THE

AGORA ATHENIAN
RESULTS OF EXCAVATIONS CONDUCTED BY

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

VOLUME XXIII

ATTIC

POTTERY BLACK-FIGURED
BY

MARY B. MOORE AND MARY ZELIA PEASE PHILIPPIDES

WITH THE COLLABORATION OF

DIETRICH VON BOTHMER

THE AMERICANSCHOOLOF CLASSICAL STUDIESAT ATHENS PRINCETON,NEW JERSEY 1986

ALL RIGHTS RESERVED

Library of Congress Cataloging-in-Publication Data 1937Moore, Mary B. Attic black-figuredpottery. (The Athenian Agora ; v. 23) Includes bibliographicalreferencesand indexes. 1. Agora (Athens, Greece)-Catalogs. 2. Vases, Black-figured-GreeceAthens-Catalogs. 3. Greece-Antiquities-Catalogs. 4. Athens (Greece)Antiquities-Catalogs. I. Philippides, Mary Zelia Pease, 1906- . II. Von Bothmer, Dietrich, 1918- . III. American School of Classical Studies at Athens. IV. Title. V. Series. DF287.A23A5 vol. 23 938'.5 s [938'.5] 86-20615 ISBN 0-87661-223-0

TYPOGRAPHY BY THE AMERICAN SCHOOL OF CLASSICALSTUDIES PUBLICATIONS OFFICE C/O INSTITUTE FOR ADVANCED STUDY, PRINCETON, NEW JERSEY PLATES BY THE MERIDEN GRAVURE COMPANY, MERIDEN, CONNECTICUT PRINTED IN THE UNITED STATES OF AMERICA BY THE TOWN HOUSE PRESS, SPRING VALLEY, NEW YORK

To

THE MEMORY OF

LUCY TALCOTT

FOREWvORD
This volume contains the Attic black-figuredpottery found in the Agora excavationsbetween 1931 and 1967 during the directorshipsof T. Leslie Shear and Homer A. Thompson. Many of these vases and fragments have already appeared in various excavationreports or in special studies. In this volume, however, all of them are presentedtogether for the first time in order to give as full a recordas possible of this richly varied material. We wish to thank most Homer A. Thompson for the opportunityto publish these vases and no less for his unfailing support of the projectand his interest in it. We remembergratefully the late Lucy Talcott for all kinds of invaluable adviceand help as well as for establishingthe Agora system of recordkeeping, which enabled us to retrieveinformationso easily. Our special debt to the work of Sir John Beazley and our dependence upon it during all phases of our collaborationwill be apparent throughoutthe entire volume. We invited Dietrich von Bothmer to tollaborate with us. He read the manuscript and offered numerous helpful suggestions for improvementand changes that saved us from many errors. During her three-term leave from Hunter College in New York, he gave MBM the use of an office in the Greek and Roman Department at the Metropolitan Museum of Art as well as access to his photographicarchive, personal notes on vases, departmentbooks and offprints. These ideal working conditions enabled the research to proceed with much greater speed than would have been possible otherwise, and the special material made availablehas greatly enrichedthe contentsof this volume. We wish to express special thanks and gratitude to the staff of the Agora excavations for its friendly and cheerful cooperationduring all phases of this study:T. Leslie Shear, Jr., Field Director; John McK. Camp II, Assistant Field Director;Lucy Krystallis and Helen Townsend who, as successive secretaries,coped uncomplaininglywith our requests and questions;William B. Dinsmoor, Jr., for the plan indicating the deposits; Alison Frantz for the majority of photographs; Robert K. Vincent, Jr. for much of the new photography;Nicholas Restakisand KyriakeMoustaki for their care in printing the photographs;and Stephen Koob for restorationwork. We also thank the following colleagues and friends for various kinds of help and support: Peter H. von Blanckenhagen, Andrew Clark, Poly Demolini, Charles Edwards, Evelyn B. Harrison, Caroline Houser, Henry Immerwahr, David Jordan, Phyllis Williams Lehmann, Mary Aiken Littauer, Joan R. Mertens, Martin Robertson,Gerhard Schmidt, Evelyn Lord Smithson, Eugene Vanderpool, and Marjorie Venit. During the time we shared the work on this volume, we were separatedby a considerablegeographic distance. It was, therefore, necessary to divide our labors in a manner that would not impede our progress. MZP wrote a preliminary description of all the entries. These were then rewritten to conform to the format we had decided upon, and for some the content was revised. Most descriptionsare basically hers. She set up a picture file, made a detailed check list (typed in duplicate and meticulously checked by Ann Brownlee), and gathered and organized the deposit

viii

FOREWORD

informationfrom the excavationrecords.MBM is primarilyresponsiblefor the comparandain the and Catalogue, the discussionof all the shapes, the chapteron pottersand painters,the concordance andto large extent, for the selection of vases to be illustratedas well as for the layout of indexes, and, the plates. The profile drawings are by Helen Townsend; the other drawings are by MBM. During the three years that MBM worked on the project, she was the fortunate recipient of financial support from the following sources: a stipend from the American School of Classical Studies, Octoberto December, 1978; an NEH Fellowship for 1979; two summer grants, one from the American Philosophical Society, the other from the Faculty Research Award Program of the City University of New York. During the summers 1977 and 1980, she enjoyedthe hospitalityand facilities of the American School of Classical Studies and wishes to thank its staff for helping to make her visits to Athens both comfortableand productive.MZP wishes to thank the Agora for fellowships granted in 1957/1958 and in 1966/1967. New York and Athens September, 1985 MBM and MZP

TABLE OF CONTENTS
. FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . vii xii
xiv . 1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LISTOF ILLUSTRATIONS
ABBREVIATIONS. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SHAPESTUDIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pis. 1-15 ......................... ONE-PIECE AMPHORAE 1-127 Decorated on neck and body; figures not set in panels 1-6

4 4

Panel amphorae 7-116 Special one-piece amphorae 117-119

Scheme of decoration uncertain 120-127 NECK-AMPHORAE 128-225 Pls. 16-26 ......................... 7

Late 7th century 128-137 Non-standard:first half of the 6th century 138-164 Ovoid neck-amphorae165-177 Panel neck-amphorae178-182
Neck-amphorae of Panathenaic shape 183-188

Standardneck-amphorae189-205 Small late neck-amphorae206-225

PANATHENAIC AMPHORAE226-338 Pis. 26-34 ...................... 12

Prize vases 226-318

Non-prize vase 319

Uncertain if prize or non-prize vases 320-337

Miniature Panathenaic amphora 338
AMPHORAE, TYPE UNCERTAIN339-366 LIDS 367-372 AMPHORA LOUTROPHOROI373-389

Pis. 34-36

....................

18
18 18

P1. 36 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pls. 36-38 ..........................

Hydriai 373-376 Amphora 377 Type uncertain 378-389

PELIKAI 390-397 PSYKTER 398

PI. 38 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P1. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pis. 39-41 .........................

20 20 22

SKYPHOS-KRATERS399-413

Bowls 399-403 Lids 404-413

COLUMN-KRATERS414-490

Pls. 41-46 . .........

23

TABLE OF CONTENTS VOLUTE-KRATERS 491-500

CALYX-KRATERS 501-509 LEBETES GAMIKOI 510-518

Pls. 46 and 47.......

Pls. 47 and 48 ............... Pis. 48 and 49 ......

25 ....... ... 26 . . 27 29 29

TYPEUNCERTAIN 519-525 KRATERS,

P1. 50 ..............

STANDS 526-602 Pls. 51-56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conical supports 526-560 Cylindricalsupports 561-586 Supports, type uncertain587-601 Sosian stand 602 LOUTERIA 603-607
DINOI608-617

Pls. 56 and 57.....................

32 33

Pls. 57 and 58 ........... Bowls 608-614 Stands 615-617

HYDRIAI 618-669 Pls. 59-63 . Round-bodiedhydriai 618-624 Shoulderedhydriai 625-649 Kalpides 650-669 OINOCHOAI 670-786 Pls. 64-73. 670-722 Olpai Oinochoai 723-776 Olpai or oinochoai 777-786

. . . . . .......... 35 . . . . . . . . . . . . .... . . . ... . . . ...

...................

39

LEKYTHOI ........... 787-1256 Pls. 73-87 .. Earliest 787-791 The lekythos painters, I: chiefly earlier 792-868 The lekythos painters, II: the Gela Painter 869-883 The lekythos painters, III: the Edinburgh Painter 884-886 The lekythos painters, IV: the Class of Athens 581 887-1124 Unattributed lekythoi:late 6th or 5th centuryB.C.1125-1159 The lekythos painters, V: the Sappho Painter and the Diosphos Painter 1160-1180 The lekythos painters, VI: the Theseus Painter and the Athena Painter 1181 The lekythos painters, VII: the Haimon Group 1182-1237 Unattributedlekythoi: 1238-1256
ALABASTRON 1257 P1. 88 ............ P1. 88 ...........

43

47 48 49 .. ..
.. . . . .. . 49

PHORMISKOI 1258 and 1259

KOTHONS 1260-1264 PYXIDES 1265-1296

Pls. 88 and 89 ........ Pls. 89-91 . ............

Corinthian type 1265 and 1266 Tripod-pyxides 1267-1278

Type A 1279-1286
Powder pyxides 1287-1289

Lids 1290-1296
LEKANIDES 1297-1360 Pls. 91-93 .................. 51

Lidless 1297-1329 Lidded 1330-1355 Uncertain if lidless or lidded 1356-1360

TABLE OF CONTENTS LIDS1361-1387 Pls. 94 and 95 .............. .............. 53 53

xi

PLATES 1388-1426 Pis. 95-97 Type A 1388-1410 Type B 1411-1424 Other 1425 and 1426 PHIALAI 1427-1439
1440 MASTOID

Pls. 97 and 98

.............

56 57 57 58

P1. 98 ................ P1S. 98 and 99 .............

1441-1450 CHALICES

SKYPHOI 1451-1657 Pis. 99-107 ............. Corinthian type 1451-1471 Attic type 1472-1656 Special 1657 CuPs 1658-1846 Pis. 108-118 . Komast cups 1658 and 1659 Siana cups 1660-1684 Little Master cups 1685-1745 Cassel cup 1746 Droop cups 1747-1752 Type A and Sub-A 1753-1779 Type B 1780 Stemless cups 1781-1800 Cups, type uncertain 1801-1846 BOWL 1847 P1. 118 . ............... PI. 118. ........................... .............

62

68 69 69
Pls. 119-121 Pls. . 121-123.
* . . . .

EPINETRA 1848-1850
THYMIATERIA 1851-1853

P1. 119 .............. ........

CLOSED VASES, SHAPE UNCERTAIN1854-1908 OPEN VASES, SHAPE UNCERTAIN1909-1932

70 70 71 71 72

.
.

MISCELLANEOUS 1933-1935
PLAQUES 1936-1946

P1. 123 . .

Pls. 123 and 124

DISKS 1947-1949

PI. 124 ....

. . . . .

POTTERS AND PAINTERS ..... CATALOGUE ....... ... ...

73
.

99 329 337 355 359 363

DEPOSIT SUMMARIES CONCORDANCE .......

INDEX I: POTTERS, PAINTERS, GROUPS, AND CLASSES

INDEX II: SUBJECTS ...... INDEX III: GENERAL ......

.......

INDEX IV: SHAPE AND ORNAMENT INDEX V: COLLECTIONS ..... ....

368 371 382

INDEX VI: INSCRIBED NAMES PLATES

LIST OF ILLUSTRATIONS
FIGURES IN TEXT

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

. . . . . . . . . . . One piece amphora 1 (P 6155 a) ...... . 6 . . . . . . . . . . One-piece amphora (P 15088) ... . 34 . . . . . . . . . . One-piece amphora (P 1250), graffito . . . . . . . . . ....... . . 139 (P 13113) Neck-amphora ...... . . . . . . . . . 140 (P 17966) Neck-amphora . . . . . . . . . . ...... . 179 (P 25013) Neck-amphora . .. . . . . . . . . . ...... Amphora 341 (P 20678) . . . . . . . . . . . ...... Amphora 342 (P 26642) . . . . . . . . . . . Amphora 347 (P 25338) ........ . . . . . . . . . . . Amphora 358 (P 22999), dipinto. ..... . . . . . . . . . . . Psykter 398 (P 27885) ........ . . . . . . . . . . . Skyphos-krater400 (P 6577) ...... Dinos stands 615 (P 26619), 616 (P 21708), and 617 (P 13271) . . . . . . . . . . . . . . . . . . . . . . Olpe 698 (P 6457) ........ ..... . . . . . . . . . . . 1150 (P 24411), dipinto Lekythos . ...... . . . . . . . . . . lid 1293 (P 15545) Pyxis . . . . . . . . . . . Lid 1382 (P 15387) ....... . . . . . . . . . . . Skyphos 1559 (P 1270), graffito ...... ... . . . . . . . . . . . . 1615 (P 23175), graffito Skyphos ... . . . . ...311 ... . 1793 (P 6552), graffito Cup . . . . . . . . . . . .. . 1833 (P 4928), graffito Cup . . . . . . . . . . ...... vase 1931 (P 21186) Open

99 100 104 118 119 125 143 144 145 146 151 152 180 192 241 257 267 287 293 315 324

PLATES

1-15 16-25 26 27-33 34 35 36 37 38 39 40 41 42-45 46 47 48

One-piece Amphorae Neck-amphorae Neck-amphorae.PanathenaicAmphorae PanathenaicAmphorae PanathenaicAmphorae.Amphorae,Type Uncertain Amphorae,Type Uncertain Amphorae,Type Uncertain. Amphora Lids. Loutrophoroi Loutrophoroi Loutrophoroi.Pelikai Psykter. Skyphos-kraters Skyphos-kraters Skyphos-kraters.Column-kraters Column-kraters Column-kraters.Volute-krater Volute-kraters.Calyx-kraters Calyx-kraters.Lebetes Gamikoi

LIST OF ILLUSTRATIONS 49 50 51-55 56 57 58 59-63 64-72 73 74-87 88 89 90 91 92-93 94 95 96 97 98 99 100-107 108-117 118 119 120 121 122 123 124 Lebetes Gamikoi Kraters, Type Uncertain Stands Stanlds.Louteria Louterion. Dinoi Dinoi Hydriai Oinochoai Oinochoai. Lekythos Lekythoi Alabastron. Phormiskoi. Kothons Kothons. Pyxides Pyxides Pyxides. Lekanides Lekanides Lids Lids. Plates Plates Plates. Phialai Phialai. Mastoid. Chalices Chalices. Skyphoi Skyphoi Cups Cups. Bowl. Epinetra Thymiateria. Closed Shapes Closed Shapes Closed and Open Shapes Open Shapes Open Shapes. Miscellaneous. Plaques Plaques. Disks

xiii

PLAN The Athenian Agora showing the Location of Deposits

ABBREVIATIONS
* "p." and"no." in references understood

AA AAA ABL *ABV AC Agora VIII Agora XII Agora Picture Book AJA AK Albizzati Arias ArtBull *ARV2 'ApX'ED AthMitt BABesch Bakir, Sophilos BCH Beazley, Development Beazley, EVP BJb BMFA Boardman,ABFV Boardmanand Hayes, Tocra, 1963-1965 Bohr, Schaukelmaler Bothmer,Amazons Bothmer,Amasis Painter Brann. See Agora VIII Brijder,Siana Cups I Brommer,Heldensage3 BSA Buitron, New England Collections Callipolitis-Feytmans, Les plats attiques

Archdologischer Anzeiger Athens Annals of Archaeology C. H. E. Haspels, Attic Black-figuredLekythoi,Paris 1936 J. D. Beazley, Attic Black-Figure Vase-Painters,Oxford 1956 Archeologiaclassica E. T. H. Brann, The Athenian Agora, VIII, Late Geometricand ProtoatticPottery, Princeton 1962 = B. Sparkes and L. Talcott, The Athenian Agora, XII, Black and Plain Pottery of the 6th, 5th and 4th CenturiesB.C., Princeton 1970 = Excavationsof the AthenianAgora Picture Books = AmericanJournal of Archaeology
= Antike Kunst

= = = = = =

= C. A. Albizzati, Vasiantichi dipinti del Vaticano,Rome 1925-1939 = P. E. Arias, M. Hirmer, and B. Shelton, A History of Greek VasePainting, New York 1963
= Art Bulletin

= J. D. Beazley, Attic Red-Figure Vase-Painters,2nd edition, Oxford 1963

= 'ApXaLoAoytcK'E7,epls E

= = = = = = = = = =

Instituts,AthenischeAbteilung Mitteilungen des DeutschenArchdologischen Bulletin van de Vereenigingtot Bevorderingder Kennis van de antieke Beschaving G. Bakir, Sophilos.Ein Beitrag zu seinem Stil, Mainz 1981 Bulletin de correspondance hellenique J. D. Beazley, The Developmentof Attic Black-figure,Berkeley 1951, corr. ed. 1964 J. D. Beazley, Etruscan VasePainting, Oxford 1947 BonnerJahrbiicher Bulletin of the Museum of Fine Arts, Boston J. Boardman,Athenian Black Figure Vases,London 1974 J. Boardmanand J. Hayes, Excavationsat Tocra, 1963-1965, The Archaic Deposits, London 1966 = E. Bohr, Kerameus,IV, Der Schaukelmaler,Mainz 1982 = D. von Bothmer,Amazons in GreekArt, Oxford 1957 = D. von Bothmer, The Amasis Painter and his World,New York and London, 1985 = = = = H. A. G. Brijder,Siana Cups I and KomastCups, Amsterdam1983 F. Brommer, Vasenlistenzur griechischenHeldensage, 3rd ed., Marburg 1973 British School at Athens, Annual D. Buitron, Attic VasePainting in New England Collections,Cambridge,Mass. 1972

= D. Callipolitis-Feytmans,Les plats attiquesafigures noires, Paris 1974

ABBREVIATIONS

xv

= D. Callipolitis-Feytmans, Les "louteria" attiques,Athens 1965 Callipolitis-Feytmans, "Louteria" = C. Clairmont, Das Parisurteilin der antiken Kunst, Zurich 1951 Clairmont, Parisurteil Cristofani, VasoFranqois = M. Cristofani,Materialiper servirealla storiadel vaso Franqois[Bolletinod'Arte,Serie Speciale 1], Rome 1980 = Corpus VasorumAntiquorum CVA = Deutsches ArchaologischesInstitut, Athen D.A.I. = 'ApxaloXoyLKbvoLAerTo AEAT = Enciclopedia dell'arteantica, classicae orientale EAA = FestschriftfiirFrank Brommer,Mainz 1977 FestschriftBrommer = A. Furtwangler, K. Reichhold, et al., GriechischeVasenmalerei,Munich 1904-1932 FR = J. Frel, Panathenaic Prize Amphoras,Athens 1973 Frel, PPA = E. Gerhard, Auserlesenegriechische Vasenbilder,Berlin 1840-1858 Gerhard,A V = Greek,Roman and Byzantine Studies GRBS = B. Graef, Die antiken Vasen von der Akropoliszu Athen, Berlin 1925-1933 Graef = A. Greifenhagen, Eine attischeschwarzfigurigeVasengattungund die Darstellungdes Greifenhagen Komosim VI. Jahrhundert,Konigsberg1929 = Greek Vasesin the J. Paul Getty Museum, OccasionalPapers on Antiquities Greek Vasesin the J. Paul Getty Museum Hoffmann, Ten Centuries = H. Hoffman, Ten Centuriesthat Shaped the West, Houston 1971 = IllustratedLondon News ILN = Jahrbuchdes deutschenarchiologischenInstituts JdI = Journal of Hellenic Studies JHS = Jahresheftedes bsterreichischen Institutes JOAI archiiologischen = Jahrbuchdes Rimisch-GermanischenZentralmuseumsMainz JR-GZM Karouzou, Amasis Painter = S. Karouzou, The Amasis Painter, Oxford 1956
Karouzou,

'Avayvpovvros KerameikosVI, ii Kurtz, Athenian White Lekythoi Langlotz MadrMitt Mertens, Attic White-Ground MJb MMSt Mommsen, Affecter MonAnt MonPiot Moon, Midwestern Collections Muller, L6wen und Mischwesen NC Noble, Techniques Notable Aquisitions 1975-1979 OCD

= S. Karouzou, BLt/3AoL07K r ^js v 'AOrvaLs 'ApXaroAoyCLKl 'EEraLplas, XLVIII, 'Ayyeia rov 'Avayvpov^ros, Athens 1963

= K. Kubler, Kerameikos.Ergebnisseder Ausgrabungen,VI, ii, Die Nekropoledes spiten 8. bisfrihen 6. Jahrhunderts,Berlin 1970 = D. C. Kurtz, Athenian White Lekythoi,Patternsand Painters, Oxford 1975 = E. Langlotz, GriechischeVasen in Wiirzburg,Munich 1932 = Mitteilungen des deutschenarchdologischen Instituts, MadriderAbteilung = J. R. Mertens, Attic White-Ground.Its Developmenton Shapes Other than Lekythoi, New York 1977 = Minchener Jahrbuchder bildendenKunst = MetropolitanMuseum Studies = H. Mommsen, Kerameus,I, Der Affecter,Mainz 1975 = Monumenti antichi = Fondation E. Piot, Monuments et me'moires publies par l'Academiedes Inscriptionset Belles-Lettres = Greek Vase-Paintingin Midwestern Collections,W. G. Moon, ed., Chicago 1979 = P. Miiller, Lbwen und Mischwesen in der archaischen griechischenKunst, Zurich 1978 = H. Payne, Necrocorinthia.A Study of Corinthian Art in the Archaic Period, Oxford 1931 = J. Noble, The Techniquesof Painted Attic Pottery, New York 1965 = MetropolitanMuseum of Art, Notable Acquisitions 1975-1979, New York 1979 = OxfordClassicalDictionary

xvi 01. Ber. *Paralip. RA REA Richter and Milne, Shapes and Names Roberts,Pyxis Studi Misc. Tiverios Ure, Sixth

ABBREVIATIONS = Bericht iiber die Ausgrabungenin Olympia = J. D. Beazley, Paralipomena.Additionsto Attic Black-Figure Vase-Paintersand Attic Red-Figure Vase-Painters,Oxford 1971 = Revue archeologique = Revue des etudesanciennes = G. Richter and M. Milne, Shapesand Names of Athenian Vases,New York 1935 = S. Roberts, The Attic Pyxis, Chicago 1978 Athens 1980 = ?r7AJ T70 uPl.rv NLKoAdov KoYroAeovros, sroo fs i = Studi Miscellanei
= M. Tiverios, tO Avbos KaLTrOEpyo rov, Athens 1976

= P. N. Ure, Sixth and Fifth CenturyPotteryfrom Rhitsona, London 1927

INTRODUCTION
The Attic black-figuredpottery found in the Agora spans the entire periodof the productionof this fabric and provides a nearly complete picture of the developmentof its shapes and the style of its painters. Many of the vases, especially the smaller ones, are complete or retain enough of their original characterto allow plaster restorationof the missing parts, but by far the larger proportion of the material consists of fragments. Making sense and order of these small scraps has been a particularly stimulating challenge, though not without many pitfalls; thus, we have kept in mind that "fragmentsare dangerous allies, and extra care must be taken in finding the whole shape to which they belong."' Attic black-figuredpottery has been found all over the Agora, but most of it comes from dumped fillings associated with houses, shops, or civic buildings, in particular from wells and cisterns located around the bordersof the square.2A few cremationand inhumationburials, chiefly from the Archaic Cemetery on the west slope of the Areopagus, also yielded Attic black-figuredmaterial, primarily lekythoi. The dating of these various findspots,whether wells, graves, or other kinds of deposits, is based to a large extent on the figuredpotteryfound in them. Some of these deposits,such as the upper fill of the Rectangular Rock-cut Shaft (G 6:3) or the large well found beneath the gutter of the Stoa of Attalos (Q 12:3),3probablyindicate the presenceof potters'workshopsin the area; the Stoa Gutter Well may also reflectthe massive clean-up operationafter the Persian Sack. Thus, the latest pottery in such deposits is of particular importance for the light it sheds on the characterof late Attic black figure in relation to its historicalbackground. The Plan following the Plates shows the Agora around 300 B.C., and on it the wells, cisterns,and burials useful for this volume are indicated.We have retainedthe four symbols used in Agora XII for wells and cisterns, since very many of these deposits containedblack figure, and we have added one for burials:

O Wells

which went out of use by or before 525

B.C.

{ Wells in use between 525 and 480 B.C. * Wells dated between 480 and 400 B.C.
B.C. ) 0 Wellsandcisterns of the 4th century

A Burials of the 6th century B.C.

On pp. 329-336, there is a list of these deposits that includes all those indicatedon the plan as well as many others. If a deposit has been describedin a previousAgora volume, the informationis not repeated. For each of these we give only its grid location, type (i.e., well, burial, pit, etc.) and date, followed by the pertinent catalogue numbers;for the descriptionof such deposits, the appropriate referenceis given, and if a deposit has been publishedseparately,this sourceis also included. In the case of deposits that have not previouslybeen described,a summaryof the general character
For the characterand contents of a typical well, cf. Agora VIII, pp. 107-108; also, Agora XII, p. 44. 3 The material from the Rectangular Rock-cut Shaft was published by E. Vanderpool in Hesperia 7, 1938, pp. 363-411
2

IAgora XII, p. 2.

and Hesperia 15, 1946, pp. 265-336. The potteryfrom the Stoa Gutter Well is published by S. R. Roberts (Hesperia 55, 1986, pp. 1-72) who has studied its workshop implications. All the Attic black figure from these two deposits is included in this volume.

INTRODUCTION

appears before the catalogue numbers. In the Catalogue itself, we give a deposit or grid reference for all entries except those that are sporadic or stray finds and therefore have no reference. For these, we use the term "No grid".Whenever possible, the level is indicatedby the following letters: POU = Period Of Use; L = Lower; M = Middle; U = Upper. Range and quality of the Agora black figure offer importantevidencefor the characterof decorated pottery associated with an ancient civic and industrial center or used in domestic quarters. Shapes mass-producedin the late 6th or early 5th centuries B.C., chiefly small lekythoi, cups, and skyphoi, naturally representthe largest amount of Attic black figure. But noteworthyis the quantity of material datablebetween 625 and 580 B.C., the period when Attic potterywas not yet exported to other parts of the Mediterranean.4Besides the Agora, only the Akropolis,the Kerameikos,and the cemeteryat Vari have yielded very early Attic black figure in any quantity. In addition,we have includedseveral of the thelatest vases published in the volume of Geometricand Protoatticpottery (AgoraVIII) since they illustrate well the transitionfrom Protoatticto black figure. Nearly every shape decoratedin black figure has been found in the Agora, although of course some are known only from small fragments. Of the pots, the largest number are amphorae:onepiece panel amphorae;neck-amphorae,including several variants of the shape; and Panathenaic amphorae,for which there is an uninterruptedsequence,beginning with the very earliest of about 560 B.C.and lasting until the late 4th century B.C.,the period when this study stops.5 Only one amphoraType A, 1934 (PI. 123), has been identifiedin the Agora material,and it is perhaps ironic that one cannot determine if it was decoratedin black figure or in red igure, because all that remains of the decoration is the lotus-palmette chain above the panel. Next in quantity after the amphoraeare the column-kraters,and there are also a good numberof stands, includingone of the rare Sosian type, 602 (P1. 56). There are not very many hydriai, yet examples of each type, the round-bodied,the shouldered,and the kalpis, have been found. Missing among the large shapes are stamnoi, which are mainly decoratedin red figure,6and neck-amphoraewith figures on both the shoulder and the body. The latter, to judge by the known provenancesof the attributedexamples, may have been intended mainly for export.7Among the smaller vases, lekythoi are by far the most numerous, particularly those of the Class of Athens 581 and those from the Haimon Workshop. These are followed in quantity by skyphoi, cups of various types, including severalof the Segment Class, and oinochoai. Missing are two shapes rarely found in Attic black figure: aryballoi and kantharoi;also absent are kyathoi and mastoi, although in the Agora, examples of the latter are known in black pattern as well as in plain black and of the former,only in plain black.8 Examples of less commonshapes in Agora black figure include loutrophoroi(both the hydria and the neck-amphoravarieties), pelikai including 391 (PI. 38), the unique one with rays above the foot, skyphos-kraters,volute-kraters,chalices, calyx-kraters,lebetes gamikoi, louteria, dinoi, and pyxides. Among the rare shapes, the Agora excavations have producedthe earliest known Attic black-figuredalabastron,a psykter,two phormiskoi,four kothons,a few epinetra,thymiateria,and phialai. The section on shapes concludeswith plaques and disks.
The earliest exported Attic black-figuredvase is still the fragment by the Nettos Painter found at Cervetri and once in Leipzig, but it seems to be an isolated example. Cf. ABV 5, 3; Paralip. 2, 5; W. Herrmann, Wissenschaftliche Zeitschriftder UniversitdtRostock,XVI, Die griechische Vase, Rostock 1967, pp. 455-456. 5 For Panathenaicamphoraeof the Hellenistic and Roman periods, cf. footnote7 below, p. 13. 6 For stamnoi, cf. B. Philippaki, The AtticStamnos,Oxford 1967, especially chapter 2 for the black-figuredexamples;also,
4

C. Isler-Kerenyi,Stamnoi, Lugano 1977, pp. 18-28. 7 Footnote 2 below, p. 8. 8 Agora XII, p. 143. For mastoi, the inventorynumbersare P 1217 and P 24556, both in black pattern;P 25277, the knob reserved,the rest black. Although publicationof the black-patternedvases fromthe Agora was plannedfor this volume(Agora XII, p. 57, note 11), owing to the large quantityof black-figured material, we decidedto exclude the patternedpieces. They will be the subjectof a separate study by MZP.

INTRODUCTION

Many of the Agora vases were already attributedby Beazley and appear in the pages of AB V or Paralipomena. Quite a few more have been attributed,and for these, following Beazley's example, the name of the scholar attributing the vase appears in brackets after the name of the painter. During the course of the work on this volume, the painters of a good many other vases were detected, and here the pertinent comparisons are cited, except for many of the late lekythoi where the attribution is based on comparisonwith the plentiful examples in the Agora. Some of the painters, such as Kleitias or the Antimenes Painter, are representedin the Agora only by one or two small sherds;the work of others, such as those decoratinglekythoi of the Class of Athens 581, the Haemonians, or the painters of the CHC Group, is so well representedthat one is temptedto suggest that their workshops were very close to the Agora, perhaps even within its boundaries. As rich as the Agora black figure is with regard to the variety of shapes and the large number of painters who decoratedthem, this volume is not intended to be a history of Attic black figure, but instead it tries to show how the black figure from the Agora fits into the existing chronologicaland stylistic framework for shapes and artists and how, in certain cases, it increases our knowledge of their development. The organization of our material and the format of the catalogue entries are modeled on those of two previous Agora pottery volumes, VIII and XII, with small changes made to accommodatethe features of black figure not found in Protoatticor in plain black. The sequence of shapes is based on that in the index of ABV for the Agora and other Athenian collections. For each shape or its variants, the arrangementis generally chronological,with painters or groups of painters and contemporarythough unattributedpieces appearing together. In the Catalogue, we have cited as much comparativematerial as necessary, not only to increase the usefulness of the study but in the case of small fragmentsto renderthem more intelligible in shape and decoration. It has been impossible to illustrate all the Agora black-figuredpottery in this volume, but the selection we have made gives a comprehensiveview of the material. All the important pieces are shown, whether previously published or not, and all whole vases or fragmentsthat present unusual or puzzling features are illustratedas well. In the case of the large quantity of late lekythoi,many of which are virtually duplicatesof one another,we have let a few examples stand for very many. The chronologicalorganizationof the material within each shape has meant that very often large, wellpreservedpots or even big fragmentsappear together on the same plate with very small ones, and, for each piece to be intelligible to the reader,there was no way in which the scale of reductioncould be kept consistent within a single plate. Thus, on the same plate, there are sometimes as many scales as there are figures. This procedureof selectionand illustrationdiffers considerablyfrom the presentationof pottery in Agora volumes VIII and XII, where all the vases describedin the catalogue were picturedand where in most cases the characterof the materialpermitteda single scale to be used for a given plate. Therefore, to visualize the size of the pot or fragment,the readerwill have to rely on the measurements given in the Catalogue. Since the discussion of each shape is not a monographic study but only a brief sketch, we have included profile drawings only of those vases that present odd featuresor whose contoursare not easily understoodin a photograph.In the case of certain fragments, we have attempted full or partial reconstructiondrawings to help clarify the figure or the composition.All measurementsare given in meters.One furthernote. Since references to the CVA appear constantly, it was necessaryto devise a formula for citing it that would be both brief and intelligible. Thus: CVA, Boston 1 [USA 14], pl. 12 [624]:1 CVA, M.F.A. Boston, fascicule 1 [USA fascicule 14], pl. 12 [USA plate 624], fig. 1.

SHAPE STUDIES
ONE-PIECE AMPHORAE 1-127 Figs. 1-3 Pls. 1-15

The one-piece amphora, distinguished primarily by the continuous curve of its profile between mouth and foot, is a favoriteshape among Attic black-figurepainters. Three varietiesare known in figured ware: Type A with flanged handles, flaring mouth, and foot in two degrees;Type B, the oldest of the three, with round handles, flaring mouth, and echinus foot; and Type C, like Type B but with torus mouth.1 In Attic black figure, Type B is preferred,and all but one of the Agora fragments, even the later ones, come from amphorae Type B, rather than the larger and showier Type A, which was probably introducedinto the repertoryof Attic shapes by Exekias during the late third quarter of the 6th century B.C.2Type A seems to have been intendedmainly for export.3 The only certainamphoraType A fromthe Agora is 1934 (PI. 123), a late 6th-centuryone with the figureddecorationnot preserved,and no example of the rare Type C has been identifiedamong the black-figuredfragments,although this variety appears in plain black.4 The largest number of one-piece amphoraefrom the Agora date in the secondand third quarters of the 6th century B.C., the years when the shape enjoys its greatest popularity. The earliest onepiece amphoraehave separate subjectson the neck and body, a decorativearrangementthat is soon given up in favorof one with the figuresset in panels, a schemewhich becomesthe normalone from the beginning of the 6th century on. 117-119 (Pls. 13-15), three large fragmentaryamphorae, which preservespecial schemesof decoration,help to roundout the picture. 120-127 (P1. 15) come from one-piece amphoraeof normal size, but they do not preserveenough of the figures for us to be certain of the systems of decoration.
The three types were distinguished by Beazley, JHS 42, 1922, pp. 70-71. Cf., also, Beazley, AK 4, 1961, pp. 49-50; R. Lullies, AK 7, 1964, pp. 85-88, especially for Type B. For Types B and C, cf. Mommsen, Affecter,pp. 48-51. 2 Vatican 344 (ABV 145, 13; Paralip. 60, 13) is still the earliest example of the canonicaltype. Its antecedentsare to be found in Group E: Louvre F 53 (ABV 136, 49; Paralip. 55, 49), which is Type B except for its flaring foot; Berlin 1699 (ABV 136, 53; Paralip. 55, 53), Berlin 1698 (ABV 136, 54), London, B.M. B 205 (ABV 136, 55), and London, B.M. B 194 (ABV 135, 56; Paralip. 55, 56), which have Type A handles and a flaring foot without base fillet; Kassel T. 384 (ABV 137, 57; Paralip. 55, 57; CVA, Kassel 1 [Germany35], pls. 21 [1701]:1, 22 [1702]) and Budapest 9132 (ABV 137, 58; Paralip. 55, 58), which have an echinus foot. Canonicalamphoraeof Type A are usually well over 0.50 m. in height, thus considerably larger than most amphorae Type B, although exceptions in this variety exist, e.g., Berlin, inv. no. 4823 by the Painter of Acropolis606: 0.80 m. (ABV 81, 4; Paralip. 30, 4; CVA, Berlin 5 [Germany45], pls. 1 [2146]:2, 3 [2148]); New York, M.M.A. 51.11.3, related to Lydos: 0.557 m. (ABV 119, II, 6; Paralip. 48, II, 6); Boston, M.F.A. 89.257, by the Swing Painter: 0.52 m. (ABV 304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]; Bohr, Schaukelmaler,pl. 2); New York, M.M.A. 12.198.4, the Bateman Group: 0.555 m. (ABV 258, 5; Paralip. 114, 5); and New York, M.M.A. 41.85, the Group of Toronto 305: 0.542 m. (ABV283, 13 and 391, 1; Paralip. 124, 13). 3 Among the attributed amphorae Type A with known provenances,very few come from Greeceand the East. Four are known to us, none from Athens. One, by the Amasis Painter, is from Samos (ABV 151, 18; Paralip. 63, 18; Bothmer, Amasis Painter, p. 109, fig. 67); another, in the mannerof the Antimenes Painter, was found on Cyprus (ABV 279, 48); and two come from Kamiros, London, B.M. B 197 by the Painter of Berlin 1686 (ABV 296, 1; Paralip. 128, 1) and Rhodes 14093 by the Swing Painter (ABV 307, 57; Bohr, Schaukelmaler, pls. 79, 80). The last two are close in date and may even have been part of the same shipment. 4 AgoraXII, p. 48.

ONE-PIECE AMPHORAE
DECORATED ON NECK AND BODY; FIGURES NOT SET IN PANELS

5 1-6

P1. 1

A small number of early one-piece amphoraeare decoratedaccordingto the principleestablished for neck-amphorae,the large area of figured or ornamental decorationon the neck being clearly separatedfrom the figures on the body and the body decorationnot framedat the sides. On the onepiece amphorae, one or two lines of glaze divide neck from body decoration.The area below the main body decorationmay be supplementedby an animal frieze or a pattern and by rays above the foot, or it may be left in plain black glaze. The earliest known examples are four early works by the Nettos Painter that have figures on both neck and body.51 (PI. 1) is near the Nettos Painter in style, 2 is not far from him, and both were probably decoratedas those by the painter himself. Slightly later than these is 3 (P1. 1), which has a frieze of rosettes on the neck with the body decoration ending at about the level of the handle root, comparableto the lower limit of the earliestAttic blackfigured panels (cf. below, p. 6). Later examples of these amphorae,such as the one by the Gorgon Painter, Louvre E 817,6 have an ornamentalpatternon the neck and figureddecorationon the body that continues well below the maximum diameter. This manner of decoratingthe one-piece amphora disappears by the second quarter of the 6th century. 6 (P1. 1) by Sophilos with its three animal friezes on the body and the lotus-palmettefestoonon the neck is one of the latest examples,7 and it looks ahead to the type of ovoid neck-amphorawith the figureddecorationon the body set in friezes (below, pp. 9-10).
PANEL AMPHORAE 7-116 Pis. 2-12

In Attic black figure, the one-piece amphoramost often has the figureddecorationset in reserved panels, and in the Agora, the panel amphora is one of the most numerousof the large shapes. This variety does not develop from the one-piece amphora with separate areas of decorationon the neck and body, for the type exists already in the first half of the 7th century B.C., one of the earliest examples being one from the Agora that has ornamentaldecorationin a small panel set high on the vase.8It is not certain who was the first to decorateAttic potterywith figuredpanels, but examples are known by the third quarter of the 7th centuryB.C., and aroundAthens the idea may have begun with the Ram-jug Painter who decorated each of two olpai with a lion protome set in a broad panel.9 One of the earliest Attic black-figured panel amphorae is the Siren amphora, which has been linked with the Nettos Painter, although not firmly attributedto him.10With its exceptionally
5Aigina 565 (ABV 3, 1; Paralip. 1, 1); London, B.M. 1874.4-10.1, formerlyA 1531 (ABV3, 2; Paralip. 2, 2); Eleusis Z 21 (ABV 679, 2 bis; Paralip. 2, 3); Kerameikos,inv. no. 658 (AB V 3; Paralip. 1; KerameikosVI, ii, no. 116 and pls. 89-91; for the attribution, cf. footnote 11 below, p. 74). The fragment recently acquired by the J. Paul Getty Museum is from an amphora probably decorated according to this scheme (81.AE.114.30: J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vases in the J. Paul Getty Museum 1, 1983, p. 36, figs. 1, 2). One may also mention the one-piece amphora in Berlin (1961.7), decoratedon one side only (neck:confronted panthers; body: confronted griffins), the reverse being plain black glaze (CVA, Berlin 5 [Germany 45], pls. 1 [2146]:1, 2 [2147]). This amphora has been comparedwith the work of the Nettos Painter by F. Brommer (Jahr. Berl. Museen 4, 1962, pp. 1-16), but he rightly concludesthat it is not by this artist. A further argument is the stiff symmetrical composition, a decorativearrangementnot found on the four amphoraeby the painter himself. This type of amphora and its decorationhave been discussedbriefly by I. Scheibler (JdI 76, 1981, pp. 40-42) and by K. Kubler (KerameikosVI, ii, pp. 153-156). 9, 7; Paralip. 6, 7. 7 Later still are the versions by the Polos Painter (ABV 44, 1-4) and Berlin 31139 by the Prometheus Painter (CVA, Berlin 5 [Germany 45], pi. 4 [2149]:1, 2). Boardman(JHS 95, 1975, p. 7) suggests that the figured frieze above the panel on Reggio 4001 in the manner of Exekias (ABV 147, 6; Paralip. 61, 6) may have extended to the mouth of the vase. 8 P 6463 (Agora VIII, p. 32, no. 21, pl. 2); also P 12582 (AgoraVIII, p. 89, no. 514, pl. 82) and the amphora found on Piraeus Street (AeAT 17, 1961/62 [1963], pl. 26:a). 9 So, Karouzou,Amasis Painter, p. 42; see also, AgoraVIII, no. 578 (here, 7) and p. 24. It is surely no accidentthat the idea of a decorativepanel surroundedby black glaze was first tried out on one-piece amphorae and olpai, for their continuouscurvedshapes lend themselveswell to this schemeof decoration, as rightly emphasized by Scheibler (JdI 76, 1961, pp. 32-33). Recently, Sarah Morris has argued that the Black and White Style of Protoattic pottery, to which the work of the Ram-jug Painter belongs, is the productof an Aeginetanworkshop,not a mainland one (The Black and White Style, New Haven 1984). 10Athens, N.M. 221 (ABV 6: "The pictures are already in
6 ABV

SHAPE STUDIES

broad panels framed very near the handles, it stands a little apart from the other early panel amphorae, which have somewhat small panels often placed rather high on the vase emphasizing the incurvingcontourof the shoulderand neck, e.g. 10, 14, 17 (Pls. 2, 3). On these, the pictorialarea is very limited, filling ornament is sparse or omitted altogether, and there is no pattern above the panel. The appearance is rather somber and subdued. The subjects in these early black-figured panels are single or confrontedanimals and monsters, or else they are protomes, which may be human, subhuman, or animal. 7-10 are the examples from the Agora. 8 (PI. 2) gives some of the forepartsof an animal, surely one of a confrontedpair; 7 (PI. 2) is the earliest preservedAttic blackfigured example of a human head in the panel of an amphora;tIthe odd beardedhead terminating in a truncatedsnaky form on 10 (P1.2) still awaits an interpretation. The Gorgon Painter is the first Attic black-figurepainter to favor decorationset in panels and to explore the possibilities of this scheme of decoration,particularlyon his one-piece amphoraeand olpai.'2 12 (PI. 2), attributedhere, is the only panel amphoraby him found in the Agora, but another, 11 (PI. 2), is in his manner. During the first quarter of the 6th century, the panel becomes considerablywider, and it often extends below the maximumdiameterof the body, which results in a more unified appearanceof shape and decoration,e.g. 12, 33 (PI. 4), 34 (PI. 5). In this period, an ornamentalfrieze may appear abovethe panel, and there are often rays abovethe foot, two features that become standard.'3The ornament may be simple rosettes or a more intricate lotus-palmette pattern, either a chain or a festoon, e.g. 34. 4 In the panels new subjectsare introduced,perhaps by the Gorgon Painter, in particularan animal moving to right (not simply standingstill) and a single horseman on a galloping mount.1511 and 12, 24 (PI. 3), and 29 (PI. 4) are the earliest examples from the Agora. The largest numberof panel amphoraein the Agora (35-96) come fromthe middledecadesof the 6th century, i.e., 560-530/20 B.C., the period when the shape is most popular, particularlyin the work of Lydos and his companion, the Painter of Louvre F 6 (49, 50, 54-59: Pls. 6-8), also the painters of Group E (74: PI. 9), and the Swing Painter (77: PI. 9). During these decades,the onepiece amphora tends to become much taller in proportionto its width, although there is considerable variationfrom potterto potter. The size of the panel is governedby the proportionsof the vase, and there are usually areas of contrastingblack surroundingit. 47 (P1.6) with its very broadpanels that reach almost to the handles is an exception. In additionto the lotus-palmettefestoonor chain
panels";Paralip. 6). J. M. Cook (BSA 35, 1934/35, pp. 199200), followed by Karouzou ('Avayvpovvros, pp. 129 and 134), thought that this amphora might be an early work of the Nettos Painter, but this attributiondoes not seem quite convincing. To be sure, there are similarities, but the drawing is less skillful and somewhat sketchycomparedwith the firm drawing of the painter himself. Equally unconvincingis the attribution of 7 (P1.2) to the Nettos Painter, and the Woman Head amphora in Munich also ought to be kept apart (ABV 16, 2; Paralip. 9, 2), although H. Diepolder (Festschriftfur Carl Weickert, Berlin 1955, pp. 111-120) and Karouzou ('AvayvpoVvTos!, p. 135, no. 23) thought it, too, might be by the Nettos Painter. Panels may also be seen on the neck-amphoraeby the Lion Painter and the Bellerophon Painter. These are very broad, reaching almost to the handles. Lion Painter: Athens, N.M. 16393 (ABV 2, 1); Athens, N.M. 16392 (ABV 2, 2); Bellerophon Painter: Athens, N.M. 16389 (ABV 2, -, 1); Athens, N.M. 16391 (ABV 2, -, 2; Paralip. 1, 2). Add also, Athens, N.M. 16380, an unpublishedone that bears resemblancesto the work of the Nettos Painter: on the neck: A, woman's head in outline; B, the like; on the body:A, boar; B, the like. 11See catalogue entry below.
12 For a panel neck-amphora by the Gorgon Painter, cf. Richmond62.1.10, attributedby Bothmer (H. C. T. Reed and P. Near, AncientArt in the VirginiaMuseum, Richmond1973, no. 86, wrongly called Corinthian). 13 Ornamental friezes appear at about the same time on olpai (see below, p. 40). 14Rosettes: e.g., Louvre C 10620 by the Gorgon Painter (ABV 9, 9; Paralip. 7, 9) and Louvre CA 3327 in his manner (ABV 9, 8; Paralip. 7, 8; 8). Compare also the contemporary amphora in Leipzig, T 3299 (CVA, Leipzig 2 [DDR 2], pl. 1 [62]:1, 2) that looks like a panel amphora except for the lack of side frames:on each side is a lion to right; above, five rosettes. The earliestfestoonabovethe panel of an amphorais very likely the one by Sophilos on the Jena amphora (ABV 39, 7; Paralip. 18, 7; Baklr, Sophilos, pls. 11, 12). An oddity is the lotus-palmette chain abovethe panel of a Horse-head amphorafound in Athens, Ephoria F, no. 1144 (M. Piccozzi, Studi Misc. XVIII, Rome 1971, p. 15, no. 9), for these panels are normallywithout ornament. Here, the thick units are similar to the Gorgon Painter's use of this ornament on his namepiece (ABV 8, 1; Paralip. 6, 1).

15 See

below, p. 76.

NECK-AMPHORAE

above the panel, other types of ornamentappear, in particularivy leaves (e.g. 55 and 57: PI. 7) and hanging lotus buds (e.g. 69: P1. 8, 77, 81). Most of the Agora panel amphoraeare too fragmentary to illustrate the entire shape very well, and not many are attributed,but three of them preserveodd or unusual ornamental features that deserve mention. The widely spaced units of the lotus-palmette festoon on 76 (PI. 9) are uncommonand comparebest with some examples in the Princeton Group. The palmette chain without lotuses on 41 (PI. 5) is an odd ornamentbest paralleled in the work of the St. Audries Painter. 96 (PI. 11) has a net pattern above the panel, an ornamentthat is more at home above the panels of other shapes, e.g. kalpides (657, 658 and 663, 664: Pls. 62, 63), olpai (687-689: Pls. 66, 67), or choes (755-757: PI. 72) than it is on amphorae. From 530 B.C.on, the best of the black-figuredpanel amphorae are of the larger and more impressive Type A rather than Type B. Exekias may have introducedthe new type, for the earliest canonical example is by him, the famous one in the Vatican with the double signature.l6 1934 (PI. 123) is the only certain amphora Type A from the Agora, but since we cannotbe sure whether the figured decorationwas in black figure or in red figure, we have included it in the small miscellaneous category at the end of this chapter (p. 71). The rest of the Agora panel amphorae are too fragmentaryto determinethe type they are, for none preservestracesof a flangedhandle or a foot in two degrees, and the size of each comparedwith the thicknessof its wall suggests a vase of modest proportions.
SPECIAL ONE-PIECE AMPHORAE

117-119

Pls. 13-15

Three one-piece amphorae stand somewhat apart from those with separate decorationon body and neck and from those with panels. 117 (P1. 13) by the Nettos Painter is the earliest of the three, and it shows a single subjectextending over both neck and body without framing ornament at the The two fragments118 (PI. 14) sides,17the only Attic black-figuredexample to do so for certain.18 and 119 (PI. 15) come from large amphoraewith the decorationprobablyset in several friezes, an unusual arrangementof both figures and ornament.They could perhaps be includedwith the onepiece amphorae discussed above that are decoratedaccordingto the principle establishedfor neckamphorae (1-6), but because so little of the decorationremains, it is difficultto be sure of the complete arrangement, and it is best to keep them apart. 118 is decoratedon one side only and very likely was a tomb marker.19 NECK-AMPHORAE 128-225 Figs. 4-6 Pls. 16-26

The neck-amphorais distinguishedfrom the one-piece amphorachiefly by having its neck sharply set off from its shoulderand body.' In Attic black figure, neck-amphoraeare very common,particularly in the second half of the 6th century. In the late 7th and early 6th centuries, they are outnumberedby one-piece amphoraeand large kraters,but by about 560 B.C. they are being produced
above, p. 4. area given to the figured decoration,the Siren amphora,Athens, N.M. 221 (ABV6; Paralip. 6), is similar to 117 (PI. 13), except that the figure on each side is set in a very broad panel, the sides of which appear next to the handles. 18 120, 121, and 123 (PI. 15) may come from amphoraedecorated as 117, but too little is preservedto be certain. 19 For Protoattic and earlier black-figured amphorae and
17 In the amount of

16Cf. footnote 2

kraters used as grave markers, cf. Miiller, Liwen und Mischwesen, pp. 112-117; for some decoratedon one side only, cf. ibid., p. 116. 117 was probablyalso a grave marker. 'Cf. Agora XII, p. 47, note 1; also K. Stahler, JOAI 49, 1968-1971, pp. 87-97; Mommsen, Affecter,pp. 8-11.

SHAPE STUDIES

in quantity by various workshops, and many painters, such as those of the Tyrrhenian Group, specialize in the shape. Neck-amphorae come in more varieties of shape and size than any other type of pot in the Attic repertory,and their schemesof decorationalso vary considerably.The neckamphorae from the Agora, although for the most part quite fragmentary,illustrate this range in both size and shape, as well as in decoration.2
LATE7TH CENTURY 128-137 P1. 16

The earliest Attic black-figured neck-amphoraeare large pots, close in size to their one-piece counterparts,and, like them, they probablyhad a funeraryuse. Some, such as the Piraeus Painter's amphoraor the namepieceof the Nettos Painter,3are decoratedwith figureson one side only.4This scheme of decorationis not found for certain among the Agora neck-amphorae,owing largely perhaps to their fragmentarystate, but it occurs on 118 (PI. 14), a large one-piece amphora of ca. 560-550 B.C. 136 (PI. 16), though decoratedon both sides, seems in size and style to be a direct ancestorof the Piraeus Painter's namepiece,5and 131 is probablyfrom a neck-amphoraof similar size.6 The handles providea natural frame for the decorationon the necks;on the bodies, the decoration may be set in panels like two from Vari by the BellerophonPainter,7or it may extend to the handle zone without limits, as it does on the Piraeus Painter's neck-amphora.8
NON-STANDARD: FIRST HALF OF THE 6TH CENTURY 138-164 Pls. 17-20

Early 6th-century black-figuredneck-amphoraeare smaller than those of the late 7th century. There are not very many examples, yet there is considerablevariety within the shape. Some have a flaring mouth, usually decoratedwith a frieze of geese on the sloping inner surface, with a molded verticalexterior that may have an ornamentalpattern.The handles are concave,the body is ovoid:9 141-144 and 147 (P1. 18) are good, though fragmentary,examples from the Agora. Sophilos may have introduceda long-neckedversionwith flaring mouth and foot that is very likely inspiredby the loutrophoros,'0 but it lacks mourning figures, hence it is not classed by Beazley as a loutrophoros but as a neck-amphora.140 (P1. 17) may come from such a neck-amphora,and perhaps also 152 and 153 (P1. 19), which are fragmentsof tall, slender necks decoratedwith animals. The version used by the Polos Painter is a variantof the one with groovedrim, concavehandles, and ovoidbody.
Among the varietiesof large size, the type with the figured decorationon the shoulder and body is not known among the neck-amphoraefrom the Agora. It is the type used by Exekias and by painters close to him, including some of Group E. It was also used by the Princeton Painter and his companion, the Painter of Berlin 1686, as well as by the Amasis Painter. Its period of productionis the third quarter of the 6th century B.C. It may be pure chance that all the attributed examples with known provenances come from sites outside Greece, mainly from Italy with exception of the fragmentaryone by Exekias in Narbonne (ABV 144, 2), but it may also indicate that this type of neck-amphorawas intendedmainly for export. Cf. also footnote 37 below, p. 12. 3 Athens, N.M. 353 (ABV 2; Paralip. 1, 1); Athens, N.M. 1002 (ABV4, 1; Paralip. 2, 6). 4 The Piraeus Painter's neck-amphorahas loopworkon the back, which recalls such well-known Protoatticexamples as the New York Nessos amphora and the Polyphemos amphora at Eleusis, which have mere ornament on the reverse. For
2

these and other vases used as grave markers, cf. footnote 19 above, p. 7. 5 R. Young, Hesperia, Suppl. II, Athens 1939, p. 119. 6 E. Brann, Hesperia 30, 1961, p. 361, H 9. 7 Cf. footnote 10 above, p. 6. 8AB V2;Paralip. 1,1. 9 The shape of the foot is less certain. Two examples, 141 (PI. 18) in the mannerof the Gorgon Painter and Florencen.n., by Sophilos (ABV38, 3; Baklr,Sophilos,pl. 25), do not preserve the foot. The namepieceof the Painter of Eleusis 767 (ABV 21, 1;Paralip. 13, 1) has a flaringfoot, and those by the Polos Painter (ABV 44, 5 and 9), which are later, have an echinus foot. 10Athens, N.M. 991 (ABV 38, 1; Bakir, Sophilos, pls. 4951) and Warsaw 138537 (Paralip. 18, 1 bis; Baklr, Sophilos, pi. 71: here [p. 72] the vase is considereda workshop piece). Athens, N.M. 1036 (ABV 38, 2) is similar but with a shorter neck, ribbed rather than flat handles, and a more ovoid body. The namepiece of the Anagyrus Painter (ABV 20, 1) is a less able version of these.

NECK-AMPHORAE

It is squatter and less elegant than those of his predecessors.1 160 (Pl. 20) is his best preserved example from the Agora, but 161 is from the same type. Akin to these is the small one relatedto the Swan Group, 164 (P1. 20), the latest vase in this section. The decorationon early 6th-centuryblack-figuredneck-amphoraeas a rule is set in friezes,12 and 138 (PI. 17) in the manner of the Gorgon Painter may be the earliest example of this schemeon this shape. Normally the figures are animals and monsters,although human figures appear occasionally on the shoulder,13sometimes on the neck,14but rarely in a mythologicalnarrativecontext. 141 (P1. 18), with the figure of Aristaios on the neck, is the only Agora example of a mythologicalfigure on a neck-amphoraof this period. The scheme of decorationon 164 is odd:two zones of ornament on the neck, figures on the shoulder, the rest of the body black. Superficiallyit resemblesthose by the Camtar Painter discussedbelow.
OVOID NECK-AMPHORAE 165-177

Pls. 20, 21

The type of neck-amphoracharacterizedby an ovoid body, echinus mouth and foot, and round handles is preferredduring the secondquarterof the 6th centuryB.C.15 One of the earliest examples is the fragmentary one in Oxford attributed to Sophilos,16which should belong to the late first quarter of the century. Since the four neck-amphoraepainted by Sophilos vary considerablyand since Sophilos was probably both a potter and a painter,17it is possible that he may have played a role in creatingthis type of neck-amphora.The generationafter Sophilossees the adventof painters who specialize in decorating ovoid neck-amphorae:the painters of the Tyrrhenian Group, the Camtar Painter, and the Painter of Vatican 309, a companion of Lydos. Three early works by and 172 (PI. 21) is perhaps by him. Lydos are ovoid neck-amphorae,18 The decorationon the bodies of ovoid neck-amphoraemay appear in friezes, as it does on most Tyrrhenians,19or it may be set in panels like those by the Painter of Vatican 309 and by the Painter of Louvre F 6, another companionof Lydos. Lydos, himself, tried out both schemes.20 A variant of the panel type is the one preferredby the Camtar Painter, which allows the figured decorationto reach the handles without a framing device and usually has no decorationbelow the figures, not even rays.21On this type, the decoration on the neck varies. Most frequently, it is ornamental,
An exception is the neck-amphora in Richmond by the Gorgon Painter (footnote 12 above, p. 6). Here, the decoration on the body is in a panel complete with framing lines that is similar to those on contemporaryone-piece amphorae:A, panther to right; B, the like. On the neck:A, rosette;B, the like. Just below the panel, three lines that continue round the vase;below that three more lines. No rays above the foot. For others, cf. footnote 10 above, pp. 5-6. 13 Cf., e.g., two by Sophilos:Athens, N.M. 1036 (ABV38, 2; Baklr, Sophilos, pi. 30, fig. 53) and Florence n.n. (ABV 38, 3; Baklr, Sophilos, pl. 25). 14 The best example is the namepieceof the Painter of Eleusis 767 (ABV 21, 1; Paralip. 13, 1). 15The ovoid neck-amphorasurvives in the work of the Affecter who fashioned his own version that does not seem to depend upon the type used by his precedessors.Cf. Mommsen, Affecter, pp. 8-9. An odd late example is Boston, M.F.A. 01.8052, which is like those by the Affecter in shape and ornamental decoration,but its figureddecorationis in the mannerof
12

1 Brussels R 219 (ABV 44, 5); Louvre E 814 (ABV 44, 9).

the LysippidesPainter (ABV 242, 35 and 259, 26; Paralip. 110; Mommsen, Affecter,p. 109, no. 102). 16Oxford G.128.20 (ABV 38, 4; Baklr, Sophilos, pl. 65, fig. 127). 17Cf. Athens, N.M. 15499 (ABV 39, 16; Paralip. 18, 16; Baklr, Sophilos, pi. 6, fig. 10), which very likely has a double signature. Cf. footnote 53 below, p. 79 and also Beazley, Development, pp. 18-19. Without a potter'ssignature, it is always difficultto be certainwho shaped a vase, but the varietyof shapes decoratedby Sophilos suggests that he took considerable interest in shapes as well as decoration. 18 ABV 110, 30-32. 19For exceptions,cf. Mommsen, Affecter,p. 8, note 30. 20 Friezes: Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23). Panels: Louvre E 868 (ABV 110, 30; Tiverios, pl. 3) and Louvre C 10634 (ABV 110, 31; Paralip. 44, 31; Tiverios, pls. 10, 11:a). 21 The examples are given by Mommsen (Affecter,p. 8, note 30). Exceptions to this scheme of decorationin the work of the Camtar Painter are Louvre C 10521 (ABV 84, 4; Paralip. 31,

10

SHAPE STUDIES

usually a lotus-palmette cross (166: PI. 20; 171), occasionally a festoon or, more rarely, a star Neither of these last two appearsamong the preservedovoidsin the Agora. Rare, too, are pattern.22 ovoids with animals on the necks (175: PI. 21).23 There are not too many ovoid neck-amphorae from the Agora, but the two main systemsof body decoration,panels and friezes, are representedby fragmentaryexamples. This section includes all the ovoid neck-amphoraethat cannot be shown with certainty to come from the panel type. With exception of the neck-amphoraeof Panathenaic shape, all panel neck-amphorae,whether ovoid or not, are presentedin the next section as a separate variant.
PANEL NECK-AMPHORAE

178-182

Pls. 21, 22

Neck-amphoraewith their decorationset in very broad panels, known in late 7th-centuryAttic black figure and on the early 6th-century ovoid panel neck-amphorain Richmond, have already been noted (p. 6, footnotes 10 and 12). These few are, however, exceptional for their time. In the second quarter of the 6th century, many ovoid neck-amphoraeare decoratedwith panels, a tongue pattern appears above the panel at the junction with the neck, and on the neck itself there is a male head to left, usually between wavy lines. Ovoid neck-amphoraeby the Painter of Vatican 309, who prefers this type of neck-amphora,and the Painter of Louvre F 6 are decoratedin this manner. Earlier painters of ovoid panel neck-amphoraeoccasionallyglaze the area between the top of the panel and the ring, and they usually omit the wavy lines on the neck.24179 (P1.21) was decorated accordingto this principle and perhaps also 180 (PI. 21), for there are no lines next to the face, but without some of the shoulderof the vessel it is difficultto be certain. 178 (PI. 21) is unusual, for the head faces to right.25Sometimesthe neck is decoratedwith a lotus-palmettecross,and at least once during the secondquarter of the century, it was left black.26 After the middle of the 6th century,it becomesunusual for neck-amphoraeto have the decoration set in panels. 181 (PI. 22) with its squat proportions,rilled mouth, and torus foot with groove is a special example that seems to have no exact parallel. 182 (Pl. 22) is probablya neck-amphoraof standardshape.
SHAPE 183-188 OF PANATHENAIC NECK-AMPHORAE Pls. 22, 23

These neck-amphoraetake their shape from the prize vase, but their schemes of decorationand
4), band of lotus-palmette festoon below the figures; Laon 371017 (Paralip. 31, 9), frieze of upright lotuses and below that, animals. 22 For the festoon, cf., e.g., most of the ovoids by the Camtar Painter. For the much rarer star pattern, cf., e.g., Madrid 10929 (CVA, Madrid 1 [Spain 1], pl. 1 [17]:6); New York, M.M.A. L.1985.5. 23 Cf. also the following: Tiibingen D 7 (S./715), by the Camtar Painter (Paralip. 31, 8; CVA, Tiibingen 2 [Germany 44], pl. 34 [2135]); Florence 70995 by Lydos (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23); and an unattributedexample in the Bareiss Collection once on loan to the Metropolitan Museum (L.69.11.7) that is decoratedwith figureson the neck only:A, panther;B, the like; tongue patternon shoulderatjunction with neck;rays abovefoot. Perhapsadd also, the ovoidneckamphora that has a horse protomewith forelegs in each panel and a dolphin to left on the neck (Paralip. 10; Moon, Midwestern Collections,Chicago 1979, pp. 48-50, no. 29). Later examples of this system of decoration,but not necessarilyon ovoids, are given by H. Hoffmann, CVA, Boston 1 [USA 14], pp. 14-15. Cf. also the brief discussionby Mommsen, Affecter,p. 31. 24Glaze between top of panel and ring: New York,M.M.A. 56.171.16 by the Painter of London B 76 (ABV 87, 14;Paralip. 32, 14; CVA, New York 4 [USA 16], pl. 12 [740]:1, 2); Munich 1449, unattributed (CVA, Munich 7 [Germany 32], pl. 328 [1542]:3,4). No lines next to head on neck:New York, M.M.A. 56.171.16; Geneva MF 153 by the Painter of Acropolis 606 (ABV 81, 6; CVA, Geneva 2 [Switz. 3], pl. 52 [108]:1-4); one near him, Munich 1447 (ABV 81, 1; Paralip. 30, 1; CVA, Munich 7 [Germany 32], pl. 328 [1542]:1, 2); Munich 1448, near the Painter of London B 76 (ABV 88; CVA, Munich 7 [Germany 32], pl. 329 [1543]:2, 3) and Florence 3770 near the Painter of Vatican 309 (ABV 122, 1). Munich 1448 is unusual in that the panel reaches to the ring at the junction of the neck, as it does on the Richmondneck-amphora,p. 6 abovewith footnote 12 and footnote 12 above, p. 9). 25 Cf. Geneva MF 153 by the Painter of Acropolis 606 (ABV 81, 6; CVA, Geneva 2 [Switz. 3], pl. 52 [108]:1-4) and one near him, Munich 1447 (ABV81, 1; Paralip. 30, 1; CVA, Munich 7 [Germany32], pl. 328 [1542]:1, 2). 26New York, M.M.A. 06.1021.29, unattributed (CVA, New York 4 [USA 16], pl. 12 [740]:3, 4).

NECK-AMPHORAE

11

their subjects are, as a rule, very different. Not many examples are known, and nearly all are productsof the second half of the 6th century. The earliest preservedexample, Oxford 1920.107,27 belongs, however, to the Burgon Group, which producedthe earliest known prize vase.28On the Oxford piece, the figures (the Return of Hephaistos) appear on the shoulderonly, the one example decoratedin this manner. On its neck is the rare star pattern. Examples of these neck-amphorae after the middle of the century may show the figured decorationcontinuing round the vase,29or it may be set in the more conventionalpanels,30184, 185, and 188 (P1. 23) being certain panel examples from the Agora. The other three, 183 (P1.22), 186, and 187 (P1.22), do not preserveany of the edge of the panel, so one may not be certain of the system of decoration.Normally, there is a tongue pattern at the junction with the neck and on the neck, a lotus-palmette chain. On those where the figured decorationcontinues round the vase, an ornamentalfrieze often appears below the figure zone,31as is customaryon standardneck-amphoraeof the time. The subjectsare usually mythologicalones, occasionallyunidentifiednarratives.A few vases show Athena as she appearson true Panathenaics but with accompanyingfigures, instead of alone.32188 comes from such a vase; 183 is more likely from a Gigantomachy,as Beazley suggested,33 especially since Athena strides to The other not to are too left. right, Agora examples, 184-187, fragmentaryto allow a precise interpretation of the subjectmatter. Although no painter may be said to have specialized in decorating neck-amphoraeof Panathenaic shape that are not true Panathenaics,three are by the Princeton 183 is close to the Swing Painter, and Painter and two others by his colleague, the Swing Painter;34 187 by the Rycroft Painter adds a new artist to those known to have decoratedthis rather rare type of neck-amphora.35
NECK-AMPHORAE STANDARD 189-205 Pls. 23, 24

From about 540-530 B.C.on, the favoritetype of neck-amphorahas a ratherovoid body, echinus mouth, triple handles, and torus foot. A configurationof palmettes and buds under each handle separates the figured decorationon the two sides, a tongue pattern on the shoulder at the junction with the neck outlines it above, and ornamentalbands, most frequentlyupright lotus buds that may or may not be accompaniedby the key pattern, terminateit below. The neck usually has the lotuspalmette chain. This is the main arrangement,but the sequence of patterns below the figures and
ABV 89, 2; Paralip. 33, 2. London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1). 29 Tarquinia RC 1061 by Group E (Paralip. 56, 58 bis); London, B.M. B 208 in the manner of the Lysippides Painter (ABV 260, 29); Princeton 169 by the Princeton Painter (ABV 298, 6); Rhodes 12174 by the Bucci Painter (ABV315, 5); London, B.M. B 206 of the Leagros Group (ABV 369, 120; Paralip. 162, 120); five unattributedexamples, London, B.M. B 207 (CVA, London 4 [GB 5], pl. 47 [192]), Naples, inv. no. 81103 (CVA, Naples 1 [Italy 20], pl. 11 [955]), Boston, M.F.A. 01.8059 (CVA, Boston 1 [USA 14], pls. 36 [658], 38 [660]:1, 2), Munich 1437 (CVA, Munich 7 [Germany 32], pls. 339, 340 [1553, 1554]), and Munich 1438 (CVA, Munich 7 [Germany 32], pl. 341 [1555]). Although the figured decorationon these amphorae continues under the handles, only the one in Boston and the two in Munich show continuity of subject.The others have different subjectson each side. 30 Two by the Princeton Painter, New York, M.M.A. 53.11.1 (ABV298, 5; CVA, New York 4 [USA 16], pl. 13 [741]) and Swiss, private (Paralip. 130, 5 bis); two by the Swing Painter, Copenhagen 3672 (ABV 307, 58; Bohr, Schaukelmaler, pl. 88) and Brooklyn L.68.155.1 (ABV 307, 61; Paralip. 133, 61; Bohr, Schaukelmaler,pl. 172 and p. 110, no. P 5 where
28 27

the attributionis removedfromthe Swing Painterand said to be near the Princeton Painter); three by the Acheloos Painter, London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1), Florence 3871 (ABV 383, 2), and Toledo 58.69 A (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pl. 14 [794]);two unattributedexamples, Liverpool56.19.27 (Gerhard,AV, pl. 66) and Vatican 356 (Albizzati, pl. 46). 31 Two, Boston, M.F.A. 01.8059 and London, B.M. B 208, have ornamentalfriezes similar to those on standardneck-amphorae. Two others, Naples, inv. no. 81103 and Rhodes 12174, have upright lotus buds with dots, and London,B.M. B 207 has the same but without the dots. Princeton 169 has a chain of upright lotuses and palmettes. The three by the Acheloos Painter have upright lotus buds with dots. 32 On Liverpool 56.19.27, she stridesto left toward Hermes, the two gods between columns surmountedby cocks. On New York, M.M.A. 53.11.1, she faces an aulos player;behind her is a young girl carryinga folded peplos on her head and holding a fillet in her right hand. For these, cf. footnote30 above. 33ABV693. 34 Cf. footnotes29 and 30 above. 35 For other artists, cf. footnotes27, 29, and 30 above.

12

SHAPE STUDIES

details of the handle ornamentvary a good bit from painterto painter and even within the work of a painter. Three early examples of this schemeof decorationappear on neck-amphoraeby Exekias,36 who perhaps played a role in determiningthe canonical scheme of late Archaic neck-amphorae.37 Unfortunately, the examples from the Agora are too fragmentaryto illustrate very well the basic of this shape and the variationsin decoration. characteristics
SMALL LATE NECK-AMPHORAE

206-225

Pls. 24-26

In details of shape, these neck-amphorae are by and large diminutive, often hastily worked counterpartsof standardneck-amphorae,and frequently they exhibit the same decorativescheme as well. 209 (PI. 24) is the best preservedexample from the Agora, and 215 (PI. 25) by the Edinburgh Painter is similar except for the up-and-down palmetteornamenton its neck, a patternthat frequently occurs on small late neck-amphoraeand may have been borrowedfrom the painters of lekythoiwho often used this ornamenton the shouldersof their vessels. The up-and-downpalmette ornament, instead of the normal lotus-bud frieze, below the figures on 223 (PI. 26) seems to be unparalleled on neck-amphorae. It appears, however, below the panel of the Rycroft Painter's and is well known on shoulderedhydriai. amphoraType A in Worcester38 PANATHENAIC AMPHORAE 226-338 Pls. 26-34

Panathenaic amphoraetake their name from the festival held every four years in Athens, for they contained the oil that was awarded as prizes in the games.1 According to historical tradition, the Panathenaic festival was reorganized around 566 B.C., and at that time new competitions, The earliest preserved especially athletic contests and perhaps also horse races, were introduced.2
One of these, Berlin 1720 (ABV 143, 1; Paralip. 59, 1; Bothmer,AmasisPainter, p. 29, fig. 16), bearsthe doublesignature of Exekias and is probablyhis earliest preservedwork. The other two, London, B.M. B 209 (ABV 144, 8; Paralip. 60, 8) and Dublin 1921.97 (Paralip. 61; AJA 72, 1968, pl. 122:7), are later and belong with his signed neck-amphora in London (ABV 144, 7; Paralip. 60, 7). See footnote 37 below. 37There is considerablevariation in shape and in scheme of decorationamong the ten neck-amphoraeby Exekias (ABV 143144, 1-8; Paralip. 59-60, 1-8 and 1 bis;also 61). Stahler (JOAI 49, 1968-71, p. 93) has suggestedthat the shape of the late Archaic neck-amphorais based to a large extent on the potting of Exekias, but he does not make enough of a distinctionbetween the type with very broadshouldersoften decoratedwith figures, which enjoys a brief vogue in the third quarterof the 6th century, and the more slender ovoid type, which becomes the standard shape in the late 6th centuryB.c. Exekias signs both types as potter, Berlin 1720 and London, B.M. B 210, and on four unsigned neck-amphoraeincludes figureson the shoulder:Narbonne (ABV 144, 2); New York, M.M.A. 17.230.14 (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pls. 16-19 [744747]); Boston, M.F.A. 89.273 (ABV 144, 4; Paralip. 59, 4; CVA, Boston 1 [USA 14], pls. 29-32 [651-654]); and Munich 1470 (ABV 144, 6; CVA, Munich 7 [Germany 32], pls. 351354 [1565-1568]). The configurationof palmettes and lotuses appears under each handle of the early signed neck-amphorain Berlin (1720). London, B.M. B 210, his other signed neck36

amphora,is a reworkingof the shape and becauseof its slender proportions is closer to the late 6th-century type than to its predecessors.Its ornamentaldecoration,but for the handle configuration which consists of elegantly drawn spirals, is that of the normal scheme. London, B.M. B 209 and Dublin 1921.97, both contemporarywith London, B.M. B 210, are particularly close to the standardtype in shape and ornament. 38 Paralip. 148, 5 bis; Buitron, New England Collections, pp. 44-45, no. 17. The literatureon Panathenaicamphoraeis vast. Cf., particularly, Beazley, Development, chap. VIII (with bibliography); also, D. A. Amyx, Hesperia 27, 1958, pp. 178-186 (the listings of Panathenaicamphoraein the Attic stelai); Frel, PPA; AEAr 29, 1974 [1977], pp. 142M. Tiverios, <<navaOqva'iKc?,, della Libia, 8, Cirene 153; M. Luni in Quadernidi archaeologia e la Grecia, 1976, pp. 259-264; Brandt, Acta Norvegiae 8, 1978, pp. 1-23 (Brandt's article appeared after this section of our text was written, and many of his observationsabout the development of the Panathenaic amphora were made independently by us); A. Stenico,Studiesin Honourof ArthurDale Trendall, Sydney 1979, pp. 177-180 (the Euphiletos Painter). In addition, cf. J. Frel, AAA 5, 1972, pp. 245-248 (Panathenaics used as dedications) and "Noms d'archontes," RA, 1972, pp. 285-290; J. Davison,JHS 78, 1958, pp. 23-42 (inscriptions and literatureregardingthe Panathenaicfestival). 2 J. Davison, JHS 78, 1958, p. 26.

PANATHENAIC AMPHORAE

13

Panathenaic amphorae may be stylistically placed so soon after this date that it is tempting to suggest that they were given as prizes when the games were reorganized.3The size of the prize vases from the middle of the 6th centuryB.C. to the middle of the 5th seems to vary between 0.60 and 0.65 m. in height and between 0.40 and 0.45 m. in width.4The amount of oil that they held is more difficult to calculate since so few are well enough preserved to allow a test to be made, but the capacities for six of them range from 38 to 39 liters when filled to the brim.5 The Panathenaic amphora resemblesa storage amphorawith a foot added. It has a very narrow neck and an echinus or flaring mouth that is flat on top, sometimes with glaze. The body tapers sharply to a narrow echinus or disk foot that is comparablein diameterto the width of the mouth. The shape has a very long history, beginning just before the middle of the 6th century B.C. and lasting until the 4th century after Christ,6but only those of the 6th to 4th centuriesB.C. will be discussed here.7 The earliest Panathenaic amphorae are rather squat, heavy, very sturdy-looking vases. Gradually, they become taller and slimmer until they reach the exaggerated proportions characteristicof the shape in the late 5th and 4th centuriesB.C.By the middleof the third quarterof the 6th century B.C., the canonical scheme of decorationfor Panathenaicshas been established.It is a simple and unchangingone, owing no doubt to the officialpurpose for which the vase was intended. The figures are set in a panel on each side. A statue of Athena Polias appears on the obverse, placed between columns on all but the earliest Panathenaics.Here, the panel reachesto the tongue pattern on the shoulder at the junction with the neck. On the reverse,the scene representsthe event for which the vase was awarded as a prize. On this side, the panel is separated from the tongue pattern by a band of glaze. On the neck there is a lotus-palmettechain;abovethe foot are rays. The effect is neat, tidy, rather elegant and sober, especially before 450 B.C.8 Throughout the history of the shape, the figure of Athena retains its archaicstylistic character,and in the 4th centurybecomes quite mannered-looking.The drawing on the reverse,however, keeps abreastof the stylistic development of Greek sculpture and painting and thus offers a good criterionfor dating the vases. The Panathenaic amphorae from the Agora, though very fragmentary, provide a continuous series for the period under discussion. A significant number of them, 226-318 (Pls. 26-32), are prize vases. Included in this section are the following: all those with part of the prize inscriptionor an archon'sname; all those that may be dated after 450 B.C. when Panathenaicswere the only large Attic vases being decorated in the black-figure technique; 226 (PI. 26), which has a potter's
Beazley, Development, p. 88; Frel, PPA, p. 5. For undersizedbut prize Panathenaics,cf. M. Vos, "Some Notes on Panathenaic Amphorae," OudheidkundigeMededelingen uit het Rijksmuseumvan Oudhedente Leiden 62, 1981, pp. 33-46, esp. pp. 38-46. Add to the list on p. 40, these two: London, B.M. B 144 by the Swing Painter, which lacks the canonical prize inscriptionbut tells us that the horse of Dysniketos wins (ABV307, 59; Brandt[ActaNorvegiae 8, 1978, p. 12] calls this a non-prize vase; Bohr, Schaukelmaler,pls. 170, 171 and p. 110, no. P 4 where the vase is reattributedto near the Princeton Painter); Madrid 10901 (CVA, Madrid 1 [Spain 1], pl. 27 [45]:2). Our Panathenaic of the Robinson Group, 256 (PI. 29), was of prize size; other Panathenaics of the group are shorter than the standard prize vase (ABV 410, 2-4). Bothmer has suggested orally that these undersized but inscribedPanathenaics could be test vases instead of prizes awarded in the games. Vos offers another explanation, namely that in times of "waror financial stringency, the Festival was held on a more moderate scale with reducedprizes" (p. 42). M. Tiverios (loc. cit. [footnote 1 above, p. 12]) notes that the full-size uninscribed Panathenaics are far fewer in number than the inscribedvases and believes that they are competition
4

samples producedby the workshops eager to receive the commission (for a possible competitionsample from the Agora, cf. 274: PI. 31). Other possible explanations are that these vases are the result of a slight overrun or oversight in productionor even that a few extra amphorae were made as a precaution against breakage, and when they were not needed, they were simply fired uninscribedand sold off. Here are good examples of uninscribed,full-size vases: Boston, M.F.A. 01.8127 in the mannerof the Lysippides Painter, 0.60-0.62 m. (ABV 260, 28; CVA, Boston 1 [USA 14], pl. 56 [6781)and an unattributedone, London, B.M. B 135, 0.624 (CVA, London 1 [GB 1], pl. 3 [27]:2); also Liverpool 56.19.23 and Naples n.n. (Brandt, Acta Norvegiae 8, 1978, p. 12, f, g, and note 2: "Size like a prizeamphora",no measurementsgiven). 5 Cf. Agora X, p. 59. 6 Frel, PPA, p. 3 and passim. 7 For Hellenistic and Roman Panathenaics, cf. G. R. Edwards, Hesperia 26, 1957, pp. 320-349, with bibliography. 8 For a well-preservedexample to serve as an illustrationof the canonicalschemeof decoration,cf. the namepieceof the Euphiletos Painter, London, B.M. B 134 (ABV 322, 1; Paralip. 142,1).

14

SHAPE STUDIES

signature;229-236,239-243, and 246-253 (Pis. 27, 28) becauseof their large size and quality, and 228 (Pis. 26, 27) because of its size and subject,the Pentathlon.To estimate the original size of the vases from which these uninscribed fragments come, we used a tracing of the prize vase in New York by the Euphiletos Painter as a standardagainst which the comparablefigured part of each Agora fragment could be measured.9Some of these fragmentsmay indeed come from uninscribed vases of prize size, but given the paucity of this type,'0 we decidedto include in the prize category the fragmentsfrom full-size vases. The rest of the Agora Panathenaicsare groupedas follows:nonprize vase, 319 (PI. 32); uncertain if prize or non-prize vases, 320-337 (Pls. 33, 34). The latter group includes severalof good quality which may be undersizedbut inscribedvases, yet without the inscription it is best to keep them apart from the prize vases. Oddly enough, no obverse fragment may be matched with a reverse fragment for either the prize vases or the non-prize vases. In addition one fragment,338, comes from a miniature Panathenaic.
PRIZE VASES 226-318

Pls. 26-32

In the 6th and 5th centuries B.C., the prize vase may be distinguished from the non-prize vase mainly by the inscriptionthat names it as one of the awards in the games. The inscriptionappears on the obverse,written verticallyfrom left to right on the right-handside of the left column, so that Athena faces it." The earliest preservedPanathenaic prize amphoraelack columns, and on these the inscriptionis placed next to the left side of the panel. The Burgon amphoraand the one in New York signed by the potter Nikias, who is otherwise unknown, are well-preservedexamples of this but 228 (Pls. 26, 27), which is surely a prize vase, may have been similar. Other arrangement,12 early Panathenaics, besides the one in New York just mentioned, preserve the signature of the potter. A fragmentary Panathenaic from the Kerameikos,PA 443, gives in addition to the prize inscriptionthe name of the potter Hypereides and his patronymic,Androgenes.l3Frel has seen that 226 (PI. 26), which preservesthe verb and the last three letters of the patronymic,is by the same hand, and it too ought to be a prize vase, even though the prize inscriptionis not preserved.After 550 B.C.,the signaturesof the potters cease to appear on Panathenaicamphorae,probablybecause of their official use, although they reappearoccasionallymuch later, in the first half of the 4th century B.C. On the earliest Panathenaics,i.e. those before 550 B.C.,the ornamenton the neck is usually a lotus-palmettecross,not the lotus-palmettechain of the vases decoratedaccordingto the canonical
9 New York, M.M.A. 14.130.12 (ABV 322, 6; Paralip. 142,6). 10Cf. footnote4 above, 13. p. 1An exception is the prize vase by Lydos, Florence n.n. (ABV 110, 33; Tiverios, pls. 66:4, 67). Here, the inscription appears on the reverse above the chariot team. Normally the inscriptionis written in blackglaze, but on some early examples the letters are in added red:Agora P 10353 and P 10361, omitted from this study because they were found outside the Agora grid (cf. C. Boulter, Hesperia 32, 1963, pp. 113-137, esp. p. 135); London, B.M. B 130, the Burgon amphora(ABV 89, 1; Paralip. 33, 1); Oxford G 141.45 (CVA, Oxford 2 [GB 9], pl. 2 [403]:26); Karlsruhe 65.45 by Exekias (Paralip. 61, 8 bis); Acropolis 1086 (Graef, pl. 63). Add also an early fragmentary one in a Swiss private collection signed by Kallikles as potter. The prize inscriptionon this vase is not preserved. 12 London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1); New York, M.M.A. 1978.11.13 (Notable Acquisitions, 7975-1979, p. 14; Bothmer,Amasis Painter, p. 44, fig. 37). 13 Cf. Frel, PPA, p. 7, fig. 4, and p. 10. Here are some examof other kinds of inscriptionson 6th-centuryprize Panatheples naics: Acropolis 921: AIAYAA[OAPOMO...], retrograde (Graef, pl. 59); Athens, N.M. 2468 (CC 761): AIAYAOAPOMOEIMI (Athleticsin Ancient Greece,I. Douskou, ed., Athens 1976, p. 166, fig. 73); Halle 560: AN]APON (ABV 120, -); the namepieceof the Euphiletos Painter, London, B.M. B 134: EYIAETOE : KAAOt (ABV 322, 1; Paralip. 142, 1); London, B.M. B 144 by the Swing Painter: AYNEIKETY: HIIOE:: NIKAI (footnote4, p. 13 above);Munich 1451: ETAAION ANAPONNIKE (Brandt, Acta Norvegiae 8, 1978, p. 4, no. 26, and pl. 2:b); New York, M.M.A. 1978.11.13: NIKIAlEHOIElEN on A and ANAPONETAAIO[N] on B (Notable Acquisitions, 1975-1979, p. 14); Naples 112848: YIKEAOIEFPA4YEN (ABV 403, -, 1); Swiss, private: KALIKLE[?]EFOIE[IEN (footnote 11 above).

PANATHENAIC AMPHORAE

15

arrangement and type of embellishment. On the preservedexamples, there is no tongue pattern above either panel. On these early vases, Athena has both feet flat on the ground,as on 228 (PI. 26) not the more elaborate and on 320 (P1.33), and her helmet is a simple cap with the crest attached,14 head coveringcompletewith cheekpiecesthat will appear later. Her garmentsare simple, although and the heads of the snakes on the aegis are frequently often decoratedwith ornamentalpatterns,15 seen from above instead of in profile and intertwinedas is customarylater. The earliest known Panathenaic amphorawhere Athena appears between columns surmounted by cocks occurs on the prize vase in Karlsruhe attributedto Exekias, which is an early work of about 540 B.C.16 It is not certain if Exekias introducedthe conventionof placing Athena between columns on prize Panathenaic amphorae,but he may have. On the Karlsruhevase, oddly enough, the inscriptionappears behind Athena next to the column on the right, the only 6th-centuryexample where it does, although at least one later example is known, 279 (P1. 31). On the Karlsruhe Panathenaic, the lotus-palmette chain now decoratesthe neck, and there is a tongue pattern above the obversepanel. Here, for the first time, the heel of Athena's right foot is raised slightly, an innovation that is retained, although with time the heel is raised higher and higher until only the ball of the foot and the toes touch ground. This conventiongives Athena's pose new energy and a dramatic force. 236 and 237 (PI. 27) are the earliest prize vases from the Agora that show Athena between columns. 236 preservespart of the cock above the left column, and 237 gives the top of the shaft of the left column. Here, the prize inscription (the first two letters remain) is written in the normal place. This small fragment is later than Exekias' Panathenaic and ought to date between 530 and 510 B.C. Thus, it is contemporarywith the prize vases by the Euphiletos Painter who is the first artist known to have painted many Panathenaics.17 Unfortunately, no Agora fragment of a prize vase may be attributedto the Euphiletos Painter, but of the next group of painters known to have decoratedmany Panathenaics (the EucharidesPainter, the KleophradesPainter, the Berlin Painter, and his pupil, the Achilles Painter18)251 (PI. 28) may be by the Kleophrades Painter, 250 (PI. 28) compareswith vases in his manner,252 (PI. 28) is by the Berlin Painter, and 254 (P1.29) is probably by the Achilles Painter. This brings us to the high Classical period, for which our only certain attributedexample is the rather well preservedone, 256 (Pl. 29), belonging to a painter of the Robinson Group. Part of the initial letter of the inscriptionconfirmsthis as a prize vase. 257 (PI. 29) may belong to this group. Many of the Panathenaics from this period are glazed on the inside, apparentlybecause the clay at that time was not sufficientlymaturedbefore it was used and thereforewas too porous.19254, 257, and 261-263 are examples from the Agora. The largest numberof prize Panathenaicsfrom the Agora belong to the 4th centuryB.C., 271-318 (Pls. 30-32). Most of them are very small fragments, but together they illustrate the various important innovationsthat appear during this time. The first is another inscription,which is written verticallynext to the shaft of the column on the right, usually on the left side of it to complementthe prize inscription next to the opposite column. This inscription names the archon who held office
4 Cf., e.g., the Burgon amphora, London, B.M. B 130 (ABV 89, 1; Paralip. 33, 1); Kerameikos PA 443 (Frel, PPA, p. 7, fig. 4); New York, M.M.A. 1978.11.13 (Notable Acquisitions, 1975-1979, p. 14); and Karlsruhe 65.45 by Exekias (Paralip. 61, 8 bis). 15 Cf. the examples given in footnote 14 above. 16 Karlsruhe 65.45 (Paralip. 61, 8 bis). 17 Beazley, Development, p. 91; ABV 322, 1-12; Paralip. 142. For a brief discussion of these vases, cf. most recently,

Brandt (Acta Norvegiae 8, 1978, pp. 13-14 and 20) who suggests that they may have been part of the lot commissionedfor the games of 522 B.C.. To these, Stenico (loc. cit. [footnote 1 above, p. 12]) adds anotheronce in the Milan Market. 18 Eucharides Painter: ABV 395-396, 1-20; Paralip. 173. KleophradesPainter:ABV 404, 1-16; Paralip. 175-176. Berlin Painter: ABV 408, 1-11; Paralip. 177. Achilles Painter: ABV 409, 1-5; Paralip. 177. 19 Frel, PPA, p. 9.

16

SHAPE STUDIES

during the year in which the oil was collectedthat would in the next year be awardedto victors in the games. Thus, these vases may be dated to a given year.20Archons' names appear on Panathenaics late in the first quarter of the 4th century B.C.,21 and the earliest sure example is 271 (Pl. 30) which names Pythias, 380/379, as archon. Other sure names are Kallimedes, 360/359 (286: PI. 31); Themistokles, 347/6 (289); and Demokleides, 316/5 (296: PI. 32). 273 (PI. 30) probablynames Phrasykleides,371/0, as archon,278 (PI. 31) either Charikleides,363/2, or Theophrastos, 340/9, and 290 (Pl. 31) gives either Aristodemos,352/1, or Pythodeles,336/5, probably the latter. 297 and 298 preserveonly part of the word, archon.During the secondquarterof the 4th century, the names of two potters of the same family, Bakchiosand Kittos, appear three times on Panathenaic amphorae. 274 (PI. 31) probably bore the potting signature, too, for it gives some of the prize inscriptionon the right side of the left column and on the left side of the same column, a X, which very likely is the last letter of Bakchiosor Kittos. An inscriptionon each side of one column seems paralleled only on the fragment in Istanbul signed by Bakchios,22and this may be an argumentin favor of restoringthe name on 274 as Bakchios. In the second quarter of the 4th century B.C., four new features appear, which accompanythe names of the archons. From now on, there are no rays above the foot, and the cocksthat surmount the columnsare replacedby small-scalefigures, which sometimesreproducesingle statues or statue groups.23Among the Agora fragments, 287 (Pl. 31) and 288 preserve small parts of Eirene and Ploutos, which reproducethe famous group by Kephisodotos.Another,302 (P1.32), gives part of a seatedAphroditewith Eros standingbeside her. Two others, 280 and 298, preservethe lower parts of figures, but the type may not be identified for certain. These small figures atop the columns of the archonwho held officethe change from year to year and thus may be understoodas "symbols" small that the same time figures replace the cocks, the artists year the vase was made.24About the begin to write the inscriptions columnlike, kionedon,that is with the letters horizontal instead of lengthwise. Up until this time, all inscriptionsare written from left to right. The earliest preserved kionedoninscriptionson Panathenaicsseem to be those that date from 367/6, the year that Polyzelos was archon. These vases belong to the Kittos Group.25The earliest kionedoninscriptionon an Agora Panathenaicoccursvery soon after this, on 286 (PI. 31), which preservessome of the name of Kallimedeswho was archon in 360/359. From this time on, all Panathenaicinscriptionsare written kionedon,and all those from the Agora that may be dated after 360 B.C. conformto this new convention. About 360 B.C., the figure of Athena is reversed,and from now on she stridesto right insteadof to left.26No one knows the reason for this change, but one of its results is that on many vases one no longer sees the device on her shield,27which in the case of certain earlier artists is an identifying The earliest examples of the change in directionseem to be from the year that Kallimedes symbol.28
Beazley, Development, pp. 96-97, with bibliography, The earliest example is Berlin 3980, which preservesthe letters ]E EPXEN (A. Smets, L'antiquite classique 5, 1936, p. 97, no. 98; Frel, RA, 1972, pp. 285-286 where Siisserot'sattributionto the archonshipof Philokles [392/1] is discussedand rejected). 22 Istanbul L. 3149 (ABV413, 2). 23 Beazley, Development, p. 97; Frel, PPA, pp. 19-21 and 23. 24 Beazley, Development,p. 97; Frel, PPA, p. 21. 25 London, B.M. B 604 (ABV 413), the namepiece,does not have a prize inscription and may have been a competition
21 20

sample (Beazley, Development, p. 97). For the Kittos Group, cf. ABV 413-414, 1-5; Paralip. 177. 26The Panathenaicsfrom Eretria that name Kallimedesas archon (360/359 B.c.) are the earliest preserved examples (P. Themelis, AAA 2, 1969, pp. 409-416 and Ir7jX, pp. 265271). 27 On some of the 4th-century B.c. Panathenaicsthat show Athena to right, her shield appears in profile so that part of the device may be seen. Cf., e.g., two from Eretria (footnote 26 above). 28 This is especially so with the Kleophrades Painter, who uses the deviceof a Pegasos, and with the Berlin Painter and his

PANATHENAIC AMPHORAE

17

was archon, 360/359.29 Oddly enough, the one fragmentfrom the Agora that preservespart of his name shows Athena to left, not to right, 286 (PI. 31). The earliest inscribedexample fromthe Agora that depicts Athena to right is 290 (PI. 31), which may date from either 352/1 or 336/5 depending upon how the archon's name is restored. If the later date is correct, as suggested in the Catalogue, then 276, which ought to date about 350 B.C.,is the earliest Agora example. From the middle of the 4th century B.C.,Athena wears a long shawl over her shouldersthat hangs down ending in a kind of swallowtail, and her skirt has very many narrow folds. No doubt, this style of dress is intendedto representan old-fashionedarchaistictype of Athena. No well-preservedexample of this type of dress occurson the Agora fragments,but 293 (PI. 32) gives a good idea of how close together the folds of the skirt are, and 295 is a good example of the shawl ending in a swallowtail. One last innovationremains to be discussed.In 403 B.C., the Ionian alphabetwas officiallyadopted in Athens.30Three Panathenaic amphorae inscribed in this alphabet must date from just this time, for the shield device of Athena on all three representsthe bronze statues of the Tyrant Slayers The use of the by Kritios and Nesiotes and very likely symbolizes the restorationof democracy.31 Ionian alphabet on Panathenaicsdoes not becomestandarduntil 336 B.C.,32but it is used frequently during the first half of the century for both the prize inscription,e.g. 265 and 274 (PI. 31), and the name of the archon, e.g. 278 and 286 (PI. 31).
NON-PRIZE VASE 319 P1. 32

Only one certain example of a non-prize vase may be included in this section, a well-preserved amphora that gives all of both panels. Like many non-prize vases, it is rather small (only 0.277 m. in height), but its scheme of decorationconformsto that of the prize vase.33On the obverse,Athena strides to left between two columns surmountedby cocks;on the reverse, the event for which the vase would be awardedis depicted.Aboveeach panel is a tongue patternwith the customaryarea of black glaze on the reverse that separas the pattern from the panel. On the neck is the lotus-palmette chain; above the foot are rays. 319 is perhaps a little unusual, for its neck and foot are much larger in proportionto the body when comparedwith other Panathenaicamphorae,whether prize or non-prize vases.
UNCERTAINIF PRIZEOR NON-PRIZEVASES 320-337 Pls. 33, 34

Most of these fragmentsbelong to the last years of the 6th centuryB.C. and to the first years of the thus to the when both and Panathenaics are 5th, period prize non-prize produced.Therefore, in spite of the very high quality of some of these fragments, without part of the inscription it is impossible to determine if any is a prize vase. Two, 320 and 321 (P1. 33), may be dated around the middle of the th century B.Of the. se, 320 is worth mentioningfor it shows part of the very early of Athena that has both feet flat on the ground,and it may be one of those Panathenaicamphotype rae that does not show the goddess between columns. Among e later fragments,one (325: P1.33) ths may be a new attributionto the Group of Copenhagen99.
pupil, the Achilles Painter, who show the gorgoneion.Cf. Beazley, Development,pp. 94-95. 29 Cf. the two from Eretria (footnote 26 above, p. 16). 30 In the archonship of Eukleides. Cf. Price and Jeffery, OCD, p. 47. 31 London, B.M. B 605 (ABV 411, 4); Hildesheim 1254 (ABV 412, 1); Hildesheim 1253 (ABV 412, 2). Beazley, Development, p. 96. 32 Frel, PPA, p. 15. 33Their use was probablyan unofficialone. For general remarks about the small size of non-prize Panathenaicsand exceptionsthat are large, cf. Brandt,ActaNorvegiae 8, 1978, p. 3, note 1 and pp. 11-12; also, T. B. L. Webster,Potterand Patron in Classical Athens, London 1972, pp. 64 and 159-160, who suggests that these may have held the wine at the victor'ssubsequent celebration. In this discussion (p. 64) he also includes London, B.M. B 144 by the Swing Painter (footnotes4 and 13 above, pp. 13, 14).

18

SHAPE STUDIES

AMPHORAE, TYPE UNCERTAIN 339-366 Figs. 7-10 Pls. 34-36

A numberof amphorafragmentsdo not preserveenough of the curveof the wall or other characteristic featuresthat would identify the exact shape. Most of these may be dated in the late 7th century or early 6th. Among them, one (341: PI. 34) may have been very like the namepieceof the Piraeus Painter.1Some (343 and 344, 351 and 352, and 354 and 355: PI. 35) are from amphoraewith the figured decorationset in friezes. 358, with part of an inscriptionon the top side of the mouth, may come from a Panathenaicamphora, and 363 (P1.36) is perhaps a neck-amphora.

AMPHORA LIDS 367-372 P1.36

None of these six lids may be connectedwith any of the one-piece amphoraeor neck-amphoraein the Agora, and it is difficultto be certain which kind of amphoraeach covered.1 Thus, they appear in this small separatesection.367-369 (P1.36) have figureddecorationand seem to have been without ornamentalpatterns, which is unusual. 370 has rays at the base of the knob and ivy round its brim, a combinationof patterns that is frequent on the lids of amphorae(cf. comparisonswith 370 in the Catalogue).

LOUTROPHOROI 373-389 Pls. 36-38

Both varietiesof loutrophoros,the hydria and the neck-amphora,are known as early as the late 8th century B.C., as attested by the work of the Analatos Painter.1Examples from the 7th century are few.2 The shape has a long history, but it was never exportedto Etruria. Most of the black-figured loutrophoroicome from Attic cemeteriesor from sacredplaces such as the Shrine of Nymphe on the South Slope of the Akropolis,which produceda significantquantity.3 In general, the loutrophorosis recognizedby its ovoid body and tall flaring neck. Early blackfiguredexamples have a flaring mouth and an echinus or flaring foot. Later ones may have a similar but more flaring mouth in one or two degrees,and the foot may also be flaring or in two degrees, often a vertical member above a torus. The two varieties are distinguished by the handles. The
R. Ginouves, Balaneutike: recherchessur le bain dans l'antiquitegrecque, Paris 1962, pp. 254-264. 2 Karydi,op. cit., p. 90. 3 T "Epyov, 1957, p. 11, fig. 9 (whence BCH 82, 1958, p. 664, fig. 11; J. Travlos, Pictorial Dictionary of Ancient Athens, London 1971, p. 363, fig. 466). This material is being prepared for publication by Charikleia KanellopoulouPapadopoulou.

'Athens, N.M. 353 (ABV2; Paralip. 1). 'For lids of amphorae, cf. Agora XII, p. 48, with bibliography. 'For early loutrophoroi,cf. E. Karydi, AthMitt 78, 1963, pp. 90-103 with bibliography and emphasis on examples from the Kerameikos. For the significance of the shape, cf.

LOUTROPHOROI

19

hydria type shares with the hydria the disposition of the handles:the tall, vertical strap handle in back reaches from the shoulder to the top of the neck, and two small, horizontalupright handles on the shouldercurve upward at each side. The neck-amphoratype has two strap handles, one on each side of the neck; they are often strengthenedby partly filling the space between them and the neck with a slab of clay decoratedwith an ornamental pattern. The handles themselves are frequently decoratedwith ornament. The hydria type is more commonin the first half of the 6th centuryB.C., the neck-amphorain the second half. In the Agora, both types are to be found, but only 373-376 (Pls. 36, 37) may be identifiedas hydriai and 377 (PI. 36) as a neck-amphora,for each preservesall or part of the handles. The rest are too fragmentaryto be certain of the type or even to give a good idea of the original appearance.Yet, if the later 6th-centurydate for most of these fragmentsmay be used as an indicatorof shape, then 378-389 (Pls. 37, 38) are probablyof the neck-amphoratype. In Attic black figure, the earliest attributedloutrophoroiare the unpublishedones by the Nettos Painter and the Gorgon Painter found in the Sanctuary of Nymphe. Slightly later are the very fragmentary hydria by the Ceramicus Painter and the well-preserved neck-amphoraby the KX with these.5The Painter.4Two unattributedhydriai from the Shrine of Nymphe are contemporary same system of decorationis used for both types of loutrophoroi.On the body, there are friezes of animals and above the foot, a zone of rays; on the neck appear a processionof mournersand below them a frieze of animals or a band of ornament.6The earliest black-figuredloutrophoroifrom the Agora, 373-376 (Pls. 36, 37) are of the hydria type and are later than these (ca. 560-540 B.c.). Here, the friezes of animals on the body are given up in favor of a single zone with human figures. Also new is the tongue pattern on the shoulderat the junction with the neck, which is to be found on nearly all contemporaryand later examples.7The neck of 373 (P1. 36) is decoratedin the standard manner;the necks of 374 and 375 (Pls. 36, 37) have just a single row of mourners.From now on, human figures appear on the body as well as on the neck. From about 540 B.C.on, black-figuredloutrophoroiare taller and more slenderthan those of the earlier decades of the 6th century.8Frequently, a prothesis scene appears on the body, sometimes with a frieze of horsemenor animals below, sometimeswith a single band of ornament.When other themes appear, such as a wedded pair in a chariot, one cannot be certain whether such a scene is mythologicalor reflects daily life.9 On the necks, there are usually mourners,often with a frieze of White ornamenton black glaze becomes animals or ornament at the junction with the shoulder.10 the customary manner of decoratingthe mouths and handles of later loutrophoroi,although it is
wish to thank Charikleia Kanellopoulou-Papadopoulou for allowing us to mention these earliest examples. Ceramicus Painter: New Jersey, private (Paralip. 12); KX Painter: Kerameikos,inv. no. 2865 (Paralip. 15). 5 To "Epyov,1957, p. 11, fig. 9: first row, secondfrom right and third row, center (whence BCH 82, 1958, p. 664, fig. 11; Travlos, op. cit. [footnote3 above, p. 18], p. 363, fig. 466). 6 Cf. Kerameikos,inv. no. 2865 by the KX Painter (Paralip. 15) and those in footnote 5 above. 7 Exception:Athens, once private (Karydi, op. cit. [footnote 1 above, p. 18], Beil. 52:3 and 53). 8 Compare, e.g., 373 (PI. 36) and 375 (P1. 37) or Eleusis 765 (ABV 88; Paralip. 33) and Athens, Benaki 7676 (Karydi, op. cit. [footnote 1 above, p. 18], Beil. 50, 51). 9 With exception of the loutrophoroi from the Shrine of Nymphe, mythological themes do not normally appear on black-figured loutrophoroi. We wish to thank Charikleia Kanellopoulou-Papadopouloufor showing us the photographs
4 We

of her material from this Sanctuary.For a mythologicaltheme, cf. also the fragment by the Painter of London B 76, also from Athens, which shows the Departure of Amphiaraos (Paralip. 32, 6 bis). 10For well-preserved examples, cf. four unattributed late 6th-century B.C. ones: Athens, Benaki 7676 (Karydi, op. cit. [footnote1 above, p. 18], Beil. 50, 51); Cleveland27.145 (CVA, Cleveland 1 [USA 15], pls. 15, 16 [695, 696]); Berlin 1888 (Ath Mitt 53, 1928, Beil. 13); and New York, M.M.A. 27.228 (Noble, Techniques,fig. 169). For the weddedpair in a chariot, cf. Athens, once private (Karydi, op. cit., Beil. 52:3 and 53). Noteworthy exceptions to the prothesis scene on the body are two from the Kerameikosdating 540-530 B.c.: inv. no. 1682 by a painter of Group E, which shows two rows of men and youths with tripods (ABV 137, 66; Paralip. 55, 66); inv. no. 1680, near Group E, which has wrestlers in the main zone on one side, mourners on the other (ABV 139, 15; Karydi, op. cit., Beil. 44-46).

20

SHAPE STUDIES

used sparingly as early as the third quarter of the 6th century B.C.375 (PI. 37) is the earliest example from the Agora.1IMost commonof these white patternsis the wavy line, as on 377 (PI. 36), or 383 and 385 (PI. 37), which are very likely the painted counterpartsof the plastic snakes on late Geometric and Protoattic loutrophoroi.'2Other patterns include the key (375: PI. 37) and the zigzag, the latter unknown on Agora black-figuredloutrophoroi.The effect of the amount of white is colorful and lively. PELIKAI 390-397 P1.38

The pelike is a shape invented by the Pioneers, and, therefore,all the known black-figuredexamples are later than the introductionof red figure. The shape derivesfromthe amphoraType C, and it is characterizedby a rather sagging body with its maximum diameter close to the foot, a torus mouth, segmental handles, and an echinus or spreading foot. In Attic black figure, the figured decorationis set in panels, framed by a variety of patterns that are combinedrather freely, for in this shape there is no standardizationof ornamentas there is with many other Attic black-figured shapes.2Only a few Attic black-figuredpelikai have been found in the Agora, and all of them may 391 (PI. 38) is the best preservedand is unique for be dated in the late 6th or early 5th centuriesB.C. black of solid foot instead the above glaze.3 having rays

PSYKTER 398 Fig. 11 P1.39

The psykter, or wine-cooler, like the pelike, is a shape invented in the late 6th century. It first appears about 530-520 B.C.and, although never very popular, continues until shortly before the middle of the 5th centuryB.C. The earliest known black-figuredexample seems to be the one in the Menil Collection signed on the top side of the mouth by Nikosthenes and attributedby Bothmerto the Antimenes Painter,2who, togetherwith painters in his circle, has left us other examples of the
shape.3 When filled with wine, the psykter was placed in a krater containing iced water or snow,

I1 For other early examples from the third quarter, cf. those from the Kerameikos cited in footnote 10 above, p. 19; also Oxford 1930.619 (CVA, Oxford 3 [GB 14], pl. 25 [640]:9). 12Karydi, op. cit. [footnote 1 above, p. 18], p. 91.

For the shape, cf. Agora XII, pp. 49-51, with bibliography; more recently, R.-M. Becker, Formen attischer Peliken von der Pioneer-Gruppebis zum Beginn der Friihklassik,Ttibingen 1977. 2 For the variety of ornamental patterns and their various combinations,cf. Bothmer,JHS 71, 1951, pp. 42-44. 3 Bothmer,op. cit., p. 44. On psykters, cf. Agora XII, p. 52, esp. note 1, with

bibliography; most recently, the monograph by S. Drougou, Der attische Psykter, Wurzburg 1975. For the psykteramphora, a rare double-walled vessel, cf. H. Hoffmann in CVA, Boston 1 [USA 14], p. 25. 2 Hoffmann, Ten Centuries, fig. 175. For the attribution, cf. M. B. Moore, Etudes delphiques [BCH, Suppl. IV], Paris 1977, p. 314, note 38. 3 Antimenes Painter: Louvre C 12296 (ABV 275, 136); manner: Leipzig T 367 (ABV 280, 57; CVA, Leipzig 2 [DDR 2], pl. 27 [88]); Louvre F 319 (ABV 280, 58); Louvre F 320 (ABV 280, 59); related:Louvre F 321 (ABV282, 22; Drougou, op. cit. [footnote 1 above], pl. 14:1); Group of Wurzburg 199: Villa Giulia 50674 (ABV 289, 28).

PSYKTER

21

which chilled the wine,4 and it may be no accidentthat both the psykter and the calyx-kraterfirst appear at about the same time, for the flaring shape of the krater accommodatesthe psykter very well.5 This is not to suggest, however, that the calyx-kraterwas invented for the psykter, for there can be no doubt that the krater was used independently,although occasionallyboth a calyx-krater and a psykter may have been made and sold as a set. The shape of the psykter is well suited to its use. It has a broad,bulging body that curvesinward sharply to the tall, thick stem supported by a torus foot or sometimes by one in two degrees, a vertical member above a torus. The cylindrical stem serves as a keel, allowing the psykter to float upright in the krater.6The mouth is usually flat on top,7similar to that of the amphoraType A or B or the standardneck-amphora.Two varieties of psykter are known. The first has two small loops on the shoulder through which a string or thong may be passed so that the vessel may be carried.8 This type also has a lid that slips over the mouth. The secondtype of psykterhas neither loops nor a lid. 398 (P1. 39) belongs to this variety. The scheme of decorationis a simple one. There is a tongue pattern on the shoulderat the junction with the neck, which is sometimesaugmentedby a secondpattern between it and the figures.9 The neck and mouth are usually black.10 On psykterswithout loops, the figurescontinueroundthe body without interruption;on those with loops, it is dividedinto obverseand reverse.Occasionally, the figures are set in panels, but this arrangementis rare.11Normally, the area below the figures
See particularly Bothmer,Bull. Metr. Mus. 19, 1960-61, pp. 141-142; A. Greifenhagen, Jahr. Berl. Museen 3, 1961, p. 126; most recently, J. Boardman, ABFV, p. 188. Drougou (op. cit. [footnote 1 above, p. 20], pp. 31-35) argues, however, that the psykter held the snow or iced water, for its closed shape would preserve the coolant longer than the open shape of the krater would. This conclusion, refuted by Bothmer (AA [JdI 91], 1976, p. 487), ignores the fact that a containerof liquid is cooled more quickly if it is surroundedby cold water than if the reverse method is used. Furthermore, some of the representations of psykters in vase painting lend support to our opinion that the psykter held the wine and the kratercontainedthe iced water or snow. For a list of 19 illustrations, cf. Drougou, op. cit., pp. 38-39. In 13 of these scenes (Drougou, nos. 1, 2, 5, 7, 8, 10, 11, 13, 15-19), there is a ladle, which makes sense only if used with the psykter. In three scenes, the ladle is in the psykter: Heidelberg 279 (CVA, Heidelberg 1 [Germany 10], pl. 42 [476]:7); Bonn, inv. no. 574 by the Painter of the Vogell Pelike (ABV 339, 1; Paralip. 152, 1); Vienna 137 (CVA, Vienna 1 [Austria 1], pl. 1 [1]:2). In five scenes, the ladle and the psykter appear without the krater: Vienna 137: psykter on ground, youth about to ladle wine; Berlin, inv. no. 3251 by the Thalia Painter: psykter being carried; ladles suspended from stands (AR V2 113, 7; Paralip. 332, 3); Berlin 1960.32 by the Cerberus Painter: woman stands before psykter, holds up ladle (ARV2 1630); Florence 8 B 17 by Myson: ladle held just above psykter (AR V2 238, 8); Greifswald 316 in the manner of the Antiphon Painter: ladle held just above psykter (ARV2 342, 2). Those who wish to believe that the psykter held the coolant would argue that in scenes, such as those on Heidelberg 279 or Bonn, inv. no. 574, where the psykter with its ladle stands in the krater, cold water is being ladled from the psykter into the drinking vessel to be mixed with the wine it already contains. But this view is extremely difficultto support when the psykter and the ladle appear in a symposionor revel without the krater,
4

for in these illustrations, only the psykter can be the source of the wine. 5 Two good illustrations:Athens, N.M. 1045 by Kleisophos (ABV 186;Jahr. Berl. Museen 3, 1961, p. 123, fig. 8) and Bonn, inv. no. 574 by the Painter of the Vogell Pelike (ABV 339, 1; Paralip. 152, 1). 6 Cf. Bothmer,AA (Jd 91), 1976, p. 487. 7E.g. the Menil psykter (Hoffmann, Ten Centuries, fig. 175). 8 A good example: Brussels A 1652 in the manner of the Acheloos Painter (ABV 387, 19; Drougou, op. cit. [footnote 1 above,p. 20], pl. 13:1). This type is more commonin plain black than it is in figured. Drougou (pp. 18-25) lists 24 examples in black, 6 in black figure, and 9 in red figure. The bronze psykter in New York illustrates the purpose of the loops, for it has two swinging handles which pass through them (M.M.A. 60.11.3: Bull. Metr. Mus. 19, 1960-61, pp. 138-139, figs. 7, 8). 9Cf. the Menil psykter by the Antimenes Painter, which has a ribbon pattern (Hoffmann, Ten Centuries,fig. 175), and Heidelberg 215, an unusual key pattern (CVA, Heidelberg 1 [Germany 10], pi. 32 [466]:8). Leipzig T 367 in the manner of the Antimenes Painter has a narrow black band (ABV 280, 57; CVA, Leipzig 2 [DDR 2], pl. 27 [88]). 10Exceptions:the Menil psykterwhich has a frieze of horsemen on the neck and ivy with dots on the side of the mouth (Hoffmann, Ten Centuries, fig. 175); Brussels A 1652 which has a ribbon pattern on the neck (ABV 387, 19; Drougou, op. cit. [footnote 1 above, p. 20], pl. 13:1); Bloomington, Indiana University Art Museum 75.102.1 which has ivy on the side of the mouth (Moon, Midwestern Collections, pp. 112-113, no. 64). ' Examples: Brussels A 1652 (ABV 387, 19; Drougou, op. cit. [footnote1 above,p. 20], pl. 13:1);Jena (JdI 80, 1965, p. 83, fig. 7).

22

SHAPE STUDIES

and the entire stem are glazed, although on some psyktersthere may be a narrow reservedbandor a zone of ornament.'2 The foot is usually glazed but occasionally may be reserved.13 398 (PI. 39) seems to be unique for having its stem unglazed except for a black band above the foot. SKYPHOS-KRATERS 399-413 Fig. 12 Pls. 39-41

The skyphos-kraterhas a very long history in Attic pottery, reaching back to the Late Geometric period, but it is not a very common shape.' All the examples with known provenancescome from and the largest Athens and its environs.In Attic black figure,there are less than 40 skyphos-kraters, number of attributed examples are by the Nettos Painter or close to him. The skyphos-krater disappearsby the end of the first quarter of the 6th century,the four examples by the Group of the Dresden Lekanis being the latest.2 As the name implies, the skyphos-krateris a very large, deep bowl. It has two horizontal strap handles with returns, and its rim is flanged or incurvingto receive a domed lid. The bowl may be supportedby an echinus foot,3or joined to a conical stand. The inside may be unglazed or banded. The Agora skyphos-kratersare very fragmentaryand do not illustrate the shape very well. The majorityof fragments, 404-413, are from lids, but none may be joined with the bowl it once covered. 399, 401, and 403 (Pls. 39, 40) are rim fragments;400 and 402 (PI. 39) preservepart of the bottom of the bowl and the top of the stand. It is possible that some of the fragmentsof very early but without part of conical stands from the Agora (e.g. 526-530: PI. 51) belong to skyphos-kraters, the bowl preserved,there remains a measure of uncertainty,and they are best kept apart. On both the bowl and the stand, the figures appear on the obverseonly, in keepingwith the use of the skyphos-krateras a grave marker.The reverseof the bowl is decoratedwith large ornamental patterns or loopwork,4and in this respect the scheme of decorationrecalls that of large grave amphorae.5On the three well-preserved skyphos-kratersby the Nettos Painter, which illustrate the shape best, there is a palm tree on the backof each stand.6On the bowl of the 7th-centuryexamples, the figures are large and extend over the entire surface.The formatis not yet dividedinto friezes as as well as on many other large vases of the early 6th cenit will be on the later skyphos-kraters,7 the bowl, there is sometimesa band of ornament and below that a tury B.C. Below the figures on zone of rays. Often at the sides, next to the handle return, there is a vertical framing pattern, and beneath the handle itself, a figure such as a bird or an ornamentalpattern.On the preservedstands, the which are all early, the figures are large, but presumablyon the standsof later skyphos-kraters
12 Narrow reservedband:Louvre C 12296 by the Antimenes Painter (ABV275, 136); Villa Giulia 73655 (M. Moretti, Villa Giulia. Nuove scopertee acquisizioni nell'Etruriameridionale, pl. 16:5); London, B.M. B 299 (Jdl 80, 1965, p. 88, fig. 14). Ornament: Brussels A 1652: upright lotus buds below figures; invertedrays on stem (ABV 387, 19; Drougou, op. cit. [footnote 1 above, p. 20], pl. 13:1). 13E.g., Louvre F 321 in the mannerof the Antimenes Painter (ABV 282, 22; Drougou, op. cit. [footnote 1 above, p. 20], pl. 14:1); Munich SL 461 (Drougou, op. cit., pl. 27:1); Vienna IV 3069 (Jdl 80, 1965, p. 91, fig. 18). On Brussels A 1652, which has a foot in two degrees,the verticalmemberis reserved (ABV387, 19; Drougou, op. cit., pi. 13:1).

For the shape, cf. KerameikosVI, ii, pp. 150, 156-158. 2ABV 22, 3-6.

3 For example, Athens, N.M. 16399 by a follower of the Nettos Painter (ABV 7, -). 4 Three by the Nettos Painter:Athens, N.M. 16382 (ABV 3, 4; 3; 4; Paralip. 3, 10);Athens, N.M. 16383 (ABV7, y; Paralip. 3, 12); Athens, N.M. 16384 (ABV 6; Paralip. 3, 13); also Kerameikos,inv. no. 801 by the Painterof Berlin A 34 (ABV 1, 2; KerameikosVI, ii, no. 115, pl. 88); Kerameikos,inv. no. 153 (KerameikosVI, ii, no. 62, pl. 61); Kerameikos,inv. no. 129 VI, ii, no. 96, pl. 79); Athens, N.M. 16400: spirals. (Kerameikos 5 Footnote 19 above, 7. p. 6 Footnote4 above. 7 Examples: Athens, N.M. 907 by the Ceramicus Painter (ABV 19, 4); Akropolis496 from the Group of the Dresden Lekanis (ABV 22, 3); probablytwo others in this group, but little remains: Akropolis 497 (ABV 22, 4); Akropolis 498 (ABV 22, 5).

COLUMN-KRATERS

23

figures appeared in friezes just as they do on the bowls. At the top of the stand, just below the junction, there may be three or four lines (400: P1.39) or a black band (402: P1.39), andjust above the torus molding at the bottom,there is usually a zone of rays. Contraryto the system of decoration which may be either ornament on the bowl and stand, the decorationon the lids of skyphos-kraters, or figures, continues aroundwithout interruption.On the 7th-centurylids, the figuresare large and cover the entire surface except for a zone of ornament at the rim and around the knob, 404-411 (Pls. 40, 41);8on those of the 6th century,beginning with the Gorgon Painter,9the decorationis set in friezes, 412, 413 (P1.41).

COLUMN-KRATERS 414-490 Pls. 41-46

The column-krateris the most commontype of krater in Attic black figure,1and the Agora examples range in date from the early th to the early 5th centuriesB.C. Although the column-krateris mainly a shape of the Archaic and Classical periods, it may have been known to Late Geometric artists, for a handle-plate from that period was found in the Agora.2Some have contestedthat this fragmentprovides firm evidence for the existence of the column-kraterin so early a period, mainly becauseonly the handle-plate remains, no telling fragmentsof rim, neck, and body,but also because nearly a century elapses before the next example is known.3 Still, since Late Geometric and Protoatticpotters produce many innovativechanges in shape, ornament,and subjectmatter, there seems to be no good reason to rejectthe Agora handle-plateas evidencefor the column-kraterbefore the beginning of Attic black figure. The earliest undisputed Attic black-figuredcolumn-krateris Athens, N.M. 16388 from Vari.4 Bakir connected it with the workshop of the Nettos Painter,5and thus it should date in the last quarter of the 7th century B.C.,perhaps a little earlier than 414 (PI. 41), the earliest black-figured example from the Agora. The Vari krater has a short, broad, spherical body and no handle-plate, the handle columns being attached directly to the rim. Its shape is paralleled best in Corinthian,6 but its ornament, subject,and style of drawing are pure Attic. Attic black-figured column-kratersof the first quarter of the 6th century B.C. are influencedby Corinthian examples. Those by painters of the Komast Group are direct imitations of the Corinthian shape, and these painters are also strongly influenced by Corinth in their choice of subjects and in their style of drawing. The shape now is taller, and the columnssupportingthe rectangular plate are almost vertical.The Agora examples of this period are particularlyfragmentary,and thus they do not shed much light on the appearanceof the shape as a whole at this time, but they are importantfor the schemeof decorationand for the subjects.The figureddecorationmay still appear in panels with solid black glaze below the figures, 417 (P1.41) being the one certain example from
examples: the three by the Nettos Painter (footnote 4 above, p. 22); Athens, N.M. 16399 by a follower (ABV7, -). 9 Cf. Agora A-P 1734 by the Gorgon Painter (ABV 8, 6). 1 For the shape, cf. Agora XII, p. 54, with bibliography; also, T. Bakir, Der Kolonnettenkraterin Korinth und Attika zwischen 625 und 550 v. Chr., Wurzburg 1974; P. Zaphiropoulou, BCH 94, 1970, pp. 380-398; and M. Tiverios, IpoSr arT77rKj KEpa,uiLK?, Thessaloniki i,Xqi'JAara 7rjs UeXAavopLopp

8 Good

is NC, pp. 300-301. 2 P 7006 (AgoraVIII, p. 85, no. 487, pl. 29). 3 Cf., particularly, Bakir, op. cit. (footnote 1 above), p. 60. 4 Tiverios, op. cit. (footnote 1 above), pl. 44. The figured decorationis set in panels: A, two eagles devouringa snake; B, sirens. On the top side of the rim, rosettes. 5 Op. cit. (footnote 1 above), p. 60.
6 Cf. ibid. 7 Cf., particularly,ibid., pp. 61-63.

1981, passim. For Corinthianexamples, the best discussionstill

24

SHAPE STUDIES

the Agora.8But more often, Attic black-figurepainters prefer the new schemeof decorationadopted by Corinthianartists shortly after 600 B.C. Here, the figureddecorationof the main zone extends to the columnsof the handles without framingornament;beneaththe handlesthere is often a figure, usually a bird or a monster,sometimesan ornament.Most important,however, is the additionof a subsidiaryfrieze of animals below the main zone. 421 (PI. 42) preservespart of this zone, and 416 may give just the start of it, for the area below the groundline is unglazed. 420 (PI. 42), to judge by its scale, very likely had a frieze below the symposionscene. The decorationon the top side of the rim is normally ornamental,most often rays or rosettes,9and the vertical overhangis plain black. 422 with its frieze of horsemenon top and incised rosetteson the overhangis most unusual for the period.10On the handle-plate, there may be an animal, such as the feline on 418 (PI. 41), or a floral.11The tongue pattern appears on the shoulderat the junction with the neck, except on those kratersthat are decoratedaccordingto the principleused by Corinthianpaintersduring the late 7th and early 6th centuriesB.C., which allows the figuresof the main zone to extend to the junction with the neck.12426 is the best example from the Agora.13The tongue pattern on 417 (PI. 41) is an exception among column-kratersby the Komast Group.14 Most of the Attic black-figuredcolumn-kratersdatedin the middledecadesof the 6th centuryB.C. come from the workshop of Lydos and his companion,the Painter of Louvre F 6. Comparedwith earlier column-kraters,the ones in this period are taller in proportionto their width, the necks are not so short and they flare slightly; the columns of the handles slant outward a little.15A new scheme of decoration appears in which the subsidiary frieze of animals is given up in favor of allowing the main zone to extend fartherdown the bodyof the vase. 436 (PI. 43), the best-preserved example from the Agora, illustrates well the effect of simplicity achievedby this new system. Beneath each handle is a figure, usually a bird as on 436. Rarely are the figures on each side set in a panel.16On the top side of the rim, rays are the normal decoration,as on 436, 437, and 447; the The lotus-palmettefestoonon the top side of 428 (PI. 42) and the lotus buds on overhangis black.17
8 Other examples: Athens, N.M. 12587 by Sophilos (ABV 40, 24; Bakir, Sophilos, pl. 18); two unattributedones: Louvre C 11250 (CVA, Louvre 12 [France 19], pl. 157 [830]:1, 2) and London, B.M. B 101 (Beazley and Payne, JHS 49, 1929, p. 255, fig. 3). 9 Rays: e.g., Athens, N.M. 12587 by Sophilos (ABV 40, 24; Bakir, Sophilos, pl. 18); Louvre E 623 by the Ptoon Painter (ABV 83, 1; Paralip. 31, 1). Rosettes:e.g., two by the KY Painter, Conservatori212 (ABV 31, 2; Paralip. 16, 2) and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4); Louvre 12251 by Sophilos (ABV 40, 23; Paralip. 18, 23; F. Villard in CVA, Louvre 12 [France 19], p. 124, not illustrated). 10 Louvre C 12251 by Sophilos is also unusual for it has a frieze of Z's on the overhang (ABV 40, 23; Paralip. 18, 23; F. Villard in CVA, Louvre 12 [France 19], p. 124). 11Animals or monsters:Conservatori212 (panther) by the KY Painter (ABV 31, 2; Paralip. 16, 2); three by Sophilos: Athens, N.M. 12587, a sphinx (ABV 40, 24; Baklr, Sophilos, pl. 20, fig. 38); Aigina 1175 a, a swan (ABV 41, 25; Bakir, op. cit. [footnote 1 above, p. 23], p. 21, A 7; Baklr, Sophilos,pl. 77, fig. 150: here [p. 42] the vase is considereda workshop piece), and Louvre CA 1750, a sphinx (Paralip. 19, 24 bis; Baklr, Sophilos, pl. 63, fig. 121); two by the Ptoon Painter, each with a swan: Louvre E 623 (ABV 83, 1; Paralip. 31, 1) and Athens, N.M. 1001 (ABV 83, 2). Floral:three by the KY Painter:London, B.M. 1928.1-17.39 (ABV31, 1); Athens (ABV31, 3); and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4: the number incorrectly given as C 12249). 12 Baklr, op. cit. (footnote 1 above, p. 23), pp. 57-58 and 61.

An exception among Early Corinthian column-kraters is Louvre E 635, which has a lotus-palmettefestoonon the shoulder at the junction with the neck (NC 780; Baklr, op. cit., p. 12, K 20; Arias, pls. 32 and IX). The tongue patternon the shoulder is normal in Corinthian from about 590 B.C. on.
13 For others, cf., e.g., two by the KY Painter, Conservatori 212 (ABV 31, 2; Paralip. 16, 2) and Louvre C 11249 (ABV 31, 4; Paralip. 16, 4); one connected with the Komast Group, Athens, N.M. 441 (ABV 36, 3); one by Sophilos, Louvre C 12251 (ABV 40, 23; Paralip. 18, 23; Bakir, Sophilos,pl. 82: here [p. 42] the vase is considereda workshoppiece);one by the Ptoon Painter, Louvre E 623 (ABV 83, 1; Paralip. 31, 1); and two unattributed, London, B.M. B 101 (Beazley and Payne, JHS 49, 1929, p. 255, fig. 3) and Louvre C 11250 (CVA, Louvre 12 [France 19], pl. 157 [830]:1, 2). 14Also unusual for the Komast Group is the checkerboard patternon the shoulderof the London/Oxfordfragments(AB V 33,4). 15Compare, e.g., 436 (PI. 43) with Conservatori212 by the KY Painter (ABV31, 2; Paralip. 16, 2). 16For example, Louvre C 11252 (ABV 119, 2: related to Lydos; Paralip. 50, the number wrongly given as 12252: the Painter of Vatican 309). 17 Some exceptions show the zigzags on the overhang, undoubtedlyinspiredby Corinth.Cf., e.g., Berlin, inv. no. 3763 by the Painter of London B 76 (ABV87, 17); three by Lydos:London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 8; Bothmer,Amasis Painter, p. 42, fig. 29:b:zigzags also on the top side of the rim); Harvard 1925.30.125 (ABV 108, 9;

VOLUTE-KRATERS

25

On the handle-plate there is usually the head of a man to 459 (PI. 44) are oddities for the period.18 left (439-441, 446-448: Pls. 43, 44) or a bird to right, preening (442 144: P1.43).19From now on, a row of tongues nearly always appears on the shoulder at the junction with the neck, 437 (P1.43) Abovethe foot and the reverseof 436 in the manner of Lydos being the exceptionsfrom the Agora.20 are rays. On column-kratersof this period, there is a distinct lessening of Corinthianinfluence. From about 540 B.C. on, the Attic black-figuredcolumn-kraterbecomestaller and more elegant than before, and the figured decorationis most often set in panels framedby ivy at the sides and by at the junction with the On the top side of the rim, there is usually a rneck. tongues on the shoulder chain of lotus buds, often with dots in the interstices,on the overhangthere is more ivy, and on each handle-plate appears a palmette with volutes. 474, a late 6th-century column-krater,is the bestpreservedexample of this system from the Agora;461 is an earlier one but more fragmentary.This is the normal scheme of decorationfor late Archaic black-figuredcolumn-kraters,but a number of exceptions are known. Occasionally,the figured decorationcontinuesround the vase. 462 (PI. 44), which shows an amphora painted in the area beneath the handle, is probablyone of these.21A few Attic black-figured column-kraters of the late 6th and early 5th centuries B.C. have a frieze of animals on the top side of the rim, instead of an ornamentalpattern,476 (PI. 46), 477, 478, and 490 being examples from the Agora. Most unusual is 479 (PI. 46) which has a frieze of animals on the overhang of the rim, a variation that does not seem to have a parallel. Other variations, such as ornament on the neck of the obverseor figured decorationon the handle-plate, are not to be found on the Agora examples, owing perhaps to their extremely fragmentarycondition. VOLUTE-KRATERS 491-500 Pls. 46 and 47

The volute-krater is a rather rare shape in Attic black figure, and most of the known examples, including all those from the Agora, date after 530 B.C. The body of the volute-krateris shaped like that of the column-krater,but its neck is taller and in two degrees,and the side of its rim is narrow and flaring with no overhang. The handles are composedof two elements, a loop on the shoulder and a flanged part that rises above the rim and terminatesin a volute after it is attachedto the rim. Early volute-kratershave an echinus foot, later ones a foot in two degrees,a verticalmemberabove a torus, like the foot of the amphora Type A and the calyx-krater.
Tiverios, pl. 19; and Athens (Paralip. 45); two unattributed examples in Salonica (P. Zaphiropoulou, BCH 94, 1970, p. 372, fig. 6 and p. 375, figs. 12, 13). 18 Other exceptions to the normal decorationon the top side of the rim appear in the work of Lydos: New York, M.M.A. 31.11.11, animals (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); Harvard 1925.30.125, lotus buds (ABV 108, 9; Tiverios, pl. 20:a). 19Three exceptions by Lydos: New York, M.M.A. 31.11.11, gorgoneion (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); Harvard 1925.30.125, siren on one, sphinx on the other (ABV 108, 9; Tiverios, pl. 20:a). 20 Around the middle of the 6th century B.C. a few other exceptions appear on column-kraters in the manner of Lydos, e.g., Louvre C 11253 (ABV 117, 29; Paralip. 47, 29) and Louvre E 677 (ABV 117, 28; Paralip. 47, 28) where the presence or absence of the tongue pattern helps to distinguish between obverseand reverse. Cf. also two others in his manner without a tongue pattern on either side: Louvre C 11257 (ABV 117, 30; Paralip. 47, 30) and Louvre C 11256 (ABV 117, 31; Paralip. 47, 31). 21 For the figures continuing round the vase, compare also one by the Rycroft Painter, Scarborough-on-Hudson, Vanderlip (Paralip. 149, 235), and an unattributed example, New York, M.M.A. 07.286.76 (Bothmer, Festschrift Brommer, pls. 17, 18). Two by a painter of the Leagros Group are an odd variation for the pictures continue past the side frames: Paris Market (ABV 376, 226) and Villa Giulia (ABV 376, 227). A fragmentfrom the Loeb Collectionwas probablyfrom a similar krater (J. Sieveking, Bronzen, Terrakotten,Vasender Sammlung Loeb, Munich 1930, pl. 45:1). For the shape, cf. S. Karouzou, BCH 79, 1955, pp. 192204; K. Hitzl, Die Entstehung und Entwicklung des Volutenkratersvon derfriihestenAnfangen bis zur Auspriigungdes kanonischen Stils in der attisch schwarzfigurigen Vasenmalerei, Frankfurt-am-Main 1982, also, Agora XII, p. 54.

26

SHAPE STUDIES

The earliest Attic black-figuredvolute-kraterseems to be the one by Sophilosin the Metropolitan Museum.2 Here, the flanges rise only slightly abovethe rim, and their ends are not tightly curledas they will be on the next volute-krater,the famous one signed by Kleitias and Ergotimos.3Between these two and the next, there is a time gap of more than 30 years.4All the later black-figuredvolutekraters,unlike the earlier ones, have black bodies that are decoratedwith only a tongue patternon the shoulder at the junction with the neck. This new scheme of decorationmay derive from bronze volute-kraters.5On Attic black-figuredexamples, an ornamentalpattern, most often ivy, appears on the handles. On the side of the rim, there is usually a key pattern;the top may be plain or decorated with ornament, although the latter is rarer. The Agora volute-kratersare extremely fragmentary, and only 491 (Pl. 46) gives a good idea of the appearanceof the shape. The rest are neck fragments,some with part of the rim, e.g. 495 (PI. 47) and 496. The arrangementof the decorationon the necks of Attic black-figuredvolute-kratersvaries. On some, the figured decorationappears on the upper zone, and the lower one is left black. 492 and 495-497 (PI. 47) may be examples, although without part of the lower zone, one may not be absolutely certain. Others have an ornamentalpattern on the upper zone and figures on the lower one. 491 is our one sure example. The third variation has figures on both zones of the neck on the obverse, resulting in a double-deckereffect. No example of this decorativearrangementmay be identified for certain among the Agora fragments. CALYX-KRATERS 501-509 Pis. 47 and 48

Calyx-kraters are more numerous in red figure than they are in black figure. 1 The earliest preservedexample is the well-known one attributedto Exekias, found in the North Slope excavations,2 which also producedanother early, although very fragmentary,one that has stylistic affinitieswith it.3 The calyx-kraterhas a flaring wall, an offset rim ending in a thick torus, a cul to which the upturned handles are attached,and a foot in two degrees (a verticalmemberabove a torus). Between the cul and the foot, there is a fillet. In several respectsthe shape of the calyx-kraterresemblesthat of the earlier chalice.4The earliest black-figuredcalyx-kratersare somewhatbroaderthan they are
M.M.A. 1977.11.2, attributed by Bothmer (Notable Acquisitions, 1975-1979, p. 14). Accordingto Bothmer,this is the earliest preservedvolute-kraterof "Chalcidian"shape (for the type, cf. A. Rumpf, ChalkidischeVasen, Berlin/Leipzig 1927, pp. 122-124 and NC, p. 330; also, Agora XII, p. 54, note 1). Karouzouhas suggestedthat the Nettos Painter may have decorated a volute-krater.Akropolis391 (ABV 5, 10;Paralip. 4, 16) preservespart of the neck and rim of a krater,and, accordingto Karouzou, what remains is intelligible only if there was once some kind of volute handle attachedto the rim (Karouzou, op. cit. [footnote 1 above, p. 25], pp. 195-196). 3 Florence 4209 (ABV 76, 1; Paralip. 29, 1; Cristofani, Vaso Francois, passim). Bothmer suggested orally that the fragment in Moscow (ABV 77, 2) comes from a volute-krater,and recently he joined it to a volute-krater fragment in the Cahn Collection, Basel HA 1418 (AK 24, 1981, pp. 66-67). 4 Fragments by the Painter of Acropolis 606, Akropolis 625, may belong to a volute-krater(ABV 81, 3). They preserve part of the neck with figureddecorationand a bit of the rim, but without more to go on, it is difficult to be absolutely certain of the shape.
2

5 Cf. Karouzou, op. cit. [footnote1 above, p. 25], pp. 194197. For the shape, cf. P. Jacobsthal, MMSt. 5, 1934-1936, esp. pp. 117-121, 133-134, 136. For other bibliography, cf. Agora XII, p. 54, note 1. 2 Agora A-P 1044 (ABV 145, 19; Paralip. 60, 19). Exekias may have signed this vase as potter,just as he signed others that are either new shapes, such as the Munich eye-cup (ABV 146, 21; Paralip. 60, 21), or that offer new and innovativetreatment of existing shapes, such as two of his neck-amphorae,Berlin 1720, which has a double signature (ABV 143, 1; Paralip. 59, 1), and London, B.M. B 210 (ABV 144, 7; Paralip. 60, 7). For signatures of Exekias in relation to the shapes that bear them, cf. K. Stahler,JOAI 49, 1968-1971, pp. 79-113. 3 Cf. C. Roebuck, Hesperia 9, 1940, pp. 153-158, no. 8. Eleven fragmentsfrom the same calyx-krateras Akropolis 615 a-p. All the known fragmentsare given on pp. 154-155. 4Jacobsthal, op. cit. (footnote 1 above), p. 117, with bibliography.

LEBETES GAMIKOI

27

tall. Later examples are just the opposite, and the trend toward a taller, more slendershape continues in red figure.5Examples of calyx-kratersin the Agora are very few and are so fragmentarythat their proportionsmay not be determined. The main figured decoration on calyx-kraters appears on the body. The figures are not set in panels as they are on so many column-kraters,but those on the obverseare separatedfrom those on the reverse by a vine, often laden with grapes, which is painted above each handle. The earlier kraters, including the one by Exekias, also have figures on the cul, usually extending to each handle,6 or, as on one in the manner of Exekias and on another related to the Antimenes Painter, framed by a palmette on each side.7 On late black-figuredexamples, the cul is solid black. The calyx-krater by Exekias has a lotus-palmette chain on the offset part of the rim below the torus. This is the pattern favoredby Exekias who uses it abovethe panels of his one-piece amphoraeand on the necks of his neck-amphorae.In the last quarter of the 6th century B.C., the lotus-palmette chain is a very common ornament on amphorae, but elsewhere on the rims of calyx-kraters it appears only on the one from Pharsalos attributedto the mannerof Exekias.8The rest, but for one exception,9have the ivy pattern, including one in the manner of Exekias.10The use of ivy on the offset part of the rims of calyx-kraters recalls its use on the overhang of rims of many columnkraters,1 and there may well be a link in the similar use of the same pattern. Usually the rows of ivy leaves are separatedby a wavy black line, although occasionallythe line is red, as on 504, on one by the Rycroft Painter in Toledo, or on an unattributedone in the Louvre.12The earliest blackfigured calyx-kratershave a zone of rays on the bottom of the cul just above the fillet. On the later ones, small narrow tongues take the place of rays,13whether the cul is decoratedor left black.

LEBETES GAMIKOI 510-518 Pls. 48 and 49

The lebes gamikos is a standed and lidded vase that is associatedwith marriage, probablyto hold the water for the bridal bath.' The body of the lebes gamikos is shaped somewhat like that of a
5 For comparative measurements of both Attic black-figured and Attic red-figured calyx-kraters, cf. ibid., p. 136; for additions, cf. E. Vermeule, AJA 70, 1966, p. 22. 6 E.g., Volos, now in the National Museum in Athens, in the manner of Exekias (ABV 148, 9); Vienna 3618 in the manner of the Antimenes Painter (ABV 280, 56). For a red-figured example, cf. Louvre G 163 by the Eucharides Painter (ARV2 227, 12; Paralip. 347, 12). 7 Manner of Exekias: Louvre C 11298 (Paralip. 62, 9 bis); related to the Antimenes Painter: Syracusen.n. (AB V 281,18). For a cul decoratedwith encircledpalmettes, cf. Louvre F 316, also related to the Antimenes Painter (ABV 281,19). An oddity on a calyx-krater by the Antimenes Painter himself is the key pattern below the figures on the body of Louvre C 11292 (ABV 275, 135; Paralip. 119, 135). 8 ABV 148, 9. 9 The fragmentarycalyx-kraterfrom the North Slope (footnote 3 above, p. 26) has a high rim in two degrees,recallingthat of a volute-kraterthough the two parts are not equal in height. The upper zone is narrowerthan the lower one and is decorated with a tongue pattern. On the lower part is a chariot race to right, with the top of the goal post on one fragment (d). This occurrence of figured decoration on the rim of a calyx-krater appears to be unique. Also unknown to us on other black-figured calyx-kratersis the tongue pattern on the bodyjust below the rim. The appearanceof the tongue pattern here recalls its similar use on the two chalicesby Lydos, 1446 (PI. 99) and 1447 (PI. 99), where its appearanceon this shape is also unparalleled. 10 Louvre C 11298 (Paralip. 62, 9 bis). It also occurs on some early red-figuredcalyx-kraters:Berlin 2180 by Euphronios (ARV2 13, 1; Paralip. 321, 1; AA [dI 91], 1976, pp. 500501, figs. 17-20); Leningrad, inv. no. 1843 by Phintias (ARV2 23, 5); Louvre CA 5950 (A, Amazonomachy;B, Dionysos between a maenad and a satyr); London Market (Cat. Sotheby, 1 July, 1969, no. 93); Kiel, Schauenburg. " P. 25 above. 12Toledo 63.26 (Paralip. 149, 23 bis; CVA, Toledo 1 [USA 17], pls. 17-19 [797-799]) and Louvre F 315 (CVA, Louvre 2 [France 2], pl. 7 [79]:1, 2). 13An exception is the rather small, unattributedexample in the Louvre, which retains rays in this area (CVA, Louvre 2 [France 2], pi. 7 [79]:1, 2). For the shape, cf. Richter and Milne, Shapesand Names, p. 11; also, J. Boardman, BSA 47, 1952, pp. 31-32 and BSA 53-54, 1958-1959, pp. 160-162.

28

SHAPE STUDIES

column-krater.It has two upright double handles on the shoulder, a short neck, and a groovedor rilled rim. The stand has a flaring or straightwall, a torus foot, and a sharplyoutturnedmolding at the top that separatesbowl from stand. The stand is usually piercedtwice near the top at a point in line with the handles above, as on 516 (PI. 49).2 Stand and bowl are not separate pieces but are joined. The lid may be flat, as that of 516, or it may be somewhat domed as on London, B.M. B 298.3 There are not very many Attic black-figured lebetes gamikoi, and most of those with known provenancescome from Attica.4Two of the Agora examples, 512 and 516 (Pls. 48, 49), give a good idea of the shape. The rest are fragments.The earliest certain Attic black-figuredlebes gamikos is the one by Sophilos found in the excavationsat Old Smyrna.5The earliest example from the Agora is 510 (P1.48) by the Painter of Louvre F 6, and it probablywas very similar to the painter'swellpreservedlebes gamikos in Houston.6The remainderof the Agora lebetes gamikoi are from the last
two decades of the 6th century B.C.

The bowl and stand of the lebes gamikos are decoratedwith both figures and ornamental patterns; the lid has ornament only. On the bowl the figures may continue round the vase, as on 514 and 516 (PI. 49), or they may be set in panels, as on 512 (P1.48). On the shoulder, at the junction with the neck is a tongue pattern;at the base,just abovethe moldingat the top of the stand are rays. Lebetes gamikoi with the figures set in panels follow the principle of decorationestablishedfor the one-piece amphora by having black glaze between the panel and the rays, as on 512. Those that have the figures continuingroundthe vase, 514 and 516 (P1.49), have a frieze of upright lotus buds between the figure zone and the rays, which recalls similar use of ornament on neck-amphorae. Within this general scheme of decoration, there is considerablevariation. On the earliest wellpreservedexamples, the one by Sophilos and the one in Houston by the Painter of Louvre F 6,7 there is a frieze of animals below the main scene. The shoulderof the Houston lebes is figured;510 by the same painter has both figures and a tongue pattern, the only example known to us to do so. Above the figures on 514 there are two friezes of ornament, hanging lotus buds with dots in the intersticesbelow a tongue pattern, a combinationof ornamentparalleled on an unpublishedfragmentary lebes in New York that is very close in style.8 The same ornament also occurs on 517 (PI. 48). On the stand of the lebes gamikos, there is a zone of figures with an ornamentalpattern above and below. On all the examples known to us, there is a frieze of inverted rays above the torus.9 The lebes gamikos by Sophilos and an unattributed fragmentaryone of about 560 B.c.,
2 Boardman(BSA 53-54, 1958-1959, p. 161) has suggested that the holes were made to allow the gases to escape fromthe stand during firing. An exception to the piercing of the stand is Petit Palais 309 (CVA, Petit Palais [France 15], pl. 9 [649]:1-4). 3 Boardman,ABFV, p. 166, fig. 293. 4 The main exception is the one by Sophilos found in the excavationsof Old Smyrna and now in Izmir (ABV 40, 20; Paralip. 18, 20; Baklr, Sophilos, pls. 39-45). Another may be the fragment by the Painter of Acropolis 601, London, B.M. B 601.13 from Naukratis, which Beazley thought might be a lebes gamikos, but he left the question open (ABV 80, 2). 5 Footnote 4 above.J. Boardman(BSA 53-54, 1958-1959, p. 160, note 41) has suggested that the fragmentary standed krater by the Gorgon Painter, Akropolis 474 (ABV 8, 2), may be a lebes gamikos, presumably because of the inverted rays above the torus foot of the stand. But this ornamentappears in the same place on three skyphos-kraters from Vari by the Nettos Painter: Athens, N.M. 16382 (ABV 3, 4; 4; Paralip. 3, 10); Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12); Athens, N.M. 16384 (ABV 4; 6; Paralip. 3, 13). Therefore, it is not a sure criterionfor identifyingthe lebes gamikos in the early 6th century B.C.,as it may be later on when the skyphos-kraterhas gone out of fashion. The fragmentsof Akropolis474 lack a feature that identifiesthis vase for certain as a lebes gamikos. 6 Houston 34.129 (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries,fig. 166). The foot is restoredas an echinus one. 7 Footnotes4 and 6 above. 8 New York, M.M.A. 57.12.8. 9 Similar use of this ornament occurs on epinetra. Cf. below, p. 69.

STANDS

29

found in the excavations of the North Slope,'0 have friezes of animals. After the middle of the 6th The ornamentabovethe figures century B.C., the normal scheme is a single row of human figures.11 or a frieze of invertedlotus buds, and directlybelow the molding is usually a lotus-palmettechain12
as on 516.13

KRATERS, TYPE UNCERTAIN 519-525 P1. 50

These fragmentsdo not seem to belong for certainto any of the types of kratersdiscussedabove.520 (PI. 50) is among the earliest of the group and is closest to the mid-7th-centuryegg-shaped krater, Agora P 4948,1 but that 520 is squatter and heavier. These two vessels do not seem to have good parallels. 520 is unglazed on the inside and might thereforebe identifiedas an amphora,were it not for its upright loop handle. 521 (P1.50) may be a skyphos-krater.The rim fragment,523 (PI. 50), is an odd piece. Karouzou called it the handle-plate of a column-krater,Vanderpool more generally the rim of a krater,2but the projectionat the inner edge of the rim does not correspondto what we know of column-kraters. Nor does it find a parallel among other types of kraters. Its best comparison is the unattributeddinos, Vatican 306.3 STANDS 526-602 Pls. 51-56

The distinctionin terminologybetween a stand and a supportthat was made by Richter and Milne and used by Sparkes and Talcott for the Agora plain black glaze will also be used here. The basic differencesare size, shape, and scheme of decoration.
SUPPORTS 526-601

Pls. 51-56

A support is a tubular base with thick walls that bears the weight of the vase. Two types may be distinguished. The earlier of the two is conical in shape, much greater in diameter at the bottom than at the top, and has a thick torus foot. It is unglazed on the inside. 550 (PI. 52) is the best-preserved example of this type from the Agora. The conical support is not freestandingbut is attached directlyto the bottom of the vase. Usually there is a molding that articulatesand perhaps strengthens the area where the two are joined. The appearanceis sturdy and practical.The secondtype of support is cylindrical,with a concavewall terminatingin a thin, slightly projectingmouth and foot.
10A-P 74 a-i, A-P 15, A-P 104, A-P 398, A-P 680, K 4-5 (Hesperia 4, 1935, pp. 255-257, fig. 21). 11An exception is New York, M.M.A. 57.12.8, which has a narrow frieze of animals between the figures and the inverted rays. 12 No example has been found in the Agora. Cf. London, B.M. B 298 (footnote 3 above, p. 28) and Athens, Vlasto Collection (photo D.A.I. Athens, varia 1060-1063). 13 For the key pattern below the molding, cf. Petit Palais 309 (CVA, Petit Palais [France 15], pl. 9 [649]:1-4) and Kerameikos,inv. no. 79 (Jdl 61-62, 1946-1947, pl. 23). 1AgoraVIII, p. 93, no. 549, pi. 34. Karouzou, AthMitt 62, 1937, p. 134, note 1; E. Vanderpool, Hesperia 15, 1946, p. 129, no. 13. 3 Albizzati, pl. 29.
2

Richter and Milne, Shapesand Names, p. 31; AgoraXII, pp 179-180.

30

SHAPE STUDIES

On the inside there are bands of glaze, varying in width. The cylindrical support is somewhat smaller than the conical one, and it is not attachedto the bottomof the vase but is open at the top, and the vase is set into it. 575 (PI. 55) gives a good idea of this type. In Attic vase painting, conical supports appear in the Geometricperiod and are also well known in Protoatticwhere they may have solid or fenestratedwalls.2 They appear throughoutAttic black figure, mainly as bases for skyphos-kratersin the early period and later for lebetes gamikoi, occasionally for louteria. Most of the Agora examples may be dated in the late 7th century down through the first quarterof the 6th. A small group, 555-560 (PI. 53), comes from the last decadeof the 6th century, and just three of this type, 552-554, belong to the years between 560 and 520 B.C. The conical supportsfrom the Agora are too fragmentaryto be certainwhich type of vase each bore, and for this reason they are groupedunder the general classificationof stands.The late 7th-century examples, 526-530 (P1. 51), may be the stands of skyphos-kraters,since they predate the earliest known Attic black-figuredlebes gamikos, the one in Izmir by Sophilos.3The later examples of esstanded conical supports from the Agora are probably from lebets skyphos-krater gamikoi;the seems to have gone out of fashion early in the 6th century.4The Attic black-figuredmaterial from Menidi, however, contains at least two standed louteria,5and some of the Agora fragments may therefore be from supports of such vases. 533 (PI. 51) preserves the start of the vase, and 553 (PI. 53), which is pierced, may be the support of a lebes gamikos, but without more to go on, it is probablysafer to include these fragmentswith stands. The scheme of decorationon conical supportsvaries a good deal. The late 7th-centuryexamples have large figures, usually confrontedanimals or monsters,that occupy most of the surface, except for a narrow band of glaze or ornamentat the top and a zone of rays at the bottomjust above the torus. The supports of two well-preserved skyphos-kratersby the Nettos Painter offer the best illustrationof this scheme.6528 (PI. 51) is similar, except that the invertedrays are omitted and an ornamentalconfigurationappears between the two sphinxes. The compositionon 527 (PI. 51) may the supportof a the Nettos Painter, othird have been a processionof women as on skyphoskrater by the in friezes, as it is set the decoration have conical 6th in the Athens 16384.7 Early supports century, on many contemporarykraters and amphorae. This remains the preferredarrangementdown to about 550 B.C. 550 (PI. 52) is the best example from the Agora;532 (PI. 51), by the Gorgon Painter, or in his manner, is the earliest. The favoritesubjectsare friezes of animals. Occasionally,a human figure appears, e.g. 536 and 544, but the subject is uncertain.8533 (P1. 51) shows part of a Chimaera, and Bellerophon may have been on the left, since the Chimaera does not usually appear with other animals (cf., however, 402: P1.39), although it may appear alone, as it seems to have on 698 (PI. 67). If the interpretationof the scene on 533 is correct,it is the only sure mythologicalrepresentationpainted on an early Attic black-figuredsupport.After 550, decorationin friezes is given up in favor of large figures in a narrativeor a mythologicalcontext. Above the heads of the figures there is a band of ornament,which varies considerably.On the three Agora fragmentsthat preserve some of this ornament, each pattern is different:rosettes (552); invertedrays (553: Pl. 53); lotuspalmette chain (557: PI. 53).9 Above the torus foot, there is usually a zone of inverted rays. This
VIII, pp. 41-43, nos. 92-96, p. 5 and pp. 90-91, nos. 523-531, pi. 32; also, KerameikosVI, ii, pp. 162-168: standed kraters with protomeson the rims, standed cups, and plates. 3 ABV40, 20; Paralip. 18, 20; Bakir, Sophilos,pls. 39-45. 4 Cf. above, p. 22. 5 Callipolitis-Feytmans, "Loute'ria", pp. 43-59. 6 Athens, N.M. 16382 (ABV 3, 4; Paralip. 3, 10) and Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12).
2Cf. Callipolitis-Feytmans, "Louteria",pp. 2-4; Agora

Athens, N.M. 16384 (ABV 6; Paralip. 3, 13). 8 Akropolis 584, a fragmentarystand near Sophilos, shows most of a human figure standing to right, but the subjectdoes not appear to be a mythologicalone (ABV 43, 1; Bakir, Sophilos, pl. 83, fig. 169). 9 For four other examples of this patternat the top of a conical support, cf. the one from Menidi that belongs with a louterion, Athens, N.M. 15934 (Callipolitis-Feytmans, "Louteria", pls. 18-21) and three lebetes gamikoi: Athens, Vlasto

STANDS

31

may be the only decorationbetween the figures and the foot, as on 555, or there may be a second pattern, as on 554, which has a frieze of hanging lotus buds. Others may have a frieze of animals or of figures between the rays and the main zone. 558-560 (PI. 53), all with animals, are the examples from the Agora.'1 Cylindrical supports do not appear in Attic black figure until after the middle of the 6th century, and not very many examples are known.11The Agora seems to have yielded the largest number, and all of them date between 510 and 490 B.C. Cylindrical supports were probably used for such shapes as the pointed amphora, which cannot stand unaided, and the Panathenaicamphora,which is prone to tip over.12No cylindricalsupport from the Agora has been connectedwith the vase that rested in it, but elsewhere, two pointed amphorae by the Acheloos Painter have been found with These two supports are not by the Acheloos Painter but by anotherartist who probably supports.13 also decoratedthe cylindrical support in Toronto.14From this admittedly slender evidence, it is tempting to speculatethat painterswho specializedin decoratinglarge pots may have left the task of decoratingcylindricalsupportsto those accustomedto working with the smaller shapes. The examples from the Agora furnish some evidence for this suggestion. The one attributed support, 564 (PI. 54), is by the Edinburgh Painter, or near him, and 575 (Pl. 55) may best be comparedwith the Diosphos Painter. Both are painters of small vases, especially lekythoi and small neck-amphorae. The remaining cylindrical supports from the Agora are unattributed,except for 569-573, which may belong to the Leagros Group. The stylistic characterof most of these supports suggests that they come from late black-figue workshopsspecializing in smaller vases. The drawing on many is rather hasty, and details, such as the pupils of eyes, a, re sometimesomitted (e.g. 579-582: P. 55). The scheme of decorationon cylindricalsupportsis similar to that on contemporaryconicalones. The figures occupy most of the surface, with ornamental patterns painted above and below, alThe ornamental pattern above the though occasionally as on 584 these areas are undecorated.15 was to that as on but this conclusionmay seem hasty in view of below, 575, figures probablysimilar the fragmentarycondition of the Agora supports and the paucity of whole examples elsewhere.16 Yet, the Agora material gives a good idea of the range of patternsthat may appear above and below the figures. 564 (P1. 54), 572, and 574 have rays above the figures; 575 (Pl. 55) has rosettes, 582 (PI. 55) has rosettes above a zone of white maeander on black glaze; 578 (Pi. 55) has a ribbon pattern;and 583 (P1. 55) has upright lotus buds.17Below the figures, a zone of invertedrays is the most commonornament, sometimesby itself as on 569, 571, and 573, at other times with a band of ornament above, such as dots (563: PI. 54) or a wavy line (577) painted in added white on black glaze. The band of chevronson 576 very likely appearedabovea zone of rays. 568 has dots between the tips of the rays. 575 is our only example that has rosettes. A number of fragments, 587-601 (Pls. 55, 56), come from supports,but it is uncertainto which
Collection (photo D.A.I. Athens, varia 1060-1063); London, B.M. B 298 (Boardman, ABFV, p. 166, fig. 293); New York, M.M.A. 57.12.8, fragments. All but the Vlastos fragment are contemporarywith 557 (PI. 53). The Vlastos stand is earlier. For a key pattern at the top of a conical support, cf. the small lebes gamikos, Petit Palais 309 (CVA, Petit Palais [France 15], pi. 9 [6491:1-4);for hanging lotus buds, cf. 516 (PI. 49). 10For animals, cf. also the fragmentarylebes gamikos, New York, M.M.A. 57.12.8. For figures, cf. the louterion from Menidi, Athens, N.M. 15934 (Callipolitis-Feytmans, "Louteria",pls. 18, 20): chariot race. n For a list, cf. R. Lullies, Die Spitzamphorades Kleophrades-Malers, Bremen 1957, p. 18, note to p. 6. His no. 9 is now Toledo 58.69 B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pi. 16 [7961).
12 Lullies, op. cit., pp.

6-7.

Toledo 58.69 A-B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pls. 14, 15 [794, 795]:1, 2, and 16 [796]). 14Toronto 919.5.140 (Paralip. 169; CVA, Toronto 1 [Canada 1], pl. 28 [28]:4-6). 15 Also, Toledo 58.69 B (Paralip. 168, 2 bis; CVA, Toledo 1 [USA 17], pl. 16 [796]); London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1); Toronto 919.5.140 (Paralip. 169; CVA, Toronto 1 [Canada 1], pl. 28 [28]:4-6); and Athens, N.M. 501 (CC 685), unpublished. 16The only other completeexample with the same ornament above and below the figures that is known to us is Eleusis 1244 (Hesperia 5, 1936, p. 67, fig. 6). 17 For this pattern, cf. also Eleusis 1244 (ibid.).

13London, B.M. B 167 (ABV 382, 1; Paralip. 168, 1) and

32

SHAPE STUDIES

type each belongs. 589, 591, and 592, late 7th and early 6th-centuryexamples, have a band of glaze on the inside, characteristicof cylindrical supports which begin only after the middle of the 6th century. 587 (P1. 55), 590 (P1. 55), 594, and 596 are fenestrated,and 593 (PI. 56) may be from a fenestrated support or from a leg. The three late fragments, 599-601 (PI. 56), do not preserve enough of the wall to determinewhether the shape was conicalor cylindrical.
STAND 602 SOSIAN P1. 56

Stands are much smaller than supports. They have a flat or slightly convex top surface surroundedby a thick torus molding and are supportedby a stemmedfoot. The top may be decorated in black figure or in red figure. The rest is plain black. The type is called Sosian after the one in Berlin of about 500 B.C. signed by the potter Sosias and decorated in red figure.18Not many all of them date in the secondhalf examples of Sosian stands are known, and with one exception,19 of the 5th. The of the 6th century and the first two decades only black-figuredexample from the Agora is 602 (P1. 56), which is probably late 6th century, but the type also appears in the Agora The purpose of these small stands is unknown. black pattern, as well as in plain black.20 LOUTERIA 603-607 Pls. 56 and 57

The louterion is a wide, shallow, spouted krater that has a very low rim and upright loop handles attachedto the shoulder.1Like the kraters,it is glazed on the inside. Normally the louterionhas an echinus foot, but in the dromosof a tomb at Menidi, fragmentsof 13 standedlouteria were found. They seem to constitutea special group ranging in date from the Late Geometricperiod to the 4th century B.C. with the largest number dating before 550.2 Two are decoratedin black figure, one of them signed by Sophilos as potter,3the other still unattributedbut having Antimenean features.4 Louteriaoccur in Geometricbut are most commonin Protoattic.Very few are known in Attic black figure, and nearly all those with known provenancescome from Attica.5Most of them date before the middle of the 6th century.Only five very fragmentarylouteria,603-607, have been identifiedin the black-figuredmaterial from the Agora. The shape and scheme of decorationof 6th-centurylouteria are influencedby both the dinos and The low rim and the sharply curvedshoulderrecall the dinos;the echinus foot the column-krater.6 with rays above comes from the column-krater.The rim may be flat on top, like that of the dinos, and decoratedwith a pattern, usually rosettes,7as on 605 and 606 (P1. 56), or the vase may have a
(ARV2 21, -). 19New York, M.M.A. 31.11.4 signed by Ergotimos and Kleitias (ABV78, 12; Paralip. 30, 12; Bothmer,Amasis Painter, p. 152, fig. 93). 20 To the list given in Agora XII, pp. 179-180 add the folall Athens, N.M. 961: rider to left (silunpublished: lowing, houette technique); Eleusis: Herakles running to left, looking back, holding the tripod (Bothmer,FestschriftBrommer,p. 61, no. 169); Oxford, fragment:man (head) to right, with spear or staff. The black-patternedexample from the Agora is P 6575: rosette. On For the shape, cf. Callipolitis-Feytmans, "Louteria". for spoutedbowls, cf. AgoraVIII, the use of the term "louteria" p. 43. 2 pp. 43-65. Callipolitis-Feytmans,"Louteria",
1
18 Berlin 2315 3 Athens, N.M. 15918 and 15442 (ABV 40, 21 and 42, 36; Paralip. 18, 21 and 36; Baklr, Sophilos, pls. 8-10). The old numbersare 2035.2 and 2035.1, respectively.Callipolitis-Feytmans ("Louteria", p. 54) has suggestedthat this louterionbore a double signature, as that of the dinos Athens, N.M. 15499 (ABV39, 16;Paralip. 18, 16; Baklr,Sophilos,pl. 6, fig. 10), and that Sophilos may have contributedto the developmentof both the louterionand the lebes gamikos. 4Athens, N.M. 15929, 15933, and 15934 (Callipolitispp. 56-59, pls. 18-21). Feytmans, "Louteria", 5 The two main exceptionsare Corfu E 61.09, from Garitsa, close in style to Sophilos (Paralip. 19), and Berlin F 1722, from Chiusi, by the PrometheusPainter (ABV 104, 124; Paralip. 39, 124). 6 Cf. pp. 24-25, 33-34. Callipolitis-Feytmans,"Louteria", 7 Otherswith rosettes:Corfu E 61.09 (Paralip. 19);Athens,

DINOI

33

simple roundedrim, as 604. The main figureddecorationappears high on the shoulderand is most often set in unframedpanels,8usually without even a tongue patternon the shoulderat the junction and 605 probablyhad its decwith the rim.9605 and 606 (P1. 56) are unusual for having tongues,10 oration continuing round the vase as on column-kraters.The area between the main figure zone and the rays above the foot may be black, or there may'be one or more friezes of animals or ornament. The Agora louteria are rim and shoulder fragments,so one may not be certainhow this area was treated on them. The main figure zone on the back of the vase is a long narrow panel, usually with a frieze composition. The cavalcadepainted on the louterion found on Corfu that is close to Sophilos in style provides a good illustration,'1and 606 was probablysimilar. On the front of the louterion,the figures may be set in two panels, one on each side of the spout, as on 604, or there may be a single composition that takes into account the position of the spout. Two large confronted animals, with a smaller one or a floral ornament below the spout, is the preferred subject. The louterion in Corfu and the one in Athens attributedto Sophilos offer good examples.'2 603 (P1. 56) very likely was similar, with two confrontedsirens. DINOI 608-617 Fig. 13 Pls. 57 and 58

bowl that sits on a stand. It has a flat rim that may be plain on The dinos is a large round-bottomed Dinoi have very short the side or may have a slight overhang,similar to that of the column-krater.2 necks and no handles, thus allowing the decorationto continueroundthe vase uninterrupted.Their stands suggest a metal prototype.The shape is known throughoutall Attic black figure and continues well down into red figure, but it is never so popular as the more practical column-krater,and not too many examples are known. The earliest attributed Attic black-figureddinos is the wellpreservedone by the Gorgon Painter.3Sophilos has left us the largest number attributedto a single painter, seven in all, mostly fragmentarybut one almost completelypreserved,including its stand.4
N.M. 16385 (ABV 40, 19; Paralip. 18, 19); Athens, N.M. 15920 (Callipolitis-Feytmans, "Louteria",p. 49, no. M 8); Athens, N.M. 15918 and 15442 (ABV 40, 21 and 42, 36; Paralip. 18, 21 and 36). Other patterns on the rims of black-figured louteria: Rays: once Berlin 1682 (ABV 5, 4; Paralip. 2, 8); Kerameikos, inv. no. 1295 (Callipolitis-Feytmans, "Louteria", p. 19, no. 10); Athens, N.M. 19168 (ibid., p. 28, no. 2). Tongues: Athens, N.M. 16386 (ibid., p. 19, no. 11). Guilloche: Athens, N.M. 16387 (ibid., p. 33, no. 1). Step pattern: Berlin F 1722 (ABV 104, 124; Paralip. 39, 124). 8 Louteria with the figures not in panels: Kerameikos,inv. no. 1295 (Callipolitis-Feytmans, "Louteria",p. 19, no. 10); Athens, N.M. 16386 (ibid., p. 19, no. 11); Athens, N.M. 19168 (ibid., p. 28, no. 2); Athens, N.M. 16387 (ibid., p. 33, no. 1); Berlin F 1722 (ABV 104, 124; Paralip. 39, 124). The last two are particularly influenced by the column-kraterin shape and in scheme of decoration. 9 Callipolitis-Feytmans, "Louteria", p. 24. 10For a later louterion with tongues at the junction with the rim, cf. Athens, N.M. 15929, 15933, and 15934 (CallipolitisFeytmans, "Louteria," pp. 56-59). l Corfu E 61.09 (Paralip. 19). 12 Corfu E 61.09 (Paralip. 19); Athens, N.M. 16385 (ABV 40, 19;Paralip. 18, 19; Baklr, Sophilos,pls. 85,86: here [pp. 4546] Baklr, following Scheibler, withdraws the attribution to Sophilos). 'For the shape, cf. esp. Richter and Milne, Shapes and Names, pp. 9-10; Bothmer,BMFA 46,1948, p. 42; R. Lullies, AK 14, 1971, pp. 49-51. For black-bodieddinoi, cf. the list by Bothmerin CVA, Boston 2 [USA 19], pp. 9-10. 2 For the plain rim, cf. Athens, N.M. 15499 by Sophilos (ABV 39, 16; Paralip. 18, 16); for the rim with overhang, cf. Madrid 10902 by the Antimenes Painter (ABV 275, 133). Difficult to parallel is the tall flaring rim of the namepiece of the Painter of Louvre E 876 (ABV 90, 1). This dinos also has an echinus foot. Two exceptionsto the rim being completelyflat on top: Vatican 306 (Albizzati, pl. 29), which has a small upright projectionat the inner edge, and Akropolis 590 (Graef, p. 64 and pl. 27), which has a small rounded projectionat its outer edge just above the tongue pattern on the shoulder. 3 Louvre E 874 (ABV 8, 1; Paralip. 6, 1). For the 7th-century examples, Attic and non-Attic, cf. Lullies, AK 14, 1971, p. 50, note 40. 4 Louvre E 873 (ABV 39, 12; Baklr, Sophilos, pls. 46-48); London, B.M. B 100 and B 601.26 (ABV 39, 13; Baklr, Sophilos, pls. 66-70: here [p. 39] the dinos is considereda workshop piece); CambridgeN 128 (ABV 39, 14; Baklr, Sophilos,pl. 65, fig. 129); Akropolis 587 (ABV39, 15; Baklr, Sophilos,pls. 3-5, 89-90); Athens, N.M. 15499 (ABV39, 16; Paralip. 18, 16; Baklr, Sophilos, pls. 6, 7); Herakleion (Paralip. 18, 14 bis; Baklr, Sophilos,pls. 80, 81, figs. 158-160: here [pp. 40 and 42] the vase

34

SHAPE STUDIES

Not very many Attic black-figureddinoi have been found in the Agora excavations:except for one, 610 (Pl. 58), they are very fragmentary,yet they give an idea of the various schemesof decoration used for this shape. The earliest Attic black-figureddinoi have the decorationon the body set in friezes. Usually, there are human figureson the shoulderin the largest of the friezes and below that zones of animals and ornament.Occasionallythere is a secondzone of human figures below the first, as on 610, the best example of the system among the Agora dinoi. Normally, there are tongues on the shoulderat the junction with the neck and ornamenton the top side of the rim. 610 is unusual in having neither. The ornament on the top side of the rim varies a good bit, just as it does on the rims of columnkraters.On the very bottom of the vessel, there is often a whirligig. Again, 610 is unusual in being reserved.5 This schemeof decorationcontinuesuntil the middleof the century,perhapseven a little past it to judge by the splendiddinos from the Akropolissigned by Lydos that ought to date between 550 and 540 B.C.6In the late second quarter of the 6th century, a new system of decorationappears which reducesthe numberof friezes and leaves a wide band of glaze between the figuresand the whirligig or reservedmedallionon the bottom.7The Agora dinoi are too fragmentaryto be certainif any one of them was decoratedin this mannerinsteadof with friezes. 612 (PI. 57) may have been, for it finds its best parallel with the one in Brussels.8An oddity of the time is the namepieceof the Painter of Louvre E 876, which has a wide flaring neck, a rolled rim, and an echinus foot.9On its shoulderis a narrow frieze of figures and below that two larger zones of figures. The bottomof the vase, including the foot, is black. 613 (P1. 57) may be from a dinos decoratedin a similar manner,although one may not be certain about the shape of the rim or if it had a foot. Very late in the third quarter of the 6th century, the system of decorationof the Attic blackfigureddinos undergoesa final change. From now on, figuresappearonly on the top side and inside of the rim. On the overhangthere is usually ivy, as on column-kraters.The rest of the vase is black, except for the tongue pattern on the shoulderat the junction with the neck and for the whirligig on the bottom. The inside of the rim is nearly always decoratedwith ships,10which would appear to float on the mixture of wine and water when the vessel was filled. The top side of the rim may have 1 figures or ornament. The earliest example of this new scheme of decorationappears on the dinos
is judged to be a workshoppiece;the vase has been mendedsince photography);and London, B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Bakir, Sophilos, pls. 1, 2; D. Williams, "Sophilos in the British Museum," Greek Vasesin the J. Paul Getty Museum 1, 1983, pp. 9-34). Perhaps add, London, B.M. B 103.14.2 (E. A. Gardiner, Naukratis II, London 1888, pl. 9, 7; Beazley and Payne,JHS 49, 1929, p. 255, fig. 2, no. 3). Also, two dinoidvessels: Akropolis 585 a (ABV 40, 17; Baklr, Sophilos,pl. 35, figs. 64, 65, and pl. 36) and Akropolis 585 b (ABV 40, 18; Baklr, Sophilos,pl. 34, fig. 63). 5 For a reservedmedallion, cf. also Louvre C 11243 (CVA, Louvre 12 [France 19], pl. 152 [825]). 6 Akropolis 607 (ABV 107, 1; Tiverios, pls. l:a, 48-50, 98:a, /; most recently, M. B. Moore, AJA 83, 1979, pp. 79-99). 7 For examples, cf. Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1); Louvre C 11243 (CVA, Louvre 12 [France 19], pl. 152 [825]) and Louvre E 738 (CVA, Louvre 12 [France 19], pls. 153, 154 [826, 827]:1). 8 Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1). 9 ABV 90, 1. 10A late example of the older system of decorationseems to be a fragmentary dinos in Tiibingen, S./10 1508, that is attributedto the manner of the Antimenes Painter (CVA, Tiibingen 3 [Germany47], P!. 10 [2225]:1, 2). An exception to ships appears on the small dinos in Copenhagen, inv. no. 4219 (CVA, Copenhagen3 [Denmark3], pl. 124 [126]:3), which has a frieze of vertical dolphins (for this motif, cf. 1353: PI. 93). Ships occuron the insides of rims of other kraters. Cf., for example, Copenhagen, inv. no. Chr. VIII 754 (CVA, Copenhagen 8 [Denmark 8], pl. 322 [325]:3) and Heidelberg S 39 (CVA, Heidelberg 4 [Germany 31], pl. 146 [1485]:6), both volute-kraters;or Basel, Antikenmuseumund Sammlung Ludwig (E. Berger and R. Lullies, Antike Kunstund werkeaus der SammlungLudwig, I, Friihe Tonsarkophage Vasen, Mainz 1977, p. 77), Boston, M.F.A. 68.777 (CVA, Boston 2 [USA 19], pl. 109 [9431:2), Louvre C 11270 (CVA, Louvre 12 [France 19], pi. 173 [846]:1), and New York, M.M.A. 07.286.76 (Bothmer, Festschrift Brommer, pls. 17, also, 1704 (PI. 111), a cup with ships 18), all column-kraters; roundthe rim on the inside. This and the two that go with it are not earlierthan the firstoccurrenceof ships on kratersand dinoi. 1I For a list, cf. the one compiledby Bothmerin CVA, Boston 2 [USA 19], pp. 9-10.

HYDRIAI

35

in the Villa Giulia signed by Exekias,12who very likely is responsible for its introduction.His innovativechanges in existing shapes and his inventionof new ones are well attested.13 614 (P1.57) is the only dinos from the Agora decoratedin this manner. Stands for dinoi are slender, metallic-looking supports. They may be plain black or decorated with friezes of ornamentand animals.14 Three fragmentsof stands for dinoi have been found in the Agora, but none may be connectedwith one of the dinoi that has survived.Nor do they illustratethe characterof these stands very well. 615 is a foot fragment with a rilled vertical surface and ornamental decorationon the top side; 616 (P1. 57) has rays on the side and animals on the top side. 617 (P1. 57) comes from the top of a stand that supported a dinos about the size of 610 (PI. 58). It is unusual for having a frieze of human figures below the top molding.

HYDRIAI
618-669 Pls. 59-63

The hydria, or water jar, is commonin Attic black figure.1Unlike many other shapes it is also well known in bronze,2and many clay examples have rims and handles that suggest metal prototypes.3 In Attic pottery,the hydria appears in the Geometricperiod and is well known in early Protoattic,4 the namepieceof the Analatos Painter being the most completeand the most famousexample.5The hydria seems to go out of fashion in Attic vase painting after about 675 B.C., but it reappearsearly in the 6th century. No Attic black-figuredexample is known among the vases decoratedby the first generation of painters nor does there seem to be an example among the unattributed vases contemporarywith them. The fragmentaryone from Samos by the KX Painter,6which dates about
580 B.C., is still the earliest preserved.

The hydria is characterizedprimarilyby two horizontalhandles attachedto the shoulderor to the body, which are used for lifting and setting down, and a vertical handle at the back, which is used for pouring or for carrying when empty.7 Three types of Attic black-figuredhydriai are known.
M. B. Moore, AJA 84, 1980, p. 432 and notes 125, 126. 14 Examples: Louvre E 874 by the Gorgon Painter (ABV 8, 1;Paralip. 6, 1); London, B.M. 1971.11-1.1 by Sophilos(Paralip. 19, 16 bis; Baklr, Sophilos,pls. 1, 2; Williams, loc. cit. [footnote 4 above, pp. 33-34]; Vatican 306 (Albizzati, p. 102); Wurzburg 453 (Langlotz, pl. 129); Brussels R 222 (CVA, Brussels 1 [Belgium 1], pl. 2 [13]:1); Louvre E 720 (CVA, Louvre 2 [France 2], pl. 1 [73]:1); Boston, M.F.A. 90.154 (CVA, Boston 2 [USA 19], pl. 65 [899]:2-4); Heidelberg 63/20 (CVA, Heidelberg 4 [Germany 31], pl. 179 [1518]:4, 5). 1 For the shape, cf. esp. E. Folzer, Die Hydria. Ein Beitrag zur griechischen Vasenkunde, Leipzig 1906; Richter and Milne, Shapes and Names, pp. 11-12; E. Diehl, Die Hydria: Formgeschichte und Verwendung im Kult des Altertums, Mainz 1964, which should be consulted along with the review by Bothmer in Gnomon 37, 1965, pp. 599-608; also, Agora XII, p. 53 with further bibliography. 2 Cf. Bothmer, Studies in ClassicalArt and Archaeology.A Tributeto Peter Heinrich von Blanckenhagen,New York 1979, p. 63; also the bibliographyin note 1. 3 Especially corrugated rims and concave horizontal handles. Cf., e.g., the namepiece of the Painter of London B 76 (ABV 85, 1; Paralip. 32, 1); two more by him, New York, M.M.A. 45.11.2 (ABV 85, 2) and Copenhagen 13536 (ABV
12Villa Giulia 50599 (ABV 146, 20). 13Cf. K. Stahler, JOAI 49, 1968-1971, pp. 79-113; also,

714; Paralip. 32, 2 bis). It is tempting to suggest that in representationsof the pursuit of Troilos where Polyxena has dropped her hydria and it lies on the ground intact, as in the illustration on the FranCois vase and in many others,the painterhas in mind a metal vessel. For a broken hydria in Troilos representations, cf., e.g., Leipzig T 49 (CVA, Leipzig 2 [DDR 2], pl. 24 [85]:3); Heidelberg 72/1 (AA [JdI 92], 1977, p. 29, fig. 11); Hanover 1965.30 by the AntimenesPainter (Paralip. 119, 27 ter, formerly in the Bareiss Collection;CVA, Hannover 1 [Germany 34], pl. 19 [1651]:1);Munich 1722 by the Antimenes Painter (ABV 269, 33); London, B.M. B 307 by a painter of the Leagros Group (ABV 361, 17); and New York, M.M.A. 06.1021.50 in the mannerof the Red-line Painter (ABV 606, 21). 4 J. N. Coldstream, Greek Geometric Pottery, London 1968, pp. 59-60; J. Cook, BSA 35, 1934/1935, pp. 165-169, and especially the inventoryon pp. 212-219; also, Agora VIII, pp. 34-35. 5 Athens, N.M. 313. Cf. Cook, op. cit., pls. 38:b, 39. 6 ABV25, 18. 7 On methods of carrying, cf. Folzer, op. cit. (footnote 1 above), p. 10; Richter and Milne, Shapes and Names, pp. 11-12. For illustrationscf., e.g., two by the Priam Painter, Boulogne 406 (ABV 332, 21) and London, B.M. B 332 (ABV 333, 27); also Vatican 417 by the Acheloos Painter (ABV 384, 26). For the pad worn by the women as a cushion for the water jar, called a rv?Xror i7renpa, cf. Bothmer and Moore, CVA, New York 4 [USA 16], p. 45.

36

SHAPESTUDIES

The earliest has a roundor ovoid body;the secondhas the shouldersharplyoffset fromthe bodyand is the principaltype in Attic black figure from about 540 B.C. on; the latest, known also as the kalpis, has a neck and a bodythat forma continuous-curve profile, similarto that of the one-pieceamphora and the pelike. All three types of hydria have been found in the Agora, but consideringthe popularity of the shape in the last third of the 6th century,it is surprisingthat there are so few examples from these excavations.It may well be that this shape was mainly one for export or was used more in sanctuariesand tombs than in civic centersand domesticquarters.8
HYDRIAI 618-624 ROUND-BODIED P1. 59

The earliest type of Attic black-figuredhydria has a plain or corrugatedrim, a round or slightly ovoid body, and an echinus foot. The horizontalhandles are attachedto the body at about the point of greatestdiameter.The verticalhandle is shortand does not rise abovethe top of the rim, as it does on many of the later shoulderedhydriai, but its upper part is attachedto the neck itself, occasionally well below the rim. On the neck, there is sometimesa drip ring.9The round-bodiedhydria appears in Attic black figure at just about the same time as the loutrophorosand the ovoid neck-amphora, and it is the preferredtype of hydria untiljust after the middleof the 6th century. i.e. about 580 B.C., Early examples, such as the namepiece of the Painter of London B 76,10tend to be rather squat; later ones, like the one in Boston by the Archippe Painter,11are taller and more elegant. The round-bodiedhydriai from the Agora, 618-624, do not give a good idea of the shape itself, but 618 (P1. 59) and 620 (P1. 59) are importantfor their metallic features. The scheme of decorationfor round-bodiedhydriai varies considerably.The only consistentelements are the tongues on the shoulderat the junction with the neck and the rays abovethe foot. On the neck, there may be an ornamentalpattern,or it may be left black as is the case with the hydriai by the Archippe Painter and with most shoulderedhydriai.'2620 and 622 are unusual for having figures on the neck. On the bodies of the early examples, the figureddecorationis set in friezes,just as it is on so many contemporaryovoid neck-amphorae.618 (PI. 59), 619, and 623 (PI. 59) were probablydecoratedin this manner. 618 has an ornamentalfrieze directlybelow the handles instead of in the handle zone itself as is customary.Later round-bodiedhydriai often have the figureddecoration on the shoulder set in a frieze and that on the body placed in a panel,13 just as it is on the shoulderedhydria. The frieze on the shoulderis normallyunframed.The panel on the bodymay be framedor unframed,and the area below it may have a frieze of animals, or it may be left black.The Agora examples are too fragmentaryto be certain whether any one of them had the figured decoration set in a panel.
8 For ordinarydaily needs, the plain hydria was most commonly used, and many of them have been found in the Agora. Cf. Agora XII, pp. 38-39, 200-201. 9 Cf., e.g., London, B.M. B 76 (ABV 85, 1; Paralip. 32, 1); also New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77). Cf. also, Villa Giulia 22308 that is Lydan in style (MonAnt 42, 1955, p. 1064, no. 29 and pl. 3). o0 ABV 85, 1; Paralip. 32, 1. I Boston, M.F.A. 67.1006 (Paralip. 43; CVA, Boston 2 [USA 19], pls. 69 [903]:2-4 and 70 [904]). 12 For the Archippe Painter, cf. Bothmer, AK 12, 1969, pp. 26-29. Some others with black necks:two by the Painter of London B 76: Swiss, private (Paralip. 32, 1 bis), and New York, M.M.A. 45.11.2 (ABV 85, 2); New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77).

Round-bodied hydriai with black necks seem to appear only after the shoulderedhydria is introduced. 13 Cf., e.g., three by the Archippe Painter: Vienna 3613 (ABV 106, 1); Louvre E 869 (ABV 106, 2); and Basel (AK 12, 1969, pls. 17,18); also, New York, M.M.A. 06.1021.48 (Richter and Milne, Shapes and Names, fig. 77) and New York, M.M.A. 74.51.1331 (G. M. A. Richter,Handbookof the Greek Collection,Cambridge,Mass. 1953, pl. 28:a). Two by the Archippe Painter have a single panel placed high with a frieze of ornamentbelow in the handle zone: Cab. Med. 253 (ABV 104, 127) and Italian Market (ABV 104, 129). For the attribution, cf. Bothmer,AK 12, 1969, pp. 26-29. Most unusual is the unattributedhydria in the Villa Giulia, inv. no. 22308 (MonAnt 42, 1955, p. 1064, no. 29 and pl. 3), that has a frieze of figures on the shouldercontinuinground to the vertical handle.

HYDRIAI HYDRIAI SHOULDERED

37

625-649 Pls. 59-62 This type of hydria differs from the round-bodiedone chiefly by having its shoulder set at an angle to its body so that there is no longer a continuouscurvebetween the two parts when the vase is seen in profile. In Attic black figure, it appears most often from about 530 B.C. on, althoughthe type is known as early as the second quarter of the 6th century B.C.It is not certain who was the first potter to fashion the shouldered hydria,14but the earliest painters to decoratethem are Kleitias, Lydos, and a contemporary,the Painter of London B 76,15 who also painted the round-bodied One by each artist, 625-627 (Pls. 59, 60), has been found in the Agora, and togetherwith variety.16 three unattributedexamples, 628-630 (P1. 60), they comprisethe earliest shoulderedhydriai from these excavations.625 (PI. 59) is of special interest for it adds a new shape to the ones known to be decoratedby Kleitias. has a somewhatflaring neck with a torus mouth The shoulderedhydria fashionedbefore 540 B.C. and a broad body supported by an echinus foot. The shoulder is slightly convex with the angle formed by it and the body not very sharp. 626 (Pl. 59) by the Painter of London B 76 and 632 (PI. 60) by a painter of Group E are the best examples from the Agora. After 540, the shouldered hydria becomes increasingly tall in proportionto its diameter and more elegant in appearance.17 This later type has a torus foot and a wide flaring mouth with torus molding. The horizontal handles often curve upward slightly, and the vertical handle may still be round or oval in section, although sometimesit is ridged. The Agora examples are too fragmentaryto present a good picture of the later type, but 635 (P1. 60) has a decorativefeature that does not seem to appear on other hydriai (see below). The scheme of decorationfor the shoulderedhydria is regulated by the natural divisions of the vase. A friezelike compositionappears on the shoulder,similar to that on the type of neck-amphora On the body of the hydria,the figuresare set having the figureson both the shoulderand the body.18 in a broad panel, which is normally framed at the sides by pattern with an ornamentalfrieze or a figured predella below. On a few examples, such as 628 (P1. 60), the side and bottom edges of the panels are left plain. As on the round-bodiedhydria, the only consistentornamentalelements are the tongues on the shoulder at the junction with the neck and the rays above the foot. At the top of the panel on the turn of the shoulder,there is usually a single line; occasionally,as on 644 and 645 (PI. 61), there is a key pattern. The ornament framing the panel at the sides varies a good bit, although ivy with or without dots or dot clusters seems to be the most frequentpattern, e.g. 626, 627, 632, and 640 (Pls. 59-61). The wavy line with dots on 635 (PI. 60) appears to be unique. Some of the Agora hydriai have figured predellas, 636, 638, and 639 (P1. 61); others, 642 and 643 (PI. 61), have ornamentalfriezes.
The earliest signed examples seem to be the two by the potter Timagoras, which are attributedto the Taleides Painter: Louvre F 39 (ABV 174, 5; Paralip. 72, 5) and Louvre F 38, which also praises Andokides (ABV 174, 7; Paralip. 72, 7). These date about 540 B.C.,roughly two decades later than the shouldered hydriai by Lydos (ABV 108, 12-18), which were decoratedin the early part of his career and thus should not be later than about 560 B.C.,although the one in Gottingen (ABV 109, 19) and the one in the Kerameikos (Paralip. 45) may be about 550 B.C.It is tempting to suggest that Lydos may have potted as well as painted, but it has not yet been shown conclusively that he did (cf. M. B. Moore, AJA 83, 1979, p. 99, note 166). A shouldered hydria contemporarywith these by Lydos, Louvre E 735 (ABV 85, 2), has been loosely connectedwith the
14

painter of the neck-amphorain Eleusis potted by Kleimachos (ABV 85), but this is a painting connection,not a potting one. 15Kleitias: 625 (PI. 59). Lydos: ABV 108-109, 12-19; Paralip. 45. Painter of London B 76: ABV 86, 4, 5; Paralip. 32, 4. 16 ABV 85-86, 1-3; Paralip. 32, 1-2 bis. 17For a brief study of some late 6th-centuryshoulderedhydriai, cf. H. Bloesch,JHS 71, 1951, pp. 29-39, esp. 35-37. 18 E.g., New York, M.M.A. 17.230.14 by Exekias (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pls. 16-19 [744-747]). Two hydriai by the Antimenes Painter have black shoulders, the figures appearing on the neck (white ground) and on the body: Dresden ZV 1779 (ABV 268, 21) and Dresden ZV 1780 (ABV 268, 22).

38

SHAPE STUDIES

KALPIDES 650-669

Pls. 62, 63

In Attic black figure, the kalpis, in imitation of the red-figuredkalpides by the painters of the Pioneer Group, appears in the late 6th century and continuesinto the 5th. Not too many examples are known, for the shape is more frequentin red figure than it is in black figure, and in black figure it never competessuccessfullywith the more popularshoulderedhydria.The kalpis is distinguished from the shouldered hydria primarily by the continuous curve formed by its neck, shoulder, and body. It has a torus mouth and a torus or echinus foot. The horizontal handles usually curve upward slightly; the short, vertical handle rises from the shoulderand is attachedto the neck well below the mouth, similar to that of the round-bodiedvariety. 650 (P1. 62), 653, 657 (P1. 62), 658 (P1. 63), 665, and 666 (P1. 63) are the best-preservedexamples from the Agora. Two systems of decoration are used for the kalpis. The first, perhaps the earliest, shows the figures on the shoulder only. The rest of the vase is black, except for a broad band of ornamentin the handle zone. The secondsystem has the figures set in a panel on the body.
ON THE SHOULDER 650-652 PICTURE P1. 62

The figures appear in a panel, usually with an ornamentalframeat the top and on the sides, as on 650 and 652 (P1. 62).19Occasionally,there is ornamentonly at the top of the panel, and the sides are left plain,20although this is rare, and on those where the panel is particularlysmall, there is often no ornamentat all.21Sometimesall four sides have decorativeborders,22 and there may be no ornamentin the handle zone unless the panel is placed very high. Above the figures, the preferred ornamentsare the key pattern, the net pattern, and the invertedlotus-bud frieze. On the sides, the net pattern is used most often. The type of ornamentin the handle zone varies, but ivy, as on 650 (P1.62), seems to appear most often.23652 (P1.62) is unusual for having simply a narrow reserved line.
PICTURE ON THE BODY

653-669

Pls. 62, 63

Most of the Agora kalpides are decoratedaccordingto this arrangement.The figuresappear in a panel that extends over some of the shoulderand much of the body of the vase, 657 (P1.62) and 658 (P1. 63) being good though small examples. The panel is decoratedat the top by a band of ornament, most often a frieze of inverted lotus buds as on 655 (PI. 62) or a net pattern as on 657, 658, 663 (Pls. 62, 63), and 664. The sides may be framed as on 665 or unframedas on 653, 657, 658, 663, and 664. Rarely are all four sides without ornament as on 659 and 666 (P1. 63).24 Most unusual is the frieze of upright lotus buds below the figures on 653 for which there seems to be no parallel.
19The appearanceof ornament on the side of the panel on 652 (PI. 62) indicatesthat there was a decorativepattern above, even though this is not preserved. 20 Ornament at the top of the panel only: e.g., Sydney 46.04 in the manner of the Acheloos Painter (ABV 386, 17); Kassel T. 683 (CVA, Kassel 1 [Germany35], pls. 24 [1704]:3,4 and 25 [1705]:1); Princeton 170, near the Madrid Painter (Paralip. 145, ii). 21 Examples: Florence 3858 (CVA, Florence 5 [Italy 42], pl. 42 [1906]); Vatican 428, 429, and 430 (Albizzati, pl. 66); Hamburg 1971.987 (CVA, Hamburg 1 [Germany 41], pl. 26 [1992]); Wurzburg 324 (Langlotz, pi. 98); Louvre C 10693 (CVA, Louvre 11 [France 18], pl. 151 [824]:7). 22 Cf., e.g., the Tampa Museum, Tampa, Florida, ex Maplewood, Noble, of the Leagros Group (ABV 695, 83 bis;

Parke-Bernet 9. April, 1953, p. 25, no. 150); Greenwich, Bareiss,once on loan to the MetropolitanMuseum, L.69.11.12 (Greek Vases: Molly and Walter Bareiss Collection [The J. Paul Getty Museum], Malibu 1983, p. 39). 23 Some examples of other ornaments: Key pattern:Florence 3858 (CVA, Florence 5 [Italy 42], pl. 42 [1906]); Hamburg 1917.987 (CVA, Hamburg I [Germany41], pl. 26 [1992]). Circumscribedpalmettes:Greenwich, Bareiss, once on loan to the MetropolitanMuseum, L.69.11.12 (footnote22 above). Inverted lotus buds: Vatican 431 (Albizzati, pl. 66). Upright lotus buds: Princeton170, near the Madrid Painter (Paralip. 145, ii). 24 Even rarer seem to be panels with decorationon all four sides. Cf. one near the Nikoxenos Painter, Montreal 39.Cb.1, which has circumscribedpalmettes on all four sides (Paralip. 172,3).

OINOCHOAI

39

OINOCHOAI 670-786 Fig. 14 Pls. 64-73

The oinochoe is a jug used for pouring wine and other liquids.1The shape is well known in pottery from the Geometricperiod on,2and a significantnumberof bronzeexamples from the 6th to the 4th centuries have come down to us.3 The oinochoe is generally characterizedby a single vertical handle, either high or low, a trefoil or plain mouth, and an echinus or torus foot. The over-all appearance is sturdy and practical looking. There are two basic types of pouring jug, each distinguished by the shape of its body:the olpe, which is rather a slender vessel with a continuous-curve profile between the mouth and the foot, and the oinochoe,which has a much more swelling, sometimes globular, body that usually has the shoulder offset from the neck. One kind of oinochoe, however, the chous, has a continuous-curveprofile. In Attic black figure, both the olpe and the oinochoe appear simultaneouslyin the workshopof the Gorgon Painter, but the largest numberof Attic black-figuredexamples and types belong to the secondhalf of the 6th centuryB.C.
OLPAI 670-722 Pls. 64-69

The olpe has a gently swelling body that forms a continuous curve between the foot and the mouth. The foot may have an echinus shape or simply be a low disk. There are two main categories of olpe: those with a trefoil mouth and those with a plain one. Each is discussedseparatelybelow.
TREFOIL 670-681 Pls. 64-66

This type of olpe has a high handle that rises well abovethe mouth, then curvesdownwardto the rim. The handle is usually double and reservedexcept for the lines of glaze as accents,as 673 or 677 (PI. 64), but it may be concaveand completelyglazed.4The earliest preservedtrefoil olpai in Attic black figure are unattributed and seem to belong to the very late 7th century B.C.,5 although 671 (PI. 64) by the Gorgon Painter, which is the earliest attributedexample from the Agora, is hardly later than these. The Gorgon Painter and the artistsworking in his mannerare the first Attic blackfigure painters to decoratenumerous olpai,6 and although these belong within the larger Group of Early Olpai put together by Beazley,7the chief features of the shape and its system of decoration were probablydevelopedin the Gorgon Painter'sworkshop.The ratherheavy, sagging appearance of the earliest examples soon gives way to a more elegant, refinedform that is retainedthroughout the period during which this type was manufactured.8 672 (PI. 64) in the manner of the Gorgon
For the shape, cf. Agora XII, pp. 58-63, 76-78, with bibliography;ABV, chaps. 28-31; KerameikosVI, ii, pp. 173-181. A dissertationon the shape is being preparedby Andrew Clark under the supervisionof Dietrich von Bothmer. 2 Cf. J. N. Coldstream, Greek GeometricPottery, London 1968, passim; Agora VIII, pp. 35-41 for the Late Geometric and Protoatticexamples from the Agora. 3 Most recently, Bothmer, Studies in ClassicalArt and Archaeology. A Tribute to Peter Heinrich von Blanckenhagen, New York 1979, pp. 63-67. 4 Cf. Copenhagen, inv. no. 8076 (ABV 14, 9); Munich, private (Paralip. 9); and Warsaw 14249 signed by Kriton as potter (ABV 446, 2; Paralip. 192, 2). An oddity is the female mourner attached to the top of the handle of Kerameikos,inv. no. 40 by the CeramicusPainter (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93). 5 Cf. London, B.M. 88.6-1.566 (ABV 15, 22) and Delos 591 (ABV 15, 27; Paralip. 9, 27). Both are includedby Beazley in his Group of Early Olpai without a more specificattribution. Karouzou ('Avayvpoivros, pp. 134-135) suggested that the Delos olpe is the work of the Nettos Painter, close in time to his cf. AgoraVIII, no. 544, namepiece.For Protoatticpredecessors, with bibliography,esp. E. Brann, Hesperia 30, 1961, pp. 348349; also, KerameikosVI, ii, pp. 173-179. 6 Gorgon Painter: ABV 9, 11-13; Paralip. 7, 13 bis-135; manner of the Gorgon Painter: ABV 10-11, 4-7; Paralip. 8. For those with a flat mouth, cf. below, pp. 40-41. Severalothers do not preservethe mouth, so one may not be certainof the type: Gorgon Painter: ABV 9, 14 and 15; manner of the Gorgon Painter:ABV 11, 8-15; Paralip. 8 including 703 (PI. 67), 707, and 708 (PI. 68). For a discussion,cf. I. Scheibler,JdI 76, 1961, pp. 1-47. 7 ABV 14-15, 1-36; Paralip. 9 (including676 [PI. 65]). 8 Scheibler, cit. (footnote6 above), pp. 34-35. op.

