Apulian red-figured vase-painters of the plain style pz50gw46j

Table of contents :
Frontmatter
PREFACE (page v)
LIST OF PLATES (page xi)
ABBREVIATIONS (page xv)
INTRODUCTION (page 3)
I. THE SISYPHUS GROUP (page 5)
II. THE ARIADNE GROUP (page 16)
III. THE EUMENIDES GROUP (page 21)
IV. THE REHEARSAL GROUP (page 25)
V. THE TARPORLEY PAINTER AND HIS SCHOOL (page 31)
VI. THE HOPPIN GROUP (page 55)
VII. THE LECCE GROUP (page 62)
MUSEUM INDEX (page 87)
SUBJECT INDEX (page 99)

Citation preview

APULIAN RED-FIGURED VASE-PAINTERS OF THE PLAIN STYLE

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MONOGRAPHS ON ARCHAEOLOGY AND FINE ARTS Sponsored by

THE ARCHAEOLOGICAL INSTITUTE OF AMERICA THE COLLEGE ART ASSOCIATION OF AMERICA

X

APULIAN RED-FIGURED VASE-PAINTERS OF THE PLAIN STYLE by

ALEXANDER CAMBITOGLOU and

A. D. TRENDALL

PUBLISHED BY THE ARCHAEOLOGICAL INSTITUTE OF AMERICA with the aid of a grant from

THE AUSTRALIAN HUMANITIES RESEARCH COUNCIL 1961

All rights reserved by THE ARCHAEOLOGICAL INSTITUTE OF AMERICA

Produced by the Charles E. Tuttle Company Rutland, Vermont & Tokyo, Japan MANUFACTURED IN JAPAN

PREFACE The enormous sutviving quantity of fifth and fourth century Apulian red-figured vases of the plain style has had a somewhat daunting effect upon scholars and museum directors, whose attention has generally been drawn away from them to the Apulian vases of a more ornate style of drawing, which are often very large, and especially to those among them that ate decorated with interesting or unusual subjects. As Beazley has pointed out in JHS 63 (1943), p. 91, note 5, some term is wanted to distinguish between the two styles and he proposed “A.P.” (“Apulian Pure” or “Persians”’) to characterize the latter. In his recent teview and reclassification of South Italian pottery in Az del VII° Congresso di Archeologia Classica TI (1961), Trendall suggested “Monumental,” but neither term now seems satisfactory to us. The latter in particular gives rise to confusion between shape and decoration. Therefore, we propose to use in this study the terms “Plain” and “Ornate” to differentiate between the two Apulian styles of drawing, and shall use the term “Monumental” in reference only to size and shape. The vases of the “Plain” style are normally of standard size. Added colour is sparingly used in their decoration and, although the scenes represented on them are occasionally very

interesting, their subject matter is mostly simple, often consisting of Dionysiac or conversation groups. The vases of the “Ornate” style are usually of rich and elaborate aspect. They are often monumental in size and shape, although smaller pieces are by no means rare. Added pigments are profusely used in the decoration of their surface, and their subject matter, which is often inspired by mythology or the stage, can be extremely interesting and at times fascinating. In the preparation of this monograph, which represents an attempt toward the classification of the work by artists of the “‘Plain” style, we have been fortunate in being able to study v

, PREFACE most of the vases referred to at first hand, and are deeply grateful to the authorities of the University of Mississippi and of Bryn Mawr College for facilitating Professor Trendall’s visits to these institutions and thus making joint consultation possible. We should like to take this opportunity of thanking many museum directors and other scholars in Europe and America for their help and co-operation. More particularly we should like to express our gratitude for assistance and advice to Sir John Beazley, Professors T.B.L. Webster and C. M. Robertson, Dr. Dietrich von Bothmer, Mrs. A. D. Ure and Mrs. Noé]l Oakeshott. For details of vases, photographs and permission to reproduce them we are particularly grateful to: Gianguido Belloni (Turin), L. Bernabo Brea (Syracuse), Mario Bernardini (Lecce), Marie-Louise Bernhard (Warsaw), Erwin Bielefeld (Altenburg), Hansj6rg Bloesch (Zurich), Frank Brommer (Mainz), Giacomo Caputo (Florence), Alfonso De Franciscis (Reggio Cal.), Nevio Degrassi (Taranto), Pierre Devambez (Paris), Madeleine de la Geniére (Paris), Erna Diez (Graz), Jiri Frel (Prague), K. Friis Johansen (Copenhagen), Adolf Greifenhagen (Berlin), Pietro Griffo (Agrigento), Roland Hampe (Heidelberg), G.M.A. Hanfmann (Harvard), C. H. Emilie Haspels (Amsterdam), Bartlett Hayes (Andover, Mass.), D.E.L. Haynes (London), J. H. Iliffe (Liverpool), Semni Karouzou (Athens), Ernst Langlotz (Bonn), Luciano Laurenzi (Bologna), Amedeo Maiuri (Naples), J. V. Noble (New York), Rudolf Noll (Vienna), Piero Orlandini (Gela), Anna Peredolski (Leningrad), Sara Pulinas (Naples), Giovanni Rizza (Catania), Silvio Rutteri (Trieste), Elizabeth Rohde (Berlin), Berta Segall (Hamburg), H.R.W. Smith (Berkeley), Hermine Speier (Vatican), Arturo Stenico (Pavia), J. G. Szilagyi (Budapest), L. Vazquez de Parga (Madrid), Violette Verhoogen (Brussels), C. C. Vermeule (Boston), Zdenko Vinski (Zagreb), R. S$. Young (Philadelphia). We are also deeply indebted to the Archaeological Institute of America and the Australian Humanities Research Council for the generous grants which made possible the publication of this monograph. ALEXANDER CAMBITOGLOU,

Bryn Mawr College. A. D. TRENDALL,

Australian National University.

March, 1961.

vt

TABLE OF CONTENTS PREFACE ccccccccccccscnccccccsccccecessevetccscecvececvccesceecevesecseses WV LIST OF PLATES ..c cece ccc ccc cere rece cet e se ccsseeecccsecccececeuvcaevecseses Xd ABBREVIATIONS .cccccc ccc ccc cece eet c ccc e ccc ccc ccc cece nccccccecccceccevee XV INTRODUCTION... cc cece cee ce ceca eee e ete ence weave nevccceeuceuceeceueseece 3

I. THE SISYPHUS GROUP .... ccc cece cee eee cece cc cncccccccccccseecerecceseee O

1. The Painter of the Berlin Dancing Girl ............. 2. cece eee eee 5

2. The Sisyphus Painter... kee ec ec ccceee eee eeesseeees 8 3. The Parasol Painter... .... 0... cece ccc ccc cece cc ecccencseceeeree = Ll 4. The Hearst Painter ....... 0. cc cc ce cece ccc cece cccecencscscees 12 TI. THE ARIADNE GROUP ..... ccc ccc eee ccc cece ccecccaccccccevvccceveccscecees 10

1. The Ariadne Painter ....... cc cee ccc cc cc cece cer eeceevcce 16 2. The Painter of Boston 00.348 ..... cc ccc ccc cece ee ncsvcee 18 3. The Adolphseck Painter......... 0... ccc eee eee eee ee eee eeeees 19 IU]. THE EUMENIDES GROUP ......c cece cccccncccccccccctccececvcecsececceseees Al

1. The Eumenides Painter ......... 0.0. cee ec cece c cece cc cccccsecese Al 2. The Painter of Perseus and Athena ......... 0. ccc cece ccc ccc eeees 20 IV. THE REHEARSAL GROUP..... cece cece ec cccccr cs cevescccccrsececvsesseees 2D

1. The Rehearsal Painter......... ccc ccc cc ccc ccc cece eee cesescsseess DD

2. The Painter of the London Pelikai .......... 0.00... cee eee ee ee eee 20 3. The Dioskouroi Painter.......... 0. ccc cece cece eee c ee sccncsvence At vit

TABLE OF CONTENTS IV. THE REHEARSAL GROUP (Con?’d.)

4. The Judgement Painter .... 0... cee cece cece eee eee ee eee eens 28

5. The Painter of B.M. F57 1... ccc ccc cece eee wee tereeeee 2D

V. THE TARPORLEY PAINTER AND HIS SCHOOL. ......ccccccccecccccccccecsscsers Ot

1. The Tarporley Painter 2... . 0... cece eee eee ence eee eteseees SL 2. The Klejman Painter 22.0... cece ec cece cette eee e ee ceceecne OF 3. The Painter of Lecce 686 2.0... . cece cc cece cee eee ee ceceeccees 38 4. The Painter of Bologna 497 1.2.00... eee eee eee e ee ence eeene OD

5. The Painter of Karlsruhe BO... ec ec cee cece eee c cease AQ 6. The Fat Duck Painter... 0. cc ce cece rece ce tee cecscese Al 7. The Eton-Nika Painter ..... 0... ccc ccc eee cece eee r ec cescncees 42

8. The York Painter .... 0... cece ec ec cee cect ete ee eeteccsccce 44 9. The Painter of the Long Overfalls 2.0.0.0... 2... cece ee eect ee eee ee 45

10. The Painter of Bari 1364 0... cc ccc eee eee e eee cee 46 11. The Painter of Athens 1714 2... cc eee ce cc cece eect cee 47 12. The Graz Painter... ccc ccc cece cece tcc e tc cetescrcece 4 13. The Painter of Athens 1680 ....... cc ccc ce cee ee ee cree eens 49 14. The Painter of Bologna 571 1.0... . ccc eee c cece eee eet e eee e cess 90

15. The Dijon Painter ........... ccc ee eee eee cere eects eeeeee Ol 16. The Painter of Bologna 589 ....... ccc cece cece e eee e eee eeeecee Ol 17. The Painter of Copenhagen 335 ........ cece eee c cence cee eeees 92 18. The Painter of Vatican V5.0... 0... ccc ccc cece ee cece eee e eee ececees OD 19. The Rodin Painter ..... 0... cc cc cece cece cece cece tet e sees eescece OD

VI. THE HOPPIN GROUP ....... ccc cece cece cece ccc cect ec ececeveesceessseesees OD

1. The Hoppin Painter 2.0... 0. cece eee eee cece eee eeteeteeeee OD 2. The Marburg Painter... 0.0... cece eee ee eee e tree eeeeenccees Ol 3. The Valletta Painter ...... 0... cc cee eee cc cee cect eee cerereccses OF

4. The Painter of Lecce 614 2... cece cece cee e ee eeeceses OO 5. The Bendis Painter..... 0.0... ccc cc cece ce cee cece tenets ceecces OD

6. The Bucrane Painter ........ ccc eee eee cette cece eesecsesees OD VII. THE LECCE GROUP .. cece ec ccc cece cece cere te cece tee eectsteecscscerececs O2

1. The Lecce Painter ..... 0... ccc cc cect ee eet e te ecccceccces 62 2. The Leesen Painter....... 0... ccc cece ec cect eee eectsesceesecees 65 3. The Painter of the Large Egg-Patterns .......c se eeee ee eeeereeees 06 4. The Painter of Munich 3269...... 0... cee cee cece cee eeeccees OF 5. The Painter of Sydney 46.48......... cece cece eee e cece rs veneeeee OF

6. The Truro Painter ...... 0... cece cece cece reece ececscseseses 08 7. The Choes Painter ....... cc cece cece wee c cece ec ccecccccveesceree 14 8. The Wellcome Painter ....... ccc cece cece cece cer cece ceeeeeceee 1D vilt

TABLE OF CONTENTS VIL. THE LECCE GROUP (Cont’d.)

9. The Turin Painter ...... 0. cece eee cece eee cee e ccc etewecsceee 16

10. The Painter of Reggio 1157 2... eee ccc ee eee eee e eee ees 77 11. The Thyrsus Painter ......... ccc cece cece eect eee esccecee TT 12. The Berkeley Painter ........ cece eee cence cet e eee eceeteeees 80 13. The Lampas Painter 11... 0... cece cece eee cece cece eee eeseeeees Ol MUSEUM INDEX... eee cece cece eee e cette cnet eee tees e eet rteesccsssseseeens OF SUBJECT INDEX oo ccc cece cc ccc ccc ce ccc sce c ete e eee ceccescrecsssceceeacccsses VY

ix

*

LIST OF PLATES Unless otherwise indicated the photographs from which the plates are reproduced come from the Museums concerned, or the owners of the vases.

PuaTE | figs. 25-26 Bell-krater, Naples 2413 (inv. 81415) figs. 1-2 Bell-krater, Jena 424 fig. 27 Bell-krater (frr.), Taranto figs. 3-4 Bell-krater, Naples 2228 (inv. 82549) fig. 28 Skyphos (frr.), Heidelberg 26.90 Piate I figs. 5-6 Bell-krater, Vienna 883 Priate VII

Prate IIT ar figs. 7-8 Bell-krater, Heidelberg 26.85 fig. 29 Situla, B.M. F83 (reverse)

fig. 30 Bell-krater, Cambridge (Mass.)—Harvard

fie. 9 Fragment, University, Dept. of Classics (reverse) 5: > syeney >.Sydney fig, 3151.37 Bell-krater, Wiirzburg 959 (reverse) fig. 10 Fragment, Sydney 53.08. fie. 32. Bell-krater, B.M. F151 (reverse)

fig. 11 Fragment, Sydney 52.65 ° oa

fe 12 Freeman 286 aoe

g- Besa bd ent, Aynhoe Park (Photo: Marie fig. 33 Hydria, B.M. F92

; fig. 34 Hydria, B.M. F96

fig. 14 Fragment, Heidelberg 26.84 fig. 35 Pelike, B.M. F181

Pirate IV fig. 36 Pelike, B.M. F182 fig. 15 Column-krater, Ruvo 1091 (Photo: Rob- figs. 37-38 Bell-krater, Leningrad W2075 ert Zahn)

fig. 16 Column-krater, Naples 2408 (inv. 81872) PuLare IX

figs. 17-18 Bell-krater, Marseilles 2933 figs. 39-40 Column-krater, B.M. F172

Prare V figs. 41-42 Bell-krater, B.M. F50

figs. 19-20 Bell-krater, B.M. F166 figs. 43-44 Panathenaic amphora, Brussels R403

fig. 21 Bell-krater, B.M. F47 Prater X fig. 22 Bell-krater, Boston 00.348 (reverse) fie. 45 Bell-krater, B.M. F57

Pirate VI fig. 46 Bell-krater, Bari 6332 figs. 23-24 Situla, B.M. F83 figs. 47-48 Bell-krater, Trieste 2126 xt

LIST OF PLATES PLATE X] PLATE XXII figs. 49-50 Skyphos, B.M. F126 figs. 103-106 Bell-krater, York 19 (Photo: A.C.)

figs. ee eet Bowdoin College Pare XXII

hls DEORISWICR Mane figs. 107-108 Bell-krater, York 19 (Photo: A.C.)

Piate XII fig. 109 Bell-krater, Leningrad St. 846

fig. 53 Volute-krater, Geneva 15036 (reverse) fig. 110 Bell-krater, Dijon 1198 (Photo: D. von

fig. 54 Bell-krater, Vienna 646 Bothmer) figs. 55-56 Column-krater, formerly in posses- py are XXIV

sion of Adolf Hitler figs. 111-113 Bell-krater, Naples 2068 (inv. Pirate XI 81370) (Photo: A.C.)

Pirate XIV Plate XXV .

figs. 57-60 Pelike, Taranto—private collection. fig. 114 Bell-krater, York 19 (Photo: A.C.)

fig. 61 Bell-krater, B.M. F161 fig. 115 Bell-krater, Bart 1364

fig. 62 Pelike, Naples Stg. 465 fig. 116 Pelike, Luscombe Castle (Photo: A.C.) figs. 63-64 Pelike, Warsaw 198120 figs. 117-118 Bell-krater, Naples 1866 (inv.

figs. 65-66 Lebes gamikos, Cork—Public Mu- 81425)

seum L188b Pirate XXVI

Pratt XV figs. 119-120 Pelike, Luscombe Castle (Photos: figs. 67-68 Bell-krater, New York Market A.C.) . figs. 69-70 Pelike, Trieste $434 figs. 121-122 Bell-krater, Naples 1866 (inv. figs. 71-72 Pelike, Geneva 14982 81425)

PLatE XVI PLaTE XXVII figs. 73-74 Pelike, Woburn Abbey (photo: D. figs. 123-124 Bell-krater, Athens 1714

von Bothmer) fig. 125 Bell-krater, Leningrad Sr. 802

figs. 75-76 Pelike, Prague, Museum of Applied fig. 126 Calyx-krater, B.M. F275 (reverse)

Arts 639 . Prats XXVIII

&P

figs. 77-78 Pelike, Naples 2281 (inv. 81724) figs. 127-128 Bell-krater, Zagreb

PLATE XVII figs. 129-130 Bell-krater, Graz, Landesmuseum

figs. 79-84 Bell-krater, B.M. F165 4611 figs. 131-132 Bell-krater, Philadelphia L64.231

PLATE XVIII

fig. 85 Rhyton, Bari 6257 Prate XXIX

fig. 86 Panathenaic amphora, Andover (Mass.), figs. 133-134 Columa-krater, Athens 1680

Phillips Academy 177 figs. 135-136 Bell-krater, New York, Cooper

figs. 87-88 Bell-krater, Vienna 777 Union 1957-23-2

fig. 89 Pelike, Sydney 88 fig. 137 Column-krater, Bonn . _

PLATE XIX .

fig. 90 Skyphos, Halle 516 fig. 138 Bell-krater, once Agrigento, Giudice (Sale Cat. 421)

figs. 91-92 Bell-krater, Eton College, Windsor Pirate XXX .

figs. 93-94 Bell-krater, B.M. F53 figs. 139-140 Bell-krater, Dijon 1199 (Photos: D. von Bothmer)

PLATE XX figs. 141-142 Bell-krater, Zagreb

fig. 95 Bell-krater, B.M. F53 fig. 143 Fragment, once Rome, Dr. Hermine

fig. 96 Bell-krater, Bonn 79 (reverse) Speier figs. 97-98 Bell-krater, Madrid 11081 (L.325)

Plate XXXI

PLATE XX] fig. 144 Pelike, Bonn

figs. 99-100 Bell-krater, Ginosa—private collec- figs. 145 and 147 Hydria, Reggio Cal. 7035

tion figs. 146 and 148 Hydria, Reggio Cal. 7034

figs. 101-102 Bell-krater, Madrid 11085 (L.357) figs. 149-150 Bell-krater, Brussels, Errera

xii

LIST OF PLATES

Plate XXXII Plate XX XVIII figs. 151-152 Pelike, Havana, Conde de Lagun- fig. 187 Pelike, Boston 90.160 illas fig. 188 Pelike, Zagreb figs. 153-154 Bell-krater, Taranto fig. 189 Skyphos, Milan, Scala, Alb. 338 figs. 155-156 Bell-krater, Budapest, Letet 134 fig. 190 Skyphos, Milan, Scala, Alb. 339 fig. 191 Pelike, Liverpool 50. 60. 65 Plate XX XI fig. 192 Bell-krater, Winterthur 310 figs. 157-158 Bell-krater, Marburg 786

figs. 159-160 Bell-krater, Laon 37.1042 PLATE XXXIX figs. 161-162 Bell-krater, Washington N.M. fig. 193 Chous, Vienna 856

378475 fig. 194 Chous, Trieste $591 fig. 195 Skyphos, Sydney 49.11 (reverse)

PLATE XXXIV fig. 196 Skyphos, London, Soane Museum 528 figs. 163-164 Bell-krater, Valletta 4 (reverse)

figs. 165-166 Bell-krater, Vienna 882 fig. 197 Skyphos, Seattle Art Museum Cs20.17 figs. 167-168 Bell-krater, Naples 2101 (inv. fig. 198 Skyphos, Prague, Museum of Applied

81424) Arts 1161 .

PLATE XX XV PLATE XL

figs. 169-170 Bell-krater, Boston, Dr. C.C. fig. 199 Pelike, Reggio Cal. 1157

Vermeule fig. 200 Squat lekythos, Reading 151.51 RM

figs. 171-172 Bell-krater, Madrid 32658 fig. 201 Bell-krater, Stoke-on-Trent (Photo:

figs. 173-174 Bell-krater, Taranto 10865 A.C.)

Plate XXXVI fig. hee oa netom U.S. National figs. 175-176 Pelike, Hamburg 1917.1068_ fig. 203 Lebes gamikos, Madrid 11446 (L.335)

figs. 177-178 Pelike,,Pavia, private collection fic. 204 Panathena; hCh , g. anathenaic amphora, Copenhagen, fig. 179 Squat lekythos, Philadelphia L64.224 Thorvaldsen Museum 130 fig. 180 Squat lekythos, Boston 76.59

PLATE XLI

Pate XXXVII fig. 205 Lebes gamikos, Berkeley 8/447A figs. 181-182 Bell-krater, Sydney 64 fig. 206 Mug, Taranto I.G. 8867 fig. 183 Pelike, Truro (Photo: A.C.) fig. 207 Skyphos, Chicago University fig. 184 Pelike, Norwich, Castle Museum fig. 208 Mug, Brussels, Errera fig. 185 Skyphos, Milan, Scala, Alb. 337 fig. 209 Pelike, Catania 4364

fig. 186 Stand, Hamburg A65 fig. 210 Pelike, Taranto

xii

e

+

”

The abbreviations for periodicals follow, as far as possible, generally accepted usage and conform with the list given in American Journal of Archaeology 62 (1958), pp. 3-8. Other abbreviations, used for works to which reference is frequently made, are as follows: Arch. Reps.=: Archaeological Reports (published first as a Supplement to JHS, then jointly by the Hellenic Society and the British School at Athens). EAA=Entciclopedia dell Arte Antica (Rome 1958, in progress). FI=A.D. Trendall, Fritbitaliotische Vasen (Leipzig, 1938). GTP=—T.B.L. Webster, Greek Theatre Production (London, 1956).

Moon=Noél R. Moon, “Some Early South Italian Vase-Painters” in BSR 11 (1929), pp. 30-49. NMH?= Nicholson Museum Handbook, 2nd ed. (Sydney, 1948). OGV=Paul Jacobsthal, Ornamenie griechischer Vasen (Berlin, 1927). Pfuhl=Ernst Pfuhl, Malerei und Zeichnung der Griechen (Munich, 1923). Van Hoorn=G. Van Hoorn, Choes and Anthesteria (Leiden, 1951). VIE=A.D. Trendall, Vasi antichi dipinti del Vaticano—Vasi italioti ed etruschi a figure rosse (2 vols.; Vatican City, 1953-55). VPo/l—J.D. Beazley, Greek Vases in Poland (Oxford, 1928).

In the remaining cases the author’s name and the full or short title of the relevant work has been given.

xv

APULIAN RED-FIGURED VASE-PAINTERS OF THE PLAIN STYLE

INTRODUCTION The broad lines along which red-figured pottery developed in South Italy during the late fifth century B.c. have already been determined with some precision by Miss Noél Moon in her article “Some Early South Italian Vase Painters” in BSR 11 (1929), pp. 30-49 and by Trendall in Frihitaliotische Vasen. It is clear that by the last quarter of that century there were two distinct schools of vase-painters, each with its own characteristic style. At the head of the first school, which seems to have begun ea. 440 B.c. stand the Pisticci, Cyclops

and Amykos painters and their successors, the Creusa and Dolon painters. The latter lead directly to the provincial Lucanian school of the second and third quarters of the fourth century, of which the Choephoroi painter is the chief representative. This first group of painters has been referred to up to now as “Group A.” Although the locality in which this group of artists worked is not certain, on purely stylistic grounds they could properly be described as “Early Lucanian.” The second school, which can be safely identified as Apulian, begins a decade or so later. The evidence of style and provenience indicates that it was almost certainly located at Taranto or near it, and it produced from the start work of higher quality and greater interest. In the beginning it is particularly influenced by Attic artists like the Dwarf painter and the Codrus painter and it seems to have remained in closer contact with the Attic tradition than the Lucanian school, so that as its style develops, it never acquires that provincial and, later, even barbaric quality, which is typical of Lucanian vases. At the head of the Apulian school stand the painter of the Berlin Dancing Girl and his colleague the Sisyphus painter. These artists and some of their followers of the first half of the fourth century were called

in Frihitaliotische Vasen “Group B.” Now that the development of the Lucanian and Apulian styles is clearer, this term seems a little misleading and we prefer to use “Early Apulian” instead. 3

INTRODUCTION } The principal Early Apulian vase-painters have already been identified.1 Most important among the early artists is the Sisyphus painter; his work was the chief source of inspiration for subsequent painters of both the “Plain” and “Ornate” styles, the latter mostly continuing and elaborating the tradition of his Sisyphus, Peleus and Thetis, or Leukippides kraters, the former basing their work largely on his simpler two- or three-figure compositions with scenes taken from daily life or connected with the cult of Dionysus. Although the chief artists of the “Ornate” style have been identified and to some extent discussed,” few vases of the “Plain’”’ style have so far received the same treatment,’ and most of the lesser painters of both styles have been left very much alone, partly because of their uniformity, which makes attribution a difficult task and partly, no doubt, because of the depressing monotony of the subjects on their works. These vases, however, are not without their value both from the standpoint of chronology and for the light they shed upon general stylistic developments during the fourth century. In the present study we shall attempt to provide a basis for the classification of the vases of the “Plain” style from the beginning of the fabric with the painter of the Berlin Dancing Girl and Sisyphus painter down to the third quarter of the fourth century. More particularly

we should like to discuss the many vases which can be grouped around the Tarporley painter (see pp. 31-54) whose work clearly had a profound influence upon subsequent Apulian vase-painting. In a further study we hope to deal with the main artists of the “Ornate” style and their followers in the later fourth century. The classification which follows, while not exhaustive, includes all those vases known to us which could be safely attributed to individual artists, as well as many others which seemed to be near in style of drawing or closely comparable with their work. In our lists, the vases that are attributed with certainty to individual painters are given Arabic numbers, those that are only related to them are given Roman figures. We hope that, as the lists enlarge, we shall be able to increase the number of positive attributions, but have

thought it wisest at the present juncture to adopt a rather conservative approach. In the classification of shapes we have followed, when possible, Beazley (ARV pp. viii-x). Each chapter includes descriptive sections dealing with individual painters followed by a numbered list of the vases attributed to them—in the former the numbers in parentheses refer to the number of the vase in the list which follows; in the lists themselves, however, we have added, where applicable, in parentheses immediately after the number of each vase a reference to the number of that vase in Trendall’s catalogue at the end of Frihitaliotische Vasen. References are given only to the more important publications of each vase or to those which have appeared subsequently to FI.

1 Relevant bibliographies will be found in Trendall, VIE pp. 1 and 69, and Stenico s.v. Apuli Vasiin EAA I, pp. 508-9. 2 See in particular Trendall, NM H? pp. 324 ff. and Margot Schmidt, Der Dareiosmaler und sein Umkreis (Minster, 1960), where the work of the Lycurgus and Darius painters is discussed in some detail and a bibliography is given on p. 6. * Cambitoglou, BSR 19 (1951), pp. 39-42 (Lampas painter); Trendall, VIE pp. 101 ff.; Stenico, EAA I, p. 504.

4

I. THE SISYPHUS GROUP 1. THE PAINTER OF THE BERLIN DANCING GIRL (Plate II, figs. 5-6)

The Painter of the Berlin Dancing Girl, who derives his name from the attractive calyxkrater in Berlin (4), was first identified by Miss Noél Moon (now Mrs. Oakeshott) who associated his style very closely with that of the Sisyphus paintert but saw that it was distinguished from it by a certain angularity in the rendering of the figures and a hardness in the drawing of the drapery. As characteristic we may note the painter’s fondness for representing a bearded man whose himation is draped across his waist in a bunch of horizontal folds (cf. nos. 4-10, 12, 15), his frequent use of inscriptions (10, 11, 13, 15),® his solemn and

statuesque draped youths, his treatment of the eye, which regularly appears as a round black dot, his love of columns (2, 4, 6, 15), his regular use of a black line down the centre

of his laurel leaves, and above all his very individual meander pattern with its thick lines , and dotted but not crossed squares.‘ A very similar pattern recurs on two recently found small bell-kraters, one of which is in Taranto (1), and the other in Gela (2). The former has on the obverse a representation of a youth dancing in armour to the accompaniment of a flute-player. This is a stock scene + BSR 11 (1929), pp. 35-6. 5 Bernardini has recently shown in Studi Salentini 8 (1959), pp. 7 ff. that the inscriptions on the Lecce amphora (15) are probably false; in his article he gives this vase the inventory number 572, but this seems to bean error, since that number properly belongs to an Attic column-krater by the Pig Painter (ARV p. 371, no. 17; CVA 1, III Ic, pl. 3, 1-3 and pl. 4, 1; Bernardini, La Rudiae Salentina p, 67, fig. 21). ® On some of his vases (e.g. nos. 10, 11) a neatly chequered square replaces the more usual dotted one.

>

lI. THE SISYPHUS GROUP recalling the subject on the artist’s name vase and finds a close parallel on an Attic calyxkrater in the Louvre which 1s attributed to the Cassel Painter’? and can be dated about 440 B.C. The bell-krater in Gela was found at Vassallaggi together with several Attic vases of the third quarter of the fifth century.* Its obverse shows a youth with a lyre in the company of a bearded man, who is clearly the forerunner of this painter’s favourite character. On the reverse is a draped youth standing beside a column, and the treatment of the mantle at his waist, with the characteristic rows of horizontal folds, together with a certain sharpness in the drawing of the faces, as well as the use of thick meanders with dotted squares, points to an association with the painter of the Berlin Dancing Girl so close that this vase, and with it the Taranto krater which shows many of the same features, are best regarded as early works by his own hand. Another early vase is the bell-krater Vienna 883 (3) which stands very close to the Taranto and Gela vases. Note especially the similarity in the treatment of patterns, draperies and figures on the reverses. On stylistic criteria these three vases should be dated to the very beginning of the last third of the fifth century. Most of the painter’s other works would fall into the decade ca. 430-420. EARLY WORK BELL-KRATERS

1. Taranto, from Ceglie del Campo. (a) Youth dancing in armour while youth plays the flute. (b) Two draped youths. 2. Gela 9241, from Vassallaggi. (a) Bearded man and youth with lyre. (b) Draped youth standing beside column. 3 (1). Vienna 883. Pl. I, figs. 5-6. (a) Young warrior holding hydria between two women. (b) Two draped youths and bearded man.

DEVELOPED STYLE CALYX-KRATERS 4 (6). Berlin F2400. von Liicken, pls. 23-4; (a2) Neugebauer, Fuhrer p/. 70; JHS 55 (1935), p. 231, fig. 2; Hellas and Rome,* p. 253; EAA III, p. 8, fig. 12. (a) Girl dancing in front of seated woman playing the flute. (b) Youth and bearded man.

5 (7). Boston, Professor John Oddy. (a) Sotheby Sa/e Catalogue, 21 March, 1932, no. 74, pl. 3. (a) Bearded warrior fighting Amazon on horseback. (b) Youth and bearded man. 6 (8). Providence, from Capua (previously Hope 208). CVA pl. 28, 1; (a) Tillyard, Hope Vases pl. 29, 6; (b) Moon p. 36, fig. 4. (a) Herakles fighting two centaurs. (b) Youth and bearded man. BELL-KRATERS

7 (2). Naples 2861 (inv. 81571), from Sant’ Agata. FI pl. 17 b-c. (a) Herakles and the Nemean lion. (b) Bearded man between two youths.

.6

7 G480; ARV p. 674, no. 8; CVA 8, III Id, pl. 31,7-8. 8 Arch. Reps. 1957, p. 30.

1. THE PAINTER OF THE BERLIN DANCING GIRL BELL-KRATERS (Cont'd. )

8 (3). Leningrad St. 1316 (with lugs). (a) FI pl. 182. (2) Warrior and Amazon. (b) Bearded man and two youths. 9 (4). ‘Taranto, from Taranto (frr.). (a) Neapo/is 1 (1913), p. 133, fig. 1. (a) Amazonomachy with Herak-

les. (b) Draped youth and woman. .

10 (5). Anagni, Museo del Duomo. (a) RM 65 (1958), pl. 38, 2. (a) Orpheus (OP®EYS) seated on a rock, playing to a Thracian rider wearing a black tunic. (b) Youth, woman and bearded man.

