BABESCH 89 (2014), 1-25. doi: 10.2143/BAB.89.0.3034667

New attributions to the Sappho-Diosphos Painters’ workshop A group of black-figure kyathoi reconsidered

Delphine Madina Tonglet

Abstract*

This paper proposes to attribute, for the first time, three Attic kyathoi to the Sappho Painter and gathers together other vases that may belong to this late black-figure workshop (end of the 6th- beginning of the 5th century BC). It further confirms through the study of figured decoration and shape that an important part of Attic kyathoi manufactured in this workshop was a legacy left by Psiax, a hypothesis already suggested for a few pieces by C. Jubier-Galinier. A study of shape makes it possible to group vases which would not be comparable on stylis- tic grounds alone, and it reinforces previous stylistic comparisons of figured decorations. It also points out the importance of the potter’s work in the organization and understanding of Attic ceramic workshops.

À la mémoire de mon ami Jérôme Andronikos

INTRODUCTION** theless, it seems now possible to dissociate sev- eral Attic kyathoi from Nikosthenes’ workshop From the 19th century onwards, stylistic studies of and therefore, explain the important typological Attic figured vases have been the main approach difference between the distinctive Nikosthenic for understanding and defining Athenian work- profile and the rounded shapes of the later prod- shops. However, another methodology based on ucts.5 vases’ morphology and potter work has already The Sappho and Diosphos Painters were late shown its efficacy in the pioneering works of black-figure craftsmen, whose workshop flour- C.H.E. Haspels and then of H. Bloesch. Later, this ished at the end of the 6th century BC, at a time methodology has been developed by D.C. Kurtz when the new red-figure technique was already on lekythoi, H.A.G. Brijder on Siana cups, J. Euwe dominant in the Kerameikos. They are usually on Nolan amphorae and E.A. Mackay on Exekias’ considered to be the disciples of Psiax. Their production.1 products share similar shapes - lekythoi, alabastra, This approach, based on the analysis of drawn mastoi, skyphoi and plates - as well as a preference profiles, combined with the classical stylistic and for the white-ground technique and other stylis- iconographic study, allows for the first time the tic and iconographic features.6 J.D. Beazley origi- attribution of kyathoi to the Sappho Painter and his nally defined the workshop as based on the coop- workshop. Though archaeological finds of Greek eration of two painters, the Sappho and Diosphos pottery workshops are lacking for the archaic Painters, as two distinct painting styles can be period, it has been shown that this combination recognized on lekythoi of very similar shapes. of stylistic, iconographic and morphologic stud- Therefore, Beazley inferred that these two painters ies enable us to detect craftsmen connections and were working for a common craftsman, identified to approach their organization in different work- as the Diosphos potter, the maker of the lekythoi shops (intended as physical places), where sev- of DL and of Little-Lion Classes.7 eral painters could work around one or several More recently, C. Jubier-Galinier has shown potters, or where craftsmen were processing the that a minute analysis of the lekythoi (the most sig- entire chaîne opératoire of their production.2 nificant shape of the workshop) and their profiles According to Kurtz, Psiax was among the best demonstrates the involvement of two potters’ and most influential painters of Attic kyathoi.3 hands, which coincide with the two painting This is often obscured by the ‘fame’ attributed to styles already identified by Beazley.8 For both Nikosthenes’ kyathoi production, primarily in M. classes of lekythoi, it is possible to observe coin- Eisman’s important work on Attic kyathoi.4 Never - ciding morphological features (articulation, pro-

1 portions, etc.), secondary decoration and figured technique is black-figure on white-ground with style. Jubier-Galinier concludes that the workshop details in added white and red paint. was composed of two main craftsmen who con- The central scene represents a woman sitting trolled the entire chaîne opératoire: the Sappho and and playing the lyre in front of a dancing woman Diosphos Potters-Painters. At the same time, sec- who holds krotala; while under the handle two ondary craftsmen, the so-called ‘companions’,9 doves are painted with unfolded wings. The nu - also manufactured and decorated lekythoi of the merous and careful incisions as well as the poly- same types (Little-Lion Class, Group Hound and chromy of the painting and the detailed ornamen- Hare).10 With the disappearance of the Sappho tation, recall Psiax’s style. However, as already Painter, the workshop became dominated by the noted by Iozzo, the kyathos is not painted by Psiax Diosphos and Haimon Potters-Painters, until the himself,14 the drawing of the faces and hair being former disappeared and the latter took over the much different from his usual style, with simpler workshop.11 The study of the shape of other vases and thicker incisions. such as the kyathoi further confirms this frame- On the basis of stylistic and morphological anal - work and points to several connections between yses, it is possible to associate this vase with two potters and painters within the Athenian Kera - other kyathoi: an unpublished kyathos in Munich meikos. (Cat. 2, pl. 1) and the fragments of another vase (Cat. 3, pl. 1), recently found among unpublished 1. NEW ATTRIBUTIONS TO THE SAPPHO PAINTER (plate fragments of the Castellani Collection. 1, table 1)*** The kyathos in Munich (Cat. 2, tbl. 1) is not well known, since only one image is available in Eis- An Attic kyathos in the Vatican Museums, recently man’s dissertation.15 It shares several elements published by M. Iozzo, inspired the present study with the Vatican kyathos: the white-ground tech- (Cat. 1, pl. 1).12 While close to productions from nique, the style, the big eyes decoration of circles, Psiax’s circle, the vase combines morphological the conical foot and a similar size. Yet, the gen- features from both Psiax’s kyathoi (Cat. 4-5, pl. 2) eral profile of the bowl is only slightly different. and from later examples of the shape which seem The wall is broadly open and oblique, slightly to enter in the productions of the Sappho-Dios- flaring at the rim. The profile bulges delicately phos Painters’ workshop. towards the base and the bottom narrows Although the handle and several fragments of towards the foot. The lower part does not have the wall are missing, the profile of the Vatican the ‘bottleneck’ shape of Cat. 1. The foot spreads kyathos (Cat. 1, tbl. 1,) is well preserved.13 The wall directly from the bowl. It is composed of a of the upper part is concave, while a delicate bulge slightly concave conical part and a thick vertical swells the lower part. The convex bottom narrows section. The handle is lost. to a ‘bottleneck’ shape with a clear articulation The secondary decoration on the lower part and separating the bowl from the foot. The conical the foot is similar to that of the Vatican kyathos . The foot is made of a flaring ring (with a slight con- reserved bottom under the foot shows a central vex undulation) and a thick vertical section. black dot surrounded by a thick black ring. The secondary decoration is standard for a ky - The figured decoration follows the standard athos: the lower part of the bowl is black glazed scheme: two handle figures, two big eyes (with and highlighted by two reserved lines where the the same circles as on Cat. 1) and a central scene. wall is bulging. The upper spreading part of the Unlike the previous vase, no vegetal branches foot is black, while its vertical edge is reserved. decorate the background of the scene. Underneath the foot, the resting surface and the At the front, Theseus attacks a kneeling Mino - bottom of the bowl are reserved but the oblique taur, holding a sword in his right hand. Three par- section between them is painted black. On the allel blood spatters drop from the sword. The beast bottom, a black dot within a circle appears, in- tries to defend itself, brandishing a stone with the scribed within a larger black circle (same under- left hand. In an attempted escape, its legs are foot type as pl. 2, c). turned to the right. The hero wears a short chiton, The figured decoration follows a standardized an animal skin, and his hair is tied in a krobylos. scheme: two figures flanking the handle, large The Munich kyathos features an element rarely male eyes (with an external white circle, a black found on Attic black-figure kyathoi:16 an inscrip- circle and a central red dot for the pupil) and a tion. Indeed, hπαςκα. λ. . ς is painted with black frontal scene. Between the eyes, some dotted glaze along the rim, on the frontal side of the branches adorn the background of the scene. The bowl. Behind Theseus’ head, above the large eye,