40

SHAPE STUDIES

Painter is a good illustrationof the canonicalshape. The decorationis usually set in a panel on the right side of the body (the pourer'sright), e.g. 672, 677, or 680 (Pls. 64, 65), often with two reserved triangles (an "eye")on the opposite side in the area of maximum diameter.9This position of the handle enables the guest to see the figureddecorationwhile his host pours wine into his cup. A few examples have the figured decorationcontinuinground the vessel, 671 and 679 (Pls. 64, 65) being the best examples from the Agora.'1 This system of decoration places the focal point of the compositionopposite the handle, instead of on the side. The area above the panel is often plain, as on 672 and 677 (PI. 64), or, as on so many panel amphorae,there may be a frieze of ornament.The only examples from the Agora, 680 and 681 (Pls. 65, 66), have the lotus-palmette festoon. 671 (P1. 64) is unusual for having a figured frieze in this area. The panels of early trefoil olpai often have rosettes or hanging spirals for filling ornament, another link with contemporary panel amphorae.Trefoil olpai are most commonin the first quarterof the 6th century,and nearly all the Agora examples are from that period. Later, the shape is taken up by the Amasis Painter (681: PI. 66) and by painters contemporarywith him, some of them unnamed,e.g. 680 (P1. 65)." 682-694 Pls. 66, 67 The type of olpe with a flat, thin rim, which otherwise is like its trefoil counterpartin shape and decoration, is rather rare in Attic black figure, and no early example of it may be identified for The earliest olpe in this sectionis 682, a "redcertainamong the black-figuredolpai at the Agora.12 bodied"one of special shape with an elongatedbody, a short neck, and a thickenedrim. Although not attributedto a painter, the style of the drawing suggests an artist working aroundthe middleof the 6th centuryor perhaps a little later. It belongs to a group of olpai whose paintersdo not confine the rather few figures to a panel but allow them to spread out over the entire surfaceof the vase.13 Some, like 682, have a wide zone of black glaze at the bottomjust above the foot; others have this area reserved. All the other black-figuredolpai from the Agora included here belong to the years after 530 B.C. when a new type of olpe is introduced.'4This variety also has a gently swelling body, yet it curves inward toward the neck more sharply than that of its trefoil counterpart.But its shape differs from the latter in more essential points: the thickened rim or one that is applied separately forming a torus, 692 (PI. 67), or occasionallyflaring and flat on top, 687 (PI. 66); the low strap handle that often has metallic-lookingprojectionson either side of the rim attachment,686 (Pl. 66) or 692; the low disk foot. The figureddecorationappears in a panel placedoppositethe handle so that the focus is on the front of the vase, not on the side as with the trefoil panel olpe. Above the panel there is almost always decoration,usually more than one band of ornament,and the arrangementof these patternedfriezes varies considerablyfrom painter to painter. 686, 687, and 692 (Pls. 66, 67) with
MOUTHNOT TREFOIL
9 An "eye" sometimes appears below the handles of column-kraters, e.g., Leningrad St. 55, perhaps by the Swing Painter (ABV 310; Bohr, Schaukelmaler, pi. 144: here [pp. 101-102] this detail is overlooked in the description). For remarkson the earliest panels in Attic pottery,cf. above, p. 5. 10Here are examples of three others:Tiibingen 5445/28 by the Gorgon Painter (ABV 9, 11; Paralip. 7, 11; CVA, Tubingen 3 [Germany 47], pi. 18 [2263]); two by the Ceramicus Painter: Kerameikos,inv. no. 40 (ABV 19, 2; KerameikosVI, ii, no. 107, pl. 93) and Athens, N.M. 16285 (ABV 19, 3). '1 Amasis Painter: ABV 152-153, 29-31; Paralip. 66 (including 681 [P1.66]); Bothmer,Amasis Painter, passim. Group of Trefoil Olpai: ABV 445, 1-12; Paralip. 192. 12This type of olpe is known only from the workshopsof the

Gorgon Painter, Amasis, and the Kriton Group. Cf. ABV 446, top; also Agora XII, p. 77. The earliest examples are these: Athens, N.M. 19176 by the Gorgon Painter (ABV9, 16;Paralip. 7, 16) and London, B.M. B 32 in his manner (ABV 11,16; Paralip. 8, 16); Boston, M.F.A. 1973.9: helmet between two seated panthers. Each has the decorationcontinuinground the vase. Athens, N.M. 19176 and London, B.M. B 32 have concave strap handles, Boston, M.F.A. 1973.9 a reserveddouble handle normally seen on trefoil olpai. 13ABV450-451; Paralip. 195. 14 There do not seem to be black-figuredexamples of this new type before the beginning of red figure (cf. Agora XII, p. 78).

OINOCHOAI

41

their combinationsof ivy, net, and key patterns provide a general illustrationof a few of the possibilities. Normally, the sides of the panel are accentedonly by a line of glaze, similar to those of the panel-amphora, but sometimes, as on 684, 686, and 691 (Pls. 66, 67), the panel is framed at the sides by ornament,ivy or net being the most common.Often the mouth is decoratedwith a checkerboard pattern, 686, 687, and 692, or it may be glazed, 683 and 694 (Pls. 66, 67).
TYPE UNCERTAIN: MOUTH LOST

695-722

Pls. 67-69

or to the first quarterof the 6th. Most of the olpai in this sectionbelong to the late 7th centuryB.C. 703-710 (Pls. 67, 68) are decoratedin the mannerof the Gorgon Painter, and 713-716 (Pls. 68, 69) may be attributedto the Group of Early Olpai. Since many of these fragmentsbelong to olpai with the figures set in a panel, it is tempting to place them in the trefoil-olpe section, not only because there are so few contemporaryolpai with plain mouths but also becausethe three earliest examples of this type have the decorationcontinuingroundthe vase.15But without the mouth, it is impossible to be absolutelycertain to which type of olpe each fragmentbelongs, and thus it is best to keep them apart. OINOCHOAI 723-776 Pls. 69-72 The oinochoe, in contrast to the olpe, has a much more globular body and often a heavyset appearance.But, like the olpe, the mouth of the oinochoemay be trefoil or plain, the handle high or low, and the foot echinus or torus. Often there are one or two rings on the neck, and the handle may have a ridge. Some of the clay varieties with their crisp contoursand sharply articulatedparts are metallic looking, and their potters may have had metal vessels in mind when they fashioned but only Shapes 1, 2, and 3, as well as their clay counterparts.There are many types of oinochoai,16 two special models, the Vraona type and a flat-bottomedone, are known in black figure from the Agora.
1 SHAPE 723-745 Pls. 69-71

This is the most common type of Attic black-figured oinochoe, and the largest number of oinochoai found in the Agora are of this type.17As with the olpai, the earliest examples appear in the workshop of the Gorgon Painter, although none so far is attributedto the painter himself.'8 723 (PI. 69) is in his manner, and 724 (Pl. 69) is contemporary.This type of oinochoe continuesuntil with the greatestnumberof them made duringthe secondhalf the early years of the 5th centuryB.C. of the 6th. Three early fragments,725, 726 (PI. 69), 731, are includedin this section. The curve of each is too strong to be that of an olpe, and it correspondsbest to that of oinochoaiof Shapes 1, 2, and 3. Since Shapes 2 and 3 do not appear until the secondhalf of the 6th centuryB.C.,these three fragmentsought to be Shape 1. Shape 1 is characterizedby a roundedor ovoid body that tapers sharply toward the foot with the maximum diameterset at about the middle or a little above.The shouldermay be rounded,e.g. 734 (PI. 70), or rather flat, e.g. 736 (PI. 70), and it is often offset from the neck. On the neck, there are sometimesone or two rings, e.g. 724 or 734 (Pls. 69, 70), giving the effect of a collar. 736 is unusual for having a double ring just below the start of the mouth. The handle is usually high, and it may be ridged, e.g. 735 (P1. 70) or concave, e.g. 736. The mouth is normally trefoil, but occasionallyit is plain, e.g. 735, and the foot is an echinus or a torus. The figures may be set in a panel opposite the handle, or they may continue round the vase, although the latter is less common.723 (PI. 69), 729,
16ABV, chaps. 28-30.
15 Cf. footnote 12 above, p.

40.

17Cf. Agora XII, pp. 58-59, with bibliography. 18ABV 10, 1-3; Paralip. 8, 1 bis (723: PI. 69).

42

SHAPE STUDIES

730, 733 (P1. 70), and the two miniatures,727 and 732, are the examples from the Agora. 729 and 730 have their figures set in friezes, similar to those on many contemporaryneck-amphoraeand The panels may or may not have lateral frames,but normallythere is a tongue patternon hydriai.19 the shoulderat the junction with the neck. Dots or ivy are favoriteframingornaments.The upright encircledpalmetteson 736 seem to have no parallel on oinochoai;their nearestcounterpartsappear on some contemporaryhydriai. The collar may be black, e.g. 723, 724, and 734 (P1. 70), or it may be decoratedwith a pattern,ivy, net, and hanging lotus buds being the types that occuron the Agora examples, 736, 737, 741 (Pls. 70, 71), and 742. 2 746 and 747 SHAPE ofet This type of oinochoeis very similar to Shape 1 in many of ts details shape and its principlesof of two that the are The main differencesbetween the decoration.20 body Shape 2 tapers very little towards the foot and the foot is very low and flat. The over-all effect is rather squat, heavy, and sturdy. Shape 2 begins much later than Shape 1, and it appears mainly during the last thirty years of the 6th t century B.c. The largest number of them belong to the Class of Vatican G. 47.21There are only two certain examples in the Agora black figure, 747 which has lost its mouth and handle, and 746, a miniature one which is very early.
SHAPE 3 (CHOUS) 748-765 Pls. 71, 72

The chous is a squat jug with a continuous-curveprofile between neck and body, similar to the one-piece amphora and the pelike. It has a trefoil mouth, a low handle that is often ridged, and a broad flaring foot.22In many respects, the shape seems to combinethe continuous-curveprofile of the olpe with the round body of the oinochoe of Shape 1. The chous is most common in Attic red figure and in plain black. In Attic black figure, the earliest attributed choes are by the Amasis The Painter and the Taleides Painter;23Boston M.F.A. 10.210 is signed by Taleides as potter.24 but none are of that earliest black-figured choes at the Agora, 748-753 (PI. 71), time, may be attributedto either of these artists. The rest of the Agora examples, 754-765 (PI. 72), belong to the late 6th or the early 5th centuriesB.C. the handle, and th width of the panel varies The figures are normally set in a panel oppositee accordingto the maximum breadthof the chous. Above the panel, there is a band of ornamentthat varies considerably, just as it does abovethe panel of the one-pieceamphora.753 (PI. 71) is unusual for having hanging lotus buds with dots, a rare ornamentabovethe panel of a chous. Sometimesthe panels have lateral frames, most often a net patternor two rows of dots, but more often the sides of the panels are simply accentedby a line of glaze, as they are on all the Agoraexamples. 764 is a rare example where the figures are not set in a panel but continueroundthe vase, and it ought to belong to the Class of Red-bodiedOinochoaiof Shape 3.25
SPECIAL: FLAT-BOTTOMED AND VRAONA

766 and 767

Pl. 72

766 is a miniature vase that resemblesthe larger conical oinochoeof Corinthianmanufacture.26 767 is of the rare Vraona type, which is named after the example in London that was found at
Cf. Agora XII, p. 60, with bibliography, 21 ABV 429-430, 1-27; Paralip. 184-185. 22 Cf. Agora XII, pp. 60-63, with bibliography. 23 Amasis Painter: ABV 153-154, 41-46; Paralip. 64, 4145; New York, M.M.A. 1978.11.22 (Bothmer,AmasisPainter, pp. 154-155, cat. no. 33). Taleides Painter:ABV 174, 3 and 4.
20

19Cf. above, pp. 9 and 36.

Sparkesand Talcott (AgoraXII, p. 63) have suggestedthat the appearance of Shape 3 is to be linked with these two artists, especially the workshopof Amasis where experimentationwas particularlylively. 24 ABV 174, 3. 25 For the class, cf. ABV 439-440, 1-6 and Paralip. 191. 26 See the catalogueentry for 766.

LEKYTHOI

43

Vraona (Brauron) near Spata.27It has a short cylindricalbody with slightly concavesides, a rather flat shoulder, and a high double handle. The neck is mostly lost, but the height of the handle indicates that it was long. The mouth is not preserved,but on the few Vraonas where it remains, it is flat. The general effect of the Vraona type is very metallic looking.
OINOCHOAI, TYPE UNCERTAIN

768-776

P1. 72

All these, except 768 and 769, are late black-figuredoinochoai. 768 and 771-774 preservethe shoulder and therefore can be seen to be Shape 1 or 2, but without the lower part of the body it is impossible to be more specific. The rest of the oinochoai in this section are too fragmentaryto permit identificationof the type.
OLPAIOROINOCHOAI777-786 P1. 73

None of these fragments preserves a feature that would identify it specifically as an olpe or an oinochoe. 777 is by the Gorgon Painter or in his manner, and 778 has certain affinities with Sophilos. LEKYTHOI 787-1256 Fig. 15 Pls. 73-87

The lekythos is the most common of all the shapes decoratedin black figure found in the Agora, particularlyfrom ca. 510-480 B.C.,the period when many artists specializedin the shape.1In general, the lekythos is characterizedby a narrow neck with a flaring mouth, a short vertical handle attached at the shoulder and the neck, and a sturdy foot. The shape of the mouth, body, and foot varies a good deal from period to period and from potter to potter. Most of the Agora black-figured lekythoi are small vessels of the type used to furnish out commongraves.2Only a few, such as 789 (P1.74) and 817 (PI. 75), are of the very highest quality. The Agora lekythoi span the entire period that the shape is decoratedin black figure, and a remarkablylarge number of them from a single deposit are especially well preserved.3 In Attic black figure, there are two main types of lekythos. The earliest is the Deianeira type, named after the subjecton London, B.M. B 30, attributedto the mannerof the Gorgon Painter.4It has a biconical body supported by an echinus foot, a curving mouth roundedon top, a thick drip ring, and a short concave handle. The type derives from the Corinthian alabastron5but is then borrowedby the Corinthiansfor their lekythoi. Most of the known Deianeira lekythoi are from the early 6th century B.C.,although some occur as late as the third quarter, e.g. 798 (P1.75), but these are rather weakened versionsof the earlier examples.6The earliest black-figuredlekythosfrom the Agora, 787 (P1. 73), is a unique variant of the Deianeira type. It is contemporarywith the first generationof Attic black-figurepainters but is difficultto attributeto a specificartist. In shape and date, it stands somewhat apart from the other lekythoi from the Agora.
27

London, B.M. 1905.7-11.1 (ABV 443, 3).

' For the shape, cf. particularlyABL; Agora XII, pp. 150152; also, Kurtz, Athenian White Lekythoi, pp. 5-22, and 7781 for black figure. For the name, cf. Richter and Milne, Shapes and Names, pp. 14-15. On the origin of the Attic type, cf. J. de la Geniere, BCH 108, 1984, pp. 91-98. 2A good idea of these offerings may be gained from U. Knigge, Kerameikos,IX, Der Siidhiigel, Berlin 1976.

3 The deep well of the late Archaicperiod beneath the gutter of the Stoa of Attalos (H. A. Thompson, Hesperia 24, 1955, pp. 62-63). These and the other vases found with them are the subjectof a separatestudy by S. R. Roberts(Hesperia 55, 1986, pp. 1-74), which focuses on workshopsand potters. 4 ABV 11, 20; NC, p. 191. 5ABL, p. 1. 6 ABL, chaps. 1 and 3.

44

SHAPE STUDIES

The second type is the shoulderedlekythos, which is the dominanttype from the second quarter of the 6th century B.C. on. It is a purely Attic shape7 and first appears at just about the time the The sloping shoulderof the lekythosis well set off from the body, shoulderedhydria is introduced.8 which is broad at the top, slightly swelling in contour,and tapering downwardtoward an echinus foot. Early examples retain the mouth, drip ring, and concavehandle of the Deianeira type, but later, these featuresare given up. It is not certainwho was the first potterto fashion the shouldered lekythos, but the earliest examples are decoratedby the C Painter and one or two of his contemporaries.9A large number of shouldered lekythoi are by the Amasis Painter,10although none is 789 (PI. 74), the very signed by Amasis as potter, and all of them are earlier than his signed vases.11 fragmentarylekythosby Lydos, is the earliest example in the Agoraof the shoulderedtype, and it is probablynot very much later than some of the lekythoi by the Amasis Painter. The figures on 789 continuedroundthe vase, as on so many others of the time, including791 (P1.74), an odd piece that is difficultto parallel in shape, although its figure style has some affinitieswith Elbows Out. Both of these lekythoi have figures on the shoulder as well, rather than a floral pattern as is generally the case later. A single line usually separates the shoulder from the body decoration, although occasionally a pattern may appear at the top of the figure zone on the body, e.g. 790 (P1. 74). The mouth and handle and the area below the figures, includingthe foot, are black. Normally, the neck is unglazed, except for those lekythoi with drip rings, which have a black band.'2This rather squat type of shoulderedlekythos becomesthe preferredtype in the third quarter of the 6th centuryB.C., and artists such as those of the Dolphin Group, e.g. 797 and 798 (PI. 75), the Fat-runner Group, e.g. 800-802 (PI. 75), and the Group of Vatican G. 52, e.g. 805-813 (P1.75), preferdecoratingthis shape.13
7ABL, p. 1. 8ABL, p. 7. 9 C Painter: Orvieto 296 (ABV 58, 126; Bothmer, Amasis Painter, p. 38, fig. 20); Kerameikos (ABV 58, 127); Oberlin 41.44 (ABV 58, 128). The Sandal Painter:Athens, N.M. 1056 (ABV 70, 4); Barcelona 52 (ABV 70, 5); Paris, Musee Rodin 237 (ABV 70, 6); Bologna PU 204 (ABV 70, 7; Paralip. 28, 7); Oxford 1934.353 (ABV 70, 8; Paralip. 28, 8). Not far from the Sandal Painter: Athens, N.M. 415 (ABV 70, -); Related to him: Athens, N.M. 371 (ABV 70, -); Near him: Sofia 6285 (Paralip. 28). Recalls the Griffin-bird Painter: Athens, N.M. 413 (ABV 75, -). 10ABV 154-155, 49-61; Paralip. 66; Bothmer, Amasis Painter, pp. 168-191, cat. nos. 39-50. Furthermore,the Amasis Painter also decorated a lekythos of the Deianeira shape (Athens, N.M. 404: ABV 155, 62; Bothmer, Amasis Painter, p. 193, fig. 101) and two of the sub-Deianeira shape (Villa Giulia: ABV 155, 63; Bothmer,Amasis Painter, p. 153, fig. 94; Copenhagen, inv. no. 14067: Paralip. 66; Bothmer, Amasis Painter, pp. 192-193, cat. no. 51). 11 Signedvases:three neck-amphoraeof a special shouldered type: Cab. Med. 222 (ABV 152, 25; Paralip. 63, 25; Bothmer, Amasis Painter, pp. 125-129, cat. no. 23), Boston, M.F.A. 01.8026 (ABV 152, 26; Paralip. 63, 26; CVA, Boston 1 [USA 14], pls. 26 [648], 28 [650]:1, 2; Bothmer, Amasis Painter, pp. 130-133, cat. no. 24), and Boston, M.F.A. 01.8027 (ABV 152, 27; Paralip. 63, 27; CVA, Boston 1 [USA 14], pls. 27 [649], 28 [650]:3;Bothmer,Amasis Painter, pp. 134-137, cat. no. 25); two olpai with trefoil mouth: Louvre F 30 (ABV 152, 29; Paralip. 63, 29; Bothmer,Amasis Painter, pp. 140-142, cat. no. 27) and Wurzburg 332 (ABV 152, 30; Paralip. 63, 30; Bothmer, Amasis Painter, pp. 143-144, cat. no. 28); two olpai with flat mouth: London, B.M. B 471 (ABV 153, 32; Paralip. 64, 32; Bothmer, Amasis Painter, pp. 150-151, cat. no. 31) and once Canino (ABV 153, 33); a band cup in Malibu, 79.AE.197 (Bothmer, Amasis Painter, pp. 204-207, cat. no. 55); a cup of special type: Vatican 369 a (ABV 157, 87; Paralip. 65, 87; Bothmer,AmasisPainter, pp. 223-225, cat. no. 62). Add, probably, the small beakerlikevessel from the North Slope, R. 294, which preserves the name but not the verb (ABV 157, -), and the fragmentary tripod-pyxis found at Aphaia (photo D.A.I. Athens, 72. 3409-3415; Bothmer, Amasis Painter, pp. 236-238, Appendix no. 4), which has the last two letters of the verb;also a black-figuredlekythosin the J. Paul Getty Museum attributedto the Taleides Painter and signed by Amasis on the undersideof the foot (76. AE. 48: J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vases in the J. Paul Getty Museum 1, 1983, p. 37, fig. 3; B. Legakis, "A Lekythos Signed by Amasis,"AK 26, 1983, pp. 73-76; Bothmer,Amasis Painter, p. 229, Appendix no. 1). In addition, Bloesch has sugin Londonis gested that the potting of Lydos' psykter-amphora by Amasis (ABV 109, 29), but this has been stronglyquestioned (Paralip. 44, 29). D. Callipolitis-Feytmans(Les plats attiques, pp. 87 and 91) believesthat Amasis may have fashioneda plate decoratedby Lydos, Akropolis 2402 (ABV 111, 49; Tiverios, pl. 81:e). Furthermore,Bothmerhas shown that Amasis is very likely the father of the potter Kleophrades (D. von Bothmer, 'AAazobos,"The Journal of the J. Paul Getty Mu"'"AAautrm, seum 9, 1981, pp. 1-4; Bothmer,Amasis Painter, pp. 230-231, Appendix no. 2). 12Cf. ABL, pp. 7-19 for a full discussionof the treatmentof the mouth, neck, and shoulderof early shoulderedlekythoi. 13Dolphin Group (ABL, pp. 193-194, 1-18; ABV 457458, 1-22; Paralip. 199); Fat-runner Group (ABV 459-460, 1-12; Paralip. 201-202); Group of Vatican G. 52 (ABV 460461, 1-37; Paralip. 202). Many of the vases by the Dolphin

LEKYTHOI

45

Around 530 B.C.,the so-called cylinderlekythos is introduced,a more graceful, elegant versionof the shoulderedlekythos than the earlier one.'4 The shape of the body gives the type its name. The neck and shoulder form a continuous curve, the mouth is flaring or calyx shaped and flat on top. Beneath the figure zone, the body curves downward toward the torus foot and is sometimes separated from it by a fillet. The new shape provides a taller pictorial surface, and, together with a short-livedvariant that slopes sharply toward the foot,15 it becomesthe prevalenttype of lekythosin Attic black figure, although the older shoulderedtype continues,particularlyin the workshopof the Phanyllis Group, 824-836 (PI. 77).16 The scheme of decorationon cylinder lekythoi is a simple one. Normally, there is an ornamental pattern on the shoulder, often hanging lotus buds or palmettes, with a tongue pattern above at the start of the neck. On the body, there is usually a pattern above the figures at the junction with the shoulder. The figures themselvesmay be confinedto the principal view of the vase, or they may continuecompletelyaround,the subjectdeterminingthe use of the format. The area below the figures is glazed black, although often there is a narrow reserved band that serves as a transitionfrom the very light backgroundfor the figuresto the solid black zone below. The sides of the mouth and handle and the top surface of the foot are glazed. As may be expected, there is considerablevariation in details of shape and scheme of decorationaccordingto potter and workshop. There are not very many black-figuredcylinderlekythoi from the Agora that may be datedbefore 500 B.C. The most impressiveof them, if perhapsthe most enigmatic,is the earliest, 817 (PI. 75), the very beautiful fragmentaryone that may be by Psiax. The figured decorationis painted on white ground, an early example of the technique17and the earliest in the Agora. Below the main zone, there is a figured predella, a feature that does not seem to occur elsewhere on lekythoi but may in this case derive from other funerary shapes, loutrophoroi and plaques, where it is well known. Thus, one need not look too far to discoverwhat may be the sourceof inspirationfor the predellaon 817. The best-preservedlekythos of this period from the Agora is 821 (P1.76), which has affinities with the Leagros Group but is difficultto attributeto one of its painters. Both 821 and 822 (P1.77) are unusual for having a band of ornamentbelow the figures. The chief painter of lekythoi during the late years of the 6th century is the Edinburgh Painter whose handsome,elegant cylinder lekythoi are well known. Only two certain examples of his lekythoi have been found in the Agora (884 and 885: P1. 80), although another may be by him (886: P1. 80), but these are too fragmentaryto give an idea of the shape preferredby him. By far the largest number of Agora lekythoi from this time belong to the Phanyllis Group (824-836: P1. 77) and the Cock Group (837-863: P1. 78), whose painters specialize in the shape and whose period of activity lasts beyond the turn of the century, the time when the lekythos begins to enjoy its greatestpopularity. The painters of the Phanyllis Group continue to decoratethe older type of shoulderedlekythos that was the normal shape before the introductionof the cylinder, but their potters modify its appearance somewhat by making it slimmer. The body of the Phanyllis lekythos has a slightly swelling contour, and the tapering toward the foot beginsjust beneath the figure zone, which is set rather high. The foot is disk shapedwithout a fillet between it and the body. The mouth is wide and flaring. 829 and 830 are very broad, rather heavy examples of the type. 827, 831 (PI. 77), and 832 are more typical of the Phanyllis shape. Painters of the Phanyllis shape also decoratea cylinder type of lekythos. This has a rather weak contour, a wide mouth, and a disk foot with or without a
Group have been shown to be Euboean (Paralip. 199; Bothmer, Metr. Mus. Journal 2, 1969, pp. 32-38). Some of the Agora examples may fall into the Euboean category, but since they appear in ABV or Paralip. without a Euboean designation,we have included them here. 14ABL, p. 41. ABL, p. 48. 16 ABL, p. 63. 17For the early use of white ground, cf. Mertens, Attic White-Ground,pp. 27-43.
15

46

SHAPESTUDIES

fillet between it and the body. The body tapers below the figureddecoration.835 (PI. 77), although very fragmentary,is the only example from the Agora. The chief differencebetween the two types of lekythoi used by the Phanyllis Group is that on the cylindertype the figures occupy more of the surface of the body, resulting in a more pleasing relationship between the shape and the figured decoration.The ornamentaldecorationon the shouldervaries but may be the same for each type: palmettes (e.g. 835), invertedlotus buds (e.g. 824, 825: PI. 77), or as in the Group of the Hopliteleaving-home, an upright palmette between draped figures (e.g. 829-834: P1. 77). Above the figures, there is sometimesa key pattern (e.g. 835), but more often there is just a line of glaze at the junction of the shoulderwith the neck. The area below the figuresis glazed black. Closely relatedto the Phanyllis Group are the more numerouslekythoiof the CockGroup, which takes its name from the long-tailed cock painted on the shoulder. The shape is similar to the Phanyllis type, but the quality of the decoration is lower. The examples from the Agora, 837-863 (PI. 78), are good illustrationsof the group. Contemporarywith the majority of lekythoi of the Phanyllis Group and the Cock Group are those by the Gela Painter who deriveshis name from the large number of his vases that have been found at Gela in Sicily.18Very few of the Gela Painter's vases have been excavatedin mainland Greece, but the comparativelylarge numberof his lekythoifrom the Agora indicatesthat there was also a market for his work at home. The Gela Painter's lekythoi are slender cylindersand usually have a top-heavy appearance,for the body is too short for the tall neck and the large calyx-shaped mouth. Between body and foot, there is a fillet. The foot may be a plain torus or one in two degrees, similar to the feet of amphoraeType A and calyx-kraters.869 and 870 (PI. 79) are good examples from the Agora. On the shoulder, there is a configurationof palmettesthat is often combinedwith buds. Above this, there is a tongue pattern.Of the eight variationsdistinguishedby Haspels,19four appear on Agora lekythoi: II a, five palmettes between two buds (869-871: P1. 79); II b, five palmettes between vestiges of buds (873); III a, three palmettes between two horizontal buds (872: P1. 79); III b, three palmettes between two downward buds (874-876). Normally, the neck is reserved.872 (P1.79) is unusual for having patternsand in this respectrecalls the one in Boston.20 The Gela Painter nearly always includes a band of ornamentabove his figures, most often the net pattern (e.g. 869,871, and 874: P1.79), the key patternto right (870,877: PI. 79), and, on his better of which there is no example on his lekythoifrom the Agora.Occasionallyhe pieces, a checkerboard omits the ornament(872,878: PI. 79). The area below the figuresis glazed, either completelyplain, (e.g. 869, 870) or with a reservedband (e.g. 871,874). The top surfaceof the foot is always glazed. Those in two degrees have a reservedvertical member and a glazed torus (869, 870: PI. 79). The side of the plain torus foot may be glazed (874, 875, and 879: PI. 79) or reserved(878: P1.79). During the first three decadesof the 5th centuryB.C., the mass productionof small black-figured lekythoimust have occupiedmany artists in the Kerameikos.The workshopthat fashionedlekythoi of the Class of Athens 581 seems to have been particularlybusy, at least to judge by the very large number of its products that have survived. In the Agora, they are the most numerous of all the lekythoi, 887-1124 (Pls. 80-85), surpassingin numberthose of the Haimon workshop,which was also bursting with activity around the time of the Persian Wars. These small lekythoi of the Class of Athens 581 have a calyx-shapedmouth, and the body tapers below the figures to a simple disk foot. Two variationsmay be distinguished,each accordingto the shoulderdecoration.Lekythoiof the Class of Athens 581, i have hanging lotus buds, often with dots in the interstices, and tongues above. They are usually of slightly higher quality than the second
1sABL, 78. p. 19ABL, pp. 205-212. 20Boston, M.F.A. 93.99 (ABL, p. 206, no. 5 and pi. 23:1).

ALABASTRON

47

variation, the Class of Athens 581, ii, on which the buds have been reducedto rays, although the tongues are retained. Both types have a line at the junction of the shoulder, and the black glaze below the figures is usually interruptedby a narrow reservedband. 890 (P1. 80) and 948 (P1. 82) are good examples of each type. Of the other major lekythos workshops, only productsof the Haimon Group have been found in any quantity in the Agora (1182-1237: PI. 87). The Haemonian lekythos is a tall, slender vessel. The contourof its body may be gently convexor slightly concave.It has a calyx-shapedmouth and a foot in two degrees, consisting of a high vertical member above a very low torus. The ornamenton the shoulder recalls that of the Class of Athens 581, ii: a tongue pattern,then lotus buds reducedto rays. Above the figures is an ornamentalpattern, usually a key (e.g. 1182, 1184, 1188: P1.87) or a dot band (e.g. 1187, 1216: PI. 87). Many of the Agora Haemonians are very fragmentary,but 1188 and 1221 (P1.87) are good, well-preservedexamples of the productsof this workshopand illustrate their basic characteristics. One small fragment (1160: PI. 86) may be by the Diosphos Painter, but other than this, the only lekythoi from the workshop of the Sappho Painter and the Diosphos Painter belong to the Littlelion Class (1161-1176: PI. 86), which seems to be an invention of this workshop.21These small lekythoi take their name from the decorationon the shoulder:lions (e.g. 1172, 1173). The shape is characterizedby an echinus mouth, a long neck, a very flat shoulder,and a bodythat curvessharply toward a thin disk foot. Instead of lions on the shoulder,most of the Agora examples have inverted lotus buds with tongues above. The area below the figures is solid black. A number of Little-lion lekythoi belong to the Hound-and-hare Group, named for the subject on the shoulder. Four examples have been found in the Agora, 1177-1180 (P1. 86), two of them almost completely preserved. Only one Agora lekythos comes from the workshopof the Theseus Painter and the Athena Painter, 1181 (PI. 87), a white-ground one attributedto the latter. The mouth, neck, and shoulder are missing, but all of the torus foot is preserved, and enough of the body remains to determine the shape. It is derived from the tall cylinders favoredby the Edinburgh Painter that in turn are preferred by the Athena Painter.22 In addition to the large quantity of mass-producedlekythoi of the early 5th century, the Agora excavationshave also yielded one small example of a squat lekythos, 1256 (P1.87), a variantthat is more familiar in red figure than it is in black figure.23 Attic black-figuredlekythoi continue to be produceduntil the middleof the 5th centuryB.C.,24 but the series from the Agora seems to end by about 460 B.C. ALABASTRON 1257 P1. 88

The alabastron is a small, elongated perfume pot with a rounded bottom, a narrow neck, and a wide-rimmedflat mouth with a small opening much like that of the aryballoswith which it shares a similar function. It may or may not have small lug handles set high on the wall above the figures.1
ABL, p. 98. ABL, p. 147. 23 For the shape, cf. W. W. Rudolph, Die Bauchlekythos. der attischenKeramikdes 5. Ein Beitrag zur Formengeschichte Jahrhundertsv. Chr., Bloomington 1971. 24 Beazley, Development,p. 87.
22 21

For the shape, cf. Richter and Milne, Shapes and Names, p. 17; more particularly,H. Angermeier,Das Alabastron(Ein Beitrag zur Lekythen-Forschung), Giessen 1936 and ABL, pp. 100-104; also E. Vanderpool,Hesperia 8, 1939, p. 251. For

48

SHAPE STUDIES

The shape has a long history at Corinth, and it is especiallycommonin Early Corinthianpottery.2 It does not appear in Attic black figure until about the middle of the 6th century B.C.;the earliest example is 1257 by the Amasis Painter who also decoratedone of the earliest Attic black-figured aryballoi, which is of the Corinthian, not the Attic, type.3 1257 is heavier, fuller, and more ovoid than the later type of alabastron, which is somewhat elongated and more cylindrical. It is most unfortunatethat the mouth and neck of 1257 have not survived. After 1257, the next Attic black-figured alabastra are the three examples by Psiax of about with the earliest red-figuredexamples, the Group of 520-510 B.C.,4 which are almost contemporary the Paidikos Alabastron.5Elsewhere in Attic black figure, alabastraappear only in the work of the Diosphos Painter and the Emporion Painter, and thus they continue until the very end of Attic black figure.6Very many of these late alabastrahave the decorationon white ground. The scheme of decorationis a simple one. Usually there is a single zone of figures that continues roundthe vase.7Above,there are bandsof ornamentalpatterns.The rest of the vase is black,but for one or more reservedlines below the figures. 1257 is unusual for being reservedbelow the figures except for the pattern on the very bottom. PHORMISKOI 1258 and 1259 P1.88 The phormiskos has a bulbous, ovoid body with a rounded or flat bottom. The shoulder slopes sharplyto a narrowcylindricalneck that terminatesin a small knobor tapersto a curvedpoint. The top of the neck is often pierced with two holes for suspension.1The decorationis set in friezes of varying widths with a prothesis often depicted in the main zone. Above and below, there may be several friezes of ornament or, occasionally,one or two animal friezes, then ornamentalpatterns. The exact use of the phormiskosis uncertain,but it seems to have serveda funerarypurpose.There are not very many Attic black-figuredphormiskoi,and 1258 and 1259, shoulderfragments,are the only examples from the Agora.

white-ground examples, cf. Mertens, Attic White-Ground, pp. 35-40, 95-100. 2 For a summary, cf. NC, p. 281. 3New York, M.M.A. 62.11.11 (Paralip. 66; Bothmer, Amasis Painter, pp. 194-197, cat. no. 52). Cf. also, Bothmer, "Three Vases by the Amasis Painter," MadrMitt 12, 1971, pp. 123-130, esp. pp. 125-127, with bibliography for the shape. Bothmer (p. 130) places this aryballos among the early works by the Amasis Painter. The zigzags on top of the mouth recall their use abovethe figures on 1257, which Beazley places very early in the career of the Amasis Painter (ABV 155, 64). Hence, the two cannotbe far apart in time, and it is temptingto ask if Amasis may have had a hand in forming the two vessels. 4 Leningrad 381 (ABV 293, 12; Paralip. 127, 12) and Munich 2294 (ABV 293, 13), both on white ground;London,B.M. 1900.6-11.1 (ABV 294, 25), in Six's technique. For discussion,

cf. Mertens, Attic White-Ground,pp. 35-40. 5ARV2 98-101, 1-30; Paralip. 330-331; Mertens, Attic White-Ground,pp. 128-129, 131-132. 6 Diosphos Painter: ABL, p. 237, nos. 102-117 bis; ABV 510, 21-24; 703, 24 bis; Paralip. 249-250. Emporion Painter: ABL, pp. 263-264, nos. 1-26; ABV 584-585, 1-14; 709, 2 bis; Paralip. 291; manner of the Emporion Painter: ABV 585, 1 and 2; Paralip. 292; connected with the Emporion Painter: ABL, p. 265, nos. 1-5. Cf. also, Mertens, Attic White-Ground, pp. 95-100. 7 For an alabastron with two friezes of figures, cf., e.g., Athens, N.M. 12768 in the manner of the Haimon Painter (ABL, p. 245, no. 83; ABV 555, 423). For the shape, cf. O. Touchefeu-Meynier, RA, 1972, pp. 93-102 and R. Hampe, AA (Jd 91), 1976, pp. 192-202.

PYXIDES

49

KOTHONS 1260-1264 Pls. 88 and89

The kothon is a vessel used to hold scented liquid. It may not have been called so in antiquity, and there has been a recent attempt to identify it with the exaleiptron,but until its real name has been as in AgoraXII (p. 180) and in AB V agreed upon, we shall retain the conventionalname "kothon", (passim).I The basic characteristicof all kothonsis the curvedshoulderwith deep overhang,which preventedthe liquid from spilling. There are two main types, each known in Attic black figure. The first is multiple-legged, usually tripod,2with each leg attachedto the outside of the receptacle.3 The second has a central support, a flaring foot joined to the bottom of the receptacle.4Occasionally, there are two or three lug handles attachedto the rim. The shape is known from the late 7th century B.C. until the beginning of the 4th.5 In Attic black figure, the earliest are by the Gorgon Painter, Most Attic Akropolis 506, a shoulderfragment,and Athens, N.M. 19172, which is well preserved.6 black-figuredexamples belong to the first half of the 6th century B.C., particularlyto the Komast Group, the Polos Painter, and the C Painter.7Most of these, but for Athens, N.M. 19172, are of the tripod type. Those from the Agora are very fragmentary. 1260-1262 (Pls. 88, 89) are shoulder fragments, including one by Lydos, and one may not be certain to which type of kothon each belonged. 1263 (PI. 88) is the lid of a tripod-kothonby the Polos Painter, and 1264 (PI. 89) is a patterned lid.

PYXIDES
1265-1296 Fig. 16 Pls. 89-91

The pyxis is a receptacle for cosmetic powder or jewelry, and it is used mainly by women.1 Although a domesticarticle, pyxides are found mostly in graves, which explains the paucity of examples from the Agora. Most of these are tripod-pyxides, 1267-1278, or pyxides of Type A, 12791286. 1290-1296 are lids, mostly fragments, belonging either to tripod-pyxides or to pyxides of Type A, except for 1295 (P1. 91), which comes from the type having a receptaclethat looks like a variant of the Nicosthenic pyxis. The receptacleis plain black;decorationis confinedto the lid.2
TYPE 1265 and 1266 CORINTHIAN P1. 89

This type of pyxis is identified chiefly by its convex wall that gives the vessel a globular appearance.3 Some are without handles;4 others, as 1266, have two upright cylindrical handles
For the shape, cf. Agora XII, pp. 180-181, with bibliography; ABV 348-349; also B. F. Cook, Bull. Metr. Mus. 21, 1962/63, p. 32; P. Mingazzini, AA (Jdl 82), 1967, pp. 344361; I. Scheibler,AA (JdI83), 1968, pp. 389-397; F. Brommer, AA (JdI 95), 1980, pp. 544-549; J. de la Geniere, MonPiot 63, pp. 31-34. For kothonswith splaying feet, cf. Bothmer,ArtBull 57, 1975, p. 122. 2 Munich 6072 has four legs (CVA, Munich 3 [Germany9] 35, p. fig. 5, and pl. 139 [421]:3-5). 3A good example: Brussels A 3 by the Painter of London B 76 (ABV 87, 21). 4A good example: Athens, N.M. 19172 attributed by Scheibler to the Gorgon Painter (JdI 79, 1964, p. 97, figs. 18, 19; Paralip. 7 where the number is given as 16172). 5

Agora XII, p. 181. Akropolis 506 (ABV 9, 10); Athens, N.M. 19172 (footnote 4 above). Komast Group: ABV 25, 13 and 14; 29; 33, 1. Polos Painter: ABV 45, 23-27; Paralip. 20, 25. C Painter:ABV 58, 122-124; 681, 122 bis; Paralip. 23, 122. For the Lille kothon (ABV 681, 122 bis), cf. MonPiot 63, 1980, pp. 35-38, figs. 2-6.
6

1 For the shape, cf. Agora XII, pp. 173-178; also, for the earlier examples, KerameikosVI, ii, pp. 182-183, 186-187. 2 For a list, cf. Paralip. 284. 3 NC, pp. 305-307. 4 NC, 306, p. esp. no. 861, fig. 141 (Corinthian).

50

SHAPE STUDIES

attachedto the shoulder.The rim is fittedto receivea lid and is either incurving,as 1265 (PI. 89), or upright for a lid that fitted over it, similar to the lid of the powder pyxis but with a knob in the center. 1266 is of the latter type. The foot is an echinus one. The system of decorationon 1266 is unusual, for on each side the figures are set in a panel with a frieze of figures above.5
TRIPOD-PYXIDES 1267-1278

Pls. 89, 90

The tripod-pyxis has broad, slightly flaring legs that are usually decoratedwith figures. The foot is normally an echinus one and glazed black, as 1267-1270 and 1274 (Pls. 89, 90), although sometimes on the lesser examples, e.g. 1271 or 1272 (PI. 90), the vessel lacks feet and the legs themselves are the supports.The rim is also glazed black and fitted to receivea lid whose diameterequals that of the rim when measuredat the outside. No Agora lid may be matchedwith its pyxis. The interior of the receptacleis glazed black. The earliest preservedattributedAttic tripod-pyxisseems to be the fragmentaryone from the Akropolisby a painter of the Group of the Dresden Lekanis.6The shape is known throughoutAttic black figure, but it neverbecomesvery common,and the greatestnumber of attributedexamples, including 1275 (PI. 90) and 1276, are by paintersof the Swan Group. Most of the Agora tripod-pyxides belong to the second quarter of the 6th century, particularly to the years around the middle of the century.
TYPE A

1279-1286

P1. 90

This type of pyxis is mainly a figuredshape.7Its walls are slightly concaveor nearly straight.The inside of the rim is often flangedto receivea lid with downturnededge, e.g. 1282 and 1286 (P1.90), or it may be plain, e.g. 1280 and 1285. On the latter type, the lid has a flange on its undersideto preventit from slipping off the pyxis. The foot is very low and may be tripartiteor quadripartite,or it may be a simple ring, e.g. 1283 (P1. 90). Occasionally,the vessel lacks a foot, and the floor of the receptacleacts as its base, e.g. 1281 (PI. 90). To judge by 1279, which has a lid with very careless decoration,this type of pyxis in Attic black figure begins early in the 6th century B.c.,8 although most of the examples, including those from the Agora, belong to its secondhalf and to the early 5th.
POWDER PYXIDES

1287-1289

Pls. 90, 91

The sides This little vessel is characterizedby its lid, which slips completelyover the receptacle.9 may be straightor slightly flaring, and the bottomof the box often protrudesslightly so that the side of the lid rests on a narrow ledge and the profile is not interrupted.1288 and 1289 (P1.91) are good examples. The top edge of the lid is roundedand sometimesprojectsslightly, e.g. 1287 (P1.90) and 1288. Only the lid is decorated;the receptacleis reservedor glazed. Powder boxes appear in Corinthian during the 7th century,but in Attic black figure they are mainly late products,decoratedin a hasty careless manner. A good number of them, including 1287, are by painters of the Swan Group. LIDS 1290-1296 P1.91 See above, p. 49.
5 For another, cf. Princeton 48.54, attributed to the Dolphin Group (ABV 458, 26). 6 Akropolis 510 (ABV 22, 10). A well-preservedbut unattributed example, Kerameikos, inv. no. 44, is probably from about the same time, or even a little earlier (KerameikosVI, ii,

no. 130, pl. 100). 7 For this type, cf. Roberts,Pyxis. 8 Kerameikos VI, ii, p. 183; Roberts,Pyxis, p. 9. 9 Cf. AgoraXII, p. 175. Add:Prague 22.88 (CVA, Prague 1 [Czechoslovakia1], pl. 34:2, 3).

LEKANIDES

51

LEKANIDES 1297-1360 Pls. 91-93

The lekanis is a low, rather wide bowl with two horizontal, metallic-lookinghandles. Early examples have a short, conical foot, later ones a flaring ring base. The vessel may be lidless or lidded.1 In Attic black figure, the lekanis is best known in the early period, particularlyin the work of the Nettos Painter and the Panther Painter, as attested by the finds in the cemeteryat Vari.2 About a dozen were decoratedby the KX Painter, including 1336 (PI. 92), and a few others appear in the work of his contemporaries.3Later, more than 60 are known in the work of the Polos Painter, including 12 found in the Agora, 1311-1321 (PI. 92) and 1344 (Pl. 93).4 Elsewhere, the lekanis appears as an isolated example or two in the work of various painters,5and in Attic black figure does not seem to last beyond 500 B.c.6The Agora examples stop well before this date.
LIDLESS 1297-1329 Pls. 91, 92

The largest number of lekanides from the Agora are of the lidless variety, which is characterized by a broad, flat, projectingrim. It appears earlier in Attic black figure than the lidded type, for the gap in time between the beginning of the one and that of the other appears to be a little more than two decades (see below, p. 52). The earliest example from the Agora, 1297 (PI. 91), is by the Gorgon Painter and thus is a bit later than those by the Nettos Painter but about the same time as the ones by the Panther Painter.7The largest numberof lidless lekanidesfrom the Agora attributed to a single painter are the 11 by the Polos Painter, 1311-1321 (PI. 92). 1322 may be by him or his companion,but the surface is too worn to be certain of an attribution. The scheme of decorationis a simple one. In the tondo there is a figure or an ornament.Among the Agora examples, only 1297 with its whirligig(?) preservesthis part, but the lekanidesfrom Vari give a good idea of the range of subjects.8On the outside, there is usually an animal frieze on each side that continues under the handles, e.g. 1300 (PI. 91), 1308, or 1315. Abovethe foot are rays, and between the rays and the figures there is often an ornamentalband, e.g. 1297, 1299, 1301 (PI. 91), or 1323. The figures may reach to the rim, e.g. 1303, 1306, 1309, 1310 (PI. 91), and those by the Polos Painter, 1311-1321 (Pl. 92), but more often there is a band of decorationsuch as the guilloche, rosettes,or verticallines, e.g. 1298 and 1299 (PI. 91) or 1304. Occasionallythere is morethan
For early Attic black-figured lekanides, cf. Kerameikos VI, ii, pp. 188-189; also, Karouzou,'AvayvpogvTros, pp. 1534, 50-73. For the lidded variety, cf. Richter and Milne, Shapes and Names, pp. 23-24. The best discussion is, however, that in latter is unusual in having upright handles attachedto the flat surface of the rim, each surmountedby a seated mourner;compare a similar example but with just the handles, Copenhagen, inv. no. 7327 (CVA, Copenhagen 3 [Denmark 3], pl. 100 [102]:4). 4 ABV 45-46, 29-85; Paralip. 20. 5 E.g., mannerof Lydos f: animal pieces (ABV 118,41-47, including 1350: PI. 93), a large number of examples for the time; also 1351 (P1. 93), or three from the Akropolis near the Ready Painter (ABV 130, 1-3), or the one by the Painter of the Vatican Mourner, Wurzburg 442 (ABV 140, 5). 6 The liddedversion lasts much longer and is well known in later red figure. Cf. Agora XII, pp. 165-167. 7 Nettos Painter: ABV 5, 6-9; Paralip. 4, 17-24; Panther Painter:ABV 18, 1-5; Paralip. 11-12, 1-20. 8 Karouzou, 'Avayvpovvros,pls. 29-74.

AgoraXII, pp. 164-173.

2 Nettos Painter:Paralip. 4, 17-24; Panther Painter:Paralip. 11-12, 1-20. The group is fully discussed by Karouzou, 'Avayvpovvros, locc. citt. 3 KX Painter: ABV 24-25, 1-10; Paralip. 14-15, 1-4 bis; manner of the KX Painter: 1337 (P1.92). For examples by contemporaries of the Komast Group, cf. the namepiece of the Group of the Dresden Lekanis, Dresden ZV 1464 (ABV 21, 1) and three from Vourva by Sophilos, Athens, N.M. 998, 997, 999 (ABV 41, 28-30; Bakir, Sophilos, pls. 58-61); also two by the Ceramicus Painter, Kerameikos, inv. no. 39 (ABV 19, 5; KerameikosVI, ii, no. 105, pls. 93, 97) and Kerameikos, inv. no. 41 (ABV 19, 6; KerameikosVI, ii, no. 106, pls. 94-96). The

52

SHAPE STUDIES

one animal frieze, 1301 being the best example from the Agora.9The top of the rim may be glazed or reserved,e.g. 1298 or 1326, but most often it is embellishedwith a simple ornamentsuch as rays (e.g. 1299, 1300), zigzags (e.g. 1301, 1303), or a borderof esses (1310). An odd piece is the whiteground lekanis, 1329, decoratedin silhouette technique that has affinitieswith the Swan Group. It is our only example from the Agora that has its figured decorationpainted upside down so that it may be viewed properlywhen the vessel is hung on the wall.10It is probablyour latest lekanis.
LIDDED 1330-1355 Pls. 92, 93

The earliest certain Attic black-figuredexamples of the lidded lekanis are the four by the KX Painter and the namepieceof the Group of the Dresden Lekanis,11 which date in the middleto late years of the first quarter of the 6th century B.C.and thus more than two decadesafter the earliest lidless examples by the Nettos Painter.12Among the Agora lekanides, only 1330 (PI. 92), a mid6th-centuryexample comparedwith the Ready Painter, preservesboth bowl and lid. The rest are all quite fragmentary,and since none of the lid fragmentsmay be safely matchedwith any of the bowl fragments,the two parts will be discussedseparately,following the model given by AgoraXII, pp.165-168.
BOWLS 1330-1333 P1. 92

The bowl of the lidded lekanis is distinguished from that of the lidless variety chiefly by its flangedrim and its reservedtondo on the inside insteadof one that is decorated.The detailsof shape and the schemeof decorationare the same as that of the lidless type but that there is no ornamenton the rim, which is usually glazed on the side and reservedon the top.
LIDS 1334-1355 Pls. 92, 93

The lid of the lekanis is slightly domed,its profilerepeatingroughlythat of the bowl. The stem of the knob flares a little toward the top. The knob itself is flat on top, and if that of 1330 (PI. 92) is typical, its diameteris about equal to that of the foot.13The undersideof the lid may be glazed, e.g. 1330,14 1336, or 1351, or unglazed, e.g. 1337. The resting surface is reserved,e.g. 1354. As mentioned above, with the exception of 1330, which is somewhat unusual, no black-figured lekanis lid from the Agora has been paired with its bowl. But, to judge from the lids comparedwith the contemporarybowls, the scheme of decorationand the choice of subjectson the lids, like their shape, often reflect those of the bowl, so that when the two are seen together, they form a harmonious unit. Rays emanate from the base of the knob, then there may be a zone of ornament,such as dots, e.g. 1336 (PI. 92), or, particularlyon the later examples, a line or two, e.g. 1330, 1350, and
9 For a well-preserved Dreserved example, . Athens, N.M. 296 by the KX Painter (ABV 24, 7). 10Often skyphoi by painters of the Swan Group have the decoration painted upside down. Compare also, two Proto-A cups, Louvre F 131 bis and Boston, M.F.A. 03.784 (CVA, Boston 2 [USA 19], pl. 100 [934]:1-4). Each is an eye-cup with a frieze of upside-down animals between the handle zone and the rays at the bottomof the bowl. Similar friezes may also appear on Droop cups (see below, p. 66). 11KX Painter: ABV 24-25, 7-10, including 1336 (PI. 92); den Lekanis:ABV 21, 1. Group of the 12Paralip. 4, 17-24. For the chronologyof the Nettos Painter, cf. Karouzou, 'AvayvpovvTroS, pp. 123-136. 13The diameterof the lid on 1330 is broadenough so that it might even be considereda reversiblelid, that is, one that may also be used as a bowl, were it not that this type of lid does not seem to be known before the 5th century B.C.Cf. Agora XII, p. 168. 14 1330 has a reservedband near the center.

PLATES

53

1351 (Pis. 92, 93), that separates the rays from the figures below, which are often animals, arranged in either one or two friezes. 1330 is unusual in having figures on the lid only, its bowl decoratedjust with ornament. 1346 (PI. 93), which preservespart of Herakles and Triton, is the only example from the Agora of a black-figuredlekanis lid with mythologicaldecoration,and 1354 (PI. 93), which preservespart of a chariotto right, is the only other Agora lekanis lid with narrative decoration,15 although it occurs on the lids of other shapes, e.g. 369 (PI. 36), 1382 (PI. 95), or 1385 (PI. 94). The stem of the knob is glazed; on the flat surface of the top, there may be concentric circles, e.g. 1330.
UNCERTAIN IF LIDLESS OR LIDDED

1356-1360

P1. 93

This small section contains a few fragmentsof lekanideswhich do not preservepart of the rim or the tondo so that the type may be identifiedas lidless or lidded.All of them date beforethe middleof
the 6th century B.C.

LIDS 1361-1387 Fig. 17 Pls. 94 and 95

This section includes lids that are too fragmentaryto be certain which kind of vessel each covered. For lids of amphorae, cf. 367-372 (P1. 36), of skyphos-kraters,404-413 (Pls. 40, 41), of pyxides, 1290-1296 (PI. 91), and of lekanides, 1334-1355 (Pls. 92, 93). 1361-1366 (PI. 94), which date from the late 7th or early 6th century B.C.,are fragmentsof large lids and may belong to skyphoskraters,but without more of the curve of the wall preserved,it is difficultto be certain,and they are best kept apart from the skyphos-kraterlids discussedabove, p. 23.-1373 and 1374 are too small to be the lids of skyphos-kraters,at least to judge by the ones known to us, and they seem too large to be the lids of lekanides, although the decorativearrangementis suitable. 1378 is very flat and may be from a tripod-pyxis. 1381 (P1. 95) with its downturnedrim is probablythe lid of a pyxis or a small lekanis, and 1386 (PI. 95) may also come from a lekanis, although it seems a bit flat. 1382 (P1. 95) looks as though it is the lid of a Nicosthenic pyxis. PLATES 1388-1426 Pls. 95-97

The plate is a rather rare shape in Attic black figure.1It was probablynot used during dining, for the unglazed portions would come into contact with the food; more likely, the plate served a religious or a funerary purpose, and the holes for suspension drilled in the rims of many plates, e.g. 1399 (P1. 96), support this suggestion.2There are two main types of Attic black-figured plate,
15For three lids with narrativedecoration,cf., e.g., these by the C Painter: Naples (ABV 58, 119); Akropolis 2112 (ABV 58, 120); Akropolis 2116 (ABV 58, 121). The fullest study of Attic black-figuredplates is D. Callipolitis-Feytmans, Les plats attiques. Here, the evolutionof each type of plate is thoroughly discussed and the individual plates assigned to their respectiveworkshopsand classes or attributed to painters. Most of the Agora black-figuredplates appear in this volume. For Late Geometricand Protoatticplates from the Agora, cf. Agora VIII, pp. 45-46, nos. 113-119. For the shape in the Archaic period, cf. also, Agora XII, pp. 144-145. 2 Callipolitis-Feytmans,Les plats attiques,p. 21.

54

SHAPE STUDIES

Type A and Type B. They have a parallel development,but examples of Type B are more common during the last quarter of the 6th centuryB.C. than they are in its earlier decades. TYPEA 1388-1410 Pls. 95, 96 The Type A plate has a convex rim and a flat floor,which may thickenslightly towardthe center. The base is attacheddirectly below the junction of the rim. Both the shape of the base and the curve of the rim vary considerablyfrom workshopto workshop. Plates of Type A may be subdividedinto four categoriesaccordingto size: A I is of normalsize (1388-1397: Pls. 95, 96); A II is small (13981407: PI. 96); A III is miniature (1408 and 1409: PI. 96); and A IV is so tiny that it may even have been a child's toy (1410: PI. 96).3 There are two basic systems of decoration.The first has the figures or ornamentset in concentric friezes on the floor of the plate so that it may be seen from all angles and an intendedviewing point is less apparent. 1390, 1399, 1400, 1403, and 1408 are the best though rather fragmentaryexamples from the Agora. The plate in Baltimoreby the Gorgon Painter is a well-preservedexample of this system.4The secondarrangementof the decorationtreats the floorof the plate like that of the tondo of a cup. The figures are shown vertically, and they may utilize the entire surface, as they surely did on 1392 (PI. 95) and 1397 (P1. 96), or there may be an exergue at the bottomcontaining figures or ornament, e.g. 1396.5 Sometimes, in addition, there is a figured or ornamentalexergue abovethe heads of the main figures so that they are isocephalicwithout changingtheir proportions.6 1391 (P1. 95) seems to have been decoratedin this manner, for there is a small amount of tongue pattern at the very top of the fragment. Occasionally,the figures are placed in registers, but this does not occur very often, and it is primarily an early 6th-centuryconventionthat may be inspired by large vases such as dinoi and neck-amphorae,which have the decorationset in friezes.7 1389 (PI. 95) is one of these rare plates and the earliest known example.8On the rim, there is usually an ornamentalpattern, tongues and lotus buds (1396) being the most commonthroughoutthe period during which the Type A plate is in use, but other patterns, such as the lotus-palmette festoon (1389: P1. 95), rosettes (1399 and 1403: P1. 96), or ivy (1409: PI. 96), may also appear. Occasionally, there may be figures on the rim (1401 and 1402: Pl. 96).9 The undersideof the rim is usually glazed but may also be reserved.1399 and 1401-1403, by the Polos Painter, have rays on the underside.The undersideof the floor normally has concentriccircles, 1390 being a good example where the circles are broad flat ridges or 1391 where the two painted circles are of different thicknesses.Occasionally,particularlyon plates by the Polos Painter, 1399, 1400, 1404, and 1405, the undersideof the floor has figures as well, resulting in a two-sided effect to the plate. The earliest attributedAttic black-figuredplates of Type A are by the Gorgon Painterwho seems
Ibid., p. 149. For the four categories of Type A: A I, pp. 25-148; A II, pp. 149-167; A III, pp. 169-189; and A IV, pp. 191-198. 4 Baltimore48.215 (ABV9, 18; Paralip. 7, 18; CallipolitisFeytmans, Les plats attiques, p. 309, no. 1,pl. 14, fig. 18). 5 For a figured exergue, which may not be attested on the Agora plates owing to their fragmentarynature, cf. Kerameikos, inv. no. 1637 near the Painter of Vatican 309 (ABV 122, 4; Callipolitis-Feytmans, Les plats attiques, p. 310, no. 5,pl. 16, fig. 19) and Athens, N.M. 19758 (ibid., p. 312, no. 18 bis, pl. 20, fig. 21). 6 Figures: cf., e.g., Akropolis 2401, related to Lydos
3

(Paralip. 48; Callipolitis-Feytmans,Les plats attiques, p. 301, no. 17,pl. 4) and Florence V 102 a by Lydos (ABV 111, 45; Callipolitis-Feytmans,Les plats attiques, p. 315, no. 2, pl. 21, fig. 23; Tiverios,pl. 71:a). Ornament:cf., e.g., Florence 9674 (ABV 118; Callipolitis-Feytmans, Les plats attiques, p. 320, no. 33,pl. 30, fig. 28) and Swiss, private (ibid., p. 321, no. 38, pl. 32 and fig. 28). 7 Cf. ibid., pp. 39-40. 8 Ibid., pp. 39, 81-82. 9 For a well-preserved example, cf. Baltimore 48.215 by the Gorgon Painter (ABV 9, 18; Paralip. 7, 18; Callipolitispl. 14, fig. 18). Feytmans, Les plats attiques,p. 309, no. 1,

PLATES

55

to be the first Attic painter to apply himself to decoratingplates.'10 None of the Agora plates is by him or in his manner, but 1389 (PI. 95), one of the earliest examples fromthe Agora, is close in time to his late work, and to judge from what remains of the drawing, it is not far from him in style. The next group of large plates are painted by Lydos, who has left us several handsome examples and whose companionsand followers were also interestedin this shape.111391-1393 (PI. 95) are contemporarywith Lydos but do not seem to be connectedwith him. The platesjust discussedare of the bigger, more impressiveType A I. Of the smaller varieties,the greatestnumberfrom the Agora are Type A II, and most of these are by the Polos Painter, 1399-1405 (PI. 96).121398 is close to him in style but seems a bit earlier. The rest of the Agora plates of Type A belong to the last decadesof the 6th century B.C. and to the beginning of the 5th. 1407 is signed by the potter, Salax, who is otherwise unknown, and also bears an inscriptionthat praises Eumares.This plate is not decoratedwith figures, but since it is cited by Beazley in AB V (p. 351), it is included here. 1406 (PI. 96) is a late 6th-century plate with a gorgoneion painted in the center of its floor, which recalls similar decoration in the tondi of late black-figuredcups (1785-1792: Pls. 114, 115), and thus offers a certain link between the decorationof plates and that on the insides of cups.
TYPE B 1411-1424 Pls. 96,97

The Type B plate is a more articulated variety than its Type A counterpart. It has a flat or slightly convex floor and a curved rim that often has a molding or a ridge at the point where it is attachedto the floor. The edge of the rim may be moldedor plain, although the formeris more common. On many plates, the outer part of the floor curvesupward to the base of the rim. The ring base is not joined to the floor directly beneath the junction of the rim, as on the Type A plate, but is recessedbeneath the floor. Like the Type A plate, the curve of the rim and the shape of the foot of the Type B plate vary considerably,and also like the Type A, the Type B may be subdividedinto four categories.13In the Agora black figure, only two of these, B I (1411-1416) and B II (14171424), appear. For the most part, the Type B plate derivesfrom the Subgeometricplate, particularlythe position of the ring base and the characterof the rim.14The system of decorationon its top side follows that of Type A, while on the underside,the concentriccirclesor large areas of plain blackemphasizethe structure.15 There are not very many Type B plates that may be dated before the beginning of red and there is none from the Agora. This type of plate is associatedprimarilywith red-figure figure,16 painters,17 in the early period particularlywith Psiax, Paseas, and Epiktetos,artistswho painted in both the black-figure and the red-figure techniques.18The decorationof certain late 6th-century plates, especially those of Type B II, is influencedby black-figuredcups, and these plates seem to
10 ABV 9-10, 18-21; Paralip. 7, 18 and 19. For a detailed discussion, cf. Callipolitis-Feytmans, Les plats attiques, pp. 63-67. I1 Lydos: ABV 111-112, 45-57; Paralip. 44, 50-57 bis, 46. For plates by Lydos and their relationship to various potters and workshops,as well as plates by his companions,cf. Callipolitis-Feytmans, Les plats attiques, pp. 87-119; for the wider circle of Lydos, pp. 123-139. 12 Other plates by the Polos Painter: ABV 47, 103-126, including 1399-1404 (PI. 96); Paralip. 20, 103-125, 21 (including 1405); Callipolitis-Feytmans, Les plats attiques, pp. 160-167. 13 For the type, cf. Callipolitis-Feytmans, Les plats attiques,

pp. 201-209, 231-284; for the categories: B I, pp. 257-277; B II, pp. 231-238, 241-255; B III, pp. 238-240; and B IV, pp. 279-284. 14Ibid., pp. 201-203. 15Ibid., p. 206. 16For these, cf. ibid., pp. 201-209. 17 For red-figuredplates of Type B, cf. ibid., pp. 211-229. 18 Psiax: black figure:ABV 292-295; Paralip. 127-128; red figure: ARV2 6-8, 1-12; Paralip. 321. Paseas: black figure: ABV 399-400; Paralip. 160; red figure:ARV2 163-164, 1-14; Paralip. 337. Epiktetos:bilingual cups:ARV2 70-71, 1-4,7, 8, 10, and 12.

56

SHAPE STUDIES

come from cup workshops.19 1423, with its large area of glaze surroundingthe central gorgoneion, is an example.20 All the Type B plates from the Agora belong to the late 6th centuryB.C.or to the first half of the 5th. There are not many of them, and most are very fragmentary.1411 (PI. 96) is decoratedin Six's technique, and besides one from the Akropolis,it may be the only example of this techniqueused to decoratea plate.211414 and 1415 (Pls. 96, 97) are attributedto the KleiboulosPainter, the principal decoratorof plates during the first quarter of the 5th century B.C.His known work was put together by Callipolitis-Feytmans, and he takes his name from a white-ground ostrakon found between the Areopagus and the Hill of the Nymphs.221414 (P1. 96), like the ostrakonand many other plates by the Kleiboulos Painter, has its decorationon white ground. PLATES1425 and 1426 P1.97 OTHER 1425 is a floor and rim fragment, and its type may not be identifiedfor certain. It comparesbest with plates by Psiax, and it probablyhad one figure, or at most two, paintedon its floor. 1426 is the leg of a tripod-plate,and there does not seem to be a good parallel for its shape. PHIALAI 1427-1439 Pls. 97 and 98

The phiale is a low, shallow, footless bowl without handles, used mainly for pouring libations, occasionallyalso for drinking. On the inside is an omphalos, and on the undersidethere is a correspondingdepressionthat is essential for holdingthe vessel. The shape is best known in metal;clay examples are not very common. The outside of the black-figuredphiale is unglazed, except for the rim, which is black and slightly outturned,e.g. 1429 or 1437. The inside is glazed except where the decorationappears. The figures surroundthe omphalosand may be set in one or two friezes, 1429, 1431, and 1433 (Pls. 97, 98) being the best examples from the Agora, and usually the ground line for the figures is toward the rim, not toward the omphalos. 1428 (PI. 97) is a rare exception,being also glazed on the outside. Round the omphalosthere is a zone of tongues (1428 and 1433: Pls. 97, 98), although this area may be plain (1427: P1.97). Usually the omphalosis black;1438 (PI. 98) is unusual for having figureddecoration. In Attic black figure, most of the known phialai, including 1428-1439, are late 6th or early 5th centuryB.C. 1427 (P1.97), by a painter of the Swan Group, is the earliest black-figuredphiale from the Agora, and it may even be one of the very earliest in silhouette technique, for it comes from a context with a lower date of the first quarterof the 6th centuryB.C.2 1428 (P1. 97) is one of the very few examples decoratedin true black figure, i.e., with incision, ratherthan in Six's technique,3e.g.
19Callipolitis-Feytmans,Les plats attiques,p. 235. Ibid., p. 255. Callipolitis-Feytmans (Les plats attiques, p. 229) gives Akropolis 1074 and 1411 (PI. 96) as the only examples but goes on to suggest (note 57) that a lost plate reproducedin a drawing by Benndorf (Griechische und sicilische Vasenbilder, Berlin 1869-1883, pl. 8:2) may have been decoratedin Six's technique. 22 p 17970, which preserves the letters ]OAEMO; another ostrakon found in the Agora at the same time, P 17678, preserves the name KAIBOLOL NIKOAEMO, thus permitting the inscriptionon P 17970 to be similarly restored.Cf. Callipolitis-Feytmans, Les plats attiques, p. 267 and p. 396, no. 9. For the painter, cf. ibid., pp. 266-276 and pp. 395-399, nos. 1-40.
20 21

'The basic study is H. Luschey, Die Phiale, Bleicherodeam-Harz 1939, esp. pp. 147-155 for clay examples; cf. also, Agora XII, pp. 105-106, with bibliography;most recently, C. Cardon, "Two Omphalos Phialai," The J. Paul Getty Museum Journal 6-7, 1978-1979, pp. 131-138, esp. p. 133, note 12 for a list of clay examples. 2 E 14:8 (below, p. 331). Other phialai by the Swan Group: ABV 655, 23-25 and 27-30. On the difficulty of dating individual Swan Group vases, cf. ABV655 and Hesperia 13, 1944, p. 57. 3 For other vases in Sixs technique, cf. the catalogue entry for 1175 (PI. 86).

CHALICES

57

1430 and 1431 (PI. 97), or in plain silhouette. The silhouette phialai may have the decorationin plain black glaze (1427 and 1429: PI. 97), like that of many late lekythoi, cups, and skyphoi, or the decorationmay be applied in white over the black glaze, e.g. 1434-1436 (P1. 98). Very few Attic black-figuredphialai have been attributedto painters,4but the generally small size of many suggests that they are very likely productsof workshopsspecializingin small shapes (lekythoi,skyphoi, or cups), rather than those producinglarge pots.5 MASTOID 1440 PI. 98 The mastoid is a deep, flat-bottomedbowl with a sharply outturnedrim. It may or may not have handles, and on those that have, they are attachedto the bowl at the level of the maximum diameter. On the handleless variety, the figureddecorationcontinuesaround;on the handledtype, it is divided between obverse and reverse, and sometimesthe figures appear between eyes, just as they do on some contemporaryskyphoi and cups. The rim is glazed black, its outer edge reserved;the area below the figures is also black, usually with a narrow or wide reservedband.1 In Attic black figure, the mastoid appears in the late 6th century and continueswell into the first quarter of the 5th.2 Most attributedexamples are decoratedin the mannerof the Haimon Painter,3 and a few others belong to the Leafless Group and to the Caylus Painter,4an artist principally involved with the decorationof cups. In the Agora black figure, 1440 is the only mastoid, a fragment of the rim and bowl with the figures in silhouette on white ground. It is uncertainwhether it had handles.

CHALICES 1441-1450 Pls. 98 and 99

There are not very many Attic black-figuredchalices, and all those known to us come from Athens or near Athens.1 Most of them were found in the Agora.2 The chalice has a flaring wall with a narrow, projecting rim or one that is plain, like that of a kantharos, a cul to which handles are attached, and a conical foot. The Attic shape may have been inspired by the Chian one, which is
4 Three with tongue pattern round the omphalos are signed by Nikosthenes:London, B.M. B 368 (ABV 234, 1); Wiirzburg 429 (ABV 234, 2); Cab. Med. 334 (ABV 234, 3). With these, Luschey (op. cit. [footnote1 above, p. 56], p. 151) connectedtwo others: Delos 640 (Delos X, pl. 52) and London, B.M. B 678 (AZ, 1881, pl. 5:1). On the London phiale and its Nicosthenic connections, cf. also, Mertens, Attic White-Ground,pp. 103104, and C. Cardon, op. cit. (footnote 1 above, p. 56), p. 133, note 12. 5 Cf. Luschey, op. cit., pp. 149 and 151.

[1656]:4-6). 2 For an early special model with a rather roundedbody, a broad flaring foot, and two vertical handles, cf. Louvre F 70 by the Amasis Painter (ABV 156, 76; Bothmer, Amasis Painter, pp. 198-199, cat. no. 53). 3 ABV 557-560, 449-512; 707; Paralip. 271. 4 ABV648-649, 238-246; Paralip. 311, 241, and 313. Other than Agoraexamples, cf. Athens, Vlasto Collection, from Spata, by the Anagyrus Painter (ABV 21, 2); Athens, N.M. 995, from Vourva, by Sophilos (ABV 39, 11; Bakir, Sophilos, pls. 55-57); Louvre CA 2988, from near Menidi (CVA, Louvre 12 [France 19], pl. 193 [866]); and Akropolis 1957NAK 1580 (AcAr 27, 1972 [1973], p. 300, no. 279 and pl. 140). 2 Besides the black-figured ones, cf. also the black-patterned ones: P 2745 (E. Vanderpool,Hesperia 15, 1946, p. 326, no. 296, pl. 66), P 5210, and P 6582.

Here are a few examples that illustrate the shape: Handleless: FrankfurtVF 8 315 (CVA, Frankfurt2 [Germany30], pl. 51 [1442]:7, 8); once Castle Ashby (CVA, Castle Ashby [GB 15], pl. 23 [678]:11-13). Handles: Frankfurt VF 8 313, 314, and 316 (CVA, Frankfurt 2 [Germany 30], pl. 51 [1442]:1-6); Hanover 759 (CVA, Hannover 1 [Germany 34], pl. 24

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SHAPE STUDIES

more commonand appears earlier than the Attic examples.3Very little Chian potterywas exported to mainland Greece, yet fragments of four Chian chalices were found on the Akropolis,4and two small, well-preserved, late 7th-century examples as well as four fragmentscome from the Agora excavations.5 Attic black-figured chalices normally have figures painted on the flaring part of the wall and usually two zones of decorationon the cul. The upper one may containeither figures or ornament; the lower one has rays paintedjust above the junction of the foot.6The verticalpart of a projecting rim is most often decoratedwith a row of dots. A plain rim has a black line. The handles and foot are plain black. The Agora black-figuredchalices are too fragmentaryto give a good idea of the complete appearanceof a single vase, but they do furnish evidencefor the variation in decoration. All of them have figures on the flaring part of the wall. On the three fragmentsthat preservesome of the cul, 1441 has three zones of decoration,one of figures, two of ornament (row of dots above rays), 1444 (PI. 98) shows only part of one figure but probablyhad rays in the lower zone, and 1445 may have had ornamentonly, for the upper part containsverticallines. Four projectingrims have the customaryrow of dots on the vertical part (1441-1443 and 1446: Pls. 98, 99). 1447 (PI. 99) by Lydos has a border of esses. 1445 has a plain rim like that of the chalice by Sophilos.7The two chalice fragmentsby Lydos, 1446 and 1447, have a tongue pattern below the rim at the top of the figure zone. SKYPHOI 1451-1657 Figs. 18 and 19 Pls. 99-107

The skyphos is a popular drinking cup with a deep bowl, two handles attachedjust below the rim, and a broad foot that insures stability when the vessel is filled with wine.1 A large number of Attic black-figuredskyphoi have been found in the Agora excavations,most of them dating from the last years of the 6th century B.C. and the beginning of the 5th. Two main varieties of skyphos, the Corinthianand the Attic, appear in Agora black figure, but examples of the Attic type are far more numerous.
TYPE CORINTHIAN

1451-1471

P1. 99

This type of skyphosis a directborrowingfrom Corinth,and while it never becomesvery popular in Attic black figure, in Attic red figure and in black-glazed ware it continues into the 4th
Cf. R. M. Cook, BSA 44, 1949, pp. 155 and 158. For the shape, cf. also Hayes in Boardman and Hayes, Tocra, 19631965, pp. 57-63 and Boardman,Excavations in Chios, 19521955: GreekEmporio, London 1967, pp. 119-122 for the Geometric and 7th-centuryexamples, pp. 156-161 for the 6th. 4 Cook, BSA 44, 1949, pp. 159-160 for the findspotsof exported Chian pottery, and p. 160 for the Akropolis fragments. 5 E. Brann, Hesperia 30, 1961, p. 357, G 54 and G 55. 6 The main exceptionto this general schemeof decorationis the unattributedchalice in the Louvre, CA 2988 (CVA, Louvre 12 [France 19], pl. 193 [866]). The flaring part of the wall is decoratedinside and outside with figures.On the cul, below the handle zone, there are two wide black bands separated by a narrow reservedstrip, and just above the foot are tongues.
3

7 Athens 995 (ABV39, 11; Bakir, Sophilos,pls. 55-57). Cf. also, Louvre CA 2988 (CVA, Louvre 12 [France 19], pl. 193 [866]).

For the shape, the best summary is in Agora XII, pp. 81-87, with bibliography. Cf. also, Richter and Milne, JdI 85, Shapesand Names, pp. 26-28; B. Freyer-Schauenburg, 1970, pp. 20-22. For the series in Attic black figure from Rhitsona, cf. Ure, Sixth, pp. 57-73. For the 7th-century cf. Brann,AgoraVIII, pp. 49-50. For red-figured predecessors, skyphoi of Corinthian type, cf. A. Lezzi-Hafter, Der Schuder Parthenonzeit[Kerawalow-Maler, eine Kannenwerkstatt meus II], Mainz 1976, pp. 35-36 and the additionsby Bothmer in his review, AJA 82, 1978, p. 127.

SKYPHOI

59

century B.C.2 The Corinthian type of skyphos has very thin walls that curve inward slightly at the rim, narrow handles, and a ring foot. No complete black-figured example of the type has been found in the Agora, but taken together, the few fragmentsgive a reasonableidea of the shape. The scheme of decorationis a simple one. The figures reach right to the rim with only one or two lines for a border (e.g. 1461 or 1464: P1. 99). Above the foot are very narrow rays (e.g. 1460 or 1465: PI. 99), and between the rays and the figure zone, there may be a band of glaze (1465), a zone of ornament,3or a mere line separating the rays from the figures (1459 or 1460: PI. 99). Beneath the handles there is often an ornamentalconfiguration(1452: PI. 99), or else the figures may continue round the vase (1465). The whole effect is delicate and light. The earliest Attic black-figured skyphoi of Corinthian type are by painters of the Komast Group,4 the same artists who decoratedcolumn-kratersshowing a strong Corinthian influence in both shape and style of drawing. 1452 is by the KX Painter, and 1454 (PI. 99) probablybelongs to the Komast Group but is difficult to attribute to a painter. Contemporarywith these is the unpublished one in Athens by Sophilos,5and a little later than all of them is the well-known one in the Louvre by the C Painter.6Around the middle of the 6th century B.C., the painters of the Group of the Oxford Lid decoratedseveral skyphoi of this type,7including three from the Agora, 1463-1465 (PI. 99), and one that may be compared,1466, to which we have added a second, 1467. From later in the century come the nearly two dozen miniature examples of the Swan Group,8and although some of these were found in Athens, none comes from the Agora. Elsewhere in Attic black figure, this type of skyphos is very rare.
ATTICTYPE 1472-1656 Pls. 100-107

The Attic type of skyphos is adaptedfrom the Corinthianbut has a thickerwall, heavierhandles, and a strong torus foot.9The chief difference,however, is the outturnedrim. The type begins about the middle of the 6th century B.C.but undergoes a long period of experiment before attaining its canonical shape in the early 5th century.10 Throughout the history of the shape, the profile and the scheme of decorationmay vary considerablyfrom workshop to workshop or from potter to potter. The Agora examples give a good illustration of the possibilities. The earliest attributedblack-figuredskyphoi of the Attic type from the Agora are two that belong to the Hermogenian Class,11which is rather light in make with a deep bowl that tapers toward the foot and an offset lip that is glazed black. The decorationis confinedto the handle zone, as on bandcups, and may be either figuredor simply bear a potting signature,as on the Agora examples, 1473 and 1474. At the top of the handle zone there is a black line and at each handle a palmette.The area below this is glazed black except for a reservedband. One of the Agora examples, 1473, is signed by Hermogenes himself;the other also bore a signature,but not enough letters remain to be sure of the
2 Agora XII, p. 83. For the Corinthian type, cf., in addition to Agora XII, pp. 81-83 and to the referencesin note 2, p. 81, Greifenhagen, pp. 20-21; footnote 1 above, p. 58. 3 There is no example from the Agora. Cf. the net pattern on Athens, N.M. 640 by the KX Painter (ABV 26, 21) and the tongue pattern with the net above and below on Louvre MNC 676 by the C Painter (ABV 57, 118; Bothmer, Amasis Painter, p. 202, fig. 105). On the latter, the characteristicornament round the tondi of the painter'sSiana cups has been transferred to the outside of a skyphos (cf., e.g., Athens, N.M. 531 [ABV 55, 92] where it also appears below the figures on the outside). 4 KX Painter: ABV25-26, 19-25 and Paralip. 15; manner

of the KX Painter: ABV 28, 2; manner of the KY Painter: Paralip. 16, 8 bis; KomastGroup:VIII, Unallotted:ABV 35, 1 and 2, and 36, 19; Paralip. 17; connected with the Komast Group: ABV 37, 6-9. 5 Athens, N.M. 19044 (Paralip. 19, 32 bis). 6 Louvre MNC 676 (footnote3 above). 7 ABV 616, 1-10; Paralip. 306, 5 bis. 8 ABV 655, 1-21. 9 Agora XII, pp. 84-85. 10 Agora XII, p. 84. 1' Cf. ABV 166, 1-3 and Paralip. 87-88 for extensive lists, both with bibliography.

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SHAPE STUDIES

name. These two skyphoi are too fragmentaryto illustrate the shape well, but they convey the systemof decoration.Contemporarywith these is 1475 (PI. 100), the very beautifulfragmentwhich may be by Lydos and, if so, adds a new shape to the many decoratedby him. Not very many black-figuredskyphoi from the decadesca. 550-510 B.C.have been found in the Agora, but the few that have come to light furnish evidencefor the experimental attitude of Attic potterstoward the shape during this time. 1476 (PI. 100) is an odd piece with rays abovethe foot as on the Corinthian type but with a slightly flaring rim. Its best parallel is one from Rhitsona,'2 which, however,was not classedby Ure. 1480 (PI. 100) is a fragmentof Ure's Class of SkyphoiA 1, which is identified mainly by its rounded rim glazed black and separatedfrom the body by a re1481 and 1482 belong to Ure's Class of SkyphoiA 2, which differs from Class A 1 servedgroove.13 by having a slightly outturnedrim.14Both types have the same kind of handle decorationas the FP Class of cups:15a very large horizontal palmette at each handle, two small palmettes north and south, and beneath the handle, a flower of very distinct shape. 1481 is a good illustration of this ornamentaldecoration. The most important black-figuredskyphos of this period from the Agora is 1483 (P1. 100), related to the KrokotosPainter, who takes his name from the yellow garment worn by his maenads and dancing girls.16The skyphoi of this workshopbelong to Ure's Class B: large handsomevessels with an outturnedrim, a thick wall, and a heavy torus or flaring foot with a fillet between it and the An ivy pattern embellishesthe rim; the figures occupymost of the space on the body. Above body.17 the fillet is a tongue pattern, and between it and the figures there are lines, usually three. The decorativeeffect is colorful owing to the liberal use of added red and white, and the white is often yellowish. About 500 B.C., this workshop initiated the skyphoi of the Heron Class, so called for the A numberof artists decorated white heron often painted directlyon the clay beneath each handle.18 13 of which were found in the Theseus the those best are The this of Painter, by type. skyphoi Agora, 1484-1496 (Pls. 100, 101). Several are very fragmentary,but others, 1484, 1486, and 1490 (Pls. 100, 101), are well preserved.1484 and 1485 have the characteristicwhite heron beneaththe handle. Others, such as 1486 or 1490, do not, and in the case of the fragmentaryexamples, there is no way to be certain what was beneaththe handles. The Theseus Painter'sskyphoi have much less accessorycolor than others of this type, and their effect is a more somberone. Contemporarywith these is 1657 (P1. 107), a shallow cup-skyphos of special shape, also decoratedby the Theseus Painter. Its rim is flat on top and glazed black. On each side is a single figure and at each handle, a spiral and pomegranateconfiguration.The effect is elegant and delicate, similar to that on 1825 (P1. 117), a cup that recalls the Painter of Nicosia C 975. The decorativescheme of each is similar to that of the special type of cup in Oxford by the Amasis Painter.19 The largest number of Attic black-figured skyphoi from the Agora may be dated in the first quarterof the 5th centuryB.C., the same periodthat producedsuch large quantitiesof lekythoi.The Agora skyphoi come mainly from two workshops, that of the Haimon Painter and his associates and that of the CHC Group, whose painters often decoratedskyphoi of the Heron Class. The skyphoi of the Haimon Group are of various classes.20In general, they are rather small,
12 Ure, Sixth, p. 72 (49.265). 13Ure, Sixth, p. 58. For a list, cf. Paralip. 83-86, 1-51, with bibliography. 14Ure, Sixth, p. 58. For a list, cf. Paralip. 91, 1-12. Some of these have tongues above the foot (7-12). 15 For the class and decoration,cf. Paralip. 80-82. 16On this group, cf., particularly,A. D. Ure, "Krokotos and

White Heron,"JHS 75, 1955, pp. 90-103. Also, ABV 205-209 and Paralip. 93-99. 17 Ure, Sixth, pp. 59-61. 18ABV 617, with bibliography. 9 Oxford 1939.118 (ABV 157, 89; Paralip. 65, 89; Bothmer,Amasis Painter, pp. 227-228, cat. no. 63). 20ABV 565-571, 598-710 and Paralip. 271 and 285-287.

SKYPHOI

61

sturdy vessels, well suited to everyday use. 1502 (P1. 102) is a cup-skyphos of the pinchbase type (Ure's Group R21),which gets its name from the sharp inward curveof the body towardthe foot. Its glazed rim is offset, and its foot is in two degrees,a glazed torus beneatha reservedverticalmember. At each handle, next to the hastily drawn figures is a large, upright palmettewith a reservedheart. 1503 is similar to the pinchbase type but lacks the incurve at the base. Most of the Haemonian skyphoi belong to Ure's Class K 2, 1504-1516 (Pls. 102, 103), each a rather shallow, squat vessel with a glazed outturnedrim and a broad torus foot that is also glazed. The figures usually stand on a broad ground line, and at each handle there is an upright palmette with a solid heart that is often decoratedwith a white dot.22On the inside below the rim there is a reservedline as on cups, and on the underside of the floor there are concentriccircles with a central dot. 1512 and 1513 are good, characteristicexamples from the Agora. Three skyphoi in the manner of the Haimon Painter, 1531-1533 (PI. 103), have a deep bowl and an incurving rim, but in other respectsthey recall the K 2's.23The Haemonian skyphoi of this class take with them those by the Painter of Elaious I, 1536 (P1. 104) and two that may be compared, 1537 and 1538. Connectedwith the late membersof the Haimon Group are the painters of the LanicutGroup, whose skyphoi are hastily decorated in silhouette style. Some are minature skyphoi of Hermogenian type (e.g. 1539); others are cup-skyphoi of pinchbase type (e.g. 1540: P. 104). Not far from all of them are a large number of skyphoi of Class K 2, decoratedby differenthands in either silhouetteor incision, of which many have been found in the Agora, 1543-1569 (P1. 104). Akin to the Lancut Group are the miniature whiteground skyphoi of the Lindos Group, 1570-1577 (Pls. 104, 105). These are of ordinary blackfigure shape with an offset rim and diagonal handles. The silhouette figures are sloppily drawn, and the whole effect is rather wretched. Well over 100 skyphoi have been attributedto the CHC Group, a rather rough group of painters.24As mentioned above, these skyphoi are of the Heron Class and are much larger vessels than those of the Haimon Group just discussed. 1578-1603 (PI. 105) are the examples from the Agora, and 1604-1612 (Pls. 105, 106) have been connected with the group. The figured decorationon these skyphoi is placed rather high so that there is a large area of black glaze between it and the tongues above the foot, which are usually reducedto elongatedblobs. There are lines between the figures and the black below, and usually there is a line at the top of the figure zone just below the rim. The figures may extend to the handles, e.g. 1578 or 1588 (PI. 105), or they may be framedby solid upright palmettes at each handle, e.g. 1596 or 1597 (PI. 105). On those connectedwith the group, the figures are often set between eyes, e.g. 1608 or 1610 (PI. 106). The rim may be glazed black, e.g. 1590-1592 (P1. 105), or it may be decoratedwith ivy that has degeneratedto two rows of dots with a line between, e.g. 1588 (PI. 105). Rather elegant skyphoi are those of the Pistias Class, which have plain rims and mastoid bodies.251613-1616 (P1. 106) are the examples from the Agora, and 1617 may also be from a Pistian skyphos. The decorationis simple, only one or two figures between a palmette at each handle, and may be on white ground (1615: PI. 106) or on red (1613, 1614, and 1616: PI. 106). Below the figures there are bands and lines, e.g. 1614, or ornament, 1613 (PI. 106). The crenellationpatternon 1615 (PI. 106) is rare and recalls its use on other white-groundvessels, particularlyin the work of Psiax.26Above the foot are rays. 1614 is unusual for being reservedand undecoratedin this area.
21

Ure, Sixth, pp. 71-72. Ure, Sixth, p. 68. 23 For others, cf. ABV 570-571. 24 AB V 617-626 and Paralip. 306-308.
22

25 Ure, Sixth, pp. 69-71; ABV 627-628; Paralip. 309; Mertens, Attic White-Ground,pp. 91-92. 26 Cf. the note under the catalogue entry for 1615.

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CUPS
1658-1846 Figs. 20 and 21 Pls. 108-118

The cup is the most commontype of black-figureddrinkingvessel, and from the second quarter of the 6th century B.C.on, we have the names of many potters who fashion the shape.1 Of all the smaller vessels accountedfor in Attic black figure from the Agora, cups are outnumberedonly by lekythoi and skyphoi. The drinking cup has a wide, rather shallow bowl, with or without an offset lip, and two horizontal handles. The shape of the foot and the height of the stem, as well as the system of decoration,vary accordingto the type of cup. Every majortype of Attic black-figuredcup has been found in the Agora, as well as a few special types.
CUPS 1658 and 1659 KOMAST PI. 108

The Komast cup, which is the earliest type of Attic black-figuredcup, takes its name from the cup has a deep paddeddancersthat decorateeach side of its exterior.2This sturdy,practical-looking bowl with thin horizontalhandles attachedjust below the narrowoffset lip and with a broadconical foot. The shape derivesfrom Corinthian,3but with modifications,mainly that the Attic versionhas longer handles and taller proportions.4The scheme of decorationis a simple one. On each side of the body, there are two or three komasts, and at the handles, a configurationof a lotus and a palmette with tendrils, in contrast to the Corinthian preference for leaving this area undecorated. Above the foot there are thin rays similar to those above the foot of the Corinthiantype of skyphos, and between the rays and the figures, there are three lines. On the rim is a simple ornamental pattern. The interior is plain black, unlike the Corinthianwhich has a decoratedtondo. In Attic black figure, Komast cups first appear in the workshopof the Komast Group, to which belong the two very fragmentaryexamples, 1658 and 1659 (PI. 108), and they are decoratedmainly by the KY Painter (1658).5 The shape does not have a very long history in Athens and lasts only until the early secondquarter of the 6th century,at which time it is replacedby the Siana cup.
CUPS 1660-1684 SIANA Pls. 108-110

The Siana cup is named after the site on Rhodes where two well-known examples now in the British Museum were found.6It is the principal type of Attic cup during the secondquarter of the
'See particularly ABV chaps. III-V, XII-XIV, and XLIII. 2 On the shape, cf. esp. Greifenhagen;Payne, NC, pp. 194, 197-198, 200 and for the Corinthiantype, pp. 310-312; F. Villard, REA 48, 1946, pp. 155-157; G. M. A. Richter in CVA, New York 2 [USA 11], p. 1; Beazley, Development, p. 20; Brijder,Siana Cups I, pp. 10-12, 17-20, 59-131; P. J. Connor and H. A. G. Brijder, "A Komast Cup," Greek Vasesin the J. Paul Getty Museum 1, 1983, pp. 1-8. 3 Cf. Brann (Agora VIII, p. 47) who shows that the Subgeometric skyphos, which shares similarities of shape with the Komast cup, particularly the deep bowl and offset rim, can be tracedinto the last quarterof the 7th centuryB.c. and goes on to say, "the shape is well on the way to the black ware cups of komast shape (P 17837), thus showing that this foremost 6th century Attic cup has an Attic ancestry."P 17837 (AgoraXII, no. 381, pl. 18) belongs to the Class of Athens 1104, named after the cup signed by Exekias, and the majorityof examples of this shape, which derives from the Komast Group, date from the second quarter of the 6th century and a little later (Agora XII, pp. 88-89). This leaves a significantgap in time (10 to 20 years) between the end of Brann's Subgeometricseries and the beginning of the 6th-century Attic black-figuredcups. Brijder (Siana Cups I, pp. 17, 39-44), on the other hand, sees a direct line of descent from these late Subgeometricskyphoi through the late 7th-centuryand early 6th-centuryAttic plain-ware vessels of Pre-Komast shape to the Attic black-figured Komast cup. It seems difficult to believe that the black-figuredKomast cup derivedfroma plain-ware version.The truth may lie somewhere in between, especially since this varietyof cup, as well as the skyphos of Corinthian type, begins in the workshop of the KomastGroup (see below); it seems more likely that these very Corinthianizing Attic artists borrowed the shape from their Corinthianneighborsand modifiedit to suit the Athenian taste. 4 Compare the profile drawings given by Greifenhagen, p. 19. 5 AB V 32, 9-28, and top of 33; Paralip. 17 (including 1658 and 1659). 6 London, B.M. B 380 by the C Painter (ABV 55, 91) and London, B.M. B 379 in his manner (ABV 60, 20; Paralip. 26, 20). For the shape, cf. F. Villard, REA 48, 1946, pp. 157-159; G. M. A. Richter in CVA, New York 2 [USA 11], p. 1; Beazley,

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63

6th century B.C.The shape derives from the Komast cup but differs in having a deeper bowl, a higher lip, and a taller conical foot, resulting in a lighter, more elegant-looking vessel than its predecessor.The scheme of decorationvaries, and it differs from that of the Komast cup chiefly in that the Siana cup has a decoratedtondo, usually containing one or two figures surroundedby a wide band of ornament. 1669 and 1678 (PI. 109) are two good examples from the Agora. On the outside, there are two schemes of decoration. One maintains the natural division of the cup by keeping the decorationon the lip separate from that on the bowl, thus achieving a double-decker effect. The decorationin the handle zone of the bowl is nearly always figured,7while that on the lip may be either figuredor ornamentalwith a markedpreferencefor the latter.8The kind of ornament varies considerably, although ivy seems to be the most frequent type. 1678 (PI. 109) is the best preservedexample of the double-deckerscheme from the Agora. The second scheme of decoration on the outside allows the figures to extend over both the handle zone and the lip with only a black line defining the junction between the two parts of the bowl. 1662, 1669, and 1671 (Pls. 108, 109) are good but fragmentary examples from the Agora. Siana cups decoratedin the double-decker scheme are more likely to have ornamentalpatterns below the figures on the bowl than those with overlap decoration,which usually have a simple reservedband with lines, e.g. 1660, 1662 (PI. 108), or 1669.9 On a few Siana cups, the two schemes are combined.10 In Attic black figure, the chief painters of Siana cups are the C Painter, the Heidelberg Painter, and the Griffin-birdPainter.111660-1667 (Pls. 108, 109) are by the C Painter;1668 (PI. 109) is in his manner;1669, 1670, and perhaps 1678 (PI. 109) are relatedto him. 1671,1672, 1679, and 1682 (Pls. 109, 110) are by the Heidelberg Painter. No Agora Siana cup has been attributed to the Griffin-bird Painter who, to judge from the large number of his cups found at Taranto and other sites not in mainland Greece, may have worked chiefly for the export market. The Siana cup does not last much beyond the middle of the 6th centuryB.C., after which the Little Master cup becomes the preferred type.12 Most of the Agora Siana cups, except for 1678, are very fragmentary, but examined collectively, they present a reasonable illustration of this shape and its scheme of decoration.

Development, p. 21; Brijder, Siana Cups I, pp. 20-23, 135295; and E. Rhode in Studies in Honour of Arthur Dale Trendall, p. 135. 7 Here are a few exceptions:Three by the C Painter: Hillsborough, Hearst, ivy on the lip and upright lotus buds in the handle zone (ABV 56, 101; Paralip. 23, 101; Brijder, Siana Cups I, pl. 43:a); London, B.M. 1906.12-15.3, ivy on the lip and a black bowl but for a band of tonguesjust below the place where the figures would end (ABV 57, 109); Oxford 1965.120, ivy on the rim and an inscriptionbetween palmettes in the handle zone (ABV 57, 112; Paralip. 23, 112). One by the Painter of Boston C.A.: New York, M.M.A. 12.234.3, black rim; lotuspalmette chain in the handle zone; below that, tongue pattern between net and rays (ABV 69, 3). Two attributedby Bothmer to the Ptoon Painter: New York, M.M.A. 12.234.2, male head between grazing deer on the rim, chain of palmettes in handle zone (CVA, New York 2 [USA 11], pl. 4); Tocra, ivy on the rim, chain of palmettes in handle zone (Boardmanand Hayes, Tocra, 1963-65, pl. 76, no. 1040). Unattributed:Cologne P 5, ivy on the rim, reservedhandle zone with tongues below. 8 For figures on the lip, cf., e.g., two Siana cups by the C Painter, Munich 2121 (ABV 56, 96) and Hamburg 1908.255 (ABV 56, 102; Paralip. 23, 102; CVA, Hamburg 1 [Germany 41], pl. 34 [2000]; Brijder,Siana Cups I, pl. 49:a, b), each with

hounds pursuing a hare, two fawns; Dijon 1299 by the Griffinbird Painter (ABV 74, 52), swans between drinkinghorns. Occasionally, on the rim, animals are combined with ornament. Here are two, both by the Griffin-birdPainter:Honolulu 3591 (ABV 73, 32), bull between florals, and Baltimore48.36 (ABV 73, 39), deer between florals. 9 For a good example of the more decorativeeffect of the double-decker Siana cups, cf. London, B.M. B 380 by the C Painter (ABV 55, 91). For a double-deckerSiana cup with a reservedband, cf. 1678 or Hamburg 1908.255 by the C Painter (ABV 56, 102; Paralip. 23, 102; CVA, Hamburg 1 [Germany 41], pl. 34 [2000]; Brijder,loc. cit.). 10Examples: Two by the C Painter: Berlin, inv. no. 4281 (ABV 56, 98) and Athens, N.M. 534 (ABV 56, 105); Kassel T. 663 that is not so like the C Painter on the outside (Paralip. 25; CVA, Kassel 1 [Germany 35], pl. 29 [1709]:2 and 30 [1710]:2). Warsaw 198521 by the Griffin-bird Painter (ABV 72, 22; Paralip. 28, 22). Thera, from Sellada (RA, 1972, p. 75, notes 2 and 3). 11C Painter:AB V 51-61; Paralip. 23-26. HeidelbergPainter: ABV 63-67; Paralip. 26-27. Griffin-bird Painter: ABV 71-75; Paralip. 28-29. 12For late Siana cups influenced by Little Master cups, cf. D. Callipolitis-Feytmans,RA, 1972, pp. 73-82.

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SHAPE STUDIES

LITTLE MASTER CUPS 1685-1745

Pls. 110-112

The Little Master cup descendsfrom the Siana cup in shape, but it is lighter in make and more There are two main types of Little Master cup, the lip elegant in appearancethan its predecessor.13 and the band. Each derives its name from the scheme of decoration,and of the two, the lip-cup is often of higher quality. Very many Little Master cups, especially lip-cups, are signed by potters, some of whom specialize in this shape. Foremost among them are Tleson, who signs as the son of Nearchos, and two contemporaries,Hermogenesand Zenokles.14 Among the Little Master cups at the Agora, only 1686 by Tleson bears a signaturethat may be restoredcompletely;two others, 1743 and 1744 (P1. 112), preservepart of the potting verb.
LIP-CUPS 1685-1696 PI. 110

The lip-cup has an offset lip, a rather shallow bowl, and a broad, flat foot with a tall stem. The upward swing of the handles often echoes the curve of the bowl resulting in a harmonious relationship of all parts of the cup. The scheme of decorationis a simple one. The inside is glazed, except for the tondo, which may be reservedbut for a centraldot within a circle (e.g. 1685), or, like the Siana cup, it may have figured decorationsurroundedby an ornamental pattern (e.g. 1689: P1. 110). On the outside, the lip is reservedand decoratedwith small figures,often one, seldommore than three.15It is this feature of the decorationthat gives the cup its name. In the handle zone, there is normally an inscription, usually the potter's name, as on 1686, occasionally drinking exhortations or words of praise.16On less careful cups, the inscriptionsmay be imitation (e.g. 1688) or nonsense ones (e.g. 1695: PI. 110), but even these are an integralpart of the decoration.Often there is a palmette at each handle, as on 1685 (PI. 110) and 1686, or this area may be left plain, e.g. 1688. Beazley distinguished four chief types of lip-cup decoration:figured decorationoutside only; figured decoration inside only; figured decorationboth inside and outside; no figured decoration.'7 Among the Agora lip-cups, 1685 has decorationon the outside only, and another, 1686, may have had no figures, only the signature of the potter, Tleson, between the handle palmettes. 1687 (PI. 110) is of particular interest for it comes from a lip-cup decoratedaccordingto the band-cup principle, i.e., with the figures in the handle zone.18The rest of the Agora lip-cups, 1688-1696 (P1. 110), are too fragmentaryfor one to be certain of the schemeof decoration.
BAND-CUPS 1697-1742 Pls. 111, 112

The band-cup differs in shape from the lip-cup mainly by having its lip pass gradually into the bowl without the sharp offset of the lip-cup.19Often there is a fillet between the stem of the foot and the bowl. The chief differencebetween these two types of cup lies in the system of decoration.The lip of the band-cup is black both inside and outside, and the tondo is mostly reserved,usually with a circle and a central dot. The figured decorationis restrictedto the narrow reservedband in the
13 For the type, cf. Beazley, JHS 52, 1932, pp. 167-203; F. Villard, REA 48, 1946, pp. 162-169; G. M. A. Richter, CVA, New York2 [USA 11], pp. xvii, 4 and 8; and Beazley, Development,pp. 52-56. More recently, Bothmer,AJA 66, 1962, pp. 255-258; D. Callipolitis-Feytmans, RA, 1972, pp. 73-82; and K. Schauenburg,AA (Jd 89), 1974, pp. 198-219. 14For these and others, cf. Beazley, JHS 52, 1932, pp. 195202; ABV, chap. XII, 159-197 and Paralip. 67-80. 15 For exceptions, cf. Schauenburg, op. cit. (footnote 13 above). Of particularinteresthere is the unattributedlip-cup in Florence, inv. no. 3897, which is decorated according to the overlap principle established for Siana cups (ibid., p. 212,

fig. 21). 16For the full range, cf. ABV, chap. XII, 159-197 and Paralip. 67-80. 17Cf. JHS 52, 1932, p. 168. 18For others, cf. JHS 52, 1932, p. 183; more recently, K. Schauenburg,AA (Jdl 89), 1974, p. 201, note 11. 19F. Villard (REA 48, 1946, pp. 166-167) has suggested that the curve of the lip of the band-cup may be more suitable for the lips of the drinker and that the glaze both inside and outside may have a practical consideration,namely that the glaze is not porous and will not absorbliquid.

CUPS

65

handle zone and is the feature which gives the cup its name. The number of figures may vary greatly, from just a few to very many in a crowded composition.Occasionally,in the handle zone, there are inscriptions,either by themselvesor combinedwith one or two figures, a clear imitationof the lip-cup.20 Below the handle zone, there is usually a reservedband. The general effect of the band-cup is dark, in contrastto the light effect of the lip-cup. As in the case of the lip-cup, Beazley distinguishedfour basic types of band-cup decoration:full decorationon outside;decorationoutside and inside; brief pictures outside; no figured decoration.21 Among the Agora band-cups, seven, 1697-1703 (PI. 111), have full decorationon the outside. 1704 (PI. 111), with its decorationboth inside and outside, is especially important for the rare occurrenceof ships round the rim on the Not enough of the decoration inside, as on dinoi and on a few column-kratersand volute-kraters.22 on the outside remains to identify the subject,but presumablythe compositionwas a full one. Very likely, the tondo of the cup was also figured, as on the comparableexamples with ships round the rim,23but no part of it has survived. 1705 and 1706 (PI. 111) have inscriptionsin the handle zone, but not enough remains to tell if they were combinedwith figures or appearedalone. That on 1706 may be a nonsense inscription.The rest of the Agora band-cups, 1707-1742 (Pls. 111, 112), are too fragmentaryfor one to be able to identify the scheme of decorationwith certainty.
TYPE UNCERTAIN 1743-1745 PI. 112

Each of these fragments preservespart of an inscriptionin the handle zone. Those on 1743 and 1744 (PI. 112) are potting verbs;that on 1745 (PI. 112) may be a nonsense inscription.They probably come from lip-cups, but without part of the lip preserved,it is difficultto be certainof the type, and for this reason we have kept them separate. 1744 may be from a lip-cup decoratedaccordingto the band-cup principle.
CASSEL CUP 1746 P1. 112

The Cassel cup, which takes its name from one in Kassel without figureddecoration,24 retains the but its austere of decoration in favor of a more ornamental band-cup shape gives up system one, which may owe its inspiration to that of the Siana cup.25On the lip there is usually an upright tongue pattern, and on the bowl, bands of ornament of various kinds.26Occasionally,as on 1746 (P1. 112), there may be figures in the handle zone. At the bottomof the bowl, just abovethe stem of the foot, is a zone of rays. There are not very many Cassel cups, and 1746 is the only black-figured one from the Agora.
DROOPCUPS 1747-1752 P1. 112

The Droop cup is named after the scholarwho first examined a series of them within the context of a larger study of Laconian pottery.27Droop recognizedthat these cups were Attic but thought
20JHS 52, 1932, pp. 189 and 191. 52, 1932, pp. 187-191. above, pp. 34-35. 23 Louvre F 145 and Berlin 1800 (see catalogue entry for 1704). 24 Inv. no. A 37 from Samos (J. Boehlau, Aus ionischenund italischen Nekropolen,Leipzig 1898, pl. 10:2). Cf. also, R. Lullies in CVA, Kassel 1 [Germany 35], p. 52 (under T. 487). 25 For the shape, cf. Beazley, JHS 52, 1932, pp. 191-192; F. Villard, REA 48, 1946, p. 169; more recently, W. Hornbostel, Kunst der Antike. Schdtze aus norddeutschem Privatbesitz, Mainz 1977, p. 276, no. 243, with bibliography.
21 JHS 22 Cf.

J. Boardman (ABFV, p. 62) has suggested that the scheme of decoration derives from the Siana cup rather than the Little Masters. One may comparesome of the more lavishly decorated Siana cups, such as the two namepieces:London, B.M. B 380 by the C Painter (ABV 55, 91) and London, B.M. B 379 in his manner (ABV 60, 20; Paralip. 26, 20). 26 Cf. two well-preservedexamples that illustrate the character of the cup: London, B.M. 90.7-31.30 (CVA, London 2 [GB 2], pl. 16 [74]:8) and New York, M.M.A. X.248.16 (CVA, New York 2 [USA 11], pl. 20:33 a-c). Also, the fragmentsfrom Kavala ('ApX'E4, 1938, pp. 147-149). 27J. P. Droop, JHS 30, 1910, pp. 1-34, esp. pp. 21-27. The

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SHAPE STUDIES

that they might be intentional imitationsof Laconian.The Droop cup resemblesthe Little Master cup in principle but differs from it in a number of details. Its rim is glazed inside and outside, as in the band-cup, but unlike the latter, it is more sharply offset from the bowl, and it has a reserved band on the inside placed well below the rim instead of right at the top as in both types of Little Master cup. The inside of the bowl is either entirelyblackor is decoratedwith a reservedmedallion that often has a centraldot within a single or two concentriccircles.The high stem is reservedat the top and often channeled,and there is a broad black band on the inside, as on 1752 which is signed by Nikosthenes. The lower part of the bowl is occasionallyblack with a reservedband, as on the Little Master cup, but there are exceptions. Normally, there are zones of ornament below the handle zone, either various patternsor patternscombinedwith a frieze of silhouetteanimals drawn upside down, as 1747 and 1748 (PI. 112).28Ure dividedthis class of cups into three groups according to the treatment of the handle zone: I, upright lotus buds; II, lotus-palmettefestoon;III, animals or human figures.29The frieze of inverted animals does not occur on cups that have human figures or animals in the handle zone.30Thus, 1747 and 1748 must belong to either Group I or Group II (without part of the handle zone it is uncertainto which) and 1750 and 1751 (P1. 112) to Group III.
TYPE A ANDSUB-A 1753-1779 PI. 113

This sturdy-looking,rather heavy-set cup displaces the Little Master cup and is the type preon.31The cup Type A has a deep bowl without an ferredby black-figureartists from about 530 B.C. concave offset lip, a low flaring foot with a pronounced edge, and usually a fillet between the thick stem and the bowl.32The inside is black except for a narrow reservedband below the rim and the tondo, which may be left plain but for a central dot within a circle or decoratedwith figures, most often a gorgoneion.On the outside, the figures occupy the entire height of the bowl except for the underside, which frequently has ornamentaldecoration.There are often rays above the foot, and between them and the figureddecorationthere may be lines, bandsof glaze, or simple patterns.The favorite decorationon the main portion of the bowl is a pair of large apotropaiceyes,33sometimes with a nose between, or else figures. Occasionally,there is additional figure work at the handles. The eyes may be drawn in outline and reservedexcept for the iris and pupil, as 1753 (PI. 113), or they may be painted white or black, as 1754 (P1. 113) and 1755, so that they contrastwith the clay ground. The pupil is black;red, white, and black compass-drawnrings comprisethe iris. The earliest preservedAttic black-figuredeye-cup of Type A is the famousone in Munich signed by Exekias as potter.34Exekias did not invent the shape, for there exist precursorscalled Proto-A cups that have very deep, almost hemisphericalbowls, stems that vary in height, and feet with a concaveedge as Type A,35and these providethe backgroundfor the cup by Exekias. But Exekias' cup is the earliest example of the conventionof painting a pair of large apotropaiceyes in the handle zone on each side. The eye-cup becomesvery popular in Attic black figure duringthe last quarterof
basic study of Droop cups: P. N. Ure, JHS 52, 1932, pp. 55-71. Cf. also G. M. A. Richter in CVA, New York 2 [USA 11], p. 12; F. Villard, REA 48, 1946, pp. 171-172; AgoraXII, p. 91. 28 Silhouette animals drawn upside down are not restricted to Droop cups but also occur on two Proto-A eye-cups, Louvre F 131 bis (at each handle, a maenad; beneath each handle, a kneeling satyr) and Boston, M.F.A. 03.784 (CVA, Boston 2 [USA 19], pl. 100 [934]:1-4). 29JHS 52, 1932, pp. 56-68. 30Ibid., p. 64. 31For the shape, cf., particularly, H. Bloesch, Formen attischer Schalen von Exekias bis zum Ende des strengen Stils, Bern 1940, pp. 1-39; F. Villard, REA 48, 1946, pp. 173-180; Beazley, Development, p. 67; G. M. A. Richter in CVA, New York 2 [USA 11], p. 14. 32 Sometimesthe fillet is omitted. For an early example, cf. New York, M.M.A. 25.78.6 (ABV 116). 3 D. A. Jackson (East Greek Influences on Attic Vases, London 1976, pp. 60-68) has shown that the practiceof painting large eyes on cups may have an Ionian origin. 34 Munich 2044 (ABV 146, 21; Paralip. 60, 21). 35 A large number of these are to be found in ABV, chap. XIII. For a discussion of the precursors,cf. Bloesch, op. cit. (footnote31 above), pp. 2-4.

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67

the 6th century B.C.,but there are very few examples from the Agora, and they are so fragmentary that they do not illustrate the type very well (1753-1756). A number of well-preserved cups, classifiedby Beazley as sub-A, have been found in the Agora, e.g. 1761-1764 and 1769 (P. 113). This type retainsthe generallysquat, heavy-setappearanceand the foot with concave edge of the canonical Type A, but its bowl is somewhat shallower, and the fillet between bowl and stem is given up in favor of a continuous curve between the wo parts. In this respect, the sub-A cup resemblesthe Type B cup, but it lacks the characteristic chamferon the of the foot the surface near The scheme of is more restrained than that of Type decoration top edge. A, for there are no rays or ornamental patterns on the undersideof the bowl but merely a narrow reservedband. The figures on the outside may appear between eyes, althoughthis is not standardas it is for Type A, and none of the Agora sub-A's has eyes. The tondo usually has a single figure, not the gorgoneion of Type A. The Agora sub-A cups are late products, belonging to the 5th century B.C., and most of them are decoratedby painters of the Leafless Group. The fragmentsin this section, 1765-1767 and 1770-1778 (PI. 113), may also be sub-A cups, but without the foot and the stem it is difficultto be certain.
TYPEB 1780 Pl. 113

The bowl of the cup Type B passes directlyinto the stem without an interruption; the shape of the foot is a torus, and there is usually a small chamferon its top surfacenear the edge.36 The schemeof decoration on the black-figured examples follows that for the sub-A. The Type B cup comes in shortly after the invention of the red-figuretechnique and is mainly a red-figureshape. It is never popular in Attic black figure, and most of the known examples are late ones, a good numberof them attributedto the manner of the Haimon Painter.371780 is the only black-figuredexample from the Agora. It is a rather heavy piece, and its deep bowl resembles that of the Type A, but it is chamfer. distinguishedeven from the sub-A by its torus foot which, however,lacks the characteristic
STEMLESS CUPS 1781-1800 Pls. 114, 115

In black figure these are small cups of Type C that belong to the group designatedby Bloesch as conservativein character.38 The bowl of the Type C cup is rather shallow and has a plain or an offset lip. In plain black, the type with the offset lip is the commonestof the stemmedcups, but in black figure, including the examples from the Agora that preserve all or part of the lip, the lip passes into the bowl without interruption.The stem itself is very short with a fillet at its base, and the foot is a thick torus.39In the stemlessvariety, as the name implies, the stem is omitted,and there is simply a fillet between bowl and foot. 1781-1785 (P1. 114) are Top-band Stemlesses.40 These have black rims and a reservedband in the handle zone that may be plain, as 1785, but normally contains figures often set between eyes, as 1781-1784 (PI. 114). Below the figure zone, there is a narrow reservedband. The inside is black except for the tondo,which may be reserved,as 1783 and 1784, or decoratedwith a gorgoneiondrawn in outline, as 1785. 1786-1793 (Pls. 114,115), which preserve parts of tondi with gorgoneia, may be Top-band Stemlesses, but without the rim it is difficultto be certain. 1794 (PI. 114) is unusual for having a figure in the tondo.
36 For the type, cf. Bloesch, op. cit. (footnote 31 above, 66), p. pp. 41-109, esp. pp. 42-44 for the transitionalearly examples; also Beazley, Development, pp. 61-62 for cups by the Amasis Painter, including one signed by Amasis himself, that approximate Type B; Bothmer, Amasis Painter, pp. 223-228, cat. nos. 62, 63. 37ABV 561-562, 531-557; Paralip. 271, 515, and 284. 38 Bloesch, op. cit. (footnote 31 above, p. 66), pp. 113-118.

39The shape as a whole is best discussedby Bloesch (op. cit., pp. 111-136). Cf. also Agora XII, pp. 91-92, with bibliography. In ARV2, p. li, Beazley limits the term "Type C" to those cups with "an offset lip as well as the characteristicstem and foot,"but classifiesas Type C both 1784 (Paralip. 101, 13) and another in the Basel Market (Paralip. 101, 16), which have plain rims. 40 Paralip. 100-102, 1-45.

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SHAPE STUDIES

An interesting group of stemless cups are those of the Segment Class41(1795-1800: PI. 115), which have the same shape as the Top-band Stemlesses.They take their name from the scheme of decorationon the inside where the figures cover the entire surface, which is often divided into a main zone and a small exergue near the bottom, similar to the tondi on the insides of many other types of cups and on plates.42The exergue may be plain,43or figured, as 1798-1800 (PI. 115) which have dolphins, or it may simply contain a few dots.44 Occasionally,the exergue is omitted,as 1797 (PI. 115) and perhaps 1796 (P. 115), and the compositionadapted to the full circle.45The exterior is normally undecorated.46
CUPS, TYPE UNCERTAIN

1801-1846

Pls. 116-118

This section contains fragmentsthat may not be assigned with certaintyto a specifictype of cup, and among them are to be found some pieces of particular interest. 1802 (P1. 116), perhaps the earliest, recalls the C Painter. It preservespart of the potter'sname and the first two letters of the verb. 1811 (PI. 116), which is either a band-cup or a Gordion cup, gives the potting verb, but nothing of the maker'sname remains. 1830-1846 (Pls. 117, 118), the late pieces, are probablycups of Type A and sub-A, but one may not rule out Type B, especially among those by painters of the Leafless Group. BOWL 1847 P1.118 Bowls are well known in plain black from the late 5th century on, and their range in size is considerable.1Figured bowls are particularly rare, and the three attributed black-figuredbowls or "bowl-likevessels",to use Beazley's phrase, are so fragmentarythat they do not illustratethe shape very well.2 In the Agora, one fragmentaryblack-figuredbowl has been found, 1847 (PI. 118). It has a thickened,roundedrim, but since much of the interioris lost, the rest of its appearancemay not be determined.The figured decoration,drawn in silhouette, coversthe entire interior;the exterior is black except for a reservedband below the rim.

41Eleven members of the class were first put together by Bloesch who named them Segment Cups (op. cit. [footnote31 above, p. 66], pp. 118-119). Since then, their number has grown to more than 70. Cf. also ABV 212-215, 1-60; 690, 21 bis, 21 ter, and 46 bis;Paralip. 102-103; and V. Poulsen, "Eine attische Augenschale," Opus nobile. Festschrift zum 60. Geburtstagvon UlfJantzen, Wiesbaden 1969, pp. 125-128; K. Schauenburg, "Zu einer Segmentschale in der Kieler Rivista di Archeologia1, 1977, pp. 16-18. Antikensammlung," 42 The scheme of decoration also recalls that of many Laconian cups, which, although earlier than all the Segment Cups, very often have similar inside decoration. Cf. C. M. Stibbe, Lakonische Vasenmalerdes sechsten Jahrhunderts v. Chr., Amsterdam1972. 43Two examples: Hamburg 1962.171 (Paralip. 103, 22 bis; CVA, Hamburg 1 [Germany 41], pl. 44 [2010]); Heidelberg 285 (ABV 213, 31).

44E.g. Turin 4112, new number 5776 (ABV 214, 50; CVA, Turin 2 [Italy 40], pl. 2 [1786]). 45 An unusual scheme is to show the two figures standing "north-south",so that no matter how the picture is viewed, one of them always appears to be upside down. Cf., e.g., London, B.M. B 458 (ABV 213, 28); two in the Argos Museum (ABV 213, 29, and 214, 48). 46 It may sometimes have a plain band in the handle zone, e.g. Vatican 244 (ABV 213, 30). One is decoratedon the outside as a Top-band Stemless: Milan, Bernareggi (Paralip. 103, 38 ter). 1 For bowls, including saltcellars, cf. Agora XII, pp. 128138. 2 Two by the Amasis Painter: Palermo (ABV 156, 78) and Akropolis 1241 (ABV 156, 79); one by Elbows Out: Villa Giulia (ABV 250, 19).

THYMIATERIA

69

EPINETRA 1848-1850 P1. 118

The epinetron is used for the preparationof wool for weaving.1It is shaped to fit over the thigh of the worker, for it is wider at the open end where the thigh is thickerand closedat the narrow end to fit over the knee cap. Usually, at the closed end, there is a molded female head. The open end terminates in a torus molding;the side edges are straightand flat. The general appearanceis similar to that of a very elaborate Corinthian cover tile.2 The top of the epinetron is coveredwith an incised scale pattern, which producedthe necessary roughness when the wool was rubbed against it. Directly above the torus molding, there is an ornamentalpattern, such as rays or lotus buds, and often there is a narrowerone at the opposite endjust beforethe start of the curveof the knee. The figured decorationappears in a frieze on each side, and between it and the scale pattern there is usually a narrow band of ornament.3 There are not very many Attic black-figuredepinetra. Nearly all of them were found in Greece, and they come from workshops active around 500 B.C.which specialize in decoratingsmall vessels. Particularly important are the three by the Sappho Painter and the two by his companion, the Diosphos Painter,4as well as the contemporaryones of the Golonos Group, which takes its name from the epinetrononce in Goluchow5and seems to have specializedin the shape. Only three small fragmentaryblack-figuredepinetra have been found in the Agora. 1849 (PI. 118) preservespart of the scale pattern, the wreathed head of a male to right, and some of the key pattern (white on black glaze) separating the two zones. 1848 and 1850 (PI. 118) give only part of the figured area. 1848 (PI. 118) with women working wool is no doubt a referenceto the use of this shape.6

THYMIATERIA 1851-1853 P1. 119

The thymiaterionis an incense burner.1The appearanceis so metallic-lookingthat presumablythe clay examples depend upon metal prototypes.The thymiaterionhas a rather deep bowl fitted with a conical lid pierced to allow the fragranceof the incense to escape. The bowl joins a tall slender stem that flares toward a central molding useful for holding the vessel. The stem is thicker below the molding than above it, and it flares toward the spreadingfoot that has two or three degrees.The
1For the shape, cf. Agora XII, p. 230. Of the references cited, most importantfor Attic black figure is D. M. Robinson, AJA 49,1945, pp. 480-490. An unpublisheddissertationon the subjecthas been completedby Pamela Benbow, Epinetra (diss. Harvard, 1975). 2 Epinetra have been interpreted as elaborate roof tiles or tiles for tombs, as well as for other purposes. Cf. D. M. Robinson, AJA 49, 1945, p. 482, note 10. 3 For two well-preserved epinetra, cf. Athens, N.M. 2184 the by Sappho Painter (ABL, p. 228, no. 53) or Leyden I 1955/1, 2 unattributed(CVA, Leiden 2 [Netherlands4], pl. 68 [162]). Usually the area around the molded head is black, but on Athens, N.M. 2185 (ABV 481, -, y), a fragment, it is coveredwith a pattern of encircled palmettes with black birds in the interstices. This may have been purely a patterned epinetron,not a black-figuredone. 4 Sappho Painter: ABL, p. 228, nos. 53-54 bis; Diosphos Painter:ABL, p. 237, no. 118, Paralip. 250, and probably1850. 5 Warsaw 142454, ex Goluchow 225 (ABV 480,4; Paralip. 220, 4). For the group, cf. ABV 480-481 and Paralip. 220. 6 For other representationson epinetra, cf. catalogue entry for 1848. Cf. Agora XII, pp. 182-183, with bibliography, esp. K. Wigand, "Thymiateria,"BJb 122, 1912, pp. 1-97; C. Roebuck, Hesperia 9, 1940, pp. 181-182, nos. 74 and 75, and p. 180, fig. 21; KerameikosVI, ii, p. 165 for a 7th-centuryexample; for a small plate from the Shrine of Nymphe that is decorated with a thymiaterion, cf. Callipolitis-Feytmans, Les plats attiques, p. 403, no. 4 and fig. 74.

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molding may be a concaveband, e.g. 1851 (PI. 119), or it may flare outward terminatingin a crisp edge, e.g., 1852 (PI. 119) or two well-preservedexamples from Eleusis.2 The scheme of decorationhas figures on the stem above and below the molding and occasionally on the top surface of the foot as well.3 Above the figures, there may be an ornamentalpattern or simply a band of glaze, e.g. 1851. On the central molding, there is an ornament,such as ivy (e.g. 1851) or tongues (e.g. 1852). There are very few Attic black-figuredthymiateria, and the few examples from the Agora are parts of stems. Taken together,they illustrate the general appearance and system of decoration. 1851 shows some of the stem above and below the molding, 1852 gives part of the stem directlyabove the flaring molding, and 1853 comes fromjust abovethe foot. CLOSED VASES, SHAPE UNCERTAIN 1854-1908 Pls. 119-121

None of these fragments preserves a feature that will identify the shape with certainty. In some cases, the date of the fragment is helpful, for it preventsthe piece from being identifiedas a shape not yet in the Attic repertoryor as one that has gone out of use. For all the fragmentsin this section, the choice of shape lies between at least two possibilities. 1858 (PI. 119) could be a small one-piece amphoraor an olpe; 1880 (P1. 120) might be an oinochoeor an amphora;1882 (PI. 120) is probably an amphora or a hydria. 1859 (PI. 119), attributedto the Group of the Dresden Lekanis, is probably a neck-amphorarather than a hydria or an oinochoe,for thus far neither of the last two shapes is known in this group. The large number of fragmentsby the Polos Painter, 1862-1868 (P1. 119), are probablyeither hydriai or neck-amphorae.1874 (Pl. 120) comes from a large vessel, and what remainsof the curve does not seem strongenough for either a neck-amphoraor a hydria. The shape may be a one-piece amphorawith the figuresset in friezes, and if so, it will add a new shape to those known to be decoratedby Kleitias, but it is hard to be sure. 1883 (P1. 120) by the Swing Painter is very puzzling. It has a strong horizontalcurve, and at the very top, the surfaceis rough as if it fitted into somethingor was coveredby the downturnedrim of a lid. The verticalcurve indicatesthat the vase widened toward the top. The curveof 1890 (PI. 121) suggestsan olpe, but the wall is too thick. An odd feature is the horsemen drawn to different scales within the same scene. 1906 (P1. 121) comes from some kind of small vessel with a little round hole in the top. OPEN VASES, SHAPE UNCERTAIN 1909-1932 Fig. 22 Pls. 121-123

Like the fragmentsof closed vases in the precedingsection, none of these fragmentsof open vases preservesany sure means of identifying the shape. The early fragmentsof larger vases, e.g. 1909, 1912, or 1915 (Pls. 121, 122), are very likely kraters or dinoi, although 1920 (PI. 122) may be a lebes gamikos. 1913 is a rim fragmentwith figureddecorationon both the inside and the outside, a system of decorationthat recalls later cups with a figuredfrieze running roundthe tondo,as well as exterior decoration.11916 (P1. 122) is a very deep cup or bowl, rather small in diametercompared
K. Kourouniotis, Classical Studies presented to Edward Capps on his SeventiethBirthday, Princeton 1936, opp. p. 204, figs. 1 and 3. The edge of 1852 is very broken, but enough remains to indicate its original appearance.
2

3 Ibid., opp. p. 204,

fig. 1.

For these, cf. K. Schauenburgin Studienzurgriechischen Vasenmalerei[AK, Beiheft 7, 19701,pp. 33-46.

PLAQUES

71

with its estimated depth. 1923 (PI. 122) preserves some of the tondo of a low bowl with a broad flaring foot. The tondo is divided into two zones of almost equal size, and what remains of the exterior is undecorated. 1924 (PI. 122) is the rim of a Gordion cup or a Hermogenian skyphos. 1928 (PI. 122) preservespart of the rim and flaring wall of a drinkingvessel, perhaps a kantharos, although a black band above and below the figures is unusual and the size seems too small. 1929 (PI. 123) has been recut for use as a stopperor a disk. 1931 (PI. 123) is the most perplexing of all in this section. These fragments come from a vessel with a deeply curved wall, possibly similar in shape to a chalice, and part of its figured decorationmay have been overlappedby the handles. MISCELLANEOUS 1933-1935 PI. 123

The three entries in this small category do not fit into any of the sections above. 1933 (PI. 123) depicts part of a frieze of figures, probably horsemen, and may be a fragment of the mouth of an amphora,1although it seems a bit thin and flares slightly. 1934 (PI. 123) is the only certainexample of an amphoraType A from the Agora, but it is unclear if the figureddecorationwas in black figure or in red figure, for nothing remains of the figures or of the sides of the panels which are plain in black figure and have ornamentalframes in red figure. 1935 (PI. 123), a fragmentof a loutrophoros handle, finds good parallels in both black figure and red figure.

PLAQUES 1936-1946 Pls. 123 and 124

Plaques are slabs of clay used for funerary or votive purposes.1They may be rectangularor have roundedtops. Their clay may be very fine like that used for the best of vases, or it may be coarseand gritty like that used for roof tiles and pithoi. If the latter, the surface of the plaque is coatedwith a thin layer of fine clay before it is painted. 1938 is a good example. Funerary plaques are decorated on one side only, for they were attachedto the exterior of the tomb;2votive plaques may be figured on one or both sides, dependingupon whether they were attachedto a solid surfaceor suspendedin mid-air to hang freely.3 There are two basic types of funerary plaques: single plaques and those that form a series. The plaque series is the earlier and the more elaborateof the two, beginningin black figure,ca. 600 B.C., and lasting to about 530 B.C.,4 those by Exekias being among the latest.5When the manufactureof

1For figureson the mouth of an amphora,cf., e.g., the large amphora in a Swiss private collection attributedto the Painter of Vatican 342 (Paralip. 187, 3) or the unattributedamphora Type A in Bologna (no inv. no.): figures on Side A of mouth only (CVA, Bologna 2 [Italy 7], pl. 6 [305]:1). For funerary plaques, cf. J. Boardman, BSA 50, 1955, pp. 51-66; for votive plaques, J. Boardman, BSA 49, 1954, pp. 183-201. 2 The means of attachmentis not known for certain, for no tomb has been found with a plaque in situ or with a wall that

bears marks of an attachmentfor a plaque. For a discussionof the possibilities, cf. J. Boardman, BSA 50, 1955, pp. 52-53; more briefly, D. Kurtz and J. Boardman, Greek Burial Customs, London 1971, p. 83. 3 Cf. J. Boardman,BSA 49, 1954, pp. 192-193. 4 The earliest example of a plaque series seems to be the two relief plaques in New York, M.M.A. 14.146.3 a and b (J. Boardman, BSA 50, 1955, p. 58, no. 1; E. Vermeule, Aspectsof Death in Early GreekArt and Poetry,Berkeley 1979, p. 11, fig. 6). 5 Berlin 1811-1826 (ABV 146, 22; Paralip. 60, 22) and Athens, N.M. 2414-2417 (ABV 146, 23).

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SHAPE STUDIES

the plaque series comes to an end, the makingof single plaques begins. The reasonfor this changeis not known but may perhaps reflect restrictionsagainst elaborateand costly grave decoration.6 Futhat form of a series are rather uniform in size and in contrast to the thickness, nerary plaques part single plaques which vary greatly in their dimensions.7Although the subjectpainted on both the plaque series and the single plaques is the same, the system of decorationdiffers. In the plaque series, the narrative consists of several scenes having to do with the prothesis and the preparation for the ekphora. Ornamentalpatternsare omittedentirely or limited to a simple frieze near the top or at the bottom of the plaque.8The sides are plain. On single plaques, the prothesis scene is confined to essential elements the bier and some of the mourners.And usually a double or single line, or an ornamental pattern, frames the scene.9 1942 (P1. 124), which shows mourners, is the only sure example of a funeraryplaque from the Agora, and it very likely formedpart of a series. It is on the same scale as the plaques by Exekias. Votive plaques offer a wide range of subjects,they vary more in sie than funeraryplaques, and they last much longer, well into the 4th centuryB.C.10Often there are holes for suspensionor for the attachmentto a wall.11 1943 (PI. 124) has such a hole. It is not always possible to identify votive plaques, particularly when only fragments have survived, an observationrightly emphasized by Boardman.12 Among the Agora fragments,only 1943, with its hole for suspensionand its representation of Hermes, is certainto be a votive plaque. The othersmay be, but without more to go on it is difficultto be certain. DISKS 1947-1949 PI. 124

Disks are flat, circularobjectsthat usually have a slightly thickenededge. They resemblethe floors of plates and may sometimeseven be mistakenfor plates if the smoothedge is not preserved,for the undersideis finished and often decoratedwith concentriccircles. 1948 (PI. 124) is a good example, but since a small portion of the edge remains, it cannotbe a plate. Fragmentarydisks may also even be mistaken for fragmentsof Sosian stands. 1949 (P1. 124) is a disk, for although it has a torus rim, its undersideis smooth and it lacks a stemmedfoot, and so it cannotbe a stand. Disks are decorated accordingto the principle establishedfor plates.2The figuresmay be drawn rounda centralmedallion, 1947 (PI. 124) being a good example from the Agora, or large figures may fill the entire format, as 1948. There are not very many disks, and their purpose is unknown. They may have been small votive objects,or they may have servedas lids.
6J. Boardman,BSA 50, 1955, p. 53. 7 For a discussionof dimensions,cf. J. Boardman,BSA 50, 1955, pp. 52-53. 8 For a simple key pattern at the top, cf. those in Berlin by Exekias (ABV 146, 22; Paralip. 60, 22). For a key pattern at the bottom, cf. Athens, N.M. 2412 and 2413 (ABV 687, top; J. Boardman, BSA 50, 1955, p. 60, no. 11 and pl. 2:c, d). Athens, N.M. 2410 has an inscription at the top, and presumablyAthens, N.M. 2412 and 2413 did also, for they are part of the same series (Boardman,op. cit., p. 60, no. 11). The lotus-palmette festoon at the top and the tongue pattern at the bottom of the plaques by Sophilos seem to be unparalleled (ABV42, 38-40; Boardman,op. cit., p. 59, no. 6; Bakir, Sophilos, pis. 37, 38). 9J. Boardman,BSA 50, 1955, pp. 53-54. 10 J. Boardman,BSA 49, 1954, p. 193. I' Ibid., p. 192. 12 Ibid., pp. 194-195. 'Cf. D. Callipolitis-Feytmans, BCH 79, 1955, pp. 467477 and Les plats attiques, pp. 36, 124, 187, and 241; Agora xiI, p. 178. 2 D. Callipolitis-Feytmans,BCH 79, 1955, pp. 473-474.

POTTERS AND PAINTERS

The distinction between Protoattic and Attic black figure is not so obvious as the one between black figure and red figure, which is mainly a question of two techniques. The differencebetween Protoatticand Attic black figure rests primarilyon the differencebetween a style of painting on the one hand and a technique on the other. A small numberof vases from the Agora may be datedin the third quarter of the 7th century or in the early part of the last quarter, and they illustrate well the problem of whether to call a piece Protoatticor Attic black figure, for as Brann remarked,"which term one prefers depends on what one is looking for."1Brann includes all these vases in her studies of the Protoatticpottery from the Agora, and in her Agora volume she extendsthe term Late Protoattic to cover the earliest black figure, datable between the Kynosargesamphora and the Nettos Painter.2All these vases, however, were classed as black figure by Beazley during a visit to Athens in the spring of 1958.3 Since they exhibit both Protoatticand Attic black-figurecharacteristics, we have repeated t them here in the back-figure volume and discuss them in this short section of the chapter on attributedAttic black-figuredvases from the Agora. In addition, we have included 128 (P1. 16), a fragment of a neck-amphoracalled transitional-to-blackfigure by Beazley, and 129, a fragment of another called black figure or transitional-to-blackfigure by him during the same visit in 1958. 128 combines bold Protoatticornamentwith silhouette figures enlivened by incision.4The same can be said for 1936 (Pl. 123), a disk cut from a plaque, which preservespart of a chariot horse to right, or 587 (PI. 55), two fragmentsof a fenestratedstand that was probablyconical in shape. 519 and 1854 have ornamentdrawn partly in outline and partly in silhouettewith incision. 132 (PI. 16) is decorated with two confronted horse protomes, a composition that is likely to be of Cycladic origin,5but in Attic black figure becomesthe single protomeknown from many one-pieceamphorae (e.g. below, Catalogue, 13-23). 133 (PI. 16) is decoratedin the full black-figuretechnique, but the shape of the mouth of this neck-amphoraand the style of the figures are Protoattic.1361 (PI. 94), from what is preserved, seems to be in black figure, but the style of the horse is Protoattic.This discussion of the earliest black figure from the Agora concludeswith three fragmentsthat preserve parts of human heads, which have the faces drawn in outline and the hair either solid or incised. 129 may be a male siren6 and, if so, is an early example, slightly earlier perhaps than 133. 1855 (PI. 119) preservesjust the upper part of the face of a woman whose closest kin seems to be the Athena painted on Berlin 1682 by the Nettos Painter.77 (PI. 2) is of special importancefor it is the
1Agora VIII, p. 25; cf. also, the remarks by Beazley, Development, p. 12 and Kubler, KerameikosVI, ii, pp. 311-327. 2 Agora VIII, p. 25. 3 In addition to the early vases mentioned below, the following were also called black figure by Beazley: 130, 131, and 695. 4 One may also cite here P 13279 by the KynosargesPainter (Agora VIII, p. 95, no. 565, pl. 35) and P 22299 by the Pair Painter (AgoraVIII, p. 96, no. 572, pls. 2, 36, 42), which also combine these features, and on P 22299 accessoryred appears as well. 5Agora VIII, p. 97, under no. 573. 6 Agora VIII, p. 97, no. 577, pls. 37, 44. 7 Agora VIII, p. 98, no. 580, pl. 37. For Berlin 1682, cf. ABV 5, 4; Paralip. 2, 8 (d).

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earliest example of a human protome in the panel of a one-piece amphora, a decorativeidea that, like the horse protome,may have a Cycladicorigin.8 Painter of Berlin A 34 The earliest attributedAttic black-figuredvase from the Agora is 340 (Pl. 34), a fragmentof an amphoraof uncertaintype by the Painter of Berlin A 34, formerlycalled the Woman Painter after the subjecton his namepiece.He is the first artist to appear in the pages of ABV and Paralipomena, and 340 adds a new shape to the few vases known by him, which until now were all kraters.134 is thought by Brann to come from the workshop of the painter, but without figured decorationit is difficult to be certain. An argument in favor of her attribution is the presence of two shades of accessoryred, a bright hue and a duller one, in addition to white, which gives a rich polychrome effect seen also on 340. The profile of the woman on 588 is close to the Painter of Berlin A 34, and its subject,a woman holding a poppy or a pomegranate,is a forerunnerof the women holding palmettes on the stand of Athens, N.M. 16384 by the Nettos Painter.9Contemporarywith or slightly later than 340 is 341 (P1.34), also from an amphoraof uncertaintype, which may be by the Piraeus but it Painter. The incision does not seem quite so fine or the drawing so firm as on his namepiece,10 is surely close to him. Nettos Painter In the late 7th centuryB.C., Attic black figure is best illustratedby the work of the Nettos Painter, the earliest Attic black-figurepainter whose personality is distinct and who has left us vases sufficiently large in number to make it possible to chart his development.'1The five vases by the Chimaera Painter, who is named after the large grave amphora found on Aigina near the modern No vase fromthe Agora has town,'2 are now consideredto be the early work of the Nettos Painter.13 been attributedto this early phase, but 406 (P1.40), a fragmentof a lid from a skyphos-kraterthat shows a massive, powerful boar striding to left, recalls the Chimaera Painter. Only one vase from the Agora has been attributedwith certaintyto the Nettos Painter, 117 (P1. 13), the famous sphinx amphora,which belongsto the maturework of the painterand ought to date about 610 B.C. On each side is a large seated sphinx which spreads out over the whole surface of the vase, the obverse separated from the reverse only by ornamental configurationsat the handles. Here, the arrangement of the figures relates betterto the shape of the vase than it does on Eleusis Z 21, Aigina 565, or London, B.M. 1874.4-10.1,14 which are earlier one-piece amphoraeby the painter, decoratedaccording to the principle established for neck-amphorae,'5 and the profile of the sphinx on 117 is more developedand betterproportionedthan it is on either Eleusis Z 21 or Aigina 565. 137 (P1. 16)
p. 99 under no. 589. Human protomesmay be seen occasionallyin early black figure, the best known examples being 7 (PI. 2) and the one on Munich 1360, which has a horseheadon the reverse (ABV 16, 2; Paralip. 9, 2; M. G. Picozzi, Studi Misc. 18, 1971, no. 1, pl. 1). Cf. also the confronted male protomeson Copenhagen 13796 (ABV 714, 9 bis;Paralip. 7, 9 bis) and the male protome on the obverse of a horsehead neck-amphorain the Louvre (E 822: ABV 17; Picozzi, op. cit., no. 44 and pl. 37). For a human protome on a lid, cf. 1372 (PI. 94). For a subhuman protome on an oinochoe, cf. 723 (PI. 69). For the subject, cf. 0. von Vacano, Zur Entstehung und Deutung gemalter seitenansichtiger Kopfbilder auf schwarzfigurigen Vasen des griechischen Festlandes, Bonn 1973. 9 ABV 6; Paralip. 3, 13. '0 Athens, N.M. 353 (ABV 2; Paralip. 1).
8 Agora VIII,

1 ABV 4-6; Paralip. 1-5; also Karouzou, 'Avayvpoivros, pp. 123-136. For some of the vases by the Nettos Painter and others contemporarywith them, cf. the remarks by Kiibler in his discussionof the early Attic black figure from the Kerameikos (KerameikosVI, ii, pp. 316-323). It is difficultto perceive why KiiblerrejectsKarouzou'sattributionto the Nettos Painter of Kerameikos,inv. no. 658, and even more, of the three skyphos-kraters from Vari, Athens, N.M. 16382, 16383, and 16384. 12 Aigina 565 (ABV 3, 1; Paralip. 1, 1).
13

Paralip. 1. 14Eleusis Z 21 (ABV 679, 2 bis; Paralip. 2, 3); Aigina 565 15Above, p. 5.

(ABV3, 1; Paralip. 1, 1); London,B.M. 1874.4-10.1, formerly A 1531 (ABV 3, 2; Paralip. 2, 2).

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was originally attributedto the Nettos Painter by Beazley in AB V but judged to be only near him in Paralipomena. Three other pieces, an amphora, a louterion, and a lid, 120 (P1. 15), 603 (P1. 56), and 1362 (PI. 94), were also attributedby Beazley to near the painter, and others,401 (PI. 39), 407 (PI. 40), 527 (P1. 51), and 697 may be added.527, a stand fragment,preservesthe head of a woman to right who is comparableto those on the stand of Athens, N.M. 16384 and may even be by the Nettos Painter himself. 697, two fragmentsof an olpe that show part of a rider and his mount, is also close to the Nettos Painter and belongs with the cavalcadeon Athens, N.M. 16383 and the two horsemenon Kerameikos,inv. no. 658.161 (P1. 1), 121 (PI. 15), 409 (P1.40), and 1363 (P1.94) are perhaps also near the Nettos Painter. The heads of the swans on 1363 are weaker versions of the ones on Athens, N.M. 16382,17the earliest of the three well-preservedskyphos-kratersfrom Vari. The face of the siren on 121 is close to that of the sphinx on 117 (PI. 13), and the wheel rosettes recall those on Athens, N.M. 16383 and Kerameikos,inv. no. 658. 399 (PI. 39), also close to the Nettos Painter, belongs with these. 343 (P1. 35) is by or near the painter. GorgonPainter In the early 6th century B.C., the most prolific Attic vase painter is the Gorgon Painter who takes his name from the dinos in the Louvrethat depicts Perseus fleeing fromthe Gorgons.18 A numberof vases by the Gorgon Painter himself and several in his manner have been found in the Agora. The Gorgon Painter continues the tradition establishedby the Nettos Painter, which is best illustrated perhaps in his early work where the figures may be rather ample and cover large areas of the vase. 671 (Pl. 64) belongs to this early period, thee e only Agora example that does. The somewhat heavy proportionsmark 671 as an early trefoil olpe, and the two large sirens filling the entire surface of the body as well as the use of the dot-wheel rosettefor filling ornament meanalso argue for early date, a conclusion reached by Scheibler.19 The frieze of geese above the sirens on 671 is similar to that near the top of the large lid from the North Slope, also an early work.20Five other fragmentsfrom the Agora are somewhat later: 1297 (PI. 91) is a lekanis; 412 (P1.41) and 1367-1369 (P1. 94) are lids, the last of which is attributedhere. hese lids have their decorationset in friezes, unlike those In Attic by the Nettos Painter, which havejust a few large figures occupyingmost of the surface.21 black figure, animal friezes first appear in the work of the Gorgon Painter and his contemporaries; the idea very likely derivesfrom Corinthianvase painting where it had long been used, particularly the arrangementof the animals in groups,22not just in confrontedpairs, which may be seen, for example, on the Gorgon Painter's namepiece. The faces of the sirens or sphinxes on 1369 (P1. 94) seem to belong stylistically between the sirens on 671 (PI. 64) and the sphinxes and sirens on the 412 (P. 367 (P1.94) are also close 297 (PP. 41), 1and Gorgon Painter's plate in Baltimore.23 91),
16 Athens 16383 (ABV 7, y; Paralip. 3, 12); Kerameikos, inv. no. 658 (ABV 3; Paralip. 1; KerameikosVI, ii, no. 116, pis. 89-91). For the attributionof the Kerameikosamphora,cf. footnote 11 above, p. 74. 7 ABV 3, 4; 4; Paralip. 3, 10. 18 Louvre E 874 (AB , 1; Parali. 6, 1). For the rest of his vases, as well as those in his manner, cf. ABV 8-13; Paralip. 6-9. G. Bakir (AA [JdI 93], 1978, pp. 26-43) has separatedfive of the vases attributedby Beazley to the manner of the Gorgon Painter and added three others to form a new painter, named after the lekythosin Istanbul, inv. no. 7314 (ABV 11, 18). Bakir attributes these eight vases to the same hand as the Bonn amphoriskos by a Boeotian imitator of the Gorgon Painter (ABV 14, 2) and suggests (p. 41) that the painter is an Attic one who may have emigrated to Boiotia. K. Kalinsky, II (AK 21, 1978, pp. 12-16) has argued more cautiously that the Bonn

amphoriskostakes with it only two in Bakir'slist, Istanbul7314 (ABV 11, 18) and LouvreCA 823 (ABV 12, 23), and postulates an Attic artist, the Istanbul Painter, who worked for a time in the circle of the Gorgon Painter, then movedto Boiotia. ' . Scheibler,JdI 76, 1961, pp. 15-16, 18. 20 A-P 1734 (ABV8, 6; Paralip. 6, 6). For the early date, cf. Scheibler,op. cit., pp. 14 and 18. 21 The best examples are those on the well-preserved skyphos-kratersin Athens: N.M. 16382 (ABV 4; Paralip. 3, 10), N.M. 16383 (ABV7, y; Paralip. 3, 12), and N.M. 16384 (ABV 6; Paralip. 3, 13); also 405 (PI. 40) and 407 (PI. 40). 22 Beazley, Development,p. 17. 23Baltimore48.215 (ABV 9, 18; Paralip. 7, 18). For plates from the Gorgon Painter'sworkshop,cf. Callipolitis-Feytmans, Les plats attiques,pp. 63-67.

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to this plate. The lions on 412 have the same slender bodies, and the small part of one lion's mouth that remains shows it to have the rectangularcornerstypical of the Gorgon Painter'smature phase, not the roundedones seen on the North Slope lid.24The siren on 1367 and the goat or deer on 1297 also have their counterpartson the Baltimore plate. 1368 (PI. 94), another lid, probably belongs here, although so little remains that it is difficultto be certain. 139 (PI. 17) is the only neck-amphoraby the Gorgon Painter from the Agora, although four others, 138 and 141-143 (Pls. 17, 18), are in his manner or comparedwith it, the last two attributed here. 140 (PI. 17), if not by the painter himself, is certainlyin his manner. 139 very likely had its decorationset in friezes and is close in style to the kraterfrom the Akropolis,a one-piece amphora in the Louvre, and the round-bodiedlekythos in London.25The Gorgon Painter is credited with He may also have been the first introducinga single walking animal in the panel of an amphora.26 to paint a lone horsemanon a galloping mount in a panel, for the earliest preservedexamples are in his manner. The galloping horsemanon 673 (P1.64), perhapsby the Gorgon Painter himself, takes with it 709 (P1. 68), which preservespart of a similar horseman. Severalvases, including some of those alreadymentioned,are in the mannerof the Gorgon Painter: 4 (PI. 1), 11 (PI. 2), 138 (PI. 17), 141 and 142 (Pl. 18), 672 and 673 (Pl. 64), 703 (P1. 67), 705-708 (P1. 68), 723 (P1. 69), and 1857 (P1. 119); 125 (P1. 15), 143 (P1. 18), 531 (P1. 51), 710 (P1. 68), and 1911 (P1. 121) are compared with his manner; and 12 (PI. 2), 123 (PI. 15), 140 (PI. 17), 532 (PI. 51), 704 (P1. 68), 709 (P1. 68), 777 (P1. 73), and 1370 (P1. 94) may be by the painter himself or in his manner. Together they enlarge our picture of the Gorgon Painter's workshop. 138 is a large neck-amphoradecoratedwith horseheadson the neck and two zones of animals on the shoulder and body. The hanging spirals and the stacked rays, as well as the dot rosettes,which are the same as those on Athens, N.M. 19176,27indicate an early date. 140, which preservespart of a very lively lion, is from a similar, contemporaryneck-amphoraof comparable size. 531 and 532 are fragments of two conical stands used to support kraters or bowls and are slightly later, for they compare best with the mature work of the Gorgon Painter. 672, a wellpreservedtrefoil olpe with a single large siren in its panel, belongs with these. Most interesting among these vases is 723, a ring-collaroinochoewith two confrontedsatyr heads of the same type as that of the satyr on the lekythos in Buffalo and probably also on the unpublished oinochoai in Taranto and Berlin.28 The olpai by the Gorgon Painter belong to a larger group of early 6th-centuryolpai that are by 675 and differenthands, although none is far in style from the Gorgon Painter and his followers.29 and three more may be added, 676 (Pls. 64, 65), 713, and 714 (P1.68) were attributedby Beazley,30 677, 678 (Pls. 64, 65), and 715 (Pl. 68). 675, to judge by the hanging spiral and dot rosette, is contemporarywith 138 (P1. 17), an early neck-amphorain the mannerof the Gorgon Painter, and the square corners of the lion's mouth on 714 are comparableto lions on vases of the painter's mature period. Horse-head amphorae first appear around 600 B.C.and continue until at least the middle of the The 11 examples from the Agora, 13-23 (PI. 3), with perhaps the exception of 22, 6th century.31
24 Cf. I. Scheibler, Jdl 76, 1961, p. 15 for this detail as a criterionfor dating. 25 Akropolis474 (ABV8, 2); Louvre E 817 (ABV9, 7; Paralip. 6, 7); London, Russell (ABV 9, 17). 26 I. Scheibler,Jdl 76, 1961, pp. 42-43. 27 AB V 9, 16; Paralip. 7, 16. 28 Buffalo G 600 (ABV 12, 22); Taranto (ABV 10, 2); Berlin (ABV 10, 3). 29ABV 14-15; Paralip. 9.

30 Also 716 (P1.69), which is by the KY Painter (ABV 14, 5; 33, 7). 31 The Group of Horse-head Amphorae has been studied most recently by M. Picozzi (Studi Misc. 18, 1971, pp. 5-64) and by A. Birchall (JHS 92, 1972, pp. 46-63). For a possible imitationof an Attic Horse-head amphorain anotherfabric,cf. R. Lullies, "Eine neue korinthischeAmphora,"Festschrift fir GerhardKleiner, Tiibingen 1976, pp. 21-32, esp. pp. 29-30.

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belong to the earlier phase of productionof this species and thereforeare presentedin the catalogue as a group. The type of head goes back to Protoattichorses, especially its shape, the large eye and droopy chin, and the mane divided into long wispy locks.32Protoatticexamples usually include the as do the two on a neck-amphoraby the Lion Painter.34 Horse-head amphoraeshow the forelegs,33 It is not certainwho was the first artist to produce head and neck only and thus are true protomes.35 Horse-head amphorae,but surely it was a painter of the late 7th centuryB.C. with strong Protoattic conventionsof drawing combinedwith a preferencefor the austerity of the black-figuretechnique. Karouzou thought perhaps it might have been the Nettos Painter, since a Horse-head amphora, but so far no panel amphora has been atAthens, N.M. 1003, was found with his namepiece,36 tributed for certain to the Nettos Painter, and the restrainedfigures of early panels producea very different effect from the powerful, animated figures that spred out over the surfacesof his vases.37 Beazley suggested, with reservation,that the Gorgon Painter might be creditedwith the invention of the Horse-head amphora, and Scheiblerfollowed Beazley by agreeing that the Horse-head am138 (P. 17), phorae should in some way be connectedwith the Gorgon Painter and his workshop.38 a neck-amphorain the manner of the Gorgon Painter, strengthensthis suggestionconsiderablyfor it has four horseheadson the neck that are of the same type as those on Horse-head amphorae.That the Gorgon Painter is the first artist to decoratemore than one panel amphorawould also appear to argue in favor of this theory, were it not that his four known panel amphorae seem to be later in And even though the heads of the horseson the Gordate than the earliest Horse-head amphorae.39 the two may gon Painter's namepiece are very similar in type to those on Horse-head amphorae,40 depend upon a commonprototype.Thus, until more substantialevidencelinks the inventionof the Horse-head amphora with a specific painter, it is perhaps best to leave the question open. Panther Painter and CeramicusPainter The work of the Panther Painter and the CeramicusPainter is contemporary with the early work of the Gorgon Painter, dated in the first years of the 6th century B.C.41 The Panther Painter is primarily a painter of lekanides decoratedwith animal friezes, of which all known to us have been found in the cemetery at Vari. 534 (PI. 51), a fragmentof a stand, and 1451 (Pl. 99), the rim of a skyphos, are close in style but may not be attributed to him for certain. More variety of shapes appears in the work of the Ceramicus Painter than in the work of the Panther Painter. Like his contemporaries,he shows a markedpreferencefor animal friezes, but his trefoil olpe from Vari has a rare subjectalso known from 141 (PI. 18), a neck-amphorain the a representationof Aristaios,42 manner of the Gorgon Painter. 535 (PI. 51) is a stand fragment attributedby Philippaki, and we
32 E.g., Agora VIII, nos. 573, 587, pls. 36, 37; Berlin, inv. no. 31 333 (CVA, Berlin 1 [Germany2], pl. 48 [94]:2);compare also the horseson the Piraeus Painter's amphora(AB V 2; Paralip. 1, -, 1), which have a strong Protoatticcharacter.The type may also be seen on horses by the Nettos Painter (e.g. Athens, N.M. 16383: ABV7, y; Paralip. 3,12) and the Gorgon Painter (e.g. Louvre E 874: ABV 8, 1; Paralip. 6, 1). 33Cf. Agora P 22551 (Agora VIII, no. 573, pl. 36); also Kerameikos,inv. no. 74 (KerameikosVI, ii, no. 34, pl. 24, and the brief discussion of horse protomeson p. 222). 34 Athens, N.M. 16393 (AB V 2, 1). 35 For an Attic horseheadneck-amphorawhere the forelegs are included, cf. the one formerly in a Swiss private collection and now in the Indiana University Art Museum, 74.10.1 (Paralip. 10; Moon, Midwestern Collections,no. 29, pp. 48-50). 36 Karouzou,Amasis Painter, p. 42; Picozzi (Studi Misc. 18, 1971, p. 53) gives a summary of the problem. Cf. above, pp. 74-75. ABV 15-16; I. Scheibler,JdI 76, 1961, p. 1. 3912 (PI. 2); Louvre C 10620 (ABV 9, 9; Paralip. 7, 9); Avallon 50 (Paralip. 7, 9 bis); Hanover 1965.13 (Paralip. 7, 95; CVA, Hannover 1 [Germany 34], pl. 5 [1637]:3, 4), all rather late in the firstquarterof the 6th century.For a discussionof the late work of the Gorgon Painter, cf. Scheibler,op. cit., pp. 6-14. 40 Louvre E 874 (ABV 8, 1; Paralip. 6, 1). A further connectionbetween Horse-head amphoraeand the Gorgon Painter may be the manes of his lions which end in long locks that fall loosely over the shoulder. 41 Panther Painter: ABV 18; Paralip. 11-12. Ceramicus Painter: ABV 18-19; Paralip. 12-13; for a discussion of the plates from his workshop, cf. Callipolitis-Feytmans, Les plats attiques, pp. 204-205. 42Athens, N.M. 16285 (ABV 19, 3).
37 38

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have added two others, 536 (PI. 51) and 537, which go with the namepieces in the Kerameikos. These three stands add a new shape to the known ones by the CeramicusPainter. 1356 (P1.93) is a lekanis that may be by him, for it is close in style to the one in the Kerameikos.609 (P1. 57) is compared by Beazley with the works of the Ceramicus Painter which recall the KX Painter, a younger contemporarywhose work found in the Agora is discussedbelow. AnagyrusPainter and Painter of Eleusis 767 of the Gorgon Painter are the Anagyrus Painter and the Painter Less well known contemporaries of Eleusis 767 whose work should probablybe dated late in the first quarterof the 6th centuryB.C. or the beginning of the second.43The Anagyrus Painter is named after the ancient deme, where modernVari is now located,and most of his small numberof known vases come from the cemetery there.44Callipolitis-Feytmanshas suggestedthat the Anagyrus Painter may have learned his craft in Athens but practicedit at Vari, for the color of the clay of his vases and the characterof the glaze match the local ware.45If so, then 540 (PI. 52), his only piece from the Agora and the only stand attributedto him, may have been exported to Athens.46The same may be true for 590 (P1. 55), a fenestrated stand by the Painter of Eleusis 767, a man of decidedly less talent than most of his contemporaries.He, too, may have workedoutside Athens, in this case at Eleusis. Groupof the Dresden Lekanis Several fragmentsfrom the Agora belong to the Group of the Dresden Lekanis whose vases have been found mainly on the Akropolis and in the Agora, although the namepiece comes from Corinth.471442-1444 (PI. 98) and 1859 (PI. 119) were attributedby Beazley to the main painterof the group, and he thought that 150 (PI. 19) and 413 (PI. 41) were also by him.48591 (PI. 56), a stand, goes with these and adds a new shape to the painter, although not to the group, for 541 (P1. 52), a stand fragment by another hand, was already attributed.592 (PI. 56), also a stand, may be compared with the Group of the Dresden Lekanis, but it is an inferiorwork, perhaps a workshoppiece. So too for 5 (PI. 1), a one-piece amphora. 610 (PI. 58), the best preserveddinos from the Agora, is connectedwith the Group of the Dresden Lekanis, but it does not seem to be by one of its painters. The liveliness of the figures, as well as the painter's interest in mythologicalrepresentationsand narrative, keeps the vase apart and suggests an artist well acquaintedwith the work of Sophilos. The Painter of the Dresden Lekanis seems to have emigrated to Boiotia, for his vases cannot be separated from a large group of Boeotian vases called the Horse-bird Group after the horse pro1300 (PI. 91) may be compared tome ending in a bird's tail painted on an alabastronin London.49 with this group. The paintersjust discussedstand somewhatoutside the mainstreamof Attic black figure. The most importantartists of the late first quarterof the 6th centuryand the beginningof the secondare those of the Komast Group and Sophilos.50Together, they carry on the tradition established by the
20-21; Paralip. 13; CallipolitisFeytmans, Les plats attiques,pp. 69-75. Painter of Eleusis 767: AB V 21; Paralip. 13. 44 Exceptions: 540 (PI. 52); Athens, Vlasto, from Spata (ABV 21, 2). 45Callipolitis-Feytmans,Les plats attiques,p. 69. 46 Callipolitis-Feytmans,Les plats attiques, p. 70. 47 Dresden ZV 1464 (ABV 21, 1). A neck-amphora has also been found at Taranto (ABV 21, 2) and two lekanides at Smyrna (ABV 680, 1 bis and ter, Paralip. 14, 1 bis and
43 Anagyrus Painter:ABV

ter). For the rest of the group's vases, cf. ABV 21-23 and Paralip. 14. 48AB V 22. 49ABV22-23. 50Komast Group: ABV 23-37; Paralip. 14-17. Sophilos: ABV 37-43; Paralip. 18-19; Williams, op. cit. (footnote 4 above, pp. 33-34), pp. 9-34; Baklr, Sophilos.Add: New York, M.M.A. 1977.11.2, a volute-krater (footnote 2 above, p. 26) and New York, M.M.A. 1977.193, a fragmentof a krateror a dinos (unpublished):a satyr.

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Gorgon Painter and lead to the painters of the next generation,in particular Kleitias and the chief painters of Siana cups, the C Painter and the Heidelberg Painter. Komast Group The Komast Group is named after the padded dancers who appear on many of its vases, particularly drinking vessels. 417 (P1. 41) is a good example of one. These cheerful revelers were borrowed from Corinth along with certain shapes, specificallythe column-krater,the Corinthian type of skyphos, and the Komast cup,51which was adaptedfor Athenian use. Generally, the painters of the Komast Group, unlike their predecessors,prefer to decorate rather small shapes, and within the group there is a good variety of them. The two chief artists are the KX Painter (short for Komast X), the abler of the two, and the KY Painter, who is perhaps slightly younger. In the Agora, several vases by the KX Painter himself have been found: 126 (PI. 15), 151 (PI. 19), 351 (PI. 35), 523 (PI. 50), 1310 (PI. 91), 1336 (P1.92), and 1452 (P1.99), as well as two in his manner, 616 (P1. 57) and 1337 (P1.92). Of the KY Painter, there is only 716 (P1.69), a fragmentaryolpe in his manner. In addition, 417 (PI. 41), 1658, and 1659 (PI. 108) were attributed to the Komast Group but not given to a specific painter. 1453 and 1454 (Pl. 99), fragmentsof two skyphoi, the former with two zones of figures, may be added. Besides komasts, the most frequent subjectson vases by the Komast Group are animal friezes or confrontedpairs of animals. Occasionally,mythological scenes appear, including the earliest examples in Attic black figure of the Judgment of Paris and of Achilleus receiving his armor.52126, which preservesthe upper part of a youth holding out his cloak, is surely from a scene of myth or legend. The first four lettersof his name (HEKA)appear next to the right break, and the possible restorationsappear to be either an epithet of Apollo or the name of the eponymous hero, Akademos. Sophilos Sophilos is the first Attic black-figureartist whose name is known from signatures, for twice he signs as painter, once as potter, and very likely once as both potter and painter.53He has given us the earliest Attic black-figuredvolute-krater,funerary plaques, and probablytoo, the lebes gamikos,54and he is the first to make liberal use of inscriptionsto identify the figures in his narrative scenes. Unlike the painters of the Komast Group, Sophilos prefersto decoratelarge vessels, and all his vases found in the Agora are large. 6 (P1. 1) and 29 (P1.4) are one-piece amphorae,the former decoratedwith animal friezes, the latter with the figures set in panels. 419 (PI. 42) is a columnkrater, and 1912 (PI. 121), which may be by Sophilos himself, is from a krater or a dinos. 542 (P1. 52) is a conical stand close in style to the London dinos, and 30 (P1.4), a panel-amphoranear the painter, is a weaker version of his amphora in Jena.55 Although Sophilos paints animal friezes on many of his vases, as on 6 (P1. 1), in keeping with the taste of the time, he is clearly more interested in mythological representationsthan any of his
51 For these shapes, cf. above, pp. 23-24, 58-59, 62. 52Berlin 3987 (ABV 25, 16); Rhodes 5008 (ABV 24, 1; Paralip. 14, 1). 53 As painter, Akropolis 587 (ABV 39, 15; Baklr, Sophilos, pl. 3) and London, B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. [footnote 4 above, pp. 33-34]). As potter, Athens, N.M. 2035, 1 and 2 (ABV 40, 21; 42, 36; Paralip. 18, 21; Baklr, Sophilos, pl. 8, fig. 16): the new numbers are 15918 and 15442 (D. Callipolitis-Feytmans ["Louteria," p. 54] postulates a double signature for this vase,

but only the potting verb remains). As potter and painter, very likely Athens, N.M. 15499 (ABV39, 16;Paralip. 18,16; Bakir, Sophilos, pl. 6, fig. 10). 54 Volute-krater:New York, M.M.A. 1977.11.2 (footnote2 above, p. 26); funerary plaques: Athens, Vlasto (ABV 42, 38-40; Baklr, Sophilos,pls. 37, 38); lebes gamikos:Izmir (ABV 40, 20; Paralip. 18, 20; Bakir, Sophilos,pls. 39-45). Boardman doubts the attribution of the latter (BSA 53-54, 1958-1959, pp. 155-158). 55ABV 39, 7; Paralip. 18, 7; Baklr, Sophilos, pls. 11, 12.

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predecessors,and it is probably no accidentthat each of his signed vases has an ambitious mythological scene in the main zone.56Furthermore,he may have introducednew subjectsinto the Attic vase painter's repertory, specifically the Wedding of Peleus, the Funeral Games for Patroklos, Herakles and the Centaurs,and the Weddingof Menelaos and Helen.57And the satyrswho appear on the fragmentin Istanbul and on the one in New York are among the earliest, if not the earliest, in Attic black figure.58Moreover, his scenes are extended narratives with a full complementof 419 (PI. 42), which preservespart participants;they are not restrictedto the main characters.59 of a building in antis, belongs with two of his signed vases, Akropolis 587 and London, B.M. 1971.11-1.1, which show the Wedding of Peleus in the main frieze. The interpretationof the scene on 419 is uncertainbut surely must be mythological. 1912 (PI. 121), which shows part of a frontal chariot team and a grieving old man, goes with these. Painter of Xanthos A 6.3444 and Eridanos Workshop Contemporarywith the late phase of the KomastGroup and Sophilos are three attributedpieces. 127 (PI. 15) is a one-piece amphora by the Painter of Xanthos A 6.3444, whose only other known a column-kraterin Istanbul. 1389 and 1390 (PI. 95) are of more work seems to be his namepiece,60 interest. Both are large plates attributed by Callipolitis-Feytmans to the Eridanos Workshop, named after the river that flows through the Kerameikoswhere two of them were found.61The floor of 1389 is decoratedin registers, the earliest preservedexample of this scheme.62Although little remains of the figures on either plate, the lotus-palmettefestoon on each is a less well drawn version of the one used by Sophilos.63 Kleitias The interest in narrativeshown by Sophilos is continuedby Kleitias, the next Attic black-figure painter whose name is known, for he signed five vases as painter; four of them were potted by Like Sophilos, Kleitias prefersto place his figuresin friezes ratherthan in panels, and Ergotimos.64 usually he inscribestheir names. His drawing is more precise than that of Sophilos, and his love of detail is perhaps greater too, but the figures of the two painters have the same spontaneityof expression. One need only compare the cheering spectatorsat the Games of Patroklos by Sophilos with the joyous Athenians in the Theseus scene on the FranCoisvase to see that the two share a Two vases by Kleitias have been found in the Agora. 625 common interest in visual narrative.65 animal decorationthat finds its nearestkin in the lowest figwith of a is the shoulder (PI. 59) hydria ured frieze on the body of the Frankoisvase.661874 (P. 120), which shows the neck, chest, and hair of a youth, is more puzzling with regardto both shape and subject.It seems to be from an amphora, and the scene is surely mythological,for one letter of the youth's name is preserved,but the precise subjectis uncertain.
Weddingof Peleus and Thetis on Akropolis587 and London, B.M. 1971.11-1.1; Herakles and the Centaursand an unexplained subjecton Athens, N.M. 15918 and 15422; Funeral Games for Patrokloson Athens, N.M. 15499. 57 For the first three, cf. footnote 56 above. Menelaos and Helen appear on the Izmir lebes (ABV 40, 20; Paralip. 18, 20; Bakir, Sophilos, pls. 40, 45). 58 Istanbul (ABV 42, 37; Baklr, Sophilos,pl. 35, fig. 66); New York, M.M.A. 1977.193 (unpublished). 59 Compare, e.g., the representationof Thetis giving armor to Achilleus, which is inserted into an animal frieze on the Rhodes lekanis by the KX Painter (ABV 24, 1; Paralip. 14, 1), with any of the works in footnotes 56 and 57. 60 Paralip. 18, 1.
56

Callipolitis-Feytmans,Les plats attiques,p. 77. Cf. above, p. 54 and footnote8. 63 Examples: 6 (PI. 1); Akropolis 587 (ABV 39, 15; Baklr, Sophilos,pl. 3); London,B.M. 1971.11-1.1 (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. (footnote 4 above, pp. 33-34). 64 For Kleitias, cf. ABV 76-79 and Paralip. 29-30. The collaborativevases are nos. 1, 12-14. 65 Athens, N.M. 15499 by Sophilos (ABV 39, 16; Paralip. 18, 16; Baklr,Sophilos,pi. 6, fig. 10); Florence4209 by Kleitias (ABV 76, 1; Paralip. 29, 1; Cristofani, Vaso Franqois,fig. 63). 66 Best seen in A. Minto, II vaso Franqois,Florence 1960, pls. 31, 32 and Cristofani, VasoFranfois, figs. 97, 98, 101.
62

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C Painter The C Painter (C for Corinthianizing) and his slightly younger contemporary,the Heidelberg Painter, are the two best known painters of Siana cups, the chief type of Attic black-figuredcup in
the second quarter of the 6th century B.C.67

The C Painter draws short, compact figures with large heads, firm stances, and lively gestures. His preferredsubjectsare friezes of standing figures, symposia, duels, and cavalcadesof horsemen to left. Occasionally, he paints mythological scenes, in particular Achilleus and Troilos, Perseus and the Gorgons, Achilleus and Memnon, the Judgment of Paris, and the Birth of Athena, which is one of the earliest representationsof this theme.68His style and his non-mythologicalsubjectsshow a strong Corinthian influence,69 although he is not the first Attic black-figurepainterto be indebted to Corinth.70 On some of his more ambitiouspieces, such as the Louvrepyxis, there also seems to be some influence from Kleitias.71 All the Agora pieces by the C Painter himself, 1660-1667 (Pls. 108, 109), are Siana cups decoratedaccordingto the overlap scheme generally preferredby him. These cups are extremely fragmentary,but the compositionson most of them may be understoodby comparing them with others by the painter that are well preserved.The frieze of standing figures on 1661 (PI. 108) and that on 1662 (P1. 108) were probablysimilar to the one on the cup in Berkeley or the cup in the Villa Giulia;72the symposionon 1667 finds its best parallel on a cup in London.73 The cavalcadeof horsemen on 1660 (PI. 108) and the warriors on 1663-1666 (Pl. 109) have their counterpartson many cups, e.g., London, B.M. B 382, Mainz 89, Corinth CP 552, and Montreal 59.Cb.2.74Besides these cups by the C Painter, seven other pieces belong here. Two other Siana cups, 1669 and 1670, are related to him, 1668 (PI. 109) and 1937 (PI. 123) are in his manner, and 1937, a plaque, adds a new shape to those known to be by the painter and his companions. 1678 (P1. 109) is the best-preservedSiana cup from the Agora, the only one that may be fully restored, and one of the few examples from these excavationsdecoratedaccordingto the double-deckerprinciple (cf. above, p. 63). Of particular interest is 1802 (P1. 116), perhaps a fragmentof a Siana cup, which preserves the last five letters of the potter's name and the first two letters of the verb. The style recalls the C Painter, particularly his best pieces such as the Louvre pyxis and the Naples lekanis.751683 also recalls his work.
67 The C Painter: ABV 51-61; Paralip. 23-26; J. Hemelrijk, BABesch 46, 1971, pp. 110-114. The Heidelberg Painter: ABV 63-67; Paralip. 26-27. 68 Achilleus and Troilos: New York, M.M.A. 01.8.6 (ABV 51, 4). Perseus and the Gorgons: Vatican 335 (ABV 57, 111). Judgment of Paris: Louvre CA 616 (ABV 58, 122; Paralip. 23, 122) and Lille 763 (ABV 681; MonPiot 63, 1980, p. 35, fig. 3 and p. 37, fig. 4). Achilleus and Memnon: Lille 763. Birth of Athena: Louvre CA 616. The Birth of Athena on Akropolis 597 a-e by Kleitias (ABV 77, 3) may be slightly later than the one by the C Painter (Beazley, Development, p. 108, note 55). 69 See particularly Beazley, MMSt 5, 1934-1936, pp. 100102 and Development, pp. 22-23. 70 Corinthian influence on Attic black figure may be detected as early as the Nettos Painter who seems to be the first to use the incised rosette typical of Early Corinthian pottery. The use of animal friezes by the Gorgon Painter, the Komast Group, and Sophilos also seems inspired from Corinth, as noted above. Sophilos and Kleitias both use added white in the Corinthian manner, laying it directly on the clay ground with the details drawn in glaze, instead of applying the white on top of the black glaze and incising details, which is the Attic method. For Corinthian influence on the earliest Attic black figure as well as

problems of chronology, cf. T. Dunbabin, BSA 45, 1950, pp. 193-202; Karouzou, 'Avayvpov^ros, pp. 115-122; for the first part of the 6th century,cf. Payne, NC, pp. 190-202; for the second quarter, cf. H. R. W. Smith, The Hearst Hydria. An Attic Footnote to Corinthian History [University of California Publicationsin ClassicalArchaeologyI, 10], Berkeley/Los Angeles 1944, pp. 241-290 and W. Kleinbauer, AJA 68, 1964, pp. 355-370; also, Zaphiropoulou, BCH 94, 1970, pp. 380398. 71 Louvre CA 616 (ABV 58, 122; Paralip. 23, 122); also, Lille 763 (ABV 681; MonPiot 63, 1980, pp. 35-38, figs. 2-6). Compare especially the incised decoration on garments with many of those in the Wedding of Peleus scene on the Francois vase. 72 Berkeley 8.1 (ABV 54, 71); Villa Giulia 16336 (ABV 55, 74). 73 London, B.M. B 382 (ABV 51, 5). 74 London, B.M. B 382 (ABV 51, 5); Mayence 89 (Paralip. 23, 12 bis); Corinth CP 552 (ABV 52, 13); Montreal 59 Cb 2 (ABV 52, 14; Paralip. 23, 14). 75 Louvre CA 616 (ABV 58, 122; Paralip. 23, 122); Naples (ABV 58, 119; Paralip. 23, 119).

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HeidelbergPainter The Heidelberg Painter, whose work resemblesthe early work of the Amasis Painter, takes his His known output does not rival in quantity that of name from the two Siana cups in Heidelberg.76 the C Painter, but he seems to be the more ambitious artist of the two, at least with regard to the variety of subjectmatter. Like the Agora cups by the C Painter, the four attributedto the Heidelberg Painter are very fragmentary,but what remains of the figures may be better understoodwith the help of his well-preservedworks. The runner on 1671 (PI. 109) with his red chest and a cloak over both arms is similar to the warriorson Munich, inv. no. 7739, and the satyr on 1682 (PI. 110), a rare subjectfor the Heidelberg Painter, was probablylike those on the cup in Copenhagenwho accompanyDionysos.77The woman on 1672 is very likely a spectator,as those on Louvre A 478 who watch Pandareosand the Golden Hound.781679 (PI. 110) probablyshowed a phalanx. Polos Painter The Polos Painter, named for the headdress worn by his women, sirens, and sphinxes, stands considerablyapart from his contemporaries,for he shares neither their drawing ability nor their His modesttalent stands in great contrastto his large output, much of which interest in narrative.79 was exportedto many parts of the Greek world. The Polos Painter decoratesmany shapes, but his range of subjects is limited, consisting of animal friezes, sirens and sphinxes often in confronted pairs, and rows or pairs of women. His style reflects a certain influence from Corinth, and his hastily executed, almost mechanically drawn figures are quickly recognizable. There are more vases from the Agora attributedto the Polos Painter than to any other painter of his time, a circumstancethat may be fortuitous or may reflect civic and domesticpractices.Among these vases, there is a good varietyof shapes, typical for the painter:neck-amphorae,160 (P1.20), 161; columnkrater, 427; stand, 594; hydria, 621 (P1. 59); oinochoe, 733 (P1. 70); tripod-pyxis, 1271 (PI. 90);

1311-1321 (PI.92); lids, 1263 (PI.88), 1344 (PI.93), 1377;plates,1399-1405 (PI.96); lekanides,

and several fragmentsof closed vases which do not preserveenough to be sure of the shape, 18621868 (PI. 119). In addition, one hydria fragment, 622, is near him. All the subjectsare his usual ones. Painter of LondonB 76, Burgon Group, TyrrhenianGroup, CamtarPainter, and Groupof North Slope AP 942 Among the many painters whose work is contemporarywith those just discussed,vases by only three have been found in the Agora:the Painter of London B 76, the PrometheusPainter, and the Camtar Painter. Four of these vases are by the Painter of London B 76,80 whose techniquein some respects,particularlyits colorfuleffects,recalls the C Painter. He is not a cup painter, however,but prefers to decoratepots and has left us a good variety of them. Each of the four from the Agora is a different shape. 611 (PI. 57), 626 (PI. 59), and 1346 (PI. 93), attributedby Beazley, are a dinos, a shoulderedhydria, and the lid of a lekanis, respectively;34 (PI. 5), addedhere, is a panel amphora. 767 (PI. 72) is an oinochoe of the Vraona type, a rare and special shape (see above, pp. 42-43), which belongs to the Burgon Group, whose painters are near the Painter of London B 76 and with 170 (PI. 21) is the only vase from the Tyrrheniwhom the series of Panathenaicamphoraebegins.81 an Group found in the Agora, for normallytheir work was exportedto Italy.82170 preservespart of
76 Heidelberg vi. 29 a (ABV 63, 1) and S 61 (ABV 63, 2). For the rest of his work, cf. footnote 67 above, p. 81. 77 Munich, inv. no. 7739 (ABV 64, 28; Bothmer, Amasis Painter, p. 72, fig. 55); Copenhagen, inv. no. 5179 (ABV 64, 24). 78 Louvre A 478 (ABV 66, 54).

79 ABV 43-50; Paralip. 19-22; Hemelrijk,op. cit. (footnote 67 above, p. 81), pp. 105-110; Callipolitis-Feytmans,Les plats attiques,pp. 160-167. 80 ABV 85-88; Paralip. 32-33. 81 ABV 89-90; Paralip. 33. 82 ABV 94-106; Paralip. 34-43.

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a warrior and generally recalls the PrometheusPainter, who takes his name from the subjecton his neck-amphorain Florence.83166 (PI. 20) is by the Camtar Painter whose name is a contractionof Cam[bridge]and Tar[quinia] where his namepieces are located today.84The Camtar Painter is primarily a painter of ovoid neck-amphorae,although he decoratedan amphora Type B and a round-bodiedhydria.85His style recalls somewhat that of the Painter of London B 76,86 but his drawing is strongerand the quality higher. In this respect,he is more akin to other contemporaries, in particularthe Painter of Acropolis627,87 whose four known vases come from the Akropolis.Our last vase here, 375 (P1. 37), belongs to the Group of North Slope AP 942, a small group of loutrophoroi found so far only on the Akropolis, the North Slope, and in the Agora, 375 being a wellpreserved example.88Although somewhat later than the work of the painters just discussed, the style is linked with Eleusis 252 (766) by the Painter of London B 76.89 The next group of painters is active from about 570 to 540 B.C.Thus, in the beginning they are contemporarywith those just discussed, but they continue to work well past the middle of the century. The most importantartists are Lydos and two companions,the Painter of Louvre F 6 and the Painter of Vatican 309. Lydos Lydos, as his ssignatureHO AYdAO suggests, was probably a foreigner who came to Athens from the East.90He signed two of his vases as painter, the one-piece amphorain the Louvreand the splendid dinos from the Akropolis, which although very fragmentary,ranks as one of the masterpieces of all Attic black figure.91Lydos worked for at least two potters, each confirmedby a signature on one of his vases, and probablyfor others as well, yet one may not exclude that he himself also potted on occasion.92 Lydos is chiefly a pot painter, although he decoratedseveral cups, a few other small vessels, and also some funeraryplaques. His career seems to have spanned about three decades,his hydria in Munich being a very early piece (ca. 570 B.C.), the New York column-krater, the signed dinos, and the Naples amphora comprising some of his later works (ca. 540 B.C.).93 Although principally a painter of scenes with human figures, on some of his early vases Lydos paints animal friezes below the figured scenes or occasionallyanimals by themselves,and for one of
Florence 76359 (ABV 97, 28; Paralip. 37, 28). 84ABV 84; Paralip. 31-32. 85 New York,private,once Basel, Bloch (Paralip. 31, 10;Cat. Sotheby 13-14. July 1981, no. 243); Rome, Fondazione Lerici (Paralip. 32, 11; E. A. Arslan and E. M. Menotti, Gli Etruschie Cervetri [Nuove acquisizioni delle Civiche Raccolte Archeologiche], Milan 1980, p. 197, no. 11 [wrongly called Corinthian]). 86 Bothmer, AK 2, 1959, p. 8. 87 ABV 82; Paralip. 30, 1.
88ABV89.
89 83

ABV 86, 6; 89; Paralip. 32, 6. 90For Lydos, cf. ABV 107-120; Paralip. 43-49; and the 1976. Also, M. B. Moore, AJA 83, 1979, pp. 79-99 (Akropolis 607). For plates by Lydos and his workshop, cf. CallipolitisFeytmans, Les plats attiques,chap. 3. On the name Lydos as reflecting his origins, cf. J. Boardman, ABFV, p. 52; also, M. Robertson, "Beazleyand After,"MJb 27, 1976, p. 42. The vase referred to by Robertson as indicating that Lydos was a slave is a kyathos in the Villa Giulia that shows an assembly of gods. It is not, however, by the mid-6th-centuryartist but by a later one working around 520 B.C. Cf. F. Canciani and G. Neumann, "Lydos,der Sklave?"AK 21, 1978, pp. 17-22. 91 Louvre F 29 (ABV 109, 21; Paralip. 44, 21; Tiverios,
7r monograph by Tiverios, 'O Avtos KaL ripo
o TOy, Athens

pls. 1:,S, 17:/3, 18); Akropolis 607 (ABV 107, 1; Tiverios, pls. l:a, 48-50, 98:a, ,8; AJA 83, 1979, pls. 11-13, figs. 1-12 and ills. 1, 2 opp. p. 99). 92 For the potting signatures,cf. Berlin 1732 signed by Kolchos (ABV 110, 37; Paralip. 44, 37; and 48 where the attribution is questioned; Tiverios, pls. 57-59); Oxford 1966.768 signed by Nikosthenes (ABV 113, 80; 229; Paralip. 45, 80; 108; Tiverios, pl. 47:3, y). Nikosia C 440 (ABV 109, 28; Paralip. 44, 28; Tiverios, pls. 25:y, 26:a) is also madeby Nikosthenesfor it is the same shape as the signed amphora in the Villa Giulia (ABV 229). Berlin 1685 (ABV 109, 24; Tiverios, pls. 46, 47:a) may have been potted by Amasis. That Amasis potted the psykter-amphorain London (ABV 109, 29; Paralip. 44, 29; Tiverios, pls. 51, 52) is doubted by Bothmer. Callipolitis-Feytmans (Les plats attiques,pp. 87-93) postulatesthat Lydos may have decoratedplates for seven differentpotters, a number that seems rather high. For Lydos as potter, cf. AJA 83, 1979, p. 99, esp. note 166. 93 Munich 1681 (ABV 108, 12; Tiverios, pl. 2); New York, M.M.A. 31.11.11 (ABV 108, 5; Paralip. 43, 5; Tiverios, pls. 53-55); Akropolis 607 (footnote 91 above); Naples, N.M. 2770 (ABV 109, 23; Paralip. 44, 23; Tiverios, pl. 56). Berlin 1732 (footnote 92 above), if it is by Lydos, is probably a bit later.

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his ovoid neck-amphorae,he adoptedthe decorativescheme used by Tyrrhenian painters.94 Mainly, however, Lydos prefers to paint scenes of myth or of everydaylife. His style of painting is bold; his figuresare large and amply proportioned.On his early vases they tend to be ratherplain looking with a minimum of decorativeincision, especially for garments and hair. In his mature and later work, incised patterns on garments and careful incision for hair or pelts, combinedwith accessory red and white, create a rich tapestryof texture and color that helps to clarify overlappingfigures in his frequently innovativeand sometimescomplicatedcompositions.95 Ten vases by Lydos himself have been found in the Agora, more than that of any other major Attic black-figure artist. Nine of these were attributed by Beazley; 50 (PI. 6) is added here. In additionto the vases surely by his hand, seven others may be by him, but too little remainsto be certain. Although very fragmentary,these vases represent all phases but the very earliest in Lydos' career,and the range of shapes as well as subjectsis quite broad. The five earliest are 378 (PI. 37), 429 (PI. 42), 627 (PI. 60), 1262 (PI. 89), and 1447 (PI. 99). On all these there is economyof incision, and the compositionon each, from what remains, seems to be rather simple without very much overlappingof the figures. 378, the neck of a loutrophorosdecoand rated with pairs of mourners,is the exception. It goes with the other loutrophoroiby Lydos,96 the sphinx or siren in the frieze below the mournersis a less decorativeversion of the sphinxes on The youth finds his counterpartin the men on the neck-amphora the neck-amphorain Florence.97 in the Louvre and on the column-kraterin London, as well as in the youth on the column-kraterin The frontal chariot on 627 (an infrequent subjectfor Lydos who preferredto draw his Salonica.98 horses in profile) compareswith that on Louvre E 868, and the ivy framingthe sides of the panel of + this hydria is simpler and plainer than that on the slightly later hydriai in Gttingen (Gnttingen is close to Siana kothon his the known in the Kerameikos.99 and Cab. Med.) 1262, by Lydos, only of the century. The hair of is nearer to the middle chalice a in Herakleion.100 1447, fragment, cup the figures is still solid, but the X decorationon the inside of the bride'sveil is a precursorof that on Five of the the Kerameikoscup where it is used abundantlyon the garments of the mourners.101 seven vases that may be by Lydos comparebest with his early work: 172 (P1.21), 430 (PI. 42), 628 (PI. 60), 790 (PI. 74), and 1475 (P1. 100). The last, a skyphos, is of special interest, for if it is by Lydos, it adds a new shape to his already wide repertory.The key pattern on 790, a fragmentof a the drawing of the cock is lekythos, is slightly simpler than the one on the lekythos in Riehen;102 closest to the early ones by Lydos. The next two vases by Lydos himself are not much later than thosejust discussed.789 (PI. 74) is an early shoulderedlekythos. Here, the hair of the figures is still solid and the women's flesh left black as it was on 1262 (PI. 89),103 but there is more pattern incised on the drapery,and the composition is more ambitiousthan the one on the kothon, 1262. The scene on 789 depictsa successful hunter returning home with his quarry, welcomed by a man and two women, perhaps his family.
94 Animal frieze:e.g. Louvre F 29

(footnote91 above,p. 83).

pls. 7:,, 8, 9); Salonica, inv. no. 825 (ABV 108, 10; Tiverios,
pl. 70:A3). 99 Louvre E 868 (footnote 98 above); Gottingen + Cab.

Animals by themselves: Harvard, Fogg 1925.30.125 (ABV 108, 9; Tiverios, pl. 19:,B). Tyrrhenian scheme: Florence 70995

(ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23).
95 For examples of the latter, cf. particularly Akropolis 607 (footnote 91 above, p. 83) and New York, M.M.A. 31.11.11 (footnote 93 above, p. 83).
96 Tiverios, p.

Med. (ABV 109, 19; Tiverios, pl. 31); Kerameikosn.n. (Paralip. 45; Tiverios, pl. 29). 100Herakleion 217 (ABV 684, 71 bis; Tiverios, pls. 14:,3, 15-17:a).

109, note 234. 97Florence 70995 (footnote94 above). 98 Louvre E 868 (ABV 110, 30; Tiverios, pls. 3, 4:a); Lon(ABV 108, 8; Paralip. 44, 8; Tiverios,

101 Kerameikosn.n. (ABV 113, 81; Paralip. 45, 81; Tiverios, pls. 42-44). 102 Riehen, Kuhn Coll. (ABV 111, 41; Tiverios, pl. 65:a).
103

don, B.M. 1948.10-15.1

For this detail, cf. Tiverios, p. 121, note 451.

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He is accompaniedby his dog and precededby a chariot.104 1446 (PI. 99) is a chalice fragment, similar to 1447 (PI. 99) but with surer and finer drawing. The woman's hair and the horse'smane are finely incised, even the teeth of the horse are included,and the scale patternembellishesthe skirt of the woman's peplos. 1446 is closest to the lovely fragment from Delphi, probably a columnkrater, that preserves part of the right trace horse of a frontal chariot and a siren flying to left.105 435 (PI. 43), a fragmentof a column-kraterthat may be by Lydos, belongs here. From the little that remains of the two horses, the scene showed either two horsemen or a horseman leading a void horse, similar to the one on the Kerameikoshydria. The rest of the vases are late works. The scene on 49 (Pl. 6), a small panel amphora by Lydos himself, was probably much like the one on the Kerameikoshydria but later, a conclusionreached independently by Tiverios.10650 (PI. 6), two fragments of what must have been a splendid ambut for phora, bore a similar subject.It is almost a replica of the painter'smasterpiecein Naples,107 the absence of ornament above the panel. It has the same monumental quality, refined elegance, and restraineddrawing as the Naples amphora. 1349 (P1.93), the lid of a lekanis, is our latest vase firmly attributedto Lydos, at least to judge by the three-dimensionalfolds of the warrior'schiton.108 It probably had an uninterrupted battle scene, and the compositionwas very likely a more ambitious version of the fight on one of Lydos' Siana cups in Taranto,109 but the amount of overlapThe ping of the warriors'legs on 1349 suggests a much later date than the cup, one of about 540 B.C. last piece in this section on Lydos is 51 (P1. 7), an amphora fragmentthat shows a satyr about to drink from a horn. Many of the details unmistakablyrecall Lydos, but it is not certain if the hand is his. Besides the ten vases firmly attributedto Lydos and the seven that may be by him, seven others, 436,437 (PI. 43), 442-445 (P1.43), and 1350 (P1.93), are in his manner,and three more, 439-441 (Pl. 43), are related. All but one of these, 1350, the lid of a lekanis, are column-kraters. 436, a wellpreserved krater, and 1350 are good examples of the animal style connectedwith Lydos. 437, a shoulder fragment added here, goes with another in his manner in the Louvre. The rest of the kraters in his manner, 442-445, are handle-plates decoratedwith a bird, three of them preening. The three pieces relatedto Lydos are also handle-platesbut are decoratedwith human heads facing to left, a favoritedecorationfor handle-plates (above, p. 25). 439 has a man and a woman; 440 and 441, both attributedhere, have a single male head. Painter of LouvreF 6 and Painter of Vatican309 In Paralipomena (p. 47) Beazley suggestedthat 442-445 might be by the Painter of Louvre F 6, but he kept these four kratersin his list of vases in the manner of Lydos without cross-listingthem. We are inclined to do the same, even though the sketchiness of the drawing seems closer to the Painter of Louvre F 6 than it does to Lydos, but without more to go on, it is perhaps preferableto leave them where they are. The Painter of Louvre F 6 is a conservative,old-fashionedartist who is linked with Lydos chiefly through his animals.1"0 The drawing on his earlier vases is finer and more elaboratethan in his later work, which exhibits marksof hastiness. Throughout his careerhe pays scant attentionto details of anatomyand rarely embellishesgarmentswith patternsother than
104For scenes of hunters, cf. M. B. Moore, Metropolitan Museum Journal 18, 1984, pp. 37-38. 105 Paralip. 46; Tiverios, p. 102, note 122 for the interpretation of the scene, and pl. 70:8. The flying siren brings to mind the one on the obverseof Louvre F 53, a nearly contemporary, special one-piece amphora signed by Exekias as potter but attributed to Group E (ABV 136, 49; Paralip. 55, 49).

Tiverios, p. 105, note 176. Naples, N.M. 2770 (footnote93 above, p. 83). 108 Tiverios (p. 122, note 467) also considersthis a late work. 109Taranto 52130 (ABV 112, 67; Paralip. 44, 67; Tiverios, pl. 13). 110 ABV 123-129; Paralip. 50-53.
107

106

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broad stripes. The Painter of Louvre F 6 decoratesa good variety of shapes, but his subjectsare frequently repetitious. He shows a marked preference for departure scenes and combats, often flankedby spectators. Ten vases from the Agora were attributedby Beazley to the Painter of Louvre F 6: 54-56 (PI. 7), 58 and 59 (P. 8), 447 and 448 (PI. 44), 561 (PI. 54), 768 (P1.72), and 1922 (P1. 122). 449 may be by him, and two others, 57 (PI. 7) and 1351 (PI. 93), are in his manner. These are mostly columnkratersand amphorae. 561 is a stand, 768 an oinochoe.All but one are late in the painter's career. 54 is the exception for it is closest to the painter'slebes in Houston,11 one of his best vases. The late work of the Painter of Louvre F 6 leads on to the Ready Painter, also a somewhat old-fashioned artist. 1330 (P1.92), a lekanis with its cover,is near him. Like the Painter of Louvre F 6, the Painter of Vatican 309, who is the second companion of Lydos, is also linked to the masterchiefly by his animal style." 2 His known output, however,is only about one-third that of the other two painters. The quality of his drawing is frequentlyhigher than that of the Painter of Louvre F 6, and his style is closestto the early phase of Lydos. 13The Painter of Vatican 309 decoratesmainly ovoid neck-amphorae,although he has left us a few hydriai and column-kraters,one of the latter, 446 (P1. 43), from the Agora, two amphorae, and a plate. 176 (P1. 21) may be addedto his ovoid neck-amphorae. In the third quarterof the 6th century,Attic black-figurepaintersachievetheir greatestdistinction. This is the period of the Amasis Painter and Exekias, the two great masters of Attic black figure. Alongside these two are many other able artists who, although not nearly so skilled, have nevertheless left us a good many vases of high quality. They are painters such as the Painter of Berlin 1686, those of the PrincetonGroup, the Swing Painter, and the paintersof Group E, just to mention a few whose work may be dated between 550 and 530 B.C. After them come artists such as the Lysippides Painter, who was probably a pupil of Exekias, the Antimenes Painter and his group, and Psiax, all important artists who begin working between 530 and 520 B.C. but who continue well beyond. In the third quarterof the 6th century,the workshopof the potter Nikosthenes also comes into prominence. Exekias The work of Exekias, who signs as both potter and painter, demonstratesmore clearly than that of any other black-figureartist the brilliant resultsthat may be achievedwithin the strict limitations of this technique, and his accomplishmentremains unrivaledthroughoutall Attic black figure.'"4 Although his known output hardly exceeds 35 vases, from these the mark of his genius is clear. As potter, he fashions new shapes or reworksold ones. As painter, he understandsbetterthan most the integral relationshipbetween the shape of a vase and its decoration,both ornamentand figures. He has an unparalleled sureness of drawing and an unfailing eye for subtle details that enliven his compositions.In Exekias' narratives,a somber mood and a dignified calmness often prevail. Frequently, the moment shown is the one that precedesor follows that of the greatest drama, in contrast to the custom of Archaic artists who prefer lively movementand vigorous gestures instead of understatedemotion or allusion to action past or future. This restraint combinedwith the monumentality of his figures and his sensitivity to human situations will not be seen again in Greek art until the Classical era.
11 Houston 34.129 (ABV 125, 32; Paralip. 51, 32; Hoffmann, Ten Centuries,fig. 166:a-e). 112ABV 120-123; Paralip. 49-50. 113 Compare,e.g., his namepiece(ABV 121,7; Paralip. 49,7) with Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pis. 22, 23) or Brunswick241 (ABV 122,21) with the hydria in Berlin (ABV 108, 15; Tiverios, pls. 4:/, 5). 14 For Exekias himself, cf. ABV 143-146; Paralip. 59-61; M. B. Moore, AJA 84, 1980, pp. 417-434, with bibliography since Paralipomenaappeared.