HYDRIA

11 (9). Leningrad St. 1143. MonIust 1856, pls. 15-16; detail, Jal 73 (1958), p. 59, fig. 7. Shoulder: Amazonomachy with Theseus (OH SEY). Body: Woman and man seated on couch, surrounded by women and Erotes. The vase has been put together from small fragments and there is a great deal of restoration, especially on the body where most of the figures, except for the man and women on the couch,

are modern. Schauenburg (JdI 1958, p. 59) draws a parallel between the three figures in the chariot to right of Theseus and those regularly found on representations of the rape of Kore.

SK YPHOI 12 (10). Naples 3140 (inv. 81345), from Nola. (a) FI pl. 17a. (a) Danae and Perseus in the chest. (b) Youth and bearded man.

13 (11). Paris, Cab. Méd. (ex Froehner Coll.). Fragment showing the upper part of a man with the inscription TEPEY2.

SKYPHOS (restored as oinochoe shape 2)

14 (42). Louvre G 570. Tischbein V 73. Theseus and a centaur.

NECK-AMPHORA 15 (13). Lecce 571, from Rugge. CVA 1, IV Dr, pl. 1 and pl. 2, 1-2; (a) Bernardini, La Radiae Salentina p. 82, fig. 32; I/ Museo Provinciale di Lecce p. 39; Studi Salentini 8 (1959), pp. 291 ff, figs. 2-4.

(a) Warrior between woman and bearded man. (b) Woman and bearded man. The inscriptions on this vase are probably later additions (see note 5).

FRAGMENT 16 (14). Taranto, from Taranto. Head of draped youth.

* For the interpretation of this scene, see Cook, Zeus ITI, p. 458, note 2; more recently Clairmont in AJA 57 (1953), p. 93, note 6 reverts to the old interpretation of Tennes and Hemithea; against this view see Schauenburg, Perseus p. 9, See also Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, Il, p. 12.

7

I. THE SISYPHUS GROUP | 2. THE SISYPHUS PAINTER (Plate I, figs. 1-4)

The Sisyphus painter was first identified by Beazley (1/Po/ pp. 72 ff.), who named the artist

after the main subject on his most important extant vase, the impressive volute-krater in Munich (1). His style was discussed by Furtwingler in his description of this vase (FR, text to pls. 98-99); further pertinent observations were later made by Mrs. Oakeshott,” who showed the close relation in which he stands to the painter of the Berlin Dancing Girl. The list of his works given by Trendall in FI (1938) contains twenty-one vases; seven are now added and one is removed,” bringing the total to twenty-seven. Beazley (V’Pol p. 72) spoke of “the peculiar penmanship of the lines” of the figures on the Warsaw volute-krater (2) and of “the beauty of the large grave ox-eyed three-quarter heads,” and subsequent writers have stressed the resemblance between some of his compositions and sculptural originals.” At his best the Sisyphus painter can certainly draw beautiful figures, but on the whole his work is academic and his compositions lack internal unity and strength. His scenes are often rows of beautiful figures arranged in cold groups. We do not propose to discuss again in detail the style of this painter, but would merely re-emphasize its most important and characteristic features: the pleasing nude male figures with the rather large heavy heads, often bent on one side; the long overfalls of the women’s garments—a feature copied by one of the artist’s most important pupils, the Tarporley painter;!* and finally, a love for propriety, which characterizes even his komoi (e.g. the reverse of 2).

The quality of the Sisyphus painter’s work varies considerably. Most of the newly attributed vases (nos. 10-13, 24, 26 and 27) are minor pieces dating from a late period in the painter’s career, and their subjects are insipid and repetitive. The bell-krater Vatican U7 (11) is a good example of these lesser works. The woman on the obverse is reminiscent of some of the female figures on the Munich volute-krater, but less stately. Her garment has half-sleeves which reach to the elbows and a long overfall, both features typical of the artist’s treatment of drapery, although in this instance the folds are less dense than usual. Her stance is dignified but unoriginal, and the youth standing opposite is an inferior version of Sisyphus on the Munich vase. The figures on the reverse are typically Sisyphean in posture as well as in drapery. The left youth recalls the middle youth on the reverse of the bellkrater in the Victoria and Albert Museum (6), the right youth is wrapped in his himation like two of the youths on the reverse of the column-krater B.M. 174 (4). 1° op. cit. pp. 32 ff.

11 The calyx-krater in Taranto (FI p. 39, no. 20), which closer study shows to belong to the Amykos Group. 12 Moon, pp. 33-34; Trendall, FI p. 23. Cp. the figures on the Munich krater (1) and Louvre G 493 (8) with Parthenon types, and those on the Warsaw (2) and Ruvo (3) volute-kraters with the Phigaleian frieze and Gjélbaschi reliefs. 13 Cp. his skyphos B.M. F 126 (infra p. 36, no. 45).

8

2. THE SISYPHUS PAINTER Although by the Sisyphus painter, the vases nos. 21-27 form a group which stands somewhat apart and may well represent the latest phase in the development of his style. Beazley (Pol p. 74) pointed out the analogy between the style of the Sisyphus painter and that of the Dwarf and Codmus painters in Athens, dated in the late forties and the thirties of the fifth century B.c. Mrs. Oakeshott dated the Warsaw and Ruvo volute-kraters (2, 3) after 420,

and Trendall (FI p. 22) suggested that the New York krater by Polion, dating from the beginning of the last quarter of the century, is a good Attic parallel to the early work of the Sisyphus painter. His career must therefore have started ca. 425 B.c. and seems to have continued until about the end of the century. VOLUTE-KRATERS 1 (15). Munich 3268, from Ruvo. FR pls. 98-99; Arias and Hirmer, pls. 236-7; (a) FI pls. 19-20a; Cook, Greek Painted Pottery pl. 52A; the palmettes, Jacobsthal, OGV pl. 107a; (b) FI pl. 200; neck and top row, Wegner, Musik/eben pl. 22. (a) The wedding of Sisyphus; Jason attacking the

dragon, supported by Medea, in the presence of the Argonauts. (b) The nine Muses; centauromachy. On the neck: (a) Eros crowning Aphrodite surrounded by Erotes. (b) Horse-race. 2 (16). Warsaw 142296, previously Goluchow 57, from Ruvo. CVA Poland 1, pl. 48; (a) MosInst 12, pl. 15; details: Beazley, VPo/pl. 31 and pl. 32, 1; (b) Beazley, VPo/. pl. 32, 2; FI pl. 212. (a) Peleus

and Thetis. (b) Komos.

3 (17). Ruvo, Jatta 1096, from Ruvo. Japigia 3 (1932), pp. 246-247, figs. 28-29; (a) MonlInst 12, pl. : 16; FT pl. 18. (a) The rape of the Leukippides. (b) Herakles and the Amazons.

COLUMN-KRATERS

4 (18). B.M. F174. (a) B.M. Catalogue TV, pl. 6; (b) Moon, p. 33, fig. 1. (a) Departure of warrior. (b) Four draped youths. 5 (19). Boulogne 653. (a) Departure of warriors. (b) Four draped youths.

BELL-KRATERS | 6 (21). London, Victoria and Albert Museum 4803.1901, from Ruvo. Moon, pl. 12; (a) Cook, Zeus Ill, p. 998, fig. 808. (a) Two kalathiskos-dancers with a flute-player between them. (b) Three draped youths.

7 (22). Zurich, Wolfensperger Collection; previously Ruesch Collection. (a) Sammlung A. Ruesch, Auktionskatalog pl. 22, no. 14; Cook, Zeus III, p. 999, fig. 809. (a) Three kalathiskos-dancers. (b) Three draped youths. 8 (23). Louvre G 493. Pottier WAL IH, pl. 152; CVA 5, III Id, pl. 34, 3 and 6; Moon, p. 34, fig. 3 and p. 33, fig. 2. (a) Flying Nike crowning victorious rider. (b) Three draped youths. 9 (24). Leningrad St. 1780. CR Pésersb. 1869, pl. 6, 3-4. (a) Maenad playing the flute and dancing silen near kottabos-stand, (b) Two draped youths.

10. Ruvo 1291. (a) Maenad adjusting kottabos-stand between two silens. (b) Three draped youths. Repainted.

11. Vatican U7. VIE pi. 214 and d. (a) Woman and youth, with Doric column between. (b) Two draped youths, with column between.

12. Stockholm 3. (a) Woman holding torch, and two youths. (b) Three draped youths. 13. Matera, from Pisticci. (a) Youth, seated woman and standing woman.(b) Three draped youths. 9

I. THE SISYPHUS GROUP | BELL-KRATERS (Con?’d.)

14 (25). Milan, Torno collection; previously Rome, Scaretti; previously De Luca Resta; previously Ruvo, Caputi 408, from Ruvo. (a) Jatta, Catalogo Caputi pl. 10. (a) Dionysus, silen dancing on a table, and maenad playing the flute. (b) Three draped youths. 15 (27). Vatican U9. VIE pl. 21¢ and f; DissPontAce 14, p. 172, fig. 22; (a) Youth seated on stele, wom-

an crowning him and youth watching. (b) Three draped youths. 16 (30). Vatican U8. VIE pl. 214 and e. (a)Three athletes. (b) Three draped youths. KRATER (?) 17 (26). Taranto, from Taranto (fr.). Woman playing the double flute. HYDRIA 18 (32). Bari 4394, from Ceglie. Mon Ant 16, pl. 2, whence Ghali-Kahil, Hé/ene p. 181, no. 147, pl. 29, 2. Paris and Helen. SKYPHOS 19 (34). Cambridge 239. CVA 1, IV, pl. 34,1; (a) Gardner, Catalogue, pl. 36. (a) Eros. (b) Woman.

LEKYTHOS

20 (35). Oxford 1932. 1233. Eros pursuing woman.

The following vases are in the painter’s later style: BELL-KRATERS 21 (29). Jena 424. Pl. I, figs. 1-2. (a) Two women and youth. (b) Three draped youths. 22 (28). Naples 2228 (inv. 82549), from Bari. Pl. I, figs. 3-4 (a) Two youths holding spears and woman holding wreath. (b) Three draped youths. 23 (31). Bari 5260, from Gioia del Colle. Detail of (a): Bielefeld, Zur griechischen Vasenmalerei fig. 42. (a) Warrior between youth and woman. (b) Three draped youths.

24. Naples Stg. 295, (2) Woman with oinochoe betweeen two youths with spears. (b) Three draped youths, almost identical with those on the reverse of Naples 2228 (22).

HYDRIAI 25 (33). Bari 6317 (Polese 127). Woman holding mirror, and two athletes.

26. Bonn. Athlete and youth crowned by woman. 27. Boulogne 176. Youth and woman.

With the bell-krater in Jena (21) and the hydria in Bonn (26) compare the following: PELIKE (shape 1) (i) London, University College 525. (a) Youth and woman at stele. (b) Two draped youths. 70

3. THE PARASOL PAINTER With the Warsaw volute-krater (2) compare a fragment in Oxford: SKYPHOS

(ii) Oxford 1922.208 (fr.). JHS 47 (1927), pl. 21, 2. Daedalus and Icarus.

The following fragment also stands very close to the Sisyphus painter: KRATER (iii) Heidelberg 26.872 (fr.). Neutsch, Die Welt der Griechen, fig. 21. Helios driving his chariot.

With the Cambridge skyphos (19) compare the following: SKYPHOS

(iv) Naples 2120 (inv. 81970). (a) Eros. (b) Woman with phiale and oinochoe.

By an imitator of the Sisyphus painter: BELL-KRATER (v) Louvre K7. (a) Passeri pl. 122; Millin IT 47. (a) Papposilen and two maenads. (b) Three draped youths. The link with the Sisyphus painter is provided mainly by the maenad on the obverse playing the double flute.

3. THE PARASOL PAINTER

(Plates N-I, figs. 7-11) The Parasol painter is so far known from only two vases: BELL-KRATERS

1. Heidelberg 26.85. Pl. II, figs. 7-8. (a) Seritt#i Nogara pl. 13, 2; Ghali-Kahil, Hés/éne, p. 183, no. 152, pl. 6,2. (a) Standing woman, youth with two spears, woman seated on cushion with maid holding a parasol over her, and youth. (b) Three youths and a woman.

2. Sydney 51.37 and 53.08 (two frr.). Pl. ITI, figs. 9-10. (a) RM 65 (1958), pl. 40, 2. (a) Apollo with lyre. (a) or (b) Youth. Of the second vase only two small fragments remain, one (51.37) showing Apollo playing the

lyre, and the hand of a second figure; the other (53.08), the head and part of the torso of a youth. The subject of the obverse, from which, no doubt, the Apollo fragment comes, cannot be reconstructed with certainty, nor can one be sure to which side the second fragment belongs.

14 xlairmont (1958), p. 52. (YCS 15, p. 168, no. 31) tentatively associates it with the contest with Marsyas; see also Schauenburg, RM 65 17

lI. THE SISYPHUS GROUP The close stylistic relationship between the Parasol painter and the Sisyphus painter shows

that their careers must have overlapped, although the former is inferior as an artist. The warrior on the obverse of the Heidelberg krater is characteristic of his style. He reminds one of the Sisyphus on the Munich krater, but is heavier and does not bend his head. Apollo on the Sydney fragment is almost a copy of the warrior on the Heidelberg vase. The right youth on the obverse of this vase and the youth on the second Sydney fragment are also strikingly alike. The double curve of the line over their forehead and temple, the slight upward turn of the nose, and the hastily drawn single line indicating the mouth are typical features. The nipples of both youths are almost perfect circles. The cushion on the obverse of the Heidelberg vase recalls Chiron’s bag on the bell-krater B.M. F 151 (p. 284). With the work of the Parasol painter may be compared the following fragment: BELL-KRATER

(i) Sydney 52.65 (fr.) Pl. III, fig. 11. (a) Dioskouros. The fragment comes from the upper part of the body of the vase; part of the rim is preserved and also part of the egg-pattern around the root

of one handle. The youth, of whom the head and the front of the torso are preserved, must have been represented riding a horse, since his head almost touches the rim of the vase and he holds his spear very obliquely (cf. the Dioskouroi on the stamnos by Polygnotus, Oxford 1916. 68, ARV p. 677,3). Between his head and the handle is a star painted in white (now faded).

Here also might be placed a vase in Paris: SKYPHOS

(ii) Louvre CA 3291 (previously Oppenheimer Coll.; Christie’s Sa/e Cat. 22 July 1936, no. 75 . JHS 41 (1927), pp. 227 and 225, figs. 4 and 3; (a) Philippart, AntC/ 4 (1935), p. 221, pl. 32, 2. (a) Dionysus, dancing maenad and silen. (b) Three athletes. Compare the head of the maenad with that of the seated woman on the Heidelberg bell-krater; also the athletes on the reverse with the youths on the reverse of the same vase.

4. THE HEARST PAINTER (Plate III, figs. 12-14)

The Hearst painter, who takes his name from a vase in San Simeon (1), was first identified

by Trendall (FI pp. 23-24) who briefly discussed his style and attributed fifteen vases to him.!® Right more (nos. 4-5, 7, 15-17, 21-22) may now be added to the list, some of them with very interesting subjects. His style is very close to that of the Sisyphus painter, and the master’s influence may be clearly seen on his bell-krater in Bonn (9) on the obverse of which 18 For a further discussion of his work see Stenico EAA II, p. 1124 and Boll, Soc. Pavese di Storia Patria, 1960.

12

4. THE HEARST PAINTER Bellerophon! is shown handing over the oyyara juypd to Iobates. The composition recalls the right central group of the wedding of Sisyphus frieze on the Munich krater. The woman pouring a libation on the obverse of the calyx-krater in Palermo (11) is one of the artist’s noblest creations, and the drawing is almost as good as the best Sisyphean work. The trial of Orestes at Athens on the obverse of the bell-krater in Berlin (8) is a very rare subject.” In composition it is treated like the purification of Orestes at Delphi, of which there are several examples on Apulian vases."* Orestes is represented in the middle taking refuge at the statue of Athena between two Erinyes, who are now turned into Eumenides and are running away from him. The scene is no doubt inspired by Aeschylus, but the artist interpreted the subject freely, and one cannot refer it to any specific passage in the last play of the Oresteia. As a work of art the vase is unsatisfactory; Orestes is clumsily drawn and the draped figures lack weight and plasticity. The subject of the obverse of Lecce 628 (6) is also rare. Herakles is often represented on Early Italiote vases, but this seems to be one of only two extant representations of the hero in his contest with the centaur Nessos.” It is very unfortunate that of the vase in Amsterdam (21) only one fragment remains. This shows the upper part of a winged youth running to the right preparing to thrust his spear. Next to him, only partly preserved, is a seated blind man wearing a long-sleeved garment. His name was inscribed above his head, but of the inscription only the initial letter ® remains. This is undoubtedly Phineus, and the winged youth is either Kalais or Zetes freeing him from the Harpies. The subject is exceedingly rare. There is, however, a second representation of it on the well-known volute-krater by the Amykos painter in the Jatta Collection,?® with the help of which we can restore in our minds the scene on the Amsterdam vase. One of the best works by the Hearst painter is his fragment in Heidelberg (22). The drawing is fine, and the vase should therefore date from an early period in his career. What remains of it shows a Nereid riding a dolphin. The subject can be reconstructed as “Peleus wrestling with Thetis” on the basis of a comparison with the volute-krater in Warsaw by the Sisyphus painter (2), on which one of Thetis’ sisters is riding off on a sea-horse, or as “The arms of Achilles,”’ which is also represented on three vases in Ruvo, with Nereids on dolphins carrying part of his armour." 16 The representations of Bellerophon on Greek vases have recently been studied by Brommer in Marburger WP 1952-4 and by Schauenburg in JdI 71 (1956), pp. 59-96, with additions in A.A 1958, cols. 21-38. See also Brommer, Vasenlisten® pp, 220-227, 17 Cf. the obverse of the Attic rf. column-krater Louvre K343 (FR II p. 365, fig. 174) by the Duomo Painter (AR V p. 392, 5); Brommer Vasenlisten® p. 323. 18 E.g, the obverses of Louvre K710 (infra p. 22, no. 1), B.M. F166 (p. 22, no. 2), Lecce 770 (p.69, no. 22); further examples are listed in BrommerVasenlisten® pp. 324-5. An interesting Paestan verston of the purification of Orestes may be seen on the large

squat Iekythos recently found in the Contrada Gaudo at Paestum—Arch. Reps, 1957, p. 37, fig. 12; AJA 62 (1958), pl. 113, figs. 9-10; Sesticri, BdA 43 (1958), p. 60, figs. 23-25 and Dioniso 22 (1959), pp. 45-50, figs. 3-5; BSR 27 (1959), p. 2, no. A3. 19 Cp. Brommer, Vasentisten® p. 123; the other occurs on a fragmentary bell-krater of uncertain style in Catania (L. 701; Cas. pl. 76). The scene is also to be found on two late Lucanian vases, a nestoris by the Primato Painter in the Louvre (K 537; Millin

I 68) and a hydria in Copenhagen (203; CVA pl. 242, 1).

20 Ruvo 1095—FR pl. 60; FI p. 35, no. 145. 21 Ruvo 425, 1496 (MonInst 3, pl. 20) and 1500; it is also represented on a volute krater in the Louvre (Schauenburg, He/fos pl. 11) and on the inside of a fragmentary Apulian dish recently acquired by the Museum of Classical Archacology in Cambridge (UP 144). We are indebted to Mr. R. M. Cook for drawing our attention to this vase and supplying us with photographs.

13

I. THE SISYPHUS GROUP It is not easy to sum up in a few words the characteristic features of the Hearst paintet’s style. His male figures (see the obverse of the San Simeon krater) are usually clumsily drawn. The figures on the fragment in Aynhoe Park (19) with their dissatisfied expression are typical of the painter’s treatment of faces. The bearded male figures on the Geneva (4), Palermo (11) and Bonn (9) vases show the artist’s conception of a man rather advanced in age. Two good examples of his ordinary female figures are to be found on the two vases formerly in

the Giudice Collection (2, 12); but the artist can do much worse, as the Erinyes and the statue of Athena show on the bell-krater in Berlin (8). With few exceptions the Hearst painter

is rather weak in the treatment of drapery; the folds of his garments are often drawn at random with no connection to the lines of the bodies they cover. This is especially true of the figures on the reverse of his vases (e.g. nos. 4, 8, 16). A peculiarity of the Hearst painter is to be found in his meander-patterns. He often draws them so that the outer vertical lines of each meander and the saltire squares, which lack one horizontal side, do not touch the framing horizontal lines (e.g. 1, 2, 4, 6, 10, 13, 15).

The connection of the Hearst painter with the Sisyphus painter helps to establish the approximate dates of the beginning and end of his career. His earliest works, among which should be placed the calyx-krater in Palermo (11), the bell-krater Lecce 574 (3), and the fragment in Heidelberg (22), should not be later than about 415 s.c. His later work, which would include the calyx-krater once in the Giudice Collection (12) and the San Simeon vase (1), should date to ca. 400-390 B.c. BELL-KRATERS 1 (37). San Simeon, Hearst Estate 2369 (SSW 12285, PC 8441). (a) FI pl. 21. (a) Komos (youth, boy — and youth). (b) Two draped youths. 2 (38). Agrigento Museum R178; previously Giudice Collection 137. (a) FI pl. 22a. (a) Woman between Eros and Hermes. (b) Two draped youths. 3 (39). Lecce 574. CVA 1, IV Dr, pl. 4. (a) Nike and horse-rider. (b) Two draped youths.

4. Geneva 14984. (a) Victorious horse-rider and man holding crown. (b) Three draped youths. 5. Catania 4209 (L. 702). Libertini, Cat. pl. 76. (a2) Nike, youth holding spear, and running youth with petasos. (b) Two draped youths.

6 (40). Lecce 628. CVA 1, IV Dr, pl. 5, 1-2. (a) Herakles, Nessos and Deianeira. (b) Two draped youths.

7. New Haven, Yale University 324. (a) Baur, Cat. p. 124, fig. 45 and pl. 17, 2. (a) Symposium. (b) Two draped youths. 8 (42). Berlin inv. 4565. (a) AA 1935, 506, fig. 5. (a) Orestes in Athens. (b) Woman between two youths. 9 (43). Bonn 80. AdI 1851, pl. 5; (a) JdI 71 (1956), p. 81, fig. 23. (a) Bellerophon and Iobates. (b) Three draped youths.

CALYX-KRATERS 10 (44). Taranto 4626, from the Arsenal. (a) Woman between two youths (very fragmentary). (b) Two draped youths with Doric column between. 11 (45). Palermo 155, from Terranova. (a) FI pl. 22 b-c. (a) Warrior between youth and woman pouring libation. (b) Three draped youths. 14

| 4. THE HEARST PAINTER CALYX-KRATERS (Cont’d.)

12 (46). Agrigento Museum R180; previously Giudice Collection. (a) Youth and Nike bringing offerings to herm. (b) Three draped youths. 13 (47.) Naples 2284 (inv. 81866), from Bari. (a) Woman between two warriors. (b) Two draped youths. 14 (48). Lecce 629. CVA 1, IV Dr, pl. 2, 3 and pl. 3, 1-2; (a) Bernardini, I/ Museo Provinciale di Lecce, ill. on p. 37. (2) Woman at laver between Hermes and silen. (b) Three draped youths.

15. Taranto 4651, from Contrada S. Lucia. (a) Silen holding lyre, Dionysus holding kantharos and thyrsus, maenad with flutes. (b) Three draped youths.

AMPHORAE OF PANATHENAIC SHAPE

16. Mississippi, University, Robinson Collection (once Roman Market, Jandolo). AJA 60 (1956), pl. 17. (a) Woman holding tray of offerings on her head between two youths. (b) Three youths.

17. Milan, private collection. Stenico, Ba//. Soc. Pavese di Storia Patria 1960, pls. 1-2; detail of (a): EAA Ml, p. 1124, fig. 1440. (a) Seated youth, standing youth and woman holding wreath. (b) Three draped youths. FRAGMENTS FROM KRATERS 18 (49). Taranto, from Taranto. Part of the laurel-pattern near the rim of the vase and the upper part of the head of a woman and of a warrior wearing petasos. 19 (50). Aynhoe Park, Cartwright Collection. Pl. III, fig. 13. Dionysus, young satyr (?) and silen. 20 (51). Once Basle Market. Athena and Pegasus. FRAGMENTS

21. Amsterdam 2534. Pl. II, fig. 12. (a) Phineus and Boread. 22. Heidelberg 26.84. Pl. ITI, fig. 14. (a) Nereid on dolphin.

The following vase is very close to the Hearst painter and might even be his own work :— BELL-KRATER (i) (41). Berlin F3181. (a) Eros pursuing youth. (b) Two draped youths.

15

The Ariadne Group is closely connected with the Sisyphus Group and contains three painters.

1. THE ARIADNE PAINTER (Plate IV, figs. 15-16)

The Ariadne painter is named after the well-known stamnos in Boston (1) with Theseus deserting Ariadne on the island of Naxos on the one side, and on the other Bellerophon taking leave of Proitos in the presence of Stheneboia. His work is discussed in FI (see pp. 24 and 40), where seven vases are attributed to him. We have withdrawn from the list two vases, the fragmentary calyx-krater in Taranto, which is now placed near to him, and the bell-krater in Ruvo with Perseus and Athena, which is now connected with the Bendis painter (p. 60). We should also like to express a word of caution about the bell-krater in Berlin (3), which is at present inaccessible, and it has therefore not been possible to confirm Trendall’s original attribution. One new vase has been added, the bell-krater Naples 2149 (4).

The Boston vase is one of the very few examples of the red-figured stamnos in South Italy, and the subject on the obverse, Theseus abandoning Ariadne, is likewise exceedingly rare in Italiote vase-painting.”? 22 Brommer (Vasenlisten? p, 167) mentions one other vase, an Apulian calyx-krater in Taranto (Arch. Reps. 19355, pl. 5b; Simon, Die Portlandvase, pl. 9, 1; Neutsch, AA 1956, cols. 223-226, figs. 17 and 20). For other examples of this shape cp. Naples 2905 (Dolon painter) and Paris, Cab. Méd. 949.

16

1. THE ARIADNE PAINTER On nos. 2, 3 and 6 of our list the main figure is Herakles; on the Ruvo vase he is being crowned by a Nike; on the Berlin vase he is being offered a pig as a sacrificial animal. On the column-krater in Naples the hero is represented holding the horn of plenty and seated between Zeus, Athena and Hermes. The scene is no doubt taking place on Mount Olympus and is conceived as an incident in the story of the apotheosis. The goddess Athena seems to be a favourite of the artist, since she appears again on two other vases (nos. 5 and 6) assigned to him on our list. The representation of Bellerophon (see note 16) attacking the Chimaera on no. 5 is one of the most impressive in Italiote vase-painting. Our artist likes mythological subjects and treats them in a grand manner; his compositions are usually monumental. His only extant Dionysiac subject appears on the Naples bell-krater, which is 2 minor work. The style of the Ariadne painter is mainly recognizable by the treatment of his nude male figures, which usually appear with their head in three-quarter view. Bellerophon on the Boston vase, Herakles on the Ruvo bell-krater and again on the column-krater in Naples are typical of the paintet’s style. A stylistic link between Ruvo 545 and Ruvo 1091 is provided by Athena, who is treated similarly on both vases. Proitos on the Boston stamnos is reminiscent of Poseidon on the Ruvo column-krater. The attribution of Naples 2149 is based mainly on a comparison of the figures on this vase with Hermes and the youths on the reverse of Naples 2408. The Ariadne painter’s work cannot be much later than the work of the Sisyphus painter. Most of his extant vases should be dated in the first two decades of the fourth century. STAMNOS

1 (52). Boston 00.349 FT pl. 23; (a) FR III, p. 105, fig. 51; Pfuhl fig. 632; Azene e Roma 35 (1932), p- 126, pl. 2, fig. 10; BAA I, p. 632, fig. 817. (a) Theseus deserting Ariadne. (b) Bellerophon, Proitos and Stheneboia. . BELL-KRATERS 2 (53). Ruvo, Jatta 545, from Ceglie. (a) Ausonia 3 (1908), p. 63, fig. 4; Roppo, Caeliae, p. 133. (a) Nike crowning Herakles in the presence of Athena. (b) Four draped youths. 3 (55). Berlin F3187. Gerhard, Antike Bildwerke pl. 86, figs. 1-2. (a) Hermes bringing a pig for sacrifice to Herakles in Athena’s presence. (b) Youth and woman at altar.

4, Naples 2149 (inv. 81423), (a) Dionysus, silen and maenad running to right. (b) Three draped youths.

COLUMN-KRATERS 5 (56). Ruvo, Jatta 1091, from Ruvo. (a) Pl. IV, fig. 15. (a) Iapigia 3 (1932), p. 249, fig. 32. (a) Bellerophon attacking the Chimaera in the presence of Athena and Poseidon. (b) Four draped youths. 6 (57). Naples 2408 (inv. 81872). (a) Pl. IV, fig. 16; Antike und Abendland 10 (1961), pl. 20, fig. 37.

Pl. IV, fig. 16. (a) Seated Herakles holding the horn of plenty, between Zeus, Athena and Hermes. (b) Four draped youths. 17

Il. THE ARIADNE GROUP Near to the Ariadne painter is the following vase, recently recomposed from fragments: CALYX-KRATER

(i) (58). Taranto, from Taranto. FR HI, p. 349, no. 22. (a) Theseus and the bull. (b) Dionysiac scene (very fragmentary).

2. THE PAINTER OF BOSTON 00.348 (Plate V, fig. 22)

The painter of Boston 00.348, a somewhat inferior contemporary of the Ariadne painter, is known to us from two vases: BELL-KRATERS

1. Boston 00.348. (b) Pl. V, fig. 22. (a) AdI 1879, pl. D; RM 65 (1958), pl. 30. (a) Athena and Marsyas. (b) Thiasos.

2. Vatican T2. VIE pl. 28a and ¢. (a) Tragic scene. (b) Thiasos.

On the obverse of the Boston vase Athena is represented seated in the centre by a tree playing the double flute, the instrument which she herself invented. A youth stands in front of her holding out a mirror in which the distorted face of the goddess is reflected. On the left Marsyas is approaching preceded by a Maltese dog. His fascination by the music is clearly expressed on his face and in his movements. The scene is witnessed by three onlookers, Zeus seated on a higher level, a maenad and a silen. The contest between Apollo and Marsyas and its antecedents are fairly popular subjects

in Greek vase-painting,?* but the subject on the obverse of the Vatican krater, which 1s clearly derived from a play, is unique and difficult to interpret. It has been connected by some scholars with the Iphigenia in Aulis of Euripides. Those who support this theory identify the old man by the column as Calchas, the man with the pilos as Odysseus and the three women on the left, seated in a kind of loggia, as Clytemnestra, Iphigenia, and a servant. Séchan,** on the other hand, connects the scene with the lost Sophoclean tragedy ‘£2é.7’Anairynot-. He agrees that the man wearing the pilos should be Odysseus, but identifies the old man as Antenor and the three women on the left as Helen with two of the ladies of her retinue.

Our attribution of the Boston and Vatican vases to a single artist is mainly based on a comparison of the drawing of the figures on the reverses and of the meander patterns, which are very similar. 23 See Clairmont, YCS 15 (1957), pp. 161-178; Beazley, EVP pp. 73-77; Metzger, Représentations pp. 158-168; Schauenburg RM 65 (1958), Pp. 42-66. Athena and Marsyas appear together on a skyphos in New York from the Amykos workshop (FI no. 165, pl. 9 and pl. 114), and the contest is treated in a grandiose fashion on an Apulian pelike in Naples (3231; Clairmont no, 21). 24 Fiudes sur la Tragédie, pp. 181 f; cp. VIE pp. 90-91.

18

3. THE ADOLPHSECK PAINTER The following most important vase should be mentioned in connection with the painter of Boston 00.348: COLUMN-KRATER (i) New York 50.11.4. BMMA Feb. 1951, pp. 156-161; (a) Richter, Metr. Mus. Handbook’, p. 116, pl. 96¢; detail: Handbook of Greek Art, p. 274, fig. 395; Reutersward, Sindien zur Polychromie der

Plastik, p. 96, fig. 14. (a) Artist painting statue of Herakles in the presence of Zeus, Nike and Herakles. (b) Athena and one of the Dioskouroi, Pan, Hermes and Eros.

