnekens]. Last quarter of the seventh lis Collection, 2707. ABV 13.46. Manner of the Gorgon century. Unpublished. Hünnekens, 1987: pl. 11. Painter. Early sixth century. Graef & Langlotz, 1925: Step pattern, rosette. pl. 113. 2707. Aigina 1448: Aigina Museum. Lid fragment. By the Floral. same hand: lid, Athenian Agora 2. ‘Painter of the Lid’s Akropolis 1458: Athens, National Museum, Akropo- Boar’ [Hünnekens]. Late seventh century. Kraiker, lis Collection, 1.483a-d. Four non-joining fragments 1951: pl. 43. 561. of a large vessel. Manner of the Gorgon Painter. Early Lion? sixth century. DAI Photo Archive, no. 85. Samos 1449: Vathý Museum, K6769. Lid fragment. Lion, birds, man with stab. Manner of the Gorgon Painter [Kreuzer]. 580. Kreu- Akropolis 1459: Athens, National Museum, Akropo- zer, 1998a: pl. 30. 145. lis Collection, 1.494. Wall fragment of a large thick- Sphinx, animal. walled vessel. Manner of the Gorgon Painter. Early sixth century. DAI Photo Archive, no. 87. Animal friezes. Boar, lions. 178 appendix i

Akropolis 1460: Athens, National Museum, Akropo- Akropolis 1473: Athens, National Museum, Akropo- lis Collection, 1.2212. ABV 19.8. Kerameikos Painter. lis Collection, 1.564. First quarter of the sixth century. First quarter of the sixth century. BAPD 300232. Graef & Langlotz, 1925: pl. 18. 564. Boar, panther. Animals. Akropolis 1461: Athens, National Museum, Akropo- Akropolis 1474: Athens, National Museum, Akropo- lis Collection. ABV 27.34. KX Painter. First quarter lis Collection, 1.567. First quarter of the sixth century. of the sixth century. Beazley, 1944: pl. 6. 1. Graef & Langlotz, 1925: pl. 25. 567. Animal frieze. Deer, lion. Sirens, swans. Akropolis 1462: Athens, National Museum, Akropo- Akropolis 1475: Athens, National Museum, Akropo- lis Collection, 1.480. Wall fragment. Sophilos [Bakır]. lis Collection, 1.568. Ring shaped object. First quarter 580. Bakır, 1981: pl. 64. A39. of the sixth century. Graef & Langlotz, 1925: pl. 19. Lion, boars. 568. Akropolis 1463: Athens, National Museum, Akropo- Lion. lis Collection, 1.478. Foot fragment. Near Sophilos Akropolis 1476: Athens, National Museum, Akropo- [Bakır]. 570. Graef & Langlotz, 1925: pl. 18. 478. lis Collection, 1.473. Shoulder fragment of a large ves- Lion. sel. First quarter of the sixth century. DAI Photo Akropolis 1464: Athens, National Museum, Akropo- Archive, no. 83. lis Collection, 1.486. Wall fragment. ABV 42.2. Add2 Lotus-palmette cross. 12. Contemporary of Sophilos. 570. Bakır, 1981: pl. 88. Akropolis 1477: Athens, National Museum, Akropo- C8. lis Collection, 1.475. Wall fragment. First quarter of Siren, man. the sixth century. DAI Photo Archive, no. 83. Akropolis 1465: Athens, National Museum, Akropo- Animal friezes. Goats, panthers. lis Collection. Wall fragment. ABV 41.34. Workshop Akropolis 1478: Athens, National Museum, Akropo- of Sophilos [Bakır]. 580. BAPD 305104. lis Collection, 1.477. Wall fragment. First quarter of Deer or goat, lion or panther. the sixth century. DAI Photo Archive, no. 84. Akropolis 1466: Athens, National Museum, Akropo- Animal friezes. Lion, boar. lis Collection. ABV 22.15. Group of the Dresden Akropolis 1479: Athens, National Museum, Akropo- Lekanis. First quarter of the sixth century. lis Collection, 1.479. Wall fragment. First quarter of Siren or sphinx. the sixth century. DAI Photo Archive, no. 85. Akropolis 1467: Athens, National Museum, Akropo- Siren, lotus-palmette chain. lis Collection, 1.488. Foot fragment. First quarter of Akropolis 1480: Athens, National Museum, Akropo- the sixth century. Graef & Langlotz, 1925: pl. 18. 488. lis Collection, 1.481. Two joining fragments. First Animal friezes. Felines, sirens. quarter of the sixth century. DAI Photo Archive, no. Akropolis 1468: Athens, National Museum, Akropo- 84. lis Collection, 1.489. Foot fragment. First quarter of Horse? the sixth century. Graef & Langlotz, 1925: pl. 18. 489. Akropolis 1481: Athens, National Museum, Akropo- Animal friezes. Bull? lis Collection, 1.493. Shoulder fragment. First quarter Akropolis 1469: Athens, National Museum, Akropo- of the sixth century. DAI Photo Archive, no. 85. lis Collection, 1.490. Foot fragment. First quarter of Two flying swans. the sixth century. Graef & Langlotz, 1925: pl. 18. 490. Akropolis 1482: Athens, National Museum, Akropo- Lion. lis Collection, 1.495. Wall fragment of a large vessel. Akropolis 1470: Athens, National Museum, Akropo- First quarter of the sixth century. DAI Photo Archive, lis Collection, 1.501. Fragments of an open vessel. First no. 83. quarter of the sixth century. Graef & Langlotz, 1925: Goat. pl. 20. 501. Akropolis 1483: Athens, National Museum, Akropo- Procession of women. Lotus palmette cross. lis Collection, 1.500. Wall fragment of a large deep Akropolis 1471: Athens, National Museum, Akropo- vessel. Early sixth century. DAI Photo Archive, no. lis Collection, 1.503. Fragments of an open vessel. First 88. quarter of the sixth century. Graef & Langlotz, 1925: Lion, siren. pl. 20. 503. Akropolis North Slope 1484: Athens, National Lion, floral. Museum, Akropolis Collection, AP 508, AP 292. Two Akropolis 1472: Athens, National Museum, Akropo- fragments probably from the same vase. ABV 27.5. lis Collection, 1.563. First quarter of the sixth century. ABV 27.6. KX Painter. First quarter of the sixth cen- Graef & Langlotz, 1925: pl. 20. 563. tury. Pease, 1935: 246, nos. 51-52. Draped figures, bird. Floral, feline. catalogue of the attic early black-figured vases 179

Kerameikos 1485: Athens, Kerameikos Museum. Wall Brauron 1498: Brauron Museum, 1122. Wall fragment fragment. Peiraieus Painter [Hünnekens]. 620-610. (support?). Early sixth century. Unpublished. Hünnekens, 1987: pl. 124. 1-3. Horseheads. Two horse chariots. Brauron 1499: Brauron Museum, 1120. Two wall frag- Kerameikos 1486: Athens, Kerameikos Museum. Wall ments (maybe of a small support). First quarter of the fragment of an open vessel. Painter of the riders’ sixth century. Unpublished. amphora [Hünnekens]. Peiraieus Painter. Last quarter Procession of women. Bulls, feline? of the seventh century. Hünnekens, 1987: pl. 116. 1-2. Menídhi 1500: Acharnai Museum. Four non-joining Bird or siren. fragments [lekane?, pyxis?]. Late seventh century. Kerameikos 1487: Athens, Kerameikos Museum. Wall Patrinakou-Iliaki, 1989: 282, fig. 12. fragment of an open vessel. Painter of the riders’ Water birds. amphora [Hünnekens]. Peiraieus Painter. 610-600. Rhamnous 1501: Excavation, 287/523. Wall fragment Hünnekens, 1987: pl. 117. 1-2. of a closed vessel. Late seventh century. Unpublished. Horse. Lion. Kerameikos 1488: Athens, Kerameikos Museum. Wall Rhamnous 1502: Excavation, 383/168. Wall fragment fragment of an open vessel. Khimaira Painter [Hün- nekens]. Last quarter of the seventh century. Hün- of a closed vessel. Late seventh century. Unpublished. nekens, 1987: pl. 110. 1-2. Bird. Lion or Gorgo? Rhamnous 1503: Excavation, 164. Two wall fragments Kerameikos 1489: Athens, Kerameikos Museum, of a closed vessel. 600. Unpublished. 8276. Wall fragment of a large closed vessel. Circle of Siren? the Khimaira Painter [Hünnekens]. Last quarter of Rhamnous 1504: Excavation, 177. Wall fragment of the seventh century. Hünnekens, 1987: pl. 118. 1-3. a closed vessel. Sophilos [author]. 580. Unpublished. Snake. Siren. Kerameikos 1490: Athens, Kerameikos Museum, Rhamnous 1505: Excavation, 375/194. Wall fragment 1073. Wall fragment. Circle of the Khimaira Painter of a closed vessel.Sophilos? [author]. 580. Unpub- [Hünnekens]. 610-600. Hünnekens, 1987: pl. 120. 1-3. lished. Bull? Siren. Kerameikos 1491: Athens, Kerameikos Museum. Wall Rhamnous 1506: Excavation, 208. Wall fragment of fragment of an open vessel. Nessos Painter [Hünnek- a closed vessel. First quarter of the sixth century. ens]. Last quarter of the seventh century. Hünnekens, Unpublished. 1987: pl. 111. 1-2. Sphinx or siren. Bird, siren or sphinx. Mounikhía 1507: Peiraieus, Archaeological Museum, Kerameikos 1492: Athens, Kerameikos Museum, 157a. 84/48. Wall fragment. Nessos Painter? 620-610. Palaio- Wall fragment [amphora or krater]. Late seventh cen- krassa, 1989: pl. 4. 3, 81. tury. Kübler, 1970: pl. 119. 207. Zig-zag ornament. Bull. Mounikhía 1508: Peiraieus, Archaeological Museum, Kerameikos 1493: Athens, Kerameikos Museum. KX A933. Wall fragment of a closed vessel. Sophilos Painter [Kreuzer]. 580. Kreuzer, 1997: fig. 4. [Palaiokrassa]. First quarter of the sixth century. Animal friezes. Boar, lions. Palaiokrassa, 1989: pl. 5. 3, 82. Kerameikos 1494: Athens, Kerameikos Museum. Wall Two figures. fragment of an open vessel. 600. Hünnekens, 1987: Mounikhía 1509: Peiraieus, Archaeological Museum, pl. 113. 1-2. 84/23. Wall fragment. First quarter of the sixth cen- Bird or siren. Kerameikos 1495: Athens, Kerameikos Museum. Wall tury. Palaiokrassa, 1989: pl. 5. 3. fragment of an open vessel. 600. Hünnekens, 1987: Siren or sphinx. pl. 114. 1-2. Eleusis 1510: Eleusis, Archaeological Museum, Μελ Swan? 6924. Neck and rim fragment of a closed shape. 580- Kerameikos 1496: Athens, Kerameikos Museum. Wall 570. Kokkou-Vyridi, 1999: pl. 35. fragment of an open vessel. 600. Hünnekens, 1987: Rosettes. pl. 115. 1-2. Athens 1511: Heidelberg, Ruprecht-Karls Universität, Bird or siren? 195. Neck fragment of a thick-walled vessel. Painter Tourkovoúni 1497: Archaeological Collection of of Berlin A34 or close to him [author]. Last quarter Kephisiá? LII72. Wall fragments. Late seventh, early of the seventh century. CVA Heidelberg, Universität sixth century. Lauter, 1985b: pl. 5. 152. 1: pl. 31. 3. Uncomprehensible representation. Windmill pattern. 180 appendix i

Athens? 1512: Heidelberg, Ruprecht-Karls Universität, Tell Sukas 1523: Damascus Museum. Wall fragment. 199. Wall fragment. 590-580. CVA Heidelberg, Uni- Para 19. Add2 11. Sophilos. Bakır, 1981: pl. 63, fig. 120. versität 1: pl. 31. 7. Siren. Goat. Naukratis 1524: Cambridge, Fitzwilliam Museum, Aigina 1513: Aigina Museum. Wall fragment of a large 94-5. N.175. Wall fragment. ABV 19.9. Add2 6. Kera- open vessel. Painter of Berlin A34 or near him. Last meikos Painter. Early sixth century. CVA Cambridge, quarter of the seventh century. Kraiker, 1951: pl. 41. Fitzwilliam Museum 2: pl. 20. 14. 560. Lion. Windmill pattern. Naukratis 1525: Cambridge, Fitzwilliam Museum, Aigina 1514: Aigina Museum. Wall fragment of a N.176. Wall fragment. ABV 19.10. Add2 6. Kerameikos closed vessel. Painter of Berlin A34 or near him [Hün- Painter. Early sixth century. CVA Cambridge, Fitzwil- nekens]. Last quarter of the seventh century. Unpub- liam Museum 2: pl. 20. 13. lished. Hünnekens, 1987: pl. 16. 1-2. Feline. Bull. Naukratis 1526: Boston, Museum of Fine Arts, 88.954. Aigina 1515: Aigina Museum, 2800. Wall fragment. Wall fragment. ABV 27.3. KX Painter. First quarter Nessos Painter [Hünnekens]. Last quarter of the sev- of the sixth century. BAPD 300318. enth century. Unpublished. Hünnekens, 1987: pl. 17. Siren on a plant. 1-2. Naukratis 1527: Oxford, Ashmolean Museum, Lion or Khimaira. G128.27. Wall fragment. Near Sophilos. 570. Bakır, Aigina 1516: Aigina Museum. Wall fragment. Late 1981: pl. 84. B27. seventh, early sixth century. Kraiker, 1951: pl. 43. 557. Panther. Confronting sphinxes? Naukratis 1528: Alexandria, Graeco-Roman Museum, Aigina 1517: Aigina Museum. Wall fragment. Last 19866. Wall fragment of a closed vessel. Late seventh quarter of the seventh century. Unpublished. century. Venit, 1988: pl. 61. 268. Hünnekens, 1987: pl. 18. 1-2. Floral chain, sphinxes. Ornament. Kyrene 1529: Excavation, Sb 116.5. Shoulder fragment Naxos 1518: Naxos Museum, B5532. Wall fragment of a closed vessel. The Komast Group VIII, Unallotted of a small open vessel. Compare to the KX Painter. [Moore]. 580. Moore, 1987: pl. 41. 255. 575. Bikakis, 1985: no. 253. Lions. Siren. Kyrene 1530: Excavation, Sb 415.2. Wall fragment of Kavála 1519: Kavála Museum, A987. Wall fragment. a closed vessel. Near Sophilos? [Moore]. 580. Moore, Para 17. The Komast Group VIII, Unallotted. Late 1987: pl. 41. 256. first quarter of the sixth century. Youth. Komasts. Olbia 1531: Excavation, 1861. Amphora fragment? Thasos 1520:Thasos, Archaeological Museum, 55-146. Gorgon Painter [author]. Early sixth century. Levi, Two wall fragments of an unknown shape. First quar- 1964: fig. 37. 2. ter of the sixth century. Ghali-Kahil, 1960: pl. XLII. Lion. 156. Olbia 1532: Excavation, 1501. Amphora fragment? Feline. Manner of the Gorgon Painter [author]. Early sixth Troia 1521: Schliemann’s Collection, 3828. Rim frag- century. Levi, 1964: fig. 37. 1. Fig. 60. ment of a large vessel. 585-570. Tuna-Nörling, 1995: Lion. 103-104. Tell Sukas 1522: Excavation, TS4574. Wall fragment. Imitating Gorgon Painter [Riis]. Riis, 1970: 75, fig. 25. 1. Feline. distribution tables 181

APPENDIX II

DISTRIBUTION TABLES

Table 1. Late Seventh-Century Distribution in Attika according to Painters

S/P Berlin A34 Peiraieus Nessos Lion Bellerophon Pegasos Painter Painter Painter Painter Painter Painter Agora 3 1 13 - - - Akropolis - - 5 - - - Nymphe - - 13 - - - Kerameikos 10 6 14 - - - Olympieion - - 2 - - - Hymettos - - 1 - - - Vári --23631 Kiápha Thíti ------Kalývia ------Anavyssos ------Laurion ------Thorikos ------Brauron ------Menídhi ------Spáta ------Vourvá 1----- Marathon ------Rhamnous - - 1 - - - Phaleron - - 1 - - - Mounikhía --5-- - Peiraieus - 1 - - - - Eleusis - - 2 - - - Attika 2-4-- - Total 1688463 1

Note: The numbers represent not only the vessels by the painter himself but by the painters of his circle too. Table 2. Early Sixth-Century Distribution in Attika according to Painters

S/P Gorgon Kerameikos Panther Androsiren Athens Berlin Anagyrous Lotus KX KY Komast Sophilos Dresden Ragusa Eleusis 767 Painter Painter Painter Painter 16407 1659 Painter Painter Painter Painter Group Lekanis Group Painter Painter Painter Group Agora 39 4 2 - - - 1 - 9 3 4 6 11 2 1 Akropolis 18 2 - - - 2 - - 8 2 - 12 4 4 1 Nymphe 30 2 - - - - - 3 31 - 5 11 17 2 5 Kerameikos 2 6 - - - 1 - - 7 2 - 3 - - - Olympieion 1 ------Hymettos ------Kephisiá ------1---- Vári 432185-892--6-1- Kiápha Thíti ------1--1--- Kalývia ------Anavyssos ------1-- Sounion ------1- Laurion 1 ------2- Thorikos ------1----3- Brauron ------1------Menídhi 1------1-1- Spáta ------1------Vourvá ------1--5--- Marathon1------1-1- Rhamnous------241- Phaleron------Mounikhía 1------1--- Peiraieus------Eleusis1------1---2 Athens------33-1-2- Total 99 17 23 8 5 3 10 12 64 10 11 50 37 20 9 Note: The numbers represent not only the vessels by the painter himself but by the painters of his circle too. Vessels by the Group of the Early Olpai have been added to those by the Gorgon Painter. That was also followed in the case of the Painter of the Old Women, member of the Group of the Dresden Lekanis. distribution tables 183

Table 3.1. Late Seventh-Century Shape Circulation in Attika

S/S Skyphos-Krater Egg-Shaped Column Lebes Krater Krater Krater Agora 18 1 - 1 1 Akropolis - - - - 2 Nymphe 1 - - - - Kerameikos 25 - - - - Olympieion 1 - - - - Hymettos - - - - - Vári 6111- Anavyssos - - - - - Thorikos - - - - - Brauron - - - - 1 Menídhi - - --- Velanidhéza - - --- Vourvá 1 - --- Marathon - - - - - Phaleron - - - - 1 Mounikhía 2 - --- Peiraieus - - --- Eleusis - - --- Athens 1 - --- Total 552 125 184 appendix ii

Table 3.2. Late Seventh-Century Shape Circulation in Attika

S/S Oinokhoe Louterion Amphora Lekane Loutrophoros Support Olpe Agora 7 3 29 - - 3 Akropolis - 1 2 - - 2 Nymphe----31- Kerameikos1-5- -1 Olympieion - - 1 - - - Hymettos--1- -- Vári - 1 13 10 - 1 Brauron - - - - 1 Menídhi -1-- -- Vourvá ------Marathon------Rhamnous - 1 1 - 1 - Phaleron ------Mounikhía ------Peiraieus - - 1 - - - Eleusis --1- -1 Athens --2- -- Attika --2 --- Total 1075810329 distribution tables 185 Skyphos Cup Kantharos Chalice ------1-- 11-- - 122- Olpe - - - Lebes Krater Louterion Oinokhoe -- - - - 1 1 - - Krater Column - --9------494-1 ------11 ------1 2 ------1- 1- - 1 ---- - 1------13 11 9 5 10 56 29 13 2 6 Krater . Early Sixth-Century Shape Circulation in Attika S/S Skyphos eaeks--33 ------1-- - AgoraAkropolisNymphe------Kerameikos3-2-1323- OlympieionVári Kiápha 6 Thíti 2Kalývia Keratéa -Anavyssos 1 9Sounion------Laurion-----1--- - 3 4Thorikos Brauron------Menídhi - 3 2Velanidhéza Spáta Vourvá - -Kephisiá - 3Marathon-----1--- -Rhamnous-----1 Phaleron -Mounikhía 37 2 -PeiraieusEleusisAthens - 7Total 7 - - - 2 - 3 - 1 ------1 - 1 - 1 - - - - 4 ------1 - - - Table 4.1 186 appendix ii ------1 Lekane Plate Lekythos Aryballos Exaleiptron Pyxis Lid Support - phoros Hydria Loutro- Amphora -361457--1------1 ------1 - --- -1------2------15------64 30 9 187 93 25 3 5 3 12 12 28 . Early Sixth-Century Shape Circulation in Attika S/S Amphora Horsehead eaeks11122-1 - 22------1------2------2-2 - --1------Agora5192-23511-1919 AkropolisNympheKerameikos-1 7OlympieionVári -Kiápha Thíti 1 - -1---- 1 -Kalývia 2------Keratéa -Anavyssos -Sounion- -Laurion- - -Thorikos-1------Brauron 5 176 1Velanidhéza - 11Spáta 1Vourvá -Kephisiá - 11 -Marathon1- -Rhamnous -Phaleron- - - -Mounikhía - - Peiraieus- -Eleusis- - -Attika211--4-1- - -Total - - 2 - - - - 5 - 2 - 1 1 - - - - 4 ------2 Menídhi Table 4.2 distribution tables 187

Table 5.1. Late Seventh-Century Shape Production in Attika according to Painters

P/S Berlin A34 Peiraieus Nessos Lion Bellerophon Pegasos Painter Painter Painter Painter Painter Painter Skyphos-Krater 11 1 22 - - - Louterion - - 2 --- Egg -Shaped Krater - - 1 - - - Loutrophoros - - 13 --- Plate ------Column --1--- Krater Lebes ------Krater--3--- Oinokhoe - - 2 --- Olpe Skyphos - -1?--- Cup1----- Amphora2 41863 1 Lekane - - 11 - - - Lid - - 2 --- Support 1 - 3-- - Fragment 1 3 5 - -- Total 1688463 1 Table 5.2. Early Sixth-Century Shape Production in Attika according to Painters