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Group E and the Lysippides Painter So far, no vase found in the Agora proper has been attributedto Exekias himself or even to his manner. The painters of Group E, who form the backgroundfor Exekias and to whose vases his early work is closely related, are representedby only two vases, 74 (PI. 9), a panel amphora attributedby Beazley, and 632 (PI. 60), a shoulderedhydria addedhere.115 The representationof the Birth of Athena on 74 was probably similar to the one on Berlin 1699, and the frontal chariot without flanking figures on 632 is a favorite subject among painters of Group E.116None of the painters around Group E and Exekias, such as the Painter of the Vatican Mourner, the Towry Whyte Painter, or the Painter of London B 174, seems to appear in the Agora black figure.117 Neither are there any vases by Exekias' follower and pupil, the Lysippides Painter, although two panel amphorae in his manner, 86 and 87 (PI. 10), are attributed here. All this may be purely fortuitous, but it may also indicate that these painters worked for clients outside the Agora. The provenancesof many of their vases are known, and, as is to be expected, the greatest number of them were found in Etruscan Italy, chiefly at Vulci and Cervetri.But of those found in Greece, it is perhaps worth noting that almost all seem to come from dedicatoryor funerarycontexts, in particular the Akropolisand the Kerameikos.118 While any results drawn from such observationsmust be used with extreme caution, they may, however, reflect economicfactors influencing the Athenian ceramicindustry. Amasis Painter With the Amasis Painter we are more fortunate,for three vases from the Agora are attributedto him, and two others may be by him. Amasis signs as potter only, whence the painter takes his The Amasis Painter's career spans at least four decades,beginning in the second quarter name.119 of the 6th century and lasting until ca. 520 B.C. or slightly later.120 Well over 130 of his vases have survived.The Amasis Painter decoratesa wide variety of shapes ranging in size from very small to His early work has its greatestkinship with paintquite large and including some that are rare.121 ers of Siana cups, particularlythe Heidelberg Painter and to a certain extent with Kleitias, espec1257 (P1. 88), the ially with regard to his precise drawing and attention to ornamentaldetails.122 earliest Attic black-figuredalabastron,is one of the Amasis Painter's very early works. The generous amount of space between the figures suggests that it predates slightly another of his small vases, the exquisite aryballos in New York.123 Here, too, the figures are loosely grouped, but they are closer together, and there is more overlapping.An ornamentallink between the two vases is the step pattern above the figures on 1257, which reappearson top of the mouth of the aryballosbut is rare elsewhere.124
For Group E, cf. ABV 133-138; Paralip. 54-57. Berlin 1699 (ABV 136, 53; Paralip. 55, 53); for examples of frontal chariots, cf. New York, M.M.A. 56.171.12 (ABV 134, 22; Paralip. 55, 22) or Munich 1380 (ABV 135, 34). 117 I.e., those painters on pp. 138-143 of ABVand pp. 57-59 of Paralip. 118 A tabulation of the Greek findspotsfor these painters may be of interest. Group E: Copenhagen, inv. no. 7068 (ABV 134, 14), from Thebes accordingto the vendor (C. Blinckenbergand K. Friis Johansen in CVA, Copenhagen 3 [Denmark 3], p. 83); Akropolis 821 (ABV 136, 51); Akropolis 789 (ABV 137, 64); Akropolis 790 (ABV 137, 65); Kerameikos,inv. no. 1682 (ABV 137, 66; Paralip. 55, 66); Akropolis 649 and 650 (ABV 137, 67); Akropolis 648 (ABV 137, 68); Kerameikosn.n. (ABV 138, 70). Near Group E: three loutrophoroi in the Kerameikos (ABV 139, 13-15). Exekias: Agora, North Slope A-P 1044 (ABV 145, 19; Paralip. 60, 19); Berlin 1811-1826, from Athens (ABV 146, 22; Paralip. 60, 22); Athens, N.M. 2414116 115

2417 (ABV 146, 23; Paralip. 60, 23); Brauron, from Myrrhinous (Paralip. 61); Athens, N.M. 1044 (ABV 147, 5), from Corinth (CC 692). Manner of Exekias: Akropolis 853 (ABV 147, 7); Akropolis 926 (ABV 147, 8); Athens, N.M., from Pharsalos (ABV 148, 9); Akropolis 647 (ABV 148, 10). So far, the work of the Lysippides Painter has not been found in mainland Greece. 119 ABV 150-158; Paralip. 62-67; Bothmer,AmasisPainter, passim. On his name, cf. J. Boardman,JHS 78, 1958, pp. 1-3. 120 For the range in time, cf. Bothmer,AmasisPainter, p. 239. 121 The varietyin shape of the signedvases is also large. For a list, cf. footnote 11 above, p. 44. All these are mature or late works. 122 S. Karouzou (Amasis Painter, p. 28) suggests that the Amasis Painter may have been a pupil of Kleitias. 123 New York, M.M.A. 62.11.11 (Paralip. 66-67; Bothmer, Amasis Painter, pp. 194-197, cat. no. 52). 124 Later it appears on two lekythoi: London, B.M. B 548

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The middle and late works of the Amasis Painter, to which 95 (PI. 11) and 681 (PI. 66) belong, are contemporarywith vases by the painters of Group E, Lydos, and Exekias, but he seems not to be influencedby these artists. The drawing of the Amasis Painter lacksthe vigor and expressiveness of Exekias and Lydos, but always it is delicate and sure, the ornamentalpatternsclear and precise, and the relationshipbetween shape and decorationwell understood.The Amasis Painter's compositions are generally less ambitious than those by Exekias, and sometimesthey may be rather repetitious, but they are never dull. Occasionally,he paints subjectsthat are quite rare, such as Achilleus receiving his armor, horse taming, boisterous satyrs making wine, or the stable of Poseidon, which seems to be unique.'25If the illustration on 681 is mythological,it may representDionysos and Ikarios or Dionysos and Oinopion, both unusual subjects. Two other Agora fragmentsfrom this period may be by the Amasis Painter. 779 (P1.73), a small fragmentof an olpe or an oinochoe,was attributedby H. R. W. Smith. Very little remains,and it is difficultto be certain of the attribution,but if it is by the painter, it is one of his slighter pieces. Of more interest is 1753 (P1. 113), which comes from an eye-cup. It shows part of an eye and on the right the back of a woman's head and neck. Her flesh is reserved,which finds good parallels in the best work of the Amasis Painter, and the careful incision comparesfavorably,yet an attributionis not completelycertain. Painter of Berlin 1686, Swing Painter, Painter of Munich 1410 Other pot painters contemporarywith Exekias and the Amasis Painter are representedin the black figure from the Agora. 73 (PI. 9), a fragmentof a panel amphora,recallsthe Painterof Berlin 1686, whose slightly more than two dozen vases consist mainly of one-piece amphorae and neckamphorae, although he may have decorateda hydria.'26 The quality of his work is about equal to that of the painters around Group E. He paints several differentmythologicalthemes and has also left us two unusual representations,a feast in honor of Athena, which appears on his namepiece, on another amphorain Berlin.'2773 probablyshowed a fight flankedby and a chorus of "knights" spectators,similar to one by the painter himself, once in the Basel Market.'28 A younger contemporaryof the Painter of Berlin 1686 is the Swing Painter who takes his name from the amphora in Boston that shows a girl on a swing.'29His known output numberswell over one hundred vases, most of which are panel amphoraeand neck-amphorae,but he has also left us hydriai, Panathenaic amphorae, a loutrophoros,and perhaps also a column-kraterand a lebes.130 The quality of his work varies considerably,from well-planned compositionswith carefullydrawn
(ABV 154, 58; Bothmer, Amasis Painter, pp. 188-189, cat. no. 49) and Montclair (N.J.), Dusenbery (ABV 155, 59; Paralip. 64, 59; Bothmer,Amasis Painter, pp. 190-191, cat. no. 50). 125 Achilleus receivingarmor:Boston 01.8027 (ABV 152, 27; Paralip. 63, 27; CVA, Boston 1 [USA 14], pl. 27 [649]:2;Bothmer, Amasis Painter, pp. 134-137, cat. no. 25). Horse taming: Leningrad, inv. no. 161 (ABV 151, 15; Paralip. 63, 15; Bothmer, Amasis Painter, p. 195, fig. 102) and New York, M.M.A. 62.11.11 (footnote 123 above, p. 87). Satyrs making wine: Wirzburg 265 (ABV 151, 22; Paralip. 63, 22; Bothmer, Amasis Painter, pp. 113-117, cat. no. 19) and Basel (Paralip. 65; Bothmer,Amasis Painter, p. 46, fig. 40:a), and also Kavala 983 a (Paralip. 65; Bothmer, Amasis Painter, p. 116, fig. 70) and the new fragment found at Samos (AA [JdI 95], 1980, p. 341, fig. 7; Bothmer,Amasis Painter, p. 116, fig. 71). Stable of Poseidon: King's Point, Schimmel (Paralip. 67; Bothmer, Amasis Painter, pp. 217-220, cat. no. 60). 126 ABV 296-297; Paralip. 128-129. For a hydria that should be by him, cf. LouvreC 10651 (CVA, Louvre 11 [France 18], pl. 135 [808]). Compare with this: London, B.M. B 197 (ABV 296, 1; Paralip. 128, 1); Orvieto, Faina 73 (ABV 296, 2; Paralip. 128, 2); and Munich 1375 (ABV 297, 15). 127 Berlin 1686 (ABV 296, 4; Paralip. 128, 4); Berlin 1697 (ABV 297, 17; Paralip. 128, 17).
128

Boston, M.F.A. 98.918 (ABV 306, 41; Paralip. 132, 41; CVA, Boston 1 [USA 14], pl. 4 [626]:2; Bohr, Schaukelmaler, pls. 64:1 and 191:e). For the rest of the painter'swork, cf. AB V 304-310; Paralip. 132-135. For a comprehensivemonograph, cf. Bohr, Schaukelmaler. 130 For the column-krater, cf. Leningrad 1524 (St. 55), judged by Beazley as "probablyby the Swing Painter" (ABV 310; Bohr, Schaukelmaler,pl. 144). The lebes is an unpublished fragmentin the Vlasto collectionknown to us from Bothmer's photograph. It depicts the departureof a chariot and in style compares best with these: Vatican G 36 (ABV 304, 1; Bohr, Schaukelmaler, pl. 1); Boston, M.F.A. 89.257 (ABV304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]:1;B6hr, Schaukelmaler,

129

Paralip. 129, 14 bis.

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figures to those that have a rough and ready character.Three vases by the Swing Painter have been found in the Agora. 77 (PI. 9), a panel amphora, preserves part of a satyr, very likely one that accompaniedDionysos, and it belongs with his other amphoraethat have abovethe panel the same inverted lotus-bud frieze with thick links.'31190 (PI. 23), a neck-amphora,shows a wedded pair, presumably in a chariot (given their high position on the vase), a subject that does not seem to appear again in the work of the Swing Painter. In style, it seems to comparefavorablywith some of his early vases such as one of the amphoraein Boston.32 1883 (P1. 120), a closedvase of uncertain shape, is slightly later. It preserves part of Herakles and the Lion, probablyconfronted,with the lion's head turned around. This scheme offers a variant of the compositionused elsewhere by the Swing Painter, for these have either the hero and beast completelyfacing, or each moving to right with the head of the lion turned around.133 183 (PI. 22), a neck-amphoraof Panathenaic shape, with the and is probably contemporarywith his psykter-neckmay be compared Swing Painter, amphora in Boston where the garmentsof several figureshave the same pattern as Athena's peplos on 183.134 A vigorous artist near the Swing Painter is the Painter of Munich 1410 who has left us scarcelya dozen vases but each one of high quality.135 His panel amphorafrom the Agora, 82 (PI. 10), shows a mounted squire and a warrior dismounting. The next painters to be discussed, Nikosthenes, the Antimenes Painter, and Psiax, are contemporary with the first generationof Attic red-figureartists. Nikosthenes The signature of the potter Nikosthenes appears on nearly one hundred vases, far more frequently than that of any other artist, and his workshop producedmany differentkinds of vases, in Productsby Nikosthenes were mostly exported particular its own special type of neck-amphora.136 to Etruria, as the known provenances indicate; thus, very few of his vases have been found in Athens.'37In view of this, it is not surprising that only one by him, 1752, a fragmentaryfoot of a Droop cup with the first four letters of his name painted on the underside,has been found in the Agora. The painters of the Nicosthenic workshop stand somewhat apart from the mainstreamof
pl. 2); and Boston, M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pls. 33-35 [655-657]; B6hr, Schaukelmaler, pls. 132-135). 131 E.g., Vatican G 37 (ABV 305, 13; Bohr, Schaukelmaler, pi. 22); Conservatori 6 (72) (ABV 305, 17; Paralip. 132, 17; Bohr, Schaukelmaler,pl. 31); New York, David Rockefeller (ABV 306, 40; Paralip. 132, 40; Bohr, Schaukelmaler,pl. 48). These are without dots in the top interstices.For two with dots, cf. New York, M.M.A. 41.162.184 (ABV 305, 22; Paralip. 132, 22; Bohr, Schaukelmaler,pi. 41); Orvieto, Faina 52 (ABV 306, 31; Bohr, Schaukelmaler,pl. 7). It is uncertainif 77 (PI. 9) had dots. 132 Boston, M.F.A. 89.257 (ABV 304, 2; CVA, Boston 1 [USA 14], pl. 3 [625]:1; Bohr, Schaukelmaler,pi. 2). 133For the two completely facing, cf. Naples, N.M. 2503 (ABV 305, 26; B6hr, Schaukelmaler,pl. 6) and Munich 1395 (ABV 305, 24; Bohr, Schaukelmaler,pl. 34); for the two moving to right, the lion's head turned around, cf. Berlin 1693 (ABV 305, 25; Bohr, Schaukelmaler,pl. 24). To judge from Jahn's description of Munich 1559 (ABV 308, 75), unpublished and destroyed in World War II, the composition of Herakles and the Lion may have been similar to 1883 (PI. 120). 134 Boston, M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pls. 33-35 [655-657]; Bohr, Schaukelmaler, pls. 132-135).
135 ABV
136

311; Paralip. 135.

Cf. ABV 216-235; Paralip. 104-109; ARV2 122-123. For his white-ground work, cf. Mertens, Attic White Ground, pp. 31-33; for his kyathoi, cf. M. Eisman, Attic KyathoiPainters, diss. University of Pennsylvania1971 (availableUniversity Microfilms International,no. 72-17,345), pp. 54-76. 137 All are very fragmentary. Cf. two Little-Master cups: Akropolis 1748 (ABV 230, 2) and Akropolis 1746 (ABV 230, 3); two other cups of uncertaintype: Akropolis 1749 (ABV 232, 17) and Akropolis 1747 (ABV 232, 18); four skyphoi of Corinthian type: Akropolis 1409 (ABV 233, 1), Akropolis 1411 (ABV 233, 2), Akropolis n.n. (ABV 233, 3), and Akropolis 1410 (ABV 234); two lids or the like: Akropolis 1296 (ABV 234) and Akropolis 1297 (ABV 234); and a fragment of uncertain shape: Akropolis 1408a (ABV 234). In addition, an unsigned plate, Akropolis 2414 (ABV 233), has been connected with Nikosthenes on the basis of its similarity to a signed cup Type A, Louvre F 123 (ABV 231, 8; Paralip. 109, 8; Callipolitis-Feytmans, Les plats attiques, p. 305, no. A I, 51, pi. 9 and fig. 14).

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Attic black figure, although recently Psiax has been connectedwith Nikosthenes, chiefly through The career of Nikosthenes begins early in the third quarter of the 6th his use of white ground.138 and from the evihis as indicated by signed cup in Oxford that is decoratedby Lydos,139 century, dence of other signed vases, a kyathos painted by Oltos, a cup and a kantharosby Epiktetos,'40he continues to work until roughly 515-510 B.C.His name appears on vases decorated in a wide varietyof techniques:black figure, red figure, bilingual, white ground,and Six's technique.And the subjectsdecoratinghis vases are equally varied. AntimenesPainter The Antimenes Painter, who takes his name from a hydria in Leyden that praisesAntimenes,141 is one of the chief painters of standard neck-amphoraeand hydriai, but he also decoratedpanel amphorae,calyx-kraters,psykters,includingone signed by Nikosthenes,and a dinos.'42His career begins about 530 B.C.and lasts for approximatelytwo decades.The Antimenes Painter may have been a pupil of Lydos,'43for the massiveness and the proportions of his figures bear a certain relationshipto the older artist, but there is less incision, less interestin patternand texture, and less overlapping of figures than in the work of Lydos. In the Agora black figure, only 89 (P1. 10), a panel amphora with Herakles, one of the painter's favorite subjects,is by the Antimenes Painter himself. 90 (P1. 11), another panel amphora,preservespart of the Birth of Athena that in composition is closest to one by the Antimenes Painter and thus may be by his hand, but so little remains that it is difficultto be certain. 361 (PI. 35) is by the painter or in his manner. Psiax Although the Antimenes Painter is contemporarywith the earliest red-figure artists, so far no vase in the new technique has been attributedto him. This is not the case with Psiax, the "brother" who signed two red-figuredalabastrathat also bear the signature of of the Antimenes Painter,144 the potter Hilinos.145Psiax worked for at least two other potters, as the vases signed by Andokides and Menon attest.146 Although the style of Psiax shares many similarities with that of the Anhe is a more experimentalartist, timenes Painter, particularlyon his larger black-figuredvases,147 and his style is more refined, more ornamental. He also decorates a greater variety of shapes, particularlysmall ones, than the Antimenes Painter. But the most importantdistinctionis Psiax's use of varioustechniques in innovativeways. Besides decoratingvases completelyin black figure or
Cf. J. Mertens, AK 22, 1979, pp. 27-30. Oxford 1966.768 (ABV 113, 80; 229; Paralip. 45, 80; 108; Tiverios, pl. 47:/8, y); also the amphora by Lydos in Nikosia, C 440 (ABV 109, 28; 229; Paralip. 44, 28; Tiverios, pls. 25:y, 26:a) has the same shape as the one in the Villa Giulia signedby Nikosthenes (ABV 229). 140 Oltos: Florence 2 B 11 (ARV2 54, 8). Epiktetos:Wiirzburg 468 (ARV2 45, 105 and 71, 8) and Odessa (ARV2 77, 87; G. Sokolov,AntiqueArt on the Northern Black Sea Coast,Leningrad 1974, p. 26, figs. 5, 6). 141 Leyden PC 63 (ABV 266, 1; Paralip. 117, 1; CVA, Leiden 1 [Netherlands 3], pls. 13-16 [107-110]:3). 142 For the painter himself, cf. ABV 266-275; Paralip. 117121; M. B. Moore, Metropolitan Museum Journal 18, 1984, pp. 29-38, esp. pp. 34-38; for his use of white ground, cf. Mertens, Attic WhiteGround,pp. 40-43; for the psyktersigned by Nikosthenes, cf. footnote 2 bis above, p. 20. 143 Beazley, Development, p. 79. 144 of the Antimenes Painter, cf. For Psiax as the "brother"
139 138

Beazley, Development,p. 79; AB V 292. 145 Karlsruhe 242 (ARV2 7, 4; Paralip. 321, 4); Odessa (AR V2 7, 5). For the rest of his work, cf. ABV 292-295; Paralip. 127-128; ARV2 6-9; Paralip. 321. For his bilingual work, cf. B. Cohen, Attic Bilingual Vases and their Painters, New York 1978, pp. 195-239; for his black-figuredplates, cf. Callipolitis-Feytmans,Les plats attiques, pp. 376-377; for his kyathoi, cf. Eisman, op. cit. (footnote 136 above, p. 89), esp. pp. 125-174; for his white-ground vases, cf. J. R. Mertens, Attic White Ground, pp. 35-40; also, Kurtz, Athenian White Lekythoi, pp. 9-12; most recently, Mertens, AK 22, 1979, pp. 22-37. 146 Andokides: London, B.M. 1980.11-29.1 ex Castle Ashby, black figure (ABV 293, 7; Paralip. 127, 7; CVA, Castle Ashby [GB 15], pls. 6, 7 [661, 662]:1) and Madrid 11008, bilingual (ABV 294, 24; ARV2 7, 2; Paralip. 321, 2). Menon: Philadelphia 5399 (ARV2 7, 3). 147 Cf. Beazley, Development.pp. 79-80; J. R. Mertens, AK 22, 1979, p. 34.

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in red figure, Psiax has also left us two bilingual amphorae,severalvesselswith the figureson white ground, and one example each of Six's technique and coral red. Most importanthere is his use of white ground, for Psiax is the first artist to decoratea significantnumber of vases in this technique and to cover the entire surface with white slip before drawing the figures.148 817 (P1. 75), three is the earliest of a of the preservedexample white-groundtechnique from fragments large lekythos, the Agora and may be by Psiax himself, or at least is near him. In any case, it is the only Agora black-figuredvase linked with this artist. A unique feature of 817 is the predella below the main zone, which finds its best parallel on loutrophoroiand funeraryplaques. The drawing seems closest to that on his very fine white-ground plate in Basel.'49 Contemporary with these pot painters just discussed are those who specialize in small vessels, chiefly cups, lekythoi, and skyphoi, and also oinochoai. Although the names of many potters of small vases working between 550 and 520 B.C.are known from their signatures and numerous artists, groups, and classes have been identified,the work of surprisinglyfew has been found in the Agora. Pottersand painters of Little Master, Proto-A,and Type A cups Among the specialists in Little Master cups, the potting signatures of only two are known for certain in the Agora, both on very fragmentaryvessels. 1473 is a skyphos signed by Hermogenes, and 1686 is a lip-cup by Tleson with only part of the signature remaining,150 but the restorationis Three 1744 and 1811 which be others, 1743, (PI. 112), likely. (PI. 116), may a Gordion cup, give just part of the verb. None of these has any of the figured decorationleft. The most completely preserved, attributed Little Master cup from the Agora is 1708 (PI. 111), the namepiece of the Painter of Agora P 1241. It is decoratedwith satyrs and maenads, as are his other two band-cups, which comprisethe rest of his known work.15' 1924 (P1. 122) is a small fragmentof a Gordioncup or a Hermogenian skyphosthat recalls the Taleides Painter who, besidessmall vases, also decorates amphoraeand hydriai, the most famous being the hydria in the Louvrewhich is signed by Timagoras as potter and praises Andokides.'52 Other contemporarypainters specialize in a different kind of cup, the Proto-A or Type A. These artists are fewer in number than decoratorsof Little Master cups, but like them none has signed his name to a vase, although one potting signature is preserved.153 The work of only one, the Marmaro Painter,'54has been found in the Agora: 1426 the (P1.97), leg of a tripod-plate,with a lively scene of Herakles attackingthree Amazons,a subject also representedon his other vases known to us, two cups. Painters of small lekythoi Around the middle of the 6th century B.C. comes the first of a long series of painterswho specialize in small lekythoi.155 Among the earliest are those of the Dolphin Group which gets its name from the two leaping dolphins that often decoratethe shoulder.156 Two of their lekythoi, 797 and 798 (P1. 75), the latter a well-preservedexample of the rather rare sub-Deianeira type, have been
148Mertens (Attic WhiteGround,p. 42) makes the point that other contemporaryartists who use white ground, in particular the Antimenes Painter, use it to emphasize structuraldetails of their vases, not to furnish a backgroundfor the decorationas a whole. 149 ABV 294, 21; Paralip. 128, 21; Callipolitis-Feytmans, Les plats attiques, p. 377, no. 5, pl. 73, fig. 60; Mertens, Attic White Ground,pi. 4:1. 150 Hermogenes: ABV 164-166; Paralip. 68. Tleson: ABV

179-183; Paralip. 74-76. 151 ABV 191; Paralip. 79. 152 Louvre F 38 (ABV 174, 7; Paralip. 72, 7). 153 Louvre CA 1778, signed by Timenor (ABV 201). 14 ABV 198. '5s ABV, chap. 32. 156 ABL, pp. 14-16, 193-194; ABV 457-459; Paralip. 199200. For the Euboeanaspectof this group, cf. footnote13 above, pp.44-45.

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found in the Agora, as well as a third, 796, which is related.Neither of the two shoulderedlekythoi, 796 and 797, has the dolphins on the shoulder, and all three are connectedwith the group by the style of drawing. Linked with the Dolphin Group but more carelessin executionare the lekythoiof the Fat-runner Group, named after the amply proportionedrunner between spectatorsthat ap802 deviates from the usual composition pears on most of them, including 800 (PI. 75) and 801.157 by showing a sphinx between youths. The same representationappears on Vatican 448, which is near the lekythoi in the Group of Vatican G. 52.158 The painters of the Group of Vatican G. 52 descend from the Painter of Louvre F 6 and those immediately around him.159Nine lekythoi, 805-813 (PI. 75), belongingto the Group of Vatican G. 52 have been found in the Agora. These are small vessels with simple decoration often composed of three standing figures, r one figure in motion between spectators.An upright palmettebetween ivy leaves comprisesthe shoulderdecoration. These painters also decorated amphorae, neck-amphorae,hydriai, and small oinochoai of Shape I. Near the Group of Vatican G. 52 is the North Slope Group, also connected with the Painter of Louvre F 6.160 Small size and hasty drawing characterizetheir work, including60 (P. 8) and 748, a small panel amphoraand a chous. Contemporarybut of somewhathigher quality is 683 (PI. 66), an olpe near the Honolulu Class that shows the departureof a warrior. 1409 (PI. 96), a small, late 6th-centuryplate attributedby Callipolitis-Feytmansto the Workshopof Delos 636, is related to the late work of the Painter of Louvre F 6.161 Groupof the OxfordLid Also of mid-century is the Group of the Oxford Lid, a group of painters who decoratemainly Like the small skyphoi of Corinthian type, although the namepiece and one other are pyxides.162 type of skyphos preferredby these painters, their style of drawing is rather old-fashioned,tending toward confrontedpairs of animals or monsters,with rosettesfor filling ornament.Three fragmentary skyphoi from the Agora, 1463-1465 (P1. 99), were attributedby Beazley, and one, 1466, was comparedby him with the group, to which a second, 1467, is addedhere. In the last two decades of the 6th century B.C., the more talented artists turn to the red-figure technique, which gradually becomesthe predominantone, although black figure of high quality is still produced, notably by some of the Antimenean painters, the Priam Painter and the Rycroft Painter, and also painters of the Leagros Group. The work of other, less productiveand less able pot painters helps to round out the picture of large vases decoratedin Attic black figure during this time. Far more numerousand prolificare the painters who specialize in small vessels, in particular lekythoi. Most importantof these are the EdinburghPainter, the Theseus Painter, the Gela Painter, and also painters of the Cock Group and the Phanyllis Group, all of whose work continuesinto the early 5th century B.C. In this period, there are very few signaturesand none in the Agora black figure. Groupof Wurzburg 199 and the Michigan Painter Although a good many pot painters working in the late 6th century are known, very few of their vases have been found in the Agora. One of the earliest is 502 (PI. 47), a calyx-kraterattributedby which belongs to the circle of the Antimenes Painter. Beazley to the Group of Wurzburg 199,163
157 ABL, pp. 16-18; ABV459-460;

Paralip. 201-202.

'58 ABV 460, 12. 159 ABV 460-462; Paralip. 202-203. 160 ABV 129.

Callipolitis-Feytmans, Les plats attiques, p. 329, no. 44, pl. 40 and fig. 44. 162 ABV 616-617; Paralip. 306. 163 ABV 287-290; Paralip. 126.

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239 (PI. 28) is a contemporary,prize Panathenaicamphoraattributedhere to the Michigan Paintwho is the only black-figure artist to decoratemany stamnoi,165 a shape known primarily in er,164 red figure. Leagros Group The painters of the Leagros Group, which gets its name from the kalos inscriptionon five blackIts 300-odd known vases consist figured hydriai, produce the last importantblack-figuredpots.166 of and the favorite mainly hydriai neck-amphorae, group's shapes, panel amphorae, and a few column-kraters,as well as about 40 lekythoi. Examples of other shapes also appear but are few in number. Significantly, perhaps, the two known examples of volute-kratersin this group, 492 and 493 (PI. 47), are from the Agora. Each is a neck fragment decoratedwith a chariot and warriors. And if our attributionof 505 (PI. 48) is correct,it adds a new shape, the calyx-krater,to the group. 569-573, fragments of cylindrical stands, also a shape hitherto unknown in the Leagros Group, comparebest with several of its vases and are probablyby one of its painters. Five other vases were attributedby Beazley: 197 (P1. 23), a neck-amphora;392 (P1. 38), a pelike; 654 (PI. 62), a hydria; and 818-820 (Pls. 76, 77), three lekythoi. Bold line combined with limited internal incision for anatomy and texture generally characterize the drawing of the Leagros Group painters and emphasize the heroic proportionsof their figures.Violent subjectsillustratedby rugged figureswith a vigorous gestures are preferredthemes. Of Leagran characteris the Painter of Munich 1519,167 of the Nikoxenos small whose is of standard Painter, companion output composed neck-amphorae and Panathenaics, 328 (P1. 33) being one of the latter. RycroftPainter and Painter of TarquiniaRC 684 7 Contemporarywith the Leagros Group, but very differentin spirit, is the RycroftPainter, who is related to Psiax.'68He decoratesmainly panel amphoraeand neck-amphoraebut also hydriai, and recently calyx-kratersand column-kratershave been addedto his known output of about 50 vases. 195 (P1.23) is a neck-amphoraattributedby Beazley, to which another, 196 (P1.23), is addedhere. Two other vases, also added here, are new shapes for the painter: 187, a neck-amphoraof Panathenaic shape and 513 (PI. 48), a lebes gamikos.470 (P1.45), a column-krater,is probablyby him, at least to judge by the drawing of the horses. A second lebes, 514 (P1.49), is either by the Rycroft Painter or by his close associate, the Painter of Tarquinia RC 6847,169 and a third, 512 (P1. 48), compares with the reverse of the latter's namepiece. The Rycroft Painter's incision is rather thin and sparse, which suggests a certain influence from red figure. He prefers quiet subjects with stately figures to those with violent action, and when he shows scenes of struggle, his figures never exhibit the same degree of intensity as those of the Leagros Group. Three other attributedpots may be dated in the late 6th centuryB.C. 99 and 100 (P1. 12) probably belong to the Hypobibazon Class, which takes its name from the amphora in the Kerameikosthat shows a warrior about to mount his horse.170 This class of amphoraType B has a very thick mouth that gives the vase a slightly top-heavy appearance,and a key pattern to left is the usual ornament above each panel, as on 99 and 100. An oddity of the class is the tongue pattern round the root of
ABV 343-344; Paralip. 156-157. B. Philippaki, The Attic Stamnos, Oxford 1967, pp. 1214,22. 166 ABV 354-382; Paralip. 161-167. 167 ABV 393-394; Paralip. 173. 168 ABV 335-338; Paralip. 148-150; J. R. Mertens, Indiana University Art Museum Bulletin, Bloomington (Ind.) 1979,
165

164

pp. 6-15; W. G. Moon, "Some New and Little-Known Vases by the Rycroftand Priam Painters,"Greek Vasesin the J. Paul Getty Museum 2, 1985, pp. 41-70. 169 ABV 338; Paralip. 150. 170 Kerameikos,inv. no. 48 (ABV 339, 2). For the rest of the vases of this class, cf. ABV 338-339; Paralip. 150. Bothmer adds a fragmentaryamphora in Stockholm,inv. no. 2228.

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each handle. This ratherspecial shape survivesin red figure.'71100 is unusual for having Panathenaic subjects.Our last pot of this period is 650 (P1.62), a kalpis by the Painter of London B 343.172 EdinburghPainter Stylistically related to the Leagros Group, the Edinburgh Painter is the first artist to decorate many large cylinderlekythoi,'73which becomesthe type preferredby the betterpainters,especially red-figureones. Besides lekythoi, the EdinburghPainter decoratesother shapes, particularlysmall neck-amphorae,e.g. 215, and at least two panel amphorae of standard size are by him.174Two fragmentarycylinder lekythoi, 884 and 885 (Pl. 80), are by him, and a third, 886 (PI. 80), recalls him. 564 (PI. 54), a cylindricalstand with the Judgment of Paris, is by the painteror near him. The but none of his EdinburghPainter often coversthe picture surfaceof his lekythoiwith white slip,175 white-groundwork comes from the Agora. He paints a wide varietyof mythologicalsubjects,ranging from such well-known favoritesas Herakles and the Lion to rarerones such as Herakles in the His figures are lively and vigorous, his Garden of the Hesperides or Odysseus and the Sirens.176 compositionsclear and rather simple without too much overlappingof figures. TheseusPainter The Edinburgh Painter's cylinder lekythoi lead on to those by the Theseus Painter, an imaginative artist who begins his careerslightly later than the EdinburghPainter and continueswell past 500 B.C.177 He takes his name fromthe subjecton many of his vases, the deeds of Theseus. Although included by Beazley in his section on lekythoi painters in AB V and Paralipomena, the Theseus Painter decoratesmany shapes besides lekythoi'78and actually turns to them only ratherlate in his career.His early work is best understoodfrom his handsomelarge skyphoithat belong to the Heron and of his works found in the Agora, all but one, 1657 (PI. 107), a shallow cup-skyphos, Class,179 are skyphoiof this type: 1484-1496 (Pls. 100, 101). 1499 (P1. 102), which may be by him, and 1497 (PI. 102), which recalls him, are also skyphoi of the Heron Class. These take with them 1500, a The elegant spiral decoration slightly later Heron Class skyphos by the Painter of Rodin 1000.180 on 1657 reappears on a similarly decoratedcup, 1825 (P1. 117), that may be by the Painter of Nicosia C 975,181a contemporaryof the Theseus Painter. His other two similar cups, the namepiece in Nikosia and one in the Basel Market, are decoratedaccordingto the same principle as the three special cups by the Amasis Painter and thus offer a link with the older artist. Like the Edinburgh Painter, the Theseus Painter illustrates many mythological subjects and in addition also
Cf. D. von Bothmer,ArtBull 57, 1975, p. 121. ABV 342; Paralip. 154. 173 ABL, pp. 86-89, 215-221; ABV 476-480; Paralip. 217220; Kurtz, Athenian WhiteLekythoi,pp. 13-14. 174 London, B.M. B 170 (ABL, p. 220, no. 87); Wurzburg 266 (Langlotz, pls. 75, 77), an amphora Type A attributedby Bothmer;perhaps also Boston, M.F.A. 89.256 (Paralip. 115, 4 bis; CVA, Boston 1 [USA 14], pl. 10 [632] and the remarkson p. 7). 175 ABL, p. 89. 176 Normally the Edinburgh Painter shows Herakles and the Lion in the standing position (ABL, p. 88). On the lekythos in the Goulandris Collection (Paralip. 218; C. Doumas and L. Marangou, Exhibition of Ancient Greek Artfrom the N. P. GoulandrisCollection,Athens 1978, p. 288, no. 160), however, he shows the hero holding the beast upside down while he beats it with his club. To a certain extent, the compositionrecalls the one by the AndokidesPainter, which shows Herakles about to
171 172

hurl the lion (London, B.M. B 193: ARV 2 4, 8; Paralip. 320, 8), a scheme which recurson a late 6th-centurygem in Boston, M.F.A. 27.674 (J. Boardman,Archaic Greek Gems, London 1968, pl. 17, no. 254). For Herakles and the Hesperides in the work of the Edinburgh Painter, cf. Gela 125/B (ABL, p. 218, no. 46; Paralip. 217, 46; CVA, Gela 3 [Italy 54], pls. 17 [2394]:3, 4 and 18 [2395]:3, 4); for Odysseus and the Sirens, cf. Athens, N.M. 1130 (ABL, p. 217, no. 27; Paralip. 217, 27). 177 For the Theseus Painter, cf. ABL, pp. 141-147, 249-252; ABV 518-521; Paralip. 255-260; Kurtz, Athenian White Lekythoi, pp. 14-15. For his unusual scene of Herakles leading Lamia, cf. E. Vermeule, "Herakles Brings a Tribute," FestschriftBrommer,pp. 295-301. 178 Cf. the references in footnote 177 above. These include rare shapes like the alabastronand the neck-pelike. 179 For the characteristics of the group, cf. p. 60 above. 180 ABV 521-522. 181 Paralip. 99-100.

POTTERS AND PAINTERS

95

favors representationsof the komos and occasionally of athletes. His figures are amply proportioned and lively; his drawing is sometimesa bit sketchybut nonethelessattains a simple elegance. Gela Painter, Cock Group,and Phanyllis Group Contemporarywith the EdinburghPainter and the Theseus Painter are the Gela Painter and the painters of the Cock and Phanyllis Groups.'82 All of them specialize in lekythoi, and their careers extend beyond the turn of the century. Their types of lekythoi are discussedabove (pp. 45-46), and numerousexamples of them have been found in the Agora:Gela Painter 869-879 (PI. 79); Phanyllis Group: 824-836 (P1. 77); Cock Group: 793 (PI. 75) and 837-863 (P1. 78). The style of these painters never reaches the level achieved by the Edinburgh Painter and the Theseus Painter, although to some extent the Gela Painter shares the interest of these two in unusual subjects and mythologicalrepresentations.More often, their compositions,particularlythose of the Cock Group and the Phanyllis Group, are stock scenes, and their work signals the beginning of mass production of small lekythoi that will play such a significantrole in late Attic black figure. The Agora examples by these painters are for the most part standardproducts.793 (PI. 75), however,given its date in the third quarter of the 6th century,183 seems to be a very early example from the Cock Group, and the on it runners are to be associatedwith those of the Fat-runner Group. 822 (P1.77), a white-ground cylinder lekythos, may belong to the Capodimonte Group,184which is contemporarywith the paintersjust discussed. The drawing is similar, and it shares the same rare net pattern below the figures. OtherAttic black-figurepainters The largest number of black-figuredvases from the Agora are small lekythoi of poor quality, most of them belonging to the Class of Athens 581.185They are decoratedby numerous painters that form groups within the class. Many of the namepiecesof these groups come from the Agora, chiefly from a large well found beneath the Stoa of Attalos:the Group of Agora P 24340, 976-989 (PI. 83); of Agora P 24366, 990-993 (PI. 83); of Agora P 24377, 994-1001; of Agora P 24402, 1002-1008 (P1.83); of Agora P 24381, 1011-1014 (P1.83); of Agora P 24486, 1022-1026 (PI. 83); and of Agora P 24327, 1027-1029 (P1. 83). A few others belong to the Kalinderu Group, 10741089 (Pls. 84, 85) and 1113-1115, named after a lekythos in the Kalinderu Museum in Bucharest;186 others, 899 (PI. 81), 900 and 1099-1103, belong to the Geron Group which takes its name from the old man who appears on several of them.187 Numerous also are lekythoi in the mannerof the Haimon Painter, 1186-1236 (PI. 87).188 Many other painters who specialize in lekythoi are known, but the work of very few has been found in the Agora. There is an epinetronvery likely by the Sappho Painter, 1850 (P1. 118), and three vases near his companion,the Diosphos Painter.189 1160 (P1. 86) and 1161 are lekythoi; 1501 (P1. 102) is a skyphos. Four other lekythoi, 1177-1180 who are companionsof the Sappho Painter and the (P1.86), are by the Hound-and-hare Group,190
Gela Painter: ABL, pp. 78-86, 205-215; ABV 473-475; Paralip. 214-216; J. Hemelrijk, BABesch 49, 1974, pp. 117158. Phanyllis Group: ABL, pp. 64-66, 199-205; ABV 463466; Paralip. 206-208. Cock Group:ABL, pp. 67-68,108,109; ABV 466-471; Paralip. 208-212. 183 Compare the shape with those discussed by Haspels in ABL, chap. 2. 184 The association is made here. For the group, cf. Paralip. 214. 185 Above, pp. 46-47. 186 ABV 504, 12. For the work of the rest of the group, cf.
182

ABV 503-504; Paralip. 243-245. 187 Paralip. 224. 188 ABL, pp. 130-141, 241-249; ABV 539-571; Paralip. 269-287. 189ABL, pp. 94-130, 232-241; ABV 508-511; Paralip. 248250; C. H. E. Haspels, RA, 1972, pp. 103-109. Frel has suggested that the Sappho Painter is but a late phase of the Madrid Painter (J. Frel, "Three Notes on Attic Black Figure in Malibu," Greek Vasesin the J. Paul Getty Museum 1, 1983, p. 35). 190 ABL, pp. 118, 230-231; ABV 514-515; Paralip. 253.

96

POTTERS AND PAINTERS

Diosphos Painter. One lekythos, 1181 (PI. 87), is attributedby Beazley to the Athena Painter, and 759 (Pl. 72), a chous, may be by him.19'Our last lekythos,1237 (Pl. 87), is a white-groundwork by Besidesthe archaeological the Pholos Painter who is closely associatedwith the Haimon Painter.192 importanceof these small ubiquitous lekythoi, their chief value lies in the various and sometimes rare subjects that decorate them. Examples from the Agora include Theseus and Prokrousteson 1160, which is near the Diosphos Painter, Theseus fighting a human-headedMinotaur on 1162 (PI. 86), a lekythosof the Little-lion Class, and the Theban Sphinx on 1216 (PI. 87), in the manner of the Haimon Painter. with thosejust discussedare skyphoi.Slightly less than 30, The next group of vases contemporary 1502-1527 (Pls. 102, 103) and 1531-1533 (PI. 103), are in the mannerof the Haimon Painter, and many more are Haemonian in style. 1536 (P1. 104) is a skyphosby the Painter of Elaious I, whose 1780 (P1. 113) and 1830 (PI. 117) are namepiece in the Louvre comes from Elaious in Thrace.193 cups by him, and two more skyphoi, 1537 and 1538, are compared.Connectedwith the late vases of the Haimon Group are miniature skyphoi of the Lancut Group, which have their decorationin silhouette.'94Three have been found in the Agora, 1539-1541 (P1. 104), and 1542, a shallow skyphos of Ure's Class K 2, is connected.Akin to the LanicutGroup are the miniature skyphoi of Their decorationis in silhouetteon white groundand is usually a wretchedly the Lindos Group.195 drawn figure between palmettes. 1570-1577 (Pls. 104, 105) are examples from the Agora. Contemporarywith the Haemonian skyphoi are those of the CHC Group, which often show a war These are large skyphoi of the chariot wheeling around or a courting scene, CHariot-Courting.196 1578-1601 in a Heron Class decorated (P1. 105) offer a goodrepresentationof sketchy,rough style. the characteristicsof the group as a whole. Other groups may be connectedwith the CHC Group, including the Pistias Class discussed above.'97Another of these is the Dog Group, which gets its name from the dogs on 1607 (PI. 105) and on another vase from Thebes.1981606 and 1608 also belong to the Dog Group. Four other skyphoi, 1609-1612 (Pls. 105, 106), are attributed to the Group of Ferrara T.800.199 Almost all the attributed late black-figuredcups from the Agora belong to the Leafless Group, 1761-1765 and 1767-1778 named because its painters usually draw branches without leaves.200 (P1. 113), 1833, and 1834 belong to this group, and severalare attributedto specificpainterswithin 1775 the group. 1768 and 1769 (P1. 113) and 1776-1778 (P1. 113) are by the Caylus Painter.201 (P1. 113) is by or near the Painter of Oxford 236, and 1773 belongsto the Painter of Oxford 237.202 Several black-figuredplates from the Agora have now been attributedby Callipolitis-Feytmans in her monograph on the shape. Of particular interest are 1414 and 1415 (Pls. 96, 97) by the Kleiboulos Painter who takes his name from the inscribedostrakonfound between the Areopagus and the Hill of the Nymphs.2031414 is a large, handsomeplate with the figured scene, Herakles and Amazons, painted on white ground,set off by the glazed rim. 1397 (PI. 96), also large, is by the His Painter of Agora A-P 428, most of whose work consists of plates found on the Akropolis.204
191 ABL, pp. 147-165, 254-262; ABV 522-533; Paralip. 260266.
198 ABV623-624. 199 Paralip. 308-309.

ABL, pp. 137-139,247-248; ABV 571-572; Paralip. 287. Louvre El. 1 (ABV 575, 5); for the rest of his work, cf. ABV 574-576; Paralip. 289. 194 ABV 576-579; Paralip. 289-290. 195 ABV 581-583; Paralip. 290-291. 196 ABV 617-623; Paralip. 306-308. 197 Cf. above, p. 61.
192 193

ABV 632-653; Paralip. 310-313. 650-651; Paralip. 313-314. 202 Painter of Oxford 236: ABV 652; Paralip. 314. Painterof Oxford 237: ABV 651-652; Paralip. 314. 203 Cf. above, p. 56. 204 Cf. Callipolitis-Feytmans,Les plats attiques, p. 335.
200

201 ABV

POTTERS AND PAINTERS

97

favoritesubject,as on 1397, is a woman running to right holding a palmette-tendrilornament.The remainder of our attributed plates are small ones. Two have been attributed as follows: 1418 (PI. 97) very likely to the Snake-and-spotsGroup; 1417 (Pl. 97) to the workshop of the Anavysos Painter.205 A few other painters of small black-figuredvases from the Agora remain. 657 (PI. 62) is a small kalpis attributed to the Red-line Painter who is known primarily as a painter of small neckThree other Agora vases are in his manner, a small neck-amphora,209 (PI. 24), and amphorae.206 two pelikai, 395 (PI. 38) and 396. Another small kalpis, 658 (PI. 63), is connectedwith him. The Red-line Painter gets his name from the two lines drawn in accessoryred insteadof black glaze that frame the ornamentalpattern below the figures. His style of drawing is often rather careless,as it is on all our vases connectedwith him, but occasionallyhe decoratesfull-size pieces with some care, such as his two Leagran neck-amphorae.207 Near the Red-line Painter is the Painter of the Rhodes 737 (PI. 70) is a small oinochoe near him. Another small oinochoe, 754 (PI. 72), is near Pelike.208 the Painter of Villa Giulia M. 482, a minor painter of small neck-amphoraeand oinochoai.209 665 is a small kalpis by a companion of the Haimon Painter, the Painter of Half Palmettes, whose palmettes used as filling ornamentwithin the picture are cut in half, hence his name.210 A few vases do not find appropriateplaces in the above discussion.Two are signed. One of these is a late 6th-century plate, 1407, signed by the potter Salax, which, besides the inscription,is decorated only with concentriccircles. The second is 226 (PI. 26), an early Panathenaicamphorawith some of Athena's shield, most of the potting verb, and the last two lettersof the name with tracesof a third. Other Panathenaicsfollow. The next is 325 (P1. 33), attributedhere to the Group of Copen325 shows parts of two hagen 99, whose few known vases are all Panathenaic amphorae.211 vigorous participantsin a foot race, a favorite subjectof the group. 250 (P1. 28) is a little later and 251 (PI. 28) may be by the painter compares with the manner of the Kleophrades Painter,212 All three show parts of Athena and are probably himself, 252 (Pl. 28) is by the Berlin Painter.213 vases. and 254 attributed here to the Achilles Painter, a pupil of the Berlin 255 (PI. 29), prize Six other prize vases Painter, are very likely prize vases, as are his other known Panathenaics.214 from the Agora may be dated in the 5th century.256 (PI. 29) and perhaps 257 (PI. 29) belong to the Robinson Group, named for the three in the Robinson Collection;215 259-261 (PI. 30) ought to be from the Kuban Group, which takes its name from the one found in the Kuban and whose other Panathenaics with known provenancesdo not come from Athens;216 277 (PI. 31) is probablyby a Nikomachos Series of about the middle of the 4th century B.C.:218 286 (Pl. 31), 291, 293 (PI. 32), and 295.

Snake-and-spots Group: ABV 131-132; CallipolitisFeytmans, Les plats attiques, pp. 385-388. Anavysos Painter: ibid., pp. 388-389. 206 ABV 600-607; Paralip. 300-304. 207 Villa Giulia M. 488 (ABV 603, 64; Paralip. 300, 64); Orvieto, Faina 72 (ABV 604, 65). 208ABV 608; Paralip. 304. 209 ABV 590-591; Paralip. 295-297. 210 ABV 573; Paralip. 287-288. 211 ABV 403; Paralip. 175.
205

212 For his other Panathenaics, cf. ABV 404-406; Paralip. 175-176. 213For his other Panathenaics, cf. ABV 407-409; Paralip. 177. 214 ABV 409; Paralip. 177. 215ABV410. 216ABV 411-412; Paralip. 177. 217 London, B.M. B 604 (ABV 413). For the rest of their Panathenaics,cf. ABV 413-414; Paralip. 177. 218 ABV 414-417; Paralip. 178.

98

POTTERS AND PAINTERS

Our last three vases to be discussed belong to the Swan Group, painters of miniature vessels The decorationis without incision and usually decoratedwith swans often painted upside down.219 often rather sloppy. The Agora Swan Group vases are two oinochoai, 732 and 765, five pyxides, 1275 (PI. 90), 1276, 1281, 1287 (PI. 90), and 1294, and a phiale, 1427 (P. 97), all but 732, 765, and 1294 attributedby Beazley. These little vases are difficult,if not impossible,to date on the basis of style. To judge by the shapes, the range in time for the Swan Group is considerable,reaching back perhaps as early as the first half of the 6th centuryB.C.
219

ABV 655-660; Paralip. 315-316.

CATALOGUE
ONE-PIECE AMPHORAE

FIG.1. One-pieceamphora1 (P 6155 a)

DECORATED ON NECK AND BODY, NOT SET IN PANELS 1-6

P6155a E 14:8 1 Fig. 1;Pl. 1 Neck fragment.Max. dim.0.081. Bandof glazeon inside. Slippedon outside. Sphinx (head)to right.On the right, a siren (someof her backhair,one wavy side lock,partof her breast)to left, with her head turned around. Hanging spirals at top of figure zone. Wheel rosettefor filling ornament.Red: face. White: fillet. in ABV, the wall of this Althoughcalleda neck-amphora flares too to from much come a vase of that shape, fragment with a contemporary especiallywhen compared exampleof similar size, such as 138 (PI. 17). The closest parallel in shape, althoughnot in size, to 1 is Aigina 565, a very large early workof the Nettos Painter(ABV 3, 1; Paralip. 1, 1). 0. von Vacano's interpretation of 1 as a male protome
cannot be supported (Zur Entstehung und Deutung gemalter seitenansichtiger Kopfbilder auf schwarzfigurigen Vasen des griechischen Festlandes, [Bonn 1973], pp. 15, 34). The composition on 1 probably showed two confronted seated

sphinxes,as on Aigina 565, but with a sirenbetweenthem, her head turned around,similar to the one perchedon a horsemen on Kerameikos, palmettebetweentwo confronted inv. no. 658 by the Nettos Painter (ABV 3; Paralip. 1; Kerameikos VI, ii, no. 116, pls. 89-91) andthe oneon the lid of his skyphos-krater, Athens,N.M. 16382 (ABV 4; Paralip. 3, 10).

Perhapsalso nearthe Nettos Painter(ABV 7, 3; Paralip.

5,4). Ca. 620-610 B.C.

P6155b,c E14:8 Two non-joining fragments. Max. dim. b) 0.078, c) 0.052. Froma vasesimilarto 1 but with clayslightlymore buff in color. Fragmentb givespartof a birdor siren (someof one foot and tail) to right.Fragmentc showspartof a rosetteand on the right,glaze that may be the leg of an animal. Fragment b probably comes from a compositionthat showedtwo confronted birdsor sirens. Cf. the two feeding birds on London,B.M. 1874.4-10.1, formerlyA 1531, by

100

CATALOGUE

the Nettos Painter (ABV 3, 2; Paralip. 2, 2). The representationon 2 cannothavebeen feedingbirds,for the tail is in the wrong position:it shouldbe up, not down. Size and bestwith thoseof the Nettos shapeof this amphoracompare Painter;so little of the drawingremainsthat it is difficultto be certainof an attribution, althoughone may comparethe feet of the eagle on the right on Athens,N.M. 16382 (ABV 4; Paralip.3, 10; Karouzou,'Avayvpov7ros,pl. 9).
Ca. 620-610 B.C.

3 P1.1

P 18524 A 17:1 (U) Two non-joiningfragments.P.H. a) 0.256; max. dim. b) 0.17. Mouth, one handle,part of body (a); lower part of body without figureddecoration(b). A whitish slip covers the reserved parts.Glaze has firedbrownand is abradedin manyplaces. On neck, frieze of incised rosettes.On one side, sphinx with elongatedbody,to right. Incisedrosettesfor filling ornament.On the otherside of the vase very little remains.A small amountof glaze may be partof a tail or an ornament. Red: markingon hindquartersof sphinx, wing bow, and alternatefeathers; rosetteson neck;bandjust below figured another lower down (on b). decoration, The internalincision indicatingthe individualleaves of each rosetterecallsthe similarbut neaterincisionin rosettes on the namepieceof the Nettos Painter(ABV 4, 1; Paralip. 2, 6; Karouzou,'Avayvpovoros, pl. 90). Late 7th centuryB.c. 4 P1.1 P 25417 N7:3

FIG.2. One-pieceamphora6 (P 15088). Scale 1:2 a preserves Fragment partsof threeanimalfriezes:I) bird or siren (feet) to left; II) feline (hindquarters, tail), eagle, and goat (head, some of neck, one foreleg),all to left; III) and panther to left. Below III, rays. goat (hindquarters) b Fragment gives part of the mouth and neck: on side of mouth, frieze of rosettes;on neck, lotus-palmettefestoon (partof one palmetteand one lotus).Fragmentc givesmore of the rays abovethe foot. Red:a) ribs, markingson hindwing bows,baron tail;neckof goatandof panther; quarters; two lines above rays; b) heart of palmette;three lines on insidebelowrim, line on outeredgeof rim, line abovelotuspalmettefestoon. For rosetteson the side of the mouth of other one-piece amphorae,cf., e.g., 34 (P1. 5); also Louvre E 817 by the Gorgon Painter (ABV 9, 7; Paralip. 6, 7); New York, private,once Basel, Blochby the CamtarPainter(Paralip. 31, 10; Cat.Sotheby,13-14. July, 1981,no. 243); threeunLouvreE 816 (CVA,Louvre1 [France1], pl. 1 attributed: Louvre E 818 (CVA, Louvre1 [France1], pl. 1 [31]:3,9); Oxford G 128.2 (CVA, Oxford2 [GB 9], pl. 2 11); [31]:5, [403]:24);New York, Bastis, signed by Andokides(ABV 253; ARV2 1; Paralip. 113). Sophilos(ABV 39, 9). Bakir (Sophilos,pp. 40 and 42), without good reason, demotesour fragmentsto those of a late workshoppiece, standingonly on the peripheryof the workof Sophilos.
Ca. 580 B.C.
PANELAMPHORAE 7-116

Fragmentof neck with root of one handle. Max. dim. 0.082. festoon.Red:cuffs and frondsof On neck,lotus-palmette links. and alternate hearts lotuses; petalsof palmettes; Manner of the Gorgon Painter (Paralip. 8): compare LouvreE 817 by the painterhimself (ABV 9, 7; Paralip.6, 7). The Gorgon Painter'sfragmentsfrom the Olympieion (Paralip.7, 9 ter) are probablyfroma similaramphora. First quarterof the 6th centuryB.C. 5 PI. 1 P 6660 R-V 16-19 Wall fragment.Max. dim. 0.10. Siren(hair,someof breast,wing, tail, legs) to left. Incised rosettes for filling ornament. Red: breast, upper part of at break.White: wing, baron tail;line at bottomof fragment dots at basesof wing and tail feathers. Comparethe Groupof the DresdenLekanis,particularly for the incision and for the carelessmanner in which the accessoryred is applied:e.g. 1442-1444 (PI. 98) or 1859 (PI. 119). But the drawingis not quitethe same,andthe use of addedwhite doesnot seemto occurin the knownworkof this group. Late firstquarterof the 6th centuryB.C. P 6 Fig. 2;PI. 1 5088 S21:2 Three non-joiningfragmentsof mouth, neck, and body. Max. dim. a) 0.203, b) 0.108, c) 0.061. Mouth is flat on top and has a slightoverhang.Bakir,Sophilos,pl. 79, figs. 154156.

7 P1.2

P17393

M 1:3

Three non-joiningfragments. Max. dim. a) 0.195, b) 0.185, c) 0.08. Mouth and neck (a); body fragments (b, c). Some of the glaze has fired brown on fragmentc. AgoraVIII, p. 97, no. 578, pls. 37, 42. In eachpanel,headof a womanto right,herfacedrawnin outline. Fragmenta gives the crown of one head and the upper right cornerof the panel. Fragmentb (illustrated) showsthe faceandneckof a womanto right,perhapsthe one on fragmenta. Fragmentc comes from the oppositepanel (the glaze misfiredslightly)and preservessome of the hair lying againstthe neck. that 7 is an earlyworkof the NetH. Diepoldersuggested tos Painter (Festschrift fiir Carl Weickert,Berlin 1955, VIII, rejected by Brann(Agora pp. 111-120), an attribution but Karouzou 97-98) acceptedby pp. ('AvayvpovTros, pp. 131-132, 135) who comparedit with the stand of

ONE-PIECE AMPHORAE Athens,N.M. 16384, a matureworkof the painter(ABV 6; Paralip. 3, 13). Althoughthe similaritiescannotbe denied, the drawingon the standis heavierand less elegantthan on 7 (compare the drawingof the mouthand chin), andthe two ought to be kept apart. Furthermore, the restrictions imposedby a panel do not seem suited to the style of the Nettos Painter.
Ca. 620
B.C.

101

8 P. 2

P22151

Jll

Fragmentof mouth, neck, and panel. Max. dim. 0.21; p.H. 0.17. White slip on surface. Some of the glaze is abraded. of an aniUpper left cornerof panel preserving foreparts mal (someof its back,shoulder,and locksof hair alongback and neck)to right. Red:neck. The compositionprobablyshowed two confronted foreparts, a type of representationknown in Protoattic (cf. Agora VIII, pp. 96-97, no. 573, pl. 36). An early Attic black-figured exampleoccurson the Eleusisamphoraby the Nettos Painter(ABV 679, 2 bis;Paralip.2, 3), but here the headsare conjoined. 8 is one of the veryearliestexamplesof in a panel. such decoration P 27324 S16:1 Max. dim. Wall fragment. 0.058. Animal,perhapsa ram (partof hind leg, andat the break, the end of the tail), to right. Incisedrosettefor filling ornament. Red:dotson rosette.
9 Late 7th century B.C.

cf. 0. von Vacano,op. cit. (under 1). He rightly saw that those in the mannerof the Gorgon Painter, includingthe two unpublishedones on oinochoaiin Taranto and Berlin (ABV 10, 2 and 3), were probablyby one hand, and he thoughtperhaps10 mightbe the firstattemptby this painter to deal with this form (p. 37 and pp. 153-154, note 119). use Althoughthe generalstyleof drawingandthe decorative of white recall vases in the mannerof the GorgonPainter, the crosshatching on the snakypart differsfromthe smooth serpenton the Berlin lekythosand from the scaly part of Nereus on the lekythosin the Louvre (ABV 12, 23), and thereforeit probablyshouldbe kept apart. For redfaces,cf. H. R. W. Smith,TheHearstHydria.An AtticFootnote to Corinthian of CaliforHistory[University nia Publicationsin Classical ArchaeologyI, 10] Berkeley/Los Angeles1944, p. 270, note 36.
Ca. 600
B.C.

11 P. 2

P 14485 G 19

P 24944 Q13:5 Body fragment. P.H. 0.249; diam. 0.24. Mouth, neck, handle,muchof wall, and all of foot missing.H. A. Thompson, Hesperia25, 1956, p. 58, pl. 16:b. set in small panels.A, male head and Figureddecoration neck with start of snaky body to right. B (not illustrated), feline or sphinx (partof one hind leg, a bit of the tail) seated to right. Red: face and pupil; dots on fillet;two lines below panel that continueroundthe vase. White: cornersof eye, ear, dotson neck;claw. The subjecton 10 does not seem to have exact parallels. Althoughrelatedto the satyr heads on 723 (PI. 69) and to otherhumanforepartsin the mannerof the GorgonPainter (beneaththe handle of two lekythoi:Berlin, inv. no. 3764: ABV 11, 19; Nikosia 1958.iv-233: Paralip. 8, 19 bis; E. Gjerstad,GreekGeometric and ArchaicPottery found in Cyprus [Skrifter Utgivna av Svenska Institutet i Athen, in a XXIV], Stockholm1977, pl. 63:1;two pairedforeparts 13796: 9 9 ABV714, bis;Paralip.7, bis; panel:Copenhagen to the left as 8), it differsdistinctlyfromthese by continuing a snakyshapecut off by the edgeof the panel.The othersare truncated forms.The two on the lekythoihaveveryrounded bottoms;those in Copenhagen,and probably1372 (P1.94) also, are only slightly rounded.As a group, these are very differentin conception fromthe simplemale or femaleforepart in a panel that lookslike a figurepassinga windowat shoulderlevel (e.g. Munich 1360:ABV 16, 2; Paralip.9, 2). For humanforeparts on black-figured vasesof all fabrics,

10 PI. 2

Wall fragmentfrom upper right cornerof panel. Max. dim. 0.092. Horseman(partof mount'sheadand mane)to right.The in the locksof maneon the far left at the break interruption is partof the rider'shand. Red:all of the head;pupil of eye. The composition of the horseandriderwas verysimilarto the one galloping to right on the Baltimoreplate by the GorgonPainter(ABV9, 18;Paralip.7, 18);the composition of a mountstandingor walkingdoesnotappearuntilthe late first quarter of the 6th century. An unattributeddinos fragment (London, B.M. B 103.14.2: W. M. F. Petrie, NaukratisII, London1888, pl. 9:7; Baklr,Sophilos,pl. 64, fig. 123) closein styleto Sophilosis oneof the earliest(Baklr attributesthe fragmentto Sophilos).The GorgonPainter's unpublished fragmentin Hildesheim(ABV 10, 29) showsa riderwith his handin the samepositionas the one on 11. Mannerof the GorgonPainter(ABV 13, 43).
Early 6th century B.C.

12 PI. 2

P 12673 P8:5

Mouth,neck,handles,wall to belowhandles.P.H. 0.219; diam.of mouth0.165;est. max. diam.0.272. Missingpieces restored in plaster.Glazehas misfired reddishbrownon half of vase. A (illustrated) and B, ram (mostof eachhead,the forelegs and partof bodymissing)to right.Red:necks;two lines below panelsthat continueroundthe vase. Comparethe ram on the GorgonPainter'solpe in Munich, inv. no. 8757 (Paralip. 7, 135). The drawingof the andthe incisioninside horn,the doubleline forthe shoulder, one ear on 12 are particularly closeto the GorgonPainter's doesnot seemso ram,and what remainsof the hindquarters far fromit either.The shapeof the Agoravase,exceptfor its broader panel,is similarto LouvreC 10620 (ABV9, 9; Pato I. Scheibralip. 7, 9), a late workof the painteraccording ler (Jdl 76, 1961,p. 20). What remainsof the background is void, unusualfor the GorgonPainterbut paralleledon his namepiece,LouvreE 874 (ABV 8, 1; Paralip.6, 1), and on the late amphorain Hanover,inv. no. 1965.13 (Paralip.7, 95;CVA,Hannover1 [Germany34], pl. 5 [1637]:3,4).
Ca. 590-580 B.C.

102 13

CATALOGUE P 12526 R 17:3 17 P1.3 P 18528 A 17:1(U)

Completebut for foot and most of handles(the rootsremain). Rest. H. 0.257; diam. 0.194; diam. of mouth0.109. T. L. Shear,Hesperia8, 1939, p. 229, fig. 25; M. Picozzi, StudiMisc. 18, 1971, p. 12, no. 2, pl. 2:2;A. Birchall,JHS 92, 1972, p. 57, U I, 12. A and B, horsehead"fantastically mannered" (ABV 17, 43). The Horse-headAmphorae(ABV 17, 43).
Early 6th century B.C.

P 290 G 15:3 with the missingpartsreMendedfrommanyfragments storedin plasterand painted.Rest. H. 0.515; max. dim. of body 0.376; at handles 0.39. Restored:half of mouth and neck,lower partsof handles;most of B; all of foot. Someof the glaze has fired red;in places it is abraded.M. Picozzi, StudiMisc. 18, 1971, p. 14, no. 7 and pl. 8; A. Birchall, JHS 92, 1972, p. 54, FIII, 10. A (illustrated)and B, horsehead(missing:A, some of cheek,partof neck;B, all of headbut for partof cheek,much of mane). Red: manes, nostrilon A; two lines below panel that continueroundthe vase. For the red nostril, a rarely seen feature,see the second horsefromthe left on the Nettos Painter'scavalcade krater, Athens, N.M. 16383 (ABV 7, y; Paralip. 3, 12) and the Horse-head amphora,Athens, N.M. 16402 (Picozzi, op. cit., p. 19, no. 21, pl. 17; Birchall,op. cit., p. 53, F II, 9); also 18 (P1.3), 22, and 408 (P1.40). The Horse-headAmphorae;Relatedto the New YorkAthensHorse-headGroup[Birchall]. Early 6th centuryB.C. 15 PI. 3 P 25352 S-U 19-21 Wall fragment.Max. dim.0.077. M. Picozzi,StudiMisc. 18, 1971, p. 44, no. 86, pl. 64; A. Birchall,JHS 92, 1972, p. 58, U II, 16. Horsehead(top of head with forelockand part of mane). mane. Edgeof panel at right. Red:forelock; The doublelines separatingeach lock of mane are unusual but may be paralleledon two horseheadprotomesby the NettosPainter,Athens,N.M. 16366 (ABV5, 8; Paralip. 4, 19). The Horse-headAmphorae(Paralip.10). Early 6th centuryB.c. 16 P1.3 P 26636 T 18:3 Wall fragmentwith rootof one handleon the right.Max. dim.0.27. Someof the glazefiredbrownish.M. Picozzi,Studi Misc. 18, 1971, p. 16, no. 11, pl. 10;A. Birchall, JHS 92, 1972, p. 59, U II, 19. Horsehead(part of forehead,eye, forelock,and mane). of the halter passesover the locksof mane, The cheekstrap an unusualfeature;the forelockand ear overlapthe edgeof the panel slightly.Red:mane;pupil of eye. The Horse-headAmphorae(Paralip.10).
Early 6th century B.C.

14 P1.3

Four non-joining fragments. Max. dim. a) 0.314, a and b b) 0.304, c) 0.227; diam.of mouth0.20. Fragments are fromthe body,b with one handle;fragment c givesmost of the other handle;fragmentd preservesabouthalf of the mouth. M. Picozzi, Studi Misc. 18, 1971, p. 16, no. 12, JHS 92, 1972, p. 53, F II, 5. pi. 11;A. Birchall, A (illustrated)and B, horsehead.Fragmenta preserves mostof one horsehead but for the top of its headand a bit of its mane. Fragmentb gives about the same amountof the other horsehead.Red: manes; irises; dots at junction of cheekstrapand nosebandof halter on b; two lines below roundthe vase.White:corners of eyes. panelsthat continued The Horse-headAmphorae(ABV 16, 8); Sub-Groupof Athens903 [Birchall].
Early 6th century B.C.

18 Pl. 3

P 13385 T24:3

Preservedto just below the handles. P.H. as restored 0.224;max. diam.0.303;diam.of mouth0.198. Smallparts of wall restored.M. Picozzi, Studi Misc. 18, 1971, p. 17, no. 13, pl. 12;A. Birchall,JHS 92, 1972, p. 54, F III, 12. A (illustrated) and B, horsehead. Paintedon A:
qI

insidesof ears, pupils, nostrils;lines Red:manes,forelocks, framingpanelsat top and sides;line on neckaboveand below attachment of handles;bandsinsideand outsidelip and one at bottomof exterior.White:dot on halter. For the red nostril,cf. 14. The Horse-headAmphorae(ABV 16, 7); Relatedto the New York-Athens Group[Birchall].
Early 6th century B.C.

P 26631 U 19 19 Three non-joining fragments of panel. Max. dim. a) 0.045, b) 0.042, c) 0.03. Verypoorglaze. M. Picozzi,Studi Misc. 18, 1971, p. 44, no. 87, pl. 64; A. Birchall,JHS92, 1972, p. 58, U II, 1. Horsehead: fragmenta preservesmost of the face;fragment b gives the base of the neck with the ends of locksof mane;fragmentc shows someof the mane. It is not certain comefromthe samesideof the vase. thatthe threefragments Red:mane. The Horse-head Amphorae(Paralip.10).
Early 6th century B.C.

P 18529 A 17:1(U) 20 of panel.Max. dim.a) 0.118, Fournon-joining fragments 0.037. M. Picozzi, Studi Misc. 18, 0.048, d) b) 0.124, c) 1971, p. 17, no. 15, pl. 13;A. Birchall,JHS92, 1972,p. 59, in the description). U II, 18 (a and b are reversed A and B, horsehead.Fragmenta preservesmost of the face, some of the neckwith two locksof mane. Fragmentb shows a sectionof mane, probablyfrom the other side, for c the lowercontourof eachlockis doublyincised.Fragment givesthe lowerpartof the mane,someof the panelwith the

ONE-PIECE AMPHORAE framingline, probablyfromthe same side as a; fragmentd givespartof the sideof one panelwith the framingline. Red: manes;line framing side of panel; two lines below panel. White:cornersof eyes;dotson halter. The Horse-headAmphorae(ABV 16, 9). First quarterof the 6th centuryB.C. P 1248 G 6:3 (L) 21 Wall fragment.Max. dim. 0.113. E. Vanderpool,Hesperia 7, 1938, p. 372, no. 3, fig. 5, middle;M. Picozzi,Studi Misc. 18, 1971, p. 17, no. 14, pl. 13; A. Birchall,JHS 92, 1972, p. 51, B 6. Horsehead(neck,mane,lower half of head). Red:mane. The Horse-headAmphorae(ABV 16, 11); probablyby the Painterof the SyracuseHorse-head[Birchall]. Late firstquarterof the 6th centuryB.C. 22 P 26743 T-U 19-20 (II) Wall fragment.Max. dim.0.047. M. Picozzi,StudiMisc. 18, 1971, p. 44, no. 88, pl. 64; A. Birchall,JHS 92, 1972, p. 60, U II, 24. Horsehead(mostof head, ends of locksof mane overlapping neck). Red:nostril,lockof mane. For the red nostril,cf. 14. The Horse-headAmphorae. Probablysecondquarterof the 6th centuryB.C. P4217 F 13-14 23 Wall fragment.Max. dim. 0.132. Upper left cornerof panel with start of handle attachmentat left. M. Picozzi, StudiMisc. 18, 1971, p. 18, no. 16, pl. 14; A. Birchall,JHS 92, 1972, p. 58, U II, 5. Horsehead(mane). Red: mane;line framingpanel; two lines abovepanel. The Horse-headAmphorae(ABV 16, 10). First half of the 6th centuryB.C. P 2037 H 8-10 24 PI. 3 Wall fragment.Max. dim.0.095. Bandof glazeon inside. E. Vanderpool, Hesperia 15, 1946, p. 124, no. 5, pi. 16:2. Mounted warrior (his head, chest, right arm with crop; part of his horse's mane) to right. The warrior wears an Attic helmetand a chiton.At the top of the fragmentis the edge of the panel. Red:helmet;chiton;crop.White:corners of eyes;dotsedgingchiton. To judge from the raisedpositionof the rider'sarm, his mountis probablygalloping. First quarterof the 6th centuryB.C. P 15887 D-E 18-19 25 P1.3 Wall fragmentfromupperleft cornerof panel.Max. dim. 0.057. Inscribed:

103

P4 I9 26 P. 3 Wall fragment.Max. dim. 0.064. Lion (muzzle,someof neck,mane,and body)to left with headturnedaround.Red:mane.White:teeth. of an incisedruffwith a manethatcomThe combination the neck is unusual.We have four parallels: covers pletely one in the mannerof the GorgonPainter,704 (PI. 68); two by the KX Painter(Athens,N.M. 296: ABV 24, 7; Boston, M.F.A. 97.366:ABV 25, 19);one near Sophilos,30 (PI.4). The compositionon 26 probablyshowed two confronted lions with headsturnedaround,similarto thoseon the skyphos in Bostonby the KX Painterand on 30. First quarterof the 6th centuryB.C. P289 G 15:3 27 PI. 4 Wall fragment.Max. dim. 0.172. Swan (tail, mostof wing, and at the far right,a bit of the neck)to right. In the upperleft, the edgeof the panel. Red: two thin verticalstreaksin background. White:neck,cover of wing. The positionof the swan in the left half of the panel sugone of a pair, confronted. geststhat it is probably
Early 6th century B.C.

P 5024 F 12:6 28 Wall fragment.Max. dim. 0.05. Eagle (part of wings missing)flying to right. Red: wing bows. First quarterof the 6th centuryB.C. P 12496 Q18:1 Wall fragment.Max. dim. 0.091. E. Vanderpool,Hesperia 8, 1939, p. 260, fig. 16:17 and p. 261, no. 17; Bakir, Sophilos,pl. 64, fig. 125. Rider (his head;someof the maneand neckof his horse) to right.At the left, partof a rosette; above,top of the panel. Red:neckof horse;two lines at top of panel. Sophilos(ABV 39, 8).
Ca. 580 B.C.

29 P. 4

Red:line framingpanel. First quarterof the 6th centuryB.C.

P 3703 H-I 10:1(?) Wall fragment.Max. dim. 0.266; p.H. 0.20. E. Vanderpool, Hesperia 15, 1946, p. 126, no. 7, pl. 17:4;Baklr,Sophilos, pl. 79, fig. 157. Two lions (head,chest,and forelegof left;all of rightbut for its hindquartersand right forepaw) confronted,with heads turnedaround.Incisedrosettesfor filling ornament. Above figures,chain of double palmettes.At right of palmettes,line markingedgeof panel.Red:manes,eyes,markcores of rosettes,heartsof palmettes; ing on hindquarters; two lines below panel. The chain of doublepalmetteswithout lotusesis an odd ornament.Cf., e.g., 41 (PI. 5); one of Group E, New York, M.M.A. 56.171.12(ABV 134, 22; Paralip.55, 22); andtwo by the St. Audries Painter, New York, M.M.A. 56.171.8 (ABV313, 1;Paralip.136, 1) and Munich 1403 (ABV313,
2; Paralip. 136, 2).

30 P1.4

104 Near Sophilos(ABV 43, 5).

Ca. 580 B.C.

CATALOGUE part of mane; line on inside and outsideof lip, one at its loweredge,and two roundthe vasebetweenlip and handle; line framingpanels.White:dotson innerrow of feathers. For a sirenin a panel,cf. two contemporary ones:Athens, N.M. n.n. (AJA 39, 1935, p. 133, fig. 3) and Louvre C 10627 (CVA, Louvre 11 [France 18], pl. 122 [795]:5), which also has a lion in its reversepanel. Ca. 580-570 B.C.

31 P1.4

P 5300 E-F 12-14

Two non-joiningwall fragments.Max. dim. a) 0.145, b) 0.084. a showspartsof two hunters(torso, Boarhunt. Fragment part of arms and face of one on left; back of head, right shoulderof one on right)to right.The one on the left has his spearpoised;its tip appearsbesidethe left, notthe right,side The pointedobjects of his face. At his waist is a scabbard. behind the hunter on the right, at the break,look like the froma quiver.Sincethis hunter's ends of arrowsprojecting not he arm is raised, was probablyusing a thrusting right the is the edge of the panel with a little of On left weapon. the vertical line. Fragment b shows some of the boar (shoulder,neck, part of loweredhead) to right. Below the neckof the beast,at the break,is partof anotherfigure,perhaps the paw of a dog attackedby the boar. Red:faces;chitons;belly stripe,neck,markingson faceof boar. For a woundedhoundbeneatha boar,cf. Ormenosin the boarhunton the Francoisvase (ABV76, 1;PaCalydonian ralip. 29, 1). For boarhuntersusing thrustingweapons,cf. two on the Boston dinos by the Painter of London B 76 (ABV 87, 18; CVA, Boston2 [USA 19], pi. 64 [898]:1)and two on a Tyrrhenianamphoraby the Fallow-deerPainter (W. Hornbostel, Kunst der Antike. Schiitze aus nordMainz 1977, no. 235). Beazleysugdeutschem Privatbesitz, the Calydonianboar gestedthat the sceneon 31 represents hunt, and if it does, it and 610 (P1.58) would be two of the earliestexamplesin Atticblackfigure.But, withoutinscriptions or the presenceof Atalanta,it is difficultto be certain, the boarusuallyfacesto and in the uncontested illustrations, left andhas its forelegsraisedforthe finalattackas the hunters close in. 610, with all the names inscribed,is an exHelception.For the Calydonianboar hunt, cf. Brommer, also, A. Schnapp, densage3, pp. 310-312 with bibliography; RA, 1979, pp. 195-218. Late firstquarterof the 6th centuryB.C. P 22840 H-K 12-14 32 P1.4 Wall fragment.Max. dim. 0.065. Warrior (head with Corinthianhelmet, torso, start of legs) to left. The crestof his helmetis drawnin outline,an unusual detail. The meaning of the small bit of glaze between the helmet crest and the warrior's shoulder is uncertain.Red:face;corslet.
Ca. 580 B.C.

FIG.3. One-pieceamphora34 (P 1250), graffito.Scale 1:2 P 1250 G 6:3 (L) 34 Fig. 3; P1.5 Mouth, neck,someof one handle,part of wall with a bit of each panel. Rest. H. 0.29; diam. of mouth 0.208. Strengthenedwith plaster. E. Vanderpool,Hesperia 7, 1938, pp. 373-374, no. 5, figs. 7, 8. A, two seatedlions (mane,muzzle,bit of tail of left;some with heads of mane,body,and forelegsof right) confronted turnedaround.Betweenthem, floral(part);abovethem, in eachcornerof the panel,lotus (partof each).Incisedrosette for filling ornament.B, warriors (helmetedhead of one, with a star; neck,partof his spearandhis shieldemblazoned some of another'sshield, back of his helmet crest, both to rim of shieldof anothleft). On the far left (not illustrated), er. Above each panel, lotus-palmettefestoon.On vertical surfaceof mouth,rosettes.On top side of mouthabovehandle B/A, graffito(Fig. 3). Red: manes, ribs, markingson of lions;floralbetweenthem;coresof rosettes; hindquarters helmetcrest,rim of shieldon left;centerof shieldwith star device;hearts of palmettes;cuffs of lotuses, lines framing panel; two lines on neck below mouth; line on inside of mouthand another0.03 belowit. White:star. The Painterof LondonB 76. For rosetteson the side of the mouthof two amphorae by him, cf. Lyons(ABV87, 16) and Louvre (Paralip. 33, 16 bis). For a row of warriors, on sideB, cf. the neckwhichverylikelywas the composition in Cervetri once (ABV 86, 12) and Taranto amphorae 52.148 (Paralip.33, 13 bis). For the shield, cf. New York, M.M.A. 45.11.2 (ABV 85, 2), the hydriain a Swiss private oncein collection (Paralip.32, 1 bis),andthe neck-amphora Cervetri.Lionswith long manesoccuron the top side of the Brusselstripod-kothon (ABV 87, 21). For rosetteson the cf. 6 (PI. 1). side of the mouthof otheramphorae,
Ca. 570-560 B.C.

P 22532 Q 17:2 with some of panel Mouth, neck, and handlespreserved on each side. P.H. 0.19; diam. of mouth0.146. Top side of with a step pattern. mouthdecorated A (illustrated),siren (part of tail and legs missing) to right,with wings outspread.B, lion (someof head)to right. Red: A, face, eye, wing bows, bandon tail; B, eye, muzzle, 33 P1.4

P 1246 G 6:3 (L) 35 Parts of wall and foot restored.H. 0.34; diam. 0.235. Mouth warpedin firing.Dent on reversenearyouth.Some

ONE-PIECE AMPHORAE of the glaze fired red. E. Vanderpool,Hesperia 7, 1938, pp. 376-378, no. 8, figs. 12, 13. A and B, youthfulriderto right. Red: manes;line on top side of mouth at each edge; line below panels continuing roundthe vase.
Ca. 560-550
B.C.

105

40 P 24953 Q 13:5 Wall fragmentfrom upper right cornerof panel. Max. dim. 0.12. Dull glaze, cracked in places. Horse (topknotand part of mane) to right. Red: mane; line abovepanel.
Ca. 570-550
B.C.

P 13387 T24:3 Top half, mostlypreserved.Rest. H. 0.174; diam. as rein plasterand painted. stored0.245. Missing piecesrestored A (illustrated),rider (preserved but for some of the head and neckof horse,its legs and the end of its tail) to right.B, the like (all that remainsis the head and shouldersof the rider,the crestand foreheadof his mount).Red:hair of riders;manesand tail; line insideand outsideof lip; line at top of panel. By the same hand as the three horsemanamphoraewith unframedpanels that were put togetherby Villard (CVA, Louvre 11 [France 18], p. 109): Louvre E 824 (CVA, Louvre3 [France4], pl. 9 [146]:3,6); Villa Giulia, Castellani 468 (P. Mingazzini, Vasi della collezioneCastellani, Rome 1930, pl. 62:3);and LouvreC 10635 (CVA, Louvre 11 [France18], pl. 128 [801]:1).Certainfeaturesof 36 also recallthe Painterof Acropolis606, especiallythe absenceof ornamentabove the panel and the crinkly contourof the mane, but the drawing is different.Compareparticularly, Berlin,inv. no. 4823 (ABV 81, 4; Paralip.30, 4; CVA,Berlin 5 [Germany 45], pls. 1 [2146]:2 and 3 [2148]) and Tubingen D 4 (ABV 81, 5; CVA, Tiibingen 2 [Germany 44], pls. 31 [2132]:1and 32 [2133]:the new numberis S./10 1298). 36 Pl. 5
Ca. 560-550
B.C.

41 PI. 5 P1229 G6:3(L) Six non-joiningwall fragments. Max. dim. a) 0.137, b) 0.077, c) 0.107, d) 0.065, e) 0.014, f) 0.022. E. Vanderpool,Hesperia7, 1938, pp. 374-376, no. 6, figs. 9, 10. Three fragments comefromone side:warriorand squire to left, bothmounted.Fragment a (illustrated) the preserves headsof the two riders,part of a roundshield;some of the neckand maneof the warrior's horseandthe forelock of the Corinthianhelsquire's.The warriorwears a high-crested met. At the upper left, part of the chain of palmettesthat bordersthe panel at the top. Fragmentc shows someof the horses'tails. Fragmente gives moreof the palmetteborder. Fragmentb comesfromthe othersideof the vaseand shows partof a shield(its rimis widerthanthaton fragment a) and someof the horse'sbody.The placingof the remaining fragmentsis moredifficult.Fragment d preserves partof an uncertainobject,perhapsa horse'sleg. Fragment f shows the upperrightcornerof one panelwith a bit of the ornamental band. Red:helmet,part of crest,squire'shair, main partof shield;maneand tail of warrior's horse;heartsof palmettes. For the chainof palmetteswithoutlotuses,cf. 30.
Ca. 550 B.C.

37

P 20892 A-D 16-23

Wall fragment.Max. dim. 0.082. Rider (thigh,forearms,handsholdingreins;part of body and mane of horse) to right. Red: mane, markingon hindquarters.
Ca. 570-550 B.C.

P 13026 U 25:2 (U) Preservedbut for mouth, one handle and some of neck, lower part of body,and foot. H. 0.196; diam.0.137. A and B, youthfulriderto right. In fieldon one side, four dots.Red:hair of eachrider;manes,markings on hindquarters. White:chitons;teeth and tails of horses.
Ca. 560-550 B.C.

38

P25351 T 19 P 26742 T-U 19-20 (II) Two non-joiningwall fragments. Max. dim. P 25351: 0.097, P 26742:0.053. P 25351 comesfromthe lower partof the panel and preservespartsof two hairy satyrs(lowerleg, tail of one; foot, someof buttockand tail of anotherthat appearsto be squatting), both to left. P 26742 shows part of a dancingsatyr (right arm raised, some of hair) to right. Red: hair; line framingpanel;groundline; line abovepanel and two more below that continued roundthe vase.
Ca. 550 B.C.

42 P. 5

43 P1.5

P 22317 07:15

Wall fragment.Max. dim. 0.067. Sirenor sphinx (head,hair, partof wing) to left. In front of her, feline (tail). Red:breast,wing bow.
Ca. 570-550 B.C.

P4251 E 14:11 Wall fragment.Max. dim. 0.043. Glaze firedred on lower part. Two draped males (heads, chests) to left, overlapping. Horizontalline at levelof nose.White:crosseson garment of male on right.
Ca. 570-550 B.C.

39

44

P 6070 H 11

Wall fragmentfromtop of panel. Max. dim. 0.066. Youth(top of head)to right. Red:hair.
Ca. 570-550 B.C.

45

P 444 H 17

Wall fragment.Max. dim. 0.045. Glaze firedred.

106

CATALOGUE
and the right knee of a man kneeling to left. On the left are the calf and foot of a man to right. To judge from what remains, the toes of this foot barely touched ground. Behind him at the break (almost completely flaked):

Nude man (beard, arms, body) to left, playing the aulos. Red: beard.
Ca. 560-540 B.C.

46

P 15452

C 18:11 On the right is the toe of a woman to left. Below the figures, three horizontal lines of dilute glaze. P 26632 f preserves the lower right corner of this panel, assured by the lines of dilute glaze. The last fragment, P 26632 g, may come from either side of the vase and gives some of the black glaze below the panel and the tip of one ray above the foot. Red: alternate roof tiles, possibly to distinguish pan tiles from cover tiles;1 first and third glyphs of most triglyphs, center glyph of one; alternate flutes of columns, lower part of base; panel of door, studs on its frame; cloak of man on P 26632 a; drapery on P 26632 e; line framing panel (all four sides of obverse; top and sides of reverse); two lines below panel and two above rays that continued round the vase. White: rows of dots on borders of garments; woman's foot ? (applied directly on the clay), for the foot is drawn in outline, and all traces of white are gone. The scenes are set in very broad panels separated by a narrow vertical area of glaze above and below the handle. On the obverse, the architecture must have dominated the scene. The door fragment makes clear that the building is not a fountain house but either a temple or an elaborate dwelling like the palace of Peleus on the Francois vase (AB V 76, 1; Paralip. 29, 1; Cristofani, fig. 83). We cannot be certain whether the structure shown was intended to be of stone or of wood, for the use of accessory colors does not always provide reliable criteria for identifying the kind of material the painter had in mind. Variation in color seems to serve more to clarify individual architectural elements than to indicate material.2 But one cannot exclude the possibility that it may reflect the polychromatic stuccoed surfaces of actual buildings. The columns with their flutings, necking rings, and bases are closest to the ones by Kleitias. The metope-triglyph frieze resting directly on the abacus, a misunderstanding of the order, finds a parallel on the London dinos by Sophilos (Paralip. 19, 16 bis; Baklr, Sophilos, pls. 1, 2; Williams, op. cit. [footnote 4 above, pp. 33-34]). Other details link the style with Kleitias: the door panel (P 26632 c) is similar to the one on the palace of Peleus; the border on the cloak (P 26632 e) is close to the one on Peleus' cloak. 47 is not by either Sophilos or Kleitias but by a slightly later artist painting in a bolder style. The subject of each panel is difficult to understand. On the obverse, the figures are within an architectural setting, and the rather quiet movement of the one figure combined with the staff of another suggests perhaps a scene of homecoming or of a person being greeted. On the reverse, the Microfilms International, Ann Arbor, Michigan, no. 69-21, 269). For an opinionthat coloris an importantfactor,at least in distinguishing the material indicated by certain painted columns, cf. L. Eckhart, "Bemerkungenzu dorischen SauIen auf archaischengriechischenVasen,"JOAI 40, 1953, pp. 6072.

Wall fragment. Max. dim. 0.105. Glaze is abraded in many places. Parts of four figures: from left to right, 1) drapery, perhaps that of a woman to right; 2) male to left in a long chiton, preserved but for head and lower parts of legs; 3) as 2 but that he has a walking stick; 4) also to left (tip of beard, right hand with fold of drapery). Red: beards. First half of the 6th century B.C. T-U 19-20 (II, III) Eight non-joining fragments from both sides of the vase. Max. dim. P 26632: a) 0.14, b + d) 0.131, c) 0.061, e) 0.037, f) 0.048, g) 0.044, h) 0.077, P 26651: 0.116; H. of panel on obverse 0.225-0.23. Three more undecorated fragments belong. H. A. Thompson, Hesperia 29, 1960, p. 365, pl. 80:a (P 26632 a and P 26651). Five fragments come from the obverse. P 26651 (illustrated) preserves the upper left corner of the panel with the start of the handle near the corner. The part of the panel that remains shows a tiled roof, some of the metopes and triglyphs, the upper part of one column of a Doric structure. At the top of each metope, regulae with guttae are also shown. Some of the abacus and echinus of the capital, with the necking rings above and below a crown molding that looks like a tongue pattern, narrow flutes, or ovolos, are also drawn. On the left, overlapping the line framing the panel and some of the black glaze, is a small projection that may be an attempt to show the geison. On the left, beyond the black glaze, is a reserved area, the beginning of the next panel. P 26632 c (illustrated) gives part of the building's door, a panel with some of the decorative frame, and above, part of the lintel. P 26632 a (illustrated) comes from the right side of the panel and shows the lower shaft of a four-fluted column with part of its base. On the far right, beyond the black glaze, is the start of a reserved area, the beginning of the reverse panel, with a trace of the framing line. On the left of the column is a man (legs, ends of cloak) walking to left, perhaps carrying something (the ends of an object may be seen just below the break). On the far left, a narrow line that represents the staff of a person facing. P 26632 e preserves part of a cloak that should belong to this figure, for the two rows of ornament indicate that it is a garment folded over an outstretched arm, a posture suitable for a figure holding a staff. P 26632 h shows a bit of the lower edge of the panel below the ground line. Two fragments come from the reverse. P 26632 b + d (illustrated) give the calf and left foot For bichrome roof tiles on an actual temple of the late Geometric period, cf. H. R. Robinson, Hesperia 45, 1976, pp. 231-234. 2 This problem,particularlyin relation to the columns, has been discussed at length by Philip Oliver-Smith in an unpublished doctoral dissertation:ArchitecturalElements on Greek Vasesbefore400 B.C., New York University, 1969 (University 47 PI. 6 P 26632 and P 26651

ONE-PIECE AMPHORAE positions of the legs on P 26632 b + d indicate an active scene,perhapsa combatwith the victorcomingfromthe left aboutto woundhis opponentwho is downon one knee.Not enoughof the groundline remainsto estimatethe width of the panel; thus, it is not certain how many more figures, otherthan the womanwhose toes appearbehindthe kneeling warrior,this sceneincluded.
Ca. 560-550
B.C.

107

48 PI. 6

P 19129 C 18:4 Wall fragmentwith upperleft cornerof panel.Max. dim. 0.112. Warrior(helmetedhead)and companion wearinga petasos (the crown overlapsthe warrior'scheekpiece)to right. On the left, at the break,part of a shield. Red:helmetcrest; crownof petasos;shield. The high position of the two in the panel suggeststhat they were in a chariot,the petasos-wearer beingthe charioteer and the shield probablybelongingto him. It is unusual, to be slightlyaheadof however,forthe headof the charioteer the passenger.For the high positionin the panel,comparea few chariotscenesby paintersof Group E: Tarquinia RC 7170 (ABV 134, 24; Paralip. 55, 24); Wurzburg244 (ABV 135, 36); London,B.M. B 194 (ABV 136, 56; Paralip. 55, 56); Paris, de Larosiere(Paralip.56, 56 bis).
Ca. 550-540
B.C.

51 PI. 7 P 5895 No grid Wall fragment.Max. dim. 0:042. Satyr (face,beard)to right aboutto drink(the rim of his drinkinghorn appearsat the break).Red: hair and beard. White:row of dotsoversatyr'sforelock. Certainfeaturesof this satyr recall Lydos.For the long, protruding, partedlips, comparethe satyr shield deviceon 607 (ABV 107, 1; Tiverios,pl. 1:a) and some of Akropolis the mourners on the Kerameikos cup (ABV113,81; Paralip. 45, 81; Tiverios,pl. 42). For solid hair with a crinklycontour, cf., e.g., someof the figureson the following:Munich 1681 (ABV 108, 12; Tiverios,pl. 2); LouvreE 804 (ABV 108, 13; Tiverios, pl. 7:a); London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip.44, 8; Tiverios,pls. 7:8, 9:,/).
Ca. 540-530 B.C.

49 Pl. 6 P 16563 No grid Wall fragment.Max. dim. 0.035. Warriorto left, beforetwo horses (mounts).On the left, the nose of one horse;the forehead,mane with forelocktied in a topknotof the other. On the right, the tip of the warrior'snose, some of his chiton,baldric,pommelof sheathed sword,and his right hand holdinga spear. Red:eye of lefthandhorse;chiton.White:end of swordpommel,hilt;teeth of horse;dotson rein. Lydos(ABV 112, 63).
Ca. 550-540
B.C.

52 PI. 7 P 12669 V 24:2 (U) Wall fragment.Max. dim. 0.08. Warrior(high crestof his helmet,his right forearmwith vambrace and hand holdingthe shaftof his spear)to right. Abovepanel, some of the lotus-palmette chain. Red: vambrace,secondbandon crest;dots in links. White:outerand inneredgesof crest. For the vambrace,an extremelyrare piece of armor,cf. the carved example on the frieze of the Corfu temple (G. Rodenwaldt,Korkyra,II, Die Bildwerkedes ArtemisBerlin 1939, p. 114, fig. 103, pls. 33, tempelsvon Korkyra, 34) and the one worn by Ares on the Berlin oinochoeby Lydos(ABV 110, 37; Paralip.44, 37; Tiverios,pl. 57; best seen in K. Schefold,Gotter-und Heldensagen der Griechen in der spitarchaischen Kunst, Munich 1978, fig. 176). Cf. also Beazley,EVP, pp. 136-137.
Ca. 540-530
B.C.

50 PI. 6 P26975 T25:2 Two non-joiningwall fragments. Max. dim. a) 0.13, b) 0.215. Two horsemen to right.Fragment a, fromthe upperright cornerof the panel, givesthe headsof the two horses.Fragment b, fromthe left side of the panel, preserves someof the and tail of one horse and the wing and tail of hindquarters an eagle flying to right. Red: markingson hindquarters; Ca. 550-540 B.C. band on wing and tail; two lines abovepanel that continue 54 PI. 7 P 4671 E-F 12-14 roundthe vase. the horses and in each Wall Max. dim. 0.058. Lydos. Compareespecially eagle fragment. Frontalchariot(head,neck,chestof onetracehorse),with panelof the Naples amphora(ABV 109, 23; Paralip.44, 23; betweenthe two vases a male (someof drapery)standingat left. Red:mane,breast Tiverios,pl. 56). The maindifference is that the Naples amphorahas a lotus-palmette chainabove band. each panel. Comparealso the horses on Akropolis607 k Painterof LouvreF 6 (ABV 125, 34). Ca. 550 B.C. (ABV 107, 1; Tiverios, pl. 48), Gottingen+ Cab. Med. (ABV 109, 19;Tiverios,pi. 31), and Akropolis802 a (ABV 55 P1.7 P17800 J18:4(U) 112, 60; Tiverios,pl. 81:/3). Ca. 550-540 B.C. Wall fragment, fromtop of panel. Max. dim. 0.102.

P1684 G 13 Wall fragment.Max. dim. 0.085. Thin wash on inside. Hermes (legs, one boot, lower borderof chiton)to right. To the rightof his knee,part of an objectthat lookslike the end of a horse'stail, for it has severalincisedlines alongthe rightedgeto indicatehair. Red:tail; tongueof boot.White: dotson borderof chiton. For this type of horse'stail overlapping a figure,cf., e.g., two by the Swing Painter:New York, M.M.A. 17.230.8 (ABV 307, 55; Paralip. 133, 55; Bohr, Schaukelmaler, pls. 77, 78); Boston,M.F.A. 00.331 (ABV 307, 62; CVA, Boston 1 [USA 14], pl. 33 [655]:2;B6hr, Schaukelmaler, pl. 132).

53 PI. 7

108

CATALOGUE P 13027 U 25:2 (U) Preservedbut for lower part of body and foot. Rest. H. 0.25; diam.0.164. A (not illustrated),winged horse,with cloakedyouth in frontof it to right.B, the like but thatthe youthis behindthe horse.Belowthe horse'sbody:on A, two blobsof glaze;on B, four. Above,a single row of uprightivy leaves. Red: wing hair of youths,stripeson bows, markingson hindquarters; their garments;line at each edge of lip; band aroundvase just belowpanel,anotheraboverays.White:manes. North SlopeGroup(ABV 129, 1). Third quarterof the 6th centuryB.C. 61 P8901 N17 Two non-joiningwall fragments. Max. dim. a) 0.14, b) 0.033. Fragmenta showsthe lowerhalf of a drapedmale to left andpartof the body,wings,andlegs of a largesirento right. Fragmentb, perhapsfrom the other side of the vase, preservesa woman'sfoot and the lower part of her draperyto right. White:woman'sfoot;lines on siren'swings and tail; dotson man'sgarment.
Ca. 550-540
B.C.

Departureof warriors.On the left, foreheadof warrior and the head of another,both to right, then the head of a warriorto left protectedby a high-crested Corinthianhelmet. Behindhim, the headof a warriorand on the far right, the forelockof another.All the warriors,but for the last, holdspears.Abovethe figures,a row of ivy leaves.Red:fillet on helmet;line aboveivy. White:edgeof crest. Painterof LouvreF 6 (ABV 126, 46). Ca. 540-530 B.c. 56 P1.7 P6548 G 1:8 Four non-joining fragments:a) lower wall and foot with fillet at junction;b) mouth and neck;c and d) wall. Diam. of foot 0.10; p.H. of a) 0.79; est. diam. of mouth 0.135; p.H. of b) 0.05; max. dim. c) 0.15, d) 0.104. Glaze verydull. Fragment c (illustrated)preserveson the left a youth (someof head,shoulders) standingto right.In frontof him,a nude male (part of torso and arms) facing a male (hand, d On the far right,the edgeof the panel.Fragment drapery). c. (illustrated) givesthe lowerpartsof the youthon fragment Rays above foot. Red: fillet of youth; panels and dots on cloaks;bandroundneck;fillet. Painterof LouvreF 6 (ABV 127, 64).
Ca. 550.

60 P. 8

P 22177 Q7:1 57 PI. 7 Fragment.P.H. 0.095; diam. of neck 0.10. Parts of both panels,one handle,and someof neck. A (illustrated), upperpart of satyrholdinga branch,betweentwo maenads(the headof the one on the left, the head and shouldersof the one on the right,each with a fillet). B, of a manto rightwith a filleton his head. headandshoulders On the right, at the break,the face and foreheadof another man, also with a fillet. Betweenthe two, a staff, probably held by the first.Abovethe panel on each side, a single row of upright ivy leaves. Red: line above panel on satyr side; beards;fillets;stripeson garment.White:fleshof maenads. Painterof LouvreF 6 (ABV 127, 77).
Ca. 550-540
B.C.

P 26801 T19:1 62 Wall fragmentfromtop of panel. Max. dim. 0.078. Herakles(head with lionskin)to right. Above,ivy. Red: mouthof lionskin;line abovepanel.
Ca. 550-530
B.C.

63 PI. 8

P 13844 U 25:2 (L)

58 P1.8

P 26532 T 18:3

of wall, neck,someof one handle.P.H. 0.18. Fragment Two men (heads)to rightand at the break,perhapspart of the head of another.Abovepanel, tongue pattern.Red: alternatetongues;line abovepanel. hair and beards; For tonguesabove the panel of a one-pieceamphora,a rare ornament, cf. these examples; once Riehen, GsellBusse, attributed to the Heidelberg Painter (Bothmer, AmasisPainter,p. 50, fig. 46); Vatican311 by the Painterof LouvreF 6 (ABV 125, 36); two by the Painterof Munich 1393, the namepiece(ABV 303, -, 1; Paralip. 131, -, 1)
and Munich 1370 (ABV 303, -, 3); Munich 1365 (CVA,

Wall fragmentwith startof neck.Max. dim. 0.065. Warrior(helmetedhead) to left. In frontof him, part of an uncertain object.Above,a singlerow of uprightivy. Red: fillet round helmet; line above panel. White: segmentsof crest. Painterof LouvreF 6, later;Manner(Paralip.52).
Ca. 550 B.C. P 25577 M 14 59 PI. 8 Shoulderfragment.Max. dim. 0.062. On the left, warrior(partof helmetcrestand raisedright hand with spear) to left. Behind him, a spectator(head) holdinga staff.Above,ivy. White:sectionsof crest. Painterof LouvreF 6 (Paralip.52). Ca. 550 B.C.

Munich 1 [Germany3], pl. 7 [101]:1,2); Boston,M.F.A. 80.605 (CVA, Boston1 [USA 14], pl. 2 [624]:3,4); Oxford G 128.2 (CVA,Oxford2 [GB 9], pl. 2 [403]:24); Tarquinia RC 3984 (CVA,Tarquinia2 [Italy26], pl. 25 [1174]:2,3); Tocra 1029 (Boardmanand Hayes, Tocra, 1963-1965, p. 98, no. 1029, pl. 73); Tibingen S./706 (CVA,Tubingen Gal3 [Germany47], pl. 4 [2249]);Washington,Corcoran lery 26.664 (A, man seated on an okladias,between two youths;B, warriorto right, lookingaround);Metropolitan Museum Loan, L.66.31 (A/B, man seatedon an okladias, betweena youth and a man and a youth);LondonMarket (Cat. Sotheby,1. July, 1957, no. 173); New York Market
(Cat. Parke-Bernet, 13. XII, 1979, no. 82); Beverly Hills, Summa Galleries (Auction 1, September 18, 1981, no. 3;

ONE-PIECE AMPHORAE Cat. Sotheby,13. December,1982,no. 269); Orvieto,Faina (A: man and youth with dog;B: ?);66.
Ca. 550-540 B.C.

109

line at each edgeof mouthand aroundneckjust abovehandles, two just below the panel, one above rays. White: chitons;voidhorses;dotsof rosettes.
Ca. 540 B.C.

64

P 24694 P 17

Wall fragmentfrom upper right cornerof panel, with Max. dim. 0.092. someof handleattachment. Man (backof head,beard,shoulder)to left. Red:hair and beard;line at top of panel. Ca. 550 B.C. 65 P 13782 U 25:2 (U)

70

P 1234 G 6:3 (L)

Wall fragment.Max. dim. 0.053. Horse (two feet) to right. Red:two lines below panel.
Ca. 550-525 B.C.

71

P3575

E 14:11

Wall fragment.Max. dim. 0.046. Man (head and neck) to right. At the right edge of the fragment,a bit of glaze that looks like part of the back of anotherfigure.Red:fillet.
Ca. 550 B.C.

66

P 12380 H 12:6

Wall fragmentpreservinglower right cornerof panel. Max. dim. 0.093. Someof the glaze has misfiredgreenish. Departurescene?A woman(lowerpartof garment,feet) to rightfacinga warrior(greaves,legs).At the bottomof the fragment,some of the rays above the foot. Red: stripe on woman'sgarment;edges of greaves;line below panel and anotherabove the rays. White: woman'sfeet; dots on her garment.
Ca. 550-525
B.C.

Wall fragment.Max. dim. 0.143. Upper right cornerof panel with startof handleon right. Head and shouldersof figureto left. Abovepanel,tongue pattern.Red:alternatetongues. For the tonguesabovethe panel, cf. 63 (P1.8).
Ca. 550 B.C.

67

P 26533 T 18:3

Wall fragmentwith turn of neck.Max. dim. 0.05. Lion (head,neck,shoulder,forepaw)and spottedpanther (head, neck, forepaw) attackinga bull that is down on its knees (preserved but for the lowerpartsof legs). The drawing is very coarse.Red:line abovefigures.
Ca. 550
B.C.

68 PI. 8

P4305

C-G13-16

Wall fragment.Max. dim. 0.045. Partsof two figuresto right:a woman,perhapsAthena(a bit of drapery,hand)holdinga spearor a staff (shaft);a man (right forearm,some of torso and legs, sheath) holding a sword,perhapsHeraklesor Theseus. Red:fold of woman's garment;dots on chiton.White: woman'shand;sword hilt and end of pommel.
Ca. 550-540 B.C.

69 P1.8 P 13036 U25:2 (M) Preserved but for some of mouth and handle A/B. H. 0.227; diam. 0.157. Someof the glaze is abraded.T. L. Shear,Hesperia8, 1939, p. 233 and p. 234, fig. 31. A (illustrated), youthfulridergallopingto right,leadinga voidhorse,followedby a runningyouth. B, the like but that the runner is closer to the horse and his right foot extends beyondthe edge of the panel. Abovethe panel on each side, friezeof hanginglotuses.Those on A havedotsin the interstices. Rays abovethe foot. Red: hair of youthson B and of runneron A; foldof cloakon B; coresof rosetteson garments of each runner;manesand tails, markingson hindquarters;

P 1237 G 6:3 (L) 72 PI. 9 Foot andlowerpartof bodywith bottomof one paneland cornerof the other.P.H. 0.135;diam.of foot0.072. Someof the glaze is abraded.E. Vanderpool,Hesperia 7, 1938, p.376, no. 7, fig. 11. Combat.On the right,a warrior(headmissing)standsto left, holdinghis shield.In frontof him, a figure(lowerpart) in a long garmentto left. Then comesa small figure(torso, the arms,and legs, the latterdrawntwice,onceoverlapping bottomof the panel) runningto right carryinga shield,and on the left, an area of black glaze that looks like drapery. Red: greavesand shield of warrioron right;zigzag line at bottomof chiton,on corsletandshieldof runningfigure;line belowpanelthat continuesroundthe vase;one aboveraysat junctionof footand body. The compositionrecalls illustrationsof Aias pursuing Kassandrawho flees to the statue of Athena, which often resembles the Athenaon Panathenaic vases.In these scenes, Kassandra is a diminutive figureandAias pursuesher from left to right. But on 72, the artist has left the flesh of the small figure black and has equipped him (her?) with a andthe blackglazeon the shield,thus rulingout Kassandra, left cannot be understoodas the pursuing Aias. For the subject, cf. Brommer, Heldensage3,pp. 382-386, with bibliography.
Ca. 550-525 B.C.

P 22216 Q10:l Wall fragment fromrightsideof panel.Max. dim.0.092. Glaze firedred. Warrior(raisedarm, someof back)attackingto left and the upperpartof a man (head,shoulders,righthand),also to left. Red: hair and beard,panel of garment;line along edgeof panel. White:dot rosetteon chitonof warrior. Recallsthe Painterof Berlin 1686 (ABV 297).
Ca. 550 B.C.

73 P1.9

110

CATALOGUE P 26530 T 18:3 added red. For some unattributed examples, cf. London, B.M. B 166 (CVA,London3 [GB 4], pl. 30 [150]:3);London Market(Cat.Sotheby,18.June, 1962,no. 167);Berkeley 8/60 (CVA, Berkeley1 [USA 5], pl. 19 [200]:2).The figure drawing on 76 recalls the PrincetonGroup but is difficultto attribute to one of its painters.
Ca. 540-530 B.C.

74 PI. 9

Wall fragment.Max. dim. 0.08. Birthof Athena.On the left, the upperpartof a kithara, probablyheld by Apollo.Then comesAthena,almostfully preserved,springingfrom the head of Zeus (top of head, eye, ear). On the farright,at the break,somewhite,perhaps the handor armof an Eileithyia.Red:stripdowneacharm of kithara;stripeson Athena'speplos;Zeus's hair. White: arm supportsof kithara;Athena'sflesh;dots on borderof peplos. For the subject, cf. F. Brommer,JR-GZM 8, 1961, pp. 66-83.
Group E (Paralip. 56, 52 bis). Ca. 550-540 B.C. 75

77 PI. 9

P4633

F-G 12:1

P4347

E 14:11

Wall fragment,near shoulder. Max. dim. 0.08. Bohr, Schaukelmaler, pl. 82:a. Satyr (head, some of shoulders)to right. On his right shoulder,a fillet. Above,friezeof hanginglotus buds. Red: hair and beard.White:fillet. The Swing Painter(ABV 307, 54; Paralip.133, 54).
Ca. 540-530 B.C.

Neck fragment.Max. dim. 0.05. Lotus-palmettechain. Red: hearts of palmettes;cuffs, centralpetal of lotuses;line aboveornament. Ca. 540-530 B.C. 76 PI. 9 P 19583 A 18-19:1

78

P7419

D6

Wall fragment. Max. dim.0.06. Brownwash on surface. Red:beardand forelock.

Ca. 530 B.C. Man (upper part) carrying a large oblong object to right.

Six non-joiningwall fragments. Max. dim. a) 0.172, b) 0.095, c) 0.052, d) 0.062, e) 0.056, f) 0.057. Fragmenta (illustrated)gives some of the bud-palmette ornament abovethe panel,mostof the headsof threefigures to right:on the left, a malehead,preserved but forthe lower part;then the top and backof a filletedmaleheadwith long locksof hair and part of the man'sshoulder; and third,the head and neck of a man in a petasosand cloakcarryinga spear over his right shoulder.On the far right of the fragment, at the break,are the nose and foreheadof a woman facing. Fragmentc, which shows a cloakedarm, probably comesfromthis side,forthe faintredline framingthe panel a. Fragto the line abovethe panelon fragment corresponds ment b comesfromthe otherside of the vase and preserves one lotusof the ornament, the line edgingthe panel,andthe backof the head of a male to left. Fragmente preserves the rim of a shieldon the left and partof the drapery of a figure
in front of it. Fragment d, which gives drapery and part of a

79 P1.9 Wall fragment.Max. dim. 0.06.

P 20870

D 17:10

Warriors. On the left, the rim of a shield held by someone standing to right. Then comes the pointed cap of a Scythian to left and beside him on his left, the low-crested Corinthian

helmetof his companion. The pair might be Teukrosand

Aias. Above, some of the lotus-palmette chain above the

panel. Red:rim of shield;edgeof helmetcrest;centralpetal

of lotus. White: dots on crest support. The high position of the shield rim compared with that of the two warriors may indicate that the holder stands in a chariot. Compare New York, M.M.A. 17.230.8 by the Swing Painter (ABV 307, 55; Paralip. 133, 55; Bohr, Schaukelmaler, pls. 77, 78). Ca. 530-520 B.c. 80 PI. 10 P9730 T-U 23-24 P 12630 0 20

shield(device: wreathandball) heldby someonestandingto left, probablycomesfromthis side. Fragmentfcouldcome fromeitherside of the vase;partsof draperyof two figures: on the left, the folds of a cloak;on the right, more folds, perhapsof a woman'sgarment.Red: lines framingpanel; line aboveornament; a) fillet of 2; beardof 3; b) hair and
beard; c) fold; d) panel of cloak, ball of device; e) panel of cloak, rim of shield;f) borders of drapery. White: a) dots on cloak of 3; flesh of woman; d) wreath of shield, dot clusters on cloak; e) dots on cloak. For a bud-palmette ornament with widely spaced units, a

threeby the Painterof Munich 1379 rarepattern,compare ever,lackinternalincision.For this feature,cf. Vatican346
by the Painter of Berlin 1686 (Paralip. 129, 9 bis) and two (ABV 303, 1-3; Paralip. 131). The lotuses on these, how-

Two non-joining wall fragments. Max. dim. P 9730: 0.072, P 12630: 0.038. P 9730 (illustrated) shows the departure of a warrior with a chariot (the head and body of the youthful charioteer wearing a chiton and a nebris; on his left, the warrior mounting the vehicle, wearing a corslet) to right. The outstretched left arm of the warrior suggests that he gripped the breastwork of the chariot. P 12630 preserves the head and neck of a man to left, holding a staff, a bit of which appears in the upper part of the fragment. Above the man's head, the head of a spear held by someone on the left. The height of the spear head suggests that the man is seated. It is of the vase. Red: chiton of charioteer; beard, neckline of man's garments. White: nebris; dots on borders of corslet. Ca. 540-530 B.C.

by the PrincetonPainter,his namepiece(ABV 298, 6) and

especially New York, M.M.A. 56.171.9 (ABV 299, 15; Paralip. 129, 15), but these examples are embellished with

not clearwhetherboth fragments comefromthe same side

ONE-PIECE AMPHORAE P 13781 U25:2 (U) 81 Two non-joining fragments. Max. dim. a) 0.124, b) 0.092. Upper partsof panels,one with traceof handleat left. Someof the glaze is abraded. Fragmenta preservesthe head and raisedleft hand of a man, the top of the head of a secondfigure,both to right. Fragmentb givesthe top of the head (crownof petasos,part of brim) and traces of anotherfigure, each to left. Above, frieze of hanging lotus buds. It is not certainwhetherthe two fragmentscome from the same side of the vase. Red: a) hair and stripeon garmentof figureon left;fillet of next one; b) hair or cap of figureon right;line at verticaledgeof panel. White:crownof petasos.
Ca. 530 B.C.

111

for certain,foreachmaybe seatedeitherto rightor to left of the gamingboard.Two pointsin favorof naminghim Aias and his very long beard,two might be his bareheadedness details used by Exekiasto contrastAias and Achilleuson the Vaticanamphora(ABV 145, 13; Paralip.60, 13). The scenemust have been very similarto the one on the namepieceof the LysippidesPainter,London,B.M. B 211 (ABV 256, 14; Paralip. 113, 14). Compareespeciallythe hand holdingthe spears.Butthe drawingon 84 is by another.For the subject,cf. M. B. Moore,AJA 84, 1980, pp. 418-421; H. Mommsen, Tainia. Festschriftfur Roland Hampe, Mainz 1980, pp. 139-152. Ca. 520 B.C. P 1132 G 15:2 Wall fragment.Max. dim. 0.162. Lowerright cornerof panel and someof the rays abovethe foot. Booted foot and end of column shaft. Red: line below panel, anotheraboverays.
Ca. 530-520 B.C.

85

P7903 T19:1 82 Pl. 10 Wall fragmentfromtop half of panel. Max. dim. 0.083. Horsemanand warriorto right. Mountedsquire (head, torso of rider, mane and neck of his horse). Between the riderand horse,a high-crested helmetwornby a warriorto right, who may be seated. This would explain his low circleson crest positionin the scene.Red:hair of horseman; support.White:crestof helmet. An oddity is the absenceof ornamentabove the panel, which mightsuggesta neck-amphora of Panathenaic shape, but the curve of 82 is not quite right. For nearly contemporaryamphoraeType B with no ornamentabovethe panone in Munich, el, cf. 50 (PI. 6) by Lydosor an unattributed 1402 (CVA,Munich 1 [Germany3], pls. 36 [130]:1and 37 [131]:1). The Painterof Munich 1410 (ABV 311, 5: cited incorrectlyas P 17903). Ca. 530-520 B.C. 83 P1. 10 P22179 Q7:1 Wall fragment from lower part of panel. Max. dim. 0.104. Someof the glaze mottledand misfired. Horse (hindlegs,endof tail) to rightwith fourbeesflying aroundhis legs. Red:line underpanel. Bees flying aroundare not very commonin Attic black figure.For thievesbeing stung by bees when they steal the honeyof Zeus, cf. Bohr,Schaukelmaler, p. 46.
Ca. 550-525
B.C.

86 P1. 10

P 23622 P 7-8

Two non-joiningwall fragments.Max. dim. a) 0.058, b) 0.049. Chariotto right. Fragmenta gives the foreheadsof the two pole horses and some of the mane of the right-hand trace horse. Fragmentb preservespart of the necksof the right-handpole horse and trace horse. Above the panel, frieze of hanging lotus buds. Red: manes;breast band of tracehorse. Mannerof the LysippidesPainter.Compare: Tarquinia RC 8262 (ABV258, 6); New York,M.M.A. X.21.26 (Paralip. 115, 6 bis); Princeton 166 (Paralip. 115, 6 ter);

Munich 1391 (ABV258, 7); Wtirzburg 267 (ABV258, 10); 192 and (ABV 259, 23); Wurzburg Altenburg216 (Paralip. 116, 31 ter). Ca. 530-520 B.C.

Nogrid Wall fragment.Max. dim. 0.049. E. Vanderpool,Hesperia 15, 1946, p. 134, no. 27, pl. 23:4, 5. Achilleusand Aias Gaming.The fragmentpreserves only part of the hero on the left (most of his head looking downward,his right shoulderand upper arm, and his left hand grippingtwo spears).The shaftsof the spearsmay be seen at the nape of his neck below the hair line and were paintedin glaze acrossthe figure.On the right,at the break, is a small bit of glaze that may be part of one letter of an inscriptionnamingthe hero. The positionof his right arm indicatesthat it is extendedand is aboutto movea playing piece. Red:forelockand beard.White:dot clusters. Whetherthis herois Aias or Achilleusmaynot be known

84 P. 10

P12230

P2398 b + P 6078 H8-10 Wall fragment.Max. dim. 0.062. Chariot(neck,mane,andbreastbandof right-hand trace horse;someof neckof right-handpole horse)to right. Red: on breast mane;breastband.White:dotson reins;pendants band. Mannerof the LysippidesPainter.Cf. the comparisons given for 86, especiallyTarquinia RC 8262, New York, M.M.A. X.21.26, Wurzburg267, and Wurzburg192. For the type of mane,cf. Orvieto,Faina 70 (ABV261, 39). Ca. 530-520 B.c. P 2398 a H 8-10 Wall fragment. Max. dim.0.054. H. A. Thompson,Hesperia 6, 1937, p. 126 and p. 127, fig. 68:c. Man (legs, ends of cloak), standingto right on the lefthand side of a horse (lower part of body,partsof all legs). Red:stripeson cloak;two lines belowpanel.White:dotson cloak.
Ca. 530-520 B.C.

87 P1. 10

88

112 89 PI. 10

CATALOGUE P 15726 C 18 93 P1.11 P20596 G-H 11-12

Wall fragment.Max. dim. 0.083. Heraklesand Iolaosto right.On the left, the head,neck, and left shoulderof Iolaos;in frontof him, the rightshoulderand armof Herakles,the top of his quiverwith the ends of fivearrowsand hangingflap. Betweenthe two is one end of the hero'sbow, presumably heldforhim by Iolaos.Above the two, some of the lotus-palmettechain. Red: Iolaos' beard;fur flap of quiver;centralpetals of lotuses.White: dots on sleeve of Herakles'chiton;dots borderingcentral panelof quiver. The AntimenesPainter(ABV 274, 130). Ca. 530-520 B.c. 90 P1. 11 P 26650 T-U 19-20 (III)

Wall fragment.Max. dim. 0.085. Chariot(someof the charioteer's draperyon the far left, the goad, reins, and the croupsof two horses)to right. On the left sideof the team,a woman(head,shoulders, arms)to left with armsraised,lookingaroundat a man (long hair, right shoulder), who faces to right. Red: fillets. White: woman'sflesh;dotson garment.
Ca. 520 B.c.

94

P 6560 E-F 12-14

Wall fragment.Max. dim. 0.04. Birthof Athena:top of Zeus'shead with a fillet;mostof Athenabut for her head,left arm and leg, as she springsto right, her spearpoisedin her raisedright hand.At the left and right, the raisedhand of one of the Eileithyiai.At the verytop, edge of panel. Red:panel on peplos;fillet. White: femaleflesh;dot clusterson peplos. The compositionwith Zeus between two Eileithyiaiis in Londonby the Anticlosestto one on a neck-amphora menes Painter(ABV 271, 74), and 90 may be by him. For the subject,cf. 74.
Ca. 520 B.C.

Wall fragment.Max. dim. 0.085. Woman(lowerdrapery, feet)standingto righton the left side of a horse (its hind legs fromthe hocksto the fetlocks, and on the right, lower part of one foreleg). Behind the woman, lower part of anotherdrapedfigure to left. Red: woman'sfeet. White:dotson garments; stripeson garments.
Ca. 520 B.C.

95 PI. 11

P 7223 and P 7227 T 18:1

91

P 17779 a, c-f A 18-19:1

Five non-joiningfragmentsfrom both sides of the vase. Max. dim. a) 0.18, c) 0.105, d) 0.054, e) 0.035, f) 0.037. Brownwash on surface. A, chariot to right, precededby Hermes. Fragmenta gives the forelegsof the team, a womanto left dressedin a long chiton and himation,preservedfrom the hips down; behind her, a small youthjumping and on the right, the lower legs of Hermes and the tip of one fold of his cloak, both figures to right. Fragmentd shows part of a shield by ivy), perhaps (device:balls, the centralone surrounded held by someonewho stands to left on the left side of the team. B, Dionysosand maenads.Fragmentc preserves part of two drapedfigures to right, with a grapevinebetween. e andf give moredraperyand vines. Red:lower Fragments himationon a; edges of folds on c and e; of woman's edge balls on shield. White: right-handpole horse;centralball and ivy on shield;woman'sfoot (anklepreserved).
Ca. 520 B.C.

Five non-joiningwall fragments.Max. dim. P 7223: a) 0.097, b) 0.08; P 7227: a) 0.035, b) 0.04, c) 0.041. E. Vanderpool, Hesperia8,1939, pp. 265-266, figs.20, 21; AmasisPainter,p. 32, no. 28, pl. 40:10. Karouzou, the backof A, Dionysosand maenad.P 7223 a preserves the god and behindhim, the torsowith beltedpantherskin and partsof both armsof a maenad,each to left. P 7223 b showsthe fringedbottomof the god'sgarmentand his right foot,the rightfootand lowerdraperyof the maenadwith a paw of the pantherskin, and on the right,at the break,the toesof her left foot.In the fieldon each,ivy. B, threefigures. of a man to P 7227 a showsmostof the headand shoulders left holding a staff. On the right, the edge of the panel. P 7227 b givesthe lower draperyand part of one foot of a the upper preserves figureto left. P 7227 c (not illustrated) of a figureto right. left cornerof the panelwith the shoulder Red:upperpartof maenad's chiton;panelson skirts;hairof Dionysos;borderson garments;cores of rosetteson garments;part of man's garment;line below panel that continued roundthe vase. White: maenad'sflesh;dots round dotsoutliningborderon P 7227 b; dotson drapery. rosettes; The AmasisPainter(ABV 156, 72; Paralip.65, 72).
Ca. 520 B.C.

96 P1. 11

P 24679 R 12:4

92

P 17779 b A 18-19:1

Wall fragment.Max. dim. 0.075. Chariotto right,with two figuresstandingat the headsof the horses.On the left, the chests of the two trace horses, then facing them, part of a woman (garmentand her left handnearthe top of the fragment).Behindher,the buttocks to right.Red:alternate and calfof a man (draped) stripeson garments.White: woman's hand; dots in crossesand dot clusterson drapery.
Ca. 530-520 B.C.

Rim and foot chipped.H. 0.32; diam. 0.205. Both hanin manyplaces,esin plaster.Glazeis abraded dlesrestored pecially aroundhandle B/A. H. A. Thompson,Hesperia 25, 1956, p. 63, pl. 22:a. A, Dionysosand satyrs.Dionysosstandsto right looking around,betweentwo dancingsatyrs,holdinghis drinking horn in his right hand. In the field, a vine. B, maenadand muleto rightbetween satyrs.A maenadridesan ithyphallic a vine. Abovethe panel on two satyrs.In the background, eachside,net pattern.Abovethe foot,rays.Red:beardsand fillet of the maenadand of the satyr facing her; forelocks; mane;nippleof satyron right stripeson Dionysos'garment; on each side;satyr'stails;line at top of each panel;line below panel that continuesroundthe vase;anotherabovethe

ONE-PIECE AMPHORAE rays. White: Dionysos'chiton;dots on his cloak;rim of his horn; fillet of satyr on right on each side; maenad'sflesh; muzzleof mule;contourof its neckand chest;belly stripe. For the net patternabovethe panel,a veryrareuse of this ornament,cf. Baltimore48.13 (Journalof the WaltersArt Gallery3, 1940, p. 114, fig. 6) and Wiirzburg261 (Langlotz, pl. 72).
Ca. 520
B.C.

113

97 PI. 12

P 23164 H 12:15 (L) P 25961 M18

Two non-joiningwall fragments.Max. dim. P 23164: 0.122, P 25961:0.107. Chariotto right. P 25961 givespartof the upperleft corner of the panelwith the headand shoulders of the youthful charioteerand his beardedpassenger.On the right, at the the headsof break,partof an ivy branch.P 23164 preserves the two pole horses,the neckof the right-handone andsome of thatof the right-handtracehorse.Abovethe panel,lotuspalmettechain without incision. Red: fillets;strip on each on breast mane;breastbandof tracehorse.White:pendants band.
Ca. 520-510
B.C.

in pairs. Nor can p. 11, fig. 7), they raceto left overlapping 100 depictthe foot race in armor,which doesrepresent the runnersto left so that the deviceson theirshieldswill show, becausethe figuredoes not wear a helmet,and the glaze at the bottomof the fragmentcannotbe the rim of a shieldfor its contouris not circular.The subjectmay be a wrestling backof match,and if so, then 100 showspartof the rounded the right-hand The manwhoseheadandarmare opponent. is not a wrestlerbut an observeror a trainer,as preserved indicatedby the small portionof his staff that remains.A good parallelis hardto find,but somethingalong the lines of the namepiece of the Painterof Boulogne441 (ABV290, 1) or of Munich 1461 (N. Gardiner, Athletics in the Ancient World, Oxford 1955, fig. 164) is a reasonable possibility. Class (Paralip.150). May belongto the Hypobibazon
Ca. 520
B.C.

101 P1.12

P 15059 N21:2

98 PI. 12

P 23730 P9

Wall fragment.Max. dim. 0.062. Youth and man (heads),very likely in a chariotto right. In frontof them,at the break,dots,perhapspartof a vineor wreath.Abovethe panel,borderof hanginglotusbudswith dots in the interstices.Red: fillets; beard. White: youth's chiton.
Ca. 520-510
B.C.

P20566 P-R6-12 Wall fragmentwith upper right cornerof panel. Max. dim. 0.125. Figure (hair) to left. Abovethe panel, key patternto left. Red:forelock. May comefromthe HypobibazonClass (Paralip.150).
Ca. 520 B.C.

99 PI. 12

Wall fragment.Max. dim. 0.077. Horsemenwith spears (nose of rideron left, face of one on right;head of left-handmount;frontalhead of one on right;headsof spears)to right.Abovethe panel, lotus-palmettechain.Red:maneof right-hand of one horse;forelock on left. White:teethof left-handhorse. For the frontalhead of a profilehorse,a rare detail, cf. threeby the RycroftPainter:Munich 1720 (ABV337, 24); Hamburg1917.476(ABV337,25; CVA,Hamburg1 [Germany 41], pl. 25 [1991]:2) and New York, M.M.A. 06.1021.67 (ABV 338; Paralip. 148, 5 ter and 150); also: Painter" Boston,M.F.A. 01.8060 by the "Karithaios (ABV 161; CVA, Boston 2 [USA 19], pl. 78 [912]:2);London, B.M. B 303 fromthe Class of Munich 2418 (ABV 342, 2); 56 by the LeagrosGroup(ABV364, 52); PhilaCambridge 2493 fromthe Classof VaticanG. 47 (ABV429, 3); delphia and two unattributedexamples:Leipzig T 49, a hydria (CVA,Leipzig2 [DDR 2], pl. 23 [84]),and Bologna41292, an amphora(CVA,Bologna2 [Italy7], pl. 7 [306]:4).
Ca. 510 B.C.

100 PI. 12

P 5302 F 13

Five non-joiningwall fragmentsfrom both sides of the vase. Max. dim. a) 0.124, b) 0.078, c) 0.08, d) 0.083, e) 0.055. Streakyglaze on inside. E. Vanderpool, Hesperia 15, 1946, p. 123, no. 3, pl. 14:4. Fragmenta comesfrom the upper left cornerof the obverse panel: cock (tail) to right; above,key patternto left. Fragment b (illustrated)belongs to the reverseand preservesthe head, left shoulder,and most of the left arm of a male to left and part of anotherfigureat the bottomof the fragment.The small bits of dilute glaze below the beard look like part of a staff. Fragmentsc and d give someof the left sideof the panel. Fragmente is undecorated. Red:sickle feathers;beard. The eventdepictedis difficultto identifyfor certain.It is not likely to be the footrace,for 6th-century examplesnormally show the runnersto right, althoughon a very early Panathenaicamphora, KerameikosPA 443 (Frel, PPA,

102 P 24643 Q12:3 Six non-joiningwall fragments.Max. dim. a) 0.162, b) 0.037, c) 0.035, d) 0.045, e) 0.055, f) 0.077. Reddish brownwash on ground. A, Dionysos and Ariadne, with satyrs and maenads. Fragmenta shows Dionysos(drapery)sittingto right on a chair, with a trace of some objectbeneath it, holding his kantharos(foot and stem). Fromthe positionof the vessel, he maybe lookingto left. Oppositehim sits Ariadne(knees, draperyfolds). Betweenthe two is a satyr (right forearm, legs, startof tail) to left, and in the field,a vinewith grapes. On the satyr'sforearmis someaddedwhite that maybe the handof Ariadne.On the farleft, moreof Dionysos'drapery. Fragmentc shows a maenad'sfoot to right, the end of her thyrsos, and a foot of Dionysos' stool. B, Herakles and Kerberos. d showsthe headof the dog,partof one Fragment armand the otherhandof Herakles,and,at the top, partof a branch. Fragmente gives a foreleg and the end of a draperyfold. Fragmentf preservesone hind leg and the

114

CATALOGUE Chariotwheelingaround.Fragmenta preserves part of the wheels and axle of the chariot,the tails, hind legs, and part of the belliesof two horses.Fragmentb showssomeof the head,neck,and chestof the right-hand tracehorse,part of the reinsandbreastband.Fragment fromthe c, probably otherside, preserveson the left the heel and lower part of the calf (greaved) of a warriorto left and,on the right,part of his otherfoot,the heel raisedveryhigh. Red:tail;greave; line framingrightedgeof panel.
Late 6th century B.C.

lower draperyand feet of a figure to right, probablythe same figureas the one on fragmente. Fragmentb is puzzling, andit maycomefromeithersideof the vase,ratherhigh up in the panel to judge by its thickness.The pairsof short incisedstrokessuggesta pelt,perhapsHerakles'lion skinor a nebris.The fragmentmay even depictpart of Herakles' rosetteon leg of quiverand bow case. Red:dotson drapery; chair.White:femaleflesh;teethof Kerberos. For the subjectof B, cf. Brommer, Heldensage3, pp. 91des 97; also W. Felten, Attische Unterweltsdarstellungen VI. und V.Jh. v. Chr. [Miinchener Studien archaologische 6], Munich 1975, pp. 10-22; J. Boardman, JHS 95, 1975, in the iconography pp. 1-12, who sees a politicalconnection of this scene. Ca. 510-500 B.c. P3576 E 14:11 Two non-joiningwall fragments.Max. dim. a) 0.049, b) 0.046. a givespart Warrioror warriorsleavinghome.Fragment of a roundshieldand partof a drapedfigure(cloaked hand to b a left. both Fragment preserves partof a holding spear), roundshield (device:balls), perhapsmore of the one on a, someof a spear,andon the left, the nose,chin,andchestof a draped male to right holding a spear. The spear held diagonallyis sketchedon the shield. White: device;dot on cloakon a. Last quarterof the 6th centuryB.C. 103 104 P4803 E-F12-14

107

P4590

N-O 10

Wall fragment.Max. dim. 0.073. Dionysos and satyrs (lower part of god's garment;legs and tail of one satyrdancing,bothto left;lowerleg and tail of a secondto right). Red: stripe on god's garment;tails; lines belowgroundline. White:dotson drapery.
Late 6th century B.C.

108

P9270

M 17:4

Wall fragmentfrom lower part of panel. Max. dim. 0.091. Chariot(four tails and two hind legs, fromthe hocksto the hoofs)to right.On the left sideof the team,male (lower part of garmentand feet) to right. Red:thirdtail fromleft; two lines belowpanel.White:chiton.
Late 6th century B.C.

Wall fragment.Max. dim. 0.052. On the left, the lower part of a horse'shead, probablya mount;on the right, the right shoulderand upperarm of a drapedfigure;below,the raisedleft handand perhapspart of the headof a squattingor kneelingfigure.White:horse's teeth.
Late 6th century B.C.

P 10845 No grid Wall fragment.Max. dim.0.078. Burnedon inside(clay is gray). Chariot(headsand necksof two tracehorses)to right.In frontof the team,a man (head,shoulder)facing.Red:part of horse'smane;man'shair. 109
Late 6th century B.C. 110

P 17780 A 18-19:1

105

P4234

E 14:11

Three non-joiningwall fragments.Max. dim. a) 0.088, b) 0.067, c) 0.063. a showsmostof the wheel, part Chariotscene.Fragment of the box, with the traceline. Fragmentb givesthe middle of two drapedfiguresto right,the one on the left a woman with right arm outstretched (one in the chariot,the other c mounting?).Fragment preservesthe head and shoulders bit of glaze on the of a youthto right with an unintelligible comefrom left. It is not certainwhetherthe threefragments the same side of the vase. Red: part of the chariot box; filletof youth.White:woman'sflesh;dot stripeson drapery; clusterson drapery; objectbehindyouth. Last quarterof the 6th centuryB.C. P 26799 T19:1 106 Three non-joiningwall fragments.Max. dim. a) 0.115, b) 0.065, c) 0.073. Reddishwash on inside.

Wall fragment.Max. dim. 0.052. Brownish wash on surface. Athena (face, tip of helmetcrest,some of aegis held out overher left arm)to left, her spearpoised.Red:stripon top of helmetcrest.White:face.
Late 6th century B.C.

111

P 5295 E-F 12-14

Wall fragment.Max. dim. 0.05. Dionysiacscene.On the left, a figureto right holdinga drinkinghorn, probablyDionysos(the top of the horn and on the far left, at the break,a small amountof glaze that may be his hair or wreath), and on the right, a maenad dancing to right, with head turned around (head, right shoulder,raisedforearmand hand).The bit of glaze at the very top of the fragmentis the line at the top of the panel. Red:fillet of maenad.White:woman'sflesh.
Late 6th century B.C.

ONE-PIECE AMPHORAE P 3588 H 8-10 Fragmentfromnear shoulder.Max. dim. 0.06. Woman(face)to rightholdinga spear(Athena?).On the right, an area of glaze that looks like the elbow of a man, perhapsHerakleswieldinghis club.Abovethe panel,lotuspalmette chain. Red: pupil of woman's eye. White: woman'sflesh. 112
Late 6th century B.C.
SPECIAL ONE-PIECE AMPHORAE 117-119

115

113

P 19835 B 19

117 P1. 13 P 1247 G 6:3 (L) Mendedwith manypiecesrestored in plasterand painted. H. 0.457; max. diam. 0.345. Glaze is flaked in many places, especially on Side B, probablyfrom weathering. T. L. Shear,Hesperia2,1933, pp. 457-458, fig. 6; E. Vanderpool,Hesperia 7, 1938, pp. 367-371, no. 1, figs. 1-4; K. Kiibler, AltattischeMalerei, Tiibingen 1950, fig. 83; I. Scheibler, JdI 76, 1961, p. 36, fig. 37 and p. 40; G. M. A. fig. 417; H. A. Thompsonand R. E. Wycherley,The Athenian Agora, XIV, The Agora of Athens, Princeton 1972, Richter, A Handbook of Greek Art, London 1969, p. 302,

Wall fragmentfromnear top of panel. Max. dim. 0.075. Thin wash on surface.Tracesof burningat lower right. Woman(head,rightshoulder)to right,wearinga sakkos decorated with crosshatching and a loop. White:flesh.
Late 6th century B.C. 114

P 25921 M 17:7

Wall fragment from upper part of panel. Max. dim. 0.057. Maenad (head, left hand, some of right) dancingto left. In the field, a vine. Abovethe panel, some of the palmette chain. Red:fillet;eye. White:flesh. Late 6th-early 5th centuryB.C. 115 P 13784 U 25:2 (U) Wall fragment.Max. dim. 0.04. Traces of burningon inside. At top of panel, partof nonsenseinscription:

x 6.
Late 6th century B.C.

p. 15, pl. 25. A (illustrated) and B, sphinxto right,with tail curledup betweenher hind legs. Roundthe headof eachis a fillet. In frontof the sphinx,at the handlerooton each side, a floral ornamentcomposedof palmettes and tendrils. Hanging spiralsbelowmouthbehindsphinx'shead.Dot rosettesand On side of mouth, zigzags with trianglesin the interstices. rosettes. Abovefoot,rays.Red:face,fillet,breast,wing bow, and belly stripe of each sphinx; part of floral ornament; alternatepetalsof rosetteson rim. The weatheredsurfaceof 117 indicatesthat it stoodoutside for quite sometime and verylikelymarkeda grave(cf. ThompsonandWycherley, op. cit., p. 15). For a view thatit may have stood in a sanctuary,cf. Miiller, Liwen und on the sideof the Mischwesen, pp. 115-116. Forthe rosettes mouth,cf. 6 (PI. 1) and 34 (PI. 5). The Nettos Painter(ABV 5, 2; Paralip.2, 4).
Ca. 610 B.C.

118 P1. 14

P 13126 T24:3

P 12752 G11:3 Lower part of wall, half of foot. P.H. 0.168. Foot glazed on underside. Dent in surfacebelowfigureon left on SideA. Someof the glaze is abraded. Achilleus?Preserved arethe feetof three A, Aias carrying figuresto right and the feet of a fourthfacing.One pair of feet is off the ground,and their limp charactersuggestsa foot corpseratherthan a living being. B, uncertainsubject: of a man to left, facinga column.Abovethe foot,rays. Red: line below panel,anotherabovethe rays;two on foot. For the subjectof A, cf. M. B. Moore, AJA 84, 1980, pp. 424-431. It is unusual in black-figurerepresentations of this myth after 530 B.C. for Aias to carryAchilleusfrom left to right. The scene on 116 cannotbe Aeneas carrying Anchises,for the legs of Anchisesmust be bent at the knees and womenare usuallypresent(cf., e.g., Munich 1537with Munich 1496 (CVA, Munich 8 [Germany37], pls. 405 [1823]:2and 406 [1824]:2).Nor can it representan ephedrismos,for the player sits on the bearer'sshoulders,and thereforehis feet appearat aboutwaist level (cf., e.g., London, B.M. B 182 by the Swing Painter:ABV306, 42; Bohr, Schaukelmaler, pls. 76, 197:a) or he may be carriedin a mannersimilarto that of Anchises(e.g., 1490: P1.101).
Early 5th century B.C.

116

Neck, shoulder,and mouth,all of one handle,startof the other. P.H. 0.22; p. diam. 0.54. Figureddecoration on one sideonly. Glaze is abraded in places,particularly on handle and inside of neck. T. L. Shear,Hesperia8, 1939, p. 232 and p. 233, fig. 30; U. Jantzen,AA (JdI 53), 1938, p. 549 and p. 556, fig. 9; E. Vanderpool,Hesperia 15, 1946, p. 126, no. 8, pls. 17:5, 18. In handle zone, centauromachy. On the left, a Greek, nudebut for a helmetand greaves,with a roundshieldseen fromthe inside,thrustshis spear into a centaurwho turns his head towardthe viewer,his right hand to his head, his left outstretched holdinga stone.Beneaththe centauron the groundis a largestone.Next comesa trio,a Greek(to right) fightinga centaurovera fallen Greek.The fightingGreek wears a corslet, a low-crested Corinthian helmet, and greaves;he attackswith a sword. A sheath is suspended from a baldric over his right shoulder,and he carries a Boeotianshieldon his left arm. His companion (lowerhalf missing) wears a high-crestedCorinthianhelmet and has fallenbesidehis shield (device: eagleappliedupsidedown). The centauris armedwith a largestone.To the rightof this centaurare the upper parts of a Greek (corsletdecorated with pantherheadsandspirals,roundshieldseenin profile) armed with a spear, confrontinga centaur (head, upper

116

CATALOGUE
SCHEME OF DECORATION UNCERTAIN 120-127

Behindthe centaur's head,at torso,rightarmoutstretched). the break,is part of his right hand and the stumpof a tree (?). Then comesthe last group,a Greek(headprotected by a low-crested Corinthianhelmet,his raisedright arm with spear, and some of his round shield) pursuing a centaur (preservedto his horse parts, a mirror reversal of the centaur on the far left), who flees looking around at his attacker,a small stone held in his right hand. Above the figures, a lotus-palmettefestoon and above that, inverted rays.Belowthe figures,a friezeof hanginglotusbuds.Red: hair andbeardsof centaurs; helmets,shields;greavesof second Greek;circlesround nipples of first and last centaurs and of fallen Greek; marking on horse shoulderof first centaur; stone of second; cuffs of lotuses and hearts of palmettes. on one side only, indicatesthat this vase The decoration, was verylikely a gravemarker,and the ornamentprobably ceased with the frieze of hanging lotus buds, for this is a terminal pattern. The division of the surface into friezes suggests that the artist was accustomedto painting vases in severalzones,suchas thatnormallyhavetheirdecoration or of the TyrrhenianGroup the Painterof London painters B 76. Compare also the one-piece amphora signed by Lydos, Louvre F 29 (ABV 109, 21; Paralip. 44, 21; Tiverios, pl. 18), which has its entire surface decoratedin friezesof figuresand ornamental patterns. is one of the earliest examples in This centauromachy Attic black figure, two earlier ones being by Sophilos (Athens,N.M. 15918, formerly2035.2:ABV 40, 21; Para"Louteria", pl. 17; lip. 18, 21; D. Callipolitis-Feytmans, Baklr, Sophilos,pl. 9, fig. 17) and by Kleitias (Florence 4209: ABV 76, 1; Paralip. 29, 1; Cristofani,figs. 66-69, of about 126, 127); also the unattributedskyphos-krater 600 B.C., Athens,N.M. 16400 (Kiibler,op. cit. [under117], centaurs of fur on Atticblack-figure fig. 89). The indication on the humanforeparts is unusual,and its appearance only Die Typologie cf. B. Schiffler, maybe unique.For centaurs, in der antikenKunstvom 10. bis zum Ende des Kentauren des 4. Jhs. v. Chr., Frankfurt-am-Main 1976, esp. pp. 18centaurs. 20 for earlyAtticblack-figure Ca. 560-550 B.C.

120 P1.15

P3795

F 13-14

Wall fragment.Max. dim.0.053. Tracesof white slip on outside. Sirenor sphinx(headwith fillet)to right.Smallcross just abovebreakfor fillingornament. Red:faceand ear. White: fillet. Near the Nettos Painter(ABV 6, 1; Paralip.5, ii, 4). Ca. 620-610 B.C. P 18633 D 17 121 Pl. 15 Wall fragment.Max. dim. 0.07. Slippedsurface. Siren (face,someof spreadwing) to right.Wheel rosette for fillingornament. At the verytop of the fragment, partof a horizontalline. Red:face (eye and eyebrowblack). For the position of the siren, comparethe one on 671 (PI. 64) and on AgoraA-P 1734 (ABV 8, 6; Paralip.6, 6). Perhapsalso nearthe Nettos Painter(ABV 6, -, 2; Paralip. 5, 2). Ca. 620-610 B.C.

P365 F16 122 PI. 15 Wall fragment, curvingoutwardat top. Max. dim. 0.05. Buff slip on surface.Glaze firedred. Swan (head,neck)to right.On left, part of rosette.Red: spotson neck.
Late 7th century B.C.

P1235 G6:3(L) 123 PI. 15 Wall fragment.Max. dim. 0.044. E. Vanderpool,Hesperia 7, 1938,p. 371, no. 2 and p. 372, fig. 5:2. someof hairwith fillet)to Sirenor sphinx(eye,forehead, left. Trace of filling ornament(rosette?)at break on left. Red:face,eye (dotat center),fillet and bandbehindear. The GorgonPainteror his manner.Compareespecially the sirenson fourvasesby the painter:LouvreE 874 (ABV 8, 1; Paralip. 6, 1); Akropolis474 (ABV 8, 2); Baltimore 48.215 (ABV9, 18; Paralip.7, 18) and 671 (P1.64).
Ca. 600 B.C.

124 P1.15

P267

G 15

119 P1. 15

P 23158 I 12

glazedon top. Glaze firedbrown. On sideof mouth,ivy leaveswith berries.On neck,lotuspalmette festoon. Red: band on side of mouth above and below ivy; on neck below mouth; central sepal and cuffs of lotuses. indicates that there was more than one frieze of ornament

Fragment of neck and mouth. Max. dim. 0.136. Mouth

Fragmentof neck with handle root on left. Max. dim. 0.052. Siren or sphinx (face) to left. Two verticallines next to handleroot.Red:face. First quarterof the 6th centuryB.C. P 24952 Q 13:5 P 25370 Q 13-14:1 (U) neck fragments.Max. dim. P 24952: Three non-joining a) 0.062, b) 0.03; P 25370: 0.074. P 24952 a and P 25370 125 P1. 15
each preserve some of the handle root.

The position of the lotus-palmettefestoonon the neck

abovethe figures.Compare,for example, LouvreF 29 by Lydos(ABV 109, 21; Paralip.44, 21; Tiverios,pl. 18). citedin Paralip.47; cf. 445. Incorrectly
Second quarter of the 6th century B.C.

Riderto right.P 24952 a showsthe bodyof the rider,one

hand holding the reins, part of the body, neck, and mane of his horse. P 24952 b gives some of the rider's face and the line at the top of this zone. On the right, part of a dot rosette.

NECK-AMPHORAE P 25370 preservesthe head of the horse and some of its chest. On the right, incisedlines and blackglaze, probably the tail of anotherhorse.Betweenthe two, partof an incised rosette.Red:spotson rider'storso;horse'sneck. Comparethe Mannerof the GorgonPainter(Paralip.9: P 24952). First quarterof the 6th centuryB.C. P 10507 No grid 126 P1. 15 Wall fragment.Max. dim. 0.056. E. Vanderpool,Hesperia 15, 1946, pp. 133-134, no. 26, pl. 23:2, 3; J. D. Beazof ley, AJA58, 1954, p. 187;J. Travlos,PictorialDictionary
Ancient Athens, London 1971, p. 47, fig. 58; Lexikon Iconographicum Mythologiae Classicae I, ii, Zurich 1981, p. 335.

117

beginningof the handle.To the right of the youth,the beginningof his name: Red:face,bandat backof head;cloak;rectangle. for restoring this inscription, For the variouspossibilities cf. the bibliography givenabove. The KomastGroup:I, the KX Painter(ABV 27, 36). Late firstquarterof the 6th centuryB.C. P4596 H11 127 P. 15 Wall fragmentfrom near turn of shoulder.Max. dim. 0.062. Glaze firedbrown. Sphinx or siren (head, a bit of the wing) to right. Red: wing bow. The Painterof XanthosA 6.3444 (Paralip.18, 2). Late firstquarterof the 6th centuryB.C.

Youth(head,left arm)to rightin a chiton,holdingout his cloak. Above his head, part of a linear rectangle. The thicknessof the wall is greaterhere and may indicatethe

NECK-AMPHORAE 128-225 Figs. 4-6 Pls. 16-26

B.C. LATE 7TH CENTURY

128-137

128 P1. 16

P 6481 F-G 12:1

feathersand tail of anotherbird or perhapsa siren. Solid circle surrounded by dots for filling ornament. Red: alternatefeathers.
Ca. 630-620 B.C.

Fragment.P.H. 0.235. Part of mouth, neck, and shoulder, all of one doublehandle.Flaring mouthwith molding below. Some of the glaze is flaked. Agora VIII, p. 94, no. 557, pls. 34, 42. On the neck:A, seatedsphinx (someof wing, hindquarters, and tail) to right;B (not illustrated),partof floral.On the body, rider on a huge mount (most of rider, some of horse'shead and neck)to right. Zigzagsand circlesfor filling ornament.Broadbandsof glaze on handleand mouth. Third quarterof the 7th centuryB.C. P 13323 F-G 12:1 129 Neck fragment, flaringtowardstop. P.H. 0.091. Much of the glaze is flaked.AgoraVIII, p. 97, no. 577, pls. 37, 44. Man (face, beard, long hair, some of shoulder),a protomeor a beardedsiren,to right. Behindhim, retrograde: IVX I OWAl IA Zigzag for filling ornament. Third quarterof the 7th centuryB.C. 130 P 1739 H 17:4 Neck fragment.H. 0.075; W. 0.095. D. Burr,Hesperia 2, 1933, p. 582, no. 171, and p. 583, fig. 43. Neck and head of water bird to right; in front of it,

131

P 17340 M 11:3

Fragment of neck with beginning of shoulder. P.H. 0.078; max. dim. 0.092. Glaze fired red. E. Brann, Hesperia 30, 1961, p. 361, H 9, pl. 70. Partof a largepalmettewith a volutebesideit. Belowthe heartof the palmette,zigzagandinverted triangle.Red:one petal;heartof palmette.
Ca. 625 B.C.

132 P1. 16

P12208

G-H 11-12

Fragment.P.H. 0.11. Partof neckwith startof shoulder, strengthenedwith plaster. Much of the glaze is flaked. AgoraVIII, p. 99, no. 588, pl. 37. On the neck, two confrontedhorse protomes(some of head of one on left; most of head, part of neck of one on for filling.On shoulder,partof right). Maeanderornament decoration: hangingray? Red:mane.
Ca. 620 B.C.

133 P1. 16

P 25392 0 12:2

Neck fragmentwith torusmouthand startof straphandle. P.H. 0.235; diam. of rim 0.026. Much of the glaze is flaked.AgoraVIII, p. 99, no. 590, pls. 2, 38, 42.

118

CATALOGUE

FIG.4. Neck-amphora 139 (P 13113) A, male siren to right. B, horsegrazingto right. Dot rosettes, hanging spirals, zigzags, and swastikas for filling ornament. Steppatternon rim. Red:fillet,wing bows,alternate feathers(?); mane(?). For male sirenscf. 1303 (P1.91) and 1357 (PI. 93).
Ca. 620 B.C.

134

P 6486 E-F 12-14

Six non-joiningfragments of a large neck-amphora, one of dim. with a bit the shoulder. P.H. of max. 0.15; (a) a) b) 0.065, c) 0.06, d) 0.04, e) 0.047, f) 0.052. AgoraVIII, p. 98, no. 583, pl. 37 (fragments a, b, and e). On one sideof neck,a friezeof lotuseswith incisedpetals. Fragmenta comesfromthe rightside and givespartsof the frondsand a bit of the line framingthe ornamentand also some of the shoulderwith part of the decoration(hanging spiral).Fragmentsb and d are fromthe left sideof the neck and preservepartof a frond,the cuff, and petals.Fragment c andf comefrom e givesthe endsof two petals. Fragments the lowerpartof the neck,perhapsevenfromthe otherside, and seemto show partsof a calyx.Wheel rosettesfor filling ornament.Red: fronds,cuff, alternatepetals, part of calyx (?). White:triangulararea betweenfrondson a and b. of the Painterof BerlinA 34, Perhapsfromthe workshop called the Woman Painter [Brann]. formerly
Ca. 630-620 B.C.

135

P 22418 N 11

of shoulder.P.H. of neck (a + b + e) 0.221; est. diam. of mouth0.27;max.dim.c) 0.175, d) 0.055, f) 0.098, g) 0.058. Glaze has fired red, especially on one side. R. Young, Hesperia,Suppl. II, Athens 1939, p. 119, fig. 85 (sincerestored;R. D. Lambertonand S. I. Rotroff,Birds of the AthenianAgora[AgoraPictureBook 22], Princeton1985, ill. 10). On A and B, cockto rightin a panel.Fragment a + b+ e preservesmost of one cock (someof breastand wing missing), with the start of the handle on the far right at the break. Hanging spirals, zigzags, maeanderornament,dot and wheel rosettesfor filling ornament,and in the upper corners,a fanlikeornament.Below, startof shoulder,with some of the figureddecoration(subjectis uncertain)and three hanging spirals. On the side of the mouth, zigzags. Fragmentsc, d, f, and g (not illustrated)come from the other side of the neck. Fragmentc shows the upper left cornerof the panel with filling ornament: hangingspirals, andfanlikeobjectin the zigzagswith lozenges,ringrosettes, corner,zigzag on side of mouth. On the left, handle root. d showspartof the comb,head,andwattlesof the Fragment cock(compare a + b + e). Fragmentf preserves the breast, part of the neck, and wing feathersof the cock,the zigzag andthe rightsideof the panel.Fragment fillingornament, g the of end the gives wing and part of the tail. Red:combs, beakandwing bow, legs and wattles,stripon mostfeathers; a + b + e. feet on fragment
Ca. 620 B.C.

Neck fragment.Max. dim. 0.095. Whitish slip on surface. Someof the glaze is flaked. Swan (head,partof neckandbody)to right.On the right, the edgeof the panelwith line accentingit. Red:wing bow; stripabovebeak. Last quarterof the 7th centuryB.C. 136 P1.16 P 4626 F-G 12:1 Five non-joining of mouthand neckwith start fragments

137 P1.16

P 5297 E-F 12-14

Wall fragment.Max. dim. 0.093. Glaze almost completelyflaked. On the left, partof palmette; on the right, face of sphinx or sirento left. Red:face,alternatepetalsof palmette.

NECK-AMPHORAE

119

FIG. 5. Neck-amphora 140 (P 17966)

in a palthe plantterminating For the palmette,compare metteand spiralspaintedbetweentwo sirenson a skyphoswith the Nettos inv. no. 101, compared krater,Kerameikos,
Painter (ABV 7: a; Paralip. 5, -, 1; Kerameikos VI, ii,

a similarplant. no. 181, pl. 111). That on 137 was probably The Nettos Painter(ABV 5, 12); Near the Nettos Painter (Paralip.5, 6).
Ca. 620-610 B.C.
NON-STANDARD: FIRST HALF OF THE 6TH CENTURY

The maincomposition on eachsideof the bodywas problion a a ably facing bull, with a floral ornamentbetween them. It is rare to have two differentanimals confronted that are not partof a frieze,but compare an exampleby the GorgonPainterof a lion and a bull, althoughwithoutthe floral:Athens,N.M. 19176(ABV9, 16;Paralip.7, 16). For the stackedrays,cf. Mommsen,Affecter, pp. 28-31. Mannerof the GorgonPainter(ABV 13, 42: P 10651).
Ca. 600 B.C.

138-164

138 P1. 17

P 10195, P 10651, P 10653

B 14:5

P 26810 T 19
Four non-joining fragments, one (P 10195) of neck and mouth, one (P 10651) of shoulder with start of handle, two

(P 10653 and P 26810) of lower wall. Rest. H. of P 10195: 0.237; max. dim. P 10651:0.093, P 10653:0.254, P 26810:
0.185. P 10195 preserves parts of four horseheads to right: 1) all but top of head; 2) mane; 3) some of mane, eye; 4) mane,

part of head, muzzle. On side of mouth, frieze of incised

rosettes. P 10651 gives parts of two animal friezes: I) bull (hind legs, tail) to left, with the handle root on the far right; II) boar (bristles). P 10653 shows a lion (paw) facing a bull (left foreleg and left hind hoof) with a floral ornament (part of tendril) between and some of the stacked rays below. P 26810 comes from the other side of the vase, probably the part opposite that of P 10653, and gives more of the stacked rays and the animal frieze: bull (right forehoof) to left; some of the floral ornament (tendril, frond of lotus). Hanging spirals, dot and incised rosettes for filling ornament. Red: manes and forelocks; eye of 3; nostril of 4; scrotum of bull; core of incised rosette on P 10651, alternate petals of all incised rosettes. White: corners of eyes; dots at ends of incised lines of rosettes.

139 Fig. 4;PI. 17 P 13113 R 17:3 Fragmentof shoulder,with start of neck. Max. dim. 0.12. cross(partof one lotusandone palmette) Lotus-palmette and siren (preserved but for feet and endof tail) to left. Dot rosettesfor fillingornament. Above,tonguepatternatjunction with neck. Red:face, neck,breast,fillet, coverof wing and bar on tail; cuff, sepals, alternate leaves of lotus; alternateleavesof palmette; link;alternatetongues. The composition showedtwo facingsirenswith probably a floralbetween,similarto that on the round-bodied lekythos in London,Russell (ABV 9, 17). Comparealso the reverseof LouvreE 817 (ABV 9, 7; Paralip. 6, 7), which shows sphinxes. The GorgonPainter(ABV 10, 24).
Early 6th century B.C.

140 Fig. 5; P1. 17 P 17966 A 18-19:1 Shoulderfragmentwith start of handle on right. Max. dim. 0.109. Lion (hind legs and tail missing)to right with forepaws raised and head turned around. On the right, lines that markthe areajust belowthe handleroot.Belowthe lion, at the break,a small bit of glaze, probablythe petal of a rosette. Red:mane,belly stripe,ribs, markingson hindquarters;petal.

120

CATALOGUE P648 I-J 17 of mouth and neck. Max. dim. 0.075. Someof Fragment the glaze is abraded. On top sideof mouth(illustrated), geese (head,neck,and breastof one;wing and tail of another)to right. Incisedrosette for filling ornament.On outsideof mouth,borderof esses.On neck,partof incisedrosette.Red:dotson neck,bar on wing; broadbandon insideof neckbelow geese;line on upperand loweredgesof outsideof lip. Closeto 141 and 142. Perhapsin the mannerof the Gorgon Painter.The useof redanddoublelines is the same,but the drawingseemshastier. First quarterof the 6th centuryB.C. 144 P 31088 I 10:1 Fragmentof mouthas 141-143. Max. dim. 0.073. On top side of mouth, geese (head, breast, leg of one; body, tail, leg of another)feedingto right. On outsideof mouth,row of dots.Red:line on top of mouthat outeredge. First quarterof the 6th centuryB.C. 145 PI. 18 P 6065 1 9:1 Shoulderfragmentwith junction of neck at top. Max. dim. 0.099. Glaze firedred. Lion (preserved but for legs, partof tail) to left with head turnedaround.Incisedanddotrosettes forfillingornament. At the verytop of the fragment, someof the line at thejunction with the neck.Red:mane,belly stripe,ribs. An unusualfeatureof this lion is that its tail is between its legs, then risesaboveits body,curvinggracefully overits Lionswith theirtails betweentheirlegsoccur hindquarters. in the workof the GorgonPainterand his manner,but here the tails remain beneath the belly. Cf. Louvre C 10620 (ABV9, 9; Paralip.7, 9), LouvreE 817 (ABV9, 7; Paralip. 6, 7), Avallon80 (Paralip.7, 9 bis), Berlin, inv. no. 3764 (ABV 11, 19;Paralip.8, 19), Nikosia 1958.iv-223(Paralip. 8, 19 bis; Gjerstad,op. cit. [under 10], pl. 63:1), Copenhagen,inv. no. 13796 (ABV714, 9 bis;Paralip.7, 9 bisand 8). For tails such as the one on 145, compare, e.g., thoseof the two seatedlions on an unattributed Keratripod-pyxis, meikos,inv. no. 44 (Kerameikos VI, ii, no. 130, pl. 100);a pantheron Berlin 1961.7 (CVA, Berlin 5 [Germany45], pls. 1 [2146]:1,and 2 [2147]);a pantherperchedon a palmettecrosson Athens,N.M. 1036 by Sophilos(ABV 38, 2; Baklr,Sophilos,pl. 33, fig. 59). First quarterof the 6th centuryB.C. 146 P 17341 M 11:3 Fragmentof shoulder,with ring at junctionwith neck. Max. dim. 0.056. Beginning of handle attachment. E. Brann,Hesperia30, 1961, p. 366, H 24, pl. 74. Feline (curvingtail, partlyflaked,part of hindquarters) to right. Incisedrosettefor filling ornament.Red:marking on hindquarters. The shortstrokesincisedalong the contourof the hindquartersare a curiousfeature.Comparea lion by Sophilos 143 Pl. 18

The composition probably representedtwo rampant lions, one to left, the other to right, each with head turned around,with a floral between.The curveof the fragment similar suggeststhat it camefroma shapeof neck-amphora to the one by Sophilos, Athens, N.M. 991 (ABV 38, 1; Baklr, Sophilos,pls. 49, 50), only larger.The drawingon 140 is, however,closestto that of the GorgonPainterand his manner.The full manecovering the entireneckandfallover the is characteristic of the in locks shoulder long ing GorgonPainter:e.g., LouvreE 817 (ABV 9, 7; Paralip.6, 7); Hamburg1960.6 (Paralip.7, 13 bis;CVA, Hamburg1 [Germany41], pl. 28 [1994]:1-3);KasselT. 669 (Paralip. 7, 13 ter;CVA, Kassel 1 [Germany35], pl. 27 [1707]:1-3). For the S-curved ribswith red,cf. LouvreC 10620 (ABV9, 9; Paralip.7, 9), Baltimore48.215 (ABV9, 18;Paralip.7, 18). For the muzzle, comparethe lion on the North Slope lid, A-P 1734 (ABV 8, 6; Paralip. 6, 6). For the lion's eye withouta pupil, a detail difficultto parallelin the Gorgon Painter,cf. one in the friezebelow the sphinxeson Louvre E 817 and two in his manner on Louvre CA 823 (ABV 12, 23). First quarterof the 6th centuryB.C. 141 Pl. 18 P4727 F 12:5

Fragment of neck and mouth. P.H. 0.127; diam. of mouth 0.19. E. Vanderpool,Hesperia 15, 1946, p. 125, no. 6, pl. 17:1-3; Lambertonand Rotroff,op. cit. (under 136), ill. 5. On top side of mouth,friezeof geeseto right.On outside of mouth,borderof esses.On neck:A, Aristaios(headmostly missing),winged,runningto right,lookingaround,with a pick in his right hand. He wearsa short,beltedchiton.B (not illustrated), lotus-palmettecross. Red: breasts and wing bows of geese; face, neck, upper arms, chiton, and cuffsof lotuses,heartsandalternate wing bowsof Aristaios; petals of palmettes,links; band on inside of neck below geese;line aboveand below borderof esses. For Aristaios,cf. L. Burn, AntK 28, 1985, pp. 93-105. The Agora Aristaiosdiffers from the known examplesin that he doesnot carrya sackor a jar in one hand. Mannerof the GorgonPainter(ABV 12, 26).
Early 6th century B.C.

142 PI. 18

P22310

N11

Fragmentof offsetmouth,neck,and startof one handle. Max. dim. 0.108. friezeof geese (one)to On top side of mouth(illustrated), right. On outside of mouth, borderof esses. On neck:A, horse(top of head,ear) to right;B, floralornament(partof tendril?).Incisedrosettesfor fillingornament.Red:dotson neck, breast,wing bow; line below borderof esses;mane; partof floral. Mannerof the GorgonPainter(compare141). First quarterof the 6th centuryB.C.

NECK-AMPHORAE (Athens,N.M. 16385:ABV 40, 19; Paralip. 18, 19; Bakir, is removed, Sophilos,pls. 85, 86: here [p. 45] the attribution but without compellingreason)and the one in the manner of the KY Painter(Athens,N.M. 12688:ABV33, 1).
Early 6th century B.C.

121

147 Pl. 18

P249

G 15

Fragment. Max. dim. 0.147. Most of flanged handle, glazedon underside,and a little bit of wall. On outsideof handle,fiveincisedrosettes.Belowthe handle root, zone of dots. Red: alternatepetals of rosettes; two lines beneathhandle. For rosettes on the handle, cf. the fragmentaryneckamphorain Florenceby Sophilos(ABV 38, 3). First quarterof the 6th centuryB.C. 148 PI. 18 P 143 G-H 5-7 Wall fragment.Max. dim. 0.058. Part of lotus-palmette chain. Below that, panther(top of of some neck, right ear, forehead)to right. Red: forehead, insideof ear, neck;heartsand alternatepetalsof palmettes, sepalsof lotuses,link. The absenceof a cuff on the lotus is an odd feature. First quarterof the 6th centuryB.C. 149 Pl. 19 P825 I17 Fragmentof shoulder.Max. dim. 0.075. Siren (breast,parts of wings, right leg, lock of hair) to left. Red: neck, breast,dots, and coversof wings, alternate feathers. The articulationof the curvedend of each feather,even when it is seen againstthe clay ground,is unusual. Compiecethat parethe sphinxon LouvreA 474, an unattributed belongsto the Groupof the Early Olpai (ABV 14, 10). First quarterof the 6th centuryB.C. 150 PI. 19 P 13864 T24:3 Shoulderfragment.Max. dim. 0.046. Siren or sphinx (head,breast,part of wing) to right. Incisedrosettefor fillingornament.On the rightat the break, traces of another figure (breast of siren or sphinx). Red: part of face,top of head,wing bow. The Groupof the DresdenLekanis(ABV 22, 13). Late firstquarterof the 6th centuryB.C. 151 PI. 19 P22884a N15 P 22884 b M15

Incisedrosettesfor fillingornament. At top,partof a zoneof dots. Red:a) chest of feline in I; forepaw,nose, chest, and belly stripe of panther;b) manes, muzzles, tongues,eyes, of left lion. chests;belly stripeandmarkingon hindquarters Dots on alternatepetalsof rosettes. The KomastGroup:I, the KX Painter (ABV 680, 38); incorrectly given:ABV 48, 143 (Polos Painter);corrected: Paralip.20, 143. Late firstquarterof the 6th centuryB.C. 152 Pl. 19 P 21562 07:9 Fragment.P.H. 0.122. From lower part of tall flaring neckand startof shoulder. On neck, parts of two friezes:I) feline (hind legs) and siren (body,tail), bothto left, and feline (hindlegs) to right: II) siren (tail) to left and feline (body,legs, tail) to right. Incised rosette for filling ornament.On shoulder,sphinx (tip of wing andendof tail) to left. Red:I) wing bow;II) bar on siren'stail.
Ca. 580-570 B.C.

153 PI. 19

P4824

M-N 12

Fragment of neck with turn of shoulder. Max. dim. 0.092. Glaze firedbrownishred. Two friezes:I) siren or bird (leg, start of tail) to left; II) siren or bird (wing) to left; feline (body,hindquarters, Red:bandon tail) to right.Blobrosettefor fillingornament. tail; wing bow;markingon hindquarters.
Ca. 580-570 B.C.

154 P. 19

P480

G15:6

Two non-joiningwall fragments.Max. dim. a) 0.068, b) 0.097. Animal friezes. Fragmenta preservespart of two; I) feline (forelegs,hind paw) to left; II) panther(preserved but for hindquarters and tail) and siren (end of wing and tail), bothto right. Fragmentb also gives partsof the two friezes: lions with headsturnedaround(all of one I) two confronted but for hind legs and part of tail; head, mane,and shoulder of other); II) back of an animal, perhaps a bull, to right.

Three non-joining wall fragments.Max. dim. a) 0.118, b) 0.13, c) 0.089. Animalfriezes.Fragmenta preserves partsof two: I) feline (forepaws),boar (bodyand legs), siren or bird (body, wing, tail, legs), all to right;II) ram (body,hindquarters), panther (tail, right hind leg missing),both to left; below, rays. Fragmentb also gives parts of two friezes: I) goat to left, feline (righthind leg) to right; (body,hindquarters) c showsa feline II) panther(head,neck)to right.Fragment and a hoofed animal both to right;be(hindleg), (forelegs) low, rays. Dot and incised rosettes for filling ornament. Red:belly stripes,scrota,ribs, and markings on hindquarters; neck of boar;necks, foreheads,and muzzles of panof wing, endof tail of thers;coverof wing, alternatefeathers siren;alternatepetalsof somerosettes. Late firstquarterof the 6th centuryB.C. P 3805 F 14 Wall fragment.Max. dim. 0.074. Parts of three friezes:I) hoof; II) feline (forepaw)and ram (body,hindquarters) to right;III) lion (head)and bird or siren (bow of wing) to right. Incisedrosettesfor filling ornament. Red:bellystripe,ribs,markings on hindquarters of deer;maneof lion;bar on wing. Late firstquarterof the 6th centuryB.C. 155

122 156

CATALOGUE P 3434 H 8-10 160 PI. 20 Part of flaringmouth,mostof neckand body,both handles. Rest. H. 0.249; rest. diam. 0.163; diam. of mouth 0.112. Smallfragments preservepartof flaringfoot. On top side of mouth,birdsor sirens(one) to left;on the outsideof the mouth, verticalstrokes.On neck, A and B, siren to left; beneathhandleattachmentB/A, bird to left; underA/B, rosette.On shoulder:A, two sphinxes,facing; B, siren(wing)to left betweensphinxes(body,someof wing of each). On the body, part of one frieze that continued roundthe vase:two pairsof sirensor sphinxes(heads,part of wings)facing,a pairof lions(bodies,someof legs,headof one on left) facing.Incised,blob,and dot rosettesfor filling ornament. On outsideof handles,rosettes by pairs separated of horizontal lines. Betweenthe figurezoneson the shoulder and body,three rows of dots. Abovefoot (not illustrated), rays. Red: hair, part of neck, wings, breastsof sirens and sphinxes;band on tails of sirens;shoulders,markingson of lions;coresand alternatepetalsof rosettes hindquarters on handles. The PolosPainter(ABV 44, 7). Secondquarterof the 6th centuryB.C. P6661 R-V 16-19 Fragmentof offset mouth and part of neck. Max. dim. 0.057. Someof the glaze is abraded. On top side of mouth, frieze of birds (one) to left. On outsideof mouth,verticalstrokes.Red: breast,wing bow; lines on innerand outeredgesof mouth. The Polos Painter(ABV 48, 152). Secondquarterof the 6th centuryB.C. 161 P 13822 U25:2 (M) 162 Two non-joining fragments. Max. dim. a) 0.083, rootof handle of neck,startof shoulder, b) 0.097. Fragment of of lower wall with (a); fragment beginning foot (b). the a Fragment preserves wing bowsandpartof one wing of a sphinx to right. On the right, vertical herringbone pattern.Below, at the junctionof neck and body, vertical strokesin groupsof three. Fragmentb gives two rows of patterns:I) between a line top and bottom,oval shapes by slantingto rightdividedby a centralline, thenseparated a line with three short strokesin the interstices; II) rays. Red: face, neck, breastof sphinx;one line aboveand two belowthe firstpattern. The drawingis veryhasty. Secondquarterof the 6th centuryB.C. 163 P 20851 D 17

P 5008 F 12 Three non-joiningfragmentsof shoulder. Max. dim. a) 0.073, b) 0.09, c) 0.082. Fragmenta with startof neck. Someof the glaze firedred. Much of it is abradedon fragment b. Animalfriezes.Fragmenta shows a lion (someof chest, legs, and tail missing)to left. Fragmentb preservesa lion (body,neck,partof legs) to right;in frontof the lion, a siren or bird (wing). Fragmentc gives partsof two friezes:I) feline (hindquarters, tail) to left;II) animal(back)to left. Ina and b come cisedrosettesfor fillingornament.Fragments that fromone side of the vase and belongto a composition lions with a bird or siren between. showedtwo confronted Fragment c belongs to the other side. Red: manes and chests,ribs,markingson hindquarters; wing bow. First quarterof the 6th centuryB.C. 157 P 4255 F 13 Wall fragment.Max. dim. 0.056. Ram (hindquarters, part of tail at break)to right. Red: belly stripe,scrotum,rib, markingon hindquarters. First quarterof the 6th centuryB.c. 158 PI. 19 P 3579 and P 12379 F 14 Two non-joiningneck fragments.Max. dim. P 3579: 0.096, P 12379:0.068. P 3579 gives the startof the mouth on the right. and handleattachment P 3579 shows birds or sirens (legs and tails of two) to On neck, righton the top sideof the mouth(notillustrated). to left;II) partsof two friezes:I) feline (body,hindquarters) bearded,wingedfrontalfigurein a chitonand nebris(right hand,lowerlegs missing)with headturnedto right,holding he held ana birdby the neckin his left hand. Presumably otherbirdin his right. P 12379 (not illustrated)givesparts of the same two friezes:I) bird or siren (breast,legs, tail) and feline (hind legs) to right; II) frontal winged figure On (head,left wing) probablyas on P 3579 but unbearded. the right,at the break,the tip of the rightwing of a second figure.Incisedrosettesfor filling ornament.Red:markings of felines;breastsand wing bows of birds; on hindquarters hair and wing bows of figures;skirtof figureon P 3579. D. Callipolitis-Feytmans (Lesplats attiques,p. 150, note has seen that 158 1) belongsto the samegroupof Corinthinv. no. 66, once as and Kerameikos, 1398 ianizingpainters attributedto the Polos Painterbut now withdrawn(ABV 46, 95; Kerameikos VI, ii, no. 91, pl. 77; Paralip.20). For
the subject, cf. Miiller, Lbwen und Mischwesen, pp. 129-

154. Late firstquarterof the 6th centuryB.C. P 25324 I 10 dim. 0.073. Max. of mouth. Repairedin anFragment head of one lead with the of two staples tiquity (evidence 141-144. as Same remaining). shape On top side of mouth,birds (wing and tail of one, head On and bodyof another)to left. Blobsfor fillingornament. outside of mouth, verticalstrokes.Red: breast of bird on right. First quarterof the 6th centuryB.c. 159

Shoulderfragment,handleroot,and startof neck. Max. dim. 0.07. Ring at junctionof shoulderand neck. Panther(head, neck) to right with head turnedaround andon the othersideof the handle,a bird(head,topof neck) of panther. Red:forehead to left. Blobsfor fillingornament. White:dotson neckof panther. Secondquarterof the 6th centuryB.C.

NECK-AMPHORAE P 1262 G 6:3 (L) Rest. H. diam. 0.107. A few pieces 0.234; Fragmentary. of mouth,wall, and foot restoredin plaster.Glaze has misfired a reddishbrown. E. Vanderpool,Hesperia 7, 1938, p. 372, no. 4, fig. 6. A and B, each on neck,two zones:I) verticalzigzags;II) blob rosettes,some with reservedcenters;on the shoulder, two swans facing,with groupsof short strokesin the field. Red:stripeson wings of swans;broadbandroundvase below figureddecoration. Relatedto the Swan Group,II (ABV 659). Secondquarterof the 6th centuryB.C.
OVOID NECK-AMPHORAE 165-177

123

164 PI. 20

shoulder,arm of other) to right. Red: overfoldsof peploi. White:flesh;dotson edgeof left garment; key pattern. Secondquarterof the 6th centuryB.C. 168 P. 20 P 21693 P7 Wall fragment.Max. dim. 0.072. HeraklesandNessos.Heraklesattacksfromthe left:only his left arm and hand tightly graspingthe centaur'sright arm are preserved.The face, torso, and horse body of Nessos remain.Blood flows fromwoundsin his chest and flank.Inscribed:

] PAI E
Red: beard,wounds,markingson shoulderand hindquarters of Nessos.White:markings on Nessos. Similarin styleto 118 (PI. 14). Compare also,New York, M.M.A. 41.162.103 (CVA, New York,3 [USA 12], pl. 4 cf. Brommer, [536]).For the subject, Heldensage3, pp. 153158.
Ca. 560 B.C.

165 PI. 20

P 6628 H 10

Fragment.Max. dim.0.064. Fromshoulderwith someof ring at junctionwith neck. Satyr (head with fillet) to left. On the left is part of another figure that may be the beardof a facingsatyror one pipe of an aulos with a bit of the player'sfingers(for the latter possibility,cf. London,B.M. B 103.16:AthMitt 59, 1934, Beil. 10:1). The shaggybeardand animalear characterize the figure as a subhumanone, probablya satyr,not a centaur,for the earliestpreserved Atticblack-figured centaurshave human ears and straight noses, sometimes also moustaches(cf. Schiffler, op. cit. [under118], pp. 20-21), whereasfromthe very beginningAttic black-figured satyrsare characterized by snub noses, animal ears, and they lack moustaches(cf. F. Brommer, Satyroi,Wiirzburg1937, pp. 25-28). Ca. 580-570 B.c. P 18612 C 19:5 Fragmentof neck and shoulder,stub of round handle. Max. dim. 0.098. Ring at junction of neck and shoulder. Burned(clay is gray). On shoulder,youth (head,shoulder)to left. On the neck, cross(one palmette,the frondof the inverted lotus-palmette lotus, someof tendrils).Red:heartof palmette; ring. The absenceof a bandof glaze or a tonguepatternon the shoulderat thejunctionwith the neckis an unusualfeature bestparalleledin the workof the CamtarPainter.Cf. Tar44 (ABV 84, 2); quinia RC 5564 (ABV 84, 1); Cambridge Boston, M.F.A. 21.21 (ABV 84, 3; Paralip. 31, 3; CVA, Boston1 [USA 14], pls. 16 [638], 17 [639]:3,4); Leningrad, inv. no. 2417 (Paralip.31, 7); TubingenS./715 (D 7) (Paralip. 31, 8; CVA, Tubingen 2 [Germany 44], pl. 34 [2135]);and Laon 37.1017 (Paralip.31, 9). The lotus-palmette cross on 166 with its very large heart and of tendrilsis similarto that on the Cambridge arrangement and Leningradvases. The subjecton 166 may have been a frieze of horsemenlike the one on the Laon amphora,for the small scale of the head suggestsa rider. Secondquarterof the 6th centuryB.C. 167 PI. 20 P25382 G3 Wall fragment.Max. dim. 0.054. Two women (some of face, neck, chest of one; right 166 P1.20

169 P1.20

P 14498 S 22

Shoulderfragment with someof tonguepatternneartop. Max. dim.0.073. On left, at tongues,holeforancientmend. Hunter and man to right. On the left, the hunter (chest with mantle)carriesa fox (hindquarters missing)suspended froma stickoverhis left shoulder.In frontof him, a man but forhis face wearinga cloakovera longchiton,preserved and feet.On the right,at the break,a smallamountof glaze, perhaps traces of another figure. Above, line and end of tongue pattern (one tongue, line between). Red: cloaks. White:chitonof man. For huntersandtheirquarry,cf. M. B. Moore,TheMetropolitan Museum Journal 18, 1984, pp. 29-38, esp. pp. 37-38.
Ca. 560 B.C.

170 P1.21 P9358 M 18:8 Wall fragment.Max. dim. 0.072. Warrior(torso, right arm with spear) to right. On the left, tail of an animalskin (?) in diluteglaze. Red:chiton. Attributedto the TyrrhenianGroup [Bothmer].GenePainter. rally recallsthe Prometheus Secondquarterof the 6th centuryB.C. Hll P3074a,b,e Three non-joining fragments. Max. dim. a) 0.103, b) 0.03, e) 0.05. Fromflaringmouth,neck,and body. Fragmentsa and b preservepart of the lotus-palmette crosson the neck.Fragment e givessomeof the tonguepattern on the shoulderat thejunctionwith the neckand a bit of the figureddecoration, Theseus and the Minotaur(forearm and hand of Theseus, a bit of his garment; the face of the monster). Red:cuffsof lotuses,alternate tongues; ringat line at outsideedgeof mouth. junctionof neckandshoulder; White:Theseus'garment. P 3074 c and d do not belongto 171. Neither preserves cf. Brommer, figures.Forthe subject, Heldensage3, pp. 226243; E. Young, The Slaying of the Minotaur: Evidence in

171

124

CATALOGUE palmetteornament(part of uprightbud, heart of inverted palmette).Red: star on lotus bud, cuff; heart of palmette. White:belly stripe. The Painterof Vatican309. Compareespeciallythe reverseof his namepiece(ABV 121, 7), Munich 1445 where the floralis quitelarge(ABV 121, 9; CVA,Munich7 [Germany 32], pl. 327 [1541]:3),and Louvre C 10630 (ABV on 176 probably showeda floral 121, 10). The composition betweentwo sphinxes. Secondquarterof the 6th centuryB.C. 177 PI. 21 P 13783 U 25:2 (U) Wall fragment.Max. dim. 0.066. Goat (neck,part of head and foreparts)grazing to left. Red:markingon shoulder. Secondquarterof the 6th centuryB.C.
PANEL NECK-AMPHORAE

Art and Literature for the Development of the Myth, 700400 B.C., diss. Bryn Mawr, 1972 (UniversityMicrofilms Ann Arbor,Michigan,no. 73-5903). International, Secondquarterof the 6th centuryB.C. P 25349 J 12 Shoulderfragment.Max. dim. 0.054. Youthful rider (head, torso, right hand; mane) to left. Above,tongue pattern.Red: hair, dots on garment;alternate tongues. For rows of dotson the garment,the best parallelsare to be found in the early works of Lydos, and 172 may be by him. Compare especially London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 9:,/); Florence 70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pl. 23:,8); and Naples, Astarita143 (ABV 684, 57 bis;Paralip.44, 57 bis;Tiverios,pl. 75:,8).Comparealso, Munich 1681 (ABV 108, 12; Tiverios, pl. 2); Louvre E 804 (ABV 108, 13; Tiverios, pl. 7:a); Berlin 1685 (ABV 109, 24; Tiverios, pl. 46:,3); and Akropolis 2187 (ABV 111, 44; Tiverios, pl. 73:6). Later examplesoccurin the work of the Amasis Painter: Louvre F 30 (ABV 152, 29; Paralip. 63, 29; Bothmer,Amasis Painter, pp. 140-141, cat. no. 27) and LouvreF 36 (ABV 150, 6; Paralip.63, 6; Bothmer, op. cit., pp. 81-82, cat. no. 5). Ca. 560-550 B.c. 173 P1.21 P 21371 P7 Wall fragment.Max. dim. 0.031. Partsof two zones:I) Amazon(foot,endof greave)to left; II) Iris (headwith petasos,someof chitonand cloak)to left. Red:greave;cloak.White:flesh. The scale of the Amazon'sfoot comparedwith that of thatthe two figuresweresimilarin size Iris'sheadindicates and thereforethat the two friezes were about the same height, an odd scheme of decorationas noted orally by Bothmer.Usually the uppermostfrieze is the widest, the othersnarrower. For the subject, cf. Brommer,Heldensage3,pp. 7-25 with bibliography.
Ca. 560-550 B.C.

172 PI. 21

178-182

178 P1.21

P 2397 H 8-10

Fragment.Max. dim. 0.078. From neck with trace of ring at junctionwith shoulder.H. A. Thompson,Hesperia 6, 1937, p. 126 and p. 127, fig. 68:a. Male head to right. Red:fillet, face, neck;bandat junction of neckand shoulder. to be It is unusual for the face on such neck-amphorae but morecarecoveredwith addedred. For a comparison, fully applied,cf. Munich 1448, nearthe Painterof London B 76 (ABV 88; CVA, Munich 7 [Germany32], pl. 329 [1543]:2,3).
Ca. 570-560 B.C.

174 P1.21

P 17781 A 18-19:1

Shoulderfragment.Max. dim. 0.038. Man (head,right shoulder,most of raisedright arm) to right. Red:hair and beard.White:dotson sleeveof chiton.
Ca. 550 B.C.

175 PI. 21

P3555

L 11-12

Fragment of mouth (flat on top, reserved)and neck. Max. dim. 0.055. Two swans (head, neck, wing of one; part of wing of other)facing.Red:bandon eachwing. White:dotson neck; narrowbandon each wing. Secondquarterof the 6th centuryB.C. P 25315 F 19:4 176 PI. 21 Wall fragment.Max. dim. 0.072. Feline (shoulder,start of foreleg)to left, facing a lotus-

P 25013 0 16 179 Fig. 6; PI. 21 P.H. a + b) 0.143;diam.of mouth0.13; Four fragments. max. dim. c) 0.072, d) 0.09, e) 0.099. From mouth, neck, body,andhandles joinedwith plaster.Echinusmouth.Ring in places. atjunctionof neckandshoulder.Glazeis abraded of the + b a mouth, (illustrated) part preserves Fragment neck,stubof one handle,andsomeof the body.On the neck, head of a man (A, face, hair; B, face) to left. On the body, some of its horseman(backof torso;horse'shindquarters, head and tail) to right. Fragmentsc and d show the upper cornersof the panel on the other side, and fragmente is a handle.Red:line on outerand inneredgesof mouth;ring. at the top of the panel The absenceof framingornament is an unusualfeaturethat recallssomeof the one-pieceamphoraewith a singlehorseman(cf. 36: P1.5). cf. also 166 (PI.20), New York, Forthe lackof ornament, M.M.A. 56.171.16 by the Painter of LondonB 76 (ABV 87, 14;Paralip.32, 14;CVA,New York4 [USA 16],pl. 12 [740]:1,2); Munich 1448, nearthe Painterof LondonB 76 (ABV 88; CVA,Munich7 [Germany32], pl. 329 [1543]:3, 4); StuttgartMarket, Kricheldorf(Auktion VI, 22. Okt. 1958, pl. 15, no. 35); also Munich 1449 (CVA, Munich 7 [Germany32], pl. 328 [1542]:3,4) and Athens,N.M. 673. These last two havea narrowblackbandbetweenthe top of the paneland the ring at thejunctionof neckand shoulder.
Ca. 550 B.C.

NECK-AMPHORAE

125

form a class, and they are by differentpainters.All these differfrom 181 by havinga flaringmouth, neck-amphorae shortneck with an ornamental pattern,and rays abovethe foot.
Ca. 540-530
B.C.

179 (P 25013). Scale 1:2 FIG.6. Neck-amphora

180 P1.21 Neck fragment.Max. dim. 0.064. Head of man (face)to left. Secondquarterof the 6th centuryB.C. 181 PI. 22

P 25390 B 19

P 24677 R 12:4

P 19045 and P 19584 A 18-19:1 Three non-joining fragments of wall. Max. dim. P 19045 a + P 19584 a: 0.14, P 19045b: 0.115, P 19584 b: 0.048. A, wedding processionin a chariotto right. Fragment P 19045 a + P 19584 a givesthe head and shouldersof the groomwearinga chiton and cloak;besidehim is his bride holdingout her veil. Behindthe pair, the wreathedhead of Dionysosand, at the left, the left edge of the panel. On the left side of the chariot,the head of Apollowith part of his and strings).FragmentP 19584b kithara(arm,crosspiece, shows (not illustrated) part of the wheel, box, and pole of the chariot,some of Apollo'schiton,and part of two tails. FragmentP 19045 b comesfromthe otherside of the vase. of a mounted the forehead It preserves youthto right,for in the lower part of the fragmentis part of his horse'smane andaboveit, his ridingcrop.On the farright,the edgeof the panel. Abovethe panel on each side, tonguepattern.Red: alternateleaves of wreath;headdressof groom;stripeson his chiton;Apollo'sforelock; part of tail and mane;rider's forelock;alternatetongues;line at edge of panel. White: armsof kithara. bride'sflesh;dotson garments; The scene may representthe Wedding of Peleus and cf. Brommer, Thetis. Forthe subject, pp. 318Heldensage3, 320. 182 PI. 22
Ca. 530-520 B.C.

Mouth slightly chipped. H. 0.378; diam. 0.284. Rilled mouth, concavestrap handles,torus foot with fillet above. H. A. Glaze firedbrownishin places.Someof it is abraded. Thompson,Hesperia25, 1956, p. 62, pl. 21:b. A, man seated to right on an okladias,wearing a long chiton and a himation, his left hand extendedtowards a woman who standsbeforehim wearing a long chiton,her righthandraised.Behindthe seatedman, a nudeyouthand a womandressedas the otherwoman,both to right.Above panel,tonguepattern.B, man seatedto righton an okladias, his right hand extended,under his left arm a scepter.He wears a long chiton and himation. Round his head is a wreath. A woman stands before him, her right hand extendedwith a flower (positionedslightly aboveher palm). She is dressedas those on A. On the wall, two fillets. Red: beards;pupils of women'seyes; fillets roundheads;stripes on garments;one rill, line at inner edge of mouth, ring at of junctionof neck and shoulder,line at upper attachment handle;two lines below panel that continueroundthe vase. White: female flesh; dot clusters on garments;joints of okladiai;chitonof man on A; dotson hangingfillets. The concavehandlesand fat bodyof 181 generallyrecall a neck-amphora by the EuphiletosPainter (ABV 323, 21; Paralip. 142, 21) that takes with it two othersthat are unattributed: Leningrad 284 (ABV 325, -, 1) and Naples, inv. no. 86362 (ABV 325, -, 2). A few others are akin to

NECK-AMPHORAE OF PANATHENAIC SHAPE

183-188

183 P1.22

P13523

N18:7 or8

Shoulderfragment.Max. dim. 0.081. Bohr, Schaukelmaler,pl. 107:d. Athena (part of head with Attic helmet, Gigantomachy. shoulderwith snakeof aegis, raisedright arm but without spear)to right.On the left, partof anotherfigureor perhaps the foreheadof a horse.Above,tonguepattern.Red:mane or hair at left; edge of helmet crest; earring; alternate tongues;line at top borderof tongues. neckComparethe Gigantomachyon a contemporary amphora of Panathenaic shape, Munich 1437 (CVA, Munich 7 [Germany32], pls. 339, 340 [1553, 1554]). For figurees giants, cf. F. Vian, Repertoiredesgigantomachies dans l'art grec et romain, Paris 1951 and La guerre des Paris 1952; hellenistique, geants. Le mytheavant1'epoque also, M. B. Moore,AJA83,1979, pp. 79-99. Comparethe Swing Painter(ABV 693).
Ca. 530 B.C.

these three in shape (ABV 325-326, 1-6), but they do not

P 10808 No grid Two non-joining of wall. dim. a) 0.135, Max fragments b) 0.107. Weddedpair in a chariotto right. Fragmenta gives the

184

126

CATALOGUE The RycroftPainter.The small eye withouta tear duct combined with threeshortstrokesforthe browareespecialof horsesby the RycroftPainter,and the ly characteristic rest of the drawingis his, too. Compare: Oxford 1965.118 (ABV 335, 1; Paralip. 148, 1; CVA, Oxford 3 [GB 14], pi. 35 [650]);Boston,M.F.A. 98.919 (ABV335, 3; Paralip. 148, 3; CVA, Boston1 [USA 14], pl. 14 [636]);New York, M.M.A. 06.1021.67 (Paralip. 148, 5 ter and 150); Worcester1956.83(ABV335, 5 bis;Paralip.148, 5 bis;Buitron,
New England Collections, pp. 44-45, no. 17); Louvre C 11278 (Paralip. 149, 23 quater); Munich 1720 (ABV 337,

hands of the groomholdingthe reins, the veil of his bride beside him held away from her head, then the head and shoulders of a bearded man, a youth with a kithara of the right-hand (Apollo?),and part of the hindquarters horse and the tail of the other horse. pole pole Fragmentb preservessome draperyand the edge of the panel on the are from right. It is not certainwhetherthe two fragments the same side. Red:dotson garmentson a; tail of left-hand pole horse. White: woman's hand; dots on garments of beardedman;left-handpole horse.
Ca. 530 B.C.

185

P 13425 N 18:7

Two non-joiningshoulderfragmentswith start of neck. Max. dim. a) 0.16; b) 0.166. Ring at junctionof neck and shoulder. Fragmenta preservesthe upper left cornerof the panel with a woman (head)to right and someof the tonguepatternat thejunctionwith the neck.Fragmentb givesmoreof the tonguepatternabovethe right cornerof this panel and abovethe panelon the otherside,as well as partof the lotuspalmette chain on the neck. Red: pupil of woman's eye; alternatetongues;heartsof palmettes,cuffs of lotuses;line at side of panel;ring. The scaleof the woman'sheadand its inclination suggest that she standsin a chariot.
Ca. 530-520 B.C.

24). The attributionof 187 to the RycroftPainteradds a new shape to those knownto be decorated by him. For the inscription,cf. an unattributed fragment,Agora A-P 296, which belongs to Akropolis674 a-d (Hesperia 4, 1935, p. 229, no. 16 and p. 227, fig. 6).
Ca. 510-500 B.C.

188 P1.23

P9320

K 17:1

Q8 Wall fragmentfromtop of panel.Max. dim.0.069. Thin brownglaze on inside. Frontalhorseman(headturnedto left, right shoulderof rider;maneof his horse,its headturnedto right).Red:forelockof youth;maneof horse.White:chiton.
Ca. 520 B.C.

186

P31116

Two non-joiningfragmentsof mouth, neck, and body. Max. dim.a) 0.144, b) 0.107. Mendedin antiquity(holeat rim of Athena'sshield). Athenastridingto left. Fragmenta shows the head and shoulders of the goddess with her rightarmraisedholdinga spear,hershieldheldout. In the field,a vine.AboveAthena, someof the tonguepatternoverlapped by her helmetcrest, and a little of the lotus-palmette chain withoutincisionon the neck. Fragmentb (not illustrated)gives some of the mouth and more of the ornamentalchain. Red: rim of shield; crest support;dot on garment;ring at junction of neckand shoulder.White:flesh;dotson border of garment. the Eucharides Painter [Bothmer]. Perhapsby Last quarterof the 6th centuryB.C.
STANDARD NECK-AMPHORAE

189-205

187 PI. 22

P4749 E-F 12-14 P 4823 No grid

189 PI. 23

P4750

E-F 12-14

Fournon-joining Max. dim. P 4749 a) 0.088, fragments. b) 0.09, c) 0.075, P 4823: 0.086. Streakywash on surface. Burned(clay is gray). P 4749 a preservessome of a woman'shead and face to right,and on the right,partof an inscription: OLT '[ Above,a bit of the tonguepatternat thejunctionof the neck and shoulder.P 4749 b (not illustrated)gives some of the showsmoreof woman'sskirt,and P 4749 c (not illustrated) the tonguepatternabovethe figurezone and the ring at the junctionof neck and shoulder.P 4823 preservespart of a chariot(headsand necksof pole horses;neck and mane of right-hand trace horse) to right. To left of the horses, the beginningof an a tree with fruit. Abovethe foreheads, inscription: o[ Red: fillet, dot on skirt;strip on each mane. White: flesh; fruit;dotson headstallof right-handpole horse.

Wall fragment, burned(clay is gray). Max. dim. 0.064. Horse(topof head,with forelock tiedin a topknot) to left. Above its mane, the tip of a spear, probablyheld by the rider, and at the lower left, a small bit of glaze that may belongto a figurestandingto right. Abovefigures,tongue pattern.Red:alternatetongues.
Ca. 540-530 B.C.

P9460 C 9:6 190 PI. 23 Shoulderfragment.Max. dim. 0.038. W. B. Dinsmoor, Hesperia,Suppl.V, Baltimore1941,p. 130, fig. 57:5;Bohr,
Schaukelmaler, pl. 145:e.

Man (head,shoulder)and woman Weddingprocession. At lower to the (face) right. right edge, the borderof his cloak and the necklineof her dress.To judge from where this fragmentcomesin the vase,the scenemay havebeen a weddedpair in a chariot.Red: man's hair; woman'sfillet White:wom(smallbit of redjust in frontof his forehead). an's face. The Swing Painter(ABV 310, 105).
Ca. 540 B.C.

NECK-AMPHORAE 191 Pl. 23 P8883 T 19:1

127

Wall fragmentnear shoulder.Max. dim. 0.054. Four women(the headsand shouldersof two, a bit of the to right;behindthem, the face neck of a third overlapping, of a fourth,who is not quite so tall as the othertwo, and her raisedright hand). The dilute glaze (veryfaint) in frontof the fourthwoman'sface may be a flower. Red: stripeson garments.White:flesh. The decorative character of the drawingis closeto that of some vases in the manner of the LysippidesPainter. Cf. Munich S.L. 458 (ABV 259, 18; CVA, Munich 7 [Germany32], pl. 359 [1573]);London,B.M. B 208 (ABV260, 29; Paralip. 114, 29); Florence3790 (ABV260, 30); Altenburg 216 (Paralip.116, 31 ter);Rimini (ABV 261, 36; Paralip. 115, 36). The close overlappingof the three figures suggestsa divine triad, perhapsone at a weddingor in a ceremonial procession.
Ca. 530-520
B.c.

pl. 383 [1801]:1);Munich 1557 by the Painterof Boulogne 441 (ABV 290, -, 3; CVA, Munich 8 [Germany37], pl. 395 [1813]:1). Last quarterof the 6th centuryB.C. 194 PI. 23 P 12994 R 16 Shoulderfragment.Max. dim. 0.04. Youth (head) with a veiled woman (head) on his left (being carried),both to right, perhaps in a chariot.The woman'shead is much smallerthan that of the youth. On the right and left, tonguepattern.White:woman'sflesh.
Ca. 520-510
B.C.

195 PI. 23

P3167

H 13

192 P1.23

P 19879 A 20

with ring atjunctionwith neck.Max. Shoulderfragment dim. 0.099. Triptolemos(wreathedhead),with stalksof wheat (most of one, the shaftof another)to right. Behindhim, a branch, probablyheld by Demeter or Persephone.Above, tongue pattern.Red:wreath;alternatetongues;ring. For Triptolemos,cf. particularly, C. Dugas, "Lamission de Triptoleme d'apres l'imagerie athenienne,"Melanges
d'archeologie et d'histoire 62, 1950, pp. 7-31, reprinted in

Wall fragmentfromnear shoulder.Max. dim.0.08. Weddedpairin chariot(withApollo).Two figures(some of garments; armsandhandsof the groomholdingthe reins) standin the box of a chariotto right.On the right,the head and shoulders of Apollo, strings and crosspieceof his kithara.Red:Apollo'swreath.White:dotson garments. The RycroftPainter(ABV 336, 7).
Ca. 510-500 B.C.