2 we can read: h πας. Then, above the Minotaur’s The three kyathoi within the production of the head we can easily guess the word κα. λ. . ς, though Sappho Painter (plate 1, table. 1) the alpha, lambda and sigma are slightly erased.17 Two black-skinned sphinxes surround the han- There is no doubt that the three kyathoi described dle. Their shoulders are decorated with red dots, above are painted by the same hand and, in the while a row of small white dots runs down the following paragraphs, I propose to attribute them median band of the wings. A red headband is to the Sappho Painter. painted in the hair. The three vases share several elements: the Beazley has associated this vase to the large white-ground technique; a similar use of added (and somewhat vague) Group of Vatican G57, colors, with thick rounded stains of red paint, because, in his opinion, it is close to the style of barely filling the incised or black-glazed limits; the Group’s name piece, a white-ground kyathos the lyre red strings and the Minotaur’s blood with a seated Dio nysos in front of a satyr and two spatter, which are rendered with three parallel red sphinxes at the handle.18 Eisman compared the lines on Cat. 2-3 (pl. 1). Further, the three vases style and iconography of the Munich vase to a display the same big eyes and they are stylisti- kyathos, which is now in Karlsruhe, and which cally alike both in shape and secondary decora- shows the same scene with Theseus and the tion (tbl.1, Cat. 1-3). Actually, the three sinuous Minotaur (CL2.2, pl. 6).19 This comparison seems and small bowls as well as the quite high conical more convincing since the figures on both vases foot of Cat. 1-2 were most probably shaped by the present the same thick earlobe and incised lines same potter (tbl. 1). for the hair, thighs, calves and shinbones. The stylistic features find close parallels in the The Castellani white-ground fragment (Cat. 3, production of the Sappho Painter. Let us turn to pl. 1) was unknown until now. Since only three a white-ground alabastron in Leiden (pl. 3, fig. 1), joining shards are preserved, only a partial recon- attributed to the same painter and decorated with stitution of the shape was possible. The profile a maenad playing the lyre for a dancing woman matches perfectly that of Cat. 2 (tbl. 1), with a with krotala.20 Although the drawing is poorer wider diameter. However, the loss of the lower and the added colors are lacking on the alabastron, part makes it impossible to know if the bottom the details on the head (ear, hair on the forehead) had the swelled and ‘bottleneck’ shape of Cat. 1 and the folding tails of the himatia, incised by two (tbl. 1) or the sinuous profile of Cat. 2. vertical lines with a serpentine rounded zigzag The remaining secondary decoration of the below, are strikingly close to those on Cat. 1 (pl. lower part shows the standard ground line, fol- 1). Besides, it is worth noting the way the chiton lowed by two reserved lines. of the musician on the alabastron is incised with The decorative scheme appears to be standard, vertical incisions and hemmed with an uneven but the handle figures are missing. The big eyes wavy line, then comparing these details to Theseus’ show the same circles as on the other two vases: short chiton on Cat. 3 (pl. 1). The fine incisions for the external circle is white, the other one black, the dancer’s left hand are another detail shared and a central red dot is used for the pupil. As on by the alabastron and Cat. 1. The arched incision Cat. 1 (pl. 1), the white-ground background is dec- for the hair limit on the forehead and temple is a orated with dotted branches. common trait in Cat. 1-3 and this alabastron. The scene is almost a copy of Cat. 2, from which In the following paragraphs, this specific inci- it only differs in the Minotaur’s legs position, sion for the hair limit will be referred to as ‘the Γ which are turned towards Theseus. The hero’s incision’, according to its shape. dress is the same, except for the red dots that Another parallel is the white-ground lekythos in appear on his torso, and the three incised lines for the Louvre,21 which shows more details and care. his short chiton drapery. The scene depicts Apollo playing the kithara, a Cat. 3 strengthens the stylistic link between deer, dancing muses with krotala and another Cat. 1-2, since Theseus’ head is fairly similar to muse playing the lyre. that of the dancing maenad on the Vatican kya- The similarities between this lekythos and the thos, and the bodies’ incisions correspond exactly three kyathoi are as follows: to those of the figures on Cat. 2. The undulated - For Cat. 1, the straight and strong vertical inci- line marking the edge of Theseus’ chiton, the sions of the himatia with thick and rounded Minotaur’s jaw and the hook-like hand under the zigzag marking the folding tail; Minotaur’s breast are further parallel features - Apollo’s round shoulder is very similar on the between the two vases. musician maenad of Cat. 1, as are the thin inci-

3 sions for the small hands and the long narrow large thighs on thin legs, angular knees (Theseus) black feet; and muscles poorly enhanced with long stiff inci- - Whereas hairstyles differ, the red headbands sions, arched for the calf. However, unlike the and incised hair on the forehead and temples painter’s common work, the Munich and Castel - are similar on the kyathoi, above all on Cat. 2’s lani figures do not offer bifid knees or a hook inci- sphinxes (pl. 1); sion to terminate the thighs’ muscle.26 - Ears are rendered in a small c-shaped pattern As far as the iconography of the three kyathoi is that extends to form the nape of the neck. This concerned, Cat. 1 with the dancing women shares internal c-element is surrounded by a larger a similar theme with the alabastron in Leiden (pl. curve, forming a bold ear lobe. Eyes are small 3, fig. 1) and the Louvre lekythos with Apollo.27 and oval (like a rounded almond), topped by These stylistic and iconographic elements sug- a short arched eyebrow. Chins and noses are gest that the three kyathoi were produced in the protruding. same workshop and painted by the same hand. However, some parts of the decoration, such as Similar elements appear on a white-ground leky - the handle figures, are to be compared to a group thos, also attributed to the Sappho Painter, deco- of Attic kyathoi in order to find elements of com- rated with three dancing maenads (pl. 3, fig. 2).22 parison. As shown in the next section, these other The piece, today in a Swiss private collection, fea- kyathoi can also be linked with the Sappho-Dios - tures strikingly similar faces and hairstyles. The phos Painters’ workshop. Some examples are gath - last maenad (pl. 3, fig. 2: drawing), with her ‘witch’ ered in the catalogue, at the end of this paper. nose and chin, and the Γ incision for hair limit, is Although the two handle doves on Cat. 1 (pl. 1) particularly remarkable. The maenads have oblong find no parallel in the Sappho Painter’s work, very eyes with the pupil represented by a horizontal similar birds exist on other kyathoi decorated by curve as on Theseus’ face on Cat. 2-3. This vase different painters, and it is obvious that these is also more ornate and polychrome. Chitones and doves are copied from the same model. Among himatia are spotted with white dots, and large red them, two kyathoi are very close to Psiax in their stripes mark the arching folds around the collar, figured style, secondary decoration and shape; exactly as on Cat. 1. The hair, tied in a high bun one is in a private collection in Lugano,28 the and separated by a tainia, rendered by two incised other is in the Vatican (CL1.3, pl. 5). lines and/or a red added band, is very common Three other kyathoi among which CL2.6 (pl. 6) in the Sappho Painter’s work.23 and CL3.1, attributed to the Group of Vatican The Swiss lekythos displays dotted branches G57, show similar doves at their handle sides.29 adorning the background as in Cat. 1 and 3. This These birds suggest that we are faced with a lekythos is the only vase attributed to the Sappho ‘workshop schema’, which seems to have been Painter that presents this element.24 However, the transmitted directly from Psiax’s circle to the pattern is almost omnipresent on Attic kyathoi of Sappho-Diosphos Paint ers’ workshop. The mech- which it constitutes a strong feature. The combi- anism of this kind of schema transmission, which nation of dotted branches and big eyes on the is observable among different painters (different Attic kyathos may be seen as a transfer from Attic styles) and is often linked to a shape and a work- cups: the Greek drinking shape lent one of its dec- shop, has been explained by A. Tsingarida for orative schemes to the Etruscan drinking vessel. Euphronios’ representations of Sarpedon. The This can explain why the Sappho Painter, while motif with which we are dealing here, the handle adopting the kyathos , also used the pattern specif- doves on kyathoi, is much simpler, but I think that ically adapted to the shape. the transmission process is alike.30 Finally, among other similar lekythoi attributed The same observation applies to the sphinxes to the Sappho Painter, the white-ground vase in on Cat. 2 (pl. 1), for which no parallel could be Karlsruhe (pl. 4, fig. 3), offers another interesting found in the Sappho Painter’s work. However, parallel to the Vatican maenads (Cat. 1, pl. 1).25 such black-skinned sphinxes with red ornaments The Nereid flanking the frontal scene shows the on shoulders and a middle line of white dots on himatia wrapped around the neck and shoulders the wing appear on many kyathoi. These vases are and the patterned chiton. generally attributed to the large Group of Vatican Regarding the naked bodies, the features on G57. The Group’s name-piece itself shows such a Cat. 2-3 (pl. 1) match well with Jubier-Galinier’s black sphinx.31 They usually appear in the same description of the Sappho Painter’s style: stocky position: seated with a raised paw and the face bodies with rounded and protruding buttocks, looking back.

4 Only one vase with the representation of The - the same milieu, certainly the same workshop and seus fighting the Minotaur, a lekythos in Six tech- using the same shapes.37 nique now in Athens, is attributed to the Sappho If he scarcely used branch patterns, the Sappho Painter (pl. 4, fig. 4).32 This lekythos is more de- Painter drew a remarkable range of inscriptions, tailed and hard to compare stylistically to the both real and fake.38 This is the case on Cat. 2 (pl. kyathoi. However, the figures have their legs in the 1) with the exceptional kalos inscription crowning same position as on Cat. 2 (pl. 1), while the the heroic deed. The written form of the inscrip- Minotaur’s legs on Cat. 3 (pl. 1) more closely tion fits well with the Sappho Painter’s charac- resemble the previously cited kyathos in Karlsruhe teristics. Letters are square and small, painted (CL2.2, pl. 6). This third kyathos with Theseus is with a kind of bold assurance. Alpha and êta are attributed to the Group of Vatican G57 but, as will squared; the horizontal stroke of alpha leans to be shown, it can be included in the Sappho- the right; the stems of kappa and sigma are not Diosphos Painters’ workshop. Another kyathos in straight, but rather curved as the painter drew the Villa Giulia, CL3.6 (pl. 7), offers the same them quickly.39 The Athens lekythos in Six tech- iconography and in spite of the different style, it nique mentioned above (pl. 4, fig. 4) shows a sim- can be attributed to the same workshop. ilar acclamation, though hπαςmay be written Among Theseus’ deeds, the fight with the Mi- retrograde. The Karlsruhe white-ground lekythos, notaur is the most represented in Attic figured also mentioned above (pl. 4, fig. 3), is supposed to pottery, and it is dominant in black-figure.33 A - bear the same inscription as on the kyathos, but no mong the different scenes of the Minotaur’s myth, photograph of it could be found.40 The only sim- the moment of the fight is the most represented, ilar kyathos presenting a comparable kalos inscrip- as on our four kyathoi (Cat. 2-3, pl. 1, CL2.2, pl. 6, tion is attributed to the Philon Painter (CL3.4), CL3.6, pl. 7). Two standardized versions of the who certainly took part in the workshop. theme were identified by C. Servadei and corre- All the stylistic observations drawn in this first spond to what has been observed: either the two part concur with the attribution of the three enemies are facing each other (Theseus is on the kyathoi (Cat. 1-3) to the Sappho Painter. left, his sword in his right hand) or the Minotaur tries to flee, his legs turned to the right and the 2. OTHER KYATHOI CLOSE TO THE SAPPHO PAINTER head turned back towards Theseus. These two AND HIS WORKSHOP schemes can vary as the hero grabs the beast by the horn (CL2.2 and 3.6), the head/neck (Cat. 2-3) If the three vases Cat. 1-3 (pl. 1) can be assigned or the arm.34 to the Sappho Painter’s hand with a high degree While mainly depicted on amphorae and cups of certainty, other kyathoi are very close in terms during the 6th century, the theme becomes com- of style and shape. mon and is perpetuated on late 6th-early 5th cen- As already mentioned, examples of these vases tury black-figure lekythoi. The makers of these are gathered in the catalogue and divided into lekythoi are to be found mainly in the two work- three Classes (I-III) according to their shape.41 In shops of the Sappho-Diosphos Painters and of the these classes, similarity of shape usually goes Theseus-Athena Painters.35 Thus, Theseus and the together with stylistic closeness. Class I (pl. 5) Minotaur, a rare iconographical topic on kyathoi, includes vases that are close to Cat. 2 and Psiax’s offer a further link between kyathoi and lekythoi kyathoi (Cat. 4 and 5, pl. 4). Class II (pl. 6) is closer made in the Sappho-Diosphos Painters work- to Cat. 1 and brings together the kyathoi produced shop. The conservative representation of Theseus in the Sappho-Diosphos Painters’ workshop. wearing a short chiton, an animal skin and his Class III (pl. 7) is the continuation of the former, hair tied in a krobylos, is typical of this late black- and announces the Haimon Painter’s workshop. figure lekythoi production.36 The kyathoi show the same archaic features, even if CL3.6 (pl. 7) shows Class I (plate 5, table 1 see CL1.2) Theseus as a naked ephebe, which is more char- acteristic of the contemporary red-figure and new Class I was mostly influenced by Psiax, although styles. All the kyathoi show the Minotaur with a only two kyathoi in Milan and Würzburg (Cat. 4- red collar, and a white muzzle (not the muzzle on 5, pl. 2) were firmly attributed to him. Their shape CL2.2, pl. 6), bleeding three parallel red spatters and secondary decoration announce the stan- (different on CL3.6). As for the handle doves and dardization of Attic kyathoi. Like Cat. 1-5 (pls 1-2), the black sphinxes, we are facing an iconograph- the kyathoi of Class I are white-ground and, as ical schema used by different painters working in Psiax’s kyathoi, they all have a plastic head inside

