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THE STATE HERMITAGE MUSEUM FOCYL1APCTBEHHLII 3PMHTA)K
ST. PETERSBURG CAHKT-HETEPBYPF
LUCANIAN VASES
by ELENA ANANICH
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RUSSIA - FASCICULE viii THE STATE HERMITAGE MUSEUM - FASCICULE I National Committee Corpus Vasorum Antiquorum Russia
Chairpersons Professor MIKHAIL PIOTROVSKY, Director of The State Hermitage Museum, St. Petersburg Member of the Russian Academy of Sciences and the Russian Academy of Arts Dr. ImNA DANILOVA, Pushkin State Museum of Fine Arts, Moscow
Committee Members Professor GEORGY VILINBAKHOV, Deputy Director of The State Hermitage Museum, St. Petersburg ANNA TROFIMOVA, Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum, St. Petersburg Professor EDUARD FROLOV, Head of the Department of Ancient Greece and Rome, St. Petersburg State University IRINA ANTONOVA, Director of Pushkin State Museum of Fine Arts, Moscow Member of the Russian Academy of Education Professor GEORGY KNABE, Institute of the Humanities, State Humane University of Russia, Moscow Dr. OLGA TUGUSHEVA, Department of the Art and Archaeology of the Ancient World, Pushkin State Museum of Fine Arts, Moscow
Corpus Vasorum Antiquorum. Russia. - Roma: <
8: The State Hermitage Museum, St. Petersburg. 1, Lucanian vases / by Elena Ananich. - Roma : <
CDD21. 738.382093
1. San Pietroburgo - Museo dell'Ermitage - Vasi antichi 2. Vasi antichi - Russia I. Ananich, Elena II. Gosudarstvennyj Ermitaz III. Union Acaddmique Internationale
Translated from the Russian by Catherine Phillips Edited by Elisabetta Mangani Photographs by Natalia Antonova
© THE STATE HERMITAGE MUSEUM © COPYRIGHT 2005 <
7-8 Foreword 9 Programme to research and exhibit antique vases in the State Hermitage Museum 10-11 Introduction: South Italian Vases 12 Abbreviations
13-19 The workshop of the Pisticci and Amykos Painters 19-21 The Intermediate Group 21-27 The workshop of the Creusa and Dolon Painters 27-28 The Choephoroi Painter 28-31 The Roccanova Painter 3 1-32 The Primato Painter
Indexes
33 Index of plates 34 Index of attributions to painters and groups 35 Index of proveniences 36 Index of former owners 37 Index of subjects 38 Concordance of museum inventory numbers with Trendall's numbers
1-47 Plates Dedicated to the memory of Dr. Sofia Boriskovskaya, Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum 1991-2001 FOREWORD
With this volume of the Corpus Vasorurn Antiquorum The State Hermitage Museum embarks upon publication of its extensive collection of Antique vases. Justly considered to be one of the largest and most important in the world, this collection ranks - in terms of its quantity, outstanding quality and incredible variety - alongside those of the British Museum, the Louvre and the Vatican, and museums in Munich and Berlin. Today the Hermitage has some ten thousand Antique ceramic objects, examples of nearly all known trends and types from Mycenaean vessels to 4tI century red-glazed ceramics. Attic and South Italian vases are best represented, including many universally recognised masterpieces. Amphorae by Exekias and the Amasis Painter, a magnificent pelike with a swallow and a psykter with feasting hetaerae by Euphronius, elegant amphorae from Duris, the Regina Vasorum or Queen of Vases (a Cumaean hydria with relief figures of Eleusinian divinities) and many more. Also of exceptional interest is the provenance of the Hermitage vases, for most were acquired in the 19t1i century. Many of them derive from celebrated European collections and are today perceived as part of European cultural history, offering outstanding examples of historical' (old) restoration, as well as vivid evidence of the history of collecting and artistic taste. It was in 1834 that the basis of the Hermitage collection was laid, when more than a thousand Antique vases were acquired at auction in Rome as part of the collection of Dottore Pizzati, a connoisseur of Antiquities. For some twenty years some of these vases were to be housed in St. Petersburg's Academy of Sciences, until the opening in 1852 of the New Hermitage, a building specially designed by the German architect Leo von Klenze to make the imperial collection available to the public. That same year, 1852, Nicholas I ordered the acquisition of Antiquities from the Laval family, including more than three hundred vases. In 1861-62 Stepan Gedeonov, Director of the Imperial Hermitage, purchased in Rome the greater part of a vast collection belonging to a bankrupt collector of Antiquities, Marquis Gian Pietro Campana, thereby bringing in another five hundred Antique vases. This purchase effectively completed the formation of the core of the Hermitage collection, which had grown from nothing to become, in less than thirty years, a collection of international renown. Several hundred Antique vessels arrived in the late 19t} and early 2 oth century, some as purchases (including vases from the collection of A.A. Abaza, Minister of Finance) and others as gifts (such as those presented by A.G. Chertkov, a leading public figure). After the October Revolution of 1917 the Hermitage gained other several hundred vases from private collections, again through purchase and gift as well as through the nationalisation of private property. A further influx of vases was ensured from the 19th century until well into the 1990s by excavations conducted in the North Black Sea area, starting with the arrival in 1830 of the celebrated complex of finds from the Kul-Oba Barrow near Kerch. This was to be followed by dozens of outstanding examples of vase-painting, including whole vessels and fragments of Rhodos-Ionian ceramics from excavations of a settlement on the island of Berezan (in the north western part of the Black Sea coast) and red-figure Attic vases from FOREWORD excavations of barrows in the eastern Crimea, on the territory of the Bosporan Kingdom. Many of these came from the workshops of leading Athenian vase-painters such as the Marsyas Painter. Celebrated 5 tt1 century vases in the form of a sphinx and Aphrodite in a shell found on the site of a necropolis in ancient Phanagoria (on the Taman Peninsula) are true masterpieces of the arts of ancient pottery and vase-painting. One of the most numerous groups in the Hermitage collection that still offers plenty of scope for new research is a group of 4 th century painted Attic ceramics in the Kerch style. During recent years acquisitions have once more begun to be made: the museum acquired four South Italian vases from private hands, while a late Mycenaean painted amphora was presented by the Swiss collector George Ortiz. In launching this first volume, devoted to Lucanian vases, the State Hermitage Museum is taking but the initial steps in what promises to be a vast project: over the next ten to fifteen years we intend to bring together completed material and new research on the collection of Antique vases for publication in more than seventy volumes. Once brought onto the international scholarly arena, this huge body of material will contribute greatly to our understanding of the history and culture of Antiquity and thus to our knowledge of the humanities in general.