RecueilCh. Dugas, Paris 1960, pp. 123-139. Addto his list of black-figured exampleson pp. 23-24 (RecueilCh.Dugas, pp. 132-134) two more:Athens,N.M. 430 by the Beldam Painteror in his manner(ABV 587, -, 1) and Prague1867 by the EmporionPainter(ABV708, 19; Paralip.291, 19). An unbearded Triptolemosis frequentin redfigurebut rare in black. Compareone on a small neck-amphora by the EdinburghPainter (BeverlyHills, Prinzmetal,ex Hearst 9520: ABV 478, IV, 2; Paralip.217, IV, 2). 192 may be by this painter. Compare especially, London, B.M. B 170 (ABL, p. 220, no. 87; ABV 671) and Cleveland29.135 (CVA,Cleveland1 [USA 15], pl. 19 [699]). Recalls the black-figuredneck-amphorae by the KleophradesPainter(ARV2 194[a],2).
Ca. 500 B.C.

P 419 G 13:1 Shoulderfragment.Max. dim. 0.052. Chariot (heads of pole horses;mane and ear of righthand tracehorse)to right.The small bit of glaze abovethe ear of the tracehorseis the end of a handlepalmette.Red: mane. The RycroftPainter (cf. the comparisons given for 187 and 513.
Ca. 510-500
B.C.

196 PI. 23

193 P1.23

P 20018 C 17

Shoulderfragment.Max. dim. 0.058. Athena(left armholdinga spear;someof aegisandsleeve of chiton)to left. On the right, tracesof anotherpersonor object.White:flesh. That Athena holds the spear in her left hand suggests that she is an onlooker, perhapsat one of the laborsof Herakles. Compare,for example:Munich 1575 by the Lysippides Painter (ABV 256, 16; CVA, Munich 8 [Germany 37], pl. 364 [1782]:1); Munich 1562 attributed to the Mastos Painter by Kunze-Gotte(CVA, Munich 8 [Germany 37], pl. 376 [1794]:1);Munich 1560 by the Longnose Painter(ABV 327, 5; CVA, Munich 8 [Germany37],

P7446 D 12 Wall fragment.Max. dim. 0.056. Dionysos(head)to left. Above,partof a friezeof hanging lotus buds. Red: strip on beard;leaves of wreath. White: dotson necklineof chiton. The LeagrosGroup (ABV 368, 101;Paralip. 163, 242); Recallsthe AcheloosPainter(ABV 377, 242). The pattern above the figures was a frieze of hanging lotus buds below a tonguepattern,a combination of ornament favoredby the Affecterbut seldomseen elsewhereon neck-amphorae.Here are six examples, the first three earlierthan 197, the lastthreecontemporary: two by Exekias, Berlin 1720, lotus flowersalternatingwith lotus buds (ABV 143, 1;Paralip.59, 1) and Berlin1718 (ABV 144, 5); London, B.M. B 273 (CVA, London 4 [GB 5], pl. 67 [212]:3); two by the Antimenes Painter: Munich 1555 (ABV 271, 79; Paralip.118, 79; CVA,Munich8 [Germany 37], pl. 386 [1804]:1)and London,B.M. B 274 (ABV 272, 95); Munich 1481 (CVA,Munich 8 [Germany 37], pl. 424 [1842]:3).
Ca. 510-500 B.C.

197 PI. 23

P 16814 G 15:1 Two non-joining of shoulderand neck. Max. fragments dim. a) 0.068, b) 0.13.

198

128

CATALOGUE shoulder,tonguesand some of Athena'shelmetcrestoverlapping them. Athena moves to right. Red: alternate tongues applied directlyon the clay; ring. White: helmet crest;dotson helmet. Late 6th centuryB.C. P11071 D15:1 205 Shoulderfragment.Max. dim. 0.046. Woman(face,partof head,shoulder),probably a dancer to right with head turnedaround,arm outstretched. Red: dot on garment.White:flesh. headdress, Late 6th centuryB.C.
SMALL LATE NECK-AMPHORAE

a preserves the headandshoulders of Dionysos Fragment to rightlookingaround,partof his drinkinghorn,a vine in and on the far right, some of the forehead the background, b gives andwreathof a woman,perhapsAriadne.Fragment the top of the head of a figure to left, some of the tongue pattern on the shoulder, and part of the lotus-palmette chain (without incision) on the neck. Red: beard, fold of cloak,alternateleavesof wreath;alternatetongues;ring at junctionof neck and shoulder.White: dots on necklineof chiton;Ariadne'sface. Last quarterof the 6th centuryB.C. 199 P 17223 A-B 19-20:2 Shoulderfragment.Max. dim. 0.077. Horse (head, part of neck) to right, facing a woman (head,righthand)who holdsup a foldof her garment.Red: mane and forelock;top of woman'shead (fillet?). White: woman'sflesh. Late 6th centuryB.c. P 17801 J 18:4 (U) 200 P1.23 Wall fragment.Max. dim. 0.09. holdTwo males(nudelegs of one;drapedlegsof another some of ornament under a to left. On the the right, ing staff) the handle (tendril of palmette);below the figures, key patternto right, then a frieze of upright lotus buds. Red: stripeon garment. Late 6th centuryB.C. 201 P1.24 P 13764 V 24:2 (U) Wall fragment.Max. dim. 0.093. Man (from hips down) to left in a long chiton with a cloakoverit, holdinga staff.In frontof him, partof a figure to right.On the right,oneof (footandshin of male:dancer?) the palmettesof the handle ornament;below, part of the frieze of uprightlotus buds. Red: stripeson cloak.White: dot clusterson chiton. Late 6th centuryB.C. P 24036 K 13-16 202 P1.24 Shoulderfragment.Max. dim. 0.06. Man (bent right arm, shoulder,some of torso) clad in a chiton and cloak to right (in a chariot?playing the kithara?). On the left, part of the palmetteornamentunderthe handle.Red:dotson drapery.White:dot clusterson cloak. Late 6th centuryB.C. P 10782 No grid 203 P1.24 Wall fragment.Max. dim. 0.072. Komast (body, right arm, left hand) with barbiton,to right. Over his left shoulder,a short cloak. White: fillet roundneckand underright arm. Late 6th centuryB.C. 204 P 8538 D 7:2 of neckwith startof mouthand shoulder.P.H. Fragment 0.095. Ring at junctionof neckand shoulder. On neck, lotus-palmettechain without incision. On

206-225

P 25932 Q-T 20-22 Wall fragment.Max. dim. 0.036. Warriors(headof one to right in a low-crested Corinthian helmet, probablyin a chariot since his helmet crest at the right,someof the helmet overlapsthe tonguepattern; of another,ornamented with two plumes). Above,tongue pattern.Red: fillet on first helmet. White: feathers;crest supportof firsthelmet. For plumeson helmets,cf. M. B. Moore,AJA84, 1980, p. 428, note 89. Late 6th centuryB.C. 207 P1.24 P9276 M 17:4 Two non-joiningfragmentsof body with start of neck. Max. dim. a) 0.093, b) 0.106. Processionof deities. Fragmenta shows on the left a voluteof the handleornament,the head of Dionysos,then the head and shouldersof Leto and of Apollo holding a kithara,all to right.Facinghim is Artemis(face).Fragment b gives mostof Artemisand the head and neckof her deer standing between her and Apollo. Next comes Hermes to rightbut prob(fromthe waist down)with his kerykeion ably with head turnedaround.On the right, some of the handleornament(palmette,two lotuses).Abovethe heads of the deitieson a, tonguepattern.Red:hair,beard,wreath of Dionysos;filletsof goddesses; dotsandstripeson drapery; tongues of Hermes' boots. White: chitons of Dionysos, Apollo,and Hermes;rim of drinkinghorn,tops of armsof kithara;fleshof goddesses; stripon deer'sthroat. Late 6th or early 5th centuryB.C. P4691 E-F 12-14 208 P1.24 dim. Shoulderfragment.Max. 0.046. Glaze firedred. Peleus and Thetis (the heads and shouldersof each) wrestling. Above, tongue pattern. Red: fillets. White: Peleus'baldric. Thetis' flesh,dotson her drapery; Late 6th or early 5th centuryB.C. P 23200 H 12:15(POU) 209 P1.24 Preservedbut for a few chips. H. 0.268; diam. 0.165. H. A. Thompson,Hesperia23, 1954, p. 51, pl. 15:j. A, fight over fallen warrior.A warrior,wearinga short helmet,rushesin pleatedchiton,a corslet,and a Corinthian

206 P1.24

NECK-AMPHORAE fromthe left, holdingout his shield (device:circleand dot), who is dressed readyto thrustthe spear into his adversary similarlybut for the additionof greaves.The deviceon his shield is an anchor.Each has a scabbard suspendedfroma doublebaldricover his right shoulder.The fallen warrior, dressedas the first,sits on the ground,his spearin his right hand,his shield (device:tripod)held out. B, chariotwheeling around,drivenby a womanin a chitonand cloak;round chain without her head is a fillet. On neck, lotus-palmette incision.Abovethe figures,tongue pattern;below, upright then rays.Undereach lotusbudswith dotsin the interstices, handle, four palmettesand three lotuses with centraldot. Red:A, rimsof shieldsheldby 1 and 3, dotson garments.B, fillet, strips on manes. White: A, devicesof 1 and 3, segments of crests, baldrics,shield of 3, dot clusterson garments. B, flesh, dot clusters on garments;studs on headstalls, stockingsand blazesof horses. with the Mannerof the Red-linePainter(PaCompared
ralip. 302).

129

213 PI. 25

P 2568 G 6:3 (U) Rest. H. 0.263; diam. 0.17. Most of one Fragmentary. handle, fragmentsof body, all of foot restored.Chips on mouth.E. Vanderpool, Hesperia15, 1946, p. 310, no. 193, pls. 58, 59. A, Dionysosto left, lookingaround,betweensatyrsfacing inwards.In the field, a vine with grapes.B, threewarriors with spearsandshields(devices: femaleleg;leaf) to serpent; left. On the neck,three up-and-downpalmetteswith dots. Tongue patternon shoulderat junctionwith neck. Under of four palmettesand three each handle, a configuration lotuseswith dots.Belowthe figures,uprightlotusbudswith dots in the interstices. Above foot, rays. Red: beards; of satyron right;dotson garment forelock of Dionysos;dots on rims of shields;ring at junction;line at outer edge of mouth. White: fillets of satyrs;dot clusterson Dionysos' cloak;segmentsof helmetcrests;devices.
Ca. 500 B.C.

First quarterof the 5th centuryB.C. P 12382 G-H 11-12

210

Wall fragment.Max. dim. 0.085. Chariot(forelegs)to right.On the left side of the team,a and a fawn or largehound(legs,body).Befigure(drapery) low the figures, dot band. White: right-handpole horse; belly stripeof fawn or hound.
Early 5th century B.C.

P 4994 a, c-e E-F 12-14 (?) 211 Four non-joiningfragmentsof wall and shoulder.Max. dim. a) 0.133, c) 0.035, d) 0.042, e) 0.061. a gives A and B, chariotto right,with Hermes.Fragment the legs of the chariotteamand on the left, partof the wheel of the chariotand a male foot to right. In frontof the team, Hermes (part of cloak, most of right leg) moves to right, holdinghis kerykeion(part of its staff). In the field, a vine with grapes(endsof two bunches).Fragmentc showsmore of Hermes (headwith brimof petasos,lookingaround,and shoulders),part of his kerykeion,and more of the vine. Fragmentd comesfromthe other side of the vase and preservessomeof Hermes(cloak,partof body,a bit of the shaft of his kerykeion)to right, probablylookingaround,part of the vine, and on the left, the chests and lower necksof the two tracehorses.Fragmente showspartof the bodyandone hind foot of the right-handtrace horse. A small trace of glaze on the left just at the breakindicatesthe hind foot of anotherhorse. In the field, a vine with grapes.Red:stripes on drapery;beard. White: right-handpole horse;dots on drapery.
Early 5th century B.C.

P3566 E14:11 214 Three non-joining fragments. Max. dim. a) 0.075, b) 0.075, c) 0.053. Two fragmentsof wall, one (b) of shoulderand neckwith someof the handleattachment. A, Dionysosand maenador satyr. Fragmentb gives the and top of the god'sheadto rightwith partof his kantharos on the right, the top of the head of anotherfigure to left. Above,tongue pattern.On neck, up-and-downpalmettes. c givesthe legs and partof B, satyrsand maenad.Fragment the armof a satyrrunningto rightwith the drapery andfold of a maenad'sgarmentin front of him. Fragmenta preservesthe lower part of the secondsatyr runningto right, probablywith his head turned around,and, at the right, part of a large leaf under the handle. Below the scene, a broad black band. Red: wreath of Dionysos, forelockof figureopposite,tail; band on ridge at junctionof neckand shoulder,line aboveand belowblackband. The Light-makeClass [Bothmer].
Early 5th century B.C.

P 4994 b E-F 12-14 (?) 212 Wall fragment.Max. dim. 0.047. Chariot(forelegsof horses)to right preceded by Hermes (calf of leg). Red:tonguesof boots.White:one horse,probably the right-handpole horse.
Early 5th century B.C.

P 13013 V 24:2 (L) 215 P1.25 Preservedbut for foot, small piecesof body and mouth, all of one handle.P.H. 0.222;diam.0.15. Much of the glaze misfired.Some of it is abraded.T. L. Shear, Hesperia 8, 1939, p. 232, fig. 29. with chariotto right.A man clad in a long A, departure chiton with a nebris over it and a fillet round his head mountsthe chariot.On the left sideof the teamis a warrior to right, wearinga high-crested Corinthianhelmet,carrytwo a and Boeotian shield. He looks aroundat ing spears the charioteer. In frontof the teamis a dogto right,looking around.B, departure of warrior.The warriorstandsto left, armed with a Corinthianhelmet, greaves,a spear, and a roundshield (device:three balls), and accompanied by his dog. Facing him is a woman wearing a chiton and cloak, andbehindhim, an old manin a chitonandcloak,holdinga the warrior'sparents.Roundthe headof staff, presumably each parent is a fillet. On the neck, three up-and-down

130

CATALOGUE to right,holdinga drinkinghorn.Behindhim, the headof a crouchingsatyr, or perhapsa satyr-headed goat, and between him and the god, a vine with fruit.Of the mule only maenad's headandraisedleft arm,moreof the vine,someof the tongue pattern above the figures, and one inverted palmetteof the handle ornament.Red: (a) forelocksand beards, stripes on cloak; (b) maenad'sfillet. White: (a) Dionysos' chiton and dot clusters on drapery;drinking flesh. horn;(b) maenad's Late 6th or early 5th centuryB.c. P 17060 L-M 17-18:1 219 P1.26 Shoulder fragment with figured decorationon white ground.Max. dim. 0.056. Satyr (frontalhead, shoulders)to right with lyre (sound box, one arm). Grapes and leaves in background. Above, someof tonguepattern.Red:forelock, beard.
Late 6th or early 5th century B.C. 220 P 9264 R 25 its croup and a bit of its mane remain. Fragment b shows the

palmettes.Tongue pattern on shoulder at junction with neck.At each handle,a configuration of fourpalmettesand threelotuses,with a centraldot. Below the figures,upright lotusbuds,then rays.Red:A, filletof charioteer; manesand tails, breast band; collar of dog; B, fillets, stripes on garments,rim of shield,collarof dog, beardof man;ring at junction of shoulder and neck; lines on inner and outer edgesof lip; filletbetweenbodyandfoot.White:A, chitonof charioteer,segmentsof crest, dots on borderof warrior's chiton and on rim of shield, right-hand pole horse; B, woman'sflesh; dots on crest supportof warrior'shelmet, shielddevice;hair of father,dot clusterson his chiton. Painter[Beazley: notin ABVor Paralip.] The Edinburgh
Ca. 500 B.c.

P 24645 Q 12:3 216 PI. 25 of wall. Max. dim.a) 0.076, Four non-joining fragments b) 0.088, c) 0.047, d) 0.04. Burnedon outside(gray). A, Athenaand Kerberos (illustrated).Fragmentb shows Athena(long hair, backof head,part of body)with a spear overher shoulderstridingto righton the left side of Kerberos (hindquarters and tail). Above,tongue pattern;at the a preserves left, partof handlepalmette.B, fight.Fragment two warriors (upper part of each) to right, the first in a helmetcrouching,the secondin a corsletand high-crested low-crested Corinthianhelmet,chitonand cloak,thrusting downwards with his spear;the edgeof his shieldappearsat the right of his head.The red objectbehindhim is a falling fold of his cloak.Above,tongue pattern(ends of tongues). Fragmentc shows part of the shaft of a spear held horiby the warrioron a, a lotus bud and zontally,presumably below the handle. some of a tendrilfromthe configuration Fragmentd gives moretendrilsand a centraldot. The conwas probably similarto thaton 213. Red:(a) segfiguration mentsof helmetcrests,rimsof shields,dotclusterson corslet of 2; (b) fillet and crest of Athena,lappet on her garment, dotclusterson it;stripson maneof Kerberos. White:fleshof Athena;dots surrounding lappet. For the subject,cf. 102. Ca. 500 B.C.
217 P 3300 F 12:7

Shoulder fragment with handle root at right. Max. dim. 0.06.

Maenad (head, hair tied up with a fillet, shoulders)to left. In the field, a branch.Above,tonguepattern.White:
flesh; fillet.

Late 6th or early 5th centuryB.C. 221

P20393 A 18-19:1 Wall fragment from near shoulder. Max. dim. 0.042.

Glaze firedred. Youthfulcharioteer(head with long hair tied up with a too high to be his. On the right,at the break,a small bit of glazethatmay be partof a figurestandingon the left sideof the team.The youthappearsat the left of the composition, for above his head is the end of the tongue patternon the
shoulder. Late 6th or early 5th century B.C. fillet) to right overlapped by the shaft of a spear that is held

222

P 2788

G 6:3 (U)

Shoulder fragment. Max. dim. 0.077. Handle attachmentaboveat right. Hermes(headwith petasos,shoulder,partof drapery)to right, lookingaround.Behindhim, under handle,a small beardedfigure,probablyseated.In the field, branches.On the shoulder,tonguepattern.Red: beard,stripeson cloak; fillet on figure under handle. White: chiton of Hermes; crownof petasos;chitonof figureunderhandle.
Late 6th or early 5th century B.C.

Shoulder fragment. Max. dim. 0.055. E. Vanderpool,

Hesperia15, 1946, p. 314, no. 216, pl. 62.

Man (most of head) to right. In the field, branches with fruit. Above, tongue pattern. White: fillet; fruit. Late 6th or early 5th century B.C. 223 P1. 26 P 15920 F 19:5

P9267 M 17:4 218 PI. 25 of wall. Max. dim. a) 0.057, Two non-joining fragments
b) 0.05. Dionysos on a mule with satyr and maenad. Fragment a

the headandbodyof Dionysossittingon the mule preserves

Three non-joining fragments. Max. dim. a) 0.13, b) 0.053, c) 0.047. From wall with start of one handle. Fragment a (illustrated), starting at the handle, shows a goddess mounting a chariot (the goddess, chariot, tails and hind legs of the team remain) accompanied by a draped woman on foot to left. On the left of the handle, Dionysos (back of head, left hand holding his drinking horn, left leg and foot) to right looking around. Below the figures, part of the frieze of up-and-down palmettes linked by volutes.

PANATHENAIC AMPHORAE Fragmentb comesfromthe otherside of the vase and shows the left arm and shoulderof a maenad,with a vine in the Fragmentc gives more of the palmettefrieze background. and the tips of the rays above the foot. Red: wreath and White:flesh of women;right-handpole pupil of charioteer. horse;dots on draperyof Dionysos,rim of his horn;spirals connecting palmettes. The ornamentbelow the figures is difficultto parallel. Encircledpalmettesto left occuron Munich 1587 (J.360), and invertedpalmetteswith links may be seen on London, B.M. B 294 (CVA, London4 [GB 5], pl. 71 [216]:3).The patternappearson the shoulderof a late 6th-centuryneckamphorafromGela that is blackbut for the lotus-palmette configurationon the neck and the rays above the foot (MonAnt 17, 1906, p. 467, fig. 332). The tendrilsof these threeexamplesare black,not white as 223. Late 6th or early 5th centuryB.C.

131

224 P4953 E-F 12-14 Two non-joining fragments from near the shoulder. Max. dim. a) 0.079, b) 0.044. Glaze wash on surface. a givespartof the head Dionysosand Ariadne.Fragment and body of Dionysos to right holding a drinking horn. Aboveon the left, startof handleroot.Fragment b showsthe of Ariadne to In the branches. Red: field, upper part right. flesh. Dionysos'chiton;dotson his cloak.White:Ariadne's
Early 5th century B.C.

225 P 14809 022:1 Wall fragment.Max. dim. 0.041. Hermes (face, shoulder,left hand holdingkerykeion)to right facinga woman (righthand holdinga staff or spear), probably Athena. Red: beard; stripe on cloak. White: Athena'sflesh. Late 6th or early 5th centuryB.C.

PANATHENAIC AMPHORAE 226-338 Pls. 26-34

PRIZE VASES 226-318

226 P1.26

P 10204 G-H 10-11

Wall fragment.Max. dim. 0.08. Thin wash on outside. Frel, PPA, p. 7, fig. 5. Athena (rim of shield)to left. On the left:

]'E roj-

tr.

in two lines, stoichedon, retrograde. Some signed strays (ABV 347). Frel (PPA, pp. 10-11) has shown that this fragment is by Hypereides, son of Androgenes,who signed the fragmentary prize vase found in the Kerameikos,PA 443, which preservesthe potter's name, his patronymic,and most of the prize inscription. Addto this the fragmentfoundin 1885on the Akropolis and sold in 1892 with the van BranteghemCollection(Vases peints et terres cuites antiques, Paris 1892, p. 3, no. 2). Bothmer has rediscoveredthis fragment in the Villa Beaulieu-sur-Mer.For 226 as a prize Grecque"Kerylos", vase, cf. also, Brandt,ActaNorvegiae8, 1978, p. 3, no. 4.
Ca. 560 B.C.

preservethe cornersof panels. Fragmenti is part of one handleand h a small fragmentof the echinusfoot. a + b preserves someof the toesof Athena'sleft Fragment foot and part of her skirt,and fragmentc givesthe headsof two snakes of her aegis. Below the panel, two bands that continueround the vase. Red: Athena'sskirt; ring; bands below panel;line at edgeof foot. The amount of space in front of Athena on fragment a + b suggests that she was not placed between columns. The largesize of the vaseindicates that it was surelya prize reachedindependently vase,a conclusion by J. Brandt(Acta no. 8, 1978, 4, 16). Norvegiae p.
Ca. 560 B.C.

P 13249 H-J 8-10 Thirteennon-joining fragments.Max. dim. a + b) 0.141, c) 0.048, d) 0.295, e) 0.078, f) 0.061, g) 0.171, h) 0.051, i) 0.082,j) 0.146, k) 0.105,1) 0.10, m) 0.056, n) 0.036. Fragmentsd-g and i-n are wall fragments withoutfigureddecoration. Fragmentg comes from the shoulderand preserves partof the ring at thejunctionwith the neck.Fragments d-f

227

P 2071 H 8-10 P4340 E14:11 P 4340: fragmentof mouthand neckwith part of ring at junction of neck and shoulder.Max. dim. P 4340: 0.114; diam. 0.155. Est. diam. of body 0.48; est. H. of panel on B 0.212. Top of mouth glazed. P 2071 preserves10 nonjoining wall fragments. Max. dim. a) 0.183, b) 0.14, c) 0.075, d) 0.027, e) 0.109, f) 0.195, h) 0.011, i) 0.095, j) 0.047, k) 0.115. Some of the glaze is mottleda reddish brown. E. Vanderpool,Hesperia 15, 1946, pp. 120-122, pls. 13, 14:1 (P 2071 includingP 2071 g, which has been from228: cf. 323). separated P 4340 gives the lotus-palmette cross on the neck (preservedbut for one palmetteand part of one lotus). Tongue pattern on shoulder at junction with neck. P 2071: A, Athenato left. Fragment a showsthe lowerpartof her face,

228 Pls. 26, 27

132

CATALOGUE overher peplos.For the lotus-palmette crosson the neckof a Panathenaic,cf. Halle, inv. no. 560 and New York, M.M.A. 1978.11.13.Of the two, the ornament on the New Yorkvase is closerto that on 228 than to the other,for each palmettehas a largeheartand the lotusesretainthe central sepal. Other detailsconnect228 with Lydos.Comparethe faceof thejavelinthrowerandthe stipplingof the pubichair andtesticleof the discusthrowerwith the figureof Tityoson Akropolis631 c (ABV 108, 6; Paralip. 44, 6; Tiverios, pl. 77:./). But the drawingon 228 seems to be by another. For the pentathlon, cf. N. Gardiner, Athletics of theAncient World, Oxford 1955, pp. 177-180; Douskou, op. cit., p. 214.
Ca. 560-550
B.C.

her bodydown to the buttocks, part of her rightarm raised, holdingher spear (its point and part of the shaft appearon the left), and almost half of her shield (device:star). She wears a peplos and the aegis, the snake heads seen from above.Fragmentb givesthe lowerpartof her peplosand, at the top of the fragment,the lower borderof her ependytes. At the bottomof the fragment,part of each foot. P 2071: B, pentathlonof men. Fragmente shows the head, shoulders, i, chest,and armsof a javelinthrowerto right,and fragment which comes from the lower left cornerof the panel, preserveshis right heel. Fragment fgives partsof two athletes: most of a discusthrower,lookingaround(his hair appears betweenhis chestand the discus),and partof a jumperwith halteres.The small bit of glazejust to the left of the discus thrower'sbuttocksrepresentsthe thumb of his right hand (his right arm was bent sharply). Fragmenth comesfrom the lower part of the panel and shows the toes of the discus thrower'sfoot;the small bit of glaze to the left at the break may be the heel of this foot, or more likely, since the scale would be too large,partof the left foot of thejavelinthrower. Fragmentc preserves someof the right edgeof the panel and shows two long thin objects:the ends of two javelins heldby an athleteor the wandsof a trainerto left. Fragment of the glaze, belongs j, to judge by the mottledappearance near fragments f and c, and may representthe forearmof this traineror athlete.The smallbit of glaze in the lowerleft at the break is the continuationof the javelins or wand. a Fragmentd (not illustrated),the smallestof all, preserves little bit of glaze at the upper right, perhapssome of the is shaftof thejavelinon the left. Fragmentk (notillustrated) and comesfromthe lowerpartof the paneland undecorated wall on Side A. Red: Athena'sependytes;petals on shield device;hair and beardsof athletes;line framingpanel on B; alternatetongues;cuffs of lotuses;heartsof palmettes; ring at junctionof neck and shoulder;lines on inside of mouth, one on top at outer edge. White: Athena'sflesh;points on device;alternatedotson rim of shield. Bothmer saw that P 4340 was from the same vase as P 2071. As suggestedby Beazley(Development, p. 90), this size its and by the is surelya prizevaseas indicated by large on which is known other the on reverse, only prize subject Panathenaics, e.g., the two by the EuphiletosPainter:London, B.M. B 134 (ABV 322, 1; Paralip. 142, 1; Athleticsin Ancient Greece, I. Douskou, ed., Athens 1976, p. 215, fig. 119) and Leyden PC 8 (ABV 322, 2; Paralip. 142, 2; CVA, Leiden 1 [Netherlands3], pls. 44, 45 [138, 139]), which show the samethreeeventsas 228. 228 belongswith the other very early Panathenaics:London, B.M. B 130 (ABV 89, 1; Paralip.33, 1); Halle, inv. no. 560 (ABV 120, -, 1); New York,M.M.A. 1978.11.13signedby the potter Nikias (NotableAquisitions,1975-1979, p. 14). On eachof these,the figureof Athenais rathershortand sturdylooking with bothfeet flat on the ground,and thereare no columns. For the type of overfoldon Athena'speplos,unusualat this time, cf. London, B.M. B 130, Halle, inv. no. 560 and 917 (Graef,pl. 60). 228 is the earliestexampleon Akropolis a Panathenaicamphoraof Athena wearing an ependytes

P 20112 D17:9 229 Wall fragment.Max. dim. 0.057. of drapery) to left. White:foot; Athena(foot,lowerborder border.
Ca. 550
B.C.

P 13338 H 10 230 Wall fragment.Max. dim. 0.091. Wrestleror runner (calf, part of foot) to left. Red: two bandsbelowpanel that continued roundthe vase.
Ca. 550 B.C.

P9529 N18:5 231 PI. 27 Threenon-joining of wall. Max. dim.a) 0.124, fragments 0.078. a with of some the b) 0.09, c) ring at juncFragment tion of neck and shoulder. E. Vanderpool,Hesperia 15, 1946, pp. 122-123, no. 2, pl. 14:2,3. A, Athenato left. Fragmentc gives part of her left foot and the borderof her garment.B, runners.Fragmenta (ilcomesfromthe upperleft cornerof the paneland lustrated) showsthe headandthe fingersof the left handof a runnerto right. Fragmentb preservesparts of two runners:some of the torso and thigh of one; the right hand and part of the torso of the second.Red: hair and beard of runner;ring; verticalline framingpanel;bandbelowpanelthatcontinued roundthe vase.White:fleshof Athena. Athena'sfootwas flat on the ground.For others,cf. 228. The Painterof LouvreF 51 (ABV 314, 5).
Ca. 550 B.C.

P 13847 U 25:2 (L) 232 P1.27 Wall fragment, burned(gray).Max. dim. 0.046. Athena(partof aegis with two snakes;cornerof overfold of peplos)to left. Red:dotson scalesof aegis.
Ca. 550-540 B.C. 233

P 27080 N 10:1

Wall fragment.Max. dim. 0.052. Athena(lowerpartof skirt?). Third quarterof the 6th centuryB.C.

PANATHENAIC AMPHORAE P 24781 Q17 234 PI. 27 Wall fragment.Max. dim. 0.071. J. Brandt,ActaNorvegiae 8, 1978, pi. 12:a. Athena (skirt of peplos;snake of aegis; rim of shield) to left. Red:rim. White:dotson borderof overfold. Third quarterof the 6th centuryB.C. P 13846 U 25:2 (L) 235 PI. 27 0.035. dim. Max. Wall fragment. Athena(snakesof aegis) to left. Red:tongueof snake. Ca. 530 B.C. P3083 I16 236 Wall fragmentfrom upper cornerof panel. Max. dim. 0.066. Cock (part of neck, wattles and comb, tail) to right. Above,tonguepattern.Red:comb,wattles,sicklefeather.
Ca. 530-520
B.C.

133

P3858 G11:5 240 Wall fragment.Max. dim. 0.05. J. Brandt,Acta Norvegiae 8, 1978, pl. 12:b. Athena (most of face and neck;cornerof cheekpieceof someof shield;shaftof spear)to helmet;borderof garment; left. Red:dots on shield rim. White:Athena'sflesh;dot rosettes on rim of shield;device (handleof tripod or tail of feline?).
Ca. 510
B.C.

241 Wall fragment.Max. dim. 0.104. to left. Athena(drapery)

Late 6th century B.C.

P 27081 N 10:1

P 19999 D 17 237 PI. 27 Wall fragment.Max. dim. 0.046. J. Brandt,ActaNorvegiae 8, 1978, pl. 12:c. Part of rim of Athena's shield and on the left, some of the column shaft. Between the two, the start of the prize inscription:

P 27074 No grid 242 Wall fragment.Max. dim. 0.085. someof backof one leaningto right). Wrestlers(buttocks, On the left, part of anotherfigure,probablya spectatoror trainer. The composition may havebeen similarto the one on the reverseof the namepieceof the Painter of Boulogne441
(ABV 290, -, 1), which shows wrestlers between a trainer,

rightand left.
Late 6th century B.C.

ror
Red:rim of shield.
Ca. 530-510
B.C.

P20111 D17:9 243 Max. dim. red on inside. with thin Wall fragment glaze
0.072.

238 PI. 28 Wall fragment.Max. dim. 0.054. Part of prize inscription:

]h-

P 19585 A 18-19:1

Athena (lower part of skirt, with crenellatedborder). dotson garment. White:border;

Late 6th century B.C.

Secondhalf of the 6th centuryB.C.

P 20236 No grid 239 P1.28 Two non-joiningwall fragments.Max. dim. a) 0.071, b) 0.064. ]A< someof Athenato left:partof neck, Fragmenta preserves The fragmentcomesfromabovethe maximumdiameter one long lock of hair, part of the aegis and the rim of her that is preshield. Fragmentb gives more of the shield:device,an owl of the vase.Therefore,the partof the inscription near the rim of comes on a tendril. Red: served neck and beginning. (head missing) perched dotson Late 6th century B.C. shield;necklineof chiton.White:flesh;shielddevice; edgeof aegis. P 18349 C 19 The owl shield deviceappearson two prize-Panathenaic 245 brown wash on inside.Max. with Painter: Wall streaky fragment amphoraeattributedby Bothmerto the Michigan dim. 0.067. once Havana, Lagunillas (Revista del Instituto Nacional de Part of prize inscription: Cultura 1, 1956, p. 12; AAA 2, 1969, p. 384, fig. 5) and Munich 1454 (J. Brandt,ActaNorvegiae8, 1978, pl. 8:a); ]ENEO[ also Vatican374, where Side B is by the MichiganPainter, Late 6th or early 5th centuryB.C. but Side A is by another (ABV 344; Paralip. 156, 7 bis). 239 is closest in its details to the Lagunillasvase. Perhapsthe P 13766 V 24:2 (L) 246 P1.28 unattributed fragmentAkropolis927 (Graef,pl. 57), which fromlowerleft cornerof panel.Max. dim. Wall fragment also has the owl as shielddevice,belongshere. 0.234. Dull glaze. Someof it misfiredbelow panel. Ca. 510 B.C.

P774 F 17 244 Wall fragment with dull glaze on inside. Max. dim. 0.051. On the left, a small bit of the columnshaft.On the right, part of the prize inscription:

134

CATALOGUE 252 PI. 28 P 18628 D 17:7 Wall fragment.Max. dim. 0.21. Athena(upperparts)to left, shieldheldout, spearpoised. On the right and left, Doric column (upper part of shaft, neckingrings, and capitalof one on right;part of abacusof other)surmounted by a cock(breastof each;one leg andfeet of one on right). Red: dots on chitonand on rim of shield. White: Athena'sflesh; dot clusterson her chiton;dots on borderof aegis. The BerlinPainter(ABV 408, 9).
Ca. 480 B.C.

Chariot(wheel,mostof box, partof rail with the loop for the traceline;the endsof two tails) to right. Red:line below panelthat continuedroundthe vase. Late 6th or early 5th centuryB.C. 247 P 7218 I 6 Wall fragment.Max. dim. 0.058. Thin glaze and wash on inside. Athena (lower part of face, neck and shoulder,rim of shield;shaftof spear)to left. White:flesh.
Ca. 500-480 B.C.

P 26073 J-L 15-19 Wall fragment.Max. dim. 0.075. Cock (all but breastand legs) to right mountedon a column capital.On the left, edge of panel;above,tonguepattern. Red:comb,wattle,tail feathers. First quarterof the 5th centuryB.C. P 4578 G 13 249 PI. 28 Wall fragmentfromupperrightpartof panel. Max. dim. 0.055. Cock (part of body, legs, tail) to left on a Doric column (capital).On the right,edge of panel. Red:dotson feathers, sicklefeather. For the wavy line incisedon the abacusbeneaththe cock's feet, cf. New York, M.M.A. 56.171.3 by the Eucharides Painter(ABV 395, 3; Paralip. 173, 3) and Munich,inv. no. 8746, which may be by him or near him (ABV 397); also three by the Berlin Painter:252 (PI. 28); Hanover,N.H., DartmouthCollege(Paralip.177, 2 ter);Vatican375 (ABV 408, 3). The drawingon 249 seems hastier than on these and is probablyby anotherhand. First quarterof the 5th centuryB.C. P 19482 D 17 250 P1.28 Wall fragment,burned(gray).Max. dim. 0.072. Athena(neck,one long lockof hair, some of chiton,aegis and shield) to left. The aegis is worn diagonally.Red:dots on rim of shield.White:flesh;dotson edgeof aegis. Comparewith the manner of the KleophradesPainter
(Paralip. 176, -). Ca. 500-480 B.C.

248 PI. 28

253

P 4303 C-G 13-16

Wall fragment.Max. dim. 0.111. Some of the glaze is abraded. Footrace(waist,buttocks, left thigh thighsof one runner; and genitalsof another)to left. secondquarterof the 5th centuryB.C. Probably 254 P1.29 P 25601 A-D 14-17 Wall fragment with dull blackglazeon inside.Max. dim. 0.117. Athena (head, part of helmet with ends of crest, shoulders,someof raisedrightarm,aegiswith snake)to left, with spear (shaft).In the upperleft at the break,lines indicating the tonguepattern.Red:leaveson helmet;dotson borderof aegis; dots on sleeve. White: flesh; dots edging borderof aegis;dot clusterson chiton. Perhaps by the Achilles Painter. Compare especially Naples RC 184 (ABV 409, 3); also Bologna 11 and 12 (ABV 409, 1 and 2) for details of the helmet,particularly the end of the cresthangingdown in front,a raredetail. Third quarterof the 5th centuryB.C. 255 P1.29 P47 H 5-6 Wall fragment,thinly glazed on the inside. Max. dim. 0.065. Runners(arm of one, slightly raisedand bent at the elbow; outstretched right hand of another;parts of torsosof each)to right. The AchillesPainter[Bothmer].
Ca. 450 B.C.

256 PI. 29

P 10007 B 13:5

P4815 F 12 251 PI. 28 Wall fragment.Max. dim. 0.093. Burned (some of the clay is gray). On the left, the glaze misfiredreddishbrown. A. Ashmead,Hesperia35, 1966, p. 34, no. 7, pl. 8. The fragmentpreserves a portionof Athena'sshield and its device (Pegasos:end of wing, hindquarters, tail). Red: circleson rim. White:Pegasos. Goes with other Panathenaic amphoraewhich belongto the samegroupas thoseby the Kleophrades Painterandone verycloseto him (ABV 406, 6); may be by the painterhimself (Paralip. 176, 6). Ca. 500-480 B.C.

Most of bodypreserved. P.H. 0.50; diam.0.042. Mouth, neck, shoulder,handles,and foot missing,restoredin plaster. E. Vanderpool, Hesperia 15, 1946, pp. 123-124, tothek37, 1981, p. 44, fig. 15. A, Athena (some of aegis, most of skirt, feet) stridingto left holdingout her shield(device: Nike flyingto left holding a wreath).On the left and right,a columnsurmounted by a cock(capitaland cockof one on left;someof shaft and cock of one on right). Next to the capital,the first letter of the prizeinscription: p
pls. 15, 16:1 and 3; Meddelelser fra Ny Carlsberg Glyp-

PANATHENAIC AMPHORAE B, chariot(hands,some of face and bodyof charioteer; part of chariotwheel and rail; some of the tails and backsof the horses;part of the yoke, end of the chariotpole, reins, and pole stay) to right.Above,someof the tonguepattern.At the verybottom,rays. Red:hair of Nike, her wreath;combsand wattles;dotson rim of shield;bordersof Athena'sgarments; belt and shoulder,outline of his chiton.White: charioteer's Athena'sflesh (that of left foot applieddirectlyon the clay with only a glaze outline); Nike; charioteer'schiton (outlined in red beforeapplied). The RobinsonGroup (ABV 410, 1). Secondhalf of the 5th centuryB.C. P454 F-G 16 257 PI. 29 Wall fragment.Max. dim. 0.06. Thinly glazedon inside at loweredge. Capital of Doric column surmountedby a cock (all but head)to right. Red:stripon wing bow; sicklefeather. Perhaps by a painter of the Robinson Group. Cf. especiallytwo in Baltimore(ABV 410, 2 and 3). Secondhalf of the 5th centuryB.C. 258 P1.30 P2989 R 13 Wall fragment.Max. dim. 0.055. Athena(face and neck)to left with spearand shield(part of each). The silhouettewas not applied in full to the area outlined, but the added white no doubt went to the glaze outlinesketch.White:face;dotson borderof chiton. Secondhalf of the 5th centuryB.C. P20110 D17:9 Max. dim. 0.102. with Neck Fragment. ring at junction with shoulderand a bit of the shoulder.At the verytop, start of mouth. On the far right, part of handle root. Reddish wash on ground. On neck, lotus-palmettechain without incision. Below, partof tonguepattern. The KubanGroup. Comparethe ornamenton the necks of Leningrad,inv. no. 17553 (ABV 411, 2); London,B.M. B 606 (ABV 411, 3), and London,B.M. B 605 (ABV411, 4).
Late 5th century B.C.

135

Athena(headwith cheekpieces of helmetturnedup; part of crestsupport)to left. Above,tonguepattern.White:flesh; cheekpieces. For detailsof Athena'shelmet,cf. London,B.M. 1903.217.1 by a painterof the KubanGroup(ABV 411, 1); also a fragment from the Pnyx, P 492 (Hesperia, Suppl. X, Princeton1956, p. 13, no. 6, pl. 1) attributed by Talcottand to the Kuban Philippaki Group.
Late 5th century B.C.

P 27371 I 13 262 Shoulderfragment. Max. dim.0.13. Dull brownishwash on inside. Sprinter(head, shoulders,raised right arm) to left. On the left and right,tracesof white.
Late 5th century B.C.

P 24750 P 16 263 Wall fragmentglazedon inside.Max. dim. 0.125. Runner(boththighs,calfof left leg) to right.On the right, goal post or turningpost for the diaulos.White:post.
5th century B.C.

259 PI. 30

264 P1.30 P 19215 D 19:1 Wall fragment.Max. dim. 0.09. or boxers(kneeandshankof one to right;torso, Wrestlers upperpartof rightarm,thighsof fallingopponent). The compositionmay have been somethinglike Leningrad,inv. no. 17553by a painterof the KubanGroup(ABV 411,2), only reversed. Here, oneboxerhas fallenbackwards and raises one arm but not so high as on 264, and his attacker is closerto him than on 264.
5th century B.C.?

P66 H6 Wall fragment.Max. dim. 0.068. On the left, partof the sideof the panelandthe line framing it, then some of the shaft of the column.On the right, partof the prize inscription:

265

]NAOH,
Late 5th or early4th centuryB.C. 266 PI. 30 P 19079 C-F 15-19 Wall fragment.Max. dim. 0.081. Athena (hand gripping shaft of spear) to left. On the right,mostof a cockto left (on top of column,now missing). Red:wattles;markings on cock.White:hand. Late 5th or early4th centuryB.C. 267 P 20379 N-Q 12-14 Two non-joiningwall fragments. Max. dim. a) 0.11, b) 0.127. Some of the glaze is abraded,especiallyon fragmenta. Boxers.Fragmentb showsone boxer(head,chest,raised left arm) to right. right hand, upper part of outstretched

260 P 5224 a N10:1 Wall fragment.Max. dim. 0.094. Athena(someof shield)to left. The shielddeviceis probably a thunderboltor a bull's head caboshed.On the left, someof the columnand the legs of the cocksurmounting it. Betweenthe two, the firstletterof the prize inscription:

Tf
White:dotson rim of shield;device. The KubanGroup.
Late 5th century B.C.

261 P1.30 P 19481 C 17 Wall fragmentglazedon inside. Max. dim. 0.052.

136

CATALOGUE hands.The small bit of glaze at the bottomof v is probably on the heel of this runner.White:Athena'sflesh;decoration her garment.
380/79 B.C.

Above, line framing panel. Fragmenta preservesanother boxer (side of neck, left shoulder,left arm with thongs)to left. On the right,edgeof panel with framingline. Late 5th or early4th centuryB.C. 268 P 4304 C-G 12-16

272

P 14626 E 2:3

Wall fragment.Max. dim. 0.06. Athlete(torso;right arm) to right. la 11 by the For a small figure in the panel, cf. Bologr AchillesPainter(ABV 409, 1). 268 seemslaterthan this. Late 5th or early 4th centuryB.C. P2 7794 G 16 269 Wall fragment.Max. dim. 0.091. Reddishwash on inside. G. Lalonde,Hesperia37, 1968, p. 129, pl 37:a. anda) derand Boxeror wrestler(head,someof right shoulh arm) to left. Late 5th or early 4th centuryB.C. P 127 H 6 270 Wall fragment.Max. dim. 0.069. iot team galHorses (foreparts),probablypart of a char lopingto right. Late 5th or early 4th centuryB.C. P 27556 H 15 271 PI. 30 More than 60 non-joiningfragmentsof wall. Mouth, handles,and foot missing. Twenty-six fragmentspreserve part of the figureddecorationfrom both sides of the vase. Max. dim. a) 0.256, b) 0.187, c) 0.127, d) 0.044, e) 0.026, f) 0.057, g) 0.057, h) 0.026, i) 0.03, j) 0.038, k) 0.04, 1) 0.032, m) 0.036, n) 0.047, o) 0.045, p) 0.025, q) 0.049, r) 0.029, s) 0.028, t) 0.025, u) 0.305, v) 0.049, w) 0.081, x) 0.057, y) 0.021, z) 0.032. a-t give partof the obverse: A, Athena,to left. Fragments i shows the lower part of Athena'sface and someof the rim of her shield;e and t give moreof its rim anda bit of drapery; k showsthe raised d,f-h,j, andI are alsodraperyfragments; someof the a (illustrated)preserves forearmof the goddess; lowerpart of her garmentand partof each footand also the lowerpartof the columnshafton the right;b givesthe lower part of the columnon the left, c is some of the statue surpart of a branchheld out mountingit, and m may represent the on on column the the right;n is part of a colfigure by umn shaft. Fragmentr gives the initial letter of the prize inscription:

Five non-joiningwall fragments.Max. dim. a) 0.045, b) 0.062, c) 0.04, d) 0.095, e) 0.053. Nine other unlettered fragmentsbelong but do not preserveany of the figured decoration.Mended in antiquity (holes for lead on fragmenta). A, Athena. Fragment a preserves the lower part of Athenastridingto left and mostof the columnon the right. On the far rightof the fragment, someof the reversepanel, b and c to right. Fragments with part of a figure(drapery?) show more of Athena's drapery. B, trainer and athlete. partof a drapedfigurewith a staffto Fragmentd preserves right, probablythe same figure as the one on fragmenta. Fragmente gives someof the torsoand arm of an athleteto left. White:dotsand fringeon Athena'schiton. Secondquarterof the 4th centuryB.C. P113 H7 273 P1.30 Wall fragment.Max. dim. 0.046. Column (part of shaft). On the left, part of the archon inscription: 371/0 B.C. probably0PA]UIK[AEIAH?APXfNN: For another Panathenaicamphora inscribedwith the name of this archon,cf. Alexandria18239 (Beazley,AJA 47, 1943, p. 455). Other possibilitiesare KTH]IK[AHE.:
334/3 B.C.or AN]TIK[AHZ 325/4 B.C.but neither seems to

Panathenaic. occuron a preserved

371/0 B.C.

274 Pl. 31

P3782

F 1:2

Wall fragment.Max. dim. 0.048. Part of shaft of left column. On the right, some of the prize inscription:
I,t Nw [

On the left, partof anotherinscription:

]
Since the prize inscriptionappearsbetweenAthenaand mustbe the shaftof the column,the columnon this fragment is verylikely part the one on the left. The secondinscription or the last letterof Bakchios of a pottingsignature, probably known Kittos,the onlytwo namesof pottersof Panathenaics in the 4th centuryB.C.To judge from the positionof this fragmentin the wall of the vase and the amountof space estimatedbetweenit and the beginningof the columncapital beneathwhichthe inscriptions began,the nameof either potterwouldfit in this space.For thesetwo names,cf. ABV 413 and Beazley, AJA 47, 1943, pp. 455-457. On vases, their names are known for certainon three Panathenaics.

Tr
Fragmentso-q (illustrated)preservesome of the archon's name, which was written to the left of the columnon the f E[ right: rl B, boy runners.Fragmentu (illustrated)preservespartsof the legs of threerunnersto left;x givesthe headand someof the rightarmof one;w is one armof another; v, y, andz are

PANATHENAIC AMPHORAE On each of these, the potting signatureappears alongside one of the columns.On London, B.M. B 604 (ABV 413), the signature of Kittos beside the column on the right balancesthe prize inscriptionnext to the one on the left. This vase is unusualfor not bearingthe nameof the archon and may have been a competitionsample (Development, PA 157 (ABV413, 1; p. 97). One by Bakchios,Kerameikos Frel, PPA, p. 20, fig. 19) preservesonly the potter'ssignature along the right side of the columnon the left. No inscriptionappearsalong the left side of this column,but very likely there was one next to the columnon the right, probably the archon'sname,sinceAthenafacesto left. The fragment in Istanbul signed by Bakchios(ABV 413, 2) gives someof the nameof the potteron the left side of one column and on the right of the same column,part of the name of of who was archonin 375/4 B.c.The presence Hippodamos an inscriptionon each side of one columnon this fragment may favorrestoringthe name on 274 as Bakchios.274 with the name of the potter on one side of the column and the on the othersideof the samecolumnseems prize inscription to be unparalleled.Presumablyon this vase, the archon's name appearednext to the columnon the right. Secondquarterof the 4th centuryB.C. P27079 N 10:1 275 Wall fragment.Max. dim. 0.05. Athena(foldsof drapery)to left. White:borderof folds. It is difficultto be certainwhetherAthenamovesto right for this fragmentis or to left, but since the best comparison Athena on a Panathenaicof the Kittos Group, London, B.M. B 603 (ABV 414, 4) where she movesto left, we have optedfor this direction. Secondquarterof the 4th centuryB.c. P 19531 S 19:3 276 Fifteennon-joining wall fragments fromboth sidesof the vase. Max. dim. a) 0.20, b) 0.102, c) 0.075, d) 0.042, e) 0.064, f) 0.092, g) 0.045, h) 0.045, i) 0.081, j) 0.068, k) 0.069,1) 0.048, m) 0.042, n) 0.109, o) 0.069. Glaze is very worn on the obverse.D. B. Thompson,Hesperia23, 1954, a). pl. 24 (fragment someof the back A, Athenato right.Fragmentb preserves of Athena'sdrapery,and fragmentc the end of a swallowtail fold. Fragmenta shows partsof bothpanelswith partof the shaft of the columnon the right and some of the prize inscription,kionedon: +

137

glaze at the bottomof this fragmentmay be the top of the breastworkof the chariotwith the hand of the charioteer grippingit andsomeof the pole stay (flaked).The restof the I fragments maycomefromeithersideof the vase.Fragment h mayshowpartof a horse. is a draperyfragment; fragment The othersare undecorated. White (mostlyapplieddirectly on the ground): reins;yoke;pole stay. Ca. 350 B.c. P3798 F 14:1 277 PI. 31 Wall fragment.Max. dim. 0.257. Thin brownwash on inside. Most of one runner (part of head and Hoplitodromos. most of shield missing),the body, part of right arm, right armand left leg, mostof shield(device: star)of another,both to left. White:dotson rims of shields;dotson crestsupport of firstrunner;crestof second; shielddevice. the Kittos For the shielddevice,cf. espeProbably Group. B B.M. 603 London, (ABV 414, 4); also, London, cially B.M. B 604 (ABV413, 1) and London,B.M. B 612 (ABV 414, 5). For the runners,cf. thoseon BrusselsA 1703 (ABV 413, 2) and New York,M.M.A. 56.171.6 (ABV413, 3; Paralip. 177, 3). Secondquarterof the 4th centuryB.c. 278 P1.31 Wall fragment.Max. dim. 0.04. Part of column.On the left: P 18635 C-F 15-19

J(][
XAPIKAEIAH]IEH[PXEN: 363/2 B.c. eEO,DPA?TO]IH[PXEN: 340/39 B.c.? For Panathenaicamphoraewith the names of these archons,cf. Beazley,AJA47, 1943, p. 457 and p. 458, nos. 2, 3. Sincethis inscription is fromleft to rightinsteadof kioneto opt for the higherdate. For don, it is perhapspreferable cf. also the three from Eleusis (P. Themelis, Charikleides, AAA2,1969, pp. 409-416 and ?r7XA?1, pp. 265-271). 363/2 B.c. 279 P1.31 P 9457 U 22:5

Wall fragment.Max. dim. 0.065. Part of columnshaft. On the left of it, some of the prize
inscription:

]fEOENAOGA(.
The positionof the prize inscriptionon the right side of the composition suggeststhat Athenafacedto right, and if shoulddateno earlierthanthe middle so, then the fragment of the 4th centuryB.C. If this is correct, then the inscription shouldbe writtenkionedon.A prize inscriptionwrittenon the rightis difficultto parallelin the 4th century.For a 6th65.45 centuryexample,cf. the one by Exekiason Karlsruhe (Paralip.61, 8 bis). First half of the 4th centuryB.c.

NAoq[

lAQAOM

Fragmente gives the lower part of the shaft of this column. B, chariotto left. On the far right of fragmenta is the head of one of the trace horses. Fragmentf gives more of the the one on fragment horses,the neckof one (probably a) and some of the heads of the pole horses;fragmenti shows part of the left-handpole horse,as well as some of the yoke and the reins. Fragmentk shows the outstretched right arm of the charioteerholding the reins (flaked).The small bit of

138

CATALOGUE 286 P1.31 P31 H7 Six non-joining wall fragments. Max. dim. a) 0.09, b) 0.142, c) 0.047, d) 0.136, e) 0.08, f) 0.055. On part of fragmentb, the glaze has firedred. A (illustrated), Athenato left. Fragment a givesone thigh and drapery.Fragmentb preserves the end of a fold seenon the right of a, someof the shaft of the columnon the right, and betweenthe two, kionedon:
]L^<HAMl4
A t(

P 19848 D 17 280 Wall fragment.Max. dim. 0.047. Top of shaftof Doric columnwith capitalsurmounted by a figure(lowerdrapery,foot).On the right,partof the prize inscription:
First half of the 4th century B.C.

First half of the 4th centuryB.

281

P 2045 I-K 6-8

Wall fragment with thin glaze on inside. Max. dim. 0.044. On the left, partof the columnshaft.On the right,partof the prize inscription:

]NA[
First half of the 4th century B.C.

P 22989 I 12 282 Wall fragment with thin wash on inside. Max. dim. 0.081. On the far left, tracesof the shaft of a columnon the left side of the panel. On the right,part of the prize inscription:

JNA/f
On the far right,edge of Athena'sshield. The fragmentcomesfrom abovethe maximumdiameter of the vase. This and the presenceof the shieldon the right indicate that the letters are near the beginning of the inscription. First half of the 4th centuryB.C. P 19465 A 19:1 283 Four non-joiningwall fragments.Max. dim a) 0.037, b) 0.042, c) 0.05, d) 0.06. Glazedon the inside. a givespartof the shaftof a columnandthe last Fragment threelettersof the prize inscription:

KAAA]IMHAHZAP[XfIN.On the far right, the edge of the panel.Fragment c showspartof the shaftof the column. the feet of one B, athleteand trainer.Fragmentd preserves athlete,the rightone frontally,the left one in profile,andon the right, the right foot and lower draperyof the trainer. Fragmente showsmoreof the legs of the athlete(calfof one on right;lower thigh, knee, and calf of one on left). Fragmentf givesthe lowerrightcornerof the panel.White:edge of flyingfoldof Athena'scloak. The Nikomachos Series.The Athenaof this vaseseemsto be the only certainexamplein the Nikomachos Serieswhere she still facesto left insteadof to right.Cf. Beazley,AJA47, 1943, p. 457. For the archon's name,cf. in additionto Beazley, A. Smets,L'antiquite classique5, 1936, p. 98, no. 109. Cf. also the five foundat Eretria(Themelis,op. cit., under 278, pp. 409-416 and Ir77TA/, pp. 265-271).
360/59
B.C.

287 P1.31

P 27083 N 10:1

Wall fragment.Max. dim. 0.073. Athena(raisedrightarmandsleeve)to right?On the left, someof the cornucopia of Eireneand Ploutos.White:cornuflesh. copia; For Eireneand Ploutosas columnfigureson a Panathenaic,cf. a fragmentfromEleusis(Frel, PPA, p. 18, fig. 16).
360/59 B.C.

288

P 27082 N 10:1

]AfN
Fragmentb preserves partof an athlete(foot),a jumperor a but d runnerto right. Fragmentsc and d are undecorated, givesthe line at the bottomof the panel.
First half of the 4th century B.C.

Wall fragment.Max. dim. 0.066. Athena(raisedrightarmand elbow)to right.On the left, part of a cornucopia, presumablyheld by Ploutos.White: flesh. cornucopia; For the type,cf. 287 (PI. 31).
360/59 B.C.

P 61 19 284 Wall fragment.Max. dim. 0.06. Chariot(part of headsof two horses;some of the neckof another)to right.White:markingon muzzleof horseat left.
First half of the 4th century B.C.

289

P 1847 J13 Wall fragment.Max. dim. 0.083. On the right,someof Athena'sdrapery.On the left, part of the archon'sname,kionedon:

OEH4
347/6 B.C.

]A [

P3120 F15 285 Wall fragment.Max. dim. 0.039. Some of column shaft. On the right, part of the prize inscription: ] e[
4th century B.C.

For the archon's name,cf. OEMI[ITOKAHE]A[PXfnN. Beazley,AJA47, 1943, p. 457. P 22916 H-K 12-14 290 P1.31 Two non-joiningwall fragments.Max. dim. a) 0.078, b) 0.062.

PANATHENAIC AMPHORAE Athenato right. Fragmenta gives the crownand crestof her helmet,a bit of her face, and some of the tonguesabove the panel. Fragmentb preservespart of the shaft of a column with threelettersof the archon'snameon the left of it, kionedon:
]OA-tt

139

with a hangingfoldbehind.Fragmentb preserves the endof her cloak(swallowtailfolds)hangingdownin front.White: lowerborders of cloak. the Nikomachos Series. Compare especially Probably London,B.M. B 611 (ABV 415, 7) and Louvre MN 704 (ABV 415, 12).
Ca. 330-320
B.C.

API1T]OAH[MOL: 352/1
O]OAH[AO:: 336/5
B.C.

B.C.

or more probably fY-

White: flesh.

What remains of Athena's helmet seems quite close to that on London,B.M. B 607 of the Nikomachos Seriesthat has the name of the archonPythodelos writtenkionedon on the left (ABV 415, 4; Paralip. 178, 4).
336/5 B.C.

296 P. 32 P2106 J 12:3 Wall fragment.Max. dim. 0.073. Part of columnshaft. On the right, part of the archon's name,kionedon: Z' HMOI For the archon'sname,cf. AHMOK[AEIAHM: 316/5 B.C. Beazley,AJA47,1943, p. 465; A. Smets(op. cit., under286, p. 98, no. 110) suggestsThoudemos(353/2 B.C.) or Aristodemos(352/1 B.c.), but this will not fit with what remainsof the fifthletter,which cannotbe a l.
316/5 B.C.

291 P 27078 N 10:1 Wall fragment.Max. dim. 0.04. Athena(foldsof draperyat centralpartof skirt)probably to right.White:borderof folds. The deeplystackedfolds edgedwith white are best compared with those of the Athenasof the NikomachosSeries. Cf. London,B.M. B 607 (ABV 415, 4; Paralip. 178, 4) in particular. Third quarterof the 4th centuryB.C. 292 P 20381 N-Q 12-14 Wall fragment.Max. dim. 0.101. Clay groundis darkish
red.

297

P21692 P8 Wall fragment.Max. dim. 0.095. On the far right,partof the shaftof a column,and on the left, kionedon:
After 350

B.C.

Nike (some of beltedchiton;left arm, wing) frontal.Dilute glaze for braceletand ring. White:flesh. The estimatedheight of this Nike is about 0.20-0.22. Thus, she is too large to be a columnfigureon the obverse and mustbelongto the reverse.For a Nike on the reverse,cf. London, B.M. B 607, which belongs to the Nikomachos Series(ABV415, 4; Paralip. 178, 4). Third quarterof the 4th centuryB.C. 293 P1.32 P22985 H-K 12-14 Wall fragment.Max. dim. 0.085. Athena (someof beltedchiton;rim of shield held out) to right. White: decorationon lower part of skirt; snakes of aegis;two lines at belt. Probably the Nikomachos Series. The details on 293 comparebest with these four: Louvre MNB 3223 (ABV 415, 9); Cab. Med. (ABV415, 11); LouvreMN 704 (ABV 415, 12); LouvreMN 705 (ABV 416, 13).
Ca. 330-320
B.C.

298 P3631 F 10:1 Four non-joining of wall. Max. dim. a) 0.112, fragments b) 0.076, c) 0.084, d) 0.081. a comesfromthe left sideof the panelon SideA Fragment and showssomeof the framingline, andon the right,the top of an Ionic column surmountedby a small drapedfigure (lower part of garment).In the field, part of the archon's kionedon: inscription,

APXO[
Fragmentb shows some of the hanging folds of Athena's cloakand partof the rim of her shield.Fragmentc givesthe lower right part of the panel on Side B with tracesof a figd preserves the ure, perhapsthe leg of an athlete.Fragment corner of one upperright panel.
Ca. 340-330
B.C.

294

P5224d

N10:1

Wall fragment.Max. dim. 0.07. Athena(end of draperyfold). White:border. The Hobble Group.
Ca. 340-330 B.C.

P5224b, c,e N 10:1 Three non-joiningwall fragments.Max. dim. b) 0.078, c) 0.078, e) 0.045. Fragmentb preservespart of the shaft of the columnon the left and threelettersof the prize inscription, kionedon:

299

]EOE[
c givessomeof Athena'sdraperyfolds,andon the Fragment an area of glaze with incisionthat is unintelligible. right, Fragment e preservesmore of Athena's drapery.White: borderof drapery. Third quarterof the 4th centuryB.C.

295 P 20378 N-Q 12-14 Two non-joiningwall fragments. Max. dim. a) 0.09, b) 0.09. Fragmenta gives the lower part of Athena's drapery,

140 300 P4930

CATALOGUE N 10:1 307 P 23033 H-K 12-14

Wall fragment.Max. dim. 0.079. Partof shaftof column.On the right,someof the prizeinscription,kionedon:

Wall fragment.Max. dim. 0.058. Draperyfromthe levelof the knees(Athena?).

4th century B.C.

T[lNA^V'
Third quarterof the 4th centuryB.C. 301 P3557 F 11:2 Two non-joiningwall fragments.Max. dim. a) 0.172, b) 0.073. In the upperleft on fragmenta, part of the prizeinscription, kionedon:

308

P 22926 I 13

Wall fragment fromlowerleft cornerof panel.Max. dim. 0.216. Brownishwash on insideand outside. Sprinter(torso,rightleg, someof left arm)to left. In front of him, goal post. White (applieddirectlyon the clay):goal post.
Probably 4th century B.C.

]\ EO\C
On the far right, some of Athena's drapery.Fragmentb White:edgeof foldson b. givesa swallowtailof her drapery. Third quarterof the 4th centuryB.C. 302 PI. 32 P 20380 N-Q 12-14 Wall fragment.Max. dim. 0.08. On the right, Athena (arm,fold of drapery)to right. On the left, on a column,Aphrodite(torso,arms) seatedto left holdinga staffwith Erosstandingbetweenher and Athena. Traceof top of column(incisedline). White (applieddirectstaff.Outly on the clay):Eros,armof Athena;Aphrodite's lines of bodyof Eros in diluteglaze. For Aphroditeand Eros, compareCab. Med., which beSeries(ABV 415, 11). longsto the Nikomachos Secondhalf of the 4th centuryB.C. 303 P 27076 N 10:1 Wall fragment.Max. dim. 0.068. rim of her shield) Athena(part of her aegis and drapery; to right. White (part directly on the clay ground):belt; straps;snakes. Secondhalf of the 4th centuryB.C. 304 P27075 N10:1 Wall fragment.Max. dim. 0.075. Athena (drapery folds; part of aegis) to right. White: snakes. Secondhalf of the 4th centuryB.C. 305 P 27077 N 10:1 Wall fragment.Max. dim. 0.057. and Athena (rim of shield on left; aegis with gorgoneion snakes;part of raisedright arm) to left. White:dotson rim of shield;gorgoneion; snakes;straps;loop on sleeve.
4th century B.C.

309

P27092

N 10:1

Wall fragment.Max. dim. 0.062. Chariot(forelegof one horse;partof bodyof another)to left.
4th century B.C.

310

P 27091 N 10:1

Wall fragment.Max. dim. 0.057. Chariot(rail, upper part of box) with driver(chiton)to right.White (applieddirectlyon the clay):chiton.
4th century B.C.

311 P1.32

P 10432 E4

Wall fragment.Max. dim. 0.108. Chariot (head, neck, some of chest and foreleg of one horse;neck, shoulderof another)to left. White: studs on harness; stripon muzzleof right horse;line markingshoulder of each.
Probably 4th century B.c.

312 PI. 32

P 27090 N10:1

Wall fragment.Max. dim. 0.058. seemsto showthe The fragment uncertain. Interpretation top of one panel, and if so, the absenceof tonguesindicates the reverse.The area of glaze to the left might represent drapery,and the objectin the lowerright is perhapsa palm branch. For figures with palm branches,cf. two in the NikomachosSeries:LouvreMN 706 (ABV415, 3) and London, B.M. B 607 (ABV 415, 4; Paralip. 178, 4); also, London, B.M. B 610 (ABV 417,--).
4th century B.C.

313

P 19530 S 19:3

306 P31g H7 Wall fragmentfrom near the bottomof the panel. Max. dim. 0.097. Glaze firedred. Lower part of Athena's draperyand some of her foot. White (applieddirectlyon the clay):flesh.
4th century B.C.

Two non-joiningwall fragments.Max. dim. a) 0.085, b) 0.098. D. B. Thompson,Hesperia23, 1954, pi. 24. a showsthe lowerpartof drapery.Fragmentb Fragment gives the drapedshouldersand some of the bent neck of a figureto left, perhapsthe one on fragmenta. Above,top of panel.
4th century B.C.

PANATHENAIC AMPHORAE P 20324 P-R 7-13 314 PI. 32 Wall fragment.Max. dim. 0.083. Wrestlers?The fragmentshows the torso, upper right arm, the thighs, and calves of one who is bent over or crouching.In the lower left, part of the foot of anotherand near the top of the fragment,incision that belongs to this figure,perhapspart of his torso.
4th century B.C.
UNCERTAIN IF PRIZE OR NON-PRIZE

141 320-337

P 24954 Q 13:5 320 PI. 33 Wall fragment.Max. dim. 0.082. Athena (lower part of drapery;left foot) stridingto left. Red: panel on skirt;two wide bands below the panel that continued roundthe vase. White:foot. For the left footof Athenaflat on the ground,cf. 228 with otherearlyexamples.
Ca. 550 B.C.

315

P 23034 H-K 12-14

Wall fragment.Max. dim. 0.102. Surfacemuchchipped. Foot race in armor (some of legs, lower part of round shieldof one runner)to left.
4th century B.C.

316

P 25490 B 19

Fragmentof shoulderwith part of ring at junctionwith neck.Max. dim. 0.087. Glazedon inside.Glaze firedred. Upper left cornerof panelof A. Figure (handwith spear) to right (on top of column,now missing).Above,tonguepattern. Red:line at top of ring. White:flesh of figure.
4th century B.C.

P 13845 U 25:2 (L) 321 P1.33 Max. dim.0.095. Glazeis rathermottled. Wall fragment. Mendedin antiquity(smallhole on rightat break). Athena(someof paneledskirt;partof shieldemblazoned with a star) to left. Red: left side of skirt; rim of shield. Wjiite:device.
Ca. 550 B.C.

317

P5224f

N10:1

Wall fragment.Max. dim. 0.087. Runners(a bit of rightthigh, all of left thigh, and kneeof one;calf of next) to right.
4th century B.C.

318 Wall fragment.Max. dim. 0.095. Thighs and genitalsof runnerto left.
5th or 4th century B.C.

P 27087 N 10:1

P 14049 Q18:1 322 Wall fragment.Max. dim. 0.063. Much of the glaze is flaked. E. Vanderpool,Hesperia 8, 1939, p. 261, no. 13, p. 260, fig. 16. Athena (part of face, neck, and shoulder;cornerof the of her helmetand a bit of her shield:device,dolcheekpiece phin) to left. Red: peplos; helmet;dots on rim of shield. White:face;device. The high positionof the dolphinon the shield suggests that it was one of two as on the prizevaseby Exekias,Karlsruhe 65.45 (Paralip. 61, 8 bis).

Third quarterof the 6th centuryB.C. P 2071 g H 8-10 323 Wall fragment. Max. dim.0.049. Oncethoughtto belong to 228, but the glaze is not quite the same,andthe fragment is difficultto fit intothe pentathlon E. Vandercomposition. pool, Hesperia15, 1946, pp. 120-123, pl. 13 (mispoised). Runner(partsof thighs)to left. 323 is unusualfor showingthe runnerto left (cf. above, 100: PI. 12). 323 cannotrepresent the footracein armor,for the date seemstoo early and at least the rim of the runner's shieldwouldoverlaphis thigh. Third quarterof the 6th centuryB.C. 324 P1.33 P 12670 V 24:2 (U) Wall fragment.Max. dim. 0.107. Athena (helmetedhead with fillet, some of shoulderand aegis; part of shield;shaft of spear) to left. Above,tongue pattern, interruptedby the helmet crest. Red: iris of eye; fillet;dotson aegis;rim of shield;alternatetongues.White: flesh;shielddevice;line on helmetcrest. It is difficult to be certainwhatthe deviceis. It is probably not an eagleforthis doesnot seemto be a devicethat appears on the shield of Athena on 6th-centuryPanathenaics. Nor is it an owl (cf. Munich 1454 by the Michigan Painter: J. Brandt,Acta Norvegiae8, 1978, pl. 8:a) or Pegasos(cf. New York,M.M.A. 07.286.79by the Kleophrades Painter:

NON-PRIZE VASE

319

319 P1.32

P24661

R12:4

but for one handle,which has been restoredin Preserved plaster.H. 0.277; diam.0.179. Smallchipsfrommouthand foot. Brokenand mended.H. A. Thompson,Hesperia 25, 1956, p. 62, pl. 21:a;J. McK. CampII, Godsand Heroesin the Athenian Agora [Agora Picture Book 19], Princeton 1980,ill. 8; S. Miller, Hesperia,Suppl.XX, Princeton1982, and Rotroff,op. cit., (under136), ill. 25. pl. 14:d;Lamberton A, Athenato left. Her spear is poised;her shield (device: two dolphins) held out. On the right and left, a Doric columnsurmounted by an owl. B, chariotteam gallopingto The wheel's rim is not incised.Above,tonguepattern. right. On neck,lotus-palmette chain without incision.Abovefoot, rays. Red: line on outer edge of mouth; ring; three lines below panel and two above rays that continue round the vase. White:Athena'sflesh;device;edgeof helmetcrest;dot clusterson her garment; charioteer's chiton;right-hand pole horse;pendantson breastbandof tracehorse.
Late 5th century B.C.

142

CATALOGUE a (illustrated) Fragment givesmostof Athena'shead,part of her shieldwith a bit of its device(partof wing), and some of her spear (shaft) to left. Fragmentb gives more of the shield.White:flesh;device. The devicemay be a Pegasos,althoughthe styleof draw(foranother,cf. 336:PI.34) andthe ing is not Cleophradean wing is too close to the centerof the shield (compareNew York, M.M.A 07.286.79 or New York, M.M.A. 16.71: ABV 404, 6 and8; Paralip.175, 6 and 8). Forothertypesof wingedshield devices,cf. 324 (PI. 33). Add as a possibility here, the dove as on New York, M.M.A. 56.171.5, com99 (Paralip.175, -), paredwith the Groupof Copenhagen but attributed by Brandtto the MastosPainter(ActaNorvegiae 8, 1978, p. 5, no. 30).
Late 6th century B.C.

ABV 404, 6; Paralip. 175, 6) for the shape of the wing is wrong.It maybe Iris as we haveher on New York,M.M.A. 56.171.4 by the Painterof the Warsaw Panathenaic(ABV 291; Paralip. 127, 1) or, morelikely, a sirenas on two from the LeagrosGroup,Taranto,inv. no. 9887 (ABV 369, 113; J. Brandt,ActaNoruegiae8, 1978, pl. 9:a) and New York, M.M.A. 07.286.80 (ABV 369, 114;Paralip. 162, 114). Ca. 520-510 B.C. 325 P1.33 P 13204 020 Wall fragment.Max. dim. 0.116. Sprint:most of one runnerto right except for right arm and leg, lower part of left leg; one arm and part of shin of anotherrunnercomingup. The runnerof whom we have the head and body must be the winner, for there could not havebeen anotherrunnerin frontof him. The Group of Copenhagen99, probablyby the same handas the namepiece (ABV 403, 1), or certainlyverynear. the drawing of the knees and hands, Compareespecially also the small circlesfor the nipples,as well as the energetic character of the runners. Last quarterof the 6th centuryB.C. 326 P1.33 P 25890 M 18 Wall fragment.Max. dim. 0.062. Wrestlersor boxers with both arms raised (most of the bodyof one;tracesof his opponentat right). Comparedetails of the runnerson the namepieceof the 99 (ABV403, 1), especiallythe small Groupof Copenhagen of circle for the nipples and the drawingof the collarbones the runneron the left. Last quarterof the 6th centuryB.C. P 10175 V23:1 327 PI. 33 Wall fragment.Max. dim. 0.146. Thin brown wash on surface. Chariot(headsandnecks;someof reinsandpolestay,end of yoke and pole) to right. On the left, at the break,a thin object,part of the charioteer'sgoad. Red: mane of righthandtracehorse.
Ca. 520-510 B.C.

330 PI. 33 Wall fragment.Max. dim. 0.045. Youth(mostof head)to left.

Late 6th century B.C.

P7219

16

331 P1.34

P81

H 5-6

Wall fragment. Max. dim.0.10. Streaky washon surface. Athena(partof skirt) stridingto left. Red:border; hanging folds of himation.White: dot clusterson skirt;row of dotson lowerborder. Last quarterof the 6th centuryB.C. P 5341 G 12 332 P1.34 Wall fragment.Max. dim. 0.068. Athena (neck,backof helmet,part of aegis with snakes, raisedrightarm)to left. On the right,partof the Doriccapital and the cock(breast,legs). Red:tail of helmetcrest;strip on aegis. White:Athena'sflesh. Late 6th or early 5th centuryB.C. 333 P1.34 P3861 G 13

P6102 E 15:6 328 P1.33 Wall fragment.Max. dim. 0.078. Victor (headwith wreath)to right, a branchin the field, perhaps held by him. Above, black band, then tongue pattern.Red:fillet;bandat top of panel. For similar wreaths, cf. those worn by the revelerson Munich 1416 by a painterof the LeagrosGroup(ABV 367, 90; Paralip. 162, 90); also 484 (P1. 46), 505 (P1. 48), 759 (P1.72), 1486 (P1. 100), and 1489 (P1.100). The Painterof Munich 1519 (ABV 394, 11).
Ca. 500 B.C.

Wall fragmentfrom upper left corner of panel. Max. dim. 0.081. Cock on top of Doric column. Above, tongue pattern. Red:comb,wattles,featherof tail;alternatetongues. Late 6th or early 5th centuryB.C. 334 PI. 34 P25911 M18

Wall fragment.Max. dim. 0.075. Beardedman (top of head, legs missing)to left, holding thongs(ends)in his righthand(now missing).On the right, someof the line framingthe panel. Late 6th or early 5th centuryB.C. 335 P1.34 P6104 E 15:6 Max. dim. 0.052. Tracesof burning. Wall fragment. a Man (mostof head,someof rightarm)to right,carrying largebulkyobject(?). Red:stripon beard. Ca. 500-490 B.C.

P 24699 P 17-18 329 P1.33 Two non-joiningwall fragments.Max. dim. a) 0.09, b) 0.051.

AMPHORAE, TYPE UNCERTAIN 336 PI. 34 P5103 H6

143

Wall fragment.Max. dim. 0.034. Thin black glaze on inside. and Shield device:Pegasos (part of wing, hindquarters, tail) to left. White:Pegasos. The Pegasosshielddevicesuggeststhat336 oughtto be by the KleophradesPainter who uses this emblemon all his known prize amphorae(ABV 404, 1-9, 15-16; Paralip. 175-176). But the Pegasos on 336 is very differentfrom MINIATURE PANATHENAIC AMPHORA 338 Painter:its tail is not outstretched; thoseby the Kleophrades P 10961 B15:1 338 its bodyis too thinwith the hindlegs notfarenoughunderit. 0.054. Fromshoulderwith ring at Ca. 500-480 B.C. Fragment.Max. dim. with of handles. P. Corbett,Hesperia stubs neck; junction P 27427 T 13 337 PI. 34 no. 80. 1949, 318, 23, 18, p. pl. Wall fragment.Max. dim. 0.062. A, Athena(head,raisedhandwith spear)to left. Above, Athlete (bent knee with part of thigh and calf) to right. on each side, tongue pattern. Behind her, a vertical line handof anotherfigure. On the right,outstretched overlapsthe tongues. Dots on ring. White: flesh (applied The positionof the hand is best paralleledon these four directlyon the clay).Armoutlinedin brown. Late 5th century B.C. vases:two by the BerlinPainter,Vatican375 (ABV408, 3)

and Berlin1832 (ABV408, 4; CVA,Berlin5 [Germany 45], two by pls. 49 [2194]:7,and8, 50 [2195]:2,and 51 [2196]:2); the AchillesPainter,Bologna12 (ABV409, 2) and Harvard 60.309 (ABV 409, 5; Paralip. 177, 5). 337 seemsclosestto the two by the BerlinPainter,but thereis not quite enough to be surethat the fragment is his. preserved Secondquarterof the 5th centuryB.C.

AMPHORAE, TYPE UNCERTAIN 339-366 Figs. 7-10 F7 Pls. 34-36

339
0.10. Glaze fired red; most of it is flaked.

P7835

Fragmentof torus mouth and part of neck. Max. dim. On neck,partsof two incisedrosettes.Red:coresand alternatepetalsof rosettes. Compare133 (P1.16). Last quarterof the 7th centuryB.C. 340 P1.34 P 4993 E-F 12-14 Wall fragment. Max. dim. 0.062. Agora VIII, p. 98, no. 581, pl. 37. Swan (head, neck, and wing) to right. Wheel rosettes. Red: alternatefeathersand wing bow (purplered), bar of wing (brightred). The Painterof BerlinA 34 (Paralip.1, 4).
Ca. 620 B.C.

P 20678 Qll 341 Fig. 7; P. 34 Wall fragment.Max. dim. 0.093. Traces of burningon surface. Chariot (part of box, wheel, pole bound with lashing, traceline;tails, partsof threehind legs) to right. Red:box. Close to the Piraeus Painter'samphora,Athens, N.M. the doubleline at the top 353 (ABV 2; Paralip. 1): compare of the chariot box, the incised decorationon its side, the incisionoverthe boundpole, and the tails with herringbone of tail bone. The latter detail is, however, characteristic

FIG.7. Amphora341 (P 20678) horsesby the GorgonPainter,e.g., LouvreE 874 (ABV8, 1; 474 (ABV 8, 2), Baltimore 48.215 Paralip.6, 1), Akropolis (ABV 9, 18;Paralip.7, 18), and maybe seenon the grazing horse by the Nettos Painter,once Berlin 1682 (ABV 5, 4; Paralip.2, 8).
Ca. 620-610 B.C.

144

CATALOGUE sirenor eagle (tail) to right;II) head(?)of guillochepattern; a man to right. The carefuldrawingof the guillochepatternis similarto that used by the Nettos Painteron his lekanides,either in the handlezone or below the figures(Paralip.4, 17-24 for the mostcomprehensive of list), and the precisearticulation the tail feathersrecallsthat of the birdon each of the three fromVari:Athens,N.M. 16382 (ABV3, 4; skyphos-kraters 3; 4; Paralip.3, 10), 16383 (ABV7, y; Paralip.3, 12), and 16384 (ABV 6; Paralip. 3, 13). 343 may be by the Nettos Painter,but if not, it is certainlynearhim. Late 7th centuryB.C. 344 PI.35 FIG.8. Amphora342 (P 26642) P 25343 T19:1 Wall fragment.Max. dim. 0.108. White slip on surface (mostlygone). Two geese(beakof one on the left;tail, someof wing and bodyof the other),bothto right.Dot rosettesfor fillingornament.Red:beak;partsof feathers. Compare geese by the Nettos Painter: Athens, N.M. 16382 (ABV 3, 4; 3; 4; Paralip. 3, 10) and 16384 (ABV 6; inv. no. Paralip.3, 13);alsoa sphinxnearhim:Kerameikos, 1365 (ABV 7, ,3; Paralip. 6, 2 [/3]; Kerameikos VI, ii, no. 182, pl. 112). The drawingon 344 is weakerthan on these examples. Late 7th centuryB.C. 345 P1.35 P 26760 T 18:3 Wall fragment.Max. dim. 0.057. Traces of burningon rightside. Uncertainsubject: left handof a man grippingtwo straps of an objectthat looks like the inside of a shield, which is mostlycoveredwith addedred but for some glazedlines in the upperleft. Red:partof object.
Late 7th century B.C.

P 26642 T-U 19-20 (I) 342 Fig. 8; P1.35 Wall fragment.Max. dim. 0.062. Bellerophon attackingthe Chimaera.The fragmentpreservesthe head of the strikingsnake,the shoulderwith the startof the forelegsand wing, somefeathersand partof the belly of Pegasos.The doubleincisionfor the contourof his wing bow continuesinto his foreleg.The diagonalincision below the feathersis the right bootof Bellerophon, and the smallbit of addedred belowthe forelegat the breakmay be partof his left foot.Red:chest,wing bow,alternatefeathers, belly stripe;eye of snake,two dotson its body;boot.White: alternatefeathers. The style of the drawing, particularlythe double lines and the liberal use of red, recalls both the Nettos Painter and the GorgonPainter.The positionof Bellerophon's leg and his feet, one back,the otherforward,recallsthat of the rider on the GorgonPainter'splate in Baltimore,inv. no. 48.215 (ABV9, 18;Paralip.7, 18). of the Chimaera start On Attic vases, representations inv. no. 154 with two by the Nettos Painter, Kerameikos, VI, ii, no. 187,pl. 113) (ABV3, 3; Paralip.3, 9; Kerameikos andAigina 565 (ABV3, 1;Paralip.1, -, 1), andtwo by the BellerophonPainter,Athens, N.M. 16389 (ABV 2, -, 1) andAthens,N.M. 16391 (ABV2, -, 2). The mythdoesnot Heldenoccurveryoftenin Atticblackfigure(cf. Brommer, of the earlyillustrations sage3,p. 292). For the iconography of the myth, cf. H. von Steuben,FriiheSagendarstellungen in Korinthund Athen, Berlin 1968, pp. 11-13 and K. Fittschen, Untersuchungenzum Beginn der Sagendarstellungen bei den Griechen,Berlin 1969, pp. 157-161, both with bibliography; most recentlyS. Karouzou(RA, 1985, pp. 67-76) who separatesthe two vasesby the Bellerophon Painter. Last quarterof the 7th centuryB.C. 343 PI. 35 P 31091 1 10:1 Wall fragment.Max. dim. 0.092. Some of the glaze is abraded. Part of two friezes:I) sirenor eagle (tail) to left;vertical

346

P 4807 E-F 12-14

Wall fragment. Max. dim. 0.128. Surface slipped, peeling. Two figures(?) facing.At the left, a large area with the contoursdoublyincised,the surfacered. At the right, near the break,the doublyincisededge of a similararea. These two glazed portions might representdraperyof the sort worn by the women on the standedskyphos-krater by the Nettos Painter,Athens, N.M. 16384 (ABV 6; Paralip. 3, could representtwo facing 13), and if so, the composition women. Betweenthe two glazedareasis a largeincisedrosette.Red:left area;alternatepetalsof rosette.
Ca. 600 B.C.

347 Fig. 9; P. 35 P 25338 G-I11-12 Wall fragment.Max. dim. 0.07. Dolphin (eye, forehead,start of snout) to right. On the right,the edgeof the panel. Comparetwo dolphinson an early olpe from Delos, 591 (ABV 15, 27; Paralip.9, 27). Last quarterof the 7th centuryB.C.

AMPHORAE, TYPE UNCERTAIN

145

The KomastGroup:I, the KX Painter(ABV 27, 37).

Ca. 580 B.C.

352

P3652

E 14

Wall fragment.Max. dim. 0.071. Traces of burningon insideand outside. Partsof two friezes:I) felineor sphinx (two paws) to left; II) geese feeding(bodyof one, headof another)to left. Red: wing bow. First quarterof the 6th centuryB.C. 353 P4339 E14:11

FIG.9. Amphora347 (P 25338) 348 PI. 35 P 2394 H 8-10 (?) Wall fragment.Max. dim. 0.057. Woman (partof one leg, the heel of the other)dancingto right. Incised rosette for filling ornament.At the bottom, part of groundline. Red:alternatepetals of rosette;line on groundline. White:flesh.
Early 6th century B.C.

Wall fragment.Max. dim. 0.049. Much of the glaze is flaked. Boar(head)to left. At the left, tracesof a wing(?). Incised rosettesfor fillingornament. Line at top andbottomof fragment indicatinglimitsof frieze.Red:forehead. First quarterof the 6th centuryB.C. 354 P 26549 S 17:1

Wall fragment.Max. dim. 0.103. Parts of two figuredzones: I) animals (hind hoofs of a boaror a bull andforepawsof a feline),bothto left;II) geese (mostof one; body and tail of another)to right. Red:wing bows;two lines betweenfriezes,anotherbelowgeese. Secondquarterof the 6th centuryB.C. 355 P26460 R15-16 Wall fragment.Max. dim. 0.066. Parts of two friezes:I) goat (head, neck, chest, forelegs) and siren (tail) to right;II) wing of birdor maneof animal. Red:neckof goat;two bandsbetweenfriezes. Secondquarterof the 6th centuryB.C. 356 P 13653 T 19:1 P 26438 T 18:1

349 PI. 35

P 17918 No grid

Wall fragment.Max. dim.0.084. Whitishslip on surface. Siren (threetressesof hair, part of wing, body,legs, and tail) to right. Incised rosette for filling ornament.Below, three lines, ends of rays. Red:wing bow;bar on tail. The direction of the wing feathersindicatesthatthis siren had bow-shapedwings, not sickle-shapedones. Compare the sirenon 671 (P1.64) andon AgoraA-P 1734 (ABV 8, 6; Paralip. 6, 6), both by the Gorgon Painter,or the one on Athens,N.M. 16362 (Paralip.12, 11) by the PantherPainter, or the one on 33 (PI. 4). First quarterof the 6th centuryB.C. 350 P20681 R11:2 Wall fragment.Max. dim. 0.105. Sirenor bird (outspread wing) and lion (head)to left. Incisedrosettesfor filling ornament.In the zone above,bits of glaze (rosettes?). Red: wing bow, alternate feathers of wings;mane. First quarterof the 6th centuryB.C. P 13340 H 10 Wall fragment.Max. dim. 0.078. Animal friezes:I) siren (tail) and goat (head,neck, foreleg, and hoof), bothto left;II) geesefeeding(mostof one, the tail and leg of another)to right. Incisedrosettesfor filling ornament.Below, tips of rays. Red: bar on siren'stail; eye and neck of goat; cover feathersof wings of geese, dots on neck;coreand dotson petalsof large rosette. 351 P1.35

Two non-joiningwall fragments.Max. dim. P 13653: 0.047, P 26438:0.043. Brownishwash on outside. P 13653 shows a goat (some of head, neck, and horns) grazingto left. P 26438 preserves partof an animal(someof neckand shoulder)grazingto left. On the left, at the break, part of a rosette;above,glaze markingtop of frieze. Red: necks. Secondquarterof the 6th centuryB.C. P 13823 U 25:2 (M) Wall fragment.Max. dim. 0.071. Two sphinxes (preservedexcept for hindquartersand Bloband incised tails, someof wings and heads)confronted. rosettesfor filling ornament.Below, rays. Red:breastsand wing bows;dotson rosettes.The drawingis verycoarse. Secondquarterof the 6th centuryB.C. 358 Fig. 10 P22999 I 12 of neck andmouth.Max. dim.0.106;est. diam. Fragment at outeredge0.16. 357

146

CATALOGUE P 25312 C-G 13-16 Wall fragment.Max. dim. 0.053. Herakles and the Bull (some of head and neck of bull; partof one limb,perhapsa leg of the hero).White:marking on neckof bull. It is not likely that the scene representsHerakles and Acheloos,for the hero does not grasp the monster'shorn. For this theme, cf. H.-P. Isler, Acheloos,Bern 1970. The loweredpositionof the bull'sheadsuggeststhat it may have fallento one kneeas Heraklesbindsit with a cord.Compare a few examples:Munich 1407,compared with the Groupof Wurzburg199 (ABV 290); LouvreF 239, the Painterof Munich 1519 (ABV 394, 7); Louvre F 240, the Leagros Group(ABV370, 129);London,B.M. B 277, the Michigan Painter(ABV 343, 8); and New York,M.M.A. 41.162.193 (CVA,New York4 [USA 16],pl. 35 [763]:5and 7). For the subject,cf. Brommer, Heldensage3, pp. 194-205. Last quarterof the 6th centuryB.C. 363 P1.36 P 27468 H-K 12-14 Wall fragment. Max. dim. 0.098. Brown wash on background. Dionysiac scene. Lower parts of two drapedfigures to right. On the left-hand side of one, the head, neck, and raised paw of a panther.In the background, a vine. Red: borders,dots on cloak. White: dot clusterson draperyof of panther. figureon left;markingon forehead Perhapsfroma neck-amphora.
Ca. 520-510 B.C.

362 P1.35

FIG. 10. Amphora358 (P 22999), dipinto.Scale 1:2

On neck,lotus-palmette chain.Paintedon reserved topof mouth:

]ETI
Red:outeredge of mouth. The narrowdiameterindicatesthat the shape is eithera Panathenaicamphoraor a neck-amphora of Panathenaic shape,but withoutmoreto go on, it is difficultto opt forone or the other. Third quarterof the 6th centuryB.C. 359 P. 35 P8964 G 14 Wall fragment.Max. dim. 0.05. Herakles and the Hydra (some of the Hydra's scales, mid-rib,and one of its snaky heads;thighs and genitalsof Herakles).Red:dotson scales. For the subject,cf. Brommer,Heldensage3,pp. 79-82, with bibliography. Third quarterof the 6th centuryB.C. 360 P 14050 Q18:1 Wall fragment.Max. dim. 0.048. T. L. Shear,Hesperia 8, 1939, p. 261, no. 16 and p. 260, fig. 16. Rider (left hand holding a spear; reins; part of neck, mane,and shoulderof his horse)to right. Third quarterof the 6th centuryB.C. P 5294 E-F 12-14

364

P 24690 Q17

361 PI. 35

Wall fragment.Thin wash on inside.Max. dim. 0.148. Frontal chariot (chests of the two pole horses;pole of chariot;some of the charioteer'schiton). On the left, the traceline and reinsof one tracehorse.White:chiton. The thin wash on the inside suggeststhat the fragment comesfroma large panel amphoraor perhapsfroma neckshape. amphoraof Panathenaic The drawing on the chests is characteristic of frontal horsesby the AntimenesPainterand those in his manner. Cf., e.g., these by the painter: New York, M.M.A. 56.171.19 (ABV269, 43;Paralip. 118, 43; CVA,New York VF ,3 326 (ABV271, 4 [USA 16],pl. 24 [752]:2);Frankfurt 82; Paralip. 118, 82); Altenburg212 (ABV 272, 92); Boston, M.F.A. 22.404 (ABV 272, 103; CVA, Boston 1 [USA 14], pl. 43 [665]:1);and Villa Giulia 5195 (ABV273, 105); andthesein his manner:Hamburg1917.473(ABV 278, 40; 41], pi. 16 [1982]:1)and BrusCVA,Hamburg1 [Germany sels A 2951 (ABV 278, 41). Third quarterof the 6th centuryB.C.

Wall fragment.Max. dim. 0.085. Horsemenleading horses to right. On the left, a man wearinga cloakand petasosandcarryingtwo spearsleadsa horse(head,neck,mostof body).On the right,the top of the tail anda bit of the hindquarters of anotherhorse.Red:forelock,maneof horseon left;tail of other;stripeson garment. White:petasos;studson bridle. Perhapsfroma smallneck-amphora. Last quarterof the 6th centuryB.C. 365 P1.36 P4745 E-F 12-14

Wall fragment.Max. dim. 0.07. Thinly glazedon inside with somestreaking. Tracesof burning. Man (hips to knees)in shortchitonto left, holdinga tripod (one leg) horizontally. Sincethe tripodis not held upright,the man is not a victoriousathlete (for such a scene, cf. London,B.M. B 144: CVA,London1 [GB 1], pl. 6 [30]:2).Morelikelythe subject is the strugglebetweenHeraklesandApollofor the Delphic Tripod, in which case, the figure partially preservedis Apolloholdingthe legs of the tripod,while Heraklesgrasps the rings of the cauldron.For the subject,cf. D. von Bothmer,Festschrift Brommer, pp. 51-63. Late 6th or early 5th centuryB.C.

AMPHORA LIDS P 1058 117 366 PI. 36 Wall and shoulder fragment. Max. dim. 0.075. Glaze firedred. Athena(partof neck,aegis,chiton)to left, holdingout her

147

shield (device: lion or dog). Red:rim of shield.White:flesh; device Late 6th centuryor early 5th centuryB.C.

AMPHORA LIDS 367-372 PI. 36

367

P 26534 T 18:3

Brimfragmentwith part of flange.Max. dim. 0.058. Gooseto right,probablypart of a frieze. Secondquarterof the 6th centuryB.C. 368 PI. 36 P 10776 No grid Fragmentwith some of flange. Max. dim. 0.133. Brown glaze. Animals:swan or duck(headand breast)to rightfacinga lion (head turnedaround,some of body and forelegs).Blob and incisedrosettesfor fillingornaments. Secondquarterof the 6th centuryB.C. 369 PI. 36 P4992

amphoralid with a horse race, cf. the one now in Berne, Jucker (HesperiaArt, Bulletin22, Nov. 1962, no. 8).
Late 6th century B.C.

E-F 12-14 Fragmentwith some of flange. Max. dim. 0.085; H. of flange0.042. in a chiton Chariotrace:upperpartof beardedcharioteer holding the reins and a goad; some of the breastworkand rail of the chariot,the pole stay, and the croupsand tails of two horses.On the left sideof the horses,a goal post. Behind the charioteer,the muzzle of a horse belongingto another team. Above the figures, rays. Red: hair and beard;tails. White:chiton;goal post. For chariotraceson the lids of amphorae, cf. San Francisco, de YoungMuseum243.24874,nearthe AntiopePainter (ABV367, 92); LouvreF 318 whichbelongsto LouvreG 45 by the Dikaios Painter (ARV2 31, 4; Paralip. 324, 4); two Painter,Wiirzburg297 which belongs by the Kleophrades to Wiirzburg 507 (ARV2 181, 1; Paralip. 340, 1) and Munich2305 (ARV2 182, 4; Paralip.340,4); LouvreF 317 which belongs to Louvre G 46 by the Nikoxenos Painter (ARV2 220, 3; Paralip. 346, 3); also, Rouen 2059, which thinksmaybelongto LondonE 254 by the Dikaios Bothmer Painter (ARV2 31, 3). All of these are amphoraeType A, and by analogy,369 ought to be fromthis type, too. For an

P 1293 G 6:3 (U) for a few Completeexcept fragments.P.H. 0.068; diam. 0.187. Knob chipped. E. Vanderpool,Hesperia 15, 1946, p. 323, no. 269, pl. 66. From knobout: rays;blackband;ivy on brim. Red: line betweenknoband lid; line for vine of ivy. For the combination of rays at the base of the knoband on the cf. New brim, York, M.M.A. 17.230.14 by ivy Exekias (ABV 144, 3; Paralip. 59, 3; CVA, New York 4 [USA 16], pl. 19 [747]:1);three in Leyden,PC 40, PC 85, PC 76 (CVA, Leiden 1 [Netherlands3], pl. 50 [144]:1-3); and Zurich(ETH) 7 (CVA,Zurich1 [Switzerland 2], pl. 16 [58]:2). 370
Late 6th century B.C.

P 27189 E29:4 of some wall and H. 0.08. Knob, flange. On top near edge, trace of a zone of ivy, set off by a groove. For blackglaze insteadof raysroundthe baseof the knob on an amphoralid, cf. Hanover 752 (CVA, Hannover 1 [Germany34], pl. 30 [1662]:5).
Late 6th century B.C.

371

372

P 20780 R 12:1

Preserved exceptfortop of finialof knob.H. 0.056;diam. 0.125. Chip in brim.Slightlydomedlid with flat,offsetrim; round knob with finial (pomegranate?).Reserved on underside. On top of lid, concentric bands.Dot-ivyroundbrim.
Late 6th century B.C.

148

CATALOGUE LOUTROPHOROI 373-389 Pls. 36-38

LOUTROPHOROS-HYDRIAI373-376

373 P1.36

P7806

No grid

Mended from many fragments.H. 0.296; diam. 0.138. in plaster. Missing piecesof mouth,neck,and bodyrestored Vertical handle missing. D. B. Thompson, An Ancient ShoppingCenter[AgoraPictureBook 12], Princeton1971, ill. 58. On the neck:six cloakedmen to right;below, row of rosettes. On the body, two cloakedmen to right. Under each upright handle, a siren (most of body of left one missing) under B/A to left, under A/B to right. Below the vertical handle,swan to right;on each side of the handlerooton the shoulder,palmette(left one missing).Blobsfor fillingornament. On outsideof each uprighthandle,blobsor solid rosettes. Tongue patternon shoulderat junction with neck. Rays abovefoot. Red:hair of alternatefigureson neckand body;two cloakson neck;foldsof cloakson body;wing bows and bandson tails of sirens;line on outsideedge of mouth, one below figures,one above rays, and anotherat edge of foot.White:on neck,threecircleson cloakof one man;faces, necks,outlinesof breasts,and stripson wings of sirens. Secondquarterof the 6th centuryB.C. 374 P1.36 P 14371 N 10:1 Part of mouth, neck, body, and foot restored.H. 0.253; diam.0.193. Much of the glaze is flakedand abraded.Hole in bottomfor libations. On the neck, three mourningwomen (head of 1, part of bodiesof 2 and 3 missing)to right. On the body,prothesis: the deceased(someof bodymissing)to left on a couch,with a figureon eachside, facinginward;then fourfigures(parts missing) to right with hands raised. Above the foot, rays. Red:stripeson garments.White:flesh? Secondquarterof the 6th centuryB.C. 375 PI. 37 P 1261 G 6:3 (L) Fragmentsof mouth, handles, body, and foot restored. H. 0.366; diam. 0.12. Glaze misfired a reddish brown. E. Vanderpool, Hesperia7, 1938, pp. 398, no. 32 and 397, fig. 34. women to right with fillets On the neck, five "penguin" women to hanging above. On the body, three "penguin" a small a under each man handle, right, facing; upright on the under left to to under B/A; A/B, right drapedyouth, womanto right facleft of the verticalhandle,a "penguin" ing a man; on the right of the handle, a woman to left.

Between the figures on neck and body, imitation inscriptions.Incisedrosetteson each handleand as fillingornament.On the sideof the mouth,key patternto left. Above the foot,rays.Red:fillets;plain cloaksof "penguin" women; pairs of lines top and bottomon band stripeson garments; belowfigures; line at eachedgeof verticalhandle;line at top and at outer edge of foot. White: women's flesh; dots of crosseson cloaks;key pattern. The Groupof North SlopeAP 942 (ABV 89, 1). Third quarterof the 6th centuryB.c. P 25274 R 12:3 of shoulder with the roots of one uprighthanFragment dle. Max. dim. 0.092. Beneathhandle,woman(head)to right.Behindher, part of a box carriedon the head of a figure behind her. Red: fillet. White:face. Late 6th centuryB.C.
377 LOUTROPHOROS-AMPHORA

376

377 P1.36

P 12500 N 18:6

Two non-joining of mouth,neck,handles,and fragments Max. dim. 0.055. 0.165, b) a) body. a (illustrated) Fragment preserves partof the mouth,decoratedwith a stylizedsnake(wavyline) on its side,the topof one handle,some of the neck, and the startof the shoulder with the handleroots.On the insideof the mouth,two wide blackbands.On eachside of the neck,man to rightwearing a longchitonandhimation(almostall of one holdinga staff; lowerhalf of the other).On the shoulder,betweenthe roots of the two handles,the top of the headof a womanto left and part of an oblongobject,perhapsa box. Fragmentb gives the head,tail, andpartof the outstretched wingsof a sirento right, lookingaround,and above,the headof a tracehorse. Red:man'sfillet, stripeson his himation;stripson wing of siren. White:snake;siren'sface, alternatestripson her tail and wings. Late 6th centuryB.C.
LOUTROPHOROI, TYPE UNCERTAIN

378-389

378 P1.37
Fragment of neck. Max. dim. 0.052.

P21702

07

Partsof two friezes:I) the feet of threepairs of men and the bordersof their garments,to right;II) siren or sphinx

LOUTROPHOROI (head,wing) to left facinga palmettecomplex(frondsof one horizontalpalmette).Red:backof head. Lydos(ABV 110, 36).
Ca. 560-550 B.C.

149

379 PI. 37

P 20241 D 16

Fragmentof mouth and neck. Max. dim. 0.085. Black bandson inside. On side of mouth,incisedrosettes.Blob of glaze in field. Below, a siren or a sphinx (head,partof wing) and a snake (tail), both to right. Red: fillet, pupil. White: face, part of wings;dotson tail.
Ca. 550 B.C.

384 PI. 37 P 13736 V23:1 Neck fragment.Max. dim. 0.035. Grooveneartop. Band of glaze on insideneartop. Man (headand shoulders) to right.Head overlapsgroove at top. Red:stripeon garment. Third quarterof the 6th centuryB.C. 385 P1.37 P6561 E-F 12-14 mouth of broken Fragment (edge away) and top of neck. Max. dim. 0.065. Mouth glazed black on inside;on neck, diluteglaze belowa narrowreserved band. Head of youth and the upper part of a woman to right. On side of mouth,stylizedsnake (wavy line). Red: hair of youth; fillet and chiton of woman. White: face of woman; snake. Third quarterof the 6th centuryB.C. 386 PI. 38 P 12015 R 19

380 PI. 37

P5980

D 15

Wall fragment.Max. dim. 0.10. Partsof two zones:I) man (foot) and woman(feet, lower drapery) to right; II) animals (panther:foreparts;siren: wing, tail, one leg) to right;below, rays. Red:dotson drapery, neckof panther; partof siren'swing, bar on tail. White: feet of woman;eyebrowsand nose of panther,belly stripe; stripson wing, stripon breast.
Ca. 550 B.C.

381 PI. 37

P5229

N10:1

Neck fragmentwith bandon insidenear top. Max. dim. 0.118. Three figures (drapery,hands of woman) standing to in the crookof right. The woman holds a loutrophoros(?) her arm.Red:border anddotson cloak.White:flesh;dotson drapery.
Late 6th century B.C.

Neck fragment.Max. dim. 0.05. Burned(clay is gray). Three drapedfigures(fromleft: left shoulderand arm of 1 holdingsomething; the shoulders and torsoof 2 holdingan objectthat lookslike a stem and the startof a lotus bud;the right elbow and draperyof 3 holdinga fillet)to right.In the field,nonenseinscriptions, vertically: (twice) A XA Red:coresof rosetteson cloakof 2; stripesand dotson garmentof 3; line on inside.White:dotsof rosettes. Third quarterof the 6th centuryB.C. 382 P4837 N 10:1 Wall fragment.Max. dim. 0.107. Parts of two zones: I) man (drapery,foot) and woman (drapery,feet) to right, facing a couch (lower part of leg); II) panther (head, neck, some of back and tail) to right. White: woman'sfeet; dots in some of the circlesincisedon her dress;decoration on leg of couch. Third quarterof the 6th centuryB.C. P 25371 Q 13-14:1 (U) Fragmentof mouthand neck.Max. dim. 0.098. Insideof mouthglazed;bandson neck. On neck,woman(partof filletedhead)to left. On vertical surfaceof mouth,stylizedsnake(wavy line) and incisedtriangles with horizontallines. Red: line above figure and at outeredge of mouth. Third quarterof the 6th centuryB.C. 383 PI. 37

387 PI. 38

P 10192 M 18:8

Neck fragmentwith someof ring at junctionwith shoulder. Max. dim. 0.113. Three women(lowerpartsof two; partof draperyof the third)to right.Below,key patternto right.Red:dotson garments.White:flesh;dot clusterson garments. For the key pattern on the neck below the figures, cf. Cleveland 27.145 (CVA, Cleveland 1 [USA 15], pl. 15 [695]).
Ca. 500 B.C.

P 10262 L-N 16-18 Fragmentof neck.Max. dim. 0.072. On the left, the lower partsof a drapedman and woman to right. In front of the two, part of a couch (one leg with plinth,partof the cushionor mattress)and of a table (some of one leg) in frontof it. The faint imageof a chair may be seen againstthe two figures.White:chair,plinth,and floral decoration of leg of couch;woman'sfeet. Late 6th or early 5th centuryB.C. 389 P 23171 H 12:15 Fragmentof mouthwith startof neck.Max. dim. 0.065. On side of mouth, stylized snake (wavy line). White: snake.
Ca. 500 B.C.

388 PI. 38

150

CATALOGUE PELIKAI 390-397 PI. 38

390 P1.38

P 24773 P 16

Wall fragmentfrom upper right cornerof panel. Max. dim. 0.056. to left. In Dionysos(mostof wreathedhead,left shoulder) the field,vines.Red:beard;mostleaves;doton cloak.White: dot clusterof cloak. Ca. 530-520 B.C. 391 PI. 38 P 12561 G11:3

her left elbowis a horizontal objectthat lookslike a walking stick, and on the far right, at the break, is the trace of anotherfigure,probably a bit of drapery.In the field,a vine. At the left, edge of panel. Red: fillet;eye; dots on drapery. White:flesh;dotson drapery. Ca. 510-500 B.C. 394 P 7239 D 7:2

Foot missing. P.H. 0.261; diam. 0.19. T. L. Shear,Hesperia 8, 1939, p. 230, fig. 26. A, Theseus and Prokroustes.On the right, Theseus armedwith an axe, wearinga cloakroundhis waist, moves to rightlookingaroundat his bearded opponentwho falls to left, lookingaround,his left handheldout, his rightaboutto is a tree;suspended from pickup a stone.In the background its branches,a cloakand a quiverwith four arrows.A club rests againstthe right side of the panel. B, Dionysoswith a drinkinghorn and two satyrs,all movingto right, the god and the satyr on the right lookingaround.Abovethe panel on each side, invertedlotus budswith dotsin the interstices. Abovethe foot, rays. Red:beards;tails; forelocksof all but satyr on the right;Theseus' fillet;dots on cloakin tree and on god's garment;line on neck;two lines below panel that continueround the vase. White: dot clusterson garments; handle borderof Dionysos'chiton;stone;fruit on branches; dotson quiver. of axe;baldric; AA (Jd 95), 1979, p. 496. 247; also, Brommer, Antimenean [Bothmer]. CompareTiibingen6211 (CVA, Tubingen3 [Germany47], pls. 6 [2251]:6and 7 [2252]).
Ca. 510-500 B.C. For the subject of A, cf. Brommer, Heldensage3, pp. 245-

Two non-joining P.H. a) 0.11; max.dim. wall fragments. 0.11. b) a preserves Fragment partsof bothsides.A, Heraklesand the Lion. Herakles,to right,wrestlesthe lion on the ground. He has his left arm roundthe beast'srib cage;his right is raisedslightlyand sharplybent, his club in hand.The hero wears a short chiton; over his left shoulder is a double baldric.His buttocks and someof his rightarmare missing. B, woman(footto left and tip of drapery)and the lowerleft cornerof the panel. Fragmentb gives more of the woman (drapery)and the left borderof the panel.The sidesof each panel are framedby two rows of dots. Red:Herakles'forelock and beard,lower edge of his chiton;lion'stongue,dots on its mane;line just below panel that continuesroundthe vase.White:baldric; teethof lion, belly stripe;femalefoot.
For the subject, cf. Brommer, Heldensage3, pp. 109-143.

Late 6th centuryB.c. 395 PI. 38

P 2643 G 6:3 (U)

P 10826 No grid Wall fragmentfromleft side of panel. Max. dim. 0.165. Draped man (from waist down) to right, leaning on a stick.In frontof him, a figureseatedon an okladias(foldof boss on leg of okladias),also to right. Red:dotson drapery; boss. White:dot clusterson garments. cloaks; The LeagrosGroup(ABV 377, 241; Paralip. 167). 392 PI. 38
Ca. 510-500 B.C.

Mouth, neck, upper part of body. Rest. H. 0.11; rest. diam. 0.152. Strengthenedwith plaster. E. Vanderpool, Hesperia15, 1946, p. 311, no. 194, pl. 60. A, Herakles(part of head and body) to right attacksan Amazon(head,partof rimof shield),who is probably down on one knee.B, Dionysos(head,upperpartof body)to right In holdinga drinkinghorn,facinga satyr(head,shoulders). the fieldon eachside,a branchwith fruit.Aboveeachpanel, net pattern.Red:beards; rimof shield;dots beltof Herakles; on Dionysos'wreath and on his garment.White: baldric; fruit. dotson Dionysos'garment;
For the subject of A, cf. Brommer, Heldensage3, pp. 7-25;

393

P 8798 E 14:5

Four non-joiningfragments,only one of them (a) decorated.Max. dim. a) 0.092, b) 0.087, c + d) 0.068, e) 0.061. Fragmentb is fromjust abovethe foot;c and d, nowjoined, and e fromthe neck.Glaze has firedred in mostplaces. but for part of head, right hand, left Maenad (preserved shoulder,and foot) dancingto right,lookingaround.Below

for the composition, Bothmer, Amazons,p. 43, no. 50. with the Red-linePainterand Class of Pelikaiconnected the Painterof the RhodesPelike (ABV 607, 1); Mannerof the Red-linePainter(Paralip.303, 5). Ca. 500 B.C. 396 P 2644 and P 2645 G 6:3 (U)

Mouth, neck, upper part of body. Rest. H. 0.093; rest. diam. 0.147. Strengthenedwith plaster. E. Vanderpool, Hesperia15, 1946, p. 311, no. 195, pl. 60.

SKYPHOS-KRATERS A and B, two dancingyouths(heads,raisedarmof one on each side). In the field,brancheswith fruit.Abovepanel:on one side, net pattern;on the other, key patternto left. Red: line on neck.White:fillets;fruit. with the Red-linePainterand Class of Pelikai connected the Painterof the RhodesPelike (ABV 607, 2); Mannerof the Red-linePainter(Paralip.303, 6).
Ca. 500 B.C.

151

P 2755 G 6:3 (U) Fragmentof neck and upper left cornerof panel. Max. dim. 0.094. Brown wash on surface.E. Vanderpool,Hesperia 15, 1946, p. 311, no. 196, pl. 58. Dionysos (head)to right. In the field, branchwith fruit. Above, net pattern. Red: beard;fillet; line on neck above panel. White:fruit.
Early 5th century B.C.

397

PSYKTER 398 Fig. 11 P1.39 398 Fig. 11; P. 39 P 27885 H 13:5

Diam. of mouth0.20;diam. Eight non-joining fragments. of foot 0.168; max. dim. b) 0.116, c) 0.061, d) 0.051, e) 0.117, f) 0.051, g) 0.062. Mouth reservedon top (fragment a); wall (b-g); and torus foot reservedon underside g. Glaze has (h). Hole for ancientmendon rightof fragment misfireda grayishcolorin places.Thin wash on inside and outside. Wall reservedbelow figures,except for a band of glaze below the figuresand one abovethe foot (illustrated). Komos. Fragment b (illustrated)preservesthe bearded chin, torso,left arm, and left heel of a komastto left. Fragment c (illustrated)gives the neck with some of the beard, the body,partof the armsand legs of anotherto left, looking around.Fragmentd (illustrated)preservespart of the body of a thirdkomast,and fragmente gives someof the feet of a fourth,both to right. On the shoulderat the junctionwith the neck (a: illustrated),tongue pattern.Fragmentsfandg comefromthe stemjust below the figures.The misfiringof a (therim), b, andd indicates the glazeon fragments thatthe komaston d was directlybelow this portionof the rim and of the that fragmentb was to the left of these.The placement other fragments is uncertain. Red: beards. White: fillet roundneckof komaston fragmentc.
Late 6th century B.C.

F-11 I

FIG. 11. Psykter 398 (P 27885). Scale 3:10

SKYPHOS-KRATERS 399-413 Fig. 12 Pls. 39-41

BOWLS399-403 P 12046 07 of to receive a lid. Max. Fragment incurvingrim, grooved dim. 0.13. Bandedon inside.Rim glazedinsideandreserved at intervalson uppersurface.Slip on outside. 399 P1.39

Lion or Chimaera(someof mane)to right.On the left at the break, part of another object (goat of Chimaera?). Hanging spirals and zigzags at rim. Incised and ring rosettes. Red: mane; core and alternate petals of incised rosette. Locks of mane separated by two lines are unusual.

152

CATALOGUE Painter (ABV 7, /; Paralip. 6, 2 [/3];Kerameikos VI, ii, no. 182, pi. 112). Compareespeciallythe glazedflange,the direction of the spirals, and the drawing of the wing. Probablyby the samehand.
Late 7th century B.C.

Comparethese four,each in the tondoof a lekanis:the Nettos Painter,horse foreparts: Athens, N.M. 16366 (Paralip. 4, 19); three by the Panther Painter: one lion, Athens, N.M. 16355 (Paralip. 11, 3) and two pairs of confronted horse foreparts,Athens, N.M. 16358 (Paralip. 11, 5) and Athens, N.M. 16361 (Paralip. 11, 7). Comparealso the maneof a Chimaera on an olpe in the mannerof the Gorgon Painter, 708 (PI. 68). 399 is closer in style to the Nettos Painter than it is to either the Panther Painter or the GorgonPainter.For linkedhangingspirals,cf. 117 (P1.13); for the spirals and zigzag, cf. a fragmentin the Lucerne Market,nearthe painter(ABV 7, b; Paralip.6, 3). Ca. 610 B.C.

402 P. 39

Q17:8 Bottomof bowl with start of wall of conicalstand. P.H. 0.13. Hole in the bottomof the bowl. What remainsof the bowl is unglazedon the inside, but it may have had bands higher up, as on the inside of Athens, N.M. 16400 (unpublished). On stand,Chimaera(partof snake,headof goatto left) to right and panther (head, tail, line of back) to left. Spiral On lowerpartof bowljust abovethe stand, fillingornament. rays. Red:eyes;hornof goat. Late 7th centuryB.C. 403 PI. 40 P4277 E 14:11(?) Rim fragmentwith incurvingprojectionfor lid. Max. dim. 0.07. Resting surface of rim glazed. Unglazed on inside. Uncertainsubjectthat looks like the back of an animal with a short, thick tail surroundedby dots. The small amountof glaze in the lower right may belongto this aniwhat kind it is. mal, and if so, it is difficultto understand it is the curled of a tail Below boar. rim, parts of Perhaps two largesolidcirclessurrounded dots, by probably partof a frieze.Three verticalstrokesfor filling ornament.Red (applied directlyon the clay):animal. Late 7th centuryB.C.

P26656

FIG.

12. Skyphos-krater 400 (P 6577)

LIDs

404-413

400 Fig. 12; P1.39 P 6577 F 12:5 Fragmentof standedfoot and bottomof bowl. Max. dim. 0.125. Sphinx(topof headwith fillet,tip of wing). Hangingspirals for fillingornament.Red:fillet;face. The bodyof the sphinx was probablyto left and her head turned around, similar to the siren on the lid of Athens, N.M. 16382 by the Nettos Painter(ABV 4; Paralip.3, 10). Perhapsshe was one of a pair with a floralbetween. Last quarterof the 7th centuryB.C. 401 PI. 39 P 25661 0 12:2 Two non-joining Max. dim. a) 0.107, b) 0.10. fragments. One fragment(a) of bowl and inset rim with flangefor lid, the other (b) of standand bowl. Poor,brownishblackglaze on inside.Much of the glaze is flakedand abraded. Fragmenta (illustrated)preservespart of a wing, probably of a siren or a sphinx, to right. Above,at the junction with the rim, hanging spirals. Fragment b shows three horizontal lines at top of stand.Red:alternatefeathers. Closest to Kerameikos,inv. no. 1365, near the Nettos

404 P1.40

P3616

1 14:1

Two non-joining of large domedlid with part fragments of rim. Max. dim. a) 0.145, b) 0.11. Reserved on underside. Fragmenta preservespart of three zones: I) borderof by esses;II) friezeof adorseddiagonalpalmettesconnected volutes, with a vertical border of esses and key pattern; III) step pattern. Fragmentb gives more of the palmette spiral ornamentand the step pattern.Red: alternatepetals of palmettes; links of spirals. Ca. 630-620 B.C. 405 PI. 40 P 7866 B 13 Fragmentof domedlid. Max. dim. 0.095. Whitish slip. Reservedon underside. Boar(cheek,neck,partsof forelegs)to right.Dot rosettes, uprightspirals, linear filling ornament.Below, three lines and tracesof anotherobjectin the samezone, or perhapsa bandof step pattern.Red:neck. For the upright spirals on high bases, comparea late Protoatticamphora,Agora P 25336 (Agora VIII, p. 99, no. 589, pl. 37), and a skyphos-krater, Kerameikos,inv.

SKYPHOS-KRATERS with the Nettos Painter(ABV7, a; Parano. 101, compared lip. 5, -, 1; 6; Kerameikos VI, ii, no. 181, pl. 111).
Ca. 625 B.C.

153

406 PI. 40

P6116

E14:8

Fragmentwith part of rim. Max. dim. 0.202. Reserved on underside. Boar (partof cheek,neckwith bristles,shoulder,and left foreleg)to left. Spiralfilling ornament.Step patternat rim. Red:neck. For the spiral ornamentand the directionof the step pattern below the figures, cf. the amphora in London, 1874.4-10.1, formerlyA 1531, by the Nettos Painter(ABV 3, 2; Paralip.2, 2). Perhapsrecallsthe ChimaeraPainter(ABV 4, -).
Ca. 620 B.C.

Red:wing bow, Dot rosettesfor fillingornament. outspread. alternatefeathers; bandat edgeof rim. This swan recallsthe preeningswan on the right handle of the Nettos Painter'snamepiece(ABV 4, 1; Paralip.2, 6; best illustratedin Karouzou,'Avayvpoivros, pl. 90), and the dot rosettewith the dot in the center is an ornament favored by this painter,althoughit is also knownon vasesin the mannerof the GorgonPainter(cf. 138: PI. 17).
Late 7th century B.C.

411

P 21699 07:12

407 Pl. 40

P 21565 07:9

Lower part of knob, open at top, of a very large lid. P.H. 0.082. Traces of white on background. Much of the is abraded. glaze Birdor siren (bodyand feet) to left. On the right,partof another(tail?).Dot rosettefor fillingornament. Red:baron wing bow;alternatefeathersof wing and tail.
Late 7th century B.C.

Fragmentof large domedlid with part of rim. Est. diam. 0.43; max. dim. 0.162. Reserved on underside. H. A. Thompson,Hesperia21, 1952, pl. 30:d. Lion (face;left forepaw)to left. Teeth in outline.Incised rosettesfor filling ornament.At lower edge of lid, zone of diagonallines between a line top and bottom (very faint). Red:nose, upper lip, tongue.White:lower teeth. Not far fromthe ChimaeraPainter(ABV4, -, 1); Near the Nettos Painter(Paralip.5, i, 1).
Ca. 620
B.C.

412 PI. 41

P 5303 E-F 12-14

408 PI. 40

P25268

A 17:1 (U)

Fragment.Max. dim. 0.155. Glaze firedbrown. Partsof two friezes:I) animals:feline (tail) to left; swan and (head, neck, most of body) and feline (hindquarters tail), bothto right;II) animals:lion (mane,partof body)to right. At the top of the fragment,dicing. Ring rosettesfor filling ornament.Red: bands on wing of bird;mane, ribs, belly stripeof lion. The GorgonPainter(ABV 10, 25). First quarterof the 6th centuryB.C. 413 PI. 41 P 5520 and P 17084 N 10

Rim fragment of high domed lid. Max. dim. 0.078; p.H. 0.06; est. diam. 0.40. Reservedon underside. Horse (muzzleandhoof) to right.Aboverim, steppattern overlappedslightly by the horse'smuzzle. Blob rosettesfor filling ornament.Red:nostril,hoof. The horse is probablya grazingone, such as two by the Nettos Painteron the louteriononce in Berlin, Berlin 1682 (ABV 5, 4; Paralip.2, 8 [d]),or 133 (PI. 16), 1361 (PI. 94), and 1678 (PI. 109). For the red nostril,cf. 14 (PI. 3).
Ca. 620
B.C.

409 Pl. 40

P 7560 D 6-7

Fragment of domed lid with part of rim. Max. dim. 0.077. Reservedon underside. Boar (hind leg) to left. Dot rosettesand zigzag pattern with trianglesfor filling ornament.Red: markingon hindquarter;bandat rim. Perhapsnear the Nettos Painter(Paralip.5, -, 1).
Ca. 620-610 B.C.

410 PI. 41

P4241

E 14:11

Fragment of domed lid with part of rim. Max. dim. 0.099. Reservedon underside.Most of glaze has worn off. Swan (beak, breast, left wing) to right with wings

Two non-joining of largedomedlid. H. 0.102; fragments est. diam.at rim 0.35; max. dim. P 5520 a + P 17084:0.25, P 5520 b: 0.134. Reservedon underside.Start of knob on P 5520 a + P 17084. Some of the glaze is abradednear rim. P 5520 a+P 17084 gives parts of three ornamental bandsand one figuredfrieze:I) aroundbase of knob,rays; II) dicing;III) rosettes; IV) animalsandsirens:head,breast, and wing tip of siren to right,then a panther(someof hind legs missing) to right, a siren to left with head turned around, and a panther (hindquartersmissing) to left. P 5520 b preservesmore of the animal- and siren-frieze: bull (body,legs) to left; siren (tail, some of wing) to right. Red:alternatepetalsandcoresof rosettesin frieze;alternate petals of some rosettesin figurezone;tops of siren'sheads; breastof sirenon left;bandat napeof neckof sirenon right, bar and alternatefeathersof her wing, band and alternate feathersof her tail; muzzles, eyes, foreheadsbut for black strip, necks,and belly stripesof panthers;belly stripe and ribs of bull. The Group of the Dresden Lekanis (ABV 22, 6: P 17084). Ca. 580-570 B.C.

154

CATALOGUE COLUMN-KRATERS 414-490 Pls. 41-46

414 P1.41

P 26289 H 12:21

Handle-plate.P.H. 0.047; max. dim. 0.062. Right half with startof handlebeneath. preserved On top of plate, swan (top of neck, part of wing and tail missing)to right. Ring rosettesfor fillingornament.Border of esseson outeredge.Red:wing bow;sideof handle;border of esses.
Ca. 600 B.C.

415 PI. 41

P 22839 H-K 12-14

Wall fragment.Max. dim.0.125. Whitishslip on surface. Siren (wing, tail, legs) to left. On the right, part of anotherfigure, perhapsa siren or sphinx. Red: wing bow, bandon tail. Late firstquarterof the 6th centuryB.C. 416 P4237 E 14:11 Wall fragment. Max. dim. 0.078. Glaze fired red on inside. Man (feet, lower part of chiton and cloak) standingto rightfacinga siren (partof breast,wing bow). Betweenthe two, at the break,part of a dot rosette.Red:panel of cloak, wing;line. Late firstquarterof the 6th centuryB.C. 417 P1.41 P3015 R 13:3

one white, the otherblack).On the right,a smallbit of glaze belowthe handleroot.Underthe handle,swan (head;some of body) to right with head turned around.Red: band at rightedgeof door(its frame?),outlineand neckingringsof columnon left. White (applieddirectlyon the clay):column on left. two othersby Sophilos: For the house,compare Akropolis 587 (ABV39, 15; Bakir,Sophilos,pi. 3) and London,B.M. 1971.11-1.1 (Paralip.19, 16 bis;Bakir,Sophilos,pls. 1, 2; Williams,op. cit. [footnote4, pp. 33-34 above],pp. 9-34). Both of these depict the Wedding of Peleus. In Attic is knownmainlyon vases painting,the use of redforcontour by Sophilos and on some that may be by him (Beazley, inv. Development, p. 19;ABV43, 1-5); alsoon Kerameikos, rim fragment(Keraunattributed no. 109, a contemporary meikosVI, ii, no. 193, pl. 122);for examplesin otherkinds of painting,cf. A. Rumpf, Gnomon25, 1953, p. 469. The of white directlyon the claygroundis knownin application earlier Attic vase painting,but by the time of Sophilos,it was usually laid on top of black glaze. Sophilos' use of accessorywhite was the method preferredby Corinthian painters(Beazley,MMSt 5, 1934-36, p. 101), and he may the techniquefromthem. haveborrowed our Sophilos(ABV41, 26); Bakir(pp. 43-44) diminishes to a fragment workshoppiece.
Ca. 580 B.c.

Wall fragment.Max. dim. 0.17. Komasts.Beardedkomast (right hand missing) to left; hand of another at the upper left. At the right, tail of a feline, perhapsone of two that flankedthe dancers.Incised rosettesfor filling ornament.Abovefigures,tonguepattern at junctionwith neck, Red:face, neck,tunic fromwaist up; band coresof rosettes,dotson theirleaves;alternate tongues; below figures. The KomastGroup:VIII, Unallotted(ABV 36, 36).
Ca. 585-575 B.C.

418 PI. 41

P 27586 M 16

Fragmentof handle-platewith part of columnon underside. Max. dim. 0.083. Feline (body, one foreleg, hindquarters,tail) to right. sidesof plate. Red:ribs,markingson hindquarters; cf. the pantheron ConserFor a feline on a handle-plate, vatori212 by the KY Painter(ABV 31, 2; Paralip. 16, 2). Late firstquarterof the 6th centuryB.C. 419 P1.42 P 13848 U 25:2 (L) Wall fragmentwith start of handle at right. Max. dim. 0.082. Baklr,Sophilos,pl. 83, fig. 170. House (at the left, partof a door,thentwo Doriccolumns,

P 22330 0 16 420 P1.42 Wall fragment.Max. dim. 0.056. one leg of the couchoverlapped by a counterSymposion: tall table in the one of a decorative with border; leg pane but on the far front of the couch (its top is not preserved, rightof the fragmentis a bit of curvedincisionwhich is the end of a piece of meat hangingover the edge). Beneaththe to right. tableis a dog (hindquarters, tail) crouching of the The longcouchcoveroverlapping leg, the table part in frontof the couch,and the inclusionof the dog are based whichseemsto haveprovidon the Corinthian composition, und ed the modelforAtticartists.Cf. B. Fehr, Orientalische the sub54. For Bonn pp. 28-29, 1971, griechische Gelage, ject, cf., also, J.-M. Dentzer, "Aux origines de l'iconographiedu banquetcouche,"RA, 1971, pp. 215-258. For Greekcouches,cf. H. Kyrieleis,Throneund Klinen,Berlin 1969, pp. 98-149.
Ca. 580-570 B.c.

P 17806 J18:4 (L) 421 P1.42 Three non-joiningwall fragments.Max. dim. a) 0.15, b) 0.16, c) 0.05. Parts of two zones, the main one and an animal frieze a (illustrated) below.Fragment partof each:I) on preserves

COLUMN-KRATERS the left, at the break, the toes of a foot to left; II) siren or sphinx (head) to right and some of the outspreadwing of a bird, perhapsan eagle flying to right or a siren with wing possiblyfromthe other outspread.Fragmentb (illustrated), side of the vase, also gives some of two zones:I) on the left, toes of a foot to right, four frontal hoofs; II) feline (hindquartersand tail) to left and a goat (tail) to right. Fragment c preservespart of an objectthat looks like the head of a spear or one of the horses'tails. Red:wing bow of siren or sphinx;someof wing of eagle or siren;rib of feline. The composition probably showed a frontal chariot flankedby standingfigures,similarto the contemporary one on LouvreE 873 by Sophilos(ABV 39, 12; Baklr,Sophilos, pi. 46, fig. 83), and 421 is probablynot far from Sophilos, to be certain.For althoughso little remainsthat it is difficult the interpretation of the wing on 421 as that of an eagle, comparethe one on LouvreE 873 (Baklr,Sophilos,pl. 47, fig. 85). Also, for the animals,compareAthens, N.M. 991 (ABV 38, 1; Baklr, Sophilos,pls. 49-54), Boston, M.F.A. 98.915 (ABV 41, 27; Baklr, Sophilos,pls. 26-29), and 6 (PI. 1). The representationof the frontal chariot seems to be introduced in Atticblackfigureby the GorgonPainter,e.g., 474 (ABV 8, 2) by the painterhimselfand AkroAkropolis 759 (ABV 12, 31) in his manner.The basic study of polis
this scene is G. Hafner, Viergespanne in Vorderansicht.Die reprisentative Darstellungen der Quadriga in der griechischen und der spateren Kunst, Berlin 1938. For the Archaic

155

Warsaw,ex Goluchow(Bakir,op. cit., K 12) with animals on the mouth,no handle-plate.

Ca. 580-570 B.C.

423

P 4629 F-G 12:1

Wall fragment.Max. dim. 0.106. R. Young, Hesperia, Suppl. II, Athens1939, p. 119, fig. 86:B 36. Siren (breast,startof wing, partof one leg) to right,facing a grazing goat (head and neck). Cross in field. Red: breast,bar on wing of siren;neckof goat. Secondquarterof the 6th centuryB.C. 424 P 13105 R8 Wall fragment.Max. dim. 0.071. Sirens(headof one;faceof the other)facing,with the bow of a spreadwing between. Above, edge of tongue pattern (guideline).Red:wing. White:faces. Secondquarterof the 6th centuryB.C. 425 P 26811 T 19 Fragment.Max. dim. 0.15. Downturnedrim, neck,convex wall, andthe stubof one handlecolumn.Neck blackexcept underhandle. Underhandle,swan to right.On left, goat (hindquarters, tail) to left. Red:wing bow, stripson breastof siren;markof goat;threebandsbelow figures; two ings on hindquarters insideneck. Secondquarterof the 6th centuryB.C. P 1394 R13:3 Wall fragment,with start of neck. Max. dim. 0.108. Burned(clay is gray). Two heraldicpantherswith heads averted(top of head and neckof one on left;head,neck,startof shoulder,partof tail of one on right). Red:necks. Secondquarterof the 6th centuryB.C. 427 P 21709 0 7:9 Handle-plate.Max. dim.0.085. Inneredgebrokenaway; startof handlecolumnbeneath.Edgesblack. On top of plate, sirento right. Blobrosettes. The Polos Painter(ABV 44, 11). Secondquarterof the 6th centuryB.C. 428 P1.42 P 23543 P 7:5 Rim fragment.Max. dim. 0.08. On top side of rim, lotus-palmette festoon.Red:heartsof cuffsof lotuses;bandon insidebelow rim. palmettes; The appearance of the lotus-palmette festoonon the top side of the rim is unusual, and this one is an odd version becauseonly narrowlinks, not loops,separatethe heartsof the palmettesfromthe cuffsof the lotuses. Secondquarterof the 6th centuryB.C. 429 P 22134 0 15 Fragment of shoulder with start of neck. Max. dim. 0.076. PI. 42 426

period, cf. pp. 3-60. For a review and an appendix, cf. D. Amyx,AJA43, 1939, pp. 164-166. The sceneis also discussedbrieflyby W. Deonna in Genava9, 1931, pp. 126sche Forschungen II), Berlin 1950, pp. 184-185. Ca. 580-570 B.c.
167 and by E. Kunze, Archaische Schildbiinder (Olympi-

422 P 26507 I 17:2 Two non-joiningfragmentsof rim. Max. dim. a) 0.158, b) 0.12. On top sideof rim, friezeof horsemen to right:fragment a givespartsof the legs of a horsegallopingto right;below its belly, a blob;fragmentb preservesthe right leg of a rider, the forelegs and chest of his mount, some of the body of another.On the verticaloverhang, incisedrosettes.Red:ribs of horseson fragment b;coresand stripson petalsof rosettes. The horsesand rosettesmay best be compared with those on two column-kraters 212 by the KY Painter,Conservatori (ABV 31, 2; Paralip. 16, 2) and LouvreC 11249 (ABV 31, 4; Paralip. 16, 4: the numberwronglygiven as C 12249). Unusual on 422 is that the figuresappearon the top side of the mouth (cf. 476: P1. 46), a decorativearrangement that does not seem to occur again in Attic black figure until Lydos, but it does appear in Early Corinthian,although here, too, it is unusual. Cf., for example, Louvre E 635, which has a frieze of animalson the top side of the mouth and on one handle-platea hunt, on the othertwo horsemen
(NC 780; Baklr, Kolonnettenkrater, K 20, pl. 10); and

156

CATALOGUE some of the torso and neck of Paris). He moves to right, lookingaround,wearinga crinklychitonwith a cloak.The bit of glaze to the left of his forearmmay be the sash of the Red:cloak.White:chiton. instrument. cf. Clairmont,Parisurteil,esp. For the representation, 104 for more Paris; p. recently,I. Raab, Zu den Darstellungen des Parisurteilsin der griechischenKunst, Frankfurt-am-Main1972, esp. pp. 61-68. 433 showsthe flightof Paris, at least to judge by his raised left arm (cf., e.g., Clairmont, Parisurteil, pl. 11). Unusualon 433 is that Paris holdshis lyre in his raisedleft hand. Normallyhe carriesit at thigh level in his right,his left beingempty.But compare a laterexample,Laon37894 by the DiosphosPainter(ABV 703, 15 bis;Paralip.249, 15 bis), where Paris startsto flee looking around,holding his lyre in his slightly raised left hand,a staff in his right. Ca. 560-550 B.C. 434 PI. 42 P 14370 T 18:1 Two non-joining of wall. Max. dim. a) 0.113, fragments fired 0.192. Glaze red. b) a youthfromthe waist up, moving Fragmenta preserves to right lookingaround,dressedin a chitonwith two straps of a sackoverhis raisedright arm. Fragmentb givesa little of his left leg and all of his rightwith the bottomof the sack his thigh.On the left are the lowerpartsof two overlapping males to right, and on the far left are two dots of draped Red:hair; glaze that maybe partof an imitationinscription. bandbelowfigurezone. White:baldric. The runningfigureis The subjectis difficultto interpret. he lack a cap and for not does to be Perseus, only unlikely does not fit what of the scene boots but remains winged within the establishediconography.His arms are in the wrong positionfor the beheading,and in the pursuit, Perseusdoesnotcarrythe kibisisoverhis rightarmbutoverone Helof Perseus,cf. Brommer, shoulder.For representations Another with 272-291, possibibliography. densage3,pp. who carriesa sackoveronearm,but all the bilityis Aristaios examples of him known to us show him winged (cf. the for 141: P1. 18). bibliography
Ca. 550
B.C.

Youth (head, shoulder, part of chest) to right. Above, tongue pattern. Red: hair, ring round nipple; alternate tongues;bandon insideat junctionof neckand shoulder. Lydos(ABV 112, 61).
Ca. 560 B.C.

430 P1.42

P 5047 N 14

Wall fragment.Max. dim. 0.045. Glaze firedred on inside and outside. Man (some of head and shoulders,part of cloak with to left. Red:dotson garment. elaborateborders) The crinklycontourof the hair and the wide, patterned in the earlyworkof Lydos.Comare bestparalleled borders pare especially, Munich 1681 (ABV 108, 12; Tiverios, pl. 2); Louvre E 804 (ABV 108, 13; Tiverios, pl. 7:a); Florence70995 (ABV 110, 32; Paralip. 44, 32; Tiverios, pls. 22, 23); FlorenceV 102 b andd (ABV 111,46; Tiverios, pi. 71:y); also, London,B.M. 1948.10-15.1 (ABV 108, 8; Paralip.44, 8; Tiverios,pls. 7:,8,8, 9); and Leningrad(Paralip. 45; Tiverios, pi. 72:a, y). Compare also, a conto the Ptoon temporarywork that bears some resemblance Painter,New York,M.M.A. 59.64 (Paralip.31; CVA,New York4 [USA 16], pls. 1, 2 [729, 730]). The subjecton 430 may be a symposion,for the fragmentcomesfromaboutthe maximumdiameterof the vase, and the figuremay, therefore,be a recliningone. Abovehis headtheremayhavebeen fillets or utensils hanging on the wall, and at the junction with the neck,a row of tongues. For symposia,cf. 420.
Ca. 560 B.C.

431 P1.42

P 23664 Q8

Wall fragment.Max. dim. 0.105. one leg of the couch, The fragmentpreserves Symposion. some of its cover,part of the table in frontof it, with cakes. On the right, a boy (one leg, part of the other) comes in holdinga smalljug (fingersof righthand,vessel).Red:part of couchleg; alternatecakes.White:partof borderof couch cover. For symposia,cf. 420.
Ca. 560
B.C.

P 26537 T18:3 432 PI. 42 Shoulderfragment.Max. dim. 0.069. someof body)reclinYouth(head,shoulders, Symposion. a beardedman (head, toward with turned to head left ing the Below also youth,someof the reclining. right shoulder) altercouch.Abovethe two, tonguepattern.Red:garments; nate tongues. For symposia,cf. 420.
Ca. 560 B.C.

435 P1.43

P9326

M18:2

433 P1.42

P 23049 M-N 15:1

Wall fragment.Max. dim. 0.062. Judgment of Paris (most of raised left arm with lyre,

Wall fragment.Max. dim. 0.057. of one, partof maneof the other)to Two horses(forehead right. Above, tongue pattern. Red: mane of horse on left; alternatetongues.White:maneof horseon right. Perhapsby Lydos. The subjectmay have been a horseman leadinga voidhorseas on the Kerameikos hydria(Paralip. 45; Tiverios, pl. 29) or a pair of horsemenas on the Naples amphora(ABV 109, 23; Paralip. 44, 23; Tiverios, for a pl. 56), for the spacingbetweenthe headsis not correct chariotteam (cf., e.g., Berlin 1732:ABV 110, 37; Paralip. 44, 37; Tiverios, pls. 58-59). For the drawing compare the Eleusis fragment(ABV 109, 22; Tiverios, pl. 73:y),

COLUMN-KRATERS Akropolis2546 (ABV 113, 85; Tiverios, pl. 77:8), and the horseheadshield deviceon Akropolis802 b (ABV 112, 59;
Tiverios, pl. 81:8). Ca. 550 B.C.

157

hair of man; fillet, eye of woman;band on inside of vase below rim. White:woman'sflesh. Relatedto Lydos(ABV 119, II, 5).
Ca. 550
B.C.

P 24943 Q13:5 436 PI. 43 H. 0.216; diam.0.245. Chips in footand rim;a few small fragmentsof wall restored. Glaze misfired (brownish or greenishcast). H. A. Thompson,Hesperia25, 1956, p. 57, BCH 94, 1970, p. 393, figs. 34, pl. 16:a;P. Zaphiropoulou, 35 and p. 394, figs. 36-39. A, two preening swans facing, with a palmette-lotus floral between. Above, tongue pattern. B, goat grazing to left. Under each handle, swan to right. Incisedrosettesfor birdto rightpreenfilling ornament.On each handle-plate, ing. On top side of rim, rays. Abovefoot, rays. Red:bar on each wing; dots on neck of right swan; heart of palmette, link; alternatetongues;neck, ribs, belly stripe,markingon of goat;two lines inside neck (one at rim, one hindquarters at junctionwith shoulder); fivelines below figures; two lines on foot.White:baron eachwing of swanson A; budof lotus; dots roundheartof palmette. Mannerof Lydos(Paralip.47).
Ca. 550 B.C.

440 P1.43

P 6033 E 15

Handle-platewith part of column on underside.Max. dim. 0.107. Head of beardedman (foreheadmissing) to left. Three parallellines framethe plate on each side. Red:face, neck, fillet. Relatedto Lydos.Comparethe male headon the handlein London(ABV 108, plate of the painter'scolumn-krater 8; Paralip.44, 8; Tiverios,pl. 7:,8),but the drawingon 440 is weaker,the ear too large,andthe facecovered with added red, a detaildifficultto parallelin Lydos,althoughit occurs elsewhere(e.g.,441: PI.43,451: P1.44,453). For morethan one line framingthe plateat the sides,a rarefeature,cf. 439 (PI. 43).
Ca. 550 B.C.

441 PI. 43

437 PI. 43

P14689

S21:2

Fragmentof rim, neck, and body. P.H. 0.094; est. diam. of rim 0.275. Animals:swan (head) to right;goat (mostof head, neck, and back)to left. On top side of rim, rays. Red:goat'sneck; line on insideat junctionof neckand body. The compositionwas probablyvery like that on a column-krater in the mannerof Lydos,LouvreC 11257 (ABV 117, 30; Paralip. 47, 30), and 437 probablybelongsto this group (ABV 117, 26-39; Paralip. 47), for what remainsof the drawing,exceptfor the doubleline indicatingthe goat's shoulder,is similar.
Ca. 550 B.C.

P 23211 M 15 of with start of columnon underFragment handle-plate side. Max. dim. 0.095. Glaze firedbrown.Surfacepitted. Male head (top half missing) to left. Framing line on right. Red:faceand neck. Related to Lydos. Cf. 440 and the comparisonsgiven there.
Ca. 550 B.C.

442 PI. 43

P 23276 M 15

Handle-plate.Max. dim. 0.093. Birdto right,preening.Framinglines on right. Red:dots on neck,bar on wing. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47).
Ca. 550 B.C.

438 P 25278 R 12:3 Wall fragmentwith startof neck.Max. dim.0.113. Some of the glaze on the inside is thin. Siren or sphinx (backof head) to right with head turned around. On the right, a panther (hindquartersand legs missing). Above, tongue pattern without separatinglines. Red:neck,belly stripe,ribs.
Ca. 550 B.C.

443 P. 43

Q13:5 with start of rim and column beneath. Handle-plate Max. dim. 0.091. Inneredgebrokenaway;chip fromlower rightcorner. Birdto right,preening.Red:bar on wing;dotson neck. Mannerof Lydos,may be by the Painterof LouvreF 6 (Paralip.47).
Ca. 550 B.C.

P24955

439 P1.43

P198

G 17

444

P3039

M 11

Handle-plate, completeexcept for outer corners.Max. dim.0.095. Someof the columnsare preserved on the underside. E. Vanderpool,Hesperia 15, 1946, p. 130, no. 16, pl. 21:7. Heads of man and woman to left. Edgesof plate framed by two parallellines. On sidesof plate, borderof esses. Red:

Max. dim. 0.09. Fragmentof handle-plate. Bird(someof neck,endof tail missing)to right,preening. Framingline on right. Red:stripon wing. Manner of Lydos,may be by the Painterof LouvreF 6 (Paralip.47).
Ca. 550 B.C.

158 445

CATALOGUE P 22158 016 Fragmentc gives some of a roundshield (device:foreparts of a horse)held by a warriorto left (partof one greavedleg remains).His shield overlapsthat of anotherthat seems to have a female leg as its device. Fragmentd preservesthe spreadwing and part of the tail of an eagle flying to left, probablybeneath the handle, and, on the far right, the greavedleg of a warriorto left. Red: wing bows;stripeon cloakof drapedman;rim of roundshield;alternate tongues; two bands below the figure zone. White: chitonof draped man, dot clusterson his cloak;woman'sfoot;circleson rim of Boeotianshield;devices. on one side probably showeda birdor a The composition sirenbetweentwo seatedsphinxes,similarto one on an unpublished fragmentarycolumn-kraterin London (B.M. set in panels. B 101), which has the decoration
Ca. 550 B.C.

Handle-plate. Max. dim. 0.105. Some of column prestartof rim. Glaze firedred in part. servedon underside; Swan to left. The painterforgotto put in the tail. On top side of rim, rays. Red:dots on neck;wing bow;bandon inside belowrim. Manner of Lydos,may be by the Painterof LouvreF 6 givenas P 23158). (Paralip.47: numberincorrectly
Ca. 550 B.C.

446 PI. 43

P 13346 H 10:2

Handle-plate.Max. dim. 0.105. Male head (upper part of face missing) to left. Red: beard,fillet. The Painterof Vatican309 (ABV 122, 23).
Ca. 550
B.C.

447

P 22176 Q7:1 Rim, neck, start of shoulder, and handle-plates.P.H. 0.36. 0.06; diam.of rim 0.27, with handle-plates On each handle-plate,male head to left. On top side of rim, rays.Abovepanelson eachside,tonguepatternatjuncline on alternate tionwith neck.Red:fillets,beards; tongues; insidebelow rim. The Painterof LouvreF 6 (ABV 125, 26).
Ca. 550-540
B.C.

451 PI. 44

P 10202 No grid Handle-plate. Max. dim. 0.115. Part of column preserved on underside.E. Vanderpool,Hesperia 15, 1946, p. 129, no. 14, and pi. 21:5. Head of man to left. The tip of the beardand the nose wereoncedrawnlower.Red:face;bandon insidejust below
rim.

Hair dividedinto locksis an unusualfeatureof this head. Compare452 and a fragment,Harrogate,Kent (AJA 48, 1944, p. 251), perhapsby the samehandas 451.
Ca. 550 B.C.

448 P1.44

P 14564 No grid

Handle-plate.Max. dim. 0.21. Male head (tip of beard, front of neck missing) to left. Framingline on left and right. Red:fillet;stripon beard. The Painterof LouvreF 6 (ABV 125, 25).
Ca. 550-540 B.C.

452

P206

G 14

P2399 H8-10 449 Wall fragment.Max. dim. 0.125. Panther(mostof head, neck, some of body and forelegs) and swan (tail, some of wing and leg), both to right. Red: neck. White: strip on nose of panther,belly stripe;dots on wing of bird. Perhaps by the Painter of Louvre F 6. Compareespecially Louvre E 678 (ABV 125, 29; Paralip. 51, 29) and LouvreE 679 (ABV 125, 30; Paralip.51, 30).
Ca. 550
B.C.

of handle-plate. Max. dim. 0.112. Startof colFragment umn on underside. E. Vanderpool,Hesperia 15, 1946, p. 129, no. 15, pl. 21:6. Head of man (top missing)to left. Red:face,neck,eye.
Ca. 550 B.C.

453

H5-6(?) Handle-plate. Max. dim. 0.131. Some of column on underside. Head of man (upperpartmissing)to left. Red:face,neck.
Ca. 550 B.C.

P116

454

P 22335

0 16

450

P 25378 No grid

Four non-joiningwall fragments.Max. dim. a) 0.195, the stubof a preserves b) 0.093, c) 0.13, d) 0.105. Fragment one column. Fragmenta preservesa sphinx (body,forelegs,wing) to left and in frontof her, partof the wing of a siren.Abovethe sphinx's wing, some of the tongue patternat the junction with the neck, and in the upper right, the start of the handle.Fragmentb shows the lower part of a drapedman to right and, in frontof him, part of the rim of a Boeotian shield, presumablyheld by the woman (foot) facing him.

Handle-plate.Max. dim. 0.089. Head of man (top missing) to left. Red: fillet, strip on beard. Secondquarterof the 6th centuryB.C. 455 P1.44 P26617 T18:2

Fragmentof handle-plate.Max. dim. 0.10. Someof column on underside. Head of youth to left. Red: face, except for eye and
contour. Second quarter of the 6th century B.C.

COLUMN-KRATERS 456 P 3259 E 14 461 PI. 44

159 P 13015 V 24:2 (L)

Fragmentof handle-plate.Max. dim. 0.091. Part of column on underside. Head of manto left. Red:face,neck;bandon insidebelow rim.
Ca. 550 B.C.

P 10785 No grid Wall fragmentfromnear shoulder.Max. dim. 0.048. Warrior(torso,upper parts of arms) drivinga chariotto right; a Boeotianshield (part of its rim) shown in profile hangs down his back; on his left is the shaft of a spear. White:chiton. The positionof the warrior'sarms suggeststhat he is a charioteer. The shafton his left cannotbe that of a goad,for it shouldbe held in his hand, not tuckedunderhis arm. It may be a spear belongingto a warriorwho standsbehind the chariot,aboutto mount. Third quarterof the 6th centuryB.C. 457 PI. 44
458

P.H. 0.22; diam. of rim 0.46. Half of rim, Fragmentary. of the other,nearlythree-quartone handleand attachment ers of the neck,morethan half of panel on one side. fromthe Boxers,youth,and men. Two boxers,preserved waist up, fight,as a drapedyouthlookson. A cloakappears betweenthe boxers,perhapsdrapedovera stoneor a pillar. On the right,a nude male talks to a drapedman (bothpreservedfromthe kneesup). Above,tonguepatternatjunction with neck.On the right,ivy framesthe panel.On top sideof rim, a chain of lotus buds; on overhang,ivy. On top of handle-plate, lotus-palmette complex.Red:stripesand dots on garments; beards,hair;alternatetongues. Ca. 540-530 B.c. P 16564 No grid Wall fragment with tracesof handlecolumnat top. Max. dim. 0.048. Underhandleroot,the mouth,neck,andone handleof an amphoraType B. On the left, at the break,the end of a fold of drapery.Red:rim, alternatetongueson amphora; line on insideof fragmentneartop. Third quarterof the 6th centuryB.C. 463 PI. 44 P 13332 H 9 Fragmentof shoulder. Max. dim. 0.086. Stubs of one handleand startof neck.Glaze firedred. Below handleroot, the rim, neck, shoulder,and handles of a volute-krater. Red: lip and line on each handleof volute-krater; stripat left of handle. Third quarterof the 6th centuryB.C. 464 P1.44 P2028 H8-10 Wall fragment.Max. dim. 0.088. On the left, a woman (someof her hair, peplos,and left arm) to left, and behind her, a Boeotian shield (device: pantherhead and femaleleg) carriedby a warrior(part of left forearmand a bit of his scabbard on the far right), also to left. Red: rim of shield;belt of woman;line on inside. White:woman'sflesh;femaleleg.
Ca. 530-520 B.C.

462 PI. 44

P 15888 D-E 18-19 (?) Wall fragmentwith startof neck.Max. dim. 0.067. Man and woman(heads)to right.Tongue patternabove. Red:alternatetongues.White:woman'sface.
Ca. 550-540
B.C.

459 P1.44

P 24956 Q 13:5 Fragmentof rim, overhangbroken.Max. dim. 0.195. On top sideof rim, lotus buds.On side,rosettes.Red:outline of closedbuds; links; line inside rim and one at outer edge. The lotusesare similarto thoseon the overhang of the rim of a large fragmentary column-krater from Samothrace attributed to the Princeton Painter (Hesperia 44, 1975, pl. 54:b,c). Here, however,the outer leavescurl morethan they do on 459. Comparealso the lotus-budfrieze on the neckof the namepieceof the Painterof LondonB 76 (ABV 85, 1; Paralip.32, 1).
Ca. 550 B.C.

460 PI. 44

P24

I 10

465

P2324

R 13:4 (?)

Wall fragment.Max. dim. 0.068. Woman (uppertorso,upperright arm) to right,wearing a peplosand a himation,which she eitherholdsup with her left hand or which crossesover to her left shoulder,more likely the latter. On the right is a bit of glaze that may belong to another figure. Red: part of peplos; outer fold of himation;dot rosetteson peplos. A good parallelfor the suggestedarrangement of the himationis difficultto find. It may have been somethinglike that of the mourningwomanon the namepiece of the Painter of the Vatican Mourner (ABV 140, 1; Paralip. 58, 1), except that the woman on 460 stands up straightand her himationhas morefolds.
Ca. 540 B.C.

Wall fragment.Max. dim. 0.05. Man (heel, anklebone,borderof long garment)standing to right.Red:garment.White:row of dotson border top and bottom. To judgeby the amountof spacebehindthe figure,he was probablythe leftmost one in the composition,perhaps a once in the Lonspectator.Compare,e.g., a column-krater
don Market (Cat. Sotheby, 27. November, 1967, no. 157).

Third quarterof the 6th centuryB.C.

466 P1.44

P 4822 and P 4690 E-F 12-14

Two non-joiningwall fragments.Max. dim. P 4822: 0.081, P 4690: 0.116. One fragment(P 4690) with startof neck.

160

CATALOGUE Collections, pp. 44-45; no. 17); Rouen447 (Paralip. 148, 5 quater);Oxford 1911.256 (ABV 336, 11). Typical for the painteris the absenceof incisionon the hockjoints;also the mannerof drawingthe tail. Two arcs on the hindquarters are rare but occuron the unpublished amphorain Rouen. Difficult to parallel is the incision on each spoke of the wheel.
Ca. 510 B.C.

P 4822 preservesa satyr (rightleg frombelow knee, end of tail) to left and a maenador Ariadne(heel, someof drapery) to right. P 4690 (illustrated)shows a maenad(head, shoulders,hands) dancingto left. In the background, ivy. Abovethe maenad'sleft shoulder,a line that looks like the shaftof something,perhapsof a staff or a thyrsos.Red:tail (applieddirectlyon the clay ground);fillet;dotson drapery. White:femaleflesh;dot clusterson drapery.
Ca. 520-510
B.C.

471 PI. 45 467 PI. 44 P6557 E-F 12-14 Wall fragment.Max. dim. 0.047. Clay burnedgray. Youth (head) to left. Above, some of tongue patternat junctionwith neck. Recallsthe RycroftPainterbut not certainlyby him. Ca. 520-510 B.c. 468 P 21180 K-N6-9

P 2612 G 6:3 (U)

Wall fragment.Max. dim. 0.064. Chariot (hindquartersand tops of tails, some of reins, above: pole stay, and goad)to right. Inscribed

]TOL[
Red:stripon tail.
Last quarter of the 6th century B.C.

469 PI. 44

P 26541 T18:4

Wall fragment.Max. dim. 0.078. Nike or Iris? Lowerpartof a womanto rightwith feathers of wing in upperrightat break.Red:somefoldsof drapery. White:feet.
Last quarter of the 6th century B.c.

470 P1.45

P2641

G 6:3 (U)

Five non-joiningfragmentsof wall. Max. dim. a) 0.124, Hesb) 0.073, c) 0.076, d) 0.058, e) 0.062. E. Vanderpool, peria 15, 1946, p. 310, no. 191, pl. 58. the hind A and B, chariotto right. Fragmenta preserves of the chariot one some of tails and team, pole and legs wheel, and on the left side,a maleleg and the lowerdrapery of a secondfigure,bothto right.Fragmentb, fromthe other side, gives parts of the hind legs of the horses. Fragmentc the showssomeof the wheelandbox of the chariot,probably one drawnby the horseson fragmentb, becausethe wheel rim is thickerthan the one on fragmenta. Fragmente preservespart of Athena (backof neck,long lock;helmetwith and on the left, the ivy flankingthe L-shapedcheekpieces) the lower rightcornerof the panel from panel. Fragmentd, more of this patternanda malefootto (notillustrated), gives of one of tail on fragment Red: crest a; borders helmet; right. hangingfolds;part of chariotbox; hub of wheel; two lines below panel. White: dot clusters on garments;flesh of Athena. Perhaps by the Rycroft Painter. Compare especially Vienna 3598 (ABV 335, 4); also Worcester1956.83 (ABV
335, 5 bis; Paralip. 148, 5 bis; Buitron, New England

Six non-joiningfragmentsfrom both sides of the vase. P.H. a + d) 0.294; est. diam. of rim 0.311; max. dim. b) 0.117, c) 0.217, e) 0.047, h) 0.031, 1) 0.035. Fragment a + d gives about one half of one panel, the columnsand and plate of one handle.A few othernon-figured fragments some that show part of the framing ornament are not includedhere. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 190, pl. 57. A, chariotscene (weddedpair in a chariot).Fragmenta (illustrated)shows the forepartsof the team, with a youth before it to right, looking around.On the left side of the of a team,partsof threefigures.Fromleft to right:forehead womanwith two torches(ends);then Hermes(petasoswith the brim turned up) to left, and a woman (top of head) carryinga lebeson top of her head.Fragmentb comesfrom the lower left cornerof the panel and shows part of the wheel of the chariotand the right leg of the man mounting it. Fragmente preserves part of the bodyof the right-hand tracehorse,someof the draperyof the womanand Hermes, and a bit of one forelegof the right-handpole horse.Fragment h gives a bit of the feet of the womanand Hermes.B, deities. Fragment d (illustrated), which joins fragment a on the other side of the handle, shows the head of Dionysos to right. Fragmentc (illustrated)gives part of two more deities: a woman (head and feet missing) and a god, probablyHermes (top of head, lower draperymissing), both to right, lookingaround.FragmentI may come from eitherside of the vase and preservesa bit of drapery. bordersand stripesof garRed: beards;Hermes'forelock; tracehorse.White: of right-hand ments;manes;breastband female flesh; Hermes' chiton;right-handpole horse;pendantsof breastband. The rectangular platejust abovethe mouthsof the horses is a bit burr,a devicethat in actualpracticewas attachedto of the bit andpressedagainstthe sidesof the the mouthpiece animal's mouth for greatercontroland perhapsto aid in AncientGreekHorsemanship, turning.Cf. J. K. Anderson, Berkeley1961, pp. 48-49, pis. 20-22; also, P. Vigneron,Le chevaldans l'antiquitegreco-romaine, Nancy 1968, p. 65, pls. 18, 20:c. Ca. 510 B.c. P6136 E 15:6 472 PI. 45 Wall fragmentwith start of shoulder.Max. dim. 0.182. On the right,the hole for an ancientmend. Dionysosand maenad.Dionysos (top of head) standsto horn(topremains),his headturned rightholdinga drinking

COLUMN-KRATERS aroundfacingsomeonewho is not preserved. In frontof the of traces an the On a maenad face, (head) god's object. right, to left, holdinga torch.In the field, a vine. Tongue pattern abovefiguresat junctionwith neck.Red:beard;loopedfillet of maenad; bandon insideof neckat junctionwith shoulder. White:maenad'sflesh;top of drinkinghorn;end of torch.
Late 6th century B.C.

161

475

P 23153 H 12:15(U) Wall fragment.Max. dim. 0.055. Horse (upper parts of forelegsand elbow) to right. The blackglaze to left and rightof the left forelegrepresents the draperyof a figurestandingbesidethe horse.
Last quarter of the 6th century B.C.

473 P1.45

P 25916 M17:7

476 P1.46

P 25273 R 12:3

Wall fragment.Max. dim. 0.148. Fight (parts of four warriors).Of 1, all that remainsis and collapses, partof his torsoand legs to right.2 is bearded head averted,holdingout his roundshield,which is seen in profile. He wears a short pleated chiton, a corslet, and greaves,and carriesa spear in his right hand. 3 comes in from the right holdinga roundshield (device:chariotbox). He wears a short chiton and greaves.In the lower right of the fragmentis a leg (greaved)of a warriorto right.The bit of glaze betweenthe head of 2 and the rims of the shields may represent partof the armof 3. It cannotbe a helmet,for the head of 2 is bare. Red: beard;rims of shields;dots on chitons.White:device;baldricof 2. Last quarterof the 6th centuryB.C. 474 PI. 45 P 24123 Q12:3 Preserved but for footand a fragment of side B. P.H. 0.30; diam.at rim 0.30. Spallon side B. H. A. Thompson,Hesperia 24, 1955, p. 62, pl. 29:b; Camp, op. cit. (under 319), ill. 31; S. R. Roberts,Hesperia55, 1986, p. 32, no. 70, pl. 9. A, Heraklesand the Lion flankedby Athenaand Iolaos. Athenastridesto left, lookingaround,holdingout her helmet in her left hand. Iolaos moves to right, also looking around,the hero'sclubin his righthand,a cloakoverhis left arm. Herakles wrestles the lion in the horizontalpositon; the lion pushesthe hero'shead with its left hind foot.Above the two is Herakles'sheathedsword and cloak. B, five komasts, beardedand with fillets roundtheir shoulders.The all movingto right, the outer couples are in conversation, one on the right of each pair lookingaround.The central figure dances to left, looking around.The panels on each side are framedby ivy. Abovethe figures,tonguepatternat the junctionwith the neck.On each handle-plate,palmette betweenreversingspirals,with a triangleof space between the inner spiral and the frame of the plate. On top side of On overrim, friezeof lotusbudswith dotsin the interstices. Above Red: all foot, beards; rays. edges of cloaks hang, ivy. of Heraklesand Iolaos;tongue,belly stripe,strip on ruff of lion; fillets of all figureson A; alternateleaves of wreaths; alternatetongues;line insidebelow rim;on outside,one line below scene and one aboverays. White:Athena'sflesh;dot clusterson garments; filletsaroundnecksof komasts. The two incised lines on the right shoulderof Herakles look like the toes of the lion's paw, as if the artist had originally intendedthe hind leg to reach fartherforwardbut changedhis mind. For the subject,cf. 394.
Ca. 510-500 B.C.

Fragmentpreserving partof rim, neck,and shoulder.Silhouettetechnique.P.H. 0.145; est. diam.of rim 0.50. On top side of rim, confronted animals:a lion and a boar, twice (most of boar on left, all of next lion and boar, forepartsof lion on right).On overhang, ivy. Tonguepatternon on the right,indicatshoulderatjunctionwith neck,stopped ing the startof the handlezone. Belowthe tonguepattern,a traceof one of the figureson the body (the top of a helmet crest).Red:line on insidebelow rim. White:edgeof helmet crest. Figureson the top sideof the rim are not too frequent,althoughthreeotherexamplesoccuron Agoracolumn-kraters (422, 477, 490). Others are, e.g., New York, M.M.A. 31.11.11 by Lydos (ABV 108, 5; Paralip. 43, 5; Tiverios, pl. 55:a); two by the Painter of Louvre C 11266, the namepiece(Paralip.154, 1) and Villa Giulia 50763 (Paralip. 154, 3); one closeto him, LouvreC 11277(Paralip.155, 1); and two related,Villa Giulia M. 447 (Paralip. 155, 1) and Bologna 50 (Paralip. 155, 2); some unattributed two in New York,M.M.A. 07.286.76 (Festschrift examples: Brommer, p. 53) and M.M.A. 24.97.95 (Metr.Mus. Bull., Dec., 1925, pp. 299-300, fig. 8); Basel, Antikenmuseum und SammlungLudwig (E. Bergerand R. Lullies, Antike Kunstwerke aus der Sammlung Ludwig, I, Friihe und Vasen,Mainz 1977, p. 77); two from Tonsarkophage the South Slope of the Akropolis,Athens 1960-NAK 315 (AeAr 27, 1972 [1976],p. 294, no. 258, pl. 133) whichmay be Antimenean,and Athens 1957-NAK 1192 (AeAr 27, 1972 [1976],p. 295, no. 260, pl. 133);two in the Louvre,C 11286 (CVA, Louvre 12 [France19], pl. 185 [858]) and C 11288 (CVA, Louvre12 [France19], pl. 188 [861]:1);Detroit 63.17 (Cat. Parke-Bernet, 5 April, 1963, no. 87); and two in the LondonMarket(Cat.Sotheby,13.July, 1970,no. 131 and Cat. Sotheby, 9. Dec., 1974, no. 279). All these are Louvre C 11266 (frieze of horsemen)and animals,except Athens 1960-NAK 315 (chariot).All the figures use the outsideedgeof the rim as the groundline. A maverick seems to be Athens 1957-NAK 1217 which shows the animals standing on the inside edge of the rim (ACAT 27, 1972 has suggested that [1976],p. 295, no. 259, pl. 133). Bothmer 476 and 490 maybe the rimsof red-figured column-kraters, becausethe rim decoration is in silhouette.
Late 6th century B.C.

477

P 23169 a, d, f H 12:15(L) Three non-joiningfragmentsof rim and handle-plate. Max. dim. a) 0.098, d) 0.057, f) 0.049. Silhouettetechon white ground. nique. Decoration

162

CATALOGUE P 21221 Q 10:4 482 Wall fragment.Max. dim. 0.059. Chariotraceto right.The fragment showspartof the rail, wheel, and box of one chariot,the long chitonof the charioteerstandingin it, andthe endof his goad.On his left, some of the pole of the next chariot,the hind legs of the pole horses,and the tails of the tracehorses.White:chiton. The scenemay have been similarto the one on an unattributedcolumn-krater, LouvreC 11285 (CVA,Louvre12 [France19], pl. 184 [857]:1).
Late 6th century B.C.

On top side of rim, animals:fragment a givessomeof the and mostof one boar ornamental spiralon one handle-plate (except for head) to right;fragmentd preservesmore of a handle-platepalmette;fragmentf shows some of the ivy the overhang. decorating For animalson the top side of the rim, cf. 476. Ca. 510-500 B.c. 478 P 23169 b, c, e H 12:15(L)

Three non-joiningfragmentsof rim and handle-plate. Max. dim. b) 0.042, c) 0.05, e) 0.038. Silhouettetechnique. On top side of rim, animals.On overhang,ivy. Fragment b givesthe bodyand hindquarters of a pantherto left. Fragof a boarto right. Fragment mentc shows the hindquarters e preserves someof the palmetteof the handle-plate. 478 cannot be from the same vase as 477 because the width of the rim and the height of the overhangdiffer.For animalson the top side of the rim, cf. 476. Ca. 510-500 B.c. 479 P1.46 P2571 G 6:3 (U)

483 P1.46

P 5549 E-F 12-14

Wall fragment.Max. dim. 0.088. Glaze firedred. On the left, a maenad(raisedfoot, drapery)dancingto and tail) with right. In frontof her, a donkey(hindquarters a figure,probablya satyr (left leg), seatedbackwards on its In the lower right corner,tracesof another hindquarters. In the field,a vine. White:maenad's foot. figure(drapery?). Late 6th centuryB.C. 484 PI. 46 P 12252 No grid Wall fragment.Max. dim. 0.073. Two men (backof head, right arm, someof backof man on left;head,righthandof manon right)to left. Eachwears a wreath.Red:beard. For similarwreaths,cf. 328.
Ca. 500 B.C.

Fragmentof neck and rim. Max. dim. 0.179; est. diam. 0.25. E. Vanderpool,Hesperia 15, 1946, p. 310, no. 192, pl. 58. On top side of rim, lotus budswith dots in the interstices. On overhang,animalsdrawn in silhouettetechnique:goat to left;lion facinga goat,twice (mostof right (hindquarters) then the startof the handle.On handle-plate, goatmissing); and end of petal). Red: line on inside of (tendril palmette necknear rim.
Late 6th century B.C.

485

P411

G 13:1

E-F 12-14 Three non-joiningwall fragments. Max. dim. a + b) 0.125, c) 0.049, d) 0.078. Burned(clay is gray). Symposion.Fragmenta + b gives the leg of the couch with its Ioniccrowningpiece,partof the mattress, and some of the framingivy. Inscribed on the right:
/-f NO$

480

P4754

of shoulder and startof neck.Max. dim.0.045. Fragment Warrior(head with Corinthianhelmet pushedback) to left. In the lower left corner,part of round shield. Above, tonguepattern.White:baldric.The scale suggeststhat the warrioris on horseback. Late 6th centuryB.c. 486 P 6587 E-F 12-14 Four non-joiningwall fragments.Max. dim. a) 0.113, b) 0.125, c) 0.052, d) 0.058. A and B, chariotto right.Fragment a preserves a woman (head and shoulders, hands holding the reins), perhaps end of hair) standArtemis,and someof a figure(shoulder, on the left side of the chariot. In the field, a vine with ing Above the grapes. figures,tonguepatternwithout separating lines and on the left some of the framingornament,a verticalrow of dotsbetweenlines. Fragmentb givespartsof the horses(someof theirheads,necks,the bodyof the righthandtracehorse)and part of Apollo(shoulder, neck)holding his kithara.In the field,a vinewith grapes.Tonguepatternaboveas before.This fragment comesfromthe opposite sideof the vase,forthe reinswill not meetwith thoseheldby the charioteeron fragmenta. Fragmentc belongs to the the filletedhead rightsideof one of the panelsandpreserves of a figure to left. In the field, a vine with grapes.Above, tongue patternas before,and on the right, one line of the d preserves the forelegsof one framingornament. Fragment

Fragmentc preservessome of a pillow, with part of the draperyof a recliningfigure.Fragmentd shows the raised left armof a male and someof the framingivy. It may come fromthe otherside of the vase. Red:dot on mattress. White: on leg of couch. outlinesof Ioniccapital,decoration For symposiaand couches,cf. 420.
Late 6th century B.C.

P4673 E-F 12-14 481 Wall fragment.Max. dim. 0.112. Chariot(headsand necksof tracehorses)to right.On the the right,someof the ivy framingthe paneland,overlapping a of manes and forelock. smear Red: White: teeth; ivy, glaze. dots on headstalls and on breastbandof left-hand trace horse. Late 6th centuryB.C.

VOLUTE-KRATERS team, and part of a dog (tail, someof body)on the left-hand side. Red: fillets;stripson manes;dots on Apollo'sdrapery, bar on sounding board of his kithara. White: flesh of outlineof kithara;dot clusterson drapery. charioteer;
Late 6th century B.C.

163 P 4685 E-F 12-14

488

487 PI. 46

P 26630 U 19

Wall fragmentwith startof neck.Max. dim. 0.06. Man (head)dancing(?)to right, holdinga staff (someof the shaft appearsat the break) in his right hand. Tongue patternon shoulderat junctionwith neck. White: dots on cloak.
Early 5th century B.C.

Two non-joiningfragments of neckand body.Max. dim. 0.148. 0.167, b) a) showsa warriorrunningto right Fragmenta (illustrated) betweentwo standingmale figures.He wears a Corinthian helmetand a shortchitonwith a corsletand carriesa round shield (device:balls) and a spear. A sheath is suspended from a baldric over his right shoulder.The two flanking figureswear chitonsand himatiaand hold staffs. Fragment b, from the other side of the vase, shows a satyr (head) to right. Then come three maenadswearing cloaks and chitons, all movingto right, except that 2 and 3 look around. 1 wears a nebris.Most of 3 is missing.Red:filleton helmet; forelockand beard;dots on nebris;dots and stripeson garments of 2 and 3. White: baldric;shield device;maenad's flesh;dotson garments. Panels withoutlateralframesare ratherrareon late 6thcolumn-kraters. centuryblack-figured Comparethe reverse of the namepiece of the Painterof LouvreC 11266 (Paralip. 154, 1) and one closeto him, LouvreC 11277 (Paralip.155, 1). 487 seemsnear this painter.
Late 6th century B.C.

489 P. 46

P 268 and P 1127 G 15

Two non-joiningwall fragments. Max. dim. P 268: 0.073, P 1127: 0.059. Glaze on inside somewhatmottled. Brownishwash on outside. Jumpers?P 268 shows the lower legs and feet, the contour of the left thigh, and, at the break,someof the buttocks of one, with a darkobjectbelow that is not the groundline, for it slopes upwardto the right. P 1127 gives the calf and footof another. Late 6th or early 5th centuryB.C. 490 P 3650 F 14 Rim fragment.Max. dim. 0.128. Silhouettetechnique. On top sideof rim,animals:deer(headandneck)to right, a lion (one hind leg and tail missing)to left. On overhang, ivy. Red:line on insideat rim. For animalson the top side of the mouth,cf. 476.
Ca. 450 B.C.

VOLUTE-KRATERS 491-500 Pls. 46 and 47

491 P1.46 P18795 B 19:10 Eight non-joiningfragmentsof rim, neck,handles,body, and foot. Est. diam. of rim 0.31, of foot 0.20; max. dim. a) 0.113, b) 0.31, c) 0.087, d) 0.049, e + g) 0.029, f) 0.17, h) 0.123, i) 0.183. Fragmentsc and d are undecorated. On side of rim, key patternto right.On neck:upperpart, chain;lowerpart, figures.On flangesof hanlotus-palmette dles, ivy. Body black except for rays above foot. Fragment e + g (illustrated)gives most of one handleand some of the rim and neck on both sides of it. On one side, on the lower part of the neck,there is the top of a male head (filleted)to left, probablyan onlooker.Fragmenth (illustrated)gives more of the rim and the upper part of the neck, and fragmentf preservespart of the other handle. Fragmenti (ila fight. On lustrated)shows part of the figureddecoration, the left, a chariot(foreparts of the tracehorses)to right,then a warrior(torso,partsof arms), dressedin a shortchiton,a cloak, and a helmet, attackinga falling opponentwith a spear (some of the shaft appears near the top of the

fragment).The opponent(preserved except for lower part of right leg and top of head)wears a shortchiton,a helmet, andgreavesandis armedwith a roundshield(device: female leg) and presumablyheld a spear in his raisedright hand. Behind him is an archer (top of head missing) to right, lookingaround.He is almostdown on one knee and wears an orientalcostume.His quiverhangsat his rightside, and in his righthandhe carriesa spear.On the rightis a woman (head missing)movingto right, lookingaround(her shoulders are frontal),gesticulating. She is the last personin this frieze as indicatedby the reservedarea to the right and the start of the handle attachmenton the shoulder;therefore, fragmenti comes from one side of the vase and fragment e + g from the other, for the male is the last figure in this scene.Fragmentb preserves the lowerpartof the bodywith the rays abovethe foot,and fragment a givesthe full profile of the foot:a reservedverticalmemberabovea torus. Red: breastband of left-handtrace horse, part of mane of righthand trace horse;edges of handleflanges;line on inside of

164

CATALOGUE 495 PI. 47 P 16633 B 22

rim. White: dots on garmentsof warrior on the left and woman;her flesh;shield deviceand dots on rim; stripeson archer'scostume. For the combination of the key patternon the side of the chainon the upperzone of the neck, rim, the lotus-palmette and figures on the lower, these are the three examples knownto us: London,B.M. B 364 signedon top side of the rim by Nikosthenes(ABV 229, VI; Paralip. 108); Louvre F 198, manner of the AntimenesPainter, on side A only (ABV 280, 55); Copenhagen13110 (CVA, Copenhagen8 [Denmark8], pl. 322 [325]:1).
Ca. 510-500
B.c.

Neck and rim fragment.Max. dim. 0.157; est. diam. of rim 0.36. On side of rim, key patternto left. On neck, departure with chariot.The team (preserved but for heads,necks,and some of forelegs)standsto left. On the left-handside is an armed warrior holding a spear and round shield (device: threeballs). On the far right,headand shoulderof a figure who appearsto be bent over slightly (puttingon greaves?). Red:rim of shield;bandon top of rim at outeredge.White: chiton. edgeof helmetcrest;shielddevice;charioteer's
Ca. 510-500
B.C.

492 PI. 47

P 7906 C 8

496

P 13856 U 25:2 (L)

Neck fragment,upperzone. Max. dim. 0.074. Chariotscene. On the left, the heads and forelegsof the trace horses to right. In front of them, a woman (some of head missing)to right,lookingaround,then a man (left leg, thigh and calf of right) to right holding a spear, probably dotsand lookingaround.In the field,a vine. Red:forelocks; on her clusters on woman's dot White: flesh; stripes drapery. garment. The LeagrosGroup (ABV 377, 238).
Ca. 510-500
B.C.

Neck and rim fragment.Max. dim. 0.065. On side of rim, key patternto left. On the neck,a warrior hel(head,torso,arm, thigh), nude exceptfor a Corinthian met, attacksto left carryinga spearand a roundshieldseen bandon insidebelow rim. in profile.Red:crestsupport;
Ca. 510-500 B.C.

493 PI. 47

P 5202 E-F 12-14

Neck fragment,lower zone. Max. dim. 0.071. Departureof warriorswith chariot.On the left, a warrior (head and legs missing) overlapped by a round shield (device:forepartsof a panther) stands to left, holding a On his spear. He wears a short chitonand has a scabbard. right, an archer,identifiedby the portionof his quiverthat behindthe warrior.Behindthe pair is a youthholdprojects a ing spear in his left hand, his right raised. He wears a chiton and cloak. On the right, the head of the right-hand tracehorse,the muzzleof the left, and partof their forelegs. Red: rim of shield; fillet, stripes and dots on draperyof youth; strip on mane. White: shield device;dot and dot clusterson cloak;studson headstall. The LeagrosGroup(ABV 377, 239).
Ca. 510-500
B.C.

P 7442 C 14 497 PI. 47 Neck fragment,upperzone. Max. dim. 0.086. from about On the left, a man and a woman, preserved the waist down,seatedto righton a throne.Facingthemis a malewearinga cloakand boots,holdinga staffor kerykeion (Hermes?),and behindhim are the foldsof a cloakbelonging to anotherfigureand the end of his staff.The small figures beneaththe throne are probablypart of its support. Red: dots on drapery. White: woman's flesh; dots on drapery.
Ca. 510-500 B.C.

498

P 6753 P-Q 8 Neck fragment,uncertainif upper or lower part. Max. dim. 0.071. Chariot(hind legs of horses)to right. On the left side of the team,a drapedfigureto left. Red:panelon drapery.
Late 6th century B.C.

P7109 C7 494 P. 47 Neck fragment,lower zone. Max. dim. 0.094. Boy boxers.On the left, one handholdinga staffand part of the cloak of a judge, trainer,or spectatorto right. Then but for the top of his head comesa boxerto right, preserved and partof his rightarm,facinghis opponent(face,left arm, left leg, someof torso).Red:stripeand dotson cloak.White: dot clusterson cloak. Near the EdinburghPainter(ABV 480, 7).
Ca. 510-500
B.C.

P 14940 E 19:7 499 Two non-joining neckfragments, lower zone. Max. dim. a) 0.068, b) 0.052. a showsthe heads,shoulSatyrsand maenads.Fragment to the left of ders,andarmsof a satyranda maenaddancing; the and to of a third the forehead them, right, the figure, trace of a fourth. Fragmentb preservesthe body, left leg, and rightthigh of a satyrrunningto right and the skirtand feet of a maenadstridingto right,holdinga thyrsos(partof bandon inits shaftremains).Red:beard;dots on drapery; side at junctionof neckand shoulder.White:flesh of maea. fillet of satyron fragment nads;dotson drapery;
Late 6th century B.C.

CALYX-KRATERS 500 PI. 47 P 13618 H-I 5

165

Neck fragmentwith start of shoulder.Max. dim. 0.115. Thin, brownwash on surface. Return of Hephaistos? On the left is a satyr (back of head, right arm, someof bodyand one leg) stoopingto right with head turned around. Then comes a nude rider on an ithyphallicmule (preservedexcept for head), a wreath

suspendedfromits penis. On the right,a satyr(tail, legs) to right, and on the far right, draperyof a reclining figure (Dionysos?).Red: beard,end of hair of satyr;rider'sfillet; mane of mule. White: contourof neck, belly stripe, and of mule;loopof wreath. markingon hindquarters Early 5th centuryB.C.

CALYX-KRATERS 501-509 Pls. 47 and 48

501 PI. 47

P 24647 P-R 7-12

505 PI. 48

P 24693 P 16

Wall fragment.Max. dim. 0.085. Nearly straight,with a bandon insidenear top. reserved Dionysosand Ariadne?On the left is the drapedleft arm and handof the god holdinga drinkinghorn and in frontof him the face, chest, and one cloakedhand of Ariadne.Red: stripes on garments;pupil of Ariadne'seye; line at top of figurezone. White:Ariadne'sflesh, dot rosetteson her garment;line abovefigures. Ca. 520 B.c. P 6090 H 8 502 PI. 47 Wall fragment.Max. dim. 0.046. Hermes (head, shoulder,brim of petasos,shaft of kerykeion) to left. In front of the god, tracesof anotherfigure, perhapsa horse'sforelockand the tip of its ear. Red:brimof petasos, stripe and dot on garment.White: dot clusterson
garment.

For Hermeswith his kerykeionheld in his left hand and restingon his shoulder,cf. Hermeson New York,M.M.A. 06.1021.68 A (ABV 289, -; Paralip. 126, 22 bis). The Groupof Wiirzburg199 (ABV 289, 27). Ca. 520-510 B.C. P 12061 O-Q 18-19 Fragmentof wall andcul with startof handleon far right. Max. dim. 0.116. Males (the legs of one fromthe kneesdown;the foot and lowercalf of the other)to left. On the cul, partof a nonsense
inscription:

Wall fragment.Max. dim. 0.048. Reveler (most of head, shoulders)to left. On the left of of a woman.Red:beardand nipple him, partof the forearm of reveler;alternateleaves of his wreath. White: woman's flesh. Perhapsby a painterof the LeagrosGroup.Compareespecially,Munich 1416 (ABV 367, 90). For the wreathwith long branches,cf. London, B.M. 1926.6-28.7 (ABV 375, 211) and London,B.M. B 271 (ABV 375, 212). For some by otherpainters,cf. 328. The male figureis unlikelyto be Dionysos,for his shouldersare bare;nor is he likelyto be a satyr, for his beardis too short.Comparethe beardsof the of the LeagrosGroup:Brooksatyrson two neck-amphorae 62.147.2 lyn (Paralip. 166, 163 bis) and New York, M.M.A. 41.162.179 (ABV 373, 174; CVA, New York 4 [USA 16], pl. 38 [766]:7).The sceneon 505 probably representeda revel with a woman or women present,similarto the one on a Leagros Group column-krater, Bologna 52 (ABV 376,231). Ca. 510-500 B.C. 506 PI. 48 P7896 E 14:5

503 PI. 47

,^0sIPvA'KJ
Red:bandon cul at junctionwith wall. Ca. 520-510 B.C. 504 P 25380 F 5 Rim and wall fragment.Max. dim. 0.095. Man (someof head)to right.Belowrim, ivy pattern.Red: fillet and beard;line betweenivy leaves. Ca. 520-510 B.C.

Wall fragment.Max. dim. 0.112. Beardedmale (preservedbut for head, shoulders,and feet) to right, playinga barbiton,a cloakover his shoulder. On the left, at the break, traces of anotherfigure. In the field, a vine. Red:beard,plectrum,and cord;figureat left. White:dot clusterson cloak;armsof lyre. Ca. 510 B.C. P 31013 Q12:3 Wall fragment.Max. dim. 0.132. Glaze firedbrownish. Return of Hephaistos?Ithyphallicmule (hindquarters, some of body, end of tail) to right, with rider (feet, fold of drapery).On the left, an area of glaze that may be partof a drapedfigure,perhapsDionysosor a maenad.In the field,a
vine. Late 6th century B.C.

507 PI. 48

166 508

CATALOGUE P 31014 Q12:3 Wall fragment.Max. dim. 0.091. Chariot (forefeetof team) to right with woman (lower feet)facing.In the field,a vinewith grapes(theend drapery, of one bunch).White:woman'sflesh. Late 6th or early 5th centuryB.C. 509

P 2789 G 6:3 (U) Wall fragment.Max. dim. 0.038. E. Vanderpool,Hesperia 15, 1946, p. 314, no. 217, pl. 62. Woman (someof drapedtorso and arms) to left. On the left, a bit of glaze, probablypart of anotherfigure.Red:dot on drapery.White:woman'sflesh. Late 6th centuryB.C.

LEBETES GAMIKOI 510-518 Pls. 48 and 49 youths;borderson garments;strips on manes,two tails of each team; breastbands; part of chariot box; upper and lower rills of mouth, line inside mouth, ring at junctionof neck and shoulder,two lines below scene that continued roundthe vase. by Beazleywith the reverseof the Tentativelycompared by the Painterof TarquiniaRC 6847 (ABV338, namepiece
-).

510 P1.48

P6106

E 15:6

Three non-joining fragments. Max. dim. a) 0.12, b) 0.165, c) 0.092. One fragment(a) of wall, two (b andc) of handles. Fragmenta (illustrated)comesfrom the shoulderof the vaseandpreserves someof the tonguepatternat thejunction with the neck, parts of two heraldicsphinxes with heads turned around (all of one but for feet and tail; the head, breast,tip of wing of the other),andon the right,the headof a cock to left. Red: fillets, eyes of sphinxes, bar on wing, marking on hindquarters;comb and wattles; alternate tongues.White:faces and necksof sphinxes,row of dots at base of feathers. The Painter of Louvre F 6. Compare especially, the sphinxes on his lebes gamikosin Houston (ABV 125, 32;
Paralip. 51, 32; Hoffmann, Ten Centuries, fig. 166); also

Ca. 520 B.C.

513 P1.48

P 17967 A 18-19:1

Oxford G 190 for the two lines at the top of the forelegs (ABV 124, 16).
Ca. 550 B.C.

511 PI. 48

P 23162 1 12

Shoulderfragment.Max. dim. 0.055. Brownishwash on surface. Wedding scene. Woman (head with stephane, raised hand)to left, holdinga torch.To the left of the torch,at the break,an unintelligiblebit of glaze. Red: stephane.White: flesh.
Ca. 530
B.C.

Three non-joiningwall fragments.Max. dim. a) 0.056, a and b with rootsof handle. b) 0.04, c) 0.04. Fragments Wedding procession. Fragment a shows the head of Hermesto left, his petasoswith the brim turnedup in the back. In frontof him, part of anotherfigure,probablythe forelockof a trace horse. In the field, a vine. In the upper right, startof handle.Fragmentb gives someof the head of Dionysosto left and on both right and left, the start of the handle root. Fragmentc preservespart of a chariot:the lowerpartsof manesof the pole horses; the endsof the yoke, partof the yokepad,the endof the chariotpolewith the pole stay. On the left side of the team, a woman(neckand chin) to right. Red:stripon mane;beards.White:woman'sflesh. The RycroftPainter.Compareexamplesgiven for 187. Add to these: Vienna 3598 (ABV 335, 4); 195 (P1. 23); Hamburg1917.476(ABV337, 25; CVA,Hamburg1 [Germany 41], pl. 25 [1991]:2);Madrid:GomezMoreno,attributed by Bothmer (J. Mertens, Indiana UniversityArt
Museum Bulletin, 1979, p. 10, figs. 7, 8). Ca. 510 B.C.

512 PI. 48

P7237

D7:2

Fragmentary. P.H. 0.36; diam. 0.433. About threequartersof the mouth,one handle,half of the other,muchof wall, and all of foot missing.Triple-rilledrim, flat on top; double handles. Figured decorationset in panels. T. L. Shear,Hesperia6, 1937, p. 345, fig. 9 (sideA). A and B, chariotto right,with eagle above,flyingto left. showstwo youthsstandingin the chariot SideA (illustrated) and mostof the horsesexceptfor their forelegs.Side B gives the handsof the charioteer, partof the vehicle,the horsesbut for some of their heads and forelegs.Aboveeach panel, at the junction with the neck, tongue pattern. Red: fillets of

514 P1.49

P 19597 a-h and k-o A 18-19:1 (?)

Thirteen non-joining wall fragments. Max. dim. a) 0.145, b) 0.09, c) 0.09, d) 0.058, e) 0.109, f) 0.063, g) 0.05, h) 0.045, k) 0.031, 1) 0.071, m) 0.068, n) 0.042, o) 0.059. Brownishwash on surface. On eachside,weddedpair in a chariotto right.Fragment a (illustrated)preservespart of a wedded pair, perhaps Peleusand Thetis:headof the groomand his handsholding the reins and goad;the head of his bridewith her veil held out. On the left side of the pair, the head (hair tied up and boundwith a fillet) and upper torso of Apollo playing the

LEBETES GAMIKOI kithara(someof its strings,two fingersof his left hand).The bit of glazeto the rightof Apollo'sneckis the armsupportof his kithara.The glazed area betweenhis shoulderand the brideis the flap of the god'squiver (?). Behindthe wedded pair is a woman (forelock)holding two flaming torches (ends).Abovethe figuresis a row of hanginglotusbudswith dots in the interstices(see below, fragmentd). Fragmentb (illustrated)preservesmore of the torch-bearer(drapery) and of the groom (buttocks,drapery)mountingthe chariot (rail). Fragment e (illustrated)shows more of these two and the figures,the end of a draperyfoldof the torch-bearer left footof the groom;also someof the chariotwheel and the heel of one of Apollo'sfeet. Below, frieze of uprightlotusbudswith dotsin the interstices. c, 1,andm come Fragments fromthe othersideof the vaseforthe glaze is dullerthanit is on fragmentsa, b, and e. Fragmentc preservessomeof the head and forelockof a trace horse, with part of a figure (drapery)on the left side. Fragment1 shows some of the drapedleg of a man mountingthe chariot(rail) with partof a figure(drapery)behindhim, and fragmentm givespartof his calf and more of the draperyof the figure behindhim. two of the handlestubsand the top of Fragmento preserves a wreathedhead to left. Fragmentn (illustrated)probably comesfrombelowone of the handles.It showspartof a man to right holding out a curvedobjectin his left hand, and above it, the hand of another man. To judge from the relationshipbetween the two figures,the man holdingthe objectis seated. Fragmentd (illustrated)gives more of the friezeof hanginglotus buds and someof the tonguepattern on the obverse,and fragmentsf-hand k preserve moreof the lotus-budfriezebelowthe figures.Red:beard,wreath,fillet on fragmenta; bordersof draperyon fragmentsb, c, I, m; stripes on garmentof seated man; horse'sforelock.White: flesh of bird;arm supportof kithara. Near the RycroftPainter,perhapsby the Painterof Tarquinia RC 6847. Comparedetails of the namepiece(ABV 338, 1; Paralip. 150, 1): head of Apollo; draperyfolds of Athena;small arc incisedon the supportof each spoke.But cf. also the following by the Rycroft Painter: Oxford
1965.118 (ABV335, 1; Paralip. 148,1; CVA, Oxford 3 [GB

167

14], pls. 34 [649]:2-5 and 35 [650]); Worcester 1956.83

(ABV 335, 5 bis; Paralip. 148, 5 bis; Buitron, New England Collections, pp. 44-45, no. 17).

Ca. 510 B.c. 515 P 19597 i,j A 18-19:1 (?)

of lebes 0.18; diam. of stand at base 0.142. About threequartersof rim and neck,one handle,and nearlyall of one side of lebes restoredin plaster. Stand (P 7897) complete. Triple rilled rim; ring at junction of neck and shoulder; double handles,round in section;flaring stand with torus foot.Standpiercedat top in line with handles.The lid is flat with a flangeon its underside, which is unglazed.Chipped on edge.T. L. Shear,Hesperia6,1937, p. 372, fig. 36; idem, AJA 40, 1936, p. 412, fig. 9; H. Kenner,JOAI 31, 1939, p. 92, fig. 33; Thompson,op. cit. (under373), ill. 59; Lambertonand Rotroff,op. cit. (under136), ill. 21. On A (not illustrated), all that reA, weddingprocession. mains are the headsof the two trace horsesto right with a fillet hanging above,a woman attendant(torsoand head), and underthe left half of handleA/B, Hermes(all but feet) to right,lookingaround,dressedin a petasosand a chlamys overa shortchitonand boots.In his righthand,he holdshis kerykeion.Under the right half of this handle is Nike (or of three Iris) flying to right, lookingaround.B, procession womento right,eachdressedin a long chitonwith himation and carryinga chest on her head, with a cushionbetween. Under part of handleB/A, anotherwoman (withouta box on her head becausethe handleintrudeshere) and part of anotherdrapedfigure,probablya woman.Tongue pattern on shoulderat junctionwith neck. Below the figures,upright lotus buds with dots in the intersticesand rays. On stand,three pairs of seatedwomen spinningwool. Five sit on okladiai,the sixth on a stool.Betweeneachof two pairsis a wool basket.Behindone womanis a bird. Fillets hang on the wall. At top of stand,inverted lotusbudswith dotsin the interstices.Abovefoot, invertedrays. On lid (not illustrated), tonguesat knob,concentric circles,and at the edge,two rowsof dots.Red:manes;beardof Hermes,brimof petasos; Nike's fillet;some of the folds of her cloak,its border; dots and bordersof women'scloaks;fillets of woolworkers; the alternate rills of rim;ringatjunction; line cushions; tongues; on ring;line betweeninvertedrays and foot;line at base of knob, at outer edge of tongue pattern,and on outer black band. White: female flesh; Hermes' chiton; joints on of woolworkers. okladiai;dotson garments For the chestscarriedby the women,cf. I. Krauskopf, AA (Jd1 92), 1977, pp. 13-28. Late 6th centuryB.c.

517 PI. 48

P 11032 D15:1

Two non-joiningwall fragments.Max. dim. i) 0.079, j) 0.045. Each fragmentpreservespart of the upright lotus-bud frieze below the figures.The buds are slightly largerthan those of 514 and have short strokesinstead of dots in the interstices. Last quarterof the 6th centuryB.c. 516 PI. 49 P 7893 and P 7897 E 14:5 H. without lid 0.313, with lid 0.358;diam. Fragmentary.

Two non-joiningwall and shoulder fragments.Max. dim. a) 0.09, b) 0.062. One fragment(a) shows the handle attachment at the right. a showsa woman(head)holdWeddingscene.Fragment ing a torch(flamesin diluteglaze) anda man (head),bothto left. Abovethe two, someof the friezeof invertedlotusbuds with dots in the interstices.Fragmentb gives more of the lotus-budfrieze and some of the tongue pattern above it. Red: knottedfillet roundwoman'shead;some of her garment;alternatetongues.White:woman'sface. Last quarterof the 6th centuryB.c.

168 518 PI. 49

CATALOGUE P 25967 M 17 the right,partof anotherfigure.Fragmentb showsthe right and handof anotherNike andthe bow of one wing. forearm c andd give the tip of a handand partof a wing, Fragments White:flesh. and the tip of anotherwing, respectively. Late 6th centuryB.

Four non-joiningwall fragments.Max. dim. a) 0.066, b) 0.036, c) 0.033, d) 0.018. Three fragments (a, b, c) preservestartof handle. Nikai. Fragmenta (illustrated)preservesthe head, outstretchedleft arm, and one wing of a Nike to right and on

KRATERS, TYPE UNCERTAIN 519-525 P1.50

519

P 3704 H-I 10:1

Wall fragmentwith some of outturnedrim. Max. dim. 0.085. Much of the glaze is flaked. Agora VIII, p. 97, no. 576, pl. 37. Panther(head,someof neck)to right.On the rightat the break,anotheranimal(someof muzzle)to left. Betweenthe two, a swan (partof neckandwing). Rosetteandzigzagsfor Abovefigures,just belowstartof rim, step fillingornament. pattern. Third quarterof the 7th centuryB.C. P 17486 J18:4(L) 520 Pl. 50 Most of body and about half of one handle. P.H. with handle 0.384; max. diam. 0.34. Mended from many fragmentswith the missingpiecesrestoredin plaster;foot completelyrestoredin plaster.Insideunglazed. A, siren(onefoot,toe of the other,breast,lockof hair,and parts of one wing) to right with wings spread.Incisedrosetteswith the centersreserved.B, loopsand spirals.Under handle,a spiraland diamonddesign.Abovefoot,rays:on A, solid;on B, outline.Red:broadbandon wing;dotsat endsof feathers;alternatepetals of rosettes;two bands under pictures;two aboverays. For the use of solid andoutlineraysabovethe foot,cf. the near the Nettos Painter, Kerameikos,inv. skyphos-krater no. 1365 (ABV 7, t; Paralip. 6, 2 [f8];Kerameikos VI, ii, no. 182, pl. 112). This shape of vase is an odd one, and its Protoattic closestparallelseemsto be a mid-7th-century egg4948 P krater, (R. Young, Hesperia,Suppl. Agora shaped II, Athens 1939, pp. 128-131, no. B 64, figs. 92, 93; Agora VIII, pp. 93-94, no. 549, pl. 34). It may also have been 391 by the Nettos Painter(ABV 5, 10). similarto Akropolis
Ca. 625-600 B.C.

P31089 I10:1 522 PI. 50 Two non-joining fragments. Max. dim. a) 0.122, b) 0.052. One fragment(a) of torusrim and wall, the other of wall. Someof the glaze is flakedand abraded. someof Lion to right. Fragmenta (illustrated) preserves the head,ear, and mane.Fragmentb showspartof the hind legs and belly. Red:mane,belly stripe. First quarterof the 6th centuryB.C. P 13123 U 25:2 (L) 523 P1.50 Rim fragment.Max. dim.0.085. Flat on top with partof at the inneredgeand startof the overhang a smallprojection at the outer. E. Vanderpool,Hesperia 15, 1946, p. 129, no. 13, pl. 21:4. On top side of rim, sphinx (forepart)to right, facing a lotus-palmettecross (one palmette, parts of two lotuses). Red: face, neck, breast,wings, fillet, band at nape of neck; cuff, sepals,alternatepetalsof lotus;hearts,alternatepetals of palmettes; links;bandat top edgesof interior. the rimof (op. cit., p. 129) callsthis fragment Vanderpool a krater;Beazley(Paralip. 15, 15 bis) followingKarouzou (AthMitt62, 1937, p. 134, note 1), the handle-plateof a The fragmentseemstoo wide for a handlecolumn-krater. at the inneredgeof the rim is and the small projection plate, For such a prodifficult to parallel on column-kraters. dinos, Vatican 306 (Albizzati, jection, cf. the unattributed pl. 29), which has a friezeof rosetteson the top side of the as 523 must havehad. rim but no overhang The KomastGroup:I, the KX Painter(ABV26, 30; Paralip. 15, 15 bis, ex 30). Ca. 580 B.C.