5 the bowl and a handle decorated with a plastic already discussed in part 1 for the dove motif cone and a string ending in a palmette. Although decorating the handle. They also present a dou- the relief heads are less frequent on kyathoi, the ble ivy frieze along the rim, a double ground line plastic handle decoration is standard. Typical of and a double reserved line below. These elements the kyathoi closest to Psiax, the underside of the recall Psiax’s Cat. 4-5 (pl. 2), where the rim frieze foot (except the resting ring, pl. 2, b) and the han- is a meander reserved on a black band. However, dle on the vases of Class I are entirely black- Cat. 4 also has a similar ivy frieze, painted in the glazed. Cat. 4 is unique for several reasons (pl. 2): lower part. These geometrical patterns really are the plastic male head is extremely rare on kyathoi,42 Psiax’s features, as on his alabastron in Saint- the palmette assumes a unique heart shape and Petersburg.45 Furthermore the handle on CL1.3 the vertical part of the foot, with a double large (pl. 5) shows that the plastic decoration above the groove, is a hapax too. The complex secondary female head was reserved in the black glazed decoration of the lower part is exceptional on handle. This detail, which does not appear on kyathoi but commonly found on Psiax’s vases (the CL1.2, derives directly from Cat. 4-5. The dancing foot’s underside is also unique, pl. 2, a).43 On the maenads and Dionysos on the Lugano vase recall other hand, the vase in Würzburg is almost com- CL1.2 in Munich (pl. 5) and Psiax’s kyathos in pletely standard (Cat. 5, pl. 2, b): it has a female Milan (Cat. 4, pl. 2). plastic head, handle figures, big eyes and a cen- The influence of Psiax on Class I is direct, as is tral scene. The secondary decoration of the lower reflected in the attributions. However, sphinxes, part is almost equal to the pattern of Cat. 1-2 (pl. doves and some stylistic elements bring these 1); the only difference consists in the double vases closer to the Sappho Painter’s kyathoi (Cat. reserved line. Therefore, it is possible to relate the 1-3). If the vases of Class I might have been man- origin of this standard scheme (one ground line ufactured outside the Sappho Painter’s workshop and two reserved lines) to Psiax. they remain close and strengthen the connection The vases of Class I are also stylistically close with Psiax. to Cat. 1-2 and to some lekythoi attributed to the Sappho Painter. Class II (plate 6, table 2) CL1.1 in Cambridge (pl. 5) is the closest to the Sappho Painter’s style on kyathoi. The pattern of Class II contains only a few examples of a large rings in the big female eyes (white, then black morphological group. The figured decoration of with a central dot) is the same on Cat. 1-2, al- these kyathoi is stylistically homogeneous and the though the female eyes are quite unique on the figures features resemble those on the three kya - shape. The handle sphinxes are of the same type thoi attributed to the Sappho Painter (Cat. 1-3). as Cat. 2 and they present the ‘witch profile’ de- However, their attribution to the same painter scribed for the Sappho Painter’s kyathoi and the remains uncertain, the figures’ profiles being some - Swiss lekythos (pl. 3, fig. 2). The satyr’s leg mus- what smoother and rounder. cles recall the Minotaur’s left leg on Cat. 2. How- Kyathoi CL2.1-3 (pl. 6) are the closest to the ever, the satyr’s breast and hands, as well as the Sappho Painter’s style and they were probably branches in the background with large E-shaped painted by someone close to him. CL2.1-2 further leaves make an attribution uncertain. have the same big eyes as Cat. 1-3 (pl. 1). The pat- The last two vases of Class I represent an im- tern of dotted branches decorating the back- portant series of kyathoi, both from a stylistic and ground is similar to Cat. 1 and 3, spreading in from a morphological point of view. These white- two or four simple branches with medium dots. ground vases bear a special type of big eyes, with The only obstacle in the attribution of CL2.1 (pl. a red circle surrounded by a white one. CL1.2 (pl. 6) to the Sappho Painter is the dissimilar realiza- 5), in Munich, has black sphinxes with raised tion of the figures’ contours, which exhibit smooth - paw. The dancing maenad can be compared to er head profiles and better proportioned limbs. the heads on Cat. 1 and CL2.1-2 (which are very The dancer to the right takes up exactly the same close to the Sappho Painter’s kyathoi, pl. 6). How - position as Cat. 1’s dancing maenad (pl. 1), and ever, the satyr’s muscles and the vine branches the identical rendering of their himatia further differ from the previous vases. supports this impression. The black sphinxes CL1.3 (pl. 5) is fragmentary but another incom- flanking the handle’s sides are reminiscent of the plete vase in a Lugano private collection helps to same animals on Cat. 2. The incisions for the mus- understand the original appearance,44 as the two cles resemble the fighters painted on Cat. 2-3. pieces seem to be almost exact copies. Both were CL2.2, in Karlsruhe (pl. 6), has already been

6 discussed in the section dedicated to Cat. 1-3, in by Psiax, even though no kyathos has been attrib- which I showed that these kyathoi’s iconography uted to the Sappho and Diosphos Painters before. is close to that of late black-figure lekythoi, espe- Jubier-Galinier already attributed examples to cially in the Sappho-Diosphos Painters workshop. some ‘companions’ of the workshop, for example Here the stylistic distance is more obvious in the the Group Hound and Hare, and also proposed muscles’ incisions, and the Minotaur’s hairy body the integration of the Philon Painter’s kyathoi to is unique on kyathoi.46 However, Theseus closely the same circle.48 resembles Cat. 2-3. Beazley further attributed a one-handled kan- The Herakles on CL2.3 (pl. 6), in Philadelphia, tharos to the Diosphos Painter.49 This peculiar vase recalls both Theseus (prominent red buttocks, shape is, as the Attic kyathos, an imitation and an rounded nose) and the Minotaur (red collar) of adaptation from the Etruscan bucchero répertoire, CL2.2 and Cat. 2. The satyr on CL2.4, a white- made in the Kerameikos only to be exported to ground fragment, displays the same proportions Etruria. Beazley also attributed another one of these and legs as the left-hand boy on CL2.1. The pre- special shapes to or near the Sappho Painter: a served part of the big eye demonstrates the same white-ground amphora in Vienna, belonging to ring pattern as Cat. 1-3 (pl. 1). the Class of the Cabinet des Médailles 218.50 This The last fragment in Philadelphia, G.2.5 (pl. 6) Class is a later reinterpretation of the Nikosthenic is slightly different. The satyr’s upper limbs are amphora, while, according to V. Tosto, the Vienna more delicately rendered, in a manner closer to red- vase was made both outside Nikosthenes’ work- figure style. However, the legs and proportions of shop and outside the main workshop producing the body resemble CL2.1. The satyrs on CL2.4 and the Class.51 5 are both handle figures, which is common The one-handled kantharos and the Vienna am - among several types and painters of Attic kyathoi. phora show that the Sappho-Diosphos Painters’ The figured decoration on CL2.6 (pl. 6), in workshop was involved in the production of these Oxford, is careless and it is difficult to compare special shapes aimed at the Etruscan market. the schematic reclining Dionysos to that on the CL3.1, in Naples, forms a link between Classes former vases. However, such a pattern of a reclin- II-III and demonstrates continuity in the work- ing figure, with its legs and waist covered with shop, since it displays the ‘new semi-ovoid’ pro- drapery, does appear in the workshop, for exam- file of Class III and the same doves pattern that we ple on a lekythos in Palermo, attributed to the can observe on Cat. 1 and other kyathoi of Classes Diosphos Painter.47 The doves flanking the han- I and II.52 dle’s sides are more revealing since they follow Jubier-Galinier attributes the two other vases, the same pattern as the previously studied vases CL3.2-3 (pl. 7) to different painters of the Group (Cat. 1, pl. 1 and CL1.3, pl. 5). Hound and Hare, decorators of the lekythoi of the The vases belonging to Class II, except for Little-Lion Class.53 She compares CL3.2 to a CL2.5 (near Psiax by Eisman) and CL2.3 (unat- lekythos in Athens, the decoration and style of tributed), are attributed to the Group of Vatican which resembles many kyathoi of the Group of G57 by Beazley. Their stylistic closeness with Cat. Vatican G57,54 with Dionysos, sitting and holding 1-3 makes them likely to have originated in the a rhyton, surrounded by vine branches and grapes. Sappho Painter’s workshop. CL2.5 stands in The style of both CL3.2 and this Athens lekythos Psiax’s circle as a reminder of his crucial influ- (rounded eyes, semi-circular calves, the figures ence. positions) recalls the vases of Class II (pl. 6). When this lekythos is considered, it seems obvious that Class III (plate 7, table 3) many kyathoi and lekythoi were manufactured in the same workshop. The painters assembled under Class III helps to demonstrate that the kyathos the appellation ‘Group of Vatican G57’ concern- production studied in this paper, was not only ing kyathoi are often identical to the craftsmen marked by the Sappho Painter’s influence, but designated by different ‘groups labels’ for other can also be related to the Sappho-Diosphos Paint - shapes, such as the ‘Group Hound and Hare’. ers’ workshop, as it has been defined by other Jubier-Galinier compares CL3.3 (pl. 7), in Munich, scholars (see the introduction). to another lekythos in Leiden (pl. 4, fig. 5) which is The Attic kyathoi variants, represented by Classes commonly attributed to the Group Hound and II-III in the catalogue, can join the productions of Hare.55 Indeed, the two vases appear to have been small vases (lekythoi, alabastra etc.) manufactured decorated by the same painter, who used long in this late black-figure workshop and influenced undulating incisions for the muscles, a single