This vase has been expertly published by Dietrich von Bothmer in the Bu/letin of the Metro-

politan Museum of Art and we refer to his article for a full discussion of the subject on its obverse. We should, however, like to stress here its interest as the earliest and fullest extant representation of an éyKavorhs dyadudrwy at work. As Bothmer remarks, the statue is finished

from the sculptor’s view-point and is already set up on its permanent pedestal, the front of which is covered with thick strokes of diluted pigment. The subject on the reverse cannot be clearly interpreted. Athena is represented seated in _ the centre conversing with one of the Dioskouroi who is standing in front of her on the right. On the left Hermes and Pan appear on a higher level looking towards the goddess and the youth, On the same side, below Hermes, an Eros is trying to catch a bird, perhaps a duck. Stylistic links with the painter of Boston 00.348 are provided by the treatment of Athena, whose drapery recalls the drapery of the goddess on the Boston bell-krater, and the treatment of the profiles of the male figures which recall the profiles of figures on the Boston vase,

3. THE ADOLPHSECK PAINTER (Plate IV, figs. 17-18)

To the Adolphseck painter are attributed two bell-kraters, one in Adolphseck, the other in Marseilles, and a fragment in Boston, from a bell-krater. The first has a very rare subject on the obverse, rightly identified by Mobius®® as the recognition of Theseus by Aigeus. Theseus is represented in the middle pouring a libation on an altar. His father stands to the right holding Theseus’ sword, one of the two tokens he himself had placed under a rock in Troezen, which Theseus ought to lift when grown up. The second token, a pair of sandals, is omitted on our vase, but the bonnet mentioned by Bacchylides (XVIII, 46 ff.) is hanging from Aigeus’ left hand. Medea is present at the scene of recognition. She stands to left, 25 Text of Neugebauer, Antiken in deutschem Privathesitz p. 42, no. 181; so also Shefton, AJA 60 (1956), p. 162, note 25, and Brommer, CVA 2, Text, p. 40, and Vasenlisten? p. 163, Mobius ascribes to the same workshop the bell-krater Wurzburg 824 which we place near to the painter of Karlsruhe B9. He also attributes to the same artist the hydria Munich 3266, but here we cannot follow him.

19

II. THE ARIADNE GROUP raising her hands in astonishment, and in her terror has dropped the oinochoe** she was holding. Perhaps she also foresees the loss of her influence with Aigeus and that she will eventually have to leave Athens. The head of Aigeus looks as if it had been drawn bald. The artist had added the hair in white, but this has flaked off, just as it has on the shield painted in the background between Theseus and Aigeus. The Boston fragment, formerly in the possession of Dr. Clairmont and fully discussed by him in YCS 15 (1957), pp. 166 ff. shows Apollo triumphant, no doubt after his contest with Marsyas. The attribution is clear from the close resemblance between the head of Apollo and those of Theseus and Medea on the Adolphseck krater. The way the Adolphseck painter draws the eyes of his figures in three-quarter view is very characteristic of his style: the dots indicating the irises are painted between the upper and the lower eyelid, either without touching them at all or else barely touching the upper one. BELL-KRATERS

1. Adolphseck, Schloss Fasanerie 179. CVA 2, pl. 80, 1-2; (a) Neugebauer, Antiken in deutschem Privatbesitz no. 181, pl. 80. (a) Medea, Theseus and Aigeus. (b) Three draped youths.

2. Marseilles, Musée Borély 2933. Pl. IV, figs. 17-18. (a) Dionysus, maenad, and satyr drawing wine from a bell-krater. (b) Two draped youths.

3. Boston 61.112 (frr.), ex Clairmont Collection, YCS 15 (1957), pl. 1. (a) Apollo with cithara, Zeus and Nike.

286 On the significance of this see Shefton, AJA 60 (1959), p. 161.

20

Il. THE EUMENIDES GROUP The Eumenides Group contains two artists, the Eumenides Painter and the painter of Perseus and Athena, whose styles are derived from the Sisyphus painter and are also related to that of the Tarporley painter (see p. 31).

1. THE EUMENIDES PAINTER . (Plate V, figs. 19-21)

The Eumenides painter takes his name from the distinguished vase in the Louvre (1) representing the purification of Orestes at Delphi by Apollo. It was published by Hauser in FR (pl. 120, 4-5; text IT pp. 330-4) and the subject on the obverse is further discussed by Séchan.?” Both scholars agreed that the artist was inspired by the final play of the Oresteia trilogy and the representation of Orestes, sword in hand, brings to mind the words of the priestess in the Exmenides (lines 40-43) bpd Wer’ duoal pay dvd pa Beopvaz edpay &xovra mpoatpbratoy, atpate

acdfovta xetpar Kat veoarudes Ftpor

&xovt’...

The subject on the reverse is unimportant: a conversation scene between two youths and two women. 27 op. cit. pp. 97-99, pl. 1,2. For a further study of this subject see Sestieri, Dioniso 22 (1959), pp. 45-50, with reference to the PaeStan vase mentioned in note 18 above.

21

Ill. THE EUMENIDES GROUP Two other vases, both in the British Museum, may be attributed to the same painter, one of which (2) also depicts a “Purification of Orestes,” but treats it on a smaller scale. On the obverse of the other (3) a youthful Herakles is being crowned by a Nike. The subject recalls that on the Ruvo bell-krater by the Ariadne painter (see p. 17), but the goddess Athena is here omitted and a tendril is added in the middle, separating the two figures and enriching the composition. The reverse of the vase is so damaged as to make a study of the figure-work impossible. The noble profile of Apollo’s head on the Louvre vase and on B.M. F 166 is typical of the Eumenides painter’s style. The drapery of the left woman on the reverse of the Louvre bell-krater is also characteristic and stands very close to the drapery of the Nike on B.M. F 47. In addition to these similarities, the Louvre vase and B.M. F 47 are connected by their meander patterns. In regard to chronology we believe that Hauser’s dating of the Louvre vase to ca. 430 is far too early. Hauser based his dating on a comparison of Orestes and the two sleeping Erinyes with the so-called Dionysus and the group of two female figures, one leaning on the lap of the other, in the East pediment of the Parthenon. Such compositions, however, are not uncommon on Attic vases of the late fifth and early fourth centuries and cannot be used as a basis for an early dating of the Louvre vase. Miss Moon (op. cit. pp. 40-41) rightly saw affinities between this vase and some vases by the Tarporley painter, and suggested a date between 390 and 380, which to us also seems very probable. BELL-KRATERS

1. Louvre K710. FR, pl. 120; (b) Moon p. 40, fig. 6. (a) Purification of Orestes at Delphi. (b) Two youths and two women.

2. B.M. F166. Pl. V, figs. 19-20. (a) AdI 1847, pl. 10; AZ 1860, pl. 137, 3. (a) Purification of Orestes. (b) Two draped youths.

3. B.M. F 47. Pl. V, fig. 21. (a) De Rossi, Vasi greci di Blacas pl. 18. (a) Nike crowning Herakths. (b) Two draped youths. (The reverse is badly damaged).

The following vase is near in style to the work of the Eumenides painter: BELL-KRATER

(i) Vatican T8. VIE pl. 23¢ and pl. 24¢. (a) Dionysus, maenad and satyr. (b) Two draped youtles.

2. THE PAINTER OF PERSEUS AND ATHENA (Plates VI-VII, figs. 23-32)

This artist is known from a situla in the British Museum (1) and a fragment of a hydria in Tubingen (2). On the obverse of the London vase Perseus is represented wearing a winged 22

2. THE PAINTER OF PERSEUS AND ATHENA Phrygian helmet, winged shoes and chlamys. He is seated on a projection of the ground and holds two spears in the right hand. Athena stands in front of him holding out the harpe. A male and a female figure are partly preserved on the fragment of the Tiibingen hydria. The former very closely resembles Perseus on the London situla; the female figure is of secondary importance in the scene since she stands behind the hero. A second female figure no doubt stood in front of him but is now completely lost. The subject has been interpreted by Watzinger and Madame Ghali-Kahil as “Paris and Helen.” In view of the stylistic relationship of the Tubingen vase with the situla in the British Museum and the similarity of the male figure on the former to Perseus on the latter, we should like to suggest that the scene on the Tiibingen vase might be a slightly different version of the subject on the London situla, though the possibility of a “Judgement of Paris” is not to be excluded. In shape the London situla is canonical, most of the Apulian situlae known to us being of the same type.?® On the basis of the style of drawing, the work of the painter of Perseus and Athena should be dated in the latter part of the first third of the fourth century. SITULA

1. B.M. F83. Pl. VI, figs. 23-24, pl. VII, fig. 29. (a) Schauenburg, Perseus pl. 3, 1. (a) Athena and Perseus. (b) Satyr and maenad.

HYDRIA

2. Tubingen F 20 (fr.). Watzinger, pl. 43; Ghali-Kahil, Héne pl. 28, 4. Perseus between Athena (missing) and woman (or Paris, between Helen (missing) and woman, or judgement of Paris).

With the work of the painter of Perseus and Athena compare the following vases, which may well be the work of a single hand:

BELL-KRATERS | (i) Naples 2413 (inv. 81415). Pl. VI, figs. 25-26. (a) Jason and the bull. (b) Youth with duck, seated woman and standing woman.

(ii) Taranto (frr.). Pl. VI, fig. 27. (a) Death of Orpheus. (b) Woman with cista between two youths. SKYPHOS

(iii) Heidelberg inv. 26.90 (frr.). Pl. VI, fig. 28. Death of Orpheus.

The following vase is also near the work of the painter of Perseus and Athena: SKYPHOS

(iv) Taranto I.G. 22488. CVA 2, IV Dr, pl. 31; (a) Ghali-Kahil, Héfne pl. 29, 5. (a) Seated oriental youth with spear, and woman (Paris and Helen ?). (b) Eros and woman.

28 For a more elaborate version cp. New York 56,171.64 (BMMA March 1957, p. 179) and a situla in the J.V. Noble Collection (Ancient Art in American Private Collections, no. 299, pl. 85), both ea. 350 B.c. and belonging to the Lycurgus Group of “Ornate” Apulian.

23

III. THE EUMENIDES GROUP With the vases of the Eumenides painter and those by the painter of Perseus and Athena, compare the following phlyax vases, especially for the treatment of the figures on the reverses: BELL-KRATERS

(v) Cambridge (Mass.), Harvard University, Dept. of Classics, (once New York, Hirsch 703). (b) Pl. VII, fig. 30. (a) Bedentende Kunstwerke aus dem Nachlass Dr. Jacob Hirsch(Sale Cat. 7 Dec.

1957) p. 17, no. 30, pl. 16; Trendall, Ph/yax Vases, no. 23. (a) Phlyax scene—old man and old woman. (b) Two draped youths. This vase has recently been made the subject of a detailed study by Anne Bromberg in HSCP 64 (1959), pp. 237ff., pls. 1-2, where the connection with the two following vases is noted. (vi) Wiirzburg 959. (b) Pl. VII, fig. 31. (a) Trendall, Ph/yax Vases, no. 61, pl. 3a. (a) Phlyax scene— old man with spear and seated warrior wearing helmet and holding shield. (b) Two draped youths.

(vii) B.M. F151. (b) Pl. VI, fig. 32. Trendall, Phiyax Vases, no. 35; (a) Catteruccia no, 25, pl. 6; Webster, GTP no. B 32, pl. 15d. (a) Chiron’s cure. (b) Nude athlete seated between two draped youths.

24

IV. THE REHEARSAL GROUP This group includes five painters, all active during the second quarter of the fourth century B.C.

1. THE REHEARSAL PAINTER (Plate VIII, figs. 33-34)

The Rehearsal painter takes his name from the amusing subject on the obverse of the bell-

krater Oxford 1944.15 (1), which represents an incident in the story of the judgement of Paris earlier than the contest itself. The three goddesses rehearse the poses which they are to take during the Ka/daretz in which Paris is to be the judge. Hermes is seated in the middle, on a rock, and shows Athena, who stands in front of him, how to take an elegant attitude.

Being less feminine than Aphrodite or Hera, the virgin goddess of wisdom had some difficulty in learning the secrets of gracefulness and charm. The rehearsal for the judgement of Paris is also represented on an Apulian vase formerly in the Albert Barre Collection®® and on a Lucanian panathenaic amphora in London by the Choephoroi painter,*° on which Hermes is represented as coaching Hera. To the painter of the Rehearsal bell-krater in Oxford we are able to attribute two more vases, two hydriai in the British Museum, which form a pair (2 and 3). Like the subject on Louvre K 710, the scene on the hydria B.M. F 92 is inspired by the Oresteia and is reminis28 Frohner, Collection Albert Barre, no, 336 and Clairmont, Parisurteil, p, 62, K. 192. 30 B.M. F483, Clairmont K 185, pl. 37 and Trendall, Studies Robinson U1, p. 119, no. 32.

25

IV. THE REHEARSAL GROUP cent of the second play of the Aeschylean trilogy. Orestes is represented seated in the middle

beside a column—the tomb of Agamemnon—holding a sword in his right hand.” He is surrounded by two women, one carrying a vessel, the other holding a sash. The women and the column bring to mind the lines at the beginning of the Choephoroi (149-151) in which Electra pours libations on her father’s tomb: totatad én’ edbyutr tdod extomtévow ods. buds 0& xuxvrots exavbiCeev vouor, matdva tov Gavortoz éavdwpevar.

The stele in front of the hero with his name inscribed on it does not indicate the tomb of Orestes as Walters (B.M. Cat. IV, p. 56) thought. It is used rather to fill up the vacant space between two of the figures, and enrich the composition. Such stelai often appear on Italiote vases** and are usually inscribed with names taken from everyday life or names of heroes. The resemblance in style of drawing between the three vases attributed to the Rehearsal painter is striking. Hera on the Oxford vase stands close to the woman with the parasol on B.M. F 96. The nude youth on its reverse recalls the male figures of the London hydriai. These two vases are also connected with each other by their floral decoration, which consists merely of two palmettes, one above each of their two horizontal handles. The three vases also have similar meander patterns, BELL-KRATER 1. Oxford 1944.15. (a) Ashmolean Report 1944, pl. 1b; Clairmont, Parisartei/ K189, pl. 39. (a) Hera, Hermes, Athena and Aphrodite. (b) Three draped youths. HYDRIAI

2. B.M. F92. Pl. VUI, fig. 33. B.M. Caz. IV, pl. 3. Orestes seated between Electra and attendant. 3. B.M. F96. Pi. VIII, fig. 34. Seated youth between woman with parasol and youth.

2. THE PAINTER OF THE LONDON PELIKAI (Plate VIII, figs. 35-38)

This painter is named after two pelikai in the British Museum (1 and 2), which form a pair.

They have the same subject on the obverse, a conversation scene consisting of a woman holding a mirror seated between a youth to left and a second woman to right. Our two vases ate mainly connected by the female figures on the obverse and the meander patterns. $1 The column and the sword were originally painted in white, which has now vanished. 32 See Heydemann in Commentationes Philologicae in Honorem T. Mommseni p. 174. For a parallel scene on a Melian relief cp. Jacobsthal, Die Melischen Reliefs, no. 104, pl. 61.

26

3. THE DIOSKOUROI PAINTER PELIKATI (shape 1)

1. B.M. F181. (a) Pl. VII, fig. 35. (a) Woman with mirror seated to right between nude youth and woman holding two cistae. (b) Two draped youths.

2. B.M. F182. (a) Pl. VIII, fig. 36. (a) Woman seated between nude youth and woman holding alabastron. (b) Three draped youths.

With the Rehearsal painter and the painter of the London Pelikai compare the following: PELIKE (shape 1) (i) Naples 2271(inv. 81729). (a) Youth with staff chasing woman holding dish of offerings. (b) Two draped youths. HYDRIAI

(ii) Ruvo 489. Woman seated on a cista, woman with fan, and woman with sash. Below handles: geese.

(iii) Hanover 775. AZ 1851, pl. 36; Ghali-Kahil, Hélne p. 182, no. 151, pl. 29, 1. Judgement of Paris.

The following vase seems to be near the Hanover hydria: HYDRIA (iv) Berlin F3164. Neugebauer, Fuhrer pl. 75. Io seated on the base of a statue of Artemis between Hera and Argos to left and Zeus and Aphrodite to right, with Eros above.

Also in this vicinity should be placed:

BELL-KRATER | (v) Leningrad W2075. Pl. VII, figs. 37-38. (a) Youth and king, both holding spear-heads, between a standing and a seated woman. (b) Three draped youths. The subject on the obverse of this vase should perhaps be interpreted in the light of the subject on the obverse of the Adolphseck bell-krater (see above p. 20).

3. THE DIOSKOUROI PAINTER (Plate IX, figs. 39-42)

The Dioskouroi painter is known to us from two vases in the British Museum: COLUMN-KRATER

1. B.M. F172. (a) Pl. IX, figs. 39-40. (a) King seated and queen standing between two youths holding spears. (Tyndareos, Leda and the Dioskouroi?). (b) Three draped youths.

27

IV. THE REHEARSAL GROUP BELL-KRATER

2. B.M. F50. Pl. TX, figs. 41-42. (a) Komos (woman with kottabos-stand and torch, youth with kantharos and thyrsus). (b) Two youths.

The subject on the obverse of the column-krater is difficult to interpret. A king is seated on a klismos placed on a small platform. His queen stands behind him holding a phiale and

an epichysis. On either side of the royal couple stands a youth wearing a chlamys and holding a spear. Both have a pilos attached around the neck, hanging down their back. One of them is about to shake hands with the king. The scene probably represents the departure of the Dioskouroi from the palace of Tyndareos or their return to it. The subject of the bell-krater is uninteresting. A maenad with kottabos-stand** and torch runs to the right followed by a youthful Dionysus holding a kantharos and thyrsus. Two youths are represented on the reverse. One of them carries a basket on his shoulder with a killed animal in it. He is no doubt selling it to the second youth who holds his purse out to him. The two vases are closely connected by the faces of the youths on their reverses and by the similarity of the meander patterns.

4, THE JUDGEMENT PAINTER (Plate IX, figs. 43-44)

This painter takes his name from the representation of the Judgement of Paris on the obverse of B.M. F 167 (1). Paris is seated on a rock wearing a chlamys and holding two spears. Hermes stands in front of him leaning on a stele. Only two of the goddesses appear in the scene, Hera on the left holding her sceptre and Aphrodite on the right seated on a projection of the ground, holding a phiale. A sheep lying near Paris and the shepherd’s dog be-

tween Hermes and Aphrodite add a bucolic touch to the picture. Representations of the Judgement of Paris in which one or two goddesses are omitted are not uncommon on Italiote vases.* The obverse of the Brussels panathenaic (2) is decorated with a Aerodx scene. The statue of a warrior is represented in an Ionic aiskos in the centre surrounded by four figures, two women and two youths, spread on two different levels. The subject on the reverse is again a conversation scene with four athletes. The vase is damaged by breaks all over its surface. The heroized warrior and the naiskos were originally treated in added white which has mostly vanished. *3 For a recent study of the game of Kottabos see Sparkes, Archaeology 13 (1960), pp. 202 ff.

Pacstutn, Trendall Paertan Port reript( BSE 1953). 1605 Sestet, ArchC1? (1958), pp. 1-8, ple, 1-3, on which only. Hers appears

au , pe )p- 160; Sestieri, (1955), pp. 1-8, pls. 1-3, on w y PP 28

} 5. THE PAINTER OF B.M. F57 The similarity of the drawing on the London and Brussels vases is striking. A comparison of Paris on the former with the seated warrior on the latter would convince anyone that the

two pieces are by the same artist. The profile of the central youth on the reverse of the London vase resembles the profile of the seated woman on the obverse of the Brussels panathenaic amphora. The two vases are also connected by their meander-patterns. To these must be added a column-krater in Ruvo (3), not included in the catalogue of the Jatta Collection, which is also extremely close in style and especially in the rendering of the drapery. It represents the madness of Lycurgus, who is shown slaying his son in front of a building, above which is the bust of a veiled woman (very similar to Aphrodite on B.M. F 167) and to left a bearded man shading his eyes from the sight. Beside him is a hound exactly like that of Paris on the London vase. The Judgement painter is a clumsy artist. His drawing is of poor quality and the anatomical details of his nudes are carelessly treated. Note, for example, the left nipple of the seated warrior on the Brussels vase which is drawn out of its proper place, or his spear, which is

drawn short to make room for the sash held by the woman behind him.

BELL-KRATER ,

1. B.M. F167. (a) Clairmont, Parisurtei] K188, pl. 38. (a) Judgement of Paris. (b) Three draped youths.

PANATHENAIC AMPHORA

2. Brussels R403. (a) Pl. IX, figs. 43-44. CVA 2, IV F, pl. 2a~c. (a) Statue of warrior in herodn surrounded by two youths and two women. (b) Four youths. COLUMN-KRATER

3. Ruvo, Jatta Coll. (a) AdI 1874, pl. R= Pickard-Cambridge, Theatre p. 82, fig. 9. (a) Madness of Lycurgus. (b) Dionysus and two satyrs with wine-skins.

5. THE PAINTER OF B.M. F57 (Plate X, figs. 45-48)

This painter, who is very close in style to the Judgement painter, is known to us from two vases, interesting of subject but poor in execution. BELL-KRATERS

1. B.M. F57. (a) Pl. X, fig. 45. (a) Orestes, Electra and Chrysothemis. (b) Three draped youths. 2. Bari 6332 (Polese 142). (a) Pl. X, fig. 46. (a) Poseidon, Amymone and young satyr. (b) Three draped youths.

29

IV. THE REHEARSAL GROUP A glance at the London krater (1) shows the relationship between this painter and his colleague, the Judgement painter, especially in their treatment of the three-quarter face, the posing of the figures and the rendering of drapery. Here, however, the drawing is perhaps a little clumsier; note how the fold lines of the chiton over-run the breasts, and the squint which the artist has given to Electra. The Bari krater (2) is very close to the London vase, particularly in the rendering of the eyes and in the treatment of the drapery, with the thick wavy border at the bottom of the chiton, and the over-running fold lines, but the drawing is even cruder. On the obverse Poseidon appears seated to left, with his trident in his hand; in the centre is Amymone holding up a hydria to collect water which is pouring down in streams from two white hydriai on a rock above, and to right is a capering satyr who connects the vase with other satyric representations of the scene, which, though common enough on Attic vases, is comparatively rare on Italiote.*®

With the work of the Dioskouroi painter and that of the painter of B.M. F 57 we may compare the following vase: BELL-KRATER

(i) Trieste 2126. Pl. X, figs. 47-48. (a) Satyr, maenad at kottabos-stand, and Dionysus reclining. (b) Three draped youths.

Beazley, 5 Sce Brommer AM 63/4 pp. 171-176, and especially pp. 173-4; also pp. Satyrspiele® nos. 44-54; Attic Vase“Amymone”, Paintings in Boston Il, p.(1938-9), 91, and Schauenburg Antike und Abendland 10 (1961), 84-86.

30

V. THE TARPORLEY PAINTER AND HIS SCHOOL 1. THE TARPORLEY PAINTER (Plates XI-XIV, figs. 49-66)

Like the Parasol and the Hearst painters the Tarporley painter started as a pupil of the Sisyphus painter, but unlike them, he broke away from his master at a fairly early stage to create a school of his own. His style was first identified by Mrs. Oakeshott (op. cit. p. 41) and in FI twenty-six vases are attributed to him, a total which may now be raised to fortysix.3

The Tarporley painter’s extant work consists for the most part of bell-kraters with Dionysiac subjects. Occasionally the monotony is broken by such representations as a conversation scene (28) or the crowning of an athlete (6, 13). His masterpiece is the calyxkrater in New York (20), which is the earliest known extant phlyax vase. The scene on the obverse and the inscriptions have been discussed repeatedly, and in a recently published atticle Beazley made a great contribution towards a better understanding of both.*” The scene, which represents the punishment of a thief, takes place in the theatre, partly in the orchestra and partly on the stage. The characters are meant to be actors. The thief is standing on tiptoe in the middle of the orchestra holding his arms up. On the left is a retrograde inscription which starts near his mouth. He is complaining in despair that the policeman 38 FI pp. 25 ff. and pp. 40-41. The bell-krater Compiégne 1023 (64) has been withdrawn; it should be attributed to the Dolon painter and is an interesting instance of the proximity of the styles of the two painters for a short period. 37 See in particular Whatmough, HSCP 1928, pp. 1-6, and CP 1952, p. 26; Webster, CO 1948, p. 25 and Festschrift Schweitzer p. 260; Beazley, AJA 56 (1952), p. 193; Trendall Phlyax Vases p. 12.

31

V. THE TARPORLEY PAINTER AND HIS SCHOOL who stands near him has bound his hands up KATE4HSANOQTOXEIPE., Scholars have found it

difficult to reconcile the inscription with the representation of the thief, whose hands are not bound. To explain the discrepancy Beazley suggested that by carddeorcc spellbinding is meant here, not real binding. The policeman on the left who has caught him, looks proud of his work. He holds a stick and threatens the poor rascal in his professional unintelligible language NOPAPETTEBAO. On the wooden proskenion to the right stands an old woman who gesticulates in the direction of the thief and shouts ETQMAPEEEQ. A basket is near her with a kid in it, and a dead goose. She is the victim of the thief’s activities. "Era zapé&w is no doubt only the beginning of a shower of threats and insults on her part.** It should be noted that the inscriptions are in iambics and are therefore probably quotations from the actual play. Beazley suggests the following reading: A. xarédna’ dum te jet oe. B. vwpapetteBhu. LD. dy mapi&w...

while Webster prefers to take the inscriptions in the order in which they appear on the vase, making an iambic tetrameter catalectic of the intelligible words: A, vopapetteBhu. B. carédna’ dvw ta yetpe. F. erm mapsso ...

The dialect is Attic and the representation will therefore be of an Attic comedy rather than a local one.

The presence of the youth in the scene presents us with a problem. The inscription TPATOI40S which is written near him, indicates that he is a tragic actor; he does not seem to be part of the main scene. Beazley thinks that the subject on the vase is probably painted to commemorate a dramatic festival which included tragedy as well as comedy. The youth is a tragic actor who is probably looking at the comedians acting their parts after his own performance is over. Among the artist’s other interesting vases we should mention his bell-krater in Sydney (15) with the representation of three actors preparing for a satyr-play, his bell-krater in Oxford (16) showing Orestes pursued by an Erinys, and especially his vases in Gotha and Taranto (21 and 39) on the obverse of which Perseus is represented standing on the left and Athena seated on the right, on a higher level. On both vases the goddess holds out Medusa’s head, which is reflected on the surface of a water-pool on the former, and on her shield on the latter. A parallel scene is represented on a bell-krater in the Jatta Collection, near in style to the Bendis painter (p. 60). On that vase the hero and the goddess appear again together, but this time it is Perseus, not Athena who holds Medusa’s head.” The earliest extant work by the Tarporley painter is perhaps his skyphos in London (45). The influence of the Sisyphus painter on it is strong, especially on the female figures— 38 To complete the sentence Trendall suggested the addition of the word xpaypata, Beazley supplemented the sentence as

follows "Eye napétu [tov xardpatov rovrovl, Efpety, xaTaxontety, xpeoxorety meprxdppata . . .]

39 For other representations of Perseus on Italiote vases see Cook, Zeus III, p. 843; J.M. Woodward, Perseus; Brommer, Vasenlisten,” pp. 204-220. A full study of the subject has recently been published (1960) by K. Schauenburg under the title Perseus.

32

: 1. THE TARPORLEY PAINTER compare them, for example, with the bride of Sisyphus on the Munich volute-krater or the woman in the komos on the reverse of the Warsaw krater. Among his other early and comparatively careful works the bell-kraters in Bowdoin College (3), San Simeon (5) and Los Angeles (1) may be mentioned. During his early period the artist prefers to include in his Dionysiac subjects Pans rather than silens. These and his youths often appear with a little bird perched on one hand. They are for the most part represented in three-quarter view, with the head held in profile. Two good examples of his better drawn female figures are the maenad on the bell-krater in Los Angeles (1) and the woman on the vase in Bowdoin College (3). The hair held up by a fillet, with a chignon jutting out behind, is characteristic of the artist’s style. At a later stage the Tarporley painter developed a more personal, but inferior, style. His

column-krater in Copenhagen (22), his pelike in Taranto (39) and his volute-krater in Geneva (25) are characteristic works of this second period. Contemporary with them is a column-krater formerly in the possession of Adolf Hitler (23) which was presented to him by the Italian Government during his visit to Rome in 1938. Although the available photographs, from which our reproductions here are made, are not satisfactory, they are good enough to allow a safe attribution of the vase to the Tarporley painter. The columnkrater was considered a suitable present for Hitler because of the swastikas on the dress of one of the male figures of the obverse. Swastikas are not common on vases by this artist, but they occur repeatedly on those of two of his followers, the Lecce painter and the Truro painter. The youths on the Geneva column-krater (24) and the maenad on the Copenhagen vase (22) are characteristic of the Tarporley painter’s style in his later period. The latter is dancing, holding a sword and a slain animal, like the maenad on the vase formerly in the Signorelli collection (14). On this vase Dionysus holds a tympanon with a woman’s head painted on it. A parallel is perhaps the tympanon with a head painted on it on the reverse

of the volute-krater Bari 7694 (FI pl. 100), once attributed by Trendall to the Amykos painter and now to the Palermo-Karneia painter. The Tarporley painter must have been active for some twenty or thirty years. His earliest work, which is influenced by the Sisyphus painter, should be dated before the end of the fifth century. His latest vases cannot be much later than about 380 B.c. BELL-KRATERS

1 (59). Los Angeles A5933.50.35; previously Tarporley, Marshall Brooks; previously Hope 211. Hesperia 24 (1955), pl. 10¢-d. (a) Tillyard pl. 30, 3; Moon pl. 13, 2; Sotheby Sa/e Cat. 14 May, 1946, pl. 4; (a) Dionysus crowned by maenad, and Pan. (b) Three draped youths.

2. Sydney 54.04. (a) Young satyr, Dionysus and maenad. (b) Three draped youths.

3. Brunswick (Maine), Bowdoin College 1915.47. Pl. XI, figs. 51-52. (a) Dionysus holding branch, and maenad with fawnskin and phiale. (b) Two draped youths. 4 (61), B.M. F163. Moon pl. 13,4 and 5. (a) Nike between youth holding mask and Pan holding bird. (b) Two draped youths and woman. 5 (62). San Simeon, Hearst Estate 3985 (PC 8057); previously Ruesch Collection. (a) Sammlung A. Ruesch Auktionskatalog pl. 15, no. 28; FI pl. 27a. (a) Dionysus holding mask, and Pan with a kra-

ter between. (b) Two draped youths. 33

V. THE TARPORLEY PAINTER AND HIS SCHOOL BELL-KRATERS (Cont'd.)

6 (63). Cambridge (Mass.), Fogg Art Museum 1960.359; previously Mississippi, University, Robinson Collection; previously Basle Market. CVA, Robinson Coll. 3, pl. 19,2. (a) Nike, youth and woman. (b) Three draped youths. 7 (65). Copenhagen, Ny Carlsberg Glyptotek H154. (b) Bil/dertafeln pl. 53.2. (a) Dionysus, satyr and maenad. (b) Three draped youths.

8. Mississippi, University, Robinson Collection. Miinzen und Medaillen, Sa/e Catalogue XIV (19 June, 1954), pl. 22, no. 87; AJA 60 (1956), pl. 18, figs. 79-81. (a) Maenad seated between Dionys-

us and satyr. (b) Three draped youths.

9 (71). Once New York Market (Parke-Bernet Sa/e Cat., 7 Jan. 1960, no. 399); formerly Munich, Preyss Collection. (a) Photo: Marburg Archaeological Seminar no. 2004. (a) Youth holding stick, dancing woman holding phiale. (b) Two draped youths. 10 (60). Newcastle-upon-Tyne, Laing Museum; previously Hope Collection 212. Moon pl. 13,1 and 3; (a) Tillyard, pl. 30, 4. (a) Youth and Nike at herm; Pan holding bird. (b) Three draped youths. 11 (66). Madrid 11079 (L.324). Leroux pl. 37. (a) Dionysus between maenad and Pan. (b) Three draped youths.

12. Madrid 11078 (L. 326). (a) Leroux pl. 38, 1, (a) Standing maenad holding phiale between seated silen and Dionysus holding lyre. (b) Three draped youths. 13 (69). San Simeon, Hearst Estate 5604 (SSW10445, PC7788); once Durham 6. (a) Nike and rider holding small shield. (b) Three draped youths.

14. Once Rome, Signorelli Collection 228. (a) Sale Catalogue pl. 8. (a) Maenad holding dagger and part of torn animal between Dionysus and satyr. (b) Three draped youths.