P 23159 I 12 521 PI. 50 Wall fragment.Max. dim. 0.16. Two felines confronted (rightforelegof one, left fore- or hind paw of other) attackinganother animal (part of its on the right are preserved bodyand someof its hindquarters abovethe paws). Red:ribsof attackedanimal. Last quarterof the 7th centuryB.c.

P 8788 N 17 524 Wall fragment.Max. dim. 0.049. Raisedarm (?); above,partof an inscription:

]VN
and abovethis, blackbands. First half of the 6th centuryB.c.

STANDS P 21834 C 13:2 525 PI. 50 Wall fragment.Max. dim. 0.073. Thin glaze on inside, firedbrownish. *ment with incised Figure(?)standingto right (partof gar

169

ornamentcomposedof a square maeanderand a lion to right).

Ca. 550 B.C.

STANDS 526-602 Pls. 51-56

SUPPORTS 526-560 CONICAL

526 PI. 51

P 21382 P8:1

Akropolis503 (Graef,pl. 20). The drawingon 528 is not so preciseas it is on these comparisons.
Late 7th century B.C.

Wall fragment.Max. dim. 0.095. Bird (beak, breast) to right, facing a swastika with the armsbent into spirals.Red:wing bow.
Late 7th century B.C.

529

P 25854 U 26:3

P 26809 U 19 527 P1.51 Wall fragment.Max. dim. 0.117. From near top, preservingsome of the torus molding.M. Lang, Graffitiin the AthenianAgora[AgoraPicture Book 14], Princeton1974,
ill. 10.

Wall fragment.Max. dim. 0.105. Siren or sphinx (part of head with fillet) to left. Line at top of fragmentindicatingupperborder.Red:face;fillet.
Late 7th century B.C.

530 PI. 51

P 671 F 16

Woman (head with fillet) to right. Behindher is a dark the standof object,perhapsthe abacusof a column(compare ABV6; Paralip. Athens,N.M. 16384by the Nettos Painter: 3, 13). Red: fillet. White: dots edging fillet; decorative strokeson upperpart of lower torus. Very close to the Nettos Painter, if not by him. For the best parallels,cf. the woman on the standof Athens,N.M. 16384, especiallythe third one from the left; for the fillet edgedwith dots, comparethose of the two behindthis one. For the corkscrewcurls, cf. 120 (PI. 15), near the Nettos Painter.An oddityof 527 is the incisionfor the iris of an eye drawnin outline.
Ca. 610 B.C.

Wall fragmentfromnearfoot. Max. dim. 0.092. Feline (right hind leg) to right, rosette.Below, inverted the end rays,stoppedbeforeleft edgeof fragment, indicating of this pattern. Compare Athens, N.M. 16382 by the Nettos Painter (ABV 3; Paralip.3, 10). Late 7th or early 6th centuryB.C. 531 PI. 51 P 25375 C 9:6

528 PI. 51

P 23542 P 7:5

Wall fragment.Max. dim. 0.091. Lotus-palmettecross (cuff of lotus, part of palmette). Red:cuff of lotus;heartand alternatepetalsof palmette. The composition was probablya floralbetweentwo animals or monsters, similarto that on LouvreE 817, particularly on the reverse(ABV 9, 7; Paralip.6, 7). the Mannerof the GorgonPainter(Paralip.9). Compare
Early 6th century B.C.

Fragmentof footandwall. P.H. 0.18;diam.of foot0.285. The glaze has fired a brownish color and is abradedin places. Lotus betweensphinx (preserved exceptfor head and tip of wing) to left and siren (feet, part of wing, tail) to right. Behindthe animals,a palm tree. White: dots acrosscuff of lotus; dots along edge of wing and betweenwing bow and feathers. The composition of two confronted sphinxesand a palm but without a tree, lotus, occurs on the stands of two skyphos-kraters by the Nettos Painter:Athens,N.M. 16382 (ABV 3; Paralip. 3, 10) and Athens, N.M. 16383 (ABV 7, on its cuff, y; Paralip.3, 12). For a lotus with crosshatching cf. Kerameikos n.n. (Kerameikos VI, ii, no. 100, pl. 92) and

532 P1.51 P23215 N16 Wall fragment.Max. dim. 0.078. Two zones:I) part of lotus (end of petals, tip of central sepal at break);II) lion or panther(back,end of tail with tuft) to right; dot rosette. Red: alternate petals of lotus; on hindquarters. markings By the GorgonPainteror in his manner.For the tuft at the end of the tail, compare: LouvreE 874 (ABV8, 1;Paralip. 6, 1); Baltimore48.215 (ABV 9, 18; Paralip. 7, 18); Hamburg 1960.6 (Paralip. 7, 13 bis; CVA, Hamburg 1 [Germany41], pl. 28 [1994]:1);KasselT. 669 (Paralip.7, 13 ter; CVA, Kassel 1 [Germany35], pl. 27 [1707]:1).For

170

CATALOGUE verticalarcson the face of our panther,an oddity,recuron one pantheron Kerameikos, inv. no. 40. For the feline on those on the vasesgiven above;add to c, fragment compare in Cambridge these,thoseon two fragments (ABV 19, 9 and 10). First quarterof the 6th centuryB.C. 537 P24949 e Q13:5 Wall fragment.Max. dim. 0.075. Parts of two friezes:I) feline (hind leg) to left; II) siren (someof wing, end of tail) to left. The CeramicusPainter(compare the examplesgivenfor
536).

this type of rosette, with a dot in the center, cf. Kassel T. 669; Munich,inv. no. 8757 (Paralip.7, 135);LouvreCA 3327, perhapsa schoolpiece (ABV 9, 8; Paralip.7, 8).
Early 6th century B.C.

P 26638 U 19 Upper part of stand. Max. dim. 0.135. At the top, the insideof the wall curvesslightly,indicating the beginningof the bowl. Chimaera(muzzleof lion, goat, snake)to right, with all headsto left. Red:tongueof lion;neckof goat;lowerjaw and neckof snake.
533 PI. 51 Early 6th century B.C.

First quarterof the 6th centuryB.C. 538 P 23090 I 13 Wall fragment from near top (inside curves inward). Max. dim. 0.111. Glaze firedred. Sirenor sphinx (backof head,wing) to left. Blobrosette. Red:wing bow. First quarterof the 6th centuryB.C. 539 PI. 51 P 22308 N 11 Wall fragmentwith whitish slip on outside. Max. dim. 0.107. Panther(head,neck,part of body)to left. Incisedrosette for filling ornament.Red:eyes, forehead,nose, muzzle,insidesof ears,belly stripe,ribs;alternatepetalsof palmettes. First quarterof the 6th centuryB.C. P5112 H8 Wall fragment. Max. dim.0.081. Burnedon outside(clay is gray). Lion (muzzle, chest, left foreleg)to right, facinga boar (snoutand tusk) to left. Belowboar'shead,goose(headand neck)to left. Red:neckand chestof lion;lockof mane. The AnagyrusPainter(ABV 21, 3). Firstquarterof the 6th centuryB.C. 541 P1.52 P 13345 H 10:2 Wall fragment.Max. dim. 0.096. someof wing) to left. In frontof Sphinx (head,foreparts, of a man or her, part youth (hair, shoulder,arm raised). Red:face,breast,wing bow;garment. The Groupof the DresdenLekanis(ABV 22, 14). Late firstquarterof the 6th centuryB.C. 542 PI. 52 P 8779 C 13 Two non-joiningwall fragments.Max. dim. a) 0.102, b) 0.099. Baklr,Sophilos,pl. 62, figs. 117, 118. a preserves a boar(body,someof hindquarters) Fragment to right;fragment b givespartof two friezes:I) feline (hindquarters,tail), then a hoofedforeleg (boar,goat, or ram), bothto left;II) lotus-palmette complex.Red:a) ribs,markb) heartsand alternatepetals of palings on hindquarters; mettes,cuff and outersepalsof lotus. Sophilos(ABV 40, 22). Ca. 580 B.C. 540 P1.52

P 25368 Q 13-14:1 (U) Wall fragment.Max. dim. 0.10. Two animal friezes: I) hoof to right; II) ram or bull (body, part of forelegs) to right. Red: chest, belly stripe, on hindquarters. sheath,ribs, markings Close to the PantherPainter.Comparethe characterof the incisionof the animalson severallekanides by the painter:Athens,N.M. 16353-16359 (Paralip. 11,*1-6and 10).
Early 6th century B.C.

534 PI. 51

P 20651 Q 13-14:1 (U) Wall fragment.Max. dim. 0.096. Partsof two friezes:I) feline (feet, rightforeleg)to right; II) lions (head, neck, shoulderof one; some of mane of the with heads turnedaround.Red: muzzle; other) confronted manes. forelocks; The Ceramicus Painter[Philippaki]. Compareespecially the lions on Athens, N.M. 907 (ABV 19, 4); Kerameikos, inv. no. 40 (ABV 19, 2; Kerameikos VI, ii, no. 107, pl. 93); and Kerameikos, inv. no. 39 (ABV 19, 6; Kerameikos VI, ii, no. 105, pl. 93). First quarterof the 6th centuryB.C. P 24949 a-c Q13:5 Three non-joiningwall fragments.Max. dim. a) 0.05, b) 0.129, c) 0.115. Fragmenta preserves partsof two friezes:I) animal(part of leg?); II) man (head and shoulders)to right;in front of showsa him, the tail of an animal?Fragmentb (illustrated) panther(head,neck,some of body)and boar (partof hindquartersand tail) to right. Fragmentc gives parts of two friezes:I) feline (claw)to right;II) feline (partof body,forelegs, tail) to left. Red:man'schiton;neck,forehead,muzzle of panther;markingson hindquarters, belly stripeof boar; of feline. belly stripe,ribs, markingson hindquarters The CeramicusPainter. Panthers that have horizontal eyes with eyebrowsand solid noses coveredwith addedred are unusualdetailsof drawingcharacteristic of this painter: inv. no. 40 (ABV 19, 2; Kerameikos VI, ii, e.g., Kerameikos, no. 107, pls. 93 and 96); Athens, N.M. 907 (ABV 19, 4); Kerameikos,inv. no. 41 (ABV 19, 5; Kerameikos VI, ii, no. 105, pls. 93, 94, and 96); and Kerameikos, inv. no. 42 (ABV 18, 1; Kerameikos VI, ii, no. 108, pl. 98). The long 536 PI. 51

535 P1.51

STANDS P 22471 Q 10:1 543 Max. dim. a) 0.192, b) 0.05; Two non-joining fragments. est. diam. of foot 0.31. The largerfragmentpreservessome of the torusfoot. Glaze firedreddishbrown. Fragmenta showson the righta seatedsphinx (preserved but for her head and neck)to rightand behindher, the hind leg and tail of a feline to left. In the field,an incisedrosette. Fragmentb showspartof an animal,perhapsits hindquarters. Red: band on wing, markings on hindquartersof markingon b;line sphinx;coreanddotson petalsof rosettes; abovefoot. Ca. 580-570 B.c. 544 P 23222 N 16 Wall fragment.Max. dim. 0.064. Projectionat bottom, with invertedrays. the beginningof the foot,decorated Male (feet, lower part of chiton,fold of cloak)to left; incisedrosette.Red: garment;core and alternatepetals of rosette;alternaterays. Late firstquarterof the 6th centuryB.C. 545 P2955 I-J 12

171

Incisedrosettefor fillingornament. Red:eye, fillet;coreand friezes.White:bordotson petalsof rosette;line separating fleshof monster. der of garment; Secondquarterof the 6th centuryB.C. P 13031 U25:2(U) Wall fragmentfromneartop. Max. dim. 0.137. Lion (head)to left with two horizontallines in the background.Above,a blackband.Red:maneof lion;line at bottom of blackband. Secondquarterof the 6th centuryB.C. 549 550 PI. 52 P 13012 V 24:2 (L)

Wall fragment.Max. dim. 0.088. Feline (shoulder,part of forelegsand neck) to right. Incised rosettesfor filling ornament.Red: neck, belly stripe, markingon shoulder. Late first quarterof the 6th centuryB.C. 546 P 15618 C 18:11

Wall fragment.Max. dim. 0.082. Glaze firedred;much of it is flaked.G. Stamiresand E. Vanderpool, Hesperia19, 1950, p. 383, no. 7, pl. 111. Decoration in friezes, part of one preserved:panther (head,neck,chest) and siren (wing, tail), both to right. Reincisedon inside: used as an ostrakon; /TALILI+S [ A PITO[ Red:neckof panther(?); stripon wing. Secondquarterof the 6th centuryB.C. P 13826 U 25:2 (M) Wall fragment.Max. dim. 0.107. Partsof two zones:I) siren (legs, some of breast)to right facing a feline (forelegs);II) panther (some of head, neck, shoulder,and tail) to left. In the field, incisedrosettes.Red: breast of siren; neck of panther;one line between zones. White:foreheadand stripon nose of panther. Secondquarterof the 6th centuryB.C. 547 548 P1.52 P 24261 O-R7-10

P.H. 0.32; diam. of base 0.34; diam. at top 0.145. A few fragmentsof wall missing. Glaze is abradedin places on foot. Lamberton and Rotroff,op. cit. (under136), ill. 21. Four animal friezes:I) two confronted lions with heads turnedaround;two confronted rams with a swan between, to right;II) floralbetweencocks,betweensirens;pantherto left; swan to right;boar to left; III) boar to right, between panthers; eagle flyingto left, betweenrams;IV) geesefeedRed:I) ing. Incisedrosettesand lotusesfor fillingornament. on hindquarters, manes,ribs,markings bellystripesof lions; necks, markingson shouldersand hindquartersof rams; part of wing of swan; II) cuff of lotus;combs,wattles,neck of cockon left, wing bow of one on right;fillets,wing bows, bandson tails of sirens;dotson neckof panther,ribs,markbandon wing of swan; ings on shouldersand hindquarters; of boar;III) panthers neck,ribs, markingson hindquarters of and boar as II; necks, ribs, markingson hindquarters rams;bandson wings and bar on tail of eagle;IV) bandson wings, barson tails of geese. First quarterof the 6th centuryB.C. 551 PI. 53 P 22321 P 8

Wall fragment.Max. dim. 0.08. Parts of two figuredzones:I) horse (forehoofs) galloping to right, then part of anotherfigure (borderof drapery)at the break; II) siren or sphinx (head, tip of wing) to left.

Wall fragment.Max. dim. 0.056. Parts of two zones: I) lotus and palmette ornament; II) cocks(headand neckof one;beakand combof the other) facing.The bit of glaze at the breakbehindthe cockon the left is probablypart of a lotus and stem. Red:combs,neck, wattle. The ornament above the cocks is very likely a lotuspalmettecross,not a festoon,for if it werethe latter,the part on the far left at the breakwouldbe the frondsof a palmette and would be incised.More likely, this is part of a tendril. Compare, e.g., this ornamenton an unattributeddinos, Vatican 306 (Albizzati, pl. 29); also London, B.M. 1922.6-15.1 by the Painterof LondonB 76 (ABV 86, 9). For confronted cockswith a lotusbud,cf. the lattervaseand one other by this painter, New York, M.M.A. 56.171.16 (ABV 87, 14;Paralip.32,14; CVA,New York4 [USA 16], pl. 12 [740]:2).Eachof these showstwo facingcockswith a floralornament of threebuds.551 was probably a composed but within a frieze. It is by a different similarcomposition

172

CATALOGUE 555 P4687 E-F 12-14

hand.For the subject,cf. also, C. Boulterand K. Lucknerin CVA,Toledo 1 [USA 17], pp. 4-5, with bibliography. Secondquarterof the 6th centuryB.C. 552 P 24646 Q 12:3 Wall fragment.Max. dim. 0.098. Closed quiver with bow attached,suspended.Above, a row of rosettes.White:centerof rosette.
Ca. 550 B.C.

553 P1.53

P830

G 15:2

Wall fragment.Max. dim. 0.133. Piercedat upperright (the sides of the hole are glazed). On the right side, an ancientlead clamp. Symposion.Two men (heads, shoulders,torsos) recline on a couchlookingaroundat a youthnamed
,OI'A4t

Three non-joiningwall fragments.Max. dim. a) 0.103, b) 0.14, c) 0.055. Reddishwash on ground. Fragmenta preservesthe lower part of a drapedman walkingto right and a hangingdraperyfold near the right edge. Fragmentb gives the legs and someof the draperyof anothermale to right and behindhim at the break,a small bit of glaze that may belongto anotherfigure.Belowhim, a frieze of invertedrays. Fragmentc shows some drapery. Red: hanging fold on fragment a; crosses and dots on drapery.White:dot clusterson fragmentb.
Ca. 510-500 B.C.

556 P1.53

P4818

E-F 12-14

who comesup. One of the symposi(inscribed, retrograde), asts is named Vpyt )?o At the far left, someof the hair and neckof anotheryouthto left, andon the far right,at the break,partof a cup, perhaps held high by anothersymposiast.In frontof the couch,part of the table laden with food;on the wall to the left of the recliningpair hangs a lekanis.Abovethe figures,a zone of cores invertedrays. Red:hair, beards;nipplesof Phrynion; White:dots of rosetteson pillow; couchcover;inscriptions. of rosettes; food (paintedoverred). name is uncertain.The The readingof the symposiast's initial letter may be either kappa or lambda,althoughwe have opted for the latter. The third letter may be a badly written kappa, as suggestedby Henry Immerwahr(in a letterdatedDecember17, 1980) or evena pi as suggested by David Jordan (in a letterof November12, 1980). None of of letters spells a name that is the suggestedcombinations knownto us, and the namemay well be miswritten.For the der name of Phrynion,cf. W. Pape-Benseler,Wirterbuch
griechischen Eigennamen, Ca. 530 B.C. new printing, Graz 1959,

Wall fragment.Max. dim. 0.087. Athena (most of face, L-shaped cheekpieceof helmet, neck,chest)to right,holdingan owl (wing). White:flesh. The subject maybe the Judgmentof Paris.Forthe theme, cf. 433.
510-500 B.C.

557 PI. 53

P 12631 0 19:4 P 14862 A 18

Two non-joiningwall fragments.Max. dim. P 12631: 0.143, P 14862:0.083. Brownishwash on surface. P 12631 shows a woman or a maenad(head except for face, upper torso, parts of arms) movingto right. P 14862 shows a woman (headwith stephane)to left. In the fieldof chainwithout each,a vine;above,someof the lotus-palmette incision.Red:fillets;stripeson himation.White:flesh.
Ca. 510-500 B.C.

558 P1.53

P 24045 P-R 6-12

p. 1651. For the subject,cf. 420. 554 P1.53 P 23014 H 12:14

Wall fragment.Max. dim. 0.113. Parts of two zones: I) male (lower leg, booted)to right, behindanother(long chiton,bootedfoot) stridingto right; on the left sideof the first,a deer(hindlegs) to left;II) feline and tail) to right. Red: tongue of left boot. (hindquarters White:dotson chiton. The two malesmay be Hermesand Apollo.
Ca. 510-500
B.C.

559

P 4680 E-F 12-14

of wall. Max. dim. a) 0.118, Two non-joining fragments in abraded Glaze is 0.075. b) places. shows Dionysos(head)standing Fragmenta (illustrated) to left on the left side of chariothorses (mane and neck of right-hand pole horse; end of mane of right-hand trace horse; some of the reins and pole stay). The god faces a woman (forehead,part of drapery)carryinga basketor a box on her head. In the field, a branch. Fragmentb prefriezes:I) hanginglotusbuds; servespartof two ornamental II) invertedrays. Red: beard, alternateleaves of wreath; maneof right-hand pole horse;woman'sfillet.White:woman's flesh.
Ca. 530-520
B.C.

of torusfootand someof wall. Max. dim.0.16. Fragment Male (bootedfoot)to right. Below,a friezeof duckswith a blobin the fieldand belowthat,inverted rays.Red:line on uppersurfaceof foot.
Late 6th century B.C.

P8995 J18:2 560 PI. 53 Three non-joiningwall fragments.Max. dim. a) 0.15, b) 0.075, c) 0.058. two women(foot,lowerdraperyof Fragmenta preserves below a sphinx (foreparts)to right with is to each) right; headturnedaround,a goat to left, and on the far right,a bit of an of glaze that may representpart of the hindquarters

STANDS animalto right. At the very bottomare the tops of inverted rays. Fragmentb (not illustrated)gives somedraperyfolds. Fragmentc shows more of the frieze: a lioness or a pantheress(body)to right.White:women'sflesh;sphinx'sface, neck,breast,stripon her wing;teatsof feline;dot clusterson garment. Comparethe Red-linePainter(ABV 605, 85).
Ca. 500 B.C. SUPPORTS561-586 CYLINDRICAL

173

P 24721 No grid 561 P1.54 Wall fragment.Max. dim. 0.056. Bandof glaze near top on inside. Man (face, some of body) to right behindanother(some of his back,long hair). Betweenthe two, the endsof a hanghair of secondfigure. ing fillet. Red:beard,fold of garment; The Painterof LouvreF 6 (Paralip.52).
Ca. 560-550 B.C.

P 25977 Q20:1 562 Wall fragment.Max. dim. 0.074. Blackbandon insideat top. Youth (mostof head and bodyclad in a chitonand cloak, left arm)to right,lookingaround.On the right,the elbowof another figure and between the two a hanging fillet or a wreath.Red:youth'sfillet. White:chiton.
Ca. 520 B.C.

Judgmentof Paris. P 3777 shows Paris (middlepart) to rightwith rightarmbentat the elbow.To judgefromthe directionof the upswept folds, his left arm was raised in a gestureof alarm.On the left, at the break,tracesof another figure,probablyHermeswho usuallystandsbetweenParis P 9977 shows Hermes (headwith petaand the goddesses. sos; right shoulder)to right with head turnedaround,preAt the left, a hangingfilsumablylookingat the goddesses. let. Above,some of rays. Red: stripeson drapery;petasos; coresof rosetteson Paris' garment.White:dots of rosettes; dotson cloak. Clairmont(Parisurteil,pp. 28-29) identifiedthe subject and put the fragments togetherbut later (p. 141) separated of the scene.The subthem and gave up the interpretation by Beazley,but he keptthe two fragments ject was accepted apart. The two fragmentscome from the same stand.The colorof the clay is the same;eachhas the samewash applied to the surfaceon the outside;the bands on the inside are irregularin width and appliedrathercarelessly. For the subject,cf. 433. The Edinburgh Painter or near him (Paralip. 219: P 9977).
Ca. 510 B.C.

565 PI. 54

P22997

H 12:14

563 PI. 54

P 17888 N21:9

Four non-joining fragments. Max. dim. a) 0.115, b) 0.073, c) 0.078, d) 0.032. Bandsof glaze on the inside. Wedding procession. Fragment a preserves the lower partsof two drapedwomen,one to left, the other,who wears an ependytesoverher chiton,to right.On the far left, traces of a third figure (drapery).In the field, a vine with grapes (no incision). Below the figures, a band with white dots, then a zone of invertedrays. Fragmentb shows the shouldersand armsof a womanto left. In her left hand,she holds a torch. She faces a man (raised left arm, drapery).Fragment c gives some of the horses (the headsand necksof the two trace horses;part of the neck of the right-handpole horse),the elbowof a figureto rightholdinga staffhorizontally, and at the breakbelow, tracesof anotherfigure,perhaps the muzzleof a dog. Fragmentd (not illustrated)preserves more of the invertedrays. Red: bordersof cloaks, crosseson garments;strips on manes;dots on one breastband,line on the other.White:femaleflesh;right-hand pole horse,teethof tracehorses;pendantson breastband;dotson bandbelow figures.
Ca. 510 B.C.

Two non-joining Max. dim. a) 0.13, b) 0.058. fragments. One fragment(b) without decoration preservingthe torus rim, the otherpartof the wall. Fragment a preserves a chariot (forelegs of the four tracehorse,a little horses,mostof the bodyof the right-hand of the neckof the right-hand pole horse)to right.On the left side of the teamis a figure(drapery) standingto left. White: right-handpole horse.
Ca. 510-500 B.C.

564 P1.54

P3777 G 12 P 9977 No grid

P27839a, c,d, H 13:5 Three non-joining of wall. Max. dim.a) 0.063, fragments c) 0.137, d) 0.074. On inside,wide blackbands. Chariotscene.Fragmenta shows the handsof the charioteerholdingthe reinsand goad.On the left sideof him, the head and shouldersof Apollo holding his kithara (his left hand may be seen against the stringson the right). Fragmentc givesthe drapery of two figures(oneis the charioteer on fragment a) standingin the chariot,partof its wheel and box, the tails and hind legs of the horses,and on the left side of the team,moreof the draperyof Apollo.Fragmentd (not illustrated)preservessome of the draperyof two figures fromanotherpart of the scene.The verticalobjectbetween them is probablya staff. Red: stripson tails. White:righthandpole horse. For P 27839 b, see 577.
Ca. 510-500 B.C.

566 Pl. 54

Two non-joiningwall fragments. Max. dim. P 3777: 0.076, P 9977: 0.089. Bands of glaze on inside. Reddish brownwash on outside.Clairmont,Parisurteil,pl. 8.

567

P 130 H5

Wall fragmentwith black band on inside. Max. dim. 0.052.

174

CATALOGUE White:woman'sflesh;row of dotson border of her garment; dotson man'sgarment.

Late 6th century B.C.

Woman(head) to right smellinga flower(the tips of the petalsappearjust abovethe break).In frontof her, the back of the head of another figure, perhaps Dionysos, also to right, his hair tied up in a krobylos.Red: fillet. White: woman'sface.
Ca. 510-500 B.C.

568

P5078

G 12

Four non-joiningfragmentsof rim and wall. Max. dim. a) 0.101, b) 0.036, c) 0.102, d) 0.09. Bandsof glaze on the inside.Much of the surfaceis pitted.Clairmont, Parisurteil, pl. 9:b. Fragment a preserves parts of two figures, a male (Hermes?)to left (petasos,backof head,left upperarm)and behindhim a woman (raisedarm, some of cloak). Between the two, a fillet. Fragmentb shows the feet of a womanto c andd left, andthe lowerborderof her garment.Fragments are rim fragmentsand preservesome of the invertedrays Red:coresof rosettesand stripes with dotsin the interstices. on garments;brim of petasos; undersideof rim. White: woman'sflesh;dotson her garment. First thoughtby Clairmont(Parisurteil, p. 29) to reprewas later sent the Judgmentof Paris,but the interpretation givenup (p. 141).
Ca. 500 B.C.

P 4746 e and P 4746 g + P 4689 E-F 12-14 572 Two non-joiningfragmentsof rim and wall. Max. dim. e) 0.066, g + P 4689: 0.111. Fragment e shows the rays below the rim (the very narrow one indicateswhere the artist ended the pattern). Fragmentg + P 4689 gives more of the rays and below them,partsof two youthsfacing(headof one on right;topof head of one on left). Red:edge of rim;top of head of youth on left.
Late 6th century B.C.

573

P 4746 f E-F 12-14

Wall and footfragment.Max. dim.0.057. Partof zone of inverted rays.Above,traceof figures.

Late 6th century B.C.

574

P3301 H 13 P4951 E-F 12-14

P 4746 a E-F 12-14 Fragmentof wall and foot. Max. dim. 0.09. Blackbands on inside. Man (someof bootedfoot)to right,preceded by a woman (feet, lower part of drapery).Betweenthe two, a vine. Below, invertedrays. Red:edge of foot. White:woman'sflesh; dotson her garments. The arrangementof the black bands on the inside of comefromfivesepa569-573 indicatesthatthesefragments rate, but similar, stands.They may be by a painterof the Leagros Group. Compareespecially Munich 1406 (ABV 368, 108;Paralip.162,108 and 171, 1), a ratherroughpiece with the Chiusi Painter. connected 569
Late 6th century B.C.

Two non-joiningwall fragments.Max. dim. P 3301: 0.073, P 4951: 0.11. Bands of glaze on the inside. Clairmont,Parisurteil, pls. 9:a (P 3301), 10:a(P 4951). on the left, the drapery P 3301 showspartsof two figures: of one standingto right;on the right, some of the back of anotherseatedon an okladias.P 4951 givesmoreof the seated figure(head)who holdsa lyre (partof one armandcrosspiece) and may be Apollo.He facesa woman(raisedhand, part of garment), perhaps Artemis. On the wall, fillets. Abovethe figures,rays. Red: folds and dots on garments; musician's fillet; woman's garment. White: dots on garments;woman'sflesh.
Late 6th century B.C.

575 PI. 55

P9275

M 17:4

Preservedbut for parts of rim, base, and figures. H. 0.134. Missing pieces restoredin plaster.On inside, black
bands. D. B. Thompson, Garden Lore of Ancient Athens

570

P 4746 b E-F 12-14

Wall fragment.Max. dim. 0.115. Blackbandson inside. Brownishwash on surface. Parts of three figures:drapedelbow of a figure to left; to rightlookingaround; draperyand armsof man, probably woman to of of some right.In the field,a vine. head, drapery White:woman'sflesh;dotson garment.
Late 6th century B.C.

[AgoraPicture Book 8] Princeton1963, ill. 38; Camp,op. cit. (under319), ill. 14. continuesroundthe stand.ArteThe figureddecoration mis, dressed in a long chiton and himation, mounts her chariotto right. On the left side of the team is a palm tree. Facingthe horsesis Apollo, dressedas Artemisis, holding his lyre in his left hand,a flowerin his right. BehindApollo is anotherpalmtree and a deerto left. In the field,nonsense abovethe backsof the horses: inscriptions;
O E

571

P 4746 c, d E-F 12-14

Two non-joiningwall fragments.Max. dim. c) 0.143, d) 0.041. Fragmentc showsthe middlepartsof two drapedfigures, some of the legs of the one on the left, with a vine between. the feet and lower partof the drapery Fragmentd preserves of a woman to right. Below each, tops of invertedrays.

verticallybetweentheir legs: OPE O betweenApolloand the team: vertically OIEEIO

STANDS Above and below the figures, a frieze of rosetteswithout incision.Red:Artemis'fillet,loweredgeof her cloak,crosses tails and on it; part of chariotbox; reins and breastbands; manesof right-handpole and tracehorses;dotsand borders of Apollo's himation;edge of rim. White: Artemis' flesh; right-hand pole horse; teeth of trace horses, pendants of breastbands;Apollo'swreath and chiton,dots on its lower border;arms of lyre; throat, chest, belly stripe, and tail of deer;heartsof the palm trees;coresof rosettes. use of white, comparesomeof the For the very decorative work by the Diosphos Painter, especiallythe small neckamphora in Hamburg, inv. no. 1927.143 (ABL, p. 239, no. 142;CVA,Hamburg1 [Germany 41], pl. 20 [1986]:1,2) 29. Jan. and one once in the LondonMarket (Cat. Sotheby, 1968, no. 145). For the rosettes,comparethe ones on an epinetron, Akropolis 2599, that is akin to the Golonos Group (ABV 481 8).
Ca. 500-490 B.C.

175

Dionysos (most of head, part of body) to right, looking around. On the right, a second figure (drapery)to right. Red:beard;leavesof wreath;dots on garments.White:dot clusterson garments.
Ca. 500 B.c.

581

P 25915 M 18

Wall fragmentwith black band on inside. Max. dim. 0.067. Much of the glaze is abraded. Man, perhapsHermes (preserved except for lower legs and feet), to right, looking around at a horse (head). He and a petasos wearsa chiton,a chlamysoverbothshoulders, with the brimturnedup in the back.On the right,tracesof anotherfigure (shoulderand elbow, draped).Red: dots on cloak.White:chiton;dotclusterson cloak;studson headstall and rein of horse. The rectangular objectat the horse'smouthis a bit burr. For this device,cf. 471 (PI. 45).
Early 5th century B.C.

576

P 12449 L 18:2

Wall fragment. Max. dim. 0.091. Bands of glaze on inside. Lowerpartsof two drapedfigures:on the left a manmoving to right,a womanfacinghim. Below,a bandof chevrons. Red: border of woman's cloak; border of man's chiton. White:man'schiton;dotson cloaks;woman'sfeet;chevrons.
Late 6th century B.C.

582 P1.55

P 25962 M 18

577

P27839 b H 13:5

Wall fragmentwith black bands on inside. Max. dim. 0.056. Parts of three zones: I) petals of a palmetteor rosette; on a blackband;III) Dionysos(kantharos) to II) maeander Hermes Red: brim of beard. (head). right facing petasos; White:maeander.
Early 5th century B.C.

Wall fragmentfrom near foot. Max. dim. 0.092. Two bandsof glaze on inside. Woman (feet, lower drapery)to left facinga man (toes). Below, wavy line, and below that, invertedrays. White: woman'sflesh;wavy line.
Late 6th century B.C.

583 PI. 55

P 25968 M 18

578 P1.55 P 25980 Q20 Wall fragment.Max. dim. 0.11. Black band on inside
near top.

Woman (head, most of body) to left facing Hermes (end of kerykeion).On the right, the shoulderand draperyof a figureto right.Above,ribbonpattern.Red:fillet,eye;stripes on garments.White:fleshof woman;dotson drapery.
Late 6th century B.C.

Wall fragment. Max. dim. 0.062. Bands of glaze on inside. Woman (head, fingersof one hand) to left, standingon the left-handsideof a horse(smallbit of manein lowerright cornerof fragment), perhapsa pole horseof a chariotteam. On the far left of the fragment,tracesof an objectthat look like the armsof a lyre. Above,uprightlotus buds with dots in the interstices. White:woman'sflesh, dot clusterson her cloak;objectat left.
Early 5th century B.C.

579
top.

P 26210 M 17

Wall fragment.Max. dim. 0.087. Blackbandon insideat Chariot(headsof two tracehorses)to right facinga man (end of beard, some of drapery).On the far right, at the break,tracesof anotherfigure.Red:beard;stripon maneof left-handtrace horse;dots on drapery.White: star on forehead of right-handtracehorse;dots on drapery.
Ca. 500 B.C.

P 20299 O-R 7-10 Rim fragmentwith part of wall. Max. dim. 0.08. Black bandson inside. Woman(head)to left. Red:fillet;eye;bandon outsideat edgeof rim. White:flesh.
Early 5th century B.C.

584

580

P 13456 N-P 20:1

Wall fragment.Max. dim. 0.107. Two bandsof glaze on insidenear top.

585 PI. 55 P 25914 M 18 Rim fragment with some of wall. Max. dim. 0.05. Brownishwash on outside.Blackbandson inside. Woman(head)to right. Behindher, at the bottom,traces of an objectthat look like the petals of a flower.Red:fillet. White:fleshof woman,partof object.
Early 5th century B.C.

176 586 PI. 55

CATALOGUE P 23311 L-N 16-18 The Groupof the DresdenLekanis(compare: 1442,1443 (Pl. 98), and 1859 (PI. 119). Late firstquarterof the 6th centuryB.C. 592 PI. 56 P 25354 S-U 19-21 Fragmentof wall. Max. dim. 0.05. Band of glaze near top. Glaze firedbrown. Siren or sphinx (head, wing bow) to right. Above,staggeredrows of dots. Red:flesh;fillet, wing bow;bandat top of scene. Comparewith the Groupof the DresdenLekanis. Late firstquarterof the 6th centuryB.C. P 23097 I 14 593 P1.56 supportwith blackglazealong Leg of standor fenestrated edges.Max. dim.0.123. but for left Partsof two friezes:I) lion to right,preserved rosettes for blobs and dot and tail; fillingornament; foreleg II) backof animal.Red:mane,belly stripe. First quarterof the 6th centuryB.C. P 22903 I13-14 Wall fragment.Max. dim. 0.092. Much of the glaze is abraded. someof wings)to left. Sphinx(headwith polos,foreparts, Aboveher head to the right, part of a hole piercedthrough the wall and partly glazed. Blob rosettes.Red: body,wing bow. The Polos Painter (ABV 48, 139, where the numberis given as P 22908, and 681, 11 bis, the number incorrectly Paralip.20, 139, the errorcorrected). correct; Secondquarterof the 6th centuryB.C. 594 595 P 19163 C 18:4 of leg. Max. dim. 0.054. Fragment PotniaTher6nto right,holdinga goosein her left hand,a fox in her right.Incisedrosettesfor fillingornament. Below, Red:hairandwingsof godpartof anotherzone (rosettes?). dess;panelson skirt. Secondquarterof the 6th centuryB.C. 596 P 24755 P 17 stand.Max. dim. 0.083. Surface Fragmentof fenestrated finishedon each side of figuredpanel and on undersideof patternedzone above.Surfacescoveredwith a whitish slip insideand outside. Panel: siren to right; glazed line round edges of panel. Above,row of zigzags;below, part of an animal (bristlesof boar?). Secondquarterof the 6th centuryB.C. P 26770 S-T 18 597 P1.56 Wall fragment.Max. dim. 0.048. Woman(lowerpartof skirt)to right.Below,tonguepattern.Red:alternate tongues.White:feet (laiddirectlyon the dot rosetteson skirt;line of dotson upperand clay ground); loweredgesof border.
Ca. 570-560 B.C.

Wall fragment. Max. dim.0.048. Bandof glazeon inside. Male (head),perhapsDionysos,to left. Roundhis headis a thick fillet held togetherby rings. Red: beard;rings of fillet. Early 5th centuryB.c.
SUPPORTS, TYPE UNCERTAIN

587-601

587 PI. 55

P 22695 0 12:1

stand. Two non-joiningwall fragmentsof a fenestrated P.H. a) 0.07, b) 0.10. E. Brann,Hesperia30, 1961, p. 331, F 17, pl. 74. above Fragmenta gives some of the torus base decorated with invertedrays.On the wall, partof a panel framedby a double line. In the panel, a floating swan (some of neck, breast,wing), its tail cut off by the left edge of the panel. Fragmentb gives part of the rays abovethe torus and most of anotherpanel(upperrightcornermissing)thatis slightly wider than the one on fragmenta. It is decoratedwith a St. Andrew'scross. by a superposed largelozengequartered In each of the smallerlozengesresultingfromthe partition, thereis a little diamondwith a dot in the center. Third quarterof the 7th centuryB.C. 588 P 17155 K-N 9-12 Wall fragment. Max. dim. 0.087. Agora VIII, p. 98, no. 579, pl. 37. Woman(mostof face,drawnin outline)to right,holding a pomegranate. Closeto the Painterof BerlinA 34 [Brann].
Ca. 630-620 B.C.

P 10652 B 14:5 Wall fragment.Max. dim. 0.082. Two bandsof glaze on inside. Woman (back of head with fillet, ear, temple) to right. Dot rosettefor fillingornament.Red:fillet.White:flesh. For the solid hair held by a broad,plain fillet, compare the sirenon Athens,N.M. 221 (ABV 6; Paralip.6). 589 PI. 55
Late 7th century B.C.

590 P1.55

P2034

H8-10

Upper partof one leg and someof wall above.Max. dim. 0.10. Sphinx (head, wing) to right. Incisedrosettesfor filling Grooveabovehead,then tonguepattern.Red:filornament. let, wing bow;narrowbandabovegroove. The Painterof Eleusis767 (ABV 21, 3). First quarterof the 6th centuryB.C. P24651 19 591 P1.56 Wall fragment.Max. dim. 0.079. Bandof glaze on inside at bottom. Sphinx (neck,breast,wing bow) to left, facinga palmette (part of lotus-palmettecross?). Incised rosette for filling Red:neck,breast,wing bow. ornament.

LOUTERIA 598 Pl. 56 P 26755 U 19

177

Wall fragment.Max. dim. 0.073. Male (head)to left, playingthe aulos.Above,friezeof upright lotus buds and above that, part of a tongue pattern. Red:alternatetongues.White:dottedwreathof aulist.
Ca. 560-550 B.C.

right-handpole horse;woman'sflesh;contoursof armsand supportpiecesof kithara.

Early 5th century B.C.

601

P 25827 A-C 15-21

599 PI. 56

P 26756 U 19 foot and wall. Max. dim. 0.065. Fragmentof projecting Woman (lower drapery,foot) striding to right. On the left, foot of anotherwomanto right. White:feet;crosseson skirt.
Ca. 520 B.C.

Wall fragment.Max. dim. 0.068. Man (head,someof torso,arms)to right,holdinga crook. At the rightedgeof the fragment, tracesof an object.White: crook;object.
Ca. 500-490 B.C.
SOSIAN STAND

602 P 13255 H 12:6

602 PI. 56

600 PI. 56

P 23273 Q16

Wall fragment.Max. dim. 0.082. Divinitieswith chariot.On the left sideof the team (hindquartersof right-handpole and tracehorses,someof reins) standsApollo (shoulder,left hand) to rightholdinga kithara. A woman(face,shoulder,raisedhand)faceshim. White:

Top of stand(aboutone thirdmissing)with torusrimand someof stemon underside. Diam. 0.08; p.H. 0.02. On top side of stand, siren to left, preserved but for one wing, standingon the stem of a lotus. Red: fillet, band on wing, doton tail of siren;budof lotus.White:face,neck,and redbandon wing, stripat baseof tail breast,lines bordering feathers.
Late 6th century B.C.

LOUTERIA 603-607 Pls. 56 and 57

P 25364 Q 13-14:1 (U) Shoulderfragmentwith partof handleattachment at left. Max. dim. 0.086. White slip on surface. Sirenor eagle (tail) to right.Crossesand zigzagswith trianglesfor filling ornament.On the left, the edgeof the panel. Red:alternatefeathersof middlesectionof tail. Near the Nettos Painter(Paralip.5, ii, 3).
Late 7th century B.C.

603 PI. 56

the startof the handlezone.An oddityis that this indicating part is unglazed; thus, the figures were not set in the customary round,as they do panelsbut may havecontinued on somecolumn-kraters. 605 cannotbe a column-krater for the rim has no overhang; norcan it be a dinos,forthe tongue patternwould not be stopped. Late firstquarterof the 6th centuryB.C. 606 P. 56

P 16567 No grid Fragmentof flat rim, handle root, and wall. Max. dim. 604 P 26295 A 17:1 (U) 0.207. Callipolitis-Feytmans, "Louteria", pp. 20, 25, 26-27, Fragmentof convex wall and roundedrim with spout. 39, 50-52, and 55, fig. 6:3 and pl. 4:d. Max. dim. 0.115. Glaze fired red. Silhouette technique. Rider (top of his head;head of horse, part of one raised "Louteria", Callipolitis-Feytmans, pp. 12, 14, fig. 4:2. forelegjust abovebreak) to left with head turnedaround. On left of spout,animal(someof headandneck?)to right. Abovethe panel, tonguepattern.On top of rim, incisedroBlob rosettesfor filling ornament. settes. Red: neck, inside of ear, eye, markingson head of The figureddecoration was set in a panel on each side of horse; cores and alternate petals of rosettes; alternate the spout. For a similarlydecorated example,but of minia- tongues.White:cornersof horse'seye. ture size, cf. Athens, N.M. 2341 (Callipolitis-Feytmans, The double incised line between the horse's mane and "Louteria",pl. 4:a-c). neckis characteristic for horsesby Sophilos,e.g., 29 (PI. 4), Early 6th centuryB.C. LouvreE 873 (ABV39, 12; Baklr,Sophilos,pl. 48, fig. 87), N 128 (ABV 39, 14; Baklr,Sophilos,pl. 65, fig. Cambridge 605 P1.56 P5365 F 12:5 129), and Herakleion(Paralip. 18, 14 bis;Bakir,Sophilos, Rim fragmentwith startof shoulder.Max. dim. 0.061. pls. 80, 81, figs. 158-160: calleda workshoppiece, pp. 40, On top side of rim, rosette.On shoulder,traceof tongue 42), but the drawingon 606 is not his. The representation pattern.Red:coreand alternatepetalsof rosette. cannot be a frontal chariot, as deThe tongue pattern terminatesjust below the rosette scribed by Callipolitis-Feytmans ("Louteria", p. 20), for

178

CATALOGUE 607 PI. 57 P 2709 G 6:3 (U)

some of the head of one pole horse, turned to the right, would have to be visible betweenthe human head and the horse'shead. For a fully preserved exampleof this Archaic cf. E Louvre 873 convention, by Sophilos. What is more our of ridersto left, is that scene likely depicteda cavalcade as as know as we it from the Corfu three, many perhaps louterion,inv. no. E 61.09, not far in style from Sophilos (Paralip. 19) and from Berlin F 1722 by the Prometheus Painter (ABV 104, 124; Paralip. 39, 124), contemporary with 606. Secondquarterof the 6th centuryB.c.

of rimand shoulder.Max. dim.0.115. E. VanFragment derpool,Hesperia15, 1946, p. 313, no. 215, pl. 62. Satyr (head and shoulders)to right. On the right, the raisedrightarmof anotherfacing.Betweenthe two, a hanging cloak. On the far left, a satyr (face, extendedarm) to right. On top of rim, incisedrosettes.Red: beardof satyr; cloak;line at outeredgeof rim. Late 6th centuryB.c.

DINOI 608-617 Fig. 13 Pls. 57 and 58

BOWLS 608-614

P 24312 Q 12:2 608 P1.57 Rim and wall fragment.P.H. 0.045. Parts of two animal friezes:I) feline (part of neck, hind exceptfor her face legs and tail) to left, and siren,preserved and legs, to right;II) wing of sphinx or sirento left. Incised On top sideof rim,SOSpattern. rosettefor fillingornament. Red:bar on tail of siren;half of wing bows and red dot on upperhalf. First quarterof the 6th centuryB.C. 609 P. 57 P 12811 09 Wall fragment,slightlycurving.Max. dim. 0.105. Thinly glazedon inside. Two animalfriezes:I) goator ram(forelegs, partof belly, someof hind legs, on the rightat the break,muzzle)grazing to right; II) boars (heads and shoulders)confronted,the right one tusking the left. Incisedrosettesfor filling ornaand necks. ment.Red:I) belly stripeand neck;II) foreheads Painter which of the Ceramicus with works Compared
recall the KX Painter (ABV 20, -).

Late firstquarterof the 6th centuryB.C. 610 Pl. 58 P334 G 15:3 H. 0.20; diam.of bowl Much of bowl and rim preserved. 0.30. undecorated. Below the Rim diam. at rim 0.342; of vessel with Bottom reserved black band. a friezes, figured scratchesand tracesof wear from restingin a stand.T. L. Shear,AJA36, 1932, p. 387, fig. 6; idem,Hesperia2, 1933, p. 468, fig. 17; R. Young,Hesperia4, 1935, pp. 430-441. Three friezes:I) two scenes. 1) At the far left, the lower parts of two figuresto right, one dressedin a chitonand a festoon.Then comesa cloak.Next, part of a lotus-palmette gap andon the next partof the frieze,the endof the pattern.

One 2) Komasts.Two on the left are completely preserved. movesto left lookingaround,holdinga drinkinghornin his left hand. Behindhim, a companion plays the aulos while a but forhis legsbelowthe knees,comesup to third,preserved fill his kantharosfrom the column-krater standingon the arm with ground.On the right, the torso and outstretched of a horn fourth to komast three scenes.1) drinking right.II) On the veryleft, the muzzleandforelegsof a gallopinghorse and a male hand holdingthe reins,then a large tripodand on the rightof it, a man in a long robewith a knifeor a stick in his righthand. Betweenhis beardand his rightshoulder, the pommelof a sheathedsword.2) Ithyphallicsatyr pursuing a maenadholding a stone in her left hand. 3) The CalydonianBoar Hunt, with the names inscribed.On the left, a man comesin armedwith a small stone and accompaniedby a leashedhounddrawnin outline,its mouthand eye incised.In frontof him, Akastos(a) rushestowardthe boarwith spearpoised,a knifein his left hand,while his dog (b) attacksthe beast,which is aboutto tramplePegaios(c) who has fallen flat on the ground,bloodpouringfrom his fromthe throatof the boar wounds.A brokenarrowprojects which is spearedin the muzzle by Meleager (d). All that remains of this hero is his head and one foot. Behind MeleagercomesAtalanta(e). Only her head remains.Behind her are traces of anothername (f). The rest of this a boarflankedby sirens, sceneis not preserved. III) animals: and a bull flankedby lions (of the right lion, only its face of this zone is not preserved. Red: remains);the remainder I) man'scloak;cuffs,sepals,petalsof lotuses;hearts,someof leavesof palmettes; links;facesand mostbodiesof komasts; handle II) rim, supportsand feet of tripod;face and hair of man; face, shoulders,tail, tip of satyr's penis; neck and shoulders of maenad, her stone; inscriptions;faces and shouldersof hunters;hunter'sstone;arms and buttocksof Pegaios;neck, snout, belly stripe, ribs, and markingson

DINOI of boar;III) faces,wing bowsof sirens;boaras hindquarters II; muzzle, mane, belly stripe, and ribs of lion; neck, ears, of bull. belly stripe,ribs, and markingson hindquarters a ] tASTO5 c .6AA 1o5 b JEPoI d MO[ 611 PI. 57 P3468

179 H 8-10

e ATA.L--[

f --q

For the naming of the second figure in the boar scene Akastos,cf. Young, op. cit., p. 438. Normally, one would to precedethe figureit names,regardexpectthe inscription less of direction,but there was not sufficientroom. The boar'svictimshouldbe Ankaios,not Pegaios,whosenameis otherwiseunknown,but the artistmay have been following a differenttradition,as suggestedby Young(p. 439). There are two odditiesin this scene.The first is the dog drawnin outline with inciseddetails,for which there seems to be no parallel (Young,op. cit., pp. 438-439). The secondis that the boarwalks insteadof rears,as it doesin all othercertain of the CalydonianBoar Hunt, i.e. those in representations which Atalanta appearsor that have the names inscribed. Its directionto right is unusual for the periodbut is paralleled a little later in two examples,both by the Painterof Rouen 531: the namepiece(ABV 88, 1) and one in Rhodes (ABV 89, 2). For the theme,cf. 31. For the shaggysatyr,the bestparallelis the one by Sophilos, Istanbul(ABV 42, 37; Baklr,Sophilos,pl. 35, fig. 66), which shows a satyr pursuinga maenad.For a figurewith red shoulders,cf. Akropolis590 (Graef, pl. 27), which has the same exuberantstyle of drawingas 610 but is by a differenthand. The scene with the tripod remains difficultto explain. the possibilityof the Pursuit Young(p. 436) rightlyrejected of Troilos, for the tripod would have no meaning in this event. Beazley (Development,p. 107, note 32) suggested that the artistmay havehad in mindthe Gamesin Honorof Patroklos,a very rare theme in vase painting (Brommer, Heldensage3, pp. 461-462). In ABV (p. 23) he optedfor the FuneralGamesof Pelias, a themealmostas rare (cf. Brommer, Heldensage3,p. 496). Either of these representations would explain the presenceof the tripod,and perhapseven the man, but not the horse, which is a mount,not one of a chariotteam.For the latter,, the headof the othertracehorse would have to appear as it does in the scene by Sophilos, Athens, N.M. 15499 (ABV 39, 16; Paralip. 18, 16; Baklr, Sophilos,pl. 6, fig. 10). The low positionof the rider'shand suggeststhat he restrainsthe horse.Perhapshe hasjust dismounted. For red inscriptions, cf. footnote11 above,p. 14. with the Groupof the DresdenLekanis(ABV Connected 23).
Ca. 580-570 B.C.

Fragmentof rim and wall. Max. dim. 0.154. Traces of Most of glaze firedred. burningon figuredpartof fragment. a warrior On the left, (head protectedby a CoFight. rinthianhelmet,raisedrightarmwith spear)movesto right but lookingaround.Behindhim, anotherwarrior,preserved his to for mostof his legs and left forearm, fights right, spear held high. He wears a corslet,over a short chiton, and a is suspended froma baldric Corinthianhelmet.A scabbard he carriesa roundshieldseen from over his right shoulder; the inside.Abovethe figures,tonguepattern,and on the top sideof the rim,lotusbuds.Red:crests; insideof shield;alternate tonguesand alternatelotuses;bandon innerand outer edgesof rim. White:inneredgeof crest;chitonof warrioron right;dotson his shieldband. Since the head of the warrioron the left is lower in the than that of the one on the right, it indicates composition that he is fleeing,probablywith kneesbent. The Painterof LondonB 76 (ABV 87, 19).
Ca. 570-560 B.C.

P 26758 U 19 612 P1.57 Wall fragmentfromnear startof neck.Max. dim. 0.029. Glaze firedbrownon inside. Stag (antler,ear, part of neck)grazingto left. Red:neck; line near top on insideof fragment. The stag was probablypart of an animalfrieze. For two of dinoi,cf. Wiirzcontemporary exampleson the shoulders burg 453 (Langlotz, pls. 129, 130) and Brussels R 222 (CVA,Brussels1 [Belgium1], pl. 2 [13]:1). Secondquarterof the 6th centuryB.C. P 483 I 17 Shoulderfragmentwith startof rim. Max. dim. 0.077. Woman(head,shoulder)to right.On the right,the raised hand of the woman. Above, tongue pattern. Red: fillet; alternatetongues.White:flesh. stripeon garment; The verysmallfigurescompared with the largesize of the tonguesindicatethat this dinos had a narrowfrieze of figures on the shoulder,probablyabovethe main zone. Compare the namepieceof the Painterof LouvreE 876 (ABV 90, 1). 613 may be by him, but so little of the figuresis preservedthat it is difficultto be certain.
Ca. 550 B.C. 614 P1. 57

613 PI. 57

P 14939 E 19:7

Rim fragment.Max. dim. 0.039. On top side of rim, warrior(head protected by a Corinthian helmet,part of a roundshieldand a spear)to left. On inner side of rim, ship (top of mast,part of sail and yards). Red: rim of shield. White: dot on helmet crest, remainsof shielddevice;sail. The positionof the spearis odd, for it pointsdownward. as on Madrid 10902 Perhapsit is the goad of a charioteer,

180

CATALOGUE

FIG.

13. Dinos stands615 (P 26619), 616 (P 21708), and 617 (P 13271). Scale 1:2 616 Fig. 13, P1.57 P21708 07:9 Fragmentof foot with broadrestingsurface.Max. dim. 0.18; est. diam.0.32. On top surface,animalsto left: feline (hind legs, part of tail), ram (head, legs, body). Below, rays. Ridge decorated with dotsseparates animalfriezefromrays.Red:neck,belly stripeof ram;line aboveraysbelow ridge. The KomastGroup:II, the mannerof the KX Painter (ABV 28, 6). Ca. 585-575 B.C. 617 Fig. 13, PI. 57 P 13271 G-I 11-12 Flaring wall and rim fragment,with ring at junction. in plaster.Two Partsof wall and nearlyhalf of rim restored bandsof glaze on inside. Poor,brownishblackglaze. P.H. 0.117; diam.at rim 0.148. of esseson sideof rim; Friezeof "penguin" figures.Border rosetteson flaringinsideof rim. Three wide blackbandson inside.
Ca. 550 B.C.

by the AntimenesPainter (ABV 275, 133). Ships are very commonon the insidesof rims of dinoi after 530 B.c. For a list, cf. CVA,Boston2 [USA 19],pp. 9-10.
Ca. 520 B.C.

STANDS 615-617

P 26619 T 18:2 615 Fig. 13 on underside. Max. dim.0.10; Fragmentof foot,reserved est. diam. 0.22-0.23. Vertical surface has four rills. The glaze has fireda brownishblack. On top surface,ornamentaldecoration.Preserved: parts of two circles,one decorated with incised lozenges.Inside one circle is a wheel rosette;inside the other,bits of glaze. Betweenthe circlesand outeredge of foot, rosette.At outer edge,dots. Red:circlewith lozenges;alternatedotsof wheel rosette; partof objectin othercircle;line betweencirclesand row of dots;rills. Last quarterof the 7th centuryB.C.

HYDRIAI HYDRIAI 618-669 Pls. 59-63

181

ROUND-BODIED HYDRIAI

618-624

618 P1.59

P 26776 T-U 19-20 (I)

Two non-joining fragments. Max. dim. a) 0.141, b) 0.052. Part of the wall and a horizontal handle (a), fragmentfromthe shoulder(b). partof the friezeof inpreserves Fragmenta (illustrated) cised rosettesthat encirclesthe vase directlybelow the handle zone and some of the rays above the foot. Fragmentb gives a head to left, perhapsthat of a sphinx or a siren,and on the left at the break,part of an uncertainobject,possibly the tip of a wing. Red: head and neck;cores and alternate dot on wing(?);top surfaceof handle;line petalsof rosettes; aboveand below rosettesand at top of rays. Late firstquarterof the 6th centuryB.C. 619 P 20707 R 11:2

in ABV, the curvenear Althoughcalleda neck-amphora that the shapeis a hydria. the top is verysharpandindicates Cf. Eleusis 266 (ABV 44, 12; Paralip. 20, 12) and Delos 589 (ABV 44, 17). The Polos Painter(ABV 44, 8). Secondquarterof the 6th centuryB.C. 622 P2824 H 12:11 Fragmentof neck.P.H. 0.095; max. dim. 0.127. Sphinx (headwith polos,breast,foreleg,partof wing) to right, facing a siren (head, most of body, wing). Blob rosettes for filling ornament.Red: breasts, wings; band on bodyof sphinx. was surelya sirenbetweensphinxesand The composition but would not fit betweenthe handlesof a neck-amphora ratheron the neckof a hydria.Cf. Delos 589 (ABV44, 17). Near the Polos Painter(ABV 49, -). Secondquarterof the 6th centuryB.C. 623 Pl. 59 P5201 F 12:6 Wall fragment.Max. dim. 0.148. Rootof verticalhandle at top. Friezes: I) parts of two incised rosettesnext to vertical lines markingend of handle;II) two confronted sirens;on the left, a wing andon the right,the endof a tail. Incisedand blob rosettesfor filling ornament.Below, rays. Red: wing bows, barson tails;somerosettes. of the Polos Painter(ABV 49, 2). Companion Secondquarterof the 6th centuryB.C. 624 P771 I 17:1 Preserved but for mouth,neck, verticalhandle,and part of shoulder.P.H. 0.06; diam. with handles0.082. Glaze is abradedin manyplaces.Firedred. Traces of figured decoration, but the subject is unintelligible. First half of the 6th centuryB.C.
SHOULDERED HYDRIAI

Wall fragment. Max. dim. 0.118. Root of horizontal straphandleon right. Swan to right; incised rosette under handle. Red: wing bow;blobson rosette;two lines underpicture. Late firstquarterof the 6th centuryB.C. 620 PI. 59 P5467 E 16

Fragmentof rilledrim and neck. Max. dim. 0.15. Riders(headand armof one, headand neckof his mount; of anotherhorse)to right. part of the tail and hindquarters Red:dot on chestof rider;eye and neckof horse;two bands on insideof mouth;rills. It is unusualfor round-bodied hydriaito havethe figured decorationon the neck. Besides 620, here are some other examples:four by the Polos Painter,Eleusis 266 (ABV 44, 12; Paralip. 20, 12), Berlin 1656 (ABV 44, 18), Boston, M.F.A. 76.34 (ABV 44, 19; CVA, Boston 2 [USA 19], pls. 68 [902], 69 [903]:1), Basel Market (Paralip. 20); Oxford 1932.732 attributedto the Ragusa Group (CVA, Oxford3 [GB 14], pl. 36 [651]:1-11);Copenhagen, inv. no. 13536, close to the Painterof LondonB 76 (Paralip.32, 2 bis). Eleusis 266 and Copenhagen13536 also have rilled rims. Secondquarterof the 6th centuryB.C. 621 P. 59 P 12019 P 19

625-649

Wall fragment.Max. dim. 0.105. Animalfriezes:I) felineor sphinx (foreleg,someof belly) to left;rosettebelow;II) sphinxes,or sirenand sphinx (face of one, all of one sphinx) facing;at right,tail of birdor siren; incised and blob rosettes for filling ornament. Below II, rays. Between friezes, dicing. Red: I) belly stripe; II) hair, breast, belly stripe, wing bow, and markingson hindquarters.

P 16325 N 18:8 (M) Two non-joining shoulder fragments. Max. dim. a) 0.086, b) 0.074. Fragmenta preservesthe head, neck, and shoulderof a lion to left sinkingits teeth into the hindquarters of a bull. of the lion and the breast Fragmentb givesthe hindquarters of a siren,bothto left. Red:markings on hindquarters; blood flowingfrombite;neck,ribs;wing bow (justtracesremain); line above figures on a. White: teeth of lion, belly stripe; breast. Kleitias(ABV 77, 11).
Ca. 570-560 B.C.

625 P1.59

182

CATALOGUE Warrior(top of head with high-crested helmet)to right. the line dividingthe The horizontal line probably represents shoulderfromthe body. The high positionof the warrior's headsuggeststhat he is mountedor perhapsstandsin a chariot.
Ca. 560 B.C.

P 5228 N10:1 626 P1.59 Five non-joiningfragmentsof shoulderand wall. Max. dim. a) 0.118, b) 0.102, c) 0.037, d) 0.085, e) 0.06. On the shoulder, lotus-palmettecross between sirens. a showsalmostall of the rightsiren(legsmissing) Fragment and part of the floral. Above,tongue pattern.Fragmentb givesthe top of the head,partof the wings and tail of the left siren. On the body,warriors.Fragmentb shows the upper part of a raisedright arm of a warriorto right, someof his chiton,the tail of his helmetcrest,and partof his scabbard. the On the left, ivy framingthe panel. Fragmentc preserves helmetedhead of a warriorto left, part of the rims of two shields. Fragmentd shows the lower legs (greaved)of two warriors,perhapsthose on c, to left. Fragmente (not illusRed: fillets of sirens;bars on wings trated)is undecorated. and tail; heartsof palmettesand lotuses;alternatetongues; rims of shields;two greaves;two lines below panel. White: flesh of sirens; dot at end of each lotus petal; dots round chitonof warrioron b. heartsof palmettes; The Painterof LondonB 76 (ABV 86, 5).
Ca. 560 B.c.

630

P26800

T19:1

Wall fragmentwith start of shoulder.Max. dim. 0.076. Glaze worn in manyplaces. Woman (head, part of drapedtorso) to left and behind her, a man (partof head, body,right arm with drapery)to the shoulright.Aboveheads,line in diluteglaze separating der fromthe body. Red:woman'sfillet, dot rosetteson her hair and beardof man, panel on his cloak.White: garment; fleshof woman.
Ca. 560-550 B.C.

631

P25835

A 19:5

P998 I16:4 627 P1.60 Most of bodypreserved.P.H. 0.21. Mouth, neck,shoulder, handles,and foot lost. Glaze has misfiredred in places. Frontalchariot,preserved exceptfor the headand neckof the tracehorseon the left, the mane and part of the headof the one on the right, some of the mane of the pole horseon the right, the top of the charioteer's head, and a bit of the chariot. Framed at the sides by ivy. Above the foot, rays. Red:manes;breastbands;chariotbox;two lines belowpanel and one aboverays that continueroundthe vase. White: chiton. charioteer's Lydos(ABV 108, 18).
Ca. 560 B.C.

Fragmentof shoulderand wall. Max. dim. 0.112. Glaze in manyplaces. is abraded In panel,two drapedyouths(chitonandhimation)facing; betweenthem,two verticalrowsof dotsseparated by a line. A single row of dots flanksthe panel on each side. On the Red:line two haresrunningin oppositedirections. shoulder, roundthe vase. underfiguresthat continued
Ca. 550 B.C.

632 P1.60

P 5226 N 10:1

Many fragments. Max. dim. a + d) 0.193, b) 0.043, preserve c) 0.194, e) 0.062, f) 0.035, g) 0.097. Six fragments traces of decorationon both the shoulderand body. Foot
missing.

P26544 T 18:4 628 P1.60 Wall fragmentfrom lower right cornerof panel. Max. dim. 0.183. Departureof warrior.At the left, the toe of a figurefacing right,then the lower part of the warrior'sshield,his legs to left, someof his spear(a verythin line), and two foldsof his with a bee or a wasp. On cloak.The shield is emblazoned the right,the lowerhalf of a drapedmale,also to left. At the bottomof the fragment, tips of raysabovethe foot.Red:fold and stripe on man's garment;line below panel continuing roundthe vase;anotherabovethe rays.White:shielddevice. Perhapsan early work of Lydos. Comparethe drawing on LouvreE 868 (ABV 110, 30; Tiverios, pls. 3, 4:a) and LouvreC 10634 (ABV 110, 31; Paralip. 44, 31; Tiverios, pls. 10, ll:a). For the shield device,cf. Akropolis607 r by Lydos (ABV 107, 1; Tiverios,pl. 48). For other examples, cf. M. B. Moore,AJA83, 1979, p. 88, note 77. Ca. 560 B.c. P 22167 Q 15 629 P1.60 Max. dim. 0.037. Wall fragmentwith start of shoulder. Glaze veryworn.

On the body, frontalchariot.On the shoulder,tracesof two horsemen,perhaps flanking a fight. Fragmenta + d partof the neck,shoulder,and bodywith someof preserves handle. On the shoulder,rider (head and horizontal one of shoulders; top mane,someof legs,tail of his mount)to left a holding spear (tip). Tongue patternon shoulderat junction with neck.On the body,the top of the headof the trace horseon the right, and to the right, ivy with berries.Fragmentb givesthe top of the headof the tracehorseon the left and a bit of the ivy patternon the left. Fragmentc shows parts of the legs of both pole horsesand the tracehorseon the left, the axle, one wheel, and partof the chariotbox. Below, someof the rays abovethe foot (not illustrated).Fragthe muzzleof the pole horseon the left;the mente preserves chest of the pole horse on the right;the and muzzle, neck, shows charioteer. the of Fragmentf(notillustrated) drapery a bit of the ivy fromthe upper left cornerof the panel and the end of the tail of the horseon the left on the shoulder. Fragmentg (not illustrated)gives more of the ivy pattern from the lower right cornerof the panel. Red: manes and tails;hair of rider;chariotbox, breastband;two lines below panel;two more abovethe rays;alternatetongues.White: blazeof tracehorseon left. chitonof riderandof charioteer; lines on the chests of the three vertical The E. Group of frontalhorsesby these painters, horsesare characteristic

HYDRIAI and other details such as the long red mane incisedonly at the lower edge are also typical. Compare,e.g., New York, M.M.A. 56.171.12 (ABV 134,22; Paralip.55, 22); Munich 1380 (ABV 135, 34); Tarquinia, inv. no. 617 (Paralip.56, 36 bis);Adolphseck 2 (ABV 686,40 bis;Paralip.55, 40 bis); Boston, M.F.A. 00.330 (ABV 135, 45; Paralip. 55, 45; Vienna3596 (ParaCVA,Boston1 [USA 14],pl. 5 [627]:2); und Sammlung lip. 56, 48 bis), and Basel Antikenmuseum Ludwig (Paralip. 57, 63 ter; Berger and Lullies, op. cit. [under 476], p. 62). For the white blaze, a rare detail, comparethose of the pole horses on LondonB 194 (ABV 136, 56; Paralip. 55, 56). Ca. 540 B.c. 633 P1.60 P 1869 I-K 6-8

183

Shoulderfragmentwith startof neck. Max. dim. 0.048. Youth (head, most of left arm) to left, with spearpoised. Behind him, a horse (head). Above, tongue pattern. Red: hair, core of rosette on garment;horse's mane; alternate tongues;ring at junction.White:dotsof rosette. Ca. 540 B.c. 634 P 14372c N 10:1

her garments; dotson borders of all garments; belly stripeof feline. The large amount of space behind the man on P 4905 suggeststhat he is the leftmostfigure.To judge fromwhat remains of the composition,the subjectmay have been a group of deities. This would accountfor two men in long robes,for they couldbe DionysosandApollo,or even Poseidon and Zeus. Compareas examples:three by the AntimenesPainter,Toledo 1956.70(ABV 268, 26; Paralip.118, 222 26; CVA,Toledo 1 [USA 17],pl. 23 [803]:1),Altenburg (ABV 268, 27; Paralip. 118, 27), and Hanover 1965.30 (Paralip. 119, 27 ter, no longer in the Bareiss Collection; or HavaCVA,Hannover1 [Germany 34], pl. 19 [1651]:2); na, once Lagunillas88, an unattributed (Gerhard, hydria AV, pl. 14). Difficult to parallel in such a scene is the amountof spacebetweenthe leftmostfigureand the edgeof the panel.
Ca. 530-520
B.C.

Wall fragment.Max. dim. 0.073. The scaleof drawingis too small to belongto 642. Chariot (foreparts of the horses; drapery of a figure standingat their heads)to right.
Ca. 530
B.C.

635 PI. 60

P 6564 E-F 12-14

Two non-joiningwall fragments.Max. dim. a) 0.072, b) 0.053. Each fragmentpreservesone root of a horizontal handle.Fragmenta givesthe turn of the shoulder. Komasts. Fragmenta preservesmost of one (face, left arm, and shouldermissing) dancingto right. Fragmentb gives the left arm and someof the chestof another.Framing the panel on each side, a verticalwavy line with dots in the interstices,between lines. On the shoulder,ivy with dots. Red: hair; nipples; two lines below panel that continued roundthe vase. The selectionof ornamentis most unusual.For the wavy line with dots,the only parallelseemsto be an unattributed hydriain Florence,inv. no. 94323 (CVA,Florfragmentary ence 5 [Italy42], pl. 23 [1887]:2,3), wherea similarpattern separatesthe body from the shoulder.Other examples of this patternon hydriaiare unknownto us. Third quarterof the 6th centuryB.C. 636 PI. 61 P 4905 E-F 12-14 P 3256 F 14 Two non-joiningwall fragments. Max. dim. P 3256: 0.101, P 4905: 0.105. Brownishwash on surface. P 3256 preserves the panel and predella.Panel:man and fewoman(feet, lower partsof garments)to right.Predella: line (body,hindquarters, tail) to right. P 4905 showspartof a man (feet; lower part of chiton) to right. Red: stripe on woman'sgarments.White:woman'sflesh;dottedcrosseson

P 26629 T-U 19-20 (III) Shoulderfragment.Max. dim. 0.067. Fight (two warriorsover one fallen). On the left, a warrior (preserved but forbackof head,rightarm,mostof right clad in a Corinthian helmetand a shortchitonwith a leg), corsletover it, comesin from the left, his spear raised,his roundshield held out. Of his opponent,all that remainsis Of balls,one preserved). part of his Boeotianshield (device: the fallen warrior,only part of his legs and round shield Red:stripeson chiton;rimof (device: wreath)are preserved. roundshield;dot on rim of Boeotianshield. White:devices on shields;armbandof roundshield;dot clusterson chiton. 637 P1.61
Ca. 530-520
B.C.

638 P1.61

P21

H10

Wall fragment.Max. dim. 0.087. Part of paneland predella.Panel:chariot(partof wheel) and woman (footwith loweredgeof drapery)to right. Predella: boar (body, part of hind legs) to right. Red: ribs, White:foot;belly stripe. on hindquarters. markings Third quarterof the 6th centuryB.C. 639 PI. 61 P4634 F-G 12:1 Two non-joiningwall fragments.Max. dim. a) 0.08, b) 0.033. Fragmenta gives part of the panel and predella.Panel: chariotteam (the lowerleft forelegsof the two tracehorses), a warrior(lowerleft leg greaved,left foot,toe of right foot) facing,andbetweenmanandbeast,a birdor siren(tail, part of wing) perched on a plant.Predella: animalfrieze(backof shows partof a leg or animal).Fragmentb (not illustrated) an arm. Red: greave;part of wing. White: forelegof lefthandtracehorse. The forelegsare too closetogetherto be thoseof a mount, which usually has one forelegslightly behindthe other. A left-hand trace horse painted white is particularlyrare. Compareone by the Swing Painter, Rhodes 14093 (ABV 307, 57; Bohr, Schaukelmaler, pls. 79:A, 80:A). The high

184

CATALOGUE
643 PI. 61 P 24644 Q 12:3

position of the back of the animal in the predella indicates that it is not a feline but more likely a bovid or perhaps a ram or a goat. Compare, as an example, Louvre C 10660 (CVA, Louvre 11 [France 18], pi. 142 [815]:1).
Ca. 530-520
B.C.

640

P1. 61

P 26442

T 19:1

Wall fragment with turn of shoulder. Max. dim. 0.054. Upper right corner of panel: Hermes (head, shoulders, upper part of body) to left, clad in a petasos with the brim turned up in the back, a chiton, and a cloak. On the right, ivy with dots. Red: forelock and beard; stripes on cloak. White: brim of petasos; dot clusters on cloak; baldric. The dark object above the head of Hermes is not a band of glaze across the top of the panel, for there is a line above it that separates body from shoulder decoration. Also, a band of glaze at the top of the panel of a hydria is unlikely. Rather, the glaze represents the roof of a structure. A good comparison is the Palace of Hades in the Kerberos scene on Boston, M.F.A. 28.46, in the manner of the Lysippides Painter (ABV 261, 38; CVA, Boston 2 [USA 19], pl. 79 [913]:2). Here, Persephone stands in the palace. For Hermes standing in the palace, cf. Louvre F 241 by the Acheloos Painter (ABV 383, 5). The scene on 640 may represent Herakles and Kerberos, but without more to go on, it is difficult to be certain. For the subject of Kerberos, cf. 102. Ca. 520 B.C. 641 P281 F 16

Three non-joining wall fragments. Max. dim. a) 0.098, b) 0.05, c) 0.038. S. R. Roberts, Hesperia 55, 1986, p. 47, no. 321, pl. 12. Chariot scene. Fragment a shows the breast and breast bands of the two trace horses to right; in front of them, Hermes (part of chiton, ends of chlamys, legs, boots) also to right, facing a woman (lower part of chiton and cloak, foot). Below the figures, part of the band of up-and-down palmettes. Fragment b gives part of the chariot wheel, the tail and one hoof of the right-hand pole horse, and more of the palmettes. Fragment c (not illustrated) preserves some drapery folds, the hand of a woman, and on the right, part of another figure. Red: tongues of Hermes' boots; dots on the border of his chiton, on his chlamys, and on the woman's chiton; tail; breast bands. White: Hermes' chiton, dot clusters on garments; hub of wheel; right-hand pole horse; pendants on breast band of right-hand trace horse. The subject is probably either a wedded pair in a chariot or the Apotheosis of Herakles. Ca. 510 B.C. 644 PI. 61 P 25920 M 17:7

Wall fragment. Max. dim. 0.058. Man (head) to right. The contour of the head, drawn in dilute glaze, suggests a short curly hairstyle. At the top, traces of a line drawn in dilute glaze. Red: beard. The bent head of the man suggests that the subject may be a warrior putting on greaves or a gaming scene. Ca. 520-510 B.C. 642 PI. 61 P 14372 a, b, d, e N 10:1

Four non-joining wall fragments. Max. dim. a) 0.13, b) 0.152, d) 0.106, e) 0.053. Women with hydriai. Fragment a shows the upper parts of two women to right, the left one with raised arm steadying a hydria on her head (not preserved), the right one lifting her vessel or placing it under a stream of water. Fragment b shows the lower parts of two women to right. The one on the right may be part of the woman on the left on fragment a. Below the figures, frieze of upright lotus buds with dots in the interstices. On the left, part of the ivy framing the panel. Fragments d and e (not illustrated) preserve some of the rays above the foot. Red: two lines below panel; line above rays. White: women's flesh. For fountain houses and fountain scenes on vases, cf. B. Dunkley, BSA 36,1935/1936, pp. 142-204; also, R. Ginouves, Balaneutike. Recherches sur le bain dans l'antiquite grecque, Paris 1962, chap. 1; also, J. Boardman, RA, 1972, p. 68.
Ca. 510 B.C.

Fragment of shoulder and wall. Max. dim. 0.103. Glaze has misfired brown. On the shoulder, man (foot) to right and the end of his staff. On the body, upper left corner of panel: a woman (head, neck, right shoulder and arm) to left, carrying a basket or box on her head. There is a doughnut-shaped cushion between her head and the load. The fold of her cloak has been raised by her left arm and hand (traces of her left hand appear in the upper right corner of the fragment) or else caught against the basket. She is adorned with earrings, a necklace, and a bracelet. The woman may be to right, looking around. In the field, a branch. Above the panel, key pattern to left; on the side, ivy. Red: pupil of eye, earrings, bracelet, dots on garment. White: flesh; dot clusters on garment. Compare Louvre F 52, a hydria attributed to the Eyesiren Group (ABV 287, 14). Here, the Nereid has the same prominent elbow as the woman on 644, which is an unusual detail. Compare also the shoulder composition: the onlooker with staff. Ca. 510 B.C. 645 P1. 61 P 25971 M 18

Wall fragment. Max. dim. 0.067. Fountain house (most of Doric capital, some of necking rings, part of entablature, and on the left, a frontal lion's head spout). In the field, branches. Above, some of the key pattern to left, which separates the shoulder from the body. Red: mane of lion's head. White: metopes; guttae. For a fountain house below a key pattern at the turn of the shoulder, compare Toledo 1961.23 by the Priam Painter (Paralip. 147, 5 ter; CVA, Toledo 1 [USA 17], pl. 23 [803]:2); for a similar fountain house, cf. another by the Priam Painter, London, B.M. B 329 (ABV 334, 1). For a discussion of fountain houses on vases, cf. 642. Late 6th century B.c.

HYDRIAI 646 P1.62 P2093 I-K 6-8 Fragmentof shoulderand wall. Max. dim. 0.078. On the shoulder,warrior (most of head, left foot, right hand missing), runningto left, holdinghis shield horizontally (device:eagle). Behindhim, a man (top of head missing) watching.In the panel, youth (head) to left, holdinga spear (tip); behindhim, part of the frame (ivy). Red:warrior'schiton;fillet of man and youth;stripeon cloak.White: device;baldric;pommelof sword;dotson cloak. The compositionmay have been similar to the one on LouvreC 10661 which shows a fight betweentwo warriors over a third, between flanking figures (CVA, Louvre 11 [France18], pl. 142 [815]:2). Last quarterof the 6th centuryB.c. 647 PI. 62 P 9082 M 19

185

patternto left;at the side, net pattern.Belowthe panel, ivy. Red:archer'sbeard;belt of charioteer; stripson manesand tails;rim of shield;line on innerand outeredgesof lip; line abovepanel;anotheron neckthat continuesroundthe vase. White:charioteer's chiton;shielddevice(ball). The Painterof LondonB 343 (ABV 342, 2). Late 6th centuryB.C. 651 P6635 E 15:6

Shoulderfragment.Max. dim. 0.066. Chariot(armsand handsof charioteer holdingthe reins, of his of four some of the hindquarchiton; tails, part parts ters of two horses;a bit of the chariotpole, the breastwork, and pole stay) to right. On the left side of the team, there appearpartsof the legs and a bit of the shieldof a warrior standingto left. Red:tails. White:chiton.
Late 6th century B.C.

Shoulderfragment.Max. dim. 0.057. Glaze firedbrown. Two seatedfigures,one, a man (someof head and body) to left on a box seat, the other,a youth (preserved exceptfor his right hand and feet) to right on an okladias.Abovethe figures,tonguepattern.Below, someof the line at the junction of the shoulderand body. Red: hair, beard;stripeson youth's cloak;alternatetongues. White: himationof man; joints of okladias.
Late 6th century B.C.

652 PI. 62

P 24680 R 12:4

of shoulderand wall. Max. dim.0.137. Rootof Fragment horizontalhandleon the left. Lion (preserved exceptfor top of head) to right with left forepawraised.On the right,at the break,tracesof another figure,perhapsthe raisedforepawof a similarlion. On the left, ivy. Below, reservedline. Red: tongue. White: belly stripe;teeth.
Early 5th century B.C.
PICTURE ON THE BODY 653-669

648 PI. 62

P 4686 E-F 12-14

Shoulderfragment.Max. dim. 0.05. Parts of two horsemen (muzzle, part of neck of one mount; most of the other and his rider) and a standing drapedfigure(back),all to right.
Late 6th century B.C.

649

P 23232 M 16

Wall fragment,burned(clay is gray). Max. dim. 0.052. Boar(hindquarters missing)to right. Red:line belowfigure zone.
Early 5th century B.C.

KALPIDES 650-669
PICTURE ON THE SHOULDER 650-652

650 PI. 62

P 7238 D 7:2

Three non-joining fragments. Max. dim. a) 0.264, b) 0.113, c) 0.121. Rim (concave on top), neck, and shoulder,root of horizontalhandle (a); horizontalhandle, part of wall (b); wall with rootof verticalhandle(c). Departureof warriorswith chariot.Only fragmenta (ilOn the lustrated)preservessome of the figureddecoration. left, an archerdressedin a shortchitonand an orientalcap standsto left holdinghis bow in his right hand.Then comes the chariotteamto right,preserved exceptfor the headsand who has alreadymounted forelegs,guidedby the charioteer the vehicle.On the right side of the team,a pair of warriors dressedas hoplitesstandto left. Abovethe figurezone, key

P 12777 G 11:3 Lower part of body, foot preserved.P.H. 0.19; diam. 0.23. Glaze firedred on panel. Peleus (legs, right arm) seizing Thetis (lower drapery), bothto right.On the right,a Nereid (fromthe kneesdown) flees.On the left, behindPeleus,a bit of glaze (loop,perhaps the tail of a feline). Belowthe scene,a friezeof uprightlotus buds with dots in the interstices. White:tip of Peleus'scabbard;fleshof women;dot clusterson garments. For Peleusand Thetis in Atticblackfigure,cf. Brommer, Heldensage3, pp. 321-326. A bandof ornament formingthe lowerborderof the panelof a kalpisis veryrare,althoughit is morefrequenton shouldered hydriai.For an exampleon a kalpis,cf. Montreal39.Cb.1,nearthe NikoxenosPainter (Paralip. 172, 3). Here, all four sides of the panel are framedby circumscribed palmettes.
Ca. 510 B.C.

653

654 PI. 62

P 16620 L 20

Wall fragmentfromnear shoulder.Max. dim. 0.077. Heraklesand Antaios.Herakles(head,partof chest,left arm) bends forwardand seizes Antaios with his left arm. The giant (most of his head, body, beginningof arms and legs) is down on one knee to left. In the field is a tree, and suspendedfromits branchesare the hero'squiverand baldric. On the right,the outstretched hand of a woman.Red: woman'shand. fillet;stripon beard.White:baldric;

186

CATALOGUE P 23197 H 12:15(POU) H. 0.231; diam.0.133. Preserved of exceptfor fragments wall that havebeenrestored in plaster. Chariotto right. Two youths stand in the vehicle. The horses are preservedexcept for the forepartsof the righthandtracehorse.On the left sideof the team,a youthto left. In the field, a vine. Abovethe scene,net pattern.Red:dots on draperyof charioteer; manes;line on neckon insideand on outside;lines below panel that continueroundthe vase. White:right-hand tracehorse. The Class of Kalpides associated with the Red-line Painter(ABV 710). Ca. 500 B.C. P 13757 U23:2 (L) 659 PI. 63 Most of body, foot, one horizontalhandle. P.H. 0.202. Glaze has misfiredin places. Octopus(three tentacleswith suckers).Red: line below roundthe vase. panelthat continues For an octopusin the panelof a kalpis,cf. Berlin,inv. no.
3281 (E. Folzer, Die Hydria. Ein Beitrag zur griechischen

The LeagrosGroup(ABV 366, 80).

Ca. 510-500
B.C.

For the subject, cf. Brommer, Heldensage3, pp. 25-27.

658 P1.63

655 PI. 62

P 13237 G-I 11-12

Shoulderfragment.Max. dim. 0.073. The glaze has misfiredin places. Fountain house. The fragment preservesmost of one Doric capital, a bit of the shaft, and some of the metopetriglyphfrieze. At the right,just abovethe break,part of a water spout.In the field,a branch.Abovethe figurezone, a frieze of invertedlotus buds. White: frieze; part of water spout. For fountainscenes,cf. 642.
Late 6th century B.C.

656 P1.62

P 25966 M 18

Wall fragmentfromnear shoulder.Max. dim. 0.072. Fight. A beardedman (head and shoulders)falls backward to the right, the hand of his attackerpressedagainst his throat.Behindthe falling man on the rightis a woman is a In the background (drapery)with hand outstretched. line of glazethatmaybe the shaftof a spearor a staffheldby the attackedman. White:woman'sflesh;dotson garments. The fragmentcomesfromthe part of the vase that is just below the startof the shoulder.Thus, the beardedman apand is probablyeither pears ratherlow in the composition or sittingon something. falling backward Althoughvaguely reminiscent of the Death of Priam at the handsof Neoptolemos, a subjectthat occursratheroften in late 6th-century Attic vase painting (cf. Brommer,Heldensage3,pp. 466467), it has to be ruled out becausethe beardedman is not old and his aggressorseizes him by the throat,a methodof attackthat does not seem to have a parallelin otherrepresentationsof this theme. One may perhaps comparethe in Bonn,inv. no. 39 sceneon an unattributed neck-amphora (AJA 58, 1954, pi. 58, fig. 17). Here, Neoptolemosgrasps Priamby the arm. The king'shair and beardare red. Late 6th centuryB.c. 657 P1.62 P6180 E 15:6 H. 0.21; diam. 0.164. Preservedexcept for fragmentsof rim, wall, and foot that have been restoredin plaster,one horizontalhandle, and the verticalhandle. Dent in panel. K. Schauenburg, 67, 1960, pl. 15:1. Gymnasium Aineas and Anchises.Aineas, dressedin a high-crested Corinthianhelmet,a chiton,and greaves,and armedwith a sword(scabbard), two spears,and a Boeotianshield,moves to right carryinghis father under his right arm. The old man wears a long chitonand looks around.Streakof glaze in background. Abovethe figures,net pattern.Red:dotson Anchises' of Aineas'chiton,incurving chiton;borders partof shield rim; two lines below the figure zone that continue Airoundthe vase,one on the neck.White:hairof Anchises; neas'baldric; arm bandof shield;circleson rim of shield. S. Woodford and M. Louden,AJA 84, 1980, pp. 25-40. The Red-linePainter(ABV 605, 84; Paralip.301, 84). Ca. 500 B.C.
For the subject, cf. Brommer, Heldensage3, pp. 386-389;

Vasenkunde,Leipzig 1906, pl. 10:197); Munich 1730, which has a dolphin below; InnsbruckII 12 (6); Bonn, Himmelmann(Ars Antiqua II, 14. Mai, 1960, no. 142); Dresden1757 (AA[JdI 171,1902,p. 116,no. 29:described);
New York Market (Cat. Sotheby 8 and 9. Feb., 1985, no.

64); Geneva, Ortiz; Louvre C 12532; and Mykonos986. None of the tentaclesof theseoctopihas suckers. Late 6th centuryB.c. 660 PI. 63 P 2642 G 6:3 (U)

Fragment of neck and wall. P.H. 0.06; diam. 0.075. E. Vanderpool, Hesperia15, 1946, p. 311, no. 197, pl. 61. Fountainscene. Two women (head, shoulders,arms of one; the other preservedexcept for most of legs) fill their hydriai at panther'shead spouts. They wear chitons and himatia;roundthe head of each is a fillet, and on top is the of three cushionfor the hydria.The fountainis constructed Ionic columns supporting a metope-triglyphfrieze and a panpediment(on the neckof the vessel).In the pediment, ther's head flankedby two serpents.On the right and left, abovethe horizontal handle,a palmette.Red:fillets;dotson garment;muzzlesof panthers.White: flesh of women;dot columns(theoneson the left and clusterson theirgarments; the laid on directly clay); details of metopes and right triglyphs. The schemeof decorationis unusualand recallsthat of OinochoaiIII (ABV 439-440) and the groupof Red-bodied that of Red-bodiedOlpai (ABV 450-451 and 682). For anotherred-bodied kalpis,cf. Basel 1906.267. For fountainhouses,cf. 642. Early 5th centuryB.C. 661 PI. 63 P 9459 C 9:6 Shoulderand body fragmentwith thin brown wash on inside.Max. dim.0.116. Glaze firedred. Beardedman (head, most of drapedbody),perhapsDionysos, to right, holding a staff or a thyrsos (?), looking

OINOCHOAI aroundat another(forearm,hand), perhapsa satyrplaying the aulos. Red: strip on forelock, beard; folds of cloak. White:chiton;dotson cloak. What appearsto be a staff or a thyrsosmay actuallybe the line markingthe right edge of the composition, which would havebeen set in a panel,exceptthat the artistdid not This would explain the emptyspace glaze the background. on the right of the fragment.
Early 5th century B.C.

187

panel, two rows of dots. Above,dicing. Red: beard;stripes on garments.White:maenad'sflesh. The Painterof Half Palmettes(Paralip.287). First quarterof the 5th centuryB.C. 666 PI. 63 P 15956 F 19:4 Preserved except for horizontal handles and part of in plaster.H. 0.091;diam. mouth,whichhavebeenrestored 0.075. Someof the glaze firedbrown. Dionysosand Ariadne.The god, dressedin a chitonand cloak,holdingout his drinkinghorn,is seatedto righton an okladiasfacingAriadne(partof her bodyand legs missing). She holdsa fillet in her hand. Red:dotson Ariadne'sclothing. White: Dionysos'chiton;joints of his stool;fillet;Ariadne'sflesh.
Early 5th century B.C.

662 Pl. 63

P 26182 L 17

Shoulderfragment.Max. dim. 0.045. Man, perhaps Hermes (head and shoulders) to right, lookingaround,wearinga chlamys,a staffin his righthand. On his head, just below the break, is an incised line that the brimof a petasos.The remainsof two vertical represents lines on the right are thosethat framethe panel.
Early 5th century B.C.

667

P 25840 A 19-20

663 P1.63

P 2625 + P 2658 G 6:3 (U)

Fragment.Max. dim. 0.108. Part of neck and shoulder with upper right cornerof panel. E. Vanderpool, Hesperia 15, 1946, p. 311, no. 198, pl. 62. Satyr (head, raised left arm, part of right) and maenad (head, right shoulder,raisedleft arm, right acrossbody)to right, she looking around.Above,net pattern.Red: fillets; beard.White:maenad'sflesh.
Early 5th century B.C.

Fragmentof neckand shoulder.Max. dim. 0.10. Satyr (head,shoulders,arms) to right, seizing a maenad (head,shoulders)by the hair. Red:satyr'sbeard;maenad's fillet. White:maenad's flesh;satyr'sdottedwreath.
Early 5th century B.C.

668

P 12966 N 20

664

P9266

M 17:4

Neck and shoulderfragment.Max. dim. 0.079. Chariotteam (onlyhalf shown)to right. Partof an object on the right, at the break,that may be the top of a goal post. In the field, a branch.Above, net pattern. Red: strips on manes;top part of objectat right. White: right-handpole horse;markingon object. Late 6th or early 5th centuryB.C. 665 P 12753 G11:3 Handles, part of neck, much of wall restored.H. 0.181; diam. 0.145. Satyr (legs, arm) pursuingmaenad(someof lower drapery missing)to right, she lookingaroundwith her left arm raised. The satyr's right arm is extended.At each side of

handle.Max. Fragmentof body,foot,and one horizontal dim. 0.07. Woman (preservedfrom the waist down) dressedin a short chiton moving to left. In her outstretched hand she holds somethingthat looks like the end of a torch. Red: stripeson chiton;line below panel. White (applieddirectly on the clay):woman'sflesh;objectat lowerleft.
Early 5th century B.C.

669

P 8556 D7:2

Fragmentary.Rest. H. 0.288; diam. 0.21. Nearly onehalf of groovedrim, most of neck, aboutone-halfof shoulfor der, most of wall, and flaring torus foot. Attachments vertical handle and right horizontal one. Surface much eroded. In panel, partsof threedrapedfigures,two to left, one of them with outstretched arm, the third to right. Above,key patternto left. Red:line underfigures?
Early 5th century B.C.

OINOCHOAI 670-786 Fig. 14 Pls. 64-73

OLPAI 670-722
TREFOIL MOUTH 670-681

670

P 5398 F 12:5

Two non-joining fragments. Max. dim. a) 0.143, nouth(a); trefoil b) 0.072. Fragmentof wall with start of n mouth(b). Glaze verypoorlypreserved.

of a leopFragmenta preserves part of the hindquarters ardto right(the spotsincised).Its tail projects intothe ornament above.On the left, the edge of the panel. In the field, St. Andrew'scross with triangles;at right, incisedrosette. Below the legs, a floral design resemblinga fleur de lis. Fragmentb showspart of the top of the panel. Red:spots.
Late 7th century B.C.

188 671 PI. 64

CATALOGUE P 997 I 16:4 675 P1.64 P 21531 07:12

Fragmentof trefoil mouth, neck, and body. P.H. 0.28; of the rim at one side indicatesthe diam.0.17. A thickening beginningof the handle. H. A. Thompson,AJA 37, 1933, JdI 76, 1961, pp. 3, 5, fig. 6, and p. 292, fig. 1; Scheibler, p. 18, no. 4. Two sirens with wings spread, facing (head, most of exceptfor one wings, some of breastof left; right preserved leg, tips of wings, and tail). Abovepanel, fourgeese feeding to left. Dot-wheel rosettesfor filling ornament.Red: bills, eyes,wing bows,andtails of geese;the sirensareentirelyred except for their hair, the area betweeneye and brow, legs, feathers,and stripsdividingpartsof wings. The GorgonPainter(ABV9, 15;Paralip.7, 15). Ca. 600 B.C. P 15002 S22:1 672 PI. 64 of the wall restored, A few fragments mainlyon the black part. H. to mouth 0.202, with handle 0.255; diam. 0.133. and T. L. Shear,Hesperia9,1940, p. 269, fig. 5; Lamberton Rotroff,op. cit. (under136), ill. 3. Swan to right with wings outspread.Incisedand dot rosettes for filling ornament.Oppositethe panel, a reserved eye. Red: eye, beak, dots on neck and breast, wing bows; coresand alternatepetalsof rosettes.White:cornersof eye; dotson feathers. Mannerof the GorgonPainter(ABV 10, 5). 600-590 B.C. 673 P1.64 P 18531 A 17:1 (U)

Fragmentof trefoil mouth and part of neck. Max. dim. 0.075. Whitishslip on surface. Boar (bristles)to left. Spiralshangingfromtop of panel; dot rosettefor fillingornament. The Groupof the EarlyOlpai (ABV 14, 16). Ca. 600 B.C. 676 P1.65 P 12686 P8:5

Four non-joining fragments. Max. dim. a) 0.177, b) 0.068, c) 0.089, d + e) 0.112. Two (a and b) are handle with lines as 673. fragments Boarto right. Fragmentd + e givespart of the forehead, eye, and muzzleof the boar,and on the right,a cornerof the c preserves the foreparts of eye oppositethe panel.Fragment the boarandsomeof its chestandbelly. Red:chest,marking on shoulder,belly stripe,eye, stripeson muzzle,forehead. The Groupof the EarlyOlpai (ABV 14, 17;Paralip.9). Early6th centuryB.C. P27749 110:1 for of Preservedexcept much mouth and area below panel. P.H. 0.243; max. diam. 0.167. Handle unglazedexceptfor a line at each edgeand on top of each section. Birdto rightwith headdown,pecking(?).Red:eye, some of neck,wing bow. The Groupof the EarlyOlpai. Early 6th centuryB.C. 678 PI. 65 P 27748 1 10:1 677 PI. 64

Brokenand mendedfrom many fragments.H. to mouth 0.276, with handle 0.34; diam. 0.165. Missing pieces restored in plaster (most of double handle, mouth, some of belowthe panel.Scheibbody).Someof the glaze is abraded ler,JdI 76, 1961, p. 22 and p. 29, figs. 30, 31. Rider (some of body, arms, and legs; part of body, legs, and tail of mount)gallopingto right. In upperleft cornerof panel, a row of three rosettes.Abovepanel, lotus-palmette festoon.Oppositepanel, reservedeye. Handle reservedexcept for two lines. Reservedbandbelow scene. Red: chiton and cloak(?) of rider; hoofs, belly stripe, hock of horse; sepals of lotuses;alternatepetals of palmettesand rosettes, coresof rosettes.White:dotson edgesof heartsof palmettes; bordersof chitonand cloak. Mannerof the GorgonPainter,or perhapsby him (ABV 11, 14;Paralip.8, 14).
Early 6th century B.C.

Fragmentof mouthand globularbody.P.H. 0.103. Lion to right, preservedexcept for small parts of legs. Hangingspiralsandzigzagsat top of panel.Dot, wheel,and blob rosettes for filling ornament.Red: eye, mane, belly
stripe, ribs, markings on hindquarters.

The Groupof the EarlyOlpai. Early6th centuryB.C. P 24946 Q13:5 679 P1.65 A few fragments of mouth,wall (mostlyat the back),and foot restored.H. to top of handle 0.234, to mouth 0.185; max. diam. 0.115. H. A. Thompson,Hesperia 25, 1956, p. 58, pl. 17:c;Lang,op. cit. (under527), ill. 11 (detail). Youthridingto left, leadinga void horse.On the right,a warriorfully armed,to left. Under the belly of the horse,a pantherto left. On the far left, an eagleflies to right.On the far right, an invertedlotus bud. Red: hair, beard,cloak of rider; manes; markingson shoulder and hindquartersof mount;helmet and greavesof warrior;neck, belly stripe, markingson shoulder and hindquarterof panther;wing bows,baron tail;line on top of lip;two linesbelowthe panel that continueroundthe vase. White:void horse;surfaceof shield round the device (compass-drawnstar-rosette); helmet crest;fold of warrior'sdrapery;dots on borderof rider'scloak;dotson wings of birds;bud of lotus.

674 PI. 64

P 25384 B 20

Fragmentof trefoil mouth and part of body. Max. dim. 0.087. friezeof incised Sirenor sphinx(partof wing overlapping crossesor rosettes)to right. Red:alternatefeathers.
Early 6th century B.C.

OINOCHOAI Trefoil Olpai (Paralip.192, the numberincorrectly given as P 24942).

Ca. 550
B.C.

189

680 P1.65

P 1227 G 6:3 (L)

Some of mouth, fragmentsof wall restored.H. to top of handle 0.325, to lip 0.263; max. diam. 0.165. Handle as 673. E. Vanderpool, Hesperia7, 1938, pp. 381-384, no. 14, figs. 18-20 and p. 387, fig. 23. Warriorsleaving home. On the left stands a woman to right in a long chiton and a cloak. Then comes a warrior (rightelbow,rim of shield,lowerlegs with greaves)to right. Next, a woman in a long chiton and a cloak with the veil held out stands to right, facing a warrior (head, some of shield emblazonedwith a chariotbox, part of his legs with greaves). Behind him, a man in a long chiton and cloak. festoon.Reservedeye oppositepanel. Above,lotus-palmette Red: cloaks of man and woman on left; coresof rosetteon secondwoman's cloak;hair and beard of man; greavesof warrioron left;rim of his shield;heartsof palmettesand lotuses. White: femaleflesh;man'schiton;deviceand dotson shield;dots of rosetteson woman'shimation. The lotus-palmette festoonis an unusualornament above the figures of an olpe; besides 680, 681 (PI. 66), and 721 (PI. 69), the contemporary examples known to us are the following:five by the Amasis Painter, Louvre F 30 (ABV AmasisPainter,pp. 140152, 29; Paralip.63, 29; Bothmer, 142, cat. no. 27), Wiirzburg332 (ABV 152, 30; Paralip.63, 30; Bothmer,op. cit., pp. 143-144, cat. no. 28); London, B.M. B 471 (ABV 153, 32;Paralip.64, 32; Bothmer, op. cit., pp. 150-152, cat. no. 31), and New York,M.M.A. 59.11.17 (ABV 698, 3 bis;Paralip.66; Bothmer, op. cit.,pp. 147-149, cat. no. 30); Oxford 1929.19 (ABV 153, 38; Bothmer,op. cit., pp. 145-146, cat. no. 29); LouvreF 28 by the Painterof the Nicosia Olpe (ABV 199, 1; Paralip. 196, 1 ter). For an earlierexample,cf. 673 (PI.64) in the mannerof the Gorgon Painter. Trefoil Olpai (ABV 445, 5).
Ca. 550-540
B.C.

girl (preservedexcept for the top of her head) plays the aulos. She wears a long chiton and a cloak with a fringed border.Abovethe figures,a lotus-palmette festoon.Opposite the panel,a reserved Red: leaves of wreaths; eye. panels, dots, stripes, cores of rosetteson garments;left nipple of youthon right;coreof rosetteon leg of couch,centerbolster on couch;lower part of mattress;hearts of palmettesand lotuses,some of the links. White:flesh of girl; fruit;row of dotson leg of couch;dotsof all rosettes. For the ornamentcf. 680 (PI. 65). For the subject,cf. S. Karouzou(AmasisPainter, p. 41), who suggeststhat if the scene is mythological,the symposiastsmight be Dionysosand Ikarios,andthe youthon the right,Dionysos'son, Oinopion. M. Cremer (AA [JdI 96], 1981, pp. 327-328) is Oinopion. suggeststhat the youthfulsymposiast The Amasis Painter (ABV 714, 31 bis; Paralip. 64, 31 bis).
Ca. 540-530 B.C.

MOUTH NOT TREFOIL

682-694 P2700

G6:3 (U) Rest. Handle,partof mouthandbody,all of footrestored. H. 0.27; rest. diam. 0.13. Much of the glaze fired red. E. Vanderpool, Hesperia15, 1946, p. 311, no. 199, pl. 60. Two boxers(someof hair, chest,arms,legs of one on left; head,extendedrightarm,lowerpartof body,partof legs of one on right). The one on the right attacks;the one on the left tries to defendhimselfbut is aboutto fall to one knee. Other Red-bodied Olpai: Various Models; Various Painters(ABV 451, 11).
Ca. 550
B.C.

682

683 PI. 66

P 1263 G 6:3 (L)

P 24673 R 12:4 Preserved for of all of handleand foot, except part mouth, much of body. P.H. 0.26; max. diam. 0.165. Mended in antiquity (the lead remains in three places). Some of the glaze has worn off below the panel. H. A. Thompson,Hesperia 25, 1956, p. 62, pl. 20; AA (Jdl 96), 1981, p. 328, fig. 11; Bothmer,AmasisPainter,p. 149, fig. 89. Symposion.A man (Dionysos?)and a youth with a very short beardreclineon a couch,lookingat each other. Each wears a wreath and a cloak.Dionysosholdsa kantharos on the palm of his hand;the youth holdsa hemispherical bowl that is only partlypreserved. In frontof the couchis a table ladenwith fruit andpiecesof meat.Beneaththe tableis part of an unidentified object.On the right, a youth, also with a shortbeard,faces the pair, dressedin a shortchitonwith a fringedborder.Roundhis headis a wreath,and he holdsan a ivy branchin his left hand.On the left of the composition,

681 P1.66

Fragmentsof mouth,neck, and wall restored.H. 0.225; diam. 0.125. E. Vanderpool,Hesperia 7, 1938, no. 20, p. 386, fig. 22, p. 387, fig. 23, and p. 388. Departureof warrior.The warriorstandsto right holding his shield in profile (device:tripod)and spear. Both in front of and behind him stands a woman, the one on the right holdingout her veil. Above,a chain of upright palmettesand lotuseswithoutincision.Red:stripeon cloaksof women and on chitonof warrior;fillet roundhelmet;band roundedgeof mouth;line abovepanel;line belowpanelthat continuesroundthe vase. White:device;women'sflesh. Near the Honolulu Class [A. Clark]. Cf. Copenhagen V 20 (maenadsbetween two satyrs) and Budapest51.95 Abovethe figures,eachhas a chainof (fight,with spectator). upright palmettesand lotuses without incision.The three are by the samepotterand painter[Clark].
Ca. 530-520
B.C.

684 PI. 66

P26540

T18:4

of wall andneck,with upperleft cornerof panFragment el. Max. dim. 0.07. Misfiredon outside(glazeis greenish). Aineas carryingAnchises,with an archer.On the left is

190

CATALOGUE Sarajevo1 [Jugoslavia4], pl. 20 [147]) and BrusselsR 256 (CVA,Brussels2 [Belgium2], pl. 18 [58]:3a, b).
Ca. 510 B.C.

the archer(head, shoulders,right arm) to right, wearinga pointedcap and a corslet.His bow case (visiblebelow his froma baldricovereach shoulder.In forearm)is suspended frontof him is part of Anchises(rightelbow, a bit of drapery, and a very long lock of hair). Abovethe figuresand at on the side, ivy. Red:stripon frontof cap;spiraldecoration of lock of Anchises' hair. White: baldric. corslet; part quiver; is verysimilarto one on an unattributed The composition olpe in the Bareiss Collection,once on loan to the MetropolitanMuseum (L.69.11.14). Fromleft to right:an archer to left, looking around;Aineas carryingAnchisesto right, Kreousa?),also to right, preceded by a woman (Aphrodite? but looking around;an old man facing them, holding a spear.Abovethe figures,ivy, then net pattern;on the sides, ivy. Andrew Clark was the first to see that these olpai go together,that they have the same subject,and are probably by the samehand. For the subject,cf. 657.
Ca. 530-520
B.C.

P 26953 No grid Fragmentof wall and neck.Max. dim. 0.08. Horseman(head, shoulders,some of left leg of youthful rider;headand neckof mount)to left holdingtwo spears.In front of him, an old man (head and shoulders)facing him holdinga spear. Behindthe rider, tracesof anotherfigure, also with two spears.Abovethe figures,key patternto left. Red: fillet of old man, dot on his cloak;strip on mane of of old man;necklineof horse.White:hair,beard,moustache rider'schiton;someof thirdfigure. 685 PI. 66
Ca. 530-520
B.C.

P 2647 G 6:3 (U) Handle, much of body, especially in back, all of foot restored.Rest. H. 0.26; diam. 0.135. E. Vanderpool, Hesno. 1946, 15, 312, 200, pl. 61; Bothmer, Amazons, peria p. pl. 39:4. Herakles and Amazons.Herakles attacksto right. His opponentis downon one knee,lookingaround,holdingout her shield(device: bull'shead).On the right,a secondAmazon wearinga leathercapstandsto right,lookingaround.In the field,a branchwith fruit.Abovethe figures,net pattern; above that, key patternto right. On the mouth, checkerboard.Red:Herakles'belt, dotson his chiton;rim of shield; flaps of Amazon's cap; line below panel that continues roundthe vase.White:Amazons' flesh(partapplieddirectly on the clay);segmentof helmetcrest;shield device;mouth, teeth,claws,someof contourof lionskin;fruit. The sequenceof patternswith the key to right is rather rare. Cf. Rhodes 13489 by the Painter of Wurzburg351 (ABV 437, 8); Baltimore42.2 from the Class of Vatican G. 50 (Paralip.191, 11);and Thebesn.n. by the Painterof VaticanG. 49 (ABV536, 38). 688 fromthe Classof Vatican G. 50 may have been similar,but without the mouth it is difficultto be certain. cf. 395. For the subject,
Ca. 510-500 B.C.

687 P1.66

688 P1.66 P 1135 G15:1

P 2646 G 6:3 (U)

686 PI. 66

P.H. 0.225; diam. 0.112. Preserved exceptfor lower part of body and wall and all of foot. A few missing pieces are restoredin plaster. Dent in upper right corner of panel. on each side of rim Ridgedhandlewith metallicprojection attachment. Athenaand Dionysosto left. The goddesswears an Attic helmetand a long chitonand carriesa roundshield (device: a bent female leg) and a spear held horizontally. She overlapsmostof Dionysoswho is wreathedandwearsa long a vine with grapes, chiton and cloak. In the background, probablyheld by the god. By mistake,the artisthas allowed Dionysos' beard to overlap the shield of Athena and the white of Athena's neck to overlap the rim of her shield. Abovethe figures,key patternto right;abovethat, ivy. On Red: the sides,net patternand on the mouth,checkerboard. rim of shield; edge of helmet crest; dots and stripes on garments; beard; alternate leaves of wreath. White: Athena's' flesh;dots on her crest;shield device;dot clusters on garments. The same sequenceof ornamental patternsabovethe figures, but withoutthe net patternat the sides,occurson the followingolpai: Villa Giulia 861 (ABV 382, -); two unattributed contemporaryexamples, Sarajevo 656 (CVA,

Fragmentof neckand wall. P.H. 0.076. E. Vanderpool, Hesperia15, 1946, p. 312, no. 202, pl. 60. Satyr (head)and maenad(mostof head,one raisedarm, shoulder),both to right, she lookingaround.In the field, a branchwith fruitand a vinewith grapes.Above,net pattern hair andkey patternto right.Red:satyr'sbeard,moustache, at nape of neck;fillet overmaenad'sshoulder.White:maenad'sflesh;fruit. cf. 687. For the ornament, The Classof VaticanG. 50 (Paralip.191, 9).
Ca. 510-500 B.C.

P 1557 G6:3(U) 689 PI. 67 Wall fragmentwith upper right cornerof panel. Max. dim. 0.07. E. Vanderpool, Hesperia 15, 1946, p. 312, no. 201, pl. 60. Chariot(headsandnecksof horses)to right.In the field,a vine. Above,net pattern,then a bit of anotherpattern,perhaps a key. Red:manes.White:studson headstall.
Ca. 500
B.C.

690

P 5086 F 12

Fragmentof wall and neck. Max. dim. 0.072. Surface pitted. Dionysos(headwith wreath)to left holdinga kantharos.

OINOCHOAI In the field, a vine with grapes.Above,key patternto left. Red:beard;alternateleavesof wreath.
Ca. 500
B.C.

191

The Dot-ivy Class (Paralip.194, 1 bis).

Ca. 500
B.C.

691 PI. 67

P4235

E14:11

TYPE UNCERTAIN: MOUTH LOST

695-722

Wall fragment.Max. dim. 0.063. Woman(mostof headand shoulder)to right.In the field, branches.Panel framedby two rows of dots betweenlines. Red:fillet;dots on garment.White:flesh.
Ca. 500 B.C.

695

P 23468 R 8:2

692 PI. 67

P9992

V23:1

Preservedexcept for fragmentsof the wall. H. 0.233, diam. 0.136. A few chips in rim and foot. Two Amazons moving away from each other, looking around.Each wears an Attic helmet, a short chitonwith a cloak, and carriesa spear and a shield. The deviceon the shield on the left is a circle,two arcs and two balls;that on the shield on the right, three balls. Above the figures, net pattern;above that, dot ivy. On the mouth, checkerboard. Red:fillet on right helmet;bordersof chitons;baldrics,rims of shields;line on top of rim; "rivets" on handlesat mouth; two lines below the panel that continue round the vase. White:flesh;shielddevices. For the composition, cf. Bothmer, Amazons,p. 94, no. 41.
Ca. 500 B.C.

Two non-joining wall fragments. Max. dim. a) 0.087, b) 0.05. Someof the glaze is abraded.Brann,Hesperia30, 1961, p. 349, G 6, pl. 75. a preserves the lowerleft sideof the panelwith Fragment some of the line of glaze. On the base, a trefoil flower. Above,at the break,the tail of a birdor a siren to right. In the field, crenellation. Fragment b gives more of the creature,perhapspart of the body. Third quarterof 7th centuryB.C. 696 P1.67 P 26668 No grid Fragmentof neck and wall. Max. dim. 0.09. Glaze fired brownand is abradedin places. Deer (head, neck, part of shoulderand body) to right, looking around. Incisedrosette for filling ornament.Red: insidesof ears,eye, neck,ribs;dotson petalsof rosettes.
Ca. 620-610
B.C.

697

P 23451 R 8:2

693 P1.67

P 26798 T19:1

Fragment.Max. dim. 0.095. Neck and wall with upper left cornerof panel. Dionysos(headwith wreath,shoulders)standingto right holding a drinking horn. Behind him is a woman (head, with cloakdrawnup overit, and shoulders), also to right.In frontof Dionysosis anotherfigure(chin,raisedhand)facing him. In the field, a vine. Above the figures, dot ivy. Red: alternateleavesof wreath;beard. stripeson garments; The Dot-ivy Class [A. Clark].
Late 6th century B.C.

Two non-joiningwall fragments.Max. dim. a) 0.057, b) 0.051. Brann,Hesperia30, 1961, p. 349, G 7, pl. 70. Rider to right. Fragmenta preservespart of the rider's torso,righthandholdingthe reins,rightleg with top of boot, and some of the horse'sneck and body. Fragmentb gives more of the horse'sbody and the startof its right hind leg. Red:partof rider'schiton,tongueof boot;neckof horse,rib, markingon hindquarters. Close to the Nettos Painter. Compare the riders on Athens,N.M. 16383 (ABV 7, y; Paralip.3, 12) and Kerameikos, inv. no. 658 (ABV 3; Paralip. 1; Kerameikos VI, ii,

no. 116, pls. 89-91; for the attribution,cf. p. 74, footnote 11).
Late 7th century B.C.

P 23196 H 12:15(POU) Preservedexceptfor half of foot which has been restored in plaster. H. 0.231; diam. 0.133. Two dents, one on Athena'sshield,the otherbelow the lowerattachment of the handle. Glaze is abradedin places;mottledin firing near bottom. DionysosandAthenafacing.The godwearsa wreathand a chitonwith a cloakandholdsa drinkinghorn.Athena,in a chiton, cloak, aegis (snakes), and Attic helmet, holds her shield(device: femaleleg) and spear.In the field,a vinewith grapes. Above the figures, dot ivy. Red: beard; alternate leavesof wreath;dotson Dionysos'cloak;rim of shield;fillet roundhelmet;line abovepanel and two belowthat continue round the vase; "rivets" at handle attachment.White: Dionysos' chiton; dot pattern on his cloak; Athena's flesh; shielddevice;dotson helmetcrest.

694 PI. 67

698 Fig. 14, PI. 67 P 6457 F-G 12:1 Wall fragment.Max. dim. 0.101. Much of the glaze is abraded. R. Young, Hesperia, Suppl. II, Athens 1939, p. 119, B 40, fig. 86. Chimaera (part of neck with mane, back with incised lines that may represent ribs or moremane)to right.Above the back, to the left of the rosette,is the tip of the goat's beard.Incisedrosettefor filling ornament.Red: mane,ribs (or manealongback),bellystripe;alternate petalsof rosette. The locationof the goat's protomeratherfar down the backof the lion, insteadof near its shoulders,suggeststhat this Chimaera didnot havefelinehindquarters as the two by the Bellerophon Painterdo (Athens,N.M. 16389:ABV 2,
-,

hindquarters turninginto a large snake,like the two by the

1; 16391: ABV 2, -, 2) but was the dragon type with its

192

CATALOGUE

FIG.14. Olpe, type uncertain698 (P 6457)

Nettos Painter(Kerameikos, inv. no. 154:ABV 3, 3; ParaP 12581 P7:2 700 VI, ii, no. 187, pl. 113;andAigina565: lip. 3, 9; Kerameikos Wall fragment. Max. dim.0.052. Whitishslip on surface. ABV 3, 1; Paralip. 1, -, 1). These four well-preserved Someof the in manyplaces. abraded glaze firedbrownish; Chimaerasshow all three heads early Attic black-figured Part of wing of bird (or sirenor sphinx)to right.Rosette is not present,and facingto the rear,evenwhen Bellerophon for fillingornament.Red:wing bow. 342 probablyalso showed the heads of the goat and lion Late 7th century B.C. turned around facing Bellerophon.The directionof the goat'sheadto righton 698 indicatesthat the lion'sheadalso P 26562 S 17:1 701 P1.67 facedto right,for the headsof the Chimaerafacein the same Fragment.Max. dim. 0.104. Wall with start of neck, direction,insuringa unifiedthreatand attack.Thus, if our with plaster.Someof the glaze is abraded. strengthened of this fragmentis correct, this representation interpretation In panel, a small beardedfigure, draped and cloaked, of the Chimaeradepartsfromcontemporary Atticexamples carryinga crop,standson the backof a horse.Hangingspiby showing the heads of the lion and goat (and surely the snake'sheadtoo) facingforward,and in this one way recalls ral at top of panel;ring and dotrosettesfor fillingornament; non-Atticpredecessors of the 7th century.For this feature, at the bottomof the fragment,part of a lozenge (cf. Kerameikos,inv. no. 658:ABV 3, -; Paralip.1, -; Kerameikos cf. especiallyM. Schmidt,AJA 70, 1966, p. 344. To judge VI, ii, no. 116, pl. 89). Red: hair, beard, cloak of rider; the the scale of was a 698, composition by probably single mane,upperand lower contoursof horse'sbody;line above Chimaerain a panel. panel. Late 7th century B.C. Late 7th or early 6th centuryB.C. 699 P1.67 P 23470 J 14:3 P 26782 T19:6 702 Three non-joiningwall fragments.Max. dim. a) 0.05, on fragments Two non-joiningwall fragments. Max. dim. a) 0.12, b) 0.078, c) 0.043. Someof the glazeis abraded b and c. b) 0.048. Glaze firedbrownish. Lion to right. Fragmenta preservesthe head, foreparts, Eagle to right. Fragmenta (illustrated)gives the head with the edge of the panel on the right. Fragment b mostof the bodyandhindlegs. Fragmentb givessomeof the someof the wing and tail feathersand partof one tail. Below the lion, verticalobjects(plants?)at the ground preserves c the and more of tail feathers. At the line. Dot, plain, and incised rosettesfor filling ornament. fragment gives leg, the Red: eye, mouth, tongue, neck, chest and shoulder,belly bottom,just abovethe break,someof the line bordering panel. Red:beak;stripson feathers. stripe,and ribs. Late 7th century B.C. Ca. 600 B.C.

OINOCHOAI 703 PI. 67 P 23665 Q8 Wall fragmentfrom upper right cornerof panel. Max. dim. 0.054. Lion (ear, ruff, eye, part of mane) to right. Line edging panel at top and right. Red:mane, insideof ear. Manner of the Gorgon Painter (ABV 714, 9 bis; Paralip. 8). Early 6th centuryB.C. 704 PI. 68 P 10650 B 14:5

193

Wall fragment.Max. dim. 0.077. Lion (head, much of body) to right, lookingaround.Incised rosettefor filling ornament.Red:muzzle,tongue,ear, mane,belly stripe. Manner of the Gorgon Painter;may be by the painter himself(ABV 11, 11).
Early 6th century B.C.

the goat. Incised rosettesfor filling ornament.Red: belly stripe,mane;heartand alternatepetalsof rosettes. For the doubleline separating the locksof mane,an unusual feature,cf. 399. For the incisedmaneof the goat, compare the one by the Nettos Painter,Aigina 565 (ABV 3, 1; a singleone, was probably Paralip.i,-, 1). Our Chimaera in a to the one on withoutBellerophon, similar panel, placed 698, with the heads facing forward, for if they turned around,facingto the rear, someof the lion's muzzlewould be preserved betweenthe breakandthe rosette.For this feature, comparethese two lions by the GorgonPainter:Tubingen5445/28 (ABV 9, 11;Paralip.7, 11; CVA,Tubingen 3 [Germany47], pl. 18 [2263]) and Baltimore48.215 (ABV9, 18;Paralip.7, 18). Mannerof the GorgonPainter(Paralip.8). Early 6th centuryB.c. 709 PI. 68 P3016 R 13:3

705 PI. 68

P11395

R 13:3

with plaster. Two joining wall fragments,strengthened Max. dim. 0.115. Feline (hind legs) to right. On left, edge of panel. Traces of a rosettebetweenlegs. In upperleft, at the break,part of reservedeye. Red:hock;rosette. Mannerof the GorgonPainter(ABV 11, 12).
Early 6th century B.C.

Wall fragment.Max. dim. 0.048. Horseman(rightleg and left foot of rider;shoulder,part of forelegsof horse)gallopingto right. Red:chestof horse. The GorgonPainteror his manner.Compare the rideron the Baltimoreplate (ABV 9, 18; Paralip.7, 18), especially his knee and leg, and also the double line for the horse's shoulderand its red chest, and 673 (PI. 64) for the double incision.
Early 6th century B.C.

706 P1.68

P2395

H8-10

Wall fragment.Max. dim. 0.059. Glaze firedbrown. Lion (head and neck) to right. Incisedrosettefor filling ornament.Red: neck, eye, muzzle, tongue;alternatepetals of rosette. Mannerof the GorgonPainter(ABV 13, 40).
Early 6th century B.C.

710 PI. 68

P 25365 Q 13-14:1 (U) Wall fragment.Max. dim. 0.046. Lion (forelegs,a bit of body)andman (rightarm,buttock, and calf), bothto right. Red:belly stripe. Beazleysaw that the compositionis closestto the one on Berlin, inv. no. 3764 (ABV 11, 19; Paralip. 8, 19), which shows a nude man running,flankedby two lions. Compare also Nikosia 1958.iv-223 (Paralip. 8, 19 bis; Gjerstad,op. cit. [under10], pl. 63:1). Both of these occuron lekythoiof the Deianeirashape. For a nude man flankedby a panther and a lion, cf. LouvreE 874 (best illustrated JdI 76, 1961, p. 12, fig. 14). Here the trio appearswithin a friezeof animals. For the subject,cf. Miiller, Liiwenund Mischwesen, pp. 208-217. Mannerof the GorgonPainter(Paralip.8). 707 PI. 68
Early 6th century B.C.

P 25367 Q 13-14:1 (U) Wall fragment.Max. dim. 0.062. Lion (forepartsand mane) to right. Incisedrosettesfor Red:stripson shoulderat top of leg, mane, fillingornament. core and alternate tongue; petalsof rosettes. Comparewith the mannerof the GorgonPainter(Paralip. 9). Early 6th centuryB.C. 711 P. 68 P 20645 Q13

Wall fragment.Max. dim. 0.06. Lion (face,someof neckand mane)to right.At the right, directlyin front of the muzzle at the break,a verticalline framingthe panel. Red:muzzleand neck. The two horizontallocksof mane are difficultto understand, and were it not for the verticalline, one would be temptedto interpretthis lion as one to left with its head turnedaround.
Early 6th century B.C.

P 25649 0 12:2 712 Wall fragment.Max. dim. 0.09. Dull brownglaze. Bull (headand neck)to right.At the right,edgeof panel. Rosettesfor fillingornament.Red:neckandjowl.
Early 6th century B.C.

708 P1.68 P 25366 Q 13-14:1 (U) Wall fragment.Max. dim. 0.096. Chimaera (body, some of mane and foreleg of lion) to right. On the left, at the break, diagonal incision that continuesabovethe backof the lion and mustbe the maneof

713 P 23528 P 9 Wall fragmentwith root of double handle. Max. dim. 0.143. Decorated as 673.

194

CATALOGUE Warrior(left leg, rightthigh) runningto left dressedin a short chiton and greaves,holdinghis shield (device:bull's head).Red:rimof shield;skirtof chiton;two linesbelowthe panel that continueround the vase. White: shield device; dotson borderof chiton. Ca. 550-540 B.C. 720 P1.69 P 22866 H-K 12-14 Wall fragment.Max. dim. 0.055. Two males (foreheadof one, head of the other) facing. Between them, the head of a spear held by one of them. Abovethe figures,ivy. Red:forelock of maleon left;fillet of maleon right;alternateleavesof ivy;line framingpanel. Broadivy leaves alternatingred and blackwith straight stems attachedto a centralvine are difficultto parallelon olpai. Ivy, when it occurs above the figures, usually has smallblackleaveswithoutstemsanda wavyor smoothvine, on e.g., 684 (PI.66). The typeof ivy on 720 is bestparalleled 7 Louvre F 626 (P1.59), (CVA, contemporary hydriai,e.g., Louvre 6 [France9], pl. 59 [398]:4, 5), or Florence3809 (CVA, Florence 5 [Italy 42], pls. 9 [1873]:3, 4 and 11 [18751). Thoughtby H. R. W. Smithto be by the AmasisPainter (Gnomon30, 1958, p. 365). Third quarterof the 6th centuryB.C. 721 P1.69 P 13862 T 24:3

Siren (end of tail, part of wing) to right. Reservedstrip under picture. Red: two tail feathers,alternatefeathersof wing. The Groupof the EarlyOlpai (ABV 14, 6 and 679, 8 bis;
Paralip. 9, 6 and 8 bis).

Early6th centuryB.C. 714 P1.68 P4337 E 14:11(?) Wall fragment.Max. dim. 0.068. Lion (muzzle,part of eye and neck) to right. IncisedroAt right,edgeof panel.Red:neck, settefor fillingornament. dots on alternate muzzle; tongue, petals of rosettes.White: teeth,innercornerof eye. The Groupof the EarlyOlpai (ABV 14, 12). Ca. 590 B.C. 715 P1.68 P6156 E 14:8 Wall fragment.Max. dim. 0.092. Siren (body,most of wing and tail) to right. Red: wing bows, bar on tail, alternatefeathersof tail. White:dots on shortfeathersat base of tail; dotsalong feathersof wings. The Groupof the EarlyOlpai. Early 6th centuryB.c. 716 P1.69 P 12527 R 17:3 Mouth, some of body missing. H. 0.185; diam. 0.137. Glaze is abradedin places. E. Vanderpool,Hesperia 15, 1946, pp. 126-127, no. 9, pl. 19:1. In panel,sirento right.Partof her hairis missing.Incised rosettesfor fillingornament.Red:face, wing bow, alternate dotson alternatepetfeathers,bar on tail; coresof rosettes; als; line framingpanel. White:dotsat base of feathers. The Groupof the EarlyOlpai:by the KY Painter(ABV 14, 5); the KomastGroup:V, Manner of the KY Painter
(ABV 33, 7).

Fragmentof wall with start of neck. Max. dim. 0.042. E. Vanderpool, Hesperia15, 1946, p. 134, no. 28, pl. 23:6. Herakles(face, muzzleof lionskin)to right. Above,part of lotus-palmette festoon.Red:lips of lionskin.White:teeth of lionskin. For the ornament, cf. 680.
Ca. 540 B.C.

Ca. 585-575 B.C. 717 PI. 68 P 20551 C 18:8 Wall fragmentwith strongcurvefromthe lowercornerof the panel. Max. dim. 0.122. Someof the glaze is abraded. Rider (foot;hind legs of horse, part of its shoulderand foreleg)gallopingto right. Beneaththe horse,a dog sniffing the ground(preserved exceptfor its nose, partof hindquarters and tail). Incisedrosettefor filling ornament.Reserved bandbelow panel. Red:belly stripeof horseand dog;neck, of dog. ribs,and markingson hindquarters The composition of the horseand riderwas similarto the one in the mannerof the GorgonPainter,673. First quarterof the 6th centuryB.C. 718 P1.69 P354 G 13 Wall fragment.Max. dim. 0.052. Horse (partsof hind legs and tail) to right, followedby a figure(a bit of drapery)holdinga staff. Red:tail; garment. Ca. 550 B.C. 719 P1.69 P 13025 U 25:2 (U) Wall fragment with lowerleft cornerof panel.Max. dim. 0.093.

722

P 26726 U 19:2

Mouth, neck,handle,someof bodymissing.P.H. 0.135; diam.0.13. The glaze is abraded in places. Dionysos (from waist down) seated to right on an okladiasholdinga drinkinghorn (lowerpart). Behindhim, a fromthe chest satyr (legs) and in front,another(preserved to In around. the down) right,probably field,a vine. looking Red: stripeson Dionysos'cloak,one on his chiton;part of roundthe vase.White: tails;line belowpanelthat continues
Dionysos' chiton. Early 5th century B.C.

OINOCHOAI723-776
SHAPE1

723-745

P 24945 Q 13:5 P.H. diam. 0.117. 0.125; Mouth, handle Fragmentary. for most of some of wall neck, root), (except missing.Round body.H. A. Thompson,Hesperia25, 1956, p. 58, pl. 16:c. Heads of two satyrs facing with a floral (invertedlotus

723 PI. 69

OINOCHOAI bud) between. Incised rosettes for filling ornament.Red: faces, ears, necks;parts of some rosettes;cuff and frondof lotus; band on neck. White: teeth; cornersof eyes; fillets roundhead of each. For comparisons, cf. 10. Mannerof the GorgonPainter(Paralip.8, 1 bis).
Ca. 600 B.C.

195 P4601 G 12:1

727

Complete. H. to mouth 0.078; diam. 0.056. Silhouette technique. R. Young, Hesperia, Suppl. II, Athens 1939, p. 23, no. II 4, fig. 9. Sirento right with head turnedaroundand a water bird to left. Blob and ring rosettesfor filling ornament.On both neckand mouth,verythicklines.
Early 6th century B.C.

724 PI. 69

P 18275 + P 18530 A 17:1 (U)

Rest. H. 0.307; max. rest. diam.0.22. UpFragmentary. of per part slightly groovedhandle, about one-thirdof the mouthand neckwith ring, partsof bodypreserved. Missing piecesrestoredin plaster. Triton (head, arms, chest, parts of snake tail) to right. The panel extendsalmost completelyroundthe vase. Red: face,neck,chest,scalesof Triton;lip and ring;lines framing panel, two lines below panel that continueroundthe vase. Ring-collarOinochoe,/3 i, same period as the Gorgon Painter(ABV 696).
Ca. 600-590 B.C.

728 P1.70 P860 I 17 Part of neck with ring and shoulder.Max. dim. 0.115. Glaze firedred on right. Boarto left, betweenlions (headof lion on left;faceof one on right;shoulder,back with bristlesand tail of boar). Incisedrosettefor fillingornament. Red:maneof lion, neckof boar;ring. Ring-collarOinochoeas 724. First quarterof the 6th centuryB.C. 729 P 26781 a, b T 19:6

P23046 M-N15:1 725 PI. 69 Wall fragment.Max. dim. 0.085. Surfacepitted. Siren (breast,partof wing, neck,and hair) to right. Edge of panel with line framingit. Incisedrosettefor fillingornament. At the break,below the breastof the siren or sphinx, is a small bit of glaze, perhapsthe petal of a rosette.Red: wing bow, neck. The zone of crosshatching on the breastis an odd detail that does not correspond to avian or feline anatomy.Comparablehatchingoccurson two sphinxespaintedon the Berlin Panathenaic attributed to the mannerof the amphoriskos Gorgon Painter (ABV 12, 28; Paralip. 8, 28; AA [Jdl 93], 1978, p. 37). Comparealso the two pairs of lines without that separateneckand breastof each of three crosshatching the Nettos Painter:the rightone on the standof sphinxesby Athens,N.M. 16383 (ABV7, y; Paralip.3, 12);bothon the standof Athens,N.M. 16382 (ABV 3, 4; Paralip.3, 10). On the latter vase, part of the wing of the sphinx on the left is decoratedwith crosshatching but not so tightly incised as 725. For such close incision, comparethe chariotpoles on
the Piraeus Painter's amphora (ABV 2, -; Paralip. 1). Early 6th century B.C.

Two non-joiningfragmentsof globularoinochoe.Max. dim. a) 0.133, b) 0.098. Someof wall, ring at junctionwith neck,and startof handle(a); wall (b). Much of the glaze is flakedon fragment a. a preserves Fragment partsof threeanimalfriezes:I) bull to left; II) lion to left; III) boar (except for hindquarters) b (back).Fragment givespartsof two animalfriezes:I) bull (head, neck, forelegs)to left; II) goat? (body), also to left. Solid,incised,and dot rosettesfor fillingornament.Red:a): ring;eye, neck,belly stripe,ribs of bull; mane,belly stripe, ribs of lion;b) neckof bull;neck,belly stripe,ribsof goat. First quarterof the 6th centuryB.C. P 26781 c T 19:6 Fragmentof wall. Max. dim. 0.07. The curveis different fromP 26781 a and b (729). Boar (head,neck,someof back)to right.S-shapedfilling ornament.Red:neck,muzzle.
Early 6th century B.C.

730

726 P1.69

P4552

G15:3

Wall fragment.Max. dim. 0.078. Glaze firedbrown. Feline (part of hindquartersand tail, which is painted over the blackand cut off by panel at the left) to right. Incised rosette for filling ornament.Red: markingon hindtransverse bandon right leg. quarters; For the transverselines on the hindquarters,an oddity that doesnot correspond to the anatomyof the animal,compare the lions on the inside of a Protoatticplate, Kerameikos,inv. no. 74 (Kerameikos VI, ii, no. 34, pls. 22, 23), andon the amphoriskos in Copenhagen in the mannerof the GorgonPainter(Paralip.8).
Early 6th century B.C.

P 18533 A 17:1 (L) Two non-joiningwall fragments. Max. dim. a) 0.111, b) 0.075. Much of the glaze is abraded. Goat to left. Fragmenta gives the head and forepartsof the goat. On the left at the break,a small amountof glaze that is unintelligible(it slopestoo stronglyto be the edge of the panel). Fragmentb preserves the hindquarters and tail. Red:two linesbelowthe panelthat continueroundthe vase. First quarterof the 6th centuryB.C. 732 P 23545 P7:5 Preservedexcept for handle;a few chips in mouth and foot. H. 0.05; diam.0.035. Silhouettetechnique. On neckand body,swans. In the field,blobs.Red:partof wings. The Swan Group. First half of the 6th centuryB.C.

731

196 733 PI. 70

CATALOGUE In frontof him, Athenasits to righton an okladias,looking aroundat the hero,her left arm raised,a spearin her right hand. She wears a long chiton with a cloak, and an Attic helmet.Next comesHermesseatedto left clad in a chlamys and a petasoswith the brimturnedup at the back,his staff in hand.On the rightof the composition is Dionysosseated to rightlookingaround,his kantharos held in his raisedleft hand.He wearsa longchitonand himation.Roundhis head is a fillet. BothHermesand Dionysosalso sit on okladiai.In the background, a vine. Palmettesframethe panel. Above, tonguepattern.Betweenthe ringson the neck,a row of invertedlotus buds with dots in the interstices.Red: beards; chiton and quiver of Herakles;stripes on garmentsof the gods;dots on chitonof Athena,crestof her helmet;tongues of Hermes'sandals;fillet and hairlineof Dionysos;ring at lowerof the two ringsabove; junctionof neckand shoulder; two lines roundthe vase below the panel. White: teeth of dots on Herakles'belt;dotson garments; lionskin;baldrics; Athena'sflesh. jointsof okladiai; petasos; The use of palmettesas lateral framesseems to be unfor 736 are paralleledon oinochoai.The best comparisons two contemporary from the hydriai LeagrosGroup where the below as panel well: Cab. Med. 257 palmettesappear (ABV 363, 47) and Vatican 416 (ABV 365, 65; Paralip. 162, 65).
Ca. 510-500 B.C.

P 25784 O-Q 16-17 Neck and mouthmissing.P.H. 0.116; diam.0.102. Siren to right betweensphinxes. Most of the sphinx on the left is missing (forelegs and hindquartersremain). Under handle,siren to right. Blobs and incisedrosettesfor filling ornament.On shoulder,tongues;above foot, rays. Red:faces,necks,wing bows;barson tail of siren. The Polos Painter(Paralip.21). Secondquarterof the 6th centuryB.C. P 12627 Q18:1 Handle, fragmentsof neck and wall missing. H. 0.247; diam. 0.177. E. Vanderpool,Hesperia 8, 1939, p. 256, fig. 12. Siren to right with wings outspread.Rosette for filling ornament.Red:siren'sfillet,barson wings and tail;ring on neck;edge of mouth;two lines under panel that continue roundthe vase.White:face and breast. Associatedwith the Class of the OxfordSiren-jug(ABV 420). Third quarterof the 6th centuryB.C. 735 P1.70 P5463 Gl1:8 734 PI. 70

H. to mouth 0.179, to top of handle 0.216; diam. 0.171. Completeexcept for part of mouth, rim, and small fragments of neck restoredin plaster. Chip on body at lower cornerof panel. Someof the glaze has wornoff the neckand below the figures.H. A. Thompson,Hesperia,Suppl. IV, Baltimore1940, p. 29, fig. 21. In panel, armingscene. In the middleis a warriorabout to put on his left greave.In frontof him is his motherholding his spear and shield (device:tripod), behind him his fatherwith a staff. On the right and left, an armedhoplite (shielddevices:on the left, femaleleg; on the right, frame), facinginward.Above,tonguepattern.Red:beardand hair of warrior;rims of hoplites'shields;fillets of parentsand hoplite on left; helmet of hoplite on right; stripes on garments; top of mother's peplos, panel on skirt; alternate tongues; line on mouth, another at junction of neck and shoulder;two below panel that continue round the vase. White:femaleflesh;hair and beardof father;shielddevices; dotson crestsupports. Oinochoai(Otherthan Olpai), A: with no Flat-mouthed lip or little:Various(ABV442, A 4). Third quarterof the 6th centuryB.C. 736 Pls. 70, 71 P1134 G 15:1 Rest. H. to top of handle0.27; H. to mouth Fragmentary. 0.146. diam. 0.246; Shape 1, but with double ring collar abovethejunctionof neckand shoulderand a singlering at the shoulder.Restored:foot, top of handle, part of mouth, partsof wall. H. A. Thompson,AJA37, 1933, p. 292, fig. 2. Heraklesseatedwith Athena,Hermes,and Dionysos.On the left is Herakles,seatedto righton a blockstool,wearing a short chiton under his belted lionskin. A quiver and a frombaldrics,one overeachshoulder. sheathare suspended

737 P1.70

P2741

G 6:3 (U)

with plaster. P.H. Part of neck and body strengthened 0.15. E. Vanderpool,Hesperia 15, 1946, p. 312, no. 206, pl. 62. Dionysos(someof draperymissing)seatedon a throneto rightholdinghis drinkinghorn,lookingaroundat his chariot team (onlythe foreparts are shown,the rest cut off by the with fruit;vine with grapes. In the branches field, frame). Above,tonguepattern.On the neck,net pattern.Red:beard; dotson garments; manes,breastband;line belowpanelthat continues round the vase. White: rim of drinking horn; leavesof wreath(?); fruit. The Painterof the RhodesPelike(ABV 608, 4).
Early 5th century B.C.

738

P 8800 E 14:5

Most of body preserved.P.H. 0.122; max. diam. 0.137. Someof footand body,mostof shoulder,all of neck,handle and mouthmissing. fromthe waist down) clad in a long Maenad (preserved chitonand cloakto right, betweentwo satyrs(lowerhalf of each). In the field, vines. Red: tails; line below panel that continuesroundthe vase.White:woman'sflesh;stripesand dotson drapery. Early 5th centuryB.C. 739 P 12778 G 11:3 P.H. 0.128. Lowerpartpreserved. On the right, a woman (top of head, hands missing) is seated to left on a block stool. From the position of her

OINOCHOAI towardsthe man shoulder,her right arm was outstretched the knee her. Behind from him, a man down) facing (legs (lowerdrapery,feet) movingto right. In the field,a branch. Red: some of the dots on garments;line below panel that continues round the vase. White: flesh of seated woman, otherdots on garments.
Early 5th century B.C.

197

vase. White: flesh; shield device;baldric;line on crests of helmet. For the composition, cf. Bothmer, Amazons, p. 85, no. 146.
Early 5th century B.C.

740

P 12768 G 11:3

Lower half preserved.P.H. 0.113; diam. 0.12. Decoration on white ground.Glaze mostlygone. Charioteer(head,shouldersmissing)mountinga chariot to right. In the field, branches.Panel framedat sidesby net pattern.Red: one tail; under scene,two lines that continue roundthe vase.
Early 5th century B.C.

P 24557 Q 12:3 Fragment.P. H. 0.165. Part of the trefoil mouth,all of the neck,someof the body,and abouthalf of the foot. Most of panel is missing.In the field,a vine with grapes. Above,tonguepattern.Red:line belowpanelthat continues roundthe vase.
Early 5th century B.C.

743

744

P 7269 D 7:2

741 PI. 71

P 11030 D15:1

Three non-joining fragments, each strengthenedwith plaster.Max. dim. a) 0.169, b) 0.067, c) 0.031. Fragmenta the shoulderwith the startof the neckand part of preserves the bodywith abouthalf of the panel;b showsthe lowerleft cornerof the panel and c someof its left edge. Amazonssetting out. Only fragmenta preservesany of the figures.It gives the head with Corinthianhelmet,right shoulderand arm, and someof the spearof the Amazonon the left who movesto right pursuinganotherwho walks to right, looking around. She is preservedexcept for some of her torsoandher lower-legs. She wearsa Corinthian helmet, a short chiton with a corsletand a cloak, and greaves.She holds out her shield (device:bull's head) and carries her spear horizontally.Brancheswith fruit in the field. On the right, dots; on the shoulder,tongue pattern.On the neck, ivy. Red: front pieces of helmet on the right;rim of shield; dotson garments; line below panelthat continuesroundthe vase. White: flesh;outlinesof crests;dots on crestsupports and on cloak;shield devices;fruit. For the composition, cf. Bothmer, Amazons,p. 94, no. 30.
Early 5th century B.C.

Six non-joiningfragments.P.H. of a) 0.142; max. dim. b) 0.116, c) 0.086, d) 0.034, e) 0.037, f) 0.031. Most of the trefoilmouth,the handle,someof the bodyand foot. Glaze firedred. Only fragmenta preservesany of the figures. Maenad (foot and hand) on a mule (foreparts, part of hind legs) to between two left one is right, satyrs (the missingexceptfor some of one leg) to left. In the field, a vine. The panel is framedat the sides by dots. Red: beard of satyr; strip on mane; line below panel that continues round the vase. White:maenad's flesh;muzzle,contourof neckand chestof mule;studson rein.
Early 5th century B.C.

P 20033 C 17 of wall. Max. dim. 0.059. Shoulder andstartof Fragment neck.Silhouettetechnique. Bull (body,some of tail and legs) to right. In the field, a tree. Abovethe figure zone, tongue pattern.White: markings on bull. The Classof Copenhagen 68 [A. Clark].
Early 5th century B.C.

745 PI. 71

SHAPE

746 and 747

P 13010 U24:2 Rest. H. 0.143; max. diam. 0.087. Preservedexcept for foot, handle, and small missing pieces that are restoredin plaster. Amazonin chariotwheelingaround.The Amazonwears a low-crestedCorinthianhelmet;her Boeotianshieldhangs down in back (device:tripod).The team, preservedexcept for parts of the two pole horses, rushes towards another Amazonwho has a shieldand spear. She wears a shortchiton with a corslet,a high-crested Corinthian helmet,andshe has a baldricover her left shoulder.By mistake,the artist has omittedthe wheelsof the chariot,and he did not indicate with glaze the lower part of the legs of the Amazonon the on the sides,dots.On right.Abovethe panel,tonguepattern; the neck, ivy. Red: manes,breastband;stripeson chitonof Amazonon right;line below panelthat continuesroundthe

742

P3241 I 14:1 Preserved except for most of handle and back of mouth. H. 0.083; diam.0.056. Poorglaze. Silhouettetechnique. Two panthersfacing. Between them, a swan to right. On the Blobs,strokes,and ring rosettesfor fillingornament. neck,a wavy line, with small parallelstrokes.Red:necksof on their hindquarters; bar on wing;line panthers; markings on mouth. First half of the 6th centuryB.C. P 1337 G 6:3 (U) Most of bodyand footpreserved, with plasstrengthened ter. P.H. 0.115; diam. 0.125. E. Vanderpool, Hesperia 15, 1946, p. 312, no. 204, pl. 62. Departureof warrior.The warrior (feet, part of shield missing) stands to left holding his shield (device:octopus) 747

746

198

CATALOGUE
41-46; Paralip. 64, 41-45; Bothmer, Amasis Painter,

and two spears,facinga woman.Behindhim, a man (head, feet missing) to right. Above,tongue pattern.At the sides, net pattern. Red: line on helmet and left greave;dots on woman'sgarment; line belowpanelthatcontinues roundthe vase.White:woman'sflesh;dotclusterson garments; device.
Early 5th century B.C.
SHAPE 3 (CHOUS)

748-765

pp. 154-162, cat. nos. 33-36) and on two by the Taleides Painter(ABV 174, 3 and 4). These, however,have dots in the interstices. The absenceof a line of glaze bordering the friezeon 750 seemsto be unparalleled. Probablythe PhrynosPainter;the same hand as Boston, M.F.A. 98.923 [Bothmer](ABV 169, 3; Paralip. 71, 3; CVA,Boston1 [USA 14], pl. 25 [647]). Third quarterof the 6th centuryB.C. 751 P8886 T19:1 Two non-joiningfragments.P.H. of a) 0.13; diam. of a) 0.152; max. dim. of b) 0.054. Foot and some of the globular body with parts strengthenedwith plaster (a); fragmentfromthe wall nearthe top of the panel (b). Dionysosand two satyrsto right. Fragmenta shows the lowerpartsof the figures: the tail andlegsof the satyron the left;the lower part of Dionysos'chiton;the legs and left elbow of the satyron the rightdancingto right,probably looking around.Fragmentb showsthe headand shoulderof the satyr on the left. In the field, branches.Abovethe figures, net pattern.Red: tail, beard,and forelockof satyr on left; stripes on drapery;line below panel that continuesround the vase. Third quarterof the 6th centuryB.C. P 17140 No grid 752 PI. 71 Wall fragmentfromnearshoulder.Max. dim. 0.06. Horseman(head, chest;head and neck of his horse) to rightholdingtwo spears.Facinghim, a man (hand)holding a staff.To the rightof the horse'smuzzle,partof a nonsense inscription:
ITT

P1255 G6:3(L) in restored Many fragments plaster. H. 0.183; diam. 0.152. Glaze has misfiredreddish brown in part. Profile E. Vanderpool, Hesperia7,1938, no. 16, pp. 385complete. 387, figs. 21, 23. Fight, with onlookers.Two warriors(head, right calf of left;someof helmet,lowerlegs of rightmissing)attackeach threeballs). other,the left one holdingout his shield(device: The shield of his opponentappears below, seen in threequarter view. On the right and left, a draped spectator (partsof draperymissing).By mistake,the painterdrewthe shield of the warrioron the left as seen from the outside insteadof the inside.Red:alternatestripesof cloaks;chitons of warriors;helmet;shield of warrioron the right;fillet of on the right;line below panelthat continuesround onlooker the vase.White:shielddevice. The North SlopeGroup (ABV 129, 5). Third quarterof the 6th centuryB.C. 748 P 17466 J18:4(U) 749 P1.71 Preservedexcept for a few missing pieces of the mouth, neck,and bodythat havebeen restoredin plaster.H. 0.188; diam.0.145. Warrior wearing a Corinthian helmet and greaves, armedwith a round shield (device:three balls) and spear, standsto left facinga womancladin a longchitonandcloak. Behind the warrior is another woman, similarly dressed. Above the figures, dot ivy. Red: helmet, stripes on cloaks; two lines below the panel that continue round the vase. shielddevice. White:woman'sflesh;dotson garments; The Dot-ivy Group[A. Clark]. Third quarterof the 6th centuryB.C. P 12495 Q18:1 Two non-joiningwall fragments.Max. dim. a) 0.055 b) 0.026. E. Vanderpool,Hesperia 8, 1939, p. 259, no. 10 and p. 260, fig. 16. the headandshoulders a (illustrated) preserves Fragment of a warriorto right, his spear raised. On the left, at the break,the staff of an onlooker.In the field, part of a nonsenseinscription: 750 PI. 71

of festoon.Red:fillet;shoulder Above,partof lotus-palmette cuffs of cores of lotuses; horse; palmettes. The Painterof the NicosiaOlpe [Bothmer], formerlythe Painterof LouvreF 28 (Paralip. 196). A. Clark has seen that 752 goes with the chous,Athens,N.M. 19175.
Ca. 520 B.C.

753 PI. 71

P 24681

R 12:4

Fragmentof mouth, neck, and body. Max. dim. 0.134. Mendedin antiquity(two holesremainnearmouth). Dionysos (some of head, end of drinkinghorn) holding
ivy and Hermes (head with petasos, shoulders) with his kerykeion (part of staff) move to right, looking around. Above the figures, hanging lotus buds with dots in the interstices. Red: forelocks and beards; stripes on Hermes' cloak. White: chitons. The reference to 753 in Paralip., p. 296 is incorrect; the entry is 754. For the frieze of upright lotus buds with dots above the figures on oinochoai of Shape 3, cf. 750 (PI. 71), but a frieze of hanging buds with dots does not seem to have a parallel on oinochoai, though it does appear above the panel on olpai, including bail olpai, on one-piece amphorae, and also on pelikai (cf. D. von Bothmer, JHS 71, 1951, pp. 4243, nos. 1-23). Although a direct connection between the

jEzM S
Above, frieze of upright lotus buds (alternatingred and black?).Fragmentb showspartof the leg of a warrior.Red: helmet;links of lotus-budfrieze.White:edgeof crest. The uprightlotus buds abovethe figuresoccuron oinochoai of Shape 3 by the Amasis Painter (ABV 153-154,

OINOCHOAI pelike and the oinochoeof Shape 3 is difficultto prove,the the narrowneck two share certainsimilarities,particularly and the low centerof gravitythat resultsin a heavy,sagging appearance,and there may be some relation between the typesof ornamentselectedto embellisheachof them. Ca. 520-500 B.c. P 24675 R 12:4 Foot and about half of body. P.H. 0.098; diam. of foot 0.094. Fight, with man watching.On the left, a man (drapery, feet) holding a staff, watchesa warrior (legs with greaves, end of spear) pursue another(legs with greaves,short chiton) to right lookingaround,holding out his shield (lower chitonof part at break). Red: stripeson cloak of spectator; first warrior, stripe on chiton of second;line below panel that continuesroundthe vase. This is the oinochoedescribedin Paralip., p. 296 under P 24681 (753): "Fight:a warriorattackinga warriorwho turns tail, between onlookers."Near the Painter of Villa Giulia M. 482.
Late 6th century B.C.

199

P 1559 G 6:3 (U) 758 Wall fragment.Max. dim. 0.042. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 210, pl. 62. to right.Red:neck,belly stripe. Bull (foreparts)
Early 5th century B.C.

754 Pl. 72

759 PI. 72

P 5209 E-F 12-14

with beginningof neck.Max. dim. 0.068. Wall fragment Male (headwith wreath)to left. In the field,vines. Red: beard.White:wreath. For the wreath,cf. 328. The AthenaPainter[H. R. W. Smith].
Early 5th century B.C.

760 PI. 72

P 6091 G-H 8-9

Wall fragment.Max. dim. 0.039. Dionysos (beard,shoulder,hands) recliningon a couch (part of mattressand bed post). In the field, a vine. Red: beard;dotson bed post. White:bed post;dotson garment.
Early 5th century B.C.

761 P 15723 C 20-21

755 PI. 72

P 4573 F-G 13

Wall fragmentfromtop of panel. Max. dim. 0.081. Dionysos (head, shoulder)to right, holding a drinking horn, facing Ariadne (most of head). In the field, a vine. Abovethe figures,net pattern.Red:beard;fillet of Ariadne. White: Dionysos' chiton; Ariadne's face; rim of drinking horn. The Class of Vatican G. 50; the Dot-ivy Group [A. Clark].
Early 5th century B.C.

Fragmentof wall and neck. Max. dim. 0.045. Brown wash on outside. Woman (wreathedhead and shoulder)to right. Above, part of line at top of panel. White:flesh.
Early 5th century B.C.

P4276 E14:11(?) 762 Wall fragment.Max. dim. 0.061. Youth (head, upper part of torso) to right. At the left, edgeof panel.
Early 5th century B.C.

756

P 1397 and P 1558 G 6:3 (U)

Two non-joiningfragments.Max. dim. P 1397: 0.075, P 1558: 0.072. Trefoil mouthand wall (P 1397), fragment of wall (P 1558). E. Vanderpool, Hesperia15,1946, p. 312, no. 203, pl. 60. P 1397 shows the upper parts of a youth and a dancing woman, both to right, she lookingaround.Above,net pattern. P 1558 givesthe endsof his cloak,the lowerdraperyof the woman.Red:woman'sfillet;man'sforelock; dotson garments.White:woman'sflesh;dot clusterson drapery. The Class of VaticanG. 50 (ABV 439, 9; 607, 2; Paralip. 190).
Early 5th century B.C.

763

P9278

M17:4

Lowerpartof vessel.P.H. 0.047; max. dim. 0.073. A woman (lower part preserved) to left. At the left, the feet and some of the body of an animal (held by the womtracesof tendrilon far an?).On the far left, handlepalmette; verticalrowof dotson cenright.White:designson drapery; ter panel;maeander patternon side.
Early 5th century B.C.

764

P15957

F 19:4

P 23342 H 12:15(POU) of trefoil mouth,handle,neck, and body. P.H. Fragment max. diam. 0.102. Much of the glaze is abraded. 0.073; Satyr (preservedexcept for part of legs, right arm, and tail) pursuinga maenad(feet and lowerpartof chitonmissing) movingto right, lookingaround.Abovethe figures,net pattern.Red:beard,forelockof satyr;fillet, dotson cloakof maenad. The Class of VaticanG. 50 (Paralip.190, 4 bis). 757
Early 5th century B.C.

Mended from many fragments.Rest. H. 0.10. Missing pieces including the handle and foot restoredin plaster. Silhouettetechnique. Nike (head,wing, arms,someof body)to rightholdingan objectthat lookslike partof a tripodor a lyre.In frontof her anotherNike (foot,partof longchiton)alsoto right,holding an unidentified object.Red:stripson wings;stripeon chiton; part of object.White:flesh;strip on objectheld by Nike on left. The Class of Red-bodied Oinochoaiof Shape 3. For the cf. ABV 439-440, class, 1-6; Paralip. 191.
Early 5th century B.C.

200 765

CATALOGUE P 3019 R 13:3 769 PI. 72

P 7530 B 13:6

Most of neckand handlemissing.P.H. 0.056;max.diam. 0.052. Glaze firedreddishbrown.Silhouettetechnique. Handle zone:threebirds(geese,swans?)to right. The Swan Group. Secondhalf of the 6th centuryB.C.
SPECIAL: FLAT-BOTTOMED AND VRAONA

Wall fragment.Max. dim. 0.041. Mule (head)to right. In the field, a vine. Above,part of the tonguepattern; on the right,someof the ivy framingthe panel.Red:mane;alternate tongues.White:stripaboveeye, muzzle. Third quarterof the 6th centuryB.C. 770 PI. 72 P 26773 U 19:2 Wall fragment.Max. dim. 0.145. Chariot to right. The fragmentpreservessome of the wheel, box, and pole of the chariot,part of the charioteer, the hind legs, tails of the horses,the bodyof the right-hand trace horse. On the left side of the team, two figures(drapery),the oneon the righta woman.Red:tails of right-hand pole and trace horses, breast band; stripes on garments. White: woman'sfeet; right-handpole horse;pendantson breastband.
Ca. 520
B.C.

766 and 767

P 23483 J 14:3 Fragmentary.P.H. 0.044; diam. of foot 0.06. Body of small, flat-bottomed oinochoe,with handlerootand startof neck. Two swans facing. Blobs and incisedrosettesfor filling ornament.Red:eyes, stripson necks,wings, and tails;large rosettebetweenswans. The shape was probablyvery like that of the Corinthian conicaloinochoe(cf. NC, p. 299, nos. 750-758). For a parallel in Attic black figure, cf. the contemporary miniature examplefoundin a child'sgraveat Phaleron(ABV 441).
Early 6th century B.C.

766 P1.72

767 P1.72

P 1233 G 6:3 (L)

of wall missing.H. to top Mouth,mostof neck,fragments of handle 0.133; diam. 0.084. E. Vanderpool,Hesperia 7, 1938, pp. 379-381, no. 12, figs. 15-17. Youths and women. The figured decorationcontinues roundthe body. Beginningat the handle,left to right, two men, 1 and 2 (head of 2 missing)standingto right;then a pair,3 and4 (headof 3, legs of 4 missing)seatedon okladiai, then a facing;a pair, 5 and 6 (headof 6 missing)conversing, woman,7, and a nude male, 8 (head,torsoof each missing) to right facing a woman, 9. Next, three pairs, 10-15, conversing.On the shoulder,chain of invertedpalmettesand lotuseswith dotsin the links. Red:stripeson malegarments, except for 13; peploi and cloaks of women;hearts of palof 1, 3-5; mettes;cuffsof lotuses.White:crosseson garments dot clusterson garmentsof 2, 5, 10-12; femaleflesh. The Burgon Group; Near the Painter of London B 76 (ABV 90, 5); for the shape (ABV 443-444, 1-8). Secondquarterof the 6th centuryB.C.
TYPE UNCERTAIN

P 1395 G6:3(U) Fragmentof trefoil mouth, neck, and wall. P.H. 0.065. E. Vanderpool, Hesperia15, 1946, p. 312, no. 205, pl. 60. Youths (heads of two, arm and top of head of third) to right. Behindthe arm, part of a circularobject,perhapsa stone. In the field, brancheswith fruit. At each side, two verticalrowsof dots;above,tonguepattern.On the neck,net pattern.Red:fillets.White:fruit;object.
Early 5th century B.C.

771

772 PI. 72

P8799

E 14:5

Shoulderfragmentwith start of neck. Max. dim. 0.051. White ground. Man (head with fillet) to right playing the barbiton.In the field, branchwith fruit. Above,tongue pattern;at the side, net pattern.Stringsof instrumentincised.Red: fillet, beard. The Gela Painter(ABV 474, 19).
Early 5th century B.C.

768-776

P 22178 Q7:1 Wall fragment. Max. dim. 0.125. Upper right part of panel with part of the ring at the junctionof the neck and shoulder. A warriordressedin a shortchitonand holdinghis shield in profile(device: sevenballs) runsto right,lookingaround. A sheathis suspendedfroma baldricoverhis left shoulder. On the right and left, a drapedmale (face,someof drapery of one; head, shoulderof the other) facing. Above,tongue pattern. Red: fold of garmentof male on left; fillet; four balls;panel on warrior'schiton.White:threeballs;baldric; dotson draperyof male on right. The Painterof LouvreF 6 (ABV 129, 95). Third quarterof the 6th centuryB.C. 768 PI. 72

P 1396 G 6:3 (U) of shoulderand wall. Max. dim.0.10. E. VanFragment derpool,Hesperia15, 1946, p. 313, no. 208, pl. 62. Dionysos (part of head, shoulders,and chest) seated to right holdinga drinkinghorn, lookingaroundat a maenad (drapery,someof arm) to left, also lookingaround.On the right, at the break,tracesof anotherfigure. In the field, a branchwith fruit. Red:beardand wreathof Dionysos;dots on maenad's two lines belowscene.White:fleshof garment; dot clusterson her drapery; maenad; Dionysos'chiton. 773
Ca. 490-480 B.C.

774

P 1398 G 6:3 (U)

Shoulder fragment. Max. dim. 0.033. E. Vanderpool, Hesperia15, 1946, p. 313, no. 209, pl. 62. Satyr (head) to left. In the field, a branch with fruit. Above,tonguepattern.On the right,a line edgingthe panel. Red:line at baseof neck.White:fruit.
Early 5th century B.C.

OINOCHOAI 775 P 14661 G3:1 Wall fragment.Max. dim. 0.038. White ground. Herakles (head with lionskin, arm, raised club) to left. club. Red:beard. Above,tonguepatternoverlapping The Strugglefor the Tripod [Bothmer].For the subject, cf. 365.
Early 5th century B.C.

201

On the left, near the groundline at the break,part of a secondwoman(heel)to left. In the field,a branch.Red:dotson roundthe vase.White: skirt;line belowpanelthat continues feet.
Ca. 520 B.C.

776

P 12779 G11:3

Wall fragmentwith lower right cornerof panel. Max. dim. 0.115. Dent in surface. Male (head, shoulders, arms missing) standing to left wearinga longchitonwith a cloak,staffin hand.On the left, at the break,the knee of an Amazon,the rim of her shield and the end of her spear. Red: stripeson cloak;line below panel that continues round the vase. White: flesh of Amazon;dotson drapery.
Early 5th century B.C.
FRAGMENTS OF OLPAI OR OINOCHOAI, TYPE

P 2627 G 6:3 (U) Wall fragment.Max. dim. 0.101. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 213, pl. 62. Man, probablyDionysos (lower drapery,feet) seatedto righton a blockstool.In frontof him, a maenad(lowerdrapery) moves away. In the field, a vine with grapes. Red: stripes and dots on drapery;borderof maenad'sgarment; line below figurezone. White:maenad'sflesh;dots on garments;Dionysos'chiton.
Late 6th century B.C.

781 PI. 73

782 PI. 73

P 15954 F 19:4

UNCERTAIN 777-786

777 PI. 73

P8963

F-H 13-16

Wall fragment.Max. dim. 0.052. Lion (forelegs,shoulder,ends of mane) to right. Below, two groundlines and the ends of the rays abovethe foot. The GorgonPainteror his manner.Compareespecially, LouvreCA 3327 (ABV 9, 8; Paralip. 7, 8), London,B.M. B 33 (ABV9, 13;Paralip.7, 13), AthensA-P 1734 (ABV8, 6; Paralip. 6, 6), Louvre CA 823 (ABV 12, 23), and 708 (PI. 68). Late 7th or early 6th centuryB.C. 778 PI. 73 P 21572 07:9 Two non-joiningwall fragments.Max. dim. a) 0.034, b) 0.068. Frontalchariot;woman. Fragmenta gives the forehead, ear, and topknotof one tracehorseand the face of a woman to left with her veil held out. Fragmentb preservesthe legs and the tails with herringbone incisionof two other horses and a trace horse horse),the wheel of the chariotbe(a pole tweenthem,and the axle. Red:eye of horseand woman,her veil. White:woman'sface. The scene was probablya frontal chariot flankedby a figureon each side. Compare,e.g., LouvreE 873 by Sophilos (ABV 39, 12; Baklr,Sophilos,pl. 48, fig. 87). Late firstquarterof the 6th centuryB.C. P 3663 H 8-10 (?) Wall fragment.Max. dim. 0.024. Youth (head) to left with right arm raised. In the lower left, at the break,someblackglaze, perhapspart of another figure.Red:fillet.
Ca. 530 B.C.

Wall fragment.Max. dim. 0.051. Sacrifice.On the left, part of a woman (drapery,outstretched arms)standsto righton what appearsto be a low hornedbase, facing an altar with flames and an uncertain object.On the rightof the altar,the baseandshaftof a herm or statue. Between the altar and the woman, nonsense inscription:
XXI

On the far right,someof the dot or net patternframingthe roundthe vase. panel. Red:line below panel that continued White: arms;dots on garment;alternateovolos,centersof volutes,horizontalstripes, and line at bottomof altarjust abovebase;top step of statuebase.
Late 6th century B.C.

P 2563 G 6:3 (U) Wall fragment.Max. dim. 0.065. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 211, pl. 62. Maenad(drapery) andsatyr(someof leg andtail) to right with a bitch between. In the field, vine with grapes. Red: satyr's tail; dot on garment.White: maenad'sfoot; belly stripeand teatsof bitch.
Late 6th century B.C.

783

779 PI. 73

G6:3(U) Wall fragment.Max. dim. 0.032. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 214, pl. 62. Male (thighsand righthand)to right.On the left, partof the ivy border. Late 6th or early 5th centuryB.C. Q15:2 Wall fragment.Max. dim. 0.054. Man (bit of drapery)leadinghorse (hindquarters, some of tail) to right, followedby another(forearmsand hand) holdingan objectthat lookslike a torch.Red:object.
Early 5th century B.C.

784

P2684

785

P24013

780 PI. 73

P 13863 T 24:3

Wall fragment.Max. dim. 0.057. Woman (one foot, lower part of skirt) dancingto right.

202 786

CATALOGUE P 13735 V 23:1 (head)also to left. Red:fillets;eye of woman;stripeon her chiton White:woman'sflesh. Late 6th centuryB.C.

Wall fragment from near shoulder. Max. dim. 0.04. Mendedin antiquity(the lead clampis still in place). Woman (head, raisedhand) to left. Behindher, a youth

LEKYTHOI 787-1256 Fig. 15 Pls. 73-87

EARLIEST 787-791

I14:1 H. withouthandle0.168, with handle0.182; max. diam. 0.128. Preserved exceptfor mouthand a few missingpieces of the body, restoredin plaster. Drip ring, concaveon top downin antiquity?See ABL, p. 2, note 1). Pale slip (rubbed applied to surface. Glaze fired red. AA (JdI 49), 1934, p. 135, fig. 6; T. L. Shear,Hesperia4, 1935, p. 365, fig. 22. Two confronted cockswith palmettefloral between.Incised rosettesfor filling ornament.Red: wattlesand combs, wings;petalsof palmettesand links of ornament. 787 standssomewhatapartin shapefromthe usual "Deianeira" lekythos,for its bodyis moreovoid,thus closerto the alabastron. Corinthian 787 P1.73
Ca. 600 B.C.

P3287

788

P 13127 e U 25:2 (L)

Wall fragment.Max. dim. 0.021. Originallythoughtto belongto 789. Lion (someof mane,shoulder,body).Red:dotsalongline of shoulder,ribs. Secondquarterof the 6th centuryB.C. 789 P1.74 P 13127 a-d, f-o U 25:2 (L) Thirteen non-joiningfragmentsof wall and shoulder. Max. dim. a) 0.146, b) 0.121, c) 0.075, d + h) 0.105, f) 0.028, g) 0.055, i) 0.038, j) 0.031, k) 0.027, 1) 0.029, Hesperia 15, m) 0.016, n) 0.059, o) 0.036. E. Vanderpool, 1946, p. 127, no. 10, pl. 19:2;Tiverios,pl. 78:,/ (fragments a-c,g, h). On the body, chariotand hunterreturninghome. Fragmenta preserves the legsof the hunter,mostof his dog,parts of two spears, and the dead game (a deer and perhaps a hare) presumablysuspendedfroma pole or lagobolonover the hunter's shoulder. Fragment c gives some of the hindquartersand tail of the right-handhorse, part of the reins (knotted)and pole stay, as well as the torso,arms,and part of the head of a womanstandingto left on the left side of the team. She wears a peplos, roundher head is a fillet, and she extendsboth arms, probablyto greet the returning the shoulhunter.On fragmenti, below the line separating der of the vase from the body, there is a bit of hair, very likely the top of the charioteer'shead. Fragment d + h shows some of the neck, mane, muzzle, and breastband of

the right-handhorse and, in the background, a bit of the b wreathheldby the womanon fragments b andf. Fragment the lower parts of this womanand a man to left, preserves eachdressedin a longchitonwith a mantleoverit. The man holdsa staff, and in frontof each is a hound;of the one on the left, only its head, neck, and forelegsremain.This dog has its head turned aroundand looks up at the left-hand horse (forehead),which has extendedits head downward. Fragmentg preservesthe man's face, part of his head (filleted)andthe top of his staff;fragmentfgivesmoreof the woman:her left shoulder,her neckencircledby a necklace, some of her hair. On the shoulder, Herakles and the Amazons.Fragmentd + h preserves partof the hero (head, arms, some of legs missing)dressedin a shortchitonand a beltedlionskin,runningto right. In the upper right corner of the fragmentis part of the rim of his shield. Behindhim are parts of a helper,perhapsIolaos (someof his buttocks, i, the thighs,right arm with spear)to left, and on fragment left calf (with greaves)and foot of the fleeing Amazonhe on g givessomeof Herakles'opponents: pursues.Fragment the left, part of a roundshield seen in three-quarter view, presumablyheld by the now missing Amazon he attacks directly;on the right, a fleeing Amazon (from the waist down) in a shortchitonand greaves,holdinga spearin her Red:stripeson j-o are undecorated. right hand. Fragments mantleof maleon right,mantleof woman;necksof dogsand of deer;maneand breastbandof right-handhorse;overfold peplos;Herakles'chitonandbelt;shieldrim;shieldand two foldsof Amazon'schitonon g, her belt;two lines below the figure zone on the body. The flesh of the women was left black.The chariotseemsto havebeena biga. cf. 395. For the composiFor the subjecton the shoulder, Amazons,p. 37, no. 36. tion, Bothmer, Lydos(ABV 111, 42). Ca. 550 B.c. 790 PI. 74 P 26609 T 18:4

with someof shoulder.Max. dim. 0.046. Wall fragment Cock (tail) to right. Above the figures, key pattern to right.On the shoulder,uprightlotusbuds. Red:bar on tail; one shortand one sicklefeather. Perhapsby Lydos.For the key pattern,cf. the lekythosin Riehen, where it is between three lines top and bottom insteadof two (ABV 111, 41; Tiverios, pl. 65:a). For the cock,cf. TarantoI.G. 4412 (ABV 113, 74; Paralip.45, 74;

LEKYTHOI Tiverios,pl. 12:a)and Taranto52130 (ABV 112, 67; Paralip. 44, 67; Tiverios, pl. 13:a). These are not so carefully drawnas 790, but they have the lessersicklefeathersat the base of the tail. For careful drawing of birds, cf., e.g., the eagle under the handle of London, B.M. 1948.10-15.1 (ABV 108, 8; Paralip. 44, 8; Tiverios, pl. 9:a) and the feathersof the siren on Villa Giulia M. 430 (ABV 108, 14; Tiverios, pl. 21:a). The high position of the cock in the compositionindicates that it was standing on something, perhaps a column or an altar. For cockson altars, cf. the later example by the Theseus Painter, Delos 598 (ABL, p. 249, no. 8). Third quarterof the 6th centuryB.C. 791 P1.74 P 15376 B 21:20 of shoulderand wall restored.H. 0.117; Small fragments diam. 0.073. Part of surfaceburned. R. Young, Hesperia 20, 1951, p. 89, Grave6, no. 1, pl. 39:b 1. From left to right: youth to right with a cloak over his raised right arm; a draped youth to right with a spear; horsemanto left;runner(partof head and bodymissing)to left lookingaround,a cloakover his left arm, his right outstretched;a draped youth (face missing) to right with a to left with a bird (eagle?)aboveflyingto spear;a horseman left; a draped youth (some of head and draperymissing) with a spearto left. On the shoulder,coursinghares:draped youth,cock,runner,drapedyouthbetweentwo hares,all to right,then a drapedyouth,a runner(lookingaround),and a dog, all to left. Nonsense inscriptions:1) below runnerto right:
THE LEKYTHOS-PAINTERS, I: CHIEFLY EARLIER 792-868

203

P 15263 B21:5 792 Profile complete. H. 0.108; diam. 0.066. Part of body A bit of the glaze missing.Someof the surfaceis splintered. is flaked. R. Young, Hesperia 20, 1951, p. 91, Grave 10, no. 2, pl. 41:a 2. Two nude ridersconfronted. Of the one on the left, only the head, neck, and forelegsof the horse remain. On the shoulder,bird (swan?) with wings spread (head missing). Red:hair of rider;maneof horseon right;markingon hindline below figures. quarters;
Ca. 550-525 B.C.

793 P1.75

P 18006 B 19:2

ov rT r

2) behinddrapedyouthto left: 3) below runnerto left:

Chipped. H. 0.134; diam. 0.076. Glaze mottled.H. A. Thompson,Hesperia 17, 1948, p. 166, pl. 46:1; R. Young, Hesperia20, 1951, p. 108, Grave49, no. 1, pl. 48:a. cockto Three nudeboyrunnersto right.On the shoulder, right,betweenlotus buds. Red:body,wattles,comb,bar on tail, and sickle feathersof cock;hair of runners;two lines underpicture.White:line on cock'sneckand breast;straps acrossbreastsof runners. (baldrics?) 793 is earlierthan the otherlekythoiof the CockGroup from the Agora (837-863), which date late in the 6th is closest 793 with its rathersquat proportions centuryB.C. of the third in shape to examples of shouldered-lekythoi (cf. ABL,chap.IV). The type quarterof the 6th centuryB.C. of cock is very differentfrom other examplesin the Cock Group,which do not hold their headsand necksup but appear about to feed. Also, the runners, with their broad shoulders,narrowwaists, and heavy thighs, are characteristic of athletespaintedin the thirdquarterof the century. The CockGroup(Paralip.211).
Ca. 540-530 B.C.

794

P 22331 a 016

]rT
Abovethe figureson the body,three lines. Abovefoot,rays. Red:on body:filletsof all exceptsecondfigurewhosehair is red; nipple of first figure;belly stripe of horse on left and tail, mane; line on hanging markingson its hindquarters, folds of drapedfigures;dots on garmentof youth between horses;eye of horse on right; strip on wing of eagle; on comband wattles,stripeon neckof cock,stripson shoulder: edgesof wing bow, one on top of sicklefeather;hair of runner on left and of figure standing on right; dog's collar. White:chitonsof riders;studson reinsof horseon right. The sharp angle of the shoulderand body is similar to that of Louvre G 37, an unattributedlekythos of about but the shapeof its bodyand neckis verydifferent 550 B.C., from 791. The flaring mouth of 791, unusual in lekythoi, recallsLouvreCA 178 by ElbowsOut (ABV 249, 16). The broadbase and the very narrowrays are uncharacteristic of lekythoibut are similarto earlyAtticblack-figured skyphoi. Cf., e.g., Boston,M.F.A. 97.366 by the KX Painter(ABV 25, 19). For rays abovethe feet of lekythoi,cf. ABL, pp. 21,
42, 89, 90, and 222. Ca. 550 B.C.

Fragmentof shoulderand wall. Max. dim. 0.063. Fight. A warrior (head with Corinthianhelmet, raised rightarmwith spear,shortbeltedchiton,someof the rim of his shield seen in profile)movesto left. On the left at the breakis the pointof his opponent's spear.On the shoulder, of to Red: corslet. White: helmetcrest. a foot right. part Third quarterof the 6th centuryB.C. P 22331 b 016 795 Shoulderfragment.Max. dim. 0.034. Partsof two figures.On the left, the raisedarmwith cloak of a figureto right,and on the right,the draperyof another figure.Red:panel on draperyon the right. The scale of the figureson 795 differsfromthat on 794, and the two oughtto be keptapart. Third quarterof the 6th centuryB.C. 796 P 15430 B21:9 Most of handle,fragments of neck,shoulder,andwall restored.H. 0.137;diam.0.076. R. Young,Hesperia20, 1951, p. 96, Grave 13, no. 2, pl. 43:a 2. Youth courting boy (part of body and legs) holding a

204

CATALOGUE 801 P 5237 N 10:1

hare, between spectators(a woman and a youth on each side). Female flesh left black.Upper part of womanon the right missing. On the shoulder,large invertedlotus buds with big dots; above, tongue pattern. Red: hair of youths; dots on draperyof woman on left; line on top of mouth,at baseof neck,and below figures. The HermioneGroup (ABV456, 3); Relatedto the Dolphin Group (Paralip.200, 1). Ca. 540-530 B.C. 797 P 15654 B 20:4

Mouth, neck,handle,part of shoulderand wall missing. Rest. H. 0.09; rest. diam.0.073. Strengthened with plaster. Burned. Nude youth runs to left, looking around,between two drapedspectators(headof left, chest of right missing).On the shoulder,ivy leaves. Red: youth's hair; hanging folds; line belowfigures. The Fat-runnerGroup(Paralip.201).
Ca. 550-525 B.C.

Much of the surface chipped. H. 0.135; diam. 0.074. Most of the glaze fired brown. R. Young, Hesperia 20, 1951, p. 93, Grave 11, no. 1, pl. 41:c. Sirento rightwith wingsspread,betweenpanthersfacing inward. On the shoulder,invertedlotus buds with dots in the interstices.Red:face of siren;necksof panthers; ground line. The Dolphin Group (ABV 457, 1).
Ca. 550-525 B.C.

P 24517 Q 12:3 Only lower wall and part of foot remain. P.H. 0.054. Glaze is flakedand abraded. Sphinx (hindquarters;forelegs) sejant between two drapedfigures(lowerparts),all to right. Red:stripeon left garment.White:dotson garment. The Fat-runnerGroup(Paralip.201).
Ca. 550-525
B.C.

802

803 798 PI. 75 P 15374 B21:19 Complete except for chips on lower wall and foot. H. 0.123; diam. 0.06. Hole in bottom.Glaze is flakedand abradedin manyplaces.Surfaceburned.T. L. Shear,Hesperia 9, 1940, p. 304, fig. 44; R. Young,Hesperia20, 1951, pp. 89-90, Grave7, no. 1, pl. 40:b. Siren to right betweentwo lions. Under handle,swan to right.On the shoulder,invertedlotus buds. Red:fillet of siren, bars on wings;muzzles;dots on lotus buds;line inside mouth,two outside;line on neck(?); four lines on foot. The Dolphin Group (ABV 458, 23). Ca. 550-525 B.C. 799 P15440 B21:21

P7224

T18:1

of shoulderand wall. Max. dim. 0.028. Fragment On the body, satyr or centaur (head) to right. On the shoulder,animal(forepaw)to right. Third quarterof the 6th centuryB.C. 804 PI. 75 P1159 G15:1 Wall fragment.Max. dim. 0.054. Woman(preserved fromthe chestdown)in a peplosrunning to right, lookingaround.On the right, extendedarm and draperyof a man to left. Red:peplosexceptfor central panel on skirt;cloak;two lines below scene that continued roundthe vase. White:flesh of woman;rows of dotson her fillet held by man. drapery; Third quarterof the 6th centuryB.C. 805 PI. 75 P8918 M 18:6 Preservedexcept for fragmentsof body and some of shoulder.H. 0.113; diam.0.072. Three drapedyouths, 1 to right, 2 and 3 to left. Fillet on wall. On the shoulder,a palmettebetweenivy leaves. Red: hangingfoldof drapery. The Groupof VaticanG. 52 (ABV460, 12). Late thirdquarterof the 6th centuryB.C. P 13019 U 25:2 (U) 806 P1.75 Mouth and handlemissing.P.H. 0.135; diam.0.08. Foot chipped. Decoration as 805. Two cloakson wall. Red:hair, hangline below scene. ing foldsof garments; The Groupof VaticanG. 52 (ABV 460, 13). Late thirdquarterof the 6th centuryB.C. 807 P15442 B21:21 Handle, some of neck, shoulder, and wall restored. H. 0.132; diam. 0.075. Top of mouth glazed. Burned. R. Young, Hesperia 20, 1951, p. 101, Grave 19, no. 3, pl. 46:a 3.

Mouth, neck, part of shoulder,much of wall restored. P.H. to neck 0.12; diam. 0.084. Burned. R. Young, Hesperia 20, 1951, p. 100, Grave 1.9,no. 1, pl. 46:a 1. Drapedfigure(lowerpart)seatedto righton an okladias. On the left, a nudeyouthstandsto rightholdinga spear,and on the righta woman(someof torsoof each missing)stands to left holding a staff. On the shoulder,a siren or sphinx (head, tip of wing) between spectators.Red: wavy line on garmentof spectatoron left, on shoulder;hair of siren or sphinx,wing bow. White:femaleflesh.
Ca. 540
B.C.

800 P1.75

P 15262 B21:5

Completeexcept for small fragmentsof wall. H. 0.129; diam.0.073. R. Young,Hesperia20, 1951, p. 91, Grave10, no. 1, pl. 41:a 1. Runner (part of head missing) to left, between two drapedyouths.Fillet hangingon wall. On the shoulder,six degenerate ivy leaves. Red:hair;hangingfolds and dots on narrowbandon neck;line at insideedgeof mouth. drapery; The Fat-runnerGroup(ABV 460, 9).
Ca. 550-525
B.C.

LEKYTHOI Decorationas 805. Cloakhangingup. Red:stripeon garment of 1; line round neck at junction with shoulder;line below figures. The Groupof VaticanG. 52 (ABV 460, 9). Late thirdquarterof the 6th centuryB.C. 808 P 15439 B 21:21 Parts of shoulder and wall restored. H. 0.133; diam. 0.075. Surface burned. R. Young, Hesperia 20, 1951, p. 101, Grave 19, no. 2, pl. 46:a 2. Decorationas 805. Two cloaks on wall. Red: stripe on draperyof 2; line below scene. The Groupof VaticanG. 52 (ABV 460, 10). Late thirdquarterof the 6th centuryB.C. 809 P15441 B21:21 Mouth, neck, most of shoulder,much of body restored. Rest. H. 0.134. Burned.Most of glaze gone.R. Young,Hesperia 20, 1951, p. 101, Grave 19, no. 5, pl. 46:a 5. Traces of three drapedyouths, 1 and 2 to right, 3 to left. All hold staffsor spears. The Groupof VaticanG. 52 (ABV 460, 11). Late thirdquarterof the 6th centuryB.C. 810 P 15508 B 21:22 Part of handle and wall, all of foot restored.P.H. 0.11; diam. 0.073. Burned.Surfaceis in poorcondition. Youth with cloakto left, betweentwo drapedspectators. On the shoulder,palmettebetweenivy leaves.White:chiton of figureon left. The Groupof VaticanG. 52 (ABV 461, 16). Late thirdquarterof the 6th centuryB.C. 811 P 16587 B21:14 Surfaceworn. H. 0.124; diam. 0.07. T. L. Shear, Hesperia 10, 1941, p. 2, fig. 1; R. Young, Hesperia 20, 1951, p. 94, Grave 12, no. 2, pl. 42:a 2. Nude youth (athlete?)to left, betweendrapedyouths.On the shoulder,a palmette rising from volutes, between ivy leaves.Red: line at junctionof neck and shoulder,on top of roundthe vase.White:dots mouth,below figurescontinuing in links. The Groupof VaticanG. 52 (ABV 461, 17). Late thirdquarterof the 6th centuryB.C. 812 P 16588 B21:14 Much of wall andshouldermissing.H. 0.12;diam.0.071. T. L. Shear,Hesperia 10,1941, p. 2, fig. 1; R. Young,Hesperia 20, 1951, p. 94, Grave 12, no. 3, pl. 42:a 3. Decorationas 811. Upper part of youth and spectator on the right missing. The Groupof VaticanG. 52 (ABV461, 18). Late thirdquarterof the 6th centuryB.C. 813 P1.75 P 15648 B 20:3 Mouth and foot chipped,otherwiseintact.H. 0.11; diam. 0.057. R. Young,Hesperia20, 1951, p. 98, Grave16, no. 1, pl. 44:d 1.

205

Womanrunningto rightbetweentwo drapedyouthsfaca hanging cloak. On the ing inward. In the background, shoulder,a palmettewith dots betweenthe fronds,between two ivy leaves.Red:fillets;stripeson garment.White:woman's flesh;dots(?)on drapery. The Groupof VaticanG. 52 (ABV461, 33). Late thirdquarterof the 6th centuryB.c. 814 P 26822 T19:1 Wall fragment.Max. dim. 0.044. Surfaceveryworn. Nude youth (fromshouldersto calves)to left and behind him, a figure(neck,right shoulder)to right. In frontof the youth,partof anotherfigure(kneesof one who is seated?)to right. Late thirdquarterof the 6th centuryB.c. 815 P 1254 G 6:3 (L) Fragment of shoulder, much of wall restored. Rest. H. 0.138; diam. 0.051. E. Vanderpool,Hesperia 7, 1938, p. 399, no. 34, p. 400, fig. 36. Armingscene.A youth(head,arms,partof body,andone leg) standsto rightaboutto put on a greave,while a woman (face,someof drapery)standsbeforehim holdinghis shield (device:dolphin)and two spears.Behindthe youth, a man (lower drapery,feet) to right. Below the shield, uncertain objectsthat look like anotherpair of greaves.On the shoulder, a three-leavedupright palmette,between ivy leaves. Red:fillet of youth.White:woman'sflesh;shielddevice.
Ca. 520 B.c.

816 P1.76

P 16586 B21:14

Handle chipped.Glaze flakedin many places.H. 0.177; diam. 0.092. Some of the surfacesplintered.T. L. Shear, Hesperia 10, 1941, p. 2, fig. 1; R. Young, Hesperia 20, 1951, p. 94, Grave 12, no. 1, pl. 42:a 1. Herakles and Triton. Herakles,dressedin his lionskin, straddles the sea monster to left, gripping him tightly. Triton'shead is wreathedand looksto right. On the left, a bearded,draped figure comes up; on the right, a woman lookson. In the background, fourdolphins.On the shoulder, a chain of circumscribed invertedpalmettesand lotus buds. Red: hair and beardof man;head of lionskin;forelockand beard of Triton, cuff of tail, nipples;stripes on garments; line below scene that continues round the vase. White: Triton'smid-rib,partof tail; woman'sflesh. For the subject,G. Ahlberg-Cornell, Heraklesand the Sea-monsterin Attic Black-figureVase-painting[Skrifter Utgivnaav SvenskaInstituteti AthenXXXIII], Stockholm 1984. Ca. 530-520 B.C. 817 PI. 75 P 5002 E-F 12-14 Three non-joiningwall fragments.Max. dim. a) 0.088, b) 0.054, c) 0.083. Fragmentc showsthe turn of the shoulder. White ground. E. Vanderpool,Hesperia 15, 1946, pp. 128-129, no. 12, pl. 21:1-3; Kurtz, Athenian White
Lekythoi, pl. 1:2.

The figureddecorationon the body was dividedinto a main zone with a predellabelow. Fragmentc comesfrom

206

CATALOGUE For plumeson helmets,cf. 206. The LeagrosGroup(ABV 379, 279). Ca. 510 B.c.

the upper part and preservesa man (head with wreath, shoulder,someof body)to left dressedin a cloak,smellinga flower. Fragmenta shows part of the main zone, with the toesof a humanfootto left, perhapsthat of the man,andthe end of an inscription: Below, someof the predella:a youthin a himationwalking to rightbehinda horse (tail, someof hindquarters and forelegs). The youthholdsa spearand may haveled a horse;the glaze line behindhim looks like a rein. Fragmentb shows moreof the predella,a horseman(backof rider;hindquarters of horse);behindhim, an eagle flying to right. On the left, part of another figure (leg and hand). Red: strip on beard,wreath;borderand dots on cloak;stamensof flower; fillet of youth in predella;line below picturethat continued roundthe vase. A figuredpredellabelow the main zone seems to be unparalleledon lekythoiand probablyowes its inspirationto two other shapes whose use is funerary,loutrophoroi and the which often have below main plaques, figuredpredellas zone. For the white-ground workof Psiax, cf. Mertens,Attic White-Ground, pp. 35-40; Kurtz,AthenianWhiteLekythoi,pp. 9-12. By Psiax or near him (ABV 295, 2; ARV2 8, -).
Ca. 520 B.C. 818 P1. 76 P 16568 No grid

P6999 D11:1 Wall fragment.Max. dim. 0.072. Warrior (right foot and shin with greave) running to right. In the field,diagonally: 3TE on the rightof his leg:

820 PI. 77

1hE
(upsidedown). Red:two lines belowthe figures. The LeagrosGroup(ABV 380, 294).
Ca. 510 B.C.

821 PI. 76

Fragmentof shoulderand body. Max. dim. 0.142; est. diam.0.18. Athena (head with fillet, outstretched left arm with the in over her her helmet it, hand) to right,lookaegis draped ing around, and Hermes (head with petasos) to left. Between the two, Doric column.In frontof Athena'sface, the end of a vine or branch.Abovethe figures,two rowsof dots. On the shoulder,invertedlotus buds with dots in the interstices.Red: fillet; beard. White: Athena'sflesh; dots on the crestsupportof her helmet;abacus. The LeagrosGroup (ABV 379, 277). Ca. 510-500 B.c. G6:3 (U) Wall fragmentwith turn of shoulder.P.H. 0.084; est. diam. 0.133. E. Vanderpool,Hesperia 15, 1946, p. 304, no. 149, pl. 54. Fight. A warrior(some of legs missing) attacksto right with two spears;he wears a low-crestedCorinthianhelmet decoratedwith two plumes. On his left arm, he holds a round shield seen from the inside;over one shoulder,two baldrics.He thrusts his spears into his opponentwho has fallen and is dying (eyes closed).On the right,a companion (head, shoulders)with a round shield (device:female leg) and spearcomesin to help. Abovethe dyingwarrior: woA A [ Above the figures, two rows of dots. Red: rims of shields; band dots on chitonof warrioron left. White:plumes;-arm of shield;baldrics; dots on crestsupportof helmeton right; shielddevice. 819 PI. 76 P1276

P 24104 Q 12:3 Complete except for a few missing pieces of the wall which have been restoredin plasterand painted.H. 0.305; diam.0.123. Glazehas abraded in placesbelowscene.H. A. Thompson,Hesperia 24, 1955, p. 63, pl. 29:a; BCH 79, 1955, p. 214, fig. 2:3; Lang, op. cit. (under 527), ill. 17; Camp, op. cit. (under319), ill. 5; S. R. Roberts,Hesperia 55, 1986, p. 47, no. 317, fig. 29, pl. 10. Introductionof Herakles into Olympos. On the left, Herakles stands to right in his lionskin and short chiton, holdinghis club overhis left shoulder.His bow and quiver are suspendedfrom a baldricover his right shoulder.In front of him is Athenain usual dress,holdinga spear, her left handraisedtowardHermeswho movesto rightlooking around.His left arm is raised with the index and middle fingersextended;in his right hand he holds his kerykeion. the trio, holdinghis kithara.On the rightof Apolloprecedes the scene, facing the processionsits Zeus on a throne, its backendingin the neckand headof a swan. His feet reston a hassock.Behind Zeus stands Hera with her right hand raised.A Doric columnindicatesZeus'spalace.Above,key patternto left. Below,key patternto right.On the shoulder, three up-and-downpalmettesflankedby one upright and one inverted palmette.Red:stripson beards; stripeson cloak of Athena; dots on garments. White: teeth of lionskin; femaleflesh. baldric; 821 sharescertaindetailswith two lekythoibelongingto the Leagros Group: Louvre CA 99 (ABV 379, 282) and Providence 22.216 (ABV380, 284). Comparethe palmettes withoutdotson the shoulderandthe vineswith heavy,closely spaced dots. The general character of the drawing on 821 is similar, but the hand may not be the same. For the key pattern above and below the figures, a very rare use of this ornament, cf. three by the Cactus Painter (key pattern always to left): Berlin, inv. no. 3260 (ABL, p. 198, no. 1); Berlin, inv. no. 3261 (ABL, p. 198, no. 2; ABV472, 2; Paralip. 212, 2); Boston, M.F.A. 93.102 (ABL, p. 198, no. 3). For the subject, cf. Brommer, Heldensage3, pp. 172-174. Ca. 510-500 B.C.

LEKYTHOI P 8539 D 7:2 822 P1.77 Wall fragment.Max. dim. 0.12. White ground. fromthe hips down) to rightwearA maenad(preserved ing a long chitonand a cloak.In the field,a vinewith grapes. Below the figures,net pattern.Red:borderof cloak;dotson chiton;two lines below the scene. The net patternbelow the figure zone is rare. Compare KarlsruheB 306 by a painter of the Capodimonte Group (Paralip. 214, 2). For the net patternbetweentwo lines of dilute glaze above and below, cf. two others in this group where it appears above the figures: New York, M.M.A. 06.1021.62 (Paralip.214, 1) and Cambridge5.1963 (Paralip. 214, 10). The drawingon 822 is similar,and the piece may belongto this group.
Ca. 500 B.C.

207

Red:stripesand panelson endsof their staffsare preserved. helmetof fallen;greavesof warrioron right;two garments; lines below scenethat continueroundthe vase. White:sections of helmetcrestof fallen;device. The PhanyllisGroup:B, the Groupof the ArmingLekythoi (Paralip.205).
Late 6th century B.C.

P 15443 B21:21 823 H. 0.132; diam. 0.062. Top of handle,most of shoulder, fragmentsof wall restored.Burned. Much of the glaze is gone. R. Young,Hesperia20, 1951, p. 101, Grave19, no. 4, pl. 46:a 4. Greek pursuing a centaurto right, the centaurlooking around. On the right, a woman fleeing to right. On the shoulder,threepalmettes? Late 6th centuryB.C. 824 PI. 77 P 19137 C 18:4 Fragmentof shoulderand wall. Max. dim. 0.08. Warriorleavinghome (headand shoulderof womanand of youth holdinga spear,both to left). On the shoulder,invertedlotus buds. Red:fillets.White:woman'sflesh. The PhanyllisGroup:B, the Groupof the ArmingLekythoi (ABV 463, 7). Late 6th centuryB.c. P 19136 C 18:4 825 P1.77 Wall fragmentwith startof shoulder.Max. dim. 0.118. Warriorleavinghome to left. Shielddevice:okladias.On the left, the back of a head. On the shoulder,invertedlotus buds. Red: helmet;greaves;line below scene.White:shield device. Beazley (ABV 463, 8) thoughtthat 825 and 824 might belongto the same vase. This, however,is unlikelybecause the shoulderpatternsare of differentsizes,the wall of 824 is thicker,and the clay is lighterin colorthan 825. The PhanyllisGroup:B, the Groupof the ArmingLekythoi (ABV 463, 8). Late 6th centuryB.C. P 24544 Q 12:3 Mouth, neck, shoulder,handle, much of wall missing. P.H. 0.16; diam.0.09. Fight. Combatover a fallen warriorbetweenonlookers, each with a staff. The warrior (head, right arm, legs) has fallen facedownwardto left holdinghis shield(device: three balls). The end of his helmetcrestfollowsthe law of gravity. Of the two fighters,only parts of their legs remain;of the the lowerpartsof theirchitonsandcloaksandthe onlookers, 826

P 24360 Q12:3 827 P1.77 Part of wall missingin back.H. 0.266; diam.0.111. Armingscene.A youthstandsto rightaboutto put on his left greave.His Corinthian helmetis on the ground.In front of and behind him are two male onlookers,each with a spear. On the shoulder:invertedlotus buds;above,tongue pattern.Red:hair of youth donninggreaves;filletsof outer two onlookers; line on top of greaves;stripeson garments; foot.White:corslet(mostlyflaked);crestof helmet. The PhanyllisGroup:B, the Groupof the ArmingLekythoi, but shapenot Phanyllis(Paralip.206). Late 6th centuryB.C. P 24362 Q 12:3 Very fragmentary.P.H. 0.165; diam. 0.111. Only the mouth,neck,someof shoulder,and upperpart of wall preserved.Much of the glaze firedred. S. R. Roberts,Hesperia 55, 1986, p. 36, no. 97, fig. 25. Warriorsleavinghome.On the left is a youth(head,most of drapery)to rightfacinga warrior(helmeted head,partof shield)holdinga spear.Behindthe warrior,a woman(head, shoulders)to right holdingout her drapery,facinga second warrior (helmetedhead, shield: dolphin for device) with to left, holding spear.On the right,a youth(partof drapery) a spear.On the shoulder: invertedlotusbuds;above,tongue pattern. Red: fillets on helmets;dots on rims of shields; stripes and segmentsof garments.White: woman's flesh; dotson helmetcrests;shielddevice. The PhanyllisGroup:B, the Groupof the ArmingLekythoi, but shapenot Phanyllis(Paralip.206). 828
Late 6th century B.C.

829

P 17963 A 18:2

H. 0.172; diam. 0.093. Fragmentof mouth and some of shoulderand wall restored.Burned.Much of the surfaceis worn.R. Young,Hesperia20,1951, p. 109, Grave50, no.2, pl. 48:b 2. Hoplite leavinghome.The hoplitestandsto left with his helmet, round shield, and greaves, between two draped youths facinginward,each with a spear. On the shoulder, an upright palmettewith base links, between drapedfigures. Red:groundline. The Phanyllis Group: E, the Group of the Hoplite(ABV 465, 20). leaving-home
Ca. 510-500
B.C.

830

P 17964 A 18:2

H. 0.17; diam. 0.086. Fragmentsof mouth,neck, shoulder, and wall restored.Someof the glaze is flaked.Burned. R. Young, Hesperia 20, 1951, p. 109, Grave 50, no. 3, pl. 48:b 3.

208

CATALOGUE The Phanyllis Group: E, the Group of the Hoplite(ABV 465, 40). leaving-home
Late 6th century B.C.

Hoplite leavinghome.He standsto left wearinga helmet and greaves, holding his shield and spears, between two drapedonlookers(feet, lower draperyof pair on the right missing)on eitherside, holdingspears.On the shoulder,an upright palmette on base links, between draped figures. Red:hangingfolds of garments; greaves;alternateleavesof palmette. The Phanyllis Group: E, the Group of the Hoplite(ABV 465, 21). leaving-home
Ca. 510-500 B.C.