7 curved Γ line to separate the forehead from the Sappho Painter, Cat. 1-3 (tbl. 1), belong to Class II hair, and several straight incisions for hair locks. and constitute its beginning, Cat. 1 and 3 reveal- Likewise, the kyathos CL3.6 (pl. 7) can be attributed ing some analogies with Class I. to the same painter or one close to him. The young men depicted on the Leiden lekythos (pl. 4, fig. 5) Psiax and Class I (plates 2 and 5, table 1) also recall the boys on several kyathoi attributed to the Group of Vatican G57 and they can be easily Psiax’s caliciform kyathoi, Cat. 4-5 (pl. 2, tbl. 1), compared to the decorations of the Little-Lion succeed Nikosthenes’ tronco-conical examples Class.56 The Philadelphia fragments CL3.7 (pl. 7), and an other early type.63 They present a consid- displaying symposiasts and attendants with long erable change of proportions and morphology. rounded noses, circular eyes and a kind of smiling The bowl is now small and delicate, slim and tall, face, belong to this ‘symposiasts group’. The shape slightly flaring at the rim. The profile is sinuous, of the reclining figure’s hands on CL3.7 (stump- and more convex towards the narrow bottom. like), the incisions of draperies with red stripes and The foot seems small in comparison with the the remaining face of the attendant are incredibly bowl. The exceptional character of Cat. 4 has close to the Leiden boys (pl. 4, fig. 5, right image, already been mentioned. left boy). The same hands are operating. The typical secondary decoration on the kyathoi The kyathoi decorated or influenced by the Phi- painted by Psiax and his circle has already been lon Painter present a semi-ovoid profile, the main described. However, Cat. 5 introduces a small characteristic of Class III (tbl. 3). Beazley already sub-class, which was certainly fashioned by the suspected a link between him and the Diosphos same potter and which presents some peculiari- Painter, regarding the kyathoi CL3.4-5 (pl. 7) and ties.64 The lower part does not present the stan- a kyathos in Mannheim.57 Jubier-Galinier ques- dard decoration (one ground line and two reserved tions Eisman’s assumption that the Philon Painter lines), as the reserved lines are double. However, produced his kyathoi in Nikosthenes’ workshop, the pattern is similar, as it respects the principle since the shape of his kyathoi appears to be closer of a ground line and reserved parts, separated by to Psiax’s work than to Nikosthenes’. Instead, she a larger black band. The patterned frieze along the favours the hypothesis that the Philon Painter be - rim, the reserved handle decoration, the painted longed to the Sappho-Diosphos Painters’ work- head as well as the use of special technique (white- shop, which in turn could explain his connection ground and Six technique) are other important to Psiax. The figures painted on Cat. 2 (pl. 1), are features of that variant closest to Psiax. CL1.3 (pl. very close to those on CL3.4 (faces incisions, short 5) follows this scheme but its foot is lost, making chitones) and the use of the rare kalos inscription it impossible to gauge whether it had Cat. 5’s ech- further strengthens this connection.58 inus shape or a double moulding on the vertical section like its Lugano ‘twin’.65 CL1.2 (tbl. 1), be - 3. SHAPES & WORKSHOPS longs to a close class deriving from Cat. 5,66 but is squatter in proportions, with a larger diameter In the previous paragraphs, it has been shown of rim and foot. The foot, again, has the vertical that the painted decoration of several classes of section articulated in a double moulding. Some of kyathoi could be stylistically related to the Sappho- these kyathoi also present multiple lines in the Diosphos Painters’ workshop, proving its involve- lower part and a patterned frieze along the rim.67 ment in their production. The following section CL1.1 (pl. 5) presents a lower and larger bowl will demonstrate how further links between the and a moulded foot. The bowl’s profile is the clos- workshop and kyathoi can be highlighted through est to Psiax’s kyathos in Milan (Cat. 4, pl. 2) and a study of shape. this resemblance is strengthened by the existence The three classes defined in the catalogue con- of a string between the foot and the bowl in both firm Eisman’s classification.59 Class I (pl. 5 and tbl. cases. Compared to other examples, the plastic 1, CL1.2) includes only some variants of the “cali- female head shows unusual hair locks on the ciform” shape which derives directly from Psiax’s forehead, made with thin brush strokes, and kyathoi (tbl. 1, Cat. 5).60 Class II (tbl. 2) joins Eis- plaits that only separate at the end. However, the man’s ‘transitional type’ and,61 from this paper’s fact that the curls are painted on the forehead - point of view, it should be considered the typical instead of being executed in relief- recalls Psiax’s shape of the Sappho-Diosphos Painters’ work- female head on Cat. 5 (pl. 2). shop. Class III represents a part of the ‘semi-ovoid Among the kyathoi that I attribute to the Sappho type’ (tbl. 3).62 The three kyathoi attributed to the Painter, Cat. 2 (tbl. 1) most resembles Psiax’s

8 products, with its delicately sinuous walls, swelling on Psiax’s kyathos in Milan (Cat. 5, pl. 2). It is inter- a little bit higher than the profiles of Class I (tbl. esting to note that most of the kyathoi showing 1, CL1.2). The bottom of the bowl is narrow, as is such a red string are attributed to the Caylus the case on Cat. 5. The small dimensions agree Painter (see tbl. 3, fig. A) and that their bowl with Psiax’s two kyathoi, Cat. 4-5. Yet, the conical sometimes shares the ‘swelled-bottleneck’ profile shape of the foot, which incorporates a thick ver- of Class II, only somewhat smoother.69 tical smooth section, is much heavier. This is a CL2.2 and 6 (pl. 6, tbl. 2) are two examples of a characteristic of later kyathoi such as the pieces of large sub-class of vases sharing specific character- Classes II-III (tbls 2-3). Its secondary decoration istics. The bowl is lower than CL2.1, with slightly corresponds to these later variants too, with the concave walls. The handle is very flat, topped by vertical section on the foot reserved and the a rough plastic cone, prolonged with a string ter- re served underside of the foot featuring a black minated by a triangular leaf (see CL2.2, pl. 6), not circle and dot (pl. 2, c). the more common palmette (see CL1.2, pl. 5). This triangle sometimes takes the shape of an ivy leaf, Class II and the Sappho Painters’ influence (plate 6, roughly recalling the early kyathos type.70 table 2) The Philon Painter’s association with the work- shop was discussed in part 2, focusing on the From a morphological point of view, Class II is painting style. the most interesting set and it is central to this Even though the style of the Caylus Painter is paper (tbl. 2), as this kyathos shape is considered quite distant from Class II, his kyathoi shapes (see typical of the workshop. If Cat. 2, in Munich, still tbl. 3, fig. A) show such strong links with the demonstrates features that are close to the previ- workshop studied in this paper that it seems like - ous class, Cat. 1 and 3 (tbl. 1) provide early exam- ly that he was associated with it. The Caylus Paint - ples of the new shape, Eisman’s transitional er’s shape offers a morphological link between type.68 However, the profile’s delicacy and the Classes II-III. This can serve as a good example of small dimensions still betray Psiax’s influence. the value of morphological studies. CL2.5 in Philadelphia (pl. 6, tbl. 2) shows the same Class II presents a good opportunity to put delicate profile as the three vases attributed to the forth some observations on the methodology of Sappho Painter. shape analysis. In fact, if the kyathoi of Class II can With Class II, the dimensions are slightly in - be related stylistically to the lekythoi of the Sappho- creased. The ‘swelled-bottleneck’ profile appears: Diosphos Painters' workshop, a similar conclu- the lower part of the bowl swells, creating a kind sion can be reached by studying morphological of smooth carination, and the bottom narrows in features. a bottleneck shape. This constitutes the main As stated above, while Cat. 1 (tbl. 1) is stylisti- characteristic of Class II, together with the coni- cally connected to Psiax, its shape is closer to later cal unmoulded foot that includes the thick verti- vases, such as Class II (tbl. 2). Recognizing the cal section. The handle is flat and large, usually Vatican kyathos as the Sappho Painter’s work with faded plastic decoration. The secondary dec- helps to explain both Psiax’s influence and the oration diverges from Cat. 4-5, as the handle is new shape. When observing Haspels’ ABL and generally black only on the outside, the foot’s Jubier-Galinier’s plates, it becomes obvious that underside is reserved (except for the oblique the ‘swelled-bottleneck’ profile looks similar to band) and a black dot in a circle decorates the many lekythoi attributed to the Sappho-Diosphos centre, surrounded by another wider circle (pl. 2, Painters’ workshop. c). The underside of Cat. 1, slightly different, her- In the introduction, I explained that two dif- alds this new scheme. The lower part is standard ferent potters could be recognized as producers and shows a ground line and two reserved lines. of the lekythoi decorated by the two painters. The As previously noted, the vases included in the most important lekythos shape of the workshop is catalogue are typical but not exhaustive examples. the DL Class (which Jubier-Galinier divides into The profile of CL2.1 (tbl. 2) has straight and tall DL and SL Classes, according to the potter’s fea- walls and bulges quite low. Two Philadelphia tures).71 The common characteristic of the DL/SL fragments CL2.3-4 (tbl. 2) follow the same model. lekythoi is the smooth angle in the wall’s lower CL2.1 displays a thick red string at the junction part, narrowing the profile towards the foot.72 of the bowl and foot (pl. 6). Some other vases This feature is equivalent to the ‘swelled-bottle- have the same red string, which might recall the neck’ profile of Class II’s kyathoi. brown-reddish glaze painted on the plastic string The characteristic is so recurrent that the Karls -