15 (73). Sydney 47.05; previously Dunecht, Cowdray Collection; previously Hope Collection 210. Webster, GTP p. 111, no. A27; Trendall, Ph/yax Vases p. 63, no. xxv; NMH?, pl. 10; (a) Tillyard pl. 30, 2; FR III p. 143; Brommer, Satyrspiele? p. 15, fig. 7. (a) Three actors preparing for a satyr-play. (b) Three draped youths.

16 (68). Oxford 1917.65; previously Hope Collection 213. (a) Tillyard pl. 30,5. (a) Orestes pursued by Fury. (b) Two draped youths.

17. Lucerne, Market (Ars Antiqua). (a) Victor with targe beside herm, and Nike holding out fillet. (b) Two draped youths. For the herm cp. no. 10 and for the youths nos. 3 and 11.

18 (72). Vienna 646. (a) Pl. XI, fig. 54. (a) Dionysus and maenad, with a calyx-krater between them. (b) Two draped youths.

PANATHENAIC AMPHORA 19. Philadelphia 31.36.17. (a) Woman with hydria, and youth with sash. (b) Two draped youths. CALYX-KRATERS 20 (75). New York 24.97.104. Trendall, Phhyax Vases no. 78; BMMA 1927, pp. 56-57, figs. 1 and 3; RM 47 (1932), p. 134, fig. 4 and p. 146, fig. 7a; (a) FI pl. 286; AJA 56 (1952), pl. 32; Richter, Metr. Mus. Handbook’ pl. 96b; EAA Ill, figs. 864-5. (a) Punishment of a thief. (b) Three draped youths. 21 (74). Gotha. (a) AdI 1850 pl. A; FI pl. 28a; Cook, Zeus Til, pl. 63. (a) Perseus, and Athena reflecting Medusa’s head. (b) Two draped youths.

. 34

| 1. THE TARPORLEY PAINTER COLUMN-KRATERS 22 (76). Copenhagen 3633, from Canosa. CVA pl. 236,1; (a) FI pl. 27d. (a) Silen between maenad and seated nymph. (b) Three draped youths.

23. Once Berlin (°), Adolf Hitler; previously Ceglie, private collection. Pl. XII, figs. 55-56. Berliner Il!. Zeitung 12 May, 1938. (a) Komos (two youths and two women). (b) Four draped youths. 23 bis. New York 17.120.241. (a) Departure of warriors—woman with oinochoe and nestoris, and youthful warrior with shield and spear; woman with oinochoe, and warrior holding nestoris. (b) Four draped youths. The attribution was first made by Mr. Andrew Oliver Jr., to whom we are most grateful for drawing our attention to this vase.

24. Geneva 15042. (a) Two warriors and two women. (b) Four draped youths. Late style. VOLUTE-KRATER 25 (78). Geneva 15036. (b) Pl. XII, fig. 53. Photo: Giraudon 4973-4. (a) Amazonomachy. (b) Dionysus,

two maenads and silen. HYDRIAI 26 (79). B.M. F95. Two women, left with mirror, right bouncing ball.

27, London, Wellcome Museum R481/1936. Two women at stele. 28 (80). B.M. F94. Woman seated between youth with bird and woman holding parasol.

29. Milan, Biblioteca Ambrosiana. Seated woman offering wreath to standing youth.

30. Florence 4040. Woman holding mirror, and youth. 31. Leningrad St. 1368. Warrior and woman. 32. Bari 2328. Two women, left with phiale, right with chaplet; altar and plant between. 33. Ruvo 958. Seated youth with strigil, draped woman and nude youth leaning on staff. 34 (81). Bari 6314 (Polese 124). Two naked youths, the right one with foot raised on rock. Late style.

PELIKAI (shape 1) 35 (84). Boulogne 671. (a) Youth with bird between two women. (b) Three draped youths. 36 (82). Liverpool, Free Public Museums M10690. (a) Youth pursuing girl. (b) Youth.

37. Naples 2355 (inv. 81725). (a) Youth leaning on stele, and woman holding fillet and phiale. (b) Two draped youths. 38 (83). Bari 6282 (Polese 88). (a) Youth holding strigil, and youth with dog on leash. (b) Two draped youths. 39. Taranto, private collection. P]. XIII, figs. 57-60. (a) Perseus, Athena reflecting the head of Medusa in a shield, and Hermes. (b) Three draped youths.

40. Once Roman market. (2) Youth and woman with phiale. (b) Two draped youths. 41, Taranto 110035, from Taranto (Rione Italia, Tomb 16). (2) Woman with mirror and nude youth. (b) Two draped youths.

42. Louvre K29. (2) Nude youth with drapery across his body and draped woman holding out a wreath. (b) Two draped youths. 43. Ruvo 1247. (a) Youth with targe about to be crowned by Nike. (b) Two draped youths. 44, Ruvo 926. (a) Standing draped woman offering phiale to seated youth, and standing woman with ball. (b) Three draped youths. Late style.

35

V. THE TARPORLEY PAINTER AND HIS SCHOOL SK YPHOS

45. B.M. F126. PI. XI, figs. 49-50. (a) Elite Céram. IV, 82. (a) Youth with cat perched on his shoulder and bird on one hand, and woman. (b) Woman and Eros.

The following vases stand close to the Tarporley painter: COLUMN-KRATER

(i) Syracuse 22912, from Camarina. (a) MonAnt 14, cols. 879-80, fig. 83 and pl. 54. (a) Satyr, Dionysus and maenad running to fight. (b) Three draped youths.

BELL-KRATERS (ii) (70). Newcastle-upon-Tyne, Laing Museum; previously Hope 209. (a) Tillyard pl. 30,1. (a) Seated woman and standing maid between two youths. (b) Three draped youths. (iii) B.M. F161. (a) Pl. XIV, fig. 61. (a) Satyr, maenad and Dionysus running to left. (b) Two draped youths.

PELIKAI (shape 1) (iv) Naples Stg. 465. (a) Pl. XIV, fig. 62. (a) Standing youth with duck in left hand, and seated woman holding mirror. (b) Two draped youths. (v) Warsaw 198120. Pl. XIV, figs. 63-64. (a) Woman seated between youth and woman. (b) Two draped youths.

HYDRIA

(v1) Copenhagen 374 (202). CVA 6, pl. 237,1. Youth holding rabbit, and seated woman. Note the stele with the drapery wrapped around the top. This feature recurs on three vases by the Tarporley painter(nos. 28, 29 and 39) and also on the reverse of the following vase, which should therefore be connected with the above:

LEBES GAMIKOS (vii) Cork, Public Museum L188 b. Pl. XIV, figs. 65-66. (a) Seated Eros and woman holding phiale. (b) Woman with mirror and youth holding fillet.

The following vase is closely connected with the Cork lebes gamikos: BELL-KRATER

(viii) Ruvo 1714. (a) Woman with phiale and youth with thyrsus. (b) Two draped youths.

A vase in Paris should also be mentioned here: BELL-KRATER

(ix) Louvre K11. (a) Woman with thyrsus between two youths. (b) Three draped youths. 36

2. THE KLEJMAN PAINTER 2. THE KLEJMAN PAINTER (Plate XV, figs. 67-68)

Two vases may be attributed to this painter: BELL-KRATER | 1 (67). New York Market, Klejman; once Vienna 956 (SK 219, 93). Pl. XV, figs. 67-68. (a2) Woman holding mirror between two athletes. (b) Three draped youths.

PELIKE (shape 1)

2. Syracuse 33713, from Palazzolo Acreide. (a) CV A 1, IIT I, pl. 6, 1. (a) Woman with mirror between two youths. (b) Three draped youths.

They are mainly connected by the rather statuesque female figures on the obverse, both of whom hold a mirror in their tightly clenched right hands and wear a girdled peplos with a broad vertical black stripe running down the left side, a sash around the head, earrings and a bead necklace. The youth with the strigil on the obverse of the krater and the youth to right on the obverse of the pelike are characterized by exaggeratedly heavy hips and large buttocks. The slightly ovoid shape of the youths’ heads is strongly reminiscent of the Tarporley painter. It is at this point that the style of the Tarporley Group comes closest to that of some of the vases of the Creusa-Dolon Group.*® The sash round the head of the woman on the pelike is of a type favoured by the Dolon painter (e.g. Compiégne 1023; New York 58.13.2), who is also fond of a black vertical stripe. Nearest to the Klejman painter, however, comes a small group of vases, which may be placed among the earliest works of the Dolon Painter and includes the following: (i) Bell-krater Warsaw 198109. (a) Seated Eros holding up cista before draped woman and nude youth. (b) Three draped youths. (ii) Panathenaic amphora Bari 6254 (Pol. 60), attributed to the Dolon Painter in FI, p. 38, no. 261 (iii) Column-krater Bari 6264 (Pol. 70), formerly attributed to the Tarporley painter (FI, p. 41. no. B77).

The youths on the reverses of the three vases have so many features in common in the treat-

ment of the hair and drapery, and in their stances that they must have been painted by the 40 FI pp. 36-38.

37

V. THE TARPORLEY PAINTER AND HIS SCHOOL same artist. Characteristic is the rather heavy head, sometimes with a slight forward inclination, the mass of straggly hair over the ears, and the large mouth. These are features which often recur on vases of the Creusa-Dolon group, and in particular in the work of the Anabates painter (cf. Los Angeles A5933.50-42= Hesperia 24 (1955), p. 22, no. 30; Louvre K14); a comparison may also be made with some of the later vases of the Tarporley painter (e.g. Bari 6314, Ruvo 958, Vienna 646). It is not easy to explain the closeness of this stylistic relationship, but it is possible that some artists of the Early South Italian A Group (Early Lucanian), the precise location of which is still undetermined, may have worked for a time at Taranto where they came under the strong influence of the Tarporley painter and his followers. This whole question will be discussed in fuller detail by Trendall in his forthcoming book on Lucanian pottery.

3. THE PAINTER OF LECCE 686

One of the immediate followers of the Tarporley painter. His style derives from that of his master’s later period (e.g. nos. 17-18, 24, 33-34, 44). There is a striking resemblance between his bell-krater in the Vatican (2) and the Tarporley painter’s bell-krater Vienna 646. His male figures are rather plump. Note the horizontal wrinkles across the neck and the typical treatment of the knee-caps, especially the angular tendons above and below them. The drapery of the female figures falls in double folds. Youths and women are repeatedly represented holding one hand on the hip. The drapery of the youths on the reverse is very characteristic, especially the horizontal and zigzag folds near their necks. The work of the painter of Lecce 686 should be dated in the second decade of the fourth century. PELIKE (shape 1) 1. Lecce 686, from Rugge. (a) CVA 2, IV Dr, pl. 36,3. (a) Youth and woman. (b) Two draped youths.

BELL-KRATER

2. Vatican U11. VIE pl. 260 and e (a) Dionysus and maenad. (b) Two draped youths. PANATHENAIC AMPHORA

3. Copenhagen 20 (218), from the Basilicata. CVA 6, pl. 238, 2. Much repainted. (a) Woman holding phiale, and nude youth. (b) Two draped youths.

In connection with the painter of Lecce 686 the following seriously damaged vase should be mentioned: 38

4. THE PAINTER OF BOLOGNA 497 PELIKE (i) Mannheim Cg249. CVA 1, pl. 41, 1-2. (a) Nude youth and woman. (b) Two draped youths.

4. THE PAINTER OF BOLOGNA 497 (Plates XV-—XVI, figs. 69-78)

A slightly later colleague of the painter of Lecce 686. Two vases in Bologna and one in Trieste can be safely attributed to him. The Bologna vases are closely connected with each

other by the shape, the subject and the style of drawing. The Erotes on the obverse of these vases remind one of the male nudes by the painter of Lecce 686. The attitude of the female figures expresses movement and their drapery is shown as blown by the wind. Their girdles are tied up exceedingly high around the waist. PELIKAI (shape 1)

1. Bologna PU 497. CVA 3, IV Gr., pl. 1, 11-12. (a) Eros and woman. (b) Two draped youths. 2. Bologna PU 498. CVA 3, IV Gr, pl. 1, 13-14. (a) Eros and woman. (b) Two draped youths. 3. Trieste $434, Pl. XV, figs. 69-70. (a) Athlete and woman running to the left. (b) Two draped youths,

The following two vases seem to be close to the style of the painter of Bologna 497: PELIKAI (shape 1) (i) Vatican U10. VIE pl. 27a and e. (a) Two women, one bouncing a ball. (b) Two draped youths. (ii) Geneva 14982. Pl. XV, figs. 71-72. (a) Woman and youth at stele. (b) Two draped youths.

With the work of the painter of Bologna 497 compare also the following: PELIKAI (shape 1)

(iii) Woburn Abbey. Pl. XVI, figs. 73-74. (a) Youth holding cista and woman seated on cista. (b) Two draped youths. (iv) Prague, Museum of Applied Arts 639. Pl. XVI, figs. 75-76. (a) Seated woman and youth holding wreath. (b) Two draped youths.

With the Geneva, Woburn Abbey and Prague pelikai compare the following vase, which is also close to the work of the Fat Duck painter (p. 41): PELIKE (shape 1) (v) Naples 2281 (inv. 81724). Pl. XVI, figs. 77-78. (a) Standing woman and seated youth. (b) Two draped youths. 39

V. THE TARPORLEY PAINTER AND HIS SCHOOL

5. THE PAINTER OF KARLSRUHE B9 (Plates XVII- XVIII, figs. 79-88)

Most of the vases attributed to the painter of Karlsruhe B9 were put together in J HS 74 (1954), pp. 228-9 and in VIE p. 82. His style derives from such works by the Tarporley painter as the column-krater Geneva 15042 and the calyx-krater in Gotha. The male nudes are characterized by the treatment of breasts, genitals and crossed legs. The drapery of the female figures is very fussy around the waist. Noteworthy is the thick, vertical seam along the left leg and the lower border of the garment which spreads considerably. Both male and female figures have soft faces and small noses. The youths on the reverses of the vases attributed to this painter often hold one arm akimbo, causing the formation of a series of oblique folds in the drapery, radiating from the elbow and spreading downward. The two separate wavy lines, indicating the lower border of the garment, are characteristic of the painter of Karlsruhe B9 as well as of other artists in this school. His work is contemporary with the latest work of the Tarporley painter; that of his followers is even later: the vases of the painter of Bologna 428 and those of the painter of the Long Overfalls should be dated near the middle of the century. BELL-KRATERS

1. Karlsruhe B9, CVA 2, pl. 57, 2 and pl. 55, 3. (a) Nike crowning youth. (b) Two draped youths. 2. B.M. F165. Pl. XVII, figs. 79-84. (a) Seated Eros and woman. (b) Two draped youths. 3. Vatican V3. VIE pl. 237 and pl. 242. (2) Youth and woman at altar. (b) Two draped youths. RHYTON 4. Bari 6257. Pl. XIII, fig. 85. Seated woman with tendril and branch, and nude Eros seated on cista.

Very near to this painter and perhaps by his hand was a vase in Wurzburg destroyed during World War IT: BELL-KRATER (i) Once Wiirzburg 824. Langlotz, Cat. pl. 247. (a) Archacologiai Ertestté 40 (1923-26), p. 33, fig. 5; OGI pl. 121. (a) Seated Eros holding duck between seated woman with parasol and woman holding fillet. (b) Three draped youths.

The following vase in London stands near to the Wiirzburg krater: 40

6. THE FAT DUCK PAINTER BELL-KRATER (ii) B.M. 1929,.5-13.2; previously Berlin, Schiller. (a) Zahn, Sammlung Baurat Schiller no. 410, pl. 31; BMO 4 (1930), pl. 17. (a) Nike, youth with targe, and rider. (b) Three draped youths. Zahn (op. cit. p. 131) draws attention to the parallel between the rider crowning his horse and the similar representations on fourth century Tarentine coins.

With the Wirzburg vase compare also the following, though the style is somewhat coarser: BELL-KRATER

(tii) Zagreb. (a) Youth with tambourine and seated satyr. (b) Two draped youths. PELIKAI (shape 1) (iv) Altenburg 346. Bielefeld, Gr. «. Efr. Tongefasse pl. 12, above; CVA 2, pls. 89-91. (a) Flying Eros

crowning woman seated between youth holding cista and woman with parasol. (b) Three athletes.

(v) Trieste $429. (a) Youth with cista between woman and seated woman. (b) Three draped youths. PANATHENAIC AMPHORA (v1) Andover (Mass.), Phillips Academy 177. (a) Pl. XVIII, fig. 86. (a) Maenad between two youths. (b) Two draped youths.

A vase in Vienna also recalls the style of the painter of Karlsruhe B9: BELL-KRATER

(vil) Vienna 777. Pl. XVIII, figs. 87-88. (a) Standing woman with cista and seated youth with bird perched on one hand. (b) Two draped youths.

6. THE FAT DUCK PAINTER (Plate XVIII, figs. 89-90)

This artist, a follower of the painter of Karlsruhe B9, who was first identified in JHS 74 (1954), p. 229, is fond of painting seated youths with crossed legs holding a duck in one hand. PELIKAI (shape 1)

1. Karlsruhe B770. CVA 2, pl. 80,1. (a) Woman and seated youth holding duck. (b) Two draped

: youths.

2. Sydney 88. (a) Pl. XVIII, fig. 89. (a) Woman and seated youth holding duck. (b) Two draped youths, 47

V. THE TARPORLEY PAINTER AND HIS SCHOOL PELIKAI (shape 1) (Cont’d.)

3. Bari 1169. (a) Eros seated on rock holding duck, and standing woman. (b) Two draped youths.

BELL-KRATER

4, Bari 1523, (a) Woman with phiale, and youth seated on rock. (b) Two draped youths.

SKYPHOS (Corinthian type)

5. Halle 516. (a) Pl. XVIII, fig. 90. (a) Youth holding duck. (b) Woman.

The two following vases are near in style: SKYPHOI (Corinthian type)

(i) Karlsruhe B775. CVA 2, pl. 81, 4-5. (a) Woman. (b) Youth. (it) Vatican Y12. VIE pl. 42¢ and g. (a) Woman. (b) Woman running.

7. THE ETON-NIKA PAINTER (Plates XIX-X XI, figs. 91-102; plate X XII, figs. 109-110)

The Eton-Nika painter stands near the painter of Karlsruhe B9, whose influence is especially evident on the bell-krater B.M. F 53 (2). The subject on the obverse of the vase in Bonn (4) is no doubt inspired by a satyr play.” Perseus holds up the head of Medusa and with it frightens a silen, who covers his eyes in self-defence. A similar scene is represented on the reverse of the well-known Karneia volute-krater in Taranto (CVA 1, IV Dr, pls. 4-5), and on the reverse of a Lucanian nestoris in Bonn.” The treatment of eyes is characteristic of this artist’s style. The eyelids often curve downward noticeably and a line is occasionally drawn between the upper eyelid and the brow. The vases attributed to the Eton-Nika painter are connected mainly by their reverses. These are usually decorated with a conversation scene which includes two draped youths wearing their himatia slung over one shoulder. The pillar on the reverse of the Madrid and Bonn bell-kraters bears the inscription NIKA. “ Cf. Brommer, Satyrspie/e,? pp. 32 ff., nos. 40-42. 4 Arch. Inst. 2667, by the Budapest Painter. Schauenburg, who published this vase in Perseus pl. 35,1, lists on pp. 101-2 the other vases with similar or related subjects.

42

7. THE ETON-NIKA PAINTER BELL-KRATERS

1. Windsor, Eton College; previously Hope 230. (b) Pl. XTX, figs. 91-92. (a) Tillyard, pl. 32, 4. (a) Maenad and seated Dionysus playing kottabos. (b) Two draped youths.

2. B.M. F 53. Pl. XTX, figs. 93-94, pl. XX, fig. 95. (a) Woman holding rabbit and spear, seated youth holding branch. (b) Two draped youths.

3. Bari 3909. (a) Maenad holding situla and kantharos, and Dionysus seated on altar, holding female mask and thyrsus. (b) Two draped youths. 4. Bonn 79. (b) Pl. XX, fig. 96. (a) 12 BW Pr pl. 1; Jahn, PAilologus 27 (1868), pl. 1,2; SB Bayer. Ak. Wiss. 1948, Heft 6, pl. V, fig. 10; Schauenburg, Perseus, pl. 34,1; (detail) Buschor, Medusa Rondanini pl. 17,2. (a) Perseus holding up the head of Medusa, and silen covering his eyes. (b) Two draped youths by pillar inscribed NIKA.

5. Madrid 11081 (L.325). Pl. XX, figs. 97-98. Millingen 47-8. (a) Youth holding shield, and seated Nike. (b) Two draped youths by pillar inscribed NIKA.

6. B.M. E505. (a) Maenad and silen at column on top of which is a statue of Herakles. (b) Two draped youths separated by a door.

7. Stuttgart, Technische Hochschule. (a) Komos (two youths running right, one with kottabosstand). (b) Two draped youths.

8. Syracuse 22662, from Scoglitti. (a) CVA, IITI, pl. 22,3. (a) Youth holding spear and aryballos, athlete seated on rock-pile by tree, and woman holding phiale. (b) Three draped youths. 9. Ginosa, private collection. Pl. XXI, figs. 99-100. (a) Maenad and seated Dionysus playing kottabos. (b) Two draped youths.

10. Sydney 46.03. (a) Satyr pursuing maenad. (b) Two draped youths. 11. Madrid 11085 (L. 357). Pl. X XI, figs. 101-102. (a) Woman with wreath and oinochoe, and seated youth with phiale and branch. (b) Two draped youths.

12. Altenburg 272. CVA 2, pl. 85. (a) Standing woman with basket. (b) Two draped youths.

The following vase is near to the work of the Eton-Nika painter:

BELL-KRATER ) (i) Madrid 11025 (L.358). (a) Woman, with sword and scabbard, and youth at altar. (b) Woman and youth running to the right.

With Syracuse 22662 (8) compare the following vases, the first three of which are by the same hand and are closely connected by the treatment of the breasts and nipples, as well as by the patterns and the thyrsi: BELL-KRATERS

(ii) Leningrad St. 846 (W. 297). (a) Pl. XXIII, fig. 109 (a) Dionysus seated between maenad, holding tympanon and torch, and silen. (b) Three draped youths. (iii) Bari 5596. (a) Dionysus with narthex seated between maenad with tympanon and oinochoe, and satyr with situla. (b) Three draped youths.

(iv) Ruvo 820. (a) Maenad with torch and situla, old silen warming himself at a brasier, Dionysus with narthex. (b) Three draped youths.

(v) Louvre ED 120. (a) Youth seated on altar between youth holding phiale and woman with branch

| and sash. (b) Two draped youths.

43

V. THE TARPORLEY PAINTER AND HIS SCHOOL BELL-KRATERS (Cont'd. )

(vi) Bologna PU 425. CVA 3, IV Er, pl. 3,5 and 6; (a) Archaeology 13 (1960), p. 207, fig. 8. (a) Maenad adjusting kottabos-stand between silen and Dionysus. (b) Three draped youths. (vii) Dijon 1198. Pl. XXIII, fig. 110. (a) Dionysus seated between maenad at kottabos-stand and satyr. (b) Three draped youths.

With these compare also the following: BELL-KRATER (viii) Syracuse 22663, from Scoglitti. (a) CVA, IIT I, pl. 22,2. (a) Youth seated between running woman pursued by flying Eros and woman holding wreath. (b) Four draped youths.

8. THE YORK PAINTER (Plates X XJI-X XIV, figs. 103-108, 111-114)

A colleague of the Eton-Nika painter, known to us from two vases which are connected by the reverse figures; the similarity of the youths to right is especially striking. The Dionysus on the York vase (1) may be compared with the youth on the obverse of B.M. F 53,

patticularly in regard to the treatment of the legs, and the woman on the obverse of the Naples krater (2) is also very similar to the woman on the same vase. The chaplet** hanging from the silen’s torch finds a parallel on the Geneva volute-krater by the Tarporley painter. It is worth noting that on the York vase the saltire squares in the meanders are not of the canonical type but join the groups of meanders with which they alternate at either end.**

BELL-KRATERS

1. York, City Art Gallery 19; previously Hope 261. Pl. XXII, figs. 103-106, pl. XXIII, figs. 107108, and pl. XXIV, fig. 114. (a) Dionysus playing the lyre and running to right between silen and maenad. (b) Three draped youths. 2. Naples 2068 (inv. 81370). Pl. XXIV, figs. 111-113. (a) Seated woman and youth; between them a tree. (b) Two draped youths.

The following vase, formerly attributed to the Dionysiac painter (FI no. B 96), is very close in style to the York painter: 43 Sec Beazley, J HS 66 (1946), p. 11.

«4 Cf. the treatment of the meanders on Wurzburg 824 (supra p. 40) and the pelike in the Lagunillas collection in Havana (infra p. 56).

44

9. THE PAINTER OF THE LONG OVERFALLS BELL-KRATER

(i) Trieste S410. (a) Jahn, Philologus 27 (1868), pl. 1V,1=Campo, Drammri Satireschi p. 203, pl. X, fig. 27. (a) Parody of the struggle for the tripod (silen carrying the tripod, pursued by Herakles carrying club and bow). (b) Two draped youths.

The following vase is near the York painter: BELL-KRATER

(ii) Naples 2042 (inv. 81384). (a) Seated youth and woman adjusting kottabos-stand. (b) Two draped youths at stele.

youths.

Two other vases should find a place in this context: BELL-KRATERS

(iii) Bari 6331. (a) Maenad with tambourine and youth carrying kottabos-stand. (b) Two draped (iv) Brindisi. (a) Maenad with tambourine, and youth with thyrsus. (b) Two draped youths.

9, THE PAINTER OF THE LONG OVERFALLS

Another colleague of the Eton-Nika painter, as may be seen from a comparison between the obverse of Bologna PU428 (1) with that of B.M. F53 or its reverse with that on Bonn 79. The women on the obverses of his vases are characteristic of his style. Most of them wear a sash around the head, a peplos with a long overfall, and a girdle high up round the waist. The breasts are small and tend to stick out, especially in profile. The draped youths on the reverses are very characteristic; noteworthy is the way in which the hem-line falls in a wavy U at the bottom right-hand corner of the himation (e.g. nos. 1-2, 5-6, 8). The narthex on the Avignon krater (3) recalls that on Leningrad St. 846 (p. 43). BELL-KRATERS 1. Bologna PU428. CVA 3, IV Er. pl. 3,1-2. (a) Woman and seated youth. (b) Two draped youths.

2. Sydney 67. (a) Woman and athlete. (b) Two draped youths. 3. Avignon, Musée Calvet. (a) Maenad and seated Dionysus. (b) Two draped youths. 4, Hamm 1546. AA 1948-9, 146, figs. 17-18. (a) Seated Dionysus (b) Maenad holding tympanon and torch.

PELIKAI (shape 1) 5. Brussels A140. CVA 2, IV Db, pl. 6,5. (a) Woman holding oinochoe and seated youth holding phiale. (b}) Two draped youths.

6. Bologna PU 537. CVA 3, IV Dr, pl. 9,3 and 4. (a) Woman and seated youth. (b) Two draped youths.

45

V. THE TARPORLEY PAINTER AND HIS SCHOOL PELIKAI (shape 1) (Cont'd. ) 7, Vatican Z1. VIE pl. 27¢ and g. (a) Woman and athlete. (b) Two draped youths. 8. Turin 4502. CVA 1, IV D, pl. 4,5-6. (a) Seated woman holding mirror, and youth with stick. (b) Two draped youths.

HYDRIA

9. Bologna PU560. CVA 3, IV Dr, pl. 31, 1. Youth pursuing woman holding tympanon. SK YPHOS

10. Bologna PU513. CVA 3, IV Gr, pl. 4,7 and 8. (a) Running woman holding tympanon. (b) Running youth holding phiale and thyrsus.

The following vase stands near to the painter of the Long Overfalls: COLUMN-KRATER

(i) Louvre K522. (a) Komos (two women and two youths). (b) Three draped youths.

10. THE PAINTER OF BARI 1364 (Plates X XV-X XVI, figs. 115-122)

A companion of the painter of the Long Overfalls: the connection between them is especially clear on the reverse of Naples 1866 (2), and the pelike in Luscombe Castle (3). In addition to the resemblance in style of drawing, Bari 1364 (1) and Naples 1866 (2) are also related by the subject on their obverses—Dionysus in the company of two maenads and a silen— as well as by the peculiar treatment of the thyrsi and the presence of a female mask. Among the characteristic features of this painter’s style we should especially like to mention the peploi of the female figures, with a long apoptygma falling in rich folds, and their coiffure with a chignon of unusual shape sticking up.

The vases of the painter of Bari 1364 are likewise connected with one another by the youths on their reverses. Their himatia are very characteristic, especially the lower borders, which are usually indicated by two zig-zag lines meeting at the right corner. BELL-KRATERS

1. Bari 1364. (a) Pl. XXV, fig. 115. (a) Bieber, Hist. Gr. and Rom. Theater 1st ed. p. 35, fig. 402nd ed. p. 23, fig. 72; JdI 32 (1917), p.88, fig. 59; Pickard-Cambridge, Dr. Fest. fig. 41. (a) Silen

between seated maenad and standing maenad; seated Dionysus holding mask and thyrsus. (b) Three draped youths.

2. Naples 1866 (inv. 81425). Pl. XXV, figs. 117-118, pl. XX VI, figs. 121-122. (a) Dionysus on couch between two maenads and silen, female mask above. (b) Three draped youths.

46

} 11. THE PAINTER OF ATHENS 1714 PELIKE (shape 1) 3. Luscombe Castle, Devon. Pl. XXVI, figs. 119-120, pl. XXV, fig. 116. (a) Seated woman between youth and woman. (b) Two draped youths. The foot is missing. HYDRIA

4, San Simeon, Hearst Estate 5441 (SSW 10082; PC 7585). Woman seated between youth and woman.

11. THE PAINTER OF ATHENS 1714 (Plates X XVU-X XVIII, figs. 123-128)

Another companion of the painter of the Long Overfalls, who favours Dionysiac subjects. Characteristic of his male figures are bent knees and pointed knee-caps. The female figures are often dressed in pep/os with long overfalls; the drapery folds are frequently indicated by small semi-elliptical lines (drop folds). Note also how the upper border of the himation is frequently rendered by a thick S-shaped line. To judge from the style of his drawing, the painter of Athens 1714 must have been active towards the latter part of the first half of the fourth century, and his major works (11-21) show him to be a painter of considerable importance. His work and that of his colleagues recall the style of the Iliupersis painter, who is one of the main representatives of the ornate style,** and it is significant to note that the calyx-krater B.M. F 275 (20) was originally associated by Mrs. Oakeshott with the style

of his master, the Dionysiac painter.*® , BELL-KRATERS

1. Athens 1714, Pl. XXVH, figs. 123-124. (a) Dionysus and maenad. (b) Two draped youths. 2. Vatican T6, VIE pl. 234 and pl. 244. (a) Satyr following maenad. (b) Two draped youths. 3. Vatican V16. VIE pl. 29e and pl. 31d. (a) Satyr following maenad. (b) Two draped youths. 4, Madrid 11032 (L.356). (a) Dionysus and maenad. (b) Two draped youths. 5. Hamburg 1917.1120. (a) Maenad and satyr running to the left. (b) Two draped youths. 6. Leningrad St. 802 (W296). (a) Pl. XX VII, fig. 125. (a) Dionysus, satyr and maenad. (b) Three draped youths.

7. Madrid 11084 (L.353). (a) Satyr and maenad running to the left. (b) Two draped youths. 8. Matera, from Ferrandina. NS¢ 1935, pp. 384-5, figs. 1-2. (a) Maenad and satyr. (b) Two draped youths.

9. Mainz, Univ. Arch. Inst. 28. (a) Hampe and Simon, Gr. Leben in Spiegel der Kunst, no. 9. (a) Maenad with thyrsus and tambourine. (b) Silen with situla and torch. The foot is modern. 10. Madrid 11086 (L.230). (a) Youth with stick and woman with phiale and alabastron. (b) Two draped youths.

45 On this painter see NMH,? p. 324. «© THS 55 (1935), pp. 230-232.

47 .

V. THE TARPORLEY PAINTER AND HIS SCHOOL COLUMN-KRATERS

11. Havana, Conde de Lagunillas Collection. Sotheby Sa/e Cat. 17 April 1950, no. 67. (a) Maenad, satyr and Dionysus running to left. (b) Three draped youths.

12. Trieste 1796. (a) Dionysus, maenad and satyr running to right. (b) Three draped youths. 13. Trieste S402. (a) Satyr, maenad and seated Dionysus. (b) Three draped youths. 14. San Simeon, Hearst Estate. (a) Woman and two youths, one with lyre and one with torch and situla, running to left. (b) Three draped youths.