PROFESSOR MIKHAIL PIOTROVSKY Director of The State Hermitage Museum Member of the Russian Academy of Sciences and the Russian Academy of Arts Joint Chairperson of the Russian National Committee of the Corpus Vasorum Antiquorum PROGRAMME TO RESEARCH AND EXHIBIT ANTIQUE VASES IN THE STATE HERMITAGE MUSEUM
Fate has decreed that the fame of the Hermitage's collection of antique vases runs far ahead of the extent of its publication. Paradoxically, despite the wide fame enjoyed by some of the most outstanding monuments, even of whole groups, the full extent of the riches in this collection remains little known to specialists outside Russian borders. Academician Ludolf Stephani produced the first brief description of the collection in the second half of the 19th century; this was then developed and added to in the early 20th century by Oskar Waldhauer, who grouped the vases according to the system then in use amongst specialists. Of all the Hermitage's vases, only a small part has been published since (frequently without any reproductions) in the fundamental works of John Beazley, Arthur Dale Trendall, Alexander Cambitoglou, Ian McPhee and Lidia Forti. Even publications such as the excellent catalogues of red- and black-figure Attic vases (Anna Peredolskaya, Leningrad, 1967; Ksenia Gorbunova, Leningrad, 1983) and a number of articles devoted to individual vases and painters (often in the Hermitage's own publications, such as the Reports of The State Hermitage Museum and the Papers of the State Hermitage Museum), have covered only a small (if the best) part of the collection. Moreover, being in Russian, they are accessible only to a small circle of specialists. Nor are the impressive results of archaeological excavations in the North Black Sea area always known to the wider world. For instance, partial publication of the collection of vases in the Kerch style was undertaken in the 1930s by Karl Schefold, but since then no attempts have been made to update his work with new, previously unpublished. Our participation in the publication of the Corpus Vasorum Antiquorum is only part of an extensive programme encompassing closely related projects intended to ensure not only full study of the whole collection and preparation of material for the relevant volumes, but also the re-presentation of the Museum's permanent displays and publication of catalogues and books to accompany new exhibitions. Three of the New Hermitage building's most handsome rooms are given over almost entirely to antique vases. Newly restored in 2004, the Twenty Column Hall forms a truly fitting setting for the collection of vases from ancient Italy. Not only is the collection more fully accessible to the public than ever before, but the gallery information includes recent scholarly discoveries, new ideas, attributions and dating. Future plans include the opening of a new exhibition of early Greek ceramics in the Archaic hall and we are working on the Hall of Vases, demonstrating the full brilliance of the Hermitage collection of Attic vase-painting. First fruits of our new programme is this volume devoted entirely to Lucanian red- figure ceramics. The next three volumes will deal with geometric, Mycenaean and Cypriote vases, Attic black- and red-figure drinking cups, and Attic black-figure vases from Panticapaion, to be followed by volumes on Corinthian vases, Gnathian vases, Kerch vases and a group of Attic ceramics. In time we aim to bring the full extent of the Hermitage's collection to the attention of international scholars, further expanding and perfect those parts of it on display to the public in the Museum itself. ANNA TROFIMOVA Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum - Programme Director SOUTH ITALIAN VASES IN THE HERMITAGE
Attic and South Italian vases are the groups best represented in the Hermitage's extensive collection of antique vases. Amongst the South Italian vases, first place (in terms of quantity) is occupied by Apulian vases, of which there are more than four hundred, with works by all the leading painters and workshops, such as the Lycurgus Painter, Darius Painter, Iliupersis Painter, Baltimore Painter, White Saccos Painter and many others. There are more than forty Tarentine rhyta in the form of heads of beasts. Nearly one hundred painted Campanian vases include outstanding masterpieces such as vases by the Ixion Painter or Laghetto Painter. Unfortunately, we have only a single example from Paestan and Sicilian ceramic fabrics, but each is superb: the celebrated phlyax vase by Asteas, and a polychrome vase adorned with a rare scene of Heracles' drunkenness. The collection of fish plates, some twenty original pieces made in various parts of South Italy, presents a full picture of each of the South Italian schools of vase- painting (excepting only the Lucanian fabric). With more than one hundred and fifty items, the collection of ceramics in the Gnathia style is one of the largest in the world outside Italy itself, yet it remains largely unknown to specialists. Also well-represented are painted vases from local Apulian workshops: more than fifty vessels produced over the course of several centuries by the ceramicists of Daunia, Peucetia and Messapia. The large collection of black-glazed ceramics (some three hundred pieces), red-glazed vessels from Italy and the North Black Sea area, South Italian plastic vases - all these will in time be presented to international scholars through the medium of the Corpus Vaso rum Antiquorum. We have decided to commence publication of the Hermitage's antique ceramics with the Lucanian red-figured vases, forming a compact group within the rich collection of South Italian vases, moreover one almost entirely produced by known painters. At some thirty pieces, the Hermitage collection of Lucanian vases is the largest in the Commonwealth of Independent States (the former Soviet Union). Nearly all the leading painters are represented: three vases by the Pisticci Painter, six by the Amykos Painter, four by the Creusa Painter, three vases by the Roccanova Painter, two each by the Dolon, Anabates, Primato Painters and six fragments of the Choephoroi Painter. Two vases can be placed in the Intermediate Group. Because we have several vases by each painter, we were able to base this volume on the form used in the relevant volume of the Louvre CVA (Louvre, fasc. 25). This allows us to study the development of style and to bring out the individual features of each master, while assessing the work of masters in his circle. The greater part of the vases in this group were attributed by Arthur Dale Trendall and published in his fundamental works on the ceramics of Lucania, Campania and Sicily. We have provided attributions for the remaining few vases. We would like to mention the volute-krater, which was attibuted by A.D. Trendall as a work of the Painter of Leningrad 988 (TRENDALL, LCS, no. 912). Thanks to its very interesting subject (side A: Hera in magic chair; side B: triumph of Apollo over Marsyas) it was well known and discussed in various articles. But the careful restoration of this vase from the Pizzati collection showed that all its surface was renewed. FOREWORD 11
The author would like to express her profound gratitude to Dr. Martine Denoyelle, Keeper of Ceramics in the Department des Antiquités Grecques, Etrusques et Romaines at the Louvre, for her valuable advice. Such a volume was made possible only thanks to the help of many members of staff from different departments in The State Hermitage Museum. I would particularly like to mention the photographer, Natalya Antonova, and her department head Sergey Pokrovsky, as well as Valery Zubarov who scanned the images. Thermo-luminescent analysis of the clay was undertaken by Sergey Khavrin in the Scientific Analysis Laboratory headed by Alexander Kosolapov, and restoration of the objects themselves was carried out in the Ceramics Restoration Laboratory headed by Anna Pozdnyak. To all of them, I would like to express my heartfelt thanks.
ELENA ANANICH Keeper of South Italian Vases Department of Greek and Roman Antiquities, The State Hermitage Museum ABBREVIATIONS
Boston, 1993 Vase-Painting in Italy. Red-Figure and Related SCHAUENBURG, K. SCHAUENBURG, Studien zur unteritalis- Works in the Museum of Fine Arts. Boston, Studien chen Vasenmalerei, B.I-VllI, Kiel, 1999-2005. 1993. St. Stephani. BSR British School in Rome. STEPHANI L. STEPHANI, Die Vasensammiung der Kai- CVA Corpus Vasorum Antiquorum. serlichen Ermitage, 2 vols., St. Petersburg, DENOYELLE, 1993 M. DENOYELLE, La ceramica protoitaliota 1869. alcune testimonianze delle relazioni tra Ma- TRENDALL, ChP A.D. TRENDALL, The Choephoroi Painter, gna Grecia ed Etruria, in Magna Grecia Etru- in Studies Presented to Devis Moore Robin- schi Fenici, Atti del trentatreesimo convegno son, 1953, vol. II, pp. 114-126. di studi sulla Magna Grecia, Taranto, 8-13 TRENDALL, FV A.D. TRENDALL, Frühitaliotische Vasen. ottobre 1993. Napoli, 1996. Leipzig, 1938. DEN0YELLE, 1994 M. DENOYELLE, Iconographie mythique et TRENDALL, A.D. Trendall, Red-figure Vases of South Italy personnalité artistique dans la céramique pro- HANDBOOK and Sicily. A Handbook. London, 1989. toitaliote, in Modi efunzioni del racconto mz TRENDALL, LCS A.D. TRENDALL, The Red-figured Vases of tico nella ceramica greca, italiota ed etrusca Lucania, Campania and Sicily, Oxford, 1967. dal VI al IV secolo aC., Atti del Convegno TRENDALL, LCS, A.D. TRENDALL, The Red-figured Vases of Internazionale, Raito di Vietri sul Mare, Suppl. I Lucania, Campania and Sicily. First Supple- 29131 maggio 1994. Salerno, 1995. ment (Supplement to the Bulletin of the In- DENOYELLE, 1997 M. DENOYELLE, Attic or non-Attic?: The stitute of Classical Studies of the University Case of the Pisticci Painter, in Athenian Pot- of London, 26). London, 1969. ters and Painters. The Conference Proceed- TRENDALL, LCS, A.D. TRENDALL, The Red-figured Vases of ings, Oxford, 1997, 395-405. Suppl. III Lucania, Campania and Sicily, Third Supple- FR A. FURTWANGLER, K. REICHHOLD, Grie- ment (Supplement to the Bulletin of the In- chische Vasenmalerei, Serie 1-111, München, stitute of Classical Studies of the University 1902-1927. of London, 41). London, 1983. GIAMBERSIO A. GIAMBERSIO, Il Pittore di Pisticci. 1989. WALDHAUER O.F. WALDHAUER, Imperatorskiy Ermitazh. Lay. Laval. Kratkoe opisanie sobraniya antichnykh Pizz. Pizzati. raspisnykh vaz [The Imperial Hermitage. SCHAUENBURG, 1961 K. SCHAUENBURG, Gottergeliebte aufunte- Brief Description of the Collection of An- ritalischen Vasen, in A&A 10, 1961. tique Painted Vases]. St Petersburg, 1914.
