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edited by John H. Oakley
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Front cover:
Contents
Foreword ...... vii
1 Fallen Vessels and Risen Spirits: Conveying the Presence of the Dead on White-ground Lekythoi ...... 1
2 Under the Tuscan Soil: Reuniting Attic Vases with an Etruscan Tomb ...... 11
3 Regional Variation: Pelops and Chrysippos in Apulia ...... 22
4 Baskets, Nets and Cages: Indicia of Spatial Illusionism in Athenian Vase-painting ...... 30
...... 40
6 Smikros and Epilykos: Two Comic Inventions in Athenian Vase-painting ...... 49
...... 63
8 The Gigantomachy in Attic and Apulian Vase-Painting. A New Look at Similarities, Differences and Origins ...... 72
9 Plates by Pasteas ...... 80
10 Some Greek Vases in the Museum of Mediterranean Archaeology at Nir David (Gan Hashlosha) Israel ...... 98
11 Trade of Athenian Figured Pottery and the Effects of Connectivity ...... 107
12 Beautiful Men on Vases for the Dead ...... 116
13 The View from Behind the Kline: Symposial Space and Beyond v
...... 125
...... 134
15 “Whom are You Calling a Barbarian?”A Column Krater by the Suessula Painter ...... 146
16 Good Dog, Bad Dog: A Cup by the Triptolemos Painter and Aspects of Canine Behavior on Athenian Vases ...... 155
17 A Scorpion and a Smile: Two Vases in the Kemper Museum of Art in St. Louis ...... 165
18 Demographics and Productivity in the Ancient Athenian Pottery Industry ...... 175
19 An Amazonomachy Attributed to the Syleus Painter ...... 187
20 Democratic Vessels? The Changing Shape of Athenian Vases in Late Archaic and Early Classical Times ...... 197
...... 206
...... 215
23 The Robinson Group of Panathenaic Amphorae ...... 221
...... 231
25 Menelaos and Helen in Attic Vase Painting ...... 242
s ...... 253
...... 263
Color Plates 1–32 ...... 273 27 The Attic Phiale in Context. The Late Archaic
Athena Tsingarida
9 10 1 11 2 3 12 decorated 4 5 6 all dated to 13 14 15 16 17 A Small Group of Oversized and Elaborate Products 18 7 19 20 The latter 8 epoiesen 21 264 Athena Tsingarida
Fig. 1 Phiale (fragments) attributed to the Foundry Painter, Malibu, J. Paul Getty Museum 90.AE.38 (© The J. Paul Getty Museum, Villa Collection, Malibu, California).
31 epoiesen 22 kros chros 32 33 23 24 epoiesen 34 25 26 35 The Attic “Achaemenid phialai” in Clay and 27 Cups of the Class of Agora P10359 28 29 36 30 265
Fig. 2 Phiale attributed to the Berlin Painter, Malibu, J. Paul Fig. 3 Phiale attributed to the Berlin Painter, Malibu, J. Paul Getty Museum 76.AE.96.1 (© The J. Paul Getty Museum, Villa Getty Museum 76.AE.96.2 (© The J. Paul Getty Museum, Villa Collection, Malibu, California). Collection, Malibu, California).
Fig. 4 Achaemenid phiale in clay, black-gloss, ca. 500–480, Fig. 5 Achaemenid phiale in clay, black-gloss and coral-red, ca. Athens, Agora Museum P 9274 (Photo: Author). 500–480 BC, Athens, Agora Museum P 23118 (Photo: Author).
37 38 42 39 40 43 41 44 266 Athena Tsingarida
– N. Bloch, CReA-Patrimoine, ULB).
45 46 267
– N. Bloch, CReA-Patrimoine, ULB).
47 50 48 51 49 268 Athena Tsingarida
52 53 the 54 55 65 56 The 66 57 58 59 60 © American the latter.61 62 63 64 Fig. 9 Athens, 3rd Ephoria A5040 (Photo: after [1980] pl. 146). 269
tondo.74 75 76 Fig. 10 Athens, Agora Museum P 16001 (Photos: Author). 67 68 69 77 70 Some Concluding Remarks about the Organization of LA Workshops 78 71 72 73 to name 270 Athena Tsingarida
Acknowledgements 17 2 2 18 2 19 2 203285. 20 21 2 2 22 Notes 23 1 24 2 20. 25 176 n. 47. 26 2 105–114. 3 27 4 28 29 30 5 6 31 2 2 7 200080. 32 8 9 33 34 10 76.AE.96.2. 35 – – – 11 36 12 37 13 38 14 15 – 39 40 16 271
2 2 – 56 – – – 57 199–200 no. 52. 58 2 2 41 134–136 no. 18. 59 2 2 42 60 43 44 19 no. 201. 61 45 – 62 – – – 63 2 46 64 2 65 2 2 2 2 66 2 47 67 48 49 – – Trentelman – 50 51 68 52 69 – 53 70 71 54 55 2 272 Athena Tsingarida
72 76 73 77 74 78 75