P/S Gorgon Kerameikos Panther Andro- Athens Berlin Anagyrous Lotus KX KY Komast Sophilos Dresden Ragusa Eleusis Painter Painter Painter siren 16407 1659 Painter Painter Painter Painter Group Lekanis Group 767 Painter Painter Painter Group Painter Skyphos 3 ------4 4- 1 Krater Louterion1 ------2 - - - Loutrophoros 30 2 - - - - 1 3 32 - 5 12 19 2 6 Plate 4 2 - - - - 3 2 ------Column 1 ------1111 - - - Krater Lebes - 1 ------2 - - 3 1 - - Krater 2 - - - - 1 - - 1 - - - 1 - - Oinokhoe 25 3 - - - - 2 2 3 1 - 1 - 1 - Olpe Skyphos - - 1 - - - 1 1 5 - 3 2 1 3 - Cup ------4 7 2 - - - - Kantharos------1 ----1 - - - Chalice------1 ----1 3- - Lekythos ------1 - - - - 1 - Aryballos------Exaleiptron2 ------1------Amphoriskos------Pyxis- - ---1 ------12 - Amphora 14 1 ------3 1 - 6 1 - 1 Hydria ------3 2 - - 3 - - - Lekane 2 4 21 8 5 - - 1 4 - - 3 - 9 - Support2 3 1--- 1 -2--3 521 Lid5 - ---1 ------Fragment8 1 ------3--8 1-- Total 99 17 23 8 5 3 10 12 64 10 11 50 37 20 9 distribution tables 189 Unattributed Group Sophilos Ragusa Group Komast KY Painter KX Painter Painter Berlin 1659 Painter Gorgon Painter Nessos Painter Peiraieus ------2------9------1-1------619131543117 Painter . Late Seventh-and Early Sixth-Century Shape Circulation in Aigina according to Painters S/P Berlin A34 Skyphos Krater LouterionLoutrophorosColumn Krater - -LebesKraterOinokhoe Olpe - -SkyphosCup - 2ExaleiptronAmphora 1 -Lekane - -Support - -Lid - - - -Fragment -Total - - - 1 - - - - - 2 - 1 3 - - - 1 - 1 - 1 - - - - 1 - - - 3 - - 1 1 ------1 - 1 - - 1 ------2 - - 2 ------2 - - 2 ------1 ------1 - - 1 - - - - 1 - - - - - 1 - - 1 2 - - Table 6 190 appendix ii Unattributed Group Ragusa ases by the Painter of Istanbul ases by the Painter of Istanbul Painter Xanthos Group Lekanis KX Painter KY Painter Sophilos Dresden Painter Berlin 1659 Painter Kerameikos Painter Gorgon 25665011 26 636152041 2295 Painter . Late Seventh-and Early Sixth-Century Distribution in Western Asia Minor according to Painters lzmni3- -111--- 2 - 2312-11 6 ------2 - 2-4---- 3 - - 1------1--- - 1 1 ------1 -1-2--- 1 - -2472-- 1 -2----- 7 ------23--- 1 ------31---S/P - Troia-- Lesbos-- Nessos Pitane-4 Phokaia-3 Larisa-- SamosSmyrna14 Klazomenai-3 Miletos-2 1Rhodos-2 Ialysos-- Kameiros-2 Lindos-1 5Sardeis-2 Xanthos-1 Total 4 1 28 - 3 2 - - 1 Table 7.1 Note: The vessels by the Painter of New York 22.139.22 have been added to those KX Painter. That is also case v 7314, member of the circle Gorgon Painter. distribution tables 191 Unattributed Group Ragusa Painter Xanthos Group Lekanis Sophilos Dresden KY Painter KX Painter 1659 Berlin Painter Painter Kerameikos Painter Gorgon -- - 1--- --1 - - - 1 - -1- - 1 - 1 -- - 1 --14- - - 3 25631241 1 26 6 3615204 2295 Painter . Late Seventh-and Early Sixth-Century Shape Circulation in Western Asia Minor according to Painters Skyphos Krater Column Krater LebesLouterionOinokhoe Olpe Skyphos - -CupKantharosAmphora - 4 -HydriaLekane - -Plate 2 -Lekythos 1 - -Aryballos - - -Exaleiptron 6Amphoriskos - - - - -Lid 1 - - -Total 1 - - - - - 2 - - - - - 1 2 - - - 1 1 - - 2 - - - 2 1 - 1 13 1 7 10 1 1 2 - 1 - - 11 - 10 ------1 - - - - 3 - - - 2 - - - - - 5 ------2 ------8 ------1 ------5 - - - 2 - - - 1 - 3 - - - 1 1 - - - 1 S/P Nessos Table 7.2 192 ------1 - 2 4 2 1 2 ------16 Hydria Lekane Plate ------1 1 1 Amphora ------1- 1 13 2 2 4 -- -- - 111-28 1 - --- - 1 -- 1 1 ------3 ------13 Skyphos Cup Kantharos Lekythos Aryballos Exaleiptron Amphora Horsehead --- 1- 3- 1- 2 1- 1 41- 12 1 Olpe ------14-5 1 9 2 Lebes Louterion Oinokhoe ------21621 1 3261 1 2 216 62611652512 Krater . Late Seventh-and Early Sixth-Century Shape Circulation in Western Asia Minor . Late Seventh-and Early Sixth-Century Shape Circulation in Western Asia Minor S/STroia Column - - SardeisTotal 1 3 LesbosPitane - - - - - 1 Xanthos 1 PhokaiaLarisa Smyrna 3 6 1 2 - 1 Klazomenai 1 Miletos - 4 Samos Rhodos Ialysos Kameiros Lindos Table 7.3 Note: The fragments that might belong to either a lebes or krater are included as lebetes. distribution tables 193

Table 8.1. Early Sixth-Century Distribution in Naukratis, Kyrenaike according to Painters

S/P Gorgon Kerameikos Berlin 1659 KX KY Komast Sophilos Unattributed Painter Painter Painter Painter Painter Group Naukratis235 211591034 Tell Defenneh------2 Kyrene - - - - 1 4 1 - Tocra 2 - - - - 1 - - Egypt1------Total 26 5 2 11 6 14 11 36

Table 8.2. Early Sixth-Century Shape Circulation in Naukratis, Kyrenaike according to Painters

S/P Gorgon Kerameikos Berlin KX KY Komast Sophilos Unattributed Painter Painter 1659 Painter Painter Group Painter Column --2-34-10 Krater Lebes - - - 1 - - 5 7 Krater------1 Oinokhoe 20 1 - - 2 - - 1 Olpe Skyphos - - - - - 2 - - Cup- - -11312 Kantharos - - - 2 - - - 1 Amphora- - -2-116 Hydria------1 Loutrophoros ------1 Lekane22-4-315 Plate 1 - - - - - 1 - Lekythos2------Aryballos------Exaleiptron ------Amphoriskos 1 ------Lid ------Fragment- 2 -1-121 Total 26 5 2 11 6 14 11 36 194 appendix ii - - - Hydria Lekane 1-2 1- Amphora - -- 1- - - Cup Skyphos Kantharos Lekythos Amphoriskos Amphora Horsehead - Olpe - --- - 1 - - 1 Lebes Krater Oinokhoe ------9 - - 18 12 1 24 9 2 3 2 1 7 15 1 18 Krater . Early Sixth-Century Shape Circulation in Naukratis, Kyrenaike S/PNaukratis Column Defenneh 17KyreneTocra 12 1 1 - - 23 - - 7 - 2 1 3 1 1 - - - - 7 1 3 1 16 Egypt Total Tell Table 8.3 distribution tables 195

Table 9.1. Early Sixth-Century Distribution in the Black-Sea area according to Painters

S/P Peiraieus Gorgon KX KY Sophilos Ragusa Unattributed Painter Painter Painter Painter Group Histria12-2--1 Berezan-21111- Apollonia ----1-- Pontike Olbia-2----- Daskyleion - 2 1 2 - - 5 Total 1825216

Table 9.2. Early Sixth-Century Shape Circulation in the Black-Sea area according to Painters

S/P Peiraieus Gorgon KX KY Sophilos Ragusa Unattributed Painter Painter Painter Painter Group Column ---11-- Krater Lebes12--1-1 Krater------Oinokhoe -1---11 Olpe Skyphos------Cup--13--- Amphora-2----1 Lekane-111--3 Fragment-2----- Total 1825216

Table 9.3. Early Sixth-Century Shape Circulation in the Black-Sea area

S/S Column Lebes Oinokhoe Cup Amphora Lekane Fragment Krater Olpe Histria - 2 1 1 - 2 - Berezan11112- - Apollonia 1------Pontike Olbia ------2 Daskyleion - 21214- Total 2534362 Note: The vases by the Painter of Copenhagen 103 have been added to those by the KX Painter. 196 appendix ii - Unattributed - Group Ragusa - Group Lekanis 1 Sophilos Dresden Group Komast KY Painter --- KX Painter siren Painter Andro- 1659 Berlin Painter - --- -1--- - Painter Kerameikos ------1- - - --1------1-1- Painter Gorgon ------1------3---- 2 1 18 1 2 1 13 12 8 7 1 1 8 Painter . Late Seventh-and Early Sixth-Century Distribution in Etruria, South Italy, Sicily according to Painters S/P Nessos evtr1 - - ---6------3- ---- 3 - ---1-3-- 1 ------1 ------2 ------1-- - Cerveteri13 Cortona-3 ---1---- - Chiusi-- PeliciaPoggio ------Toscany------1--- -Veii-- Tarquinia Gravisca 1Kymai-1 Nola - Iato------Caudium-1 - - -1-- - sul -Vietri Mare Poseidonia 2Sybaris -Leuca-1 -Taranto-3-1-3-2-1-- -Metauros - - Megara -Hyblaia Selinous----1------Ragusa -Gela Motya------1------Himera-- Monte -Italy 5 3 ------1 ------1 - - - - 1 - - - - 1 Total Table 10.1 distribution tables 197 Unattributed Group Ragusa Group Lekanis Sophilos Dresden Group Komast KY Painter KX Painter Painter Androsiren 1659 Berlin Painter Painter Kerameikos Painter Gorgon Gorgon -- ---1--2 ------10-----1---- 1 18 1 2 1 13 12 8 7 1 1 7 Painter . Late Seventh-and Early Sixth-Century Shape Circulation in Etruria, South Italy and Sicily according to Painters S/P Nessos Column -- - Krater -Lebes - - 6116- Oinokhoe Olpe Skyphos-----211---1 -Cup-- Amphora16-2----21-- Lekane-11-12----13 1Total - - - 3 - - 4 - - 1 Table 10.2 198 appendix ii ------Lekane Lekythos 6 14 Amphora ---1 ---11 -1-2 ---- -12 -3------1-- 1--- 621- 1-- 31- 1------1 --1-- 1----- 22-21 Skyphos Cup Amphora Horsehead ------2--1 113112 1----1 2----- 1----- 1---- 31423 Olpe ------Lebes Oinokhoe ------3 9 11 5 24 13 30 9 1 Krater . Late Seventh-and Early Sixth-Century Shape Circulation in Etruria, South Italy, Sicily Himera 1 Motya Gela Ragusa Megara HyblaiaMegara Selinous - Etruria CerveteriVulci CortonaChiusi PeliciaPoggio -ToscanyVeii-----1--- 2Tarquinia -Gravisca - -Kymai Nola - 4 Caudium - Mare sul Vietri 4 2 Poseidonia Sybaris 1 Leuca Taras Metauros ItalyTotal - - - S/P Column Monte Iato Table 10.3 distribution tables 199

Table 11.1. Early Sixth-Century Distribution in Southern France and Spain according to Painters

S/P Gorgon KX KY Komast Sophilos Dresden Unattributed Painter Painter Painter Group Lekanis Group Massalia4--52-9 Béziers 1 - - 1 - - - Huelva1-69--- Villaricos-1----- Ampurias1--1-11 Total 716162110

Table 11.2. Early Sixth-Century Shape Circulation in Southern France and Spain according to Painters

S/P Gorgon KX KY Komast Sophilos Dresden Unattributed Painter Painter Painter Group Lekanis Group Column ------1 Krater Lebes 3 - - - 2 - 1 Oinokhoe 2------Olpe Skyphos--1---- Cup - - 5 16 - - 1 Amphora2-----1 Lekane-1----1 Lekythos-----1- Fragment------Total 71616215

Table 11.3. Early Sixth-Century Shape Circulation in Massalia and Spain

S/P Column Lebes Oinokhoe Skyphos Cup Lekythos Amphora Lekane Krater Olpe Massalia142-5-21 Béziers - 1 - -1--- Huelva - - - 29-1- Villaricos ------1 Ampurias - 1 - - 11-- Total 162216132 200 appendix ii

Table 12. Late Seventh-Century Overall Distribution according to Painters

S/P Berlin A34 Peiraieus Nessos Lion Bellerophon Painter Painter Painter Painter Painter Attika1688463 Aigina 6 1 9 - - Korinthia----- Mainland Greece----- Northern Greece----- Islands----- Black Sea-1--- Western Asia --2-- Minor Naukratis/ ----- Kyrenaike Italy--1-- Massalia/Béziers ----- Spain----- Total 22 10 96 6 3 distribution tables 201 767 Eleusis Painter Group Ragusa Group Lekanis ticular painters. The Group of ticular painters. The Group of Sophilos Dresden Group Komast KY Painter KX Painter Lotus Lotus Painter Painter Anagyrous 1659 Berlin Painter 16407 Athens Painter siren Painter Andro- Painter Panther Painter Kerameikos 2 ------2611- - 2 ------1231-1- 8 ------25-2-1- 2 ------1--1- - - 5 ------62- - - 29 5 - - - 6 - - 36 15 - 20 4 1 - 213 28 23 9 5 14 10 12 139 80 62 102 45 26 9 Painter . Early Sixth-Century Overall Distribution according to Painters S/P Gorgon sad3------1--2-1- - AttikaAiginaKorinthia Mainland 99Greece 13 -1-2 4 -North -13129711 Greece 17Islands3 ------1610-1-- Greece - SeaBlack 23Area -Western - - 8Asia Cyprus -Near East - 5 AfrikaNorth -Italy181 - 26 - 3Southern France -Spain2 1 5 - 10Total - - 12 - - - 64 - - - - 10 5 - 2 11 - 4 2 13 50 - 3 5 - 37 2 2 3 20 - 1 - 2 9 11 - 1 - 6 - - 14 - - 11 - - - - - Table 13 Note: The Komast Group includes also vessels that are referred to as cups or skyphoi, but have not been attributed par the Dresden Lekanis includes vases assigned to Painter of Old Women too. 202 appendix ii Group Ragusa Group Lekanis Sophilos Dresden Group Komast KY Painter KX Painter 1659 Berlin Painter siren Painter Andro- Painter Kerameikos Painter Gorgon Gorgon Nessos Painter --1 - -3-744 - 1 11- - -1------21111775586 11757051518 6 12115111 A34 Painter . Late Seventh-and Early Sixth-Century Overall Shape Circulation outside Attika according to Painters P/S Berlin otohrs----1------2 - - - --3--- - - 1 - 2 --1--- 1 ------310-16 - --9561 2 ------21- - 2 -2---- 1 - - --1--- - - Skyphos Krater -Column - Krater 2Lebes --2-23 - - Krater21------Louterion-1------1 - - - -Olpe--651 -Skyphos------2153331 Cup- Kantharos--- -Chalice------Amphora-417- Hydria--1 Loutrophoros---- 13Lekane-155122124733 Plate--1 Lekythos--4 1Aryballos--- Exaleiptron------Amphoriskos--3 -Pyxis--- Support-3- Lid1-1 -Fragment214 Total 6 1 - 26 - - Table 14 distribution tables 203 767 Eleusis Painter Group Ragusa Group Lekanis Sophilos Dresden Group Komast KY Painter KX Painter Lotus Lotus Painter Painter Anagyrous 1659 Berlin Painter 16407 Athens Painter siren Painter Andro- Painter Panther Painter Kerameikos Kerameikos 3----1-----44-1 2----3--1855-1- 214 28 23 9 5 14 10 12 138 80 62 101 45 26 9 Painter . Early Sixth-Century Overall Shape Production according to Painters P/S Gorgon atao- ----1-3--1------1 -1---1------2 23311 -Skyphos 2 ------5-2111-- Krater - ----Column - 33--3- - - Krater LebesKrater2 LouterionOlpe874 13Skyphos 1CupKantharos-- 2 -Chalice -Amphora - -Hydria1 ---1 ------12- Loutrophoros - - 31 -Lekane 31 -Plate -Lekythos 1 - - 1Aryballos - 7 2Exaleiptron - - - 6 5Amphoriskos ------1 - -Pyxis- 2 ----- 9 - - - - 3 -Support - - - 2 - -Lid6 - - -Fragment123 - 21 2 - - -Total 2 - - - - - 9 - - - - 1 - 3 - - 3 - - 5 - 8 - - - 1 - - - 1 - - 1 2 1 1 - - - 14 - - 2 ------3 - 4 26 - - 13 - - - 3 29 61 32 1 8 - - 4 1 - - - 1 36 2 - - 25 3 - - 1 - - - - 1 2 - 1 1 5 3 - 1 12 - 1 - 4 - - - - 12 3 - - 2 - - 3 10 19 - - - 2 - - - 1 - 3 2 - 1 - - - - - 1 12 - 6 - - 1 - - 1 - - 1 - 3 - - - - - 5 - - - 2 1 Table 15 204 appendix ii

Table 16. Distribution of Sympotic Shapes in Attika (600-580 bce)

S/S Athenian Agora Athenian Agora Attic Attic Total Black-figured Black-glazed Sanctuaries Nekropoleis Column-krater 9 - 1 - 10 Lebes 4 - 3 2 9 Krater2-3-5 Oinokhoe/Olpe34211148 Skyphos 7 2 5 10 24 Cup 2 1? 3 6 12

Table 17. Distribution of Sympotic Shapes Overseas (600-580 bce)

S/S Nekropoleis Sanctuaries Domestic Contexts Total Column-krater 3 21 10 34 Lebes 6 25 30 61 Krater - 1 1 2 Oinokhoe/Olpe 18 41 16 75 Skyphos 3 13 13 29 Cup 25 48 40 113

Note: Only shapes, whose context is securely known are included. distribution maps 205

APPENDIX III

DISTRIBUTION MAPS 206 appendix iii . 630-600 bce) c Map 1. Distribution of Attic early black-figured pottery in the Mediterranean ( distribution maps 207 . 630-600 bce) c Map 2. Distribution of Attic early black-figured pottery in Attika ( 208 appendix iii . 600-570 bce) c Map 3. Distribution of Attic early black-figured pottery in the Mediterranean ( 12. Kyrene 13. Tocra 14. Etruria Italy 15. South 16. Sicily 17. Massalia Marcel de St. 18. Baou 19. Béziers 20. Emporion 21. Villaricos 22. Huelva 1. Attika 1. Aigina 2. Korinthia 3. islands and mainland 4. Greek Greece 5. Northern Sea 6. Black Area Minor Asia 7. Western Cyprus 8. Tell-Sukas 9. 10. Naukratis 11. Tell-Defenneh distribution maps 209 . 600-570 bce) c Map 4. Distribution of Attic early black-figured pottery in Attika ( Vourvá Velanidhéza Kephisiá Menídhi Mounikhía 11. Brauron 12. Spáta 13. 14. 15. Marathon 16. 17. 18. 19. Eleusis 20. Rhamnous Tourkovoúni Kiápha Thíti Vári Keratéa Kalývia 1. Athens 1. 2. 3. 4. Anavyssos 5. Sounion 6. Laurion 7. Thorikos 8. 9. 10. 210 appendix iii 36. Daskyleion Pontica 37. Apollonia 38. Histria 39. Olbia 40. Berezan . 600-570 bce) c 19. Troia 20. Mytilene 21. Methymna 22. Pitane 23. Phokaia 24. Klazomenai 25. Smyrna 26. Samos 27. Miletos 28. Ialysos 29. Kameiros 30. Lindos 31. Xanthos 32. Sardis 33. Tamassos 34. Marion 35. Salamis

Perakhóra Phársalos Karabournáki A. Paraskeví Sáni Pallínis Kavála 1. Attika 1. Aigina 2. Korinthos 3. Isthmia 4. 5. Delphoi 6. Boiotia 7. 8. Delos 9. 10. Melos 11. Kerkyra 12. Gortyna 13. 14. 15. 16. Poteidaia 17. Thasos 18. Key to map numbers map to Key Map 5. Distribution of Attic early black-figured pottery in Greece, Western Asia Minor, Cyprus and the Black Sea littoral ( distribution maps 211

Key to map numbers

1. Cortona 16. Taranto 2. Chiusi 17. Sybaris 3. Poggio Pellicia 18. Metauros 4. Poggione 19. Megara Hyblaia 5. Vulci 20. Ragusa 6. Tarquinia 21. Selinous 7. Gravisca 22. Gela 8. Cerveteri 23. Motya 9. Veii 24. Segesta 10. Nola 25. Monte Iato 11. Kymai 26. Himera 12. Caudium 13. Vietri sul Mare 14. Poseidonia 15. Leuca

Map 6. Distribution of Attic early black-figured pottery in Italy and Sicily c( . 600-570 bce) list of painters 213

APPENDIX IV

LIST OF PAINTERS

Anagyrous Painter Deianeira Painter Athenian Agora 139 Korinthos 1316 Vári 312, 396, 420, 593, 1096, 1187, 1300, 1302 Cyprus 1324 Spáta 602 Naukratis 1325 Kymai 263 Androsiren Painter Provenance Unknown 394, 1330 Vári 1171-1178 Selinous 1277 Deianeira Group Sanctuary of the Nymphe 958-962 Athens 16407, Painter of Vári 1179-1183 Dresden Lekanis, Group of Athenian Agora 20, 598-600, 1391-1392, 1453, 1466 Bellerophon Painter Akropolis 23-25, 1368 Vári 786-788 Sanctuary of the Nymphe 1029-1035 Rhamnous 1099 Berlin A34, Painter of Korinthos 1216, 1357 Athenian Agora 754, 813 Smyrna 1228-1229 Kerameikos 28-36, 468 Taranto 810 Athens 1511 Spain 1328 Aigina 69, 224-225, 1447, 1513-1514 Provenance Unknown 867

Compare: Vourvá 63 Connected: Athenian Agora 134 Close: Athens 68, Athenian Agora 1381 Compare: Athenian Agora 1393, Rhamnous 1415-1416

Berlin 1659, Painter of Early Olpai, Group of Akropolis 221, 1440 Athenian Agora 287-293 Kerameikos 1373 Aigina 327 Aigina 1212 Korinthos 328 Samos 71 Perakhóra 330 Kameiros 1323 Delos 332-333 Phokaia 94, 1224 Melos 334 Pitane 884, 1322 Kameiros 351 Naukratis 98-99 Lindos 352 Taranto 811 Rhodos 353-354 Italy 658 Naukratis 356, 367-375 Provenance Unknown 664, 1337, 1366 Histria 380 Cerveteri 381-382 Big Ears, Painter Taranto 386-387 Cerveteri 652 Provenance Unknown 391-393 Provenance Unknown 269 Follower: Sardeis 355 Copenhagen 103, Painter of Greece 507 Eleusis 767, Painter of Berezan 551 Athenian Agora 1395 Gela 573 Akropolis 832 214 appendix iv

Sanctuary of the Nymphe 1046-1047 Pitane 341 Eleusis 67, 1101 Egypt 1326 Tocra 1363 Near: Sanctuary of the Nymphe 1048-1050 Selinous 1327 Provenance Unknown 1332, 1335, 1364-1365 Gorgon Painter Athenian Agora 19, 233, 276-277, 399, 762, 1104, 1385, Kerameikos Painter 1430-1432 Athenian Agora 1387-1389 Akropolis 219-220, 830, 1286-1287, 1353, 1454 Akropolis 1460 Akropolis North Slope 26, 635, 833, 1134 Sanctuary of the Nymphe 999-1000 Akropolis South Slope 1296 Kerameikos 304, 395, 1138-1139, 1297-1298 Sanctuary of the Nymphe 932-957 Vári 309 Olympieion 840 Samos 170, 1234-1235, 1358 Vári 307, 1355 Ialysos 1359 Menídhi 244 Naukratis 368, 1524-1525 Mounikhía 66 Kymai 1272 Aigina 143-145, 803 Provenance Unknown 72-73 Klazomenai 345-347 Smyrna 878 Compare: Athenian Agora 132 Miletos 166, 349 Near: Akropolis North Slope 834, Vári 1185-1186, Sardeis 173 Naukratis 1248-1249 Phokaia 92 Xanthos 808 Komast Group Daskyleion 189 Athenian Agora 77, 404-405, 464 Naukratis 1309 Sanctuary of the Nymphe 990-991 Histria 192 Kephisiá 474 Olbia 1531 Aigina 479-480, 1211 Cortona 195 Korinthos 436-438 Caudium 383 Isthmia 493 Nola 384 Perakhóra 492 Massalia 204, 660 Delphoi 501 Béziers 208 Karabournáki 502-503 Provenance Unknown 210, 269, 662, 1311, 1329 Kavála 1519 Naukratis 542, 649 Manner: Athenian Agora 253, 278-286, 614-617, 763- Tocra 546 767, 1450-1451, Akropolis 1454-1459, Kerameikos Kyrene 547, 1262-1263, 1529 1444-1445, Vári 308, 1299, Laurion 314, Marathon Poggio Pelicia 559-561 315, Eleusis 317, Aigina 319-326, Korinthos 1316, Vietri sul Mare 264 Perakhóra 331, Khalkidike 336, Thasos 338, Sybaris 565 Kameiros 1362, Pitane 150, 339-340, Phokaia 151, Metauros 458 343, Smyrna 847-848, 1225, Samos 350, 647, 849- Taranto 569-570 850, 1449, Naukratis 357-366, 1246-1247, Tocra Béziers 581 378, Daskyleion 1264, Berezan 860-861, Olbia 1532, Nola 385, Gravisca 265, 864, Tarquinia 654, Poggio KX Painter Pelicia 655, Leuca 656, Taranto 266, Italy 657, Spain Athenian Agora 215, 403, 618, 768, 821, 1106, 1123 866, Provenance Unknown 122, 268, 390, 663, 1331, Akropolis 136, 301, 467, 1354, 1406, 1461 1334 Akropolis North Slope 1135, 1484 Near: Akropolis 85, Samos 350, Cor tona 863, Massalia Sanctuary of the Nymphe: 963-987 205 Kerameikos 305, 416-417, 870, 1095, 1493 Circle: Akropolis 302, Cortona 1270, Massalia 388, Vári 310, 418 Baou de Saint Marcel 389, Spain 209 Vourvá 1198 Imitating: Tell Sukas 1522 Brauron 1414 Compare to the manner: Athenian Agora 1384 Athens 87, 430 Aigina 804, 1209-1210, 1356 Istanbul 7314, Painter of Korinthos 432-433, 877 Boiotia 1321, 1361 Delphoi 1217 list of painters 215