835 P. 77

831 PI. 77

P 15247 B21:3

H. 0.194;diam. of shoulderandwall restored. Fragments 0.09. R. Young,Hesperia20, 1951, p. 99, Grave 17, no. 1, pl. 45:a 1. Hoplite standingto left, armedwith a spear and shield (device:dolphin),betweentwo drapedyouthson each side, holdingspears.On the shoulder,an uprightpalmetteon two links of chain,betweentwo drapedyouths.Red:helmetand alternatepetals greaves; hangingfolds;stripeson garments; of palmette; line on top of mouthand at junctionof neckand shoulder;two lines below scene that continue round the vase;line at outeredgeof foot.White:device. The Phanyllis Group: E, the Group of the Hoplite(ABV 464, 18). leaving-home
Late 6th century B.C.

832

P15248

B21:3

Some of wall restored.H. 0.194; diam. 0.092. Surface and pitted).R. Young,Hesperia badlydamaged(splintered 20, 1951, p. 99, Grave 17, no. 2, pl. 45:a 2. coloras 831. and accessory decoration, Composition, The Phanyllis Group: E, the Group of the Hoplite(ABV 464, 19). leaving-home
Late 6th century B.C.

Q12:3 Lowerpartof wall, footmissing.P.H. 0.134;diam.0.13. Athena (head,shoulders,hands holdingreins and goad) mountingor standingin a chariotto right.On the left sideof the teamis Herakles(head,shoulders) with his lionskinand club. The heads,necks,shoulders,and backsof the horses remain.In the field,branches with fruit.Above,key pattern to right. On the shoulder: sevenuprightcircumscribed palmettes with dots; above, tongue pattern.On the neck, ivy with dotsin clustersof three.Red:fillet roundAthena'shelmet,top of helmetcrest;doton garment; manes,breastband of right-hand tracehorse;line at junctionof neckand shoulder.White:Athena'sflesh;pendants of breastband;studson fruit. headstalls; For the unusual ivy wreath, cf. four by paintersof the PhanyllisGroup:Toledo29.49 (ABL,p. 199, no. 15; CVA, Toledo 1 [USA 17], pl. 29 [809]); Athens, N.M. 12274 (ABL, p. 199, no. 14, pl. 19:1);Athens, N.M. 574 (ABL, p. 200, no. 23, pi. 19:3);Los Angeles,Mrs. AaronDechter, 3. Dec., 1973,no. 142; attributed by Bothmer(Cat.Sotheby, no. 148, Brommer,Heldensage3, 9); also, Laon 37890, p. attributed to nearthe Gela Painter(CVA,Laon by Bothmer 1 [France20], pl. 13 [885]:1, 2); and Laon 37891, unattributed(CVA,Laon 1 [France20], pl. 13 [885]:3-5). of the PhanyllisPainter(Paralip.204). Workshop
Late 6th century B.C.

P24545

836

P 17962 A 18:2

833

P 22180 Q7:1 of Two non-joiningfragments shoulder,neck, and wall. Max. dim. a) 0.078, b) 0.085. Grooveat thejunctionof the neckand shoulder. a, fromthe bodyof the vase,showsa nudemale Fragment (legs,one armwith spear)to rightanda drapedyouthfacing him, holding a staff. Fragmentb, from the shoulder,preserves part of two youths (head of one; most of the other except for lower parts) facing a palmette. Red: hanging and of left youth hair of spectator folds,panelson garments; two frondsof palcoresof rosetteson garments; on shoulder; mettes;line at junctionof neckand shoulder.White:dotsof rosettes. The Phanyllis Group: E, the Group of the Hoplite(ABV 465, 37; Paralip.206, 37). leaving-home
Late 6th century B.C.

Small fragmentsmissing.H. 0.15; diam. 0.074. Burned. Most of the surfaceis worn. R. Young,Hesperia20, 1951, p. 109, Grave50, no. 1, pl. 48:b 1. Athletesand trainer?A trainersits to right on an okladias, spear or staff in hand. On each side, a nude youth to right, the one on the right lookingaround.On the far right and left, a drapedspectator facinginward.On the shoulder, on eachside. a five-petaled with a spiralornament palmette Relatedto 829 and 830 (ABV 466).
Ca. 510-500 B.C.

834

P 16793 G 15:1 Fragmentof shoulderand wall. Max. dim. 0.095. On the body,youth(headwith fillet,endof staff) to right. On the shoulder,a drapedyouth to right;frondsof a palmetteat the break.Red:fillet;folds;alternatefrondsof palmette;line at junctionof neckand shoulder.

P 15455 B21:12 837 P1.78 Mouth chipped,otherwiseintact.H. 0.144; diam.0.065. Glaze dull. R. Young,Hesperia20, 1951, p. 97, Grave 15, no. 1, pl. 44:a 1. of one on the left Fight. The trio of warriorsis composed first turns of whom the tail, lookingaround. attackingtwo, Each carriesa shield (devices:three balls). No spears.On the shoulder,cock to left, between ivy leaves. Red: fillets round helmets;devices;dots on chitons;baldrics;comb of cock,threestripeson its body. The CockGroup(ABV 467, 14).
Late 6th century B.C.

838

P 4888 a E-F 12-14

of shoulderand wall. Max. dim. 0.051. Fragment Fight.A warrior(preserved exceptfor his left arm,lower

LEKYTHOI part of left leg), dressedin a shortchitonand a helmet,runs to rightlookingaround.The rim of his shieldappearsat the break;a baldrichangsfromhis rightshoulder.On the right, part of another warrior (left thigh with borderof chiton; roundshield). On the shoulder,cock (partof tail and sickle feather).Red: rims of shields;fillet on helmet;baldric;dots on chiton. The CockGroup (ABV 467, 16).
Ca. 500
B.C.

209

P 15250 B21:3 H. 0.155; diam. 0.072. Part of wall restored.Surface muchdamaged; glaze almostentirelygone. R. Young,Hesperia 20, 1951, p. 99, Grave 17, no. 5, pl. 45:a 5. Figure'(lower partof drapery)seatedto righton an okladias, a standingfigurefacing.On the shoulder,a cock.Red: stripeon wing of cock. The CockGroup(ABV 467, 23).
Late 6th century B.C.

843

839 P1.78 P 24335 Q 12:3 Handle mended;top missing. P.H. 0.135; diam. 0.055. Dentedin firing.Glaze firedred. A warriorto right attacksanother Fight, with spectators. who flees lookingaround,his spearpoised.On the rightand left, a drapedspectatorholding a staff. On the shoulder,a cockto right,betweenivy leaves.Red:fillets;stripeson garments;rims of shields;stripeson cock.White:baldric. The CockGroup (Paralip.209).
Late 6th century B.C.

844

P 20749 R 12:1

Mouth, neck, and handle missing. P.H. 0.11, diam. 0.061. Warriorleavinghome. The warriorstandsto left, holding his shield (device:ball) and two spearsbeforea woman seatedon an okladias,her flesh left black.On the right and left, a spectatorholding a staff. Cloak hanging in background.On the shoulder,cockto right, betweenivy leaves. Red:fillets;stripeson garments; rim of shield,device. The CockGroup(ABV 467, 24).
Late 6th century B.C.

P 23355 H 12:15(L) Fragment of body and shoulder. P.H. 0.064. Figure decoration on white ground. Fight. A warrior(preserved exceptfor headand left arm) movesto right pursuingor confronting another(shieldheld in profileview). On the left, a man holdinga staff or spear. Tracesof budson the shoulder.Red:man'sfillet,stripesand dotson his cloak;rim of shield. The CockGroup (Paralip.209).
Ca. 500
B.C.

840 PI. 78

845

P 20747 R 12:1

Mouth missing.P.H. 0.125; diam.0.062. Chip in foot. coloras 844. Composition, subject,and accessory The CockGroup(ABV 467, 25).
Late 6th century B.C.

841 PI. 78

P 15456 B 21:12

Handle, much of wall in back restored.H. 0.144; diam. 0.067. R. Young,Hesperia20, 1951, p. 97, Grave 15, no. 2, pl. 44:a 2. Departureof warrior.The warrior,armedwith a shield (device:three balls) and spear, standsto left beforea man seatedto right on an okladias.On each side, a drapedspectator facing inward holding a staff or spear. On the wall hang fillets. On the shoulder,a cock to right, between ivy leaves. Red: fillets of spectatorsand on helmet;stripes on and hangingfoldsof drapery; device;four stripeson cock. The CockGroup (ABV 467, 21).
Late 6th century B.C.

P 4888 b E-F 12-14 Fragmentof shoulderand wall. Max. dim. 0.055. Warriorleavinghome.The warrior(helmetedhead,rim of his shield,partof his spear)standsto left. In frontof him are tracesof anotherfigurewith two spears.The patch of glaze betweenthem may representa hangingcloak.On the shoulder,a cock (body,tail, one leg) to left. Red: fillet on helmet; shield device (ball?), dots on rim. White: sickle feather. The CockGroup(ABV467, 26).
Ca. 500 B.C.

846

842 P15249 B21:3 Partof mouth,fragments of bodyrestored. H. 0.15;diam. 0.074. R. Young,Hesperia20, 1951, p. 99, Grave 17, no. 4, pl. 45:a 4. Compositionand decorationas 841. Red: fillets round heads and helmet; stripes on garments;rim of shield and device (missing, but for a small bit that is unintelligible); threebandson bodyof cock;line on insideedgeof mouth. The CockGroup (ABV 467, 22).
Late 6th century B.C.

G6:3 (U) Mouth, handle, part of neck, all of foot missing. Rest. H. 0.12; diam. 0.061. E. Vanderpool,Hesperia 15, 1946, p. 302, no. 139, pl. 53. Dionysos seated to left on an okladias holding a kantharos.On each side, a satyrrunningto left, the one on the left lookingaround.In the field,branches. On the shoulder, a cockto right, betweenivy leaves. Red: beards;forelocks; tails;stripeson garment. The CockGroup(ABV 468, 50).
Late 6th century B.C.

847 P. 78

P1278

848 P1.78

P16792

G 15:1

Mouth, neck, handle, some of wall missing. P.H. 0.11; diam.0.07. Glaze firedred on one side. Dionysosbetweentwo satyrs,all to right.The headof the satyr on the right, now missing, was probably turned around.On the shoulder,a cockto left, betweenivy leaves. Red: beards; tails; stripes on garments;wattles, comb, stripeson cock.

210
The Cock Group (ABV 468, 52; Paralip. 208, 52). Late 6th century B.C.

CATALOGUE
A draped youth sits to right on an okladias holding a staff, facing a nude youth who moves to right looking around, holding a staff or a spear in his right hand and a cloak over his left arm. Flanking the two, draped spectators each holding a staff. Cloak hanging on wall. On the shoulder, a cock to left, between ivy leaves. Red: fillets; stripes and dots on garments. The Cock Group (ABV 469, 76). Late 6th century B.C.

849 P1.78 P 20746 R 12:1 Mouth missing.Chip in foot. P.H. 0.128; diam.0.061. Satyr pursuing maenad to right, the maenad looking around.On each side is a spectatorholdinga staff. On the shoulder,a cock to right, between ivy leaves. Red: fillets;
stripes and dots on garments; beard and forelock of satyr. The Cock Group (ABV 469, 60). Late 6th century B.C. 850 P 11989 N 20:8

855

P 15271 B21:18

Part of mouth and handle, some of shoulder and wall missing. H. 0.125; diam. 0.06. Surface very worn. Composition and subject as 849. Red: fillets; bars on wings and tail of cock. The Cock Group (ABV 469, 59). Late 6th century B.C. 851 P15251 B21:3

Complete except for a chip on side and foot. H. 0.132; diam. 0.065. Surface very worn in places. R. Young, Hesperia 20, 1951, p. 102, Grave 20, no. 1, pl. 46:d. Subject and composition as 854. Red: fillets; stripes and dots on garments. The Cock Group (ABV 469, 77). Late 6th century B.C.

856

P 15457 B21:12

A few fragments of wall restored. H. 0.145; diam. 0.068. Glaze much flaked. R. Young, Hesperia 20, 1951, p. 99, Grave 17, no. 3, pl. 45:a 3. Composition and subject as 849. Fillet hanging on wall. Red: fillets; upper part of maenad's garment, large dots on her skirt; satyr's tail and beard; hanging folds of spectators' cloaks; stripes on cock; line on top of mouth; line below figures. The Cock Group (ABV 469, 63). Late 6th century B.C. 852 P 1302 G 6:3 (U)

Lower half and foot preserved. P.H. 0.073. R. Young, Hesperia 20, 1951, p. 97, Grave 15, no. 3, pl. 44:a 3. Athletes (legs) moving to right with javelin, between draped spectators (lower parts) with staffs. Red: strip on hanging fold of spectator on right. The Cock Group (ABV 469, 82). Late 6th century B.c. 857 P1. 78 P 15649 B 20:3

Rest. H. 0.15; diam. 0.164. Mouth, neck, handle, part of shoulder and wall restored. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 141, pl. 53. Composition and subject as 849. Red: forelock of satyr; two lines below the figures. The Cock Group (ABV 469, 66). Late 6th century B.c. 853 P 24474 Q 12:3

Mouth, neck, handle, shoulder, and some of wall missing. P.H. 0.10. R. Young, Hesperia 20, 1951, p. 98, Grave 16, no. 2, pl. 42:d 2. Herakles and the Lion, between two draped figures standing to left, each holding a staff. Head and shoulders of one on the right missing. Red: fold of garment of figure on right; forelock and beard of Herakles; mane. For the subject, cf. 394. The Cock Group (AB V 470, 100). Late 6th century B.c.

Mouth, foot, part of wall missing. P.H. 0.109; diam. 0.064. Maenad to right looking around, between satyrs who face inwards (part of one on the right missing). In the field, leafless branches. On the shoulder, a cock to left, between ivy leaves. Red: forelocks and beards; stripes and dots on maenad's garment; stripe on cock; line below scene; spill of red on shoulder and body between maenad and satyr on left. White: maenad's flesh. The Cock Group (Paralip. 211). Late 6th century B.c. 854 P15375 B21:7 Fragments of shoulder and wall restored. H. 0.127; diam. 0.064. R. Young, Hesperia 20, 1951, p. 96, Grave 14, no. 1, pl. 43:c.

858 P1.78

P 19289

B 18

Wall fragment with turn of shoulder. Max. dim. 0.083. Greek and centaur. A nude youth (preserved except for some of his right side) with spear or staff pursues a centaur (head, torso missing) galloping to right, his right arm outstretched, a stone in his hand. At the far right, the foot and drapery border of a woman running to right. On the shoulder, a cock (part of tail). Red: fillet; line below scene; bar on tail. For the subject, cf. 118. The Cock Group. Late 6th century B.C. 859 G 6:3 (U) Fragment of shoulder and wall. Max. dim. 0.04. E. Vanderpool, Hesperia 15, 1946, p. 307, no. 173, pl. 55. P 2669

LEKYTHOI
Youth (head and shoulders) standing to left. On the shoulder, cock (part of legs) and leaf (part). The Cock Group (ABV 470, 104). Late 6th century B.C. 860 P 1312 G 6:3 (U)

211

AG Basel, 13, Dez. 1969, no. 80). For the motif of Athena

holdingout her aegisoverher left arm,cf. CVA, New York

4 [USA 16], p. 67. For the Gigantomachy, cf. 183.
Ca. 500 B.C.

865

P 1161 G15:1

Fragmentary. Rest. H. 0.15; diam. 0.064. Mouth, neck, handle, some of shoulder and wall, all of foot restored. E. Vanderpool, Hesperia 15, 1946, p. 303, no. 144, pl. 53. Between eyes, a warrior (head, some of back missing) running to left, looking around (his chest is frontal). Above, two hanging cloaks. On the shoulder, a cock to right, between leaves. Red: dots on chiton; irises of eyes. The Cock Group (ABV 470, 107). Late 6th century B.C. 861 P1. 78 P 11988 N20:8

Wall fragment. Max. dim. 0.024. Satyr (most of head, body, limbs) dancing to right. Red: hair. Ca. 500 B.C. 866 P1151 G15:1

Preserved except for part of mouth. H. 0.133; diam. 0.065. Burned. Between eyes, a woman running to right, looking around. Her flesh was left black. On the shoulder, a cock to left, between ivy leaves. Red: hair; stripes on cloak; irises of eyes. The Cock Group (ABV 470, 108; incorrectly cited in Paralip. 209, 58). Late 6th century B.C.

Mouth, part of neck missing. Rest. H. 0.062; diam. 0.05. Much of body, some of foot restored. Four youths with spears. The first two (lower legs, head, and shoulder of one; forelock and feet of the other) stand to right; the third (face, one arm, lower legs missing) also stands to right but with head turned around, a chlamys over his arms; the fourth (feet missing) faces left. On the shoulder, a hound and a hare to right. Red: fillets; stripes on garments; collars of hounds and hares. Ca. 500 B.C.

867

P 1286

G 6:3 (U)

862 P1.78

P 20748

R 12:1

Mouth missing. P.H. 0.12; diam. 0.058. Glaze fired red in part. Between eyes, sphinx to right with head turned around. On the shoulder, cock to right, between ivy leaves. Red: irises of eyes; marking on hindquarters of sphinx. The Cock Group (ABV 470, 113). Late 6th century B.C. P2560 G 6:3 (U) of Mouth, neck, handle, part shoulder, wall, and foot P.H. diam. 0.044. Some of the glaze is 0.095; missing. abraded. E. Vanderpool, Hesperia 15,1946, p. 303, no. 146, 863

Wall fragment. Max. dim. 0.031. Fight. Warrior (legs) to right facing another (leg) armed with a Boeotian shield (device: dot and arc). White: device. Ca. 510-500 B.C. P 12230 bis No grid Wall fragment. Max. dim. 0.077. E. Vanderpool, Hesperia 15, 1946, p. 134, no. 27, pl. 23:5. Woman or maenad (lower part of garment, feet) striding to right, overlapping a male (satyr?) whose foot with raised heel appears between her two feet. Red: dots on drapery; two lines under scene. White: woman's flesh. Late 6th century B.C.
THE LEKYTHOS-PAINTERS, II: THE GELA PAINTER

868

pl. 53.

869-883

Composition and decoration as 862. Red: irises of eyes; shoulder of sphinx. The Cock Group (ABV 470, 112). Late 6th century B.C. 864 P1. 78 P 24904 R 12:4

869 PI. 79

P 24106 Q12:3

Wall fragment. Max. dim. 0.046. Athena and a giant. The goddess (aegis over outstretched left arm, end of spear held poised) strides to right about to plunge her spear through the shield (device: tripod) of a giant who collapses to right. On the right, at the break, a bit of glaze that looks like the end of a helmet crest. White:

shielddevice.
The composition was probably similar to one on a whiteground alabastron in the Basel Market attributed to the Diosphos Painter (Auktion XL. Miinzen und Medaillen

H. 0.265; diam. 0.102. Handle restored in plaster and painted. Decoration on white ground. B. Sparkes and L. Talcott, Pots and Pans of Classical Athens (Agora Picture Book 1), Princeton 1958, ill. 32; BCH 79, 1955, p. 214, fig. 2:2; S. R. Roberts, Hesperia 55, 1986, p. 36, no. 100, fig. 25, pl. 10. Fountain scene. A woman stands to right waiting to fill her hydria with water. The fountain house consists of one step, two pillars supporting the architrave, and a single panther's head spout. On the right, a woman moves off with her jar, which she has just filled. On the right and left of the scene, a Doric column. In the field, branches. Above, net pattern. On the shoulder, three up-and-down palmettes with dots in the interstices, between an upright palmette and

212

CATALOGUE white ground.S. R. Roberts,Hesperia55, 1986, p. 36, no. 102, fig. 26. Two bullsat a laver,a palmtreein the background. Nonsenseinscriptions; aboveleft bull: INMAb in frontof left bull: NA in frontof rightbull:
Nl

a hanging lotus at each side of the handle. Above,tongue pattern. For fountainsand fountainhouses,cf. 642. The Gela Painter (ABV 715, -, 9 bis; Paralip. 214, 9 bis).
Ca. 500
B.C.

870 PI. 79 P 24105 Q12:3 H. 0.33; diam. 0.127. Completeexcept for small missing in plasterand painted.Smalldenton shaftof piecesrestored columnand belowhandle.Glaze has drippedor splashedon body below handle. BCH 79, 1955, p. 214, fig. 2:1; S. R. Roberts,Hesperia55, 1986, p. 36, no. 101, fig. 25, pl. 10. Man wearinga wreathand himationmountsa chariotto right, accompanied by a dog on the left side of the horses' forelegs.On the far right, a Doric column.Above,key patternto right.On the shoulder,threeup-and-down palmettes with dotsin the interstices, betweenan uprightpalmetteand a hanging lotus at each side of the handle. Above,tongue pattern.Red:two lines below scene.White:wreath;dotson garment; markingon withersof right-hand pole horse;belly stripeof dog. The Gela Painter(ABV715, 11 bis;Paralip.214, 11 bis).
Ca. 500
B.C.

and N

I I NN

aboverightbull:

NAI
On the shoulder,three up-and-downpalmetteswith dots betweenhorizontallotuses,one at each side of the handle; above,tongue pattern.On neck, ivy; above,key patternto right. The Gela Painter(ABV715, 16 ter).
Ca. 500
B.C.

871 PI. 79

P 14945 F 19:5

Mouth, top of handle,someof bodymissing.P.H. 0.119; diam.0.071. Foot in two degrees. Men courtingwomen.On the left is an old man seatedto right, holding a staff. The action takes place between columns.The pairon the left stand,embracing, the manin a cloak, the woman in a chiton and cloak, a sakkoson her head.The secondpair is similarlydressedand each holdsa of each flower,but the womanis seated.Someof the drapery is missing. In the field, nonsenseinscriptions; on right of firstcolumn: I NN on left of secondcolumn: FENI betweensecondcouple: NN Above, net pattern. On the shoulder:three up-and-down palmetteswith dots, between an upright palmette and a hanginglotus at each side of the handle;above,tonguepattern.Red:beardand forelock of man on right;dotson women's draperyand on cloakof suitoron left;line atjunctionof neck;two lines below scenethat borderthe blackband,one below the reservedband under the picture,anotherat the top of the foot. White: hair; beard and fillet of old man; women'sflesh;dotson sakkosand on all drapery. The Gela Painter(ABV 474, 16).
Ca. 500 B.C.

P 1331 G 6:3 (U) P.H. diam. 0.107. 0.187; Mouth,neck,partof Fragment. shoulder and wall. E. Vanderpool,Hesperia 15, 1946, p. 298, no. 119, pl. 50. Apollo seated to right on an okladias,holding his lyre. Behind him, a goddess (some of draperymissing) to left On the right at the lookingaround,one arm outstretched. of traces another In the break, field, a vine with figure. the shoulder: On three with grapes. up-and-down palmettes dots, betweenan uprightpalmetteand a hanginglotus at each side of the handle;above,tonguepattern.Red: fillets; dotson drapery.White:femaleflesh;endsof armsof lyre. The Gela Painter(ABL, p. 207, no. 35; ABV 473, 35).
Ca. 500 B.C.

873

P1269 G6:3(U) H. 0.15; diam. 0.059. Handle, some of shoulder,wall, and footrestored in plasterand painted.Figureddecoration on white ground.E. Vanderpool, Hesperia15, 1946,p. 298, no. 117, pl. 49. Winged male charioteer (Helios?) driving a team of wingedhorsesto right.Above,net pattern.On the shoulder: three up-and-downpalmetteswith dots, between inverted lotuses,one at eachsideof the handle;above,tonguepattern. Red: strips on manes and tails, forepartsof horses'wings and strips on upper parts;part of chariotbox; line at each three edge of mouth;line at junctionof neck and shoulder; lines below scene. The Gela Painter(ABL, p. 209, no. 97; ABV 473, 97).
Ca. 490 B.C.

874 PI. 79

875

P 2569 G 6:3 (U)

P 24067 Q12:3 872 PI. 79 Rest. H. 0.146; diam. 0.066. Completeexcept for foot which is restoredin plaster and painted. Decorationon

Mouth, handle, fragmentsof wall missing. P.H. 0.218; diam. 0.093. Decorationon white ground.E. Vanderpool, Hesperia15, 1946, p. 298, no. 118, pls. 49, 50. Apollo (partof draperymissing)walks to right,bearded, wearinga longchitonandholdinga lyre.In frontof him is a

LEKYTHOI deer, and on the right standsArtemis(headmissing)facing the two and reachingout to touch the deer'shead. Behind her is a Doric column. On the left side of the deer is the threeupDelian palm.Above,net pattern.On the shoulder, and-downpalmettesbetween hanging lotuses, one at each side of the handle; above, tongue pattern. Red: dots on drapery. The Gela Painter(ABL, p. 210, no. 101;ABV 473, 101). Ca. 490 B.C. 876 P 1343 G 6:3 (U) Mouth, handle,partof neck,shoulderandwall, all of foot restored.Rest. H. 0.245; diam. 0.089. E. Vanderpool, Hesperia 15, 1946, p. 298, no. 120, pl. 50. Dionysosreclining,flankedby a satyr and a maenadon the left and a satyron the right. Part of the bodyand legs of the satyr on the left, some of Dionysos' drapery,the face, mostof the body,partof the legs of the satyron the rightare missing.In frontof the couchis a table with piecesof meat hangingfromit and bread.In the field,a branchwith fruit. Above,ivy. On the shoulder:three up-and-downpalmettes between hanging lotuses at each side of the handle;above, tongue pattern.Red: beards;stripeson garments; strips on meat.White:femaleflesh;dotson garments; fruit;bread. The Gela Painter(ABL, p. 210, no. 118;ABV 473, 118).
Ca. 490 B.C.

213

Two groupsof athletes.The firstshowsa trainerto right holding a wand with a diskobolosand an akontist (torso, head, part of left arm missing)facing.The secondshows a trainer (upper half missing) and diskobolos, both to right. Betweenthe two groups,an aulosplayer(lowerdrapery)to right, wearing a long decorativegarment. Nonsense inin frontof traineron the left: scriptions;
Lv, NN

betweenthe firsttwo athletes:

I NHJ

threeup-andAbove,key patternto right.On the shoulder: with dots,betweenan uprightpalmetteand downpalmettes a hanging lotus at each side of the handle;above,tongue and beards;dotson garmentsof aupattern.Red:forelocks los player and secondtrainer;line at junctionof body and neck;two lines below scene. White: diskoi;part of aulist's garment. For the decorative costumeof the aulist, cf. Moore and Bothmer,CVA,New York4 [USA 16], p. 65. The Gela Painter(Paralip.216).
Ca. 500-490 B.C.

877 P1.79

P 2648 G 6:3 (U)

Fragmentof shoulderandwall. Max. dim.0.087. Dent in wall near Hermes. E. Vanderpool, Hesperia 15, 1946, p. 299, no. 121, pl. 51. Herakles (drapery) and Hermes (head, upper body) reclining,the god lookingaroundat the hero. Abovehang the quiverand club, and on the far left, the sheathedsword. Above, key pattern to right. On the shoulder, palmettes (partof one). Red:beard;brimof petasosand stripon wing; part of quiver and flap; dots on drapery.White: crown of petasos;loop of quiver;dot clusterson garments. The Gela Painter(ABL,p. 213, no. 167;ABV473, 167). Ca. 500 B.C. P 24537 Q12:3 Mouth, part of shoulderand wall missing. P.H. 0.273; diam.0.114. Dionysosseatedto right on a block,holdinghis drinking horn. Behind him, a satyr to right, and in front of him anotherwalking away but looking around.On the left, a large rock (cave?). In the field, brancheswith grapes and fruit. On the shoulder:three up-and-downpalmetteswith dots, between an upright palmetteand a hanging lotus at each side of the handle;above,tonguepattern.Red: line at junctionof body and neck;three lines below scene. White: wreathsheld by satyrs;dotson cloak;cushion;fruit. The Gela Painter(Paralip.215). Ca. 500 B.c. P 24538 Q 12:3 of wall shoulder and Handle, part missing. H. 0.323; diam.0.114. 879 P1.79 878 P1.79

P 24533 Q 12:3 Fragmentsof wall missing.H. 0.295; diam. 0.107. S. R. Roberts,Hesperia55, 1986, p. 38, no. 105, fig. 27. Dionysoson an ithyphallicdonkeyto right with a satyr and a maenadon each side. The pair on the left move to rightwith handsraised.The maenadof the secondpair also movesto right but looksaround,and the satyrfacesleft. In the field, brancheswith fruit. On the shoulder:three upand-down palmettesbetween an upright palmette and a hanginglotus at each side of the handle;above,tonguepattern. Red:filletsof maenadsand Dionysos;beards; forelocks of satyrs;dotson drapery; strip on mane;line at junctionof body and neck;two lines below scene.White: femaleflesh; fruit. muzzle;contourof chest,belly stripeof donkey; Might be by the Gela Painter(Paralip.216). Ca. 500-490 B.C. P 24534 Q 12:3 Mouth, part of neck, shoulder,and wall missing. P.H. 0.272; diam.0.113. S. R. Roberts,Hesperia55, 1986, p. 38, no. 106, fig. 27. Dionysos recliningon a cushion on the ground,with a with satyrand a maenadon eachside. In the field,branches grapes and berries. On the shoulder:three up-and-down palmettes with dots, between an upright palmette and a hanginglotus at each side of the handle;above,tonguepattern. Red:filletsof maenads and Dionysos; forelocks beards; of satyrs;dotson garments; line atjunctionof bodyandneck; two lines below scene. White: female flesh;dot clusterson fruit. garments; be Might by the Gela Painter(Paralip.216). Ca. 500-490 B.c. P 24536 Q 12:3 882 P1.80 H. 0.137; diam. 0.115. Handle, some of shoulder and in plaster. wall missingand restored 881

880 PI. 80

214

CATALOGUE
For the theme, cf. 171. The Edinburgh Painter (Paralip. 218). Ca. 510-500 B.C. 886 PI. 80 P 24743 P 17

Satyr and maenads. Three maenads (foot of one; all of next two but for most of head and shoulder of one on right) move to right, the middle one looking around. On the right, a satyr to left. In the field, branches with fruit. On the shoulder: three up-and-down palmettes with dots, between an upright palmette and a hanging lotus at each side of the handle; above, tongue pattern. Red: eye and fillet of second maenad; forelock and beard; dots on garment; line at junction of body and neck; two lines below scene. White: female flesh; fruit. Might be by the Gela Painter (Paralip. 216). Ca. 500-490 B.c. 883 P 24535 Q 12:3

Fragment of shoulder and wall. Max. dim. 0.05. Warrior to right. All that remains is the crest of his helmet with the support growing out of the tail of a hound. Above the figures, dots. On the shoulder, circumscribed palmettes (part of one). Red: line on crest. For a dog as a crest support, cf. London, B.M. B 209 by Exekias (ABV 144, 8; Paralip. 60, 8) and Louvre G 1 by the

Mouth, part of shoulder, large area of wall missing. P.H. 0.286; diam. 0.12. Dent behind Dionysos. Dionysos (drapery) seated to right with a satyr and a maenad on each side, as 880. Of the pair on the right, one arm and the feet of the maenad, the head, shoulders, and feet of the satyr remain. In the field, branches with fruit. Above, net pattern. On the shoulder: three up-and-down palmettes with dots, between an upright palmette and a hanging lotus at each side of the handle; above, tongue pattern. Red: forelocks and beards of satyrs; dots on garments; line at junction of shoulder and neck; two lines below scene. White: female flesh; dot clusters on garments; fruit. Might be by the Gela Painter (Paralip. 216). Ca. 500-490 B.C.
THE LEKYTHOS-PAINTERS, III: THE EDINBURGH

Andokides Painter(ARV2 3, 2; Paralip.320, 2). Recallsthe Edinburgh Painter(Paralip.219). Ca. 510-500 B.c.
THE LEKYTHOS-PAINTERS, IV: THE CLASS OF

581 ATHENS

887-1124
887-928

THE CLASS OF ATHENS 581, i

887

P6182

E15:6

PAINTER 884-886

884

P1. 80

P 19748

P-R 6-12

Handle, shoulder, upper part of body preserved. P.H. 0.103; diam. 0.087. Much of the glaze fired red. Fight over fallen. A warrior with shield and helmet, his spear poised, has brought down one armed similarly (each is preserved from the waist up) and is about to attack a second (part of thigh, end of spear, rim of shield) who holds his spear at waist level. On the shoulder: hanging lotus buds with dots in the interstices; above, tongue pattern. The Class of Athens 581, i (ABV 489, 10; Paralip. 223, 10).
Ca. 500-490 B.C.

Wall fragment.Max. dim. 0.042.

Youth (head with fillet and petasos; left shoulder) leading a horse (part of mane and rein) to right, looking around. Red: fillet; stripe on cloak; mane. White: brim of petasos; chiton; dots on edge of cloak; stud on rein. The Edinburgh Painter (ABV 477, 8).
Ca. 500 B.C.

888

P1150

G15:1

885

PI. 80

P 24540 Q 12:3

Three non-joining wall fragments. Fragment a preserves some of the shoulder. Max. dim. a) 0.093, b) 0.05, c) 0.057. Theseus and the Minotaur. Fragment a gives the head, raised right hand and the wrist held by the left hand of Theseus, and the chest of the Minotaur falling to right. A woman, perhaps Ariadne (head, arms, upper torso), faces the monster, her arms outstretched. Behind her, a vertical line (staff of spectator). Fragment b preserves the rump, tail, left arm, and part of one leg of the Minotaur. Fragment c shows the lower drapery (peplos and cloak) and feet of Athena to left, probably looking around, and one leg of Theseus. On the shoulder, up-and-down running palmettes (part of two). Red: spots on neck of the Minotaur; Ariadne's fillet, stripes and dots on her cloak; dots on garment of Athena; two lines below figures. White: muzzle of the Minotaur; flesh of women; dot clusters on Ariadne's dress.

Mouth, some of neck, handle, parts of body, and all of foot restored. Rest. H. 0.194; diam. 0.092. Surface much worn. Warriors leaving home. Man (but for face) seated to right on an okladias wearing a long chiton and cloak, holding a staff. In front of him stands a warrior (legs with greaves; helmet crest) holding two spears, and a man (part of face and body missing), dressed as the seated man, stands to left holding a spear. Behind the seated man, a warrior with helmet, greaves, round shield (device: ?), and spears stands to right followed by another figure (drapery), also to right. On the shoulder: hanging lotus buds with dots in the interstices; above, tongue pattern. Red: rims of shields; edges of greaves; stripes on garments; fillet of figure on right; joints of okladias. White: hair of seated figure. The Class of Athens 581, i (ABV 490, 32).
Ca. 500-490 B.C.

889

P 24109 Q 12:3 of neck foot some and Mouth, missing. P.H. 0.178; diam. 0.085. Warrior mounting chariot to right. On the left side of the team, a winged goddess (Nike) strides to right, looking around. In the field, branches. On the shoulder: hanging PI. 80

LEKYTHOI lotus buds;above,tonguepattern.Red:helmetcrest;stripes on warrior's chiton; manes and tails; breast band; wing bows.White:fleshof goddess; right-handpole horse;dotson edge of warrior'schitonand on wings;dots on each edge of breastband. The Class of Athens 581, i (ABV 716, 75 bis; Paralip. 223, 75 bis).
Ca. 500-490
B.C.

215

two drapedyouths behind him. Of these two, one on the right is probablydepartingfor he is movingand wearsonly a cloak.All hold staffs.On the shoulder: hanginglotusbuds with dots in the interstices;above, tongue pattern. Red: stripeson cloak;beardand fillet of seatedman. White:dots on cloakof seatedman. The Classof Athens581, i (Paralip.224).
Ca. 500-490
B.C.

P24055 Q12:3 H. diam. 0.088. Complete. 0.203; Dionysos,recliningon a couchwith Ariadneseatedat his feet, and satyrs.Ariadneholds a fillet. Pieces of meat hang fromthe table in frontof the couch.On the right and left, a satyrto right, the one on the right lookingaround.The one on the left holdsa fillet. In the field,branches with fruit.On the shoulder: lotus buds with in dots the interstices; hanging above,tongue pattern.Red: beards;tails; leavesof wreath; dots on drapery;line below scene. White: Ariadne'sflesh; on couch satyr'sfillet;dot clusterson garments;decoration of at of at its fruit on (head it; square top post branch; foot); cakeson table. The Class of Athens581, i (ABV 716, 97 ter).
Ca. 500-490
B.C.

890 P. 80

P 24361 Q 12:3 much of wall P.H. Mouth, 0.246;diam.0.115. missing. Youth with two spearsleadinga horse to right between two onlookersholdingstaffs (muchof backof the onlooker on the left, someof the hindquarters of the horse,chestof the youth leadinghim are missing).On the shoulder:hanging lotusbuds;above,tonguepattern.Red:hairof youthleading mane. horse;fillet of youthon right;stripeson garments; The Classof Athens581, i (Paralip.224).
Ca. 500-490
B.C.

894

P24108 Q12:3 Mouth, neck, some of handle missing. P.H. 0.165; diam.0.08. and shoulderornament as 890, except Figureddecoration that Dionysosholdsout a kantharos.Red:beardsand tails; Ariadne's wreath; alternate leaves of Dionysos' wreath; stripes on garments;line below scene and at top of black above foot. White: Ariadne'sflesh; dottedpatternson garments;fillets of satyrs and of Dionysos;dottedpatternson rosettedecoration and capitalof couchleg; wavy garments; line on mattress. The Class of Athens581, i (ABV716, 97 bis).
Ca. 500-490
B.C.

891

P 24359 Q 12:3 Handle, small pieces of shoulder and wall missing. H. 0.202; diam.0.083. Glaze firedbrownin places.Clay is grayish(burned?). Horsemansettingout wearinga Thraciancloak,followed by a youthon foot,eachwith two spears.On the rightof the horse,an eagle flyingto right.On the shoulder: hanginglotus buds with dots in the interstices; above,tonguepattern. White:panelson rider'scloak;dotsalongshoulderof horse. The Classof Athens581, i (Paralip.225).
Ca. 500-490
B.C.

895

P 24331 Q12:3 Mouth, someof neckmissing.P.H. 0.181; diam.0.09. Combat,flankedby spectators.A warriorto left attacks anotherwho is down on one knee to left, his head turned around.Each has a shield (deviceof fallen:tripod[?]; of attacker:female leg) and spear. On the right and left is a drapedyouthholdinga staff.On the shoulder: hanginglotus budswith dotsin the interstices; above,tonguepattern.Red: helmet-crest supportof warrioron left. White:necklinesof onlookers' baldricof warrioron left;dotson edgesof chitons; chitons;shielddevices. The Class of Athens581, i (Paralip.224).
Ca. 500-490
B.C.

892

P 24496 Q 12:3 Handle missing. H. 0.203; diam. 0.088. Much of the glaze is flaked.Burned.S. R. Roberts,Hesperia55, 1986, p. 38, no. 118, pl. 11. Heraklesand the Bull. Heraklesbindsthe bull, which is downon one knee.On the left, Athenalookson with her left handraised.On the right is Iolaosto right,lookingaround. Abovethe bull's hindquarters, the hero'scloak and quiver hang from branches.On the shoulder:hanginglotus buds with dotsin the interstices; above,tonguepattern.Red:foretwo lines locks;markingon neckof bull; dotson garments; below scene.White:Athena'sflesh;dot clusterson her garments; baldrics round shoulder of Herakles; horn, belly stripe,testicleof bull;fruiton tree. For the subject,cf. 362. The Class of Athens581, i (Paralip.225).
Ca. 500-490
B.C.

896

P 1149 G15:1 Foot, about half of wall just above,and small fragments restored.Rest. H. 0.199; diam.0.092. Youthssettingout. A youth wearinga chlamysstandsto left beforea man seatedon a blockseat who looksaroundat

893

P24506 Q12:3 Complete except for chip on foot. P.H. 0.225; diam.0.092. Partof glaze misfired. Heraklesand the Lion, with Athenaand two onlookers. Herakles wrestles the lion in the horizontalposition, as Athenalookson. By mistake,the artisthas drawnAthenain frontof the lion so that Herakles'armgoesoverand around her legs. On each side, a cloakedman movesaway, looking

897 P1.80

216

CATALOGUE P 24483 Q 12:3 of neck Mouth, part missing.P.H. 0.18; diam.0.083. ApollobetweenLeto and Artemis,flankedby a satyrand Dionysoswho standsto right, lookingaroundand holding his drinkinghorn. In the field, branches.On the shoulder: hanging lotus buds; above, tongue pattern. Red: beards; forelocksof satyrs;stripes on garments;three lines under scene.White:femaleflesh;chitonsof Apolloand Dionysos; dotson filletof Apollo;dotson cloaks;armsand supportsof kithara. The Class of Athens 581, i: the Geron Group (Paralip. 224 and 228).
Ca. 500-490 B.C.

around,the one on the left with two spears.Bow and quiver hang above. In the field, branches.Above, key pattern to right. On the shoulder:hanging lotus buds; above,tongue pattern.Red: dots on garments;spots on lion's mane;two lines underscene.White:Athena'sflesh;belly stripeof lion; baldrics. For the subject,cf. 394. The Class of Athens581, i (Paralip.225).
Ca. 500-490
B.C.

901

P 24507 Q 12:3 for H. handle. diam. 0.089. Glaze 0.208; Completeexcept is abradedon part of mouth and on wall abovefoot. S. R. Roberts,Hesperia55, 1986, p. 38, no. 119, fig. 28. HeraklesandAthena,with Hermesand a goddess.Herakles with his bow, club, and quiverstandsto right,shaking handswith Athena.Behindher is Hermes.Behindthe hero is a goddessto right.In the field,branches with fruit.On the shoulder:hanging lotus buds with dots in the interstices; above, tongue pattern. Red: goddess'fillet; dots on rim of shield;dots on drapery.White:femaleflesh;dot clusterson shielddevice(horseprotome); fruit. baldrics; garments; The Class of Athens581, i (Paralip.225).
Ca. 500-490
B.C.

898 PI. 81

P 24107 Q 12:3 for of foot restored in plasterand Completeexcept part H. diam. 0.089. Glaze has cracked at bottom painted. 0.216; of mouthandjust abovefoot. Uncertainsubject. An old mansits to righton an okladias, Athenasits oppositehim, holdingtwo holdinga kantharos. rosette).Bespearsand her shield (device:compass-drawn hind her is Dionysosseatedto right holdinghis kantharos, lookingaround.In frontof him is a satyr dancingto right, also lookingaround.In the field,a vine with grapes.On the shoulder:hanging lotus buds; above, tongue pattern.Red: rimof shield;wreathof Dionysos;three stripeson garments; lines below figures. White: hair and beard of old man; Athena's flesh; her helmet crest and backgroundof her shield; dot clusterson garment;Dionysos' chiton;dots on borderof his cloak;dotson grapes. The Classof Athens581, i (ABV 716, 119 bis);the Geron Group (Paralip.223, 119 bis;224; 225).
Ca. 500-490
B.C.

899 PI. 81

P 24363 Q12:3 Part of wall missing.H. 0.204;diam.0.085. of warriorwith chariotto right.A youth(torso Departure missing)with a petasos,spear,and Boeotianshield (device: mountsthe chariot.On the left side of the teamis uncertain) an old man, on the righta warriorwith a roundshield (device:star rosette)and two spears,bothto right,the warrior lookingaround.At the headsof the horses,a womanarcher to right,also lookingaround.On the shoulder: hanginglotus budswith dotsin the interstices; above,tonguepattern.Red: rims of shields;manesand tails;dots on garments; forelock and of archer.White:device; hair brows of old man; petasos; dotson helmetcrest;dotson harness; archer'sflesh. The Classof Athens581, i (Paralip.226).
Ca. 500-490
B.C.

902

903 PI. 81

900

P24476

Q12:3

P 24405 Q12:3 Handleand partof wall missing.H. 0.211; diam.0.066. Symposion. Dionysosreclining,holdinga drinkinghorn, a at woman (Ariadne?)who sits facinghim at the looking otherendof the couch.The legs of the couchare shapedlike the hind legs of a feline.In frontof the couchis a tablewith food. In the field, brancheswith fruit. On the shoulder: above,tongue hanginglotusbudswith dotsin the interstices; pattern.Red: dots on garments.White: horn;dots on garments;woman'sflesh;fruit;food. The couchof Dionysosis unique, its legs being adapted froman okladias; the legs of the tableare likewisefeline. The Classof Athens581, i (Paralip.226).
Ca. 500-490
B.C.

Part of mouth, neck, handle, wall, and foot missing. P.H. 0.148; diam.0.083. Athena seated to left on an okladiasbetweentwo gods, each seatedon an okladiasand holding a kantharos(DioThe goddessis fully armed: helmet, nysosand Hephaistos?). two spears,shield (device:star with dots).On the shoulder: hanginglotus buds;above,tonguepattern.Red:beardsand rimof outlineof chitonon left;stripeson garments; wreaths; shield; visor of helmet;line under scene. White: Athena's dotclusterson garments. flesh;chitonof godon right;device; The Class of Athens 581, i: the Geron Group (Paralip. 224 and 225).
Ca. 500-490 B.C.

P 24512 Q 12:3 Much of wall missing.H. 0.208; diam.0.085. Nude youth (Herakles?) reclining on the ground, his rightelbowrestingon a pillow (partof his faceandleft forearm are missing).He holds a drinkinghorn, and his cloak hangsabove.On the left are a boyanda womanto right,and on the right anotherwoman movesaway (part of her face anddrapery are missing).In the field,vineswith grapes.On the shoulder, hanginglotusbudswith dotsin the interstices; above, tongue pattern.Red: fillets of satyr and Herakles; band on sakkos of woman moving away; stripes on 904

LEKYTHOI garments.White: female flesh;row of dots on pillow; fillet roundnecksof youth and of satyr;dotson rim of horn. The Class of Athens581, i (Paralip.226).
Ca. 500-490 B.C.

217

The Class of Athens 581, i: comparewith the Haimon Group (Paralip.228 and 281).
Ca. 500-490
B.C.

909

P 24468 Q 12:3 Handle, some of shoulderand wall missing. H. 0.218; diam.0.09. Dionysos,maenads,and satyr.Dionysosstandingto right and a maenaddancingto right lookingaround.Her head is missing, but the positionof her arms makes clear that she was facing to left. On the left, a maenad dancingto left, lookingaround.On the right,a satyrlookingon. In the field, branches. On the shoulder: hanging lotus buds; above, tonguepattern.Red:fillet of maenadon left;beards;stripes anddotson garments.White:maenads' flesh;Dionysos'chiton;satyr'sfillet. The Class of Athens581, i (Paralip.227). 905
Ca. 500-490 B.C.

P 24525 Q 12:3 Handle, muchof shoulderand wall, partof foot missing. H. 0.187; diam.0.073. Two men stand on a platform,one Musical performer. with a stick(the trainer),the othersinging(?).On each side is a man, the one on the right seatedon an okladias(seatof othermissing),lookingaround.All seemto listen attentivewith fruit.On the shoulder: hangly. In the field,branches above,tonguepating lotusbudswith dotsin the interstices; tern. Red: fillets;beards;stripes on cloaks;key patternto fruit. righton platform.White:dot clusterson garment; The Classof Athens581, i (Paralip.228).
Ca. 500-490 B.C.

910 PI. 81

P 24412 Q12:3

P 24469 Q 12:3 Handle, some of shoulderand wall missing. H. 0.203; diam. 0.083. Dionysosmovesto right holdinga drinkinghorn,preceded by a maenad,looking around.On the right and left, a cave (rock).In the field, brancheswith fruit. On the shoulder: hanging lotus buds with dots in the interstices; above, tonguepattern.Red:dotson garmentof maenad,its border. White:Dionysos'chiton;maenad'sflesh;dot clusterson her inner contourof cave;rim of horn;fruit. garment; The Class of Athens581, i (Paralip.227). 906
Ca. 500-490
B.C.

Complete.H. 0.187; diam.0.073. Dionysos seatedto right on a block, holdinga drinking horn.On eachside,a satyrto rightholdinga wreath,the one on the right looking around. In the field, brancheswith fruit. On the shoulder:hanging lotus buds; above,tongue pattern.White:wreaths;Dionysos'chiton;fruit. The Classof Athens581, i: GroupP (Paralip.230).
Ca. 500-490 B.C.

911

P 24466 Q 12:3 Some of wall missing. H. 0.205; diam. 0.081. S. R. Roberts,Hesperia55, 1986, p. 45, no. 276, pl. 12. Dionysosbetweena maenadmountedon a donkey(part of hindquartersmissing) and another leading or standing besideone. In the field, brancheswith fruit. On the shoulder: hanging lotus buds with dots in the interstices; above, tonguepattern.Red:fillets;beard;stripes.White:maenads' rim of horn;fruit;muzzles, flesh;dot clusterson garments; outlinesof necksand chests,one hind foot of each donkey. The Class of Athens581, i (Paralip.227). 907
Ca. 500-490
B.C.

P 24428 Q 12:3 of wall missing.H. 0.187; diam.0.075. Glaze Fragments is abraded, especiallybelowthe figures. Dionysos seatedto right on a block, holdinga drinking horn.On eachside,a maenadmovingaway,lookingaround. In the field, brancheswith fruit. On the shoulder: hanging lotus buds; above, tongue pattern. Red: beard;stripes on garments.White:maenads'flesh;Dionysos'chiton;dots on rim of horn;fruit. garments; The Class of Athens581, i: GroupP (Paralip.230).
Ca. 500-490 B.C.

P 24472 Q12:3 908 P1.81 Foot missing.P.H. 0.177; diam.0.072. Lenaia. Between two maenadsmountedon ithyphallic mules,the idol of Dionysosworshipedby two dancingmaenads.The idol is in the shapeof a pillar with the face of the god attachedto it at chest level. In the field, brancheswith fruit. On the shoulder:hanging lotus buds; above, tongue pattern.Red: beard and forelock;maenads'fillets;dots on manes.White: maenads'flesh;contoursof necks garments; and chests,belly stripesof mules;fruit. White of maenads' feet applieddirectlyon the clay. For the subject,cf. L. Deubner, AttischeFeste, Berlin 1932, pp. 123-134.

P 24429 Q 12:3 Part of handle, most of back missing. H. 0.186; diam.0.072. Much of the glaze is flakedand abraded. and shoulderornamentas 911. Red: Figureddecoration fillets of maenads; beard;stripeson garments.White:maenads'flesh;dotson garments; Dionysos'chiton;fruit. The Classof Athens581, i: GroupP (Paralip.230). 912
Ca. 500-490
B.C.

913

Q12:3 Foot, someof wall missing.P.H. 0.166;diam.0.073. and shoulderornamentas 911. Red: Figureddecoration fillets of maenads; beard;stripeson garments.White:maenads'flesh;Dionysos'chiton;fruit. The Class of Athens581, i: GroupP (Paralip.230).
Ca. 500-490 B.C.

P 24430

914 PI. 81

P 24406 Q12:3 H. diam. 0.075. Glaze misfiredbrown. Complete. 0.187;

218

CATALOGUE with dots in the interstices; above, tongue pattern. Red: fillets; stripes on cloaks; manes. White (yellowish): flesh of Amazons; helmet crests; fruit. For the composition, cf. Bothmer, Amazons, p. 99, no. 94 bis; for the subject, 173. The Class of Athens 581, i: Group P (Paralip. 231).
Ca. 500-490
B.C.

Symposion. Herakles(?) reclines looking around, holding a drinking horn. In front of the couch is a woman standing to right with one hand raised. On the left, a man leans on a staff, and on the right, a woman moves away looking around. In the field, branches with fruit. Above, two rows of dots. On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets of woman and man on left. White: women's flesh (that of one on right laid directly on ground); dots on garments; decorations on couch (at head: spiral, horizontal line, row of dots; on foot: three horizontal lines, row of dots); fruit; pillow. For the subject, cf. 420. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490 B.C. 915 PI. 81 P 24319 Q 12:3

A few chips missing, otherwise complete. H. 0.185; diam. 0.075. Aias and Achilleus Gaming, with Athena watching. Each hero has a spear. In the field, branches. On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets on helmets; crests; stripes on garments; line at top and bottom of black band below scene. White: Athena's flesh; chiton of player on left; dots on garment of other. For the subject, cf. 84. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490 B.C. Q12:3 Mouth, some of neck, shoulder, and wall, all of foot missing. P.H. 0.145; diam. 0.072. Figured decoration and ornament on shoulder as 915. The heads of the hero on the right and of Athena are missing. Red: stripes on garments; line at top and bottom of black band under scene; one just above foot. White: Athena's flesh; helmet crests; chiton of hero on left. For the subject, cf. 84. The Class of Athens 581, i: Group P (Paralip. 230). Ca. 500-490 B.C. Q 12:3 Much of wall missing. H. 0.183; diam. 0.071. Nearly half of foot restored in plaster. Aias and Achilleus Gaming, with Athena watching. A bit of the goddess, much of the hero on the left missing. On the right and left, a woman watching (partly missing). In the field, branches. Above the figures, key pattern to right. On the shoulder: hanging lotus buds; above, tongue pattern. Red: stripes on garment; fillet on helmet of player on right. White: female flesh; dot clusters on garments; helmet crests. For the subject, cf. 84. The Class of Athens 581, i: Group P (Paralip. 230).
Ca. 500-490
B.C.

Q 12:3 Complete. H. 0.188; diam. 0.072. Glaze misfired reddish brown. Three women to right, two of them each leading a cow. In the field, vines with grapes. On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets; stripes on garments; dots on neck of cow on right. White: female flesh; muzzles, horns, belly stripes, markings on hindquarters. The Class of Athens 581, i: Group P (Paralip. 231).
Ca. 500-490
B.C.

919

PI. 81

P 24519

916

P 24320

P 24520 Q 12:3 for of mouth. H. 0.185; Complete except part diam. 0.072. Glaze misfired reddish brown. Two women to right, each leading a cow. In the field, a vine with grapes (?). On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets; stripes on garments; dots on necks of cows. White: female flesh; fruit; muzzles, horns, belly stripes, markings on hindquarters of cows. The Class of Athens 581, i: Group P (Paralip. 231).
Ca. 500-490
B.C.

920

921

P7891

E 14:5

917

P 24321

Mouth, part of neck and foot missing. P.H. 0.137; diam. 0.072. Dionysos mounting a chariot to right. In the field, branches. Above, two rows of dots. On the shoulder: hanging lotus buds with dots in the interstices; above, tongue pattern. Red: wreath; beard; stripes on cloak; tails of two horses; manes and forelocks; breast band of right-hand trace horse. White: right-hand pole horse; chiton; pendants of breast band and reins. Class of Athens 581, i (ABV 492, 83): Namepiece of the Group of Agora P 7891 (Paralip. 245).
Ca. 500-490 B.C.

P 24368 Q 12:3 H. 0.172; diam. 0.068. Complete. Figured decoration and shoulder ornament as 921. By mistake the artist has shown only three pairs of forelegs and hind legs. Red: fillet; stripes on cloak; manes and tails; breast band. White: chiton; right-hand pole horse; pendants on strap below breast band; studs on headstall. The Class of Athens 581, i: the Group of Agora P 7891 (Paralip. 245). 922 P1. 81
Ca. 500-490
B.C.

918

Q 12:3 some of neck 0.071. diam. P.H. Mouth, 0.16; missing. Two Amazons leading their horses, followed by a man holding out a cloak (part missing), all to right. In the field, branches with fruit. On the shoulder: hanging lotus buds

PI. 81

P 24357

923

P 24369

Q 12:3

Mouth, neck, handle, some of shoulder and wall missing. P.H. 0.133; diam. 0.065. Foot in two degrees. Decoration on body on white ground.

LEKYTHOI Figured decoration and shoulder ornament as 921. Necks, shouldersof horses missing. Red: beard;leaves of wreath;stripes on garment;manes and tails; breast band. White:dotson harness. The Class of Athens 581, i: the Group of Agora P 7891 (Paralip.245).
Ca. 500-490 B.C.

219

the field, branches.On the shoulder,hanging lotus buds. Red:fillets;stripeson garments.White:women'sflesh. For the subject,cf. 653. The Classof Athens581, i? Ca. 500-490 B.C. 928 P 24477 Q 12:3 Wall fragment with partof shoulder.P.H. 0.053. Dionysos (upperpart) seatedto right holdinga kantharos.On the rightis a smallpartof the rimof Athena'sshield andspear(no point).In the field,branches. On the shoulder, wreath;stripeon garhanginglotusbuds(tips). Red:beard; ment.White:dots? The Classof Athens581, i?
Ca. 500-490 B.C.
THE CLASS OF ATHENS

P 24522 Q 12:3 Complete except for upper part of handle. H. 0.175; diam. 0.068. Glaze is abradedon frontjust abovefoot.Top of mouthglazed. Women picking fruit. The two women sit on okladiai, each with a basket in front of her, the fruit tree between them. Above, two rows of dots. On the shoulder:hanging lotus buds with dots in the interstices; above,dots. Red:filfruit (aplets;stripeson garments.White:jointsof okladiai; plied directlyon the groundand flaked). The Class of Athens 581, i: the KalinderuGroup (ABV 702, 2 bis;Paralip.243).
Ca. 500-490
B.C.

924 PI. 82

581, ii

929-1096

P 24408 Q 12:3 Mouth, neck, handle, shoulder, some of wall missing. P.H. 0.135; est. diam. 0.08. Dent in wall in back. Symposion. Dionysos (head missing) reclining on a couch, holding a branch.On the right and left, a maenad facing,and on the far left, a satyrto right.The headsof the two figureson the left are missing. In frontof the couch,a table with food. In the field, brancheswith fruit. On the shoulder,endsof hanginglotus buds.Red:satyr'sbeard;fillet of maenadon right; stripes on garments;line at top of black above foot. White: female flesh; dot clusterson garon right leg of ments;fillet roundneck of satyr;decorations couch(volute;starrosette; verticallines framingedges);row of dotson pillow;food;fruit. For the subject,cf. 420. The Class of Athens581, i. 925
Ca. 500-490
B.C.

P 14951 F 19:5 929 Most of mouth, all of handle missing. P.H. 0.138; diam.0.061. Foot chipped.Glaze firedred. Heraklesand two Amazons.Heraklesin his lionskinand holding his club moves to right toward an Amazon who flees,lookingaround.Behindthe two, anotherAmazonruns away, lookingaround.The Amazonsare dressedsimilarly: short chitonsand helmets.The one on the right also has a cloak. The Amazonon the left carriesa round shield, the one on the righta pelta (devices: balls).In the field,a branch with fruit.Above,two rowsof dots.On the shoulder: "rays"; above, tongue pattern.Red: fillets of Amazons;stripes on chitonof one on left; skirt of chitonof one on right;rim of roundshield;pupilsof Amazons' of Amazonon eyes;baldric right;Herakles'chiton;stripeson maneof lionskin.White: flesh of Amazons;shield devices;fruit;club;alternatedots. The glazedbandsat the lower part of the bodywere added
after painting the Amazons' flesh.

For the subject,cf. 395; for the composition,Bothmer, Amazons,p. 52, no. 145. The Classof Athens581, ii (ABV 498, 3).
Early 5th century B.C.

P 1555 G6:3(U) of shoulder and wall. Max. dim. 0.064. Fragment E. Vanderpool, Hesperia 15, 1946, p. 305, no. 160, pl. 55. shoulder)seatedto left or reclining;be(head, Dionysos hind him is a satyr (body, arms, beard) to right, looking around.In the field, a vine with grapes. On the shoulder, hanging lotus buds. Red: beards. White: dots on wreath; grapes. Perhapsthe Class of Athens581, i. Ca. 500-490 B.C. 926 927 P 1282 G 6:3 (U) Wall fragmentwith start of shoulder.Max. dim. 0.071. E. Vanderpool, Hesperia 15, 1946, p. 304, no. 152, pi. 55. Peleus (head, part of right arm) seizing Thetis (head, drapery) to right looking around. On the right, Nereid (head, part of shoulder)fleeingto right lookingaround.In

930 PI. 82

P 1303 G 6:3 (U)

Mouth, handle, part of neck and wall, all of foot restored.

Rest. H. 0.112; diam. 0.045. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 142, pl. 53. Chariotto rightat the gallop,pasta goalpost.In the field, brancheswith fruit. Above, key pattern to right. On the shoulder: above,tonguepattern.Red:fillet of chari"rays";
oteer; mane and breast band; dots near goal post. White: chiton; goal post; fruit; pendants of breast band.

The Classof Athens581, ii (ABV 500, 58).

Early 5th century B.C.

931

P 23155 H 12:15(U) and foot Mouth, neck, handle, missing. P.H. 0.087; Dionysosbetweentwo satyrsto right,the one on the right

diam. 0.048. Glaze is abraded in places.

looking around. The god holds a vine and a drinking horn.

220

CATALOGUE 937 P 2564 G 6:3 (U)

On the shoulder:"rays"; above,tonguepattern.White:chion of fillet right. ton; satyr The Class of Athens581, ii (ABV 702, 78 bis).
Early 5th century B.C.

P 24060 Q 12:3 932 PI. 82 Half of mouth missing. H. 0.154; diam. 0.059. Chip in foot. Handleslightlygrooved.Poorglaze on back. Apollo, Dionysos,Athena, and Hermes to right. Apollo sits on an okladias,holdinghis lyre. The otherthree stand, Dionysos holding a vine, Hermes looking around.On the shoulder:"rays"; above,tonguepattern.Red: Dionysos'fillet; stripes and dots on garments.Red or white: Athena's helmetcrest.White: flesh of Athenaand Dionysos;ends of of lyre;petasosof Hermes. crossbar The Classof Athens581, ii (ABV 716, 85 bis).
Early 5th century B.C.

of shoulderandwall with startof handle.Max. Fragment dim. 0.061. Silhouettetechnique. Youth (head and shoulders) to left. On the shoulder: above, row of dots and tongue pattern.Red: fillet; "rays"; on stripes garment. The Classof Athens581, ii (ABV 503, 120). Early 5th centuryB.c. 938 P1.82 Q12:3 0.058. H. diam. Complete. 0.143; Dionysos seatedto right on a block, holdinga drinking horn. On each side, a satyr to right lookingaround.In the above, field, brancheswith fruit. On the shoulder:"rays"; tonguepattern.Red: beards;stripesand dots on garments. White:Dionysos'chiton;rim of horn;fruit. The Classof Athens581, ii: GroupP (Paralip.230).
Early 5th century B.C.

P24413

933

P 8795 E 14:5

Mouth, handle, some of body missing. P.H. 0.103; diam.0.052. Foot chipped. Three figuresseatedon okladiai,two to right,one to left. Of the second,only the feet and a foldof draperyremain.In the field, a branch.On the shoulder:"rays"; above,tongue pattern.Red:fillets;stripeson cloaks.White:chitonof central figure; joints of okladiai. The Classof Athens581, ii (ABV 502, 109;Paralip.232, 109).
Early 5th century B.C.

939

P 1346 G 6:3 (U) Fragment of shoulder and wall. Max. dim. 0.058. Burned. Woman(head)to right.On the right,top of headof male to left. In the field, brancheswith fruit. On the shoulder: "rays";above, tongue pattern. Red: eye. White: flesh of woman;fruit. The Class of Athens581, ii (ABV 502, 111). 934
Early 5th century B.C.

P 24423 Q 12:3 Mouth,top of neck,footmissing.P.H. 0.12; diam.0.056. Much of glaze is flakedand abraded. and shoulderornamentas 938. The Figureddecoration Red:forelocks satyron the right looksarounda'rorKo'rijv. and beards; stripeson cloak.White:Dionysos'chiton. For the gestureof the satyr,cf. I. Jucker,Der Gestusdes Zurich 1956. Aposkopein, The Classof Athens581, ii: GroupP (Paralip.230).
Early 5th century B.C.

935

P 2725 G 6:3 (U) dim. 0.051. Max. wall. and Fragmentof shoulder Chariot(head and shouldersof woman) to right. In the field, leafless brancheswith fruit (?). Above,two rows of dots.On the shoulder: above,tonguepattern. "rays"; The high positionof the womanindicatesthat she stands in a chariot. The Class of Athens581, ii (ABV 502, 112).
Early 5th century B.C.

P 24414 Q 12:3 Mouth, handle, some of neck missing. P.H. 0.12; diam.0.058. Most of the glaze firedred. and shoulderornamentas 938. NeiFigureddecoration ther satyr looks around. Red: beards;stripes and dots on garment.White: wreaths; Dionysos' chiton;rim of horn; fruit. The Classof Athens581, ii: GroupP (Paralip.230). 940
Early 5th century B.C.

941

P 24415 Q12:3 P.H. 0.128; diam. 0.058. Mouth, top of neck missing. Much of the glaze is abraded, especiallyon the figuredpart. ornamentas 938. The and shoulder decoration Figured The Class of Athens581, ii: GroupP (Paralip.230).
Early 5th century B.C.

(see 939). satyr on the right looks around, &r'roOKO7Trv

936

P2724

G 6:3 (U)

Fragmentof shoulderand wall. Max. dim. 0.038. Woman (head, hand) to right. In front of her, a bit of anotherfigurethat lookslike partof a satyr'shead (filleted), and arm,to right.Above,two rowsof dots.On the shoulder: above,tonguepattern.White:fleshof woman;fillet; "rays"; dots. The Classof Athens581, ii (ABV 502, 113). Early 5th centuryB.C.

942

P 24416 Q12:3 Mouth, neck,handle,shoulder,upperpart of wall missing. P.H. 0.09. as 938. Upperpartsmissing.No fruit. Figureddecoration Red:Dionysos'beard;stripeson his cloak.White:Dionysos' chiton;dot clusterson cloak. The Class of Athens581, ii: GroupP (Paralip.230).
Early 5th century B.C.

LEKYTHOI 943 P 24417 Q 12:3 Mouth, top of neck missing. P.H. 0.126; diam. 0.06. Glaze is flakedand abradedin manyplaces. Figured decorationand shoulderornamentas 938. Red: forelocksand beards;tails; stripeson cloak.White: Dionysos' chiton; horns of satyrs; fruit.

221

above, tongue pattern. Red: fillet; stripes on gar"rays"; ments.White:flesh;dotson garments; fruit. The Class of Athens581, ii: GroupP (Paralip.230).
Early 5th century B.C.

The Class of Athens 581, ii: GroupP (Paralip.230).

Early 5th century B.C.

P 24418 Q12:3 Lowerhalf of wall, foot missing.P.H. 0.099; diam.0.07. Dionysosseatedto rightholdinga drinkinghorn.On each side, a satyr facing him, the one on the right, profferinga horn. In the field, brancheswith fruit. On the shoulder: above,tongue pattern.Red: forelocksand beardsof "rays"; Dionysos and satyr on right;stripeson cloak.White: Dionysos'chiton;dot clusterson cloak;fruit. The Class of Athens581, ii: Group P (Paralip.230). 944
Early 5th century B.C.

P 24431 Q 12:3 Mouth and handle missing. P.H. 0.135; diam. 0.062. Someof the glaze is abraded. Dionysos seated to right on a block, holding a drinking horn in one hand. On each side, a maenad moves away, with lookingaround,one handraised.In the field,branches fruit. On the shoulder:"rays"; above,tongue pattern.Red: filletsof maenads; beard;stripeson garments.White:women's flesh;Dionysos'chiton;fruit. The Class of Athens581, ii: Group P (Paralip.230). 945
Early 5th century B.C.

P 24407 Q 12:3 of shoulder and wall Mouth, part missing. P.H. 0.158; diam.0.071. Symposion.A man (part of torso missing) reclineson a couch,lookingaround,holdinga drinkinghorn. In frontof the couch is a table and a woman (face, lower drapery)to right, and on the right and left of it are two movingaway with fruit. (dancing?), lookingaround.In the field,branches two rows of dots. On the shoulder: above, Above, "rays"; tongue pattern. Red: fillets; stripes on garments.White: women'sflesh (appliedpartlyon the clay ground);dots on on couch(at head: stripeson horn;fruit;decoration drapery; Ionicvolutes,row of dots,doublepalmettein a rectangle; at foot:row of dotsbetweentwo horizontal lines). For the subject,cf. 420. The Classof Athens581, ii: GroupP (Paralip.230). 949
Early 5th century B.C.

P 24433 Q 12:3 Mouth, neck,handle,someof shoulder,and muchof upper wall missing.P.H. 0.11. Most of the glaze firedred. Dionysosseatedto righton a blockbetweentwo maenads standingto right. In the field, branches.On the shoulder: above, tongue pattern. Red: fillets; stripes on gar"rays"; ments.White:femaleflesh;dotclusterson drapery; horizontal lines on block. The Class of Athens581, ii: Group P (Paralip.230). 946
Early 5th century B.C.

P 24316 Q12:3 950 P1.82 Handle missing.H. 0.182; diam.0.07. Aias and AchilleusGaming,with Athenawatching.On the right, a woman moves away, looking around. In the field, a branchwith fruit. On the shoulder:"rays"; above, White:heltonguepattern.Red:fillets;stripeson garments. met crests;femaleflesh;dotson garments. For the subject,cf. 84. The Classof Athens581, ii: GroupP (Paralip.231).
Early 5th century B.C.

P 24322 Q 12:3 Foot and lowerpartof wall preserved. P.H. 0.081. Aias andAchilleusGaming,with Athenawatching.Most of the hero on the left, the lower half of Athenaand of the hero on the right remain.In the field, branch.Red:stripes on garments. White:Athena'sflesh;crestof helmeton left. For the subject,cf. 84. The Classof Athens581, ii: GroupP (Paralip.231).
Early 5th century B.C.

951

P 24432 Q 12:3 Mouth, neck, handle, shoulder, much of wall missing. P.H. 0.11. Dionysos(lowerhalf) seatedto righton a block,holdinga hornor a wreath.On eachside,a maenad(drapery) to right. In the field, branches.Red: stripes and dots on drapery. White:women'sflesh. The Class of Athens581, ii: GroupP.
Early 5th century B.C.

947

948 P1.82

P 24434 Q 12:3 of H. wall diam. 0.068. Fragments missing. 0.179; Woman standingbetweentwo seated on okladiai,all to right (part of the draperyof the woman on the left is missing). In the field, brancheswith fruit. On the shoulder:

P 24317 Q12:3 Partof shoulderandbodymissing.H. 0.172;diam.0.068. Aias and AchilleusGaming,with Athenawatching,between two beardedspectators. Each holdsa spear.The upper part of the goddessis missing.The onlookeron the left holdsa drinkinghorn. In the field,branches. On the shoulder:"rays"; above,tonguepattern.Red:beards;filleton helmet on left;stripeson garments.White:dot clusterson garments;helmetcrests;corsletof playeron left;chitonof player on rightand spectator; partof gamingtable. For the subject,cf. 84. The Class of Athens581, ii: GroupP (Paralip.231).
Early 5th century B.C.

952

222
953 P 24508

CATALOGUE 958
Q12:3 Mouth, neck, handle, part of shoulder missing. P.H. 0.107; diam. 0.059. Rider on an ithyphallic mule to right, between two youths to right, with cloaks over their left arms. The youth on the right looks around. On the right side of the mule, a dog to right. In the field, a branch with fruit. On the shoulder: "rays"; above, tongue pattern. Red: dots and stripes on cloaks; mane, end of penis. White (yellowish): dog (almost completely flaked); stripes on rider's cloak; fruit. The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.c. Q12:3 much of wall shoulder and Mouth, neck, handle, missing. P.H. 0.08; est. diam. 0.047. Youth and horseman (head, shoulders of horseman; head, neck, and shoulders of horse; all of youth except for legs missing) to right. In the field, a branch. On the shoulder: "rays"; above, tongue pattern. Red: stripe on rider's cloak(?). The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.C. 960 P. 82 P 24355 Q 12:3 959 P 24356 P 24354

Q 12:3 Complete except for chips in foot. H. 0.167; diam. 0.068. Herakles stands to right, holding out his hand to Athena who is seated on a block. Behind the hero is a woman seated on a block to left, looking around. Behind Athena is Dionysos to right, looking around. In the field, branches. On the shoulder: "rays"; above, tongue pattern. Red: forelock of Herakles; strip on Athena's helmet crest; dots on garments. White: female flesh; Dionysos' chiton; marking on Athena's seat. The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.C. 954 P 24323 Q 12:3

Mouth, some of neck, all of foot missing. P.H. 0.102; diam. 0.071. Athena and two giants. The goddess attacks to right as a giant tries to flee looking around, holding his shield (device: wreath?). On the left, another giant runs away looking around, holding his shield (device: small ball?). On the shoulder: "rays";above, tongue pattern. Red: fillets on helmets; dots on garments. White: crests; Athena's flesh; devices. For the subject, cf. 183. The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.c.

955

P24325

Q12:3

Mouth, neck,shoulder,handle,and backof vase missing. P.H. 0.117. as 954. Abouthalf of the gianton the Figureddecoration on his shield:ball andcircle;on other device is right missing; shield: uncertain. Red: rims of shields; dots on drapery. White:Athena'sflesh;helmetcrest;shielddevices. For the subject,cf. 183. The Class of Athens581, ii: Group P (Paralip.231).
Early 5th century B.C.

Mouth missing. P.H. 0.132; diam. 0.058. Foot chipped. Glaze is abraded in many places. Youth with cloak over his arm and horseman to right. In the field, a branch with fruit. On the shoulder: "rays"; above, tongue pattern. Red: stripes on cloaks; mane. White: neckline of rider's cloak; fruit (yellowish). The Class of Athens 581, ii: Group P (Paralip. 231). Early 5th century B.c. P 24499 Q 12:3 Some of wall, all of foot missing. P.H. 0.151; diam. 0.07. Herakles and the Lion, horizontal position. The lion's left hind paw pushes against the hero's shoulder. On the left and right, hanging garments; also on the left is the club. Above the beast, bow and quiver. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: fillet; stripes on cloaks. White: dots on cloaks; belly stripe of lion; baldric and flap of quiver; fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 961 962 P 24501 Q 12:3 P.H. 0.10;

P 24324 Q 12:3 Mouth, shoulder, most of neck and handle missing. P.H. 0.121; diam.0.074. and shoulderornamentas 954. Most Figureddecoration of Athenaand the legs of the giant on the left are missing. Device on each shield:arc. Red: fillets on helmets.White: Athena'sflesh;helmetcrests;shielddevices. For the subject,cf. 183. The Classof Athens581, ii: GroupP (Paralip.231). 956
Early 5th century B.C.

P 24358 Q 12:3 Mouth missing.Foot chipped.P.H. 0.133; diam.0.057. Two Amazonsleadingtheir horsesto right. In the field, brancheswith fruit. On the shoulder:"rays"; above,tongue pattern. Red: fillets; stripes on garments;manes. White: flesh;helmetcrests;fruit. For the subject,cf. 173; for the composition,Bothmer, Amazons,p. 99, no. 93 bis. The Classof Athens581, ii: Group P (Paralip.231). 957 P. 82
Early 5th century B.C.

Lower part of wall, all of foot missing. diam. 0.06. Figured decoration and shoulder ornament as 961. Red: fillet; stripes on garment; flap of quiver. White: dots on cloak; baldrics round shoulders of Herakles; baldric and markings on quiver; fruit; marking on lion; club. For the subject, cf. 394.

LEKYTHOI
Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. Q 12:3 Mouth and neck missing. P.H. 0.134; diam. 0.057. Herakles and the Lion, horizontal position. On the right and left, a woman moving away, looking around. Quiver and bow hanging above. At the left, a cloak. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: fillet of Herakles and of woman on right; stripes on garments; flap of quiver; spot on mane. White: women's flesh; dot clusters on garments; baldric and markings on quiver; belly stripe of lion; fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 963 Q 12:3 Mouth and neck missing. P.H. 0.097; diam. 0.048. Herakles and the Lion, horizontal position. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: fillet; mane. White: fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. 964 965 P 2672 G 6:3 (U) P 24498 P 24502

223

head), horizontal position, with a male figure standing on each side, the one on the left holding a cloak and a club. The head, shoulder, and one foot of the youth on the right are missing. In the field, branches. Red: fillet of Herakles; stripes on garments; dots on lion's mane. White: club; belly stripe of lion. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. P 2715 + P 2722 G 6:3 (U) of neck and Mouth, part shoulder, all of foot restored. Rest. H. 0.175; diam. 0.06. Some of the glaze fired red. E. Vanderpool, Hesperia 15, 1946, pp. 303-304, no. 148, pl. 55. Herakles and the Boar. Herakles, with his club in his right hand, seizes the boar round its neck and shoulders and brings it down on one knee. Above hang the hero's bow, quiver, club, and cloak (partly missing). On each side of the two, a mounted Amazon (much of one on the left missing) facing inward. In the field, branches with fruit. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. Red: forelocks of Amazons; fillets on Amazons' helmets and on head of Herakles; spots on neck of boar; manes; helmet crests. White: flesh of Amazons; clubs; baldric over Herakles' shoulder; fruit; bristles of boar, tusk, and belly stripe. For the subject, cf. Brommer, Heldensage3, pp. 47-54. For the composition, cf. Bothmer, Amazons, p. 105, no. 161. Class of Athens 581, ii (Paralip. 232); Manner of the Haimon Painter (ABV 547, 233). Early 5th century B.c. 968 PI. 82 PI. 82 P 24059 Q 12:3 Handle missing. H. 0.15; diam. 0.06. Man mounting chariot to right. In the field, branches. Above, two rows of dots. On the shoulder: "rays"; above, tongue pattern. Red: forelock and hair at nape of charioteer's neck; stripes on cloak; strips on manes and tails; breast band of right-hand trace horse. White: right-hand pole horse; pendants on strap below breast band. Haemonian lekythoi of the Class of Athens 581, ii (cf. 1197, 1198, or 1215, all in the manner of the Haimon Painter). Early 5th century B.C. 970 PI. 82 P 26241 No grid 969

Wall fragment. Max. dim. 0.045. Herakles and the Lion (most of the hero; foreleg and head of the lion), horizontal position. In the field, branch(?) with fruit. White: loop (baldric?) and flap of quiver; fruit. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232); Manner of the Haimon Painter (ABV 547, 258; Paralip. 270, 258). Early 5th century B.C. Q12:3 Mouth, neck, handle, shoulder, upper part of wall, all of foot missing. P.H. 0.113. Herakles (legs) and the Lion (hindquarters, forepaws), horizontal position. On the left stands Iolaos (head missing) holding the hero's cloak. On the right, Hermes moves away (head missing), probably looking around. In the field, branches. Red: beard; stripes on garments; dots on mane, belly stripe. White: dot clusters on garments; Hermes' chiton. For the subject, cf. 394. Haemonian lekythoi of the Class of Athens 581, ii (Paralip. 232). Early 5th century B.C. Q12:3 Mouth, neck, handle, shoulder, upper part of wall missing. P.H. 0.087. Herakles (hand, legs) and the Lion (hindquarters, part of 967 P 24504 966 P 24505

Lower part of wall and foot preserved. P.H. 0.109. Wedding procession: mule cart (crossbar wheel, some of box and pole, legs and tails of mules) to right. On the left, a woman (lower drapery, feet) to right. In the field, a branch. Red: parts of bars on wheel. White: woman's feet. For the subject, cf. New York, M.M.A. 56.11.1 by the Amasis Painter (Paralip. 66; Bothmer, Amasis Painter, pp. 182-184, cat. no. 47) and a lekythos in Giessen attributed by Bothmer to the Gela Painter (Bothmer, op. cit., p. 184, fig. 100). Haemonian lekythoi of the Class of Athens 581, ii. Early 5th century B.C.

224 971

CATALOGUE White:maenad's maenad; stripeson garments. flesh;rider's chiton;muzzle,contourof neckand chestof mule. Haemonianlekythoiof the Classof Athens581, ii (Paralip. 233). Early 5th century B.C.

P 24500 Q12:3 Lower part of wall, all of foot missing. P.H. 0.123; diam.0.072. Heraklesand the Bull (feet and handsof Herakles;head and hindquarters of bull missing).End of cloakhangingat left; moreof anotheron right. Abovethe bull, a quiver.In the field, branches with fruit. On the shoulder: "rays"; above,tonguepattern.Red: fillet;strip on quiver;spots on neckof bull;stripeson cloakat right.White:fruit;dot clusters on cloakon right. For the subject,cf. 362. Haemonianlekythoiof the Classof Athens581, ii (Paralip. 232). Early 5th century B.C.

P 24515 Q 12:3 Mouth,neck,handle,muchof shoulderand wall missing. P.H. 0.106. Peleus wrestlingwith Thetis. Some of Peleus' backand right arm and part of Thetis' draperyare missing.On each side, a Nereid (headand foot of one on left; all excepthead and left shoulderof one on right)runs away, the one on the left probablylooking around. In the field, brancheswith fruit. On the shoulder:"rays"; above,tonguepattern.Red: filletsof women;stripeson garments; tonguesof Peleus'sandals. White:femaleflesh (applieddirectlyon the clay);dot fruit. clusterson garments; For the subject,cf. 653. Haemonianlekythoiof the Classof Athens581, ii (Para972
lip. 233). Early 5th century B.C.

975 P 1553 and P 2588 G 6:3 (U) Two non-joiningfragmentsof shoulderand wall. Max. dim. P 1553:0.103, P 2588:0.044. E. Vanderpool, Hesperia 15, 1946, p. 305, no. 159, pi. 53. P 1553 shows a Greekto left attacking Amazonomachy. an Amazonwho is downon one kneeto left, lookingaround, her spear poised.Each carriesa shield, the Greeka round one emblazoned with a tripod,the Amazona Boeotianone seen from the inside. P 2588 shows the upper part of an Amazonto right,her spearpoised.Above,two rows of dots. On the shoulder:"rays";above, tongue pattern. White: Amazons' of flesh;dotson drapery; baldric; device; segments helmetcrestof Greek;end of crest. For the subject, cf. 173. For the composition, cf. Bothmer, Amazons,p. 78, no. 76. Haemonianlekythoiof the Class of Athens 581, ii: cf. 972-974.
Early 5th century B.C.

P 24409 Q 12:3 some of shoulder,wall, and foot Mouth, neck, handle, P.H. 0.057. diam. 0.115; missing. Man (Dionysos?),mostly missing, recliningto left on a couch,with a woman (middlemissing) standingat its foot facinghim. On eitherside facinghim, a maenadon an ithyof maenadon left;neck,chest phallicmule (head,shoulders of her mule missing;part of neckof mule on rightmissing). In the field, branches.Above, two rows of dots. On the shoulder:"rays"; above,tonguepattern.Red: fillet of maeandbeard;mane;stripeson garments; nad on right;forelock two lines on black below. White: female flesh;dot clusters on garments; on rightleg of couch(volutes,horidecoration zontaldotsand lines;rosette)and on pillow;contourof neck and chestof mule on right. Haemonianlekythoiof the Classof Athens581, ii (Para973
lip. 233). Early 5th century B.C.

976 P1.83 P 24340 Q12:3 most of handle neck, Mouth, missing. P.H. 0.103; diam.0.057. Departureof warrior.The warriormovesto right, lookand ing around,holding his shield (device:thunderbolt?) spear. On the right and left, a drapedman holdinga staff. On the shoulder,"rays". The Class of Athens581, ii: Namepieceof the Groupof AgoraP 24340 (Paralip.233).
Early 5th century B.C.

P 24339 Q 12:3 Some of mouth and upper part of wall lost. P.H. 0.14; diam.0.06. The glaze is abraded in partbelow figures. and shoulderornament as 976. Head Figureddecoration of manon the left, shoulder of one on the rightmissing.Red: fillet on helmetand on headof spectator on right;stripeson on dot shield. device. White: folds; hanging The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

977

978

P 24467 Q12:3 Mouth missing.P.H. 0.171; diam.0.071. to Man (Hephaistosor Dionysos)on a mule (foreparts) left holdinga horn. In front of him, a satyr to left looking around,and on the right, a maenad (head, body to waist, raisedarm)to rightlookingaround.In the field,a vine. Red: beard,forelockand tail of satyr;mane of mule; wreath of 974

P 24342 Q 12:3 Mouth,handle,partof neckandfootmissing.P.H. 0.125; diam.0.061. Most of the glaze is flaked. and shoulderornamentas 976. Red: Figureddecoration filletof spectator on right. The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

P 24343 Q 12:3 Most of mouthmissing.P.H. 0.13;diam. 0.057. Much of the glaze firedred.

979

LEKYTHOI Figured decoration and shoulder ornament as 976. White:shielddevice(thunderbolt). The Class of Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

225

The Classof Athens581, ii: the Groupof AgoraP 24340

(Paralip. 233). Early 5th century B.C.

986 PI. 83

980

P 24344 Q 12:3 Someof mouthand wall, all of foot missing.P.H. 0.121; diam.0.058. Figured decoration and shoulder ornament as 976. White:device. The Class of Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

P 24345 Q 12:3 981 Handle mostly missing. P.H. 0.11; diam. 0.052. Foot chipped. Figureddecorationand shoulderornamentas 976. Red: fillets; stripes on garments;dots on rim of shield. White: device. The Class of Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

Q12:3 Handle,muchof shoulderand wall missing.P.H. 0.137. Two warriors setting out accompanied by a youth on horseback. The warrioron the rightmovesto right,looking around,holdinghis spear and shield (device:thunderbolt). Missing:warrioron left exceptfor one footand calf;partof of horse and cloak of rider. In the field, the hindquarters brancheswith fruit. On the shoulder: above,tongue "rays"; blobson bripattern.White:stripeon chitonof horseman; dle;shielddevice. The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 234). Early 5th century B.C.

P24351

987

P 24341 Q 12:3 982 Part of mouthmissing.H. 0.147; diam.0.058. Figured decoration and shoulder ornament as 976. White:device. The Class of Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

P 24352 Q 12:3 Mouth,neck,handle,muchof shoulderandwall missing; footchipped.P.H. 0.11; diam.0.06. and shoulderornament as 986. MissFigureddecoration ing: head of horse. Red: fillets;mane and tail; patternon cloak;fruit;shielddevice. The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 234). Early 5th century B.C.

988

P 24348 Q 12:3 Mouth, neck, handle, and foot missing. P.H. 0.093; diam.0.058. Much of the glaze firedbrown. and shoulderornamentas 976. Red: Figured decoration rim of shield. White:surfaceof fillets;stripeson garments; shield. The Class of Athens581, ii: the Groupof AgoraP 24340 983
(Paralip. 233). Early 5th century B.C.

P 24353 Q 12:3 Mouth,neck,handle,muchof upperpartof wall missing. P.H. 0.109. and shoulderornament as 986. MissFigureddecoration torso of warrior on head of rider;neck head, arms, left; ing: of horse. Red: fillets;dot on shield;mane and tail. White: panel on cloakof rider;device. The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 234). Early 5th century B.C.

989

984

P 24347 Q12:3 Complete except for a small part of top of handle. H. 0.138; diam. 0.06. Surfacebadlyworn. and shoulderornamentas 976. Red: Figureddecoration stripes and dots on garments;rim of shield. White: main surfaceof shield;baldric. The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 233). Early 5th century B.C.

P 24332 Q 12:3 Half of mouth,neck,and shoulder,someof wall missing. H. 0.133;diam.0.057. Surfacebadlydamaged. A warriorto rightattacksanother Fight, with spectators. (head missing) who is down on one knee to right, looking around,holdingout his shield,his spearpoised.On the right and left, a draped youth with a spear. On the shoulder: above,dots, then tonguepattern.Red: fillet, stripes "rays"; on garmentof spectator on right. The Classof Athens581, ii: the Groupof AgoraP 24340
(Paralip. 234). Early 5th century B.C.

P 24346 Q 12:3 985 Mouth missing. P.H. 0.107; diam. 0.058. Foot chipped. Nearly all the glaze is flakedor abraded. and shoulderornamentas 976. Figureddecoration

P 24366 Q12:3 Complete.H. 0.141; diam.0.059. Now lost. Chariotspeedingto right with two warriorsrunningtowardsit carryingshields(devices:?). In the field,branches. Above, two rows of dots. On the shoulder:"rays"; above,

990 P1.83

226

CATALOGUE
The Class of Athens 581, ii: Namepiece of the Group of Agora P 24377 (Paralip. 235). Early 5th century B.C. 995 P 24378 Q12:3

tongue pattern. Red: helmet crests; fillet and belt of charioteer; stripes on garments; rims of shields; manes and tails; breast band; two lines below figures. White: devices; baldrics; dots on garments; charioteer's chiton; pendants of breast band. The Class of Athens 581, ii: Namepiece of the Group of Agora P 24366 (Paralip. 234). Early 5th century B.C. Q 12:3 Mouth, neck, handle, much of shoulder, wall, and foot missing. P.H. 0.109. Figured decoration and shoulder ornament as 990. Red: fillets; helmet crest; stripe on cloak of warrior; manes; lines below figures; breast band. White: chiton of charioteer (reddish); dots on harness; fruit (yellowish). The Class of Athens 581, ii: the Group of Agora P 24366 (Paralip. 234). Early 5th century B.c. 991 P 24367

Mouth, neck, handle, much of wall, all of foot missing. P.H. 0.123. Glaze mottled below figures. Figured decoration and shoulder ornament as 994. Red: fillet; stripes on garments; food in front of woman (meat?). White: fruit; food in front of man (bread?). For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). Early 5th century B.c. Q12:3 Mouth, neck, handle, half of shoulder, some of upper wall, most of foot missing. P.H. 0.103; diam. 0.057. Glaze is abraded in places. Figured decoration and shoulder ornament as 994. Red: woman's fillet; man's beard and forelock; stripes on garments. White: food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). Early 5th century B.c. Q 12:3 Mouth, neck, handle missing. P.H. 0.107; diam. 0.062. Surface much abraded. Figured decoration, shoulder ornament, and accessory color as 994. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. 997 998 P 24383 Q 12:3 P 24380 996 P 24384

992

P 13576 0 17:2

Mouth, neck, handle, and much of right side of scene missing. P.H. 0.112; diam. 0.058. Burned. Glaze nearly gone. Chariot speeding to right over warrior (arm, leg) fallen to right. A second warrior runs toward the chariot holding out his shield. A Boeotian shield hangs down the charioteer's back. Above, two rows of dots. On the shoulder: "rays"; above, tongue pattern. Red: mane and tail of right-hand trace horse; line below scene. The Class of Athens 581, ii: the Group of Agora P 24366 (Paralip. 234). Early 5th century B.c. 993 PI. 83 P 24370 Q 12:3

Handle, fragments of shoulder and wall missing. H. 0.158; diam. 0.058. Figured decoration on white ground. Youth mounting chariot, with a woman standing in front, all to right. In the field, a branch. On the shoulder: "rays"; above, tongue pattern. Red: fillets; manes and tails; breast band; stripes on garments; line below scene, another at top of black above foot. White: flesh of woman. The Class of Athens 581, ii: the Group of Agora P 24366 (Paralip. 234). Early 5th century B.C.

Mouth, handle, most of foot missing. P.H. 0.123; diam. 0.06. Surface very worn on top. Figured decoration, shoulder ornament, and accessory color as 994. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. P 24386 Q 12:3 much of Mouth, neck, handle, shoulder, wall, all of foot of is abraded. P.H. 0.088. Much the glaze missing. Figured decoration and shoulder ornament as 994. The man's head and some of his body are missing. The woman's flesh is black. Red: woman's fillet; stripes on garments. White: food; ground line; fruit. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. 999

994

P 24377 Q 12:3

Half of mouth, some of wall and foot missing. H. 0.181; diam. 0.07. S. R. Roberts, Hesperia 55, 1986, p. 43, no. 197, fig. 28. Symposion. A man and woman recline on the ground, she looking around at him (his head and shoulders missing). The woman's flesh is black. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. Red: woman's fillet; stripes on garments; line at edge of mouth. White: food; ground line. For the subject, cf. 420.

LEKYTHOI 1000 P 24382 Q 12:3

227

Mouth, handle, some of neck missing. P.H. 0.124; diam. 0.061. Dented near man's feet. Figured decoration and shoulder ornament as 994. Red: woman's fillet; man's beard and forelock; stripes on garment. White (yellowish to yellow): woman's flesh; fruit; food; ground line. The Class of Athens 581, ii: the Group of Agora P 24377 (Paralip. 235). For the subject, cf. 420. Early 5th century B.C. 1001 P 24388 Q 12:3

The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C.

1005

P 24393

Q 12:3

Mouth, handle, upper right part of scene missing. P.H. 0.114; diam. 0.059. Figured decoration and shoulder ornament as 1002. Man's head missing. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. P 24394 Q 12:3 some of shoulder and wall missing. H. 0.145; Handle, diam. 0.06. Top of mouth glazed. Glaze fired red. Figured decoration and shoulder ornament as 1002. White: ground line. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. 1007 P 24401 Q12:3 1006

Mouth missing. P.H. 0.096; diam. 0.047. Figured decoration on white ground. Symposion. A man and a woman recline to left. In the field, a vine with grapes. Female flesh left black. Above the figures, two rows of dots. On the shoulder: "rays"; above, tongue pattern. Red: fillets; stripes on garments. For the subject, cf. 420. The Class of Athens 581, ii: Near the Group of Agora P 24377 (Paralip. 235). Early 5th century B.C. 1002 P1. 83 P 24402 Q12:3

Mouth, handle, some of shoulder and upper wall missing. P.H. 0.093; diam. 0.052. Dent in wall near figure on left. Symposion. A man reclines to left near a rock, looking around. On the left is a woman seated to right on an okladias, her flesh left black. In the field, branches. On the shoulder: "rays";above, tongue pattern. Red: woman's fillet; man's beard and wreath; stripes on garments; line at right of rock. White: marking on rock; food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: Namepiece of the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. 1003 P 24392 Q 12:3

Mouth, handle, neck, and foot missing. P.H. 0.098; diam. 0.058. Glaze is abraded in places. Figured decoration and shoulder ornament as 1002. Red: beard; stripes on garments. White: food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: compare the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. Q12:3 Mouth, handle, neck, shoulder, and foot missing. P.H. 0.089. Silhouette technique. Figured decoration as 1002. For the subject, cf. 420. The Class of Athens 581, ii: compare the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. Q 12:3 Mouth, neck, most of shoulder, part of wall and foot missing. P.H. 0.097; diam. 0.057. Much of the glaze is abraded and flaked. Burned. Symposion. Man and woman (head missing) reclining, he looking around. In front of the pair, food. In the field, branches with fruit. The woman's flesh is black. On the shoulder: "rays";above, tongue pattern. For the subject, cf. 420. The Class of Athens 581, ii: Neighborhood of the Groups of Agora P 24381 and P 24377 (Paralip. 235). Early 5th century B.C. P 24461 Q12:3 most of mouth P.H. Handle, 0.135; diam. 0.059. missing. Much of the glaze is abraded. 1010 1009 P 24385

1008

P 24396

Part of mouth, handle, and wall missing. H. 0.131; diam. 0.057. Top of mouth glazed. Figured decoration and shoulder ornament as 1002. Red: woman's fillet; man's beard and forelock; stripes on garments. White: fruit; food; ground line. For the subject, cf. 420. The Class of Athens 581, ii: the Group of Agora P 24402 (Paralip. 235). Early 5th century B.C. Q 12:3 Most of mouth missing. H. 0.136; diam. 0.059. Mouth glazed on top. Some of the glaze is abraded below the figures. Figured decoration and shoulder ornament as 1002. Red: woman's fillet; man's beard and forelock; stripes on garment. White: food; ground line. For the subject, cf. 420. 1004 P 24395

228

CATALOGUE brancheswith fruit. On the shoulder: above,tongue "rays"; pattern.Red:woman'sfillet;beard;stripesand dotson garments.White:woman'sflesh;fruit. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235).
Early 5th century B.C.

Symposion. Between eyes, man (Dionysos?) reclining, looking around. In the field, branches.On the shoulder: above,tonguepattern.Red:beard;stripeson cloak. "rays"; White:groundline;outlines,irises,and pupils of eyes. For the subject,cf. 420. The Classof Athens581, ii: Neighborhood of the Groups of AgoraP 24381 and P 24377 (Paralip.235).
Early 5th century B.C.

P 24376 Q 12:3 Complete.H. 0.179; diam. 0.075. M. Lang, Socratesin the Agora[AgoraPictureBook 17], Princeton1978, ill. 16. Man andwomanrecliningto left, she looking Symposion. around. In the field, a branch.The woman's flesh is left black.On the shoulder: above,tonguepattern.Red: "rays"; woman's fillet; man's beard and forelock;stripes on garments.White:food;groundline. For the subject,cf. 420. The Classof Athens581, ii: the Groupof AgoraP 24381 1011 P1.83
(Paralip. 235). Early 5th century B.C.

P 24372 Q12:3 H. 0.165; Fragment of neck and wall missing. diam.0.067. and shoulderornament as 1015. Red: Figureddecoration White:woman'sflesh;fruit. fillets;stripeson garments. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235).
Early 5th century B.C.

1016

1017

P 24374 Q12:3

P 24381 Q 12:3 Mouth, neck, handle, and part of foot missing. P.H. 0.107; diam.0.057. Much of the glaze is abraded. Figured decoration and shoulder ornament as 1011. Above the figures, two rows of dots. Red: woman's fillet; White:food; man'sforelockand beard;stripeson garments. groundline. The Class of Athens 581, ii: Namepieceof the Groupof AgoraP 24381 (Paralip.235). 1012
Early 5th century B.C.

Complete.H. 0.142; diam.0.058. and shoulderornament as 1015. Red: Figureddecoration fillets;stripeson garments.White: woman'sflesh;dots on fruit. garments; For the subject,cf. 420. The Class of Athens581, ii (Paralip.235).
Early 5th century B.C.

P 24373 Q12:3 Complete.H. 0.137; diam. 0.057. Glaze is abradedin manyplaces. as 1015. Red: and shoulderornament Figureddecoration White:woman'sflesh;fruit. fillets;stripeson garments. For the subject,cf. 420. The Classof Athens581, ii (Paralip.235).
Early 5th century B.C.

1018

P 24379 Q 12:3 Mouth missing.P.H. 0.128; diam.0.06. and shoulderornamentas 1011. Red: Figureddecoration woman's fillet; man's beard and forelock;stripes on garments.White:fruit;groundline. The Classof Athens581, ii: the Groupof AthensP 24381 1013
(Paralip. 235). Early 5th century B.C.

P 24400 Q 12:3 Someof wall, all of footmissing.P.H. 0.134;diam.0.055. Top of mouthglazed.Glaze is badlyflakedand abraded. Symposion.Dionysos(lowerdraperymissing)reclinesto left, holding a kantharos.On the left, a woman (drapery) sits to right on an okladias.In the field, branches.On the shoulder: above,tonguepattern. "rays"; For the subject,cf. 420. The Class of Athens 581, ii: Near the Group of Agora 1014
P 24381 (Paralip. 235). Early 5th century B.C.

P 24387 Q 12:3 Mouth, neck, handle, shoulder,some of wall missing. P.H. 0.083. and shoulderornament as 1015. The Figureddecoration woman'sface and some of the man's draperyare missing. Red:dotson woman'sgarment.White:woman'sflesh;food; fruit. cf. 420. For the subject, The Classof Athens581, ii (Paralip.235). 1019
Early 5th century B.C.

P 24391 Q 12:3 Mouth, handle, some of neck missing. P.H. 0.106; diam.0.057. Glaze is flakedalmostentirely. A satyrruns Dionysosreclines,holdingout his kantharos. On the shoulder: towardhim. In the field,branches. "rays"; above,tonguepattern. The Classof Athens581, ii (Paralip.235). 1020
Early 5th century B.C.

P 24375 Q 12:3 Completeexceptfor chip on foot. H. 0.173;diam.0.07. Symposion.Dionysosand Ariadnereclining,she looking around at him, he holding a drinkinghorn. In the field, 1015 PI. 83

P 24390 Q 12:3 1021 P1.83 Part of foot and mouth missing. H. 0.133; diam. 0.059. Mouth glazedon top. To the left is a Dionysosreclines,holdinghis kantharos.

LEKYTHOI satyr,down as if seated.In the field,brancheswith fruit.On the shoulder:"rays"; above,tongue pattern.Red: forelocks and beards; tail; stripes on garment. White: fruit; food; groundline. The Class of Athens 581, ii (Paralip.236).
Early 5th century B.C.

229

P 24487 Q 12:3 1022 P. 83 Someof shoulderand wall missing.H. 0.18; diam.0.069. Chip in foot. Heraklesand the Bull. The herokneelson one kneebinding the bull. Abovehangs his quiverand to right and left a On the shoulder: cloak.In the field,branches. above, "rays"; tonguepattern. For the subject,cf. 362. The Class of Athens581, ii: the Groupof AgoraP 24486
(Paralip. 236). Early 5th century B.C.

P 24327 Q12:3 Handle missing.H. 0.141; diam.0.063. Glaze is abraded in places. Athenaand a giant. Athenastridesto right, spear raised and shield (device: two dots)towarda giantwho is downon one knee, head averted.In the field, a branch.Above the above, figures,two rows of dots. On the shoulder:"rays"; tongue pattern. Red: fillets; rims of shields; border of Athena'sskirt;line downcenterof garmentand on hanging fold. White: Athena'sflesh; dots on crest supportsand on aegis; two lines down skirt;shield devices;most of giant's shield. For the subject,cf. 183. The Class of Athens 581, ii: Namepieceof the Groupof AgoraP 24327 (Paralip.236).
Early 5th century B.C.

1027 PI. 83

1028

P 24328 Q12:3

P 24486 Q 12:3 1023 Some of mouth, neck, handle, and wall missing. P.H. 0.16. and shoulderornamentas 1022. Figureddecoration For the subject,cf. 362. The Class of Athens 581, ii: Namepieceof the Groupof AgoraP 24486 (Paralip.236).
Early 5th century B.C.

Mouth, some of neck and shouldermissing.P.H. 0.126; diam.0.057. Shoulderrestored. on mostof Glaze is abraded lower half of vase. and shoulderornament as 1027. Red: Figureddecoration rims of shields;stripeson garments; dots on aegis;fillet on helmet;dots on crestsupport.White:dots on edge of aegis; device(wreathof dots)on shield;baldricof giant. The Classof Athens581, ii: the Groupof AgoraP 24327
(Paralip. 236). Early 5th century B.C.

P 24491 Q 12:3 Mouth, neck, handle, and foot missing. P.H. 0.077; diam.0.048. Figureddecoration on white ground. and shoulderornamentas 1022. Red: Figureddecoration fillet;stripeson garment; baldric;cord. For the subject,cf. 362. The Class of Athens581, ii: the Groupof AgoraP 24486 1024
(Paralip. 236). Early 5th century B.C.

P 24490 Q 12:3 1025 Some of mouth, all of foot missing. P.H. 0.108; diam.0.058. Top of mouthglazed. and shoulderornamentas 1022. Red: Figureddecoration fillet; stripes on garments;baldricof quiver;cord. White: diagonalstripeson cloak;muzzle,horn,belly stripeof bull. For the subject,cf. 362. The Class of Athens581, ii: the Groupof AgoraP 24486
(Paralip. 236). Early 5th century B.C.

1029 PI. 83 P 24329 Q12:3 Part of mouth and wall missing.H. 0.148; diam. 0.058. Top of mouthglazed.The glaze is thin in places. and shoulderornamentas 1027. The Figureddecoration giant's shield is emblazoned with a three-dimensional snake. Red: stripes on Athena's chiton and cloak; fillet roundher helmet;rim of shield;forelockand beard.White: Athena'sflesh;dotson her aegis;giant'schiton;dotson crest supportof his helmet. The Classof Athens581, ii: the Groupof AgoraP 24327
(Paralip. 236). Early 5th century B.C.

P 24493 Q 12:3 Mouth, neck, handle missing. P.H. 0.08; diam. 0.049. Chip in foot. and shoulderornamentas 1022. Red: Figureddecoration stripes on garment; fillet; baldric; cord. White: muzzle, horn,belly stripeof bull, alternatedots. For the subject,cf. 362. The Class of Athens 581, ii: comparewith the Groupof AgoraP 24486 (Paralip.236). Early 5th centuryB.C. 1026

P 24326 Q 12:3 Part of foot and mouth missing. H. 0.144; diam. 0.06. Dent in wall nearhandle. and shoulderornament as 1027. Red: Figureddecoration fillets on helmets; rims of shields; devices (balls: two on Athena's;three on giant's);dots on aegis. White: Athena's flesh;rows of dotsdowncentralpanelof her skirt. The Class of Athens 581, ii: Near the Group of Agora
P 24327 (Paralip. 236). Early 5th century B.C.

1030

1031 P1.83

P 20752 R 12:1

Wall and shoulderfragment.P.H. 0.073; diam.0.066. Athena and a giant. Athena, with spear and shield (device: three balls) attacksa giant who flees to right looking around,his spearpoised,his shield(device: ball) overlapped

230

CATALOGUE
For the subject, cf. 362. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. Q12:3 of of foot and wall Mouth, neck, fragment upper missing. P.H. 0.168; diam. 0.071. Struggle for the Tripod. Apollo (cloak on shoulder; quiver) is on the left holding one handle of the tripod, while Herakles (lionskin; club) grasps it by one leg. On the right and left, a draped figure, the one on the right a youth with a staff (head and shoulders of one on the left missing). In the field, branches. On the shoulder: "rays";above, tongue pattern. Red: fillets of Apollo and youth on right; mane of lionskin; Herakles' belt; cauldron; stripes on garments. White: chiton of Herakles; borders of garments of flanking figures. For the subject, cf. 365. The Class of Athens 581, ii (Paralip. 237 and 238). Early 5th century B.c. 1037 P1. 84 P 24330 Q 12:3 1036 PI. 84 P 24511

by Athena's. On the right and left, a draped spectator holding a staff. The head of the one on the right is missing. In the field, a vine. On the shoulder, palmette between spirals. For the subject, cf. 183. The Class of Athens 581, ii: compare with the Group of Agora P 24327 (Paralip. 236). Early 5th century B.C. Q 12:3 Mouth, foot, small fragments of wall missing. P.H. 0.10; diam. 0.045. Figured decoration on white ground. Figured decoration and shoulder ornament as 1022. Red: fillet; stripes on cloak; cord; baldric; bull's scrotum. For the subject, cf. 362. The Class of Athens 581, ii: compare the Painter of Elaious I (Paralip. 237). Early 5th century B.C. 1032 1033 P 24497 Q 12:3 P 24492

Mouth, neck, handle, part of shoulder and wall missing. P.H. 0.10; diam. 0.06. Herakles and the Bull (much of the hero's torso and head, most of the bull's body are missing). On each side, a youth to right looking around, holding a club in one hand and a cloak over his extended arm. Above, the hero's cloak, club, and quiver hang. In the field, branches with fruit. On the shoulder: "rays";above, tongue pattern. Red: beard of figure on right; stripes on garments; baldric of quiver. White: clubs; dot clusters on cloaks; muzzle, horn, belly stripe, tail; markings and cords on quiver. For the subject, cf. 362. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. P 24503 Q 12:3 P.H. 0.175; Much of wall, all of foot missing. diam. 0.068. Herakles and the Lion (leg of the hero; shoulder, hind legs, tail of the lion). At the left, Iolaos looks on, holding the hero's club and on the right, a youth moves away looking around (top of head, raised right arm, lower part of legs). In the field, branches with fruit. On the shoulder: "rays"; above, tongue pattern. Red: fillet of Iolaos; stripes on garments; spots on mane. White: club; muzzle, belly stripe; fruit. For the subject, cf. 394. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. 1034 1035 P 24494 Q 12:3

Most of mouth, neck, left half of picture missing. P.H. 0.149; diam. 0.061. Dionysos and two giants, between women (maenads?). Dionysos (top of wreathed head, lower drapery) strides to right looking around. A giant attacks to left, holding his Boeotian shield (device: thunderbolt), and behind him is a woman watching. Behind the god is a second giant (legs, edge of shield, part of spear), and on the left is a woman (feet, lower border and fold of garment). In the field, a branch. On the shoulder: "rays"; above, tongue pattern. Red: beard; dots on garments; wreaths; rim of shield. White: female flesh; dots on garments; chiton of Dionysos; shield device; edge of giant's cuirass and chiton; crest; baldrics. For the subject, cf. 183. The Class of Athens 581, ii (Paralip. 237 and 238). Early 5th century B.c. P 24514 Q 12:3 0.047. Glaze is H. diam. 0.116; Top of handle missing. abraded and flaked in places. Herakles and Triton. The hero grasps the fish-tailed monster tightly round his chest. By mistake the painter omitted Herakles' right arm. On the left, a Nereid flees, looking around, her right arm outstretched. On the right, a tall rock. On the shoulder: "rays"; above, tongue pattern. Red: hair and beard of Triton; chiton. White: flesh of Nereid; mid-rib and markings on Triton; contour of rock. For the subject, cf. 816. The Class of Athens 581, ii (Paralip. 237). Early 5th century B.C. 1038 PI. 84 1039 P 24510 Mouth, neck, some of wall missing. diam. 0.059. Herakles with lionskin, club, and quiver moves to right to greet Athena. On the left is a woman seated to left on an okladias, looking around. On the right, a draped figure Q12:3 P.H. 0.123;

Mouth, neck, handle, shoulder, part of wall missing. P.H. 0.071. Herakles and the Bull. Herakles (lower part) down on one knee, binding the bull (hindquarters missing). At left, part of a garment hanging. Below the bull, loop of quiver. Red: stripe on garment; cords. White: muzzle, horn, belly stripe.

LEKYTHOI (head missing)who may be Dionysosmovesaway, looking around.In the field, brancheswith fruit. On the shoulder: above, tongue pattern.Red: fillets of women;fore"rays"; lock and beardof Herakles;stripeson garments.White:female flesh; dots on drapery; chiton (only lower border shows) of Dionysos; marking on club; fruit. The Class of Athens581, ii (Paralip.237).
Early 5th century B.C.

231

P 24338 Q 12:3 Mouth, top of neckmissing.P.H. 0.097; diam.0.048. Three warriors.The two on the left attackthe warrioron the right. Each holds out a shield (deviceon each:circles), but the artist forgotto give them spears.On the shoulder: above,tonguepattern.Red: rims of shields.White: "rays"; baldricof warrioron right. devices; The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

1044

P 24509 Q12:3 Mouth, neck, handle, nearly half of shoulderand walls missing.P.H. 0.11; diam.0.055. Herakles (feet missing) with club and quiver stands to right shakinghandswith Athena(head,torsomissing)who sits on a block.On the left, a womansits to righton an okladias, and on the right, a drapedman (Dionysos?feet, lower drapery) moves to right. In the field, branches.On the shoulder: above,tonguepattern.Red:fillets;beardof "rays"; Herakles;dots on cloaks;two lines below the scene.White: chiton(only bordershows)of femaleflesh;dots on drapery; male at right;baldrics. The Class of Athens581, ii (Paralip.237).
Early 5th century B.C.

1040

P 24336 Q 12:3 Preserved exceptfor a few chips. H. 0.104; diam. 0.043. Thompson,op. cit. (under373), ill. 36. Fight.A warriorarmedwith a shieldand a spearpursues anotherwho collapsesto right looking around,his shield held out. Each wears a short chitonand a Corinthianhelmet. On the shoulder: above,dots. "rays"; The Classof Athens581, ii (Paralip.238).
Early 5th century B.C.

1045

P 24436 Q12:3 Complete.H. 0.117; diam.0.05. Silhouettetechnique. Draped male with staff, seated to right on an okladias, betweentwo others,each with a spearor a staff and a cloak over an outstretched arm, movingto right, the one on the above,tongue rightlookingaround.On the shoulder,"rays"; pattern. The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

1041

P 24437 Q12:3 Complete.H. 0.113; diam. 0.048. Silhouettetechnique. Now lost. Draped male with staff, seated to right on an okladias, between two youths with spears and cloaks, each looking around.On the shoulder: above,tonguepattern. "rays"; The Classof Athens581, ii (Paralip.238).
Early 5th century B.C.

1046 PI. 84

P 24337 Q 12:3 Mouth, neck, much of shoulder,body, and foot missing. P.H. 0.075. Fight. A warrior(body,legs) to rightattacksanotherwho is down on one knee looking around. Each holds out his shield (devices: Red:fillets circles).On the shoulder,"rays". on helmets;rimsof shields;doton chitonof attacker. White: dotson garments; devices; baldrics; part of helmetcrest. The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

1042 PI. 84

P 24349 Q12:3 Mouth, part of shoulderand wall missing. P.H. 0.126; diam.0.059. Most of the glaze firedbrown. Warriors leaving home. Two warriors (head, part of shield of one on left missing) stand to left, each with two on left, a snake;on right, spearsand a roundshield(devices: fiveballs).On the rightand left, a drapedman (head,shouldersof one on rightmissing)holdinga spear.On the shoulder: "rays"; above,tongue pattern.Red: fillets;stripesand dotson drapery; rimsof shields.White:devices. The Classof Athens581, ii (Paralip.238).
Early 5th century B.C.

1047

P 24350 Q 12:3 some of wall missing.P.H. 0.095. Mouth, neck,shoulder, Foot chipped.Someof glaze abraded. Departureof warriors.On the left, a man (drapery)to rightfacinga warrior(backof helmet,rim of shield,partsof legs) holdingtwo spears.Then comesa similarpair, the old man fully preserved,the warrior's head and part of his shield (device: ?) missing. Above, two rows of dots. Red: dotson crestof warrioron left;dotson stripeson garments; rim of shield on right. White: hair and beardof old man; device. The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

1043

P 24427 Q12:3 Someof foot missing.H. 0.108; diam.0.049. with one hand Drapedmanseatedto righton an okladias, raised.On each side, a nude youth movesaway, the one on the rightholdinga cloak,the one on the left lookingaround. In the field, branches. On the shoulder:"rays";above, White:dots tonguepattern.Red:fillet;stripeson garments. on garment. The Classof Athens581, ii (Paralip.238).
Early 5th century B.C.

1048

P 24318 Q12:3 Part of wall missing.H. 0.123; diam.0.05. Surfacebadly on white ground. preserved. Figureddecoration

1049

232

CATALOGUE her flesh left black.On the right is a satyr to right looking around. In the field, branches.On the shoulder:"rays"; above, tongue pattern. Red (mostly flaked): stripe on garmentof Dionysos. For the subject,cf. 420. The Classof Athens581, ii (Paralip.239).
Early 5th century B.C.

Aias and AchilleusGaming,with Athenawatching.The two heroeshave Boeotianshieldson their backsand sit on okladiai(the one on the right is almostcompletely missing). On the right,a woman(headmissing)movesaway. Female flesh is left black. On the shoulder:"rays"; above, tongue pattern.Red:deviceon shieldon left (balls);stripeson garments;line below scene. For the subject,cf. 84. The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

P 24523 Q 12:3 of Fragments shoulder and wall missing. P.H. 0.205; diam. 0.085. S. R. Roberts, Hesperia 55, 1986, p. 44, no. 252, pl. 11. Foot race (sprint):two youthsrunningto right. Blobsin field.On the shoulder: above,tonguepattern. "rays"; The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

1050

P 24465 Q 12:3 Complete.H. 0.117; diam. 0.048. Top of mouthglazed. Glaze wornin manyplaces. Dionysosbetweentwo maenads,all to right, the one on the right looking around. In the field, branches.On the shoulder:"rays"; above,tongue pattern.Red: dots on garments.White:femaleflesh. The Classof Athens581, ii (Paralip.240).
Early 5th century B.C.

1055

P 24524 Q 12:3 1051 P1.84 Most of handlemissing.H. 0.121; diam.0.048. Foot race:threerunners(one leg eachof 2 and 3 missing) to right. On the left, the goal post (Doric column).Blobsin the field.On the shoulder: above,tonguepattern. "rays"; The Class of Athens581, ii (Paralip.238).
Early 5th century B.C.

1052 PI. 84
Complete. H. 0.152; diam. 0.055.

P 24521 Q 12:3

P 24442 Q 12:3 Handle, some of wall, nearly half of foot missing. H. 0.143;diam.0.061. Dionysosholdinga drinkinghorn,betweentwo maenads, all seated to right on okladiai. In the field, a vine with above,tonguepattern.Red: "rays"; grapes.On the shoulder: fillets of maenads;Dionysos' beard and part of his hair; stripes and dots on cloaks. White: female flesh; Dionysos' chiton; jointsof okladiai. The Classof Athens581, ii (Paralip.240). 1056
Early 5th century B.C.

two on each side of a tree,all with Womenin an orchard, hands raised. 1 faces left, 2 and 3 stand to right, looking above,tongue around,4 faces left. On the shoulder:"rays"; pattern. Red: fillets; dots on garments;two lines below scene.White:flesh;dot clusterson garments. The Class of Athens581, ii (Paralip.239).
Early 5th century B.C. 1053 PI. 84 P 24365 Q12:3

P 24443 Q 12:3 Mouth, neck,handle,someof shoulderand foot missing. P.H. 0.10;diam.0.059. Dionysos between two maenads,all seated to right on On okladiai.The god looksaround,holdinghis kantharos. the shoulder,"rays".White: flesh of maenads;Dionysos' dotson garments? chiton; jointsof okladiai; The Classof Athens581, ii (Paralip.240).
1057 Early 5th century B.C.

Complete.H. 0.178; diam.0.07. Ariadnemountinga chariotto right,with Dionysosand a satyr.On the left side of the team, Dionysosstandsto right, lookingaround.In frontof the horses,a satyrkneelsto right holding a wreath. In the field, brancheswith fruit. Above the scene,a dot band.On the shoulder: above,tongue "rays"; pattern. Red: Ariadne'sfillet; forelocksand beards;broad stripeson garment;manes;breastband.White (yellowish): Ariadne'sflesh; Dionysos'chiton;wreath;right-handpole horse;pendantsof breastband;fruit. The Class of Athens581, ii (Paralip.239).
Early 5th century B.C.

P 24445 Q 12:3 Mouth, handle, part of wall missing. P.H. 0.091; diam.0.044. Chip in foot. Dionysos (back missing) and two maenads (flesh left black)all seatedto right, the maenadon the left (headand feet missing)on a block,the god and the other maenadon okladiai. In the field, branches.On the shoulder:"rays"; above,tonguepattern.Red: fillets of maenad;forelockand beardof Dionysos;stripeson garments. The Classof Athens581, ii (Paralip.241). 1058
Early 5th century B.C.

P 24403 Q 12:3 Complete.H. 0.111; diam. 0.048. Surfacemuch worn. Glaze fired brown in places. Figured decorationon white ground. Symposion.Dionysosreclineswith anotherfigureon the couchnearhis feet. In frontof themis a tablewith piecesof meat.On the left is a maenadseatedto righton an okladias, 1054

1059

P 24446 Q 12:3 Mouth, handle,much of shoulder,part of wall missing.

P.H. 0.085; diam. 0.04.

Dionysos (backmissing) seatedto right on an okladias, holdinga horn. On each side, a maenad(lower draperyof one on left, all of one on right)seatedon an okladias,facing inward. In the field, branches.On the shoulder:"rays";

LEKYTHOI beard;stripes above,tonguepattern.Red:filletsof maenads; on garments.White:women'sflesh;Dionysos'chiton; joints of okladiai;dotson garments. The Class of Athens581, ii (Paralip.241).
Early 5th century B.C.

233

Figured decoration and shoulder ornament as 1061. Thighs of Dionysos missing. Red: forelocksand beards; stripeson cloak.White:chiton;fruit. The Classof Athens581, ii (Paralip.241).
Early 5th century B.C.

1060

P 27845 H 13:5

Mouth, neck, much of wall at back missing. P.H. 0.10; diam.0.047. Ariadneseated to right on an okladiasbehind Dionysos (back of chiton and drapery),also on an okladias.In the field, a branchwith fruit. Above,two rows of dots. On the shoulder:"rays";above, tongue pattern. White: woman's flesh;joints of her okladias;chiton;fruit. The Class of Athens581, ii.
Early 5th century B.C.

G6:3 (U) Fragmentof shoulderand wall. Max. dim.0.09. E. Vanderpool,Hesperia15, 1946, pp. 305-306, no. 163, pl. 55. Dionysos seated to right on an okladias, holding his drinkinghorn.In frontof him is a satyr(upperparts)dancing to right, looking around. In the field, brancheswith fruit. Above, two rows of dots. On the shoulder:"rays"; above, tongue pattern. Red: beard of satyr; dots on garments.White:rim of horn;stripeson garment; fruit;filletin handof satyr. The Classof Athens581, ii (Paralip.241). 1066
Early 5th century B.C.

P2626

P 24419 Q 12:3 Handle misssing.H. 0.151; diam. 0.063. Glaze is flaked in manyplacesandhas firedredon half of vase. and abraded sits Dionysos to righton an okladias,holdinga kantharos. On each side, a satyrto right,carryinga wreath,the one on the right lookingaround.In the field, brancheswith fruit. On the shoulder: above,tonguepattern.Red:dotson "rays"; Dionysos' cloak. White: Dionysos' chiton; wreaths;fruit; joints of okladias. The Class of Athens581, ii (Paralip.241). 1061
Early 5th century B.C.

P 24444 Q 12:3 Fragmentsof wall missing.H. 0.13; diam. 0.047. Much of the glaze is flaked. Dionysos(?muchof bodymissing)sitsto righton an okladias, between two maenads,also seated to right. On the shoulder: above,tonguepattern. "rays"; The Classof Athens581, ii (Paralip.241). 1067
Early 5th century B.C.

P 24420 Q 12:3 Fragmentsof wall missing.H. 0.148; diam.0.059. and shoulderornamentas 1061. DioFigureddecoration nysos holds a drinkinghorn. The face and shoulderof the satyr on the right are missing. Red: beards; Dionysos' wreath,stripeson his cloak.White:Dionysos'chiton;rim of horn;wreaths;fruit;joints of okladias. The Class of Athens581, ii (Paralip.241). 1062
Early 5th century B.C.

P 24426 Q 12:3 and handle Mouth, neck, missing. P.H. 0.077; diam.0.048. Maenad seatedto right on an okladias,holdingkrotala. On each side is a satyrto right,the one on the rightlooking around,the one on the left holdinga wreath. In the field, branches.On the shoulder:"rays"; above,tongue pattern. Red:beards; dotson garments. White:maenad's flesh; joints of okladias. The Classof Athens581, ii (Paralip.241). 1068
Early 5th century B.C.

P 24422 Q12:3 Mouth and neckmissing.P.H. 0.09; diam. 0.042. and shoulderornamentas 1061. Red: Figureddecoration beards;tails. White: Dionysos' chiton; dots on his cloak; joints of okladias. The Class of Athens581, ii (Paralip.241). 1063
Early 5th century B.C.

P 24425 Q 12:3 Mouth, handle,partof shoulderand upperwall missing. P.H. 0.09; diam. 0.039. and shoulderornamentas 1061. Red: Figureddecoration beards.White:chiton;wreaths;fruit. The Class of Athens581, ii (Paralip.241). 1064
Early 5th century B.C.

P 24473 Q 12:3 Mouth, handlemissing.P.H. 0.125; diam. 0.058. Much of the glaze is flakedand abraded. A maenad flees to right, looking around,between two satyrs,the one on the right lookingaround.The one on the left is lifting the maenad'sskirt. In the field, branches.On the shoulder:"rays"; above, tongue pattern. Red: beards. White:femaleflesh. The Classof Athens581, ii (Paralip.241).
Early 5th century B.C.

1069

P 24424 Q 12:3 Mouth, neck,handle,part of shoulderand wall missing. P.H. 0.103; diam. 0.056. Foot chipped. 1065

Q12:3 and wall missing. Mouth,neck,handle,muchof shoulder P.H. 0.141. Silhouettetechnique. Satyr (part of legs missing) to right and a stylizedvine intertwined with grapes,betweentwo rocks(cave?).On the shoulder,"rays". The Class of Athens581, ii (Paralip.241).
Early 5th century B.C.

1070 P1.84

P24470

234 1071 P1. 84 P24475

CATALOGUE
The Class of Athens 581, ii: the Kalinderu Group (Para-

Q 12:3 Complete except for top of neck, all of mouth and handle. P.H. 0.115; diam. 0.058. Decoration on white ground. Lang, op. cit. (under 527), ill. 42. Two satyrs picking grapes. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. The Class of Athens 581, ii (Paralip. 241). Early 5th century B.C. Q12:3 of shoulder and of wall Fragments upper part missing. H. 0.175; diam. 0.074. Glaze fired brown in places. Between eyes, nude youth to right holding a wreath. In the field, leafless branches. Cloaks hung up. On the shoulder: "rays";above, tongue pattern. Red: fillet; wreath; irises and pupils of eyes. The Class of Athens 581, ii (Paralip. 242). Early 5th century B.C. P 24450 Q 12:3 of of mouth handle, part Top missing. H. 0.139; diam. 0.061. Much of glaze flaked and abraded. Between eyes, Dionysos sits to right on an okladias, holding a kantharos. In the field, branches. On the shoulder: "rays"; above, tongue pattern. Red: beard; stripes on garment. White: chiton; outlines and irises of eyes. The Class of Athens 581, ii (Paralip. 242). Early 5th century B.c. 1073 1072 P 24462

lip. 244).
Early 5th century B.c. Q 12:3 Mouth, some of body missing. P.H. 0.123; diam. 0.055. Figured decoration and shoulder ornament as 1075. Most of Dionysos is missing. Red: fillet of right maenad; stripes on garments. White: Dionysos' chiton; joints of okladiai; fruit. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 244). Early 5th century B.C. 1076 P 24441

1077

P 24440 Q12:3

Complete. H. 0.148; diam. 0.061. Mouth glazed on top. Glaze fired red in many places. Figured decoration and shoulder ornament as 1075. Red: fillet of maenad on left; forelock and beard; stripes on garments. White: Dionysos' chiton; joints of okladiai. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 244). Early 5th century B.C. Q 12:3 Mouth, top of neck missing. P.H. 0.157; diam. 0.07. Much of the glaze is abraded. Figured decoration and shoulder ornament as 1075. Red: fillets of maenads; beard; stripes on garments. White: chiton of Dionysos; fruit; joints of okladiai. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 244). Early 5th century B.c. Q12:3 Mouth, neck, handle, most of shoulder, part of wall missing. P.H. 0.095; diam. 0.058. Glaze is abraded and flaked in places. Between eyes, Dionysos sits to right on an okladias, holding a kantharos. In the field, branches. On the shoulder, "rays".Red: beard; stripes and dot on garment. White: Dionysos' chiton; outlines, irises, and pupils of eyes; joints of okladias. The Class of Athens 581, ii: the Kalinderu Group (Paralip. 245). Early 5th century B.C. 1080 P 24451 Q 12:3 1079 PI. 85 P 24452 1078 P 24439

1074 P1.84

P 20753 R 12:1

Wall and shoulder fragment. Max. dim. 0.057. Fight, with horseman. On the left, a horseman (rider's legs; foreparts of horse) holding two spears gallops to right toward a warrior who is down on one knee, holding a round shield seen in three-quarter view and a spear. He wears a low-crested Corinthian helmet and a short chiton. Behind him is a spectator in a cloak holding a staff. Above the figures, dots. On the shoulder: "rays";above, tongue pattern. Red: forelock, strip on mane of horse; rim of shield, fillet on helmet; baldric; circle on warrior's chiton; spectator's fillet, stripes on his garment; line below scene. White: shield. The Class of Athens 581, v: the Kalinderu Group (ABV 504, 21); withdrawn from the group and assigned to the wider class of Athens 581, ii (Paralip. 244). Early 5th century B.c. Q 12:3 Fragment of foot missing. H. 0.178; diam. 0.07. Mouth glazed on top. Dionysos sits to right on an okladias, holding a kantharos. On each side is a maenad seated on an okladias facing inward, with hand raised, the flesh left black. In the field, branches with fruit. Above, two rows of dots. On the shoulder: "rays";above, tongue pattern. Red: fillets of maenads; beard and wreath of Dionysos; stripes on garments. White: joints of okladiai; fruit. 1075 Pl. 85 P 24438

Mouth, handle, most of neck, some of foot missing. P.H. 0.112; diam. 0.06. Much of the glaze is flaked and abraded. Figured decoration and shoulder ornament as 1079. Red: beard; stripes on garment. White: outlines, irises, pupils of eyes; joint of okladias. The Class of Athens 581, ii: the Kalinderu Group (Para-

lip. 245).
Early 5th century B.c.

LEKYTHOI P 24453 Q 12:3 Mouth, neck,handle,someof shoulderand wall missing. P.H. 0.098; diam.0.06. and shoulderornamentas 1079. Red: Figureddecoration wreath;beard;stripeson cloak.White:chiton; jointsof okladias;outlines,irises, pupils of eyes. The Class of Athens581, ii: the KalinderuGroup(Para1081
lip. 245). Early 5th century B.C.

235

The Classof Athens581, ii: the Kalinderu Group(Paralip. 245). Early 5th century B.C.

P 24449 Q12:3 1082 PI. 85 Mouth missing.P.H. 0.126; diam.0.058. and shoulderornamentas 1079. Red: Figureddecoration beard;stripeson garments.White:outlinesof eyes, forelock, irises and pupils;joint of okladias(?). The Class of Athens581, ii: the KalinderuGroup(Paralip. 245). Early 5th century B.C.

P 24457 Q 12:3 0.058. Mouth H. diam. Part of mouth missing. 0.142; on glazed top. Betweeneyes, a maenadseatedto right on an okladias, her flesh left black. In the field, leaflessbranches.On the shoulder:"rays"; above,tongue pattern.Red: fillet;stripes irisesand pupilsof eyes. on cloak.White:joints of okladias; The Class of Athens581, ii: the Kalinderu Group(Para1087 P1.85
lip. 245). Early 5th century B.C.

P 24454 Q 12:3 Mouth,handle,mostof neck,partof wall, all of footmissing. P.H. 0.086; diam.0.05. Glaze has firedred. Figured decoration and shoulder ornament as 1079. Branches withoutleaves.Red:forelockandbeard;stripeson cloak. White: chiton;joints of okladias;outlines,irises, pupils of eyes. The Class of Athens581, ii: the KalinderuGroup (Para1083
lip. 245). Early 5th century B.C.

P 24458 Q 12:3 Part of mouth, shoulder,and handlemissing. H. 0.141; diam.0.06. Top of mouthglazed. as 1087. Red: and shoulderornament Figureddecoration stripeson cloak.White:joints of okladias;irises and pupils of eyes. The Classof Athens581, ii: the Kalinderu Group(Para1088
lip. 245). Early 5th century B.C.

P 24448 Q 12:3 Handle missing. H. 0.134; diam. 0.057. Top of mouth glazed. and shoulderornamentas 1079. Red: Figureddecoration wreath; beard; stripes on cloak. White: Dionysos' chiton; irisesof eyes;joints of okladias. The Class of Athens581, ii: the KalinderuGroup (Para1084
lip. 245). Early 5th century B.C.

P 24459 Q 12:3 Mouth,neck,handle,mostof shoulder, partof wall missing. P.H. 0.096; diam.0.06. as 1087. Red: and shoulderornament Figureddecoration irisesandpupilsof stripeon cloak.White:jointsof okladias; eyes. The Class of Athens581, ii: the Kalinderu Group(Para1089
lip. 245). Early 5th century B.C.

P 24455 Q 12:3 Most of mouthand footmissing.P.H. 0.137;diam.0.061. Top of mouthglazed. and shoulderornamentas 1079. Red: Figureddecoration forelockand beard;stripeson cloak.White:chiton; jointsof okladias;outlines,irises,and pupils of eyes. The Class of Athens581, ii: the KalinderuGroup(Paralip. 245, the numberof incorrectly givenas P 24445). 1085
Early 5th century B.C.

P 24399 Q12:3 P.H. of foot Mouth, part 0.131;diam.0.06. missing. Symposion. Dionysos (head missing) reclines on the ground looking around, holding a kantharosin his right hand.On the left, a maenadsits to righton an okladias,her flesh left black. In the field, brancheswith fruit. On the shoulder, "rays";above, tongue pattern. Red: maenad's fillet; Dionysos'wreath;stripeson garments.White: food; groundline;fruit. cf. 420. For the subject, The Classof Athens581, ii. 1090
Early 5th century B.C.

P 24456 Q 12:3 Handle missing. H. 0.10; diam. 0.052. Top of mouth glazed. and shoulderornamentas 1079. Red: Figureddecoration forelock, beard;stripeson cloak.White:chiton; jointof oklaand of irises dias; pupils eyes. 1086

P 24404 Q 12:3 Mouth, neck, handle, much of upper wall missing. P.H. 0.074;diam.0.047. Two figures(partof draperyof each)recline Symposion. to left on a couch.In frontof themis a tablewith food.In the field, branches.Above,two rows of dots. On the shoulder, Red:stripeson garments. White:food;line of table. "rays". For the subject,cf. 420. The Class of Athens581, ii. 1091
Early 5th century B.C.

236 1092

CATALOGUE Three women(lowerdraperyof firsttwo, most of third) seated on chairs with backs, one to left, the other two to right, with a basketbetween them. In the field, branches. Red:dotson drapery; two lines below figures.White:flesh; dotsand dot clusterson drapery. The Class of Athens581, i or ii (ABV498, 2).
Early 5th century B.C.

P 24463 Q 12:3 Upper half of vase,partof foot missing.P.H. 0.089. Dionysos stands to right holding a drinking horn. On each side is a maenadfacinginward(headsmissing).In the field, branches. Red: wreath; beard; stripes on cloaks. White: flesh of maenads;Dionysos'chiton;dot clusterson cloaks;rim of horn. The Class of Athens581, ii. Early 5th centuryB.c. P 24471 Q12:3 Mouth, neck,handle,shoulder,upper part of wall missing. P.H. 0.09. Dionysos(lowerdrapery)to rightfacinga satyr(legs and tail). On the left, trunk of a tree? In the field, a vine with grapes.White:dot clusterson garments. The Class of Athens581, ii. 1093
Early 5th century B.C.

1098

P 2723 G 6:3 (U)

Wall fragment.Max. dim. 0.025. Woman (head and shoulders)to right. In front of and behindher, glaze and accessory white that looklike partsof two other women. In the field, brancheswith fruit. Red: fillet;eye;dot on garment. The Classof Athens581, i or ii (ABV 498, 3).
Early 5th century B.C.

1099

P 24482 Q12:3

P 24513 Q 12:3 Mouth, handle, small fragmentsof shoulder and wall missing. P.H. 0.096; diam. 0.049. Much of the glaze is flaked. Youthrecliningto left holdinga horn.His garments hang aboveat the rightandleft. In the field,vineswith grapes.On the shoulder: "rays";above, tongue pattern. Red: fillet; stripes on garments;band(?) on pillow. White: baldricor fillet roundshoulder. The Class of Athens581, ii. 1094
Early 5th century B.C.

Wall fragment.Max. dim. 0.091. Dionysos wearing a long chiton with a cloak stands to right holdinga kantharos.Roundhis head is a wreath. In frontof him, a maenad(preserved except for her head and left arm) movesto right,wearinga chitonand cloak,and in front of her, a satyr (foot, tail), also to right. Behind Dionysos,part of anotherfigure(raisedarm), and in the background, a vine. Red: wreath; beard; dots on chiton and stripeson cloakof Dionysos;skirt of maenad'schiton;line below figures.White:Dionysos'chiton;maenad'sflesh. The Classof Athens581, i or ii: the GeronGroup(Paralip. 224 and 229).
Early 5th century B.C. 1100 P 24479 Q12:3

G6:3(U) Wall fragmentwith some of shoulder.Max. dim. 0.078. E. Vanderpool, Hesperia15, 1946, p. 304, no. 153, pl. 55. Dionysos(upperpart)on a mule (headand neck)to right precededand followed by a maenad (arm of one on left; armof one on right)eachto right,the one on head,shoulder, the right looking around. In the field, branches.On the dots on drapery; White:flesh of maenads; shoulder,"rays". of contour of muzzle, chiton; donkey'sneck. top Dionysos' The Class of Athens581, ii.
Early 5th century B.C.

1095

P1288

Wall fragment.Max. dim. 0.075. exceptfor head) seatedto left on an Dionysos(preserved okladias,holding a kantharosand wearing a long chiton a vine. Red:beard;stripes with a cloak.In the background, on cloak;hangingfold. White:dotson garments. The Classof Athens581, i or ii: the GeronGroup(Paralip. 224 and 230).
Early 5th century B.C.

1096

P1315

G6:3(U)

Wall fragmentwith some of shoulder.Max. dim. 0.059. E. Vanderpool, Hesperia15, 1946, p. 305, no. 155, pl. 55. Chariot(headsandnecksof horses)to right.On the right, tracesof a figure (forelock).In the field, branches.On the shoulder,"rays".Red: manes; breast band. White: righthandpole horse;pendantsof breastband. The Class of Athens581, ii.
Early 5th century B.C.
THE CLASS OF ATHENS

P 24480 Q12:3 Wall fragment.Max. dim. 0.057. Dionysos (bodyand arms) seatedto left on an okladias, holdinga kantharos(partof body)and wearinga long chia vine. Red:stripeson ton with a cloak.In the background,
1101 cloak.

The Classof Athens581, i or ii: the GeronGroup(Paralip. 224 and 230).

Early 5th century B.C.

581, i or ii.

1097-1124

P2561 G 6:3 (U) 1097 with half of foot.Rest. H. 0.12;max. pres. Wall fragment
diam. 0.087.

P 24481 Q 12:3 1102 Wall fragment with small part of shoulder. Max.
dim. 0.07.

with a compass-drawn Warrior(shieldemblazoned star, spear) to right before a seated man (preserveddown to

LEKYTHOI knees)dressedin a cloakand holdinga spear.In the field,a vine. On the shoulder,lotus buds. Red: rim of shield;two of raysof device;stripeson cloakof man.White:background of man. on dots cloak shield; The Class of Athens581, i or ii: the GeronGroup(Paralip. 224, and 230).
Early 5th century B.C.

237

The Class of Athens581, i or ii (Paralip.230).

Early 5th century B.C.

P 24478 Q 12:3 1103 Wall fragmentwith edge of shoulder.Max. dim. 0.061. except for right hand and legs from Dionysos (preserved He the kneesdown)sits on an okladias,holdinga kantharos. wears a chitonwith a cloak.Roundhis headis a wreathand a vine. On the shoulder,endsof hanging in the background, lotus buds. Red:beard;stripeson cloak.White:chiton;dots on cloak. The Class of Athens581, i or ii: the GeronGroup(Paralip. 224 and 230).
Early 5th century B.C.

P 24460 Q12:3 Wall fragment.Max. dim. 0.061. Silhouettetechnique. Draped figure seatedto right on an okladias,holding a staff. On the right,an eye. The Classof Athens581, i or ii (Paralip.230). 1108
Early 5th century B.C.

P 24334 Q 12:3 of shoulder and wall. Max. dim. 0.068. SilFragment houettetechnique. Fight. Warrior (preservedexcept for part of left leg) strides to right with spear poised. At the left, a woman to right,holdinga staff. The Class of Athens581, i or ii (Paralip.229). 1104
Early 5th century B.C.

P 24410 Q 12:3 Mouth, neck,handle,shoulder,upper part of wall missing. P.H. 0.09. Symposion.Herakles(?)reclinesto left on a couch (his head and some of his draperyare missing),with a woman standingat its footfacinghim. In frontof the couchis a table with food.On the rightand left, facinginward,is a maenad on an ithyphallicdonkey with a wreath round its penis (hindquartersof donkey on left, most of maenad on left missing;of one on right,only the legs and tail of the donkey remain). In the field, brancheswith fruit. Red: stripeson three narrowlines on blackbelow scene.White: garments; female flesh;dots on garments; on legs of couch decoration row of dotsbetweenhorizontallines;starrosettes); (volutes; contours of neckandchest,belfood;fruit;muzzles,throats; of left. on ly stripe donkey For the subject,cf. 420. The Classof Athens581, i or ii: GroupP (Paralip.230).
Early 5th century B.C.

1109

1105

P 24542 Q 12:3

Wall fragment.Max. dim. 0.089. Warrior(preserved except for feet) standsto left holding a round shield (device:cock) and two spears. He wears a Corinthianhelmetand greaves.On the right,partof one leg and draperyof anotherfigure.In the field,a branch.White: device. The Class of Athens581, i or ii (Paralip.229).
Early 5th century B.C.

P 24364 Q12:3 Mouth, neck, handle, shoulder,much of body missing. P.H. 0.11. Chariot, with Ariadne, Dionysos, and a satyr. Ariadne (one foot, lower drapery)mounts the chariot. On the left side of the team, Dionysos(lowerdrapery)standsto left. In frontof the team is a satyr (headmissing)to right.Only the legs and bellies of the horsesremain.In the field, branches. Red:stripesand dots on garments; chariotbox. White:Ariadne'sflesh;right-handpole horse;dotclusterson garments. The Class of Athens581, i or ii (Paralip.230). Early 5th centuryB.C. Q12:3 P.H. 0.09. lower of wall and Mostly missing. Only part foot remain. Lions (hindquarters of one on left, body of one on right missing) attackinga bull. On each side, rocks.In the field, branches.Red:spotson mane of lion. White:muzzle,horn, markings,belly stripeof bull; markingon rock. 1107 P1.85 P24518

1106

P 6568 E-F 12-14 Wall fragment.P.H. 0.065. Fight. A warrior dressedin a short chiton and helmet, with his spear poisedand his shield (device:ball) held out, pursues anotherwho flees to right looking around.He is dressedand armedsimilarlyexceptthat his shieldis a Boeotianone (device: Bothwarriorsare preserved thunderbolt). for small of extremities. On the rightand left is except parts a drapedspectatorholding a staff. Only some draperyof eachis preserved. In the field,a vine. Red:baldrics; filletson helmets;stripeson chitonsof warriorsandon cloaksof spectators;rim and deviceof roundshield;dotson rim of Boeotian shield.White:deviceon Boeotianshield;helmetcrests. The Class of Athens 581, i or ii: the Group of Agora
P 24340 (Paralip. 234). Early 5th century B.C.

1110 P1.85

1111

P 24389 Q12:3

Wall fragment.Max. dim. 0.067. Male recliningto left looking around at another (drapery).In the field,a branch.Red:fillet;stripeson garments. The Class of Athens 581, i or ii: comparethe Group of AgoraP 24377 (Paralip.235).
Early 5th century B.C.

P 24435 Q12:3 Mouth, neck,handle,shoulder,upperpart of wall missing. P.H. 0.09.

1112

238

CATALOGUE
Q 12:3 Part of lower wall and foot (much chipped). P.H. 0.083. Combat, with spectator. On the left is the foot of a warrior to right, then most of another (except for head, some of his Boeotian shield emblazoned with a thunderbolt, and lower right leg) to right, down on one knee, looking around. On the right is a draped spectator (head missing) holding a staff. Red: dots on chiton; rim of shield; border of warrior's sleeve; stripes on cloak of onlooker. White: shield device. The Class of Athens 581, i or ii. Early 5th century B.C. Q12:3 Two non-joining fragments. Max. dim. a) 0.088, b) 0.068. Lower half of vase (a); shoulder and wall (b). Three draped figures holding spears, two to right, one to left. Fragment a shows the lower parts of them. Fragment b preserves the upper part of the figure on the left, the elbow and drapery of the next one. On the shoulder, ends of buds. The Class of Athens 581, i or ii. Early 5th century B.c. 1119 P 24397 Q 12:3 1118 P 24371 1117 P 24333

Satyr(all but head)to rightlookingaround,betweentwo maenads(all but heads) seatedon okladiai,their flesh left black.In the field,a vine with fruit (?). Red:beardand tail; stripeson garments.White:joints of okladiai. The Class of Athens581, i or ii (Paralip.241, where the numberis incorrectly given as P 24335; P 24435 is incorlisted on rectly p. 234).
Early 5th century B.C.

P 24447 Q 12:3 of much Mouth, neck,handle,shoulder, wall, half of foot P.H. 0.082. missing. Dionysos seated to right on an okladias,holdinga kantharos.On eachside is a maenad,also seated,facinginward, her flesh left black. In the field, branches.Red: fillets of maenads;forelockand beard of Dionysos;stripes on garments.White:Dionysos'chiton; joints of okladiai. The Class of Athens 581, i or ii: the KalinderuGroup (Paralip.244).
Early 5th century B.C.

1113

P 24421 Q 12:3 Mouth, neck, handle, shoulder, top of wall missing. P.H. 0.094. Dionysos(headmissing)to right on an okladias,holding a horn.On eachside,a satyr(legs,tail of one on left;headof one on right missing)to right, the one on the right looking aroundholdinga wreath. In the field, brancheswith fruit. Red:beards;stripeson cloak.White: Dionysos'chiton;rim of his horn;wreath; fruit. joints of okladias; The Class of Athens 581, i or ii: the KalinderuGroup (Paralip.244).
Early 5th century B.C. 1115 P 24464 Q12:3

1114

Mouth, neck, handle, shoulder, much of wall missing. P.H. 0.094. Symposion. Man (Dionysos?) reclines on the ground looking around. On the left is Ariadne (lower drapery, feet) seated to right on an okladias (foot). In the field, branches. Red: man's beard and wreath; stripes on garments; line on black line below figures; line at top of black area above foot. White: woman's flesh; food; ground line. For the subject, cf. 420. The Class of Athens 581, i or ii. Early 5th century B.c. Q 12:3 Wall fragment with some of shoulder. Max. dim. 0.074. Hermes wearing a short chiton, a cloak, and a petasos, moves to right looking around, his left arm extended. In his right hand he holds his kerykeion. In the background, a vine (preserved on the very left). On the shoulder, ends of hanging lotus buds. Red: beard and forelock; stripes on garments. White: petasos. The Class of Athens 581, i or ii. Early 5th century B.c. P 24488 Q 12:3 of wall with start of shoulder. Max. Fragment dim. 0.074. Herakles and the Bull. The hero kneels on one knee, binding the bull. At the left are the ends of his garments hanging down. Above the beast, part of the quiver. In the field, branches. Red: fillet, part of cord (?). White: bull's scrotum; dots on shoulder. For the subject, cf. 362. The Class of Athens 581, i or ii. Early 5th century B.c. 1120 P1. 85 P 24485

All but figureddecoration missing.P.H. 0.06. Dionysos stands to right holding a kantharos.On each side is a maenadfacinginward.In the field,branches.Red: wreath and beard;fillets of maenads;stripeson garments. White:Dionysos'chiton. The Class of Athens 581, i or ii: the KalinderuGroup (Paralip.244).
Early 5th century B.c.

G6:3(U) Mouth, neck, handle,most of shoulder,some of wall restored.Rest. H. 0.179; est. diam. 0.07. Much of the glaze fired red. E. Vanderpool, Hesperia 15, 1946, p. 303, no. 143, pl. 55. Dionysosreclinesto left, betweensatyrs,bothto right,the one on the right looking around. In the field, a vine with grapes.On the shoulder,uprightpalmetteson a chain, between tendrils.Red:beards;forelocks of satyron left;leaves of Dionysos'wreath;stripeson garmentof Dionysos.White: zigzag patternon mattress. The Class of Athens581, i or ii (Paralip.246).
Early 5th century B.c.

1116

P1311

1121

LEKYTHOI 1122 P 24489 Q 12:3

239

Wall fragment. P.H. 0.092. Figured decoration as 1121. The head and right foot of Herakles are missing; of the bull, only its head and foreparts remain. Red: horn of bull; cords. For the subject, cf. 362. The Class of Athens 581, i or ii. Early 5th century B.C. Q 12:3 Mouth, neck, handle, shoulder, much of wall, all of foot missing. P.H. 0.062. Figured decoration as 1121. Only the lower part of Herakles remains; the top of the bull's back is missing. Red: stripes on garments; cords. White: diagonal stripes on garment. For the subject, cf. 362. The Class of Athens 581, i or ii. Early 5th century B.C. 1123 P 24495

Dionysos and satyrs. The god sits to right on an okladias, holding a drinking horn. Behind and in front of him is a satyr dancing, looking round. On the shoulder, "rays".Red: forelocks, beards; dots on drapery; two lines below scene. White: fillets of satyrs; dots on drapery of Dionysos; joints of okladias. Early 5th century B.C. 1128 P 1279 G 6:3 (U)

Mouth, part of neck restored. Rest. H. 0.104; diam. 0.05. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 140, pl. 53. Between eyes, a youth running to right. In the background, a leafless branch. On the shoulder: "rays";above, tongue pattern. Red: irises. The scheme of decoration on the shoulder and the composition on the body recall the lekythoi of the Kalinderu Group, e.g., 1074-1089, but the shape of 1128 is broader and squatter than these, and the drawing is not quite the same. Early 5th century B.C. Q 12:3 Wall fragment with turn of shoulder. Max. dim. 0.062. Eye (part of outer corner and eyebrow). On the shoulder, hanging lotus buds (end of one). White: outline of eye. Early 5th century B.C. P 1283 G6:3(U) Two non-joining fragments. Max. dim. a) 0.055, b) 0.042. Fragment of wall and shoulder (a); fragment of wall (b). E. Vanderpool, Hesperia 15,1946, p. 301, no. 129, pl. 51. Fragment a shows Dionysos seated to right on an okladias, holding a drinking horn (part of rim preserved), and on the right, maenad (head, torso) on a mule (head, neck, foreleg) to left. Fragment b gives some of another mule (belly, hind legs, tail) on the left, presumably also with a maenad. In the field, branches. Above, net pattern. On the shoulder: hanging lotus buds; above, tongue pattern. Red: wreath; Dionysos' forelock and beard; fillet of rider. Early 5th century B.C. 1129 P 31010

1124

P1314

G6:3(U)

Wall fragment. Max. dim. 0.079. Glaze is abraded in places. E. Vanderpool, Hesperia 15, 1946, pp. 304-305, no. 154, pl. 55. Dionysos (all except head) seated to left on an okladias, facing Ariadne (lower parts) likewise seated. On the right is a satyr (end of beard, lower torso, legs, tail) to right, looking around. Red: stripes and dots on garments; beard of satyr. White: Ariadne's flesh; Dionysos' chiton; joints of okladiai. Probably the Class of Athens 581, i or ii. Early 5th century B.C.
UNATTRIBUTED LEKYTHOI: LATE 6TH OR 5TH CENTURY

1130

1125-1159

1125 P1.85

P4338

E 14:11

Wall fragment. Max. dim. 0.038. Warrior (head with low-crested Corinthian helmet decorated with a feather and part of back) moves to left holding a spear in his raised right hand (the shaft is drawn in relief line and overlaps the helmet). A double baldric is suspended from his right shoulder. White: outline of crest, feather; baldric. For plumes on helmets, cf. 206. Late 6th or early 5th century B.C.

1131

P 1287

G6:3(U)

1126

P 31003 Q 12:3

Wall fragment.Max. dim. 0.038. E. Vanderpool,Hesperia 15, 1946, p. 302, no. 136, pl. 51. Lion (muzzle, tail missing) to right, facing a man (leg, end of cloak).In the background, a tree. Red:dotson mane; line below figuredzone.
Early 5th century B.C. G6:3(U) of wall and foot H. 0.212; Fragments missing. diam. 0.081. Much of the glaze is flaked. E. Vanderpool, Hesperia 15, 1946, p. 303, no. 145, pl. 55. Between two satyrs moving to right, looking around, Dionysos (lower drapery) facing a maenad. On the shoulder: hanging lotus buds; above, tongue pattern. Red: beards; fillet of maenad; stripes and dots on garments. White:

Wall fragment. Max. dim. 0.052. Chariot (part of body and legs of right-hand trace horse: right foreleg of right-hand pole horse) to right. On the left side of the team, a standing figure (drapery). Red: dots on drapery. White: pole horse. Late 6th or early 5th century B.C. 1127 P6181 E15:6

1132

P1353

Mouth, handle, most of foot missing. P.H. 0.074; diam. 0.045. Slight ridge at base of neck.

240

CATALOGUE 1139 P 2662 G 6:3 (U)

maenad'sflesh; Dionysos'chiton;dot clusterson maenad's garment.

Early 5th century B.C.

P 1401 G 6:3 (U) dim. 0.036. wall. Max. and Fragmentof shoulder Head of woman to right; in front of her, indistinctremains.In the field, brancheswith fruit. Above,two rows of White:woman'sflesh. dots.On the shoulder,"rays". 1133
Early 5th century B.C.

1134

P 2629 G 6:3 (U)

Wall fragment.Max. dim. 0.025. E. Vanderpool,Hesperia 15, 1946, p. 306, no. 165, pl. 55. Woman(head,shoulder,raisedarms)to left. In the field, with fruit. Red:eye;fillet. White:flesh;fruit. branches
Early 5th century B.C.

HesLowerhalf of wall. Max. dim.0.08. E. Vanderpool, peria 15, 1946, p. 306, no. 169, pl. 53. Athenaandthreegiants.Athena(headandarmsmissing) to right attacksa giant (legs, someof shield,right arm, and spear) who falls back. On the right, anothergiant (lower legs) comesto the defense,and on the left, a thirdgiantruns away, lookingaround,holding his shield (device:two circrestof gianton dotson garments; cles). Red:rimsof shields; left; three lines below figuredzone. White: Athena'sflesh; dotson Athena'schiton;edge baldricof gianton left;device; of fallinggiant'schiton. For the subject,cf. 183.
Early 5th century B.C.

1140

P 2665 G 6:3 (U)

1135

P 2630 G 6:3 (U)

Wall fragment.Max. dim. 0.027. Youth (head, shoulders)to left holdinga club. The two one leg of a tripod,hastily diagonalincisionsmay represent drawn.Above,dot band.White:baldric;club.
Early 5th century B.C.

Wall fragment. Max. dim. 0.059. E. Vanderpool, Hesperia15, 1946, pp. 306-307, no. 170, pl. 55. Woman (most of head and drapery) to left, looking around.In the field, a branchwith fruit. On the right, the tail of a mule. White:flesh;fruit.
Early 5th century B.C. 1141 PI. 85 P 5014 E-F 12-14

1136

P 2632 G 6:3 (U)

Wall fragment.Max. dim. 0.038. Satyr and maenad (heads and shoulders)to right. The maenad holds a barbiton (one arm). In the field, blobs. Above,on white ground,dot band. White:flesh of woman; filletof satyr.
Early 5th century B.C. 1137

Wall fragment.Max. dim. 0.06. Whiteground. Woundedman (preserved exceptfor right arm and foot) In the field, a vine. Red: around. backward, falling looking beard,locksof hair on neck;bloodfromwound;line below eachof the reserved bandsbelowthe figuredzone. The especiallylong beard suggeststhat the figure is a miscreant, perhaps an opponent of either Herakles or Theseus.
Early 5th century B.C.

P 2659 G 6:3 (U)

Two non-joining fragments of shoulder and wall. Diam. 0.053; H. of a) 0.084; max. dim. of b) 0.028. Body decorationon white ground.E. Vanderpool,Hesperia 15, 1946, p. 306, no. 167, pl. 53. Dionysos and satyrs. Fragmenta shows Dionysos (drapery) seatedto right on an okladias.Behindhim, a satyrto left, lookingaround.In the field,a branch.Fragmentb preserves part of a secondsatyr (back of head, shoulders)to On right lookingaround.Abovethe figures,checkerboard. Red:tail of satyron a; stripeson Diothe shoulder,"rays". two lines belowthe figuredzone. nysos'garments;
Early 5th century B.C.

1142 P1.85

P 12689 P9

Wall fragment.Max. dim. 0.057. White ground. Herakles and Triton. The hero (legs, some of lionskin and shortchiton)straddlesthe monster(Triton'shead facsomeof his chest,rightarm,and snaketail). ing downward, Red:Triton'sbeard,fillet,and mid-rib. For the subject,cf. 816.
Early 5th century B.C. 1143 P5087 E-G11-13

1138

P 2660 G 6:3 (U)

Lower part of wall. Rest. H. 0.129. Foot restored. E. Vanderpool, Hesperia 15, 1946, p. 306, no. 168, pl. 53. Poseidon(right leg, part of cloak)on a sea horse (shoulder,forelegs,tail) to right,flankedby two Nereids(drapery, feet) runningto right. Belowthe sea horse,a dolphinswimming to left. Red:lines below figures.White:flesh of Nereids;mid-ribof sea horse,circleson its tail, dotson its shoulder;belly stripeof dolphin;dot clusterson garments. Early 5th centuryB.C.

Wall fragment.Max. dim. 0.062. Whiteground. Horse (forehead,neck, some of body and forelegs) to right,led by a helmetedwarrior(head,partof shoulderand leg). In the field,a branch.Red:mane;helmetcrest. Early 5th centuryB.c.
1144 P 14947 F 19:5

Two non-joiningfragmentsof wall and shoulder.Max. dim. a) 0.092, b) 0.081. a givesthe top On the body,satyrand maenad.Fragment of the headof a satyr,one that movesto left, lookingaround. the feetandlowerpartof the skirtof a Fragmentb preserves maenadto left and on the left, one heel of the satyrand the

LEKYTHOI end of his tail. On the shoulder(b), a lion (preserved except for hind legs and tail) pursuinga male figure (left side of body) to right. Red: forelockand tail of satyr; stripes on maenad'sgarment;hair of man;mane;two lines underfiguredzone. Early 5th centuryB.C. P 16823 G 13:1 Nine non-joining fragments. Max. dim. a) 0.086, b) 0.093, c) 0.067, d) 0.063, e) 0.05, f) 0.037, g) 0.047, h) 0.036, i) 0.026. Two of the decorated fragmentsinclude the turn of the shoulder.Decorationon white ground.The surface is so badly worn that it is difficultto restore the originalpicture.Six undecorated fragmentsalso comefrom this vase, or it may be that the fragmentscome from two similarvessels. with womendancingor running.Fragment a Symposion, the upperhalf of a womanto rightwearinga long preserves floating cap. Fragmentb shows a similar woman, looking aroundat a youthwith bothher armsraised;he reclineson a couch,his head turnedaround.At the headof the couchis a stripedpillow, and in frontof it is a tablewith fourpiecesof meat hangingfromit. Fragmentc preservesmostof a third woman(her headand left shoulderare missing)dressedin a long chiton and a cloak, running to right, and fragmentd gives more female drapery. Fragment e shows part of a youth similar to the recliningyouth on fragmentb (upper partof his rightarm,his shoulder,and the backof his head). Fragmentfseemsto preservethe thighsof a male.Fragment g showssomeof the raisedarmand a little of the backof the same figure'shead. Abovethe scene,three rows of dots.On the shoulder,hanginglotus buds.Red:stripeon garmenton a. White:stripeon garmenton a; someof the dots. For the subject,cf. 420.
Early 5th century B.C.

241

his garment; doton rim of shield.White:old man'shair and beard;top of warrior'screst;dotson crestsupport;device. Early 5th centuryB.C. 1148 P20872 D 17:10 Wall fragment.Max. dim. 0.051. Fight. On the left is the left leg, part of a shield (device: unclear) and spear of a warrior running to left, looking aroundat a second,preserved exceptfor his head.He wears a cloak,carriesa Boeotianshield (device: and thunderbolt), holdsa spear.On the far right,the footand staffof a spectator. Red:rimsof shields.White:devices.
Early 5th century B.C.

1145

P 24398 Q 12:3 Someof mouth,handle,wall, and footmissing.H. 0.168; diam.0.067. Symposion.Dionysosreclineson the ground,holdinghis kantharos in his right hand.At his feet is Ariadneseatedto above,tongue righton an okladias.On the shoulder: "rays"; pattern.Red:woman'sfillet;Dionysos'forelockand beard; stripeson garment.White:woman'sflesh;groundline. For the subject,cf. 420.
Early 5th century B.C.

1149

FIG.15. Lekythos 1150 (P 24411), dipinto. Scale 1:2 1150 Fig. 15 P24411 Q12:3 some of shoulder and wall missing. H. 0.117; Handle, diam.0.05. Symposion.Dionysos reclineson the ground,holding a horn.On eitherside, a satyr(someof headand torsoof each to right. The one on the rightwas lookmissing)crouching ing around.In the field,a vinewith grapes.Above,two rows of dots.On the shoulder: above,tonguepattern.Di"rays"; of foot. Red:beards;forelockof Dionypinto on underside sos;tails;stripeson garment.White:fruit;food;dotsabove. For the subject,cf. 420.
Early 5th century B.C.

1146

P 16824 G 13:1

Wall fragmentwith turn of shoulder.Max. dim. 0.11. Someof the glaze firedred. Dionysosseatedon an ithyphallicmule (head,lowerparts of legs missing)movingto right,lookingaroundat a maenad (headdress,right arm and hand with krotala,part of drapery). On the right, anothermaenad (right side, drapery) also to right but probablylooking around. In the field, a vine. Above the figures, a dot band. On the shoulder, hanging lotus buds. Red: upper and lower edge of headdress.White:maenad'sflesh;Dionysos'kantharos.
Early 5th century B.C.

1147

P 20751 R 12:1

Fragmentof shoulderand wall. Max. dim. 0.085. Warrior leaving home. On the left, an old man (head, body) seated to right, wearing a himation and holding a staff, bids farewell to the warrior (head with low-crested Corinthianhelmet)who faceshim holdingtwo spearsand a round shield (device: balls). Above, a dot band. On the shoulder,hanginglotus buds. Red:fillet of old man;dotson

P 24484 Q12:3 Mouth and foot missing.P.H. 0.093; diam.0.048. Apolloor Dionysosstandsto rightholdinga lyre. Behind him is a womanto rightholdinga flower,andin frontof him is another,lookingaround.In the field,branches. The flesh of the womenwas left black.On the shoulder: above, "rays"; tonguepattern.
Early 5th century B.C.

1151

242
1152 PI. 86 P 24539

CATALOGUE
1157 P 27096 N 10:1

Q 12:3 Two non-joining fragments of wall and shoulder. Max. dim. a) 0.07, b) 0.137. White ground. Struggle for the Tripod. Fragment a preserves part of Apollo (head with wreath, arms, chest) to right, wearing a cloak, his arms outstretched, the right one pulling one leg of the tripod. The ends of the other two legs appear in front of the god's chest. Fragment b shows Athena (from the thighs up) to left, looking on. She wears a long chiton with a cloak and an "Illyrian" helmet. In the field, a branch. Above the figures, net pattern. On the shoulder, encircled palmettes. Red: Apollo's wreath; stripes on cloaks and on Athena's skirt; fillet on helmet; dots on crest support. For the subject, cf. 365. The open-faced helmet with curved cheekpieces indicates that it is of the "Illyrian" type. Cf. A. Snodgrass, Early Greek Armour and Weapons, Edinburgh 1964, pp. 18-20 and E. Kunze in 01. Ber. VI, pp. 125-151, esp. pp. 130-131. Early 5th century B.C. 1153 P1. 86 P 25453 E-G 12-13

Wall fragment. Max. dim. 0.021. Surface on inside not preserved. Chariot (foreleg of right-hand pole horse; foreleg and part of belly of right-hand trace horse) to right. In the field, vine. White: right-hand pole horse. For a comparable scene, cf. 889 (PI. 80). Early 5th century B.c.

1158

P 24079

H 13:4

Wall fragment. Max. dim. 0.022. Glaze fired red. Satyr (head) to left. Red: beard and forelock. Early 5th century B.C. 1159 P31021 Q 12:3

Wall fragment. Max. dim. 0.045. Man (some of face, shoulders) to left, facing a ram (head). The height of the man in relation to the ram indicates that he is probably seated. Red: beard; stripe on garment, White: dots on garment; horn. Early 5th century B.C.

Wall fragment. Max. dim. 0.038. Warrior mounting a chariot (head with "Illyrian"helmet and wreath, outstretched arms holding the reins) to right. In the field, a branch with fruit. At the top is a horizontal line that is probably the border of the figure zone. Red: beard. White: fruit. Early 5th century B.c. 1154 P4636 F-G 12:1

THE LEKYTHOS-PAINTERS, V: THE SAPPHO PAINTER AND THE DIOSPHOS PAINTER 1160-1180

1160 P1.86

P 1425

K 13:1

Wall fragment. Max. dim. 0.085. A man (short chiton, legs) leads a horse (some of body, legs) to right. In front of them, a nude man (body, most of arms and legs) dances or runs to right. Early 5th century B.C.

1155 PI. 86

P 20029 B 17:1

Wall fragment. Max. dim. 0.037. Figured decoration on white ground. Herakles and the Hydra (head of Herakles to right, outstretched right hand holding a snaky coil of the Hydra). In the field, a vine. Above, rows of dots. Red: forelock and beard; belly of Hydra. For the subject, cf. 359. Early 5th century B.C.

Two non-joining wall fragments. Max. dim. a) 0.067, b) 0.036. Only fragment a with decoration. Decoration on white ground. Theseus and Prokroustes. On the left, a woman (neck, right arm extended, part of body and raised left arm) dressed in a long chiton looks on as Theseus (torso, hips, thigh) moves to right wearing a short chiton tied round his hips. A scabbard hangs at the hero's left side, and between the two figures is the head of his axe. The woman's flesh is left black. In the field, a vine. Red: stripes and dots on garments; fillet of onlooker. For the theme, cf. 391. The composition of Theseus and Prokroustes may have been similar to any one of these: an unattributed skyphos in Leningrad, 116 (AA [Jd 29], 1914, p. 34); an unattributed cup in London, B.M. E 36 (ARV2 115, 3); or Bologna PU 270 by the Kleophrades Painter (AR V2 192, 107). By the Diosphos Painter or near him (AB V 511, 3). Early 5th century B.C. 1161 P 24547 Q 12:3

1156

P 30999 Q 12:3

Wall fragment. Max. dim. 0.028. From just below the turn of the shoulder. Herakles (head with lionskin) to right. On the right, two small areas of glaze, probably part of a figure in front of him. Between the two, part of a staff, presumably held by this figure since Herakles' right arm is not raised to hold a spear. Early 5th century B.C.

Mouth, neck, handle, shoulder, some of wall missing. P.H. 0.046. Fight between horseman and warrior on foot. Most of the rider and the neck and back of his horse are missing. The warrior escapes to right, looking around, holding his shield, his spear poised. Above, dots. Red: mane; rim of shield, device (two balls); fillet on helmet; baldric; dot on chiton; lines below scene.

LEKYTHOI The Little-lionClass:Near the Diosphos Painter(Paralip. 251).

243

Ca. 500 B.C. P 1266 G 6:3 (U) some of lower wall and foot of Mouth, upper part neck, restoredin plaster.Rest. H. 0.115; diam.0.058. E. Vanderpool, Hesperia15, 1946, p. 300, no. 122, pls. 51, 52. Theseus and the Minotaur,flankedby two youths,each holding a staff. Theseus stridesto right, his sword drawn. Over his chiton he wears a nebris. The Minotaur has an almosthuman head and is down on one knee, arms raised, falling backward.On the shoulder: hanging lotus buds; above, tongue pattern. Red: fillets of Theseus and youths; of Minotaur;line atjunctionof neckand neckand shoulders two lines below scene.White:Theseus'chiton. shoulder; The Minotaurwith an almost human head seems to be For the subject,cf. 171. unparalleled. The Little-lionClass (ABV 512, 3). 1162 PI. 86
Ca. 500 B.C.

her opponentis down on one knee to left, holdinghis spear downward.Both hold their shields(devices: balls). On each side,a drapedmanholdinga stafflookson. On the shoulder: hanginglotusbuds;above,tonguepattern.Red:fillets;rims White:devices; balof shields;stripesand dotson garments. dricof giant. For the subject,cf. 183. The Little-lionClass (ABV 512, 15).
Ca. 500 B.C.

P 1284 + P 1297 G6:3(U) of most Mouth, neck, shoulder,some of wall restored. Rest. H. 0.063;diam.0.04. Missingsince 1958. E. Vanderpool, Hesperia15, 1946, p. 301, no. 133, pl. 52. Horseman(head,neck,someof forelegsof horsemissing) betweenyouths(partof rightone missing).The riderhas a pelta suspendedfromhis back;the youthshave cloaksover their arms and hold spears.On the shoulder,hanginglotus budswithoutstalks. The Little-lionClass (ABV 512, 17). Ca. 500 B.C.
1166

G6:3(U) Mouth, neck, handle, small fragmentsof shoulderand wall restored.Rest. H. 0.113; diam. 0.055. E. Vanderpool, Hesperia 15, 1946, p. 300, no. 124, pi. 52. Combat,betweenonlookers.A warriorattacksfrom the left as his opponent(head missing)runs away, holdingout his shield (device:balls), lookingaround.On each side is a drapedman (lowerdraperyof one on rightmissing)holding a staff. On the shoulder:hanginglotus buds;above,tongue pattern. Red: fillets on helmet and on heads of spectators; stripesand dots on drapery;rims of shields.White:device; lines below figures. The Little-lionClass (ABV 512, 7). Ca. 500 B.C. 1164 P 1354 G6:3 (U)

1163

P1357

1167

P 1295 G 6:3 (U)

of wall and footrestored. Mouth,neck,handle,fragments Rest. H. 0.114; diam. 0.055. E. Vanderpool, Hesperia 15, 1946, pp. 301-302, no. 134, pl. 52. Horsemanwith two spears, between two youths, each with a spear, all to right, the one on the right looking around.On the shoulder: hanginglotus buds;above,tongue Red: mane. fillets; pattern. The Little-lionClass (ABV 513, 18). Ca. 500 B.C.
1168 P 1300 G 6:3 (U)

Mouth, neck, handle, part of shoulder and wall restored. Rest. H. 0.114; diam. 0.057. E. Vanderpool, Hesperia 15, 1946, p. 300, no. 125, pl. 52.

Fight, between spectators.A warrior attacks another, eachwith a helmet,shield (deviceson each:threeballs), and spear.On each side, a youthwith a cloakoverhis armand a spear or staff movesaway, lookingaround(head of one on left missing). On the shoulder:hanging lotus buds;above, rims tonguepattern.Red:filletsof youths;filletson helmets; of shields; devices;baldric;dots on chiton of warrior on right;stripeson cloakof spectatoron right;two lines below
figures.

Mouth, neck, handle, part of shoulder,wall, and foot Hesmissing.Rest. H. 0.108; diam. 0.051. E. Vanderpool, peria 15, 1946, p. 301, no. 130, pl. 52. A maenadto right, facing Dionysos (most of head and upper part of body missing),both seatedon okladiai.The maenadholdsa vine. On the right and left, a satyrto right, the one on the rightlookingaround.On the shoulder: hanging lotus buds;above,tonguepattern.Red:beardand forelock of satyr on left; maenad's fillet; leaf of Dionysos' line atjunctionof neck wreath;stripesanddotson garments; and shoulder;two lines below figures. White: maenad's flesh. The Little-lionClass (ABV 513, 19). Ca. 500 B.C. 1169
P1298 G6:3(U)

The Little-lionClass (ABV 512, 8). Ca. 500 B.C. 1165 P1.86 P 1277 G 6:3 (U)

Mouth, neck, and handle restored. Rest. H. 0.11; diam. 0.059. E. Vanderpool,Hesperia 15, 1946, p. 300, no. 123, pl. 52. Athenaand a giant. Athenaattacksto rightwith a spear;

Mouth, neck, handle, some of wall and foot restored. Rest. H. 0.117; rest. diam. 0.06. E. Vanderpool, Hesperia 15, 1946, pp. 300-301, no. 128, pl. 52. Maenad to right looking around, between two youths, each on an ithyphallicmule (mostof rideron left;shoulder of mule missing). In the field, a branch.On the shoulder, hanging lotus buds. Red: fillets; stripes on maenad'sgarment;two lines below figurezone.

244 The Little-lionClass (ABV 513, 20).

Ca. 500
B.C.

CATALOGUE away (and lookingaround?).In the field, a branch.Red: dotson drapery; two lines belowpicture. The Little-lionClass (Paralip.252).
Ca. 500 B.C.

P 2663 G 6:3 (U) Lower part of body. P.H. 0.062. E. Vanderpool,Hesperia 15, 1946, p. 302, no. 137, pl. 51. Maenad with krotalato right, lookingaround,between two satyrs (legs, tail, part of body of each). Red: maenad's two lines below figurezone. fillet;stripeson garment; The Little-lionClass (ABV 513, 33).
Ca. 500
B.C.

1170

1171

P 1299 G 6:3 (U)

Mouth, neck,handle,part of shoulder,muchof wall restored.Rest. H. 0.108; diam. 0.056. E. Vanderpool,Hesperia 15, 1946, p. 300, no. 127, pls. 51, 52. Dionysosseatedto right on an okladias,holdinga drinking horn,betweentwo satyrsmovingaway, lookingaround. In the field,branches. On the shoulder, two youthsattacking one another,eachwith a cloakoverone armanda club.Red: beardsand forelocks; filletsof stripesand dotson garments; youths on shoulder;line at junction with neck; two lines belowfigures. The Little-lionClass (ABV 513, 34; Paralip.251, 34).
Ca. 500
B.C.

P24548 Q 12:3 Mouthandhandlemissing.P.H. 0.088;diam.0.051. Figureddecoration in Six's technique.No incision. Fight. A warriorto rightattacksanotherwho is downon one knee, thrustingwith his spear. Both wear low-crested helmetsand haveshieldsseen in profile.The pinkishyellow but paint of the figureon the righthas largelydisappeared, its silhouette is plainly visible. On the shoulder:"rays"; above,tonguepattern.Red:two lines abovescene,two below, anotherat join of foot. Six's technique is named for the Dutch scholar, Jan Six, who first studiedit (Gazettearcheologique 13, 1888, pp. 193-210). Cf. most recently, Kurtz, Athenian White
Lekythoi, pp. 116-120; also H. Juranek, Acta praehistorica

1175 P. 86

P1355 G6:3 (U) of Mouth, handle,part neck,shoulder,wall, and footrestored. Rest. H. 0.113; diam. 0.058. E. Vanderpool,Hesperia 15, 1946, p. 300, no. 126, pl. 51. Fight, between youths. The two warriors attack, each armedwith a shield (deviceon left: balls) and spear. The bodyof the one on the left and most of the one on the right are missing.On each side, a youthwith a cloakoverhis left arm moves away, lookingaround (most of body of one on left, head and torsoof one on right missing).On the shoularm with cloak) advancing der, hunter (feet, outstretched toward a lion. Red: fillets on helmets, on head of youth; rims of shields.White:line at stripesand dotson garments; with two lines below neck; figures. junction The Little-lionClass (ABV 513, 35). 1172
Ca. 500 B.C.

et archaeologica 9-10, 1978-1979, pp. 107-108. The technique consistsof light color applied over the black glaze. Two variationsmay be distinguished, each according to the importancegiven to incision.The first has the decoration entirelyin addedcolor with only minordetails, if any, incised. The Agora examples (cf. 1430-1433) belongto this incisedand category.The secondhas partof the decoration part of it in addedcolor,sometimesalso with incision.The Nicosthenicworkshopis probablylargely responsiblefor the brief popularityof this techniquein the years around 500 B.C., andthe earliestknownexampleof Six'stechnique, Louvre F 114 (ABV 226), is a neck-amphora signed by Nikosthenes himself. The Little-lionClass (Paralip.252).
Ca. 500 B.C.

1173

P 16763 G 6:3 (U)

Fragment of neck, shoulder, and handle. Max. dim. 0.037. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 135, pl. 51. On shoulder,lion to right. Red:spotson neckof lion;line at junctionof neckand shoulder. The Little-lionClass (ABV 514, 46).
Ca. 500 B.C.

P 24546 Q 12:3 Mouth, neck, handle,some of foot missing. P.H. 0.065; diam.0.04. A mounted two palyouthpreceded by a womanrunning; mettes.On the shoulder: above, "rays"; tonguepattern.Red: rider's garment (?); horse's mane and muzzle; two lines below picture.White:woman'sflesh;wavy line on her garment;contourof back,hindquarters, belly stripeof horse. Near the Little-lionClass (Paralip.252). Ca. 500 B.C. P 1296 G6:3(U) of and foot restored. some wall Mouth, handle, neck, P.H. 0.106;diam.0.052. E. Vanderpool, Hesperia15, 1946, p. 301, no. 132, pls. 51, 52. Horsemanaccompanied by two youths,all threeto right, a spectator. The horseman has a peltaandcarapproaching riestwo spears;eachyouthhas a spear.The one on the right looks around.On the shoulder,hound (headmissing)pursuing a hare (hindpaws). Red:filletsof youths;chitonand part of cap of rider;spotson pelta, its rim;mane;stripeon 1177 P1.86

1176 PI. 86

P 25919 M 18 1174 Lowerpartof wall, with startof foot. Max. dim. 0.072. Dionysos (lower parts with drapery),seated to right on an okladias,betweentwo maenads(feet, drapery)moving

LEKYTHOI line at junctionof neck and shoulder; garmentof spectator; line below figures. The Hound-and-hare Group (ABV 515, 7; Paralip. 253, 7).
Ca. 500-490 B.C.
THE LEKYTHOS-PAINTERS, VII: THE HAIMON GROUP

245

1182-1237 P 13266 G-I 11-12 of shoulder and wall. Max. dim. 0.042. Body Fragment decoration on white ground. Heraklesand Apollo:the Strugglefor the Tripod.Apollo (legs missing)movesto right, holdingone foot of the tripod with his righthand.Of Herakles,all that remainsis his bent roundthe cauldron.BehindApollois Ararm, presumably temis (only partof her head and left arm remain),her flesh left black.In the field,vines. Abovethe figures,key pattern to right.On the shoulder: hanginglotusbuds;above,tongue pattern.Red:fillets;stripeson garments; Apollo'sbow. For the subject,cf. 365; Bothmer,Festschrift Brommer, p. 56, no. 97. The HaimonPainter(ABV 538, 4).
Ca. 490-480 B.C.

1182 P1.87

G6:3(U) of shoulder and wall. Max. dim. 0.063. Fragment Youth (part of head missing) with staff and rider (pelta and cloak;hind leg and tail of horse),both to right. On the shoulder,hound(belly,partsof legs). Red:dot on pelta. The Hound-and-hare Group (Paralip.253).
Ca. 500-490 B.C.

1178 PI. 86

P1356

P 1301 G 6:3 (U) Rest. Mouth, neck,handle,partof footandwall restored. H. 0.115; diam. 0.054. Much glaze is flaked. E. Vanderpool, Hesperia 15, 1946, p. 301, no. 131, pls. 51, 52. Maenadto right, lookingaround,betweensatyrsmoving away, each looking around. On the shoulder,hound pursuing hare. Red: strip and dot on cloak of maenad;beards and forelocks; collarsof houndand hare;line at junctionof neckand shoulder; two lines below figures. The Hound-and-hare Group (ABV 515, 10).
Ca. 500-490 B.C.

1179

1183 P1.87

P 7826 D 7:2

1180 P 1285 G 6:3 (U) Wall fragment.Max. dim. 0.051. Warrior(to waist, part of thigh) down on one knee,with shield and spear, looking around.On the left, a bit of his shieldand his spearpiercinghis opponent's corsopponent's let. On the right, youthto left with a staff or spear,looking around.Red: device(uncertain); fillet, stripeon garmentof White: baldric. spectator. The Hound-and-hare Group (Paralip.253).
Ca. 500-490 B.C.
THE LEKYTHOS-PAINTERS, VI: THE THESEUS PAINTER AND THE ATHENA PAINTER 1181

Wall fragment.Max. dim. 0.059. White ground. Pursuitof Troilos. Troilos on a gallopinghorse to right pursuedby Achilleus(footon far left at break).In the field, a branch.Red:hair, beard,stripeson cloak;mane. A beardedTroilos, althoughrare, is not without parallels. Cf. London,B.M. B 324 by a painterof the Leagros unattributed Group (ABV 361, 24) and a contemporary example on New York, M.M.A. 06.1021.48 (Richterand Milne, Shapesand Names,fig. 77; G. Richter,Handbook of the Greek Collection,New York 1953, pl. 40:d); also the much earlier Corinthian bottle signed by Timonidas, Athens,N.M. C.C. 620 (NC, no. 1072;J. Charbonneaux, ArchaicGreekArt, New York 1971, p. 45, fig. 48). For the subject,cf. Brommer, Heldensage3, pp. 361-364. Mannerof the HaimonPainter(ABV 539, 9).
Ca. 490-470 B.C.

1184 Pl. 87

P 15953 F 19:4

P 19319 B 18:6 Mouth, neck,handle,someof shoulderandbodymissing. P.H. 0.126. Body decoration on white ground.Glaze fired red. Fight, with woman fleeing. A warrior (head, left arm, rightcalf missing)attacksto right. His opponentis downon one knee to right, lookingaround,his shield in profile(device:circle),his spearpoised.Bothwarriorsare fully armed. On the right, a womanruns away, lookingaround,her left arm outstretched. Her flesh was left black.In the field,imitation inscriptions.Above, net pattern. On the shoulder, hanging lotus buds (ends remain). Red: edges of chitons; baldrics;rim of shield and device;woman'sfillet;stripeson her garment; line below scene. The AthenaPainter(ABV 523, 2).
Ca. 500-490 B.C.

1181 P1.87

Three non-joining of shoulderand body.Max. fragments dim. a) 0.046, b) 0.06, c) 0.022. Athletes with trainer. Fragment a preservesthe outstretchedarms of a woman to right and in front of her the head (filleted) and shouldersof an athlete with his arms raised(diskobolos?). to Fragmentb showsa man (bearded?) left with a chlamysover his left arm and shoulderand an object,perhapsa stickor a club,in his righthand(preserved at the break).In frontof him, part of anotherfigure.Fragment c (not illustrated)gives some drapery,perhapsof the woman on a. Vines in the background. Abovethe figures, key patternto right. On the shoulder,up-and-downpalmettes.Red:fillet.White:woman'sflesh. The Haimon Painteror his manner.The elongatedkey patternto rightbetweentwo lines top and bottomis typical for the Haimon Painter (ABL, p. 131). Cf. 1182 (PI. 87), 1188 (PI. 87). Up-and-downpalmetteson the shoulderare more difficult to parallel, but cf. Athens, Kanellopoulos

246

CATALOGUE 1189 P 2675 + P 2739 G 6:3 (U)

(Paralip. 269) by the painter, and once Havana, Lan-

gunillas(ABV 543, 131) in his manner.

Ca. 490-470
B.C.

1185 P1.87 Wall fragment.Max. dim. 0.054.

P24516

Q12:3

Peleus and Thetis. Peleus (head, torso, right arm) wearing a cloak round his waist seizes Thetis (head and legs missing) round her waist. She wears a chiton and cloak and has both arms raised. In the field, a branch with fruit. White: flesh of Thetis; dots on fillet and on all garments; fruit. For the subject, cf. 653. Perhaps by the Haimon Painter. Early 5th century B.C. 1186 P 15865 C 9:6

Wall fragment. Max. dim. 0.061. E. Vanderpool, Hesperia 15, 1946, p. 307, no. 175, pl. 55. Chariot (heads and necks of horses) to right with a woman (all except lower part of drapery) fleeing to right, looking around. On the left side of the team, a man (head, shoulders), perhaps Dionysos, to left. Above, a dot band. White: right-hand pole horse; woman's flesh; Dionysos' chiton and fillet; studs on headstall; pendants of breast bands. Manner of the Haimon Painter (ABV 542, 112).
Ca. 490-480
B.C.

1190

P12765

G11:3

Wall fragment. Max. dim. 0.07. W. B. Dinsmoor, Hesperia, Suppl. V, Baltimore 1941, p. 131, no. 8 and p. 130, fig. 57. Goddess mounting a chariot to right, with two women on the left side of the team, one looking around. Above the figures, dots. White: women's flesh; one horse; bands above and below figure zone. Manner of the Haimon Painter (ABV 542, 89). Second quarter of the 5th century B.C. 1187 P 15128 F 19:4

Part of upper wall restored. P.H. 0.129. H. A. Thompson, Hesperia, Suppl. IV, Baltimore 1940, p. 31, fig. 23:b. Goddess (head missing) mounting chariot with passenger (drapery) to right. On the left side of the team, at least two figures (the second, Dionysos) facing to right and another (a bit of drapery) at the heads of the horses. Above, a dot band. Red: stripes on garments; manes; tails; breast band; dots on chiton of Dionysos; eye and headstall of right-hand pole horse. White: flesh of charioteer; chiton of Dionysos; righthand pole horse; dots of breast band. Manner of the Haimon Painter (ABV 542, 118). Ca. 490-480 B.c. 1191 P 2670 G 6:3 (U)

Mouth, neck, handle, and foot missing. P.H. 0.078; diam. 0.04. Goddess mounting chariot. On the left side of the team is a woman to right, holding a lyre, and in front of her is Dionysos, also to right but looking around. He has a wreath and holds a drinking horn. By mistake, the artist has painted his flesh white. In front of the team is a woman seated to left on an okladias. In the field, a vine. Above, three rows of dots. On the shoulder: "rays";above, tongue pattern. Red: fillets; stripes on garments; forelock and beard of Dionysos; manes and tails; breast bands. White: all flesh; arms of lyre; chiton of Dionysos, dots on his wreath (berries?); right-hand pole horse; pendants of breast band; joints of okladias. Manner of the Haimon Painter (ABV 542, 92). Second quarter of the 5th century B.C. 1188 PI. 87 P 8536 D 7:2

Fragment of shoulder and wall. Max. dim. 0.046. Chariot (back of trace horse; reins) to right. On the left side of the team, Apollo (head and upper torso) to right, with his lyre. Above, a dot band. On the shoulder, "rays". Manner of the Haimon Painter (ABV 542, 119). Ca. 490-480 B.C. 1192

P6138

E15:6

Mouth, handle, some of neck and body missing. P.H. 0.14; diam. 0.055. Foot in two degrees. Goddess mounting chariot to right. On the left side of the team, a woman to right, with raised arms, and Dionysos, also to right but looking around, holding a drinking horn. In front of the team, a woman seated on an okladias to left. In the field, a vine. Above the figures, key pattern to right. On the shoulder: "rays"; above, tongue pattern. Red: fillets of women; beard; stripes on all garments; manes and tails; breast band of right-hand trace horse. White: women's flesh; chiton of Dionysos; rim of drinking horn; right-hand pole horse; pendants of breast band. Manner of the Haimon Painter (ABV 542, 97). Ca. 490-470 B.C.

Mouth, some of neck and body, all of foot missing. P.H. 0.139; diam. 0.054. Chariot to right. A woman holding a goad and the reins stands in the vehicle. On the left side of the team, a figure to right, looking around, and at the heads of the horses, a figure (drapery, forelock) seated to left on an okladias, holding a staff. In the field, a branch. Above, a dot band. On the shoulder: "rays";above, tongue pattern. Red: fillet of charioteer; two lines below scene. White: flesh of women; right-hand pole horse. Manner of the Haimon Painter (ABV 542, 120).

Ca. 490-480 B.C.

1193 P 1345 G 6:3 (U)

Fragment of shoulder and wall. Max. dim. 0.058. Chariot (heads of horses) to right with a woman (head) facing. Above, a dot band. On the shoulder: "rays";above, tongue pattern. Red: manes. White: right-hand pole horse; pendants of breast band; woman's flesh; additional dots. Manner of the Haimon Painter (ABV 542, 121). Ca. 490-480 B.C.

LEKYTHOI 1194 P 2719 G 6:3 (U) 1199

247 P 2633 + P 2671 G 6:3 (U)

Wall fragment.Max. dim. 0.098. Chariot(bodiesand legs of horses)to rightwith a woman (lowerpart) at the headsof the horsesand a man (body)on the left side of the team,both to right. In the field,a branch with fruit.Red:line belowfigurezone.White:fleshof woman; edgeof man'schiton;right-handpole horse;pendantsof breastband;fruit. Mannerof the Haimon Painter(ABV 542, 122).
Ca. 490-480
B.C.

1195

P 2676 G 6:3 (U)

Fragmentof shoulderand wall. P.H. 0.05; diam. 0.062. Burned. Herakles (top of head) and the Lion (body,tip of tail), horizontalposition.Abovehang the hero'sbow and quiver. On the right, two figures,one Iolaos (upperpart) to right (head lookingaround,carryinga club, the othera spectator and shoulders) to left. In the field,branches. Above,keypattern to right. On the shoulder,"rays". Red: fillets. White: quiverstrap;clubs;belly stripeof lion;baldric. For the subject,cf. 394. Mannerof the HaimonPainter(ABV 548, 261).
Ca. 490-480
B.C.

Wall fragment.Max. dim. 0.034. Chariot (parts of heads of trace horses) to right, with a man (head)beforethem.Above:dots. Red:stripeon chiton; dotson manes.White:additionaldots in pattern. Mannerof the Haimon Painter(ABV 543, 123).
Ca. 490-480
B.C.

1196

P 2591 G 6:3 (U)

Fragmentof shoulderand wall. Max. dim. 0.048. Chariot(heads,necks,forelegsof horses)to right. In the above, field, brancheswith fruit. On the shoulder:"rays"; tonguepattern.Red:manes;breastband.White:fruit;pendantsof breastband. Mannerof the Haimon Painter(ABV 543, 124).
Ca. 490-480
B.C.

1200 P2720 G 6:3(U) Two non-joiningwall fragments. Max. dim. a) 0.05, b) 0.031. Maenadson mules, facing. Fragmenta shows the head and bodyof the maenadon the right,the foreheadand ears of the mule. Fragment b givesthe headof the maenadon the left and the head of the mule. In the field,branches. Above, key patternto right. Red:fillets;manes.White:flesh. Mannerof the HaimonPainter(ABV 550, 311). Ca. 490-480 B.C. G6:3(U) Wall fragment.Max. dim. 0.052. Maenad on a mule (head and some of neck and legs of mule missing)to right.On the left, tracesof anotherfigure. In the field, leaflessbranchwith fruit. Above,a dot band. White:maenad'sflesh;stripeon cloak;belly stripeof mule; fruit. Mannerof the HaimonPainter(ABV 550, 312).
Ca. 490-480
B.C.

1201

P2717

1197

P 10575 D 15:1

Mouth, handle, some of neck and foot missing. P.H. 0.134; diam.0.034. Foot in two degrees. Chariotat the gallopto right.On the left sideof the team, a warrior,fully armed,runs to right, and on his left, traces of a goal post. Abovethe figures,dot band.On the shoulder: above,tonguepattern.Red:beardand fillet of chari"rays"; oteer; stripe on warrior'sgarment;helmet; rim of shield; manes and tails; breast band. White: charioteer'schiton; warrior'sbaldric;pendantsof breastband;goal post. Mannerof the Haimon Painter(ABV 544, 158).
Ca. 490-480
B.C.

P2695 G6:3 (U) most of shoulder,some of wall, all Mouth, neck, handle, of foot restored.Rest. H. 0.158; diam.0.056. Herakles and the Lion, horizontalposition.Abovehang the hero'squiver,bow, and cloak.At the left, Iolaoswith a club and a cloakover his left arm.On the far right,a figure (one arm, some of legs) to left and a youthfulonlooker.In the field, brancheswith fruit. Red: fillet of Herakles and onlooker;stripeson garments;fruit. White: fillet of Iolaos; baldric;club;dot clusterson garments; belly stripe,ear, and teeth of lion, markingon hindquarters; decoration of chiton of onlooker. For the subject,cf. 394. Mannerof the Haimon Painter(ABV 548, 260).
Ca. 490-480
B.C.

1198

P2716 G6:3(U) of wall of with start shoulder. P.H. 0.08. Fragment Heraklesandthe Bull. Herakles(legsmissing)bringsthe bull to its knees(hindquarters andtail missing).Abovehang the hero'squiverand club.On eachside,a maenadmounted on a mule (foreparts of one on left and headof one on right dot a band.On the shoulder: above, missing).Above, "rays"; Red: hair of Herakles;manes;stripes on tongue pattern. garments; spotson neckof bull. White:fleshof women;club; baldricof quiverandthe one roundHerakles'shoulder; belly stripeand crestof bull;alternatedots. For the subject,cf. 362. Mannerof the HaimonPainter(ABV 550, 313). Ca. 490-480 B.C. 1202 1203 P 2673 G 6:3 (U)

Wall fragment.Max. dim. 0.048. Maenadon a mule (forelegsmissing)to right.Red:mane; stripes on garment.White: flesh;muzzle, contourof neck, belly stripeof mule. Mannerof the HaimonPainter(ABV 550, 314).
Ca. 490-480 B.C.

248

CATALOGUE P2718 1208 P 2721 G 6:3 (U)

G6:3(U) Mouth, much of neck and handle, lower part of wall missing.P.H. 0.092; diam.0.047. Symposion.Dionysosreclinesto left with Ariadneseated at the foot of the couchfacinghim. In frontof the couch,a tablewith meathangingfromit. On eachsideof the couch,a maenadon a mule (hindquarters of one on left; legs of one on right missing),flankingthe banquet.Above,a dot band. On the shoulder: above,tonguepattern.Red:stripes "rays"; on garments; manes.White:fleshof maenads; legs of couch; markingon meat; dot clusterson garments;muzzles, contours of necks and chests, belly stripes of mules;alternate dots. For the subject,cf. 420. Mannerof the Haimon Painter(ABV 551, 341). Ca. 490-480 B.c. 1205 P2325 R 13:4

1204

of wall with startof shoulder.P.H. 0.126. Foot Fragment right.On the right,at the break,is the handof a thirdto left. In the field,branches with fruit.Above,key patternto right. On the shoulder,"rays".Red: fillet; stripes on garments. White:flesh;fruit. Mannerof the HaimonPainter(ABV 553, 399).
Ca. 490-480 B.c. restored. Two women (head of one on left missing) dancing to

1209

P2661

G 6:3 (U)

Fragmentof wall and shoulder.Max. dim. 0.03. Symposion. Youth (head) reclining with head turned around.On the right,a maenad(face,someof shoulder)on a mule (head,partof neck)to left. In the background, a vine with fruit. Above, a dot band. On the shoulder:"rays"; above,tonguepattern.White:fillet of youth;maenad's face; fruit;alternatedots. For the subject,cf. 420. Mannerof the Haimon Painter(ABV 551, 342; Paralip. 280). Secondquarterof the 5th centuryB.C.? P 2562 G 6:3 (U) of lower wall. Max. dim. 0.115. Some of the Fragment has misfired brown. glaze Symposion.A woman sits to right on an okladiaswith handsraised;a second(drapery)sits at the footof the couch, and a third (feet) standsto left at the otherend of the composition.In frontof the couchis partof the table. Red:fillet of womanon left;stripeson garments.White:fleshof womon leg of couch;line of matdecoration en;jointsof okladias; tress(?);table(?);foodon table. For the subject,cf. 420. Mannerof the Haimon Painter(ABV 552, 366; Paralip. 280). 1206
Ca. 490-480 B.C.

of shoulderand wall. P.H. 0.086;diam.0.058. Fragment Three women (upper part of one on left, some of head and shouldersof next, all of one on right), two seated to right, the third to left on an okladias.The secondwoman holds a lyre. In the field, brancheswith fruit. Above,key above,tonguepatpatternto right.On the shoulder: "rays"; tern. Red:forelocks of two women;fillet of third;stripeson garments.White:flesh;ends of armsof lyre;joints of okladias;dot clusterson garments. Mannerof the HaimonPainter(ABV 554, 407).
Ca. 490-480 B.C.

1210

P 27805 No grid

Mouth, neck,all of handleexceptfor root,muchof right side missing.P.H. 0.107;diam.0.054. Woman seated to right on an okladias with one hand raised. In front of her is the drapedbackof anotherfigure (Dionysos?)also seatedto righton an okladias.In the field, a branchwith fruit. On the shoulder,"rays". White:woman's flesh;chitonof figurein frontof her;joints of okladiai; fruit. Mannerof the HaimonPainter.
Ca. 490-480 B.C.

1211

P6137

E15:6

Neck, handle,and foot missing.P.H. 0.111; diam.0.057. Womanseatedto righton an okladiasand holdinga lyre, betweentwo women seatedon block stools. In the field, a vinewith fruit.Above,keypatternto right.On the shoulder:
"rays";above, tongue pattern. Red: fillets; stripes and dots on garment. White: flesh; arms of lyre; fruit; dots on garment. The stools were in white, applied directly on the ground, now flaked. Manner of the Haimon Painter (ABV 554, 409). Ca. 490-480 B.c.

P 1399 G 6:3 (U) 1207 Wall fragment.P.H. 0.07. Figure (head missing) reclines to left with two women (headsmissing)seatedto right on blockstoolsat the footof the couch.In frontof the couchis a table with food.On the a seatedwoman. far rightis partof anotherfigure,probably Red: stripes on garmentof figure on left. White: flesh of line on couch;horizontalbandson women;dotson drapery; on leg of couch (at the top a volute, stools;food;decoration then one horizontaland threeverticallines). Mannerof the Haimon Painter(ABV 552, 367).
Ca. 490-480 B.C.