For the most commonly used abbreviations see Archaologische Bibliographie: Jahrbuch des Deutschen ArchSologischen Inst it uts. LUCANIAN VASES
PLATE 1 LCS, no. 12, pl. 25), although on those vases Eros has a fillet tied around his head. For the woman to left the 1-3. HYDRIA. Inv. No. B.1577 (St. 1627). From the closest parallels are on the same bell-krater in Gallipoli, Campana collection, 1862. H. 33 cm; d. rim 13.4 cm; a bell-krater in Denver and a calyx-krater in Lecce max. d. 22 cm; d. base 115 cm. (TRENDALL, LCS, no. 14, pl. 3.1,5 respectively). The Part of the wall with the handle has been repaired; woman to right appears in reverse on a bell-krater in three small chips around the lip; deep oval chip on Taranto (TRENDALL, LCS, no. 15, pl. 3.3). Very close Eros' wing. Dark stains on the reserved surface. Clay: similarities to both female figures can be seen in figures pale orange-brown. Glaze: black, shiny, in places brown on a hydria in Metaponto (TRENDALL, LCS, Suppl. III, (particularly on the shoulders and neck). 6, no. 25a, pl. 1.3). Eros' hairstyle and the pattern of his Contours of figures outlined with thick lines of glaze. wings on the Hermitage vase are absolutely identical to Traces of preliminary drawing. Glazed: rim, handles, those on the kalpis in Boston (Boston, 52, no. 3). On lower part of body and foot. Reserved: lower part of the depiction of Eros' wings in early-Lucanian vase- neck, area inside handles, vertical wall of foot and inner painting see SCHAUENBURG, Studien, B. II, 26. On the surface of foot. On the neck a laurel wreath running specific features of the style of the Pisticci Painter and right, between two narrow uneven reserved bands. Be- his links with Attic vase-painters see DENOYELLE 1997, neath the image runs a meander pattern broken by a 395-405. On the divergence from the Attic iconographic saltire square. tradition in the work of the first early-Lucanian vase- On the body a three-figure composition. In the mid- painters see DENOYELLE 1994, 83-101. On the Pisticci dle is Eros in a laurel wreath moving right, stretching Painter see TRENDALL, LCS, 9-25. out his arms to a woman running right and looking back Bib!.: STEPHANI II, 236, no. 1627; Compte.rendu de la Commission impéri- over her shoulder. The woman wears a diadem, chiton ale archéologique, St Pétersbourg, 1872, 143; S. REINACH, Repertoire de pci-s- and himation tossed across her left shoulder. To left of tores grecques et romaines, Paris, 1922, 56, no. 7; A. FURTWANGLER, Eros in der Vasenmalerei, 1874, 55; TRENDALL, FV, 32, no. 47; SCHAUENBURG, Eros is another woman moving left and looking back 1961, 80. 82; TRENDALL, LCS, 18, no. 26; SCHAUENBURG, Studien, B. II, 26, over her shoulder. On her head is a saccos, the figure is Abb. 82. totally wrapped in a hymation forming collar-like folds at the neck. At the centre of the composition below is a double tendril with petals. PLATE 2 Pisticci Painter (attributed by A.D. Trendall). Circa 435-420 B.C. 1-2; P1. 3, 1-2. BELL-KRATER. Inv. B.207 (Pizz. 273; In form the vase is close to big hydriae by the Pisticci St. 844; W. 782). From the Pizzati collection, 1834. Painter (compare CVA Louvre 25, pl. 3.1-3). The hydria Found in Apulia. H. 31.5 cm; d. rim 32 cm; max. d. is in the Pisticci Painter's developed style (TRENDALL, 25.4 cm; d. base 14.8 cm. Broken and repaired, missing LCS, 21). Three of the sixteen stock figures characteris- fragments filled in with plaster. Surface worn with many tic of the master's work appear on the body: Eros pur- minor pits and chips. Deep chip on the knee of right- suing someone with his arms outstretched; the draped hand silen on side A, on the breast of the standing woman in a saccos running left; the woman with a dia- youth in the middle of side B. Small dark incrustations. dem running right and looking back (TRENDALL, LCS, Large dark stains on the reserved surfaces. Clay: pale 10-11, i, vi, vii; with a list of the numerous vases on orange-brown. Glaze: black with a metallic sheen; pale which the figures appear). The closest analogies for the brown around the handles. figure of Eros are on bell-kraters in Gallipoli (TEEN- Glazed: inner surface of the vessel (except for re- DALL, LCS, no. 11, pl. 2.3) and Giudici (TRENDALL, served bands), rim, handles, lower part of body and foot
14 LUCANIAN VASES
(except the vertical edge and area inside the handles). NOYELLE 1997, 397, fig. 2). The young men on the Under the rim a laurel wreath running right between back is one of the master's characteristic figures from two reserved bands. A band of meander broken by a Type II (A1+C+D1) and thus have many analogies, crossed square runs across both sides, confined to the for instance on a vase in Taranto (CVA Taranto 3, IV area below the image. D, tav. 7.2) and in both the left and right youths on A. Three-figure composition on a Dionysiac subject. another vase in Taranto (CVA Taranto 3, IV D, tav. In the middle a maenad in a chiton and himation tossed 1.2); the middle youth finds analogy in a similar fig- across the left shoulder. On her head a diadem, in her ure on a vase in Taranto (CVA Taranto 3, IV ID, tav. right hand a drinking horn, a thyrsus in her left. The 6.2) and in the youths on side B of a calyx-krater, maenad is shown frontally with her head turned left, her Hermitage B.1657 (PLATE 4.2). On changes in the gaze directed at a bearded silen holding out his hand to iconography of maenads and silens in the late 5th cen- her. To her right is a second bearded silen turned left tury B.C. in the works of the Pisticci Painter see Gi- and standing on one leg, the other leg bent at the knee. AMBERSIO, 143-144. On the specific features of the With his right hand the silen touches the thyrsus; his left style of the Pisticci Painter and his links with Attic hand thrown back. The hair of all three is shown as a vase-painters see DENOYELLE 1997, 395-405. On the solid mass ending in individual locks painted with dilute divergence from the Attic iconographic tradition in glaze. The silens both have large bald patches above the work of the first early-Lucanian vase-painters see their pointed ears. DENOYELLE 1994, 83-101. On the Pisticci Painter B. Three youths in himatia. The central youth (totally see TRENDALL, LCS, 9-25. wrapped in a cloak) and the youth to left face each other. Bibi.: STEPHANI I, 351, no. 844; WALDHAUER 98, no. 782; TRENDALL, Both of the flanking youths have one bare arm resting on Ft 32, no. 19; TRENDALL, LCS, 23, no. 65; GIAMBERSIO, 143-144. a staff. The hair of all figures is shown as a solid mass with individual locks projecting below (as on side A). Pisticci Painter (attributed by A.D. Trendall). PLATE 3 Circa 430-420 B.C. The bell-krater was the Pisticci Painter's favourite 1-2. BELL-KRATER. Inv. B.207 (details). form. This vase relates to works in his developed style (TRENDALL, LCS, 16) and is painted in a manner characteristic of his vases on Dionysiac subjects. The silens on the front have hair but bald patches. Both PLATE 4 sides are almost identical to the two sides of a bell- krater in Nara dated by Trendall to 430 B.C. (CVA 1-2; P1. 