Thebes 1218 Monte Iato 575 Sáni 446 Spain 461, 582-586 Greece 447 Provenance Unknown 123-128 Phokaia 644, 1221-1222 Smyrna 1226-1227 Manner: Athens 802, Naukratis 100-101, Cerveteri? Samos 449-450, 523-531, 594-595, 648, 806-807, 851- 556-557, Histria 1268 853, 879, 1236-1239 Near: Korinthos 435 Ialysos 1242-1243 Akin: Cerveteri 552 Miletos 168 Cyprus 453 Near: Sanctuary of the Nymphe 992-994, Naukratis Daskyleion 1265 1254 Naukratis 177, 229, 539, 1250-1253, 1526 Connected: Naukratis 102-105, 454-455, Eleusis 429, Cortona 196-198 Naukratis 1255 Gravisca 456, Taranto 457 Lion Painter Spain 1280 Vári 790-795 Provenance Unknown 462 London Olpai, Painter of Manner: Athenian Agora 133, 1124, Thorikos 473, Nola 385 Athens 1315, Samos 171, 532-533, 853, Naukratis Provenance Unknown 1333, 1336 596, Gravisca 562-564, 1273, Sybaris 1275 Near: Sanctuary of the Nymphe 988-989, 995-998, Lotus Painter Aigina 1102 Vári 313, 397, 421, 874-876, 1188, 1303-1304 Close: Kiápha Thíti 472 Sanctuary of the Nymphe 1026-1028 Circle: Kerameikos 471 Compare: Naxos 1518 Nessos Painter Maybe: Naukratis 856 Athenian Agora 604 Akropolis 217-218, 828 KY Painter Sanctuary of the Nymphe 27, 890-896 Athenian Agora 76, 294, 463 Kerameikos 38-41, 303, 836-837, 1409, 1488, 1491 Akropolis 465-466 Olympieion 56 Kerameikos 469-470 Vári 57-60, 75, 86, 785, 796, 842, 1140-1148, 1491 Athens 475-476 Phaleron 223, Aigina 88-89, 477-478 Mounikhía 64-65, 1203, 1507 Korinthos 434, 481-483 Rhamnous 1098 Perakhóra 484-491 Eleusis 638 Isthmia 494 Athens 639, 801 Delphoi 495-500 Attika 642 Thasos 504-505 Aigina 70, 226, 247, 643, 1208, 1420, 1515 Greece 508 Cerveteri 862 Pitane 510-513 Provenance Unknown 661 Phokaia 515 Smyrna 157, 448, 516-517 Circle: Kerameikos 1489-1490 Klazomenai 521 Close: Athenian Agora 270, Samos 646 Lindos 535-537 Near: Athenian Agora 1, 3-5, 230, 238, 605-607, 755, Sardeis 96, 1244 1424-1425, Akropolis 829, 1403, Sanctuary of the Daskyleion 548-549 Nymphe 897-901, Olympieion 839, Vári 238, 1149, Histria 550 Mounikhía 428, Hymettos 841, Eleusis 1417, Aigina Naukratis 262, 376, 540-541 1419, 1421, Smyrna 805 Kyrene 115 Akin: Kerameikos 42-43 Berezan 116 Recalls: Attika 641 Cerveteri? 553-555, Follower: Vári 61-62 Chiusi 558 Megara Hyblaia 459, 571-572 New York 22.139.22, Painter of Motya 574 Klazomenai 522 216 appendix iv

Samos 534 Rhamnous 1504-1505 Taranto 567-568 Mounikhía 1508 Athens 640 Panther Painter Aigina 1213 Vári 1150-1170 Phársalos 147 Gortyna 149 Close: Athenian Agora 402, 1386 Troia 1220 Phokaia 251, 1223 Pegasos Painter Klazomenai 1231 Vári 789 Samos 854 Smyrna 158-163, 645 Peiraieus Painter Miletos 167 Athenian Agora 815 Lindos 172 Kerameikos 48, 636, 835, 1485-1486 Sardeis 175 Peiraieus 800 Tell Sukas 1523 Aigina 1418 Naukratis 178-181, 229, 543, 809, 1256, 1310 Histria 191 Kyrene 1530 Apollonia Pontike 117 Ragusa Group Berezan 194 Athenian Agora 1107, 1399 Toscany 203 Akropolis 410, 1128-1130 Veii 653 Sanctuary of the Nymphe 1051-1052 Italy 659 Vári 1189 Provenance Unknown 130, 211-213, 812, 882, 1380 Thorikos 424, 1375-1376, 1411 Marathon 426 Manner: Vári 871-873, Naukratis 182, Kerkyra 250, Laurion 1196-1197 Sardeis 855 Sounion 1314 Near: Athenian Agora 621, Akropolis 138, 1408, 1463, Rhamnous 316 Sanctuary of the Nymphe 1023-1025, Kerameikos Attika 1205-1206 54, Korinthos 90, 146, Miletos 1233, Samos 1240- Aigina 1214 1241, Sardeis 174, Naukratis 1527, Massalia 205-206, Kythnos 1219 Provenance Unknown 129 Phokaia 93 Compare: Himera 120 Berezan 267 Close: Kiápha Thíti 422 Ayía Paraskeví 335 Circle: Akropolis 138, Kerameikos 139, Karabournáki Ragusa 1278 148 Contemporary: Akropolis 21, 1407, 1464 Sophilos Workshop: Akropolis 1465, Chiusi 199-201 Athenian Agora 78, 619-620, 1394, 1452 Tradition: Perakhóra 445 Akropolis 22, 137, 831, 1462 Sanctuary of the Nymphe 1015-1022 Old Women, Painter of Kerameikos 53 Athenian Agora 769 Vári 240, 311, 419 Sanctuary of the Nymphe 1036-1045 Menídhi 245 Anavyssos 423 Vourvá 603, 1097, 1199-1201, Rhamnous 1100 Marathon 797 Samos 451-452 217

INDICES

Index I: Painters, Groups

Anagyrous Painter 14, 18-19, 24, 27, 40, 44- 61, 66, 67, 68, 78, 79, 84, 45, 47, 87, 89, 113 85, 87, 88, 89, 91, 93, 94, Analatos Painter 24, 46, 53, 84 95, 96, 97, 98, 100, 101, Androsiren Painter 42, 102, 107 103, 105, 106, 107 Athens 16407, Painter of 43, 107 KY Painter 10, 17, 43, 5, 83, 92, 93, 94, Athens 894, Workshop of 9 95, 96, 98, 99, 100, 102, 105, 106, 107 Bellerophon Painter 39, 40, 74, 77 Komast Group 16, 17, 18, 32, 43, 69, 92, Berlin A34, Painter of 7, 39, 73, 77, 89, 91 94, 98, 101, 102, 105, 106, Berlin 1659, Painter of 95, 96, 100, 105 107 Big Ears, Painter 41 Lion Painter 74, 40, 39 C Painter 61 London B76, Painter of 55 Copenhagen 103, London Olpai, Painter of 41, 64, 76 Painter of 17, 42, 102 Lotus Painter 15, 18, 22, 23, 35, 44, 45, 87, 113 Deianeira Painter 27, 41, 64, 76 Deianeira Group 41 Nessos Painter 3, 12, 13, 14, 20, 22, 24, Dresden Lekanis, 26, 35, 39, 40, 41, 47, Group of 8, 19, 21, 26, 44, 47, 57, 52, 53, 54, 61, 67, 72, 78, 85, 91, 95, 101, 104, 73, 74, 77, 78, 80, 84, 105 85, 86, 87, 88, 91, 95, 96, 99, 104, 105, 111, Early Olpai, Group of 41, 93, 96, 97, 99, 106, 107 113 Eleusis 767, Painter of 45, 86 New York 22.139.22 17, 42 Painter of Gorgon Painter 11, 14, 15, 20, 22, 24, 26, Onesimos 90 27, 28, 32, 35, 40, 41, 42, Panther Painter 43, 44, 107 43, 52, 60, 61, 64, 65, 66, Pegasos Painter 39, 40, 77 76, 78, 85, 86, 87, 89, 91, Peiraieus Painter 39 92, 94, 95, 96, 97, 98, 99, 100, 101, 103, 105, 106, Ragusa Group 26, 45, 86, 88, 89, 93, 94, 107 98, 102, 113

Horse-bird Painter 44 Sophilos 3, 9, 10, 11, 12, 18, 19, 20, 21, 22, 24, 32, 42, 43, 47, Istanbul 7314, Painter of 30, 41, 102 50, 51, 52, 55, 56, 58, 59, 62, 63, 64, 70, 78, 83, 84, Kerameikos Painter 7, 15, 30, 41, 102 85, 87, 89, 90, 91, 93, 94, Khimaira Painter 39 95, 96, 98, 99, 100, 102 Kleitias 55, 59 Swan Group 32 KX Painter 17, 18, 22, 24, 26, 29, 42, 43, 45, 46, 47, 52, 58, 60, Old Women, Painter of 44, 88 218 indices

Index II: Shapes

Alabastron 27, 28, 44, 69, 88, 92, 102 Hydria 18, 22, 23, 24, 35, 37, 45, Amphora 2, 3, 4, 8, 19, 20, 21, 22, 24, 47, 52, 56, 57, 61, 74, 75, 31, 32, 36, 39, 40, 41, 42, 87, 90, 95, 96, 106 43, 46, 49, 50, 51, 52, 54, 56, 57, 58, 61, 62, 64, 65, Kantharos 17, 18, 35, 44, 45, 60, 67, 70, 71, 75, 76, 82, 83, 84, 72, 87, 106 85, 86, 88, 90, 91, 93, 94, Karkhesion 66 95, 96, 98, 99, 100, 101, Kotyle 7, 8, 16, 32, 33, 92, 102, 103, 104, 105, 106, 113, 107 116 Krater 7, 8, 9, 10, 11, 12, 13, 15, Amphora, horsehead 20, 35, 75, 76, 88, 89, 90, 20, 32, 33, 34, 39, 55, 56, 95, 96, 97, 98, 99, 100, 67, 68, 69, 70, 72, 73, 83, 101, 102, 106 85, 86, 90, 92, 95, 97, 101, Amphora, neck 20, 21, 22, 24, 35, 36, 39, 104 40, 45, 52, 54, 73, 74, 75, Krateriskos 8, 9, 40, 41, 84, 85 95, 96 Lebes 10, 11, 12, 32, 40, 42, 43, Amphora, one-piece 19, 20, 21, 22, 36, 41, 74, 44, 46, 52, 53, 54, 55, 56, 76, 85, 100 58, 59, 60, 61, 64, 66, 69, Amphora, Panathenaic 30 70, 78, 88, 93, 94, 95, 96, Amphora, SOS 21, 30, 31, 92, 94, 99, 102, 97, 98, 99, 100, 103, 104, 103, 105, 110, 115 105, 114 Amphora, transport 21, 94, 95, 98, 101, 106 Lebes gamikos 9 Amphora, Tyrrhenian 2, 3, 51, 60, 69 Lekane 19, 23, 26, 32, 35, 36, Amphoriskos 30, 31, 41, 92, 93, 94, 96, 37, 40, 41, 42, 43, 44, 106 46, 58, 61, 65, 74, 75, Aryballos 14, 28, 29, 32, 46, 58, 69, 82, 83, 87, 88, 89, 90, 91, 72, 74, 75, 86, 88, 89, 92, 93, 95, 97, 98, 99, 100, 93, 94, 96, 102, 106 102, 103, 105, 106, 107, 111 Chalice 19, 42, 44, 74, 89, 94, 106 Lekanis 23, 26, 62, 64, 82, 85, 94, Column-Krater 9, 10, 11, 12, 32, 35, 36, 95, 96, 98, 99, 101 40, 43, 54, 56, 67, 68, 69, Lekythos 27, 28, 29, 30, 32, 41, 50, 70, 74, 75, 76, 79, 95, 97, 64, 66, 70, 76, 86, 87, 88, 98, 99, 102, 103, 107, 111 89, 90, 92, 93, 95, 96, 97, Cup 15, 16, 17, 29, 33, 35, 42, 99, 102, 103, 104, 106 43, 46, 51, 55, 60, 66, 67, Louterion 2, 10, 12, 13, 32, 35, 36, 68, 69, 76, 79, 83, 85, 87, 37, 38, 40, 50, 51, 52, 67, 88, 90, 91, 92, 93, 95, 96, 70, 74, 88, 90, 91, 93, 95, 98, 99, 101, 102, 103, 104, 106 106, 107, 109 Loutrophoros 24, 25, 26, 32, 37, 40, 41, Cup, band 94 42, 43, 44, 45, 46, 55, 64, Cup, double 17, 42, 46 70, 72, 74, 79, 82, 84, 85, 86, 87, 104, 105, 106, 113 Cup, lip 75 Loutrophoros-amphora 21, 24, 25, 26, 42, 44, 73, Cup, Pre-komast 15, 16, 91, 98 89 Cup, Siana 16, 17, 42, 43, 69, 92, 102 Loutrophoros-hydria 24, 25, 26, 54

Dinos 11 Oinokhoe 14, 15, 18, 32, 33, 35, 41, 43, 66, 69, 70, 75, 76, 82, Egg-shaped krater 9, 32, 88 88, 98, 101, 106 Exaleiptron 18, 29, 30, 35, 41, 42, 43, Olpe 14, 15, 20, 33, 41, 43, 54, 83, 87, 96, 106 56, 61, 62, 64, 65, 70, 71, 74, 82, 86, 87, 89, 91, 92, ii. shapes 219

93, 94, 95, 96, 97, 98, 99, 68, 69, 71, 73, 79, 84, 85, 100, 101, 103, 105, 106, 86, 87, 88, 89, 91, 92, 93, 107 94, 95, 96, 97, 100, 101, 102, 103, 106, 107 Pithos 9, 13, 21, 84, 88, 94 Skyphos-krater 7, 8, 12, 22, 32, 35, 36, 39, Plate 18, 19, 26, 27, 32, 35, 42, 40, 41, 44, 47, 50, 52, 53, 43, 44, 45, 60, 64, 74, 83, 63, 70, 72, 73, 74, 79, 82, 85, 87, 93, 94, 105, 106 83, 89 Pyxis 7, 31, 32, 44, 64, 88, 89, Support 7, 8, 9, 10, 11, 13, 18, 29, 90 32, 36, 39, 40, 41, 42, 43, 44, 45, 59, 60, 61, 62, 67, Skyphos 8, 15, 16, 17, 18, 19, 32, 33, 69, 71, 72, 73, 84, 85, 86, 35, 42, 43, 44, 47, 64, 66, 88, 91, 98 220 indices

Index III: Sites

Aigina 2, 7, 10, 12, 13, 14, 15, 17, 20, 22, 26, 27, 29, Delphoi 17, 27, 93; Appendix I 139, 167 39, 52, 54, 64, 67, 73, 77, 91, 105, 106, 108, 111; Appendix I passim Egypt 2, 70, 97, 108, 109; Appendix I 147, 172 Akharnai 90 Eleusis 8, 16, 20, 21, 22, 27, 31, 32, 40, 45, 52, 62, Akrokorinthos 33, 92 85, 86, 91; Appendix I 122, 132, 136, 144, 150, 163, Akropolis 2, 3, 8, 10, 12, 13, 15, 16, 17, 18, 19, 21, 174, 176, 179 24, 27, 29, 30, 32, 42, 44, 45, 46, 52, 53, 55, 56, 61, Eretria 38 63, 71, 72, 74, 79, 80, 83, 104, 105, 107, 113, 114, Eridanos 15, 86 115, 117; Appendix I passim Etruria 11, 17, 20, 31, 33, 34, 99, 100, 103, 106, 107, Akropolis North Slope 21, 27, 72; Appendix I 120, 108, 109; Appendix I 147 144, 151, 164, 165, 178 Euboia 2, 57, 75, 97 Akropolis South Slope 27, 83; Appendix I 171 Amathous 97; Appendix I 128 Garítsa 93 Ampurias 103, 109; Appendix I 127, 142, 172 Gela 17, 101, 102; Appendix I 142 Anavyssos 16, 29, 88; Appendix I 136, 146, 173 Gortyna 12, 70, 93; Appendix I 125 Aplόmata 93 Gravisca 15, 16, 17, 22, 26, 27, 66, 76, 100, 108, 109; Apollonia Pontike 99; Appendix I 124 Appendix I 130, 137, 141, 148, 152, 170 Argos 75, 112 Greece 17, 53, 64, 71, 81, 92, 93, 110, 113; Appen- Asia Minor 31, 34, 42, 81, 94, 97, 99, 105, 106, 107, dix I 137, 139 108, 109, 115 Greece, East 94, 96, 97, 98, 100, 102 Athenian Agora 3, 4, 8, 9, 10, 11, 12, 14, 15, 16, 17, Gryneion 95 19, 20, 21, 23, 26, 27, 28, 30, 31, 32, 33, 35, 36, 37, 39, 40, 43, 44, 45, 46, 54, 55, 56, 59, 60, 65, 66, 68, Heraion, Argos 65 69, 70, 71, 72, 75, 76, 77, 82, 84, 104, 105, 106, 107, Heraion, Samos 12, 17, 29, 30, 33, 34, 42, 43, 44, 46, 114; Appendix I passim 47, 79, 96, 106, 109 Athens 2, 5, 15, 16, 17, 20, 21, 22, 26, 34, 35, 44, Himera 10, 102; Appendix I 124 45, 46, 47, 50, 52, 63, 64, 68, 70, 75, 77, 83, 91, 93, Histria 12, 15, 17, 27, 98, 105, 111; Appendix I 127, 94, 108, 110, 111, 113, 115, 116, 117; Appendix I 134, 141, 170 122, 123, 132, 136, 138, 144, 146, 150, 167, 172 Huelva 103, 108, 109; Appendix I 138, 142, 152 Ayía Paraskeví 15, 94; Appendix I 133 Ialysos 27, 29, 43, 58, 72, 96; Appendix I 146, 169, Banditaccia 99 173 Baou de Saint Marcel 15, 103; Appendix I 135 Iberian Peninsula 34, 103, 109 Black Sea 81, 98, 99, 107, 109, 110 Ida, Mount 57 Berezan 10, 12, 15, 17, 22, 98, 99; Appendix I 124, Isthmia 17, 33, 92; Appendix I 139 127, 130, 141, 152 Italy 2, 17, 20, 22, 34, 100, 101; Appendix I 145 Béziers 12, 103; Appendix I 127, 142 Ithaka 18 Boiotia 18, 30, 41, 44, 47, 51, 63, 77, 92, 93; Appen- dix I 172, 173 Kalývia 29, 88; Appendix I 172 Kameiros 15, 28, 29, 31, 46, 96; Appendix I 133, Castelnuovo Berardenza 100 146, 172, 173, 174 Caudium 15, 100, 101; Appendix I 134 Kamináki 93 Cerveteri 15, 17, 22, 40, 52, 99, 105, 111; Appendix Karabournáki 12, 15, 17, 94; Appendix I 125, 133, I 134, 141, 145, 147, 152 139 Chiusi 1, 12, 17, 55, 99, 100; Appendix I 127, 141 Kavála 55, 94; Appendix I 180 Cortona 11, 12, 26, 27, 66, 68, 99, 107; Appendix I Kephale 29, 89 124, 127, 152, 169, 170 Kephisiá 17, 91; Appendix I 138 Cyprus 16, 17, 28, 64, 76, 97; Appendix I 128, 137, Kerameikos 3, 4, 7, 8, 11, 12, 13, 14, 15, 16, 17, 18, 20, 140, 146, 172 22, 23, 24, 25, 26, 27, 28, 29, 31, 32, 33, 34, 35, 36, 37, 39, 43, 46, 52, 53, 61, 69, 70, 73, 75, 79, 84, 86, Daskyleion 12, 15, 17, 22, 27, 99; Appendix I 127, 96, 104, 105, 111, 114, 115, 117; Appendix I passim 134, 141, 145, 169, 170 Keratéa 29, 89; Appendix I 173 Delos 14, 15, 18, 29, 46, 61, 93, 105; Appendix I Kerkyra 12, 13, 18, 93, 106; Appendix 129 132, 133, 173 Khalkidike 15, 94; Appendix I 133 iii. sites 221

Khios 18, 19, 94, 109, 110 Nola 15, 61, 100; Appendix I 134 Kiápha Thíti 16, 17, 89; Appendix I 136, 138 Klazomenai 10, 15, 17, 27, 94, 95, 107, 108; Appen- Oinoe 89 dix I 123, 133, 140, 168 Olbia 99; Appendix I 147, 180 Korinthos 2, 10, 11, 12, 15, 16, 17, 18, 23, 26, 27, Olympieion 22, 61, 86; Appendix I 121, 152 28, 31, 32, 33, 43, 44, 50, 53, 57, 60, 64, 65, 69, 70, 71, 74, 75, 76, 77, 91, 92, 97, 98, 102, 106, 108, 110, Palaiopolis 103 112, 114; Appendix I 123, 125, 132, 137, 138, 146, Peiraieus 3, 4, 21, 39, 70, 71; Appendix I 150 153, 168, 171, 172, 173, 174 Pelion 55 Krete 61, 64, 98, 102, 109 Peloponnesos 51, 64, 101 Kyklades 61, 62, 63, 75, 93, 94, 97 Perakhóra 8, 15, 16, 17, 18, 33, 34, 66, 73, 92; Ap- Kymai 100; Appendix I 130, 170 pendix I 132, 137, 138, 139 Kyme 95 Phársalos 42, 58, 59, 93, 107; Appendix I 125 Kyrá Vrýsi 92 Phokaia 10, 12, 15, 17, 22, 27, 95, 106, 108, 109; Kyrenaike 98, 107, 109, 110 Appendix I 123, 125, 129, 133, 140, 144, 152, 168 Kyrene 10, 17, 27, 65, 98, 106, 109; Appendix I 124, Phthia 58 141, 147, 169, 180 Pitane 12, 14, 15, 17, 28, 31, 41, 95, 108; Appendix Kythnos 27, 45, 93; Appendix I 168 I 125, 133, 139, 140, 152, 172 Poggio Pelicia 17, 22; Appendix I 141, 145 Lakonia 98 Poseidonia 101; Appendix I 148 Languedoc 103 Poteidaia 94 Larisa 12, 95; Appendix I 125 Lathoúriza 87 Rhamnous 13, 16, 25, 32, 44, 45, 84, 85; Appendix Laurion 15, 26, 45; Appendix I 132, 167 I 129, 132, 136, 150, 163, 176, 179 Lefkandi 49 Rhitsóna 28, 93; Appendix I 172 Lesbos 17, 27, 94; Appendix I 139, 171 Rhodos 15, 18, 64, 65, 96, 102, 108; Appendix I 133 Leuca 22, 101; Appendix I 145 Roútseri 89 Lindos 12, 15, 17, 66, 96; Appendix I 126, 133, 140 Lykia 53 Saint Cyriace 99 Salamis 110 Marathon 2, 15, 21, 22, 26, 36, 37, 45, 61, 64, 71, 89, Salamis, Cyprus 97; Appendix 146 90, 112; Appendix I 132, 136, 150, 167 Samos 11, 12, 15, 16, 17, 18, 22, 23, 24, 26, 27, 29, Marion 76, 97; Appendix I 172 34, 40, 42, 43, 45, 46, 47, 51, 52, 60, 67, 68, 79, 94, Massalia 10, 12, 15, 22, 27, 103, 108, 109; Appendix 96, 97, 103, 105, 106, 107, 108, 109, 111; Appen- I 124, 127, 135, 142, 145, 152, 170 dix I 122, 126, 133, 137, 140, 142, 144, 150, 152, Megara 110 153, 168, 173, 177 Megara Hyblaia 16, 17, 27, 101, 102; Appendix I 137, San Giorgio Jonico 101 138, 142, 148, 170 Sáni Pallínis 16, 94; Appendix I 137 Melos 15, 93; Appendix I 133 Sardeis 10, 12, 15, 22, 27, 96; Appendix I 123, 126, Miletos 12, 15, 27, 95, 97, 109, 110; Appendix I 126, 133, 137, 152, 168 133, 146, 168 Selinous 27, 28, 43, 70, 101, 102; Appendix I 170, 172 Motya 17, 102; Appendix I 142 Sicily 20, 53, 101, 106, 107, 108, 109, 110, 115 Mounikhía 8, 9, 16, 26, 27, 32, 41, 85; Appendix I Smyrna 9, 12, 15, 17, 22, 23, 27, 30, 40, 59, 95, 105, 122, 136, 167, 179 106, 108, 109; Appendix I 125, 126, 133, 135, 140, Mykonos 58 144, 150, 152, 153, 168 Myrina 95 Southern France 34, 103, 115 South Italy 17, 34, 53, 101, 106, 107, 109, 110 Naukratis 10, 12, 14, 15, 16, 17, 18, 22, 23, 26, 27, Spain 12, 16, 17, 22, 27, 28, 103, 104, 106, 109, 115; 28, 42, 45, 51, 60, 61, 66, 72, 96, 97, 99, 105, 106, Appendix I 127, 138, 142, 152, 170, 172 107, 108, 109, 110, 111, 115; Appendix I 123, 124, Sparta 50, 52, 63, 65 126, 127, 128, 130, 133, 134, 137, 140, 141, 142, Spáta 19, 44, 89; Appendix I 143 144, 145, 146, 150, 152, 153, 163, 169, 171, 172, 180 Sybaris 17, 27, 101; Appendix I 141, 170 Naxos 27, 64, 72, 93; Appendix I 171, 180 Sými Viánnou 61 Neapolis 94 Neapolis, Spain 103; Appendix I 142 Tamassos 97 222 indices