15. Montpellier, Musée Fabre 837-1-1116. (a) Youth with shield and two spears seated between woman with tympanon and youths with wreath and sash. (b) Woman between two draped youths.

HYDRIAI

16. Louvre N2852. Two women bringing offerings to a stele. 17. Paris, Cab. Méd. 980. De Ridder, Caz. pl. 29. Two women and two youths with spears around naiskos. Below: youth pursuing woman between seated youth and standing woman.

LEBES GAMIKOS

18. Louvre K196. (a) Seated woman between woman and youth; head of woman peering through window in the background. (b) Woman and youth. On the lid: (a) Head of woman. yb) The like,

CALYX-KRATERS

19. Lecce 4089. (a) NSc 1934, p. 188, fig. 6. (a) Youthful Dionysus, seated maenad and satyr. (b) Woman and youth. 20. B.M. F275. (b) Pl. X XVII, fig. 126. (a) JHS 55 (1935), p. 230, fig. 1. (a) Dionysus playing kottabos between two maenads and a silen. (b) Woman between two youths.

21. Madrid 11050 (L. 327). (a) Ossorio, pl. 12,2; (b) Leroux, pl. 38,2. (a) Dionysus and maenad (Ariadne?) in a deer-drawn chariot followed by a silen. (b) Three athletes.

The following vases stand near to the painter of Athens 1714: BELL-KRATER

(i) Zagreb. Pl. XXVIII, figs. 127-128. (a) Youth with stick and phiale, and woman with fruit. (b) Two draped youths.

COLUMN-KRATER

(ii) Copenhagen 278 (211). CVA 6, pl. 250, 2. (a) Dionysus with maenad and satyr. (b) Three draped youths.

CHOES

(iii) Copenhagen 341 (251A). CVA 6, pl. 264,2. Seated youth and woman.

(iv) Graz, Landesmuseum. Woman with tambourine, and youth with chous running to left. 48

13. THE PAINTER OF ATHENS 1680 SQUAT LEKYTHOS

(v) Oxford 1919.24. Woman and seated Eros.

The following vase stands very near to Lecce 4089: CALYX-KRATER

(vi) Lecce 736. CVA 1, IV Dr, pl. 3,3-4. (a) Athlete and woman. (b) Two draped youths.

With Lecce 736, compare the following: BELL-KRATER

(vii) Reggio Cal. 7001. (a) Silen, maenad at kottabos-stand, and Dionysus reclining on couch. (b) Youth with stick and woman with wreath at stele.

12. THE GRAZ PAINTER (Plate X XVII, figs. 129-132)

A close collaborator of the painter of Athens 1714. His vases are mainly connected with one another by the running youths on the reverses. BELL-KRATERS

1. Graz, Landesmuseum 4611. Pl. XXVIII, figs. 129-130. (a) Seated woman with thyrsus and phiale, and youth with wreath and thyrsus. (b) Two youths running to left. 2. Philadelphia L64.231. Pl. XXVIII, figs. 131-132. (a) Satyr, maenad and youth running to left. (b) Two youths running to left. 3. Taranto 4742, from Ferrandina. NS¢ 1935, pp. 387-388, figs. 4-5. (a) Youth with situla and torch and woman with tambourine. (b) Two youths running to left.

13. THE PAINTER OF ATHENS 1680 (Plate X XIX, figs. 133-136)

The painter of Athens 1680 also stands near to the painter of Athens 1714, but in spite of their close connection the two artists differ in many ways. The drop folds often used by the __ latter are less frequent on the vases by the painter of Athens 1680, who enjoys drawing long double lines on the garments of his figures. His nude males look mote rubber-like than those drawn by his colleagues. 49

V. THE TARPORLEY PAINTER AND HIS SCHOOL COLUMN-KRATERS

1. Athens 1680. Pl. XXIX, figs. 133-134. (a) Maenad and satyr. (b) Two draped youths. 2. Bryn Mawr P232. (a) Satyr, maenad and Dionysus running to right. (b) Three draped youths. BELL-KRATERS

3. New York, Cooper Union Museum 1957-23-2. Pl. X XTX, figs. 135-136. (a) Maenad and satyr. (b) Two draped youths.

4, Sydney 68. (a) Eros and maenad holding duck. (b) Two draped youths. 5. Poznan 1903.697; once Berlin F3300. (a) CVA 3 (Poland 120), pl. 4,4. (a) Satyr and maenad. (b) Two draped youths.

The following vase stands close to the work of the painter of Athens 1680: BELL-KRATER

(1) Adolphseck, Schloss Fasanerie 182. CVA 2, pl. 82, figs. 1-3 and 5. (a) Thiasos (youthful Dionysus, maenad and satyr running to left). (b) Three draped youths.

14. THE PAINTER OF BOLOGNA 571 (Plate X XIX, figs. 137-138)

Also akin to the painter of Athens 1714. The Bologna and Copenhagen vases are connected mainly by the seated male figures on the obverses, who are characterized by exceedingly long thighs and swollen knees. COLUMN-KRATERS

1. Bologna PU571. CVA 3, IV Dr, pl. 15,1 and 2. (a) Dionysus seated between a maenad and a . silen holding a krater, and to right a maenad. (b) Four draped youths. 2. Bonn. (a) Pl. XXIX, fig. 137. (a) Youth lying on couch between woman and youth in Oscan dress. (b) Four draped youths. BELL-KRATER

3. Copenhagen 292 (216A).CV A 6, pl. 253,2. (a) Woman offering wreath to seated youth. (b) Two draped youths.

With the work of the painter of Bologna 571 compare the following: BELL-KRATER

(i) Once Agrigento, Giudice, Sa/e Cat. 421. Pl. XXTX, fig. 138. (a) Seated satyr and maenad. (b) Two . draped youths.

20

16. THE PAINTER OF BOLOGNA 589

15. THE DIJON PAINTER (Plate XXX, figs. 139-143)

Another follower of the painter of Athens 1714; the three vases attributed to him are closely

connected by the draped youths on their reverses. BELL-KRATERS

1. Dijon 1199. Pl. XXX, figs. 139-140. (a) Satyr and maenad running to left. (b) Two draped youths,

2. Copenhagen 78 (215), from Bari. CVA 6, pl. 234,1. (a) Maenad and satyr on either side of an altar with a bell-krater on it. (b) Two draped youths. 3. Zagreb. Pl. XXX, figs. 141-142. (a) Woman between two youths. (b) Three draped youths.

With the above bell-kraters compare a fragment that is now lost: FRAGMENT (i) Once Rome, Dr. Hermine Speier. Pl. XXX, fig. 143. Photo: R.I. 31.630. Satyr and maenad.

With Copenhagen 78 compare a vase in Paris: BELL-KRATER

(ii) Louvre K18. Trendall, Phiyax Vases no. 49; (a) Enc. Phot. Il 37c. (a) Two comic actors, one holding a wicker cage or basket. (b) Two draped youths.

16. THE PAINTER OF BOLOGNA 589 (Plate XX XI, figs. 145-148)

Also a follower of the painter of Athens 1714. Characteristic of the style of this painter are the draped youths on the reverses, who are wrapped in himatia which leave their shoulders uncovered. BELL-KRATERS

1. Bologna PU589. CVA 3, IV Dr, pl. 23,3 and 4. (a) Satyr holding drinking horn, and seated maenad. (b) Two draped youths.

2. Copenhagen 293 (216B). CVA 6, pl. 253,1. (a) Satyr and maenad running to right. (b) Two draped youths. 51

V. THE TARPORLEY PAINTER AND HIS SCHOOL HYDRIAI

3. Reggio Cal. 7035, from Sant’ Arcangelo Pl. XX XI, figs. 145 and 147; NSc 1932, p. 381, fig. 3. Youth with phiale and woman with wreath and bird perched on her left hand, running to the right.

4. Reggio Cal. 7034 from Sant’ Arcangelo. Pl. XXXI, figs. 146 and 148; op. cit. pp. 378-81, figs. 1-2. Seated woman with fan and youth with wreath.

17. THE PAINTER OF COPENHAGEN 335

Akin to the painter of Bologna 589. Most of his extant vases are column-kraters. On his reverses a pair of ba/feres frequently appears between the two draped youths. The rendering of their hair is noteworthy, since this painter normally shows it as a solid black mass surrounded by a comparatively wide reserved line. Characteristic of the youth on the right is

the treatment of the drapery covering his left arm, which has an almost sleeve-like appearance (cf. 1, 3, 8, 9). COLUMN-KRATERS

1. Copenhagen 335 (21). CVA 6, pl. 250,1. (a) Seated youth between athlete holding strigil and woman holding wreath. (b) Three draped youths.

2. Bologna PU 584. CVA 3, IV Dr, pl. 16,1 and 2. (a) Maenad, satyr and Dionysus runing to right. (b) Three draped youths.

3. Vatican V4. VIE pl. 26 g and &. (a) Silen pursuing maenad. (b) Two youths. 4, Naples 2349 (inv. 81873). (a) Seated youth between woman and athlete. (b) Three draped youths.

5. Vatican V6. VIE pl. 26¢ and f. (a) Satyr pursuing maenad. (b) Two draped youths. 6. Vienna 839. (a) Maenad and satyr. (b) Two draped youths. 7. Vienna 851. (a) Oscan warrior pouring libation between two women. (b) Three draped youths. 8. Altenburg 343. CVA 3, pls. 108,4; 109; 110,5. (a) Woman with basket on her head, and Oscan rider. (b) Three draped youths. BELL-KRATER

9. Vatican T7. VIE pl. 23d and pl. 240. (a) Dionysus reclining on couch between satyr and maenad. (b) Three draped youths.

The following vase is very near to the work of the painter of Copenhagen 335: COLUMN-KRATER

(i) Vatican V40. VIE pl. 32d and pl. 33d. (a) Seated warrior between woman and youth. (b) Three draped youths.

D2

| 19. THE RODIN PAINTER 18. THE PAINTER OF VATICAN V5 (Plate XX XI, figs. 149-150; Plate XXX, fig. 144)

A companion of the painter of Copenhagen 335, but differing from him in several respects,

notably the treatment of the hair, which is here more curly. PELIKE (shape 1)

1, Vatican V5. VIE pl. 270 and f. (a) Satyr pursuing maenad. (b) Two draped youths. BELL-KRATERS

2. Lecce 626. CVA 2, pl. 18,4 and 5. (a) Dionysus, satyr with torch, and maenad, all running to right. (b) Three draped youths. 3. Brussels, Errera. Pl. XX XI, figs. 149-150. (a) Maenad between two satyrs. (b) Three draped youths.

The following vases are near to the painter of Vatican V5: BELL-KRATERS

(i) Vatican V2. VIE pl. 25b and pl. 247. (a) Youth and woman. (b) Two draped youths. (it) Louvre K9. (a) Silen and maenad holding tambourine. (b) Two draped youths. OINOCHOE (shape 5a) (iii) Altenburg 326,1. Zeitschrift fir Kunst 1950, Heft 3, p. 185, fig. 157; CYA 3, pl. 104, 1-3. Woman bouncing ball, and Eros, with floral between them.

PELIKE (iv) Bonn. (a) Pl. XXX, fig. 144. (a) Youth holding stick, and woman holding phiale and fan. (b) Two draped youths.

19. THE RODIN PAINTER

A colleague of the painter of Vatican V5. The youths on the obverse of the two vases attributed to this artist wear Oscan dress. Note the spiky stephanai worn by the women on the 53

V. THE TARPORLEY PAINTER AND HIS SCHOOL obverse of the Copenhagen krater (2); these are common on vases by the Lycurgus Painter, with whom this artist must be contemporary. COLUMN-KRATERS

1. Paris, Musée Rodin 970. CVA pl. 36,1 and 2. (a) Woman between two youths wearing Oscan dress. (b) Three draped youths.

2. Copenhagen 31 (212). CVA 6, pl. 251,2. (a) Seated warrior and two women. (b) Three draped youths.

a4

VI. THE HOPPIN GROUP The Hoppin Group contains six painters. They are connected with the school of the Tarporley painter and also with the Lecce group (see p. 62 and FI p. 26, note 41).

1. THE HOPPIN PAINTER (Plate XX XU, figs. 151-156)

To the Hoppin painter are attributed eleven vases, most of them bell-kraters. His male nude figures, which are usually tall and slim, are characteristic of his style. The athlete on the Fogg Museum vase (1) and the youths on Lecce 620 (3), all represented in threequarter view, recall some of the youths on vases by the Tarporley painter. The athlete on the Fogg Museum vase has his himation wrapped round one arm, a feature characteristic of this painter as well as of the Lecce and Truro painters (pp. 62 ff and 68 ff.). The youths on the reverses often have white fillets round their heads. Most of the women on vases by the Hoppin painter wear a sash round their head, tied so as to leave a knot sticking up behind. Their drapery is rather fussy, with fine fold-lines. The lower part of the dresses worn by the seated woman on the Fogg Museum vase and the woman washing her hair on Lecce 620 is represented as blown by the wind. The bird and the sunshade on the Havana pelike (11) and the tendrils drawn on several vases by the Hoppin painter are also found on vases by other painters of this group and of the Tarporley school.

5S !

VI. THE HOPPIN GROUP BELL-KRATERS

1. Cambridge (Mass.), Fogg Art Museum 1925.30.45. CV_A Hoppin Collection, pl. 18,3 and 4. (a) Woman with tendril seated on rock between nude youth with strigil and woman with wreath. (b) Three draped youths.

2. Baltimore, Museum of Art L 59.80 (on loan from Johns Hopkins University). CV_A Robinson Collection 3, pl. 19,1. (a) Maenad with tambourine between silen with torch and situla, and Dionysus with oinochoe and thyrsus, all running to left. (b) Three draped youths. 3. Lecce 620. CVA 2, pl. 12,8 and 7; (a) Bernardini, I/ Museo Provinciale di Lecce, 43,3; Studi Sal. 9 (1960), p. 19, fig. 13. (a) Woman washing her hair between two youths. (b) Three draped youths.

4. Taranto, from Taranto, Palazzo I.N.A. T.37. Pl XX XU, figs. 153-154. (a) Thiasos. (b) Three draped youths.

5. Havana, Conde de Lagunillas Collection. (2) Woman with wreath and cista, and youth with tendril running to left. (b) Two draped youths. 6. Gotha 77. (a) Youth and maenad with thyrsus and tambourine. (b) Two draped youths. The youth to left is very similar to the corresponding one on the Fogg krater. 7. Bari 4311. (a2) Youth holding strigil, woman, and silen holding wineskin and phiale. (b) Three draped youths.

8. Lecce 737. (a) Woman seated on rock between youth holding phiale and youth holding stick. (b) Three draped youths. Recomposed from fragments and badly preserved.

9, Philadelphia L64.244. (a) Woman with cista and youth with stick and drapery. (b) Two draped youths.

CALYX-KRATER

10. Riederau am Ammersee, Professor Erich Boehringer. Greifswalder Antiken pls. 49-50, no. 400. (a) Seated youth in 4eroén surrounded by two women, a youth and a dog. (b) Dionysus, maenad and satyr.

PELIKE (shape 1)

11. Havana, Conde de Lagunillas Collection. Pl. XXXII, figs. 151-152. (a) Seated woman with parasol between woman holding phiale and youth holding bird. (b) Woman and youth at stele.

The following vases stand close to the Hoppin painter: BELL-KRATERS (i) Lecce 636. CVA 2, pl. 18,6 and pl. 19,2. (a) Dionysus, maenad and satyr. (b) Three draped youths.

(ii) Lecce 681. (a) Bernardini, La Rudiae Salentina, fig. 22. (a) Cassandra clutching the Palladion between youth holding spear and woman fleeing. (b) Three draped youths.

(iii) Budapest, Letet 134. Pl. XXXII, figs. 155-156. (a) Rider between standing and seated women. (b) Three draped youths. By the same hand as Lecce 681.

Two more vases connected with each other by the style of their drawing may be placed in the vicinity of the Hoppin painter: 36

3. THE VALLETTA PAINTER BELL-KRATERS

(iv) Copenhagen 333 (214). CVA 6, pl. 234,2. (a) Herakles, Nike and Iolaos. (b) Three draped youths.

(v) Vatican V9. VIE pl. 23¢ and pl. 24e. (a) Maenad and Dionysus. (b) Two draped youths.

2. THE MARBURG PAINTER (Plate XX XIII, figs. 157-162)

A follower of the Hoppin painter. His vases are all bell-kraters, mostly with a Dionysiac scene on the obverse and the usual two draped youths on the reverse. Dionysus on the Laon bell-krater (3) and the warrior on the Washington vase (4) are typical of the artist’s treatment of male nudes. The female figures on the same vases with the lower parts of the chitons blown by the wind are also characteristic (cf. the Hoppin painter). The vases in Karlsruhe (2) and Laon (3) lack the canonical laurel-wreath on the outside surface of their lip; the bell-krater in Karlsruhe has a wavy line and dotted circles, and the Laon vase a tendril pattern. BELL-KRATERS

1. Marburg 786. Pl. XX XIII, figs. 157-158. (a) Maenad and silen at calyx-krater. (b) Two draped youths.

2. Karlsruhe B 127. CVA, pl. 58,2 and pl. 55,5. (2) Dionysus and maenad. (b) Two draped youths. 3, Laon 37.1042, Pl. XX XIII, figs. 159-160. (a) Dionysus and maenad at herm. (b) Two draped youths.

4. Washington, National Museum 378475. Pl. XX XIII, figs. 161~162. (a) Departure of warrior (youth and woman at stele). (b) Two draped youths.

With the work of the Marburg painter compare the following: BELL-KRATER

(i) Vatican V 1. VIE pl. 23d and pl. 24d. (a) Dionysus and satyr at stele. (b) Two draped youths.

3. THE VALLETTA PAINTER (Plate X X XIV, figs. 163-168)

A close companion of the Marburg painter, with a slightly cruder style. The bell-krater is his favourite shape. The subjects on the obverse of his vases are all Dionysiac. The bellkrater in Altenburg has an ivy-pattern round the lip instead of the usual laurel-wreath. d7

VI. THE HOPPIN GROUP BELL-KRATERS

1. Valletta 4. Pl. XXXIV, figs. 163-164. Caruana, Ancient Pottery p. 31, pl. 12,4. (a) Maenad and

youths. .

satyr. (b} Two draped youths. 2. Karlsruhe B 96. CVA 2, pl. 58,1 and pl. 55,4. (a) Dionysus and maenad. (b) Two draped youths.

3. Vienna 882. Pl. XXXIV, figs. 165-166. (a) Maenad and satyr running to left. (b) Two draped 4. Naples 2101 (inv. 81424). Pl. XXXIV, figs. 167-168. (a) Maenad seated between youthful Dionysus and silen. (b) Three draped youths.

5. Altenburg 305. CVA 3, pl. 111, 7-8. (a) Maenad and youthful Dionysus running to right. (b) Two draped youths.

With the work of the Valletta painter compare the following: BELL-KRATER

(i) Utrecht. (a) Youthful Dionysus at stele between maenad drinking from askos and satyr at laver. (b) Three draped youths.

The following vase should be compared with the work of the Hoppin, Marburg and Valletta painters: PELIKE (shape 1) (ii) Philadelphia MS 4007. (a) Woman with wreath and youth with situla. (b) Two draped youths.

4, THE PAINTER OF LECCE 614

Akin to the Hoppin painter. The two vases attributed to this artist are strikingly alike. The seated female figures are characterized by their mannered postures as well as by their rich drapery.

BELL-KRATERS

1. Lecce 612. CVA 2, pl. 14,5 and pl. 16,7. (a) Seated woman and nude woman at laver. (b) Two draped youths.

2. Lecce 614. CVA 2, pl. 14,4 and pl. 15,3. (a) Woman seated between two youths. (b) Two draped youths.

58

5. THE BENDIS PAINTER

5. THE BENDIS PAINTER (Plate XX XV, figs. 169-174)

With the exception of the lekythos in New York (5), on which the subject is obscure, the vases attributed to this artist are bell-kraters representing Bendis, Apollo, and Hermes on the obverse, and two or three draped youths on the reverse.

The arrangement of the figures is the same on the first three bell-kraters: Bendis, in her | Thracian costume, stands on the left holding a spear. Apollo is seated in the middle holding

a branch, and Hermes stands on the right holding his caduceus. On the obverse of the : Louvre bell-krater (1) a fourth figure is introduced to the right, a youth with a spear, and on the Madrid krater (4) Bendis is shown seated between Hermes and a youth. Although a follower of the Hoppin painter, the Bendis painter has a very individual style easily recognizable by the plump male nudes, the treatment of their hands and feet, the frequent appearance of a petasos, and the use of white to indicate such details as buckles, belts and caducei. BELL-KRATERS

1. Louvre G515. CVA 5, IT Ie, pl. 4,1-3. (a) Pottier, VAL III, pl. 15,3. (a) Bendis, Apollo seated on altar, Hermes and youth. (b) Three draped youths. 2. Paris, Cab. Méd. 428. (a) De Ridder, Caz. p. 320, fig. 72. (a) Bendis, Apollo and Hermes. (b) Two draped youths. 3. Boston, Dr. C.C. Vermeule; once Zurich, Ruesch Coll. (Sa/e Cat. no. 30); then Basle, Miinzen und Medaillen (Sa/e Cat. XVIII, pl. 47, no. 147). Pl. XXXYV, figs. 169-170. (a) Bendis, Apollo and Hermes. (b) Draped youth with strigil, and youth crowning draped youth.

4, Madrid 11047 (L.328). (a) Bendis seated between Hermes holding spear and youth with stick. (b) Two draped youths.

LEKYTHOS 5. New York 13.232.3. BMMA 9 (1914), p. 235, fig. 3. Woman pushing girl in swing, youth seated on altar, Hermes by Ionic column.

The following vases are near in style to the Bendis painter: BELL-KRATERS

(1) Madrid 32658. Pl. XXXV, figs. 171-172; (a) Antike und Abendland 10 (1961) pl. 8, fig. 16. (a) Herakles seated between Hermes and Athena. (b) Three draped youths. (ii) Leipzig T83. (a) Cook, Zeus ITI, p. 843, note 2, pl. 62; Brommer, Satyrspiele* p. 32, fig. 24. (a) Athena with the gorgoneion, Perseus, Hermes and satyr. (b) Three draped youths.

59

VI. THE HOPPIN GROUP BELL-KRATERS (Con/’d.)

(iti) Bologna PU427. CVA 3, IV Er, pl. 3, 3-4. (a) Maenad seated on altar between Dionysus and satyr. (b) Two athletes running left. (iv) Taranto 10865, from Rudiae. Pl. XXXV, figs. 173-174. (a) Seated woman and youth with thyrsus. (b) Two draped youths.

The following vase is also near in style to the Bendis painter: BELL-KRATER

(v) Ruvo. (a) Perseus reflecting gorgoneion in Athena’s shield, with Hermes seated near by. (b) Three draped youths.

6. THE BUCRANE PAINTER (Plate X X XVI, figs. 175-178)

In style the Bucrane painter is very closely connected with the Hoppin painter, and we note the way in which his youths also very frequently have their left arm enfolded in their himatia. Most of his vases are bell-kraters and their subjects, without exception, are Dionysiac. Besides his connection with the Hoppin painter, the Bucrane painter is also closely related to the Tarporley Group and more particularly to the work of the painter of Athens 1680. On two of his vases, Lecce 677 and Lecce 613, a bucrane is painted in the background between two mesomphalic phialai. His female figures often wear a diadem with radiating spikes and their hair mostly ends in a chignon jutting out behind. The Bucrane painter makes extensive use of added white. He repeatedly paints a row of dots or ivy-leaves below his laurel-patterns. BELL-KRATERS

1, Lecce 677. (a) CV A 2, IV Dr, pl. 22,2. (a) Dionysus and maenad fluting. (b) Two draped youths. 2. Lecce 765. CVA 2, IV Dr, pl, 25,5 and pl. 26, 4. (a) Dionysus holding white female mask, and seated maenad with phiale and thyrsus. (b) Two draped youths. 3. Lecce 673. (a) CVA 2, IV Dr, pl. 19,3; Bernardini, La Rudiae Salentina, fig. 24. (a) Dionysus and maenad running to left. (b) Two draped youths. 4. Lecce 4147, from Lecce. NS¢ 1932, pp. 525-6; Bernardini, Lupiae p. 61, figs. 31-32. (a) Maenad seated between youth and silen. (b) Two draped youths.

5. Geneva 15022. (a) Dionysus playing kottabos between dancing silen and fluting maenad. (b) Three draped youths. CALYX-KRATER

6. Lecce 613. CVA 2, IV Dr, pl. 19, 4 and pl. 20,4. (a) Dionysus, seated maenad, and silen pouring wine out of a wine-skin. (b) Three draped youths. 60

6. THE BUCRANE PAINTER PELIKAI (shape 1)

7. Hamburg 1917.1068. Pl. XXXVI, figs. 175-176. (a) Woman with phiale and tendril, youth with stick. (b) Two draped youths. 8. Pavia, private collection. Pl. XXXVI, figs. 177-178. (a) Woman with phiale, and youth at stele. (b) Two draped youths at stele.

With the work of the Bucrane painter compare the following: CHOES (oinochoai, shape 3)

(i) Taranto. CVA 2, IV Dr, pl. 33, 1. Woman with thyrsus and phiale at altar. (ii) Sydney 91. Youth and woman at stele.

67

Vil. THE LECCE GROUP The Lecce Group (see VIET, p. 77) comprises thirteen painters and includes several of the more prolific minor Apulian artists, some of whose work descends to a style that may almost be called barbaric. Most of their activity may be placed in the second quarter of the fourth century, though some of the later pieces (e.g. the work of the Truro and Lampas painters) are contemporary with the work of the Darius painter and his followers in the third quarter of the century.

1. THE LECCE PAINTER (Plate X X XVI, figs. 179-180)

Although the majority of his extant vases are bell-kraters, the Lecce painter is quite versatile in his use of shapes, which include squat lekythoi, pelikai, choes, the hydria, the skyphos and the lebes gamikos. His style is derived from that of the Hoppin painter, but his figures

ate on the whole squatter. His subjects are very monotonous: conversation, toilet and Dionysiac scenes are repeated on his vases with little variety. The Lecce painter seldom inclines to monumentalism; it is therefore a pleasant surprise to find among works associated with him compositions treated on a comparatively large scale like those on Taranto 107936 (16) or on the large mug in Naples (i). The figures on Lecce 623 (2) are typical of our painter’s style. His youths are plump, and ate represented mostly in three-quarter view, even when they run. Their rather large heads are often inclined, and anatomical details of their bodies are carefully drawn. The eyes, frequently indicated by very strongly curving lines, are characteristic. The drapery of his 62

1. THE LECCE PAINTER figures can be very fussy, with a multitude of fine fold lines, and a swastika is occasionally painted on it. This feature also appears on the Taranto bell-krater by the Hoppin painter (p. 56, no. 4) and on two column-kraters by the Tarporley painter, p. 35, nos. 23 and 23 bis. A thin band of wave pattern sometimes appears on kraters above the picture on the obverse (e.g. 1, 2, 6, 14). BELL-KRATERS

1. Lecce 617. CVA 2, pl. 15,4 and 7. (a) Woman between youth and satyr. (b) Three draped youths. 2. Lecce 623. CVA 2, pl. 12,4 and pl. 13,6. (a2) Woman seated on rock between two youths. (b) Three draped youths.

3. Lecce 633. CVA 2, pl. 15,5 and pl. 15,8. (a) Woman with tambourine between two youths. (b) Three draped youths.

4, Lecce 641. CVA 2, pl. 14,1 and pl 15, 1. (a) Maenad between silen and youth. (b) Two draped | youths.

5. Oxford 1879.200 (V 433). (a) Woman with situla between satyr and youth. (b) Three draped youths.

6. Oxford 1879.211 (V 434). (a) Woman with thyrsus between two youths. (b) Two draped youths. 7. B.M. F55. (a) Woman with mirror between two youths. (b) Three draped youths.

8. B.M. F168. (a) Woman with tambourine between youth with oinochoe and youth with stick. (b) Three draped youths.

9. Vatican U13. VIE pl. 234 and pl. 242. (a) Youth and woman with thyrsi at altar. (b) Two draped youths.

10. Nocera, Fienga 545. (a) Standing youth, maenad and half-draped youth. (b) Three draped youths. 11. Geneva 15020. (a) Woman with veil between standing youth and seated youth. (b) Three draped youths,

12. Geneva 15002. (a) Eros chasing woman. (b) Two draped youths. 13. Brooklyn 60.129.3. (a) Maenad and satyr. (b) Two draped youths. CALYX-KRATERS

14. Taranto, from Rudiae. (2) Maenad and Dionysus. (b) Two draped youths.

15. Rome, Market. (a) Youth and seated woman. (b) Two draped youths. . 16. Taranto 107936, from Taranto. Arch. Reps. 1957, p. 42. (a) Aphrodite in chariot drawn by two Erotes with two Erotes behind; below: two satyrs with thyrsi. (b) Woman with thyrsus between two youths.

PELIKAI (shape 1) 17. Once Treben, von Leesen Collection. (a) Schulze, Beschreibung der Vasensammtlung des Freiherrn F. von Leesen, pl. 1; Sale Cat. pl. 1, no. 53. (a) Eros, woman and youth. (b) Three draped youths.

18. York 29. (a) Woman seated between two youths. (b) Three draped youths.

19. Taranto, I.G. 4607. CV.A 2, IV Dr, pl. 36,3 and 4. (a) Youth and woman. (b) Two draped youths.

LEBES GAMIKOS

20. Lecce 720. CVA 2, pl. 46,4 and 5. (a) Youth and woman. (b) Seated woman. 63

VII. THE LECCE GROUP LEK YTHOS

21. Berlin F3209. Woman seated between youth with tambourine and nude youth. Much repainted.

SQUAT LEKYTHOI 22. Philadelphia L64.224. Pl. XXXVI, fig. 179. Woman with fan seated on altar between a woman and a youth on each side.

23. Boston 76.59. Pl. XXXVI, fig. 180. Woman seated between woman and youth. Round the mouth: two maenads and a silen.

HYDRIA

24, Nocera, Fienga 551. Seated woman with tendril, and youth. CHOUS (oinochoe, shape 3).

25. Naples 2256 (inv. 81702). Youth with thyrsus, and woman with tambourine. Later style. SK YPHOS

26. Taranto. (a) Woman with cista, and seated woman. (b) Standing woman and seated woman.

The following unusually large mug is very close to the Lecce painter and may be by his own hand: MUG (oinochoe, shape 8) (i) Naples 2123 (inv. 82281). Nike, satyr, Dionysus on panther, maenad with tambourine, capering silen and maenad.

The following vases are very close to the Lecce painter: A

BELL-KRATERS

(ii) Lecce 637. CV A 2, pl. 14,2 and pl. 13,7. (a) Capering silen between two maenads. (b) Three draped youths.

(iii) Vatican T3. VIE pl. 25f and pl. 24/ (a) Eros and maenad. (b) Two draped youths. B

(iv) Lecce 747. (a) CVA 2, pl. 19,1. (a) Satyr and maenad. (b) Two draped youths. Very near to Naples 2256.

(v) Lecce 742. CV A 2, pl. 17,6 and pl. 18,3. (a) Youth and maenad. (b) Two draped youths. (vi) Lecce 676, from Vaste. (a) CVA 2, pl. 17,4. (a) Woman and youth. (b) Two draped youths. (vii) Vatican U12. VIE pl. 262 and d. (a) Youth and woman. (b) Two draped youths. 64

| 2. THE LEESEN PAINTER The following vase, of which only a fragment from the reverse is preserved, seems to be near the Lecce painter: BELL-KRATER

(viii) Reading 22.iii.22 (f.). (b) CVA 1, pl. 32, 2. (b) Two draped youths. C

The following vases seem to be by imitators of the Lecce painter: BELL-KRATER

(ix) Paris, Musée Rodin 968. CVA pl. 38,3 and 4, and pl. 40, 4-5. (a) Silen, maenad and satyr. (b) Three draped youths.

PELIKE (shape 1) (x) Naples 2318 (inv. 81715). (2) Two women at laver. (b) Two draped youths. CALYX-KRATER

(xi) Naples 2885 (inv. 81865). (a) Mus. Borb. 12, 37. (a) The tree of the Hesperides. (b) Two draped youths.

D

Later and cruder imitations:

BELL-KRATERS | |

(xii) Vatican U14. VIE pl. 23g and pl. 24g. (a) Iris and satyr. (b) Two draped youths. (xtil) Valletta 5. (a) Caruana, Ancient Pottery p. 31, pl. 12,5. (a) Maenad and capering satyr. (b) Two draped youths.