1212

P53

I5

Fragment of shoulder and wall. Max. dim. 0.058. Youths (or men) and a woman. On the left is a male to right, then a woman (preserved down to her middle) also to right, looking around with her right arm raised. On the right, at the break, is part of a third figure (shoulder). In the field, imitation inscriptions. Above the figures, a dot band. On the shoulder: "rays";above, tongue pattern. White: flesh of woman; alternate dots.

LEKYTHOI Mannerof the Haimon Painter(ABV 554, 415).

Ca. 490-480
B.C.

249

P4591 N-O 10 1213 Wall fragment.Max. dim. 0.062. Woman seated to right on an okladias. In front of her, part of anotherfigure (drapery)also seated. In the field, a branchwith fruit. Red:eye;dotson hair;stripeson garment. White:flesh;fruit;bosseson okladias. Mannerof the Haimon Painter(ABV 555, 421). Secondquarterof the 5th centuryB.C. 1214 P25517 D12:4

Dionysos(head,upperpart of body,armsholdingdrinking horn) to left. On the right is a maenadon a mule (head and shouldersof maenad;head and neck of mule). Above, net pattern.On the shoulder: above,tonguepattern. "rays"; Red: beard, forelock;stripes on garment;mane; fillet of woman.White:woman'sflesh;muzzle,contourof jaw and neckof mule. Mannerof the HaimonPainter(Paralip.279).
Ca. 490-480
B.C.

Neck, handle, some of shoulder and wall missing. P.H. 0.091; diam.0.038. Goddessmountinga chariot(someof forepartsof horses missing)to right. On the left side of the team is a womanto right and Dionysosto left, holdinga horn. At the heads of the horses,a womanfacing,seatedon an okladias.Abovethe above,tongue figures,a dot band. On the shoulder:"rays"; tails;breastbandof rightpattern.Red:stripesof garments; hand trace horse. White: female flesh; right-hand pole horse;wreath of Dionysos;outline and dot clusterson his chiton; horn(?); row of dots on each side of breast band; joints of okladias. Mannerof the Haimon Painter(Paralip.272).
Ca. 480-460
B.C.

P 2664 G 6:3 (U) of shoulder and wall. Max. dim. 0.037. Fragment Maenad(headand hand)dancing.Above,key patternto above,tonguepattern.Red: right. On the shoulder:"rays"; White: chiton. eye. by the HaimonPainter(Paralip.281). Probably 1218
Ca. 490-480
B.C.

P 26212 L-M 17-18:1 1219 Wall fragment.Max. dim. 0.03. Woman (head with fillet, left shoulder,arm) dancing, lookingto right. In the field, a vine with fruit. Abovethe figures,a dot band. Red: fillet;stripeson garment.White: flesh;fruit. Probablyby the Haimon Painter(Paralip.281).
Ca. 490-470
B.C.

1220 P 25512 D 12:4

P 25514 D 12:4

1215

Chimney lekythos. P.H. 0.089; diam. 0.036. Mouth, neck,and handlemissing.Someof the glaze is flaked. Heraklesand the Bull. The hero'scloak,bow, and quiver hang above. On each side, a tree. Above the figures, dot band. On the shoulder:"rays"; above,tonguepattern.Red: fillets;stripeson cloak;part of quiver;spotson neckof bull. For the subject,cf. 362. Mannerof the Haimon Painter(Paralip.277).
Ca. 480-460
B..

Chimney lekythos. H. 0.112; diam. 0.037. Handle missing. Womanto right,playingthe lyre, flankedby two women, all seatedon okladiai.Abovethe figures,dot band. On the shoulder:"rays"; above,tongue pattern.Red: fillet;stripes on garments. White:fleshof women(applieddirectlyon the clay);joints of okladiai;outline of player'schiton;arms of lyre. Mannerof the HaimonPainter(Paralip.282).
Ca. 480-460
B.C.

1216 P1.87

P 25511 D12:4

1221 P1.87

P 25518 D 12:4

Chimneylekythos.P.H. 0.107; diam. 0.038. Mouth and on white ground. part of neck missing. Figureddecoration
J.-M. Moret, Oedipe, la sphinx et les Thebains. Essai de mythologie iconographique, Geneva 1984, p. 170, no. 46,

pl. 27:5. Sphinxof Thebes.The Sphinxsits to righton a basesupported by a pillar, looking around, between two draped men, each seatedon an okladiasand holdinga staff. Above, a dot band.On the shoulder:"rays"; above,tonguepattern. Red:fillet;wing bows;stripeson garment. Mannerof the Haimon Painter(Paralip.279).
Ca. 480-460
B.C.?

Complete.H. 0.128; diam.0.038. Womanstandingon the rightsideof a bull or a cow,both to right.On eachside, a womanfacinginward,seatedon an okladias.Above the figures,a dot band. On the shoulder: above,tonguepattern.White:women'sflesh;joints "rays"; of okladiai;muzzle, contourof neck, markingon shoulder and hindquarters of animal. Mannerof the Haimon Painter(Paralip.282).
Ca. 480-460
B.C.

1222

P 2592 + P 2767 G 6:3 (U)

1217

P 1289 G 6:3 (U)

Wall fragmentwith some of shoulder.Max. dim. 0.055. Glaze firedred.

of shoulder and upperpartof wall. P.H. 0.042; Fragment diam. 0.054. Bodydecoration on white ground.E. VanderHesperia 15, 1946, p. 307, no. 176, pl. 53. pool, of all figurespreserved. Goddess(Artemis?) parts Upper mounting chariot to right, holding a goad and looking aroundat Apollowho has a lyre.On the leftsideof the team,

250

CATALOGUE
P 25513 D12:4 1227 P.H. 0.113; diam. 0.037. Handle missing.Small part of on white ground. neckrestored. Figureddecoration a bull. In the field,branches. Lion attacking Above,a dot band. On the shoulder: "rays";above, tongue pattern. Manner of the Haimon Painter. Ca. 480-470 B.C.

Dionysosstandsto left holdinga drinkinghorn, and at the headsof the horsesis a satyrto right,lookingaround.Above, a dot band.On the shoulder:"rays"; above,tonguepattern. wreathand beardof DioRed:filletsof Apolloand goddess; nysos; forelock and beard of satyr; stripes on garments;
manes and breast band; strap round satyr's chest. Manner of the Haimon Painter. Ca. 490-480 B.c.

1228 1223
peria 15, 1946, p. 307, no. 171, pl. 55. band. White: flesh. Manner of the Haimon Painter. Ca. 490-480 B.c. G6:3(U) Wall fragment, near shoulder. Max. dim. 0.03. E. Vanderpool, Hesperia 15, 1946, p. 307, no. 177, pl. 55.

P 25516

D12:4

P2667

G 6:3 (U)

Wall fragment.Max. dim. 0.07. E. Vanderpool,HesWoman walking to right, lookingaround.Above,a dot

P.H. 0.112; diam. 0.038. Mouth missing. Foot in two

degrees.

Dionysos to right, looking around, holding a drinking horn.On each side, facinginward,is a maenadon an ithyAbove,a dot band.On phallicmule. In the field, branches. the shoulder: above,tonguepattern.Red:Dionysos' "rays";
fillet. White: flesh of maenads; Dionysos' chiton; muzzle, contours of necks and chests, belly stripes of mules. Manner of the Haimon Painter. Ca. 480-460 B.c.

1224

P2771

Apollo (hand) to right playing the lyre, facing Artemis (head).They bothstandon the left side of a chariotteamfor
"rays" (end of one). White: flesh; arms of lyre; fruit; alter-

1229

P 2589

G 6:3 (U)

the charioteer's goad appears in the upper left. In the field,

brancheswith fruit. Above, a dot band. On the shoulder: nate dots.

Manner of the Haimon Painter. Ca. 490-480 B.c. 1225 Mouth, neck, and handle P 18502 missing. P.H. D 17:2 0.128;

Fragment of shoulder and wall. Max. dim. 0.041. E. Vanderpool, Hesperia15, 1946, p. 305, no. 162, pl. 55. Two women (heads,shoulders,raisedarms) to right. In the field, branches.Above, a dot band. On the shoulder: "rays";above, tongue pattern. Red: fillets; eyes. White: flesh;fruit;dots. Mannerof the HaimonPainter. Ca. 490-480 B.C.
Q7 Wall fragment. Max. dim. 0.048. Burned (the clay is gray). 1230 P 24278

diam.0.058. Chips in foot. Foot in two degrees. Goddessmountingchariotto right.On the left side of the team is a woman, holding a lyre, and Dionysos, both to right.Dionysoslooksaround.In frontof the teamis a woman seated (?) to left. In the field, branches.Above, a dot band.On the shoulder:"rays"; above,tonguepattern.Red: manesand tails; breastbandof fillets;stripeson garments; right-handtrace horse;six lines below scene. White: flesh; right-handpole horse; dots and pendantsof breast band; armsof lyre. Mannerof the Haimon Painter. Ca. 490-480 B.c. 1226
P 18503 D 17:2

Maenad(preserved exceptfor lower partof right leg) on and a mule (head,neck,someof body)to right.Red:forelock pupil of eye of maenad;stripes on her garment;strip on mule'smane.White:fleshof maenad;line alongthroatand contourof neckof mule. Mannerof the HaimonPainter.
Ca. 490-470 B.C. 1231 P 1344 G 6:3 (U)

Mouth, neck, handle, some of shoulder missing. P.H. 0.13; diam.0.055. Foot in two degrees.
Goddess mounting chariot to right. On the left side of the team is a woman to right holding a lyre, and in front of her is Dionysos, also to right but looking around. In front of the team is a woman seated to left on an okladias. Above, a dot band. On the shoulder: "rays";above, tongue pattern. Red: fillets; stripes on garments. White: women's flesh (applied directly on the clay); chiton of Dionysos, fold of his cloak; right-hand pole horse; dots and pendants of breast band. Manner of the Haimon Painter. Ca. 490-480 B.C.

E. Vanderpool, Hesperia15, 1946, p. 305, no. 157, pl. 55. with lyre to right,betweenLeto Apollo(head,shoulders) of one on left;face,someof andArtemis(headandshoulders In the one on of field, brancheswith fruit. right). drapery Red:eyesof women.White:female On the shoulder,"rays". fruit. flesh;lyre;stripeson Apollo'sgarment;
Manner of the Haimon Painter. Ca. 490-480 B.c.

Wall fragment with start of shoulder. Max. dim. 0.063.

1232

P 1400

G 6:3 (U)

Wall fragment. Max. dim. 0.034. Burned. E. Vanderpool, Hesperia 15, 1946, p. 305, no. 158, pl. 55.

Woman (head and shoulders) to right. In the field,

branches with fruit. Above, a dot band. White: woman's flesh; fruit; dots.

LEKYTHOI Mannerof the Haimon Painter.

Ca. 490-480 B.C.

251

1233

P 2628 G 6:3 (U)

Fragment of shoulder and wall. Max. dim. 0.051. E. Vanderpool, Hesperia 15, 1946, p. 306, no. 164, pl. 55. Dionysos (head, most of body) reclining to left and Ariadne(drapery, arm) seatedat the footof the couchfacing him. In frontof the couchis a table with food.Above,a dot band. On the shoulder, "rays".Red: stripes on garments. White:woman'sflesh;food;dots. Mannerof the Haimon Painter.
Ca. 490-480 B.C.

(partsof drapery),all to right, Dionysoslookingaround.In the field, a vine with grapes.Just abovethe head of Dionysos,the line at thejunctionof the shoulderand neck.Red: beard;fillets;dotson garments.White:fleshof maenads.
Ca. 490-480 B.C.

P 2740 G 6:3 (U) 1234 Wall fragment.Max. dim. 0.035. Silhouettetechnique. Youth(head,shoulders) to right.On the rightis a woman her of flesh left black. Above,a dot (some garment,arm), band. Mannerof the Haimon Painter.
Ca. 490-480 B.C.

P 1280 G6:3(U) 1239 Wall fragment.Max. dim. 0.076. E. Vanderpool,Hesperia 15, 1946, p. 304, no. 150, pl. 55. Herakles (head, right arm, part of back) and the Lion (partof headandneck),horizontal position.Above,hanging cloak. In the field, branches.Red: two lines below figures. White:teethof lion. For the subject,cf. 394.
Ca. 490-480 B.C.

1240

P 1281 G 6:3 (U)

P 13621 G 11:6 1235 Wall fragment.Max. dim. 0.043. Peleus and Thetis. Peleus (right arm) comes from the right and claspsThetis (drapery)who tries to get away. On the right,at the break,someof a staffheldby anotherfigure. Red:dotson drapery.White:dots and stripeson drapery. For the subject,cf. 653. Mannerof the Haimon Painter.
Ca. 490-470 B.C.

Wall fragment.Max. dim. 0.05. E. Vanderpool, Hesperia 15, 1946, p. 304, no. 151, pl. 55. Herakles(someof body,legs) and the Lion (head),horizontal position. On the left, Iolaos (legs) and a spectator Red:doton spectator's (onefoot).In the field,branches. garteethof lion. ment;tongueof lion. White:baldric; For the subject,cf. 394.
Ca. 490-480 B.C.

1236

P 2590 G 6:3 (U)

P1316 G6:3(U) 1241 Wall fragment.Max. dim. 0.067. Glaze is flakedat bottom. E. Vanderpool,Hesperia 15, 1946, p. 305, no. 156, pl. 55. Woman and man (leg, hanging fold) to right. White: woman'sflesh.
Ca. 490-480 B.C.

Wall fragment.Max. dim. 0.048. Woman (head, upper drapery) to right. Above, a dot band.Red:fillet;stripeon garment.White:flesh. Mannerof the Haimon Painter.
Ca. 490-480 B.C.

P 12069 0 19:3 1237 PI. 87 Mouth and handlemissing.P.H. 0.16; diam.0.056. Foot in two degrees.Figureddecoration on white ground. Strugglefor the Tripod.Apollo,to right,graspsone handle of the tripodas Heraklesstridesto right,lookingaround, his club raised. On the right and left of the scene is a tree with fruit. Above, a dot band. On the shoulder:"rays"; above,tonguepattern. For the subject,cf. 365; Bothmer,Festschrift Brommer, p. 56, no. 106.
The Pholos Painter (ABV 572, 3). Ca. 490-470 B.C.
LATE UNATTRIBUTED LEKYTHOI

P 1317 G 6:3 (U) 1242 Wall fragment.Max. dim. 0.033. Man holdinga kitharawith fivestrings(hand,mostof instrument).On the right, tail of a satyr (?). In the field, branches.Red:tail. White:armsand crosspiece of kithara.
Ca. 490-480 B.C.

P 1554 G6:3(U) 1243 Wall fragment.Max. dim. 0.037. Warrior (head, shoulders)collapsing to right, looking around,with shield (device:uncertain).White:device;outline of helmetcrest;baldric.
Ca. 490-480 B.C.

1238-1255

1244 P 2666 G 6:3 (U) Wall fragment.Max. dim. 0.042. Woman (head,shoulders,left armoutstretched) to right. Above, on the right, part of an object (tail of Triton?). White:flesh.
Ca. 490-480 B.C.

1238

P1313

G6:3(U)

Wall fragment.Max. dim. 0.09. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 207, pl. 62. Dionysos (head, part of body) between two maenads

1245

P 2668 G 6:3 (U)

Wall fragment.Max. dim. 0.054. E. Vanderpool,Hesperia 15, 1946, p. 307, no. 172, pi. 55.

252

CATALOGUE P 1556 G6:3(U) Wall fragment.Max. dim. 0.034. E. Vanderpool,Hesperia 15, 1946, p. 305, no. 161, pi. 55. Dionysos (head, chest) to right, holdinga kantharos.In the field,branches.Red:wreath;stripeson garment. 1251
Ca. 490-480
B.C.

Woman (partof head and lower draperymissing)seated to righton an okladias.White:flesh;joints of okladias.

Ca. 490-480
B.C.

1246

P 2674 G 6:3 (U)

Wall fragment.Max. dim. 0.041. E. Vanderpool,Hesperia 15, 1946, p. 307, no. 174, pl. 55. of horses)to right.On the left Chariot(tails,hindquarters side of the team, Apollo with his lyre to right. Above,net pattern.Red:tails. White:alternatedots.
Ca. 490-480
B.C.

P 4226 F 14 1252 Wall fragment.Max. dim. 0.064. Satyr (beard,right side of body, tail) dancingto right, lookingaround.The incisionon his chestis his rightfist.
Ca. 490-470 B.C.

1247

P 2726 + P 2792 G 6:3 (U)

Wall fragment.Max. dim. 0.03. E. Vanderpool, Hesperia 15, 1946, p. 302, no. 138, pl. 51. Betweeneyes (partof eyebrowof one on left, partof eyebrow and eye of one on right), a satyr (legs missingbelow the knees) to right, lookingaround,carryinga fillet. In the field,brancheswith fruit. Red:beard.White:fruit.
Ca. 490-480
B.C.

1253

P 25515 D 12:4

Mouth, neck, and handle missing. P.H. 0.091; diam.0.037. Youthseatedto right on an okladias,playingthe lyre. In frontof him is a womanseatedon an okladias,facinghim. above,tongue Above,a dot band. On the shoulder:"rays"; pattern. Secondquarterof the 5th centuryB.C. P 25883 M 17-18 1254 Wall fragment.Max. dim. 0.046. from the chest down), nude Fight. A warrior(preserved stridesto right. On each a baldric over for shoulder, except the right,the leg of his opponent,andon the left, partof the stripe draperyof an onlookerholdinga staff. Red:baldrics; on cloak.
5th century B.C.

1248

P 2793 G 6:3 (U)

Wall fragment.Max. dim. 0.055. E. Vanderpool,Hesperia 15, 1946, p. 307, no. 178, pl. 55. A warrior (some of head, raised right arm, part of leg, torso)with shield held out (device:blob) pursuesa woman (partof neck,drapery)to right.Red:doton foldof woman's garment.White: crest of helmet; corslet;shield; woman's flesh. Ca. 490-480 B.C. P 2794 G 6:3 (U) 1249 Wall fragment.Max. dim. 0.049. E. Vanderpool,Hesperia 15, 1946, p. 307, no. 179, pl. 55. A man (head,torso),perhapsDionysos,sits to righton an okladias,holdinga drinkinghorn (lower part). White:chiton;joints of okladias.
Ca. 490-480 B.C.

P 26877 No grid 1255 Wall fragment.Max. dim. 0.053. Satyr(one foot,end of tail) to right.
5th century B.C.
SQUAT LEKYTHOS

1256 P 15355 G 18:1

1256 P1.87

P 2801 G 6:3 (U) 1250 Wall fragmentwith turn of shoulder.Max. dim. 0.035. E. Vanderpool, Hesperia15, 1946, p. 307, no. 180, pl. 55. Figure (head and neck), perhapsa woman,to right, the flesh left black. In the field, a branch. On the shoulder, hanginglotus buds.
Ca. 490-480 B.C.

Mouth, neck, handle missing. P.H. 0.062; diam. 0.057. Foot chipped.Silhouettetechnique.White ground. Two drapedfigures (women?)to right, the one on the On eachside of rightlookingaround.In the field,branches. the handle,long stalks ending in buds. Above,tonguepattern. Red: hair; stripes on drapery;two bands below the scene. 5th centuryB.c.

KOTHONS ALABASTRON 1257 PI. 88 P 12628 Q18:1 1257 PI. 88 P.H. 0.092; diam. 0.047. Mouth, one lug handle, and a few fragmentsof the body missing. E. Vanderpool,Hesperia 8, 1939, pp. 247-255, figs. 1-7; Karouzou,Amasis
Painter, p. 35, no. 60, pl. 11; Bothmer, Amasis Painter,

253

p. 43, fig. 34. The figureddecorationcontinuesroundthe vase. In the middleof one side, a winged goddessruns to right, looking around,flankedon the right and left by a youth wearinga long chitonwith a himationoverit and holdinga spear.The goddesswears a peplosand has two pairsof wings. She may makesthe identification be Artemis.The lackof an attribute difficult.On the other side of the vase is a group of five

youths,two standingto right,threeto left: 1, 3, and 5 wear cloaks;2 and 4 long himatia.All but 3 have spears.Above the figuredzone is a row of verticalzigzags,and abovethat on the shoulderat the junctionwith the neck is a tongue pattern.On the bottom,rays; round this, a narrow black bandwith linesaboveandbelow.Red:filletof goddess, wing bows,upperpartof her peplosandits lowerborder; partsof himatiaand cloaks;coresof rosetteson himationof youthto rightof goddessand on 4; alternatetongues.White:fleshof goddess;dots of rosettes;dots on bordersof goddess'peplos and on himatia(except2). The AmasisPainter(ABV 155, 64; Paralip.64, 64).
Ca. 560 B.C.

PHORMISKOI 1258 and 1259 P1.88 P 26443 T 19:1 1258 Pl. 88 Shoulderfragment.Max. dim. 0.048. Parts of three zones: I) bits of glaze, perhaps from an ornamental band;II) crane(wing, mostof body,startof one III) frieze of upleg) to left; rosettesfor filling ornaments; right lotus buds. Red: strip on wing; alternatebuds;cores and alternatepetals of rosettes.
Ca. 540 B.C.

P 15366 B21 1259 P1.88 with startof return.Max. dim.0.069. Shoulderfragment, Women mourning:one to left (head, hands, left arm)

tearingat her hair;the otherto right (partof her head and right shoulder).Above, hanging lotus buds. Red: fillet of womanon left. White:flesh. Hanginglotusbudsabovethe mainzoneon a phormiskos are difficultto parallel, but such a frieze occursbelow the main scene of Kerameikos,inv. no. 691 where a woman named Myrine (or Myrte?) is mourned(ABV 678; RA, 1972, p. 98, fig. 4). But the patternappearson the shoulder of a sister shape, the oon (cf. Kerameikos, n.n.:JdI 61-62, 1946-1947, pl. 11:34).
Late 6th century B.C.

KOTHONS 1260-1264 Pls. 88 and 89 P 15191 B 21 1260 Three non-joining shoulder fragments. Max. dim. a) 0.083, b) 0.084, c) 0.06. Glaze is flakedin manyplaces. On the rim, a friezeof animals.Fragmenta showsa deer or a goat (hindleg) to left and a feline (hindquarters, tail) to a to b right;fragment preserves panther (face) right and a stag (antlers,face) grazingto left; fragmentc gives partsof two animals;both uncertain.In the field, blobsand incised rosettes. First half of the 6th centuryB.C. P 21711 O7:9 1261 P1.88 Fragmentof shoulder.Max. dim. 0.076. Siren(head,breast,one leg, wing bow) andfeline (partof one hind leg, some of tail) both to right. Red: wing bow; bandabovefigures. First half of the 6th centuryB.C. 1262 P1.89 P 13426 N 18:7 Two non-joining shoulder fragments. Max. dim. a) 0.087, b) 0.065. Fragmenta preserves partof innerwall.

254

CATALOGUE Animals.From left to right:lion (hind legs missing),siren, both to right, a lion to left, another (foreleglost) to right,and a siren (top of head),also to right.Abovethe figures, rays from the base of the knob. Dots on side of rim. Blobs and incisedrosettesfor filling ornament.Red: forepartsof felines,ribs, markingson their hindquarters; wing bows,hair of sirens;dotson rosettes.
The Polos Painter (ABV 45, 27).

0.023. E. Vanderpool, Depth of wall is complete: Hesperia 15, 1946, pp. 132-133, no. 24, pl. 22:8;Tiverios,pl. 70:a. On top, satyrsand maenads.Fragmenta preservesmost of a maenadwearinga long chitonand a nebris,movingto on the far right,at the break,the back right,lookingaround; of the wreathedheadof Dionysosto right. Betweenthe two, tracesof anotherfigure,probably a satyr.Fragmentb shows the headand torsoof a maenadto right,dressedas the other, and a satyrdancingto left, lookingaround.Femalefleshleft black.Red:upperpartsof chitons;filletsof maenads; leaves of wreath;satyr'shair. White:skirtof maenadon a. Lydos(ABV 111,43).
Ca. 560-550 B.C.

Secondquarterof the 6th centuryB.c. 1264 P1.89 P 13575 0 17:2

LIDS 1263, 1264 1263 P1.88 P 2909 G-H 10-11 Almost two-thirds preserved.Max. dim. 0.072. Knob lost.

Mostly preservedexcept for wedge-shapedfragment. H. 0.052; diam. 0.11. Slightly domed. Reserved on underside. On top, fromcenterout:tonguepattern; threelines;black dotsbetweenthreelines.Partof band;two rowsof staggered knobblack.Red:alternatetongues. Middleof the 6th centuryB.c.

PYXIDES 1265-1296 Fig. 16 Pls. 89-91

CORINTHIAN TYPE

1265, 1266

TRIPOD-PYXIDES 1267-1278

1265 P1.89

P2036

H 8-10

1267 PI. 89

P 19001 and P 22465

N-P 7-13

Fragment.Max. dim. 0.08. Offset, incurvingrim, and convexside. Lion (preserved except for some of forepaws,hindquarseated to left with head turnedaround.Ring and ters, tail) rosettesfor fillingornament.Red:mane,ear, belly stripe. First quarterof the 6th centuryB.C. 1266 P 1257 G 6:3 (L)

Handles,someof rim and wall missing.H. 0.135; diam. 0.143. Much of the glaze is flaked.E. Vanderpool, Hesperia 7, 1938, pp. 393-396, 398, no. 31, figs. 31-33. A, Heraklesdrivinga chariotdrawnby a pair of centaurs to right. The hero wears his lionskin,holds his club in his raisedright hand,the reins in his left, and puts one foot on scene:two pairs, a the pole of the chariot.B, conversation fifthpersonfacingleft. The figureon the left and the two at the righthold wreaths.Abovethe panel:A, lion andbull; B, swans. Red: hair, stripes on garments;bars on wings. White:teethof lionskin. The subjectis fully discussed (Hesperia by E. Vanderpool 7, 1938,pp. 393-396). Herakleswith one footon the chariot pole is a frequentmotif.Cf. BCH, Suppl. IV, 1977 (Etudes delphiques), pp. 308-311 and AJA83, 1979, pp. 82-83.
Second quarter of the 6th century B.C.

Two non-joining fragments. Max. dim. P 19001: 0.089, P 22465: 0.09. Each fragment: one leg and part of bowl. P 19001 shows a sphinx seated to right with head turned around. P 22465 preserves a rider (all except the rider's head, the neck and head of his horse) galloping to right. Red: hair of sphinx, bars on her wings, markings on hindquarters; rider's chiton; mane, tail, marking on hindquarters. Perhaps by the same hand as the unattributed hydria, Louvre F 8 (CVA, Louvre 6 [France 9], pl. 60 [399]:1-4). Compare especially the right-hand horse on the shoulder. This hydria takes with it a fragmentary one in the collection of Mrs. John Dusenbery (panel: chariot to right; shoulder: mounted horsemen to right). Compare 1267 with the righthand horse on the shoulder. Ca. 560-550 B.C.

1268 PI. 89

P 387 F-G 16

P.H. 0.078;diam.0.15. Much of the glaze is abraded.

Leg fragment with start of bowl and part of foot.

Theseus and the Minotaur. Theseus grasps the Minotaur round the neck and plunges his sword into the monster's temple. The Minotaur is down on one knee; both arms are raised, the left higher than the right, and in each hand he has a stone. Theseus wears a short chiton, with a nebris.

PYXIDES
Round his head is a fillet. Between his legs is a stone with his cloak over it. The scene is flanked on each side by an Athenian youth and maiden. The latter wear peploi; the former are nude and hold staffs. Imitation inscriptions. Red: long hair of youths; panels on peploi; chiton and fillet of Theseus; neck of Minotaur; sides of leg. White: flesh of women; stones; markings on nebris; dots on peploi. For the subject, cf. 171. Its appearance on a pyxis is unusual. These are the examples known to us: London, B.M. B 593, ex Burgon; Greenwich, Bareiss (Miinzen und Medaillen, Aukt. 40, 13. Dez., 1969, no. 64). These show the Minotaur fleeing. Ca. 560-550 B.C. 1269 P1. 89 P418 G 15:1

255

On the leg, lion to right with head turned around. Blobs and ring rosettes for filling ornament. Red: band on inside of bowl below rim; band on inside of legs. Second quarter of the 6th century B.C.

1273 P1.90

P 22165 Q15

Fragment with leg and part of bowl. Max. dim. 0.049. Lion (legs missing) to right. Incised rosette for filling ornament. Band on underside of bowl. Red: mane; marking on hindquarters; line above figure zone. Perhaps Euboean [Bothmer]. Second quarter of the 6th century B.C.

1274 PI. 90 Leg fragment with part of foot. P.H. 0.05; max.
diam. 0.075. Chariot scene: the wheel, box, some of the rail of the chariot, the chiton of the charioteer, and the hind hoofs of a pole horse. On the left side of the chariot is a woman (feet, lower drapery) to right, and behind the team is a male (feet, some of chiton and cloak) also to right. In the background, imitation inscription. Red: chitons of accompanying figures; side of leg. White: dot clusters on charioteer's chiton; flesh of woman. Ca. 560-550 B.C.

P 16813

G 15:1

Fragment of leg with start of bowl. Max. dim. 0.085. Sphinx (body, wing, some of legs and tail) to right with left forepaw raised. Red: belly stripe; strip on most feathers. Ca. 550 B.C.

1275 PI. 90

P 12540 G 11:3

1270 PI. 89

P 1122 F-H 13-16

Complete except for part of one leg. H. 0.036; diam. at top and at bottom 0.05. On each leg, two swans to right with rows of short strokes for filling ornament. The Swan Group (ABV 656, 56). Second half of the 6th century B.C.

Leg fragment with part of foot. P.H. 0.031; max. dim. 0.075. Mended in antiquity (a drilled hole remains at the right of the animal's leg). Man and woman (feet) to right and the hind leg of a hoofed animal, also to right. Between the animal and human figures, an imitation inscription. White: feet of woman. Not from the same pyxis as 1269 for the clay is different. Ca. 560-550 B.C.

1276

P 13034 U 25:2 (U)

Fragment of leg and about one-third of bowl. Max. dim. 0.039; H. 0.024. On inside of bowl, black band just below rim. Brownish glaze. On leg, swan to right. In the field, vertical strokes. The Swan Group (ABV 656, 57). Second half of the 6th century B.C. 1277 P 24948 Q 13:5

1271 PI. 90

P 10716 and P 12211 G-I 11-12

Three non-joining fragments of legs and bowls. Max. dim. P 10716: a) 0.08, b) 0.08; P 12211: 0.083. H. 0.047. Full height preserved on P 10716 b and P 12211. Sides and insides of legs glazed. On legs, each framed by a black line: P 10716 a, lion to right, preserved except for tail; P 10716 b, siren (all but face) to right, with two birds below; P 12211, sphinx (all but head) to right. Incised and blob rosettes for filling ornament. Red: mane, shoulder, ribs, markings on hindquarters of lion; all wing bows; alternate feathers and hair of siren and sphinx; spots on necks of birds; markings on hindquarters of sphinx. The Polos Painter [Bothmer]. Second quarter of the 6th century B.C. 1272 Pl. 90 P 16582 B21:14

Deep bowl with almost vertical legs. P.H. 0.05; diam. 0.104. Feet missing. Glaze fired reddish on outside. On wall, twelve swans to right. On one leg, swan to right with wings outspread. On the other two legs, a lion to right, one looking around. Short strokes for filling ornament. On top of the rim, short parallel strokes. Red: wings of swans; manes; two lines on inside below rim; two concentric circles on floor; line round bowl at top of legs. Probably second half of the 6th century B.C.

1278 PI. 90

P4684

E-F 12-14

Fragment. Max. dim. 0.07; H. 0.041. Leg, shallow bowl, and slightly projecting rim. Leg glazed on inside.

Fragment of leg and small part of bowl. Max. dim. 0.078. Bothmer, Amazons, p. 83, no. 135, pl. 57:2. Greek and Amazon. A mounted Amazon (forepart of her horse, her right leg and forearm, some of the skirt of her chiton) gallops to right toward a Greek who flees, holding out his shield (device: compass-drawn star) and looking around at his pursuer. The Greek is preserved except for his right leg. He wears a short chiton, with a cloak, and a low-

256

CATALOGUE horseand the leg (with greave)of a man, bothto left. Then comethe legs of a man and the lowerpartsof a drapedman holdinga staff,bothto rightfacinga rider(his lowerleft leg; the chest, forelegs,and one hind leg of his mount).On underside of floor: two concentriccircles, one narrow, one wide, and a centraldot. Red:paneland fold of garment.
Ca. 540 B.C.

crestedhelmet. A baldricis suspendedfrom his left shoulder. In the field, brancheswith fruit. Red: mane;dots on chiton of Amazon; rim of shield; forelock and beard of baldric; Greek;dotson his chlamys.White:fleshof Amazon; section of helmet crest and dots on support;shield (backgroundfor device);fruit. For the subject,cf. 173. Late 6th centuryB.C.
TYPEA 1279-1286

1284

P 25308 R 22

1279

P4602

G12:1

Pyxis with lid. H. of pyxis 0.052; diam. with handles 0.096; H. with lid 0.084. Silhouettetechnique.R. Young, Hesperia,Suppl. II, Athens 1939, p. 22, no. II 3 and p. 23, fig. 9; Roberts,Pyxis, p. 9, no. 1. On outsideof pyxis: wavy line in handlezone;below, a lozengepatternbetweenlines and broadbands.On inside: circles. bands;on bottomof floor on inside, two concentric On lid: six waterbirdsto right;lines. On top of knob,cross; on side, bands. Red: broad bands on side of pyxis; wing bows;bandnearedgeof lid and atjunctionof knob;bandon side of knob.
Ca. 600 B.C.

Max. dim.0.07. Partof flat bottomandringat Fragment. with wall. Just abovering, a largehole in the wall junction before firing. pierced Two men (legs) to right. Last quarterof the 6th centuryB.C. 1285 P 15724 C 20-21 Two non-joining fragments. Max. dim. a) 0.072, b) 0.085. Rim, wall, and floor (a); wall and floor (b). on inside.Silhouettetechnique. Reserved a preserves Animals.Fragment a lion to right. Fragment b gives the legs of one lion, a swan, and one leg of another lion, all to right. Blobs for filling ornament.Red: mane, on hindquarters; wing bow;bandoverblackglaze markings aboveand below figures. Secondhalf of the 6th centuryB.C. P 24555 Q 12:3 Fragment of concave wall and rim with inset flange. P.H. 0.054; est. diam. 0.08. Inside glazed. Top of rim on white ground.Glaze fired reserved.Figureddecoration red. Roberts,Pyxis, pl. 14:1. Symposion.Man reclining to left, holding a barbiton, lookingaround.On the left, a cup standson the handle-plate In the field, a vine with grapes.Above, of a column-krater. two rows of dots. Red: forelock;beard;dots on garment; flangeand restingsurface. For the subject,cf. 420. The Class of Berlin 2034; the Manner of the Haimon Painter[Roberts]. Early 5th centuryB.c. 1286 P1.90
POWDERPYXIDES 1287-1289

P 22537 Q 17:2 Fragmentof rim and wall. P.H. 0.06; est. diam. 0.115. with plaster. Band of glaze on inside below Strengthened rim. Dots on top of rim. Glaze firedred. Feline (tail) and siren (legs missing),bothto left;panther (head, neck, tail) to right. Incisedrosettesfor filling ornament. Red:face and breastof siren, bars on wings and tail, and on forehead neckof panther,markings someof feathers; line above. of dots cheek; rosettes; 1280
Ca. 550 B.C.

P 20708 R 11:2 1281 P1.90 Fragmentof wall and floor. Diam. 0.088; p.H. 0.038. Roberts,Pyxis, p. 10, no. 5. Frieze of eight swans to right. Verticalstrokesfor filling ornament. On floor,blackband.Red:wing bows;bandover blackglaze below figures. The Swan Group(ABV 656, 65). First half of the 6th centuryB.C. P 13763 U23:2 (M?) 1282 P1.90 at top for a lid. Max. Fragmentof wall with projection dim. 0.045. Glazedon inside. of one team;the charioteer Chariotsto right:the foreparts the chariot,and the tails some of and reins the goad, holding of anotherteam.Red:manes,tails;hair;box and wheel;line White:chitonof charioteer. on top side of projection.
Ca. 550-540 B.C.

P3882 K14:1 1287 P1.90 Nearly half of side and some of top restored.H. 0.04; diam.0.07. Sidesquite vertical; top nearlyflat. On top, from centerout: circle;row of dots;circle;dots; large blobs;dots. On the side, swans to right. In the field aboveand below,shortstrokes. The Swan Group(ABV 657, 75). Secondhalf of the 6th centuryB.C. P 16591 B 21:14 of base and wall of pyxis missing;chip in lid. Fragments H. of pyxis 0.038, of lid 0.04; diam.of lid 0.083; H. of both 0.047. Silhouette technique. T. L. Shear, Hesperia 10, 1941,p. 2, fig. 1; R. Young,Hesperia20, 1951,p. 94, Grave 12, no. 5, pl. 42:a 5, b. 1288

P 12255 No grid 1283 P1.90 Fragmentof floor,ring base, and wall. Max. dim. 0.075; p.H. 0.026. Glazedon inside.Roberts,Pyxis, pl. 4:1. Ridersand standingfigures.On the left, the hind feetof a

PYXIDES On lid, eagle flying.On sideof lid, maeander patternwith a rectanglein each unit. Bandon inside and outsideat rim; circle on floor. Red: line round top of lid; line above and line on outsideof pyxis where lid rests. below crenellation;
Late 6th century B.C.

257

P 15114 F 19:4 1289 Pl. 91 Pyxis with lid. H. of pyxis 0.036, with lid 0.041;diam.of pyxis:top 0.046, bottom0.063; diam. of lid: top 0.059, bottom 0.061. On lid, swan to right; on side, hanging palmettes.Red: hearts and some petals of palmettes;bar on wing; dots on breast. White: dots edging hearts of palmettes;strip on dotson body. feathers; The Palmette-and-Swan Group [Frel].
5th century B.C.

FIG.16. Pyxis lid 1293 (P 15545). Scale 1:2 moldedgrooves.On flange, ivy. Band on side of knob;on top, circle.Finial glazed. Red:two lines on top; line round loweredgeof flange. Secondhalf of the 6th centuryB.C. P 15020 E 19:7 1294 Two non-joiningfragmentsof lid. Max. dim. a) 0.057, b) 0.045; est. diam. 0.09. One fragment(a) preservesthe knobwhich is flat on top and slightlyoffsetfromthe flaring stem. Reservedridgeat junctionof knoband lid. Silhouette technique. Fragmenta preservesthe knob, decoratedon top with concentric circles,centraldot, and a zone of small dots,and the of lid with two friezes. Inner frieze:swans (all of part one, parts of two more) to right and dots in the field (imiouterfrieze:tonguepattern.Fragment tationinscriptions?); b givesmoreof the tonguepatternand a smallportionof the swan frieze.Red:dotsin swan frieze;alternate tongues;side of knob. The Swan Group[Robertson]. Secondhalf of the 6th centuryB.C. 1295 P1.91 P 23132 I 12

LIDS 1290-1296

P 25695 G-H 16-17 1290 P1.91 Fragmentfrom near rim. Max. dim. 0.047. Glazed on underside. Warrior(torso,left arm and leg, startof right arm) running to right, holdingout his shield seen fromthe inside.In his raisedright hand he probablyheld a spear. Red:inside of shield;dots on chiton;dot on greave.White:chiton;dots edginggreave;tasselson insideof shield.
Ca. 560 B.C.

1291 P1.91

P24650

015-16

Fragment.Max. dim. 0.057. Wall and brim,slightlyoffset, with flangeon underside.Reservedon underside. Cavalcade(forelegsof one horse,tail of anotherto right; tail of the below, two dogs:forepartsof one; hindquarters, two dots. brim: rows of On the Red: other). tonguepattern; of dogs,belly chest of horse,tail; markingson hindquarters stripe,dot on shoulderof firstdog;alternatetongues. Middleof the 6th centuryB.C. P 12671 V 24:2 (U) 1292 Brimfragment.Max. dim. 0.045. The glaze is abraded in places. Horseman and standing figures. On the left, part of a drapedman and a womanin a peploswith her cloakpulled up over her head, standingbehinda rider (body,hind legs, one foreleg of horse;buttocksof rider) to right. Imitation inscriptions.On outer edges of brim, two rows of stopped bandbemaeander.Red:peplos;markingon hindquarters; low groundline. White:woman'sflesh. Third quarterof the 6th centuryB.C. P 15545 R21:3 Completeexcept for a few chips. H. 0.053; diam. 0.104. Roundedknob with small pointedfinial. Flange slopes inward. Undersidereserved. two rowsof dots; On top, fromcenterout:tonguepattern; three small black ridges;ribbonpattern;lines; net pattern; 1293 Fig. 16

Fragmentof lid with start of knob.Max. dim. 0.11; est. diam. 0.12. Decoration on white ground. Silhouette technique. Hermes,wearinga petasosand sandalsand armedwith a sword, moves to right betweentwo flamingaltars. In one hand he holds his kerykeion.On the right, a horsemanto left, then a woman and a man to right with branchesbetweenthem (a bush?).Then comesan animal(ram?)that is with fruit. perhapsdrivenby the man. In the field,branches Mannerof the HaimonPainter(Paralip.284). Secondquarterof the 5th centuryB.C. P 9060 L-N 16-18 1296 Lid fragment.Max. dim. 0.075. Glaze misfired. Horsemen.Partsof two riders(the leg of one and mostof his mount;the body and hindquarters of anotherhorse)to right.
5th century B.C.

258

CATALOGUE LEKANIDES 1297-1360 Pls. 91-93

LIDLESS 1297-1329 1297 P1. 91 P 5354 F 13:3

Wall fragmentfromnear bottom.Max. dim. 0.08. Inside: whirligig? Outside (illustrated),from top: goat (hindlegs, someof body,rightforeleg)to left;dotband;rays. Red, inside:band roundtondo,part of objectin tondo;outside:belly stripe,ribs,testicle,markings on hindquarters.
The Gorgon Painter (ABV 10, 26).

First quarterof the 6th centuryB.C. 1298

P 26546 T 18:4 Fragment of wall and rim. Max. dim. 0.065. Top of rim reserved. Surface pitted. On outside, below rim, vertical strokes. Below that, a swan (head, neck, body) to right, between incised rosettes. On the right at the break, part of another bird. Red: petals of rosettes; top of rim. Early 6th century B.C. 1299 P1. 91 P 21705 P 7:9

Fragment c preserves a feline (paw) to right and a bull (hoof) to left. Below the figures, dot band, then rays above the foot. On top side of the rim, zigzag pattern; on its vertical surface, dots. Red: neck of goat; neck, muzzle, marking on forehead and hindquarters of panther of I; faces, necks, breasts, wing bows, and bars on tails of sirens; neck, belly stripe, markings on hindquarters of bull; belly stripe, marking on hindquarters of feline of II; neck of animal on b; line at inner and outer edge of rim; line under rim; ends of handle. First quarter of the 6th century B.c.

1302

P 5232

N 10:1

Fragment of rim and wall. Max. dim. 0.132. Glaze fired reddish brown. On top side of rim, rays; on its vertical surface, a row of dots. On outside, below rim, guilloche pattern. Below that, a double lotus and on the right, a siren (face, breast, legs, wing bow) to left. Rosettes and a cross for filling ornament. Beneath the figures, dot band. Red: face, wing bow, neck and breast; cuffs and sepals of lotuses; inner curves of guilloche pattern. First quarter of the 6th century B.C. 1300 P1. 91 P 10194 B 14:5

Four non-joining fragments. Max. dim. a) 0.128, b) 0.12, 0.113, c) d) 0.049. Projecting rim and wall, fragment b with part of handle. Rim glazed on top. Burned (clay is gray). I, reserved tondo. On outside, below rim, border of esses; then an animal frieze, and below that, rays. Fragment a preserves a goat (head, forelegs) to right facing a panther (top of head, forepaws); above, border of esses; below, rays. Fragment b shows felines (hindquarters), one to left, the other to right, and some of the border of esses. Fragment c gives a goat (part of horn) to left, facing a panther (ear); above, border of esses. Fragment d preserves part of a feline (body) to left. In the field, incised rosettes. Red: necks, markings on hindquarters, foreheads of panthers; belly stripe of feline; alternate petals of some rosettes; line on inside of rim.

White:dots along shoulderof panther;markingon neckof

goat. First quarter of the 6th century B.C. 1303 PI. 91 P4677 E-F 12-14

Fragment of rim, wall, and handle. Max. dim. 0.165; est. diam. of rim 0.25. Handle zone: incised rosettes, flanked at the end by a vertical row of dots. On top side of rim, rays. Beneath handle, two heraldic lions with heads turned around, preserved except for hind legs and tails. Between them, an upright lotus. Red: necks and manes; bar on cuff of lotus, the outer sepals; strip on petals of rosettes. Compare with the Boeotian Horse-bird Group (ABV 680). Ca. 580-575 B.C. 1301 P1. 91 P 14690 S21:2

Fragment of wall and projecting rim. Max. dim. 0.058. Two male sirens (heads; breast of one on right) facing. On top side of rim, zigzag. Red: faces, necks, wing bow; broad band inside below rim. Male sirens are rare in Attic black figure. For a very early one cf. 133. For Attic ones contemporary with 1303, cf. a lekanis fragment from Old Smyrna attributed to the Group of the Dresden Lekanis (ABV 680, 1 bis; Paralip. 14, 1 bis) vases by Boeotian imitators of the KX Painter (ABV 2930). First quarter of the 6th century B.c. 1304 P 8973 G 15:6

and 1357. Male sirens are rather frequent,however,on

Three non-joining fragments. Max. dim. a) 0.239, b) 0.085, c) 0.032. Rim and wall (a); rim and some of handle

(b);wall (c). Glaze firedred on inside.

Fragment a preserves parts of two figured zones, both animal friezes: I) goat (neck, ear, and horn), panther (some of body and legs missing) to right, two confronted sirens, feline, probably a panther (forepaw) to left; II) bull (shoulder, hindquarters) to left and a feline (hindquarters) to right. Fragment b (not illustrated) shows part of the neck of a goat or a stag to left and the handle overlapping its body.

Fragment of wall and projecting rim. Max. dim. 0.067. Glazed on top. Much of the glaze is abraded. Parts of two zones: I) incised rosettes; II) animals (tops of heads?). Red: alternate petals. First quarter of the 6th century B.c.

1305

P 13842

U 25:2 (L)

Handles, most of rim and wall, all of foot restored. H. 0.055; est. diam. 0.198. Rim decorated on top with

LEKANIDES
groups of transverse strokes of glaze at intervals. Glaze on one side fired red. Much of it is flaked. On each side, two lions, facing (on one side, heads, necks, part of hindquarters of each; on the other, neck of one on left, body and hindquarters of one on right). Dot and blob rosettes for filling ornament. Below, rays. Red: manes and belly stripes of lions. First quarter of the 6th century B.C. 1306 P 14378 N 10:1

259

neck, wing bows, alternate feathers, bar on tail; cores and alternate petals of rosettes; two lines above figures. The KX Painter [G. Schmidt]. Ca. 580-570 B.C.

1311 PI. 92

P270

G15

Seven non-joining fragments of rim, wall, and handle. Max. dim. a) 0.053, b) 0.08, c) 0.04, d) 0.061, e) 0.061, f) 0.076, g) 0.035. Rim glazed on top. Fragment a shows a dot rosette on the handle near the projecting end. Fragment b preserves a panther (some of head, neck, and shoulder) to right. Ring rosette and blobs for filling ornament. Fragment c gives part of a lion (eye, ear, mane). Fragment d shows a feline (part of body) to left and the ends of rays. Fragment e shows parts of two more felines (some of hindquarters and tail of one; muzzle and neck of the other, a lion) both to left. Fragments f and g preserve some of the rays above the foot. First quarter of the 6th century B.C. 1307 P4631 F-G12:1

Wall fragment. Max. dim. 0.09. Turn and beginning of handle at upper left. Glaze fired red. Siren (back of head, body, wing, tail) to left. On the right, tail of a feline or sphinx. Blob and incised rosettes for filling ornament. Red: hair, wing bow, blob at base of tail. The Polos Painter (ABV 46, 63). Second quarter of the 6th century B.C.

1312

P 2032 H 8-10

Fragment of rim and wall. Max. dim. 0.097. Glaze on inside fired red. Much of it is abraded. Sphinx (forelegs and some of tail missing) to right, facing a lotus (cuff, petals). Incised rosettes and blobs for filling ornament. On top side of rim, staggered dots. Below figures, rays. Red: hair, wing bow, ribs; cores and petals of large rosette. The Polos Painter (AB V 46, 64). Second quarter of the 6th century B.C.

Rim fragment. Max. dim. 0.06. Glaze fired red. Band of glaze just below rim on inside and outside. R. Young, Hesperia, Suppl. II, Athens 1939, p. 119, fig. 86, B 37. Animals: sphinx or siren (wing) to left; feline (part of back and tail) to right. Incised rosettes for filling ornament. On top side of rim, two rows of staggered dots. Red: wing bow; marking on feline; core and petals of rosettes; line on outer edge of rim. First quarter of the 6th century B.C. 1308 P 2031 H 8-10

1313

P 2032 bis H 8-10

Fragmentof rim and wall. Max. dim. 0.05.

Sphinx or siren (back of head, wing) to right. Blob rosette for filling ornament. Red: hair, wing bow. The Polos Painter (ABV 46, 65). Second quarter of the 6th century B.C.

1314

P2033

H8-10

Fragment of rim with handle and wall. Max. dim. 0.131. Rim glazed on top. Feline (tail) to left and another (hindquarters and tail) to right. Incised rosette for filling ornament. Red: markings on hindquarters; petals of rosettes; line on inner edge of rim; line on top edge of handle. First quarter of the 6th century B.C. 1309 P4678 E-F 12-14

Fragment of projecting rim and wall. Max. dim. 0.068. Much of the glaze is flaked. Two sirens (tail of one, most of the other) to left. Incised rosettes and blobs for filling ornament. Red: hair, wing bow; bar on tail of siren on left; petals of large rosettes; two lines on inside. The Polos Painter (ABV 45, 66). Second quarter of the 6th century B.C.

1315

P3660

H8-10(?)

Fragment with projecting rim. Max. dim. 0.052. Glaze fired red. Head (siren or sphinx) to left; on the left, tail of a feline. Red: line at side of rim; another below it. First quarter of the 6th century B.C. 1310 P1. 91 P 19483 D 17

Fragment of projecting rim, wall, and part of handle. Max. dim. 0.103. Much of the glaze is abraded. Two sphinxes (wing, body, and tail of one; head, foreparts, tip of wing of other) to left. Incised rosettes and blobs for filling ornament. Dot rosettes in handle zone. On top side of rim, two rows of staggered dots. Red: hair, breast, wing bows; petals of rosettes; two lines on inside below rim. The Polos Painter (ABV 46, 67). Second quarter of the 6th century B.C. 1316 P 8966 G 15:6

Fragment of projecting rim with some of wall. Max. dim. 0.062. On top side of rim, border of esses. On outside, two sirens (some of wing and tail of one; all of the other except for legs and tail) to left, the one on the right with her head turned around. Incised rosette for filling ornament. Red: face and

Wall fragment. Max. dim. 0.04. Siren or sphinx (face, breast) to right, facing a lotus. On the right, part of another siren or sphinx (breast). Incised rosettes for filling ornament. Below, rays. Red: hair and

260

CATALOGUE H. 0.045. Entireprofileand partof one handle(a); rim and part of handle (b). Glaze on inside has fired red; most is flakedon outside. The glaze of the figureddecoration is mostlygone. Fragmenta preserves a siren with polos,to left, facinga sphinx (part of tail). Beneaththe handle,incisionthat may represent the tail of a bird. Below the handleof b is similarincision. Blobs and incised rosettesfor filling ornament.On top side of rim, two rows of dots. Below the figures,rays (thin lines). Red: wing bow; three concentriccircles on inside. Secondquarterof the 6th centuryB.C. P 5363 F 12:5 1323 Three non-joining fragments. Max. dim. a) 0.097, b) 0.092, c) 0.055. Fragmentof flaringring foot and wall of wall (b and c). (a); fragments On outside,animalfriezes.Fragment a preserves someof the rays abovethe foot. On undersideof floor,part of two concentric circlesand petalsof rosette.Fragmentb showsa sphinx (headand someof wing missing)and a feline (hindquarters)to right;then a zone of dots and the ends of rays. c givespartsof two friezes:I) sirens(feet,someof Fragment bodies)to right;II) feline (body)to right. Blobsand incised rosettesfor filling ornament.On inside, centralmedallion with part of ornamental pattern.Red:a) bandoutsidecentralmedallion; on b) hair andwing bow of sphinx;markings of ribs and on felines; bows; c) hindquarters wing markings of feline. hindquarters Secondquarterof the 6th centuryB.C. P 13843 U25:2 (L) Six non-joining Max. dim. a) 0.077, b) 0.089, fragments. c) 0.098, d) 0.078, e) 0.059, f) 0.055. Handles and rim (a and b); rim (c); wall (d-f). Animal frieze. Fragmenta preservesa siren or sphinx c givesa lion (head)and (someof wings)to right.Fragment and of end to right,and fragment d both tail), sphinx (wing a e to left. siren shows (head, feet) preserves body, Fragment a siren (feet and lowerpartof body)and fragmentfanother siren (tail, partof wing and foot),bothto right.Fragmentb is withoutfigureddecoration. Blobsandringrosettes forfillornament. On side of of three vertical rim, groups ing top strokes.Tongue patternbelow rim. Red:wing bows;alternate feathers; cirhair(?);tongues;at least threeconcentric cles on inside. The tonguepatternon the rim looksBoeotian. Secondquarterof the 6th centuryB.C. 1324 P 14054 Q18:1 1325 Wall fragment.Max. dim. 0.06. Thick, dull blackglaze. Glaze firedredon inside.E. Vanderpool, Hesperia8, 1939, p. 262, no. 19 and p. 260, fig. 16:19. Partsof two zones:I) feline (foreleg); II) siren (face,part of outspreadwing) to right. Blob rosettesfor filling ornament.Red:partof wing;partof rosette. Middleof the 6th centuryB.C.

bandon cuffof lotus,alternatepetals;bandseparatbreasts; ing figuresfromrays. The Polos Painter(ABV 46, 68). Secondquarterof the 6th centuryB.C. 1317 P 12674 P8:5 Wall fragment.Max. dim. 0.073. Glaze firedred. Sphinx (part of body and forelegs,start of wing) to left. Incisedrosettesfor fillingornament.Red:breast,wing bow, ribs. The Polos Painter(ABV 46, 69). Secondquarterof the 6th centuryB.C. 1318 P 15353 D-E 18-19 Fragmentof rim and wall. Max. dim. 0.09. Beginningof handleat right.Glaze firedred. Sphinx (head, forepartsmissing) to left. Incisedrosettes for filling ornament.On top side of rim, threerows of staggereddots. Red: wing bows;centersand petals of rosettes; two lines below figures. The Polos Painter(ABV 46, 70). Secondquarterof the 6th centuryB.C. 1319 P 18527 A 17:1 (U) Two non-joiningwall fragments.Max. dim. a) 0.138, b) 0.035. Fragment a with some of projectingrim and handle. a showstwo confronted Fragment sphinxes(hindquarters of one on right missing).Blobsfor filling ornament.Below, rays. On top side of rim, two rows of staggereddots. Fragment b preservessome of the rays. Red: hair;breast;wing bows. The Polos Painter(ABV 46, 71). Secondquarterof the 6th centuryB.C. 1320 P 21566 07:9 Fragment of projectingrim and part of wall. Max. dim. 0.063. Glaze firedbrown. Two sirens or sphinxes (heads; tip of wing of one on right)facing,wearingpoloi. Red:hair and neck,wing;band belowrim on outside. The Polos Painter(ABV 46, 72). Secondquarterof the 6th centuryB.C. 1321 P21713 07:15 Fragment preserving full profile. Max. dim. 0.122; H. 0.051. Two circleson underside of foot. The fragmentgives some of the figured decorationon each side. On the left, siren (breast,leg) to right, double lotus, part of another animal, perhaps a sphinx (paws?). Then comesthe handlearea and to the rightof it, a sphinx to right.Blobsfor fillingornaments. Red:breasts,hair,wing bows;rib of sphinx;cuffs of lotus, fronds;four lines on inside;top side of rim;bandbelow rim on outside. The Polos Painter(ABV 46, 73). Secondquarterof the 6th centuryB.C. P 24219 G-H 13 1322 Two non-joining Max. dim.a) 0.11, b) 0.048; fragments.

LEKANIDES P 25272 R 12:3 on Fragmentof rim and wall. Max. dim. 0.104. Reserved insideexceptfor glazedbandnearrim. Top of rim reserved. On outside:tonguepatternbelowrim;animalfrieze,panther (head) to right. Incised rosette for filling ornament. band on side Red: alternatetongues;markingon forehead; of rim and its underside. Middle of the 6th centuryB.C. 1326 1327 P1.92 P 14039 P 17

261

Two non-joining fragments. Max. dim. a) 0.066, b) 0.087. Wall with start of rim (a); wall and rim (b). Rim glazedon top side. of one Bulls to left. Fragmenta shows the hindquarters bull, the head and neck of a second.Fragmentb gives the and some of the tail of one bull and the back,hindquarters, muzzleon a; hornof another.White:spotson hindquarters; horn on b. a do not belong The headand neckof the bull on fragment are preservedon to the bull whose back and hindquarters fragmentb, for the glaze lines and the potter'smarkson the insideof each fragmentdo not match.
Late 6th century B.C.

Lid. Glazed on underside,except for reservedband near centerand restingsurface.On outside,small figure (head, part of drapery,foot), standingto right betweentwo sirens, and four panthersalternating with threesirens,all to right, the panthers with heads turned around. Above, rays. Leaves,rosettes,and blobs for filling ornament.On side of knob, line top and bottom;on top, two concentriccircles. of knobglazed.Red:wing bows, barson Side of depression tails; markingson foreheadsand noses, necks, ribs, and of panthers;circle on inside of markingson hindquarters lekanis(now flaked);fourconcentric circleson underside of lid. White:faces,necks,andbreastsof sirens;belly stripesof panthers. Near the ReadyPainterand the "small-eye" membersof the Groupof LouvreF 6 but by anotherhand (ABV 686). Third quarterof the 6th centuryB.C.
BOWLS 1331-1333

1331

P 13750 bis U 23:2 (M)

P 31031 Q12:3 Fragmentof rim and wall. Max. dim. 0.115. Glaze fired red. Much of it is flaked. Bull to left facing anotheranimal (neck and head), perhaps a bull. On side of rim, key patternto right. 1328
Late 6th century B.C.

Rim fragmentwith flangefor lid. Max. dim. 0.055. Sirenor sphinx (backof head,mostof wing) to right. Incisedrosettesfor fillingornament.Red:wing bow;alternate feathers,dot on head. First quarterof the 6th centuryB.C. 1332 P3012 R 13:3 Fragmentof flangedrim and wall. Max. dim. 0.10. Animalfrieze:siren (wing,tail) to left and lion (headand neck) also to left but with head turnedaround.On side of rim, row of dots. Red: tail and wing bow of siren; mane; bandon insidebelow rim;line on edgeof rim. First quarterof the 6th centuryB.C. 1333 P 3012 bis R 13:3 Fragmentof flangedrim and wall; part of handle.Max. dim. 0.123. Belowhandle,animal,perhapsa deeror a goat(shoulder, part of neck, and ear or horn)to right.On side of rim, dot. Red:neck;line on edgesof handle. First quarterof the 6th centuryB.C.
LIDS 1334-1355

1329

P999

I16:4

H. 0.064; diam. 0.218. About half of rim, Fragmentary. some of wall, most of handles missing. Glaze mostly fired red. Decorationon white ground.Silhouettetechnique. Animal frieze, painted upside down: lion and siren to right; panther to left; goat (head, neck, some of body) to right; water bird to left. Rosettes,blobs, and short rows of verticalstrokesfor filling ornament.In handlezone, row of verticalstrokes.Red:necksof felinesand goat;maneof lion, its ribs and markingson hindquarters; face and breast of of of band below siren;part wing bird; figures;top side of rim (applieddirectlyon the clay);tondo. Secondhalf of the 6th centuryB.C.
LIDDED 1330-1355
BOWL AND LID 1330

1334

P 23891 G 13

rim. Max. dim. 0.083. Fragmentof down-turned Siren(body,legs) to right.Incisedanddot rosettesfor filling ornament.Red:breast;alternatepetalsof rosettes. P 1136 G15:1
Early 6th century B.C.

1330 P1.92

Complete profile of both lid and lekanis preserved. H. 0.076; diam.of rim 0.236. One handle,partof the other, morethan half of rim and wall of lekanisrestored; aboutone third of rim, part of wall of lid restored.Part of the glaze misfiredon the lekanis. Lekanis. Glazed inside except for reservedtondo with circle in center.On outside,ivy leaves with berries.Above, row of short verticalstrokeson one side;dots on the other.

1335

P4342

E 14:11

Rim fragmentof domedlid. Max. dim. 0.055. Reserved on underside. to Sphinx (part of bodyand wing, mostof hindquarters) Incised rosette for ornament. four rows Below, right. filling of staggered dots.Red:wing bow, alternatefeathers; dotson petalsof rosette. First quarterof the 6th centuryB.C.

262
1336 PI. 92 P1130

CATALOGUE
G15:2 of an animal and on the right, ends of petals of a rosette; III) feline (hindquarters) and siren (head, outspread wing), both to left. Red: bars on wings and tails of sirens; necks of boar, panthers, and goat, markings on hindquarters, ribs; hearts of palmettes, cuffs of lotuses, links; three concentric circles on underside. White: face of siren; belly stripes of panthers; dots on petals of palmettes. Early second quarter of the 6th century B.C. P 18270 A 17:1 (U) Four non-joining fragments. P.H. a + e) 0.079; diam. 0.26; max. dim. b + d) 0.109, c) 0.072, f) 0.078. Two holes for mends. Reserved on underside. Animal friezes. Each fragment preserves part of each frieze. Fragment a + e: I) two confronted sirens (foreparts of one; all of other); two confronted lions with a bird between, then a panther to right; II) lion (head), three birds (all of two, most of third), sphinx or siren (tip of wing; top of head), winged horse galloping, bird looking around, bird or siren (tail), all to right. Fragment b + d: I) two confronted sirens (heads, foreparts of each, some of wing of one on right); II) siren and feline (hindquarters and tail) to right. Circle rosettes, blobs, stars, crosses for filling ornament. Above, rays. Fragments c and f preserve some of the rays. Red: wing bows; manes and tongues of lions; neck and marking on hindquarters of panther; line on hindquarters of horse; band separating each zone. Not certainly Attic. Second quarter of the 6th century B.c.

Fragment from near center. Max. dim. 0.097. Glazed on underside with reserved circle at center outlined by a narrow black line. Two animal friezes: I) panther (head, neck, shoulder, forepaw) to right; two sirens (all of one except for breast; head and wing tip of other) confronted; II) back and start of neck of animal grazing to left. Above the friezes, dot band, then rays. Red: muzzle, forehead, neck of panther; faces of sirens, breast, wing bow, bar on tail of siren on left; neck of grazing animal. The Komast Group: I, the KX Painter (ABV 24, 8). Late first quarter of the 6th century B.C. 1337 PI. 92 P 12231 No grid

1341

Rim fragment. Max. dim. 0.126. Two sirens (ends of locks of hair, body, some of wings of one on left; part of body, wing, and tail of one on right) facing. Incised rosette for filling ornament. Red: wing bows, breasts; ground line. The Komast Group: II, Manner of the KX Painter (AB V 28, 5). Late first quarter of the 6th century B.c. 1338 P1. 92 P 23762 Q-R 7

Fragment. Max. dim. 0.05. Glazed on underside. Animal frieze: siren (wing and tail) and panther (head, neck, body, part of forelegs, tip of tail), both to left, the panther's head turned around. Above, dicing, then rays. Red: wing bow; alternate dots on inner contour of wing; band on tail; alternate feathers; neck of panther, ribs, belly stripe; line on underside of lid. White: alternate dots on inner contour of wing and at base of alternate feathers. First quarter of the 6th century B.c.

1342

P 14051

Q 18:1

1339 PI. 92

P 470

H 17

Fragment. Max. dim. 0.077. Two friezes: I) siren (top of head, tip of wing, end of tail missing) to left; II) geese (wings of two) to right, feeding. Red: wing bows; bar on tail of siren. Late first quarter of the 6th century B.C. 1340 P1. 92 P 5023 F 12:6

Fragment. Max. dim. 0.06. Glaze poorly preserved. E. Vanderpool, Hesperia 8, 1939, p. 261, no. 18 and p. 260, fig. 16. Siren (face, breast) to right. In front of her, a man (part of body) also to right. Red: face, neck, wing bow; cloak. Second quarter of the 6th century B.c. Q11 on underside. dim. 0.14. Max. Fragment glazed Animal frieze: two sirens (back of head, wing of one on left; head, neck, wing, and tail of one on right) and panther (part of face, neck, shoulder), all to left. Incised rosettes for filling ornament. Above, rays. Red: fillet, eye, bar on wing and tail of siren; muzzle, neck, and chest of panther. White: faces of sirens; dots on wings. Second quarter of the 6th century B.C. 1343 P1. 93 P 20679

Five non-joining fragments. Max. dim. a) 0.14, b) 0.126, c) 0.068, d) 0.073, e) 0.058. Glazed on underside. Three animal friezes. Fragment b (illustrated) gives part of I and II: I) sphinx or feline (forelegs) to right, lotus-palmette chain; II) panther (head, raised forepaw, part of back and tail) and boar (body, hind legs), both to right. Fragment a (illustrated) preserves more of II and part of III: II) two sirens (tail, end of wing of one; part of breast, one leg of other) to left; III) boar (head missing) to left, panther to right with head turned around, then another (chest, foreleg). Fragment c shows more of II and III: II) feline (hind leg) to right; III) goat (foreparts), siren (tail) to right. Fragment d preserves a siren (head missing) to left, from III, and fragment e gives more of both II and III: II) on the left, part

1344 P1.93

P 5085

F 12:6

Fragment of slightly domed lid. Max. dim. 0.067. Reserved on underside. Two sphinxes (wing of one to left; body, wing, hindquarters, and tail of another to right). Incised rosettes for filling ornament. Red: wing bow, ribs; cores and alternate petals of rosettes. The Polos Painter (ABV 48, 138). Second quarter of the 6th century B.c.

LEKANIDES
1345 P3307 E 14:11

263

Fragment. Max. dim. 0.125. Most of the glaze is flaked. Lion (some of muzzle, mane, forelegs, part of body, one hind paw) to right. Below the lion, a wide band of lozenge pattern, and below that, the ends of two rays. Dot and blob rosettes for filling ornament. On inside, part of two wide bands of glaze, fired red. Red: wrinkle of muzzle, tongue, part of each lock of mane. Companion of the Polos Painter [Beazley], not in ABV or Paralipomena. Second quarter of the 6th century B.C. 1346 PI. 93 P 5084 F 12:6

dim. 0.195. Glazed on underside. Molded offset rim. E. Vanderpool, Hesperia 7, 1938, pp. 398-399, no. 33, fig. 35. Animal frieze: sphinx (head, foreleg, start of wing), panther, seated sphinx (face missing), all to right, palmette, sphinx (foreleg, part of wing) to left. Above, rays. Red: hair of sphinxes; wing bow; strip on forehead and muzzle of panther; heart of palmette; concentric circles on underside. White: faces and necks of sphinxes; strip on wing; belly stripe of panther; band round heart of palmette. Manner of Lydos: P, Animal pieces (AB V 118, 47). Second quarter of the 6th century B.c. P8733 No grid Pl. 93 Two non-joining fragments. Max. dim. a) 0.102, b) 0.07. Fragment b gives some of rim. Glazed on underside. Fragment a (illustrated) preserves ends of the inverted rays at the knob and the figured frieze below: sphinx (head turned around, wing, hindquarters) and draped youth (but for feet), both to left. Fragment b (not illustrated) shows the feet and the lower drapery of a male to left. Red: wing bow, marking on hindquarters; stripes on garments; two pairs of concentric circles and one band on underside. White: face of sphinx; dots on garments. Manner of the Painter of Louvre F 6 (ABV 128, 92). Ca. 550-540 B.c. 1351

Fragment. Max. dim. 0.091. Glazed on underside. P. Brize, Die Geryoneis des Stesichoros und diefriihe griechische Kunst, Wurzburg 1980, pl. 12:2; G. Ahlberg-Cornell, op. cit. (under 816), p. 110: II, 3. Herakles and Triton (head, right shoulder, and torso of Herakles; Triton's head and some of his snaky body) to right. Above, tongue pattern; above that, the end of a lotus and the paw of a feline on each side. Red: hair and beard of Herakles; markings on tail of Triton; alternate tongues. White: Herakles' chiton. For the subject, cf. 816. The Painter of London B 76 (ABV 87, 22). Second quarter of the 6th century B.C. 1347 P1. 93 P 26545 T 18:4

1352

P 23223

0 16

Fragment. Max. dim. 0.048. Glazed on underside. On the left, part of an uncertain object (wing?), then a lion (head) to left. Above, rays. Red: mane; circles on underside. Middle of the 6th century B.C.

1348

P441

H 17

Fragment with part of downturned rim. Max. dim. 0.063. Glazed on underside. Feline, probably a panther (neck, forelegs, body) to right. Red: narrow band on vertical part of rim. White: belly stripe. Third quarter of the 6th century B.C.

Fragment. Max. dim. 0.041. Satyr (end of beard, upper part of body, start of tail, and right arm) to right, looking around. Round his neck, a fillet. Red: beard, tail. White: fillet. Middle of the 6th century B.C. 1349 P1. 93 P 13854 U 25:2 (L)

1353 P1.93

P4926

N 10:1

Fragment of slightly domed lid. Max. dim. 0.055. Glazed on underside. Fight. On the left, the right leg of a warrior striding to left, then the right thigh and left leg of a warrior to right with some of the folds of his short chiton preserved just below the break. On the right, part of a round shield, belonging to his opponent, and below it the shaft of the latter's spear. Red: fold of chiton; rim of shield; two bands on underside. Lydos (ABV 112, 64; Paralip. 44, 64).
Ca. 540 B.C.

1350 PI. 93
Fragment with part of rim.

P 1238 G 6:3 (L)

Est. diam. 0.28; max.

Fragment. Max. dim. 0.074. Thickening at bottom for start of rim. Around rim, dolphins (heads of two, bodies of three) vertically. Above, rays (ends of three). A frieze of vertical dolphins appears on the following: inside the rim of a kantharoid vase, Louvre CA 2988 (CVA, Louvre 12 [France 19], pi. 193 [866]:1); inside the rim of a dinos, Copenhagen 4219 (CVA, Copenhagen 3 [Denmark 3], pl. 124 [126]:3); inside the rims of two column-kraters, Basel, Antikenmuseum und Sammlung Ludwig (Berger and Lullies, loc. cit. (under 476) and Warsaw, inv. no. 198560 (CVA, Warsaw 1 [Poland 4], pl. 22 [151]:1, 2); on a band cup found at Histria, Bucharest (P. Alexandrescu, La ceramique d' epoque archaique et classique [VIIe-IVe s.], Paris 1978, p. 74, no. 392, pl. 42); on a band skyphos, Canberra, University House (Paralip. 90, 47); inside the rim of a skyphos, Agora A-P 1786 (Hesperia 9, 1940, p. 187, fig. 25:93); also on five neck-amphorae signed by Nikosthenes where it appears on the top side of the mouth: Paris, Darthes (ABV 217, 10); Brussels R 388 and Florence

264

CATALOGUE inv. no. 41 (ABV 19, 5; the feedinggeese on Kerameikos, Kerameikos VI, ii, no. 106, pl. 94). First quarterof the 6th centuryB.C. 1357 PI. 93 P 17858 J18:4(L) Wall fragment.Max. dim. 0.042. Male siren (head, part of wing) to left with wings outspread.Incisedrosettefor filling ornament.Above,dicing. Red:hair;wing bow. For male sirens,cf. 133 and 1303. First quarterof the 6th centuryB.C. 1358 P 13750 U 23:2 (M) Wall fragment.Max. dim.0.062. Two friezes:I) feline (hind leg) to left;siren (leg, tail) to right; II) lion (head, neck, shoulder)to right; goat (horn, neck,part of shoulder)to left. Red:forelock,muzzle,mane of lion;neckof goat. First quarterof the 6th centuryB.C.
1359

(ABV 217, 11); Vatican 362 (ABV 218, 12); Hanover 1961.23 (Paralip.106, 58 bis;CVA,Hannover1 [Germany 34], pl. 17 [1649]:3,5); and once Castle Ashby (ABV 221, 40; CVA,CastleAshby[GB 15], pl. 19[674]:3). Third quarterof the 6th centuryB.C. 1354 P1.93 P6178 E15:6

Fragment with part of downturned rim. Max. dim. 0.107. Glazedon underside exceptfor restingsurface. Warrior(knee,calf) mountinga chariot(mostof vehicle exceptfor someof rail;the tails and someof the hind legs of the horses)to right.On the left side of the team is a woman (feet overlapped by hoofs). Red: tail; panel on chariotbox. White:woman'sfeet. Last quarterof the 6th centuryB.C. 1355 P 3271 G-H 8-9

Fragmentfromnear center.Max. dim. 0.075. Glazedon underside. Sirento rightfacinga drapedyouth.On the far right,the end of the wing of anothersiren. Red: fillet of siren;wing bows.White:face,neck,breastof siren;endof hangingfold.
End of the 6th century B.C.

P 12676 P 8:5

UNCERTAIN IF LIDLESS OR LIDDED

1356-1360

Wall fragment.Max. dim. 0.085. Glaze firedred. some of head) to right and Animals:panther(foreparts, wing (siren or bird). Incisedrosettesfor filling ornament. of Below,rays.Red:nose,neck,breast,markingon shoulder alternatefeathersof wings. panther; First quarterof the 6th centuryB.C. 1360 PI. 93 P 4889 E-F 12-14 Wall fragment,with part of handle attachment.Max. dim. 0.075. Feline(body,mostof legs) to right.In frontof it, a birdor Red: siren(partof wing) to right.Blobsfor fillingornament. of feline;wing bow. White: on hindquarters ribs, markings belly stripeof feline;line edgingfeathersof wing. Secondquarterof the 6th centuryB.C.

1356 P. 93

P323

F 16

Two non-joiningwall fragments. Max. dim. a) 0.04, b) 0.024. Geese to right, feeding. Fragmenta preservesthe head andneckof one, the tail of another.Fragmentb givespartof the body and tail of a third. Red: a) neck;bar on tail; line belowgroundline (on glaze);b) bar on tail. Perhapsby the CeramicusPainter. Compareespecially

LIDS 1361-1387 Fig. 17 Pls. 94 and 95 1361 PI. 94 P 25654 0 12:2 Near the Nettos Painter (ABV 6, 2, the numberis incorrectly given as P 17357; Paralip. 5, 7, the number

Fragment.P.H. 0.11. AgoraVIII, p. 98, no. 585, pi. 37. Horse (someof mane,part of bodyand forelegs)to right, probablygrazing.Smallcrossin field. Red:mane.
Ca. 620 B.C. 1362 PI. 94

corrected).
Ca. 620-610 B.C.

P 17337 M 11:3

1363 PI. 94

P 11400 F5

Fragmentwith partof rim. Most of glaze firedred. Max. dim. 0.053. E. Brann, Hesperia 30, 1961, p. 366, H 23, pl. 74. fesFloral (lotusand tendrils),probablya lotus-palmette toon. Red: fronds of lotus; link; band on vertical surface of rim.

Fragment.Max. dim. 0.042. Swans confronted(heads). Incised and dot rosettesfor Red:bills;alternatepetalsof rosette. fillingornament. Perhapsalso nearthe Nettos Painter(ABV 6, 3; Paralip.
5, 3). Ca. 620-610 B.C.

LIDS
1364 P1.94 P9512 M 17-18

265

Fragment. Max. dim. 0.077. Boar (cheek, part of eye, neck, shoulder, start of body) to right. Red: neck, rib. White: markings on shoulder, back of neck, cheek. Last quarter of the 7th century B.C. 1365 PI. 94

P24906

R12:4

Akropolis 491 (ABV 10, 22); Baltimore 48.215 (ABV9, 18; Paralip. 7, 18); Akropolis 515 (ABV 10, 20); London, Mrs. Leonard Russell (ABV 9, 17); Akropolis 758 (ABV 10, 23). These two details are not characteristic of sirens and sphinxes painted in his manner, nor of those by his contemporaries and immediate successors, such as the painters of the Komast Group and Sophilos. First quarter of the 6th century B.C. 1370 PI. 94 P 26439 T 19:1

Fragment. Max. dim. 0.07. Uncertain subject. On the left is a vertical band of glaze, then comes something that looks like an animal, a lion(?): raised forepaw, shoulder with incision, narrow body, start of hind leg. Dot rosettes for filling ornament. Red: part of shoulder and foreleg. Late 7th century B.C. 1366 P1. 94 P 20552 C 18:8

Rim fragment of domed lid. Max. dim. 0.10. Uncertain subject. What remains looks like the body of a draped female statue with raised arms, the flesh reserved (small part of arm at the very top of the fragment). Garment decorated with two bands of crosshatching. Red: upper half of garment; strips on hanging fold (?); strip above and below black band around rim. Cf. Akropolis 471 (Graef, pl. 18). Late 7th or early 6th century B.C.

Fragment. Max. dim. 0.092. Glaze fired red. Friezes: I) indistinct remains; II) lion (mane, body, left foreleg, most of hindquarters, tuft of tail) to right. Dot rosettes for filling ornament. Red: mane, belly stripe. The Gorgon Painter or his manner. For the lion, cf. particularly those on Louvre E 874 (ABV8, 1; Paralip. 6, 1) and 412 (P1. 41), which have slender bodies, and on Hamburg 1960.6 (Paralip. 7, 13 bis; CVA, Hamburg 1 [Germany 41], pl. 28 [1994]:1-3), which is heavier than 1370 but drawn similarly. The two small arcs at the contour of each hind leg are characteristic of all beasts by the Gorgon Painter, even sphinxes and centaurs, but they do not occur on animals by his contemporaries. For the linked dot rosette with a dot in the center, cf. esp. 139 (PI. 17) and Athens (Paralip. 7, 9 ter). Early 6th century B.C.

1371 1367 P1.94 P 22466 N-P 7-13

Rim fragment. Max. dim. 0.073. Siren (head, tail, part of wing missing) to right. At the right, parts of ring rosettes. Red: neck, breast, wing bow. White: dots at base of wing and at base of each feather. The Gorgon Painter (ABV 8, 5). Early 6th century B.C.

P 21569

07:9

1368 P1.94

P6176

E 15

Fragment. Max. dim. 0.076. Slight thickening towards the bottom indicating start of rim. Glaze fired reddish brown. Lion (head, one paw) to right pursuing a goat (body, hindquarters, ear). Ring and incised rosettes for filling ornament. Above, two lines and traces of a third. Below, one line. Red: belly stripe, ribs, markings on hindquarters. Early 6th century B.C.

Fragment. Max. dim. 0.043. Trimmed in antiquity in the shape of a disk or a stopper. Reserved on underside. Glaze fired red. Two friezes: I) feline (paw) to right; end of petal of rosette at top; II) lion (top of head) to right. Red: mane. The Gorgon Painter (ABV 10, 27). Ca. 600-590 B.C.

1372 P1.94

P 17831 J 18:4(L)

Fragment of flat lid. Max. dim. 0.089. Shallow depression on underside to receive the rim of a receptacle. Width of depression 0.005. Forepart of man (nose, mouth, beard, part of shoulder) to right. Red: line at edge of rim. For human foreparts, cf. 10 (PI. 2).
Ca. 580 B.C.

1369 PI. 94

P 26536 T 18:3
1373 P 3666 a, b, and e H 8-10 (?) Three non-joining fragments of a large domed lid. Est. diam. 0.37; max. dim. a) 0.138, b) 0.093, e) 0.075. Mended in antiquity (hole near edge on fragment b). Animal friezes. Fragment a preserves parts of two: I) siren (breast, legs, some of body and tail) to left; II) geese (head, breast, and feet of one; all of another; body of a third) to right. Fragment b gives parts of the same two friezes: I) siren (tip of wing); II) geese (all of one, head of another, tail of a third). Fragment e shows a goose (part of head, neck,

Fragment. Max. dim. 0.062. Two friezes: I) forepaw of feline to left; II) sphinxes or sirens (heads) confronted. Incised rosette for filling ornament. Red: faces; neck of sphinx or siren on left. White: dots on fillet of one on right. The small eye without a pupil and no incision for the mouth are two unusual features characteristic of sirens and sphinxes by the Gorgon Painter that have accessory red covering their faces: e.g., 139 (PI. 17); 671 (P1. 64); Akropolis 474 (ABV 8, 2); Athens (ABV 8, 3; Paralip. 6, 3);

266

CATALOGUE
1379 P1. 94 P 13850 U 25:2 (L)

and breast). Incised rosettes for filling ornament. Red: breast and bar on tail of one siren; part of wing of other. First quarter of the 6th century B.C. 1374 P3666c H8-10(?)

Fragment. Max. dim. 0.075. Two friezes: I) feline (paw) and some of the hind leg of another animal, both to left; II) boar (part of body) to left. Red: belly stripe. First quarter of the 6th century B.C. 1375 P3666d H8-10(?)

Fragment slightly curved. Max. dim. 0.038. Glazed on underside. Eagle (wing, legs, tail) flying to left, beneath a horse (belly). The thin line of glaze near the wing at the break is difficult to explain. Perhaps it is the end of something held by the eagle (tail of a snake?). Red: bar on wing.
Ca. 560 B.C.

1380

P 15725

C 20-21

Fragment. Max. dim. 0.049. Lion (part of mane, body, end of tail) to right. Late first quarter of the 6th century B.C. 1376 P 24947 Q 13:5

Fragment with part of rim. Max. dim. 0.076; est. diam. 0.14. Slightly sloping lid; rim offset with a groove between it and the wall. Groove and ridge on wall near break. Reserved on underside. On top, from center out: rays; three rows of dots; tongue pattern; net pattern; all separated by lines. Red: alternate tongues; lines flanking groove above rays. Middle of the 6th century B.C.

Shallow domed lid. Diam. 0.116; H. to top of handle, 0.05. Narrow, thin rim and loop handle. Part of rim and small fragment restored. Underside reserved with central boss, similar to the omphalos of a phiale. Glazed fired red. H. A. Thompson, Hesperia 25, 1956, p. 58, pl. 17:a. On upper surface, in red: on each side of handle, an eye (iris black) and eyebrow; around handle, four concentric circles, then a wavy line with dot rosettes and a band on the rim. White: whites of eyes; top of handle. Second quarter of the 6th century B.C.

1381 PI. 95

P 26771

T18:4

Fragment with part of downturned rim. Max. dim. 0.045. Underside reserved. Rider (his right leg, part of his chiton; the foreparts of the horse) to right. Below the horse's belly is the shaft of the spear held by the rider. Inscription:
+1 -I

1377

P2035

H 8-10

Red: neck of horse; lines below figures. White: chiton. Ca. 550-540 B.c. P 15387 R21:3 P. 95; Fig. 17 Knob and about half of wall. H. 0.067; max. dim. 0.189; est. diam. 0.19. Underside reserved except for band inside rim and central ring with dot. Combat with chariots. On the left are the heads and forelegs of a team galloping to right. Then a Scythian, wearing a pointed cap and a nebris over a short chiton, runs to right, looking around, holding a spear. Next comes a chariot to right at the gallop and a Greek attacking an Amazon who is down on one knee, looking around. Both are armed with shields (devices: bow on Greek's; Amazon's uncertain) and spears. On the far right is a chariot with the charioteer of another team. Above, ribbon pattern and tongue pattern. Below, a frieze of inverted lotus buds with dots in the interstices. Red: manes and tails; breast band of right-hand trace horse; band on Scythian's cap, spots on nebris, panel of chiton; hair, beard; spots on chariot box; fillet on Greek's helmet, dot on crest; rim of Amazon's helmet, stripes on her chiton; two lines bordering ribbon pattern; line between knob and lid; side of finial on knob. White: Amazon's flesh; chitons of charioteers; baldric of Greek; shield device. For the subject, cf. 173; for the composition, Bothmer, Amazons, p. 87, no. 200. Third quarter of the 6th century B.C. 1382

Fragment of rim. Max. dim. 0.043. Glaze fired red. Two confronted sirens or sphinxes (head, body, and wing of one; head and breast of other). Blob rosettes for filling ornament. On vertical edge of rim, short strokes. Red: hair, breasts; wing bow. The Polos Painter (ABV 48, 136). Second quarter of the 6th century B.C.

1378

P 15536

R21:3

Fragment, glazed on underside. Max. dim. 0.055. Some of the glaze is flaked. Herakles and Kyknos. Herakles (head with lionskin, left arm holding his scabbard, left knee) comes in from the left, drawing his sword. Kyknos (thighs, torso) has fallen face downward toward the hero, his shield on top of him. Ares (lower torso and chiton, left leg, right thigh) rushes toward Herakles, holding his shield (device: five-pointed star with palmettes between the points). On the left side of the group is Zeus (long chiton, raised right arm with cloak) as mediator. Some of bits of glaze in the upper right at the break may belong to another figure. Red: chitons; cloak; surface of shield round device. For the subject, cf. Brommer, Heldensage3, pp. 102-108.
Ca. 550 B.C.

PLATES

267

FIG. 17. Lid 1382 (P 15387). Scale 1:2

1383

P 13748 U 23:2 (M)

Fragment.Max. dim. 0.029. Glaze firedred. Two youths (headof one;backof head,right shoulderof the other) to right. Above,three lines and the end of a ray. Red:hair; coreof dot rosetteon garmentof figureon right. White:dotsof rosette. Third quarterof the 6th centuryB.C. 1384 P 10864 N7 Fragment.Max. dim. 0.04. Glazedon underside. Satyr(mostof head,rightarm,andtorso)to right,looking around.Red:hair and beard.White:fillet roundshoulders. Third quarterof the 6th centuryB.C. P 24652 J6 Fragment.Max. dim. 0.082. Thin wash on inside and outside. The composition is in compartments separated by a lotusfestoon. with the On left, a draped palmette Fight, spectator. man (top of head and feet missing)standsto rightholdinga staff and watchinga warrior(someof helmetedhead,torso, right arm) also to right with sword drawn. On the left of the spectatoris a vertical lotus-palmettefestoon without 1385 P1.94

incision,then a bent arm (elbow). Red: beard,overfoldof spectator'sgarment. White: dots on cloak; markings on scabbards; pommeland hilt of sword. The unusual arrangement of the figuresseparatedby a verticalzone of ornamentmay be paralleledon a lid by the AntimenesPainter,XanthosA 15.1176a-c and 1113 (ABV one fromCyrene,416.17, 691, 137), andon an unattributed whichshowspartof a sirenor sphinx,thena chainof double palmettes. Last quarterof the 6th centuryB.C. 1386 PI. 95 P 13829 U 25:2 (M) Fragment.Max. dim. 0.053. Glazedon underside. Human figures (foreheadand nose of man; head and shouldersof youth)to right. Above,rays. Red:two lines on underside. Last quarterof the 6th centuryB.C. 1387
Rim fragment, convex.

P 22494 0 14
Max. dim. 0.056; p.H. 0.02.

Glazedon underside. Glaze firedred. Silhouettetechnique. Pantherto right. Red:wide bandon insideof rim.
Late 6th century B.C.

PLATES
1388-1426 TYPEA 1388-1410 TYPE A I 1388-1397 1388 P1. 95 P6684 B 9-10 Pls. 95-97 1389 P1. 95 P 26639 U 19

Five non-joining fragments of large plate. H. 0.023; est. diam. 0.38; max. dim. a) 0.22, b) 0.093, c) 0.092, d) 0.075,

Fragment.Max. dim. 0.055. Left side of floor with two

pairs of concentric grooves on underside. Underside

unglazed. Sphinx (cheek, neck, hair, wing, and hindquarters)to right wearing a polos. Incisedrosettesfor filling ornament. At the top and at the left of the fragment,the edge of the tondo appears. Red: face, fillets, wing bow, and alternate feathersof wing; line roundtondo. First quarterof the 6th centuryB.C.

on its upper edge) and ring e) 0.033. Convexrim (grooved foot. Fragmentsa-c are fromthe rim but preservesome of the ring footand a smallpartof the floor;fragments d and e are fromthe floor,and d preserves tracesof one ring molding. Undersideof rim is glazed. Glaze fired brown. CalliLes plats attiques,p. 312, no. 19, pl. 19, politis-Feytmans,
fig. 21, and p. 40, fig. 2:1; Lang, op. cit. (under 527), ill. 15 (fragment d). On rim, lotus-palmette festoon. On the floor the figured decoration was painted in registers. Fragment a gives part of

268

CATALOGUE
black band, then two lines, another band, two more lines, and a central circle. Callipolitis-Feytmans, Les plats attiques, p. 302, A I, no. 31, pl. 6, fig. 12. Chariot (the right-hand trace horse except for hindquarters; neck and mane of right-hand pole horse; head and forelegs of left-hand trace horse) to right. On the left side of the team are three women (chests, head of third one) to right. In front of the horses, a palmette. Above the woman's head, at the right, is part of the tongue pattern. Red: cloaks of 1 and 3, fillet and earring of 3; mane of right-hand pole horse; neck of right-hand trace horse. White: women's flesh; cheekpiece of bit; rows of dots outlining breast band. Closest to the Archippe Painter, especially the elbows and manes of the horses. For the painter, cf. Bothmer, AK 12, 1969, pp.26-29. Ca. 560-550 B.c.

the rim and a small portion of the floor with incised lines that look like hair and, on the left, dots that appear to be a vine. Fragment b preserves more of the rim and floor, with the head and hand of a satyr. Fragment c (not illustrated) is a rim piece. Fragment d shows two ithyphallic satyrs, both bE4fdo/vos, one seated, the other standing with legs bent, to left; on the right is a small bit of glaze that may be the hand of the satyr on the right. Fragment e (not illustrated) preserves parts of two zones: I) tail of a satyr (?); II) part of a figure (hair? wing?). Red: hearts of palmettes; cuffs and sepals of lotuses. This plate is the earliest preserved example of one decorated in registers, the principle of decoration very likely borrowed from painters of amphorae with the figures set in friezes (Callipolitis-Feytmans, pp. 39, 78, and 82). Callipolitis-Feytmans (p. 312, no. 19) has suggested that the subject in the upper zone represents Dionysos, accompanied by satyrs and maenads, or Hephaistos on his mule (p. 82). On p. 40, fig. 2:1, she shows how four of the fragments should be positioned in four registers. There are various problems with this reconstruction. First of all, there does not seem to be sufficient space in the top register for the size of the figure partly preserved on fragment a, even if this figure is a seated one. Fragment b cannot be placed so close to fragment a for the following reasons: the spacing of the units of lotus-palmette festoon will not permit it; the line edging the floor is different; the color of the glaze and of the added red also differs. We propose the following arrangement of the fragments in a composition that was divided into three horizontal zones. The top zone occupied a bit more than half of the tondo, and of this area all that is preserved for certain is what remains on fragments a and b; if this is correct, then the tail on fragment e should also belong to the upper zone, although the positioning of it is difficult because the underside is not preserved. Of the second register, all that remains is what is given on the lower part of fragment e, and very likely this zone contained a frieze of animals, as CallipolitisFeytmans (p. 312) suggests. The lowest register contained the satyrs on fragment d. The Eridanos Workshop [Callipolitis-Feytmans]. Late first quarter of the 6th century B.C. 1390 PI. 95 P 22268 K9

1392 Pl. 95

P 25385 B 20 P 25389 A 17:2

Two non-joining fragments of floor. Max. dim. P 25385: 0.042, P 25389: 0.116. Glazed on underside. P 25385 gives some of the foot. Herakles and Nessos. P 25385, from the right side of the floor, preserves the back of Nessos' head, looking around at Herakles and on the right, the head of a youth, probably Iolaos, to left. P 25389, from the left side of the floor, gives the lower part of a woman (Athena?) and the right leg of Herakles from the knee down. On the right, one hind leg of Nessos and part of his tail. In the exergue, the hindquarters and tail of a dog or a feline, running to right. The tondo is encircled by tongues. Red: panel on woman's skirt; hair of Nessos; crown of Iolaos' petasos, panel on his garment; alternate tongues. For the subject, cf. 168. For two other plates with this theme, cf. Brauron 237 (Callipolitis-Feytmans, Les plats attiques, p. 301, A I, no. 21) and Akropolis 2421 (CallipolitisFeytmans, Les plats attiques, p. 313, no. 26, pl. 20). Ca. 550 B.C. No grid Fragment of left side of floor. Max. dim. 0.06. Two bands of glaze on underside. Much of the glaze is flaked. Chariot scene (head and shoulders of a woman, veiled, to right; behind her, face of the charioteer, mounting the chariot [?]). Red: stripes on woman's cloak. White: her flesh. Third quarter of the 6th century B.C. 1393 P 25811

Fragment of floor. Max. dim. 0.096. Three low, flat moldings on the underside, glazed black. Callipolitis-Feytmans, Les plats attiques, p. 312, no. 18, pl. 18, fig. 21. Parts of two zones, probably round the tondo: I) lotuspalmette festoon; II) animals (hindquarters and tail of feline; head, wing, and start of forelegs of sphinx) to left. Red: marking on hindquarters; wing bow; hearts of palmettes and calyxes of lotuses; line between each molding. The Eridanos Workshop [Callipolitis-Feytmans]. Late first quarter of the 6th century B.C. 1391 P1. 95 P 17467 Max. dim. 0.114. J 18:4 (L) On underside, a

1394

P 23150

I12

Fragment of floor.

Fragment of left side of floor. Max. dim. 0.06. Parts of two bands on underside. Chariot (part of wheel, tails of pole horses, hindquarters of right-hand one) to right. Red: tail of right-hand trace horse. Last quarter of the 6th century B.C.

PLATES 1395 PI. 96 P 21797 R 10:1 1399 PI. 96

269

Fragment of convex rim. Est. diam. 0.31-0.32; max. dim. 0.064. Glazed on underside. Callipolitis-Feytmans,
Les plats attiques, p. 305, A I, no. 58.

Boar (head and forelegs) falling to left. Red: spots on neck;edge of rim. White:tusk. The positionof the boar'slegs suggeststhat it is wounded. Last quarterof the 6th centuryB.C. P 16296 G-I 11-12 Fragment.Est. diam. 0.22; max. dim. 0.192. Left side of floor, convex rim, and low ring foot. Glazed on underside except for resting surface. Some of the glaze is abraded. Fired red in places. Grooveon rim near edge. CallipolitisFeytmans,Les plats attiques,p. 331, no. 60, pl. 43, fig. 35. Fight, with women watching (Achilleusand Memnon). On the left, a womanstandingto right,holdinga staff,then a warrior(raisedright arm with spear,partof his chestand rightleg, the endof his helmetcrest).On the rim,lotusbuds. In the exergue, ivy. Red: woman's fillet. White: woman's flesh. 1396
For the subject, cf. Brommer, Heldensage3, pp. 348-351.

P21568 07:9 Fragment.Est. diam. 0.21; max. dim. 0.198. Complete profileof rim and foot,and someof floor.Someof the glaze Les fired red. Abraded in places. Callipolitis-Feytmans, plats attiques,p. 347, no. 54, pl. 58, fig. 46. On top side of rim, incisedrosettes;on underside,rays. On floor, framingthe tondo,three sphinxes,two to right, then one to left, preservedexcept for its hindquarters and tail. On the rim abovethe head of the last sphinx there are two holes for suspension.Incisedrosettesand blobsfor fillBelowsphinxes,dicing.On underside of floor ing ornament. of and head, breast, (some (not illustrated), sphinx wing) to left. Below, rosette.This sphinx does not relateto the holes for suspension.Red:wing bows;coresand petalsof rosettes on rim. The Polos Painter(ABV 47, 107). Secondquarterof the 6th centuryB.C. 1400 P 8956 G 14 of floor.Max. dim.0.04. Decorated on top and Fragment underside. Lesplats Glaze firedred. Callipolitis-Feytmans, no. 48. attiques,p. 346, Top side: animal frieze (hindquarters, part of body of the tondo.Below sphinx,legs of siren,bothto left) encircling them, dicing. Incisedrosette for filling ornament.Underside:sphinx (partof hair, neck,wing, hindquarters) to left; rosettefor fillingornament.Red, top side:breast,markings on hindquarters; underside: neckand wing of sphinx. The PolosPainter(ABV 47, 117). Secondquarterof the 6th centuryB.C. 1401 P1.96
Feytmians,Les plats attiques, p. 344, no. 35.

Last quarterof the 6th centuryB.C. 1397 P1.96 P 25963 M 18 Fragment.Max. dim. 0.103. Lower left side of floorand someof convexrim. Glazedon underside, exceptfor resting Les plats attiques,p. 335, surface. Callipolitis-Feytmans, no. 21, pl. 51 (mispoised),fig. 38. Woman (skirt,one foot, hangingfold of cloak),probably a single figure,runningto right. In the field, palmettesand spiral. On the rim, rosettes.White:woman'sflesh;heartof small palmette. The womanprobablyholds the ornament.Cf. the namepiece of the Painter of Agora A-P 428 (Callipolitis-Feytmans, Les plats attiques, pl. 51:20) and another by him, Les plats attiques, Akropolis n.n. (Callipolitis-Feytmans, pl. 50:19c). The Painterof AgoraA-P 428 [Callipolitis-Feytmans]. First quarterof the 5th centuryB.C.
TYPE A II

P8965

F 15

Fragmentof convexrim. Max. dim. 0.039. CallipolitisOn rim, two sirens or two sphinxes (breast,legs of one; of rim, rays. head,breastof the other)facing.On underside Incisedrosettesfor fillingornament. Red:hair, breasts. The Polos Painter(ABV 47, 118). Secondquarterof the 6th centuryB.C. P 13751 U23:2 (M) 0.20. Some of the of convex rim. Est. diam. Fragment fired red. Les glaze Callipolitis-Feytmans, plats attiques, p. 345, no. 39. On top side of rim, sphinx (partof tail missing)to right. Incisedand blobrosettesfor fillingornament. On underside of rim, rays. Red:hair, wing bow, ribs. The Polos Painter(ABV 47, 119). Secondquarterof the 6th centuryB.C. 1402 P 16569 No grid Fragment of convex rim, ring foot, and floor. Est. diam. 0.21; max. dim. 0.095. Someof the glaze is abraded. Les plats attiques,p. 343, no. 19, Callipolitis-Feytmans, 44. fig. On top side of rim, incisedrosettes;on underside,rays. 1403

1398-1407 P4240 E 14:11

1398

Fragmentof floor. Max. dim. 0.052. Decoratedon top and underside.Glaze firedred on top side (fromstacking). Lesplats attiques,p. 337, A II, no. 2, Callipolitis-Feytmans, pl. 52. someof tail) Top side:sphinx (head,wings,hindquarters, feline (hindquarters, of to right.Underside: part tail) to left, another(hind leg?) to right. Blobs and incisedrosettesfor filling ornamenton both sides. Red, top side: hair, wing bow, marking on hindquarters;underside:markings on hindquarters. Cf. 158 (P1.19). First quarterof the 6th centuryB.C.

270

CATALOGUE
Inner inscription:

On floor, encircling the tondo, sphinxes (head, breast, and forelegs of one, all of the other, except for the tail) facing. Below them, two rows of dots, then a small portion of the tondo: animal (?); just a small bit of glaze remains. On underside of floor, siren or sphinx (wing) to right. Red: hair, breast, wing bows, ribs; cores and petals of rosettes. The Polos Painter (ABV 47, 120). Second quarter of the 6th century B.C. 1404 P1. 96 P 18526 A 17:1 (U)

%AlA+5 fjEPO[j5E N On the inscription,cf. E. Vanderpool, Hesperia 15, 1946, pp. 276-277. Salax (ABV351).
Ca. 500
B.C.

TYPE A III

1408 and 1409

1408

P 19697 A 17:2

Fragment of floor, decorated on both top and underside. Max. dim. 0.053. Part of ring foot. Glaze fired red. Callipolitis-Feytmans, Les plats attiques, p. 343, no. 24, fig. 44. Top side: sphinx or siren (head, one leg, wing) to left. Blob and incised rosettes for filling ornament. Underside: traces of a siren or a sphinx. Red: hair, breast, wing bow. The Polos Painter (ABV 47, 121). Second quarter of the 6th century B.C. 1405 P 25344 T 18

Fragmentof floor. Max. dim. 0.045. Decoratedon top

and underside. Glaze fired red. Callipolitis-Feytmans, Les plats attiques, p. 343, no. 18. Top side: sphinx (part of wing and body) to right. Below it, dicing, then a small portion of the tondo: animal? sphinx? Underside: foreparts of sphinx to right. Red, top side: part of figure in tondo; wing bows, ribs; underside: breast. The Polos Painter (Paralip. 21). Second quarter of the 6th century B.C. 1406 P. 96 P25316 D-E 18-19

Fragment. Est. diam. 0.16; max. dim. 0.139. Profile complete. Much of rim, some of floor missing. Underside of rim reserved except for wide band; on underside of floor, two rings and central dot. Callipolitis-Feytmans, Les plats attiques, p. 352, A III, no. 13, pl. 60, fig. 47. Gorgoneion, encircled by ivy, between tongues. On the rim, just above the junction with the floor, is a stopped maeander. Red: hair and beard; alternate tongues; alternate ivy leaves and dots; groove between half-rounds that comprise the foot. White: tusks. Ca. 530-520 B.C. O-Q 18-19 Fragment. Est. diam. 0.09; max. dim. 0.059. Convex rim and upper part of floor. Glazed on underside. CallipolitisFeytmans, Les plats attiques, p. 329, no. 44, pl. 40, fig. 34, where it is assigned to plates of Type A I, but it is too small. Winged figure (head, part of wing), Iris, Nike, or a sphinx to right. On the right, a man (head) to left. On the rim, ivy. Red: fillet and part of wing; man's hair. White: stripe on wing. Connected with late members of the Group of Louvre F 6 (ABV 131, 3); Workshop of the Painter of Delos 636 [Callipolitis-Feytmans]. Last quarter of the 6th century B.C.
TYPE A IV

1409

PI. 96

P 12020

Fragment.Max. dim. 0.089. Centerof floorwith startof

foot. Banded on underside (three wide bands and a central ring). Inside of foot glazed. Callipolitis-Feytmans, Les plats attiques, p. 340, A II, no. 28, pl. 55, fig. 42. Tondo: gorgoneion in semioutline. Round tondo: lotus buds with dots in the interstices. Red: eyes, tongue, nose, and mouth of gorgoneion. White: teeth and tusks; band round gorgoneion. Ca. 500 B.C.

1410
P 26508 I17:2

1410

PI. 96

1407

P1386

G6:3(U)

Fragment. H. 0.028; est. diam. 0.228. Rim and floor preserving complete profile. Underside of floor decorated with concentric grooves (glazed) and ridges (reserved). Rim entirely reserved. E. Vanderpool, Hesperia 15, 1946, pp. 276277, no. 17, pls. 27, 28, 64; Callipolitis-Feytmans, Les plats attiques, p. 339, A II, no. 15, fig. 40. In the center of the floor there are three concentric circles (diam. of outer circle 0.076), and between their lines there are two inscriptions. The lines of the circles and the letters were painted in black glaze which has flaked. Outer

Fragment. Est. diam. 0.06; max. dim. 0.059; H. 0.011. Upper half of floor and convex rim of miniature plate. Circle of glaze on underside. Underside of rim glazed. Callipolitis-Feytmans, Les plats attiques, p. 362, A IV, no. 9, fig. 51. Gorgoneion encircled by leaves. On rim, degenerate leaves or tongues. Last quarter of the 6th century B.C.
TYPE B

1411-1424

TYPE B I

1411-1416
P 25889 M 18

1411

P1. 96

inscription:

E V^APESI

K4LO[

i1[

] -t

Fragment. Max. dim. 0.082. Lower part of floor with low, beveled foot. Underside reserved. Six's technique.

PLATES Callipolitis-Feytmans,Les plats attiques, p. 377, no. 8, pl. 72, fig. 60. Figure (thighsto ankles)runningto right.White (pinkish yellow):figure. For Six's technique,cf. 1175
Ca. 510-500 B.C.

271

1412

P 27626 K 12

Fragmentof convexfloor,startof rim, some of ring foot. Max. dim. 0.064. Centerof undersideand outer surfaceof footglazed.Glaze firedred. On the left, part of a figure (right arm outstretched) to end of beard),both right,facinganother(armsoutstretched, draped.In the field, a vine. Late 6th or early 5th centuryB.C. P4910 E 13 H. max. dim. 0.15; 0.112; est. diam. 0.22. Fragment. Rightside of floorwith someof rim and low ring foot.Callipolitis-Feytmans,Les plats attiques, p. 392, B I, no. 16, pl. 83 (mispoised),fig. 69. Figure holding a barbiton(one arm of the instrument, part of the soundbox, some of the strings)and a dog (foreparts)to rightwith headturnedaround.On the rim, myrtle leaves.Red:part of soundbox, part of arms.White:tuning knob. Class of the Dancer[Callipolitis-Feytmans]. First quarterof the 6th centuryB.C. 1414 P1.96 P2766 G 6:3 (U) Two non-joining of floorand rim. H. 0.03;est. fragments diam. 0.255; max. dim. a) 0.16, b) 0.11. Figureddecoration on white ground. On undersideof floor, small red circle. E. Vanderpool,Hesperia15, 1946, p. 309, no, 186, pls. 56, 64; Bothmer,Amazons,p. 49, no. 128, pl. 39:6;CallipolitisFeytmans,Les plats attiques,p. 395, C, no. 1, fig. 71. Herakles and Amazons. Fragment b shows Herakles (part of torso, right arm and leg) attackingto right, his sworddrawnand held at waist level. He wears his lionskin overa shortchitonand has a quiver.Betweenthe quiverflap and the rim:
JoL

rim and part of low ring foot.Undersideof floorglazedexcept for centraldot and a wide band betweentwo narrow ones. Callipolitis-Feytmans,Les plats attiques, p. 398, no. 19, fig. 72. Man (most of head missing)with dog, standingto right before a seated man, preservedexcept for his head, left a vine. shoulder,and feet. In the background, The KleiboulosPainter[Callipolitis-Feytmans].
Ca. 490-480 B.C.

1416 PI. 97

P 22341 0 16

1413 P1.96

Fragment.Max. dim. 0.057. Right side of floor, flat on and startof groovedrim. Glazed top, curvedon underside, on undersideexcept for reservedband beneath molding. Lesplatsattiques, p. 393, B I, no. 22, Callipolitis-Feytmans, 69. fig. Figure (back)seatedto left on a throne.In the field: A Middleof the 5th centuryB.C.
TYPE B I 1417-1424

1417 PI. 97

P 26794 T19:1

Fragmentof concavefloor and part of ring foot. Max. dim. 0.078. Callipolitis-Feytmans,Les plats attiques, p. 389, no. 31, fig. 66. Three women (heel of one to left, lowerdraperyand feet of a secondstandingto right,one footand lowerdrapery of a third running to right). In the exergue, dolphin to left. White:women'sflesh. The Workshop of the Anavysos Painter [CallipolitisFeytmans].
Ca. 500 B.C.

retrograde. Fragmenta shows an Amazon(partof headand legs missing) fleeingto right, lookingaround.She carriesa Boeotian shield (no device) and holds her spear with its point in the wrong direction. By mistake, the artist has drawn the front of her corslet instead of the back. In the lower right, a fallen Amazon(head,torso,part of legs), diminutivein scale. The flesh of the two was left black.Red: circleon underside. For the subject,cf. 395. The KleiboulosPainter[Callipolitis-Feytmans].
Early 5th century B.C.

P 12235 H 12:18 Est. diam. 0.16;max.dim.0.122. Rightsideof Fragment. floor and part of convexrim, some of very low foot. Three bandsof glaze on underside, two on rim, one on floor.H. A. Thompson,Hesperia, Suppl. IV, Baltimore 1940, p. 37, Les plats attiques,p. 386, fig. 29:b;Callipolitis-Feytmans, no. 14, pl. 79, fig. 64. Symposion.Man (mostof head, upper part of body) reclining to left on a couch,a servingtable with a bowl and basketof fruit in frontof him. In his right hand he holdsa fillet,andon the left, at the break,is the righthandof a male On the rim, myrtleleaves.Red:panel of man's companion. cloak, fillet roundhis head;leg and sides of couch.White: bowl, fruit;row of dotson blanketunderman;fillet held in hand. For the subject,cf. 420. Probablybelongs to the Snake-and-spots Group (ABV 132). Late 6th or early 5th centuryB.C. 1419 P1.97 P 26223 M 18 Max. dim. 0.048. Rightside of floorand some Fragment.

1418 P1.97

1415 P1.97

P 5001 E-F 12-14 Fragment.Max. dim. 0.102. Centerof floorwith startof

272

CATALOGUE
more figures (drapery). In the field, vines with grapes. Imitation inscriptions.
Ca. 470 B.C.

of double-grooved ring foot. Callipolitis-Feytmans, Les plats attiques, p. 381, B II, no. 24, fig. 62. Woman (torso, arms) to left, holding a fillet. In the field, a branch with fruit. Red: dots on garment. White: woman's flesh; fruit. Early 5th century B.C. No grid Fragment. Max. dim. 0.086. Flat floor and false base ring (twice grooved). Reserved on underside except for circle on floor and wide band near outer break. Silhouette technique. Callipolitis-Feytmans, Les plats attiques, p. 381, B II, no. 31, pl. 76, fig. 62. Woman (legs) seated to right on an okladias. On the right, traces of another figure. In the exergue, part of an uncertain object (leaf? lion?). Red: stripes on garment. White: joints of okladias; feet; object in exergue. Ca. 490-470 B.C. 1420 1421 P 22957 M 15 P 19741

OTHER 1425, 1426 1425 P1. 97

P 13428 N 18:7

Fragment. Max. dim. 0.089. Floor and convex rim with groove at their junction and on underside of rim. Surface reserved. Painted on rim:

[ ]IA[
Red:grooves.
Probably Type B I or B II, but it is difficult to be certain. Compare plates by Psiax, which have the same economical decoration: London, B.M. B 589 (ABV 294, 17; Paralip. 128, 17; Callipolitis-Feytmans, Les plats attiques, p. 376, no. 1, pl. 72); Berlin F 2099 (ABV 294, 18; CallipolitisFeytmans, Les plats-attiques, p. 376, no. 2, pl. 72); London, B.M. B 591 (ABV 294, 20; Paralip. 128, 20; CallipolitisFeytmans, Les plats attiques, p. 376, no. 3, pl. 72); London,

Fragment.Max. dim. 0.065. Upper left part of floorand

low ring foot. Callipolitis-Feytmans, Les plats attiques,

p. 381, B II, no. 30, fig. 62.

Tail and part of hindquarters of an animal (donkey?) to right. In the field, vines and grapes. First quarter of the 5th century B.C. 1422 P1. 97

B.M. 590 (ABV 294, 19; Callipolitis-Feytmans, Les plats

attiques, p. 376, no. 4, pl. 72). A possible restoration of the inscription is MI]A[T]IA[AE1, which occurs as a kalos name on a contemporary red-figured plate in Oxford by Paseas, 310 (ARV2 163, 8; Paralip. 337, 8), that shows a youthful mounted archer in Thracian costume. The similarity of 1425 to plates by Psiax, whose "nearest kin" is Paseas (AR V2 163) may strengthen this suggestion. A further argument for this restoration is that when the preserved letters are extended to render MIATIAAEE KAAOI, they take up about one half the circumference of the rim, leaving the other half for another inscription. The name KA]A[A]IA[I would also fit, but double lambda would be most unusual. For KAAIAEKAAO;, cf. a small neck-amphora, Bareiss 13, by a painter of the Three-line Group (Paralip. 140, 6 bis) by the same hand as Berlin 1841 (ABV 320, 6). Ca. 520-510 B.C. 1426 P1. 97 P 1599 J 12

P 10092 M 20:3 (L)

Fragment. Max. dim. 0.073. Center of floor and part of ring foot. Inside and outside of foot glazed; underside of floor glazed except for a small central ring and a band near the foot. Much of the glaze is abraded. Callipolitis-Feytmans, Les plats attiques, p. 382, B II, no. 32, fig. 62. Draped man (body) to right before a low altar (top left corner). Behind him is a skyphos (upper right part) and in front of him is a calyx-krater (left part of rim). In the field, a vine with fruit. First quarter of the 5th century B.c. 1423 P6048 E 15 Three non-joining fragments. Max. dim. a) 0.067, b) 0.08, c) 0.066; est. diam. 0.13. Floor, rim, and wide, low ring foot. Glaze fired brownish. Callipolitis-Feytmans, Les plats attiques, p. 390, no. 44, fig. 67. Center: gorgoneion within a reserved circle. Fragment b preserves the lower right part of the face and fragment c the right temple and hair. On the rim (fragment a), dot ivy. Red: dots on hair of gorgoneion, pupil, tongue. White: tusks, teeth. Second quarter of the 5th century B.C. 1424 P 14379 N 10:1

Floor fragment. Max. dim. 0.051. Burned. Low, heavy ring foot. Silhouette technique. Callipolitis-Feytmans, Les plats attiques, p. 382, B II, no. 36, fig. 63. Figure (all but lower legs) seated to left on an okladias with right hand raised. At the right and left, parts of two

Leg fragment, broken at left and at the top. P.H. 0.072; max. dim. 0.11. Small portion of bowl preserved, glazed on underside. T. L. Shear, Hesperia 4, 1935, p. 326, fig. 13; idem, AJA 37, 1933, p. 310, fig. 18; Bothmer, Amazons, p. 9, no. 41, pi. 19:3. Herakles and Amazons. One Amazon has already fallen to the ground, mortally wounded. Another, also wounded, still fights (spear poised, shield held out) but is sinking to her left knee. Two more Amazons rush in from the right to aid their comrades. Each Amazon wears a short chiton and a helmet, but the wounded pair have corslets as well. Each is armed with a spear and a shield; one also has a sword. Herakles, dressed in a short chiton with his lionskin over it, attacks from the left. An oddity is the wavy shaft of his spear. The composition is framed by a maeander pattern. Maeander pattern on outside of foot. On top side, at the

PHIALAI break, tongue pattern, then two rows of staggered dots between two sets of concentric lines. Red: chitons of Amazonon right;helmets; woundedAmazonsandattacking sectionsof fallen'screst;shields;bloodfromwounds;dotson lionskin;sides of legs; two lines on undersideof bowl near start of leg. White: Herakles' chiton; mane and teeth of lionskin;flesh of Amazons;dotson shieldrims of 2 and 4.

273

For the maeander patternon the footandsides,cf. the triBrusselsA 2072 (CVA,Brussels3 [Belgium3], pod-kothon, p. 24) suggeststhat the pi. 22 [116]:4).Bothmer(Amazons, shaft of the adds to the rusticaspectof the "gnarled spear For the subject,cf. 395. drawing." The MarmaroPainter(ABV 198, 3).
Ca. 560 B.C.

PHIALAI 1427-1439 Pls. 97 and 98

1427 P1.97

P6157

E 14:8

Fragment.Max. dim. 0.056. Floor and small centralomphalos within a larger one. On the outside, six concentric circles.Silhouettetechnique. Around the omphalos,swans to right. Blobs for filling ornament. Red: bodies of swans; blobs; two lines on underside. The Swan Group (ABV 655, 26). First quarterof the 6th centuryB.C. 1428 PI. 97 P3 H10 Max. Fragment of floor with start of omphalos. dim. 0.048. Around the omphalos,a man (lower leg) and dog (tail, hind legs, part of forelegs),both to right. Splashof glaze on ground. Below, tongue pattern. Red: alternate tongues. White:dot at end of each line separatingtongues. The large size of the dog comparedwith that of the human suggests that the subjectmay be Herakles and Kerberos, but one cannot rule out a large hunting dog. The ground line round the omphalosinsteadof just below the rim is an unusual arrangementof the decorationfor a one in Havana, phiale. For two parallels,cf. a black-figured once Lagunillas 86, and a red-figured one in Berlin, S.M. 2310, by the Telephos Painter(ARV2 819, 50).
Ca. 520 B.C.

arm, thigh and calf) swimming(?) Figure (outstretched to right.At the left, traceof an object.In the field:

AA
Red:figure;letters.White:objectat left. For the technique,cf. 1175. Late 6th or early 5th centuryB.C. 1431 P1.97 P7888 E 14:5 Rim fragment.Max. dim. 0.127. Reservedon outside but for wide black band below rim. Decoratedin Six's technique. Parts of two friezes,each with drinkinghornsand lyres. Near the rimis a smallhole for suspension. Red:horns;center of soundboxes.White (pinkish):crosspiece and armsof each lyre;concentric circles;line on outsidebelow rim. For the technique,cf. 1175. Late 6th or early 5th centuryB.C. 1432 P 15922 F 19:5 Five non-joining Max. dim. a) 0.10, b) 0.068, fragments. but one c) 0.033, d) 0.026, e) 0.023. All are rim fragments (d). Reserved on outside with a wide band below rim. Decorated in Six's technique. Hole for suspension in fragmente. a preserves a deer (neck,chest,legs) to left and Fragment of an part inscription: 050 Fragmentd gives part of anotheranimal (leg?);c, d, and e but theyare toosmallto be intelgive tracesof whiteobjects, b one letter: ligible. Fragment preserves Z Red:deer.White:chestandbelly stripeof deer;line fromits on c, d, ande; inscription; bellyto the ground; objects ground line for figures;line belowrim on outside. For the technique,cf. 1175. Late 6th or early 5th centuryB.C. P 1563 G6:3(U) Preserved exceptfor muchof rim. Max. dim. 0.096. Underside of phiale reserved.Decoratedin Six's technique. E. Vanderpool, Hesperia15, 1946, p. 326, no. 297, pl. 67. 1433 PI. 98

1429

P 16589 B21:14

H. 0.045; diam. 0.14. Rim chipped.Unglazedon outside except on rim. Silhouettetechnique.T. L. Shear,Hesperia 10, 1941, p. 2, fig. 1; R. Young, Hesperia20, 1951, p. 95, Grave 12, no. 7, pl. 42:a, 7. On inside, around the omphalos,is Dionysos seated to right on an okladiasholding a drinkinghorn and facing a beardedfigurerecliningon a pillow (twice). In the field,entwined stalksand vines with grapes.Aroundthe omphalos, tongue pattern.White (yellowish):part of chitonof seated figures; wreaths of reclining figures; stripes on pillows; grapes.
Ca. 520
B.C.

1430 P6554 E-F 12-14 Wall fragment reservedon outside. Max. dim. 0.056. Decoratedin Six's technique.

274

CATALOGUE
right. Fragment b preserves the hindquarters and tail of a feline to right. White: figures. Late 6th or early 5th century B.C. 1437

Around the omphalos, hounds pursuing hares. Above, tongue pattern. Red: hounds; center of omphalos. White: hares; tongues and concentric circles; ring inside rim. For the technique, cf. 1175. Early 5th century B.C. 1434 P1. 98 P 24868 R 11

P 25702 0 19:7

Rim and wall fragment. Max. dim. 0.068. Reserved on outside with wide black band below rim. Hole for suspension near rim. Silhouette technique. Above tongues, man seated to right on an okladias facing a rider (his head, foreparts of his mount), a diagonal row of dots (imitation inscription) between them. White: all decoration. Late 6th or early 5th century B.C.

Fragmentary. Max. dim. 0.106. More than half of rim and wall lost. Reserved on outside except for black band below rim. Glaze somewhat mottled; fired red in part. Silhouette technique. Around the omphalos, tongue pattern. Below, five figures: from left to right, part of a figure (from the waist up) and a pair, all three to right, facing one who moves to left, holding a staff; then comes a figure seated to left on an okladias, holding an object that looks like a distaff. On the left, part of an uncertain object. White (pinkish): all decoration. 5th century B.c.

1435 P1.98

P 19667 A 18:6

1438 P1.98

P 11666 M 19

Wall fragment reservedon outside. Max. dim. 0.055. Glaze firedred. Silhouettetechnique. Horseman(his torso;head,neck,chest,partof body,and forelegsof horse)to right.On the rightat the break,partof a
floral or a spiral. White: all decoration.

Late 6th or early 5th centuryB.C.

Fragment of wall and omphalos in two degrees. Max. dim. 0.063. Silhouette technique. Reserved on outside. On top of omphalos, hen to right, with head turned around. Around the omphalos, tongue pattern, then leaves (in outline). White: all decoration. Early 5th century B.C. 1439 PI. 98 P 25314 E 19:5

1436

P6566

E-F 12-14

Two non-joining fragments of rim and wall. Max. dim. a) 0.09, b) 0.044. Reserved on outside except for a wide black band below rim. Silhouette technique. Around the omphalos, tongue pattern, then an animal frieze. Fragment a gives parts of both; animal frieze: ram (body) to left, panther, hind leg of another animal, both to

Rim and wall fragment. Max. dim. 0.086. Reserved on outside with wide black band below rim. Silhouette technique. Siren (wing and feet), with wings outspread, to right facing a floral; then a frieze of ivy leaves below rim. White: all decoration, including a line on outside below rim. 5th century B.C.

MASTOID 1440 PI. 98

1440 P1. 98 P755 No grid Man (head and shoulders) to right. In the field, branches. Red: fillet. Ca. 500 B.C.

Fragment of outturned rim and wall. Outer edge of rim reserved. Decoration on white ground. Silhouette technique. Max. dim. 0.05.

CHALICES 1441-1450 Pls. 98 and 99

1441 P 20553 C 18:8 Fragment b shows a sphinx or a siren (legs, breast) to right and part of a dot rosette. Below the figure zone, a frieze of then rays. Red: core and alternate petals of rosette; reast For the shape, cf. Hesperia 13, 1944, pl. 4. First quarter of the 6th century B..

Two non-joining fragments. Max. dim. a) 0.138, b) 0.127. Slightly projecting rim and rim and wall.dots, wall. b) 0.127. Slightly projecting a a Fragment preserves sphinx (top of wing, tail) to left, two vertical lines (metope decoration?), and an incised rosette. Above wing, dot rosette. Top of rim reserved, row of dots on its outer surface; band on inside, just below rim.

CHALICES P 210 I 9 1442 P1.98 Fragmentof wall and projectingrim. Max. dim. 0.107. Wide blackbandon insidebelow rim. Sphinxor siren (mostof head, neck,breast,vvingbow) to deof rim releft. Incisedrosettesfor fillingornament. Top si( Red: outside strokes on vertical Face,breast, served; edge. bow. wing The Groupof the DresdenLekanis(ABV 22 7). Late firstquarterof the 6th centuryB.C. 1443 PI. 98 P 6822 C-D 8 Fragmentof wall and projectingrim. Max. dim. 0.088. Wide blackbandon insidebelow rim. .A;ri LU t nf L u^ct wlllngJtn Sphinx or siren (backof head, ear, hair, part bow. Red: of as Rim decorated 1442. top head;wing right. The Groupof the DresdenLekanis(ABV 22, 8). Late firstquarterof the 6th centuryB.C.
Sphinx or siren

275

is dull on mostof the fragmentand thus does not serveas a criterionfor the former presenceof accessorywhite). In front of the team, a woman wearing a peplos moves (or stands)to right,and on the left side of the teamare tracesof anotherfigure.Tongue patternabovefigures.Rim decorated as 1442. Red:alternatetongues;neckof right-handpole of peplos.White: horseandof left-handtracehorse;overfold tracehorse? right-hand The very thin incisedlines on the right-handtracehorse are the preliminary sketchlines, one of the best examplesin the Agora black figure. For preliminarysketch, cf. P. E. Corbett, JHS 85, 1965, pp. 16-28. Lydos(ABV 107, 4).
(back

Ca. 550 B.c. f head, ear,

hair,

1447 PI. 99

P 14326 R 8

P 5468 E 15 1444 PI. 98 Two non-joiningfragmentsof projectingrim and wall. Max. dim. a) 0.105, b) 0.06. Blackbandon insidejust below
rim.

Fragment a preservesa siren or sphinx (head, top of cross (sepal of lotus, wing) to right facing a lotus-palmette for fillingornaIncised rosette and of tendril). part palmette ment. Fragmentb shows parts of two friezes:I) abovecul, forepawsof feline to left, part of incisedrosette;II) on cul, sirenor sphinx (head,partof wing) to left;bandon insideat junctionof cul. Red:tops of heads,breasts,wing bow, alternate feathers;alternatepetalsof rosetteand palmette. The Groupof the DresdenLekanis(ABV 22, 9). Late firstquarterof the 6th centuryB.C.
P 1125 G 14-15 1445 Two non-joiningfragmentsof rim and wall. Max. dim. a) 0.092, b) 0.04. Bandof glaze on insidebelow rim. Swans. Fragmenta gives one swan to right, except for part of its wing and tail, and the breastof anotherfacing. Below, vertical strokes. Fragment b preservesthe head, neck,and breastof one swan and the wing of another.Red: bandat rim. Relatedto the Swan Group (ABV 659). First half of the 6th centuryB.C.

Fragmentof wall and projectingrim. Max. dim. 0.09. Glaze firedred on inside. Wedded pair in a chariot (the heads of each with the womanholdingout her veil) to right.Behindthemis another woman(face)also to right.Abovethe figures,tonguepattern, and on the verticalsurfaceof the rim, borderof esses. Red:beardand hair of the groom;filletof woman;alternate
tongues. White: flesh of women.

Lydos(ABV 107, 3).

Ca. 560-550 B.C.

1448

P6571

E-F 12-14

Fragment of wall and rolled rim. Max. dim. 0.067. Grooveon outsideat junctionof wall and rim. Woman(head)to left. In the field,nonsenseinscription: xT K N Red:fillet. White:flesh.
Late 6th century B.C.

1449

P 15959 F 19:4

rim. Max. dim. 0.135. Fragmentof wall and projecting Silhouettetechnique. Woman(head,arms)to rightholdingout a mirrorin her righthand.In frontof herat the breakis the handof another figureand behind,someof a third(head?).
Early 5th century B.C.

1446 PI. 99

P 1131 G 15:2

1450

P 15959 bis F 19:4

rim and wall. Max. dim. 0.135. Fragmentof projecting Chariot(headsand necksof the horses)to right.The foretracehorseis tied up in a topknot,and lockof the right-hand this horse may have been paintedwhite as indicatedby the absenceof deep incisionfor the anatomicalparts (the glaze

Fragment of wall and projecting rim. Max. dim. 0.095.

Silhouettetechnique. Cattle(horns,top of headof one;someof bodyof another)

to right. Early 5th century B.C.

276

CATALOGUE SKYPHOI 1451-1657 Figs. 18 and 19 Pls. 99-107 1454 PI. 99 P 23544 P 7:5 P 26788 T 18:2

TYPE CORINTHIAN

1451-1471

1451 PI. 99

Rim fragment.Max. dim. 0.067. Much of the glaze is flaked. Feline (body, part of legs) to right. Incised rosettesfor fillingornament.Hangingspiralfromrim. Red:neck,belly stripe,markingon hindquarters. Closeto the PantherPainter.The continuous looparticulatingthe shoulder,the two pairs of shortarcson the croup with and at the base of the tail, and the two arcs combined of this two parallellines on the hind legs are characteristic painter.Cf. S. Karouzou,'AvayvpovTros, pls. 55-74. The is that,thus far,the Panmainproblemwith this attribution ther Painteris not knownto havedecorated skyphoi,and he does not seem to have used the hangingspiral as one of the fillingornaments.
Early 6th century B.C.

Wall fragment with root of handle on right. Max. dim. 0.04. Komast(lower part of head, upper part of body)to left. The line borderingthe scene at the top is preserved.Red: chiton. The KomastGroup:VIII, Unallotted.
Ca. 580 B.C.

1455

P15089

S21:2

All of flaringring foot exceptfor chips and part of wall. P.H. 0.026. The glaze has firedred in parts.On underside circleswith a centraldot. of floor,threeconcentric Feline (someof tail and two feet) to left. Abovefoot,rays. Red:line on foot nearedge. First quarterof the 6th centuryB.C. 1456 P 13268 G-I 11-12 Three non-joining fragments. Max. dim. a) 0.06, b) 0.042, c) 0.036. Partof foot (a) and rim with stubof handle. Someof the glaze firedbrown. a showsfelines(forepawof one, hind Animals.Fragment a leg of another)to right;below,rays.Fragmentb preserves and forefeet)to right,perhaps lion (all excepthindquarters the one preservedon the right of fragmenta. Fragmentc shows someof the handletendril.Incisedrosettesfor filling ornament.Red:eye, tongue,jaws, neck,ribs,belly stripe. First quarterof the 6th centuryB.C. 1457 P1163 G15:1 Wall fragment.Max. dim. 0.026. Bird (legs, tail missing)to rightbetweentwo lions (muzzle of one, head of the other). At the break, the end of a rosette. Ca. 580-570 B.C. 1458 PI. 99 P 25355 S-U 19-21 Wall fragment.Max. dim. 0.042. Two horses (nose and eye of one to right;upper part of head, neck,and maneof the other,to left). On the far right at the break,part of the hand of a rider holdingthe reins. Red:neck.White:mane. The high positionof the hand suggeststhat the rider is in Lille, inv. no. dismounting. Comparethe tripod-kothon 763, by the C Painter,which showstwo ridersdismounting (ABV 681; MonPiot63, 1980, p. 35, fig. 2). Ca. 560 B.C. P 22332 0 16 1459 Wall fragment.Max. dim. 0.053. Two men: onlooker (lower leg, garment)and warrior (greavedleg), both to right. Below, rays. Red: garment, greaves.White:dotson borderof garment. Secondquarterof the 6th centuryB.C.

1452 P1.99

P 21571 07:9

Wall fragment.Max. dim. 0.058. Komasts.On the left, the left hand and a knee of one, facinganother(preserved exceptfor his head and feet). On the right, tendril of handle ornament.Incised rosettesfor fillingornament.Red:chest. The KomastGroup:I, the KX Painter(ABV 26, 23).
Ca. 580 B.C.

1453 P. 99

P 26787 T 18:2

Two non-joiningwall fragments.Max. dim. a) 0.044, b) 0.028. a preserves the legs of a womandancDancers.Fragment and feet of a male to b the ankles to and fragment ing right left. Below is an animalfrieze.Fragmenta givesthe backof an animal(?)with an incisedrosetteabove,fragmentb the headof a pantherand a bit of a rosette.Red:alternate petals of rosetteon a. White (applieddirectlyon the clay):woman's flesh,outlinedin darkbrown. For white applieddirectlyon the clay and outlinedwith brown, cf. two fragmentsin Oxford connectedwith the
Komast Group (ABV 36, -, 1 and 2) that show women

dancing.On these, however,there is no interiordrawing. For this detail,cf. Samos1184 by the KX Painter(ABV26, 27; H. Kyrieleis,Throneund Klinen, Berlin 1969,pl. 19:1) and the description by Beazley(Development, p. 20); compare also the figure of Iris on Akropolis587 by Sophilos (ABV 39, 15; Baklr,Sophilos,pl. 3:g) and that of Hismene unattrion Akropolis603 (Graef, pl. 29), a contemporary buted skyphosthat, like 1453, also has the figureddecoration set in two friezes. The KomastGroup:VIII, Unallotted.
Ca. 585-575 B.C.

SKYPHOI
1460 Pl. 99 P 22333 016

277

Wall fragment. Max. dim. 0.052. Lower part of draped figure to right, facing a large bird (legs), perhaps a crane. Below, rays. Red: line on inside. White: stripes and dots on garment. Second quarter of the 6th century B.C.

neck, belly stripe, marking on hindquarters of panther; hearts of palmettes; band below figures. The Group of the Oxford Lid (ABV 616, 9). Ca. 550 B.C. 1466

P 17830 J18:4(L)

1461 PI. 99

P8739

N18:2

Fragment of rim and wall. Max. dim. 0.087. Some of the glaze has misfired to a greenish color. Komasts. On the left, a komast (right arm, left knee, and hands missing) dances to right. In front of him is another komast (legs and parts of arms missing) to right, looking around, holding an object(?) in his left hand (its tip appears at the break). On the right, the forearm and hand of a third komast holding a cock in his palm. In the field, a hanging wreath. Below, a frieze of upright lotus buds. Red: hair and beards; line on top of rim; two lines on inside. White: fillets over right shoulders. Ca. 575-565 B.C. 1462 P8967 G15:6

Rim fragment. Max. dim. 0.039. Two figures. On the left, part of a face to right and outstretched hand; man (head and shoulders) to right, looking around. Cross configuration incised on the tunic of the figure on the right. Incised rosette for filling ornament. Red: faces; hair; chiton; core of rosette. Compare the Group of the Oxford Lid (ABV 616). Ca. 550 B.C.

1467

P 6726

C 9:15

Wall fragment.Max. dim. 0.056. Siren (head, breast,wing bow) to right, facing a sphinx (partof head)who is largerin scale. Incisedrosettesfor filling ornament.The subjectwas probablytwo confronted sphinxeswith a sirenbetween.Red:hair, breast,wing bow; alternatefeathers.
Second quarter of the 6th century B.C. 1463 PI. 99 P 13859 T 24:3

Seven non-joining fragments. Max. dim. a) 0.04, b) 0.03, c) 0.028, d) 0.14, e) 0.023, f) 0.013, g) 0.01. Foot (a), rim (b), and wall (c-g). Sphinxes, facing. Fragment b gives the head, neck, and part of the wing of a sphinx to left; fragment d shows part of her hair and wing, and fragment e preserves some of her hind legs and tail and the tip of a ray from the zone above the foot. Fragment a shows part of the neck, breast, hair, and wing of a sphinx to right. Fragmentsf and g give some of the rosettes and blobs for filling ornament. Red: faces, necks, breasts, wing bows; band above foot, another between rays and figures; circle on underside near edge of foot. Compare the Group of the Oxford Lid. Ca. 550 B.C. 1468

P 13851 U25:2 (L)

Rim fragment. Max. dim. 0.038. Sphinxes or sirens (head of one, face of another) facing. Dots and incised rosettes for filling ornament. Red: faces; band on hair. The Group of the Oxford Lid (ABV 616, 2). Ca. 550 B.C.

Rim fragment. Max. dim. 0.023. Man (head, shoulders, left arm) to right, looking around. On the right is a sphinx or a siren (head and neck) to left. Red: hair. Ca. 550 B.C. 1469

1464 Pl. 99 dim. a) 0.107, b) 0.088.

P 17805 J 18:4 (L)

P 13852 U 25:2 (L)

Two non-joining fragments of rim and wall. Max. Fragment a shows two sirens (all of one on right except for feet; the head, neck, breast, and wing of the other) facing. Fragment b shows panthers (all of one on left except for feet; chest of the other) facing. Incised rosettes for filling ornament. Red: faces, necks, breasts, wing bows, bar on tail; forehead, chests, belly stripe, marking on hindquarters; hearts and alternate leaves of some rosettes. The Group of the Oxford Lid (ABV 616, 8). Ca. 550 B.C. 1465

Rim fragment. Max. dim. 0.021. Panther (head and neck) to right. On the right, traces of a siren or a bird (breast). Dots for filling ornament. Red: neck, forehead. Ca. 550 B.C.

1470

P 14367 T 18:1

Fragment. Max. dim. 0.05. Rim and wall with root of handle on the left. Silhouette technique. Cock (head and feet missing) to right. Red: strip on tail, wing, back. Middle of the 6th century B.C.

P 17829 J18:4(L)

1471

P 13853 U 25:2 (L)

Fragment of rim, wall, and one handle, some of foot. Max. dim. 0.11. A, siren to left. B, panther (part of chest missing) to right. Incised rosettes for filling ornament. Rays above foot. Red: face, neck, breast, wing bow, band on tail of siren; muzzle,

Rim fragment. Max. dim. 0.072. Burned (clay is gray). Handle root at right, near rim. Pygmy (preserved except for right arm and leg) grasping neck of crane. Debased rosettes for filling ornament. Red: hair; band on chiton; strip on wing.

278

CATALOGUE of floor, three concentriccircles with central dot. T. L. Shear, Hesperia2, 1933, p. 472, fig. 21; ILN, August 26, 1933, p. 326, fig. 1; Art and Archaeology 34, Nov.-Dec., 1933, p. 292. A and B, youth ridinga hippalectryon to right, between Under each swan to right, one handle, drapedspectators. with headturnedaround.Abovethe foot,rays. Red:hair of youths;wing bows,bar on tails of hippalectryones; garment of one spectator; stripeson other garment;bar on wings of swans. White: chitons of riders;folds of garments;strips outliningred barson wings of swans;stripson tail feathers of hippalectryones. For the shape,cf. Thebes 49.265, an odd piece that does not seem to belong to any of the classesof skyphoidistinguished by Ure (Ure, Sixth, p. 72, pi. 17). For hippalecAC 19, 1967, tryones,cf. G. Camporeale, "Hippalektryon," pp. 248-268.
Ca. 550-540 B.C. 1477

For pygmiesand cranes,the fullest illustrationis the one on the foot of the Francoisvase (ABV 76,1; Paralip. 29,1; Cristofani,VasoFranqois, figs. 102-105). Middleof the 6th centuryB.C.
ATTIC TYPE

1472-1656

P8968 G 15:6 1472 Two non-joiningfragments.P.H. of a) 0.051; max. dim. of b) 0.043. Fragmentsof rim and wall, each with stubs of handles.Glaze is flakedin manyplaces. a showspartof eachside.On one is a lion seatFragment ed to right,its tail fillingthe spaceunderthe handle.On the otherside is a lion to right facinga panther(heads,someof neckof each).On fragment b is an ornamental X to the right of the handle. Dots on rim. Below figures,rays. Red:neck, shoulder, belly stripe of seated lion; neck of other lion; forehead,muzzle,neckof panther;line below rim. This type of skyphoswith outturnedrim is unusual so early in Atticblackfigure,and the Subgeometric skyphosof the 7th centuryB.C. seemsto be its nearestparallel.Cf. Agora VIII, pp. 48-49. First quarterof the 6th centuryB.C. P 17489 J 18:4 (L) Seven non-joiningfragmentsof wall, rim, and handle. Max. dim. a) 0.088, b) 0.088, c) 0.06, d) 0.058, e) 0.044, f) 0.03, g) 0.02. C. B. Welles,AJA 51, 1947, pl. 65:b. In the handlezone,betweenpalmettes: 1473 HEPMOA/ME
Hermogenes (ABV 166, -, Ca. 560-550 B.C.

P 349 1 9

Wall fragment.Max. dim. 0.072. Someof the glaze fired red. Male (partsof legs)to right;in frontof him,a man (body) seatedon an okladias.Red:foldof garment.White:bossesof dotson borders of garments. okladias; Third quarterof the 6th centuryB.C.
1478

P 2987 G 13

EP OIE EN
3; Paralip. 87, 3).

1474

P 18277 A 17:1(U)

Wall fragment.Max. dim.0.042. Nude man (someof torso,thighs,left arm)to left holding by a leash a dog (head, some of neck) looking upwardto right.On the left, at the breakis the tip of the dog'stail and below,partof its back.Red:leashand collar. Third quarterof the 6th centuryB.C. 1479 P 26750 T-U 19-20 (II)

Four non-joining fragments of wall and rim. Max. dim. a) 0.033, b) 0.028, c) 0.024, d) 0.033. a-c preservepartsof a signature: Fragments c SE a EN b 15 d givesa handlerootanda palmette.Red:heartof Fragment palmette.
The writing recalls 1473 (ABV 166). Ca. 560 B.C.

Wall fragment.Max. dim. 0.065. Warrior(greavedleg) and lower partof a drapedfigure, bothto left. Red:greave;panelon cloak. Third quarterof the 6th centuryB.C. 1480 P1. 100 P 26647 T-U 19-20 (II) Two non-joining fragments of rim and wall. Max. dim. a) 0.048, b) 0.025. Fragmenta (illustrated)preservesthe upper parts of a man and a youth,each graspinga spear,bothto left. Fragment b shows the shoulderand armof anotherfigureholding a staff, to left. The meaningof the curvedobjectbehind him is uncertain.Red:hair, beard;panelson cloaks. Ure's Classof SkyphoiA 1 (Paralip.85, 48).
Ca. 530-520 B.C.

1475 PI. 100

P 13834 U 25:2 (L)

of rim andwall. Max. dim.0.063. Rootof hanFragment dle at left. Vanderpool,Hesperia 15, 1946, p. 135, no. 30, pl. 23:8. to right. Red:hair and beard. Man (headand shoulders) Perhaps by Lydos. Compareespeciallythe head of the male on the left on Munich 1681 (ABV 108, 12; Tiverios, pl. 2) and those on LouvreE 804 (ABV 108, 13; Tiverios, pi. 7:a).
Ca. 560-550 B.C. 1476 P1. 100 P 1000 I 16:4

H. 0.10; diam. at rim 0.16. Completeexcept for a small fragmentof rim and wall, restoredin plaster.On underside

P 3433 H 8-10 Fragment.P.H. 0.094;diam.at rim0.128. Rim andwall, with one handle. Fawn (legs,partof body)to left, betweenlargepalmettes. Belowthe handles,an invertedlotuswith an ivy leaf above.
1481

SKYPHOI Part of a palmetteon the otherside of the vase is preserved. Red:markingon hindquarters. Ure's Class of SkyphoiA 2 (Paralip.91, 5).
Ca. 520-510 1482
B.C.

279

P 3433 bis

H 8-10

Max. dim. a) 0.073, Two non-joining fragments. b) 0.064. Rim and wall (a), foot (b). Fragmenta showsa filletedheadto rightwith someof the palmetteat the handle.Red:fillet. Ure's Class of SkyphoiA 2 (Paralip.91, 5)
Ca. 520-510
B.C.

P 1543 Q-R 12-13 Wall fragmentwith handle attachmenton right. Max. dim. 0.127. E. Vanderpool, Hesperia 15, 1946, p. 289, under no. 61. To the left of the handle,Herakles(head, some of body, left arm,bothhands)reclineson a pillow, his drinkinghorn in his right hand, his club supportedin the crookof his left arm. Under the handle,heron (neck,wing) to right. In the dots on field, brancheswith fruit. Red:beardand forelock; cluband garment.White:wavy fillet;drinkinghorn;pillow; fruit;heron(applieddirectlyon the clay). The Theseus Painter(ABL, p. 249, no. 5). 1485
Ca. 500
B.C.

1483 P1. 100

P 26652 U 19:2

Fragmentof rim and wall. H. 0.164; est. diam. of rim 0.22. Profilecomplete.On undersideof foot,two concentric circleswith centraldot. On inside, reservedmedallionwith circleand centraldot. a man (legs) recliningin a vineOn one side (illustrated), a to while woman dances, playing krotala.The yard left, verticalline beneaththe man's thighs is a stave holdingup the vines.On the otherside,the like (partof legs of reclining man;draperyand feet of womanto left). The women'sflesh is left black, except for the face. In the field, a vine with grapes. On rim, ivy. Above the foot, tongue pattern. Red: wavy line at borderof chiton;fillet;alternatetongues;fillet betweenfoot and body.White:women'schitonsand faces. For vine staves, cf. H. Metzger, D. von Bothmer,J. N. pp. 120-122, no. 241 and pls. 56, 57. Relatedto the KrokotosPainter(Paralip.94).
Ca. 520-510
B.C.

Coldstream, Les ceramiques archaiques et classiques de l'acropole lycienne [Fouilles de Xanthos IV, Paris 1972],

P 1545 G6:3(U) Rest. H. Fragmentof rim and wall, all of foot preserved. 0.184; diam. at rim 0.247. Glaze is abradedon part of handle and flakedin places on wall. E. Vanderpool,Hesperia 15, 1946, p. 289, no. 61, pi. 38. A (illustrated)and B, Herakles and companion(Hermes?), feasting.The compositionon each side is the same. Heraklesreclinesto left, cradlinghis club in the crookof his left arm and holdinga drinkinghorn in his right hand. On also recliningto left and holdinga the left is his companion, drinkinghorn but lookingaroundat the hero.AboveHerakles'legs hang his quiverandbow;above,on the left, a petasos with the brim turned up and a sheathedsword hang from the branchof a tree. In the field, brancheswith fruit. Under each handle is a heron to right with head turned 1484 PI. 100
around. On rim, ivy. Above the foot, tongue pattern. Red:

P 1544 G6:3(U) H. 0.188; diam.at rim 0.244. Most of one Fragmentary. of rim,wall, and footrestored. On underhandle,fragments side of floor,circlewith centraldot.On inside,reserved medallion with circle. E. Vanderpool,Hesperia 15, 1946, p. 290, no. 63, pls. 38, 39; W. Burkert,GRBS 7, 1966,pl. 3. A (illustrated) and B, komos.The subject under continues the handles.On A, two komaststo right,the one on the right a youth carryingon his shouldera pointedamphorawith a wreath, then a woman playing the aulos and a bearded komastdancing,both to right. Under handleA/B is a goat to right. On B, two komaststo right, the one on the left a youth lookingaround,the one on the rightreachingtoward a woman playing the cradle kithara.Then comes another youthfulkomastto right,lookingaround,and underhandle B/A is a youthfulkomast(mostof bodymissing)squatting to right,lookingaround.The komastsare infibulated. In the field, branches with fruit. On rim, ivy. Above the foot, tonguepattern.Red:beards;forelockof komaston the right on A; forelocks of all komastson B; filletsof women,of the komastcarryingthe amphora, of one underthe handle;vine of wreathof komaston left; dots on garments; soundboxof kithara;rim of amphora;neck of goat; alternatetongues; fillet. White: women'sflesh and hair, the latter yellowish; berries of wreath of komast on left on A; wreath on amphora; wavy fillet of komaston righton A; armsof kithara; cord of plectron;fruit; horns, belly stripe, scrotum, of goat. markingon shoulderand hindquarter For filletswith longbranches, cf. 328. Forthe cradlekithara, cf. M. Wegner,Das Musiklebender Griechen,Berlin 1949, pp. 30-32. The Theseus Painter(ABL,p. 251, no. 47; ABV 518, 47; Paralip.255, 47). Ca. 500 B.C. P 1548 G 6:3 (U) Large fragment of rim and wall, with one handle. P.H. 0.09; max. dim. 0.30. E. Vanderpool,Hesperia 15, 1946, p. 290, no. 64, pl. 40. Komos.On the left is a youth (head,chest)to right looking around;then comes another youth (preservedto the waist), carryingon his shouldera large pointedamphora with an ivy wreath,and in frontof him a man (preserved to the waist),bothto right.Next is a femaleaulosplayer(head, 1487 PI. 101

1486 P1.100

beards;forelockof Herakles on one side; flaps of quivers; dots on drapery; crowns of petasoi; alternate tongues. White: fillets;drinkinghorns;cushions(applieddirectlyon the clay);ends of strapsof quivers;ends of swordpommels; endsof scabbards; attachment of bow;fruit;herons(applied on the directly clay). Beazleysuggestedthat the companionmay be Hermes.
The Theseus Painter (ABL, p. 249, no. 4; ABV 518, 4). Ca. 500 B.C.

280

CATALOGUE
For the game, cf. F. Brommer, "Huckepack," The J. Paul Getty Museum Journal 6-7, 1978-1979, pp. 139-146. The Theseus Painter (ABL, p. 251, no. 54; ABV 518, 54). Ca. 500 B.C. 1491 Pl. 101 P 23174 H 12:15 (L)

hands) and another youth (head, chest, right arm), also to right. In the field, branches. On rim, ivy. Red: forelocks and hair at nape of neck; aulist's fillet; beard. White: flesh of aulist; wreath round man's neck; ivy wreath on amphora. The Theseus Painter (ABL, p. 251, no. 48; ABV 518, 48). Ca. 500 B.c. 1488 P1. 101 P 1549 G 6:3 (U)

Fragmentof rim and wall. Max. dim. 0.094. E. Vanderpool, Hesperia15, 1946, p. 291, no. 65, pl. 37.
On the left, the face, left shoulder, upper right arm, and some of the left forearm (at lower break) of a man to right.

In front of him is a woman (head, shoulders)also to right,

playing the aulos. In the field, branches. On rim, ivy. Red: beard and forelock; dots on woman's garment. White: girl's flesh; hair (yellowish). The Theseus Painter (ABL, p. 251, no. 48 bis; ABV 518, 48 bis). Ca. 500 B.C. 1489 P1. 100 P 1547 G 6:3 (U)

Wall fragment. Max. dim. 0.092. Two holes near bottom for ancient repair. Ephedrismos. Youth (head, most of body) to right, carrying another (right arm, left thigh and knee, part of right thigh). In front of them is a youth (face, right arm) to right, looking around. In the field, a vine. Red: fillet of youth on right. For the subject, cf. 1490. The Theseus Painter (AB V 704, 27 bis). Ca. 500 B.C.

1492

P 1550 and P 1551 G 6:3 (U)

Large fragment of wall and rim. Max. dim. 0.243. Start of handle at left. E. Vanderpool, Hesperia 15, 1946, p. 291, no. 66, pl. 40; W. Burkert, GRBS 7, 1966, pl. 4, fig. 3. Komos. Five men: the first three are to right (parts of chests and heads missing), the one on the left looking around about to grasp the horn of a goat (head and body), the third playing the aulos; then come two to left, the one on the right looking around (back of head, right arm, some of body). The first and fourth figures wear fillets with long branches on their heads; the others have plain fillets. The komasts are infibulated. On rim, ivy. Red: beards; fillets of 1, 3, and 5; forelock of 4; spot on neck of goat. White: fillets of 2 and 4; horn; muzzle, belly stripe, and underside of tail of goat. For fillets with long branches, cf. 328. The Theseus Painter (ABL, p. 251, no. 49; AB V 518, 49; Paralip. 255, 49). Ca. 500 B.C.

Two non-joining fragments. Max. dim. P 1550: 0.087, P 1551: 0.049. Rim and wall (P 1550), wall (P 1551). E. Vanderpool, Hesperia 15, 1946, pp. 289-290, no. 62, pl. 37. Herakles and Athena. P 1550 preserves the helmeted head of Athena and her shoulders to left. In the field, a branch. On rim, ivy. P 1551 gives her feet and lower drapery, and in the lower left, at the ground line, the end of the hero's club. Red: Athena's eye; rim of helmet. White: Athena's flesh; dots on crest support; outer edge of crest; hair (yellowish). The Theseus Painter (AB V 519, 18). Ca. 500 B.C.

1493 P1.101

P 15199 R21:3

Fifteen non-joining fragments of rim, handles, and foot. Max. dim. a) 0.162, b) 0.081, c) 0.076, d) 0.031, e) 0.075, f) 0.03, g) 0.018, h) 0.03, i) 0.018, j) 0.061, k) 0.034,

1)0.041, m) 0.023, n) 0.018, o) 0.035.

Herakles resting, with satyrs. Fragment a (illustrated) shows a satyr (head, shoulder) to left playing the aulos. In front of the satyr is a vine with grapes. Behind him is a tree with fruit and a deer (body, hind legs) grazing to right. On the far right is the start of the handle. Fragment b (illustrated) preserves part of Herakles (legs, some of his right arm) reclining. In the field is a vine and some of its twisted stock. Fragment d gives part of his torso and bent elbow, with part of a bunch of grapes at the right, and fragment / preserves more of the vine. Fragment g may be part of a kantharos in the extended right hand of Herakles. Fragmentf shows the head of a small satyr from below one of the handles. Fragment m may come from the pillow against which the figure leans. Fragment h shows part of a tree with fruit. Fragment o is a foot fragment with some of the tongue pattern above and the fillet between. Fragmentsj and k are bits of the rim; fragment i is part of an unintelligible black object; fragment n comes from no recognizable part of the vase. On rim, ivy. Red: beard of satyr on a; beard and forelock of satyr on g; some of the fruit; neck of deer; stripes on "pillow"; fillet. White: wreath of satyr on a;

1490 PI. 101

P 1546

G6:3(U)

Fragmentary. Rest. H. 0.193; diam. at rim 0.253. Fragments of rim and wall, some of one handle, part of lower wall and all of foot restored. Glaze is flaked in places on one side. E. Vanderpool, Hesperia 15, 1946, p. 291, no. 67, pl. 41. A and B, ephedrismos. The scene is the same on each side with minor variations. On the right is a youth to right, looking around at a pair of youths, one carrying the other pickaback. He holds a stick in his right hand, on one side at waist level, on the other raised to the level of his head. Behind the pickaback group comes a youth to right looking around at another pair, his hands held against his body. In the field, branches with fruit; under each handle, intertwined stalks and the dioros, a low round mound with a pointed black stone sticking up out of it. On rim, ivy. Red: forelocks; hair at napes of necks. White: fillets; fruit; mound.

SKYPHOI dotson bunchesof grapes;fruiton tree;belly stripeand pattern of dots along back of deer; end of object in feaster's hand;dot clusterson pillow. The Theseus Painter(ABV 520, 19).
Ca. 500
B.C.

281 P6177 E 15:6

1497 PI. 102

1494 PI. 101

P 13373 R 18

Wall fragment.Max. dim. 0.039. Komos?A woman (face,right arm) standsto right playing the aulos. In the lower right, glaze that may represent part of the upper arm of a reveler.Compare1486 (PI. 100) and 1487 (PI. 101). White:flesh. The Theseus Painter(ABV 520, 25).
Ca. 500 B.C.

Wall fragment.Max. dim. 0.054. On the left is the head of a goat to right, then a winding treetrunkwith the endof a scabbard suspended presumably fromone of its branches. At the bottomof the fragment is the bentkneeof a recliningmale,andon the right,moreof him, perhapspart of his arm. In the field, a branchwith fruit. Red:end of scabbard. White:fruit. Recallsthe Theseus Painter(ABV 521).
Ca. 500 B.C.

1498 PI. 102

P 26648 U 19:2

1495 PI. 101

P 9273 M 17:4

Wall fragmentwith handlerooton left. Max. dim.0.074. Man or youth (body, right arm and hand) at a flaming altar. On the altar, flamesand a curvedobject,which is an oxtail. White:volute and palmettedecoration on altar;dots on garment. For morecompleterepresentations in Atticblackfigureof the oxtailbeingroastedoveran openfireon an altarin hopes of a favorableomen, cf. New York, M.M.A. 41.162.29 (ABV 507, 6) and Athens,N.M. 595 (ABL, p. 226, no. 8), both by the Sappho Painter. In contemporary or slightly later red figure,cf. Berlin, inv. no. 3232 by the Epidromos Painter (ARV2 117, 2); Florence3930 by the Winchester Painter(ARV2 170,3); PalermoV 661 a by Makron(ARV2 472, 210); and Oxford1911.617by the Pan Painter(ARV2 559, 152). We are greatlyindebtedto MichaelJamesonfor supplyingus with these examplesand also for sharingwith us his unpublishednotes on the subject (in letters dated February18, 1981 and May 8, 1981):The omenof the tail the roastingof the splanchna(cf. Aristophanes, accompanies
Peace, o39ff. and Schol., 1054). The first to understand that

P.H. 0.145;diam.at rim 0.226. Foot missing.Fragments of rim and wall restored. A, Dionysos sitting in a mule cart to right (some of the forepartsof the animalsare missing).Behindthe team is a maenad(someof draperymissing)to right, lookingaround at a man (forehead, lowerdrapery,one foot)also to right.A man (lowerdraperymissing)standsat the headof the team, and on the righta man movesaway, lookingaround.In the field, a tree. B, symposion.Dionysos (head, upper parts), reclinesto left, probablyon a couch. Behind him, a satyr (head,shoulders, arms)movesaway lookingaround.On the far left are a maenad(someof draperymissing)arlda satyr (someof upperarm,end of tail, partof legs) to right.In the field, branches.Above is part of an objectthat may be a hangingcloak.Under each handleis a large invertedlotus. On rim, ivy;abovethe foot,tonguepattern.Red:beards(all but that of reclining figure);manes;stripes on garments. White:femaleflesh;Dionysos'chiton;dotson bodyof righthand mule; dot clusters on garments;dots on fillet of recliningfigure;cloak. For the subjectof B, cf. 420.
Late 6th century B.C.

the curvedobjecton the flamingaltarwas not a meathook(a thathas lingeredevenin recentliterature) misunderstanding but an oxtail was Otto Benndorfin 1883 (Griechische und
sicilische Vasenbilder, p. 45: "os sacrum oder die 0o-brf

aXpa").He was followedshortlythereafter by Furtwangler

in 1885 (Beschreibung der Vasensammlung im Antiquari-

Altar mit orqfvsdarauf").Beazley um, no. 2251: "niederer himself describedit at least twice: CVA, Oxford 1 [GB 9], p. 6 andJHS 59, 1939, pp. 16-17. The Theseus Painter(ABV 520, 27).
Ca. 500 B.C.

P 25982 Q 20 Fragmentof rim and wall. Max. dim. 0.096. Owl (head,startof wings)with outstretched wings.In the with fruit.On rim, dot ivy. White:fruit. field,branches Perhapsby the Theseus Painter.For the ivy patternreducedto dots, cf., e.g., LouvreCA 1812 (ABL, p. 253, no. 7). For the shortstrokes,comparethoseon the wings of the goddesson LouvreCA 1812 and also the stipplingon the satyron London,B.M. 1902.12-18.3 (ABL,p. 249, no. 9).
Ca. 500 B.C.

1499 P1. 102

1500

P 2768 G 6:3 (U)

1496 P1. 101

P25913

M 18

Wall fragment.Max. dim. 0.04. Man (head, shoulders,chest) to right, his mouth open. Red:spot on cheek. The tufted beard indicatesthat the man is probablya barbarian. The Theseus Painter(Paralip.258). Ca. 500 B.c.

Three non-joining fragments. Max. dim. a) 0.212, b) 0.065, c) 0.063. Wall and foot (a), wall (b, c). Much of the glaze fired red. E. Vanderpool,Hesperia 15, 1946, p. 291, no. 68, pl. 42. A and B, man mountingchariotwith a womanand Hermes. Fragment a showsthe figureof Hermes(headmissing) from the right side of one composition. He standsto right Then wearing a chlamysand boots,holdinghis kerykeion. comesthe area below the handlewith a heron.Next is the man (legs, arms)mountingthe chariot(vehicle,hind legs of

282

CATALOGUE
On one side, the shoulders of the charioteer are missing, on the other, part of the horses. At each handle, a palmette. White: belt of charioteer; goal post; dot on one kentron; hearts of palmettes. Manner of the Haimon Painter; Cup-Skyphoi, V: Ure's Class of Skyphoi K 2 (ABV 568, 648; Paralip. 286). Ca. 490-480 B.C. 1505 PI. 102 P 8541 D7:2

the team) with a woman (lower drapery, foot) standing to right on the left side. Fragment b shows the upper part of Hermes and the noses of the two trace horses on this side. Fragment c shows the feet of Hermes. In the field, branches. Above the foot, tongue pattern. Red: beard of Hermes; dots on garments; tails; part of chariot box; alternate tongues. White: chiton of each Hermes; woman's flesh; heron (applied directly on the clay). The Painter of Rodin 1000 (ABV 522, 5). Ca. 500-490 B.C.

1501 PI. 102

P 1552 G6:3 (U)

Two non-joining fragments. Max. dim. a) 0.187, b) 0.106. Rim and wall (a), with handle (b). E. Vanderpool, Hesperia 15, 1946, p. 295, no. 92, pl. 47. Fragment a preserves a horseman in a Thracian cloak and a warrior, both to right, the warrior almost down on one knee looking around. He is armed with a spear and a shield (device: three balls). In the field, branches with fruit. Palmette at right. Fragment b gives a trace of the spiral of a handle palmette. Red: two panels on horseman's cloak; shield device; heart of palmette. White: some of fruit. Shallow Skyphos of Ure's Class K 2; near the Diosphos Painter (AB V 511, 8). Early 5th century B.C. 1502 PI. 102 P 15009 F 19:4

Fragment of rim, wall, and foot. H. 0.07; est. diam. at rim 0.16. Strengthened with plaster. On underside of floor, ring. Goddess mounting chariot to right (forelegs of horses missing). On the left side of the team is Apollo to right holding his lyre, facing another figure, perhaps Dionysos. Female flesh left black. At each handle, a palmette. Manner of the Haimon Painter; Cup-Skyphoi, V: Ure's Class of Skyphoi K 2 (ABV 568, 649). Ca. 490-480 B.C. 1506 P1. 103 P 2742 G 6:3 (U)

Fragmentary. H. 0.07; diam. at rim 0.137. Part of one handle, some of rim and wall restored. On underside of foot, two concentric circles with central dot. A and B, the Struggle for the Tripod. On each side, Apollo with a cloak over his arm reaches for a handle of the tripod as Herakles with club raised moves to right, looking around. In the field, branches. At each handle, a palmette. For the subject, cf. 365; Bothmer, Festschrift Brommer, p. 59, no. 159. Manner of the Haimon Painter; Cup-Skyphoi, I: Ure's Group R (AB V 566, 615). Ca. 480-470 B.C. 1503 P 8540 D 7:2

Part of rim and wall, start of one handle, all of foot preserved. H. 0.077. On underside of floor, five concentric circles, three narrow, two wide. Part of the glaze has fired brown. Chariot wheeling around (charioteer, some of hindquarters missing), to right. At the handle, a palmette. Red: mane, breast band, and pendants; contour of chest of one horse. Manner of the Haimon Painter; Cup-Skyphoi, V: Ure's Class of Skyphoi K 2 (ABV 568, 651).
Ca. 490-480
B.C.

1507

P 1360

G6:3(U)

Fragment of rim and wall, with trace of handle. Max. dim. 0.112. Maenad and two satyrs to right, looking around. The heads of the two figures on the left are missing. The maenad holds krotala. In the field, a vine with grapes. At handle, a palmette. Manner of the Haimon Painter; Cup-Skyphoi, V: Ure's Class of Skyphoi K 2 (ABV 568, 656).
Ca. 490-480
B.C.

Fragmentary. H. 0.077; diam. at rim 0.15. Handles, large fragment of rim and wall missing. On underside of floor, two concentric circles with central dot. A and B, Peleus seizing Thetis. To right and left, trees with fruit. Palmette at each handle. Flesh of Thetis left black. On one side the head and shoulders of each are missing. For the subject, cf. 653. Manner of the Haimon Painter; Cup-Skyphoi, III (ABV 567, 633). Ca. 490-480 B.C. 1504 PI. 102 P 10674 D 15:1

1508

PI. 103

P1364

G6:3(U)

Wall fragment. Max. dim. 0.083. Satyr (upper half, left leg, part of tail) to right, looking around. On the left, traces of an object that may be a krotalon held by a maenad. In the field, a vine. On the right, a handle palmette. Manner of the Haimon Painter; Cup-Skyphoi, V: Ure's Class of Skyphoi K 2 (ABV 568, 657).
Ca. 490-480
B.C.

1509

P1. 103

P 1362

G 6:3 (U)

Fragmentary. H. 0.102; diam. at rim 0.202. One handle missing. Fragments of rim and wall restored. On underside of floor, concentric circles with central dot. A and B, chariot team galloping to right past a goal post.

Fragment of rim, wall, with start of handle. Max. dim. 0.141. Glaze fired red on right. Maenad (some of drapery, one leg) and satyr to right, looking around. In the field, branches. On the right, a handle palmette.

SKYPHOI Manner of the Haimon Painter;Cup-Skyphoi,V: Ure's Class of SkyphoiK 2 (ABV 567, 658).
Ca. 490-480
B.C.

283 P 20742 R 12:1

1514

P 1361 G 6:3 (U) Fragmentof rim and wall. Max. dim. 0.124. E. Vanderpool, Hesperia15, 1946, p. 294, no. 84, pl. 46. Maenad and satyr to right, lookingaround.On the left, part of anotherfigure (?). In the field, a branchwith fruit. On the right,a handlepalmette. Manner of the Haimon Painter;Cup-Skyphoi,V: Ure's Class of SkyphoiK 2 (ABV 568, 659). 1510
Ca. 490-480 B.C.

Ring foot with partof wall. P.H. 0.064. A and B, lion crouchingto left. On one side, part of the head, neck, and back are missing;on the other, only the muzzle and one forepawremain.In the field, branches.At each handle,palmettes.White:dot on heartof palmette. Manner of the Haimon Painter;Cup-Skyphoi, V: Ure's Class of SkyphoiK 2.
Ca. 490-480 B.C.

1511 P1. 103 P 1363 G6:3 (U) Three non-joiningfragments of rim and wall. Max. dim. a) 0.159, b) 0.093, c) 0.044. E. Vanderpool,Hesperia 15, 1946, pp. 294-295, no. 85, pl. 46 (fragment a). Fragmenta (illustrated)showsa maenad(head,one outstretchedarm) to right facing a satyr who carries a large footlesskrateror a basket. Fragmentb gives the legs of a man or satyrto right, a woman (headmissing)also to right, facinga man, probablya satyr (leg, arm roundkrater)like the one on a. Fragmentc preservesa man (legs, some of body,arm) lifting a largevessel. In the field,branches. Manner of the Haimon Painter;Cup-Skyphoi,V: Ure's Class of SkyphoiK 2 (ABV 568, 660).
Ca. 490-480 B.C.

P 31016 Q 12:3 Fragmentof lower wall and torus foot. Est. diam.of foot 0.115; max. dim. 0.135. Glaze fired reddishbrown on inside. On underside of floor,circle.Insideof footglazed. On the left, part of the handle palmette (tendrils,two leaves),then a drapedmale (lowerpart of garment,feet) to of floor,circle. right.On underside Mannerof the Haimon Painter;Cup-Skyphoi, V: Ure's Class of SkyphoiK 2.
Ca. 490-480 B.C.

1515

P 23147 H 12:15 (U) H. 0.106; diam. at rim 0.185. Someof rim Fragmentary. and wall restored.On undersideof floor, three concentric circleswith a centraldot. Glaze firedpartlyred. A and B, Herakles and the Lion (horizontalposition). The quiverand lionskinhangabovethe beast;on the left are the cloakand club. In the field,branches.On one side, most of Heraklesis missing.At each handle,palmettes. For the subject,cf. 394. Manner of the Haimon Painter;Cup-Skyphoi,V: Ure's Class of SkyphoiK 2 (ABV 569, 662; Paralip.286). 1512
Ca. 490-480 B.C.

P 27846 H 13:5 of stub of handle, all of foot. Fragment rim, wall, H. 0.082. Profilecomplete.On underside of floor,two concentriccircleswith centraldot. Goddessin chariotto right (headsof horsesmissing).On the left side of the team is a figureto right playingthe lyre. At each handlea palmettewith reserved heart. Manner of the Haimon Painter;Ure's Class of Skyphoi K2.
Early 5th century B.C.

1516 PI. 103

P 23321 H 12:15(U) H. 0.094;diam.at rim 0.187. Fragments of Fragmentary. rim andwall restored. On underside of floor,fourconcentric circlesand bandwith centraldot. A (illustrated)and B, Peleus wrestlingwith Thetis. On each side is a Nereid lookingaround,gesturingin alarm.In the field, brancheswith fruit. On B, the Nereidon the right movesto left, lookingaround,and the Nereid on the left is missingexcept for her feet. At each handle,a palmette.Female flesh left black. For the subject,cf. 653. Near the Haimon Painter himself; Cup-Skyphoi, V: Ure's Class of SkyphoiK 2 (ABV 569, 663).
Ca. 490-480 B.C.

1513 P1. 103

1517 P2769 G6:3(U) Four non-joining fragments of rim and wall. Max. dim. a) 0.042, b) 0.091, c) 0.055, d) 0.038. E. Vanderpool, Hesperia15, 1946, p. 297, no. 107, pl. 47. Fragmenta preservesa lion (head,foreleg)to right confrontinga boar(hindquarters missing),with a treebetween. of a feline (theone on a?) Fragmentb givesthe hindquarters to right, most of a tree with fruit, and a handle palmette. c showsthe hindlegs of a boar(theone on a?) and Fragment of a tree trunk.Fragmentd preserves someof a handle part Red: on necks. palmette. spots Mannerof the Haimon Painter.
Ca. 500-490 B.C.

P 15958 F 19:4 Two non-joining Max. dim. a) 0.105; P.H. of fragments. b) 0.053. Wall (a), wall and foot (b). Fragmenta shows a goddessmountinga chariot with Of Dionysosstandingon the left side holdinghis kantharos. the horses,onlythe hindquarters remain.On the left, partof a handlepalmette.Fragment b showsthe wheelandthe border of the charioteer's chiton.Femalefleshleft black. Mannerof the HaimonPainter;Cup-Skyphoi, VI (ABV 569, 667).
Ca. 490-480 B.C.

1518

284 1519 PI. 103

CATALOGUE P 14946 F 19:5 P 1368 G6:3(U) Wall fragment.Max. dim. 0.074. E. Vanderpool,Hesperia 15, 1946, p. 295, no. 88, pl. 46. Figure(headand upperpartof bodymissing)recliningto left on a couch.At the footof the couchis a womanplaying the aulos, her flesh left black,and in frontof the couchis a table with pieces of meat hanging from it. In the field, branches. Manner of the Haimon Painter; Cup-Skyphoi, VII: eitherPinchbase or Class K 2, or the like (ABV 570, 699).
Ca. 480
B.C.

1524 P1.103

Four non-joining fragments of wall and rim. Max. dim. a) 0.15, b) 0.10, c) 0.068, d) 0.035. A and B, Heraklesand the Lion (horizontalI position).In the field is a vine. At each handle,a palmette.Fragmenta (illustrated) givesmostof the sceneon one side;on the left is e lion;above the hero'scloakand club,then Heraklesand the the beasthang the quiverand bow;on the right, a palmette. Fragmentsb-d comefromthe otherside of the vase. Fragnette. Fragment b gives part of the lion and a handle pair d the endof mentc preserves someof the cloakand fragment the quiver. For the subject,cf. 394. Manner of the Haimon Painter;Cup-Skypi hoi,VII: eior Class K 2, or the like (ABV 5' ther Pinchbase 69, 672; Paralip. 286).
Ca. 490-480
B.C.

1520

H5 P 77

Fragmentof wall and rim. Max. dim. 0.043. Youth (head and shoulders)to right. Behindhim is part f a palmette. of an objectthat lookslike the tip of the frondof In the field,a vine. Manner of the Haimon Painter;Cup-SkypI hoi, VII: eior Class K 2, or the like (ABV 5i69, 679). ther Pinchbase
Ca. 490-480
B.C.

P 24578 Q 12:3 of and Max. dim. 0.181. handle. Fragment rim, wall, Heraklesandthe Bull (headof Herakles; bodyandtail of bull). Abovethe beast is the hero'squiverand bow. In the At eachhandle,a palmette.Red:fillet;stripe field,branches. on quiver;flap. White:heartof palmette. For the subject,cf. 362. Manner of the Haimon Painter; Cup-Skyphoi, VII: eitherPinchbase or Class K 2, or the like. 1525
Ca. 490-480
B.C.

P 2737 G 6:3 (U) Fragmentof rim and wall. Max. dim. 0.089. E. Vanderpool, Hesperia15, 1946, p. 295, no. 94, pl. 46. of horse, s missing) to Goddessmountingchariot(foreparts right.On the left side of the team is Apolloto right with his lyre and Dionysos facing. At the left, a handle palmette. Red: fillets; stripes on garments;manes and tails; breast band;heartof palmette. Manner of the Haimon Painter; Cup-Sk yphoi, VII: ' 570, 683). eitherPinchbaseor Class K 2, or the like (ABV 1521
Ca. 480
B.C.

P 1369 G 6:3 (U) Fragmentof rim and wall. Max. dim. 0.149. E. Vanderpool, Hesperia15, 1946, p. 295, no. 89, pl. 46. Chariot (head, arms of charioteerwith goad, horses) to On the right,a handlepalmette. right.In the field,branches. Mannerof the Haimon Painter;probablyCup-Skyphoi, or Class K 2, or the like. VII: Pinchbase 1526
Ca. 490-480 B.C.

1522

I 11 fillets; dots on garments.

P 24579 Q 12:3 of rim and wall. Max. dim. 0.135. Someof the Fragment glaze misfired. Dionysosreclinesto left, lookingaround,holdinga huge drinkinghorn.On eachside,a maenadmovesaway, looking around,playingkrotala.In the field, a vine with grapes.At the right, a handle palmette.Female flesh left black. Red: 1527 Mannerof the Haimon Painter;probablyCup-Skyphoi, or Class K 2, or the like. VII: eitherPinchbase Ca. 490-480 B.C. P48 H5 1528 PI. 103 Two non-joiningwall fragments. Max. dim. a) 0.05, b) 0.041. a (illustrated) A and B, chariotscene.Fragment preserves a charioteer(except for his head), some of the chariot,the goad, and the tails of the horses,to right. Behindhim, the frondsof a handlepalmette.Fragment b, fromthe otherside of the vase,showsa charioteer (head,arms)holdinga goad, of the chariot,the tails of the horses,and on the breastwork the left side of the team,partof a male (leftarm,drapery)to filright. Red:alternatetails;stripesand dotson garments; let on b.

of wall andrim. Max. dim.0.067. Muchof the Fragment glaze firedbrownon the inside. ie left sideof Goddess(head,arm)mountingchariot.On th the chariotis Apollowith his lyre to right. Manner of the Haimon Painter; Cup-Sk yphoi, VII: eitherPinchbaseor Class K 2, or the like (ABV 570, 685).
Ca. 480
B.C.

P 1322 G 6:3 (U) 1523 P1. 103 0.102. Wall fragmentwith startof rim. Max. dim. ( riot(someof Goddess(lower part missing)mountingchar bran( ches.On the In the to of field, rail; part horses) right. a handle palmette. right, Manner of the Haimon Painter; Cup-Sk :yphoi, VII: eitherPinchbaseor Class K 2, or the like (ABV 570, 686).
Ca. 490-480
B.C.

SKYPHOI The Haimon Group;probablyCup-Skyphoi,VII: either Pinchbaseor Class K 2, or the like.

Ca. 490-480
B.C.

285

1529

P 2678 + P 2738 and P 2680 + P 2791 G 6:3 (U)

Two non-joining fragments of rim and wall. Max. dim. P 2678 + P 2738: 0.099, P 2680+ P 2791: 0.055. E. Vanderpool, Hesperia 15, 1946, p. 294, no. 80, pl. 43. P 2678 + P 2738 preservesthe headsof a satyrand Diopernysos,facing,with a drinkinghorn between,proffered fromthe other hapsby the satyr.P 2680 + P 2791, probably side of the vase, shows the heads of a maenadto left and a satyr to right, with traces of the handle root on the right. White:rim of horn;maenad'sflesh. Haemonian.
Ca. 500-480
B.C.

P 14208 No grid 1533 PI. 103 H. 0.105; diam. at rim 0.16. Part of one handle,someof rim and wall restored.Undersideof floor decoratedwith circleswith a central two broadand five narrowconcentric dot. A and B, chariotwheeling around and on the right, a youth mountinga chariot.Smallbits of the horsesare missing on eachside.On the far right,a goalpost (?). In the field, branches. Mannerof the HaimonPainter(ABV 571, 706).
Ca. 480
B.C.

1534

P 1392 G 6:3 (U)

1530

P2790

G 6:3 (U)

Fragmentof rim andwall. Max. dim.0.078. Glaze much worn and abraded. Dionysos seated to right on an okladias.On the right, tracesof anotherfigure(?). In the field,branches. Haemonian.
Early 5th century B.C.

Two non-joining fragments. Max. dim. a) 0.187, b) 0.093. Rim and wall with most of one handle (a), wall (b). E. Vanderpool,Hesperia 15, 1946, p. 296, no. 95, pl. 48. a showsan ithyphallichermwith a palmetteon Fragment the right; in front of the herm is an altar(?). Fragmentb, from the other side of the vase, preservesa similarhermto left on a low base;on the right is a handlepalmette.In the field,branches. Haemonian.ProbablyCup-Skyphoi,VII: either Pinchbase or Class K 2, or the like.
Ca. 500-480
B.C.

1535

P131

H5

Wall fragment.Max. dim. 0.042. Draped figure (lower draperyand feet) to left. White: lowerborderof garment. Haemonian.
Early 5th century B.C.

1536 PI. 104

P 5207 E-F 12-14

1531

P 2699 G 6:3 (U)

H. 0.126; diam. at rim 0.202. Part of one Fragmentary. On underside of of rim and wall restored. handle,fragments circleswith a centraldot. E. Vanderfloor,three concentric pool, Hesperia 15, 1946, p. 295, no. 93, pl. 48. A and B, goddess(Artemis?)moutting a chariotto right with Apollo on the left side of the team, holdinga lyre. In front of Apollo is an objectthat looks like a goal post. At each handle, a palmette.Red: Apollo's fillet; dots on goddess' drapery;manes, tails; breast band. White: woman's flesh; right-hand pole horse; arms of lyre; hearts of palmettes. Mannerof the Haimon Painter(ABV 571, 704).
Ca. 480
B.C.

Two non-joining fragments of wall and rim. Max. dim. a) 0.10, b) 0.046. a preserves a maenad(?) walkingto right,lookFragment with In a vine around. the field, grapes.On the right,a ing handle palmette.Fragmentb gives more of the vine. Red: fillet;dotson garment.White:heartof palmette. The Painterof ElaiousI (ABV 575, 12).
Ca. 480
B.C.

1537

P 1370 G 6:3 (U)

Fragmentof rim, wall, and foot. H. 0.095. Profilecomcircles. of floor,threeconcentric plete. On underside Woman (lower drapery)to right. At each handle,a palmette.In the field,branches. Comparewith the Painter of Elaious I; Cup-Skyphoi: Ure's Classof SkyphoiK 2 (ABV 576, 1).
Ca. 480
B.C.

1538

P 2679 G 6:3 (U)

P 23333 H 12:15 (U) 1532 P1. 103 H. 0.113; diam. at rim 0.165. One handle, fragmentsof On underside of floor,two concentric rim and wall restored. circleswith centraldot. Glaze mottledon one side. A and B, Peleus seizing Thetis to right, with a Nereid runningto left, lookingaround,holdinga horn?In the field, branches.At each handle,palmette.Femalefleshleft black. For the subject,cf. 653. Mannerof the Haimon Painter(ABV 571, 705).
Ca. 480
B.C.

Wall fragment.Max. dim. 0.036. Youth (upperhalf) to right.In the field,branches. At the left, partof a handlepalmette. Comparethe Painterof ElaiousI (ABV 576, 2).
Ca. 480
B.C.

1539

P6517

E 13:1

Three non-joining fragmentsof rim and wall. Max. dim. a) 0.088, b) 0.055, c) 0.044. Startof foot(a). Silhouette technique.

286

CATALOGUE P 1320 G 6:3 (U) Rim and wall fragment.Max. dim. 0.092. Silhouette technique. E. Vanderpool, Hesperia 15, 1946, p. 296, no. 98, pi. 47. Figurestandingto right.In the field,branches. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 3).
Ca. 490 B.C.

A and B, satyrpursuinga maenad.Fragment a preserves a satyr, a maenad,and both handlepalmettes.Fragmentb gives a handle palmetteand the root of one handle. Fragmentc shows partof a maenadand a spiralof the palmette. The Lanicut Group(ABV 576, 3).
Ca. 480-470 B.C.

1545

1540 P1. 104

P 16450 G 18:1

One handle, much of wall, all of foot. H. 0.073. Profile of floor. complete.Circlewith centraldot on underside A and B, satyr pursuinga maenadto right. In the field, At each handle,a palmette.On A, the upperhalf branches. of the maenadis missing.On B, all that remainsis one handle palmetteand the leg and tail of the satyr. The Lanicut Group(ABV 577, 29).
Ca. 480-470
B.C.

1541 P1. 104

P 27426 I 13

P 1560 G6:3(U) Rim and wall fragment. Max. dim. 0.087. Silhouette technique. E. Vanderpool, Hesperia 15, 1946, p. 296, no. 101, pl. 47. Maenadwith krotalon dancingto left, lookingaround.In the field, branches with fruit. On the right, a handle palmette. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 4). Ca. 490-480 B.C. 1546 1547 P 1290 G 6:3 (U)

H. 0.073;diam.at rim 0.139. One handle,partof rimand wall restored.Foot chipped.Glaze firedpartlyred. On undersideof floor,circlewith centraldot.Silhouettetechnique. A and B, youth leaning to right on a stick, offering a wreathto a seatedwomanwho holdsa wreath.In the field, branches.On one side (not illustrated)the youth is missing armwith wreathandhis stick.At exceptfor his outstretched each handle,a palmettewith reservedheart. The Laincut Group(Paralip.290).
Ca. 480-470
B.C.

Fragmentof rim and wall. Max. dim. 0.087. Silhouette Hestechnique.Someof the glaze firedred. E. Vanderpool, peria 15, 1946, p. 296, no. 96, pl. 47. Dionysos (?) recliningto left. In the field, branches.On the left, partof a handlepalmette. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 5).
Ca. 490-480
B.C.

1548 PI. 104 P 12769 G 11:3

P1561

G6:3(U)

1542

Fragmentof rim, wall, and foot. H. 0.075. Profilecomplete. Glaze mottledin firing.Silhouettetechnique. On one side, two women(maenads?) runningto right.In At handles,palmettes. the field,branches. with the LancutGroup;Class of SkyphoiK 2 Connected (ABV 579, 6).
Ca. 480-470
B.C.

Wall fragment.Max. dim. 0.047. Silhouettetechnique. E. Vanderpool, Hesperia15, 1946, p. 296, no. 102, pl. 47. Womanrecliningto left. In the field,branches. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 6).
Ca. 490-480
B.C.

1543

P 2682 G 6:3 (U)

Wall fragmentwith some of rim. Max. dim. 0.043. Silhouette technique. E. Vanderpool, Hesperia 15, 1946, p. 296, no. 106, pi. 47. Youth (head, upper body) to right, bending forward slightlywith a cloakoverhis left arm. In the field,a branch. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 1).
Ca. 490-480 B.C.

P 1321 G 6:3 (U) 1549 Rim and wall fragment.Max. dim.0.05. Silhouettetechnique. E. Vanderpool,Hesperia 15, 1946, p. 296, no. 99, pl. 47. Figurerecliningto left. In the field,branches. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 7). Ca. 490-480 B.c. P 1319 G 6:3 (U) 1550 P1. 104 Two non-joining fragments of rim and wall. Max. dim. a) 0.075, b) 0.08. Silhouette technique.E. Vanderpool, Hesperia15, 1946, p. 296, no. 97, pl. 47. showsa figureseatedto left on a a (illustrated) Fragment block seat. In the field, brancheswith fruit. On the right, part of a handlepalmette.Fragmentb shows parts of two seatedfigures(seatof one on left missing;the headof one on right missing)facing.Betweenthem, a tree with fruit. The figureon the rightsits on an okladias. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 8). Group(ABV 504, 2). Comparethe Kalinderu
Ca. 490-480
B.C.

1544

P 2681 G 6:3 (U)

Wall fragment. Max. dim. 0.04. Silhouettetechnique. E. Vanderpool, Hesperia15, 1946, p. 296, no. 105, pi. 47. Man (partof bodyand legs, cloak)to right.In the field,a branchwith fruit. May be a Silhouette Skyphos of Class of K 2 (ABV 580, 2).
Ca. 490-480 B.C.

SKYPHOI 1551 P 2624 G 6:3 (U)

287

Fragmentof rim and wall. Max. dim. 0.074. Silhouette technique.Glaze firedbrownish.E. Vanderpool,Hesperia 15, 1946, p. 296, no. 104, pl. 47. Nike running to left with wings outspread, looking around.In the field,brancheswith fruit. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 9).
Ca. 490-480 B.C.

P 23324 H 12:15(U) 1557 PI. 104 H. 0.071;diam.at rim0.101. Fragments of wall, rim,and floorrestored. Silhouettetechnique. A and B, two ridersto right with goal post between.At each handle,a palmette.Partsmissingon each side. Almost all of rideron the right is missingon one side. SilhouetteSkyphosof Class K 2.
Ca. 490-480 B.C.

P 1391 G 6:3 (U) 1552 Two non-joiningfragmentsof rim and wall. Max. dim. a) 0.107; b) 0.15. Startof handle (b). Silhouettetechnique. E. Vanderpool, Hesperia 15, 1946, p. 296, no. 100, pl. 47. Eachfragmentshowsa chariotteamat the gallopto right. In the field,branches.One handlepalmetteon each. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 10).
Ca. 490-480 B.C.

1558

P 1359 G 6:3 (U)

P 2623 G 6:3 (U) dim. 0.084. Silhouette Fragmentof rim and wall. Max. E. Vanderpool, is abraded. Some of the glaze technique. 47. no. 103, 15, 1946, 296, pl. Hesperia p. missHorseman(tail of horse and part of hindquarters ing) gallopingto right. In the field,brancheswith fruit. May be a SilhouetteSkyphosof Class K 2 (ABV 580, 11).
1553 Ca. 490-480 B.C.

Rest. H. 0.136;rest.diam.at rim0.192. Handles,mostof rim, walls, and floorrestored.E. Vanderpool, Hesperia15, 1946, p. 294, no. 83, pl. 46. A, Athenaand a giant. Athenaattacksthe giant fromthe left. He has fallenon bothknees,holdinghis shield,his right armraised.In the field,branches. B, the like:foldedleg, part of armof giant preserved. For the subject, cf. 183. ShallowSkyphosof Class K 2 (ABV 581, 6).
Ca. 490 B.C.

1554

P 16825 G 13:1

Fragmentof wall and rim. Max. dim. 0.103. Strengthenedwith plaster.Silhouettetechnique. Two satyrswith wineskinson the groundbetweenthem. In the field, a vine with grapes.On the left, a palmette. May be a SilhouetteSkyphosof Class K 2. Compare1548 (P1. 104) or 1552.
Ca. 490-480 B.C.

FIG.

18. Skyphos1559 (P 1270), graffito.Scale 1:2 P 1270 G 6:3 (U)

1555 P1. 104

P 23322 H 12:15 (U)

1559 Fig. 18

Handle,foot,less than half of wall and rim. H. 0.062. On underside of floor, circle with central dot. Silhouette technique. Two confronted lions. In the field,branches with fruit.At each handle,a palmette. May be a SilhouetteSkyphosof Class K 2. Compare1548 (P1.104) or 1552.
Ca. 490-480 B.C.

H. 0.093; diam.at rim 0.184. One handle, Fragmentary. adjoiningrim and wall, other small fragmentsrestored. E. Vanderpool, Hesperia15, 1946, p. 294, no. 81, pi. 45. A and B, Dionysosseatedto left on an okladias,holdinga At eachhandle,a paldrinkinghorn.In the field,branches. mette.On underside of floor,a graffito. Red:beard; forelock, hair at nape of neck;stripesand dotson garments. ShallowSkyphosof Class K 2 (ABV 581, 12).
Ca. 490-480 B.C.

1556

P 23323 H 12:15 (U) 1560 P 1367 G 6:3 (U) of rim andwall. Max. dim.0.095. Glaze mostFragment ly firedgreenish.E. Vanderpool, Hesperia15, 1946, p. 295, no. 87, pl. 46. Nude man seatedto left holdinga largeskyphos(part)in his extendedright hand. On the right at the break,part of anotherfigure(?). In the field,branches. ShallowSkyphosof Class K 2 (ABV 581, 2).
Ca. 490-480 B.C.

of rim H. 0.08; diam.at rim 0.145. One handle,fragment and wall restored.On undersideof floor,circlewith central dot. Much of the glaze is flaked.Somemisfiring.Silhouette technique. At A and B, figurerunningto right.In the field,branches. each handle,a palmette. May be a SilhouetteSkyphosof Class of K 2. Cf. 1546,
1547, or 1552. Ca. 490-480 B.C.

288 1561

CATALOGUE P 1365 and P 1366 G 6:3 (U) ing around.In the field,a vine with grapes.At each handle, a palmette.Red:beard;dotson drapery. ShallowSkyphosof Class K 2.
Ca. 490-480
B.C.

Two non-joining fragments of rim and wall. Max. dim. P 1365:0.102, P 1366:0.138. E. Vanderpool, Hesperia 15, 1946, p. 295, nc. 86, pl. 46. P 1365 shows a man recliningto left and on the left, the head of a bull facing.In the field,branches.On the right,a handle palmette. P 1366 shows a similar scene from the otherside of the vase:here,the bodyof the bull is preserved, On the right,a hanits headmissing.In the field,branches. dle palmette. ShallowSkyphosof Class K 2 (ABV 581, 3).
Ca. 490-480 B.C.

1567 PI. 104

P 1137 G15:1

Someof rim missing.H. 0.076; diam. at rim 0.154. Undersideof floorblackexceptfor tondowith circleand dot. A and B, horseto right. Palmetteat each handle.White: manesand tails. ShallowSkyphosof Class K 2.
Ca. 490-480
B.C.

1562

P 2677 G 6:3 (U)

1568

P1138

G15:1

Wall fragmentwith part of rim. Max. dim. 0.065. E. Vanderpool, Hesperia15, 1946, p. 294, no. 82, pl. 47. (lower Satyr legs missing)crawlingto right. In the field, branches.On the right, part of a handle palmette. Red: beard,forelock,tail. ShallowSkyphosof Class K 2 (ABV 581, 4).
Ca. 490 B.C.

One handle,overhalf of rim andwall, muchof footmissof flooras 1567. ing. H. 0.077;diam.at rim0.16. Underside A and B, satyrcrouching to right,with horn.On one side, only part of his body and tail remains.Small palmetteat eachhandle.Red:beardsand tails. By the samehandas 1567. ShallowSkyphosof Class K 2.
Ca. 490-480
B.C.

1563

P 3223 E-F 12-14

Fragmentof wall and rim. Max. dim. 0.075. Dionysosseatedto righton an okladias.In frontof him is a satyr (legs, tail) also to right. In the field, branches.Red: Dionysos'beard,his fillet, stripeson garment;tail. White: dotson garment. May be a ShallowSkyphosof Class K 2. Cf., e.g., 1559. Close in style to 1562.
Early 5th century B.C.

P 8797 E 14:5 Wall fragment.Max. dim. 0.063. Dionysos seated to right on an okladias,holding a vine and his drinkinghorn.On the left, a satyr(onearmand leg, some of beard)comes up. Red: beardof Dionysos.White: chiton;dotson cloak. May be a ShallowSkyphosof Class K 2. Cf. the parallels givenfor 1563. 1569
Early 5th century B.C.

P 24580 Q 12:3 One handle,morethan half of rim and wall, half of foot of floor,circle. missing.H. 0.07. On underside At handle, Dionysosseatedto right.In the field,branches. a palmette.Red:wreathor fillet;beard;stripeson garment. ShallowSkyphosof Class K 2. 1564 P1. 104
Ca. 490-480
B.C.

1570

P 18950 B-C 19

Fragmentof rim and wall with roots of handle. Max. dim. 0.053. Silhouette technique. Decoration on white ground. Figureseatedto right,betweenhandlepalmettes. The LindosGroup(ABV 582, 10).
Ca. 490-480
B.C.

P 24581 Q 12:3 One handle, much of rim and upper wall missing. of floor,circlewith centraldot. H. 0.07. On underside A and B, warriorcrouchedin ambushto right, holding out his shield. In the field, a vine with grapes.At handle,a bodyis missing. palmette.On one side,mostof the warrior's Red or white:rim of shield. ShallowSkyphosof Class K 2. 1565 PI. 104
Ca. 490-480
B.C.

1571 P1.104

P 2743 G 6:3 (U)

H. 0.047; diam. at rim 0.065. One handle, Fragmentary. Decoration on white largepart of wall on one side restored. ground.Silhouettetechnique.On undersideof floor,circle with centraldot. E. Vanderpool, Hesperia15, 1946, p. 297, no. 111, pl. 47. A and B, satyr dancingto right holdinga drinkinghorn (mostlymissingon one side). At eachhandle,a palmette. The LindosGroup(ABV 582, 16).
Ca. 490-480 B.C.

1566

P 24582 Q 12:3

1572

P 23124 H 12:15

of floor,threeconcentric cirProfilecomplete.On underside cles with centraldot. A and B, Dionysos(muchmissing)recliningto left, look-

One handle, most of rim, much of wall missing. H. 0.073.

One handle,morethan half of rim, partsof wall missing. H. 0.073; diam. at rim 0.09. Silhouettetechnique.On underside of floor, two concentriccircles, one narrow, one broad,with a centraldot.

SKYPHOI A and B, satyr to right, betweenpalmettes.Satyr'shead (?). missingon one side. In the field, imitationinscriptions The LindosGroup.
Ca. 500-490
B.C.

289

1573

P 2744 G 6:3 (U)

tails;breastbands;filletsof sphinxes,barson theirshoulders and wings. White: flesh of Amazons;left-handpole horse; chitonof charioteer (?). For the subject, cf. 173. For the composition, cf. Bothmer, Amazons,p. 86, no. 157. The CHC Group(ABV 618, 30).
Ca. 500
B.C.

Fragmentof rim and wall. Max. dim. 0.043. Silhouette technique. Decoration on white ground. E. Vanderpool, Hesperia 15, 1946, p. 297, no. 112, pl. 47. Satyr dancing to right, looking around, between palmettes.Imitationinscriptions. The LindosGroup (ABV 582, 17).
Ca. 490-480 B.C.

1579 PI. 105

P23017

H 12:14

Wall fragment.Max. dim. 0.043. Chariot (heads and necks of three horses) wheeling around. The CHC Group.
Ca. 500 B.C.

P 16452 G 18:1 Abouthalf of rim and wall, part of one handle,all of foot preserved.H. 0.04. Profile complete.Silhouettetechnique. Decorationon white ground. Lower borderof garmentof figure to right. Palmetteat each handle. The LindosGroup (ABV 582, 24). 1574
Ca. 480 B.C.

1575

P 21558 P 18

H. 0.03. One handle,morethanhalf of rim Fragmentary. Silhouette missing. technique.Decorationon white ground. Figure to right, between handle palmettes.Very crude drawing. The LindosGroup (ABV 582, 25).
Ca. 480 B.C.

G6:3(U) Fragmentof rim and wall. Max. dim. 0.135. E. Vanderpool, Hesperia15, 1946, p. 292, no. 72, pl. 43. Chariot (forepartsof horses) wheeling around.On the right, an Amazon (head, arm), then the tip of a sphinx's wing. On rim, dot ivy. White:right-handpole horse (some directlyon the clay);studson headstallsand breastbandsof tracehorses;fleshof Amazon;dotson her helmetcrest. For the subject, cf. 173. For the composition, cf. Bothmer, Amazons,p. 86, no. 158. The CHC Group(ABV 618, 31).
Ca. 500 B.C.

1580 PI. 105

P2711

1576

P384

F16

Fragmentof rim, wall, and one handle.Max. dim.0.055. Glaze fired red. Silhouettetechnique.Decorationon white ground. In handlezone:palmette; to left of that, a birdor a sphinx (wing). The LindosGroup (ABV 582, 26).
Ca. 480
B.C.

P 23911 Q15:2 Shape as 1575. H. 0.035; diam. at rim 0.05. One handle restored.Chips missing. Silhouettetechnique. Decoration on white ground. A and B, figurebetweenpalmettes. The LindosGroup.
Ca. 480 B.C.