Taranto 15, 17, 21, 66, 70, 76, 101; Appendix I 130, 38, 39, 40, 42, 43, 44, 45, 46, 47, 50, 51, 52, 54, 56, 135, 137, 141, 142, 147, 150 57, 61, 65, 70, 72, 73, 74, 75, 82, 84, 86, 87, 88, 104, Tarquinia 22, 100; Appendix I 145, 147, 148 105, 111, 112; Appendix I passim Tartessos 109 Veii 20, 22, 100; Appendix I 145 Tell Defenneh 22, 76, 97, 98, 106; Appendix I 146, Velanidhéza 89; Appendix I 146 147 Velatoúri 88 Tell Sukas 97; Appendix I 180 Vetulonia 100 Thasos 15, 17, 31, 43, 94; Appendix I 133, 139, 180 Vietri sul Mare 15, 100, 101; Appendix I 130 Thebes 27, 61, 62; Appendix I 168 Vourvá 2, 3, 7, 8, 16, 19, 25, 26, 36, 37, 39, 42, 68, Thera 98, 109 75, 83, 84, 89, 105, 106, 112; Appendix I 122, 136, Thorikos 13, 17, 32, 45, 88, 89; Appendix I 136, 138, 143, 163, 167 146, 174, 175 Vulci 1, 99; Appendix I 147 Tocra 15, 17, 98, 109; Appendix I 134, 141, 147, 174 Tourkovoúni 84; Appendix I 179 Xanthos 10, 22, 96, 108; Appendix I 123, 143, 146, Toscany 12, 68, 100; Appendix I 127 150 Troia 27, 94; Appendix I 168, 180 Zankle 102 Vári 3, 4, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 18, 21, Zeytintepe 95 22, 23, 24, 25, 26, 27, 29, 30, 31, 33, 34, 35, 36, 37, iv. subjects and iconographic elements 223

Index IV: Subjects and Iconographic elements

Akheloos 52 Eurytios 67, 68 Akhilleus 57, 58, 59, 77, 79, 93 Floral Ornament 16, 20, 61, 70, 76 Aglauridai 49, 63, 79 Funeral Games, Patroklos 58, 59, 70 Aglauros 63 Agonothetes 59 Goat 53, 54, 63, 73 Aigisthos 77 Gorgo 40, 52, 53 Aias 60 Gorgoneion 26, 53 Akastos 54 Griffin 63, 73 Akletoi 69 Alexandros 56 Harpyiai 67 Amphiaraos 59, 60 Helmet 61, 71 Amphitrite 63 Hera 56, 57, 63 Animal 15, 16, 20, 21, 46, 49, 54, 58, 61, 62, 63, 64, Herakles 18, 40, 41, 45, 49, 50, 51, 52, 67, 68, 77, 78 65, 66, 72, 73, 74, 75, 76, 78, 79, 80 Hermes 49, 51, 53, 56, 57, 61, 62, 63, 65, 72, 79 Animal frieze 2, 10, 11, 21, 22, 24, 26, 31, 42, 49, Hippothoos 60 54, 55, 61, 62, 64, 65, 70, 74, 76, 78, 80, 84, 88, Horse 20, 26, 54, 58, 59, 60, 63, 65, 68, 69, 70, 71, 111, 114, 115 72, 73, 75, 88 Amphilokhos 60 Hybrid 49, 52, 64, 65, 66, 73, 74, 78, 114 Antilokhos 59 Aphrodite 56 Kekrops 63, 79 Aristaios 65 Khimaira 53, 54, 73, 77 Armour 57, 58, 60, 61, 68, 71, 79 Khiron 77 Atalanta 54 Khiton 50, 57, 64, 65, 68, 70 Athena 52, 53, 56, 63, 79 Kline 67, 68 Komast 16, 66, 67, 68, 69, 78, 79, 85 Bellerophon 53, 54 Komos 16, 107 Bird 62, 63, 67, 74 Boar 54, 55, 73, 74 Lion 51, 53, 54, 62, 63, 64, 65, 73, 74, 76, 78 Boar hunt 55 Loutrophoria 25, 72 Boar hunt, Kalydonian 44, 54, 79 Boreads 67 Mainad 66 Bow 50, 51, 67 Mastos 67 Branch 72, 73 Medusa 52, 53 Bull 52, 73, 87 Meleager 54, 55 Menelaos 60, 77 Centaur 49, 50, 52, 65, 77, 78 Monster 21, 49, 52, 53, 54, 73, 74, 77, 78, 80, 111, 114 Chariot 39, 40, 52, 55, 56, 58, 59, 60, 61, 63, 69, 71, 78, 79, 88 Nereids 57, 58 Chariot, frontal 18, 45, 60, 72 Nereus 18, 41, 45, 51, 52, 78 Charioteer 59, 60, 72 Nessos 49, 50, 77 Nestor 60 Deer 64, 73 Nymph 57, 65, 66, 67 Deianeira 41, 49, 50 Despotes Orneon 64 Odysseus 77 Despotes Theron 62, 63, 64, 76 Okeanos 52 Dionysos 17, 56, 65, 66, 67, 69 Orestes 77 Dog 54, 67, 68, 70, 73 Donkey 64, 66 Pandrosos 63 Duel 60, 61, 79 Panther 50, 56, 64, 76 Duck 74 Paris 44, 56, 57, 78, 79 Patroklos 57, 58, 59, 60, 70, 72 Eagle 51, 74 Pegaios 54 Euryale 52 Pegasos 53, 54, 77 224 indices

Peleus 42, 52, 55, 56, 57, 79 Sacrifice 79 Perseus 52, 53, 77, 78 Satyr 65 Phineas 67 Shield 58, 60, 61, 67, 71 Pholos 49, 50 Silenos 65, 66, 67, 69, 76 Polyphemos 77 Siren 20, 56, 57, 61, 62, 64, 67, 70, 73, 74, 76, 78 Poseidon 63, 79 Spear 52, 54, 55, 60, 62, 71 Potnia theron 63, 64, 76 Spectator 51, 58, 59 Procession 24, 25, 40, 42, 52, 55, 56, 57, 60, 63, 66, Sphinx 61, 62, 63, 65, 73, 78 69, 71, 72, 73, 77, 79, 84, 85 Stheno 52 Prometheus 51 Sword 50, 51, 54, 64 Protome 20, 26, 49, 51, 54, 66, 73, 74, 75, 76, 94 Symposion 50, 55, 56, 59, 61, 67, 68, 69, 78, 79 Protome female 11, 86 Protome male 64, 76, 98 Thetis 52, 55, 56, 57, 58, 79 Tripod 70, 75 Race, chariot 58, 59, 71 Warrior 55, 60, 61, 68, 71, 72, 77, 90 Race, foot 70 Race, horse 69, 70, 94 Wreath 57, 72 Ribbon 112 Rider 55, 60, 69, 70, 71, 76, 79, 85, 88 v. general 225

Index V: General

Aiskhylos 58 Generic scene 35, 49, 54, 55, 59, 67, 70, 78, 80 Altar 9, 63, 68, 104 Genesia 116 Ancestor 13, 38, 50, 90, 112, 117 Geometric 2, 7, 8, 9, 10, 11, 13, 14, 15, 16, 18, 19, Ancestor Cult 13 21, 23, 24, 26, 27, 31, 32, 44, 46, 49, 59, 63, 70, 71, Anthesteria 62 73, 75, 78, 79, 83, 85, 86, 88, 89, 90, 91, 92, 93, 95, Aphrodite 61, 65, 95, 100 96, 99, 101, 102, 104, 111, 112, 114 Apollon 64, 65, 91, 93 God 31, 52, 53, 55, 56, 61, 62, 64, 65, 66, 67, 91, 113 Argive 93 Goddess 9, 17, 25, 26, 28, 31, 32, 34, 56, 57, 63, 64, Aristocrat 33, 68, 110, 112 72, 77, 79, 80, 94, 99, 117 Aristoteles 71, 75, 110, 116 Graffito 9, 31, 33, 83, 104, 108, 113 Armour 57, 58, 60, 61, 68, 71, 79, 86 Grave 8, 9, 12, 13, 15, 16, 18, 19, 20, 21, 23, 25, 27, Arrow 50, 51 28, 31, 32, 33, 34, 35, 36, 37, 43, 56, 64, 67, 73, 74, Artemis Orthia 50, 56 75, 86, 87, 88, 89, 91, 92, 93, 94, 95, 96, 99, 100, Artemision, Thasos 94 101, 102, 107, 111, 112, 115 Athletic 12, 30, 59, 70, 71, 78 Grave marker 8, 20, 21, 35 Grave offering 15, 18, 26, 34, 96 Banquet 10, 16, 19, 34, 67, 68, 69 Beast of burden 88 Heliaia 116 Bucchero 18, 94, 99, 100, 101 Hera 23, 24, 28, 33, 34, 56, 57, 63, 68, 73, 92, 93, 96, 100, 101 Cauldron 11, 12 Herodotos 97, 108, 109, 110, 113 Cemetery 3, 22, 29, 31, 38, 86, 89, 91, 92, 93 Hesiod os 51, 65, 66, 67 Circulation 81, 82, 100, 105, 107, 110, 114, 115 Hippeis 116 Citizenship 117 Hippotrophia 71 Clay 9, 11, 12, 18, 23, 27, 33, 34, 40, 41, 42, 44, 45, Homer 55, 56, 57. 60, 67, 73 46, 47, 84, 85, 86, 88, 90, 104, 113, 114 Horai 65 Cremation 25, 28, 36, 37, 38, 88, 89, 91, 111 Ilias 51, 55, 56, 57, 58, 59, 60, 72 Deceased 13, 18, 19, 20, 22, 25, 26, 29, 32, 33, 34, Imbrassos 24 36, 37, 38, 43, 44, 50, 65, 68, 71, 74, 76, 78, 88, 90, Impasto 100 92, 99, 111, 112 Inhumation 13, 19, 34, 36, 38, 88 Dedicator 13, 18, 26, 38, 45, 51, 83, 84, 90, 112, 113 Inscriptions 2, 9, 11, 17, 21, 24, 50, 52, 54, 55, 56, 58, Demeter 23, 28, 33, 85, 92, 98, 102 59, 60, 63, 64, 68, 70, 72, 73, 75, 76, 78, 83, 84, 93 Distribution 10, 39, 41, 42, 58, 81, 82, 104, 105, 107, Ionian 94, 95, 96, 98, 99, 100, 101, 102, 109 108, 109, 115 Ionian Migration 62 Drako 113 Iphigeneia, tomb 84

East Greek 2, 16, 17, 42, 57, 60, 68, 92, 93, 94, 95, Kallimakhos 90 96, 97, 98, 100, 101, 102, 103, 104, 105, 106, 107, Kerykeion 56, 61, 63 109, 110 Khalkidian 2, 57, 101 Élite 20, 34, 42, 43, 58, 61, 72, 78, 79, 87, 112, 113, Khiot 19, 42, 44, 83, 94, 95, 97, 99, 101, 106, 109 116, 117 Kreophylos 68 Emporion 97 Khrestomathia 55 Erekhtheion 63 Khytroi 62 Erinyes 67 Kolaios 109 Etruscan 18, 94, 99 Kore (Persephone) 33, 85, 92, 98 Etrusco-Korinthian 99 Kore 89 Korinthianising 11, 32, 33, 38, 44, 46, 78, 80, 107, Figurine 37, 38, 68, 84, 86, 88, 90 114, 115 François Vase 1, 2, 52, 54, 55, 59, 65, 66, 67 Korobios 109 Funerary ceremony 8, 13, 19, 34, 35, 36, 90, 117 Kouros 89 Kourotrophos 24 Gaia 65 Kreophylos 68 Gem 51, 54 Kretan 9, 54, 61, 62, 63, 64, 93, 94 226 indices

Kybele 99 Protogeometric 10, 14, 15, 18, 20, 22, 73 Kykladic 9, 46, 52, 54, 55, 58, 75, 93, 94, 101 Psammetikhos 97 Kylon 113 Psykhopompos 61, 62, 79 Kypria 55, 56 Purification 13, 23, 24, 25, 28, 30

Lakonian 19, 42, 44, 83, 94, 95, 97, 99, 101, 106, 109 Sacrifice 33, 38, 68, 79 Libation 8, 13, 15, 30, 36, 96, 111 Sacrificial pyre 13, 35, 36, 37, 85, 87, 111 Loutra 13, 25 Sanctuary 8, 13, 17, 24, 25, 26, 32, 33, 34, 40, 41, 42, 43, 44, 45, 46, 50, 54, 55, 56, 61, 63, 64, 68, 70, Megaron 85 72, 73, 79, 80, 82, 83, 84, 85, 86, 91, 92, 93, 94, 95, “Melian” 58, 61, 62, 70, 76 96, 97, 98, 100, 101, 102, 104, 105, 108, 109, 113, Miniature 13, 15, 31, 32, 37, 40, 45, 58, 85, 86, 88, 114, 115, 117 89, 90, 96 Sanctuary of the Nymphe 24, 25, 26, 27, 32, 40, 42, Mobility 46, 47 43, 44, 45, 46, 54, 55, 61, 64, 70, 72, 79, 82, 85, 104, Muses 65 105, 113, 114 Mykenaian 12, 13, 50, 58, 63, 73, 85, 88, 90, 112 Sanctuary, peak 33, 40, 79, 84, 104, 113, 114 Mythological 1, 18, 35, 41, 42, 49, 51, 59, 62, 65, 67, Seisakhtheia 116 68, 69, 72, 77, 78, 80, 111 Shield, clay 88, 90 Solon 33, 47, 51, 56, 62, 70, 71, 108, 110, 113, 114, Naukleros 109 115, 116, 117 Nekropolis 8, 9, 10, 11, 12, 13, 16, 17, 18, 19, 20, 21, Sostratos 108 22, 23, 25, 26, 28, 29, 31, 32, 34, 36, 38, 40, 43, 44, Stesikhoros 56 46, 47, 56, 72, 73, 74, 78, 79, 81, 86, 87, 88, 89, 90, Stesilaos 90 91, 93, 94, 95, 96, 99, 100, 101, 102, 103, 104, 105, Strategos 90 106, 111, 112, 113, 115 Subgeometric 15, 16, 20, 27, 28, 33, 37, 84, 86, 104, Nemesis 25, 32, 84, 85 112, 113 Nychtopaidias 76 Symposion 7, 11, 12, 13, 17, 19, 20, 24, 30, 32, 33, Nymphe 24, 25, 26, 27, 32, 40, 41, 42, 43, 44, 45, 34, 36, 38, 50, 55, 56, 59, 61, 67, 68, 69, 72, 78, 79, 46, 54, 55, 61, 70, 72, 79, 82, 83, 84, 85, 104, 105, 111, 114 113, 114 Nyx 76 Telesterion 85, 91 Temenos 99 Odysseia 51, 59, 62, 67, 73 Thetai 116 Odysseus 77 Tholos tomb 12, 13, 37, 50, 90, 91, 112 Offering placeq 32, 35, 36, 86, 87 Thoukydides 71, 75, 102, 109, 110, 113 Offering trench 8, 10, 13, 15, 16, 18, 19, 20, 21, 22, Trader 82, 97, 100, 107, 108, 109, 110, 115 23, 25, 26, 27, 28, 33, 34, 35, 36, 37, 38, 42, 43, 45, Trademark 81, 108 50, 56, 73, 77, 79, 84, 86, 87, 88, 89, 90, 104, 106, Trench-ceremony 18, 26, 33, 78, 79, 111, 112, 114 111, 112, 114, 115, 117 Tripod 104 Orient 49 Trojan Cycle 49, 55 Oriental 11, 63, 64 Trojan War 56, 57, 59, 61 Tumulus 8, 10, 11, 13, 18, 19, 21, 22, 26, 33, 34, 35, Palaistra 29, 30 37, 38, 40, 42, 43, 44, 45, 46, 50, 73, 87, 88, 89, 90, Panathenaia 70, 115 99, 100, 106, 111, 112 Panathenaic Games 56, 70, 75, 80 Panionian 2 Underworld 51, 53, 62, 63, Pentakosiomedimnoi 116 Urn 13, 15, 16, 20, 21, 22, 38, 76, 86, 88, 91, 100 Phoinikian 102, 103 Pindar 65 Wild Goat Style 98 Polis 5, 50, 61, 68, 71, 74, 77, 97, 98, 108, 109, 110, Workshop 1, 4, 7, 10, 11, 14, 15, 17, 18, 19, 20, 27, 112, 113, 114, 116, 117 30, 31, 32, 33, 39, 40, 41, 43, 44, 45, 46, 47, 55, 57, Plutarkhos 47, 71, 110, 113, 115, 116 70, 72, 82, 85, 89, 90, 92, 98, 100, 106, 107, 111, Protoattic 1, 2, 3, 4, 7, 8, 9, 10, 11, 14, 15, 18, 19, 114, 115 20, 21, 24, 25, 27, 32, 33, 34, 35, 41, 44, 46, 49, 52, 53, 56, 60, 61, 70, 71, 73, 75, 76, 77, 78, 79, 80, 84, Zeugitai 116 85, 86, 88, 89, 90, 91, 92, 104, 105, 111, 112, 117 Zeus 40, 51, 65, 84, 113 Protokorinthian 16, 28, 56, 58, 69, 75, 83, 95, 101 vi. museums and collections 227

Index VI: Museums and Collections

Acharnai, Museum 2806, 2807 27; Appendix I 167, Aigina 1213 U.F. 13 27; Appendix I 168, Aigina 1215 Amphora, horsehead no. no 27; Appendix I 168, Aigina 1214 MM396 90; Appendix I 146, Menídhi 683 Lid Fragment no. no. 91; Appendix I 177, Aigina 1447 no. no. 90; Appendix I 179, Menídhi 1500 no. no. Appendix I 177, Aigina 1448

Louterion Aigina, Museum no. no. 13; Appendix I 129, Aigina 248 no. no. 13; Appendix I 129, Aigina 249 Amphora, neck 126 Appendix I 150, Aigina 804 Loutrophoros 839 91; Appendix I 150, Aigina 803 1987, 1988 Appendix I 163, Aigina 1102

Amphora, one-piece Olpe 565 20, 22, 54, 91; Appendix I 144, 8 15, 91; Appendix I 132, Aigina 321 Aigina 643 11 15, 91; Appendix I 132, Aigina 322 1964 15, 91; Appendix I 132, Aigina 319 Amphora, unknown type 1980 15, 91; Appendix I 132, Aigina 320 no. no. Appendix I 151, Aigina 843 1992 15, 91; Appendix I 132, Aigina 327 1993 15, 91; Appendix I 132, Aigina 325 Column-krater 1993 15, 91; Appendix I 132, Aigina 326 222 10; Appendix I 123, Aigina 89 2783 15, 91; Appendix I 132, Aigina 324 508 10; Appendix I 123, Aigina 88 no. no. 15, 91; Appendix I 132, Aigina 323

Cup Skyphos-krater 25 17; Appendix I 138, Aigina 479 no. no. 91; Appendix I 122, Aigina 70 52 17; Appendix I 138, Aigina 477 506 17; Appendix I 138, Aigina 480 Support 515 17; Appendix I 138, Aigina 478 1996 Appendix I 176, Aigina 1423 2844 91; Appendix I 122, Aigina 69 Fragment 2844 Appendix I 176, Aigina 1418 2800 91; Appendix I 180, Aigina 1515 no. no. 39, 91; Appendix I 176, Aigina 1419 no. no. 91; Appendix I 180, Aigina 1513 no. no. 91; Appendix I 176, Aigina 1420 no. no. 91; Appendix I 180, Aigina 1514 no. no. 91; Appendix I 176, Aigina 1421 no. no. Appendix I 180, Aigina 1516 no. no. 91; Appendix I 176, Aigina 1422 no. no. Appendix I 180, Aigina 1517

Krater Alexandria, Graeco-Roman Museum no. no. 91; Appendix I 128, Aigina 226 Amphora, one-piece Lebes 9358 22; Appendix I 144, Naukratis 649 838a, b 12, 91; Appendix I 125, Aigina 145 1987 12, 91; Appendix I 125, Aigina 144 Column-krater 2795 12, 91; Appendix I 125, Aigina 143 9317 10; Appendix I 123, Naukratis 102 9355 10; Appendix I 123, Naukratis 99 Lekane-Lekanis 9519 10; Appendix I 123, Naukratis 106 101 27; Appendix I 167, Aigina 1212 9520 10; Appendix I 123, Naukratis 108 500 27; Appendix I 167, Aigina 1211 17165 10; Appendix I 123, Naukratis 107 2793 27; Appendix I 167, Aigina 1209 2794, 2796 26, 27; Appendix I 167, Aigina 1210 Fragment 2799 27, 91; Appendix I 167, Aigina 1208 19866 Appendix I 180, Naukratis 1528 228 indices

Lebes P 5297 21; Appendix I 148, Athenian Agora 755 9314 12; Appendix I 126, Naukratis 181 P 6065 21; Appendix I 149, Athenian Agora 772 P 6481 21; Appendix I 148, Athenian Agora 751 Lekane-Lekanis P 6486 39; Appendix I 148, Athenian Agora 754 9485 27; Appendix I 169, Naukratis 1255 P 6628 21; Appendix I 149, Athenian Agora 784 9489 27; Appendix I 169, Naukratis 1260 P 10195 21, 75; Appendix I 148, Athenian Agora 9521 27; Appendix I 169, Naukratis 1257 763 17030 27, 106; Appendix I 169, Naukratis 1246 P 12208 75; Appendix I 148, Athenian Agora 758 P 13113 21; Appendix I 148, Athenian Agora 762 Olpe P 13323 21; Appendix I 148, Athenian Agora 752 9340 15; Appendix I 134, Naukratis 365 P 13864 21; Appendix I 148, Athenian Agora 769 9384 15; Appendix I 123, Naukratis 368 P 17340 21; Appendix I 148, Athenian Agora 757 17157 15; Appendix I 134, Naukratis 364 P 17341 21; Appendix I 149, Athenian Agora 773 P 17966 21; Appendix I 148, Athenian Agora 770 P 21562 21; Appendix I 149, Athenian Agora 776 Amsterdam, Allard Pierson Museum P 22310 21; Appendix I 148, Athenian Agora 765 P 22418 21; Appendix I 148, Athenian Agora 760 Column-krater P 22884a, b 21; Appendix I 148, Athenian Agora 768 2176 10; Appendix I 123, Akropolis 85 P 25324 21; Appendix I 149, Athenian Agora 783 P 25392 21; Appendix I 148, Athenian Agora 759 P 26563 75; Appendix I 148, Athenian Agora 753 Ankara, Archäologisches Institut der Universität P 31088 21; Appendix I 149, Athenian Agora 771