5, 1-2. CALYX-KRATER. Inv. B.1657 (St. 889; Tokyo 1, Taf. 43.1-2), except that there the figure of W. 771). From the Campana collection. H. 30 cm; d. the maenad is more sharply turned, the left silen rim 30.8 cm; max. d. 24.6 cm; d. base 14.6 cm. Broken holds an oinochoe, the laurel wreath pattern is more and repaired. Small missing pieces filled in with plaster. schematic and the band of meander is broken by a Black incrustations and dark stains on the reserved sur- square with a saltire rather than a straight cross. Simi- face. A large dark stain of unknown origin on the neck lar depictions of a maenad and the left silen appear and chest of the silen to left. Clay: pale orange-brown. on a bell-krater in the National Museum, Copenhagen Glaze: deep black with a pronounced shine. (CVA Copenhagen 5, IV C, pl. 233.1). Both silens are Glazed: inner surface of the vessel (except two re- similar to those on a vase (CVA Switzerland 2, p1. served panels), rim, handles, lower part of body and 30.1) and on a bell-krater at Zurich University (CVA foot (except for two reserved bands in the upper and Zurich 1, IV F IV D, Taf. 43.1-2). The left silen is lower part of the pedestal). Reserved: inner surface of closest to similar images on a bell-krater in Trieste foot. Under the rim a laurel wreath running right be- (TRENDALL, LCS, no. 69, pl. 6.3) which, like the tween two reserved bands. A band of meander broken Hermitage work, has a very poorly executed left by a crossed square runs across both sides confined to hand. The maenad is in many ways similar to that on the area below the image. a hydria, Hermitage B.1577 (PLATE 1.1-3), although A. Three-figure composition on a Dionysiac subject. shown from a slightly different angle. We should pos- In the middle a maenad in a saccos, long chiton and hi- sibly see the closest parallel to the image on the Her- mation moving right. In her outstretched right hand she mitage vase on a column-krater, Louvre G 405 (IDE- holds a thyrsus; her left hand is wrapped in her hima-
PLATES 3,4,5,6 15 tion. To right of the maenad is a silen moving right and the Attic iconographic tradition in the work of the looking backwards. His body is conveyed frontally, the first early-Lucanian vase-painters see DENOYELLE head turned to left. In his right hand he holds a drink- 1994, 83-101. On the Pisticci Painter see TRENDALL, ing horn out to the maenad; the left hand is folded LCS, 9-25. across his chest and makes a gesture of invitation. Be- Bibi.: STEPHANI I, 391, no. 889; WALDHAUEB, no. 771; TRENDALL, FE hind the maenad is another silen moving right, creeping 32, no. 37; TRENDALL, Ii Pittore del Ciclope, in AttiMGrecia, n.s. 3, Rome, cautiously in her wake, his left hand stretched out and 1960, 89, nota 1; TRENDALL, LCS, 24, no. 80, pl. 6.5-6. his raised left leg bent at the knee. His right hand is thrust backwards. The silens' hair is shown as a solid mass ending in individual locks painted with dilute PLATE S glaze. B. Three youths in himatia. The central youth and the 1-2. CALYX-KRATER. Inv. B.1657 (details). youth to left face each other. The central youth is totally wrapped in a cloak forming collar-like folds at the neck. Each of the side youths holds a staff in his outstretched PLATE 6 right hand. The hair is shown as on side A in a solid mass with individual locks emerging below. 1-2; P1. 7, 1-2. BELL-KRATER. Inv. B.4744. Transferred Pisticci Painter (attributed by A.D. Trendall). from the State Museums Fund in 1929. Formerly in the Circa 440-430 B.C. collection of N. F. Romanchenko. Found in the North A rare form for the Lucanian school. The vase is Black Sea Area. H. 31.5 cm; d. rim 36.6 cm; max. d. one of the very earliest in the Pisticci Painter's devel- 28.6 cm; d. base 14.2 cm. Foot repaired. Surface much oped style (TRENDALL, LCS, 22) and is characteristic worn, with numerous defects and chips. Dark spots and of his vases on Dionysiac subjects. Closest compari- stains on the reserved areas. Clay: pale orange-brown. son can be made with bell-kraters in Catania (TIREN- Glaze: black, olive-toned in places, with a slight sheen. DALL, LCS, no. 68, pl. 6.2) and Trieste (TRENDALL, Glazed: inside surface of the vessel (except two small LCS, no. 69, pl. 6. 3). Greatest similarity to the depic- reserved bands), rim, handles, lower part of body and tion of drapery folds, the poses and outlines of the foot (except for the inside and two bands). Under the bodies of the maenad and the youths on side B can rim is a laurel wreath running left between two bands. A be seen on a bell-krater in Basle (TRENDALL, LCS, band of meander broken every three repeats by squares no. 33, pl. 4.4). An almost identical image of a mae- with either saltire or straight crosses appears on both nad appears on a vase in Taranto, except that the fig- sides, confined to the area below the image. ure there has a fillet (CVA Taranto 3, IV D, tav. 6.1), A. Three-figure composition. In the middle a woman on a bell-krater in Boston, except that she plays a in a long peplos decorated with a double stripe along flute (Boston, 50, no. 2), and on a lebes gamikos from the edge, running left and hitting a ball with her out- the Metaponto necropolis dated to 440-420 B.C. (J.C. stretched right hand; her left hand thrust backwards. CARTER, The Chora of Metaponto. The Necropoleis, The fillet on the woman's head and her jewellery - University of Texas Press, vol. I, 1998, 616, T.97-5). cross-shaped earring and a necklace - are painted in Closest to the silen to right of the maenad, but with- undilute glaze. To right of the central figure is a woman out the horn, is the right silen on a bell-krater in in a chiton and himation decorated with a broad black Catania (TRENDALL, LCS, no. 68, pl. 6.2), and there border. The woman wears a fillet and a necklace. In her is some similarity to the right silen on an early bell- right hand she holds a mirror while her left hand, krater in the University of Michigan (TRENDALL, wrapped in drapery, rests on her hip. In the left side of LCS, no. 2, pl. 1.3). The youths on side B belong to the composition is a naked youth facing the woman the group of Type II A1+C+D1 and thus have numer- playing with the ball. His left hand, wrapped in a hima- ous analogies, for instance on a bell-krater, Hermitage tion, grips a staff. His right arm, bent at the elbow, is B.207 (PLATE 2.2). On changes in the iconography of outstretched. The hair of the figures is shown as a solid maenads and silens in the late 5th century B.C. in the dark mass. works of the Pisticci Painter see GIAMBERSIO, 143- B. Three youths in himatia. The youth to left and the 144. On the specific features of the style of the Pistic- central youth are totally wrapped in their drapery and ci Painter and his links with Attic vase-painters see face each other. Between them, above, is a pair weights. DENOYELLE 1997, 395-405. On the divergence from The youth to right holds a staff in his outstretched right