9 ruhe lekythos (pl. 4, figs 3) suffices to exemplify the Class III and the Sappho-Diosphos Painters’ workshop closeness to Class II. The ‘swelled-bottleneck’ pro- (plate 7, table 3) file can be considered as a workshop feature, typ- ical of the Sappho and Diosphos Potters-Painters Class III (tbl. 3) continues the tradition of Class II and their ‘companions’. and is characterized by the disappearance of the These considerations offer a first step towards ‘swelled-bottleneck’ feature as well as the creation the recognition of potters’ hands and workshop of a semi-ovoid profile. As shown above, some ky- characteristics, on different vase shapes. Regard - athoi decorated by the Caylus Painter show transi- ing the secondary decoration, the three kyathoi tional traits linking both types (see tbl. 3, fig. A).75 attributed to the Sappho Painter (Cat. 1-3, tbl. 1) Still from a stylistic point of view, many kyathoi of present, in their lower part, a black ground line Class III can be easily attributed to painters of the followed by two reserved lines. As already stated Little-Lion Class and of the Group Hound and by Haspels, and more recently noted by I. Algrain, Hare (see part 2). the alabastra (pl. 3, fig. 1) and lekythoi (pl. 3, fig. 2) Concerning morphology, the secondary decora- of the Sappho and Diosphos Painters share, with tion and the foot are equal to Class II. In addition several variants, this general scheme of lower sec- to the smooth and round profile, the kyathoi of Class ondary decoration.73 It is interesting to note that III are defined by the direct articulation of the bowl this pattern appears also in the Theseus Painter’s with the foot, without any plastic string, and a work and, with less regularity, in the Haimon larger base. The handle, drawing a round and large Painter’s workshop (tbl. 3, fig. B); and both crafts- loop, is narrow and the plastic decoration is usu- men also decorated kyathoi. On alabastra and ally flat. Often, a plastic strut fastens the handle to lekythoi, this decoration is enhanced by added red the bowl, some centimeters below the rim. This lines which almost never occur on the kyathoi strut is typical of later kyathoi and can also appear variants discussed in this paper. This secondary in Class II. One of the first vases showing this ele- pattern is a further link between kyathoi, lekythoi ment belongs to the symposiasts kyathoi discussed and even alabastra produced in these workshops above and it is linked to the Group Hound and of late black-figure. Hare.76 Apparently, the plastic strut was an inno- Tosto showed in his work on Nikosthenes’ kya - vation of the Sappho-Diosphos Painters’ workshop. thoi, that their shape was so different from the rest The Philon Painter’s kyathoi CL3.4-5 (CL3.5, tbl. of the production that it is impossible to tell if 3) tend to have a high bowl with nearly straight they were fashioned by Potter N, the producer of walls. The bowl’s base is quite large and the foot the Nikosthenic amphora. However, Tosto favours is massive and flattened, its spreading part divided the hypothesis that the kyathoi should be attributed by a groove. The black glaze of the lower part ex- to Potter N and that the craftsman was Nikosthe - tends very far upwards, shortening the figured nes himself. Indeed, the two shapes ‘share a cer- scene. The ground lines, as well as reserved lines, tain stiffness and angularity, most noticeably in are often irregular. It is reasonable to think that the relation between the handles and the rest of these kyathoi were shaped by the same hand. the shape, which give them, so to speak, a slightly The continuity of shape and painters’ hands disjointed appearance.’74 Unfortunately, this hypoth- places Class III (tbl. 3) in the Sappho-Diosphos esis cannot be verified. Painters’ workshop or in their circle. This impres- The observations about ‘swelled-bottlenecked’ sion is reinforced by the resumption of Class III’s lekythoi and kyathoi are so far mere suggestions features in the Haimon Painter’s workshop which and need to be further explored. These two shapes originated in the Diosphos and Haimon Painters’ were strongly interrelated in the Sappho Painter’s collaboration.77 Many kyathoi close to or by the workshop, a phenomenon which also seems to Haimon Painter (tbl. 3, fig. B) present a semi- apply to the Haimon Painter’s production. These ovoid profile and a narrow handle with a strut, craftsmen specialized in late black-figure produc- as observed for Class III. The bowl, however, is tions during the heyday of the red-figure tech- taller and deeper. Further, the handle draws a nique, working on specific shapes such as lekythoi narrower loop and the strut is often at the rim’s and alabastra. They seem to share the same dual height, not lower. The plastic decoration is more identity of potter-painters. Could this situation developed than previously, with new patterns. explain a certain standardization of similar shapes? The foot, finally, takes the shape of a thin and sharp disc with a small bevelled section.78 This very specific sub-class of kyathoi was quite obvi- ously manufactured by a single potter.

10 CONCLUSIONS they lose in elegance. The contemporary simpli- fication of both shape and painted decoration By combining a stylistic and morphological meth - continues with the semi-ovoid type of Class III od, three new vases have been attributed to the (tbl. 3), which demonstrates that the manufacture Sappho Painter (Cat.1-3), thus showing for the of kyathoi was well established in the workshop. first time that he also painted, and probably pot- By identifying the role of the Sappho-Diosphos ted, kyathoi. This analysis has also shed some new Painters’ workshop in the production of the Attic light on three iconographic models: Theseus ver- kyathos, we now have a bridge between the kyathoi sus the Minotaur, which is used as central scene; of Psiax and those of the Haimon Painter, as his the doves with unfolded wings; and the black shape derives directly from Class III (tbl. 3, fig. B). sphinxes with raised paws, framing the handle. Several kyathoi have been attributed to him and The first scheme derives from late black-figure his Group and even Eisman, who tends to attribute lekythoi, the two others are characteristic of the the entire kyathos production to Nikosthenes’ work - Attic kyathos. These iconographic schemes, together shop, considered the Haimonian kyathoi as a sep- with other features, such as the big eyes or the arate production.79 vine branches in the background, were used in It is then safe to dissociate the kyathoi of the this study to recognize and gather kyathoi classes Sappho-Diosphos Painters’ workshop (Classes II- within the same workshop. III) from Nikosthenes and to place them in the Besides their morphological similarity, the three context of late black-figure workshops producing vases attributed to the Sappho Painter constitute lekythoi, alabastra and other shapes, following in a link between the kyathoi made by Psiax and his the footsteps of Psiax. circle (Cat. 4-5, pl. 2; Class I, pl. 5) and later kyathoi (Classes II-III, pls 6-7). Here, the shape is used to CATALOGUE confirm what had been already noted regarding the figured decoration and the use of special tech- Catalogue abbreviations: niques. Indeed, Psiax's potter(s) started the stan- Hh: height to the handle80 dardization of the Attic kyathos by using different Hr: height to the rim Etruscan models from those employed by Nikos - Dr: rim diameter thenes and by subjecting this foreign shape to Dp: foot diameter more significant adaptations. Psiax or his potter(s) WG: black-figure on white-ground produced a first model for secondary decoration BF: black-figure and for bowl and foot shapes. Class I strongly drew on this influence, as did other kyathoi of the The Sappho Painter caliciform type. Yet the shape study reveals even more. If the Cat. 1: Vatican, Musei Vaticani inv. 34978. Astarita fr. three kyathoi attributed to the Sappho Painter 29 (pl. 1, tbl. 1). really display Psiax’s influence, they constitute a Hr: 8.3. Dr: 10.7. Df: 5. Iozzo 2002, n. 147, pp. 116-117, tav. 73. BAPD: 9025218. decisive turn in the Attic production of kyathoi. See text for description. WG They stand at the beginning of a series character- Near Psiax by Beazley (not published in ABV and ized by a painted decoration of lower quality and Para). a simpler style of vase construction. The new New proposal: Sappho Painter. bowl shape (swelled in the lower part) and the thick conical and unmoulded foot (Cat. 1, tbl. 1; Cat. 2: Munich, Antikensammlungen und Glyptothek inv. 1988 (pl. 1, tbl. 1). Class II, tbl. 2), are very different from Psiax’s Hr: 7.9. Dr: 10.4. Df: 5.1. vases and they are simpler than the kyathoi of cali- Jahn 1854, n. 1311. AKP, pl. 34. BAPD: 306168. ciform shape with moulded foot (Class I, for ex- See text for description. WG ample: CL1.2, tbl. 1), all of which are of remark- Group of Vatican G57, by Beazley. able quality. The radical change undergone in the New proposal: Sappho Painter. παςκαλ ς secondary decoration of the foot’s underside Inscription: h . . . . (from pl. 2, b to pl. 2, c) further indicates that a Cat. 3: Rome, Museo Etrusco di Villa Giulia, Castellani change of workshop (or of the main potter in the fragment without number. Unpublished (pl. 1, tbl. 1). workshop?) must have taken place. The vases cre- Dr: 11. ated by the Sappho Painter and developed in his See text for description. WG workshop gain in a more ‘popular’ character, Proposal: Sappho Painter. which results from a quicker production, what