Louterion Amphora, one-piece no. no. 12, 95; Appendix I 129, Phokaia 251 P 4 21; Appendix I 144, Athenian Agora 628 P 267 Appendix I 144, Athenian Agora 634 P 289 21; Appendix I 144, Athenian Agora 629 Athens, Agora Museum P 365 21; Appendix I 143, Athenian Agora 613 P 1235 21; Appendix I 143, Athenian Agora 617 Amphora, horsehead P 1247 20; Appendix I 143, Athenian Agora 604 P 290 Appendix I 145, Athenian Agora 666 P 2037 21, 71; Appendix I 144, Athenian Agora P 1248 Appendix I 145, Athenian Agora 673 626 P 12526 Appendix I 145, Athenian Agora 665 P 3703 21; Appendix I 143, Athenian Agora 621 P 13385 Appendix I 145, Athenian Agora 670 P 3795 21; Appendix I 143, Athenian Agora 606 P 18528 Appendix I 145, Athenian Agora 669 P 4596 21; Appendix I 143, Athenian Agora 622 P 18529 Appendix I 145, Athenian Agora 672 P 5024 21; Appendix I 144, Athenian Agora 630 P 25352 Appendix I 145, Athenian Agora 667 P 5300 55; Appendix I 144, Athenian Agora 631 P 26631 Appendix I 145, Athenian Agora 671 P 6155a 21; Appendix I 143, Athenian Agora 605 P 26636 Appendix I 145, Athenian Agora 668 P 6155b, c 21; Appendix I 143, Athenian Agora 608 P 6660 21; Appendix I 143, Athenian Agora 623 Amphora, neck P 10507 21; Appendix I 143, Athenian Agora 618 P 143 Appendix I 149, Athenian Agora 775 P 12496 21; Appendix I 143, Athenian Agora 620 P 249 Appendix I 149, Athenian Agora 774 P 12673 21; Appendix I 144, Athenian Agora 625 P 480 21; Appendix I 149, Athenian Agora 778 P 14485 21; Appendix I 143, Athenian Agora 615 P 648 21; Appendix I 148, Athenian Agora 766 P 15088 20; Appendix I 143, Athenian Agora 619 P 825 21; Appendix I 148, Athenian Agora 767 P 15887 21; Appendix I 144, Athenian Agora 627 P 1739 21; Appendix I 148, Athenian Agora 756 P 17393 20, 75; Appendix I 143, Athenian Agora P 3579 21; Appendix I 149, Athenian Agora 782 610 P 3805 21; Appendix I 149, Athenian Agora 779 P 18633 21; Appendix I 143, Athenian Agora 607 P 4255 21; Appendix I 149, Athenian Agora 781 P 18524 21; Appendix I 143, Athenian Agora 609 P 4626 21; Appendix I 148, Athenian Agora 761 P 22151 21; Appendix I 143, Athenian Agora 611 P 4727 21, 65; Appendix I 148, Athenian Agora P 22532 Appendix I 144, Athenian Agora 633 764 P 22840 Appendix I 144, Athenian Agora 632 P 4824 21; Appendix I 149, Athenian Agora 777 P 24944 21; Appendix I 144, Athenian Agora 624 P 5008 21; Appendix I 149, Athenian Agora 780 P 24952 21; Appendix I 143, Athenian Agora 616 vi. museums and collections 229

P 25417 21; Appendix I 143, Athenian Agora 614 P 18567 Appendix I 177, Athenian Agora 1452 P 27324 21; Appendix I 143, Athenian Agora 612 P 25353 Appendix I 177, Athenian Agora 1451 P 26290 Appendix I 177, Athenian Agora 1450 Amphora, unknown type P 2394 21; Appendix I 151, Athenian Agora 823 Hydria P 3652 21; Appendix I 151, Athenian Agora 826 P 20707 23; Appendix I 153, Athenian Agora 869 P 4339 21; Appendix I 151, Athenian Agora 827 P 26776 23; Appendix I 153, Athenian Agora 868 P 4807 21; Appendix I 151, Athenian Agora 822 P 4993 21, 39; Appendix I 150, Athenian Agora Krater 813 P 13123 Appendix I 128, Athenian Agora 215 P 7835 21; Appendix I 151, Athenian Agora 814 P 23159 Appendix I 128, Athenian Agora 214 P 13340 21; Appendix I 151, Athenian Agora 821 P 31089 Appendix I 128, Athenian Agora 216 P 17918 21; Appendix I 151, Athenian Agora 824 P 20678 21, 39; Appen dix I 150, Athenian Agora Lebes 815 P 334 12, 44, 54, 66; Appendix I 125, Athenian P 20681 21; Appendix I 151, Athenian Agora 825 Agora 134 P 25338 21; Appendix I 151, Athenian Agora 820 P 12811 12; Appendix I 124, Athenian Agora 132 P 25343 21; Appendix I 151, Athenian Agora 818 P 21708 12; Appendix I 125, Athenian Agora 133 P 26642 21, 54; Appen dix I 151, Athenian Agora P 24312 12; Appendix I 125, Athenian Agora 135 816 P 26619 12; Appendix I 124, Athenian Agora 131 P 26760 21; Appendix I 151, Athenian Agora 819 P 31091 21; Appendix I 151, Athenian Agora 817 Lekane-Lekanis P 470 26, 27; Appendix I 164, Athenian Agora Aryballos 1126 P 25784 Appendix I 172, Athenian Agora 1338 P 1130 26, 27; Appendix I 164, Athenian Agora 1123 Chalice P 2031 26, 27; Appendix I 164, Athenian Agora P 210 19; Appendix I 142, Athenian Agora 598 1116 P 5468 19; Appendix I 142, Athenian Agora 600 P 3012 26, 27; Appendix I 164, Athenian Agora P 6822 19; Appendix I 142, Athenian Agora 599 1119 P 20553 19; Appendix I 142, Athenian Agora 601 P 3012bis 26, 27; Appendix I 164, Athenian Agora 1120 Column-krater P 4342 26, 27; Appendix I 164, Athenian Agora P 3015 10; Appendix I 122, Athenian Agora 77 1122 P 4237 10; Appendix I 122, Athenian Agora 81 P 4631 26, 27; Appendix I 164, Athenian Agora P 13848 10, 56; Appendix I 122, Athenian Agora 1115 78 P 4677 26, 27; Appendix I 163, Athenian Agora P 17806 10, 72; Appen dix I 122, Athenian Agora 1112 83 P 4678 26, 27; Appendix I 164, Athenian Agora P 22330 10, 68; Appen dix I 122, Athenian Agora 1117 82 P 5232 26, 27; Appendix I 164, Athenian Agora P 22839 10; Appendix I 122, Athenian Agora 80 1111 P 26289 10; Appendix I 122, Athenian Agora 79 P 5354 26, 27; Appendix I 163, Athenian Agora P 26507 10; Appendix I 123, Athenian Agora 84 1104 P 27586 10; Appendix I 122, Athenian Agora 76 P 8973 26, 27; Appendix I 164, Athenian Agora 1113 Cup P 10194 26, 27; Appendix I 163, Athenian Agora P 3435 17; Appendix I 138, Athenian Agora 463 1105 P 5891 17; Appendix I 138, Athenian Agora 464 P 12231 26, 27; Appendix I 164, Athenian Agora 1124 Egg-shaped krater P 13750bis 26, 27; Appendix I 164, Athenian Agora P 17486 9; Appendix I 122, Athenian Agora 74 1118 P 13842 26, 27; Appendix I 164, Athenian Agora Fragment 1114 P 7036 59; Appendix I 177, Athenian Agora P 14378 26, 27; Appendix I 163, Athenian Agora 1453 1107 230 indices

P 14690 26, 27; Appendix I 164, Athenian Agora Olpe 1110 P 997 15; Appendix I 130, Athenian Agora 276 P 19483 26, 27; Appendix I 163, Athenian Agora P 2395 15; Appendix I 131, Athenian Agora 282 1106 P 3016 15; Appendix I 131, Athenian Agora 285 P 21705 26, 27; Appendix I 164, Athenian Agora P 4337 15; Appendix I 131, Athenian Agora 292 1109 P 5398 15; Appendix I 130, Athenian Agora 271 P 23762 26, 27; Appendix I 164, Athenian Agora P 6156 15; Appendix I 131, Athenian Agora 293 1125 P 6457 15, 54; Appendix I 130, Athenian Agora P 23891 26, 27; Appendix I 164, Athenian Agora 273 1121 P 10650 15; Appendix I 130, Athenian Agora 280 P 26546 26, 27; Appendix I 163, Athenian Agora P 11395 15; Appendix I 130, Athenian Agora 281 1108 P 12527 15; Appendix I 131, Athenian Agora 294 P 12581 15; Appendix I 130, Athenian Agora 275 Lekythos P 15002 15; Appendix I 130, Athenian Agora 277 P 3287 28; Appendix I 171, Athenian Agora P 16286 15; Appendix I 131, Athenian Agora 288 1312 P 18531 15; Appendix I 130, Athenian Agora 278 P 20551 15; Appendix I 131, Athenian Agora 300 Lid P 20645 15; Appendix I 131, Athenian Agora 298 P 3666a, Appendix I 176, Athenian Agora 1436 P 21531 15; Appendix I 131, Athenian Agora 287 b, e P 23451 15, 70; Appendix I 130, Athenian Agora P 3666c Appendix I 176, Athenian Agora 1437 270 P 3666d Appendix I 177, Athenian Agora 1438 P 23470 15; Appendix I 130, Athenian Agora 274 P 6176 Appendix I 176, Athenian Agora 1431 P 23528 15; Appendix I 131, Athenian Agora 291 P 9512 Appendix I 176, Athenian Agora 1427 P 23665 15; Appendix I 130, Athenian Agora 279 P 11400 Appendix I 176, Athenian Agora 1425 P 25365 15; Appendix I 131, Athenian Agora 283 P 17337 Appendix I 176, Athenian Agora 1424 P 25366 15; Appendix I 131, Athenian Agora 284 P 17831 Appendix I 176, Athenian Agora 1435 P 25367 15; Appendix I 131, Athenian Agora 286 P 20552 Appendix I 176, Athenian Agora 1429 P 25384 15; Appendix I 131, Athenian Agora 295 P 21569 Appendix I 176, Athenian Agora 1434 P 25649 15; Appendix I 131, Athenian Agora 299 P 22466 Appendix I 176, Athenian Agora 1430 P 26562 15; Appendix I 131, Athenian Agora 296 P 24906 Appendix I 176, Athenian Agora 1428 P 26668 15; Appendix I 130, Athenian Agora 272 P 25654 Appendix I 176, Athenian Agora 1426 P 26782 15; Appendix I 131, Athenian Agora 297 P 26439 Appendix I 176, Athenian Agora 1432 P 27749 15; Appendix I 131, Athenian Agora 289 P 26536 Appendix I 176, Athenian Agora 1433 P 27748 15; Appendix I 131, Athenian Agora 290

Louterion Olpe or Oinokhoe (uncertain type) P 3704 12; Appendix I 129, Athenian Agora 231 P 8963 Appendix I 135, Athenian Agora 399 P 5365 12; Appendix I 129, Athenian Agora 235 P 21572 72; Appendix I 135, Athenian Agora 400 P 25364 12; Appendix I 128, Athenian Agora 230 P 23468 Appendix I 135, Athenian Agora 398 P 26295 12; Appendix I 129, Athenian Agora 234 P 26300 12; Appendix I 129, Athenian Agora 232 Plate P 32874 12; Appendix I 129, Athenian Agora 233 P 4240 27; Appendix I 170, Athenian Agora Oinokhoe 1284 P 860 15; Appendix I 130, Athenian Agora 258 P 6684 Appendix I 170, Athenian Agora 1283 P 4552 15; Appendix I 130, Athenian Agora 256 P 13828 Appendix I 170, Athenian Agora 1285 P 4601 15; Appendix I 130, Athenian Agora 257 P 22268 Appendix I 170, Athenian Agora 1282 P 18275 15; Appendix I 129, Athenian Agora 254 P 26639 Appendix I 170, Athenian Agora 1281 P 18533 15; Appendix I 130, Athenian Agora 261 P 23046 15; Appendix I 129, Athenian Agora 255 Pyxis P 24945 14, 15, 66, 76; Appendix I 129, Athenian P 2036 31, 32; Appendix I 174, Athenian Agora Agora 253 1367 P 26781a, b 15; Appendix I 130, Athenian Agora 259 P 26781c 15; Appendix I 130, Athenian Agora 260 Skyphos-krater P 671 8; Appendix I 120, Athenian Agora 18 Oinokhoe, flat-bottomed P 3616 8; Appendix I 120, Athenian Agora 10 P 23483 Appendix I 135, Athenian Agora 401 P 4241 8; Appendix I 120, Athenian Agora 13 vi. museums and collections 231

P 4277 8; Appendix I 119, Athenian Agora 9 P 25368 Appendix I 174, Athenian Agora 1386 P 5303 8; Appendix I 120, Athenian Agora 19 P 25375 Appendix I 174, Athenian Agora 1384 P 5520 8; Appendix I 120, Athenian Agora 20 P 26638 45; Appendix I 175, Athenian Agora P 6116 8; Appendix I 119, Athenian Agora 2 1396 P 6577 8; Appendix I 119, Athenian Agora 7 P 7560 8; Appendix I 119, Athenian Agora 4 P 7866 8; Appendix I 120, Athenian Agora 11 Athens, British School P 12046 8; Appendix I 119, Athenian Agora 6 P 21382 8; Appendix I 120, Athenian Agora 16 Lekane-Lekanis P 21565 8, 40; Appendix I 119, Athenian Agora now lost 26, n. 9, 46; Appendix I 167, Attika 1206 3 P 21699 8; Appendix I 120, Athenian Agora 14 Athens, Fetiche Tjami P 23542 8; Appendix I 120, Athenian Agora 15 P 25268 8; Appendix I 120, Athenian Agora 12 Amphora, horsehead P 25661 8; Appendix I 119, Athenian Agora 1 NAK 417α-γ Appendix I 146, Athens 688 P 25854 8; Appendix I 120, Athenian Agora 17 P 26656 8; Appendix I 119, Athenian Agora 8 Loutrophoros P 26809 8; Appendix I 119, Athenian Agora 5 1957-Αα 2 Appendix I 162, Sanctuary of the Nymphe 1070 Skyphos 1957-Αα 4 Appendix I 154, Sanctuary of the P 1163 16; Appendix I 136, Athenian Agora 408 Nymphe 908 P 13268 16; Appendix I 136, Athenian Agora 407 1957-Αα 8 Appendix I 155, Sanctuary of the P 15089 16; Appendix I 135, Athenian Agora 406 Nymphe 916 P 21571 16; Appendix I 135, Athenian Agora 403 1957-Αα 9 61; Appendix I 160, Sanctuary of the P 23544 16, 44; Appendix I 135, Athenian Agora Nymphe 1019 402 1957-Αα 10 Appendix I 162, Sanctuary of the P 26787 16; Appendix I 135, Athenian Agora 404 Nymphe 1071 P 26788 16; Appendix I 135, Athenian Agora 405 1957-Αα 19 Appendix I 154, Sanctuary of the Nymphe 911 Support 1957-Αα 20 Appendix I 163, Sanctuary of the P 2034 Appendix I 175, Athenian Agora 1395 Nymphe 1085 P 2955 Appendix I 175, Athenian Agora 1402 1957-Αα 21 Appendix I 155, Sanctuary of the P 5112 43; Appendix I 174, Athenian Agora Nymphe 915 1390 1957-Αα 23 Appendix I 159, Sanctuary of the P 8779 Appendix I 175, Athenian Agora 1394 Nymphe 1015 P 10652 Appendix I 174, Athenian Agora 1383 1957-Αα 24 Appendix I 156, Sanctuary of the P 13345 44; Appendix I 174, Athenian Agora Nymphe 946 1391 1957-Αα 30 64; Appendix I 162, Sanctuary of the P 17155 Appendix I 174, Athenian Agora 1381 Nymphe 1074 P 20651 Appendix I 175, Athenian Agora 1387 1957-Αα 40 Appendix I 160, Sanctuary of the P 22308 Appendix I 175, Athenian Agora 1398 Nymphe 1032 P 22471 Appendix I 175, Athenian Agora 1400 1957-Αα 41 43; Appendix I 158, Sanctuary of the P 22695 39; Appendix I 174, Athenian Agora Nymphe 999 1382 1957-Αα 42 Appendix I 157, Sanctuary of the P 23090 Appendix I 175, Athenian Agora 1397 Nymphe 963 P 23097 Appendix I 175, Athenian Agora 1399 1957-Αα 43 Appendix I 162, Sanctuary of the P 23215 Appendix I 174, Athenian Agora 1385 Nymphe 1066 P 23222 Appendix I 175, Athenian Agora 1401 1957-Αα 46 Appendix I 161, Sanctuary of the P 24651 Appendix I 175, Athenian Agora 1392 Nymphe 1049 P 24949a-c 43; Appendix I 175, Athenian Agora 1957-Αα 49 Appendix I 158, Sanctuary of the 1388 Nymphe 987 P 24949e 43; Appendix I 175, Athenian Agora 1957-Αα 52 Appendix I 163, Sanctuary of the 1389 Nymphe 1094 P 25354 Appendix I 175, Athenian Agora 1393 232 indices

1957-Αα 59 Appendix I 157, Sanctuary of the 1957-Αα 199 Appendix I 155, Sanctuary of the Nymphe 969 Nymphe 919 1957-Αα 61 Appendix I 157, Sanctuary of the 1957-Αα 200 Appendix I 154, Sanctuary of the Nymphe 965 Nymphe 903 1957-Αα 62 Appendix I 162, Sanctuary of the 1957-Αα 214 Appendix I 154, Sanctuary of the Nymphe 1062 Nymphe 902 1957-Αα 63 Appendix I 155, Sanctuary of the 1957-Αα 218 40; Appendix I 154, Sanctuary of the Nymphe 935 Nymphe 899 1957-Αα 67 Appendix I 161, Sanctuary of the 1957-Αα 234 Appendix I 154, Sanctuary of the Nymphe 1048 Nymphe 904 1957-Αα 68 Appendix I 156, Sanctuary of the 1957-Αα 259 Appendix I 155, Sanctuary of the Nymphe 945 I-III Nymphe 923 1957-Αα 69 Appendix I 161, Sanctuary of the 1957-Αα 272 Appendix I 156, Sanctuary of the I, II Nymphe 1046 Nymphe 950 1957-Αα 278 Appendix I 154, Sanctuary of the 1957-Αα 71 54; Appendix I 159, Sanctuary of the Nymphe 909 Nymphe 1011 1957-Αα 286 Appendix I 154, Sanctuary of the 1957-Αα 77 Appendix I 156, Sanctuary of the Nymphe 907 Nymphe 949 1957-Αα 292 Appendix I 162, Sanctuary of the 1957-Αα 96 Appendix I 162, Sanctuary of the I, II Nymphe 1079 Nymphe 1081 1957-Αα 296 Appendix I 153, Sanctuary of the 1957-Αα 109 Appendix I 163, Sanctuary of the Nymphe 889 Nymphe 1090 1957-Αα 325 Appendix I 160, Sanctuary of the 1957-Αα 110 Appendix I 160, Sanctuary of the Nymphe 1033 Nymphe 1029 1957-Αα 332 24; Appendix I 156, Sanctuary of the 1957-Αα 112 Appendix I 159, Sanctuary of the Nymphe 939 +2966 Nymphe 1016 1957-Αα 336 40; Appendix I 154, Sanctuary of the 1957-Αα 113 Appendix I 159, Sanctuary of the Nymphe 900 Nymphe 1003 1957-Αα 337 I Appendix I 160, Sanctuary of the 1957-Αα 138 Appendix I 155, Sanctuary of the and 1955- Nymphe 1036 Nymphe 924 Αα 2635 1957-Αα 139 Appendix I 159, Sanctuary of the 1957-Αα 337 Appendix I 160, Sanctuary of the Nymphe 1009 II+Apothetis Nymphe 1037 1957-Αα 147 Appendix I 157, Sanctuary of the 1955 Nymphe 967 1957-Αα 338, Appendix I 161, Sanctuary of the 1957-Αα 148 24; Appendix I 156, Sanctuary of the I-II Nymphe 1056 Nymphe 940 1957-Αα 338α, Appendix I 161, Sanctuary of the 1957-Αα 151 Appendix I 159, Sanctuary of the I-II Nymphe 1055 Nymphe 1008 1957-Αα 343 Appendix I 159, Sanctuary of the 1957-Αα 153 Appendix I 155, Sanctuary of the Nymphe 1013 I-II Nymphe 934 1957-Αα 344 Appendix I 159, Sanctuary of the 1957-Αα 159, Appendix I 156, Sanctuary of the I-II Nymphe 1022 1957, Αα Nymphe 941 1957-Αα 349 Appendix I 159, Sanctuary of the 2303γ 24 Nymphe 1004 1957-Αα 160 Appendix I 160, Sanctuary of the 1957-Αα 351 Appendix I 162, Sanctuary of the Nymphe 1031 Nymphe 1073 1957-Αα 167 24, 40; Appendix I 154, Sanctuary of 1957-Αα 352 Appendix I 159, Sanctuary of the the Nymphe 891 Nymphe 1012 1957-Αα 174 Appendix I 160, Sanctuary of the 1957-Αα 369 Appendix I 155, Sanctuary of the Nymphe 1030 Nymphe 930 1957-Αα 181 70; Appendix I 158, Sanctuary of the 1957-Αα 370 Appendix I 155, Sanctuary of the Nymphe 998 I-II Nymphe 928 1957-Αα 192 24, 40, 72; Appendix I 154, Sanctuary 1957-Αα 373 Appendix I 163, Sanctuary of the of the Nymphe 892 Nymphe 1084 1957-Αα 198 Appendix I 154, Sanctuary of the 1957-Αα 374 Appendix I 159, Sanctuary of the Nymphe 906 Nymphe 1010 vi. museums and collections 233

1957-Αα 376 Appendix I 162, Sanctuary of 1957-Αα 452 Appendix I 157, Sanctuary of the Nymphe 1080 the Nymphe 977 1957-Αα 377 24; Appendix I 156, Sanctuary 1957-Αα 453 I-III Appendix I 154, Sanctuary of of the Nymphe 938 the Nymphe 910 1957-Αα 379 Appendix I 158, Sanctuary of 1957-Αα 454 I-III Appendix I 162, Sanctuary of the Nymphe 993 the Nymphe 1078 1957-Αα 380 Appendix I 155, Sanctuary of 1957-Αα 462 Appendix I 161, Sanctuary of the Nymphe 929 the Nymphe 1041 1957-Αα 381 Appendix I 159, Sanctuary of 1957-Αα 477 Appendix I 161, Sanctuary of the Nymphe 1005 the Nymphe 1043 1957-Αα 386 Appendix I 159, Sanctuary of 1957-Αα 478 Appendix I 159, Sanctuary of the Nymphe 1017 the Nymphe 1018 1957-Αα 388 Appendix I 162, Sanctuary of 1957-Αα 480 Appendix I 160, Sanctuary of the Nymphe 1072 the Nymphe 1034 1957-Αα 389 Appendix I 156, Sanctuary of 1957-Αα 482 Appendix I 160, Sanctuary of the Nymphe 954 the Nymphe 1028 1957-Αα 410 I, II Appendix I 160, Sanctuary of 1957-Αα 483 Appendix I 155, Sanctuary of the Nymphe 1026 the Nymphe 922 1957-Αα 413α Appendix I 155, Sanctuary of 1957-Αα 556 Appendix I 160, Sanctuary of the Nymphe 926 the Nymphe 1021 1957-Αα 413β Appendix I 155, Sanctuary of 1957-Αα 878 Appendix I 163, Sanctuary of the Nymphe 927 the Nymphe 1092 1957-Αα 414α I-III Appendix I 154, Sanctuary of 1957-Αα 1218 Appendix I 157, Sanctuary of the Nymphe 912 the Nymphe 966 1957-Αα 419 and Appendix I 158, Sanctuary of 1957-Αα 2171 Appendix I 159, Sanctuary of 2299 the Nymphe 982 the Nymphe 1006 1957-Αα 420, Appendix I 157, Sanctuary of 1957-Αα 2270 Appendix I 156, Sanctuary of 1957-Αα 2677α, the Nymphe 976 the Nymphe 947 1957-Αα 2677β-γ 1957-Αα 2271 Appendix I 156, Sanctuary of 1957-Αα 422α-β 55; Appendix I 161, Sanctuary the Nymphe 937 of the Nymphe 1039 1957-Αα 2272 Appendix I 156, Sanctuary of 1957-Αα 422 γ-ε Appendix I 161, Sanctuary of the Nymphe 936 the Nymphe 1042 1957-Αα 2274 24; Appendix I 156, Sanctuary 1957-Αα 425 Appendix I 162, Sanctuary of of the Nymphe 943 the Nymphe 1075 1957-Αα 2294α Appendix I 158, Sanctuary of 1957-Αα 426 Appendix I 161, Sanctuary of the Nymphe 983 the Nymphe 1040 1957-Αα 2295 Appendix I 156, Sanctuary of 1957-Αα 429 Appendix I 161, Sanctuary of the Nymphe 948 the Nymphe 1051 1957- I. Αα 2297, Appendix I 157, Sanctuary of 1957-Αα 430 Appendix I 158, Sanctuary of 2300β, II and the Nymphe 974 the Nymphe 992 1957 Αα 2300α 1957-Αα 432 61; Appendix I 160, Sanctuary 1957-Αα 2303α-β 24; Appendix I 156, Sanctuary of the Nymphe 1020 of the Nymphe 942 1957-Αα 438 Appendix I 162, Sanctuary of 1957-Αα 2305 Appendix I 157, Sanctuary of the Nymphe 1083 the Nymphe 972 1957-Αα 439 Appendix I 155, Sanctuary of 1957-Αα 2523, II, Appendix I 155, Sanctuary of the Nymphe 925 1957-Αα 2820 the Nymphe 918 1957-Αα 440 I, 40; Appendix I 154, Sanctuary 1957-Αα 2524 Appendix I 155, Sanctuary of 2959, II of the Nymphe 901 the Nymphe 931 1957-Αα 444 I-II Appendix I 158, Sanctuary of 1957-Αα 2526 Appendix I 162, Sanctuary of the Nymphe 991 the Nymphe 1065 1957-Αα 445 Appendix I 155, Sanctuary of 1957-Αα 2528 Appendix I 156, Sanctuary of the Nymphe 921 the Nymphe 952 1957-Αα 449 Appendix I 154, Sanctuary of 1957-Αα 2530 I-IV Appendix I 163, Sanctuary of the Nymphe 905 the Nymphe 1089 234 indices