16 LUCANIAN VASES hand. The hair of the figures is shown as a solid mass PLATE 8 from which a few curls, painted with dilute glaze, emerge around the neck. 1-2; P1. 9, 1-2. BELL-KRATER. Inv. B.332 (Pizz. 281; Amykos Painter (attributed by A.D. Trendall). St. 1088). From the Pizzati collection, 1834. Found in Circa 420-4 10 B. C. Apulia. H. 34 cm; d. rim 35.6; max. d. 28.4 cm; d. base According to somewhat unclear archive notes, N.F. 15.2 cm. Intact, but surface slightly worn with numer- Romanchenko acquired this vase in 1893 while he was ous chips and cracks. Deep chip above the forehead of conducting excavations near Evpatoria (Crimean penin- the woman standing to left on side A. Clay: pale orange- sula). The vase itself was found by chance in a plun- brown. Glaze: black, shiny, with a metallic sheen. dered grave in 1890. Glazed: inner surface of the krater (except reserved Trendall grouped the krater with vases showing genre bands inside and around the edge of the rim), handles, subjects (TRENDALL, LCS, 42). The woman with a ball lower part of body and foot (except the vertical wall of is shown with Eros on a panathenaic amphora in Vienna the pedestal). Under the rim is a laurel wreath running (TRENDALL, LCS, 45, no. 220), while a skyphos in right between two uneven reserved bands; around the Bielefeld University shows the woman with a ball and handles tongue pattern; confined to the area below the an athlete (TRENDALL, LCS, no. 189). Although Tren- image on both sides of the krater is a band of meander daJJ did not include the Hermitage krater in his list of broken by saltire squares. later vases by the Amykos Painter, he noted that a whole A. Three-figure composition. In the middle is a naked series of features might justify grouping this vase among athlete with a himation thrown across his left shoulder. the artist's somewhat later works (see TRENDALL, LCS, The youth's body is depicted hearly frontally, the head 47). Features from the master's mature period are: the turned left. In his right hand he holds a wreath, his left woman in the peplos with its double black stripe along rests on a club. He looks at a woman to left wearing a the edge, the composition on the back of the vase begin- peplos and diadem and holding out an oinochoe to- fling with type B and others (see TRENDALL LCS, 31). wards him. To right is another standing woman in a chi- In style the krater reveals similarities to a hydria from ton and himation. She has a fillet on her head and holds Policoro in Taranto (TRENDALL, LCS, no. 223). The an alabastron in her right hand. The hair of the figures woman to right with her hand on her hip occurs fre- is shown as a solid dark mass with some fine curls quently in the master's works, for instance on a hydria emerging, painted in dilute glaze. in Ban (TRENDALL, LCS, no. 221, pl. 18.3) or a bell- B. Three youths in himatia. To left a standing youth krater, Hermitage B.332 (PLATE 8.1). The composition totally wrapped in drapery, facing right. Two other on side B (B1+C+D3) has many analogies; for instance youths in the middle and to right facing left, both with the left and right youths are absolutely identical to the right arm outstretched and resting on a staff. The hair is same figures on a bell-krater, Hermitage B.332 (PLATE conveyed in a solid dark mass from which some find 8.2). Dr Martine IDenoyelle suggested (personal commu- locks emerge. Top left is a depiction of weights. nication, 2001) that the vase should be placed amongst Amykos Painter (attributed by A.D. Trendall). the Amykos Painter's early works. On the nature of the Circa 420-410 B.C. Amykos Painter's style see DENOYELLE 1997, 395-405. Trendall suggested that the scene on side A was set in On the divergence from the Attic iconographical tradi- a palaestra (TRENDALL, LCS, 37). Prof. K. Schauenberg tion in the work of the first early-Lucanian vase-painters suggested that the youth on side A was Herakies, as is see DENOYELLE 1994, 83-101. On the influence of Etr- suggested by the club (SCHAUENBURG, Herakles und uscan art on Lucanian painters see DENOYELLE 1993, Omphale., p. 71, fig. 2). The image of the youth stand- 281-293. On the Amykos Painter see TRENDALL, LCS, ing almost frontally with the weight on one leg, his head 29-50. in profile, is found quite often in the works of the Amykos Painter. Closest to the youth on the Hermitage Bibl.: Izvestiya Arkheologicheskoy komissii [News from the Archaeological Commission], Issue 25, 1907, 184, fig. 23; TRENDALL, FV, 34, no. 116; krater are a figure of a youth (and the woman standing TRENDALL, LCS, 43, no. 205, pl. 16.4. to right of him) on a bell-krater in Stockholm (TREN- DALL, LCS, no. 173, pl. 145) and a youth standing to right on a column-krater in Berlin (TRENDALL, LCS, PLATE 7 no. 182, pl. 15.3). The woman to right is closest of all to a woman - although the latter holds a wreath - on a 1-2. BELL-KRATER. Inv. B.4744 (details). skyphos in Copenhagen (TRENDALL, LCS, no. 264, P1.
PLATES 7,8,9, 10, 11, 12 17
21.6). The standing woman to left reveals similarities to Dionysos wears an ivy wreath. The lower part of his a woman holding an oinochoe on a bell-krater in Taran- body and his legs are enveloped in a himation. Dionysos to (CVA Taranto 3, tav. 10.1). On side B the composi- holds the hand of a standing woman facing right. She tion (B1+D3+D3) has many analogies: for instance, the wears a peplos with a double stripe running down the left and right youths are absolutely identical to figures side, tied with a girdle, and has a fillet on her head. In on a bell-krater, Hermitage B.4744 (PLATE 6.2). Tren- her left hand she holds a large hydria. Above, between dall thought the krater to be a late work by the master them, hangs a tympanum. To the right of Dionysos is a and saw stylistic similarities to two other late vases: a standing bearded silen facing left with a double flute in nestoris in Berlin (TRENDALL, LCS, no. 217, pl. 17.3) his hands. The hair of all figures is shown as a solid dark and a panathenaic amphora in Naples (TRENDALL, mass with some fine locks emerging, painted with dilute LCS, no. 246, pl. 20.1). In the opinion of A.D. Amicis glaze. the Hermitage krater can be included in a group of vas- B. Three youths in himatia (A+1D3+D3). The hair is es painted by the Karneia Painter during his early peri- conveyed in a solid mass with some curls emerging. od (AD. AMIcIs, in Vecchi Scavi, Nuovi Restauri, exhi- Amykos Painter (attributed by A. D. Trendall). bition catalogue, Tarent, 1991, 136-137). For more Circa 420-4 10 B. C. information on the Karneia Painter 'A' see CVA Louvre Trendall put the krater in a group of vases on Dionysi- 25, 23. On the nature of the Amykos Painter's style see ac subjects (TRENDALL, LCS, 32-37); it is one of the DENOYELLE 1997, 395-405. On the Amykos Painter painter's rare vases showing IDionysos himself. The see TRENDALL, LCS, 29-50. drapery and pose of the woman on the front somewhat recall a similar figure on a krater, probably of later date, Bibi.: STEPHANI II, 15, no. 1088; TRENDALL, FV, 34, no. 126; K. SCHAUENBLJRG, Herakies unci Omphale, in RiviPh 103, H. I, 1960, 68, Nr. Hermitage B.332 (PLATE 8.1), while the youths in the 12, abb. 2; TRENDALL, LS, 40, no. 174, P1. 14, 34. middle and to right on the reverse recall figures on the same krater (PLATE 8.2). The pose of the seated IDionysos reveals similarities to that of a seated silen on PLATE 9 a bell-krater in Taranto (CVA Taranto 3, tav. 9.1,4). It is interesting to note that the depiction of the rock intro- 1-2. BELL-KRATER. Inv. B.332 (details). duced to Lucanian vase painting by the Amykos Painter is different here to that seen on his other vases, the out- line of the rock being incised. On the specific features PLATE 10 of the style of the Amykos Painter see IDENOYELLE 1997, 395-405. On the Amykos Painter see TRENDALL, 1-2; P1. 