11 Psiax CL2.2: Karlsruhe, Badisches Landesmuseum inv. 70/11 (pl. 6). Cat. 4: Milan, Museo Poldi Pezzoli inv. 482 (pl. 2). Hh: 13.8. Hr: 7.8. Dr: 11.2. Df: 5.2. Hh: 14.5. Hr: 7.5. Dr: 10.5. Df: 5. BAPD: 4678. BAPD: 320361. Group of Vatican G57 by Beazley. Psiax by Beazley. BF, added red and white. White sphinxes; big eyes; WG, added red, plastic male head. Dionysus reclining, Theseus killing the Minotaur. Dotted branches. two dancing satyrs, two maenads. Luxurious grapevine with expanding branches and triangular leaves. CL2.3: Philadelphia, Penn University Museum inv. MS 4863.2 (pl. 6, tbl. 2). Cat. 5: Würzburg, Martin von Wagner Museum inv. Dr: 11. L436 (HA507) (pl. 2, tbl. 1). AKP, n. 214, pl. 54.a2. Hh: 13.5. Hr: 7.2. Dr: 9.9. Df: 5.1. Proposal: close to the Sappho Painter. BAPD: 320362. Rim and wall fragment. BF, added red and white. WG, added red and white, plastic female head. Black Herakles fighting an Amazon; part of a big eye. Dotted sphinxes; big eyes; Dionysus holding a rhyton, dancing branches. maenad. Abundant vine branches with triangular leaves. CL2.4: Philadelphia, Penn University Museum inv. MS 4863.22 (pl. 6, tbl. 2). Dr: 12. Class I BAPD: 306136. AKP, n. 64. Group of Vatican G57 by Beazley. CL1.1: Cambridge, Fitzwilliam Museum inv. GR.9.1937 Rim and wall fragment. WG, added red and white. (pl. 5). Dancing satyr (handle figure); part of a big eye. Small Hh: 15.1. Hr: 8.2. Dr: 11.2. Df: 5.2. parts of dotted branches. BAPD: 306132. Group of Vatican G57 by Beazley, near Psiax by Haspels CL2.5: Philadelphia, Penn University Museum inv. MS (Menon Painter) and Eisman. 4863.8 (pl. 6, tbl. 2). WG, added red and white. Plastic female head. Black Dr: 10. sphinxes, big female eyes; Dionysos seated and hold- AKP, n. 191, pl. 55.a.1. ing a rhyton, a dancing satyr. Invading grapevine with Circle of Psiax by Eisman. trifold leaves. Rim and wall fragment. BF, added red and white. Kneel- ing satyr (handle figure); a big eye. Parts of dotted CL1.2: Munich, Antikensammlungen und Glyptothek branches. inv.1987 (pl. 5, tbl. 1). Hh: 14. Hr: 7.1. Dr: 9.9. Df: 5.4. CL2.6: Oxford, Ashmolean Museum inv. AN1879.150 BAPD: 306178. AKP, n. 112. Lau/Krell 1877, pl. 19.1. (V244) (pl. 6, tbl. 2). Group of Vatican G57 by Beazley, near Psiax (Menon Hh: 13. Hr: 7.9. Dr: 11.2. Df: 5.2. Painter) by Haspels. BAPD: 306144. Gardner 1893, 16, n. 244. WG, added red and white. Plastic female head. Sphinxes; Group of Vatican G57 by Beazley. big eyes; satyr and maenad dancing. Dotted branches. BF, added red and white. Doves with unfolded wings; big eyes; bearded man (Dionysos?) reclining and hold- CL1.3: Vatican, Musei Vaticani inv. 20721 (pl. 5). ing a kantharos. Dotted branches with grapes. Dimensions unknown. BAPD: 320376. Roncalli 1980, 260, figs 55-56. CLASS III Near Psiax by Beazley. WG, added red and white. Incomplete. Inside the bowl under the handle: red braids painted (belonging to the CL3.1: Naples, Museo Archeologico Nazionale inv. STG lost plastic head). Doves with unfolded wings; part of 122A. a big eye. Dotted branches. Hh: 14.4. Hr: 8. Dr: 11. BAPD: 306147. Group of Vatican G57 by Beazley. Class II BF, added red and white. Doves with unfolded wings; big eyes; Dionysos riding a mule. Dotted branches. CL2.1: Vatican, Musei Vaticani inv. 17725 (479) (pl. 6, tbl. 2). CL3.2: Paris, Cabinet des Médailles inv. 356 (pl. 7). Hr: 8.7. Dr: 11.2. Df: 5.4. Hh: 14.5. Hr: 8.5. Dr: 10.7 BAPD: 306167. AKP, n. 90. BAPD: 306138. Group of Vatican G57 by Beazley. Group of Vatican G57 by Beazley, Group Hound and New proposal: close to the Sappho Painter. Hare by Jubier-Galinier. WG, added red. Black sphinxes; big eyes; lyre player, BF, added red and white. Satyrs; big eyes; Dionysos dancer with krotala (both naked with chlamys wrapped reclining, satyr. Dotted branches and vine grapes. around the shoulders), a diphros between them. Dotted branches.

12 CL3.3: Munich, Antikensammlungen und Glyptothek ** In order to keep the notes short, only the vases’ inv. 1966 (pl. 7). museum inventory number and BAPD numbers will be Hr: 8.5. Dr: 8.5. Df: 4. provided. If no photograph or BAPD entry exists, fur- AKP, n. 327. Jahn 1854, n. 121. Jubier-Galinier, 1996, 147, ther bibliographic information will be given, with ref- n. 107. erence to a published picture, if available. Group Hound and Hare by Jubier-Galinier. *** The kyathoi’s grey surface on some drawings in the BF, added red and white. Hunt with horseman, wild tables represents the white-ground surface. Cat. 1 in tbl. boar, hounds and young men. 1 was redone from Iozzo 2002, 116, fig. 147 and from a picture (for the secondary decoration). 1 Haspels ABL; Bloesch 1940; Kurtz 1975; Brijder 1983; CL3.4: Cambridge, Fitzwilliam Museum inv. GR.22.1904. Euwe 1996; Mackay 2010, 387-389. See also the PhD dis- Hh: 15.2. Hr: 8.5. Dr: 10.3. Df: 5.3. sertations of Jubier-Galinier 1996 and Algrain (forth- BAPD: 330660. Color photographs available on http:// coming), which deal with the same approach. www.fitzmuseum.cam.ac.uk/explorer/index.php?qu= 2 Williams 1990, 34; Jubier-Galinier/Laurens 1998, 732- kyathos&oid=67829, 06.05.2013. 735; Tsingarida 2009, 141, n. 53. For the different possi- Philon/Diosphos Painters by Beazley. bilities of organization between potters and painters, BF, added red and white. Big palmettes; armed warriors. see: Borgers 2004, 63-64. Inscriptions: [Φ] λν and καλ ς. Σμ κυθς. Σκ[θ]ες. 3 Kurtz/Boardman 1986, 37; see also Iozzo 2002, 116. 4 It is usually accepted by scholars today that the main CL3.5: New York, Metropolitan Museum of Art inv. part of the kyathoi production was made in Nikosthenes’ 41.162.116 (pl. 7, tbl. 3). workshop: AKP, 45f; see also CVA Paris, Musée du Louvre Hh: 14.2. Hr: 8.2. Dr: 10.2. Df: 5.6. 27, 66. However, this statement has been challenged by BAPD: 330661. others, mostly Tosto 1999, 100, n. 355; see also Jubier- Philon/Diosphos Painters by Beazley. Galinier 1996, 146. BF, added red and white. Big palmettes; horsemen and 5 These observations are not novel and have been already armed warriors. Rows of dots (fake writing). expressed, among others, by Kurtz/Boardman 1986, 38; Tosto 1999, 100, n. 355. 6 CL3.6: Rome, Museo Etrusco di Villa Giulia inv. 20880 Jubier-Galinier 1999, 181-182; see also Jubier-Galinier, 1998, 739; Jubier-Galinier 1996, 145-146, 148. (pl. 7, tbl. 3). 7 Mertens 1977, 197-200; ARV2, 300-304; ABV, 507; Para, Hr: 8.3. Dr: 10.6. Df: 5.5. 246; ABL, 94-130, 225-241, 368-369, 973. AKP, n. 315. Ricci 1955, 303, n. 3, fig. 56. 8 Jubier-Galinier/Laurens 1998, 735-736. Proposal: Group Hound and Hare, same painter CL3.3 9 Understand Beazley’s term « companion » as craftsmen and the lekythos in Leiden (pl. 4, fig. 5). associated in a workshop (Robertson 1989, xv). BF, added red and white. White sphinxes; Theseus 10 Jubier-Galinier 1996, 126. Jubier-Galinier/Laurens 1998, killing the Minotaur between youths and a seated fig- 737-738. ure. 11 Jubier-Galinier/Laurens 1998,736-737. Jubier-Galinier 1996, 135. CL3.7: Philadelphia, Penn University Museum inv. 12 Iozzo 2002, 116. 4863.39a and 4863.40 (pl. 7, tbl. 3). 13 A detailed description is provided in Iozzo 2002, 116-117. Dr: 10. 14 Idem. AKP, n. 222, pl. 57.a.2, 56b1. 15 A detailed description is provided in AKP, 326-329. Around Group of Vatican G57 by Eisman. 16 Except the signed kyathoi, the other black figure exam- New proposal: Group Hound and Hare. ples showing an inscription are the following. G3.4 BF, added red and white. Two wall fragments with two from Cambridge, attributed to the Philon Painter, pre- reclining symposiasts and attendants. Dotted branches sents names and the Philon kalos acclamation. Another and vine grapes. kyathos, once on the art market bears the word kalos (Münzen und Medaillen, A.G. Basel, sale catalogue 16, 30.6.1956, Pl.25, n. 105; BAPD: 14561). At last, a frag- NOTES ment in H. Cahn’s collection (inv. HC1432; BAPD: 18411) still offers a partial representation of Herakles’ * I am most grateful to numerous keepers of European head topped by the letters ΗΕΡΑΚΛ. and American museums who made my research possi- 17 Immerwahr, CAVI, n. 5203. ble. I thank them for their open-mindedness and trust. 18 Vatican, Musei Vaticani inv. 34570 (G57); BAPD: 306128; My research on kyathoi would not have been possible Peter/Hirschmann 1982, 75, n.35a. without the help, advices and scientific networks pro- 19 AKP, 329. vided by many scholars, first of all my Professor, Athena 20 Leiden, Rijksmuseum van Oudheden, inv. I.1956.8.1; Tsingarida. I am also most grateful to M. Eisman (who BAPD: 1591. stands at the root of an important part of my material 21 Paris, Musée du Louvre inv. MNB 910; BAPD: 7974; and my reflections), N. Malagardis, M. Iozzo, J. Gran- ABL, pl. 32.2a-b. Aymerich, J. Mertens, D. Williams, F. Wiel Marin, I. 22 Zurich, private; BAPD: 361399; Münzen und Medaillen, Algrain, T. Brisart and A. Zifferero. C. Jubier-Galinier’s Auktion Basel, Kunstwerke der Antike, XXVI, 1963, n. interest has been a tremendous challenge and support. I 116, pl. 10; Para, 247. am also most grateful to my correctors who know how 23 Jubier-Galinier 1996, 18-19. much I owe them. I thank Elisa Pleuger for the digital- 24 Jubier-Galinier 1996, 45. ization of the profile drawings. I hope this first contri- 25 Karlsruhe, Badisches Landesmuseum inv. B 1815; BAPD: bution can be a fair tribute to them and many others. 305501.