1957-Αα 2556 Appendix I 158, Sanctuary of 1957-Αα 2917, Appendix I 156, Sanctuary of the Nymphe 997 II. 1959- the Nymphe 953 1957-Αα 2588 Appendix I 158, Sanctuary of NAKM 1221 the Nymphe 994 1957-Αα 2919 43; Appendix I 159, Sanctuary 1957-Αα 2603 I-II Appendix I 163, Sanctuary of of the Nymphe 1000 the Nymphe 1093 1957-Αα 2924 Appendix I 157, Sanctuary of 1957-Αα 2629 Appendix I 159, Sanctuary of the Nymphe 970 the Nymphe 1002 1957-Αα 2925, Appendix I 157, Sanctuary of 1957-Αα 2634 Appendix I 162, Sanctuary of 1957-Αα 2928 the Nymphe 958 the Nymphe 1076 1957-Αα 2926 Appendix I 157, Sanctuary of 1957-Αα 2638 64; Appendix I 158, Sanctuary the Nymphe 962 of the Nymphe 989 1957-Αα 2929 Appendix I 157, Sanctuary of 1957-Αα 2641 Appendix I 157, Sanctuary of the Nymphe 959 the Nymphe 973 1957-Αα 2930 Appendix I 156, Sanctuary of 1957-Αα 2645 Appendix I 156, Sanctuary of the Nymphe 957 the Nymphe 955 1957-Αα 2944 Appendix I 155, Sanctuary of 1957-Αα 2649 I-II Appendix I 160, Sanctuary of the Nymphe 933 the Nymphe 1035 1957-Αα 2947 Appendix I 157, Sanctuary of 1957-Αα 2661 Appendix I 157, Sanctuary of the Nymphe 961 the Nymphe 964 1957-Αα 2948 Appendix I 160, Sanctuary of 1957-Αα 2666 24, 40; Appendix I 153, Sanc- the Nymphe 1027 tuary of the Nymphe 890 1957-Αα 2949 Appendix I 162, Sanctuary of 1957-Αα 2671 40; Appendix I 154, Sanctuary the Nymphe 1077 of the Nymphe 897 1957-Αα 2950 I, II Appendix I 161, Sanctuary of 1957-Αα 2673, Appendix I 163, Sanctuary of the Nymphe 1047 2727, 2678 the Nymphe 1086 1957-Αα 2952, Appendix I 154, Sanctuary of 1959-NAK 395 40 the Nymphe 894 1957-Αα 2674, Appendix I 157, Sanctuary of 1957-Αα 2954 Appendix I 159, Sanctuary of II. 1957-Αα 2945 the Nymphe 960 the Nymphe 1014 1957-Αα 2686 Appendix I 153, Sanctuary of 1957-Αα 2955 Appendix I 162, Sanctuary of the Nymphe 888 the Nymphe 1082 1957-Αα 2689 I-II Appendix I 163, Sanctuary of 1957-Αα 2958 40; Appendix I 154, Sanctu- the Nymphe 1088 ary of the Nymphe 895 1957-Αα 2690 I-III Appendix I 163, Sanctuary of 1957-Αα 2965 Appendix I 157, Sanctuary of the Nymphe 1087 the Nymphe 968 1957-Αα 2695 Appendix I 157, Sanctuary of 1957-Αα 2967 Appendix I 160, Sanctuary of the Nymphe 978 the Nymphe 1025 1957-Αα 2721 Appendix I 162, Sanctuary of 1957-Αα 2968 40; Appendix I 154, Sanctuary the Nymphe 1068 of the Nymphe 896 1957-Αα 2733 Appendix I 159, Sanctuary of 1957-Αα 2971 Appendix I 155, Sanctuary of the Nymphe 1001 the Nymphe 920 1957-Αα 2743 Appendix I 161, Sanctuary of 1957-Αα 2972 Appendix I 163, Sanctuary of the Nymphe 1058 the Nymphe 1091 1957-Αα 2756 Appendix I 160, Sanctuary of 1957-Αα 2973 Appendix I 158, Sanctuary of the Nymphe 1038 the Nymphe 995 1957-Αα 2762 Appendix I 161, Sanctuary of 1957-Αα 2975 Appendix I 158, Sanctuary of the Nymphe 1050 the Nymphe 980 1957-Αα 2768 Appendix I 161, Sanctuary of 1957-Αα 2976 Appendix I 157, Sanctuary of the Nymphe 1052 the Nymphe 979 1957-Αα 2784 Appendix I 161, Sanctuary of 1957-Αα 2977α, Appendix I 158, Sanctuary of the Nymphe 1063 1957-Αα 2977β the Nymphe 984 1957-Αα 2912 and Appendix I 157, Sanctuary of 1957-Αα 2977δ (I), Appendix I 158, Sanctuary of 2974 the Nymphe 971 1957-Αα 2977ε (II) the Nymphe 985 1957-Αα 2916 Appendix I 156, Sanctuary of 1957-Αα 2978 Appendix I 158, Sanctuary of the Nymphe 944 the Nymphe 986 vi. museums and collections 235

1957-Αα 2980+2639 40; Appendix I 158, Sanctuary Plate of the Nymphe 990 1959NAK792 27; Appendix I 170, Akropo- 1957-Αα 2994 Appendix I 160, Sanctuary of lis South Slope 1296 the Nymphe 1023 1957-Αα 3007 Appendix I 158, Sanctuary of Skyphos-krater the Nymphe 988 NA-57-Αα 2682+ Appendix I 120, Sanctuary of 1957-Αα 3008 Appendix I 160, Sanctuary of 1959-NAK 503 the Nymphe 27 the Nymphe 1024 1957-Αα 3010 Appendix I 155, Sanctuary of the Nymphe 913 Athens, National Museum, Akropolis Collection 1957-Αα 3011 Appendix I 155, Sanctuary of the Nymphe 914 Amphora, one-piece 1957-Αα 3012 Appendix I 156, Sanctuary of A-P 312 21; Appendix I 144, Akropolis North the Nymphe 956 Slope 635 1957-Αα 3013 I-II Appendix I 162, Sanctuary of the Nymphe 1067 Amphora, horsehead 1957-Αα 3132 Appendix I 162, Sanctuary of 1.394 Appendix I 145, Akropolis 674 the Nymphe 1069 1957-Αα 3133 Appendix I 161, Sanctuary of Amphora, unknown type the Nymphe 1057 1.389a-d 21; Appendix I 151, Akropolis 829 1957-Αα 3134 I, II Appendix I 158, Sanctuary of 1.547 21; Appendix I 151, Akropolis 832 the Nymphe 996 1.757 21; Appendix I 151, Akropolis 831 1957-Αα 3135 40; Appendix I 154, Sanctuary 1.758 21; Appendix I 151, Akropolis 830 of the Nymphe 898 1.759 21; Appendix I 151, Akropolis North 1957-Αα 3136α Appendix I 161, Sanctuary of Slope 833 the Nymphe 1053 AP. 34 21; Appendix I 151, Akropolis North 1957-Αα 3137 Appendix I 161, Sanctuary of Slope 834 the Nymphe 1059 no. no. 21; Appendix I 151, Akropolis 828 1957-Αα 3137α Appendix I 162, Sanctuary of the Nymphe 1060 Cup 1957-Αα 3138 Appendix I 162, Sanctuary of 1444, 1445 17, 83; Appendix I 138, Akro polis 465 the Nymphe 1064 1.1420 17, 83; Appendix I 138, Akropolis 466 1957-Αα 3142 Appendix I 159, Sanctuary of 1.591a-c 46; Appendix I 138, Akropolis 467 the Nymphe 1007 Fragment 1959-NAK 278 II Appendix I 157, Sanctuary of 1.478 Appendix I 178, Akropolis 1463 the Nymphe 975 1.480 Appendix I 178, Akropolis 1462 1959-NAK 662 Appendix I 156, Sanctuary of 1.483a-d Appendix I 177, Akropolis 1458 the Nymphe 951 1.486 Appendix I 178, Akropolis 1464 1959-NAK 885 and Appendix I 158, Sanctuary of 1.488 Appendix I 178, Akropolis 1467 1957-Αα 2961 (I), the Nymphe 981 1.489 Appendix I 178, Akropolis 1468 1957-Αα 3009 (II) 1.490 Appendix I 178, Akropolis 1469 1959-NAK 903 40; Appendix I 154, Sanctuary 1.491 Appendix I 177, Akropolis 1454 of the Nymphe 893 1.494 Appendix I 177, Akropolis 1459 1959-NAK 1044 Appendix I 161, Sanctuary of 1.501 Appendix I 178, Akropolis 1470 the Nymphe 1054 1.503 Appendix I 178, Akropolis 1471 1959-NAK 1213 Appendix I 155, Sanctuary of 1.764 79; Appendix I 177, Akropolis 1456 the Nymphe 917 2707 Appendix I 177, Akropolis 1457 1959-NAK 1214 I-II Appendix I 155, Sanctuary of 1.2212 Appendix I 178, Akropolis 1460 the Nymphe 932 no. no. Appendix I 177, Akropolis 1455 1959-NAK 1220 Appendix I 161, Sanctuary of no. no. Appendix I 178, Akropolis 1461 the Nymphe 1044 no. no. Appendix I 178, Akropolis 1465 1959-NAK 1219 Appendix I 161, Sanctuary of no. no. Appendix I 178, Akropolis 1466 the Nymphe 1045 1957-NAK 1594 Appendix I 162, Sanctuary of Kantharos the Nymphe 1061 1.588 Appendix I 142, Akropolis 592 236 indices

Krater 1.515 27; Appendix I 170, Akropolis 1286 1.386 Appendix I 128, Akropolis 218 1.517 27; Appendix I 171, Akropolis 1292 1.391 Appendix I 128, Akropolis 217 1.518 27; Appendix I 171, Akropolis 1293 1.463 Appendix I 128, Akropolis 221 1.519 27; Appendix I 170, Akropolis 1291 1.474 72; Appendix I 128, Akropolis 219 1.520 27; Appendix I 171, Akropolis 1294 1.476 Appendix I 128, Akropolis 220 1959NAK792 27; Appendix I 171, Akropolis 1296 no. no. 27; Appendix I 171, Akropolis 1295 Lebes 1.586 12; Appendix I 125, Akropolis 138 Pyxis 1.587 12; Appendix I 125, Akropolis 137 1.505 32; Appendix I 174, Akropolis 1369 1.609 12; Appendix I 125, Akropolis 136 1.507 32; Appendix I 174, Akropolis 1370 1.510 32; Appendix I 174, Akropolis 1368 Lekane-Lekanis 1.511 32; Appendix I 174, Akropolis 1371 1.526 27; Appendix I 164, Akropolis 1127 1.512 32; Appendix I 174, Akropolis 1372 1.527 27; Appendix I 164, Akropolis 1132 1.528 27; Appendix I 164, Akropolis 1133 Skyphos-krater 1.532 27; Appendix I 164, Akropolis 1131 585a-b 8; Appendix I 120, Akropolis 22 1.534a-e 27; Appendix I 164, Akropolis 1130 1.496 8; Appendix I 120, Akropolis 23 18712 27; Appendix I 164, Akropolis 1128 1.497 8; Appendix I 120, Akropolis 24 18744 27; Appendix I 164, Akropolis 1129 1.498 8; Appendix I 120, Akropolis 25 AP178 27; Appendix I 165, Akropolis North 1.499, 1.500, 8; Appendix I 120, Akropolis 21 Slope 1137 AP1234 AP558 27; Appendix I 165, Akropolis North AP 1734 8; Appendix I 120, Akropolis North Slope 1136 Slope 26 AP1200 27; Appendix I 164, Akropolis North Slope 1134 Skyphos AP1558a-b 27; Appendix I 165, Akropolis North 1.551 16; Appendix I 136, Akropolis 409 Slope 1135 1.552 16; Appendix I 136, Akropolis 411 1.553 16, 71; Appendix I 136, Akropolis Lid 412 1.392 Appendix I 177, Akropolis 1439 1.554 16; Appendix I 136, Akropolis 413 1.536 Appendix I 177, Akropolis 1441 1.556 16; Appendix I 136, Akropolis 410 1.537a-b Appendix I 177, Akropolis 1442 1.557 16; Appendix I 136, Akropolis 414 1.538 Appendix I 177, Akropolis 1443 1.558 16; Appendix I 136, Akropolis 415 1.539 Appendix I 177, Akropolis 1440 Support Louterion 1.385 Appendix I 175, Akropolis 1403 1.387 13; Appendix I 129, Akropolis 236 1.386 Appendix I 175, Akropolis 1404 1.388 Appendix I 175, Akropolis 1405 Loutrophoros 1.472 Appendix I 175, Akropolis 1406 1.543 Appendix I 153, Akropolis 885 1.484 Appendix I 175, Akropolis 1407 1.544 Appendix I 153, Akropolis 884 1.584 Appendix I 175, Akropolis 1408 1.545 Appendix I 153, Akropolis 886 1.548 Appendix I 153, Akropolis 887 1.550 Appendix I 153, Akropolis 883 Athens, Ephoreia Γ’

Olpe Amphora, horsehead 1.2210 15; Appendix I 131, Akropolis 301 no. no. Appendix I 146, Athens 685 no. no. 15; Appendix I 131, Akropolis 302 no. no. Appendix I 146, Athens 686

Plate 1.482 27; Appendix I 170, Akropolis 1289 Athens, Kerameikos Museum 1.482bis 27; Appendix I 170, Akropolis 1290 1.483 27; Appendix I 170, Akropolis 1288 Amphora, horsehead 1.514 27; Appendix I 170, Akropolis 1287 2784 Appendix I 145, Kerameikos 675 vi. museums and collections 237

Amphora, one-piece Loutrophoros 658 20, 22, 39, 70; Appendix I 144, 2865 24, 25, 73, 84; Appendix I 163, Kerameikos 636 Kerameikos 1095

Amphora, unknown type Oinokhoe, flat-mouthed 103 22, 52; Appendix I 151, Kerameikos 836 42 15; Appendix I 135, Kerameikos 395 106 22; Appendix I 151, Kerameikos 837 117, 118 22; Appendix I 151, Kerameikos 835 Olpe 1374 22; Appendix I 151, Kerameikos 838 40 15; Appendix I 131, Kerameikos 304 688 15; Appendix I 132, Kerameikos 306 Aryballos 2870 15, 43, 61; Appendix I 131, Keramei- 60 29, 46; Appendix I 173, Kerameikos kos 305 1339 no. no. 14, 15; Appendix I 131, Kerameikos 303

Cup Plate 46 17; Appendix I 138, Kerameikos 471 43 27, 43; Appendix I 171, Kerameikos 1686 17; Appendix I 138, Kerameikos 470 1298 4965 17; Appendix I 138, Kerameikos 468 no. no. 27, 43; Appendix I 171, Kerameikos no. no. 17; Appendix I 138, Kerameikos 469 1297

Fragment Pyxis 157a Appendix I 179, Kerameikos 1492 44 31, 32; Appendix I 174, Kerameikos 1073 Appendix I 179, Kerameikos 1490 1374 8276 Appendix I 179, Kerameikos 1489 687 31; Appendix I 174, Kerameikos 1373 no. no. Appendix I 179, Kerameikos 1485 no. no. 39; Appendix I 179, Kerameikos 1486 Skyphos-krater no. no. 39; Appendix I 179, Kerameikos 1487 101 Appendix I 121, Kerameikos 42 no. no. Appendix I 179, Kerameikos 1488 109 Appendix I 121, Kerameikos 53 no. no. Appendix I 179, Kerameikos 1491 116 Appendix I 121, Kerameikos 48 no. no. Appendix I 179, Kerameikos 1493 119 Appendix I 121, Kerameikos 54 no. no. Appendix I 179, Kerameikos 1494 122 Appendix I 121, Kerameikos 39 no. no. Appendix I 179, Kerameikos 1495 129 Appendix I 121, Kerameikos 55 130 Appendix I 120, Kerameikos 29 Hydria 132 Appendix I 121, Kerameikos 50 8405 22, 23; Appendix I 153, Kerameikos 870 152 Appendix I 121, Kerameikos 52 Lebes 154 53; Appendix I 121, Kerameikos 37 98 11, 12; Appendix I 125, Kerameikos 140 157 Appendix I 121, Kerameikos 40 no. no. Appendix I 125, Kerameikos 139 158 Appendix I 120, Kerameikos 31 162 Appendix I 120, Kerameikos 32 Lekane-Lekanis 164 Appendix I 120, Kerameikos 33 39 26; Appendix I 165, Kerameikos 1139 205 Appendix I 121, Kerameikos 44 41 26; Appendix I 165, Kerameikos 1138 206 Appendix I 121, Kerameikos 45 211 Appendix I 121, Kerameikos 46 Lekythos 212 Appendix I 121, Kerameikos 49 23 28, 86; Appendix I 171, Kerameikos 230 Appendix I 121, Kerameikos 34 1313 801 Appendix I 120, Kerameikos 28 1362 Appendix I 120, Kerameikos 30 Lid 1363 Appendix I 121, Kerameikos 35 no. no. Appendix I 177, Kerameikos 1444 1364 Appendix I 121, Kerameikos 36 no. no. Appendix I 177, Kerameikos 1445 1365 Appendix I 121, Kerameikos 43 1366 Appendix I 121, Kerameikos 38 Louterion 2810 Appendix I 121, Kerameikos 41 1295 12, 13, 61; Appendix I 129, Keramei- no. no. Appendix I 121, Kerameikos 47 kos 237 no. no. Appendix I 121, Kerameikos 51 238 indices

Skyphos Column-krater no. no. 16; Appendix I 136, Kerameikos 416 12587 10, 51; Appendix I 124, Provenance no. no. 16, 69; Appendix I 136, Kerameikos 417 Unknown 130 16388 10, n. 11; Appendix I 123, Vári 86 Support no. no. 10; Appendix I 124, Provenance no. no. Appendix I 175, Kerameikos 1409 Unknown 125

Cup Athens, National Museum 1106 16; Appendix I 139, Greece 508 P3605 17, 92; Appendix I 138, Perakhóra 484 Amphora, horsehead P3606 17, 92; Appendix I 139, Perakhóra 492 903 89; Appendix I 146, Velanidhéza 680 P3607 17, 92; Appendix I 139, Perakhóra 485 904 89; Appendix I 146, Velanidhéza 681 P3608 17, 92; Appendix I 139, Perakhóra 486 1002 2, 21, 50, 52; Appendix I 150, Athens P3609 17, 92; Appendix I 139, Perakhóra 487 801 P3610 17, 92; Appendix I 139, Perakhóra 488 1003 20; Appendix I 146, Athens 684 P3611 17, 92; Appendix I 139, Perakhóra 489 1036 21, 22, 61, 64, 90; Appendix I 150, P3612 17, 92; Appendix I 139, Perakhóra 490 Marathon 797 P3613 17, 92; Appendix I 139, Perakhóra 491 16401 Appendix I 145, Vári 676 16402 Appendix I 146, Vári 677 Egg-shaped Krater no. no. Appendix I 146, Athens 687 no. no. 9, 88; Appendix I 122, Vári 75 no. no. Appendix I 146, Perakhόra 697 Exaleiptron Amphora, neck 19172 29, 30, 61, 87; Appendix I 173, Vári 353 3, 21, 39, 71; Appendix I 150, Peiraieus 1355 800 16380 21, 22, 40, 74, 75; Appendix I 149, Vári Hydria 785 18913 23; Appendix I 153, Vári 873 Vári 16389 21, 22, 40, 54; Appendix I 149, Vári 786 19033 22, 23, 87; Appendix I 153, 874 19185 23, 56, 87; Appendix I 153, Vári 872 16390 21, 22, 40; Appendix I 149, Vári 787 19191 22, 23, 87; Appendix I 152, Vári 871 16391 21, 22, 40, 54, 73; Appendix I 149, Vári 19193 22, 23, 87; Appendix I 153, Vári 875 789 no. no. 22, 23, 87; Appendix I 153, Vári 876 16392 21, 22, 40; Appendix I 149, Vári 790 16393 21, 22, 40; Appendix I 149, Vári 791 Kantharos 16394 21, 22, 40, 74, 75; Appendix I 149, Vári 19174 18, 44, 51, 72, 87; Appendix I 142, Vári 792 593 16395 21, 22, 40, 74; Appendix I 149, Vári 788 16396 21, 22, 40; Appendix I 150, Vári 793 Krater 16398 21, 22, 40; Appendix I 150, Vári 795 2226 2; Appendix I 128, Aigina 225 no. no. 21, 22, 40, 88; Appendix I 150, Vári 796 Lebes Amphora, one-piece 15499 12, 58, 93; Appendix I 125, Phársalos 221 20, 74; Appendix I 144, Attika 641 147 19149 40, 88; Appendix I 125, Vári 141 Amphora, unknown type no. no. 11,12; Appendix I 125, Vári 142 no. no. 22, 61, 86; Appendix I 152, Olympiei- on 839 Lekane-Lekanis no. no. 86; Appendix I 152, Olympieion 840 296 26, 42, 89; Appendix I 167, Vourvá 1198 no. no. 86; Appendix I 152, Vári 842 997 26, 42, 89; Appendix I 167, Vourvá 1199 998 26, 42, 89; Appendix I 167, Vourvá 1200 Aryballos 999 26, 42, 89; Appendix I 167, Vourvá 1201 20052 29, 88; Appendix I 173, Anavyssos 1342 1000 26, 89; Appendix I 167, Vourvá 1202 1043 26, 90; Appendix I 167, Marathon 1195 Chalice 16353 26; Appendix I 165, Vári 1155 995 19, 42, 89; Appendix I 143, Vourvá 603 16354 26; Appendix I 165, Vári 1156 vi. museums and collections 239