11, 1-2. BELL-KRATER. Inv. B.331 (St. 853; W. LCS, 29-50. 972). From the Pizzati collection, 1834. H. 32.2 cm; d. Bibi.: STEPHANI I, 361, no. 853; WALDHAUER, no. 972; TRENDALL, FV, rim 36.8 cm; max. d. 26.6 cm; d. base 16 cm. Intact, but 34, no. 104; TRENDALL, LCS, 35, no. 126. surface worn, with many small chips, deep scratches and grey stains of uncertain origin. Large long chips in the face and clothes of the woman and the face of PLATE 11 Dionysos. Dionysos has been retouched. Clay: pale or- ange-brown. Glaze: black, shiny, with red spots in 1-2. BELL-KRATER. Inv. B.331 (details). places (the result of firing). Glazed: inner surface of the krater (except reserved bands), rim (except two bands), handles, lower part of PLATE 12 body and foot (except a fine band at the junction of body and foot and a wide band on vertical wall of 1-2; P1. 13, 1-2. BELL-KRATER. Inv. B.5592. Trans- pedestal). Under the rim is a laurel wreath running right ferred from the former Museum of the Society for the between two uneven reserved bands. Confined to the Encouragement of the Arts, 1930. H. 31 cm; d. rim 32.4 area below the image on both sides is a band of mean- cm; max. d. 24.4 cm; d. base 15 cm. Broken and re- der broken by saltire squares. paired, missing a number of small fragments, some of A. Three-figure composition on a Dionysiac subject. them filled in with plaster. Surface very worn, with nu- In the middle is Dionysos seated on a rock facing left, merous small chips, pits and dark stains. The whole in- his thyrsus leaning against his left shoulder. On his head ner surface spoiled by unskilled restoration. Clay: pale
18 LUCANIAN VASES orange-brown, covered with reddish wash. Glaze: black, PLATE 13 in places shiny, in others matt. Glazed: inner surface (except two broad reserved 1-2. BELL-KRATER. Inv. B.5592 (details). bands at the rim), handles, lower part of body and foot (except for reserved vertical wall of pedestal). Under the rim a laurel wreath running right between two PLATE 14 broad reserved bands. Confined to the area below the image on both sides is a band of meander, broken by a 1-2; P1. 15, 1-2. BELL-KRATER. Inv. B.1935 (W. 781). saltire rectangle with dots. From the collection of A. D. Bludov (?), 1888. Found in A. Two maenads in long chitons and himatia with a Greece. H. 31.4 cm; d. rim 31.2 cm; max. d. 24.4 cm; thyrsus in their right hands, standing either side of an d. base 14.8 cm. Broken and repaired, some small frag- ithyphallic bearded berm turned left to face the figure ments missing, some filled in with plaster and repainted. to left. The hair is shown as a solid black mass, possibly Large chip along the edge of the pedestal. Surface very gathered with a fillet (the image is poorly preserved). worn with many small chips, pits and dark stains. Clay: B. Three youths in himatia (B+1D3+C1). The youth pale orange-brown. Glaze: black, shiny, slightly orange standing to left and the youth in the middle leaning on a in places (the result of firing). Much repainted. staff are turned to face each other. The hair is shown as Glazed: inner surface (except two reserved bands), a solid black mass, with individual locks emerging con- handles, lower part of body and foot (except for re- veyed with black dots, sometimes united into a single served vertical wall of pedestal). Under the rim a laurel mass with barely noticeable lines of dilute glaze. wreath running right between two narrow reserved Amykos Painter (attributed by A.D. Trendall). bands. Confined to the area below the image on both Circa 430-420 B.C. sides of the vase is a band of meander broken by The drapery and pose of the woman to left, the lau- crossed rectangles. rel and meander are similar to those on a hydria in the A. Three-figure composition. Two women and a youth moving to right. First is a woman in a long chiton with a Louvre (CVA Louvre 25, pl. 8.1,3). Closest of all to the image on the Hermitage krater would seem to be that triangular fillet in her hair, playing the flute. Behind her on a bell-krater exhibited on the market at the Galerie comes a naked youth with a himation tossed over his shoulder and with a fillet on his head. He turns back Athena in Munich (TRENDALL, LCS, Suppl. III, 13, and stretches out his right hand to draw towards him a no. 117a; ill. in AntK 22, 1979, in advert on p. v). second woman in a chiton and himation with a triangu- There is also a compositional similarity to a bell-krater lar fillet in her hair. The youth's body is conveyed in Brussels (CVA Brussels 2, IV Db, pl. 4.3). The frontally, his head turned left, the left leg bent at the woman to left is close to a similar figure on a pelike in knee, the right stretched to one side. The hair is con- the British Museum, but without the wreath (TREN- veyed in a solid dark mass with some individual locks DALL, LCS, no. 187, pl. 155). An analogous image to emerging. the left woman (in pose and drapery) is found also on B. Three youths in himatia (B1+D1+C1). The youth two bell-kraters in the Fogg Art Museum, Cambridge, standing to left and the youth in the centre resting on a MA (TRENDALL, LCS, no. 155, pl. 13.3) and in Paler- staff are turned to face each other. The youth standing mo (TRENDALL, LCS, no. 156, pl. 13.5). On the berm to right is turned left and totally wrapped in a cloak. types see R. LULLIES, Die Typen der griechischen The hair is shown as a solid black mass with some Herme, in AJA 46, 1942, 64. The composition individual locks emerging below. Top right there is a (B+D3+C1) on side B is most often found in the depiction of weights. Amykos Painter's works showing athletes (see TREN- Amykos Painter (attributed by A.D. Trendall). DALL, LCS, nos. 151, 152, 154). The composition on Circa 420-4 10 B. C. side B, starting with the image of a type B youth, is Trendall identified the vase as a genre scene. The tri- characteristic of the Amykos Painter's late works angular fillet and the scheme on the reverse beginning (TRENDALL, LCS, 31). On the specific features of the with the type B youth are evidence that the krater was style of the Amykos Painter see DENOYELLE 1997, painted by the master during his late period. The scene 395-405. On the Amykos Painter see TRENDALL, LCS, is painted with unusual expression and somewhat care- 29-50. lessly executed. The women's drapery and head fillet, BibL: TRENDALL, LCS, 34, no. 117. particularly those of the woman to right, bear some styl-
PLATES 13, 14, 15, 16, 17, 18, 19 19 istic similarities to details on a bell-krater in the Louvre wrapped in his himation, the other resting a bare arm (CVA Louvre 25, pl. 12.1,2). The youth's pose bears on a staff. Hair conveyed in a solid black mass with in- some similarities to a similar figure on a bell-krater in dividual locks emerging. Taranto (CVA Taranto 3, tav. 9.5,8). The composition on Amykos Painter (attributed by A.D. Trendall). the reverse is B1+D1+C1. Oskar Waldhauer suggested Circa 420 B.C. the krater was an Attic vase (WALDHAUER, 98, no. Trendall suggested that the vase shows a scene in a 781). On the specific features of the style of the Amykos palaestra (TRENDALL, LCS, 37-42). Closest to the Her- Painter see DENOYELLE 1997, 395-405. On the mitage krater in composition and in decoration of rim Amykos Painter see TRENDALL, LCS, 29-50. and neck is a krater in Stockholm (TRENDALL, LCS, no.