(xiv) Hamburg 1917.1119. (a) Maenad and satyr running to left. (b) Two draped youths.

(xv) Lausanne, Mlle. Germaine Ernst. (a) Woman with phiale, and seated youth with thyrsus. (b) Two draped youths.

2. THE LEESEN PAINTER (Plate XX XVII, figs. 181-182)

A very poor artist. The two vases attributed to him are connected by the dancing male fisures on their obverse, represented with both feet off the ground. The most characteristic feature in the anatomy of these figures is perhaps the clear line separating the calves from the shins. The female figures drawn by this artist wear chitons with two vertical stripes along the centre and with folds indicated by means of thick lines.

65 |

VII. THE LECCE GROUP BELL-KRATERS

1. Copenhagen, Ny Carlsberg Glyptotek H45; ex Treben, von Leesen. (a) Leesen Sale Cat. pl. 2, 29; Bildertafeln p\. 19,3. (a) Eros and Nike. (b) Two draped youths.

2. Lecce 642. CVA 2, pl. 13,4 and pl. 15,6. (a2) Woman and youth with torch. (b) Two draped youths.

The following two vases by one hand are very near to the Leesen painter and may well be his own work: BELL-KRATERS

(i) Sydney 64. Pl. XXXVI, figs. 181-182. (a) Eros and woman. (b) Two draped youths. (ii) Vatican T4. VIE pl. 25¢ and pl. 24&. (a) Youth and Eros at stele. (b) Two draped youths. Compare this vase also with the work of the painter of Lecce 686.

With the work of the Leesen painter compare also the following: HYDRIA

(iii) Geneva. Two women, one holding sash and mirror, the other stick and wreath.

3. THE PAINTER OF THE LARGE EGG-PATTERNS

Also a very poor artist. His style is almost barbaric. The three bell-kraters attributed to him are reported in the Corpus Vasorum Antiquorum to come from Rugge. Our painter is named after the large dotted egg-patterns under his figure-work, which he favours instead of the usual meanders.

BELL-KRATERS

1, Lecce 643, from Rugge. (a) CVA 2, pl. 13,1. (a) Three draped women. (b) Three draped youths.

2. Lecce 740, from Rugge. CVA 2, pl. 13,2 and 5. (a) Youth and two women. (b) Three draped youths.

3. Lecce 744, from Rugge. (a) CVA 2, pl. 13,3. (a) Satyr between two maenads. (b) Three draped youths.

The following vase stands near in style to the painter of the Large Egg-Patterns, but the drawing is even worse: HYDRIA

(i) Lecce 3794. Woman seated on rock and standing woman with wreath. 66

5. THE PAINTER OF SYDNEY 46.48 4, THE PAINTER OF MUNICH 3269 | Four vases ate attributed to this painter, three in good state of preservation and a fourth, in the possession of Professor Ernst Langlotz in Bonn, of which only a fragment remains. The Munich (1) and Leningrad (3) kraters are connected with each other mainly by the figure of Dionysus who is represented similarly on both vases and also by the mask and narthex. The attribution of the Madrid bell-krater (2) is based mainly on the seated silen on its obverse; he is an almost perfect replica of the seated silen on the Munich calyx-krater. Similarly, the attribution of the Bonn fragment (4) is based on the resemblance of the silen on it with those on the Munich and Madrid vases. CALYX-KRATER

1. Munich 3269. JHS 55 (1935), pl. 7,1-2. (a) Pickard-Cambridge, Dr. Fest. fig. 42. (a) Seated Dionysus holding mask between silen and youth to left and seated silen and maenad to right. (b) Dionysus between satyr and maenad. BELL-KRATERS

2. Madrid 11090 (L.329). Ossorio pl. 14; Leroux pl. 39. (a) Youthful Dionysus between seated maenad with tambourine and silen seated on pot. (b) Three draped youths. 3. Leningrad St. 1728. MonInst. 6, pl. 5b. (a) Seated Dionysus, maenad pouring libation into calyxkrater, and seated papposilen. (b) Three draped youths.

FRAGMENT 4. Bonn, Professor Ernst Langlotz. RM 65 (1958), pl. 36,3. Silen holding double flute, and woman.

} 5. THE PAINTER OF SYDNEY 46.48 The style of the painter of Sydney 46.48 is associated with the styles of the Lecce painter and the Truro painter and serves as a link between the two. The vases attributed to him are mainly connected by the male figures on the obverses. BELL-KRATERS

1. Sydney 46.48. NMH? p. 323, fig. 83. (a) Seated woman, youth and Eros. (b) Three draped youths.

2. Lecce 678. CVA 2, pl. 16,3 and pl. 15,2. (a) Dionysus between silen and maenad. (b) Nude youth between two draped youths. 67

VII. THE LECCE GROUP COLUMN-KRATER

3. Bologna PU 500. Pellegrini Caé. fig. 74; CVA 3, IV Gr, pl. 2,1-3. (2) Two women and two warriors. (b) Four draped youths.

With the work of the painter of Sydney 46.48 compare the following vases: COLUMN-KRATER

(i) Karlsruhe B8. CVA 2, pl. 57,1 and pl. 55, 1. (a) Seated warrior between woman and youth. (b) Three draped youths. BELL-KRATER

(ii) Sévres 13. CVA pl. 33,10, 11 and 14. (a) Seated youth with thyrsus and phiale, and standing youth with wreath. (b) Nude youth and draped youth.

6. THE TRURO PAINTER (Plates XX XVII-X X XVIII, figs. 183-192)

A close companion of the painter of Sydney 46.48 and one of the most prolific artists discussed in this study. His favourite shape seems to be the pelike. With the exception of Lecce 770 (22) his vases have non-mythological subjects. Most of them are small and bear representations of youths and women in conversation or pursuit scenes. His figures are mostly squat

and their anatomy is often meticulously rendered. His youths have straggly hair. They often hold a palm leaf of the kind on the Truro pelike (1) or a palm branch of the kind on Lecce 691 (3). Their himation is often wrapped round one forearm and decorated with swastikas. The drapery of the women is often fussy, especially round the waist, with quantities of small broken or curving lines to mark the folds (cf. the Hoppin painter). Like the youths they too occasionally hold a palm branch. The thick white fillets worn by the youths are characteristic, so are the rows of white ivy-leaves painted in the background above the subjects. PELIKAI (shape 1)

1. Truro, Cornwall County Museum. (a) Pl. XX XVII, fig. 183. (a) Youth. (b) Draped woman. 2. Vatican Y16. (a) VIE pl. 482. (a) Draped woman. (b) Nude youth. 3. Lecce 691. (a) CVA 2, IV Dr, pl. 36,10. (a) Seated woman with phiale. (b) Seated youth. 4, Oxford V 431. (a) Woman with wreath and phiale. (b) Nude youth. 5. Once Norwich, Castle Museum. (a) Pl. XXXVII, fig. 184. (a) Woman with wreath and cista (b) Nude youth.

6. Lecce 704. CVA 2, IV Dr, pl. 39,1 and pl. 38,11 (a) Woman with sash. (b) Nude youth. 7. Hamm 1558; ex Treben, von Leesen. Leesen Sale Cat. pl. 3,58; A.A 1948-9, cols. 147-8, figs. 19-20. (a) Youth and woman with branch. (b) Two draped youths. 68

6. THE TRURO PAINTER PELIKAI (shape 1) (Cont’d.)

8. Lecce 955. (a) CVA 2, IV Dr, pl. 40, 12. (a) Head of woman. (b) The like. 9, Limoges 7898. (a2) Woman with sash and wreath. (b) Youth with sash and wreath. 10. Philadelphia MS 4010. (a) Woman with wreath. (b) Youth with wreath and drapery. 11. Taranto, from Taranto. (a) Woman by laver. (b) Youth with thyrsus and wreath. 12. Taranto, from Taranto. (a) Youth and woman with thyrsus. (b) Two draped youths. 12 bis. Once London market, Sotheby Sa/e Cat. 14 Nov. 1960, no. 99 and 12 Dec. 1960, no. 122. (a) Woman seated on stool. (b) Nude youth with sash.

PELIKAIT (shape 2)

13. Bonn 1758. (a) Woman seated between two youths. (b) Three draped youths. The inscriptions are modern. 14. Philadelphia 47.2.2. (a) Woman with sash and phiale. (b) Youth with wreath and drapery. 15. Naples 1947 (inv. 81746). (a) Woman on altar between two youths. (b) Three draped youths. 16. G6ttingen. (a) Woman between two youths, the right one seated on laver. (b) Youth and woman. BELL-KRATERS 17. Vienna 894, (a) Youth with thyrsus and woman seated on rock with deer. (b) Two draped youths.

18. Compiégne 1059. CVA pl. 27,4 and 6. (a) Maenad between Dionysus and silen. (b) Youth and woman with palm-branch. 19. Taranto, from Gioia del Colle. (a) Woman with tambourine and youth with sash. (b) Two draped youths.

20. Trieste 1850, (a) Woman running. (b) Seated youth.

21. Taranto, fr. Lower part of youth and seated woman.

CALYX-KRATER , 22. Lecce 770. CVA 1, IV Gr, pl. 2,1, 2 and 4. (a) Orestes on the altar at Delphi. (b) Seated woman between two youths.

CHOES (oinochoai shape 3)

23. Taranto 101422. Youth with phiale, standing woman with phiale, seated youth with palmbranch, standing woman and standing youth with branch.

24, Lecce 692. CVA 2, IV Dr, pl. 40,7. Woman running towards kalathos. 25. Lecce 698. CVA 2, IV Dr, pl. 40,8. Woman with situla. 26. Geneva MF243. Youth and woman with palm-branch. 27. Taranto 52513, from Taranto (Corso Umberto). Youth with sash and drapery. SQUAT LEKYTHOI 28. Dunedin, Otago Museum E48.333. Gr. Vases in the Otago Museum p. 51, no. 117. Youth with bird and drapery.

29. Lecce 748. CVA 2, IV Dr, pl. 50,2. Youth with bird and woman at altar. 30. Taranto. CVA 2, IV Dr, pl. 38,6. Running youth with wreath. 69

VII. THE LECCE GROUP SK YPHOS (Corinthian type)

31. Geneva 735. (a) Woman. (b) Youth. SK YPHOI

32. Lecce 754. CVA 2, IV Dr, pl. 31, 7 and 9. (a) Woman and youth. (b) Youth and woman. 33. Lecce 778. CVA 2, IV Dr, pl. 31, 2 and 6. (a) Woman and youth at altar. (b) Youth and woman at altar.

34, Taranto. (a2) Youth and seated woman holding tendril. (b) Standing woman and seated youth. 35, Lecce 761. CVA 2, IV Dr, pl. 31,8 and pl. 30,4. (a) Maenad. (b) Youth. 36. Taranto, from Valesio. (a) Maenad with thyrsus and phiale. (b) Youth with thyrsus and drapery. 37, Leningrad inv. 4557. (a) Maenad with thyrsus and cista. (b) Youth with thyrsus.

38. Leningrad inv. 4558. (a) Woman with cista and fillet. (b) Youth.

° 39, Lecce 871. CVA 2, IV Dr, pl. 56,9 and pl. 55,8. (a) Head of youth or woman. (b) Bird. 40. Taranto, fr. (a) Draped woman. 41, Taranto, fr. Youth with drapery and phiale. DISH

42. Bari 2781a. Seated woman with phiale. HYDRIA

43, Lecce 800. CVA 2, IV Dr, pl. 42,2 and 7. Youth seated between two women. PANATHENAIC AMPHORA

44. Brussels, Errera Collection. (a) Youth with drapery. (b) Youth with drapery. FRAGMENTS (probably from a skyphos)

45. Sydney 53.11. (a2) Seated woman and youth. (b) Woman crowning youth.

The following vases are very near to the Truro painter: HYDRIAI

(i) Once Vienna, Matsch Collection. CVA pl. 14,2 and 3. Youth and woman. (it) Lecce 724, CVA 2, IV Dr, pl. 41,11. Youth and woman. CHOES (oinochoai, shape 3)

(iii) Paris, Musée Rodin 894. CVA pl. 37,7. Youth with spear and drapery. (iv) Maplewood, (N.J.), J.V. Noble Collection. RM 65 (1958), pl. 40,1. Satyr (Marsyas?) with two flutes.

PELIKE (shape 1)

(v) Hamm 1559. AA 1948-9, col. 148, fig. 21. (a) Woman. (b) Youth. 70

6. THE TRURO PAINTER SQUAT LEKYTHOS (vi) Turin 4408. CVA 1, IV D, pl. 22,6. Youth with phiale and tambourine.

Here should perhaps also be mentioned the following vase: LEBES GAMIKOS (vii) Reggio Cal. 6995, (a) Youth holding aryballos. (b) Woman playing with ball.

The following vases, mostly of small size, are also near to the Truro painter: A SK’'YPHOI (Corinthian type) (viii) § Taranto. (a) CV A 2, IV Dr, pl. 34,3. (a) Nude youth with wreath and phiale. (b) Draped woman.

left.

(ix) Milan, Scala, Alb. 337. (a) Pl. XXXVI, fig. 185. (a2) Youth with grapes and palm-branch running to right. (b) Woman with mirror running to right.

(x) Sévres 222. CVA pl. 32, figs. 5,18 and 31. (a) Youth with cista running to right. (b) Woman running to right. (x1) Turin 4135. CVA 1, IV D, pl. 3,1-2. (a) Nude youth with wreath and stick. (b) Draped woman with mirror running to left. SKYPHOS

(xii) Turin 4475. CVA 1, IV D, pl. 4,1-2. (a) Nude youth running to left. (b) Woman running to

SQUAT LEKYTHOI

(xiii) Taranto. CVA 2, IV Ds, pl. 37,4. Woman running.

(xiv) Lecce 828. CVA 2, pl. 50,9. Woman running. (xv) Reggio Cal. 1154. Woman with wreath running to left. STAND

(xv1) Hamburg A65. (a) Pl. XXXVI, fig. 186. (a2) Running woman with wreath and tambourine. (b) Running woman with dish of offerings. CHOES (oinochoai shape 3) (xvii) Karlsruhe B63. CVA 2, pl. 70,8; Van Hoorn, fig. 414. Woman with mirror running to right. (xviii) Turin 4439. CVA 1, IV D, pl. 19,3. Woman bouncing ball and running to left.

(xix) Sévres 83. CVA pl. 32,20. Youth with tambourine running to right. (xx) Brooklyn 60.129.1. D. von Bothmer, American Art from N.Y. Private Colls. pl. 92, no. 253. Young satyr running to right.

(xxi) Vienna. Van Hoorn, fig. 404. Young satyr running to right. (xxii) Taranto. CVA 2, IV Dr, pl. 34,5. Woman with mirror and palm-branch. (xxiii) Karlsruhe B1882. CVA 2, pl. 70,9; Van Hoorn, fig. 466. Woman running. 71

VII. THE LECCE GROUP CHOES (Oinochoai shape 3) (Cont'd. )

(xxiv) Hamburg A55. Woman running to right. (xxv) Taranto 109828, from Taranto (Via Abruzzi, T.5). Woman with cista running to right. CUP-SKYPHOS

(xxvi) Bologna PU485. CVA 3, IV Er, pl. 6,16 and 17. (a) Running woman. (b) Running youth.

PELIKAI (shape 1) (xxvii) Philadelphia L64.25, (a) Woman. (b) Youth. (xxviii) Hamburg 1875.194. (a) Woman. (b) Youth. (xxix) | Laon 37.1070. (a) Woman with phiale and mirror. (b) Woman with mirror and phiale. (xxx) Lecce 706. CVA 2, IV Dr, pl. 41,2 and 7. (a) Youth holding drapery. (b) Woman bouncing ball. (xxxi) Lecce 690. (b} CVA 2, IV Dr, pl. 39,4. (a) Youth. (b) Woman. (xxxii) Boston 90.160. (a) Pl. XX XVIII, fig. 187. (a) Youth running to right. (b) Woman running to right.

(xxxili) Lecce 693. (b) CVA 2, IV Dr, pl. 38,10. (a) Youth. (b) Woman. (xxxiv) Hamburg A53. (a) Woman with mirror and wreath. (b) Youth running.

(xxxv) Taranto. CVA 2, IV Dr, pl. 34,1-2. (a) Running youth with strigil. (6) Woman with bird, bouncing ball. (xxxvi) Turin 4501.CV.A 1, IV D, pl. 25,1-2. (a) Youth with strigil and wreath. (b) Woman with phiale running to right. (xxxvii) Zagreb. (a) Pl. XX XVIII, fig. 188. (a) Youth with stick. (b) Woman with cista. (xxxviil) Liverpool 50.60.65. (a) Pl. XX XVIII, fig. 191. (a) Youth. (b) Woman. The woman on the teverse of this vase is very similar to that on the Zagreb vase. (xxxix) Mannheim Cg10. CVA 1, pl. 42,1-2. (a) Youth with stick. (b) Woman with cista and wreath.

HYDRIA

(xl) Godalming, Charterhouse. Woman running. MUG (oinochoe shape 8)

(xh) Godalming, Charterhouse. Woman running.

With these compare the following: CHOES (oinochoai shape 3)

(xlit) Hamm 1571. AA 1948-9, col. 153, fig. 27. Youth running. (xliii) Altenburg 255. CVA 2, pl. 64,4-5. Youth with cat. (xliv) Brooklyn 03.283. Seated youth. (xlv) Compiégne 1013. Van Hoorn, no. 469, fig. 401. Youth running,

(xlvi) Stockholm, C.E. Galt. Youth running. (xlvii) Vienna 1017. Woman running. 72

6. THE TRURO PAINTER LEBES GAMIKOS (xlviii) Turin 4491. CVA 1, IV D, pl. 21,4-5. (a) Nude youth with wreath. (b) Seated woman with phiale.

SK YPHOI (Corinthian type)

(xlix) Milan, Scala, Alb. 338. (a) Pl. X XXVIII, fig. 189. (a) Youth with grapes and strigil. (b) Woman with mirror.

(1) Milan, Scala, Alb. 339. (b) Pl. XX XVIII, fig. 190. (2) Woman with mirror running to left. (b) Youth with strigil and wreath running to left.

(3) Turin 4470. CVA 1, IV D, pl. 26,1-2. (a) Woman running to left. (b) Woman running to left.

PELIKE (shape 1)

(lii) Geneva I 651. (a) Youth. (b) Woman. B

PELIKAT (shape 1)

(litt) Lecce 688. (a) CVA 2, IV Dr, pl. 36,13. (a2) Youth. (b) Woman. (liv) Lecce 696. (a) CVA 2, IV Dr, pl. 36,8. (a) Seated youth. (b) Woman.

With these vases compare the following: BELL-KRATERS

(Iv) Winterthur 310. (a) Pl. XX XVIII, fig. 192. (a) Youth running. (b) Seated youth. (Ivi) Turin 4130. CVA 1, IV D, pl. 7,4-5. (a) Dionysus reclining. (b) Running woman with tam. bourine.

LEBES GAMIKOS (Iviit) | Madrid 11464. (a )Woman with cista running to left. (b) Youth running to left. HYDRIA

(Iviit) Naples. Youth running to right.

With the Truro painter compare also the following: SQUAT LEKYTHOS

(lix) Prague, Mus. of Applied Arts 11501. Woman seated holding mirror. PELIKE

(ix) Bari 1231. (a) Woman with phiale. (b) Woman. 73

VII. THE LECCE GROUP Mention may also be made tn this context of a small group of vases which have a strong

stylistic affinity to the Truro painter, but which might also be regarded, in view of the presence of added white and other adjuncts, as secondary work of the “Ornate”’ style, descended from the Iltupersis painter and his circle. Most of the vases may be assigned to a single artist,*” who might be called the Egg and Wave painter from his regular use of these two patterns, one on the obverse and the other on the reverse of his vases. Note also his use of double fold lines on the drapery (cf. Lecce 688 and 696 above).

7. THE CHOES PAINTER (Plate X X XIX, fig. 193)

With the exception of his nestoris in Naples (6) all the vases attributed to this painter are choes. His style recalls that of the Truro painter and is recognizable from his youths with sloping shoulders and his female figures represented in highly mannered attitudes. Most of them extend their arms and let their forearms and hands drop down. CHOES (oinochoai shape 3)

1. Copenhagen 75 (250). CVA 6, pl. 264,1. Nude youth and woman with wreath. 2. Taranto. Van Hoorn, fig. 396¢. Woman and youth holding oinochoe at altar. 3. Taranto. Van Hoorn, fig. 396%. Two youths holding oinochoai at altar. 4, Vienna 856. Pl. XX XIX, fig. 193. Youth with stick, and woman holding cista.

5. Louvre K38. Van Hoorn, fig. 398. Two youths. NESTORIS (shape 1)

6. Naples 2326 (inv. 81826). (2) Youth and woman. (b) Two draped youths.

With the work of the Choes painter compare the following: CHOUS (oinochoe shape 3)

(i) Once Norwich, Castle Museum. Youth with stick and strigil, and woman with ball at stele. 47 His principal works are: Skyphoi

1. Reggio 6981. (a) Seated woman. (b) Eros. 2, Reggio 6980. (a) Woman with wreath and mirror. (b) Satyr with phiale and situla. 3. Reggio 1160. (a) Woman with cista and wreath, (b) Youth with phiale. 4, Turin 5405. CVA 1, IV D, pl. 25,3-4. (a) Youth running to right. (b) Woman with cista and wreath. Skyphos (Corinthian type)

PCHKat ie, Turin 4471. CV'1 1, IV D, pl. 19,4-5. (a) Youth with fillet and phiale. (b) Woman with wreath and cista. 6. Reggio 1150. (a) Youth with phiale. (b) Woman with phiale. 7. Turin 4500. CVA 1, IV D, pl. 10,1-2. (2) Woman with phiale and wreath. (b) Eros with wreath.

74

8. THE WELLCOME PAINTER PELIKE (shape 1) (ii) Turin 4711. CVA 1, IV G, pl. 8, 1-2. (a) Youth with stick. (b) Woman with ball.

The following two vases, which seem to be by one hand, are also near to the work of the Choes painter: CHOES (oinochoai shape 3)

(iii) Vienna 978. Van Hoorn, fig. 397. Nude youth with strigil. (iv) Zurich, Univ. 2668 (old cat. 2382). Van Hoorn, fig. 519. Nude youth with strigil. The youths on these two vases may also be compared with the youth on the reverse of Madrid 11464 (no. lvii above, p. 73).

8. THE WELLCOME PAINTER (Plate XX XIX, figs. 194-198)

A close follower of the Choes painter. His favourite shape is the skyphos. SKYPHOI

1. Sydney 49.11. (b) Pl. XX XIX, fig. 195. (a) Youth with wreath and stick. (b) Woman with situla. 2. London, Soane Museum 528. (b) Pl. XX XIX, fig. 196. (a2) Youth with stick. (b) Woman with tendril.

3. London, Wellcome Museum R394/1936. (a) Youth. (b) Woman at stele.

4, Bologna PU739. CVA 3, IV Gr, pl. 3,10 and 11. (a) Youth with bird. (b) Woman. PELIKE

5. Geneva. (a) Youth with strigil and stick. (b) Woman with wreath.

With the work of the Wellcome painter compare the following: SKYPHOI

(i) Madrid, Palacio de Liria. (a) Woman with cista running to right. (b) Youth with torch and

. vessel running to right.

(ii) Seattle, Art Museum, Cs 20.17. (a) Pl. XX XIX, fig. 197. (a) Woman running with cista.(b) Youth.

(iit) Adelaide 69. (a) Woman running to right. (b) Youth with strigil at stele. (iv) Hamburg 1917.1089. (b) Von Mercklin, Ca#. pl. 19,1. (a) Juggler playing with three balls beside an altar, above which is a sword. (b) Dancing maenad. (v) Berlin F3226. (a) Nude youth with wreath and phiale. (b) Draped woman with fillet. (vi) Copenhagen 497 (252). CVA 6, pl. 241,1. (a) Woman with phiale. (b) Youth with strigil. 75

VII. THE LECCE GROUP SK YPHOS (Corinthian type) (vil) Prague, Mus. of Applied Arts, 1161. (a) Pl. XX XIX, fig. 198. (a) Woman with wreath and mirror. (b) Young satyr with situla and torch.

CHOUS

(viii) Brussels R382. CVA 2, IV F, pl. 1,2. Woman holding cista.

With the work of the Choes painter and that of the Wellcome painter compare the following: CHOUS

(ix) Trieste $519. Pl. XX XIX, fig. 194. Youth with stick and seated woman with mirror.

PELIKE (shape 1)

(x) Trieste 1852. (a) Youth with stick and woman with mirror. (b) Two draped youths.

9, THE TURIN PAINTER

Like the Wellcome painter, with whom he is most closely related in style, the Turin painter favours the skyphos. Characteristic is his rendering of the nude male figure, with horizontal lines for the pectoral muscles and a broad U for the pelvic girdle. It is from the work of such artists as the Choes, Wellcome and Turin painters that the Roccanova painter, a Lucanian

artist active in the third quarter of the fourth century, derives his style. SK YPHOI

1, Turin 4141. CVA 1, IV D, pl. 4,3-4. fa) Nude youth with stick. (b) Woman holding fillet. 2. Turin 4458. CVA 1, IV D, pl. 5,3-4. (a) Nude youth with stick. (b) Woman holding fillet.

SK YPHOS (Corinthian type)

3. Turin 4477. CVA 1, IV D, pl. 5,1-2. (a) Athlete with strigil. (b) Woman holding oinochoe.

Near in style to the above is: SKYPHOS

(i) Turin 4124. CVA 1, IV D, pl. 5,5-6. (a) Youth with oinochoe running to left. (b) Woman with phiale. 76

11. THE THYRSUS PAINTER

~ 10. THE PAINTER OF REGGIO 1157 (Plate XL, fig. 199)

Two vases can be attributed to this artist, whose work forms a clear link between the Truro and Thyrsus painters: PELIKAI (shape 1)

1. Reggio Cal. 1157. (a) Pl. XL, fig. 199. (a) Youth with phiale running to left. (b) Woman with mirror at stele.

2. Copenhagen 297 (255). CVA 6, pl. 239,2. (a) Seated woman. (b) Youth with strigil.

11. THE THYRSUS PAINTER (Plate XL, figs. 200-203)

The work of the Thyrsus painter is connected with the late work of the Lecce painter, the

work of the Truro painter and with some of the vases we have placed near them. The Thyrsus painter is very hasty, and his style is barbarized. The lines indicating the anatomical details of his figures are very angular, and on several occasions he has omitted one arm, as for example on the Stoke-on-Trent bell-krater (Pl. XL, fig. 201). He normally depicts the ribs with a series of small parallel lines, and his eyes are triangular and staring. A good many

of his youths and women are represented holding a thyrsus.

PELIKAI (shape 1)

1. Taranto I.G. 4610 (old no. 4803). CVA 2, IV Dr, pl. 38, 1-3. (a) Seated woman between youth and Eros. (b) Standing woman and seated woman.

2. Ruvo, Jatta 835. (a) Seated woman between two youths. (b) Two draped youths. 3. Lecce 699. (a) CV.A 2, IV Dr, pl. 37,1. (a) Running maenad with thyrsus. (b) Running youth with thyrsus.

4, Lecce 700. (a) CVA 2, IV Dr, pl. 38,13. (2) Woman running. (b) The like.

5. Sydney 82. (a) Youth. (b) Woman. 6. Madrid 11208. (a2) Maenad with thyrsus. (b) The like. 7. Turin 4131. CVA 1, IV D, pl. 8,1-2. (a) Youth with thyrsus. (b) Woman with wreath running to right. 77

VII. THE LECCE GROUP BELL-KRATERS

8. Lecce 634. CVA 2, IV Dr, pl. 17,5 and pl. 18,2. (a) Woman and youth with thyrsi. (b) Woman and youth with thyrsus. 9, Paris, Musée Rodin 1051. CVA pl. 38, 5-6. (a) Woman and youth. (b) Eros and woman. 10. Washington, National Museum 170388. (a) Pl. XL, fig. 202. (a) Youth and woman with thyrsus. (b) Youth and woman with thyrsus.

11. Naples Stg. 469. (a) Two women and Eros. (b) Youth and woman. 12. Brindisi. (a) Youth and woman with thyrsi. (b) Satyr with phiale and woman with thyrsus. 13. Madrid 11029 (L.355). (a) Woman with thyrsus, seated woman and Eros. (b) Woman with thyrsus and youth with thyrsus. 14. Stoke-on-Trent. (a) Pl. XL, fig. 201. (a) Woman and youth with thyrsi. (b) Youth and woman

: with thyrsi.

CHOES (oinochoai shape 3)

15. Taranto 52482. CVA 2, IV Dr, pl. 33,5. Woman with thyrsus and youth. 16. Taranto 50254. NSc 1936, p. 135, fig. 25. Seated woman with thyrsus, and youth. 17. Taranto 50255. NSe¢ 1936, p. 135, fig. 25. Seated woman and youth. 18. Ferrara, from Val di Pega T.45a. Woman with thyrsus and youth with drapery over right arm. 19. Ferrara, from Val di Pega T.45a, Woman with thyrsus and youth with drapery over right arm. Makes a pair with the preceding vase.

20. Taranto, from Contrada Vaccarella (28.3.1950). Maenad with thyrsus. 21. Taranto, from Contrada Vaccarella (9.5.1950). Maenad with thyrsus. 22. Taranto 107726, from Via Emilia, T.3. Woman and youth, each with thyrsus.

23. Madrid 11058 (L.486). Flying Eros. LEBETES GAMIKOI 24. Madrid 11446 (L.335). (a) Pl. XL, fig. 203. (a) Woman with thyrsus, and Eros. (b) Eros. The lid does not belong. 25. Madrid 11448 (L.333). (a) Woman between youth and Eros. (b) Woman between two draped youths.

26. Vienna 1057. (a} Woman. (b) Youth. HYDRIA

27. Geneva 14143. Woman and youth with thyrsi. SQUAT LEKYTHOI 28. Bonn 87. Seated woman between woman and youth with thyrsi. 29, Madrid 11525 (L.473). Woman with thyrsus, and Eros. 30. Madrid 11528 (L.472). Woman with thyrsus, and woman. SQUAT LEKYTHOS (special type)

31, Reading 151.51 RM. Pl. XL, fig. 200. Youth and two women. 78

11. THE THYRSUS PAINTER NECK-AMPHORAE

32. Copenhagen 319 (256). CVA 6, pl. 239,1. (a) Eros. (b) Woman. 33. Geneva MF248. (a) Maenad with thyrsus. (b) Running woman with phiale.

34. Naples 1898 (inv. 81786). (a) Woman. (b) Youth. SK YPHOI (Corinthian type)

35. Winchester, College Museum. (a) Woman. (b) Youth. 36. Naples 1973 (inv. 82012). (a) Woman with thyrsus. (b) Eros. 37. Madrid 11393 (L.340). (a) Woman with thyrsus, and Eros. (b) Woman and youth with thyrsus at stele.

38. Madrid. (a) Woman with thyrsus. (b) Eros with fillet. . 39, Taranto, from Via Emilia, T.1. (24.7.58). (a) Nude youth. (b) Maenad with thyrsus and tambourine.

SKYPHOI

40. Louvre K46. (a) Seated youth with thyrsus, and woman. (b) Seated youth with Eros. 40bis. Vienna 476. (a) Draped woman. (b) Nude youth. STEMLESS CUPS

At, Madrid 11287 (L.515). (1) Woman with thyrsus. (a) Woman with thyrsus. (b) Woman. 42. Madrid 11281 (L.514). (I) Seated woman. (a) Woman running. (b) The like. LEKANIDES

DISH |

43. Madrid 11312 (L.523). Woman with thyrsus and woman, both running to the right. 44. Madrid 11310 (L.525). Woman with thyrsus running to the right and Eros flying to the right. 45. Madrid V.13-33. Two women with phialai running to the right. LEKANIS LID 46. B.M. old cat. 1636. (a) Draped woman. (b) Flying Eros.

47, Trieste $425. (a) Woman and youth with thyrsi. (b) Woman with thyrsus and youth with wreath.

Near in style to the Thyrsus painter, and perhaps by his hand, are three vases in Taranto: CHOES (oinochoai shape 3)

(i) Taranto 105490. Two youths holding bunches of grapes. (it) Taranto 109940. Youth with thyrsus and wreath, moving to right.

(itt) Taranto 4608. Youth with thyrsus.