13 26 Jubier-Galinier 1996, 122. Cat. 2 and G3.4 was kindly pointed to me by Dr. Jubier- 27 See notes 20-21. Galinier. 28 Lugano, private; BAPD: 342257; Münzen und Medaillen, 59 Eisman 1975, 78. Auktion Basel, Kunstwerke der Antike, XXII, pl. 45.144 60 Caliciform: AKP, 22-27. 29 The third vase is Brussels, Musées Royaux d’Art et 61 Transitional: AKP, 28-29. d’Histoire inv. R266; BAPD: 306160. On the other vases, 62 Semi-ovoid: AKP, 29-30. the doves are all turned towards the handle. On Cat. 1, 63 The other early type is Eisman’s ‘Class of Munich 1963’ one dove looks towards the handle, the other dove and Kurtz’s ‘early shape’. The former tends to see it as looks towards the main scene. This kind of variation in a development of Nikosthenes’ kyathoi, while the later the orientation of the handle figures is common on considers the early shape an independent initiative. Attic kyathoi. AKP, 18-21. Kurtz/Boardman 1986, 37-38. For the pro- 30 Tsingarida 2009, 141. file drawing of Nikosthenes’ kyathoi: Tosto 1999, pl. 31; 31 See note 18 (Musei Vaticani). for the profile of the ‘early type’: idem, pl. 54, fig. 119. 32 Athens, National Museum inv. 2262; BAPD: 46914; 64 An exhaustive list of this type would take us too far in ABL, pl. 36.3. this instance. Most of these vases have no published 33 Servadei 2005, 92-118. photograph. Six technique: Munich, Antikensammlungen 34 Servadei 2005, 94, 99, 101, 203. und Glyptothek inv. 1961; AKP, n. 15; Boardman/Kurtz, 35 Servadei 2005, 94-95, 100, 196. 1986, 38, 39, notes 19, 22. Black-figure: Paris, Musée du 36 Servadei 2005, 101, 116. Louvre inv. F165; 306162; ABV, 612.35; AKP, n. 63. Kya - 37 See note 30. thos with Cat.5’s shape but moulded foot: London mar- 38 Jubier-Galinier 1996, 45. ket (ex Castle Ashby n. 37); BAPD: 1427. 39 Jubier-Galinier 1996, 32-39. 65 See n. 28. 40 For the inscription on the lekythos in Athens: CAVI, n. 66 The list is not exhaustive. Munich, Antikensammlungen 0841; for the one on the lekythos in Karlsruhe: CAVI, n. und Glyptothek, inv. 1986; BAPD: 352256; Vierneisel/ 4049. Kaesar 1990, 463, 471, figs 87.12, 14. Würzburg, Martin 41 In using the term «Class», I follow Beazley’s use of von Wagner Museum L437; BAPD: 306129; Sinn/Weh- terms, as it is explained by Robertson 1989, xvi and as gartner 2001, 61. it is used by Tosto 1986, 97. 67 The list is not exhaustive. Saint-Petersburg, State Her - 42 Two other white ground kyathoi, attributed to the Group mitage Museum inv. 4472; BAPD: 8351; Gorbunova of Vatican G57 have a plastic male head: Compiègne, 1983, 199, n. 174. Musée Vivenel inv. 1074; BAPD: 306149 and New York 68 See n. 61. market; BAPD: 306145, Eisenberg 1999, 10, 24, n. 92. 69 For instance: Brussels, Musées Royaux d’Art et d’His - 43 See n. 45. toire inv. R2512; BAPD 306097. Caylus Painter by Beazley. 44 See n. 28. 70 See n. 63. Kyathoi of Group II with a triangular leaf: 45 Psiax’ alabastron: Saint-Petersburg, State Hermitage Copenhague, Thorvaldsen Museum inv. 520; BAPD: Museum inv. 1429; BAPD: 320358. For Psiax’s geomet- 1012956. rical secondary decoration: Mertens 1977, 37. 71 Jubier-Galinier 1999, 181. DL for Diosphos Class and SL 46 Servadei 2005, 101. for Sappho Class. 47 Palermo, Mormino Collection inv. 101; BAPD: 3066. 72 Jubier-Galinier/Laurens 1998, 735. Mertens 1977, 198. 48 Jubier-Galinier 1996, p146-147. The issue of the collab- 73 ABL, 94, 101; Jubier-Galinier 1996, 46-55; Algrain, oration between the Sappho and Diosphos Painters (forthcoming), 154. within the same workshop was extensively studied by 74 Tosto 1999, 96. Jubier-Galinier. However, only parts of her results were 75 See n. 69 for examples of the Caylus Painter. published, with her dissertation still remaining unpub- 76 See n. 56. AKP, 286. New York, Metropolitan Museum lished: Jubier-Galinier 1996, 1998, 1999, 2003; Jubier- of Art inv. 98.8.6; BAPD: 306163; AKP, pl. 24. Galinier/Laurens 1998. 77 See n. 48. 49 Brunswick, Bowdoin College inv. 15.43; BAPD: 301937. 78 Geneva, Musée d’art et d’histoire inv. 15005; BAPD: 50 Vienna, Kunsthistorisches Museum inv. 3607; BAPD: 331543. Tarquinia, Museo Archeologico Nazionale inv. 200049. RC 1632: BAPD: 13863 51 Tosto 1986, 108. 79 AKP, 589. 52 AKP, 28-30. 80 All measurements are in centimeters. 53 Jubier-Galinier 1996, 147. 54 Athens, National Museum inv. 592 and CC708; BAPD: 390331; ABL, 231.2. BIBLIOGRAPHY 55 Leiden, Rijksmuseum van Oudheden, inv. PC58; BAPD: 1237. ABL: Haspels, C.H.E. 1936, Attic Black-Figured Lekythoi, Paris. 56 This group of kyathoi is decorated with young sym- ABV: Beazley, J.D. 1956, Attic Black-figure Vase-painters, Ox - posiasts, who are similar but painted in a rougher man- ford. ner than the style of the Kephisophon Painter. Some are AKP: Eisman, M.M. 1971, Attic Kyathos Painters, PhD thesis, also decorated with small lions and black sphinxes University of Pennsylvania, Ann Arbor. recalling the decoration of the Little Lion Class. For Algrain, I. (forthcoming), L’alabastre attique. Origine, forme instance: Copenhagen, Ny Carlsberg Glyptotek inv. et usages, Bruxelles. 2704; BAPD: 306166. ARV2: Beazley, J.D. 19632, Attic Red-figure Vase-painters, 57 Mannheim, Reiss-Museum inv. CG43; BAPD: 330662. Oxford. Beazley, ABV, 516: ‘recalls the Diosphos Painter’. See BAPD: Beazley Archive Pottery Database [http://www.beaz- also AKP, 489-490, n. 2; 519. ley.ox.ac.uk/pottery]. 58 Jubier-Galinier 1996, 144-147. The closeness between Beazley Add2: Carpenter, T.H./T. Mannack/M. Mendonca