BibL: WALDHAUER, 98, no. 781; TRENDALL, FV, 34, no. 117; TsxN- 178, p1. 15.1-2). Trendall compared the image with that DALL, LCS, 43, no. 202. on a panathenaic amphora in Taranto from the master's late period (TRENDALL, LCS, 48, no. 248; see CVA Taranto 3, IV D, tav. 11), and the decoration with frag- PLATE 15 ments of a column-krater in the Louvre (TRENDALL, LCS, no. 183; see CVA Louvre 25, pl. 14.1-3). There is 1-2. BELL-KRATER. Inv. B.1935 (details). unquestionable similarity to the image on a bell-krater in Brussels (CVA Brussels 2, IV Db, pl. 4.2). The woman standing to left is close in pose and drapery to a female PLATE 16 figure on a pelike in the British Museum (TRENDALL, LCS, no. 187, pl. 155) and she also reveals some like- 1-3; Pis. 17, 1-2; 18, 1-2. COLUMN-KRATER. Inv. ness to the woman to left on a bell-krater, Hermitage B.272 (St. 1725; W. 799). From the Pizzati collection, B.5592 (PLATE 12.1). On depictions of a woman or 1834. H. 40.5 cm; d. rim 36.8 cm; max. d. 30.4 cm; d. Nike holding a strigil in her hand (scene in a palaestra) base 18 cm. Intact, but surface worn, with numerous see SCHAUENBURG, Stucizen, BIT, 26 (with the wrong small chips, in places flaking of the glaze. Long large inventory number B.1725). On the specific features of chips on rim and neck. Edge of left projection of rim the style of the Amykos Painter see DENOYELLE 1997, broken off, chip on right projection. Deep chips in sur- 395-405. On the Amykos Painter see TRENDALL, LCS, face on side A on face and neck of the women and on 29-50. back of Nike's head beneath the hair. Significant flaking Bibi.: STEPHANI II, 283-84, no. 1725; WALDHAUER, no. 799; TRENDALL, of the glaze at junction of body and pedestal. Clay: pale FV. 36, no. 190; TRENDALL, LcS, 40, no. 179; SCHAUENBURG, B. II, 26, orange-brown. Glaze: brown, shiny. Abb. 83. Glazed: inner surface, handles, lower part of body and foot (except a narrow reserved band on the pedestal). On the underside of the rim images of three lions and PLATE 17 two boars; on the neck an ivy tendril facing right; on the projections palmettes; tongue pattern on the shoulders. 1-2. COLUMN-KRATER. Inv. B.272 (details). On both sides the image is flanked by double bands with discs. A. Four-figure composition. To right Nike seated on a PLATE 18 rock facing right with a strigil in her right hand; in front of her a naked athlete with a spear facing left. Nike 1-2. COLUMN-KRATER. Inv. B.272 (details). wears a peplos with a double stripe along the edge and has a fillet on her head. To left a woman in a chiton and himation with a fillet, facing right; facing her is a naked PLATE 19 athlete leaning on a staff, his right leg resting on a rock. In her right hand the woman holds a wreath to be pre- 1-3. SKYPHOS. Inv. B.1633 (St. 786; W. 1005a). From sented to the athlete. Hair conveyed in a solid black the Campana collection, 1862. H. 10.5 cm; d. rim 13 cm; mass with spiral locks emerging. d. foot 7.5 cm. Broken and repaired, tiny missing B. Four youths in himatia (A1+C+B+D1) forming two fragments filled in with plaster. Along the edge of the compositions, each consisting of a pair of standing rim are one large and several small chips. Thirty round youths facing each other, one in each pair totally holes in the body - the remains of ancient restoration. A LUCANIAN VASES dent on side B, formed during making of the skyphos. cm; d. rim 25.8 cm; max. d. 20 cm; d. base 12 cm. As- Surface slightly worn with minor chips and dark stains. sembled from two large pieces (the lower part of body The lower right part of the animal's back leg is repaint- and foot glued). Several small fragments filled in with ed in brown. Clay: pale orange-brown. Bright red wash. plaster. Surface worn with many small chips and pits. Glaze: black, shiny, brownish in places. Along edge of rim one large and several small chips. On Skyphos of Attic shape. side A beneath the handle a large red stain formed dur- Glazed: inner surface, handles, lower part of body and ing firing. On side B a large chip on the hand of the base. Beneath the handles are palmettes with tendrils woman standing left and a long chip across the Nike's and petals. Beneath the image two narrow reserved breast. Clay: pale orange. Glaze: black, shiny, in places bands. with a brownish sheen. Bright red wash. A. An Amazon (?) running to right. She wears a short Glazed: inner surface (except for broad reserved chiton caught up with a broad girdle with a dotted pat- band), rim (except for fine reserved band along the tern and shoes. The wavy edge of her robe is adorned edge), handles, lower part of vessel (except for very fine with a dark stripe. On her head she wears a Phrygian reserved band), foot (except for fine band along upper cap from which locks of long wavy hair fall onto her edge of pedestal). Under the rim a laurel wreath run- neck. In her right hand, thrust backwards, is a fighting ning left; tongue ornament by the handle roots. Beneath axe, in her left a bow. the image around the whole of the vase is a band of me- B. A fallow deer running to left, the front legs raised. ander broken by a saltire square with four dots. Beneath Intermediate Group the handles are two palmettes one above the other, spi- Circa 400 B.C. rals, tendrils and rosettes with dots in the middle (the Many things indicate that the vase belongs to the In- palmettes most unusual). termediate Group: the form of the skyphos, the decora- A. This image creates a strange impression despite the tion with its characteristic tendrils and petals, the pal- absence of later additions or repaintings. Three-figure mettes beneath the handles, the two narrow reserved composition. In the middle a standing woman in a long bands beneath the image etc. The subject with the chiton and himation with a veil thrown over her head. Amazon is also found in this group of Lucanian vases, In her right hand she holds a sceptre (?), with her left although it is not as widespread as Dionysiac subjects or she lifts the edge of her robe (the gesture of a wife). To genre scenes with youths in typically relaxed poses. The the left is another figure, turned to the right, probably a pose of the running Amazon is probably closest to the woman, in a short girdled chiton and high boots. She poses of running silens on a skyphos in Policoro (TF.EN- stands on tiptoe, holding some long object in her out- DALL, LCS, 64, no. 311; ill. TRENDALL, Handbook, no. stretched hands. Tossed over her bent left arm is an ani- 64) and a pelike in Ban (TRENDALL, LCS, no. 345, pl. mal skin (?). The woman's hair is cut short and she 32.8). The Amazon's helmet recalls the headwear of an wears a bracelet. The right arm is covered by some kind Amazonian on a lebes-gamykos in Berlin (TRENDALL, of narrow sleeve which bunches up into festoons (?) be- LCS, no. 365, pl. 33.8). The greatest similarities to the hind her back. To left below is a musical instrument helmet, drapery and axe seen on the Hermitage Ama- (cithara or lyre?) beside which lies a fan (?). To right of zon are found through a comparision with the Amazon centre is a woman seated on a stone facing left. She on a kylix in Copenhagen (CVA Copenhagen 6, IV C, p1. wears a long chiton, the lower part of her body is 237, 3c). Both of these vases are part of the Minniti wrapped in a himation and she has a necklace around Group. There are no known analogies for the fallow her neck. In the palm of her right hand is a small stand- deer amongst works by masters of the Intermediate ing figure of Eros with long wings, placing a wreath Group. upon her head. She holds a mirror in her left hand. Unpublished. Mentioned briefly by STEPHANI I, no. There are stones on the ground. The hair is conveyed 786, side A - barbarian. with fine curls painted with strongly dilute glaze. B. Three-figure composition. In the middle is a naked youth with a fillet holding a staff in his right hand. He PLATE 20 stands frontally, his left leg to one side, turning his head towards a woman standing to his left, dressed in a long 1-3; Pls. 21, 1-2; 22, 1-2. BELL-KRATER. Inv. B.2078 girdled chiton with an overfall. The woman's attire has a (W. 974). Transferred from the Academy of Sciences, fine dot pattern, she wears a necklace and bracelets. She 1894. Purchased 1863 from Brunnoli, Naples (?). H. 26 is shown frontally, her head turned to the youth. In her