16355 26; Appendix I 165, Vári 1157 Louterion 16356 26; Appendix I 165, Vári 1158 15918 3, 12, 50, 91; Appendix I 129, Menídhi 16357 26; Appendix I 165, Vári 1150 245 16358 26, 75; Appendix I 165, Vári 1151 15920 12; Appendix I 129, Menídhi 244 16359 26; Appendix I 165, Vári 1159 16385 12; Appendix I 129, Vári 240 16360 26; Appendix I 165, Vári 1153 16386 13, 40; Appendix I 129, Vári 238 16361 26, 75; Appendix I 165, Vári 1160 16387 13; Appendix I 129, Vári 239 16362 26; Appendix I 166, Vári 1162 16392 13; Appendix I 129, Menídhi 243 16363 26; Appendix I 165, Vári 1146 19168 13; Appendix I 129, Vári 241 16364 26; Appendix I 165, Vári 1145 no.no. 13; Appendix I 129, Vári 242 16365 26; Appendix I 165, Vári 1141 16366 26, 75; Appendix I 165, Vári 1142 Loutrophoros 16367 26; Appendix I 165, Vári 1140 991 25, 84, 89; Appendix I 163, Vourvá 1097 16368 26; Appendix I 166, Vári 1173 19170 24, 25, 44, 84, 87; Appendix I 163, Vári 16369 26; Appendix I 165, Vári 1144 1096 16370 26; Appendix I 166, Vári 1172 16371 26; Appendix I 166, Vári 1175 Oinokhoe, flat-mouthed 16372 26; Appendix I 166, Vári 1174 19050 15, 87; Appendix I 135, Vári 397 16373 26; Appendix I 166, Vári 1176 19181 14, 44, 87; Appendix I 135, Vári 396 16374 26; Appendix I 166, Vári 1177 16376 26; Appendix I 166, Vári 1171 Olpe 16377 26; Appendix I 166, Vári 1179 16285 15, 65; Appendix I 132, Vári 309 16378 26, 65; Appendix I 166, Vári 1183 18883 15, 87; Appendix I 132, Vári 313 16403 26; Appendix I 167, Vári 1190 19049 15, 87; Appendix I 132, Vári 311 16404 26, 40; Appendix I 165, Vári 1149 19159 14, 15, 61, 87; Appendix I 132, Vári 310 Vári 16405 26; Appendix I 166, Vári 1161 19176 14, 15, 87; Appendix I 132, 307 19186 15, 87; Appendix I 132, Vári 308 16406 26; Appendix I 167, Vári 1191 19189 15; Appendix I 132, Vári 312 16407 26, 65; Appendix I 166, Vári 1180 P3602 15, 92; Appendix I 132, Perakhóra 330 16408 26; Appendix I 166, Vári 1181 P3603 15, 92; Appendix I 132, Perakhóra 331 16409 26, 65; Appendix I 166, Vári 1182 Vári 16412 26; Appendix I 166, 1178 Plate 16413 26; Appendix I 165, Vári 1163 19171 27, 87; Appendix I 171, Vári 1300 16413α 26; Appendix I 165, Vári 1165 19173 87; Appendix I 171, Vári 1303 16413β 26; Appendix I 166, Vári 1166 no. no. 27; Appendix I 171, Vári 1301 16413γ 26; Appendix I 166, Vári 1167 no. no. 27; Appendix I 171, Vári 1302 16414 26; Appendix I 165, Vári 1143 no. no. Appendix I 171, Vári 1304 16416α 26; Appendix I 165, Vári 1164 no. no. Appendix I 171, Vári 1305 16416ε 26; Appendix I 165, Vári 1147 16416γ 26; Appendix I 165, Vári 1148 Pyxis 16416γ 26; Appendix I 166, Vári 1168 916 29, 46; Appendix I 173, Provenance 16416δ 26; Appendix I 166, Vári 1169 Unknown 1349 16416β 26; Appendix I 166, Vári 1170 20054 29, 46; Appendix I 173, Provenance 19032 26, 87; Appendix I 167, Vári 1193 Unknown 1348 19047 26; Appendix I 167, Vári 1192 19052 26; Appendix I 166, Vári 1184 Skyphos-krater 19054 26, 88; Appendix I 167, Vári 1189 907 8; Appendix I 122, Provenance 19177 26, 87; Appendix I 166, Vári 1187 Unknown 72 19180 26; Appendix I 166, Vári 1185 993 7, 8, 39, 89; Appendix I 121, Vourvá 63 19182 26; Appendix I 166, Vári 1186 16382 7, 8, 40; Appendix I 121, Vári 57 19183 26; Appendix I 167, Vári 1194 16383 7, 8, 40, 70; Ap pendix I 121, Vári 58 19194 26; Appendix I 166, Vári 1188 16384 7, 8, 40, 51, 72; Ap pen dix I 121, Vári 59 Lekythos 16399 8, 52; Appendix I 122, Vári 61 14933 28, 86; Appendix I 172, Sounion 1314 16400 8, 50; Appendix I 122, Vári 60 240 indices

Skyphos Barcelona, Museo Arqueologico 528 16; Appendix I 137, Korinthos? 433 996 16, 68, 89; Appendix I 136, Vourvá 425 Lekythos 18881 16; Appendix I 136, Vári 421 no. no. 28, 104; Appendix I 172, Spain 1328 18996 16; Appendix I 136, Vári 420 19043 16, 17, 73; Appendix I 136, Vári 418 19044 16, 17, 87; Appendix I 136, Vári 419 Basel, Antikenmuseum 22609 16; Appendix I 136, Athens 430 P3615 16, 92; Appendix I 137, Perakhóra 440 Skyphos-krater P3616 16, 92; Appendix I 137, Perakhóra 441 B5430 Appendix I 122, Athens 68 P3617 16, 92; Appendix I 137, Perakhóra 442 P3618 16, 66, 92; Appendix I 137, Perakhóra 443 Basel, Bosshard P3619 16, 92; Appendix I 137, Perakhóra 444 P3637 16, 73, 92; Appendix I 137, Perakhóra Skyphos-krater 445 Bo 154 8; Appendix I 122, Provenance Unknown 73 Support 19157 88; Appendix I 175, Vári 1410 Basel, Herbert A. Cahn Collection

Athens, National Museum, Vlastos Collection Column-krater HC342 61; Appendix I 124, Provenance Amphora, neck Unknown 122 Exaleiptron no. no. 74; Appendix I 150, Vári 794 HC836 Appendix I 174, Provenance Unknown 1365 Aryballos Olpe Kalývia no. no. 29, 88; Appendix I 173, 1340 HC999 Appendix I 135, Provenance Unknown 390 Plate Lekythos no. no. 27; Appendix I 171, Vári 1299 910, 914, 1410 64; Appendix I 172, Provenance Unknown 1336 Athens, Private Collection Basel, Market, Auctiones A.G. Amphora, horsehead no. no. Appendix I 147, Egypt 717 Lekythos no.no. Appendix I 172, Provenance Unknown 1335 Athens, Unknown Collection

Aryballos Basel, Market, Münzen und Medaillen A.G. no. no. 29, 89; Appendix I 173, Keratéa 1341 Lekythos Olpe no.no. 28, 70, 102; Appendix I 172, Selinous no. no. Appendix I 132, Athens 318 1327 Skyphos no. no. 16, 88; Appendix I 136, Anavyssos 423 Berlin, Antikenmuseum no. no. 16, 64; Appendix I 136, Athens 431 Amphoriskos 4874 Appendix I 174, Provenance Unknown 1366 F3983 Appendix I 174, Provenance Unknown 1364 vi. museums and collections 241

Berlin, Antikensammlung Berlin, now lost

Amphora, horsehead Amphora, one-piece F1654 Appendix I 146, Kameiros 699 F1683 Appendix I 144, Athens 640

Amphora, one-piece Bonn, Akademisches Kunstmuseum 1961.7 20, 22; Appendix I 144, Attika 642

Aryballos Krater F1093 29, 46; Appendix I 173, Kameiros 1345 697.83 Appendix I 128, Naukratis 229

Column-krater Amphoriskos 1966.17 69; Appendix I 124, Provenance 597 30, 92; Appendix I 173, Boiotia 1361 Unknown 127 F3987 57; Appendix I 123, Athens 87 Boston, Museum of Fine Arts Krater A34 73; Appendix I 128, Aigina 224 Column-krater 86.519 10; Appendix I 124, Naukratis 111 Lekythos 88.945 10; Appendix I 124, Naukratis 113 3746 64, 76; Appendix I 172, Provenance Unknown 1330 Fragment F1659 28, 96; Appendix I 172, Kameiros 1323 88.954 Appendix I 180, Naukratis 1526 Lekane-Lekanis Berlin, Humboldt Universität, Winckelmann- 88.952 27; Appendix I 169, Naukratis 1251 Institut Lekythos Oinokhoe 88.827 28, 51; Appendix I 172, Naukratis 1325 D384 66, 76; Appendix I 130, Provenance Unknown 268 Loutrophoros 1a-b Appendix I 161, Sanctuary of the Olpe Nymphe 1041 D681 15, 96; Appendix I 133, Rhodos 354 14 Appendix I 159, Sanctuary of the Nymphe 1018 20 70; Appendix I 158, Sanctuary of the Berlin, Pergamonmuseum Nymphe 998 22 Appendix I 156, Sanctuary of the Louterion 12, 13, 52, 67; Appendix I 129, Aigina Nymphe 944 247 22 Appendix I 161, Sanctuary of the Nymphe 1055 Berlin, Staatliche Museen 38 Appendix I 162, Sanctuary of the Nymphe 1081 Aryballos 76 Appendix I 157, Sanctuary of the 3328 30; Appendix I 173, Provenance Nymphe 969 Unknown 1360 79 Appendix I 154, Sanctuary of the Nymphe 911 92 Appendix I 160, Sanctuary of the Berlin, Unknown Collection Nymphe 1034 131 Appendix I 160, Sanctuary of the Amphora, neck Nymphe 1022 F1700 22; Appendix I 150, Athens 802 Olpe 1973.9 Appendix I 135, Provenance Unknown 394 88.1036 15; Appendix I 134, Naukratis 376 242 indices

Pyxis Buffalo (NY), Albright Art Gallery F560 32; Appendix I 174, Provenance Unknown 1380 Lekythos G600 66; Appendix I 172, Provenance Skyphos-krater Unknown 1334 49.65 Appendix I 122, Vári 62

Skyphos Cairo, Egyptian Museum 97.366 Appendix I 137, Greece 447 Column-krater 26.169 10; Appendix I 124, Naukratis 112 Brauron, Museum 26.172 10; Appendix I 123, Naukratis 101

Amphora, one-piece Lekane-Lekanis 1113 21, 85; Appendix I 144, Brauron 637 14.9.18.2 27; Appendix I 169, Naukratis 1261 14.9.18.8 27; Appendix I 169, Naukratis 1258 Fragment 1122 8, 84; Appendix I 179, Brauron 1498 1120 8, 84; Appendix I 179, Brauron 1499 Cambridge, Fitzwilliam Museum Krater Amphora, unknown type 1125 8, 84; Appendix I 128, Brauron 222 NA 200 22; Appendix I 152, Naukratis 857 Support Aryballos 1131 84; Appendix I 176, Brauron 1413 GR12.1932 Appendix I 173, Provenance Unknown 1414 85; Appendix I 176, Brauron 1414 1352

Brussels, Musées Royaux Column-krater N187 10; Appendix I 123, Naukratis 99 Lekythos A1368 70; Appendix I 172, Egypt 1326 Cup N94-5.3 17; Appendix I 141, Naukratis 542 Olpe A1388 15, 93; Appendix I 133, Melos 334 Fragment A1806 15; Appendix I 134, Naukratis 375 94-5. N.175 Appendix I 180, Naukratis 1524 A1862 27; Appendix I 171, Naukratis 1310 N.176 Appendix I 180, Naukratis 1525

Hydria Bucarest, Institut d’Archéologie NA 201 23; Appendix I 153, Naukratis 881

Cup Kantharos V19736 17; Appendix I 141, Histria 550 N131.71 18; Appendix I 142, Naukratis 595

Lebes Lebes 21001 12, 98; Appendix I 127, Histria 191 N128 12; Appendix I 126, Naukratis 180 V8426 12; Appendix I 127, Histria 192 N173 12; Appendix I 126, Naukratis 182 no. no. 12; Appendix I 127, Histria 193 NA206 12; Appendix I 127, Naukratis 187

Lekane-Lekanis Lekane-Lekanis V19889 27; Appendix I 167, Histria 1268 99, N.170 27; Appendix I 169, Naukratis 1259 V8478 27; Appendix I 167, Histria 1269 Skyphos Olpe GR126.1892 97; Appendix I 137, Cyprus 453 V8429 15; Appendix I 134, Histria 380 vi. museums and collections 243

Chiusi, Museo Archeologico Nazionale Cortona, Museo dell’Accademia Etrusca

Lebes Lekane-Lekanis 67193 100; Appendix I 127, Chiusi 201 no. no. 26, 27, 99; Appendix I 170, Cortona 250865 100; Appendix I 127, Chiusi 202 1270 250866 100; Appendix I 127, Chiusi 199 250867 100; Appendix I 127, Chiusi 200 Dallas (TX), Museum of Fine Arts

Cologny, Fondation Martin Bodmer Aryballos 1968.29 29; Appendix I 173, Provenance Lekythos Unknown 1347 no. no. Appendix I 172, Provenance Unknown 1337 Damascus, Museum

Copenhagen, National Museum Fragment no. no. 97; Appendix I 180, Tell Sukas 1523 Amphora, one-piece 13796 76; Appendix I 145, Provenance Unknown 663 Delos, Archaeological Museum

Cup Aryballos 103 Appendix I 139, Greece 507 B309 29, 93; Appendix I 173, Delos 1344 B6200 29, 93; Appendix I 173, Delos 1343 Lekane 7327 26; Appendix I 167, Athens 1204 Olpe 591 93; Appendix I 132, Delos 332 Olpe 591 93; Appendix I 133, Delos 333 283 96; Appendix I 133, Lindos 352 Delphoi, Archaeological Museum

Corfu, Museum Cup no. no. 93; Appendix I 139, Delphoi 495 Louterion no. no. 93; Appendix I 139, Delphoi 496 E.61.09 12, 13, 93; Appendix I 129, Kerkyra 250 no. no. 93; Appendix I 139, Delphoi 497 no. no. 93; Appendix I 139, Delphoi 498 no. no. 93; Appendix I 139, Delphoi 499 Cortona, Biblioteca Communale no. no. 93; Appendix I 139, Delphoi 500 no. no. 93; Appendix I 139, Delphoi 501 Amphora, unknown type no. no. 99; Appendix I 152, Cortona 863 Lekane-Lekanis 215-217 93; Appendix I 168, Delphoi 1217 Column-krater no. no. 11; Appendix I 124, Cortona 118 no. no. 11; Appendix I 124, Cortona 119 Dresden, Staatliche Kunstsammlung, Albertinum

Lebes Amphora, horsehead no. no. 12, 99; Appendix I 127, Cortona 195 ZV 1773 Appendix I 146, Attika 694 no. no. 12, 60, 68; Appendix I 127, Cortona 196 no. no. 12; Appendix I 127, Cortona 197 Lekane-Lekanis no. no. 12; Appendix I 127, Cortona 198 ZV 1464 26, 27, 64; Appendix I 168, Korinthos 1216 Lekane ZV 2000 26; Appendix I 167, Attika 1205 no. no. 27; Appendix I 170, Cortona 1271 244 indices

Dublin, University College Cup no. no. 17; Appendix I 141, Poggio Pelicia 559 Olpe no. no. 17; Appendix I 141, Poggio Pelicia 560 UCD 73 15; Appendix I 134, Naukratis 377 no. no. 17; Appendix I 141, Poggio Pelicia 561

Lekane Lekythos 1921.72 26; Appendix I 167, Attika 1207 3740 64; Appendix I 172, Provenance Unknown 1333 Eleusis, Archaeological Museum Oinokhoe Amphora, one-piece 94683 Appendix I 130, Provenance Unknown Z21 20, 22, 91; Appendix I 144, Eleusis 638 269 Amphora, neck no. no. 21, 86; Appendix I 150, Eleusis 799 Greifswald, Ernst-Moritz-Arndt Universität Fragment Μελ 6924 85; Appendix I 179, Eleusis 1510 Amphora, horsehead 154 Appendix I 146, Aigina 695 Loutrophoros 767 86; Appendix I 163, Eleusis 1101 Hannover, Kirchrode, Collection G. Lutzow Olpe no. no. 86; Appendix I 132, Eleusis 317 Aryballos no. no. 29; Appendix I 173, Provenance Pyxis Unknown 1351 no. no. 31, 32, 91; Appendix I 174, Eleusis 1377 no. no. 31, 32, 91; Appendix I 174, Eleusis 1378 Heidelberg, Ruprecht-Karls Universität Skyphos-krater 846 8; Appendix I 122, Eleusis 67 Amphora, horsehead 203 Appendix I 146, Athens 689 Skyphos 204 Appendix I 146, Athens 690 no. no. 16, 86; Appendix I 136, Eleusis 429 205 Appendix I 146, Athens 691 Support Amphora, unknown type no. no. 86; Appendix I 176, Eleusis 1417 J70 22; Appendix I 152, Naukratis 859

Enserune, Musée National d’Ensérune Fragment 195 Appendix I 179, Athens 1511 Cup 1944 103; Appendix I 142, Béziers 581 Krater 196 Appendix I 128, Aigina 227 Erlagen, Friedrich-Alexander Universität Lid 198 Appendix I 177, Athens 1446 Amphora, horsehead M930 99; Appendix I 147, Vulci 724 Olpe 200 15; Appendix I 134, Naukratis 373 Florence, Museo Archeologico Etrusco S20A-C Appendix I 135, Provenance Unknown 391 Amphora, one-piece no. no. 22; Appendix I 145, Poggio Pelicia 655 Herakleion, Archaeological Museum Amphora, neck no. no. 61; Appendix I 150, Provenance Lebes Unknown 812 no. no. 12, 70, 93; Appendix I 125, Gortyna 149 vi. museums and collections 245

Hildesheim, Roemer-Pelizaeus Museum Jena, Archäologisches Institut der Universität

Lebes Amphora, one-piece 2096 12; Appendix I 126, Naukratis 178 178 20, 22, 100; Appendix I 145, Veii 653

Istanbul, Archaeological Museum Kavala, Museum

Amphora, horsehead Fragment A22-3296 96; Appendix I 146, Xanthos 701 A987 94; Appendix I 180, Kavála 1519 A22-3296bis 96; Appendix I 146, Xanthos 702 A22-3312 96; Appendix I 146, Xanthos 703 Kephisia, Archaeological Collection Column-krater A6. 3444 96; Appendix I 123, Xanthos 97 Fragment Cup no. no. 84; Appendix I 179, Tourkovoúni 1497 9333 17, 95; Appendix I 139, Pitane 510 no. no. 17, 96; Appendix I 140, Lindos 535 no. no. 17, 96; Appendix I 140, Lindos 536 Klazomenai, Museum no. no. 17, 96; Appendix I 140, Lindos 537 Column-krater Lebes 82 10, 95; Appendix I 123, Klazomenai 95 4514 66, 96; Appendix I 126, Lindos 172 6637 12, 95; Appendix I 125, Larisa 156 Cup no. no. 17, 95; Appendix I 140, Klazomenai 521 Izmir, Archaeological Museum no. no. 17; Appendix I 140, Klazomenai 522

Amphora, unknown type Lekane-Lekanis no. no. 22, 95; Appendix I 152, Smyrna 847 82, 92 27, 95; Appendix I 168, Klazomenai no. no. 22, 95; Appendix I 152, Smyrna 848 1231 no. no. 27, 95; Appendix I 168, Klazomenai Cup 1232 87 95; Appendix I 140, Smyrna 516 5662 17, 95; Appendix I 139, Pitane 511 Olpe 129 15, 95; Appendix I 133, Klazomenai 345 Hydria 3071 15, 95; Appendix I 133, Klazomenai 346 no. no. 23, 95; Appendix I 153, Smyrna 878 no. no. 15, 95; Appendix I 133, Klazomenai 347 Lebes 7 12, 95; Appendix I 125, Smyrna 157 Korinthos, Museum Lekane-Lekanis 15 27, 95; Appendix I 168, Smyrna 1227 Column-krater 16 27, 95; Appendix I 168, Smyrna 1228 CP-537 10, 91; Appendix I 123, Korinthos 90 17 27, 95; Appendix I 168, Smyrna 1229 CP-2587 10; Appendix I 123, Korinthos 91 no. no. 27, 95; Appendix I 168, Smyrna 1226 Cup Olpe CP-2588a-b 17; Appendix I 138, Korinthos 483 5811 41; Appendix I 133, Pitane 341 CP-2589 17; Appendix I 138, Korinthos 481 CP-2591 17; Appendix I 138, Korinthos 482

Isthmia, Museum Exaleiptron CP-2575 91; Appendix I 173, Korinthos 1357 Cup no. no. 17, 92; Appendix I 139, Isthmia 493 Hydria no. no. 17, 92; Appendix I 139, Isthmia 494 C-59-1 23; Appendix I 153, Korinthos 877 246 indices

Lebes Amphora, unknown type CP-2582, 12, 91; Appendix I 125, Korinthos no. no. 22, 40, 52, 99; Appendix I 152, C-35-94 146 Cerveteri 862 Lekythos CP-2583 28; Appendix I 172, Korinthos 1317 Limassol, District Museum CP-2584 28; Appendix I 172, Korinthos 1318 CP-2585 28; Appendix I 172, Korinthos 1319 Krater 591/1 Appendix I 128, Cyprus 228 Olpe C-32-235 15; Appendix I 132, Korinthos 328 London, British Museum CP-2586 15; Appendix I 132, Korinthos 329

Plate Amphora, horsehead C-29-154 27; Appendix I 171, Korinthos 1306 86.4-1.1197 22, 76, 98; Appendix I 146, Tell Defenneh 710 Pyxis 1952 5-5-22 98; Appendix I 147, Tell Defenneh C-26-66 Appendix I 174, Korinthos 1379 713 1952 5-5-23 98; Appendix I 147, Tell Defenneh Skyphos 714 C-62-890 16; Appendix I 137, Korinthos 438 1952.5-5.24 22, 76, 98; Appendix I 146, Tell CP-2589 16; Appendix I 137, Korinthos 436 Defenneh 709 CP-2590 16; Appendix I 137, Korinthos 435 1965.9-30.835 98; Appendix I 146, Naukratis 705 CP-2591 16; Appendix I 137, Korinthos 434 1965.9-30.836 98; Appendix I 146, Naukratis 706 CP-2592 16; Appendix I 137, Korinthos 437 1965.9-30.837 98; Appendix I 146, Naukratis 707 CP-72-293 16; Appendix I 137, Korinthos 439 B125.11 22, 98; Appendix I 146, Tell Defenneh 708 Kyrene, Museum B129.1 98; Appendix I 147, Tell Defenneh 712 Amphora, horsehead B129.1.2 98; Appendix I 146, Tell Defenneh no. no. 98; Appendix I 147, Kyrene 719 711

Column-krater Amphora, one-piece no. no. 10, 98; Appendix I 124, Kyrene 115 A1531 20; Appendix I 144, Athens 639 86.4-1.1197 22; Appendix I 145, Naukratis 650 Cup no. no. 17, 98; Appendix I 141, Kyrene 547 Amphora, unknown type 86.4-1.1197 22; Appendix I 152, Naukratis 858 Fragment Sb 116.5 98; Appendix I 180, Kyrene 1529 Amphoriskos Sb 415.2 98; Appendix I 180, Kyrene 1530 64.10-7.160 31, 96; Appendix I 174, Kameiros 1362 Lekane Sb.255.1-2 27, 98; Appendix I 169, Kyrene 1263 Aryballos Sb.284.6 27, 98; Appendix I 169, Kyrene 1262 1930.12-17.1 Appendix I 173, Provenance Unknown 1346 Leiden, Rijksuniversiteit Archaeologisch Institut Column-krater B101 10; Appendix I 123, Naukratis 98 Column-krater B102.6, 102.11 10; Appendix I 124, Naukratis 109 N29 10; Appendix I 124, Naukratis 110 B103.1 10; Appendix I 124, Naukratis 114 B103.21.1 10; Appendix I 123, Naukratis 103 Leipzig, Kunstgewerbemuseum B103.21.2 10; Appendix I 123, Naukratis 104 88.6-1.599 10; Appendix I 123, Naukratis 100 Amphora, horsehead 1928.1-17.39 10; Appendix I 124, Provenance T 394 Appendix I 146, Athens 692 Unknown 123 vi. museums and collections 247

Cup no. no. 16; Appendix I 137, Naukratis 454 1914.3-17.10+ 17; Appendix I 140, Naukratis 539 no. no. 16; Appendix I 137, Naukratis 455 86.4-1.1061 1965.9-30.785 17; Appendix I 141, Naukratis 545 London, private 1965.9-30.813 17; Appendix I 141, Naukratis 544 B103.16 17; Appendix I 141, Naukratis 543 Lekythos B103.28 17; Appendix I 140, Naukratis 540 no. no. 28, 41; Appendix I 172, Provenance Unknown 1329 Kantharos B600.50 18; Appendix I 142, Naukratis 597 B601.14 18; Appendix I 142, Naukratis 595 London, University College B601.16 18; Appendix I 142, Naukratis 596 Cup Lebes no. no. 66; Appendix I 141, Naukratis 543 86.4-1.1154 12; Appendix I 126, Naukratis 188 86.4-1.1229 12; Appendix I 126, Naukratis 184 Los Angeles, Merlo Collection 1888.6-1.588 12; Appendix I 126, Naukratis 177 1971.11-1.1 12; Appendix I 127, Naukratis 211 Lekane-Lekanis B100, B601.26 12; Appendix I 126, Naukratis 179 no. no. 27, 100; Appendix I 170, Kymai 1272 B103.14.2 12; Appendix I 126, Naukratis 183