14 19892, Beazley addenda. Additional references to ABV, ARV Carpenter et al. (eds), Beazley Addenda, Oxford, xii-xx. & Paralipomena, Oxford. Roncalli, F. 1980, Il reparto di antichità etrusco-italiche, Bloesch, H. 1940, Formen attischer Schalen von Exekias bis zum RendPontAc 50. Ende des Strengen Stils, Bern. Servadei, C. 2005, La figura di Theseus nella ceramica attica. Borgers, O. 2004, The Theseus Painter: style, shapes and Iconografia e iconologia del mito nell’Atene arcaica e clas- iconography (Allard Pierson series 16), Amsterdam. sica, Bologna. Brijder, H.A.G. 1983, Siana cups I and Komast cups (Allard Sinn, U./I. Wehgartner 2001, Begegnungen mit der Antike, Pierson Series 4), Amsterdam. Würzburg. CAVI: Immerwahr, H. Corpus of Attic Vase Inscriptions on Tosto, V. 1986, Class refers to Shape: the Class of the Cabinet BAPB. des Médailles 218, in H.A.G. Brijder/A.A. Drukker/ Eisenberg, J. 1999, Art of the Ancient World, Royal-Athena C.W. Neeft (eds), Enthousiasmos: essays on Greek and Galleries, sale catalogue 10. related pottery presented to J.M. Hemelrijk (Allard Pierson Eisman, M.M. 1975, Attic Kyathos Production, Archaeology Series, 6), Amsterdam, 97-109. 28, 76-82. Tosto, V. 1999, The Black-Figure Pottery signed “Nikosthénès Euwe J. 1996, The Potters of the Nolan Amphorae in Sicily: Epoiesen” (Allard Pierson Series, 11), Amsterdam. Criteria for Attributions, in G. Rizza (ed.), I vasi attici ed Tsingarida, A. 2009, The Death of Sarpedon: Workshops altre ceramiche coeve in Sicilia. Atti del convegno inter- and Pictorial Experiments, in S. Schmidt/J. Oakley (eds), nazionale. Catania, Camarina, Gela, Vittoria, 28 marzo-1 Hermeneutik der Bilder. Beiträge zu Ikonographie und Inter - aprile 1990, Catania, II, 67-80. pretation griechischer Vasenmalerei, Munich, 135-142. Gardner, P. 1893, Catalogue of the Greek Vases in the Vierneisel, K./B. Kaesar (eds), 1990, Kunst der Schale: Kultur Ashmolean Museum, Oxford. des Trinkens, Munich. Gorbunova, K. 1983, Chernofigurnie atticheskie vazi v Ermi- Williams, D. 1990, Euphronios: du peintre au potier, in A. tazhe, Katalog, Leningrad. Pasquier/M. Denoyelle (eds), Euphronios, peintre à Athènes Iozzo, M. 2002, Vasi Antichi Dipinti del Vaticano. La Collezione au VIe siècle av. J.-C., Paris, 32-37. Astarita nel Museo Gregoriano Etrusco, II.1. Ceramica attica a figure nere, Vatican City. Jahn, O. 1854, Beschreibung der Vasensammlung König Lud- UNIVERSITÉ LIBRE DE BRUXELLES wig in der Pinakothek zu München, Munich. CREA-PATRIMOINE, F.R.S.-FNRS Jubier-Galinier, C. 1996, La production du Peintre de Sappho dans l’atelier des Peintres de Sappho et de Diosphos: parcours AV. F.D. ROOSEVELT, 50 CP 175/01 d’un artisan à figures noires parmi les ateliers du Céramique B-1050 BRUXELLES athénien à la fin de l’Archaïsme, PhD thesis, Université de [email protected] Montpellier. Jubier-Galinier, C. 1998, De l’usage des pseudo-inscrip- tions chez le peintre de Sappho, du signe au sens, Mètis 13, 57-73. Jubier-Galinier, C. 1999, Les Peintres de Sappho et de Dios - phos, structure d’atelier, in M.-Chr. Villanueva Puig et al. (eds), Céramique et peinture grecques. Modes d’emploi, Paris, 181-186. Jubier-Galinier, C. 2003, L’atelier des Peintres de Diosphos et de Haimon, in P. Rouillard/A. Verbanck-Piérard (eds), Le vase grec et ses destins, Munich, 79-89. Jubier-Galinier, C./A.F. Laurens 1998, De la diversité des ateliers de céramique attique à la fin de l’archaïsme. Essai de mise au point, Topoi 8, 731-748. Kurtz, D.C. 1975, Athenian white lekythoi, patterns and painters, Oxford Kurtz, D.C/J. Boardman, 1986, Booners, Greek Vases in the J. Paul Getty Museum 3, Malibu, 35-70. Lau, T./P.F. Krell, 1877, Die Griechischen Vasen, Leipsic. Mackay, E.A. 2010, Tradition and originality: a study of Exekias, Oxford. Mertens, J. 1977, Attic white-ground: its development on shapes other than Lekythoi, New York. Para: Beazley, J.D. 19712, Paralipomena: Additions to Attic black-figure vase-painters and to Attic red-figure vase- painters, Oxford. Peter, H./C.W. Hirschmann 1982, Greek Vases from the Hirschmann Collection, Zurich. Φριτ λα, Σ. 2006, ωγρ ς τ υ Θησα: η αττικ αγγει γραα στην επ  της νε σστατης αθηναϊκς δημ κρατας, Athens. Ricci, G. 1955, Necropoli della Banditaccia. Zona A “del Recinto”, in B. Pace/R. Vighi et al. (eds), Caere. Scavi di Raniero Mengarelli (MonAnt, 42), Rome. Robertson, M. 19892, Beazley’s Use of Terms, in T.H.

15 Plate 1 The Sappho Painter’s kyathoi

Cat. 1. Kyathos. © Vatican, Museo Etrusco Gregoriano inv. 34978 (after Iozzo 2002, pl. 73.147).

Cat. 2. Kyathos. © Munich, Staatliche Antikensammlungen und Glyptothek inv. 1988.

Cat. 3. Kyathos. Rome, Museo Etrusco di Villa Giulia, Castellani collection. Soprintendenza per i beni archeologici dell’Etruria Meridionale.

16 Plate 2 Psiax’s kyathoi, underfoot types

Cat. 4. Kyathos. © Milan, Museo Poldi Pezzoli inv. 482.

Cat. 4. Kyathos. © Milan, Museo Poldi Pezzoli inv. 482.

a. b. c.

Types foot’s underside:. a. Cat. 4 (Psiax), b. Cat. 5 (Psiax and Group I), c. CL3.3 (Groups II-III).

17 Plate 3

Fig. 1. Alabastron. © Leiden, Rijksmuseum van Oudheden, NL, inv. I.1956.8.1.

Fig. 2. Lekythos. Zurich, private. Photo: after Münzen und Medaillen, Auktion Basel, Kunst der Antike, XXVI, 1963, n. 116, pl. 10. Drawing: Anja Stoll, CReA-Patrimoine.

18 Plate 4

Fig. 3. Lekythos. © Karlsruhe, Badisches Fig. 4. Lekythos. © Athens, Landesmuseum inv. B 1815. National Museum inv. 2262.

Fig. 6. Lekythos. © Leiden, Rijksmuseum van Oudheden, NL. inv. PC 58.

19 Plate 5 Class I

CL1.1. Kyathos. © Cambridge, Fitzwilliam CL1.2. Kyathos. © Munich, Staatliche Antiken- Museum inv. GR.9.1937. sammlungen und Glyptothek inv. 1987.

CL1.3. Kyathos. © Vatican, Musei Vaticani inv. 20721.

20 Plate 6 Class II

CL2.1. Kyathos. © Vatican, Musei Vaticani inv. 17725.

CL2.2. © Karlsruhe, Badisches Landesmuseum CL2.6. Kyathos. © Oxford, Ashmolean Museum inv. 70/11. inv. AN 1879.150. (V244).

CL2.3-5. Kyathos. © Philadelphia, Penn University Museum inv. MS 4863.2, MS 4863.22, MS 4863.8.

21 Plate 7 Class III

CL3.2. Kyathos. © Paris, Cabinet des Médailles inv. 356. CL3.3. Kyathos. © Munich, Staatliche Antikensammlungen und Glyptothek inv. 1966.

CL3.6. Kyathos. Rome, Museo Etrusco di Villa CL3.5. Kyathos. © New York, Metropolitan Giulia inv. 20880. © Soprintendenza per i beni Museum of Art inv. 41.162.116. archeologici dell’Etruria Meridionale.

CL3.7. Kyathos. © Philadelphia, Penn University Museum inv. MS 4863.40 and MS 4863.39a.

22 Table 1 Psiax’s kyathoi, Class I and the Sappho Painter

Cat.5. Kyathos. Wurzburg, Martin von Wagner CL1.2. Kyathos. Munich, Staatliche Antiken- Museum inv. L436 (HA507). Psiax. sammlungen und Glyptothek inv. 1987.

Cat. 1. Kyathos. © Vatican, Musei Vaticani inv. Cat. 2. Kyathos. Munich, Staatliche Antiken- 34978. After Iozzo 2002, 116, fig.147. sammlungen und Glyptothek inv. 1988.

Cat.3. Kyathos. Rome, Museo Etrusco di Villa Giulia, Castellani collection.

23 Table 2 Class II

CL2.5. Kyathos. Philadelphia, Penn University Museum inv. MS 4863.8.

CL2.1. Kyathos. Vatican, Musei Vaticani inv. 17725. CL2.3. Kyathos. Philadelphia, Penn University Museum inv. MS 4863.2.

CL2.4. Kyathos. Philadelphia, Penn University CL2.6. Kyathos. Oxford, Ashmolean Museum inv. Museum inv. MS 4863.22. AN 1879.150 (V244).

24 Table 3 Class III and examples of the Caylus and the Haimon Painters

CL3.5. Kyathos. New York, Metropolitan Museum CL3.6. Kyathos. Rome, Museo Etrusco di Villa of Art inv. 41.162.116. Giulia inv. 20880.

CL3.7. Kyathos. Philadelphia, Penn University Museum inv. MS 4863.40 and MS 4863.39a

Fig. B. Kyathos. London, British Museum inv. Fig. A. Kyathos. Wurzburg, Martin von Wagner 1867.5-8.961 (B466). Haimon Painter. Museum inv. L433 (HA514). Caylus Painter.

25