PLATES 20,21,22,23 21 right hand is a wreath and she holds the left out to the Foot repaired, part of volute filled in with plaster. Sur- youth. To the youth's right is Nike turned to the right. face worn with many small chips, cracks and flaking of On her head is a fillet, she wears a necklace and has a the glaze. Edges of the rim battered. Clay: pale brown. bracelet on the right hand, in which she holds a wreath. Glaze: shiny, dark brown, in places pale brown and She wears the same kind of chiton as the woman to left black. but with a smaller overfall. In her left hand she holds an Glazed: inner surface (except edges of rim), handles unidentified object. The hair is shown as a black mass (except for volutes), lower part of body and foot with some odd locks, extremely carelessly executed, (except for vertical wall of pedestal and a fine reserved escaping along the edge. band). Egg pattern directly under rim, lower down Intermediate Group, circle of the painter of Taranto beneath the rim a laurel wreath running right between 102547 (attributed by A.D. Trendall). two reserved bands. On the neck an ivy tendril running Circa 410-400 B.C. right (stems incised) between two reserved bands, a Trendall saw here some stylistic affinity to the painter band of triangles and a band of black glaze. On the of Taranto 102547, meanwhile pointing out the indu- shoulders tongue ornament between two uneven re- bitable likeness to works by the Arnô Painter and also served bands. Ivy tendrils on volutes, tongue ornament that while the painting on the reverse of the krater is in at roots of the handles and palmettes with petals the style of the painter of Taranto 102547, that on the beneath handles. Running beneath the image around front is by another hand (TRENDALL, LCS, Suppi. III, the whole body is a band of meander broken by saltire 28). The subject on the front of the vase is not clearly squares. identifiable. Trendall saw the left figure as a youth with A. Four-figure composition. To left a seated woman in a spear but we cannot assert with any certainty that this a long girdled peplos, a fillet and bracelets, holding a indeed a spear, while the drapery folds on the breast spear in her left hand and in her right a shield resting on throw doubt on the idea that the figure is male. The the ground (Athena?). Behind her a youth with a spear, musical instrument by the feet of the left figure allows wearing a cloak with a decorated border, with a petasos us to suggest that it should be identified either with behind his back). These two figures watch a winged Apollo or with a female flautist. The form and decora- Nike with a phiale in her left hand placing a wreath on tion of the krater, as well as the drapery of the women the head of a naked youth resting on a club (Herakies?). on the reverse, are similar to the form, decoration and Hair shown as a solid black mass from which individual women's drapery on the front of a bell-krater in Taranto curls emerge. (TRENDALL, LCS, no. 373, pl. 35.3). B. Four-figure composition. Two pairs, each of which
Bibi.: WALDHAUER, 101, no. 974; TRENDALL, LCS, Suppi. III, 28, no. 373c consists of a youth and a woman turned to face each (mistakenly with Inv. 13.2678). other. In each pair to left is a naked youth with his right hand resting on his waist and his left hand holding a staff; to right is a woman in a long chiton and himation. PLATE 21 The woman to left holds a wreath. Weights above, between the pairs. 1-2. BELL-KRATER. Inv. B.2078 (details). Creusa Painter (attributed by A.D. Trendall). Circa 390-380 B.C. One of several volute-kraters by the Creusa Painter PLATE 22 (the form is extremely rare in Lucania before the time of the Primate, Painter; TRE,NDALL, LCS, 88). Another 1-2. BELL-KRATER. Inv. B.2078 (details). volute-krater by the Creusa Painter is far inferior to the Hermitage work in terms of the painting quality (compare TRENDALL, LCS, Suppi. I, 16, 428a, pl. V.3- PLATE 23 4), while on a third krater in Toledo the woman on the right side of the reverse recalls the Nike on the Her- 1-3; Pls. 24, 1-2; 25, 1-2. VOLUTE-KRATER. Inv. B.361 mitage krater in terms of pose, hairstyle and face (Pizz. 407; St. 845; W. 985). From the Pizzati collection, (TRENDALL, LCS, Suppl. III, C 22, pl. VII.2). It is 1834. Found in Nola. H. 53 cm (with volutes 61 cm); d. possible that the seated woman on the front of the rim 37 cm; max. d. 56.4 cm; d. base 18 cm. Broken and krater should be identified as Athena and the standing repaired, small missing fragments filled in with plaster. youth with the club as Herakles. This might find con-
22 LUCANIAN VASES firmation in a bell-krater in Brindisi on the front of PLATE 2.5 which we see Athena in her traditional attire with Herakies beside her in the same manner as on the 1-2. VOLUTE-KRATER. Inv. B.361 (details). Hermitage krater (TRENDALL, LCS, no. 434, pl. 41.6). Trendall noted the high quality of the painting, more typical of early vases by the Creusa Painter, but nonetheless initially placed the Hermitage krater in the PLATE 26 'standard style' group on the basis that it shows typical features, particularly in the drapery. For instance the 1-2; P1. 27, 1-2. BELL-KRATER. Inv. B.1667 (St. 1778; woman on the reverse is one of the Creusa Painter's W. 973). From the Campana collection, 1862. H. 28.5 stock figures (TRENDALL, LCS, 84, 88). Later Trendall cm; d. rim 30 cm; max. d. 28 cm; d. base 14 cm. Assem- moved the krater to the group of vases he described as bled from two large pieces, the join in lower part of belonging to the artist's intermediate phase, between body. Small missing fragments filled in with plaster. Sur- the early and mature periods (TRENDALL, LCS, Suppl. face worn with many small chips and flaking of the III, 46, C24). The half-open mouths and the folds of glaze. Considerable flaking of the glaze inside on the drapery forming the Greek letter pi are additional bottom. Large chip in lower part of girl's drapery. A lit- evidence for the authorship of the Creusa Painter. The tle in-painting: the girl's shoes, base of stand and part of seated woman on the front is like a similar figure on a table. Clay: orange-brown. Glaze: black, shiny, bright pelike in Taranto, except that the latter has a veil and wash. A little added white (in girl's headdress and lifts the edge of her robe in the typical 'gesture of a youth's wreath). wife' (CVA Taranto 3, tav. 18.1,3); there is some like- Glazed: inner surface, rim (except for two reserved ness to a seated woman on a skyphos in Taranto, par- bands), handles, lower part of body and foot (except for ticularly in the nature of the hairstyle, drapery and face vertical wall and inner surface of foot). Beneath the rim (TRENDALL, LCS, no. 462, pl. 43.2). Trendall himself a laurel wreath running right set between two reserved noted the similarity to a pelike in Naples (TRENDALL, bands. Confined to the area below the image on both LCS, no. 466). The standing youth with a spear recalls sides is a band of meander broken by a saltire square. a similar figure on a bell-krater belonging to the Amer- A. Two-figure composition: symposium. In the middle ican Academy in Rome (TRENDALL, LCS, no. 477, pl. a long couch on which reclines a youth in a wreath 455), while the youth to left on the reverse is almost facing left; the lower part of his body draped. He is identical - except for the staff and fillet - to a youth propped up on his left elbow which rests on a patterned standing to left on a bell-krater in Lecce (TRENDALL, cushion, while his right index figure is hooked through LCS, no. 433, pl. 415); the woman to left is identical a flat kylix. In front of the couch stands a low table with to the woman on the front of a bell-krater in the fruits. The youth faces a girl standing to left in a short British Museum (A.D. TRENDALL, South Italian Vase chiton with numerous folds caught up at the waist with Painting, British Museum, London, 1966, pl. 3a). a patterned girdle. The wavy edge of her chiton is deco- Overall the Hermitage krater, despite the many small rated with a black border. She wears a basket crown; differences, relates to a volute-krater by the Dolon she has bracelets and wears laced shoes. The girl's breast Painter in Milan, evidence of the extremely close rela- is revealed. Her left hand rests on her waist, with her tionship between vase painters in this workshop (CVA right she attaches a disc to a stand for a game of kotta- Milano 2, IV D, pl. 2.1). On the Creusa Painter see bos. Above is a taenia adorned with dotted ornament. TRENDALL, LCS, 83-95. B. Two youths totally wrapped in himatia (H+F). Be-
BibL: STEPHANI I, 351-52; WALDHAUER, 102 no. 985; SCHAUENBURG, tween the youths an altar and above them suspended 1961, pl. 19, fig. 36; TRENDALL, LCS, 88, no. 428, pl. 41.1; A.D. TRENDALL, weights. On the Divergence of South Italian from Attic Red-figure Vase-painting, in Creusa Painter (attributed by A.D. Trendall). Greek Colonists and Native Populations, Proceedings of the First Australian Congress of Classical Archaeology, Sydney 9-14 July, 1985. Oxford, 1990, 220, Circa 400-380 B.C. note 13. This krater has a particularly interesting subject - the game of kottabos - that is very rare in the Lucanian school and in the work of the Creusa Painter, although a PLATE 24 scene with a girl dancing for a youth reclining on a couch is found in the master's work on a bell-krater that 1-2. VOLUTE-KRATER. Inv. B.361 (details). passed at auction (TRENDALL, LCS, Suppl. III, 44, Cl).