With the vases by the Thyrsus painter compare the following: 79

VII. THE LECCE GROUP LEBETES GAMIKOI

(iv) Lecce 725. (a) CVA 2, IV Dr, pl. 56,5. (a) Woman. (b) The like. (v) Madrid 11459. (a) Woman with cista and mirror. (b) Eros.

PELIKAI (shape 1)

(vi) Reading 45.viii.2, CVA pl. 31,1 and 2. (a) Youth. (b) Woman. (vii) Bologna PU 421. CVA 3, IV Er, pl. 5,5 and 6. (a) Satyr. (b) Woman. (viii) Zurich, University 2655. (a) Woman. (b) Woman. (ix) Taranto 5651, from Crispiano. (a) Youth. (b) Woman. (x) Lecce 746, (a) CVA 2, IV Dr, pl. 40,21. (a) Youth walking toward stele. (b) Youth at stele. BELL-KRATERS

(x1) Bologna PU431. CVA 3, IV Er, pl. 5,3 and 4. (a) Woman with cista. (b) Youth. . (xit) Taranto 100528, (a) Youth with thyrsus and ball, woman with wreath. (b) Two draped youths.

CHOES (oinochoat shape 3)

(xiii) Taranto 4747, from Contrada Madre Grazie. Woman and youth with thyrsus. (xiv) Laon 37.1090. Woman at stele.

12. THE BERKELEY PAINTER (Plate XLI, figs. 205 and 209 Plate XL, fig. 204)

On this painter see J HS 74 (1954), p. 229. He is a companion of the Thyrsus painter and like him decidedly barbarized. The treatment of the mouth and the scrappy fold lines on the drapery are characteristic. LEBES GAMIKOS 1. Berkeley 8/447A. (b) Pl. XLI, fig. 205. (a) Eros chasing woman. (b) Seated woman and youth with spear.

PELIKAI (shape 1) 2. Catania 4364. (a) Pl. XLI, fig. 209. (a) Benndorf, Gr.z.Sic. Vasenbilder pl. 50,2. (a) Seated youth with spear between youth with spear and woman. (b) Woman and seated youth with spear. 3. Vienna 903. (a) Seated youth and woman. (b) Seated youth holding spear, and dog. 4. Karlsruhe B126. (a) CVA 2, pl. 80,2. (a) Woman and seated youth. (b) Two draped youths.

5. Naples Stg. 329. (a) Standing woman and seated woman. (b) Seated Eros and goose. 80

13. THE LAMPAS PAINTER EPICHYSIS

6. Marburg 105. Seated woman and youth running with cista. BELL-KRATERS

7. Vienna 1115 (SK 238,243). (a) AZ 1877, pl. 4. (a) Orestes at Delphi. (b) Woman and dog. 8. Bari 1399, from Gioia del Colle. (a) Seated Dionysus, boy and nude woman. (b) Two draped youths.

LEKANIS

9. Vienna 291. Two Erotes. The following vases stand near the work of the Berkeley painter, and are probably the work of a single artist: COLUMN-KRATERS

(i) Barletta. Schauenburg, Charifes pl. 27. (a) Silen and maenad, Dionysus, seated silen and satyrboy. (b) Silen, maenad, and Dionysus, running to right. (it) Gotha 79, (a) Thiasos (silen, two maenads, Dionysus, satyr and silen). (b) Woman, seated youth and two silens.

PANATHENAIC AMPHORA

(iit) Copenhagen, Thorvaldsen Museum 130, (a) Pl. XL, fig. 204. (a) Seated woman with parasol between youth and woman holding Eros with bird. (b) Woman with thyrsus between two draped youths.

CHOUS (oinochoe shape 3)

(iv) Vatican Y9. VIE pl. 43e. Seated woman with iynx.

13. THE LAMPAS PAINTER (Plate XLI, figs. 206, 208, 210 and 207)

For a discussion of the Lampas painter’s style of drawing see Cambitoglou’s article in BSR 19 (1951), pp. 39-42. At the time this article was written, only four examples of the artist’s work were known, all of them mugs. Two more vases of the same shape, both at Oxford, were mentioned by Cambitoglou as resembling in style the work of the Lampas painter, and these we now believe to be by his own hand. To this list of his work we are able to add another nineteen vases. They make it clear that, although the mug is a favourite of the Lampas painter, he uses other shapes too. 87

VII. THE LECCE GROUP It is worth noting that all the vases in Taranto by the Lampas painter come from Canosa. They were found along with various minor vases of the circle of the Darius painter, which suggests they should be dated ca. 340-330 B.c.

Although connected with the Thyrsus painter and the Berkeley painter, the Lampas painter is more original than either. His vases are by no means beautiful, but they are certainly amusing. MUGS (oinochoai shape 8B)

1. Karlsruhe B304. CVA 2, pl. 76,3; BSR 19 (1951), pl. 5,1 Three naked youths in torch-race. 2. Reading 25.50 RM. BSR 19 (1951), pl. 5,2-4. Woman and Eros. 3, Milan, Scala, Alb. 340. Stenico, Acme 10 (1957), pl. 2, figs. 5-6. Youth with torch and phiale. 4, Oxford 1879.212 (V438). BSR 19 (1951), pl. 7,3 and 4. Cat. 5. Oxford 1879.213 (V439). BSR 19 (1951), pl. 6,4. Cock. 6. Taranto 1.G. 8877, from Canosa. Youth, seated woman, Eros and seated woman. 7. Taranto I.G. 8883, from Canosa. Bird, Eros, seated woman, Eros and bird. 8. Taranto I.G. 8930, from Canosa. CVA 1, IV Dr, pl. 8,1. Cat and mouse. 9, Taranto, from Canosa. Satyr, seated woman and Eros. On lid: head of woman. 10. Taranto I.G. 8867, from Canosa. Pl. XLI, fig. 206. Seated woman with bird, palm-branch and dog.

11. Taranto I.G. 8868, from Canosa. Woman with tambourine, woman with phiale and bunch of grapes, and Eros with tambourines.

12. Brussels, Errera Collection. Pl. XLI, fig. 208. Woman seated between swan and Eros. MUGS (oinochoai shape 8N)

13. Karlsruhe B306. CVA 2, pl. 76,1. Woman and dog. 14. Karlsruhe B307, CVA 2, pl. 76,2. Eros. 15. Oxford 1934.17. BSR 19 (1951), pl. 6,1-3. Woman bouncing ball. 16. Truro, Cornwall County Museum. BSR 19 (1951), pl. 7,1 and 2. Youth chasing deer. 17. Brussels, Errera Collection. Seated Nike, duck and perhaps another figure. LEKANIS

18. Taranto I.G. 8889, from Canosa. On the lid: Crouching woman holding wreath, and goose; seated Eros and duck.

LEKANIS LIDS

19. Karlsruhe B938. CVA 2, pl. 76,5. Head of woman. 20. Reading 137.51 RM. Head of woman and bird. PELIKAI (shape 2) 21. Taranto, from Canosa. (a) PI.XLI, fig. 210. (a) Eros with bird and tambourine, and woman with wreath. (b) Eros with tambourine and woman with mirror, duck between. 22. Taranto I.G.8890, from Canosa. (a) Eros with tambourine, and woman. (b) Boy with wreath, and woman. 82

13. THE LAMPAS PAINTER CHOES (oinochoai shape 3) 23. Taranto I.G. 8874, from Canosa. Eros with tambourine and situla, and Psyche with tambourine.

24. Taranto, from Canosa. Woman with situla and grapes, and youth with torch. 25. Oxford 1885.666 (V442). Cock.

The following vases are very near to the Lampas painter: SKYPHOS (Corinthian tvpe)

(i) Chicago University. (a) Pl. XLI, fig. 207. (a) Woman with oinochoe and cista. (b) Youth. VOLUTE-KRATER (ii) Paris, Musée Rodin 971. CVA pl. 32. (a) Two Erotes, youth and woman. (b) Two Erotes and woman. Neck: (a) Eros and woman.

PLATES

(iit) Taranto I.G. 8894. CVA 1, IV Dr, pl. 7,1. Actaeon. (iv) Louvre K 632. AA 1958, col. 26, fig. 3. Chimaera. GUTTUS (oinochoe with spout) (v) Naples Stg. 313. (a) Two satyrs attacking a sleeping maenad. (b) Woman with duck between Eros and woman with thyrsus. For the subject see Caskey and Beazley, Attic Vase Paintings in the Museum of Fine Arts, Boston, Il, p. 98.

83

INDEXES

MUSEUM INDEX References are to the page of the text upon which the vase is listed and to the number of the vase in the list. Where possible catalogue and/or inventory numbers are given for each vase, but when these are not available a brief description of the scene on the obverse is included to facilitate identification. For this purpose the following abbreviations are used: D=Dionysus; E=Eros; m=maenad; s=satyr or silen; w=woman; y=youth.

Skyphos (Cont'd. 1. 69 75/(1ii) Oinochoe (shape)5a) a

ADELAIDE—National Gallery ALTENBURG—Staatliches Lindenau Museum

ADOLPHSECK—Schloss Fasanerie 5. 326,1 53/(iil)

(Prince Philip of6.Hesse) Pelike . Bell-kraters 346 41/(iv) 1. 179 20/ 1 AMSTERDAM, University—Allard Pierson Museum 2. 182 50/(i) Fragment

Once AGRIGENTO—Giudice Coll. 1. 2534 15/21 Bell-krater 1. Sale Cat. 421 50/(i) ANAGNI—Museo del Duomo

Bell.krater 1. Orpheus 7/10 1. R178 14/2 ANDOVER (Mass.)—Phillips Academy

AGRIGENTO—Museum Bell: krater

Calyx-krater Panathenate amphora 2. R180 15/12 1. 177 41

/C(vi) 1. 272 43/12 1. 168047/1 50/1 2. 305 58/5 2 1714 Column-krater 3. 343 52/8 AVIGNON—Musée Calvet Chous Bell-krater 4. 255 72/(xliii) 1. M.&D. 45/3

ALTENBURG—Staatliches Lindenau Museum ATHENS—National Museum Bell-kraters

Bell-kraters

87

MUSEUM INDEX

Fragment 1. D. & ss.Column-krater 15/19 1. Komos 35/23

AYNHOE PARK—Cartwright Coll. Once BERLIN (?)—Adolf Hitler

Bell-krater 1.2.425 44/(vi) 1. L59.80 56/2 427 60/(iii) 3. 428 45/1 BARI—Museo Nazionale 4. 431 Sita Bell-kraters 5, 589 51/1 1. 1364 46/1 Column-kraters 2. 1399 81/8 6. 500 68/3 3. 1523 42/4 7, 571 50/1 4, 3909 43/3 8. 584 52/2 5. 4311 56/7 Hydria 6. 5260 10/23 9 560 46/9 7. 5596 43 (ili) Pelikai 8. 6331 45/(ii1) 10. 421 80/(vit) a. 6332 29/2 11. 497 39/1 Dish 12. 498 39/2 10. 2781aSkyphoi 70/42 13. 537 45/6 Hydriai 11. 12. 2328 4394 35/32 10/18 14, 15. 513 73946/10 75/4 BOLOGNA—Museo Civico

BALTIMORE—Museum of Art Bel/-Rraters

13. 6314 35/34 Cup-skyphos 14. 6317 10/25 16. 485 72)(xxvi) Pelikai BONN—Prof. E. Langlotz

15. 42/3 Fragment1. 16.1169 1231 73/(1x)

S. 67/4

2. 80 14/9

Rhyton Bell-kraters 18, 6257 40/4 1. 79 43/4

17. 6282 35/38 BONN— University, Akademisches Kunstmuseum

BARLETTA—Museo Civico Column-krater

Column-krater 2yy. & w. 50/2 1. D.,m. & ss, 81/(i) 3. Aydria

4. Y.& athlete 10/26

Fragment 5. 87 78/28 | a 6. 1758 69/13

Once BASLE—Market Lekythos (squat) 1. Athena & Pegasus 15/20 Pelikai BERKELEY—University of California 7 YY. &w. 53/(iv) Lebes gamikos BOSTON—Museum of Fine Arts

1. 8/447A 80/1 Bell-kraters BERLIN—Staatliche Museen ; or ao (frr.) 0/3 Bell-kraters 1, F3181 Lekythos 15/(i) 3.(squat) 76.59 64/23

2. F3187 17/3 Pelike 3. inv. 4565 14/8 4. 90.160 72/(xxxii) Calyx-krater Stamnos 4. E2400 6/4 5. 00.349 17/1

’ Calyx-krater

a ¥3 164 27/(iv) BOSTON—Professor John Oddy

Lekythos 1. Warrior & Amazon 6/5 6. F3209 64/21 BostonN—Dr. C.C. Vermeule

Skyphos Bell-krater 7. F3226 75/(v) 1. Bendis 59/3

88 oo

MUSEUM INDEX

logie Bell-krater Column-krater 1. 4209 14/5

BOULOGNE—Musée des Beaux-Arts et d’Archéo- CATANIA—Museo Civico

1. 653 9/52. Pelike Aydria 4364 80/2 2. 176 10/27 oo, Peljke care 35/35 aco University 3. 671 A 83/(i) SAyphos

BRINDIsI—Museo ArcheologicoMusée Provinciale Bell-kraters COMPIEGNE— Vivenel

1. M. 45 (iv) Bell-krater 2. y.&&y. w. 78/12 1, 1059 69/18 Chous

BROOKLYN—Brooklyn Museum 2 1013 72/(x\v) Bell-krater 1. 60.129.3 63/13 COPENHAGEN—National Museum Choes 2. 03.283Bell-kraters 72/(xliv) 1. 78 (215) 51/2

3, 60.129.1 71 /(xx) 2. 3. 292 293(216A) (216B) 50/3 51/2

BRUNSWICK (Maine)—Bowdoin College 4, 333 (214) 57 /(iv)

Bell-krater 1. 1915.47Column-kraters 33/3 5. 31 (212) 54/2

BRUSSELS—Errera 278 (211)52/1 48 (ii) Bell-krater 7.Coll. 3356. (210)

1. M. & 2ss. 53/3 8, 3633 35/22. Oinochoe (shape 8B) Aydria 2. W.&E. 82/12 9. 374 (202) 36/(vi) Oinochoe (shape 8N) Choes

3. Nike and duck 82/17 10, 75 (250) 74/1 Pan. amphora 11. 341 (251A) 48 /(iti) 4, Y. 70/44 Neck-amphora ; , 12. 319 (256) 79/32

BRUSSELS —Muste du Cinquantenaire Pan. amphora

1. R382 76/(viti) Poike (218) 38/9

2. R403 29/2 ‘eke M2 Pelike 15” 497 (252) 75|(vi) 3. A140 45/5 Pan. amphora

H45 34/7 66/1 1. P232 50/2 > 1. W154

BRYN MAWR (Penna. )—Bryn Mawr College FEN NY Carlsberg Glyptotek Colummn-krater

BUDAPEST—National Museum of Fine Arts

Betl-krater COmENHAGENThorvaldsen Museum ves an. amphora CAMBRIDGE—Fitzwilliam Museum

1. Letet 134 56/(iii) | 7 140. 81 (ii)

Skyphos cork—Public Museum 1. 239 10/19 Lebes gamikos 1. L188b 36/(vil)

CAMBRIDGE (Mass.)—Fogg Art Museum

Bell-kraters DIJON—Musée Archeologique

1. 1925.30.45 56/11.Bell-Rraters | 2. 1960.359 34/6 1198 sievit CAMBRIDGE (Mass.)—-Harvard University, Dept of e199 1 Classics DUNEDIN—Otago Museum Bell-krater Squat lekythos 1. Phlyax scene 24/(v) 1, E 48.333 69/28 8&9

MUSEUM INDEX

Choes 1. W. & Skyphos y. 78/18 1. 516 42/5

FERRARA—Museo Archeologico Nazionale HALLE— University

2, W. & y. 7/19 HAMBURG—Museum fiir Kunst und Gewerbe

Hydria 1. 1917.1119 65/(xiv) 1, 4040 35/30 2. 1917.1120 47/5

FLORENCE—Museo Archeologico Etrusco Bel/-kraters

GELA—Museo Nazionale Chous

Bell-krater 3. A55 72/(xxiv). 1. 9241 6/2 Pelikai

Seell-Rraters use’ d’Art et d’Histoire . es 19 4 61/7 raleariip 6. 1917.1068

1. 14984 14/4 : 2. 15002 63/12 Skyphos | 3 15020 63/11 7. 1917.1089 75/(iv) 4. 15022 60/5 ane 65 “xy Column-krater " (xvi) 5. 15042 35/24 HAMM—Gustav Liibcke Museum

Volute-krater Bell-krater 6. 15036 35/25 1. 1546 45/4 Aydriai Chous 7.214143 78/27Pelikai 2. 1571 72/(xlii) 8. ww. 66/(iti) Neck-amphora 155870/(v) 68/7 9. MF 248 79/33 3. 4. 1559 in eM £243 69/26 HANOVER—Kestner Museum Pelikeai Ebydria a:1775 27/(ii) 11. 14982 39 (ii) 12, 1651 73/(li1) HAVANA—Conde de Lagunillas Collection

13. Y. 75/5 Bell-krater Skyphos 1 W.&y. 56/5 | 14. 735 10/31 Column-krater GINOSA—private collection 2, M.,s. & D. 48/11

Bell-krater Pelike , 1 M.&D. 43/9 3. 2ww. & y. 56/11

Hydria Bell-krater 1. W. 72/(xl) 1. 26.85 11/1 Oinochoe (shape 8) Fragments 2. W. 72/(xli) 2. 26.84 11 15/22 —__Tnivers; 3, 26.87a /(iii)

GODALMING—Charterhouse HEIDELBERG—University

"elie = Skyphos (frr.) . GOTHA—Museum JENA— Dniversity Bell-krater Bell-krater 1. 77 56/6 1, 424 10/21 Calyx-krater

GOETTINGEN~— Universit

2 Perseus 34/21 KARLSRUHE Badisches Landesmuseum Column-krater 1. BO 58/2 40/1 3. 79 81/(ii) 2. B9% GRAz—Landesmuseum 3, B127 57/2 Bell-krater Column-krater 1. 4611 49/1 4. B8 68/(i) Chous Lekanis lid 2. W. & y. 48 /(iv) 5. B938 82/19 90

MUSEUM INDEX

Choes 31. 770 69/22 6. B63 71/(xvii) 32. 4089 48/19 7. B1882 71/(xxiii) Hydriai

KARLSRUHE—Badisches Landesmuseum (Cont’d.) LECCE—Museo Provinciale (Cont'd. )

Oinochoe (shape 8B) 33. 72470/43 70/(1i) 8. B304 82/1 34. 800 Oinochoai (shape 8N) 35. 3794 66/(i) 9. B306 82/13 Lebetes gamikoi

10. B307 82/14 36. 720 63/20 Pelikai 37. 725 80/(iv) 11. B126 80/4 Lekythoi (squat) 12. B770 41/1 38. 748 69/29

Skypbhos 39, 828 71/(xiv) 13. B775 42/4) - Neck-amphora

, 40. 571 7/15 1. 37.1042 57/3 42. 698 65/08

LAON—Musée Choes BELL-KRATER 41. 692 69/24

Chous Pelikai ert 44, 688 73/Qiti

LAUSANNE—Mlle. Germaine Ernst 46. 691 68/3

Bell-krater 47. 693 72/(xxxiil) 1. W.&y. 65/(xv) 48. 696 73/(liv) 49. 699 77/3 LECCE—Museo Provinciale 50. 700 77/4 Bell-kraters 51. 704 68/6 1. 574 2. 612 14/3 58/152. 53.706 74672/(xxx) 80/(x)

3. 61463/1 58/2 54. 955 69/8 4, 617 Skyphoi 5. 620 56/3 55. 754 70/32 6. 623 63/2 56. 761 70/35 7. 626 53/2 57. 778 70/33 8. 628 14/6 58. 871 70/39 9. 633 63/3 10. LEIPZIG—University 11.634 63678/8 56/(1) Bell-krater

12. 637 63/4 64/(ii) 1. T 83 59/(ii) 13. 641 14. 642 66/266/1 LENINGRAD—Hermitage 15. 643 Bell-kraters 16. 673 60/3 1. St. 80243/(ii) 47/6 17. 676 64/(vi) 2. St. 846 18. 677 67/2 60/14,3.St. St.1728 131667/3 7/8 19, 678 20. 737 681 56/8 56/(ii) 5. St. 1780 9/9 21, 6. W. 2075 27/(v) 22. 740 66/2 Hydriai 23. 742 64/(v) 7.St. St.1368 114335/31 7/11 24, 744 66/3 8. 25. 747 64/(iv) Skyphoi 26. 765 60/2 27. 4147 60/4 9. 10.inv. inv.4557 4558 70/37 70/38 Calyx-kraters

28. 613 60/615/14 LIMOGES—Musée 29. 629 Pelike 30. 736 49/(vi) 1. 7898 69/9 91

MUSEUM INDEX

Pelikai Bell-Rrater 1. M10690 35/36 1. A 5933.50.35. 33/1

LIVERPOOL—F ree Public Museums LOS ANGELES—County Museum

2, 30.60.65 72Kxxxvil) LUCERNE— Market LONDON—British Museum Bell-Rrater

Bell-Rraters 1. Y.and Nike 34/17 5 ney 5 by 3 LUSCOMBE. CASTLEPelike (Devon)—Sir Peter Hoare

a5 P552 63/7 aeMADRID—Museo 1. Y. & 2ww. 47/3 Arqueoldgico

6. F57 29/1 Bell-Rraters 7. F151 24/(vii) 1. 11025 (L.358) 43/(i) 9. F163 33/4 3.4.11032 (L.356) 47/4 10. F 165 40/2 11047 (L.328) 59/4 11. F 166 22/2 5S. 11078 (L. 326) 34/12 12. F 167 29/1 6. 11079 (L.324) 34/11 13. F 168 63/8 7. 11081 (L.325) 43/5 14. 1929.5-13.2 41 /(ii) 8. 11084 (L353) 47/7 Calyx-hrater 9. 11085 (L.357) 43/11 15. F275 48/20 10. 11086 (L.230) 47/10 Column-kraters 11. 11090 (L.329) 67/2 16. F172 27/1 12, 32658 59/(i) 17. F174 |9/4 Hydriai 13.Calyx-krater 11050 (L.327) 48/21

18. F92 26/2 Cups (stemless) 19. F94 35/28 14. 11281 (L. (L.514) 79/42 20. F95 35/26 15. 11287 515) 79/41 21. FG 96/3 Lebetes gamikoi Lekanis lid 16. 11446 (L.335) 78/24

Pelikai 18. 19. 11459 23. F181 27/1 1146480/(v) 73/(vii) 22. Old cat. 1636 79/46 17, 11448 (L.333) 78/25

24. F18220. 27/2 Lekanides Situla 11310 (L.(1.523) 525) 79/44 25. F83 23/1 21. 11312 79/43 Sky phos 22. V13-33 79/45 26. F 126 36/45 Lekythoi 23. (squat) 11525 (L.473) 78/29

Pelike Chous 1 W. 69/12bis 25. 11508 (1.486) 78/23 Once LONDON—Market (Sotheby) 24. 11528 (L.472) 78/30

Skyphos 26. 11208 77/6 1. 528 75/2 Skyphoi a 27, 11393 (L.340) 79/37

LONDON—Sir John Soane Museum Pelike

LONDON—University College 23 OW. 79/38 ; “a 10/(i) MADRID—Palacio de Litia (Duke of Alba) Skyphos

LONDON— Victoria & Albert Museum 1. W. 75/() Bell-Rrater MAINZ—University, 1. 4803.1901 9/6 Bell-kraterArch. Inst. LONDON—Wellcome Historical Medical Museum 1, 28 47/9

Aydria MANNHEIM—Reiss 1. R481/1936 35/27 PelikaiMuseum

Skyphos 1.75/3 Cg 2. 10Cg72/(xxxix) 2. R394/1936 249 39/(i) 92

MUSEUM INDEX

Chous Calyx-kraters 1. S. 70/(iv) 11. 2284 (81866) 15/13

MAPLEWOOD (N.J.)—J.V. Noble Coll. NAPLES—Museo Nazionale (Con?’d.)

MARBURG—University, Arch. Seminar 12, 2885 (81865) 65/(xi)

Bel/-Rrater 1. 786 57/1Column-kraters 13. 2349 (81873) 52/4

F pichysis 14.Guttus 2408 (81872) 17/6 2. 105 81/6 15. Stg. 313 83/(v) MARSEILLES—Musée Borély Hydria

Bell-krater 16. Y. 73/(Iviii) 1. 2933 20/2 Neck-amphora Bell-kraters 1. M. &s. 47/8Nestoris 18. 2326 (81826) 74/6

MATERA—Museo Domenico Ridola 17. 1898 (81786) 79/34

2 Y.&2ww. 9/13 Chots Hydria (shape 8) 64/(1) 1 W.&v.Oinochoe 35/29 20, 2123 (82281)

MILAN—Biblioteca Ambrosiana 19. 2256 (81702) 64/25 :—Musco Teatrale alla Scal | Pelikai MILAN—Musco Teatrale alla Scala 21. 1947 (81746) 69/15

inoekee (Shape 8B)2281 22. 2271 (81729)39/(v) 27/(i) Slothe 82/3 23. (81724) ype! 24.73 2318 (81715) 65/(x) 2. Alb. 338 337 71/(ix) 3 Alb. Ks; 25. 2355 (81725) 35/37

, , /Cxltx)

4. Alb. 339 Stg. 73)(1) 26. Stg.36/(iv) 329 80/5 " 27. 465 MILAN—Drivate collection Skyphot Pan. 28.29. 1973 1. 2yy.amphora & w. 15/17 2120(82012) (81970) 79/36 11/(iv)

Bell-krater ,

MILAN—Torno Coll. (ex Caputi) 30. 3140 (81345) 7/12

1. Ex Caputi 408 10/14 Ne ane Museum

Bell-krater 2. Ex Hope 212 34/10 1 M,D.&s. 34/8 x Hope 2

MississtppI—University (Robinson Coll.) 1. Ex Hope 209 36/(ii)

Pan. amphora NEW HAVEN (Conn.)—Yale University

2. W. & 2 yy. 15/16 Bell-krater MONTPELLIER— Musée Fabre 1. 324 14/7

Column-krater M 1837-11116 48/15 NE——C RR ooperUnion Union Museum

Calyx-krater Volute-krater 2. 3268 9/1 1.Bell-krater W. & 2 athletes 37/1

MUNICH—Antikensammlungen 1. 1957-23~-2 50/3 1. 3269 67/1 NEW YORK—Market (Klejman)

Bell-kraters Bell-krater 1. 1866 (81425) 46/2 1 Y. & w. 34/9

NAPLES—Museo Nazionale Once NEw yorK—Market (Parke Bernet)

2. 2042 (81384) 45 /(ii)

3. 2068 (81370) 44/2 NEW YORK—Metropolitan Museum 4. 2101 (81424) 58/4 Calyx-kraters

5. 2149 (81423) 17/4 1. 24.97.104 34/20 7. 2413(81571) (81415)6/7 23/(i) 2. 50.11.435/23bis 19/(i) 8. 2861 3. 17.120.241 9. Stg. 295 10/24 Lekythos

6, 2228 (82549) 10/22 Colunn-kraters

10. Stg. 469 78/11 4, 13.232.3 59/5 93

MUSEUM INDEX

Bell-krater Chous 1. 545 63/10 12. K38 74/5 Hydria Pelike 2. 551 64/24 13.Museum K29 35/42 NORWICH—Castle Plate , NOCERA INFERIORE—Raccolta Fienga pARIsS—Musée du Louvre (Cont’d.)

Chous 14. K632 83/(iv) 1. Y& w. 74/(i) Sky phot ; Pelike 15. CA 3291 12/(i1) 2. W. 68/5 16. G570 7/14

OxFoRD—Ashmolean Museum V7. K46 710 Bell-kraters PARIS—Musée Rodin 1. 1879.200 (V433) 63/5 Bell-kraters

2. 1879.211 (V434) 63/6 1. 968 78/9 65/(x) 3. 1917.65 34/16 2. 1051 4. 1944.15 26/1 Column-krater Lekythos 970 54/1 5. 1932.1233 10/20 V 3. olute-krater Lekythos (squat) 4. 971 83 /(ii) 6. 1919.24 49/(v) Chous

Chous 5. 894 7. 1885.666 (V442) 83/25 , 70/Gii)

Oinochoai (shape 8B) PAVIA—Private coll.

8. 1879.212 (V438) 82/4 Peltke

9, 1879.213 (V439) 82/5 1. W. & y. 61/8 10. 1934.17 82/15 Bell-Araters "

Pelike 1. 1.64231 49/2 1. V431 68/4 2. 1.64.244 56/9 Skyphos (fr.) 7 Lekythos (squat)

Oinochoe (shape 8N) PHILADELPHIA—University of Pennsylvania

12. 1922.208 11/(i) 3. 1.64.224 64/22

Calyx-krater 4, 31. 36. 17 34/19 1. 155 14/11 Pelikai ; a: 5. 47.2.2. 69/14 pARIs—Cabinet des Médailles 6. 1.64.25 72/(ii) (xxvii) Belt-krater 7. MS 4007 58 1. 428 59/2 8. MS 4010 69/10 PALERMO—Museo Nazionale Panathenaic amphora

Aydria

2. 980 48/17 POZNAN—Museum Wielkopolskie Skyphos (fr.) Bell-Rrater 3. Tereus 7/13 1. 1903.697 50/5

pARIS—Musée du Louvre PRAGUE—Museum of Applied Arts

Bell-kraters 1. ED120 Lekythos 43/(v) 1,(squat) 11501

73/(ix) 2. G493 9/8 Pelike 3. G515 59/1 2. 639 39/(iv) 4. K7 11/(v) Skyphos 5. K9 53/Gi) 3. 1161 76/(vii) yee Sti PROVIDENCE—Rhode Island School of Design

Q 710 22/1 Calyx-krater Colummn-krater 1, Herakles 6/6 9, K522 46/(1) READING—University Aydria Bell-krater (fr). 65/(viii) 10. N2852 48/16 1. 22.iii1.22

Lebes gamikos Lekanis lid RM 82/20 11. K196 48/18 2. 137.51 94

MUSEUM INDEX

Lekythos (squat) 3. 5604 34/13 3. 151.51 RM 78/31 Column-krater

READING— University (Cont’d.) SAN SIMEON—Hearst Estate (Cont’d.)

Oinochoe (shape 4. W. & 2yy. 48/14 4. 25.50 RM 82/28B) Hydria

Pelike a . 5. 5441 47/4 Bell-krater 1. Cs 20.17 75/(ii) Hydriai Bell-k q 2. 7034 52/4 en Rraler . 3. 7035 52/3 ie 68/Gi) ‘Lebes , Chous gamikos 2 83 Fix 4. 6995 71 (vii) Skobhes (Go) Lekythos (squat) 3 WP. 099 74 9. 45.vili.2 80/(vi) SEATTLE—Art Museum

REGGIO CALABRIA—Museo Nazionale Skyphos

1, 700! 49/(vii) SEVRES—Musée Céramique

5. 71 /(xv) I) Peljke1154 STOCKHOLM—C.E. Galt 6. 1157 77/1 Chous .