Lekane-Lekanis Luzern, Market, Galerie Fischer 1905.7-11.4 27, 61, 62; Appendix I 168, Thebes 1218 Krater B600.4 27; Appendix I 169, Naukratis 1250 no. no. 2, 51; Appendix I 128, Phaleron 223

Lekythos 1931.8-10.1 Appendix I 172, Provenance Mainz, Johannes Gutenberg Universität Unknown 1331 1965.9-30.843 28; Appendix I 172, Naukratis 1325 Olpe B30 28; Appendix I 172, Korinthos 1316 29 15, 94; Appendix I 133, Thasos 338

Loutrophoros Malibu (CA), The J. Paul Getty Museum 88.6-1.570b-c, 1965.9-30.759 Appendix I 163, Naukratis 1103 Amphora, one-piece 83.AE.428 Appendix I 145, Provenance Olpe Unknown 661 86.4-1.1171 15; Appendix I 134, Naukratis 372 88.6-1.566 15, 97; Appendix I 133, Naukratis 356 Manisa, Archaeological Museum 1965.9-30.843 15; Appendix I 134, Naukratis 366 B32 61, 100; Appendix I 134, Nola 385 Amphora, unknown type B33 100; Appendix I 134, Nola 384 no. no. 22, 96; Appendix I 152, Sardeis 855 B102.2 15; Appendix I 134, Naukratis 371 B102.3 15; Appendix I 134, Naukratis 367 Column-krater B102.22 15; Appendix I 133, Naukratis 359 P62.306:4613 10, 96; Appendix I 123, Sardeis 96 B102.23 15; Appendix I 134, Naukratis 369 B103.20E 15; Appendix I 133, Naukratis 360 Lebes P63.57:50.31 12, 96; Appendix I 126, Sardeis 173 Plate P90.30:9773 12, 96; Appendix I 126, Sardeis 174 B601.25, 27; Appendix I 171, Naukratis 1309 P63.178:5205 12, 96; Appendix I 126, Sardeis 175 601.23 Lekane-Lekanis Skyphos P87.2:9382 27, 96; Appendix I 169, Sardeis 1244 B13 16; Appendix I 137, Korinthos 432 P89.10:9633 27; Appendix I 169, Sardeis 1245 248 indices

Marathon, Museum Plate AE 76b/137 64, 93; Appendix I 171, Naxos 1307 Olpe K567 15, 71, 89; Appendix I 132, Marathon 315 Nicosia, Cyprus Museum

Skyphos Lekythos K1265 89; Appendix I 136, Marathon 426 1958IV223 28, 64, 76, 97; Appendix I 172, Cyprus 1324

Marseille, Musée Borély New York, Metropolitan Museum of Art Lebes no. no. 12, 103; Appendix I 127, Massalia 205 Amphora, horsehead 22.139.7 Appendix I 146, Vári 678 Olpe 22.139.7 132; Appendix I 146, Anavyssos 679 497 15, 103; Appendix I 135, Massalia 388 26.60.45 100; Appendix I 147, Etruria 728 Amphora, neck 38.11.10 Appendix I 149, Vári 787 Motya, Museo G. Whitaker Cup Cup 22.139.22 17, 101; Appendix I 141, Taranto 567 no. no. 17, 102; Appendix I 142, Motya 574 Olpe 26.164.28 15, 96; Appendix I 133, Sardeis 355 Mouret, Collection

Lebes Oxford, Ashmolean Museum no. no. 12, 103; Appendix I 127, Béziers 208 Amphora, neck G128.20 22; Appendix I 150, Naukratis 809 Munich, Antikensammlungen Amphora, unknown type Amphora, horsehead G128.3 22; Appendix I 152, Naukratis 856 1361 99; Appendix I 147, Vulci 726 1362 99; Appendix I 147, Vulci 725 Column-krater 1363 99; Appendix I 147, Vulci 727 G128.18 10; Appendix I 123, Naukratis 100 6070 75; Appendix I 146, Athens 693 G131.31 10; Appendix I 123, Naukratis 102 G131.32 10; Appendix I 123, Naukratis 105 Cup now lost Appendix I 138, Athens 476 Cup G137.18 Appendix I 141, Naukratis 541 Lekythos 1840 Appendix I 172, Athens 1315 Fragment G128.27 Appendix I 180, Naukratis 1527

Naples, Museo Archeologico Nazionale Lekane-Lekanis 1912.33 27; Appendix I 169, Naukratis 1249 Oinokhoe G128.7 27; Appendix I 169, Naukratis 1253 no.no. 15, 100; Appendix I 130, Kymai 263 G128.9 27; Appendix I 169, Naukratis 1254 G128.15 27; Appendix I 169, Naukratis 1248 G137.10 27; Appendix I 169, Naukratis 1252 Naxos, Museum G547 27; Appendix I 169, Naukratis 1256

Fragment Olpe B5532 93; Appendix I 180, Naxos 1518 1912.37A 15; Appendix I 134, Naukratis 370 vi. museums and collections 249

G131.13. 15; Appendix I 134, Naukratis 362 CP10626 100; Appendix I 147, Etruria 736 G137.15 15; Appendix I 134, Naukratis 368 E821 100; Appendix I 147, Etruria 729 G137.16 15; Appendix I 133, Naukratis 357 E822 100; Appendix I 147, Etruria 731 G137.17 15; Appendix I 134, Naukratis 361 G137.19 15; Appendix I 134, Naukratis 374 Amphora, one-piece G128.30 15; Appendix I 133, Naukratis 358 E816 100; Appendix I 145, Italy 658 G550 15; Appendix I 134, Naukratis 363 E817 Appendix I 145, Provenance Unknown V505 15, 26, 89; Appendix I 132, Laurion 314 662 E819 100; Appendix I 145, Italy 659 Plate CP10627 20; Appendix I 145, Provenance G128 27; Appendix I 171, Naukratis 1309 Unknown 664 Lebes 545 12; Appendix I 126, Naukratis 185 Column-krater G128.13 12, 97; Appendix I 126, Naukratis 176 CA1750 99; Appendix I 124, Apollonia Pontike G128.16 12; Appendix I 127, Naukratis 186 117 CA12249 55; Appendix I 124, Provenance Unknown 126 Paestum, Museo Archeologico Nazionale G11251 70, 72; Appendix I 124, Provenance Unknown 129 21834 101; Appendix I 148, Poseidonia 748 Cup E742 99; Appendix I 141, Cerveteri? 553 Palermo, Museo Archeologico Regionale CP10235 99; Appendix I 141, Cerveteri? 554 CP10236 99; Appendix I 141, Cerveteri? 555 Cup CP10237 99; Appendix I 141, Cerveteri? 557 5527 17, 100; Appendix I 141, Chiusi 558 CP10238 99; Appendix I 141, Cerveteri? 556 K17171 17, 102; Appendix I 142, Monte Iato 575 Exaleiptron CA927 29; Appendix I 173, Aigina 1356 Lekane-Lekanis no. no. 27, 43, 102; Appendix I 170, Selinous Lebes 1277 E873 72; Appendix I 128, Provenance Unknown 212 F874 11, 52, 60, 64; Appendix I 127, Prove- Paris, Cabinet des Medailles nance Unknown 210

Amphora, horsehead Lekane-Lekanis 204 Appendix I 146, Korinthos 696 CA2990 Appendix I 165, Vári 1152 Appendix I 165, Vári 1154

Paris, Musée Auguste Rodin Lekythos CA823 51, 92; Appendix I 172, Boiotia 1321 Olpe 9 Appendix I 135, Provenance Unknown Olpe 392 A474 15, 96; Appendix I 133, Rhodos 353 A475 15, 96; Appendix I 133, Kameiros 351 MNB2035 15, 94; Appendix I 133, Khalkidike 336 Paris, Musée du Louvre MNC334 Appendix I 135, Provenance Unknown 394 Amphora, horsehead CP10621 100; Appendix I 147, Etruria 732 CP10622 100; Appendix I 147, Etruria 730 Peiraieus, Archaeological Museum CP10623 100; 100; Appendix I 147, Etruria 733 CP10624 Appendix I 147, Etruria 734 Fragment CP10625 100; Appendix I 147, Etruria 735 84/23 85; Appendix I 179, Mounikhía 1509 250 indices

84/48 85; Appendix I 179, Mounikhía 1507 no. no. 100; Appendix I 147, Etruria 739 A933 85; Appendix I 179, Mounikhía 1508 no. no. 100; Appendix I 147, Etruria 740 no. no. 100; Appendix I 147, Etruria 741 Lekane-Lekanis 84/244 26, 27, 85; Appendix I 167, Mounikhía Cup 1203 45707 17; 99; Appendix I 141, Cerveteri 552

Skyphos-krater Olpe AE5406 8, 41, 85; Appendix I 122, Mounikhía 65 20.801 15, 99; Appendix I 134, Cerveteri 381 MΠ5406 8, 41, 85; Appendix I 122, Mounikhía 64 no. no. 8, 85; Appendix I 122, Mounikhía 66 St. Petersburg, State Hermitage Museum Skyphos MΠ5407 16, 85; Appendix I 136, Mounikhía 428 Column-krater b. 62-53, 98; Appendix I 124, Berezan 116 b. 444 Philadephia, University Museum Oinokhoe Amphora, horsehead no. no. 15, 98; Appendix I 130, Berezan 267 E 154.1 98; Appendix I 147, Tell Defenneh 715

Sybaris, Antiquarium Reading, University Cup Amphora, horsehead 13472 17, 101; Appendix I 141, Sybaris 566 14.9.80 98; Appendix I 147, Tell Defenneh 716 St. 12627 17, 101; Appendix I 141, Sybaris 565

Lebes Lekane-Lekanis 26.2.1 12; Appendix I 126, Naukratis 179 St. 26787 27, 101; Appendix I 170, Sybaris 1275

Rhodos, Archaeological Museum Syracuse, Museo Archeologico Regionale

Amphora, horsehead Amphora, horsehead 15565 Appendix I 146, Ialysos 700 11889 102; Appendix I 148, Megara Hyblaia 749 7/162 102; Appendix I 148, Megara Hyblaia 750 Aryballos 13099 96; Appendix I 173, Ialysos 1359 Cup 26397 17, 102; Appendix I 141, Gela 573 Lekane no. no. 17, 102; Appendix I 141, Megara Hyblaia 5008 27, 58, 96; Appendix I 169, Ialysos 1242 571 6474 27, 72, 96; Appendix I 169, Ialysos 1243 no. no. 17, 102; Appendix I 141, Megara Hyblaia 572 Rome, Musei Capitolini Lekane-Lekanis Column-krater 7/174 27, 102; Appendix I 170, Megara Hyblaia 212 10; Appendix I 124, Provenance Un- 1276 known 124 Skyphos Rome, Museo Nazionale Etrusco di Villa Giulia 7.173 16, 102; Appendix I 137, Megara Hyblaia 459 Amphora, horsehead no. no. 16, 102; Appendix I 138, Megara Hyblaia 20843 99; Appendix I 147, Cerveteri 721 460 no. no. 100; Appendix I 147, Etruria 737 no. no. 100; Appendix I 147, Etruria 738 vi. museums and collections 251

Taranto, Museo Archeologico Nazionale Thessaloniki, Archaeological Museum

Amphora, horsehead Olpe 4349 101; Appendix I 147, Taranto 742 no. no. 15, 94; Appendix I 133, Ayía 4354 101; Appendix I 147, Taranto 744 Paraskeví 335 20.248 101; Appendix I 147, Taranto 743

Amphora, neck Tocra, Museum and Store Room 20885 101; Appendix I 150, Taranto 810 52127 21; Appendix I 150, Taranto 811 Amphora, horsehead no. no. 98; Appendix I 147, Tocra 718 Cup 15.4.58 17, 101; Appendix I 142, Taranto 569 Amphoriskos 101656 17, 101; Appendix I 142, Taranto 570 1032 98; Appendix I 174, Tocra 1363 110550 17, 101; Appendix I 142, Taranto 568 Cup Oinokhoe 1036 17, 98; Appendix I 141, Tocra 546 6504 15, 66, 76, 101; Appendix I 130, Taranto 266 Olpe 1025 15, 98; Appendix I 134, Tocra 378 Olpe 20847 15, 101; Appendix I 135, Taranto 386 Toronto, Royal Ontario Museum 20851 15, 101; Appendix I 135, Taranto 387 Lebes Skyphos 910, 234.14 12; Appendix I 127, Naukratis 186 52108 101; Appendix I 137, Taranto 457 Lekane-Lekanis Tarquinia, Museo Nazionale Tarquiniese 910.234.20 271, 106; Appendix I 169, Naukratis 1247 Amphora, horsehead c46 27; Appendix I 171, Naukratis 1309 633 100; Appendix I 148, Tarquinia 746 RC 2802 100; Appendix I 148, Tarquinia 745 Vathy, Museum Amphora, one-piece Amphora, one-piece 628 22, 100; Appendix I 145, Tarquinia 654 K950 22; Appendix I 144, Samos 648 K6788 22; Appendix I 144, Samos 647 Thasos, Archaeological Museum K6797 22, 40, 96; Appendix I 144, Samos 646 Cup 59.432 17, 94; Appendix I 139, Thasos 505 Amphora, neck 59.88 17; Appendix I 139, Thasos 506 K950 Appendix I 150, Samos 807 85.670 17, 43, 94; Appendix I 139, Thasos 504 K1211, 45, 51; Appendix I 150, Samos 806 K1032 Fragment 55-146 Appendix I 180, Thasos 1520 Amphora, unknown type 6800 52; Appendix I 152, Samos 852 Thebes, Museum K1423 Appendix I 152, Samos 851 K6799 Appendix I 152, Samos 849 Lekythos K6801 Appendix I 152, Samos 853 49.255 28, 93; Appendix I 172, Rhitsόna 1320 K6802 Appendix I 152, Samos 854 K6870 Appendix I 152, Samos 850

Aryballos K1240 29, 43; Appendix I 173, Samos 1358 252 indices

Cup Lid K956 17, 96; Appendix I 140, Samos 531 K6769 Appendix I 177, Samos 1449 K958 17, 96; Appendix I 140, Samos 532 K1196 17, 68, 96; Appendix I 140, Samos Olpe 529 K2533 15, 96; Appendix I 133, Samos 350 K1280 17, 67, 96; Appendix I 140, Samos 523 Skyphos-krater K1280a 17, 96; Appendix I 140, Samos 527 K1561, K3254 Appendix I 122, Samos 71 K1282, K1283, 17, 60, 96; Appendix I 140, Samos K1284, K1431 530 Skyphos K1451 17, 96; Appendix I 140, Samos 534 K959, K1278 16, 68; Appendix I 137, Samos 449 K2554, K2555, 17, 68, 96; Appendix I 140, Samos K6895 16; Appendix I 137, Samos 450 K953 524 K6896 16; Appendix I 137, Samos 451 K3856 17, 96; Appendix I 140, Samos 526 K6897 16; Appendix I 137, Samos 452 K6904 17, 96; Appendix I 140, Samos 525 K6905 17, 96; Appendix I 140, Samos 528 Vatican, Museo Gregoriano Etrusco Vaticano K6906 17, 96; Appendix I 140, Samos 533 Amphora, horsehead Hydria 39520 99; Appendix I 147, Vulci 723 K1210 22; Appendix I 153, Samos 879 K6834 22; Appendix I 153, Samos 880 Olpe Kantharos no. no. 15, 99; Appendix I 134, Cerveteri 382 K6893 Appendix I 142, Samos 594 Lebes Vienna, Kunsthistorisches Museum K3382 12; Appendix I 126, Samos 171 K6833 11, 12, 43; Appen dix I 126, Samos Cup 170 3667 Appendix I 138, Athens 475 Lekane-Lekanis K920 26, 27; Appendix I 168, Samos 1239 Würzburg, Universität, Martin von Wagner K940 27; Appendix I 169, Samos 1241 Museum K952 27; Appendix I 168, Samos 1236 K954 27; Appendix I 168, Samos 1238 Amphora, horsehead K1025 27; Appendix I 169, Samos 1240 242 99; Appendix I 147, Vulci 722 K1219 26, 27; Appendix I 168, Samos 1234 K6860 27; Appendix I 168, Samos 1235 Column-krater K6861 27; Appendix I 168, Samos 1237 H5831 10; Appendix I 124, Provenance Unknown 128 Fig. 1. Standed skyphos-krater. Athens, National Museum, 16382 [Vári 57]. Courtesy National Museum of Athens. Fig. 2. Skyphos-krater. Athens, National Museum, 907 [Provenance Fig. 3. Egg-shaped krater. Athens, Agora Mu- Unknown 72]. Courtesy National Museum of Athens. seum, P 17486 [Athenian Agora 74]. Courtesy American School of Classical Studies at Athens.

Fig. 4. Column-krater. Athens, National Museum, 16388 [Vári 86]. Courtesy National Museum of Athens. Fig. 5. Column-krater. Würzburg Universität, Martin von Wagner Museum, H5831 [Provenance Unknown 128]. Courtesy Martin von Wagner Museum der Universität Würzburg. Photo Karl Oehrlein.

Fig. 6. Lebes. Athens, National Museum [Vári 142]. After Callipolitis-Feytmans 1985, 45, fig. 18. Fig. 7. Lebes. British Museum, 1971.11-1.1. [Provenance Unknown 211]. Courtesy London, British Museum. Fig. 8. Louterion. Athens, National Museum, 16386 [Vári 238]. Courtesy National Museum of Athens.

Fig. 9. Louterion. Athens, National Museum, 16387 [Vári 239]. Photo author. Fig. 10. Ring-collar oinokhoe. Athens, Agora Museum, P 24945 [Athenian Agora 253]. Courtesy American School of Classical Studies at Athens.

Fig. 11. Olpe. Athens, National Museum, 19176 [Vári 307]. Courtesy National Museum of Athens.

Fig. 12. Tankard. Athens, National Museum, 19050 Fig. 13. Komast skyphos. Athens, National Museum, 528 [Vári 397]. Photo author. [Korinthos? 433]. Courtesy National Museum of Athens. Fig. 14. Komast cup. Athens, National Museum, 1106 [Greece 508]. Courtesy National Museum of Athens.

Fig. 15. Kantharos. Athens, National Museum, 19174 [Vári 593]. Courtesy National Museum of Athens. Fig. 16. Chalice. Athens, National Museum, 995 [Vourvá 603]. Photo author.

Fig. 17. Chalice. Athens, National Museum, Vlastos Collection [Spáta 602]. Photo author. Fig. 18. One-piece amphora. Athens, Agora Museum, P 1247 [Athenian Agora 604]. Courtesy American School of Classical Studies at Athens. Fig. 19. Horsehead Amphora. Athens, National Museum, 1003 [Athens 684]. Courtesy National Museum of Athens. Fig. 20. Neck-amphora. Athens, National Museum, 16380 [Vári 785]. Courtesy National Museum of Athens. Fig. 21. Neck-amphora. Athens, National Museum, 16395 [Vári 788]. Photo author. Fig. 22. Neck-amphora. Athens, National Museum, 16396 [Vári 793]. Photo author. Fig. 23. Hydria. Athens, Kerameikos Museum, 8405 [Kerameikos 870]. D-DAI-ATH-Kerameikos 8405. Fig. 24. Loutrophoros-amphora. Athens, National Museum, 19170 [Vári 1096]. Photo author. Fig. 25. Lekane. Athens, National Museum, 998 [Vourvá 1200]. Courtesy National Museum of Athens.

Fig. 26. Plate. Athens, National Museum, 19171 [Vári 1300]. Photo author. Fig. 28. Aryballos. Athens, Kerameikos Museum, 60 [Kera meikos 1339]. D-DAI-ATH-Kerameikos 2729.

Fig. 27. Lekythos. London, British Museum, B30 [Korinthos 1316]. Courtesy London, British Museum. Fig. 29. Exaleiptron. Athens, National Museum, 19172 [Vári 1355]. Photo author.

Fig. 31. Pyxis. Athens, Kerameikos Museum, 687 [Kera meikos 1373]. D-DAI-ATH-Kerameikos 3021. Photo H. Wagner.

Fig. 30. Amphoriskos. Bonn, Akademisches Kunstmuseum, 597 [Boiotia 1361]. Courtesy Bonn, Akademisches Kunst- museum. Fig. 32. Detail of the neck of a neck-amphora. Athens, National Museum, 1002 [Athens 801]. Courtesy National Museum of Athens.

Fig. 33. Skyphos-krater. Athens, National Museum, 16400 [Vári 60]. Courtesy National Museum of Athens. Fig. 34. Skyphos-krater. Athens, National Museum, 16384 [Vári 59]. Courtesy National Museum of Athens. Fig. 35. Skyphos-krater. Athens, National Museum, 16399 [Vári 61]. Courtesy National Museum of Athens. Fig. 36. Neck-amphora. Athens, National Museum, 16398 [Vári 795]. Courtesy National Museum of Athens. Fig. 37. Neck-amphora. Athens, National Museum, 16389 [Vári 786]. Courtesy National Museum of Athens. Fig. 38. Loutrophoros-hydria. Athens, Fetiche Tjami, 1957- Fig. 39. Wall fragment. Berlin, Antikensammlung, F3987 Aa 71 [Sanctuary of the Nymphe 1011]. After Papadopoulou- [Athens 87]. Courtesy Antikensammlung Staatliche Museen Kanellopoulou 1997, pl. 33. 166. zu Berlin, F3987. Photo Ingrid Geske.

Fig. 40. Lekane. Rhodos, Archaeological Museum, 5008 [Ialysos 1242]. Courtesy Rhodos Archaeological Museum. Fig. 41. Lebes. Athens, National Museum, 15499 [Phársalos 147]. Courtesy National Museum of Athens.

Fig. 43. Skyphos. Athens [Athens 431]. After AD 19, 1964, Fig. 42. Olpe. Athens, National Museum, 19159 [Vári 310]. Chron., pl. 59b. Courtesy National Museum of Athens. Fig. 44. [See also the detail on the facing page] Lekythos. Nicosia, Cyprus Museum, 1958IV223 [Cyprus 1324]. Courtesy Nicosia, Cyprus Museum. Fig. 44. Detail. Fig. 45. Lekythos. Florence, Museo Archeologico Etrusco, 3740 [Prov- enance Unknown 1333]. Courtesy Museo Archeologico Nazionale di Firenze Antiquarium. Fig. 46. Olpe. Athens, National Museum, 16285 [Vári 309]. Photo author. Fig. 47. Skyphos. Athens, National Museum, 996 [Vourvá 425]. Photo author.

Fig. 48. Lebes. Herakleion, Archaeological Museum [Gortyna 149]. After Bakır 1981, pl. 81. Fig. 49. Kantharos. Athens, National Museum, 19174 [Vári 593]. Courtesy National Museum of Athens.

Fig. 50. Standed skyphos-krater. Athens, National Mu- Fig. 51. Fragment. Eleusis Archaeological Museum [Eleu seum, 16384 [Vári 59]. Courtesy National Museum of sis 1417]. After Hünnekens 1987, pl. 177. 1. Athens. Fig. 52. Plan of the North Nekropolis of Vári. After Karouzou 1963, 47, fig. 40.

Fig. 53. Plan of the enclosure of the North Nekropolis of Vári. After BCH 61, 1937, 450, fig. 13. Fig. 54. Miniature support. Athens, National Museum, 19157 [Vári 1410]. Photo author.

Fig. 55. Miniature lebes. Athens, National Museum, 19159a [Vári 141]. Photo author. Fig. 56. Plan of the Vourvá tumulus. After Stais 1890a, pl. XIII.3.

Fig. 57. Lekane. Athens, National Museum, 1000 [Vourvá 1202]. Photo author. Fig. 58. Plan of the Marathon tumulus. After Stais 1893, 49. Fig. 59. Fragmentary amphora. Unknown collection, B217 [Berezan 860]. After Skudnova 1957, fig. 1.

Fig. 60. Amphora(?) fragment. Excavation, 1501 [Olbia 1532]. After Levi 1964, fig. 37. 1.