RIEDERAU (Ammersee)—Prof. Dr. E. Boehringer 1. Y. 72/(alvi)

Calyx-krater STOCKHOLM—National Museum

1. Heroén scene 36/10 Bell-krater Once ROME—Market 3 a/12 Calyse-krater . STOKE-ON-TRENT —Hanley Museum

1. VY. & w. 63/15 Bell-krater Pelike 1, W. & y. 78/14 , . Bell-krater One ROME Signorelli Coll. 1. Komos 43/7 2. Y. & w. 35/40 STUTTGART—Technische Hochschule

1. Sale Cat. 228 34/14 SYDNEY— University, Nicholson Museum

ee m 51/(i) 2 OF $12 7S. Ot Tm. / 3. 68 50/4 Ruvo—Museo Jatta 4. 46.03 43/10

Once roME—Dr. Hermine Speier pak eraters 66/(3)

Bell-kraters 5.47.05 46.4834/15 67/1 1. 545 17/2 6. 2. 820 43/Av} 7. 51.37, 53.08 (frr.) 11/2

3. 1291 9/10 8. 52.65 (fr.) 12/(1) 4. 1714 36/(viii) 9, 54.04 33/2 5. Perseus 60/(v) Chous Column-kraters 10. 91 61 /(ii) 6. 1091 17/5 Pelikai 7. Lycurgus 29/312. 11.88 8241/2 77/5 Volute-krater 8. 1096 9/3 13. Skyphos Hydriai 49.11 75/1 9. 489 27/(it) a 958 35/33Fragment 14. 53.11

70/45 1D ope 55) mn Bell-kraters 13. 1247 35/43 2 29663 44 tii SAN SIMEON—Hearst Estate Column-krater Bell-kraters 3. 22912 36/(1) 1. 2369 14/1 Pelike 2. 3985 33/5 4, 33713 37/2 " ae 77/2 SYRACUSE—Museo Nazionale

95

MUSEUM INDEX

Bell-kraters 50. 110035 35'41 1. 4742 49/3 St. E. & w. 2. 10865 60/(iv) 92. Y. & w.82/21 69'12

TARANTO— Museo Nazionale TARANTO— Museo Nazionale (Cont'd. )

3. INA 100528 80/(xii) 53.Y.W. 69/11 4. T. 37 56/4 54. 72/(xxxv) 5. Amazonomachy (frr.) 7/9 Plate 6. Orpheus (frr.)Sky 23/(il) 55. 8894 83/(tii) 7, Pyrrhic 6/1 phot 8. W. & y. 69/19 56. 22488 23/(iv) 9% Y. & w. (frr.) 69/21 57. M. 70/36 Calyx-kraters 58. W. (fr.) 70/40 10. 4626 15/15 14/1060. 59.Y. 2 ww. 64/26 11. 4651 & w. 70/34 12. 107936 63/16 61. Y. (fr.) 70/41 13. M.&D. 63/14 62, Y. 71 /(viii) 14. Theseus (frr.) 18/(i) 63. Y. 79/39

17. Dr. y. 7/16 | re ne 82/18 1. Sale Cat. 53 63/17 Fragments — TARANTO—private 15. W. fluting 10/17 Pelike coll.

16. W. & warrior 15/18 1. Perseus 35/39

Lekanis Ongd TREBEN—Von Leesen Coll.

Choes 1. 1850 69/20 21. 4608 79/(iii) eo ie / 19. 7 “W. (squat) 71 |( xiii) TRIESTE—Museo Civico 20. Y. 69/30 Bell-kraters

22, 4147 80/(xiit) C olunn-kraters

23. 8874 83/23 4.,5.1796 48/12 24. 50254 78/16 S§ 402 48/13 -. 50255 78/17 Dish

6. 52482 78/1569/27 owe nial 27, 52513 28. 101422 69/23 7. $519 76 (ix) 29. 79/(i) Peli8hai 30.105490 107726 78/22

31. 109828 72(xxw) 7 ee41/(v) Tole) Ne 9. $429

33. M. 78/20

34. M. 78/21 TRURO—Cornwall County Museum

35. W. (CVA 33,1) 61/(i) Oinochoe (shape 8N) 36. 34,5)Pelike 71/(xxii) 1. Y, 82/16 37. W.(CV.A W. & y. 74/2

38. W. &74/3 y. 83/24 2. Y. 68/1 39. 2 yy. Univers; Oinochoai (shape 8) Hadhia niversity

40. 8867 82/10 1 £90 93/2 | 41. 8868 82/11 | 42. 8877 82/6 TURIN—Museo di Antichita 43. 82/7 Bell-krater 44.8883 8930 82/8 1. 4130

73)(Ivi)

Pelikai 2. 4491 73/Cxlviii)

45. S., w. & E. 82/9 Lebes gamikos

46. 4610 4607 (old 63/19cat. Lekythos (squat) 47. 4803) 77/1 48. 5651 80/(ix) Chous 3. 4408 71 /(vi)

49. 8890 82/22 4. 4439 71/(xviii) 96

MUSEUM INDEX

— Bell-kraters Pelikat 1. 646 34/18 5. 4131 77/7 2. 777 41 58/3 (vii) 6. 4501 72/(xxxvi) 3, 882

TURIN— Museo di Antichita (Cont'd. ) VIENNA—Kunsthistorisches Museum

7. 4502 46/8 4. 883 6/3 8. 4711 75 /(ii) 5. 894 69/17 Skyphot 6. 1115 81/7 9. 4124 76) (i)71/(xi) Column-kraters 10. 4135 7. 839 52/6 12, 4458 76/273/(1i) Lebes gamikos 13. 4470 9, 1057 78/26

11. 4141 76/1 8. 851 52/7 14. 71/(xit) Lekants 15.4475 4477 76/3 10. 291 81/9 UTRECHT— University 11. 75/(ill) 856 74/4 Bell-hrater 12. 978 1. D.,m. & s. 58/(i) 13. 72/(xlvii) 14.1017 S. 71/Cxxi) Bell-kraters 903 80/3| 1, 4 58/1 15. Skypbos Choes

Pelike

VALLETTA—Museum

0 5 65 (xiii) 16. 476 79/40bis.

. Aydria

Once vIENNA—Matsch Coll.

VATICAN Crty—Museo .; Bell-Rkraters 1. Gregoriano Y. & w.Etrusco 70/0) 1. 12 18/2 WARSAW—National Museum 2. 64 /(iii) Volute-krater 3.3T4 66/(ii) 1, 142256

9/2 4. T6 47/2 Pelike 5. T7 52/9 2. 198120 36/(v) 6. TS8 22/(1) WASHINGTON—U.S. National Museum 7. U7 9/11 Bell-kraters 8. U8 10/16 1. 170388 78/10 9. U9 10/15 2. 378475 10. Uli 38/2 lleoe M 57/4

12. U13 63/9 aid 79/35 13. U14 65 (xii) W. / 14. V1 57/(i) WINDSOR—Eton College 15. V2 53/(i) Bell-krater 11. U12 64/(vii) WTR CO egpe Museum

16. V3 40/3 1. Ex Hope 230 43/1 17. V9 57/(v) WINTERTHUR—Museum

18. V16 47/3 Bell-krater Column-kraters 1. 310 73/(v) x0 Me J : WOBURN ABBEY—Duke of Bedford 21. V40 5210) 7 eRe a: a | 39/(iit) Chous i 1. Y. & w. 22. Y9 81/(iv) WURzBURG—University, Martin von Wagner MuPelikai scum 23. Ui10 39/(i) Bell-kraters . 24. V5 53/1 1, 824 40/() % Y16 68/2 2, 959 24/(vi) 26. Zl 46/7 YORK—County Art Gallery Skyphos 27. Y12 Bell-krater 42 /(ii) 1. 19 44/1 97

MUSEUM INDEX YORK—County Art Gallery (Cont’d.) ZURICH— University

2. 29 63/18 1. 2668 75 iv) Peltke

Chous

Bell-kraters 1. W. & 2 yy. 51/3 2. 2655 80/(viii)

zAGREB—Archaeological Museum Pelike

23 Y&w. Y.&s. 41 /(iii) 48/(i) zuRICH—Wolfensperger Coll.

Pelike Bell-krater

4. Y, 72/(xxxvii) 1. Kalathiskos dancers 9/7

98

SUBJECT INDEX Achilles (arms Of) ..........0ceeeeeceees 13 Apollo, Zeus and Nike.................. 20 ACTACON 6. kee eee eee eee eee eeee 83 Apotheosis (of Herakles) ................ 17

Actor (tragic) .............+....++. 32 (two) “Apulian Pure” style .................. °40 ACOs ook cece cece cece eeecee 32, 34 Apulian School ........................ 3 Actors (COMIC) ...... cc cece cece eee eeee 5M Argonauts with Jason, Medeaand dragon... 9

Adolphseck painter ...............0..6. 19 Ff. Argos, Io, Hera, Zeus, Aphrodite and Eros

Aeschylus 2.0... .. cece cece ec eee ee eees 13 at statue of Artemis .................. 27 Agamemnon (tomb of) ................. 26 Ariadne and Theseus at Naxos .... 16(two), 17 Aigeus ................. 49 (two), 20 (three) Ariadne group ...........00cceeeeeeees 1646 Aigeus, Theseus and Medea .......... 19, 20 Ariadne painter ..............cccceeeees 1666 AMAZON oo. ee cece cee cece eee eeees 7 Ariadne(?) with Dionysus in chariot ...... 48

Amazon (on horseback) ................ 6 Artemis (statue Of) ..............000008. 27 Amazonomachy .............00e0eeeees 35 Athena ....................17 (two), 19, 22 Amazonomachy with Herakles .......... 7 Athena and Dioskouros with Pan, Hermes

Amazonomachy with Theseus............ 7 and Eros ............eceeeeeees 19 (two) Amazons and Herakles ................. 9 Athena and Pegasus .................0.. 15 Amykos group ........ cece eeeeeeee eens 8B Athena and Perseus ........ 16, 22, 23 (three),

Amykos painter .............2...-. 3, 13, 33 32 (two), 34 Amykos workshop ..........eeeeeeee0s 18 Athena, Herakles and Hermes.......... 17, 59

Amymone and Poseidon ............ 29, 30 Athena, Herakles, Hermes and Zeus .. 17 (two)

Anabates painter .............00ee0002. 38 Athena (Judgement of Paris) .......... 25, 26 AMtenor 2.6... cece cece cece c ee eceese 18 Athena, Marsyas and Zeus .......... 18 (two) Aphrodite ..........cccceseceeeeeees 9, 29 Athena, Perseus and Hermes ...... 35, 59, 60 Aphrodite in chariot driven by Erotes .... 63 Athena, Poseidon, Bellerophon and ChiAphrodite, Io, Hera, Argos, Zeus and Eros MACTA 2... ke eee eee cece ee tee eccee 17

at statue of Artemis .................. 27 Athena (statue of) ................... 13, 14

Aphrodite (Judgement of Paris).... 25, 26, 28 Aulis (see Iphigenia) ................... 18 (two)

Apollo .................50244- 12, 20 (two) Bacchylides 1.0... 0... . cece eeeeeeveeeee 19 Apollo and Marsyas .............. 11, 18, 20 Balls (Juggler playing with).............. 75 Apollo and Orestes at Delphi ..........21, 22 Bellerophon .............cceeeeeeeecees 13 Apollo, Bendis and Hermes........ 59 passim Bellerophon and Chimaera, also Athena and

Apollo with lyre .................. 11 (two) Poseidon ....................... 17 (two) 99

SUBJECT INDEX Bellerophon and Jobates .............. 13, 14 Dionysus with Ariadne (?) .............. 48 Bellerophon, Proitos and Stheneboia ... 16, 17 Dioskouroi ................... 12 (two), 28 Bendis ...... cece eee eee eee ee eee 5D Dioskouroi painter ..............2+-052. 27 FF Bendis, Apollo and Hermes........ 59 passim Dioskouroi (?) with Tyndareos (?) and Bendis, Hermes and youth .......... 59 (two) Leda (?) ... ee cece cece eee eee ee ees 27, 28 Bendis painter ........... 0.0 e cece esse OOF Dioskouros and Athena, Pan, Hermes and Berkeley painter....................-... 8077. Er0s... 00. e ee eee eee eee eee eee 1D (tWO) Berlin Dancing Girl (painter of the) 3, 4, 5, 6, 8 Dog ............004-.-+ 35, 56, 81, 82 (two) Boread (Kalais or Zetes) and Phineus ... 13, 15 Dog (Maltese) .............. 000s eee eee 18

Brasier .... cece eee eee cee eee eens 43 Dog (shepherd’s) ................06.2.. 28

Bucran€ 20... cee eee ee eee eee ee eee ee 80 Dolon painter ................... 3, 37 (two)

Bucrane painter .......... cee eee eee eee ee 60 ff. Dolphin (Nereid(s) on) ......... 13 (two), 15 Budapest painter ............eee eee eens 42 Dragon and Jason with Medea and ArgoBull and Jason ....... cece eee eee eeee 23 MAULS wee cece eee e eee eee eee cnee 9

Bull and Theseus ...............00020-- 18 Duck ............ 19, 36, 40, 41 (two), 42

(two), 50, 82 (three), 83

Caduceus (-e1) ............+5+.----. 59 (two) Duomo painter ..........-.......5...-. 13

0Calchas a 10... Dwarf painter ....... 6 cece eee ee eee 39 0c. cece cece ee eee eee eee es 18 Cassandra clutching the Palladion ........ 56 Early Apulian style ..............---002 3 Cassel painter .......... cee cece eee eee = 6 Early Apulian vase-painters ............. 4 Cat oo ccc cece cc eee eens ev ecvees 36, 72, 82 Egg and Wave painter ................+. 74

Cat and mouse .......... cee ce ee cceceee 82 Electra... cc ee cee eee eee es 26, 30 Centaur and Theseus .................6- 0 7 Electra and Orestes ........++--eee0+254. 26 Centauromachy ............-.2.----22 ee 9 Electra with Orestes and Chrysosthemis .. 29 Centaurs and Herakles ................6-. 6 Exncaustes agalmaton.... 0c cecr cece eccvcees 19

Chaplet ... 0... ce cee eee eee eee ee eee A Erinyes (and Erinys) ............. 13, 14, 32 Chimaera... 0... cece cee cee eee eee ee ee 83 Erinyes (sleeping) ...........+-2--++-.4- 22 Chimaera and Bellerophon, also Athena and Er0S.... cece cece eee eee eee eeeees = passim

Poseidon .......--2-+.+++++-+++. 17 (two) Eros and Psyche ........-+eeeeeeeeeeees 83

Chiron 2.0... eee eee eee ce tee eee cece 12, 24 Eros with Athena, Hermes, Pan and DiosChoephoroi 20... .... eee cece eee eee ee 26 kouros 1.0... 000 eee eee eee eee eee LD (two)

Choephoroi painter ............--5+4. 3,25 Erotes driving chariot of Aphrodite ...... 63

Choes painter 2.0... ec cece eee eee rece es 4G. Eton-NIKA painter ...........--00200-. 42 ff Chrysosthemis with Orestes and Electra .. 29 Eumenides ..........---eeeeeeeeeeees 13, 21 Clytemnestra .......... 002 e ee ee eee eee 18 Eumenides group .......-+-eeeeeeeeeees 214.

Cock .. lie cece ccc eee eee cere es O2, 83 Eumenides painter ...............02056- 20 Codrus painter 6.0... 0... cee cece eee HD Buripides 00.2... 0c cece ee cece eee eeee ee 18

Coins (Tarentine) ............ see ee eee 4

Costume (Thracian) ............2.-.00+. 359 Fat Duck painter ..............0.000.-. 40 ff Creusa-Dolon group ...........+-+..- 37, 38 Fury and Orestes ........0..cceeeeeeee 34 Creusa painter ....... ccc cee e eee ee evenness 3

Cyclops painter ......... cece cece eee eee 3 Gjélbaschi reliefs .................2..--. 8 GOOSE oo. eee cee ee eee eee vess 32, 80, 82

Daedalus and Icarus ............+02+0+2+- 11 Gorgoneion ..... 6c cece eee cece eee ees DY, OD

Danae and Perseus .............2.--208. 7 Graz painter 2... . ee eee eee eee eee 49 Dancers (Kalathiskos) .............. 9 (two) Group A (Early South Italian) .......... 3

Dancing gitl .. 0... ek cee eee eee eee eee 6 Group B (Early South Italian) ........... 3 Dancing in armour (Pyrrhic) ............ 6 Darius painter ..................... 4, 62, 82 Halteres ...... cece eee eee eee eee ee eee 52 Deer .... ccc cece eee eee ee eee eens 69, 82 Harpe ...- eee ee cece eee ee ete eeceee 29

Deer (drawing chariot) ................. 48 Harpies ....... ccc ee cee cece eee eee 13

Deianeira, Herakles and Nessos .......... 14 Hearst painter .............-.0.0.00002. 12 Ff. Delphi (Orestes at) ......... 13, 21, 22, 69, 81 Helen 0... cece ccc cece eect e teen es 18 Dijon painter ........ 0... e eee eee eee SM Helen and Paris ............. 10, 23 (three) Dionysiac painter (=painter of Birth of Helenes Apaitests coc cccceccccccncveeeees 18

Dionysus) 0.0... cee eee eee eee eee ee AF Helios driving chariot ................-. 11

Dionysus..........0.eeeeeeeeeeeees passim Helmet (Phrygian) ...................-. 23

Dionysus on panther ................... 64 Hemithea and Tennes .................. 7 100

SUBJECT INDEX Hera wo... cece ccc cee e eee eee eeeeee 26 Juggler, playing with balls ............... 75 Hera (Judgement of Paris) ...... 25 (two), 26,

28 (two) Kalais (Boread) and Phineus ........... 13, 15 Hera with Io, Argos, Zeus, Aphrodite and Kalathiskos dancers ................ 9 (two) Eros at statue of Artemis.............. 27 Kallisteia oo. ccc ccc cence cece eeeee 25 Herakles 0.0.0.0... 0... cess eee ees 17 (two) Karneia volute krater ................... 42 Herakles and Amazons ..............2-. 7,9 Katadesis (see spellbinding) .............. 32 Herakles and Athena .................2. 17 Kid 2... cece cece cece cece teen cence 32 Herakles and centaurs ...........2.22005 6 King ...........es eee eeees 27 (two), 28 Herakles and Iolaos, also Nike .......... 57 Klejman painter ............ cece eee eee. OTF Herakles and Nemean lion .............. 6 Klismos 2.2... cece cee eee eee ee eneceeee 28 Herakles and Nessos ................... 13 Komos ............000eeee0ee00065 passim Herakles crowned by Nike .............. 22 Kore (rape of) .....-. 0. cece ee cece eens 7 Herakles, Hermes and Athena.......... 17, 59 Kottabos ............... 28, 43 (two), 48, 60

Herakles, Nessos and Deianeira .......... 14 Kottabos stand .... 9 (two), 28 (two), 30, 43,

Herakles (parody of struggle for tripod) .. 45 44 (two), 45 (two), 49

Herakles (statue of) ................-. 19, 43 Herakles with Hermes and Athena........ 59 Lampas painter ..............-.--.000-. SIFL

Herakles, Zeus, Athena and Hermes .. 17 (two) Lecce group 2... cece ee ee eee ee eee ee O2FF, Herakles, Zeus and Nike with artist painting Lecce painter .......... cee cece eee ee eee. 62 Ff the hero’s statue ..........--.20000002 19 Leda (?) with Tyndareos (?) and Dioskouroi

Herm ...................+ 15, 34 (three), 57 (?) (see Queen) ...............0.245 27, 28

Hermes 1... . eee eee ee eee ee ee 14, 15, 17 Leesen painter ......... cee cece ee eee 65 Ff Hermes, Apollo and Bendis........ 59 passim Leukippides krater ...........-...-0005. 4 Hermes, Athena and Dioskouros, also Pan Leukippides (rape of) ..........0c cece ees 9

and Eros ...........ee cess eee ees 19 (two) Lucanian group (early) ..............--. 38

Hermes, Athena and Perseus ...... 35, 59, 60 Lucanian pottery ..........cceeeeeeecees 38 Hermes, Bendis and youth .......... 59 (two) Lucanian School .................+. 3 (two) Hermes, Herakles and Athena.......... 17, 59 Lycurgus group .......-....c ee eeee eee. 23 Hermes, Herakles, Athena and Zeus .. 17 (two) Lycurgus (madness of) .............. 29 (two) Hermes (Judgement of Paris) .... 25 (two), 26, Lycurgus painter .................... 4, 54 28 (two)

Hermes, Perseus and Athena ...... 35, 59, 60 Maenads .........0eeee eee ee eee ee es - passi

Heroon oo cece eee 28, 29, 56 Maenad (sleeping) ..............002000-. 83

Hesperides (tree Of) ..........0.000ee52s 65 Marburg painter ...............02000022 57 Hitler (Adolf) ................22222+-93, 35 Marsyas(?) 2... cece cece cece cece ee cees 10 Hoppin group ......... ccc cece eee eee eee SOF. Marsyas and Apollo .............. 11, 18, 20 Hoppin painter ............. cece eee eee. SOF. Marsyas, Athena and Zeus .......... 18 (two)

Horn (drinking) ...............0.000... 5 Mask ................. 33 (two), 46, 67 (two) Horn of plenty .................... 17 (two) Mask (female).............. 43, 46 (two), 60

Horse-race ....c cece ccc c esses cece rene 9 Medea, Jason, Dragon and Argonauts .... 9 Hound ..... 2c. cece ee cece cence eee eee 29 Medea, Theseus and Aigeus .. ......... 19, 20

Medusa’s head ...... 32 (two), 34, 35, 42, 43

Icarus and Daedalus .................... 11 Melian relief ..... Lee eee ee eee eee 26 Iliupersis painter ........... 0. eeeeee eee A Monumental style ..................006. 0 Io with Hera, Argos, Zeus, Aphrodite and Mouse and cat ........ cece cere cee ceces 82 Eros at statue of Artemis ............ 27 MUSES 0... .. cece cece eee eet e eee eeeeee 9 Iobates and Bellerophon .............. 13, 14 Tolaos, Herakles and Nike ............... 57 NaisROS cece ccc cece eeeccaees 28 (two), 48 Tonic column .......... 0. cece eee cece eee 5D Narthex .................. 43 (two), 45, 67

Iphigenia in Aulis..................-2-- 18 Naxos (Theseus and Ariadne at) ......... 16 Tris and satyr .......... cece eee ee eee eee 65 Nemean lion and Herakles .............. 6

Oh: a Nereid on sea-hotseNereid(s) ..........2.-22222+13 on dolphin............ 13 (two), 15 Jason and Dragon with Medea and Argo- Nessos and Herakles ................... 13 MAUS ... cece eee e et cee eee seereeese I Nessos, Herakles and Deianeira .......... 14 Jason and the Bull ..................... 23 NIBA 1.0... cc eee eee eee ee eee 42, 43 (two) Judgement of Paris .... 23 (two), 28 (two), 29 Nike ..........-...-02++-++++. 9 and passim

Judgement painter ..................... 284f Nike crowning Herakles ................ 22 107

SUBJECT INDEX Nike, Zeus and Apollo.................. 20 —Reggio 1157 ....... 0... cece ee ee 77 FF. —Rehearsal ..................2202. 25 ff, Odysseus. ......... ccc eee ee eee ness 18 (two) —Rodin ...... 0. cece ee eee ees SOF Olympus ....... cc cece eee e eee ee eeeeee 17 —Sisyphus .............eee cece eee) OFF. Orestela .... eee eee eee eee eee ee 13, 21, 25 —Sydney 46.48 ............0.00002- 67

Orestes and Electra at tomb of Agamemnon —Tarporley ..................0008. SIF. Orestes and Erinys (Fury) ............. 32, 34 —Truro woe eee eee eee eee 68 FF. Orestes at Delphi (purification of) .. 13 (two), —Turin wo... cece eee ee TOF. 21 (two), 22 (four), 69, 81 —Valletta ..........0.........-00-. 57 FE Orestes in Athens ............ 13 (three), 14 —Vatican V5 oo... ee eee eee eee ee 53 Orestes with Electra and Chrysosthemis.. 29 —Wellcome ....................... 75. “Ornate style” ............ v (two), 4 (three) —York .... cece eee eee eee ees 44AFE.

IZ 0 (C0) —Thyrsus ..................2.008. 77F

Orpheus and Thracian rider ............. 7 Painters (other than Apulian Red-Figure

Orpheus (death of) ................. 23 (two) Plain Style): Oscan rider... .. ccc eee eee ee ee ee eee eee 52 —Amykos .................... 3, 13, 33 Oscan warriOr ...... eee cece eee eee eee eee 52 —Anabates ....... ccc cece ee eee ees 38

Oscan youths .................... 50, 53, 54 —Budapest ....... 0... cece eee eee 42 —Cassel ... cece ccc eee eee ee 6 Painters (Apulian Red-Figure Plain Style): —Choephoroi ................... 3, 25 —Adolphseck ..................... 19 Ff. —Codrus ....... 0. cece cee eee cece OOD

—Ariadne 1.2... . ee eee eee ee eee eee 16 Ff —Creusa ..... cee eee cee e eee eee 3

—Athens 1680 ...............-265. 49ff —Cyclops ........ ccs ee ee eee eeee 3B —Athens 1714 .................. .. 47 —Darius ..... 0... eee eee ee ee 4 62, 82 —Bari 1364.20... cece eee ee ee eee 46 —Dionysiac painter (= painter of Birth

—Bendis ........ cece cece ee eee eee SOF. of Dionysus) .................... 47 —Berkeley ........................ 80ff. —Dolon .................... 3, 37 (two) —Berlin Dancing Girl .............. Sff —Duomo oc. cece eee e eee eee eee 13

—B.M. F57 0... cece Q29FF. —Dwarf ... ccc cece cece eee ee TD

—Bologna 497 ....... cece eee e eee 39 —Egg and Wave ..............+... 74 —Bologna 571 .................... 50 —Iliupersis .... 0... eee eee eee eee 47 —Bologna 589 ............0.eeeee SIF —Lycurgus....................6. 4, 54 —Boston 00.348 ...............-.-. 18 ff —Palermo-Karneia ................. 33

—Bucrane ...... ccc e eee e eee eee OOF, —Pig woe eee eee cece eee ences 5 —CHOES .... cece eee eee eee ee eves TAFE —PISticCi. ... sce e eee ee eee eee eeee 3 —Copenhagen 335 ................. 52 —Polion 2... cece eee eee e cece eee YI

—Dijon .... cece eee eee e eee SM —Polygnotus ..................... 12

—Dioskouroi .............0020008. 27 Ff —Primato ........ ec cece eee eee eae 13

—Eton-NIKA ................0... 42 ff ——ROCCANOVA 1... eee eee eee eee eee 16

—Eumenides ...................... 20 ff Palermo-Karneia painter ................ 33 —Fat Duck .............0..00002-. 40h Palladion and Cassandra ................ 56 GAZ voce c ccc cece cece cece een eee 49 Pan .........+22220++++. 33 (three), 34 (two) —Hearst ..... ccc eee eee e ec ee eee 12FE Pan, Hermes, Athena, Dioskouros and Eros

—-Hoppin .................0.-026. SOF a 0 (C0) —Judgement ...................... 288 Papposilen ............cceeeeeeeeeees 11, 67 —Karlsruhe BO .................... 40 ff Paris and Helen ............... 10, 23 (three) —Klejman ....................02-. 37 FE Paris (Judgement of)... . 23 (two), 25 (two), 27,

—Lampas ............ cesses e eee. BIE. 28 (two), 29 (two)

—Large Egg-Patterns .............. 66 Parasol ............... 11, 26, 40, 41, 56, 81 —Lecce wo... cece cece eee eee eens 62 Ff Parasol painter ................00e0eeee IDF —Lecce 614 ....... eee eee eee eee 58 Parthenon ....... cece eee eee eee ee = 8B —Lecce 686 ............-.0.0000--. SBF. Parthenon (East Pediment) .............. 22 —Leesen wo. eee eee eee e ee ee eee OOF, Pegasus and Athena ................22-. 15 —London Pelikai .................. 4546 Peleus and Thetis ..................+. 9,13 —Long Overfalls .................. 26 ff. Peleus and Thetis krater ................ 4

—Marburg ............. 0 eee eee 57 Perseus .................+-+.. 32 (three), 42 —Munich 3269 ...............0062- 67 Perseus and Athena ........ 16, 22, 23 (three),

—Parasol ............ cece cece eee ALF. 32 (two), 34 —Perseus and Athena .............. 22 ff. Perseus and Danae ..............0.0005+ 7 102

SUBJECT INDEX Perseus, Athena and Hermes ...... 35, 59, 60 SWAM cece eee e eee eee c cence eee cesecees 82

Perseus with Medusa’s head and silen .... 43 Swastika(s) ..................33 (two), 63, 68

“Persians” style ...........02000eeeeeee OV SWING 6. eee cece cece cece e eee cette eens 5D

Phialai (mesomphalic) .................- 60 SYMPOSIUM... 61... eee ee eee eee eeeee 14 Phigaleian frieze .............0ceeeeeeee 8 Phineus and Boread (Kalais or Zetes) ... 13, 15 Tarantine COINS .............00eeeeeees. 41 Phlyax vase (earliest extant) ............. 31 Taramto oo... cece e eee e cece e ee eccees 3, 38

Phlyax vases .................. 24 (three), 51 Tarporley painter ................ 4, 8, 3147 Phrygian helmet .............20eeece0-. 23 Tennes and Hemithea .................. 7

Pig week eee e eee eee eee ee 17 (two) Tereus 0... eee cece tee e ee cn ee eceeee 7 Pig painter... 0... cece eee ce cece ees 5 Theseus ........cccc ccc ececcecececceee 19 Pilos 2... cece cece eee eececaeeeeeees 28 Theseus, Aigeus and Medea ............19, 20 Pisticci painter ...... 00 sssscscseeeess, 3 Theseus and Amazons ......scccccseeves 7 “Plain style” .................2. V5 4 (three) Theseus and Ariadne at Naxos ... 16 (two), 17 Policeman ..........0cceeeeececeeess 31, 32 Theseus and centaur .................62. 7 Polion 2... ccc cc ccc cece ccc ccccccee 9 Theseus and the Bull .................. 18

Polygnotus (vase-painter) ............... 12 Thetis and Peleus .................... 9, 13

Portland vase ....... ccc cecccceccccecee 16 Thetis (sister of), see Nereid on sea-horse.. 13 Poseidon and Amymone .............. 29, 30 ThiasOs ..... 0... cc cece cece ce eeeee passim Poseidon and Athena with Bellerophon and Thief (punishment of) .. 31 (two), 32 (three), 34 Chimaera... 0.0... 00. cece eee eee es 17 (two) Thracian costume ............ecceeecess 59 Primato painter ...... 2... .ceeeeeeeeeees 13 Thracian (rider) ............ eee eeeeeeeee 7 Proitos, Bellerophon and Stheneboia ... 16, 17 Thyrsus ............eeeeeeeeeee--. passim (two) Thyrsus painter ..........cceeceee ee eees TTA. Proskenion .........ece eee e eee eeeneees 32 Torch-race .. 0... cece cece ence cece ees 82

Psyche and Eros ..........ceceeeececees 83 Tragedy (Sophoclean) .................. 18

Pyrrhic, see dancing in armour weceesece. © Tragic scene ee

Tragoidos .. i cc ccc ccc eeeesccces 32 Queen (Leda?) ......ccececceccccsces Q)y 28 Tree of the Hesperides ...............2. 65 Tripod (parody of the struggle for) ...... 45

Rabbit 2.0... .. eee c ccc eee eee s 30, 43 Troezen 0... cece cece e cece eeees 19

Race (Horse) ...... ccc scccccecesccceee 9 Truro painter ......... cece cece eee ees 68 FE Race (Torch) ........ 0... ccc ee seevcees 82 Turin painter... .... cece cece eee eee 76 FE. Rape of Kore 1.0... . cece eee cence es 7 Tyndareos (?) with Leda (?) and DiosRape of Leukippides .................0. 9 kouroi (?) wo. cece cece eee eee nee e Diy 28 Rehearsal painter ............ececeeeeee 25 Ff Roccanova painter........ cece eee eeeees 76 Valletta painter ........ cece eee cece ee ee STK. Rodin painter ........... ccc cee ee ec eees 53

Wedding of Sisyphus ................ 9,13 Satyr-play ......... ccc eee eeeees 32, 34, 42 Wellcome painter .............00eceee ee TOF.

Sea-horse (Nereid riding) ............... 13 Wineskin........--...eeeeeeeee0e.. passim Shapes (classification) ................05. 4 Winged shoes..............eeeeeeeeeeee 23 Shoes (winged) ............cceeeeeeeeee 23

Sisyphus ..........cccccsccesceeecees 8,12 York painter ........ cece e cee ec eee 44h Sisyphus group .........ccceeeeeeeeeees SF Sisyphus krater ......... 2. . ccc eee eee 4 Zetes (Boread) and Phineus ........... 13, 15

Sisyphus painter ............... 4 (two), 5, 8 ff. Zeus, Apollo and Nike............:..... 20

Sisyphus (wedding of) ................ 9,13 Zeus, Herakles and Nike with artist painting

Sophoclean tragedy ................006. 18 the hero’s statue ..................... 19 Spellbinding (see katadesis) ..........00.. 32 Zeus, Herakles, Athena and Hermes .. 17 (two) Stheneboia, Proitos and Bellerophon ... 16, 17 Zeus, Ilo, Hera, Argos, Aphrodite and Eros

Struggle for the tripod (parody of) ....... 45 at statue of Artemis .................. 27 Sunshade, see also parasol .............. 55 Zeus with Athena and Marsyas.......... 18

103

PLATE I

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