1577 P. 105

P 1139 G 15:1 Rest. H. 0.164; diam. at rim 0.221. Part of rim and wall, all of foot restored. A and B, chariotwheelingaroundbetweentwo Amazons in archer'sdress who move away, lookingaround.On one side,mostof the teamandthe Amazonon the rightare missing. At each handle,sphinxes(headand legs of one missing) facingoutward.On rim, dot ivy. Abovethe foot,tonguepattern. Red:frontcontours of Amazons'caps;baldrics; manes,

1578

P8796 E 14:5 Six non-joiningfragmentsof rim and wall. Max. dim. a) 0.215, b) 0.10, c) 0.083, d) 0.081, e) 0.086, f) 0.091. Glaze fired red on inside. On underside of floor, two concentric circleswith centraldot. A and B, chariotwheelingaround,betweenAmazons,between sphinxes. Fragmenta preservesalmost all of one sphinxseatedto left. Behindher is an Amazonto left, looking around,then the chariot(partsof the teammissing)and the secondAmazon (some of head, legs) movingto right, lookingaround.Fragmentb givesthe legs of the Amazonon the left on the other side of the vase and the forelegsand of the sphinxon the left. Fragment c showsthe hindquarters head of one horsefromthis side, the head and shouldersof the Amazonon the right,anda bit of the sphinxon the right. Fragmentsd and e are wall fragmentswithout decoration; fragment f preservespart of one handle. On rim, dot ivy. Red: fillets of sphinxesand Amazons;bars on wings;ears, eyes, tail of white horse;eyes of Amazons.White: flesh of Amazons;left-handpole horse;shield and chitonof charioteer;dotson harness. For the subject, cf. 173. For the composition, cf. Bothmer, 159. no. Amazons,p. 86, The CHC Group(ABV 618, 32).
Ca. 500
B.C.

1581

1582

P 24577 Q12:3 Fragmentof rim and wall. Max. dim. 0.145. Youthcourtingboy, while on each side,a youth(?)moves

290

CATALOGUE Red:fillets;stripeson garments; hair, breasts,bar on wings of sphinxes.White:flesh (applieddirectlyon the clay). The CHC Group(ABV 620, 78). Ca. 500 B.C. 1588 P1. 105
P11029 D15:1 P 1140 +P 1160 G 15:1

away,lookingaround.On the right,a sphinxseatedto right. On rim, dot ivy. Red: fillets. White: bar on wing, part of breastof sphinx. The CHC Group (Paralip.307, 49 bis).
Ca. 500 B.C.

1583

H. 0.146; diam. at rim 0.188. Part of rim and wall restored.Profilecomplete.On underside of floor,two concentric circleswith centraldot. On inside, reservedtondowith circleand dot. A and B, youth courtingboy, with a youth at each side, moving away, lookingaround.At each handle is a seated sphinx facingoutward.On rim, dot ivy. Abovefoot,tongue pattern.Red:filletsor hair of youths;barson wings, partof breastsof sphinxes. The CHC Group (ABV 619, 59).
Ca. 500 B.c. 1584 P 2712 G 6:3 (U)

H. 0.165; diam. at rim 0.225. Parts of rim and wall restored.On underside of floor,two concentric circleswith a centraldot. A and B, Dionysosrecliningon the ground,with satyrs and maenads.On the left, a satyr and a maenadeach play the aulos,while a maenaddances,all to right.On the right, a satyr and a maenadmove away, lookingaround.On B the satyrhas no aulos, and the maenadon the (illustrated), rightof Dionysosmovestowardhim. On rim,dotivy.Above the foot,tonguepattern.Red:stripeson garments; alternate tongues. White: flesh of maenads (that for arms applied directlyon the clay). The CHC Group(ABV 620, 86). Ca. 500 B.C. P4236 E 14:11(?) of rim and wall. Max. dim. fragments Eight non-joining a) 0.089, b) 0.045, c) 0.094, d + g) 0.143, e) 0.07, f) 0.06, h) 0.035, i) 0.046. On one sideof the interior,the glazemisfiredred. Fragmenta gives the forelegsof one horse and the hind legs of another, both to right; fragment b preservesthe shoulderand forelegsof the latter. Fragmentc comesfrom the othersideof the vaseandshowsa sphinx(forelegs, hindquarters,a bit of the wing and tail) seatedto right.The rest with dot ivy. Belowthe rimsof are rim fragments decorated d is a bit of the figureddecoration. + e, fragments g, andf The CHC Group. Ca. 500 B.C. 1589
1590 P 11027 D15:1

Fragmentof rim and wall. Max. dim. 0.082. E. Vanderpool, Hesperia15, 1946, p. 292, no. 73, pl. 43. Komos. Woman (head, arms, upper part of body) and man (face,arm), both dancingto right, lookingaround.On rim, dot ivy. Red:pupil of woman'seye;man'sfillet.White: woman'sflesh (applieddirectlyon the clay). The CHC Group (ABV 619, 69).
Ca. 500 B.C. 1585 P4152 K14

Fragmentof wall and rim. Max. dim. 0.107. Brownish wash. Komos.Two youths dancing,one to left (chest,some of head missing), the other to right, looking around.To left and right, a seated sphinx (wing, back, tail). Red: bar on wing;fillet.White:two lines on wing bow;two lineson head of danceron right. The CHC Group (ABV 620, 72).
Ca. 500 B.C.

1586

P 495 J 9

Wall fragment.Max. dim. 0.032. Two women (shoulder,left arm of one; right shoulder and arm, buttocksof other) dancingto right, hands linked. Red:stripeon garmentof womanon left. White:flesh. The CHC Group(ABV 620, 73).
Ca. 500 B.C. 1587 P1141 G15:1

of H. 0.145;diam.at rim0.185. Fragments Fragmentary. rim and wall, all of one handlerestoredin plaster.Profile of floor,two concentric circleswith complete.On underside a centraldot. A and B, maenadsand satyrs. On one side, two satyrs alternatingwith three maenads(heads of 1, 2, and 3 and hips and legs of 4 missing).On the otherside,two maenads with threesatyrs(someof 2 and4, headof 3, and alternating legs of 5 missing).Abovefoot, tongue pattern.Red: fillets and beards.White:feet of one woman (applieddirectlyon the clay). The CHC Group(ABV 621, 89). Ca. 500 B.C. 1591
P11028 D15:1

Both handles, many fragments of wall missing. H. 0.163; diam. at rim 0.217. On underside of floor, a band and two

circleswith a centraldot. Glaze is flakedin many concentric

places.

A, threewomendancingto right.At each handle,sphinx seatedoutwardwith headturnedaround.B, the like, except that there are four women.Abovethe foot, tonguepattern.

Fragmentary.H. 0.141; diam. at rim 0.185. Handles, large fragmentof rim, someof wall restored.On underside of floor, two concentric circlesand centraldot. On inside, reserved tondowith circleand dot. A and B, satyrsandmaenads as 1590.On one side,a satyr

SKYPHOI and a maenad are almost completelylost. Above the foot, tonguepattern.Red:filletsand beardsof satyrs;dotson garments.White:flesh of maenads. The CHC Group (ABV 621, 90).
Ca. 500
B.C.

291

bow; hair of youth;stripe on his garment;line on tendril. White:fleshof sphinx;stripat base of wing;chiton. The CHC Group(ABV 622, 109).
Ca. 500 B.C.

1596

P4638

F-G12:1

P 1145 G 15:1 1592 PI. 105 Part of rim and wall missing. H. 0.085; diam. at rim 0.104. Much of glaze is flakedon one side. Profilecomplete. of floor,glazedspiral. On underside A and B, drapedyouth with staff seatedto right on an okladias, between sphinxes seated outward, their heads turned around. White: faces, contoursof breasts,bars on wings of sphinxes;chiton. The CHC Group (ABV 621, 104).
Ca. 500 B.C.

1593

P1147

G15:1

Three non-joining fragments. Max. dim. a) 0.125, handle,half of b) 0.13, c) 0.052. Rim andwall, one complete the other.Someof the glaze firedred. Darkwashon ground. Silhouette technique. R. Young, Hesperia, Suppl. II, Athens1939, p. 119, B 39, fig. 86. A, youthseated.At eachhandle,a palmetteand a sphinx. Fragmenta preservesa palmetteand a sphinx to left, the backof a youthseatedto righton an okladias,andon the far left, partof anotherpalmetteon the othersideof the handle. Fragmentb gives a palmetteand a sphinx to right. Fragmentc is undecorated. The CHC Group(ABV 622, 110).
Ca. 500
B.C.

One handle, part of rim and wall missing. H. 0.083; diam.at rim 0.10. Glaze firedred. A, youthseatedto left on okladias,holdinga staff.In front of him, a seated sphinx to left, looking around. B, youth seated to right with staff; sphinx seated to left, looking around. White: faces, necks, breasts, bars on wings of sphinxes;dot on himation. The CHC Group (ABV 621, 105).
Ca. 500
B.C.

1597 P1.105

P1142

G15:l

1594

P1148

G15:1

Four non-joiningfragments.H. of a) 0.106; max. dim. b) 0.078, c) 0.037, d) 0.089. Completeprofile(a);rim (b and c); handlewith rim (d). On undersideof floor,two concentric circleswith centraldot. A and B, youth seated to right on an okladias,between seatedsphinxes.Fragmenta shows the youth, almostall of the sphinx behindhim, the breastand forelegsof the one in frontof him, and on the far left, the handlepalmette(solid, without incision).Fragmentb comesfromthe otherside of the vase and shows the wing of the sphinx on the left and part of the handlepalmette.Abovethe foot,tonguepattern. Fragments c and d are without decoration.Red: fillet; stripes on garments;wing bow; centralpetal of palmettes. White:face, neck,breastof sphinx. The CHC Group (ABV 621, 106).
Ca. 500 B.C.

Part of one handle, small fragmentsof wall missing. H. 0.10; diam.at rim 0.145. Profilecomplete. On underside of floor,two concentric circleswith centraldot. A and B, Pegasosto right, betweenseatedsphinxes.On one side, he appearsto be mounted by a diminutiveBelleroAt each solid withoutincision.Red: handle, phon. palmettes fillets of sphinxes;bars on wings; manes;centralpetals of palmettes.White:facesof sphinxes,contoursof their necks and breasts. The CHC Group(ABV 622, 113).
Ca. 500 B.C.

P1143 G15:1 Part of one handle,someof rim, mostof lowerwall, all of foot missing. P.H. 0.076; diam. at rim 0.144. Glaze is abradedin places. A and B, confronted sphinxesseatedbetweensolid palmettes without incision.Some of the sphinxes are missing on one side. Red: fillets, bars on wings; central petal of palmettes. The CHC Group(ABV 622, 114). Ca. 500 B.C. 1599 P 9283 M 17:4 Fragmentof rim andwall, rootof one handle.Max. dim. 0.096. Burned(clayis grayon surface). Facingthe handle,sphinx (head,neck,wing, tail) to left; behindherto rightis a man (drapery) with his righthandon his hip. On rim, dot ivy. Red:fillet. White:flesh of sphinx, stripson wing. The CHC Group(ABV 622, 120). Ca. 500 B.C. 1600 P 1339 G 6:3 (U) Fragmentof rim and wall. Max. dim. 0.142. E. Vanderpool, Hesperia15, 1946, p. 292, no. 69, pl. 43.

1598

P 13786 U 25:2 (U) Four non-joining fragments of rim and wall. Max. dim. a) 0.145, b) 0.108, c) 0.061, d) 0.041. Fragments a and b each preservea handle. A and B, youthseatedbetweensphinxes.Fragment a preservesa sphinx (someof head,wing, tail) to left and partof the tendrilat the handle.Fragmentc showsthe foreparts of a sphinxand the bodyof a youthsittingon an okladias,both to right. Fragmentd gives the back of a sphinx'shead, the Red:fillets;wing tip of a wing. Fragmentb is undecorated.

1595

292

CATALOGUE Connectedwith the CHC Group (i): Various (ABV 623, 4).
Ca. 500 B.C.

Maenad (head, arm) to left, looking around at a satyr (lowerlegs missing),to right,reachingtowardanothermaenad (tracesof white). On the far left, tracesof anotherfigure (head?).On rim, dot ivy. Red:hair, beard,tail;filletsof two figureson left. White: flesh of maenads(that for arms applied directlyon the clay). The CHC Group. Early 5th centuryB.C. 1601 P 4656 G 12

of rim andwall. Max. dim.0.115. Brownwash Fragment on surface. Betweeneyes (part of each), a lion (preserved except for forepaws and chest) confrontinga boar (body, some of neck).Above,dot ivy. Red:mane;neckof boar. White:iris of and outline of whites of eyes; markingon hindquarters boar. The CHC Group. Early 5th centuryB.C. P 2713 G 6:3 (U) wall. Max. dim. 0.049. E. Vanderand of rim Fragment no. 74, pl. 43. pool, Hesperia15, 1946, pp. 292-293, Man (head,upperpart of body)dancingto right.On the right,at the break,tracesof anotherfigure.On rim, dot ivy. White:hair and beard,dot on arm. Probablythe CHC Group. Early 5th centuryB.C. 1602 P2714 G 6:3 (U) 1603 P1. 105 Fragmentof foot and lower wall. P.H. 0.08. On underside of floor,two concentric circles,one narrow,one broad, with centraldot. On inside, reservedtondowith circleand central dot. E. Vanderpool,Hesperia 15, 1946, p. 278, no. 30, pl. 28. Outside,the feet of severalfiguresfrom each side of the vase and the lower draperyof a figure to right. Abovethe foot, dots. On the blackzone, graffitodrawingof a human headto left. loc.cit. Forthe graffito drawing(P1.105), cf. Vanderpool, the CHC Group.Forthe linesbelowthe figures Probably and the dotsabovethe foot,cf., e.g., 1583. Ca. 500 B.c. 1604 P 1338 G 6:3 (U)

P 1394 G 6:3 (U) Two non-joiningfragmentsboth of rim and wall. Max. dim. a) 0.141, b) 0.131. Silhouettetechnique. A and B, seatedsphinxes,facing.Fragmenta gives all of the sphinx on the left and the feet of the one on the right. all of the sphinxon the right,the legs Fragmentb preserves and part of the wing of the one on the left. At each handle, solidpalmette. The CHC Group(i): Various(ABV 623, 5). Ca. 500 B.C. 1606 P 2731 G 6:3 (U)

1605

H. 0.16-0.18;diam.at rim0.231. Fragments of rim,wall, and foot restored.Warped.Burned.On undersideof floor, two concentric circleswith centraldot. E. Vanderpool, Hes44. no. 76, pl. peria 15, 1946, p. 293, A and B, man (Dionysos?)recliningto left, holding a drinkinghorn, betweentwo rams movingto right. On the left, a satyrcomingin, mostlymissingon one side. On rim, dot ivy. Abovethe foot,tongues.Red or white:fillet;dotson rows of dotson mattressand cushion;rim of horn; garment; muzzles,horns,belly stripesof rams;satyr'stail. Connectedwith the CHC Group (ii): the Dog Group (ABV623, 2). Ca. 500 B.C. P2710 G6:3(U) P.H. of Three non-joining a) 0.114; diam. at fragments. rim 0.233; max. dim. of b) 0.211, c) 0.006, d) 0.121. Rim and wall preservingsome of each side. Fragmentsa and b are strengthened with plaster.E. Vanderpool, Hesperia15, 1946, p. 292, no. 71, pl. 42. a (ilA and B, two dogsfacing,betweensatyrs.Fragment showsmostof the two dogs,partof the satyron the lustrated) left on one side, and the headof the satyron the righton the b givesmostof the dogon the othersideof thevase.Fragment left, the headandforelegsof the one on the righton the other d shows side,andthe headof the satyron the left. Fragment On the lower legs of one satyr. Fragmentc is undecorated. rim, dot ivy. Red:fillet of satyr. White:tails and beardsof of dogs. satyrs;collars,bellystripes,spotson shoulders Connectedwith the CHC Group (ii): the Dog Group (ABV 624, 4). Ca. 500 B.C. 1607 PI. 105 1608 P 2614 G 6:3 (U)

H. 0.092; diam. at rim 0.14. One handle, Fragmentary. most of rim, much of one side, part of foot restored.On undersideof floor, two concentriccircleswith centraldot. Silhouettetechnique. E. Vanderpool,Hesperia 15, 1946, p. 293, no. 78, pl. 45. A and B, two confrontedsphinxes with heads turned around,betweenhandle palmettes.On one side, the head, part of the breast and wing of the sphinx on the right is missing;on the other,part of the breastand forefeetof one, breast,forelegs,someof wing and bodyof the otherremain. barson wings. White:faces,necks,breasts;

H. 0.18; diam. at rim 0.224. One handle, Fragmentary. of rim, wall, and foot restored. mostof the other,fragments On undersideof floor, two concentriccircles with central tondowith centraldot. E. Vanderdot. On inside,reserved pool, Hesperia15, 1946, p. 292, no. 70, pl. 42. A and B, betweeneyes, man leadinga horse (hindquarters missingon one side;only head, partsof legs remainon

SKYPHOI
the other; on one side, very little of the eyes remains) to right. On rim, dot ivy. Above the foot, tongue pattern. Red: cloak and fillet; tail. White: mane; outlines and irises of eyes. Connected with the CHC Group (ii): the Dog Group (ABV 624, 6). Ca. 500 B.C. 1609 PI. 105 P20741 R 12:1

293

A and B, nude male (legs) running to right. Leaf below handle. Below the figure zone, net pattern and rays. White: superposed dots in the net pattern. The Pistias Class (iii) (ABV 627, 3). Ca. 500 B.c.

1614

P 1342

G6:3(U)

Fragmentary. H. 0.161; diam. at rim 0.114. More than half of rim, some of wall restored. Profile complete. Glaze fired red on one side. A (illustrated), wrestlers (legs of one and left leg of the other missing), between spectators. B, the like (small fragment of spectator on left). Red: fillets of wrestlers; hanging folds of spectators. White: chitons. For wrestlers, cf. J. D. Beazley, "A Signed Band-Cup," Neue Beitrige zur klassischen Altertumswissenschaft. Festschrift zum 60. Geburtstag von Bernhard Schweitzer, Stuttgart 1954, pp. 101-102. The Group of Ferrara T. 800 (Paralip. 308, 3). Ca. 500 B.C.

Fragment. P.H. 0.049; diam. of foot 0.041. Lower part of wall from both sides, and foot. Glaze fired red on inside. A and B, draped male (lower part on one side; feet on the other) to right, between palmettes at each handle. White: blobs on garment; hearts of palmettes. The Pistias Class (iii) (ABV 628, 9). Ca. 500 B.C.

1610 PI. 106

P 23198 H 12:15(POU)

FIG. 19. Skyphos 1615 (P 23175), graffito. Scale 1:2

H. 0.10; diam. at rim 0.15. Small fragments of rim and wall restored. A and B, wrestler, between eyes. On A (illustrated), he strides to right, bent slightly with hands outstretched to meet the figure on B (legs preserved) who strides to left. White: fillet round shoulders (?); irises and pupils of eyes. The Group of Ferrara T. 800 (Paralip. 308, 4). Ca. 500 B.C.

1615 Fig. 19, P1. 106

P 23175

H 12:15

1611

P20743

R12:1

Fragment of rim and wall with handle root at far right. Max. dim. 0.152. Silhouette technique. Cock and youth facing. On the far right, part of another figure on other side of vase. White: markings on breast and body, sickle feathers of cock. Connected with the CHC Group (i): Various (ABV 623, 8). Compare with the Group of Ferrara T. 800 (Paralip. 309). Ca. 500 B.C.

1612

P 20744 R 12:1

Fragment of rim and wall with handle. Max. dim. 0.15. Cock to right; draped figure (head missing) to left. Red: comb, wattle, strip on body of cock, contour of its breast; stripe on garment of figure. White: chiton; tail feathers of cock. Connected with the CHC Group (i): Various (ABV 623, 7). Compare with the Group of Ferrara T. 800 (Paralip. 309). Ca. 500 B.C. 1613 PI. 106 P 13275 G-I 11-12

Two non-joining fragments. P.H. of a) 0.031; max. dim. of b) 0.038. Lower wall and foot (a), rim and wall (b). Silhouette technique. Decoration on white ground. Maenad on bull, between palmettes. Fragment b preserves the foreparts of the bull, the hand of the maenad, and some of the handle palmette. Fragment a gives the decoration below the figures: crenellation pattern between bands, then rays. Graffito on underside of foot. Red: lines above and below each black band; two concentric circles on underside of foot. The crenellation pattern is rather rare. Compare a skyphos once in the Geneva Market, now in a New York private collection and on loan to the Metropolitan Museum, L.1982.27.7. It belongs to the Pistias Class (Mertens, Attic White-Ground, pl. 13:4). Elsewhere, it is best known on the white-ground work by Psiax: a lekythos, Paris, Jameson (ABV 293, 11; Mertens, Attic White-Ground, pi. 3:1); two alabastra, Leningrad 381 (ABV 293, 12; Mertens, Attic White-Ground, pl. 3:2) and London, B.M. 1900.6-11.1 (AB V 294, 25; Mertens, Attic White-Ground, pl. 3:3); and a kyathos, Wurzburg 436 (ABV 294, 16; Mertens, Attic White-Ground, pl. 3:4). The Pistias Class (iii) (ABV 716, 15 bis). Ca. 500 B.C.

1616

P4225

E14:11

Foot, fillet, lower part of body. Diam. of foot 0.038; p.H. 0.04.

Fragment. Max. dim. 0.058. Lower part of wall with start of foot. Some of the glaze fired brownish on inside. Nude male (lower half) bending over to right. To right and left, part of the floral at the handle. Red: torso. The Pistias Class. Ca. 500 B.C.

294 1617

CATALOGUE facing,flankedon the rightby a boy (head)as indicated by his smallersize. Red:hair.
Late 6th century B.C.

P 1323 G 6:3 (U) Rim and wall fragment. Max. dim. 0.038. Silhouette technique. Decorationon white ground. E. Vanderpool, Hesperia15, 1946, p. 297, no. 110, pi. 47. Panther (most of hind legs missing) to right, looking around.Red:groundline. May be fromthe PistiasClass (ABV 628).
Ca. 500 B.C.

1623 P1. 106

P 23265 N 16

Wall fragment.Max. dim. 0.036. On the left is partof a low tablewith a basketon it, thena man (legs) to rightand the lowerleft cornerof drapery.
Late 6th century B.C.

1618

P 16766 G 6:3 (U)

Twelve non-joiningfragmentsof wall and rim, possibly from more than one vessel of the same type. Max. dim. a) 0.099, b + c) 0.102, d) 0.059, e) 0.048, f) 0.04, g) 0.079, h) 0.033, i) 0.047, j) 0.034, k) 0.031, 1) 0.026, m) 0.023. E. Vanderpool, Hesperia15, 1946, p. 293, no. 79, pl. 43. A and B, guineahens. Eachfragmentshowspartsof one, two birds.It is difficultto be certainif one or two sometimes here. The curveof the wall suggests vesselsare represented betweeneachset of that aboutfourbirdsmay fit comfortably handles.Red and white:markings.
Late 6th century B.C.

P 2587 G 6:3 (U) Wall fragment.Max. dim. 0.049. E. Vanderpool,Hesperia 15, 1946,pp. 297-298, no. 116, pl. 47. Man (legs) runningto right. Behindhim is an uncertain thathe maybe carryobject(quiver,flutecase,seedbasket?) In the branches. Red: on field, ing. stripe object.
Probably late 6th century B.C.

1624 PI. 106

1625

P 13785 U 25:2 (U)

Part of wall and rim. Max. dim. 0.065. Two panther heads (spouts?)with water flowing from them (?). White:foreheads, noses.
Late 6th century B.C.

1619 PI. 106

P 13383 U 25:2 (L)

Five non-joining of rim and wall, andthe stubs fragments of two handles.Max. dim.a) 0.084, b) 0.06, c) 0.06, d) 0.15, e) 0.023. Satyrsand deer. Fragmenta preservesthe forepartsof a rearingdeerand mostof a satyr(left leg and bothfeet misson the right,partof a ing) runningto right,lookingaround; palmetteand tendrilat the handle.Fragmentb givespartof anotherhandlepalmetteand the limbsof a satyrrunningto right. Fragmentc preservespart of a handle and tendril. Fragmentd shows the raised hand of a satyr. Fragmente gives the hind feet of a deer. Red: tails, hair, and beardof satyrs;neckof deer;alternatepetalsof palmettes.
Late 6th century B.C.

1626 P1. 106

P8919

M18:6

Preserved except for fragmentof rim. H. 0.07; diam. at rim 0.094. Silhouette technique. Cockto right,betweeneyes.White:cock(applieddirectly on the clay);irisesand pupilsof eyes.
Late 6th or early 5th century B.C.

1620 P1. 106

P7898

E 14:5

About half of rim, one handle, much of wall preserved. H. 0.09; diam.at rim 0.119. On B, the like A (illustrated),lion and ram confronted. (hind legs, belly, part of forelegsof feline).At the handle,a palmette.Red:bars on necks.White:teeth, belly stripe,tip of lion'stail; hornof ram.
Late 6th century B.C.

P 7807 No grid 1627 Two non-joining Max. dim. a) 0.065, b) 0.05. fragments. Rim and wall (a), wall and foot (b). On underside of floor, circle.Brownishblackglaze. partof a concentric a preserves all of one swan, the Swansto right.Fragment body,neck,and legs of a second.Fragmentb showsmostof one swan, the tail and legs of a second.In the field,pairsof verticalstrokes.On rim, oval dots. Red:bandon outsideof foot;line belowdots.
Late 6th or early 5th century B.C.

P26818 T 19:1 1621 Wall fragmentwith startof rim. Max. dim. 0.058. Komast(mostof head,torso,right arm, someof left arm) to right,lookingaround.On the right,tracesof anotherfigure. Red:hair. White:fillet roundshoulder. Late 6th centuryB.c. 1622 P 26797 T 19:1 Fragmentof rim and wall. Max. dim. 0.052. of one on left, headof one on right) Two youths(forehead

P2730 G6:3(U) 1628 PI. 107 H. 0.208;diam.at rim0.229. Fragments of rim,wall, and foot restored.On undersideof floor, two concentric circles with centraldot. On inside, reservedtondowith circleand central dot. E. Vanderpool,Hesperia 15, 1946, p. 293, no. 75, pl. 43; Bothmer, Amazons,pl. 55:6. A and B, Greeks and Amazons.On A (illustrated),an Amazonto rightattacksa Greekwho has fallento his knees, holdingout his shield,lookingaround.Then comesa Greek an Amazonwho is downon one knee,holdingout attacking her shield,her spearready.On the right,a horseman and a warriorcomein. B, an Amazonto rightattacksa Greekwho is falling, looking around, holding out his shield; then a similarpair, the Greekdown on one knee, lookingaround; next a Greek rushing in to help, and on the far right, an

SKYPHOI Amazonfleeing,lookingaround.On rim, dot ivy. Abovethe foot, tonguepattern.White: flesh of Amazons,that of their legs applied directlyon the clay; crests;deviceson shields (balls,or circleand ball);cloakof rideron A. cf. Bothmer, For the subject,cf. 173. For the composition, Amazons,p. 82, no. 120. Ca. 500 B.c. 1629 P25600 A 16

295

Fragmenta shows a boar (head) to right facing a lion (part of head, tail). Fragmentb gives most of a boar (head missing)to right. Fragmentsc and d show parts of handle palmettes,and fragmente is undecorated.
Ca. 500-490 B.c.

1634

P 21864 N 7:3

of offsetrim andwall. Max. Three non-joining fragments dim. a) 0.146, b) 0.041, c) 0.08. the neckand headof Ramsto right.Fragmenta preserves one, the body and three legs of a second.Fragmentb gives one ram (hindfeet missing),the neck,body,and hindlegs of another. On rim, dot ivy. White: horns, muzzles, belly stripes. Heron Class, ShapeA. Ca. 500 B.c. 1630 P1. 107 P 1144 G 15:1

Fragmentof bowl with startof stem. P.H. 0.05. On undersideof floor, small circle with centraldot. C. Boulter, Hesperia22, 1953, p. 71, no. 19, pl. 28. Athena and a giant. The goddess (preservedfrom the waist down) attacksthe giant (lowerhalf) who is fallingto right, his shieldon his left arm,his spearin his right hand. On the left, handlepalmette. For the subject,cf. 183.
Ca. 500-490 B.C.

1635

P26823

T19:1

H. 0.088; diam. at rim 0.112. Part of one handle, small of wall missing.Someof the glaze is abraded. fragments A and B, mountedyouth to right, between youths with cloaks over their arms, also to right, the one on the right lookingaround.Above the tail of the horse, a bird flies to right. Red: dots on garments;strip on manes,tails. White: chitonof each rider.
Ca. 500 B.C.

Fragmentof rim and wall. Max. dim.0.036. Youth(headand raisedleft arm)to right. Red:hair.
Ca. 500-490 B.C.

1636

P 26819 T 19:1

Wall fragment.Max. dim. 0.052. Silhouettetechnique. Sphinx(mostof bodyandwings,someof tail) to left. Red: spot on shoulder.White: neck;diagonalstrip acrossbody and wing.
Ca. 500-490 B.C.

P 1146 G 15:1 1631 P1. 107 P.H. 0.075; diam. at rim 0.11. One handle, part of rim and wall, all of foot missing.Glaze firedredon one side and on all of lower part. A and B, two mountedyouths,gallopingto right.On one behindeach is a bird flyingto left. White: side (illustrated), chiton;studson bridles.
Ca. 500 B.c.

P 23325 H 12:15(U) One handle,morethanhalf of rim,muchof wall restored. H. 0.067; diam.at rim 0.094. Glaze firedred.On underside of floor, circle. Decoration on white ground. Silhouette technique. A, cockto right. B, uprightivy leaf near handle.On the left, someglaze that may be partof a cock. Ca. 500-490 B.C. 1637 1638 P 26820 T 19:1 Two non-joining fragments. Max. dim. a) 0.057, b) 0.049. Wall and rim (a), wall (b). Sphinxes.Fragmenta preservesthe head of one to right and part of the handle ornament.Fragmentb shows the head, neck, and breastof a sphinx (or a siren) to right and an incisedpalmette.Red:dots on coreand petalsof rosette. White:faces;breast. Ca. 500-490 B.C. 1639 P 1393 + P 2586 G 6:3 (U)

P 20745 R 12:1 1632 Five non-joiningfragments.P.H. of a) 0.069; max. dim. b) 0.064, c) 0.057, d) 0.031, e) 0.032. Foot and part of wall (a); wall and rim (b, c, e); handleand rim (d). Restingsurface of foot glazed.

Fragmenta gives part of a handlepalmette.Fragmentb shows the upperpart of a youth,with a cloak,and the tip of a sphinx'swing, both to right. Fragmentc preserves partof a handlepalmette;fragmentd is undecorated, and fragment e shows an okladiaswith partof a figure(drapery)seatedto left. Red:bar on wing. Ca. 500 B.c. 1633 P 16779 G 6:3 (U)

Five non-joiningfragmentsof rim and wall. Max. dim. a) 0.053, b) 0.037, c) 0.035, d) 0.029, e) 0.022. Silhouette technique. E. Vanderpool, Hesperia 15, 1946, p. 297, no. 109, pl. 47.

Fragmentary.H. 0.108; diam. at rim 0.154. Handles, of rim, walls, and foot restored. Profilecomplete. fragments On undersideof floor,two concentric circles,one wide, the othernarrow,with a centraldot. E. Vanderpool, Hesperia 15, 1946, p. 293, no. 77, pl. 44. A and B, two maenadsmoving away from each other, lookingaround,betweensatyrs,eachdancingto right.Small

296

CATALOGUE 1645 P 2622 G 6:3 (U)

parts of figuresmissingon each side. In the field, branches with fruit. On rim, dot ivy. Red: beards;maenads'fillets; dotson garments.White:maenads'flesh;one tail; fruit.
Early 5th century B.C.

1640

P 25956 L-M 7:1

Four non-joining fragments of rim and wall. Max. dim. a) 0.128, b) 0.196, c) 0.077, d) 0.031. Departureof warrior?Fragmenta pieserves part of a warrior(small bit of torso)to right, holdinga roundshield seen in three-quarter view. Facing him are three men:the lower parts of 1 and 2, upper part of 3 missing.On the far right is a largebird (headand neckmissing)similarin type to the white heron. Fragmentb may come from the same sideand showsa man (mostof head)to rightholdinga staff, and on part of the rim, a bit of glaze that may represent the the headsof top of the warrior'shead.Fragmentc preserves two males to left, each with a staff, and fragmentd shows On rim, dotivy. Red:beardof onlooker on b;fillets; drapery. dot on shield;dots and thicklines on garments.White:dots on garments.
Ca. 500-490
B.C.

Fragmentof rim and wall with start of handle. Max. dim. 0.128. Glaze muchgone.Silhouettetechnique. Maenadand satyr (head,shoulder,one leg of each missing) dancing to right, she looking around. In the field, branches. At eachhandle,a palmette.
Early 5th century B.C.

G6:3(U) Two non-joiningfragmentsof rim and wall. Max. dim. Hesa) 0.082, b) 0.05. Glaze misfiredred. E. Vanderpool, a). peria 15, 1946, p. 295, no. 91, pl. 46 (fragment a showsa manmounted Returnof Hephaistos.Fragment on a mulebeingled to right(armof manleading).Fragment b givespartof a similarscene(manmounted).In the field,a vine. Red:hair and beards; manes. Early 5th centuryB.C. 1647 PI. 107 P 25928 R 20

1646

P1318

1641 P1. 107

P 26769 T 18

Wall fragment.Max. dim. 0.06. Iris or Gorgon (part of right arm, wing, short chiton with nebris, and thigh) running to right. At the left, part of a handlepalmette.Red:chiton.White:flesh;markingon nebris.
Ca. 500-490 B.C.

Wall fragment.Max. dim. 0.053. Satyr and maenad (?). On the left is a woman (lower parts)hurryingto left. Behindher is a male (lower legs) to right. In the field, a vine and a wavy line of glaze (tail of satyr?).Red:stripeson garment; figureat far right. Early 5th centuryB.C. 1648 P 25703 0 19:7 Wall fragment.Max. dim. 0.135. Rider(lowerdrapery; body,legsof mount)to right.In the withoutleaves.At the handle,a palmette. field,branches Early 5th centuryB.C. 1649 P 20871 D 17:10 of wall with startof foot. Max. dim. 0.072. Fragment On the left, partof a man (arm,someof leg) to left with a club or large scabbard.Behind him, the lower parts of a drapedwoman and a nude man, also to left. On the right, part of an invertedlotus bud below the handle.Just to the left of the lotusis an objectthat lookslike a suspended cloak. White:woman'sflesh;dot rosetteson her dress. Early 5th centuryB.c. 1650 P 2565 G 6:3 (U) Fragmentof rim and wall. Max. dim. 0.054. E. Vanderpool,Hesperia15, 1946, p. 295, no. 90, pl. 46. Chariot(charioteer, partof vehicle)to right. 5th B.C. Early century 1651 P 1562 G 6:3 (U) Rim and wall fragment. Max. dim. 0.039. Silhouette technique. E. Vanderpool,Hesperia 15, 1946, p. 297, no. 108, pl. 47. Panther(foreparts) to right.On the right,partof a handle palmetteor an eye. Early 5th centuryB.c.

1642 PI. 107

P 10155 T 20

Fragmentof rim and wall. Max. dim. 0.045. Man (head)to left, holdinga spear.Red:beard;fillet.
Early 5th century B.C.

1643

P 16964 A-B 21-22:1

Five non-joiningfragmentsof wall and rim. Max. dim. a) 0.091, b) 0.041, c) 0.047, d) 0.033, e) 0.027. Silhouette technique. A and B, womendancingto right.Fragment a showstwo women dancing;behind them a bird (goose?)from underneath the handle. Fragmentd gives the feet of two more women and fragmente the feet and tail of anotherbird. obFragmentb shows a handlepalmettewith an uncertain ject on the left, and fragmentc preservesthe shoulderand handof a woman.
Early 5th century B.C.

P3988 G11 1644 P1. 107 Fragmentof wall and rim. Max. dim. 0.098. Gorgon (preservedexcept for most of her head, right wing, arm, and foot) running to right. Handle palmette. Red:tongueand ear;stripeson garment.White:flesh.
Early 5th century B.C.

CUPS P 2683 G 6:3 (U) 1652 Wall fragment.Max. dim. 0.024. Youth(headand shoulders)to left. Red:fillet.
Early 5th century B.C. 1653

297

Two sphinxes (foreparts,body of one; forepartsof second)facing.White:stripoutliningbreast,legs, startof wing.

5th century B.C.

P 12790 G 11:3

SHALLOW

CUP-SKYPHOS

OF SPECIAL SHAPE

1657

Wall fragment.Max. dim. 0.045. s. On the far Draped youth seated to left on an okladia, the of a horse. In and tail field, a vine right, hindquarters with grapes.Red:hair;dotson garments.
Early 5th century B.C.

1657 P1. 107

P 1383 G6:3(U)

1654

P 26749 T- U 19-20 (II) Wall fragment.Max. dim. 0.023. Youth (headand shoulders)to right. Red:hLair.
5th century B.C.

1655

P 322 F 17

x. dim. 0.03. Wall fragmentwith someof offsetrim. Ma: Male (face,top of head)to right. Red:fillet.

5th century B.C.

1656

P 25717 O-Q 16-17 Wall fragment.Max. dim. 0.044. Silhouettetechnique.

Handle, foot, much of rim and body restored. Rest. H. 0.095;diam.0.245. Rim has a slightbulgeon outsidebut is flat on top. E. Vanderpool,Hesperia 15, 1946, p. 308, no. 184, pl. 54. A (illustrated) and B, komast(preserved exceptforpartof shoulder,right arm and left foot on A; only parts of arms andtop of headremainon B). At eachhandle,a spiraland a hangingpomegranate. For the systemof decoration cf. 1825 (PI. 117) and Oxford 1939.118by the Amasis Painter(ABV 157, 89; Paralip. 65, 89; Bothmer,Amasis Painter, pp. 227-228, cat. no. 63); also cups by the Painterof NicosiaC 975 (Paralip. 100). The Theseus Painter(ABV 520, 31).
Ca. 500 B.c.

CUPS 1658-1846 Figs. 20 and 21 Pls. 108-118

CUPS 1658, 1659 KOMAST

1658 P1. 108

P 3435 H 8-10 P4585 F-G 13

Two non-joiningwall fragments. Max. dim. P 3435: 0.066, P 4585: 0.028. Komasts.P 3435 shows most of the legs and part of one arm of a komastdancingto right.On the right,at the break, is a small bit of glaze (partof anotherkomast).On the left, the buttocks, part of the handleornament.P 4585 preserves forearm,and one handof a komastto left. Red:chiton. The KomastGroup: IV, the KY Painter (ABV 32, 28: P 3435); the KomastGroup:VIII, Unallotted(ABV 35, 4: P 4585); the KomastGroup:VIII, Unallotted(Paralip.17: P 3435).
Ca. 580-570 B.C.

foot. Fragmentb (illustrated)gives a komast(some of the backand hand)to left;behindhim, partof the handleornament (lotusconfiguration) and moreof the rays.Fragment c e gives (illustrated) preserves partof a tendril,and fragment the left leg fromthe knee down of a komastto right. Fragmentsd,f, andg are difficultto place,althoughthey surely belong.Red:backof komast(chiton). The KomastGroup:VIII, Unallotted(Paralip.17). Late firstquarterof the 6th centuryB.C.
SIANA CUPS

1660-1684
1660-1677

OVERLAP DECORATION

1660 P1. 108

P3038

H 11

1659 P1. 108

P5891

G-H 10-11

Seven non-joining fragments. Max. dim. a) 0.08, b) 0.083, c) 0.037, d) 0.027, e) 0.026, f) 0.015, g) 0.018. Komasts.Fragmenta (illustrated)shows a komast(buttocks,some of legs, forearm,and hand) to right,the left foot and knee of a facingkomast,and someof the rays abovethe

Six non-joining fragments of wall and lip. Max. dim. a) 0.083, b) 0.023, c) 0.022, d) 0.029, e) 0.045, f) 0.047. the hind legs of one horseand beFragmenta preserves hind it the forefeetof another,bothto left. Fragmentc (not illustrated)gives the top of the head of a horse, and fragments e andf each preservea hind hoof as well as some of the dicingroundthe tondoon the inside. Fragmentb is und has dicingon inside.Red:mane. decorated;

298

CATALOGUE P 3040 bis No grid Three non-joining one (a) with someof bowl. fragments, Max. dim. a) 0.055, c) 0.029, z) 0.044. On the outside,warriors.Fragment a preserves the upper warriors(shields:deviceon one, a parts of two confronted lion'shead);face,spearhead of one on left. Fragment c gives someof the helmeted headand shieldof a warriorto left and z the raisedrightarm with spear,the rightshoulfragment der,andthe tail of the helmetcrestof a warriorto right.The absence of anotherwarrioron the left suggeststhatthis fragment belongsnear the handle.Red:mane of lion; insideof c. White:dotson rimsof shields; shield;helmeton fragment helmetcrests. The C Painter(ABV 52, 23).
Ca. 560 B.C.

The composition was probably a friezeof horsemen similar to othersby the C Painter:e.g., LouvreF 65 (ABV 52, 11); Mainz, Univ. 89 (Paralip.23, 12 bis);CorinthCP-552 (ABV 52, 13); and Montreal59.Cb. 2 (ABV 52, 14; Paralip. 23, 14). The C Painter(ABV 54, 67).
Ca. 560 B.C.

1663 PI. 109

1661 P1. 108

P 13858 T24:3

Lip fragment.Max. dim. 0.041. Two men (heads)to left. Red:beards,hairof manon left, fillet of right.White:chitonof man on left.
The C Painter (ABV 55, 82). Ca. 560 B.C.

1662 P1. 108

P 3040 No grid

Twenty-fournon-joiningfragmentsof lip, bowl, handle, and foot. Max. dim. d) 0.031, e) 0.045, f) 0.027, g) 0.036, h) 0.065, i) 0.104, j) 0.027, k) 0.034, 1) 0.015, m) 0.04, n) 0.029, o) 0.038, p) 0.074, q) 0.057, r) 0.033, s) 0.048, t) 0.028, u) 0.027, v) 0.035, w) 0.027, x) 0.031, y) 0.033, aa) 0.03, bb) 0.02. Some of the glaze on Side B and on the insidemisfiredbrown. the deer'shead I, deer.Fragmentr (illustrated) preserves and one hindhoof,and fragment q (illustrated) givespartof one foreleg. Fragmentsh-k, p, and t (j illustrated)give some of the decorationround the tondo, a tongue pattern betweenlines and dicing.A (illustrated), standingmen and u shows the back of the head of a man to youths.Fragment right, and fragmenti preservesthe lower part of a man to u, facingtwo others(legs right,perhapsthe one on fragment and drapery).Fragmentv shows the left elbow of a man to left and some of anotherfigure,perhapsa womanto right. d andx eachpreserve the headof a youth,one to Fragments w andy eachgive part left, the otherto right,and fragments of one leg thatmaybelongto them.Fragment e preserves the thighs and cloak of a man to left. Fragmentsh and n (not shown) preservehandle roots, and fragmentsh, i, and w showsomeof the bandof linesbelowthe figures.B, menand youths.Fragment p givesthe rootof one handleandthe feet and chitonof a man to right. Fragment some of f preserves the drapery of a man and fragment aa the head and shouldersof the same man. Fragment g gives somedrapery of a figureand on the right,a male footto left. Fragmentbb (positionuncertain)preservesparts of two figures (shoulders?). Fragmentsp and j give some of the band of lines 1(positionuncertain) belowthe figures.Fragments ands are rim fragments, the latterprobably fromthe areaoverhandle B/A (glazeis black,notbrown),forthereareno figurespreserved.Fragmentm givespartof one handleand fragment o someof the foot.Red:neckof deer;alternate cloaks. tongues; White:belly stripe;chitons. For the tondocomposition, cf. London,B.M. B 382 (ABV
51, 5). The C Painter (ABV 55, 81). Ca. 560 B.C.

P 3040 ter No grid Two non-joining fragments. Max. dim. cc) 0.023, dd) 0.032. Lip (cc), lip with startof bowl (dd). Fragmentcc preservesthe raised right arm with spear and the tail of the helmet crest of a warriorto left. Fragment dd gives most of the helmetedhead, part of a round shield (device:somethingwinged) and spear of a warrior, also to left. Red:helmets.White:alternatefeathers; dotson rim of shield;crest. The C Painter[Brijder]. 1664
Ca. 560 B.C.

P 3040 quater No grid 1665 Two non-joining fragments. Max. dim. b) 0.072, ee) 0.021. Lip (b), bowl (ee). Fragmentb preservesthe upper part of a warriorwith roundshield(device: to left (the rimof lion'shead)attacking the shieldof his opponentappearson the left). On the right, part of the raisedright arm of a warriorto right. Fragment ee givespartof a leg (greaved) andthe toe of the otherfootof a warrior,bothto left. Red:mane;helmet.White:segments of helmetcrest;dotson rim of shield;greave. The C Painter[Brijder].
Ca. 560 B.C.

P 30405 No grid Three non-joiningfragments. Max. dim. ff) 0.038, gg) 0.066, hh) 0.017. Lip (ff), lip and bowl (gg and hh). warriors Fragmentff preservesparts of two confronted (someof each shield;part of spearand frontof helmetcrest warof one on left). Fragment gg givestwo moreconfronted riors (some of shields; parts of legs of right), and fragment hh gives a bit moreof his shield rim. Red: insidesof shields;part of deviceon shield on right on fragmentgg. White:dotson rimsof shields;armband. The C Painter[Brijder]. 1666
Ca. 560 1667
B.C.

P 30406

No grid

Four non-joining of bowl. Max. dim. ii) 0.05, fragments 0.023. 0.031, kk) 0.013,11) jj) Symposion.Fragmentii preservesone leg each of two

CUPS couches,part of the mattress,and one leg of a table in front of the couchon the left. Fragment jj givespartof the leg of a table and the cornerof a stool. Fragmentkk showspartof a piece of furniture,and fragment11gives the foot of a couch leg. White:tops of couchlegs;furnitureon kk. For the subject,cf. 420. The C Painter(ABV 53, 39).
Ca. 560 B.C.

299 Relatedto the C Painter[Brijder].

Ca. 560
B.C.

1671 P1. 109

P 13347 H 10:2

1668 P1. 109

P6068

19:1

Fragmentof wall and offsetlip. Max. dim. 0.048. Horseman(left leg and hand holdingthe reins;shoulder, body, forelegs and one hind fetlockof horse) to left. Red: horse'sneck. For the subject,cf. 1660 (P1.108). Mannerof the C Painter(ABV 59, 5).
Ca. 560-550 B.C. 1669 P 5231 N 10:1

Fragment.Max. dim. 0.053. Lip and bowl, with startof handle on right. H. A. Thompson,Hesperia, Suppl. IV, Baltimore1940, p. 14, fig. 12:c. Man (right arm and most of legs missing) running to right, a cloak over both shoulders.Red: fillet;top of chest; partof cloak. The HeidelbergPainter(ABV 66, 51).
Ca. 560 B.C.

P 30408 No grid 1672 Bowl fragment.Max. dim. nn) 0.025. Woman (lower part of garment,feet) to left. Red: panel on garment. The HeidelbergPainter[Brijder].
Ca. 560 B.C.

1673

P 25345 T-U 19:1

Elevennon-joining of lip and wall; also partof fragments one handle. Max. dim. a) 0.145, b) 0.077, c) 0.102,
d) 0.058, e) 0.07, f) 0.033, g) 0.031, h) 0.035, i) 0.035,

Lip fragment with start of bowl. Max. dim. 0.053.

Youth (headand shoulder)to right.Red:hair.

Ca. 560 B.C.

j) 0.053, k) 0.048. I, sphinx seated to right, looking around, right foreleg someof her neckandhair,part raised.Fragmenta preserves of wing and forepaw.Fragmentb shows moreof the wing, and tail. In the supportiveforeleg,someof the hindquarters the field, imitation inscription.Round the tondo, tongue pattern(a and e), boundedaboveand belowby threelines.A
and B, horsemen and men (warriors?). Fragment a shows, on the far left, a horse's raised forehoof and a bird, the latter under the handle, both to right, then the feet of a standing figure. Fragment c preserves most of one rider (his head and some of his body are missing) and his mount, the tail of the horse in front of him, a foreleg of the one behind, and the hind legs and tail of a dog running alongside, all to right. The rider carries a crop which may be seen overlapping his horse's hindquarters. Fragment d shows the foot of a man running to right and a round shield lying on the ground. Fragment g gives the shoulders of another horse with the lower leg of its rider. Fragment h shows part of a decorated cloak. Fragments i-k preserve parts of heads and shoulders of riders or of men standing to right and f the buttocks and thighs of a man to right. On the lower right of fragment k is some glaze that may be part of a horse's croup; above, imitation inscription. Red: wing bow of sphinx; marking on hindquarters; alternate tongues; wing bow of bird; hair and

1674 P1.109

P 26646 No grid

Fragmentof lip and startof wall. Max. dim. 0.044. Satyr (most of head and shoulder) to left. Red: hair, beard,hair roundnipple.
Ca. 560 B.C.

1675 PI. 109

P8888 T19:1 Wall fragmentwith startof lip. Max. dim. 0.051. Satyr(body,thighs,startof tail), /to.C/evoS, to left.
Ca. 560 B.C.

1676

P 22899 M-N 15:1

Wall fragment.Max. dim. 0.035. Warriors: someof the thigh and the left arm of one holdhis out shield seen from the inside;the rim of his oping ponent's shield. Red: inside of shield except for strap. White:dotson rim.
Ca. 560 B.C. 1677 P1. 109

P 25855 S-T 23-24

Lip fragment. Max. dim. 0.043.

Woman (preserved from the waist up), perhaps a

maenad, dancing to right. In front of her, the raised hand of another woman. Part of the arm of a third woman appears at the left. Red: peplos, line on inside below rim. White: flesh. Ca. 550 B.C.
DOUBLE-DECKER DECORATION

beards(c, j); mane;markingon hindquarters (c); marking

on shoulder (g); decoration on garment (h); fillet (j).

Relatedto the C Painter(Paralip.26, 11 bis).

Ca. 560 B.C.

1670

P 30407

No grid

1678-1681 P 20716 R 11:2

Lip fragment. Max. dim. mm) 0.026. Sphinx (some of face, hair, wing bow) to left. Red: part of wing. White: face.

1678

P1. 109

Mended from many fragments, with missing pieces restored in plaster. H. 0.13; diam. 0.27. Some of the glaze is

300

CATALOGUE drinkinghorn.On the right,partof anotherfigure,perhaps the drapedshoulderof Dionysos or the beard of another circlesand myrtle.Red: satyr. Roundthe tondo,concentric hair, partof beard;rim of horn;figureat right. The HeidelbergPainter(ABV 64, 22).
Ca. 560 B.C.

abraded on the handles.Fasti Archaeologici 5, 1950, p. 140, fig. 21; E. Vanderpool,Hesperia 20, 1951, pp. 61-63, pls. 31, 32; J. M. Cook,JHS 71, 1951, pl. 47:c. I, beardedwarriorwearingan Orientalleathercap and greavesruns to left carryingtwo spearsand a roundshield man'sheadand shoulderswith dot rosette[nipples] (device: on each clavicle).Roundthe tondo,chain of palmettesand lotuses. A (illustrated)and B, lip: myrtle wreath; handle zone:horsegrazingto left. At eachhandle,palmette.Red:I, cap; greaves;rim of shield, face and neck of device;hearts and.alternate petals of palmettes,buds of lotuses;A and B, heartsand alternatepetmanes,markingson hindquarters; als of palmettes.White:I, row of dotson loweredgeof cap; of shield;dotson edgesof greaves. background ResemblesKassel T. 663 but is less like the C Painter (Paralip.25). For the myrtlewreathon the rim, cf. Taranto 5844 by the C Painter(ABV 56, 100);Naples Stg. 268 in his manner (ABV 59, 16); two related to him, Naples 2454 (ABV60, 5) and Stettin(ABV61, 9); also 1679 (PI. 110) by the HeidelbergPainter. 1678 is particularlyclose to London, B.M. 1947.7-14.16, which is relatedto the C Painter betweenhan(ABV 61, 8). This cup has a single horseman dle palmettesand a lotus-palmettefestoonon the lip that roundthe tondoon 1678. On each,the recallsthe ornament horsehas a heavy,solidmane,widely spacedincisionon the hindquarters,and a tail with the same rare herringbone incision.
Ca. 560 B.C.

1683

P 31075 I10:1

Wall fragment.Max. dim. 0.031. Burned. Warrior(someof torso, hand holdingspear), movingto right. On the right, part of an objectthat is probablythe insideof a compass-drawn shield.Red:smallareanearlower break.White:chiton. Recallsthe C Painter[Brijder]. Secondquarterof the 6th centuryB.C. P 13250 H9 Max. dim. 0.05. Lip fragment. Round the lip on inside:chain of palmettesand lotuses on the outside.Red: (partof each unit). The lip is reserved heartof palmette; centerof lotus. For a similar,althoughmorecarefullydrawn lotus-palmette ornament,cf. those on the lips of two double-decker Siana cups: Athens, N.M. 529, close to the Heidelberg Painter(ABV 67, 1), and an unattributed one fragmentary from Naukratis, London, B.M. B 601.41 (Beazley and of ornament Payne,JHS 49, 1929, pl. 16:11).The presence on the insideof the lip of 1684 appearsto be unparalleled.
Ca. 560 B.C.

1684 PI. 110

1679 PI. 110

P3268

E 14:11

Fragmentof wall and lip. Max. dim. 0.052. Warriors(headsof two, face of a third, their shields)to surfaceof shieldon left. On lip, myrtleleaves.Red:helmets; of rim middle device of left; one; (mane horse or lion to dots on rim of shield on left, on one on White: right) right. surfaceof middleshield;dotson crestsupports.
The Heidelberg Painter (ABV 64, 10). Ca. 560 B.C. 1680 P1. 110 P 6066 1 9:1

LITTLEMASTER CUPS 1685-1745 LIP-CUPS 1685-1696

Fragmentof lip and wall. Max. dim. 0.05. Feline (body, hind legs) to left; palmetteat handle. On lip, ivy. Red: markingson shoulderand on hindquarters; heartof palmette.
Ca. 560-550 B.C. 1681 P 3971 H 8-10 (?)

P1242 G6:3(L) H. diam. of rim 0.215. Part of foot 0.14; Fragmentary. and one handle, all of one side, part of the other restored in plaster. E. Vanderpool, Hesperia 7, 1938, p. 388, no. 21 and p. 389, fig. 24. I, reserved tondo with circle. On lip, man seated to right on an okladias, flanked by two nude youths facing inwards. In handle zone, imitation inscription. Palmette at each hanPl. 110 palmettes. Ca. 550-530 B.C. 1686 P 13349 H 10:2

1685

dle. Red: cloak, hair, and beardof seated figure;heartsof

Fragment. Max. dim. 0.063. Lip, some of wall, and stub

of one handle. On lip, frieze of uprightlotus buds. In the handlezone, cock to right. Under the handle, floral (part). Red: wing bow. White:stripsat baseof feathers.
Ca. 560-550 B.C.
SCHEME OF DECORATION UNCERTAIN

Fourteen non-joining fragments of lip, wall, and foot. Max. dim. a) 0.064, b) 0.035, c) 0.035, d) 0.032, e) 0.036, f) 0.056, g) 0.085, h) 0.034, i) 0.022, j) 0.034, k) 0.074, 1) 0.03, m) 0.145, n) 0.073. H. A. Thompson, Hesperia, Suppl. IV, Baltimore 1940, p. 14, fig. 12:d. I, reserved tondo with circle. A and B, inscription. Frag-

1682-1684

P 6059 No grid 1682 PI. 110 Floorfragment.Max. dim. 0.036. I, satyr (head, part of left arm) to right, holding a

doubtless the signature mentg gives partof one inscription, of the potter,Tleson: h N g JOErlIE5[ one letter ]N[ belongingto one of the Fragmenth preserves
two names. Fragment i preserves part of the tendril of a

CUPS handle palmette;fragment j shows a handle palmette;and of k the start a handle and the spiral of the fragment gives Red: palmette.The rest of the fragmentsare undecorated. heartof palmette. The Tleson Painter(ABV 182, 28).
Ca. 550-530
B.C.

301 P4630 F-G 12:1

1691 PI. 110

Fragmentof lip and wall. Max. dim. 0.058. R. Young, Hesperia,Suppl. II, Athens1939, p. 119, B 35, fig. 86. Sirento rightwith wings spread.Red:barson wings and tail. White:face;stripson eitherside of bars.
Ca. 550-530
B.C.

1687 Pl. 110

P3041

H 11

1692 Pl. 110

P 25713 0-Q 16-17

Wall fragmentwith startof lip. Max. dim. 0.056. Panther (preserved except for tail, some of face and left hind leg) to right facing a grazing deer (head, neck, body, most of legs). Red: necks; markingson shouldersand on hindquarters. The earliestlip cup with figuresin the handlezone is the "quasi-lip-cup,hybrid, with Siana foot" by the Amasis Painter,LouvreCA 2918 (ABV 157, 85; Bothmer,Amasis Painter,pp. 212-214, cat. no. 58); cf. also, Munich2170 (A and B, komasts) and Basel Market (Miinzen und Medaillen, Sonderliste G, 1964, no. 60). Ca. 550 B.C.

Lip fragment.Max. dim. 0.031. Pantheress(hind legs, some of belly) to left. Red: belly stripeand teats.White:dotson coat;line alongbelly. For the spots on the pantheress,cf. those on Basel, B.S. 405 by the Tleson Painter(Paralip.75, 13 ter) and the namepieceof the OakeshottPainter (Paralip. 78, 2). The drawingon 1692 is hastier.
Ca. 550-530
B.C.

1693 Pl. 110

P 22340 015

1688

P 1243 G 6:3 (L)

Max. dim.0.031. Reserved line on outside. Lip fragment. of his mount)gallopHorseman(mostof rider;foreparts ing to left. Red:mane.White:chiton. Third quarterof the 6th centuryB.C. 1694 Pl. 110 P 17811 J18:4(L) Fragmentof lip and wall. Max. dim. 0.05. In handlezone:
]\E Ca. 550-530
B.C.

Lip and wall fragment.Max. dim. 0.10. E. Vanderpool, Hesperia7, 1938, p. 389, no. 22, fig. 25. to right,facinga hoplitedownon one Youthon horseback out his knee, holding shield, his arm raised but without a In the handle imitationinscription. zone, spear.
Ca. 540-530 B.C.

1689 P. 110

P6069

I9:1

1695 P1.110

P 4670 E-F 12-14

Fragmentof floorand stemof foot. Max. dim. 0.098. Armingscene.On the left is a man (headand torso)leaning over slightly,probablyputtingon a greave.He wears a chitonand has a scabbard. In frontof him is a woman(head, in a chiton and himationabout to put a arm, torso) right Corinthianhelmeton the warrior'shead. In her left hand, she holdsa spear.On the left, a nonsenseinscription:

Wall fragment.Max. dim. 0.07. Nonsenseinscription: IK l iLK,EL + Z Kk

Ca. 550-530 B.C.

1696 P1.110 Wall fragment.Max. dim. 0.035. Nonsenseinscription:

Ca. 550-530 B.C.

P4238

E14:11

EO++[
on the right,the startof another:

E+[
Round the tondo, tongue pattern. Red; details on helmet; hair and beard;fillet of woman;head of spear;inscription; alternatetongues.White:warrior'scorslet;woman'sflesh.
Ca. 550-530 B.C.

BAND-CUPS

1697-1742

P 1249 G6:3(L) 1690 Two non-joining fragmentsof floor.Max. dim. a) 0.041, b) 0.485. E. Vanderpool,Hesperia 7, 1938, p. 390, no. 23 and p. 392, fig. 28. I, Dionysos to right. Fragmenta gives the back of the god'shead with ivy wreathand part of his shoulder.In the field, a branch.Round the tondo, three lines, then tongue pattern.Fragmentb gives moreof the tonguepattern.Red: hair and beard;alternatetongues.White:chiton. Third quarterof the 6th centuryB.C.

P3853 G 11:5 One handle, fragments of rim and wall restored. H. 0.125; diam.at lip 0.208. medallion with circleandcentraldot.A and B, I, reserved young Triton to right, with a dolphinin his left hand. At eachside,a youthmovingaway,lookingaround,anda spectator lookingon. On one side (illustrated), the spectator on the left is almostcompletely On the of some other, missing. Triton'stail, the upper parts of the youth on the left, both spectators, partof the legs of the youthon the rightare missing. At each handle,palmette(palmetteon the left on one side missing). Red: hair; panels on garments;hearts and

1697 PI. 111

302

CATALOGUE
1702 P 13348 H 10:2

alternatepetals of palmettes.White: dots on fins and on sleevesand neckof Triton'schiton;diagonallines with dots on chitonsof spectators. Ca. 540 B.c.
1698 P 10787 G 11:5

P.H. 0.079; diam. at rim 0.20. Fragments of rim and wall

restored.Foot, stem,and handlesmissing. medallion.A, youthleadinga horseto left, beI, reserved tween standingyouths,somedraped,othersnudeexceptfor as A flanka cloakoverthe left arm. B, youths,presumably ing a youth leadinga horse (now missing).At each handle, ters;cloakhangingup; alternatepetalsof palmettes.White: dotsof rosettes; diagonallines on somechitons;tail.
Ca. 540 B.C. 1699 P 1240 G 6:3 (L) palmette (missing on A). Red: panels and cores of rosettes on garments; hair of some youths; mane, marking on hindquar-

P.H. 0.06; diam. at rim. 0.135. Foot and Fragmentary. H. A. Thompstemmissing.Much of wall and lip restored. son, Hesperia, Suppl. IV, Baltimore 1940, p. 13, b and p. 14, fig. 11:b. tondowith circle.On one side,feline(hindlegs I, reserved and tail) to right.At handle,largelotus buds. Most of handle zone on other side missing except for some of lotuses. Red:budsinsidecalyxes. Third quarterof the 6th centuryB.C. 1703 P 25299 G-I 11-12

much of lip, wall, and foot restored. Profile complete. E. Vanderpool, Hesperia7, 1938, p. 391, no. 25, fig. 27. with circle and central dot. A and B, reserved tondo I, komasts. On each side, four couples dancing, the youths nude to right, the women in short chitonsfacingthem. On one side, partsof only five figuresremain;on the otherall of five and parts of two others remain. At each handle, palmettes(only one preserved).Red: fillets and chitonsof women; hearts of palmettes.White (nearly all vanished): women'sflesh (applieddirectlyon the groundfor arms). Third quarterof the 6th centuryB.C.
1700 Pl. 111

Fragmentary. H. 0.145; diam. at rim 0.223. Handles,

Fragment.P.H. 0.074; diam. at rim 0.183. Lip and wall frombothsides;one handle. I, reservedtondo with circle. A and B, deer to left, between felines facing inward:on one side, most of the deer and feline on the right (panther);on the other,most of the deerand feline on the left (headmissing).Red:neck;markWhite:belly stripes. ings on hindquarters. Third quarterof the 6th centuryB.C. 1704 P. 111 P 13032 U25:2(U)
P 23149 I 12

Three non-joiningfragments. Max. dim. P 13032 a:

0.066, P 13032 b: 0.032, P 23149: 0.078. Two non-joining

lip fragments(P 13032 a and b), wall fragmentwith the startof one handle(P 23149). P 13032 a preserves, on the inside,partof the stern,with its own rails and supports,the top of the tiller, and the
carved poop of a ship sailing to left. The helmsman sits in

P 15377 B21:20

H. 0.125;diam.at Someof lip and partsof sidesrestored.

rim 0.208. Glaze is abraded on part of lip. Vanderpool,

the stern,clad in a himation.Above,on the left, part of the sail and halyard.On the outside (not illustrated)are the verytops of two headsin the handlezone. P 13032 b shows partof a sail andthe halyardsof anothership, also sailingto
left. P 23149 preserves, on the inside, some of the prow of a

Hesperia15, 1946, pp. 131-132, no. 20, pl. 20:5;R. Young,

Hesperia 20, 1951, p. 89, Grave 6, no. 2, pl. 39:b 2.

ship with the ear of the boar'shead and aboveit, the bow
compartment, which is decorated with crosshatching and has a tall, straight stem post. On the right of the bow

I, reservedtondo with circle and centraldot. A and B,

panther to right, between grazing deer. At each handle, a

palmette.On one side (not illustrated),much of the panther'sbodyand legs and the head of the deeron the left are hearts missing.Red:necks;ribs;markingson hindquarters; and centralpetalsof palmettes.
Ca. 540 B.c.

and abovethe gunwhaleis the rail of the ship compartment

with its short vertical supports. Between each rail support, as if in a "window", is the head of an oarsman. The three diagonal lines on the hull probably represent oars. On the outside (not illustrated), part of a handle palmette. Red:

1701

P 8737 N 18:2

hulls. White:sails. For ships,cf. particularly, J. S. Morrisonand R. T. Williams, Greek Oared Ships 900-322 B.C., Cambridge 1968 and L. Casson, Ships and Seamanship in the Ancient World, Princeton 1971. Ships round the rims of band cups on the inside are very rare. There are two examples known to us: one related to the Lysippides Painter, Berlin 1800 (ABV 265; JdI 86, 1971, p. 81, figs. 1, 2 and p. 84, fig. 6: detail of one ship); an unattributed one, Louvre F 145 (CVA, Louvre 9 [France 14], pl. 88 [629]:2 and 4-6; AK,

Wall fragment. P.H. 0.053. I, reserved tondo. On one side of exterior, a ram to left facing a panther (muzzle, body, most of legs). On the other,

to right. ram (tail, hind leg) to left, feline (hindquarters) Red: neck, scrotum(overwhite), markingon hindquarters
of one ram; tail of other; neck and marking on hindquarters of panther on one side. White: horn; dots on body of ram; belly stripes. For a panther confronting a ram, cf. Richmond 62.1.15 by Elbows Out (Paralip. 112, 38 ter; Reed and Near, op. cit. [footnote 12, p. 6 above], pp. 74-75, no. 90). Third quarterof the 6th centuryB.C.

Beiheft7, 1970, pi. 12:1;for a gooddetail,cf. Morrisonand Williams, op. cit., pl. 16:d). 1704 is closerto the latter in
many details, especially the crosshatched bow compartment and the stern with its separate rail. Ships round the insides of rims are frequent on black-figured dinoi from about 540-

CUPS 530 B.C. on, and they appearoccasionally on column-kraters and volute-kraters as well (see above,p. 34). On all these, whetherdrinkingcup, krater,or dinos, the ships appeared to sail on a sea of wine. 1704 very likely had figureddecorationin the tondo,as Berlin 1800 (fight)and LouvreF 145 (Poseidonriding a sea horse), but nothing of this part remains. For Attic black-figured cups with friezesroundthe AK, Beiheft7, 1970, pp. 33-46; tondo,cf. K. Schauenburg, AA (JdI 97), 1976, pp. 281-290. J. Boardman,
Ca. 530-520
B.C.

303

A and B, two wrestlersbetween draped spectators.At each handle,palmette.On one side, the wrestleron the left, spectator,and palmetteare missing.On the other,the head and bodyof the wrestleron the left are missing.Red:hair; chitons of spectators;hearts and alternate petals of palmettes.White:lines outliningred sectionof garments; diagonal line of dotson centralpanel.
Ca. 540 B.C.

1710 P1. 111 P 12533 No grid

P 1123 F-H 13-16

1705 Pl. 111 Wall fragment.Max. dim. 0.035. Inscription: Third quarterof the 6th centuryB.C.

Wall fragment.Max. dim. 0.044. Two nude males (foot of one; all but face of the other) with his headturnedaround. runningto right,the foremost On the right,a drapedfigure(lowerhalf) standingto left. In the field,a blob. Red:hair. White:line on foldof drapery.
Ca. 530
B.C.

1706 P1. 111 P 1990 Q 13-14:1 (L) Wall fragment.Max. dim. 0.042. Inscription: Third quarterof the 6th centuryB.C. 1707 Pl. 111 P 8878 S 18 Wall fragment.Max. dim. 0.027. Charioteer(preservedto waist) standingin a chariotto right. Behind him is a warrior (right elbow) to left with spear (end of shaft)poised.In frontof the charioteer: White:chiton. The small bit of glaze projectingabove the charioteer's neckis the "neck-piece" (cf. L. D. CaskeyandJ. D. Beazley,
Attic Vase Painting in the Museum of Fine Arts, Boston,

1711 P. 111

P 23405 N16

Wall fragment.Max. dim. 0.043. Horseman(his leg; most of mountexcept for hindquarters and tail) to left, preceded by a drapedman (headmissalso to left. Red: fold of mane.White:dotson ing) drapery; garment.
Ca. 540-520 B.C.

1712 PI. 111 Wall fragment.Max. dim. 0.053. Horsemanto left.

Ca. 540-520
B.C.

P 23267 M 16

Boston1963, p. 22). A drawstring was threaded throughthe to the at the and the ends neck, "neck-piece" tighten garment of the "neck-piece" were woundup into a little bunch.
Ca. 540
B.C.

P 1244 G6:3 (L) Fragmentof lip and wall. Max. dim. 0.053. E. Vanderpool, Hesperia7, 1938, pp. 391-392, no. 26, fig. 28. Horseman(hindquarters missing)gallopsto right facing a drapedyouth (head, part of chest). In the field, hanging cloak.Red:mane;stripeon cloak;hair;partof drapery. Third quarterof the 6th centuryB.C. P9277 M17:4 Wall fragment.Max. dim. 0.05. Horseman(calfof rightleg, someof the headandbodyof his mount,its forelegs)gallopingto right.In frontof him is a It is too high in strip of glaze that is difficultto understand. the composition to be the tail of anotherhorse,and it cannot be the tendrilof a palmetteat the handle.It looksmostlike the sicklefeatherof a cock (cf., e.g., some in the mannerof ElbowsOut, St. Louis, WashingtonUniversity3285: ABV 251, 6), but it would be unusualfor such a bird to be combinedwith a horseman. Third quarterof the 6th centuryB.C. 1715 P 456 G 13 1714 P1.111

1713

G6:3(L) About half of lip and wall, with roots of one handle. P.H. 0.082. E. Vanderpool, Hesperia 7, 1938, p. 390, no. 24, fig. 26; EAA I, p. 145, fig. 204. Camp,op. cit. (under 319), ill. 27. Five pairs of satyrs and maenadsdancing,the satyrs to right,the maenadsto left, wearingpeploi.At eachhandle,a overfolds of all peploi;enpalmette.Red:filletsof maenads; tire peplosof 2 and 6; dots on skirtof 4; bandon skirtof 8; heartsof palmettes.White:femaleflesh (white of arms applied directlyon the clay). The Namepieceof the Painter of Agora P 1241 (ABV 191, 2; Paralip.79, 2). Third quarterof the 6th centuryB.C. 1709 P 10786 G11:5 Rest. H. 0.193. Foot missing. Part of one handle,center of floor,abouthalf of wall and lip restored.

1708 Pl. 111

P1241

Fragmentof lip and wall. Max. dim. 0.052. Horseman(head and hands;head and neck of horse) to right.On the right,partof anotherfigure(bentarm?).Red: hair of rider.White:mane. Third quarterof the 6th centuryB.C.

304 1716 PI. 111 P23404

CATALOGUE M16 P 26645 U 19:2 1723 P1.112 Two non-joiningwall fragments. Max. dim. a) 0.05, b) 0.03. Erotic scene. Fragment a (illustrated)shows a youth (head,torso,rightarmandleg) bendingovera womanon all fours.On the right,the lowerleg and partof a secondmale, facing.Abovethe woman,the ends of a hangingcloak.At the verytop, a bit of glaze at the top of the band.Fragment b preservesthe head, shoulders,and extendedleft arm of a or bendyouthto rightand the bodyof a womancrouching ing to right.Red:youth'shair on b. White:women'sflesh. Third quarterof the 6th centuryB.C. P 13815 U25:2(M) Fragmentof rim and wall. Max. dim. 0.033. (mostof man;all of womanexceptfor lowLove-making er legs). On the right,an object,perhapspartof a couchor a pillow, for the woman'selbow rests againstit. Red: man's hair. White (applieddirectlyon the clay):woman'sflesh. Third quarterof the 6th centuryB.c. 1724 1725 P 20007 D 17 Wall fragment.Max. dim. 0.045. Three males(drapery of one;heads,partsof drapedbodies of the other two) to right. Red: hair of male on right; foldsof garmentsof othertwo. White:crosseson draperyof secondfigure. Third quarterof the 6th centuryB.C. 1726 PI. 112 P 10905 B 13:5 Wall fragment.Max. dim. 0.026. Satyr (preservedexcept for legs, some of tail) to right. Red:tail. Third quarterof the 6th centuryB.C. P 26747 T-U 19-20 (II) Wall fragment.Max. dim. 0.022. Ithyphallicsatyr (head, one arm, some of body, right to left, holdinga drinkinghorn. Red:hair thigh) advancing and beard. Third quarterof the 6th centuryB.C. 1727 PI. 112 1728 P 341 G 14 Wall fragment.Max. dim. 0.037. Two youths(upperparts),one holdinga spearor a staff, of figureon right.White:dots to left. Red:panelson drapery on garments. Third quarterof the 6th centuryB.C. P26231 Q20:1 1729 P1.112 Wall fragment.Max. dim. 0.048. Silhouettetechnique. Komos.Lowerpartsandrightarmof a manbendingover on the raisedfootof to rightaboutto pickup a cup balanced a man movingto left. On the far left, a small bit of glaze, perhapsthe end of a frondof the palmette. Third quarterof the 6th centuryB.C.

Wall fragment.Max. dim. 0.032. Pegasos (shoulder,start of wing, forelegs,part of body, one hind hoof) to left. White:Pegasos. Third quarterof the 6th centuryB.C. 1717 P3854 G 1:5 Wall fragment.Max. dim. 0.045. Horse (headand neck)to right,and in frontof it, partof a handlepalmette(endsof two fronds).Red:mane;alternate fronds. Third quarterof the 6th centuryB.C. 1718 P 1245 G 6:3 (L) Wall fragment with part of rim. Max. dim. 0.056. E. Vanderpool, Hesperia7, 1938, p. 392, no. 27, fig. 28. Youthlungingto left with a cloakoverhis arm,attacking an animal, perhapsa lion. On the right, part of a draped spectator.Red:partof animal. Third quarterof the 6th centuryB.C. 1719 PI. 111 P4637 F-G 12:1 Fragmentof lip and wall. Max. dim. 0.056. andfeet) Man (preserved exceptforlowerpartof drapery to right watching a nude athlete (torso,parts of arms and legs) lungingto right. Red:hair and beard;coresof rosettes on garments.White:dotsof rosettes. Third quarterof the 6th centuryB.C. 1720 Pl. 111 P 26440 T19:1 Wall fragment.Max. dim. 0.032. Centaur(someof beard,torso,rightarm holdinga stone, mostof horsepartsexceptfor hoofsand tail) to left, looking around.Red:beardand hair. White:stone.
Ca. 550-530 B.C.

1721 PI. 112

P 4947 F-G 12:1 (?)

Wall fragment.Max. dim. 0.038. Woman (lower legs draped)seated to right on a throne with legs terminatingin feline feet. On the right, a male (part of one leg) crouchingor dancingto right. Red: garment.White:feet of woman. Third quarterof the 6th centuryB.C. P 24951 Q 13:5 1722 PI. 112 of wall. Max. dim. a) 0.051, Two non-joining fragments b) 0.041. Pygmiesand Cranes.Fragmenta (illustrated)shows the upperpartof one pygmywith a cordmovingto left, seizinga craneby the neck (neck,breast,part of wing remain),and on the right,partof the wing of a secondcraneto left. Fragment b gives part of the bodyof a craneand on the right at the break,the foot of a pygmyto right. Red:bar on wing of firstcraneon a; cord.White:stripoutliningredbaron wing. For the subject,cf. 1471. Third quarterof the 6th centuryB.C.

CUPS 1730 P 5893 d No grid 1738 P3073

305 H 11

Wall fragment.Max. dim. 0.027. Panther(headand neck)to right.White:spotson neck. Third quarterof the 6th centuryB.C. 1731 PI. 112 P 23235 M 15 Wall fragment.Max. dim. 0.035. Panther(head,neck,shoulder)to right.On the right,part of anotheranimal (tail, some of hind leg), perhapsa deer, also to right. Red: marking on shoulder. White: dots on neck;tail.
Ca. 540-520 B.C.

Wall fragment.Max. dim. 0.035. Ram (mostof head, neck and shoulder,forelegs)to left. Red: markingon neck. White:horn, markingon shoulder, belly stripe. Third quarterof the 6th centuryB.C. 1739 P 26643 T-U 19-20 (I) Wall fragment.Max. dim. 0.036. Deer or goat (start of neck, shoulder,some of body and legs) to left. Red:neck,ribs. Third quarterof the 6th centuryB.C. 1740 P 20567 P-R 6-12 Fragmentof wall and lip. Max. dim. 0.044. Deer, ram, or goat (shoulder,start of neck) to left. Red: neck. Third quarterof the 6th centuryB.C. 1741 P 4672 E-F 12-14 Two non-joiningwall fragments.Max. dim. a) 0.046, b) 0.035. Fragmenta preservesmost of two cocks(the legs of one and the headof the otherare missing),bothto right.On the left, at the break,is a bit of glaze that maybe partof another figureor some of the handlepalmette.Fragmentb shows a bird (lower part of body, tail, legs) to left. Red: a) neck, stripeon wing of cockon right;wattlesandsicklefeathersof cockon left;b) wing bow. White:a) cockon left;two stripes on one on right;b) stripoutliningbreast,bar on tail. Third quarterof the 6th centuryB.C. 1742 P 22320 0 7 Wall fragment.Max. dim. 0.033. Cock(legs, end of tail missing)to left. Red:wing. White: line on breastand tail. Third quarterof the 6th centuryB.C.
LITTLE MASTER CUPS, TYPE UNCERTAIN

1732

P 6089 H 8-10

Wall fragment.Max. dim. 0.037. H. A. Thompson,Hesperia 6, 1937, p. 127, fig. 68:b. Panther(hindquarters missing)to right.Red:ears,marking on shoulder.White: dots on foreheadand neck; belly stripe. Third quarterof the 6th centuryB.C. 1733 P 5893 c No grid Wall fragment.Max. dim. 0.028. Panther(neck,someof headandbody)to right.Red:ribs, markingon shoulder. Third quarterof the 6th centuryB.C. 1734 P 5892 No grid Two non-joiningwall fragments.Max. dim. a) 0.035, b) 0.067. a deer (hindlegs, partof foreleg)to Fragmenta preserves left and part of a palmetteat the handle.Fragmentb shows the legs of a feline to right. Red:markingson hindquarters. Third quarterof the 6th centuryB.C. P 5893 a, b No grid Two non-joiningwall fragments.Max. dim. a) 0.053, b) 0.038. Animals.Fragmenta preservesmost of a panther(neck, body,someof legs) to right.Fragmentb showsa fallowdeer White:spots (body)to left. Red:markingson hindquarters. on neckof pantherand on backof deer. Third quarterof the 6th centuryB.C. 1735 P 13749 U 23:2 (M) Wall fragment.Max. dim. 0.041. Glaze fired brown on outside. Ram (small parts of body and legs missing)to left. Red: neck.White:horn,belly stripe,scrotum. Third quarterof the 6th centuryB.C. 1736 1737 P1.112 P6077 H 8-10 Wall fragmentwith startof handle.Max. dim. 0.05. Ram (head,neck,body,legs) to right.On the right,at the handle,part of ornament.Red:neck.White:horns. Third quarterof the 6th centuryB.C.

1743-1745 P 13246 H9

1743 Pl. 112 Wall fragment.Max. dim. 0.023. In handlezone: JE lE

Little MasterCups:Signatures, the Name Missing(ABV 187, 16).

Ca. 550-530
B.C.

1744 PI. 112 Wall fragment.Max. dim. 0.024. Inscription: Ic1f>-Y,^

P 24950 Q13:5

Little MasterCups:Signatures, the Name Missing.

Ca. 550-540 B.C.

306 1745 P1.112 Wall fragment.Max. dim. 0.04. Nonsenseinscription: Third quarterof the 6th centuryB.C.
CASSEL CUP 1746

CATALOGUE P7135 H8 this side of the cup. Fragmentd gives moreof this side, the foot and calf of the satyr on the left, a wing, and the lower part of the eye on the left. In the field, part of an imitation On the far right,a bit of glaze that indicatesthe inscription. handleroot. Below the figures,a row of myrtleleaveswith dots in the interstices,then a black band, a doublerow of dots betweenlines, and rays. Fragmente (not illustrated) comesfromthe otherside of the vase and preserves moreof the decoration below the handle zone. Fragment f (not illustrated)shows some of the handle palmetteon the left fromthis side,the satyron the left (fromthe waist up), part of the eye on the left, and imitationinscriptions. g Fragment (not illustrated) preserves partof the righteyebrow,an imitationinscription, anda smallbit of glazethat represents the bent elbowof the satyrbetweenthe eyes (compare the satyr on fragmentb). Red: hair and beards;ring round pupils; heartof palmette.White:eyes;secondwhite ring roundred ring on b; dots roundheartof palmette.On fragmentf,the eye is a rust colorand the addedcolorhas flaked. For figuresbetweenthe two eyes and betweeneach eye and the handle palmette, an unusual combination,cf. Louvre F 120, a cup that is like Type A but with a very short stem, the bowl incurvedat the bottomlike Types B and C: the namepiece of the painter(ABV 630, 1). Third quarterof the 6th centuryB.C. P 13835 U25:2 (L) Wall fragment.Max. dim. 0.07. Brownwash on ground. Male (someof torso,legs, rightelbow),perhapsajumper, to right. At the left, a handle palmette.The bit of glaze above,at the break,is unexplained; probablyit is the end of a cloakhangingup or a splashof glaze.
Late 6th century B.C.

P 14053 Q18:1 Wall fragment.Max. dim. 0.035. E. Vanderpool,Hesperia 8, 1939, p. 260, no. 11, fig. 16. Two dancers(head, body, part of arms and legs of one; elbow, chest of other) to right. Above, three lines; tongue pattern.Red:hair;alternatetongues. The original appearanceof 1746 was probablyclose to Eine niethese two: The Hague (G. Schneider-Hermann, 1746 P1. 112
derldndische Studiensammlung antiker Kunst [BABesch,

Suppl. I], 1975, pl. 37, fig. 98) and Athens, N.M. 19161, fromVari. Each has three dancersin the handlezone with three lines aboveand a tonguepatternon the rim. At each handle, there is a palmette;below the figuresis a band of myrtleand rays.
Ca. 550-525 B.C.
DROOP CUPS

1747-1752

1750 Pl. 112

1747 P1.112

P4657

G12

Wall fragment.Max. dim. 0.107. Silhouettetechnique. tondowith circle.On outside,rays,concentric I, reserved circles,hares (all of one, partsof two others)drawnupside circlesand a bit of figureor the down,then moreconcentric handledecoration.
Ca. 550-540 B.C.

1751 PI. 112 P 26748 T-U 19-20 (II)

P 26538 T 18:3

1748 P1.112

Floor fragment.Max. dim. 0.04. Silhouettetechnique. On outside, from center:band of chevrons;lines and a black band;frieze of animals (deer or goat) drawn upside
down. Ca. 550-540 B.C.

of wall and offsetlip. Max. dim. 0.029. Fragment Warrior(helmetedhead, raisedarm with spear) attacking to right. Traces of anotherfigure (raisedarm) on left. Red:helmet;stripeon garment.
Ca. 540-530 B.C.

1752

P7902

T 19:1

P 20691 Q 10:1 1749 P1.112 Sevennon-joining Max. dim. a) 0.14, b) 0.11, fragments. c) 0.068, d) 0.208, e) 0.122, f) 0.076, g) 0.055. Offset lip, wall, and handle.Hole for ancientrepairon fragmentd at
the bottom of the rays. To judge from the character of the glaze and what remains of the figured decoration, fragments a-d come from one side of the vase, e-g from the other. I (not illustrated), reserved tondo and narrow bands on lip, one below rim, the other at junction with bowl. A and B, satyrs, between eyes, between palmettes. Fragment a gives the ends of the leaves of one handle palmette and a bit of an imitation inscription. Fragment b shows a satyr (from the waist up) arms akimbo, between eyes (half of one on left, part of brow of one on right); in the field, imitation inscripbetween the right eye and palmette (mostly preserved) on

of footwith wide, flat restingsurface.Diam. of Fragment foot 0.09. Vanderpool,Hesperia 15, 1946, p. 132, no. 23,
pl. 22:7.

On restingsurface: I k OV'( N NIRKO~,'[ Nikosthenes,X, Cups:VariousPainters(ABV 233, 22).

Ca. 530 B.C.

TYPEA AND SUB-A 1753-1779

1753 PI. 113

P6079

H 8-10

the satyr (someof legs missing) tions. Fragmentc preserves

Lip fragment. Max. dim. 0.061. Part of right eye (drawn in outline) and eyebrow, and on the right, the back of a woman's head (a bust) with an ivy wreath, part of her neck (reserved), some of the border of

CUPS her chiton,to right. Red: leavesof wreath;chiton;key pattern on borderof chiton. with that of the The size of the woman'shead compared was a rathertall bust, eye indicatesthat the representation that her shoulderand part of her chest were shown. The known to us appearson an eye cup in the best comparison Villa Giulia, 63613: A and B, betweeneyes, bust of Herakles between the busts of two warriors.The root of each handleoverlapsthe headof a warrior.The drawingon 1753 recalls that of the Amasis Painter, who frequentlyleft female flesh reservedinstead of painting it black. Cf., e.g., Berlin 3210 (ABV 151, 21; Paralip. 63, 21; Bothmer,
Amasis Painter, p. 49, fig. 45); Cab. Med. 222 (ABV 152,

307 P 14380 N 10:1

1759

H. 0.09; diam. at rim 0.193. Part of one Fragmentary. Much of the glaze is handle,muchof rim and wall restored. flakedand abraded. A and B, symposion. I, figureto right, slightlycrouched. on each side) reclinesto left on Drapedfigure(partmissing a couch.In frontof it is a table with piecesof meat.At the footof the couchis a figure(headmissingon one side)seated to right on an okladias.On each side, a satyr (one missing) movesaway lookingaround.In the field, branches.Under each handle, leaf. Red: band on inside of stem just above
foot.

25; Paralip. 63, 25; Bothmer,op. cit., pp. 125-129, cat. no. 23); Samos (ABV 151, 18; Paralip. 63, 18; Bothmer, op. cit., p. 109, fig. 67). For the subject,cf. Vacano,op. cit. (under1).
Ca. 540-530 B.C.

For the subjecton A and B, cf. 420. Early 5th centuryB.c. 1760 P 21285 N-07 Fragmentof stem,floor,and wall. Max. dim. 0.09. I, satyr (feet missing)to right, lookingaround,holdinga horn(?).A, chariot(wheel and someof the box;hind feet or tails of the horses)to right. Behind the chariot,a woman (feet) and the foot of anothermountingthe vehicle.On the left sideof the teamis a figure(feet).On the far left, someof the handle decoration.Red: stripes on garmentof accompanyingfigure.White (applieddirectlyon the clay):feet of woman. Mannerof the HaimonPainter(ABV 564, 583).
Ca. 490-470 B.C.

1754 P1. 113

P 13039 U25:2 (U)

Wall fragment.Max. dim. 0.05. Eye. Red: dot at center of eye; ring round iris. White: white of eye.
Ca. 530-510 B.C.

1755

P 13747 U 23:2 (M)

Wall fragment.Max. dim. 0.056. Satyr (body, part of legs) squatting to left with head turnedaround(end of beardon right) with another(arm?) beforehim. On the right,eye. Red:beard;ring roundpupil. White: strip on tail, markingon body;ring roundiris;outline of eye. Last quarterof the 6th centuryB.C. 1756 P1. 113 P 5230 N 10:1 Lip fragment.Max. dim. 0.073. Between eyes (part of one at right), a youth (head and shoulders)to left. In the field, branches.Red: fillet. White:
iris. Early 5th century B.C.

P 10825 No grid Max. dim. a) 0.14, b) 0.059. Two non-joining fragments. Wall with beginningof handle,floor,and stemwith fillet at junctionwith bowl (a); wall (b). tondowith circle part of a reserved Fragmenta preserves at one and centraldot and some of the palmettedecoration handle;next to it is a man (legs, end of cloak) pursuinga 1757
woman (foot, some of drapery) to right. Fragment b gives some of another handle palmette. Early 5th century B.C. Q12:3 Fragment of stem and tondo. P.H. 0.31; diam. of tondo 0.044. Reserved fillet between stem and bowl. The tondo was cut to make a stopper. In tondo, eagle (part of head, wings, and tail missing) flying to right. White: marking on wings. Early 5th century B.C. 1758 P31005

P 24117 Q 12:3 H. Completeexceptfor a few fragments. 0.074; diam.at rim 0.193. I, satyr with short cloak, running to right, looking around.A and B, Dionysosrecliningto left holdinga drinkdonkey.At each ing horn,facinga maenadon an ithyphallic handle,a satyr.On one side,bothsatyrsfaceto right,the one on the right lookingaround;on the otherside, both face to left. In the field, vines with grapes. Under each handle, a dolphin. Red: beards;forelocksand tails of satyrs;spot on hair of Dionysos on one side, leaves of his wreath on the other, fold of his cloak;manes. White: flesh of maenads; contours of theirnecksandchests;wavy muzzlesof donkeys, line on mattress; dot clusterson garmentsof Dionysos;upper borderof satyr'scloakon I; lowercontourof dolphin. The Leafless Group (ABV 716, 66 ter; not 715 as in index). Early 5th centuryB.C. 1761 1762 Pl. 113 P 23199 H 12:15(POU)

H. 0.087; diam. at rim 0.205. Small fragments of rim and wall restored. H. A. Thompson, Hesperia 23, 1954, p. 51, pl. 15:i. I, satyr (most of head missing) running to right, looking around. A (illustrated) and B, Dionysos seated to right on an okladias, holding a drinking horn, with satyrs and reclining

men. Below each handle, a dolphin. In the field, leafless

branches with grapes. Red: dots on garments. White: fold of garment of Dionysos; joint of okladias; fillets of satyrs; rim of drinking horn on one side.

308 The LeaflessGroup (ABV 638, 84).

Early 5th century B.C.

CATALOGUE horses (most of two; forepartsof a third) to right. In the field, a vine with grapes. Under the handle,a bit of glaze that may be part of a large leaf. Red: fillets;rim of shield; manes;tail of horse on right on B. White: shield devices two on youths');featheron hel(balls:three on warrior's; met;chitonof rider;pendantsof breastplates. For plumeson helmets,cf. 206.
Early 5th century B.C.

P 23332 H 12:15(U) H. 0.076; diam. at rim 0.19. Part of one handle,muchof rim and wall restored.Much of the glaze is flaked. I, satyr (parts of legs missing) runningto right, looking around,a cloakoverboth shoulders.A and B, recliningfigure, between two seated figures facing inward, and two satyrs. On the side where both satyrs are preserved,they faceto left. On the otherside,the satyron the left (lowerlegs missing)movesto right lookingaround.On each side, parts of the seatedand recliningfiguresare missing:on one, the upperpartof the seatedfigureon the left, all of the reclining one exceptfor the shoulder,and the feet of the seatedfigure on the right remain;on the other,all that remainof the trio are the seatedfigureon the left, exceptfor the feet, and the legs of the recliningone. In the field,a vine with grapes.Red or white: dots on garments. White: chiton of reclining figures; joints of okladiai. The LeaflessGroup (ABV 638, 85).
Early 5th century B.C.

1763

P 2770 G 6:3 (U) of and wall with root of handle.Max. dim. Fragment lip 0.119. E. Vanderpool, Hesperia 15, 1946, p. 309, no. 189, pl. 58. Woman(headmissing)seatedto left on an okladiaswith her rightarmextendedtowardan uncertain object(couch?). Behind, beside the handle, is a satyr (head and shoulders missing)to right;underthe handle,an uprightleaf. White: fleshof woman;dotson her garment; jointsof okladias. The LeaflessGroup(ABV 642, 140).
Early 5th century B.C.

1767

1764

P 20737 R 12:1

H. 0.079;diam.at lip 0.196. Handles,most Fragmentary. of lip and wall restored. Glaze firedred on inside. I, man in shortcloakrunningto right.A and B, Dionysos seatedto right on an okladias,holdinga drinkinghorn and leaflessvines with grapes.At each side, men in shortcloaks moveto right,lookingaround,and behindthem, satyrs.On one side,the godis fully preserved; on the otherhis face,left arm,andlegs are missing.On bothsides,partsof the accomon one side:satyron panyingfiguresare missing;preserved left exceptfor head;legs of man on left; head, lower legs of manon right;leg of satyron right.On the otherside:legs of satyron left;all of man on left;raisedarm of satyron right. Underhandle,a leaf. Red:beards; fillets;dotsand stripeson garments; joints of okladiai(?). White:chitonof Dionysos; dotson garments; rims of horns; joints of okladiai. The LeaflessGroup (ABV 640, 105).
Early 5th century B.C.

G6:3(U) H. 0.08; diam.at lip 0.187. Handle,muchof lip and wall restored. E. Vanderpool, Hesperia15, 1946,p. 309, no. 188, pl. 58. I, man moving to left, looking around, a cloak over his shoulders.I, concentriccircles round tondo. A and B, Greeks and Amazons.A Greek with a shield attacks an Amazonwho triesto run away, lookingaround,holdingher shield (deviceson each:white dots).At the right and left, a wingedhorseto right. On one side, the head and shoulders of the Greekand part of the horseon the right are missing; on the other, nearly all of the Greek and Amazonand the of the horseon the rightare missing.In the field,a foreparts vine with grapes. Under each handle, a leaf. Red: manes; strips on wing bows;rim of shield. White:Amazon'sflesh (that for legs applied directlyon the clay); shield devices; row of dotson wings. Forthe subject, cf. 173. For the composition, cf. Bothmer, Amazons,p. 71, no. 23. The LeaflessGroup;the CaylusPainter(ABV645,190).
Early 5th century B.C.

1768

P2613

1765

P3139

G11

1769 PI. 113

P 2570 G 6:3 (U)

Lip fragment.Max. dim. 0.048. to knees) mountedon a donkey(hindSatyr (preserved quarters, start of tail) to right. In the field, a vine with grapes.Red:beard. The LeaflessGroup (ABV 641, 120).
Early 5th century B.C.

1766

P1154

G15:1

Fragmentof lip and wall, one handle.Max. dim. 0.215. Much of the glaze is flaked. A, on left, a warrior (legs missing) to right, with shield and two spears, precededby a mounted youth (most of youth, body of horse). In the field, a vine with grapes. B, youths,each with two spearsand a Boeotianshield)leading

H. 0.081; diam. at rim 0.188. Small pieces restored. E. Vanderpool, Hesperia15, 1946, p. 309, no. 187, pl. 56. to I, eagleflyingto left.A (illustrated), Dionysosreclining left on a couchwith a woman (Ariadne)seatedon a block stool at the foot, holdinga wreath. Behindher are a satyr and a maenadfacingeachother,andon the far right,a satyr comesin. In the field,a vine with grapes.B, the like, except that the maenadis omitted.Undereachhandle,a smalldolphin. Red: part of each wing and tail of eagle;beardsand line on mattresses. White:fleshof tails;stripeson garments; dotclusterson her garment. Ariadne; The LeaflessGroup;cf. the Caylus Painter (ABV 637, 62). Early 5th centuryB.c.

CUPS 1770 P 3580 a-e, g, h No grid

309

Six non-joiningfragmentsof lip, wall, floor, and foot. Max. dim. a) 0.062, b) 0.106, c) 0.11, d + e) 0.106, g) 0.05, h) 0.037. I, man (head,mostof body,draperyon left arm)to right, looking around.A and B, Dionysos reclining,with satyrs and maenads. Fragment b shows most of a satyr coming from the left pursuing a maenadto right, lookingaround. On her right, Dionysos (head, hand with drinkinghorn, some drapery) reclining to left. In the field, a vine with grapes.Fragmentc comesfromthe othersideof the vaseand shows the feet of a satyr, the feet and draperyof a maenad, the recliningDionysos(drapery, both to right, approaching hand with drinkinghorn). In the field, a vine with grapes. Fragmentd + e shows a figure (head missing) recliningto left, andon the left underthe handleis a swan. In the field,a vine. Fragmentg gives the end of a vine with grapes,and fragmenth shows drapery.Red: fillets;stripesand dots on eye of maenad.White: flesh of maenads;dots on garments; rim of drinkinghorn. their garments; P 3580 f is from a differentcup and preservesonly the startof one handle. The LeaflessGroup (ABV 638, 74).
Early 5th century B.C.

P4153 K 14 1773 PI. 113 dim. 0.061. Fragmentof lip and wall. Max. Maenad (right arm and foot missing)to right towardsa dancingsatyr (left arm, left leg, and someof bodymissing). In the field,a leaflessvine with grapes.Red:wreath. The Leafless Group: the Painter of Oxford 237 (ABV 643, 160;Paralip.314).
Early 5th century B.C.

1774

P 20869 D 17:10

Lip fragment.Max. dim. 0.072. Horse (mostof head,neck,and body)to right.On the left side, a warrior(head,shoulders)to right lookingaround,a spear in one hand.An eagle flies to left. In the field, a leafless vine with grapes. Red: fillet on helmet;bars on wings and tail of bird;mane.White:helmetcrest;patternat neckline of chiton. The LeaflessGroup(ABV 644, 172).
Early 5th century B.C.

1775 Pl. 113

P 20384 A-D 14-17

1771

P 20738 R12:1

Fragmentof floorand stem. Max. dim. 0.085. I, komast(headmissing)to rightwith a cloakoverhis left arm.The curvedbit of glaze behindhim is his righthand. The LeaflessGroup:the Painterof Oxford236? (ABV 647, 219).
Early 5th century B.C.

H. 0.077; diam. at lip 0.211. Handles, foot, much of lip restored. I, man with short cloak over his shoulder(most of body missing), running to right, lookingaround.A and B, Dionysos recliningto left, with Ariadneseated on an okladias In frontof him, food.On facinghim, one handoutstretched. the left and right, a satyr movesaway, lookingaround.On one side, the head of Dionysos,the upper parts of the satyr on the right, and the legs of the one on the left are missing. On the otherside, all that remainsis partof Dionysos,some of Ariadne'sdrapery,the satyr on the left from the waist down. In the field, leafless brancheswith grapes. Under each handle,a leaf. Red: fillets;beards;stripesand dots on garments.White:fleshof Ariadne;food. The LeaflessGroup (ABV 638, 79).
Early 5th century B.C.

1776

P 11031 D 15:1

Two non-joiningfragments. Max. dim. a + b) 0.153, c) 0.053. Lip, wall, and beginningof stem. I, satyr(head,shoulders, partof one leg) runningto right, lookingaround.On outside,Heraklesand the Lion. Fragmenta + b gives the hindquarters of the lion;then Hermes the waist and a (from down) drapedmale (fromthe shoulders down) who may be Dionysos,both to right probably lookingaround.In the field, a vine with leavesand grapes. Fragmentc shows the head and shouldersof Heraklesand the head of the lion. In the field, a vine with grapes. Red: stripesand dotson drapery. For the subject,cf. 394. The LeaflessGroup:the CaylusPainter(ABV 646, 196). Early 5th centuryB.C. 1777 P. 113 P8778 C 13-14 Fragment.Max. dim. 0.055. Stemandfloor,with someof of foot. underside I, satyr (backof head, right hand, lower legs, part of tail missing) runningto right, lookingaround.Red: beardand tail. The LeaflessGroup:the CaylusPainter(ABV646, 206).
Early 5th century B.C.

1772

P 20739 R12:1

Fragment of lip and wall, with one handle. Max. dim. 0.165. Glaze muchflakedon outside. I, drapedman (kneeto foot) runningto right.On A, Dionysos (drapery)recliningto left. On the left, a satyrwith a drinking horn and a man with a cloak over his arm approach.In the field, a vine with grapes.Under the handle, uprightivy leaf. On B, the lower legs and feet of a man to right. Red: beards;dots on garments;fillet. White: grapes; mattress. The LeaflessGroup (ABV 638, 80).
Early 5th century B.C.

1778

P 26211 M17

Wall fragment.Max. dim. 0.072. Satyr (feet, some of lower legs missing)to right. Behind him, partof an eye. Red:beard,tail.

310

CATALOGUE
part of an eye and eyebrow. Red: pupil, ring around iris; skirt. White: eye; flesh of woman. Ca. 510-500 B.C. 1783 P1. 114 P1152 G 15:1

The Leafless Group: the Caylus Painter (Paralip. 311 and 314). Early 5th century B.C. 1779 Pl. 113 P9449 M 20:3

Fragmentary. H. 0.068; diam. at lip 0.162. Much of lip and wall, most of handles, part of foot restored. Silhouette technique. I (illustrated), satyr (head missing) to right with arms raised. In front of him, part of an object that looks like a wineskin. In the handle zone, a chain of upright palmettes and lotuses. Red: hair of satyr. White: dots in links. Early 5th century B.C.

H. 0.07; diam. at lip 0.188. Small fragments of lip and wall restored. I, reserved medallion with circle and central dot. A (illustrated) and B, two youths with cloaks recline to left, between feminine eyes. Above, fillets hanging. At each handle, palmette. Red: fillets; stripes on garments; hearts of palmettes; pupils of eyes; fillet between stem and body. White: fillets; dots on garments; wavy line on each mattress; stripes on pillows; whites of eyes. Ca. 510-500 B.c. 1784 P1. 114 P 1153 G 15:1

TYPE B 1780

1780 P4927 N 10:1

P1. 113

Fragmentary. H. 0.093; diam. at lip 0.236. One handle, part of the other, about half of the lip, part of wall and floor restored. I, diskobolos (lower legs missing) to right. A and B (not illustrated), a maenad on a donkey to right, between dancing satyrs, between a reclining figure (Dionysos?) at each end facing inward. At one handle on each side, most of the reclining figure is missing. Small amounts of the other figures are missing. In the field, a vine with grapes. Red: beards, tails. White: women's flesh; muzzle, contour of neck and chest of each donkey. The Painter of Elaious I (ABV 575, 6; incorrectly listed in ABVon p. 652 under the Painter of Oxford 237; corrected in Paralip. 314). Early 5th century B.C.

Fragmentary. H. 0.068. More than half of lip and wall, all of one handle, most of the other missing. I, reserved tondo with circle and central dot. A and B, figure (probably one on each side) reclining to left, between eyes. Red: hair. White: iris of eyes; dots on garments; lines on mattress. Class of the Top-Band Stemlesses (Paralip. 101, 13).
Ca. 510-500 B.C.

STEMLESS CUPS

1781-1800
1781-1785

TOP-BAND STEMLESS CUPS

1781 PI. 114

P3437

H 8-10

P 22175 Q7:1 H. est. diam. 0.19. 0.066; Handles, some of Fragmentary. On of floor, much of and wall underside floor, lip missing. of circle. part I, gorgoneion (some of forehead missing). Handle zone, plain. Red: tongue of gorgoneion; alternate locks of hair and beard. For another top-band stemless with a plain handle zone, cf. Basel (Miinzen und Medaillen, Sonderliste G, 1964, no. 73). We do not know if this cup is decorated on the inside. Perhaps compare, also, the Segment cup, Vatican 244, which has a reserved band in the handle zone (ABV 213, 30). Ca. 510-500 B.C. 1785
UNCERTAIN IF TOP-BAND STEMLESSCUP

PI. 114

Wall fragment. Max. dim. 0.065. Lion (head and tail missing) to right. On the right, part of an eye. Red: mane and chest; iris. White: eye. The size of the lion and the eye indicates that the figured decoration did not cover most of the bowl but was probably set in a frieze. The presence of the eye would seem to preclude the shape being a band cup, and so very likely it is a top-band stemless. White eyes on this type are rare. Cf., e.g., 1782 and New York, M.M.A. 20.250 (Paralip. 100, 4). The

1786-1794
P 5687 M9

1786

P1. 114

Foot, fillet, part of tondo. P.H. 0.026; diam. of foot 0.076. I, gorgoneion. Red: tongue, pupils, alternate locks of hair. White: tusks, teeth. Ca. 510-500 B.C.

on 1781 may havebeensimilarto thaton a stemdecoration

less now in the Kanellopoulos Collection (Paralip. 101, 17): I, gorgoneion; A and B, satyr, between eyes, between lions. Ca. 520-510 B.C.

1787 PI. 114

P6478

GI

1782

P 5894 No grid Wall fragment. Max. dim. 0.04. Woman (one arm, her middle) to right. To left of her,

Fragment of foot, stem, and floor. Diam. of foot 0.088. Glaze fired red. I, gorgoneion (eyes, nose, most of mouth). Red: pupils, tongue; circle on underside of foot. Compare the Painter of the Palermo Gorgoneion (Paralip. 78).
Ca. 510 B.C.

CUPS P 26531 T 18:3 1788 PI. 114 Fragmentof foot, fillet, and floor.P.H. 0.031. On underbandswith centraldot. side of floor,two concentric (someof hair missing).Red:tongue,pupils, I, gorgoneion alternatelocksof hair. White:teeth,tusks. Ca. 510 B.C. 1789 P1. 114 P7095 T18:1

311

I, man (back,one arm, and one leg missing)walking to right. Red:filletbetweenfootand bowl.
Early 5th century B.C.
CUPS 1795-1800 SEGMENT

1795 Pl. 115

P 12236 H 12:18

Foot, stem with fillet, most of floor. Diam. of foot 0.062; P.H. 0.024. I, gorgoneion(some of foreheadmissing). Red: tongue, wrinkleof nose;fillet. White:teeth,tusks.
Ca. 510-500 B.C.

1790 P1. 114

P7137

H8

Foot, fillet, partof floor.Diam. of foot0.067; p.H. 0.025. Glaze firedbrown. I, gorgoneion(mouthand chin missing).Red:pupils;fillet. White:tusks.
Ca. 510-500 B.C.

Wall fragment. Max. dim.0.104. H. A. Thompson,HesBaltimore IV, 1940, p. 37, fig. 29:a. peria, Suppl. left handholdinga kanthaI, Dionysos(head,shoulders, ros) to right, lookingaround.On the right,a woman(chin, left hand) facingthe god, and on part of chest,outstretched the left, traces of a third figure and of somethingbeing poured (?). In the field, a vine. Red: beard;part of third figure. White: dot rosettesof Dionysos'garment;woman's flesh. The SegmentClass (ABV 212, 8).
Ca. 500 B.C.

1796 PI. 115

P 26437 T 18:1

P 13020 U 25:2 (U) 1791 PI. 115 Foot,fillet,someof floor.Diam. of foot0.074;p.H. 0.052.of floor,circlewith centraldot. On underside I, gorgoneion.Red: alternatelocks of hair, tongue;line roundtondo;fillet. White:teeth,tusks.
Ca. 510-500 B.C.

P23621 P7-8 1792 PI. 114 of Max. foot and floor. dim. 0.047. Circle on Fragment underside of floor. I, gorgoneion.Red: tongue,pupils, nose;line roundtondo. White:teeth, tusks.
Ca. 510-500 B.C.

Foot, fillet, some of floor. Max. dim. 0.08; p.H. 0.025. Hole in centerof floor. I, ithyphallicsatyr (someof left leg and arm) pursuinga maenad(part of raisedright arm, part of buttocksand leg with nebris).Red:fillet. White:maenad's arm. The composition may have been somethinglike that on Hamburg1962.171(Paralip.103,22 bis;CVA,Hamburg1 [Germany41], pl. 44 [2010]:4,5), only more animated,or TarquiniaRC 1637 (ABV213, 22; Paralip. 103, 22). The SegmentClass (Paralip.103, 22 ter). Ca. 500 B.C. 1797 P. 115 P1155 G 15:1

Fragment.Max. dim. 0.175. Rim and wall with part of one handle. I, two satyrs dancing away from each other, looking around. The middle of the one on the right is mostly missing. The SegmentClass (ABV213, 25).
Ca. 510-500 B.C.

FIG. 20. Cup 1793 (P 6552), graffito.Scale 1:2

P 6552 E-F 12-14 1793 Fig. 20 Fragment.Max. dim. 0.034. Floor with circlesand central dot on underside. I, gorgoneion(left eye, brow, traces of hair and nose). Red:iris. Graffitoon undersideof floor.
Ca. 510-500 B.C.

P24648 P-R7-12 of foot and floor. Max. dim. 0.051. Silhouette Fragment technique.

1794 P1. 114

P1156 G15:1 Max. dim. 0.115. Wall and floor,with beginFragment. of fillet. ning I, two men (drapery,beard)reclineto left. In the field, branches.In the exergue,dolphins(most of one, fin of the other). Red: beard; stripes on garments. White: line of mattress. For dolphinsin the exergue,cf. 1799 and 1800, Salerno, Muz.Naz. (ABV 212, 7), Rhodes 12307 (ABV 213, 16), Boston,M.F.A. 60.1172,ex LouvreC 10413(ABV214, 40; Paralip. 103, 40; CVA, Boston 2 [USA 19], pl. 106 [940]:4-6). The compositionof the two reclining symposiastssuggeststhattheremusthavebeenlargeamountsof filledby the vine, spaceabovetheirheadsthat was probably althoughone may not rule out the possibilitythat therewas an exergueat the top, as thereis on Berlin 1958.7 (Paralip. 103, 4 bis);yet this wouldbe very unusual.

1798 P1. 115

312 The SegmentClass (ABV 214, 47).

Ca. 510-500 B.C.

CATALOGUE spear, or she may have tried to free herself from the hero who either gripped the crest support of her helmet or claspedhis hand firmly round the back of her head as he thrusthis swordinto her. Here are someexamplesthat give an idea of what the compositionmay have looked like: of the TimiadesPainter Boston,M.F.A. 98.916, namepiece (ABV 98, 46; Paralip. 37, 46; Bothmer, Amazons, pl. 5; CVA, Boston 1 [USA 14], pl. 15 [637]:1);LouvreE 875, Tyrrhenian Group (ABV 104, 123; Bothmer, Amazons,pl. 15:1);Florencen.n., the Swing Painter(ABV
307, 50; Bothmer, Amazons, pl. 30:2; Bohr, Schaukelmaler,

1799 P1.115

P 1157 G15:1

Lip fragment.Max. dim. 0.11. I, frontal chariot (the lower legs and tails of the trace horseon the left and both pole horses,part of each wheel). In the exergue, two dolphins (tails missing) facing. Red: tails of pole horses. For the dolphinsin the exergue,cf. 1798. The SegmentClass (ABV 214, 53).
Ca. 500 B.C.

1800 P. 115

P1158

G15:1

Lip fragment.Max. dim. 0.085. I, male (one foot, heel of the other)runningto right. Behind him is someglaze that may be the fronthoofof a horse or a mule, also to right.On the far left, at the break,a small bit of glaze that may belongto anotherfigureor be the tip of a hind hoof. In the exergue,dolphins(mostof one exceptfor headto left;the fin of the other,to right). For dolphinsin the exergue,cf. 1798. The SegmentClass (ABV214, 54).
Ca. 500 B.C.
1801-1846

pl. 82:d); Munich 1567, the Bareiss Painter (Bothmer, Amazons,pl. 31:1; AJA 76, 1972, pl. 2, fig. 5). Cf. also, in general, Bothmer, Amazons, p. 64, no. 274;forthe subject 395. Amazons,p. 65]? By the samehandas 1804 [Bothmer,
Ca. 560-550
B.C.

1804 P1.116

P 13125 U24:1

Wall fragment.Max. dim. 0.027. Vanderpool, Hesperia 15, 1946, p. 133, no. 25, pl. 23:1; Bothmer,Amazons,
pl. 50:4.

Warrior(part of right thigh, most of left leg, wrist, and part of right handholdingthe pommelof a sword)running to right past a fallen Amazon(helmetand forehead)whose face is paintedin outline.Above:

CUPS,

TYPE UNCERTAIN

1801

P 6080 1 9:1

1]Vk IVA
Red:helmet. For the inscription, cf. Bothmer,Amazons,p. 65; for the composition, p. 64, no. 275. Amazons,p. 65]? By the samehandas 1803 [Bothmer,
Ca. 560-550
B.C.

Wall fragment.Max. dim. 0.046. Silhouettetechnique. Komast (legs) dancing to right. Rosette for filling ornament. Late firstquarterof the 6th centuryB.C. 1802 PI. 116 P 10203 G-H 10-11 Wall fragment.Max. dim. 0.075. Vanderpool, Hesperia 15, 1946, p. 131, no. 19, pl. 22:4. Womanand man (lowerdraperyof each,footof woman) to right. Betweenthem, partof the potter'ssignature:

P 12653 O-Q 18-19 Floorfragment with startof stem. Max. dim. 0.058. I, gorgoneion (lowerleft partof face).Aroundtondo,dicone wrinkleof nose. ing. Red:hair;alternatelocksof beard; White:ear, eye, tusks.
Ca. 550 B.C.

1805 PI. 116

]OLEAS EPf
Red:panelson cloaks.White:foot;chitonof man. ... oleas, Potter. The style recalls the C Painter (ABV 62).
Ca. 560 B.C.

1803 P1. 116

P 13257 G-I 11-12

P 12 Nogrid Wall fragment.Max. dim. 0.081. Vanderpool, Hesperia 15, 1946, p. 132, no. 22, pl. 22:6. to rightholdinga spear I, youth(headandrightshoulder) (point).At left: Aroundtondo,dicingand tonguesseparatedby retrograde. concentric circles.On outside,someof reserved handlezone and bandbelow.Red:hair, chiton;alternatetongues. The smallsize of the youth'shead,compared with thatof the tondo,and its high positionin the field suggestthat he may have been mounted.Cf., e.g., three by the C Painter: Marseilles3000 (ABV 51, 3); Athens,N.M. 531 (ABV 55, 451 (ABV 57, 114). Forthe difference, com92); Wurzburg parea singlefigurethat occupiesthe entiretondo:e.g., Beron keley8/1 by the C Painter(ABV54, 71). The inscription

1806 P. 116

Tondo fragment.Max. dim. 0.035. Bothmer,Amazons, pl. 50:3. I, Heraklesand an Amazon.Herakles(left forearm,part of left thigh) rushesto right,his swordpiercingthe chestof his opponent.Of the Amazon,part of her torso and raised right arm remain.Bloodflows fromthe wound.Red:panel on Amazon's chiton;blood.White:Amazon'sflesh;dotsoutlining hatchedpanelof her chiton. The positionof the two arms suggeststhat the Amazon has fallen to one knee as she tries to flee. On her left (now missing)she probablyheld a shield and in her right handa

CUPS 1806 may have read HOIIAIIKAAOI, retrograde, and if round so, it is a very early example.The type of decoration the tondo (tongue patternbetween lines and dots) is most frequenton Siana cups, e.g. 1662 (PI. 108), but it may also be seen occasionallyon lip-cups, e.g. Toulouse 347 signed by Hermogenes(ABV 165, -). Ca. 550 B.C. 1807 P1. 116 P4239 E 14:11 Fragmentof wall and offsetlip. Max. dim. 0.052. Panther(headand tail) to right. In frontof it, glaze. The shape seems closestto that of the namepieceof the Painterof Athens533, a "near-Siana cup"(ABV 68, 2).
Ca. 560 B.C.

313

P 17493 J 18:4 (L) Two non-joining fragments. Max. dim. a) 0.115, b) 0.072. Slightlyoutturnedlip with the stub of one handle (a), wall (b). the I, reservedtondo.Fragmenta (illustrated)preserves verbof the pottingsignature:

1811 P. 116

E ]MErPOl EN
and the palmetteat the handle. Fragmentb gives most of anotherhandlepalmette. The position of the verb next to the palmetteindicates thatthe nameof the potterwas a longone,like Hermogenes. the namemissing(ABV 188, 17). Signatures, Third quarterof the 6th centuryB.C. 1812 P1. 116 P 13041 R-X 23-27

1808 PI. 116

P 7136 H 8 Lip fragment.Max. dim. 0.035. Nude man (part of legs missing) dancingto left. Red: hair. Third quarterof the 6th centuryB.C. 1813 P 3535 H 8-10 (?) Fragmentof footwith chamfered edge.Max. dim. 0.057. On underside of foot,partof the potter'ssignature:

Floor fragment.Max. dim. 0.031. On outside,reserved band. I, head of a satyror a centaurwith a branchon shoulder to right.
Ca. 550
B.C.

1809 Pl. 116 P 13745 U 23:2 (M) Wall fragment.Max. dim. 0.057. Parts of three figures:on the left, tracesof drapery,then the legs of Hermes to left who wears a cloak and winged boots;on the right,a male (lowerdrapery,one foot)to right. Between Hermes and the figure on the left, part of an inscription:

"-E I

Belowthe figures,fourlines,then a line of diluteglaze. Red: panel on cloakof figureon right;stripeon Hermes'cloak. The type of cup is difficultto identify.For four lines directly below the figures, cf. the following:the cup in the Kerameikos by Lydos,a proto-Aor the like (ABV 113, 81; Paralip. 45, 81; Tiverios,pls. 42, 43); Chatillon-sur-Seine, a Droop cup by the WraithPainter(ABV 201, 14;Paralip. 86, 14; Bothmer,Amazons,pl. 54:4); New York, M.M.A. 44.11.1, an eye cup of Type A (CVA, New York 2 [USA 11], pl. 25 [515]). Given the date suggested for 1809, a Type A cup shouldprobablybe ruled out, but it is difficult to be certain.
Ca. 550-540
B.C.

For cups signedon the underside of the foot,cf. 1752 and two Droop cups by Antidoros,Taranto I.G. 4435 (ABV 159, 1; Paralip.67, 1) and TarantoI.G. 4434 (ABV 160, 2; Paralip. 67, 2), but the verbon these lacksan iota, and the character of the lettersis differentfrom1813. Third quarterof the 6th centuryB.C. P 24697 P-Q17 Max. dim. 0.035. Lip fragment. Man (headand shoulders) standingto left holdinga staff or a spear.Behindhim, part of the head and shouldersof a man to right.On the left, tracesof a thirdfigure.Nonsense inscriptions: XI I ( X, IX Red:hair and beard;stripeon garment. The composition may havebeensimilarto that on an unattributed cup Type A in Taranto (CVA,Taranto2 [Italy 18], pl. 7 [873]:1). 1814 may also have been Type A, or proto-A.
Ca. 530-520 B.C.

1814 Pl. 117

1810 Pl. 116

P 27233 E 28

Wall fragment.Max. dim. 0.03. Glaze firedred. Aias carrying the body of Achilleus (left leg of Aias, greaved;some of Achilleus' face, helmet crest, and arms hangingdown) to right. Red:greaves;helmet. For the subject,cf. 116. The size of Achilleus'handcompared with that of Aias' foot indicatesthat Achilleus was much largerthan Aias,just as he is in the two illustrations on the Francoisvase (ABV76, 1;Paralip.29, 1), the earliest certainrepresentations of the subjectin vase painting.For the two heroespaintedalmostthe samesize, cf. Vatican317 by the PhrynosPainter(ABV 169, 4).
Ca. 550-540
B.C.

1815 P1. 117 P 13814 U 25:2 (M) Wall fragmentwith start of sharply offset lip. Max. dim. 0.038. Three warriors(parts of three shields, two spears, and some of helmet of warrioron left) to left. Shield devices: three balls on one, snakeon another.Imitationinscription. Red: dot on helmet;rim and centraldot on shield on left; dotson rimsof two others.White:devices.

314

CATALOGUE P4222 F 13-14 1822 P1.117 Floorfragment.Max. dim. 0.038. I, symplegma. Man and woman (heads and torsos) recline, making love. Above, on the left, are the legs and genitalsof a man dancing(?)on the backof the otherman. On the right, a bit of glaze that seemsto be the buttocksof anotherman. In the background, a thin line of dilute glaze that is unintelligible. The bit of glazebelowthe coupleis the couch. On the outside (not illustrated),the foot of a man runningto right,with tracesof an objectbehindhim. Below the figurezone,on the outside,a blackband,a narrowband, then a bandof coralred. Red:hair of youth;partof dancer on left. White:woman. For coral red, cf. B. Cohen, "Observations on CoralRed,"Marsyas15, 1970/71, pp. 1-12. last quarterof the 6th centuryB.C. Probably P 13030 U 25:2 (U) Wall fragment.Max. dim. 0.025. White ground. Maenad(longskirt,nebris)runningto right;on the right is a line of glazethat maybe the outlineof an eye or partof a vine. Red:dotson nebris. 1823 PI. 117
Late 6th century B.C.

The sharplyoffset lip and the bandof figuressuggestsa Droop cup, but with so little preserved,it is difficultto be certain.
Ca. 530-520 B.c.

1816 PI. 117

P 13813 U25:2 (M)

Lip fragment.Max. dim. 0.045. Greekand Amazon.The Greek (helmetedhead,someof his left shoulder)stridesto left carryinga roundshieldseen in profile(device:ball), holdinghis spear ready(partof its shaftnear shield).On the left, all that remainsof the Amazon, who may be fleeing, is her face and round shield in profile (device:two rings). In the background,imitation inscriptions: //v T ATTT I armof Amazonwith bow (?). Red:eye of and a wavyobject: Amazon;ball on shield;helmet.White:Amazon'sface;device on her shield. For the subject,cf. 173.
Ca. 530-520 B.C.

1817 P1.117

P4346

E 14:11

Fragment of floor with beginning of stem. Max. dim. 0.037. Continuouscurvebetweenbowl and stem. with a garThe fragmentpreservesmost of a kantharos To land hangingfromeachhandle,placedon a pedestal(?). rightand left, partof a drapedfigure.
Ca. 550-530 B.C.

1824 PI. 117

P9284

M 17:4

P 14052 Q18:1 Hesof floor.Max. dim.0.035. E. Vanderpool, Fragment 16. no. 12, 1939, 260, 8, fig. peria p. Horse (partof head)to right.White:mane. Third quarterof the 6th centuryB.C. 1818 1819 P1. 117 P 14368 T 18:1 Lip fragment.Max. dim. 0.035. Warrior(helmetedhead) to left, carryinga shield. Red: chiton. shield,dotson its rim;helmet,dotson crestsupport; Third quarterof the 6th centuryB.C. P 13857 T24:3 Fragmentof wall and offset lip. Max. dim. 0.04. Glaze firedbrownishblack. In the handle zone, some of the back and long tail of a nonsenseinscription: feline to left. Above,a retrograde 1820
^/VEr +3 O

Wall fragment.Max. dim. 0.031. Athena(longchiton,foot)runningto right,holdingout a roundshieldseen in profile.At the right,partof an eye and eyebrow. Red: stripes on skirt. White: foot; shield device (balls);white of eye.
Late 6th century B.C.

1825 PI. 117

P1384

G6:3(U)

Four non-joining fragments. Max. dim. a) 0.066, b) 0.044, c) 0.027, d) 0.052. One fragmentof lip and wall (a);two of wall (b, c), andone of handle(d). E. Vanderpool, Hesperia15, 1946, p. 308, no. 185, pl. 56. some of the lip, the startof a hanFragmenta preserves dle, and one tendril. Fragmentb shows a man (legs, one hand) to right holdingan uncertainobjectthat looks like a piece of meat. Fragmentc gives a tendril.Fragmentd is a handle with part of the wall decoratedwith an ornament Red:objecton b. White:end that lookslike a pomegranate. of objecton b. cf. 1657 (P1.107). For the decoration, By the Painterof NicosiaC 975?
Late 6th century B.C.

^O

Third quarterof the 6th centuryB.C. P4243 E 14:11 Fragmentof lip and wall. Max. dim. 0.056. Glaze fired greenishon insideof bowl. Silhouettetechnique. On lip, a hare runningto left. Red:neckand shoulder. Last quarterof the 6th centuryB.C. 1821

P22181 Q7:1 1826 P1.117 Max. dim. and wall. Two non-joiningfragmentsof lip 0.061. a) 0.074, b) a showsthe headand shoulders Riderto right.Fragment of a riderandthe headandneckof his mount.On the rightis objectand above,part of a fillet. Fragpartof an uncertain of a mount,perhapsfromthe mentb givesthe hindquarters

CUPS other side. Above,the ends of a fillet. Red: mane and tail; spot on objectof fragmentb.
Late 6th century B.C.

315

I, satyr(left armand lowerlegs missing)to right,looking around.

Early 5th century B.C.

P1162 G15:1 1827 Wall fragment.Max. dim. 0.032. Nude male (partof bodyand legs) runningto right.
Ca. 500 B.C.

P 23305 No grid 1828 PI. 117 Wall fragment.Max. dim. 0.039. Smallsegmentof tondo on the inside. preserved I, man (leg, arm, fold of drapery) running to right, holding two spears. Behind him is another man (outstretched arms). Late 6th or early 5th centuryB.C. 1829 P1. 117 P 22986 I 12 FIG.21. Cup 1833 (P 4928), graffito.Scale 1:2 1833 Fig. 21 P4928 N 10:1 Floorfragment.Max. dim. 0.073. Glaze poor. I, man (legs, ends of drapery)dancingto right. A, man (legs) runningto right,betweentwo figures(lowerdrapery) facinginward.On draperyof outside,graffito: Two non-joining fragments. Max. dim. a) 0.131, b) 0.065. Stem and floor(a), handle(b). I (illustrated),Nike (preservedexcept for part of head and end of one wing) to right, holding a wreath, with her headturnedaround.On the outside,hoofsandtail of a horse to right. On the left, part of the handle ornament.Below, two narrowlines with a wider one between.Red: band on insideof stem. Mannerof the Haimon Painter(ABV 707, 594 bis).
Early 5th century B.C.

kA\,
The LeaflessGroup.
Early 5th century B.C.

1830 P1. 117

P 20740 R 12:1

1834 P. 118

P 15196 B 22

Two non-joining fragments. Max. dim. a) 0.125, b) 0.108. Lip, wall, and handle(a), lip and wall (b). Fragmentb shows Herakles (head, some of torso, arms and legs) and the Lion (horizontal position).Abovehangthe hero's quiver and cloak. On the right is a man (head and shoulders)to right, lookingaround.In the field, vine with grapes.Fragmenta comesfromthe othersideof the cup and shows Iolaos (feet missing)kneelingto right, his cloakover his outstretched left arm,his clubraisedin his righthand.In the field,a vine with grapes.Red:beardson b;filletof Heradot on cloakon a; kles;man's forelock; stripeson garments; tongueof lion, spotson its neck. For the subject,cf. 394. The Haimon Group:the Painterof Elaious I (ABV 575, 7).
Early 5th century B.C.

Fragmentof floorand stem. Max. dim. 0.09. Glaze fired red on outside and on a small portionof the wall on the inside. I, lion (head, most of neck, forelegs,body,most of hindquarters)to right, lookingaround.Red: part of face, neck, ribs. Concentriccircles round the tondo are particularlyfrequentin the LeaflessGroup,e.g. 1768, whichis verysimilar to 1834. 1834 probablybelongsto this group.
Early 5th century B.C.

1835 P1. 118

P 14577 022:1

P6221 N 12:3 Floorfragmentwith beginningof stem. Max. dim.0.072. Glaze on outsidemuchabraded. I, eagle (head,neck,someof wing) flyingto right. Round the tondo,row of dots betweenconcentric circles.Red: line roundtondo.
Early 5th century B.C.

1831 P1. 117

Fragmentof floorand stem. Max. dim. 0.067. I, man (head, left hand, and both feet missing)to right, lookingaround(endof beardat break),holdinga cloakover his right arm. the LeaflessGroup. Probably
Early 5th century B.C.

P31030 Q12:3 Wall fragment.Max. dim. 0.03. Male (lower legs) to right. On the left, part of floral(?). Red:floral.
Early 5th century B.C.

1836 P1. 118

1832 Pl. 118

P 25694 B15

1837 PI. 118

Floor fragment with some of stem. Max. dim. 0.094. Glaze firedred. Tracesof burningat right.

P 26649 T-U 19-20 (III) Lip fragment.Max. dim. 0.035. Woman (head, shoulder)to right. On the left, tracesof

316

CATALOGUE Man (all but head and arms) walking to right behinda horse(hindlegs, tail). White:chiton.
Early 5th century B.C.

anotherfigure. In the field, a branch.Red: fillet;stripe on cloak.White:flesh.

Early 5th century B.C.

1838 P1. 118

P 26741 T-U 19-20 (III)

1843 P1. 118

P 12304 0 19

Lip fragment.Max. dim. 0.027. Dionysos (wreathedhead) to right, holding a drinking horn.In the field,a vine. Red:leavesof wreath;beard.
Early 5th century B.C.

Floor fragmentwith startof stem. Max. dim. 0.059. Silhouettetechnique. I, youthrunningto right,lookingaround.
Ca. 480-470
B.C.

1844 1839 PI. 118 P9327 M 17:4 Wall fragment.Max. dim. 0.034. Youth (head with wreath, part of outstretched arms) to right.Red:alternateleavesof wreath.White:fillet. The positionof the youth'sarmssuggeststhat he drivesa chariot.
Early 5th century B.C.

P4121

T 13

Max. dim. 0.037. Lip fragment. Maenad (upper half) on donkey (ears, neck) to right, lookingaround.
Early 5th century B.C.

1840

P 26802 T19:1

Wall fragment.Max. dim. 0.032. to right.On the right,tracesof Youth(headand shoulder) anotherfigureor object.Red:spot on hair.
Early 5th century B.C.

P 13507 T 27 Max. dim. 0.043. Silhouette Lip fragment. technique. A. W. Parsons,Hesperia12, 1943, pp. 229-230, fig. 24. Woman (head, shoulders,raised left arm) dancing to right.In the field,a vine.
Ca. 470 B.C.

1845

1841 P1. 118

P4954

E-F 12-14

Wall fragment.Max. dim. 0.029. Old satyr (head)to right.Tracesof anotherfigureor object (a drinkinghorn?) at right. Red: ear. White: forelock and beard.
Early 5th century B.C.

P 23406 N 16 1842 Wall fragment.Max. dim. 0.045. Silhouettetechnique.

P 21863 N7:3 Two non-joining P.H. of a) 0.08;max.dim.of fragments. b) 0.118. Foot, stem, and lower wall (a), wall (b). Most of the glaze fired brown. C. Boulter, Hesperia 22, 1953, pp. 70-71, no. 18, pl. 28. Fragmenta gives most of the tondo:Nike (body,part of someof the exwings) flyingto right.Fragmentb preserves terior decoration on one side: combat, Achilleus and Memnon? A woman (lower part) looks on while a man (body, legs) attackshis opponentwho has fallen to right with his left leg foldedunderhim.
For the subject, cf. Brommer, Heldensage3, pp. 348-351. Ca. 460 B.C.

1846

)WL 1847 PI. 118

1847 Pl. 118

P7268

D 7:2

Two non-joining fragments. Max. dim. a) 0.132, b) 0.009. Small shallow bowl with roundedrim. Reserved bandon insidebelow rim. Silhouettetechnique. a preI, Dionysosto right,betweentwo satyrs.Fragment on the of the tail and the serves right elbow, feet, left, satyr the lower draperyand feet of Dionysos,the feet, lowerlegs,

and tail of the satyron the right.Fragmentb givesthe top of Dionysos' head, some of his drinkinghorn, the head and shouldersof the satyr on the right. In the field, branches, Red:tail to a row of dots,or imitationinscriptions. reduced of satyron left. White:dotson drapery. Late 6th or early 5th centuryB.C.

CLOSED VASES, SHAPE UNCERTAIN EPINETRA 1848-1850 PI. 118 P 16745 A-B 21-22:1 1848 PI. 118 Fragment.Max. dim. 0.054. Very slightly curvedwall and lower edge. On the left, a woman(lowerdrapery,feet) Woolworking. seatedto right, facing another(someof head, legs, and one foot missing) who holds a small boy (head missing). Between them on the groundis a wickerbasket,and the woman on the left pulls wool thread out of it. In the field, bandon basket.White: branches.Red:stripeson garments; fleshof women;dots on garments. on epinetra For three other examplesof representations to the use of the of womenworkingwool, surelya reference shape, cf. London,B.M. B 598 by a painterof the Golonos Group (ABV 480, 2) and New York, M.M.A. 10.210.13, akin to the Golonos Group (ABV 480, -, y); also the fragmentfrom Brauronby the Diosphos Painter (Paralip. 250). For the subject,cf. 516. Late 6th centuryB.C.

317

P 25912 M 18 1849 PI. 118 Wall fragment.Max. dim. 0.045. Youth(wreathed head,neck)to right.Abovehim, a crenellationpattern,then an incisedscalepattern.Red:leavesof wreath.White:crenellation pattern.
Late 6th century B.C.

1850 PI. 118

P 10036 L 17

Wall fragment with someof loweredge. Max. dim.0.03. Bearded man (body,raisedrighthand,left handholdinga scepter)to right, facing a woman (right hand, some of left arm, and left foot missing) who hastenstoward him with outstretched hands.White:man'schiton;woman'sflesh. Probablythe SapphoPainter. For the drapery,cf., e.g., Louvre MNB 910 (ABL, p. 226, no. 7); LouvreCA 156 (ABL, p. 226, no. 11); Athens, N.M. 2184 (ABL, p. 228, no. 53).
Early 5th century B.C.

THYMIATERIA 1851-1853 PI. 119 1851 P1. 119 P 15389 R21:3 Herakles(pawof lionskin,cloak, sword,kerykeion; goddess; end of club);anothergoddess.In the field,branches.Below figures,tongue pattern.Red: bordersof women'sdrapery; stripeson cloaks.White:fleshof women.
Late 6th century B.C.

Parts of two cylindersjoined by a concavetube. Max. dim. 0.11. Partsof two figuredzones,eachwith womento right,four above, five (heads and shoulders) below. Between each On the flange,ivy. Red: filwoman, imitationinscriptions. lines aboveandbelowupperfigure lets;panelson garments; zone. White:dotson drapery; flesh. Last quarterof the 6th centuryB.C. 1852 P1. 119 P 25581 P 17

1853 PI. 119

P 17429 A-B 19-20:2

Fragmentof stem. Max. dim. 0.057. Top part hollow, bottomsolid. Four figures(lowerparts)to right:Hermeswith sandals,

Fragment.Max. dim. 0.048; p.H. 0.037. Stemfromnear footwith partof moldingin two degrees. Maenadto rightfollowinga satyrwho looksaround,both preserved exceptfor heads.In frontof the satyr,the baseof a column,and beyondthat, faint tracesof anotherpersonor object.On the left of the maenadare a verticalrow of dots and tracesof anotherfigure. (imitationinscription?)
Late 6th century B.C.

CLOSED VASES, SHAPE UNCERTAIN 1854-1908 Pls. 119-121 1854 P 17339 M 11:3 right, part of a lotus bud with an outlineleaf. Red:central link of volutesand blossomof eachvolute. petal of palmette; Ca. 630-620 B.C

Wall fragment.Max. dim. 0.105. E. Brann,Hesperia30, 1961, p. 361, H 8, pi. 70. Palmette surmounting volute tendrils. Above, on the

318
1855 P1. 119 P2040

CATALOGUE
H 8-10 1862 P1. 119 P4628 F-G 12:1

Wall fragment. P.H. 0.025. Agora VIII, p. 98, no. 580, pl. 37. Woman (head) to right. Red (purple): line above. Ca. 620-610 B.C. 1856 PI. 119 P21703 07

Wall fragment.Max. dim. 0.082. Much of the glaze is flaked. Uncertainsubject.On the left is an objectthat lookslike a low column or a pillar with an echinus at the top, which supportsa horizontalobject,perhapsa couch.On the right, a curvedformthat appearstojoin the horizontal object.Dot and blobrosettesfor fillingornament.White:echinus. Late 7th centuryB.C.
1857 P1. 119 P 26290 H 12:21 Wall fragment. Max. dim. 0.051. Lion (some of mane, body, forelegs) to right. Incised rosette for filling ornament. Red: mane, belly stripe, ribs; alternate petals of rosettes. Manner of the Gorgon Painter. Cf. especially 708 (P1. 68). First quarter of the 6th century B.c. 1858 PI. 119 P25469 E-H17-20

Wall fragment. Max. dim. 0.054. R. Young, Hesperia, Suppl. II, Athens 1939, p. 119, B 38, fig. 86. Siren or sphinx (head with polos, part of wing) to left. Rosette for filling ornament. Red: hair, neck, part of wing. The Polos Painter (ABV 48, 137). Second quarter of the 6th century B.C. 1863 P4632 F-G 12:1

Wall fragment. Max. dim. 0.075. Burned (clay is gray); glaze mostly peeled and flaked. Siren (preserved except for face, part of wing) to right. Rosettes for filling ornament. Below, ends of rays above the foot. Red: wing bow. The Polos Painter (ABV 48, 140). Second quarter of the 6th century B.C. 1864 P 13339 H 10

Wall fragment. Max. dim. 0.04. Siren (tail) and sphinx (face, breast, foreleg) to left. Incised rosette for filling ornament. Red: bar on tail of siren; breast of sphinx. The Polos Painter (AB V 48, 141). Second quarter of the 6th century B.C. 1865 P 19933 D 17:4

Wall fragment. Max. dim. 0.057. Lion (most of head, some of mane) to right. Red: mane, jaws, tongue. First quarter of the 6th century B.c. 1859 P1. 119 P7036 P-R6-12

Fragment of shoulder. Max. dim. 0.092. Woman, between sphinxes (?): sphinx (most of head, all of chest, forelegs, part of wing) and woman (lower part of garments decorated with ornamental patterns, the ends of a cloak), both to right. Dot rosette for filling ornament. Below, two rows of dots. At the break, some of the lower zone (incision). Red: hair of sphinx, wing bow; panel on dress, stripes on hanging folds. The Group of the Dresden Lekanis (ABV 22, 12). Late first quarter of the 6th century B.C. 1860 P277 I 10

Two non-joining wall fragments. Max. dim. a) 0.151, b) 0.05. Traces of burning on inside. Animals. Fragment a preserves a siren to left, part of another animal (a siren?), and incised rosettes for filling ornament. Below, rays. Fragment b shows a rosette above the horizontal line. Red: hair, neck, breast and wing bow; breast of second siren. The Polos Painter (ABV 48, 142). Second quarter of the 6th century B.C. 1866 P. 119 P 23489 114

Wall fragment. Max. dim. 0.079. Animals: goat (hindquarters) and panther (face) to left. Rosette for filling ornament. Above, ornamental band: lotuses and palmettes? Red: markings on hindquarters. First quarter of the 6th century B.C. 1861 PI. 119 P25903 M 18

Wall fragment. Max. dim. 0.083. Feline or sphinx (body and legs) to left. Large incised rosette for filling ornament. Below, ends of rays above the foot. Red: spot on shoulder, ribs, markings on hindquarters; core and dots on petals of rosette. The Polos Painter (ABV 48, 144, the number given as K 2801; Paralip. 20, 144, the number corrected). Second quarter of the 6th century B.C. 1867 P3269 E 14:11

Shoulder fragment. Max. dim. 0.057. Veiled figure (face, shoulder) to left. Traces of another at the left carrying a horn and a branch (now mostly gone). Red: veil, traces of figure at left; horn and branch (applied directly on the clay). Ca. 580-570 B.C.

Neck fragment. Max. dim. 0.047. Sirens (head of one; tail of another) to right. Large and small rosettes for filling ornament. Red: hair, neck, breast, feathers of tail; cores and alternate petals of large rosettes. The Polos Painter (ABV 48, 150). Second quarter of the 6th century B.C. 1868 P1. 119 P 26542 T 18:4

Shoulder fragment. Max. dim. 0.083. Siren (face, breast, start of legs) to left facing a lotus-

CLOSED VASES, SHAPE UNCERTAIN palmettecross.Incisedrosettesfor filling ornament.Below, four rows of dots. Red: body of siren; cores and petals of rosettes;petals of palmettes;cuffs and petals of lotuses; centersof balls at ends of tendrils.White:face. The Polos Painter(Paralip.21). Secondquarterof the 6th centuryB.C.
1869 P1. 120

319

P 12450 Q18:1 HesWall fragment. Max. dim.0.04. E. Vanderpool, 16. no. and 261, 14, 260, p. fig. peria 8, 1939, p. Youth(neck,chest,hair)to left with a mantleoverhis left shoulder.On the left, the last letterof an inscription: 1874 PI. 120 JN Red:neck;cloak. The inscriptionprobably named the youth; thus, the The youthmay be seated,perhapsan sceneis mythological. onlooker,for Kleitiasusually shows both arms of standing or active figures. Cf., e.g., the seated figures of Zeus and Hera with those aroundthem in the Returnof Hephaistos on the Francoisvase (ABV76, 1; Paralip.29, 1; Cristofani,
Vaso Franqois, figs. 90, 91). Kleitias (AB V 77, 10).

P 31090 I 10:1

Fragment. Max. dim. 0.076. Wall and shoulder with startof neck. In panel, siren (backof head, someof wing, tail) to right. Red:wing bow;bar on tail. First half of the 6th centuryB.C. P 25369 Q 13-14:1 (U) Shoulder fragment with beginning of flange. Max. dim. 0.043. Deer (someof head and neck)to right. Red:neck,beard, pupil. Secondquarterof the 6th centuryB.C. 1870 1871 P 23890 H 12-13 Four non-joiningneck and wall fragments.Max. dim. a) 0.077, b) 0.078, c) 0.088, d) 0.048. Animal friezes. Fragmenta comes from the neck of the vase and preservesa lion (head, neck, shoulder)to right, with headturnedaround.Fragmentb preserves partsof two friezes: I) lion (body, some of neck, tail, legs) to right; animal,perhapspartof a wing. II) partof an undetermined two c of more friezes with a double Fragment gives parts row of dotsbetween:I) partof floral;siren (tail, legs, part9f wing) to right;II) sphinxor siren(headwith polos)to right. Fragmentd gives moreof the same frieze:head of a sphinx or a siren. Blobs, dot and incised rosettesfor filling ornament. Red:necksof lions;ribs,markingson hindquarters of lion on b; part of animalon b;breast,somefeathersof siren on c; face of sphinx or sirenon c. Secondquarterof the 6th centuryB.C. P 26615 T 18:2 1872 Wall fragment.Max. dim. 0.057. Bull (head, part of bent foreleg, left forehoof) being broughtdownby anotheranimal,a lion or a panther(leg at right).At the bottomof the fragment,tracesof anotherzone (rays?).Red:eye, horn;broadbandon blackglaze between zones. Secondquarterof the 6th centuryB.C. P 26777 T-U 19-20 (I) dim. 0.077. Wall fragment.Max. Parts of two friezes: I) animals; feline (hindquarters, someof tail) to left and a feline or a sphinx (crouched hindquartersand tail) to right;solid and incisedrosettesfor filling ornament;II) incisedrosettes.Red: markingson hindalternatepetalsof rosettesin frieze. quarters; First half of the 6th centuryB.C. 1873

Ca. 570 B.C. 1875 P1.120 P 26637 U 19

Wall fragment.Max. dim. 0.089. Frontal chariot (most of one trace horse and one pole horse;some of the chariotbox with part of the charioteer, the polepartlyboundwith lashing,the axle, andone wheel). Red:box; manes.White:charioteer's chiton;dots outlining breastbandof pole horse;its teeth.
Ca. 560 B.C.

P 16562 No grid Wall fragment.Max. dim. 0.027. Youth (head,part of garment)to right. Red:fillet;stripe on garment.
Ca. 560-550
B.C.

1876 PI. 120

1877 PI. 120

P 25809 K-Q 14-17

Wall fragment. Max. dim. 0.042. Warrior (helmeted head, some of shoulders)to right, holdingout his shield. Over his right shoulderis a baldric. Red: helmet;inside of shield;pupil; corsletleft of baldric. White:helmet;rim of shield. The long shaggybeard appearingbelow and in front of the cheekpieceof the helmet suggests that this is not a
human warrior, for he would have a shorter, trimmer beard. Rather, it is more likely to be a giant who in the 6th century wears armor and is distinguished from the gods in subtle ways such as direction of movement or size. For giants with shaggy beards contemporary with 1877, cf. the giant speared by Hermes on Akropolis 607 q by Lydos (ABV 107, 1; Tiverios, pi. 48:a); the giant attacked by Dionysos on Akropolis 1632 c (Graef, pl. 84). For giants, cf. 183. Ca. 560-550 B.C.

1878

P 26796

T19:l

Wall fragment from near shoulder. Max. dim. 0.035. Warrior (most of helmeted head, shoulders) attacking to

320

CATALOGUE The Swing Painter (ABV 310, 107). Bohr (Schaukelmaler,p. 109, no. U 23) demotes1883 to the circle of the Swing Painter. cf. 394. For the subject,
Ca. 540-530
B.C.

rightwith spearready,his shieldon his left arm.Red:rimof shield.

Ca. 550 B.C.

1879 Pl. 120

P3857

G 11:5

Wall fragment.Max. dim. 0.033. Face (eye, cheek)to right. Red:eye. It is difficultto be certainwhat type of creatureis represented.It cannotbe a horse, for the horizontaland vertical pairs of lines do not belong to the halter or bridle (cf. 17: PI. 3), nor doesthe incisionseemright for a lion or a bull.
Ca. 550 B.C.

1884

P 26757 U 19

Wall fragment.Max. dim. 0.045. Sphinx (mostof head,neck,startof breast)to left, wearand a fillet. Red:eye. White:flesh. ing an incisednecklace
Ca. 540-530 B.C.

1885 P1.120

P26441

T 19:1

P 14283 Q 18:1 1880 PI. 120 E. dim. 0.071. Max. Wall fragment. Vanderpool,Hes15 and no. p. 260, fig. 16. peria 8, 1939, p. 261, Siren (part of breastand outspreadwing) to right. Red: stripon wing. White:partof wing, outlineof breast. The estimatedsize of the siren in relationto that of the vasesuggeststhat it was the only figurein the panel,similar to 734 (PI. 70).
Ca. 550 B.C.

Wall fragment.Max. dim. 0.041. Revel?A beardeddrapedman (face,some of body,right hand holdinga cup of the Little Master type) to right. In frontof him is a woman(arm)dancing.Red:beard;dotson garment,borderof sleeve.White:women'sflesh.
Ca. 530 B.C.

1886 P1

. 120

P26803 T19:1

1881

P4712

E-F 12-14

Wall fragment. Max. dim. 0.048. Dent in surface at Minotaur'schest.Glaze misfiredgreenishyellow. Theseusandthe Minotaur.The Minotaur(mostof head, chest, upper arms) to right is down on one knee, wounded underhis right arm, his left raised.On the far left, part of the left thigh of Theseus. Red: loop bindingthe Minotaur; muzzle,blood;spotson nipple. showedthe Minotaurdownon The composition probably one knee, his body turned away from Theseus. Cf., e.g., New York, M.M.A. 56.171.12: Group E (ABV 134, 22; Paralip. 55, 22) or Boston, M.F.A. 60.1 by the BMN Painter (Paralip. 107, 7 bis; CVA, Boston 1 [USA 14], pl. 8 [630]:1). For others, cf. Brommer, Heldensage3, pp. 228-231. For the subjectin general,cf. 171.
Ca. 540 B.C.

Two non-joiningwall fragments.Max. dim. a) 0.037, b) 0.028. Fromneartop of panel. a youth (head,shoulders)bending Fragmenta preserves over slightly to right and part of a staff or a spear on the right (an arming scene?). Fragmentb gives the top of a youth'sheadto left. Abovethe figurezoneon eachfragment, a friezeof myrtleleaves.Red:hair of youths.
Ca. 530 B.C.

1887 PI. 120

P 13746 U 23:2 (M)

Wall fragment.Max. dim.0.035. Man (head,shoulder)standingto right on the left-hand sideof a horse(mane).In the upperleft, at the break,is a bit of glaze that may be the shaft of a spear. Red:hair, beard; mane. Third quarterof the 6th centuryB.C. 1888 P1.120 P 24049 O-R 7-10 Max. dim. 0.067. Wall fragment. Man (head, shoulder) to right with arm raised, and behindhim is a similarman (raisedhand). Red:beardand forelock. The subjectis probablya valediction.Comparetwo by (ABV 113, 81; Paralip.45, 81;Tiverios, Lydos:Kerameikos pls. 42, 43) and Athens, Vlasto (ABV 113, 84; Tiverios, pl. 45). Third quarterof the 6th centuryB.C. 1889 P 25014 P 16 Shoulderfragment.Max. dim. 0.027. Courtingscene. Youth (head, some of left shoulderand arm) to right, with the hand of anothertouchinghis chin. On the right, at the break,part of an unintelligibleobject (something hangingon the wall?). Red:hair and eye; alternate tonguesapplieddirectlyon the clay ground. Third quarterof the 6th centuryB.C.

1882 P1.120

P 13337 H 8:1

Wall fragment.Max. dim. 0.044. Chariot(neckand mane of right-handtracehorse;heads of pole horses)to right.Red:pupil of right-hand polehorse's horse. White: right-handpole eye.
Ca. 540-530 B.C.

1883 P1. 120

P 4946 F-G 12:1 (?)

Wall fragmentfromjust below lip. Max. dim. 0.075. At the top, abovethe horizontal line, the surfaceis roughas if it was once coveredby the downturned part of a lid or fitted into something.B6hr,Schaukelmaler, pl. 161:b. Heraklesand the Lion (the head of the hero to right,the andmane the forehead top of his quiverwith arrowsbehind; of the lion) to right. Red:beard;mane;line abovefigures.

CLOSED VASES, SHAPE UNCERTAIN P 24297 No grid 1890 P1. 121 Wall fragment.Max. dim. 0.059. Horse race (?): the forefeetof one horse, the belly and start of the forelegof another,to right. Below, small rider (headand forepartsof his horsemissing)also to right. Red: bandbelow figures.
Ca. 530-500 B.C.

321

scene?).Red:fillet;pupil. White:flesh;lower partof architraveand row of dotsabove. For fountainscenes,cf. 642. Last quarterof the 6th centuryB.C. 1897 P25839 A 19-21 Wall fragment. Max. dim. 0.044. Brown wash on surface. Man (thighs) standingto right. In the field, a branchor vine. Last quarterof the 6th centuryB.C. 1898 P 26795 T19:1 Wall fragment.Max. dim. 0.041. Male (hips and thighs, left elbow) precededby another male (buttocks, someof drapery),bothto right.Red:dotson drapery. Last quarterof the 6th centuryB.C. P1905 J8 Wall fragment.Max. dim. 0.035. Partof two friezes:I) footto left;II) mounted youth(head and neckof horse)to right. Nonsenseinscription: 1899 PI. 121

1891 PI. 121

P 22898 M-N 15:1

Wall fragment.Max. dim. 0.049. Male, perhaps Perseus (parts of legs), running to left, wearing a nebris.At the upper breakis a bit of glaze that the bottomof his kibisis.On the right,a loop, may represent of a feline to right. Red: edge of nebris. the tail perhaps White:main part of nebris. Last quarterof the 6th centuryB.C. 1892 P 4995 E-F 12-14

Two non-joiningneck fragments.Max. dim. a) 0.042, b) 0.035. Fragmenta shows a male, perhaps Hermes (head with petasos,someof shoulders)to left. On the left, at the break, tracesof anotherfigure.On the right,partof a rosette.Fragment b preserves the wing and partof the tail of a sphinxto White: chiton. right. Last quarterof the 6th centuryB.C. P 26753 T-U 19-20 (III) Max. dim. 0.063. Wall fragment. Chariot(partof box andrail, tracelines,pole,the endof a goad, and the tails of the horses)to right. Betweenthe tails is a glazedareapartlyincisedwith pairs and the breastwork of strokesthat representpart of a figurestandingon the left side of the team wearing a long garment. The pairs of strokesindicatea pelt, probablythat of a feline. Red: two tails. Last quarterof the 6th centuryB.C. 1893 1894 Pl. 121 P27887 H 13:5

n llinl
Last quarterof the 6th centuryB.C. P 15390 R21:3 Fragment.Max. dim.0.037. Tall, narrowneckwith start of shoulder. Two figures(mostof one exceptfor head,one leg, hand, and both feet; the body, one arm, some of the legs of the chitonsrun or danceto right, other) in short,crosshatched lookingaround.Each holds a dolphin-wheelin each hand. Above,some of the line at the top of the zone. Red: eye of figureon right;dotson garments. For the dolphin-wheel, cf. its use as a shielddeviceon the the Oltos in collectionof Norbert Schimmel psykter by (ARV2 1622, 7 bis;Paralip.326, 7 bis). Last quarterof the 6th centuryB.C. P 23676 Q8:9 Wall fragment, near shoulder.Max. dim. 0.055. Warrior(partof helmetedhead,left shoulderand arm)to left, holding out his shield seen in profile. Over his left shoulderis a baldric.Just belowthe top of his helmetis the shaftof his spear,presumably held in his raisedrighthand. Red:filleton helmet.White:baldric.
Late 6th century B.C.

1900 P1. 121

Wall fragment.Max. dim. 0.03. Dionysos (most of face and head with wreath)to left. In the field, a branch. Red: spots on leaves; line on stem of branch. Last quarterof the 6th centuryB.C. P 26824 T 19:1 1895 Max. dim. 0.04. Wall fragment. Boxer (back of head, shoulder, raised right arm with to left. Behindhim is a spectator holdinga thongs)attacking staff (face,handwith part of staff). Last quarterof the 6th centuryB.C. 1896 PI. 121 P 5016 E-F 12-14 Shoulderfragment.Max. dim. 0.031. Woman (head) to right, beneathan architrave(fountain

1901

1902 P 2621 G 6:3 (U) Wall fragment.Max. dim. 0.032. E. Vanderpool,Hesperia 15, 1946, p. 313, no. 212, pl. 62. Peleus and Thetis? A man (head)bendsforwardagainst a white background (arm of Thetis?). Red: fillet. White: of Thetis. arm(?) For the subject,cf. 653. Late 6th centuryB.C.

322 1903

CATALOGUE P 27320 T 16 1906 P1.121 P 23268 M 16

Wall fragmentfromnearneck. Max. dim. 0.037. Chariot (heads of two trace horses) to right, facing an Amazon(headwith helmet),who is probably falling.On the the and one dotof the two vertical lines framing panel right, White: Amazon's flesh(partly Red: fillet on helmet. pattern. applieddirectlyon the clay). For the subject,cf. 173. Late 6th or early 5th centuryB.C. 1904 P 25823 A 19-21 Wall fragment.Max. dim. 0.05. Dionysos (most of head) to left. In the field, a vine or branch.Red:beard. Late 6th or early 5th centuryB.C. 1905 PI. 121 P 25882 M 17 Wall fragment.Max. dim. 0.068. Woman (left foot, lower part of garment) running to right.On the rightis partof the trunkof a treeanda branch. Red:line underpictureoverblackglaze. White:foot. Late 6th or early 5th centuryB.C.

Curvedfragment. Max. dim.0.044. Partof a smallround hole neartop. Silhouettetechnique. Dog (headmissing)to right.Beneathit, a plant.Red:part of shoulderand hindquarters.
Early 5th century B.C.

1907

P 25295 G 12:21

Wall fragment.Max. dim. 0.048. Man (head,raisedright handwith spear)to left. Above, one line. At the very top of the fragmentis a small bit of glaze that may be part of an ornamentalpattern on the shoulder. First quarterof the 5th centuryB.C. 1908 P 21865 N7:3 Wall fragment.Max. dim. 0.064. Thin wash on interior. C. Boulter,Hesperia22, 1953, p. 71, no. 20, pl. 28. Satyr(head,torso,someof armsandtail) to right,looking around.Hand of secondsatyr on left at break.Red: fillet; beard.White:tracesroundheadof satyr.
Ca. 460-450 B.C.

OPEN VASES, SHAPE UNCERTAIN 1909-1932 Fig. 22 Pls. 121-123 P 7047 I 6 1909 PI. 121 Fragmentof wall. Max. dim.0.062. Fromnearrim,with bandof glaze on inside. Sirenor sphinx (face,partof hairandwing) to left. Above crosswith trihead,hangingspiral.Otherfillingornament: bow. Red: dot rosettes. and eye, hair, wing angles
Ca. 625
B.C.

1912 PI. 121

P 18567 C 18:4

1910 P1. 121

P21712

07

Fragmentof flanged rim. Max. dim. 0.043; est. diam. 0.17. AgoraVIII, p. 98, no. 582, pl. 37. Swan (head,someof neck)to right.Hangingspiralbelow rim. Red:rim.
Late 7th century B.C.

Wall fragment.Max. dim.0.111. Baklr,Sophilos, pl. 83, fig. 171. Frontalchariotwith flankingfigures.On the left is part of one tracehorse(mane,chest,one foreleg,partof tail);the that its headis turnedto right. positionof its maneindicates At the right is an old man, stoopingor squatting,with his right hand to his face, grieving. Behind him is a woman (lowerpartof chiton;partof cloak)to left. Abovethe man's head,partof an inscription:

]+05
Red: contourline of horse;neck of man;womretrograde. an's cloak;letters;two shortstrokesbehindman'sshoulder White (applied directlyon (part of anotherinscription?). the clay):horse;hair and beardof man. For the use of red for contour and for white applied directly on the clay ground, cf. 419. Beazley suggested that originally the inscriptionmight have read: ANTIAO]XOZ. If so, then the old man may be Nestor and the subjecteither the death of Antilochosor his departurefor and the battlein whichhe is slainby Memnon.If Antilochos if his corpsewere stretched out on the groundin frontof the

1911 P1. 121

P 25353 S-U 19-21

Wall fragment.Max. dim. 0.068. Goose(someof body,neck,head,one leg) to left, feeding. Incised rosette for filling ornament.Red: wing bow; core and alternatepetalsof rosette. Comparethe mannerof the GorgonPainter(Paralip.9).
Ca. 600-590 B.C.

OPEN VASES, SHAPE UNCERTAIN

horses, it would explain the position of the old man's head and the low position of the inscription. Both subjects are very rare in vase painting. The death of Antilochos recurs later on an amphora in Philadelphia (University Museum 3442) by Exekias (ABV 145, 14). His departure for battle appears on a fragmentary neck-amphora compared with the Painter of Vatican 359 (Basel, Cahn: Paralip. 59), which has the names inscribed. It may also appear on one side of a cup in Berlin signed by Oltos, inv. no. 2264 (ARV2 60, 64;

323

insidesof mal(?) belowon left. Red:eyes, stripon forehead, ears;neck. Secondquarterof the 6th centuryB.C. 1918 P3267 E 14:11
Three non-joining fragments of wall. Max. dim. a) 0.131, b) 0.05, c) 0.05. Wide bands of brownish black glaze on inside. Pale slip on outside? Animal friezes. Each fragment shows parts of two friezes. Fragment a: I) feline (head and forelegs missing) and swan or siren (breast, legs), both to left; II) bird (tail) and panther

the deParalip. 326, 64). On the left of this composition, partingwarriorshakeshandswith an old man. May be by Sophilos(ABV 43, 4).
Ca. 580 B.C. 1913 P3442 I 14:1

(head,neck),bothto left; fragmentb: I) feline (hind leg) to c: I) bird (breast,upperpart left; II) swan (neck);fragment

Fragment of incurving rim. Max. dim. 0.07. Glaze fired

red on insideand on mostof outside. On outside,partsof two friezes:I) birds(all of two, parts
of two others) to right; II) lion (head) to right, facing a boar (some of head and neck). Incised rosettes for filling ornament. On inside, boar (most of body) to left. Blob rosettes for filling ornament. Red: wing bows; neck of lion; head and belly stripe of boar on inside. First quarter of the 6th century B.C.

of wing); II) dots. Rosettes for filling ornament. Red: necks of panthers, nose and forehead of panther; breasts and wings of birds. Second quarter of the 6th century B.C. 1919 P 5364 F 12:5

broken)and wall with part of handle.Poorbrownishblack

glaze.

Fragment. Max. dim. 0.046. Projecting rim (outer edge

1914 P1. 122

outside.

P 25332

G-H 11-12

On rightof handle,lion (head)to left. Incisedrosettesfor filling ornament.On top of rim, dots and shortstrokes.On handle, zigzag. Red: band on inside. White: line framing
band top and bottom. Second quarter of the 6th century B.C. 1920 P1. 122

Wall fragment. Max. dim. 0.065. Glaze fired red on Lion (legs missing)to left, lookingaround.Incisedrosette
for filling ornament. First quarter of the 6th century B.C.

P 13427 N 18:7

Two non-joiningwall fragments.Max. dim. a) 0.093,

b) 0.073. Wide bands on inside of both fragments.

1915 PI. 122

Wall fragment. Max. dim. 0.05.

P1413

H 10-11

Fragmenta preservesthe lower parts of two women, to

Male (end of beard,right arm bent at elbow, someof his chiton and himationwith a fold hanging down behind)to one right.On the left, at the break,are tracesof two objects: of them may be the end of a spear or a staff, the other is roundedand may be the end of a dog'smuzzle. Red:himation. White: chiton. Ca. 570 B.C.

1916 P1. 122

P 27588 M 16

right, each dressed in a peplos and himation. Behind them is part of an object that looks like a lyre (arm, part of crosspiece). Below, two small bits of glaze that may represent an ornamental band or a frieze of animals. Fragment b shows the outspread wing of a large bird or siren and the hindquarters, tail, and part of one wing of a sphinx seated to right. Red: himation of woman on left; peplos of one on right; bar on wing of siren; marking on hindquarters of sphinx. White: feet of women. Second quarter of the 6th century B.C. 1921 P1. 122 P479 H 17

holdingout her veil with her left hand, the bridalgesture.

Facing her, a rider (left leg and hand; foreparts of his mount) reins in his restive horse. Below, a row of staggered dots between lines. Red: peplos, fillet, cores of rosettes on veil; topknot and mane of horse; concentric circles on inside. White: woman's flesh; dots on rosettes. Ca. 570-560 B.C. 1917 PI. 122 P 5296 E-F 12-14

Rim fragment. Max. dim. 0.049. Glaze misfired. Woman (lower skirt and feet missing) standing to right,

Wall fragment. Max. dim. 0.05. Glaze has fired brownish. Chariot (the heads of the two trace horses) to left. On the right side of the team, part of a figure (drapery). Red: alternate locks of left-hand horse's mane; alternate stripes of garment. White: reins; alternate stripes of garment. Ca. 560 B.C.

1922 PI. 122

Wall fragment. Max. dim. 0.043.

P 26805

T19:1

Fragment. Max. dim. 0.064. Rounded rim and slightly convex wall. Glaze fired reddish brown on outside. Panther (head, some of neck) to left. Part of another ani-

Youth (head)to left.

The Painter of Louvre F 6 (Paralip. 52). Ca. 550 B.C.

324

CATALOGUE lionskinandbeard,see the figureof Herakleson New York, M.M.A. 58.32 by the LysippidesPainter(Paralip.114, 10 the identification of this bis).Therefore,we havequestioned figureas Herakleswithoutgivingit up altogether. The subject is also puzzling.The person,whoeverhe is, seizes two sows or youngpigs, not boars,forthereare no bristlesalong their spinesand their size is small in relationto the human who capturesthem, unlike boarswhich threatenor attack. Cf., e.g., New York,M.M.A. 46.11.7 by the Painterof London B 620, which shows Peleustreedby a huge boarand a fiercelion (ABV434, 3; Paralip.187, 3). The positionof the man was probablyvery like that of Dolon on a red-figured lekythosin the Louvre,CA 1802 (RA, 1980, p. 11, fig. 9), only reversed.What remainsof the compositionon 1928 also recalls the scene in the Odyssey,Book XIV, where Eumaios,the swineherdof Odysseus,selects two pigs for sacrifice, whichhe then roastsandsets beforeOdysseuswho in disguise.The sceneon 1928 maybe a genehas appeared ral one and simply representtwo pigs being capturedfor but withoutmoreto go on, it is difficultto be more sacrifice, precise. For such sacrifices,cf. Orth in RE II, A, cols. 812-813 (Schwein);also, C. Roebuck,Hesperia 9, 1940, p. 183. Last quarterof the 6th centuryB.C. P 19849 D 17 1929 P. 123 Wall fragment.Max. dim. 0.027. Recutfor use as a disk or a stopper.Silhouettetechnique. Male (feet)to left. Late 6th centuryB.C. 1930 P1.123 P24275 Q7 Wall and rim fragment.Max. dim. 0.093. Rim slightly inset. Someof the glaze misfired. Komos.On the left is a man (head,arms,drapery)seated to right, playingthe aulos, and in frontof him is a komast (partof right leg missing)dancingto right,lookingaround. In the field,a branch.On top of rim:

P 22844 H-K 12-14 1923 PI. 122 Fragment of heavy ring foot, floor, and wall. Max. dim. 0.103. I, in exergue,panther(tail missing)to left, head in profile. Above,line and humantoes or paws of an animal.
Ca. 550 B.C.

1924 P1. 122

P 60 H 10

Wall fragmentwith start of offset lip. Max:. dim. 0.034. Vanderpool, Hesperia15, 1946, p. 132, no. 21 pl. 22:5. Nude youthdancingto right. Red:hair. Recallsthe TaleidesPainter(ABV 177, 1). Ca. 550 B.C. 1925 P 92 >69 M 17:4 Wall fragmentwith two wide bands of glaze on inside. Max. dim. 0.053. Brownwash on insideand outside. Panther (head, neck) to left; part of an( )ther animal Red: neck. White: markingson face, con(hindquarters). on hindquarters. tour strip at neck;markings Third quarterof the 6th centuryB.C. P 8953 G 14 Wall fragment,slightlyconvex.Max. dim. ().042. Uncertainsubjectthat lookslike a woman (someof head and shoulder)standingto left, her himationwrappedtightly andperhapsheldout with her righthand.On tl herightis the shaftof an object,andnext to it is someglazethat maybe the rim of a drinkinghornor an ivy leaf. On the l eft,two small areasof glaze that maybelongto anotherfigur e. Red:panel of chiton; core of rosette on cloak. White: fResh;dots of rosette. Third quarterof the 6th centuryB.c. 1926 PI. 122 P 4,925 N 10:1 1927 Rim fragment, thickened slightly near top. Max. dim. 0.052. Wide blackbandon insideat rim. Woman (head and shoulders)to left witi right hand raised.On the left is anotherwoman (tip of her hand) facing, with a basket(?).Red: fillet;stripeson cloak;bandon inside.White:women'sflesh. Ca. 540-530 B.C. P 13245 H9 1928 PI. 122 ng wall, with Fragment.Max. dim. 0.073. Rim and flarii start of cul(?) at bottom.Vanderpool,Hespe: ria 15, 1946, p. 130, no. 18, pl. 22:3. Herakles(?)and two pigs. On the right, the head of the his right arm hero(?)protected by the lionskin(?);below it 1 and hand seizingthe right hind leg of a pig wthotries to get t.In thebackaway.Then comesanotherpig (hindleg), to left e. Red: small ground,a tree. Above,four lines; below, thre( White: of on teeth of below lionskin. tail patch pig right. The man'shead protected by a pelt immedi, atelysuggests notseemparHerakles,but the long noseof the animaldoesr )uldbe under ticularlyfeline,and the end of its lowerjaw she the man's chin insteadof alongsidehis cheek.Also, in ArchaicGreekart, Heraklesusuallyhas a shorter beardthan that of the figureon 1928. For a typical rend ering of both

]p I
(paintedin glaze). Late 6th centuryB.C.

FIG.22. Open vase 1931 (P 21186). Scale 1:2

1931 Fig. 22, P1.123 P 21186 Q 10:4 Two non-joiningwall fragments.Max. dim. a) 0.035, b) 0.103. Each fragmentpreservespart of a raised panel

PLAQUES with figureddecoration, which appearsabovea scoredunglazed surface.Fragmentb gives the profileof the rim:flat, wider at the top taperingto the resting surfacefor the lid (the joint markedon the outside by a ring), then a curved wall turningtowardan almostflat bottom. Fragmentb preservestwo male heads (mostof one; neck a showsthe back and shoulderof the other)to left. Fragment of a head to right. Red:fillets. The scoredsurfacelooksas if this was wherea horizontal

325

handlewas onceattachedbut brokeoff. On such a vase,the handlewouldhaveoverlapped decoration. partof the figured Late 6th or early 5th centuryB.C. 1932 P7295 C 12:3 Wall fragment.Max. dim. 0.06. Woman (head, right hand) to left, holdingsomethingin each hand,perhapsa torch(?).White:flesh.
Early 5th century B.C.

MISCELLANEOUS 1933-1935 P1.123

1933 P1. 123

P 16811 G 15

1935 P1.123

P 5442 F 12:5

Neck or rim fragment.Max. dim. 0.16. The fragment turnsoutwardat the bottom. Youthfulrider(horsemissingexceptfor someof back)to right. Red:chiton.
Ca. 550 B.C.

1934 P1. 123

P 15970 F 19:4

Fragment of amphora Type A. P.H. 0.205; diam. of mouth 0.275. Mouth and neck down to ornamentabove panel, one handle, the attachmentof the other. Flaring with ivy. mouth,flat on top. Flangedhandlesdecorated decoration lost. Above Figured panel, lotus-palmette chainwithoutincision.Red:two lines on neck.
Ca. 510-500 B.C.

Fragmentof handle.Max. dim. 0.157. The sides are decoratedwith zigzags with tongues between. The concaveouter surfacehas wavy lines with dots and loopsbetween.White:designs. The zigzag line is similar to that on three unattributed late 6th-century loutrophoros-amphorae: New York, M.M.A. 27.228 (J. Noble, Techniques,fig. 169); Berlin 1888 (AthMitt53, 1928, Beil. 13);andAthens,Benaki7676 similar (AthMitt78, 1963, Beil. 50, 51). 1935 was probably to these in size and decoration, but the concave outersurface of each handleis decorated with rosettesinsteadof a wavy line as on 1935. For the latter, cf. two red-figuredloutroLouvre CA 453 by the Kleophrades phoros-amphorae: Painter (ARV2 184, 22) and Berlin 3209 near the Talos Painter(AthMitt16, 1891, p. 372) now augmented (AK 14, 1971, pp. 74-83). These, however,lackthe loopsand dots.
Late 6th century B.C.

PLAQUES 1936-1946 Pls. 123 and 124

1936 PI. 123

P 539 H 17:4

A disk cut from a plaque. Max. dim. 0.053; Th. 0.01. Finished edge at the bottom.Agora VIII, p. 96, no. 571, pl. 35. Chariot(partof wheel and pole;hindquarters and tail of dot rosettesfor filling ornament. horse)to right. Connected Third quarterof the 7th centuryB.C. 1937 P1. 123 P 6731 D-E 8-9:1

Man (head,shoulders,raisedleft hand)to right, holding a spear.Red:hair and beard. Mannerof the C Painter(ABV 60, 21).
Ca. 560
B.C.

Fragment of top edge. Max. dim. 0.053; Th. 0.007. Framing line alongside preserved edge; side reserved. Brownish black glaze. Vanderpool, Hesperia 15, 1946, p. 134, no. 29, pl. 23:7.

P1125bis G15 Fragment of left side. Max. dim. 0.125; Th. 0.028. Coarse gritty clay, with painted surface slipped smooth. Traces of burningnear top. J. Boardman,BSA 49, 1954, pl. 16:3. Bandnear left edge,then partof a verticalinscription: Red:letters.
Ca. 550 B.C.

1938

326 1939

CATALOGUE P 13849 U 25:2 (L) Hermes (legs missing),holdinghis kerykeionin his left hand, a vase(?) in his right, standsto left facinga woman (head,shoulder,arm) who holds out a wreath.Small blobs of glaze in the field. Red: fillet; eye and cloak of woman; hair, cap, and chitonof Hermes.White:fleshof woman. Third quarterof the 6th centuryB.C. P3090 K 12 Fragment, broken all around. Max. dim. 0.071; Th. 0.009. Rider (foot; part of forelegsof mount) to right accompaniedby a dog (head).In frontis a man (drapery,partof leg) also to right. Ca. 510 B.c. 1945 P1. 124 P 20852 D 17:10 1944 PI. 124

Lower right corner with part of right edge. Max. dim. 0.045; Th. 0.009. Bottom edge uncertain.Sides reserved.Line roundperimeter. Draped figure (lower parts) sitting to left on a throne with elaboratelyturned legs ending in animal feet; at the left, above,tracesof anotherfigure,andbetweenthe two, the lowerpartof a staff. Below, frameof tongues(?), carelessly drawn.Red:garmentof seatedfigure. Ca. 550 B.c. 1940 P 14688 S 20 Broken all around; back rough. Max. dim. 0.132; Th. 0.035-0.037. Gritty clay with a layer of finer clay surface,which was (0.005 thick) applied for the decorated BSA 49, 1954, pl. 16:5. slipped.J. Boardman, Part of shield seen fromthe inside. Red:insideof shield; coreof dot rosetteon rim. White:dotsof rosette.
Ca. 550
B.C.

1941 PI. 123

P 10513 T 19

brokenall around.Max. dim.0.068;Th. 0.01. Fragment, Heraklesin battle.Herakles(body,legs, rightarm), clad in a shortchitonand lionskin,attacksto rightwith his sword drawn. On the left is anotherfigure (short chiton,left leg, rim of shield, end of scabbard) to left. The meaningof the diagonal object between the figures is difficult to understand. Perhapsit is the end of a very long scabbard.Red: stripeon chitonof figureto left;dotson rimof shield;skirtof Herakles'chiton. Third quarterof the 6th centuryB.C. P20754 R 12:1 1942 PI. 124 Fragment, broken all around. Max. dim. 0.085; est. Th. 0.03. J. Boardman,BSA 50, 1955, p. 60, no. 13, pl. 3:a, b. Man and youth (heads,raised arm) to right. Red: forelocks;beards(youthhas a very shortbeard,not incised).
Ca. 530 B.C.

Two non-joining Max. dim.a) 0.13, b) 0.048; fragments. Th. 0.012. Chariotsceneto right.Fragment a preserves the top of the headof a tracehorseandthe upperpartsof a womanfacing. Top frame,crossedmaeanderwith squares;lateral frame, key patternto left. Fragmentb gives partof the chariotrail and breastwork, the tail of a pole horse,a traceline, a bit of the charioteer's chiton,andsomeof his goad.On the left side of the team is a standingwarrior(scabbard, spear, chiton, cloak)to right.Red:filletof woman;stripesanddotson garments;mane and tail; loop on chariotrail; side of plaque. White:woman'sflesh;charioteer's chiton;end of scabbard; dotsroundincisedcrosseson garments. For the crossedmaeanderwith squares,cf. these by the Gela Painter:Syracuse2358 (ABL, p. 208, no. 63;); New York,M.M.A. 06.1021.79 (ABL,p. 214, no. 180). Late 6th centuryB.C. 1946 P1.124 P 25868 R-V 23-28

1943 PI. 124

P340

G 14

Fragment of upper right corner. Max. dim. 0.059; Th. 0.006. Hole for suspension.Borderand sidesglazed.

Fragmentfromloweredge. Max. dim. 0.052; Th. 0.007. Brownwash on sides and back. Bandof glaze (now flaked) roundperimeter. Chariot(part of wheel and pole; hind legs of horses)to right. Last quarterof the 6th centuryB.C.

DISKS 1947-1949 P1. 124 P 5280 E 13:1 1947 P1. 124 Rim fragmentwith vertical edge reserved.Max. dim. 0.045; Th. 0.09. Undersidereserved.D. Callipolitis-Feytmans,BCH79, 1955, p. 469, fig. 1:5,pl. 20:6. Male dancer(someof head, left arm, torso)to right. On the left at the break,handof another.Dot rosettefor filling Red:hair. ornament. Early6th centuryB.c.

DISKS 1948 PI. 124 P 12253 H 12:9 1949 P1. 124

327 P 990 I 16:4

Fragment.Max. dim. 0.095; max. Th. 0.011. On underside, two concentriccircles and central dot. Clay grayish (burned?). D. Callipolitis-Feytmans, BCH 79, 1955, p. 469, fig. 1:6,pl. 20:5. Woman (draperywith veil held out, right hand) to right holding a wreath and facing a man (some of drapery,one hand) holding a staff. Red: stripes on garments. White: woman'sflesh;wreath.
Ca. 550
B.C.

Complete.Diam. 0.089;Th. of torus0.11. Convexcenter surrounded by a torus. Smoothon underside.Much of the fired red. glaze Center'helmet,with doublecrest.
Ca. 550 B.C.

DEPOSIT SUMMARIES
The locations of the deposits are shown on the Plan of the Agora following the Plates. If a deposit is describedin a previous Agora volume, we have not repeatedthat informationhere but just cite the reference.For each deposit we give the grid number,the type of deposit, and its date, as well as a list of the black-figuredpieces found in it. We have also retained the conventionsthat indicate separate fillings in wells: POU, use filling or Period Of Use; L, M, U, dumped fillings, Lower, Middle, Upper; S, Top or Supplementary filling. A 17:1 Well Ca. 575-560 B.C. L: 731 U: 3, 17, 20, 408, 604, 673, 724, 1319, 1341, 1404, 1474 Agora XII, p. 383; Agora XXI, p. 96. A 17:2 Well 1392, 1408 Agora XII, p. 383.
Ca. 565-550 B.C.

B 13:6 Well 769 Agora XII, p. 384. B 14:5 Storagepit 138, 589, 704, 1300 Agora XII, p. 384.

L: ca. 425-400 B.c.

7th c. to ca. 585-575 B.C.

A 18:2 Burial Ca. 525-500 B.C. Outside archaic cemetery,cremationburial. 829, 830, 836 Hesperia 20, 1951, pp. 108-109, Grave 50 (Young). A 18:6 Pit 1435 Agora XXI, p. 96. A 18-19:1 Late 4th to early 3rd c. B.C.

B 15:1 Well 338 Agora XII, p. 384; Agora XXI, p. 96. B 17:1 Herulian destructionin a house 1155 Agora XXI, p. 96. B 18:6 Well 1181 Agora XII, p. 385.

Ca. 425-400 B.c.

3rd c. after Christ

Ca. 500-480 B.C.

Ca. 500-450 B.C. Filling 76, 91, 92, 110, 140, 174, 182, 221, 238, 513, 514(?), 515(?) Agora XII, p. 383; Agora XXI, p. 96. First quarter of 4th c. B.C.

A 19:1 Sacrificialpyre 283 Agora XII, p. 383. A 19:5 Pit 631 Agora XII, p. 383. A-B 19-20:2 Great Drain South 199, 1853 Agora XII, p. 384.

B 19:2 Burial Third quarter of 6th c. B.C. Outside archaiccemetery,inhumationburial. 793 Hesperia 20, 1951, p. 108, Grave 49 (Young). B 19:10 Well 491 Agora XII, p. 385.
Ca. 500-480 B.C.

Ca. 325-300 B.C.

Various levels and dates

B 20:3 Burial Late 6th c. B.C. Archaic cemetery,inhumationburial. 813, 857 Hesperia 20, 1951, pp. 97-98, Grave 16 (Young). B 20:4 Burial Ca. 530 B.C. Archaic cemetery,inhumationburial. 797 Hesperia 20, 1951, pp. 92-93, Grave 11 (Young). B 21:3 Burial Late 6th c. B.C. Archaic cemetery, inhumation burial. 831, 832, 842, 843, 851 Hesperia 20, 1951, pp. 98-99, Grave 17 (Young).

A-B 21-22:1 Terrace fillings 1643, 1848 Agora XII, p. 384; Agora XXI, p. 96. B 13:5 Well 256, 1726 Agora XII, p. 384; Agora XXI, p. 96.

Ca. 420-390 B.C.

Ca. 425-400 B.C.

330

DEPOSIT SUMMARIES C 18:4 Constructionfillings First half of 5th c. B.C. 1912 48, 595, 824, 825, AgoraXII, p. 386; Agora XXI, p. 97. C 18:8 Well 717, 1366,1441 Agora XII, p. 386. C 18:11 Early drain channel 46, 546 Agora XII, p. 386; Agora XXI, p. 97. C 19:5 House fillings 166 Agora XII, p. 386; AgoraXXI, p. 97.
Ca. 490-480 B.C. POU: ca. 575-550 B.C.

B 21:5 Burial Ca. 520-525 B.C. Archaic cemetery,inhumation burial. 792, 800 Agora XII, p. 385. B 21:7 Burial Ca. 525-500 Archaic cemetery,inhumation burial. 854 Hesperia 20, 1951, p. 96, Grave 14 (Young).
B.C.

B 21:9 Burial Late 6th c. B.C. Archaic cemetery,inhumation burial. 796 Hesperia 20, 1951, pp. 95-96, Grave 13 (Young).
B 21:12 Burial Late 6th c. B.C.

5th-4th c. B.C.

Archaic cemetery,inhumation burial. 837, 841, 856 Hesperia 20, 1951, pp. 96-97, Grave 15 (Young). B 21:14 Burial Ca. 525-500 or slightly later Archaic cemetery, inhumation burial. 811, 812, 816, 1272, 1288, 1429 Agora XII, p. 385.
B 21:18 Burial Late 6th c. B.C.

D 7:2 Packing under cobblestones Ca. 500-470 B.C. 204, 394, 512, 650, 669, 744, 822, 1183, 1188, 1503, 1505, 1847 Agora XII, p. 387. D 11:1 Well Late 1st c. B.C. to mid-ist c. after Christ

Archaic cemetery,cremationburial. 855 Hesperia 20, 1951, pp. 101-102, Grave 20 (Young). B 21:19 Burial Ca. 550-525 Archaic cemetery,cremationburial. 798 Hesperia 20, 1951, pp. 89-90, Grave 7 (Young).
B.C.

820 Agora IV, p. 236; Agora V, p. 124; Agora VI, p. 98; Agora VII, p. 225.
D 12:4 Pit Ca. 470-450 B.C.

1214-1216, 1220, 1221, 1227, 1228, 1253 Agora XII, p. 387. D 15:1 Well Ca. 500-480 B.c.

B 21:20 Burial Ca. 550-530 B.C. Archaic cemetery,cremationburial. 791, 1700 Hesperia 20, 1951, p. 89, Grave 6 (Young). Ca. 525-500 B.C. B 21:21 Burial Archaic cemetery,cremationburial. 799, 807-809, 823 Agora XII, p. 385. B 21:22 Burial Archaic cemetery,cremationburial. 810 Agora XII, p. 385. C 9:6 Pit 190, 531, 661, 1186 Agora XII, p. 386; Agora XXI, p. 96.
C 9:15 Pit 6th c. B.C. Ca. 525-500 B.C.

205, 517, 741, 1197, 1504, 1583, 1590, 1591, 1776 Agora XII, p. 387. D 17:2 Pit 1225, 1226 Agora XII, p. 387. D 17:4 Cistern 1865 Hesperia 20, 1951, p. 182 (Young). D 17:7 Pit 252 Agora XII, p. 387. D 17:9 Well 229, 243, 259 Agora XII, p. 387. D 17:10 Well
Ca. 520-480 B.C. Ca. 225-150 B.C. Ca. 480-475 B.C.

Ca. 450 B.C.

Ca. 400-375 B.C.

Ca. 400-385 B.C.

Rectangularcutting in bedrockcontainingmany Archaicfigurines. 1467 C 12:3 Pit Rectangularpit in bedrock.1932 C 13:2 Well 525 Agora XII, p. 386; Agora XXI, p. 97. Roman, stratified
Early 5th c. B.C.

79,1148,1649,1774,1945 Agora XII, p. 388. D 19:1 Cistern 264 Agora XII, p. 388.
Ca. 420-400 B.C.

DEPOSIT SUMMARIES D-E 8-9:1 Cistern system 1937 Agora XII, p. 388; Agora XXI, p. 97. D-E 18-19 Road packing 25, 458(?), 1318, 1406 Agora XII, p. 388.
Ca. 330-305 B.C.

331

Various levels and dates

Secondhalf of 4th c. B.C. F 11:2 Well (with F 12:3 and G 11:4) 274, 301 Agora XII, p. 389; Agora XXI, p. 97. F 12:5 Well 141, 400, 605, 670, 1323, 1919, 1935 Agora XII, p. 389; Agora XXI, p. 97. 7th c. to ca. 570 B.C.

E 2:3 Foundry pit 272 Agora XII, p. 388; Agora XXI, p. 97. E 13:1 Well 1539, 1947 Agora XII, p. 388; Agora XXI, p. 97. E 14:5 Well

Ca. 375-350 B.c. F 12:6 Well 28, 623, 1340, 1344, 1346 Agora XII, p. 389.
Ca. 470-425 B.C. Ca. 575-550
B.C.

Hellenistic and modern F 12:7 Cistern and passage Part of cistern system later used as a modern cesspool. 217 F 13:3 Well 1297 Agora XII, p. 389. F 14:1 Cutting 277 Agora XII, p. 389. F 19:4 Well
Second half of 4th c. B.c.

Ca. 520-490 B.C. 393, 506, 516, 738, 772, 921,933, 1431, 1569, 1581, 1620 Agora XII, p. 388; Agora XXI, p. 97. 7th c. to ca. 575 B.c.

E 14:8 Pit 1, 2, 406, 715, 1427 Agora XII, p. 388. E 14:11 Great Drain South

Ca. 400-375 B.c.

Various levels and dates

Ca. 490-450 B.c.

39, 71, 75, 103, 105, 214, 228, 353, 403(?), 410, 416, 691, 714(?), 762(?), 1125, 1335, 1345, 1398, 1589(?), 1616, 1679, 1696, 1807, 1817, 1821, 1867, 1918 Agora XII, pp. 388-389. E 15:6 Well Ca. 500-480 B.c.

176, 666, 764, 782, 1184, 1187, 1289, 1449, 1450, 1502, 1518, 1934 Agora XII, p. 390; Agora XXI, p. 98. F 19:5 Well 223, 871,929, 1144, 1432, 1519 Agora XII, p. 390; Agora XXI, p. 98. F-G 12:1 Early North-South Road Levels of 7th and 6th c. B.C.
Ca. 520-480 B.C.

328, 335, 472, 510, 651, 657, 887, 1127, 1192, 1211, 1354, 1497 Agora XII, p. 389; Agora XXI, p. 97.
Second half of 5th c. B.C. E 19:5 Pits 1439 Agora XII, p. 389; Agora XXI, p. 97.

77, 128, 129, 136, 423, 639, 698, 1154, 1307, 1596, 1691, 1719, 1721(?), 1862, 1863, 1883(?) Agora XII, p. 390; Agora XXI, p. 98. G 3:1 Pit 775 Agora XII, p. 390; Agora XXI, p. 98. G 6:3 RectangularRock-cut Shaft Ca. 500-470 B.C.

E 19:7 House fillings 499, 614, 1294 Agora XII, p. 389. E 29:4 House of Greek mosaic Stroses in courtj. 371 E-F 12-14 Constructionfillings

Late 6th-early 5th c. B.C.

Early 3rd c. B.C.

L: ca. 575-535 B.C. U: ca. 510-480 B.c.

First half of 5th c.

to ca. 460-450 B.c.

31, 54, 94, 104, 111, 134, 137, 187, 189, 208,211(?), 212(?), 224,340,346,361,365,369,385,412,466,467,480,481,483, 486,488,493,555,556,559,569-574,635,636,648,759,817, 838, 846, 1110, 1141, 1278, 1303, 1309, 1360, 1415, 1430, 1436, 1448, 1536, 1563, 1695, 1741, 1793, 1841, 1881, 1892, 1896,1917 Agora XII, p. 389. 4th c. B.C. F 10:1 Pocket Pocket behind heavy Roman retaining wall. 298

L: 21, 34, 35, 41, 70, 72, 117, 123, 164, 375, 680, 683, 748, 767, 815, 1266, 1350, 1685, 1688, 1690, 1699, 1708, 1713, 1718 U: 213, 222, 370, 395-397, 470, 471, 479, 508, 607, 660, 663,682,687-689,737,747,756,758,771,773,774,781,783, 784,819,847,852,859,860,863,867,873-877,926,927,930, 934-937, 965, 968, 975, 1066, 1095-1098, 1116, 1124, 1128, 1130-1140, 1162-1173, 1177-1180, 1189, 1191, 1193-1196, 1198-1204, 1206-1209, 1217, 1218, 1222-1224, 1229, 1231-1234, 1236, 1238-1251, 1407, 1414, 1433, 1484, 1486-1490, 1492, 1500, 1501, 1506-1511, 1517, 1521, 1523, 1524, 1526, 1529-1531, 1534, 1537, 1538, 1543-1553, 1558-1562, 1571, 1573, 1580, 1584, 1600, 1602-1608, 1614,

332

DEPOSIT SUMMARIES
G-H 10-11 Fillings 226, 1263, 1659, 1802 Agora XII, p. 392. Various levels and dates

1617, 1618, 1624, 1628, 1633, 1639, 1645, 1646, 1650-1652, 1657, 1767-1769, 1825, 1902 Agora XII, p. 390; Agora XXI, p. 98. G 11:3 Well POU: ca. 500-480 B.C. U: ca. 480-470 B.C.or soon after 116, 391,653, 665, 739, 740, 776, 1190, 1275, 1542, 1653 Agora XII, pp. 390-391.
Ca. 550-500
B.C.

G-I 11-12

Various levels and dates Fillings 93, 210, 347, 617, 655, 1182, 1271, 1396, 1456,1613, 1703, 1803, 1914 Agora XII, p. 392. Fillings 255, 331, 453(?) Agora XII, p. 392.
5th c. B.C.

G 11:5 Filling 240, 1697, 1698, 1709,1717,1879 Agora IV, p. 239. G 11:6 Pits 1235 Agora XII, p. 391. G 11:8 Well 56, 735 Agora XII, p. 391.

H 5-6

Ca. 500-470 B.C.

POU: ca. 550-500 B.C.

Various levels and dates Fillings 24, 87, 88, 112, 160, 178, 228, 323, 348(?), 449, 464, 590, 611, 706, 779(?), 1265, 1308, 1312-1315(?), 1373-1375(?), 1377, 1481, 1482, 1658, 1681(?), 1732, 1737, 1753, 1781, 1813(?), 1855 Agora XII, p. 392. H 8:1 Pit Pit in bedrock.1882 H 10:2 Pit 446, 541, 1671, 1686, 1702 Agora XII, p. 392; Agora XXI, p. 98. POU and U: ca. 425-400 B.c. H 12:6 Well 66, 602 Agora XII, p. 392; Agora XXI, p. 98.
6th c. B.C.

H 8-10

Ca. 600 B.C. G 12:1 Burial Outside archaic cemetery,inhumation burial. 727, 1279 Agora XII, p. 391. G 12:21 Well 1907 Agora XII, p. 391. G 13:1 Pocket 196, 485, 1145, 1146, 1554 Agora XII, p. 391. G 15:1 Well POU and U: ca. 500 B.c.
Ca. 430-400 B.C.

Ca. 575-525 B.C.

Ca. 500-475 B.c. and later

H 12:9 Early North-South Road 1948 Agora XII, p. 392. H 12:11 Well

Various levels

1269,1274, 198,686,736,804,834,848,865,866,888,893, 1330, 1457, 1567, 1568, 1578, 1587, 1588, 1592-1594, 1597, 1598,1630,1631,1766,1783,1784,1797-1800,1827 Agora XII, p. 391; Agora XXI, p. 98. G 15:2 Well POU: ca. 550-525 B.C.

POU: ca. 410-390 B.C. U: 390-375 B.C.

622 Agora XII, p. 392; Agora XXI, p. 98. H 12:14 Pit 554, 565, 1579 Agora XII, p. 393. Ca. 490-480 and later

85, 553, 1336,1446 Agora XII, p. 391; Agora XXI, p. 98. G 15:3 Filling 14, 27, 610, 726 Early 6th c. B.C. with some later material

G 15:6 Filling 154, 1304, 1316, 1462, 1472 Agora XII, p. 391. G 18:1 Well

Ca. 600-550

B.C.

POU and U: ca. 520-480 H 12:15 Well POU: 209, 658, 694, 757, 1610, 1762 L: 97, 477, 478,840, 1491 U: 475, 931, 1512, 1513, 1532, 1555-1557, 1637, 1763 Level uncertain:389, 1572, 1615 Agora XII, p. 393. H 12:18 House fillings 1418, 1795 Agora XII, p. 393.

B.C.

Ca. 425-400 1574 1256, 1540, Agora XII, pp. 391-392; Agora XXI, p. 98.

B.C.

and earlier

6th and early 5th c. B.c.

DEPOSIT SUMMARIES
H 12:21 Pit 414, 1857 H 13:4 Well 1158 Agora XII, p. 393. H 13:5 Pit 398, 566, 577, 1060, 1516, 1894 Agora XXI, p. 98. H 17:4 Filling 130, 1936 Agora VIII, pp. 128-129. 7th c. down to ( 630-625 B.C. 7th and early 6th c. B.C. J 14:3 Well 699, 766 Agora XII, p. 394. J 18:2 Well 560 Ca. 480 B.C. J 18:4 Storagepit

333
Ca. 600-570 B.C.

Ca. 425-375 B.C.

Roman

L: ca. 550 B.C.

U: ca. 525-500 B.C.

L: 421,520,1357,1372,1391,1464-1466,1473,1694,1811 U: 55, 200, 749 Agora XII, p. 394; Agora XXI, p. 98. K 13:1 Pocket Ca. 375-350 B.C. Small pocketnear modernwell. Probablyaccumulatedwhen the well was dug. 1160 K 14:1 Pit 1287 Agora XII, p. 394. K 17:1 Filling Scanty filling over bedrock.188 L 18:2 Well Modern context

H-I 10:1 Early North-South Levels of 7th and 6th c. B.C. Road Exploratory trench running east-west between the east foundationof the Metroon and the Great Drain. 30(?), 519 H-K 12-14 Constructionfilling To ca. 150 B.C. 32, 290, 293, 307, 315, 363, 415, 720, 1923 Agora XII, p. 393. Ca. 575-525 B.C.

Late 6th c. B.C.

I 9:1 Early road fill 145, 1668, 1680, 1689, 1801 Agora XXI, p. 98. I 10:1 Well 144, 343, 522, 677, 678, 1683, 1869 Agora XXI, p. 98. I 14:1 Well 404, 746, 787, 1913 Agora XII, p. 393. I 16:1 Well 1522 Agora XXI, p. 98. I 16:4 Well

8th c. B.c.

Dumped filling at top of 8th-centurywell on lower slopes of the Areopagus. 576 Agora XII, p. 394. L-M 7:1 Pit 7th-5th c. B.C. Stone-curbedpit to north of the Altar of Ares. 1640 Hesperia 27, 1958, pp. 148-153 (Thompson). House levels Various dates

Ca. 600-550 B.C.

Ca. 625-570 B.c.

L-M 17-18:1

219, 1219 Agora XII, p. 394. Roman M 11:3 Well Secondhalf of 7th c. B.C. 1854 7, 131,146, 1362, Agora XII, p. 394; Agora XXI, p. 99. Ca. 520-475 B.C.and shortly after

F:OU: ca. 600-540 B.C. 627,671, 1329, 1476, 1949 Agora XII, p. 393; Agora XXI, p. 98. Ca. 450-425 B.C.

M 17:4 Well

I 17:1 Well 624 Agora XII, p. 393; Agora XXI, p. 98. I 17:2 Well 422, 1410 Agora XII, p. 393. J 12:3 Filling 296 Agora XII, p. 394.

108, 207, 218, 575, 664, 763, 1495, 1599, 1714, 1824, 1839, 1925 Agora XII, p. 394. M 17:7 Pit 114,473,644 Agora XII, p. 394. M 18:2 Filling Late 2nd c. B.C. masses of Hellenistic Filling containing pottery. 435
Ca. 450-425 B.C.

Ca. 500 B.C.

Ca. 350-290 B.C.

M 18:6 Burial Ca. 525-500 B.C. Outside Archaic cemetery,inhumationburial. 805, 1626 Agora XII, p. 395.

334 M 18:8 Well 170, 387 Agora XII, p. 395. M 20:3 Well L: 1422 Level uncertain:1779 Agora XII, p. 395. M-N 15:1 Constructionfilling 433, 725, 1676, 1891 N 7:3 Well 4, 1634, 1846, 1908 Agora XII, p. 395; Agora XXI, p. 99. N 10:1 Cellar

DEPOSIT SUMMARIES
Ca. 430-420 B.C.

N 21:9 Cistern 563 Agora XII, p. 395. N-P 20:1 Street packing 580 Agora XII, p. 395; Agora XXI, p. 99.

3rd c. B.C.

L: 420-400 B.C. S: ca. 400-380 B.C.

Various levels

2nd c. B.C.

Ca. 580-565 O 7:9 Well 152, 407, 427, 616, 778, 1261, 1320, 1371, 1399, 1452 Agora XII, p. 396. O 7:12 Filling 411, 675 Agora VIII, p. 130.

B.C.

7th-6th c. B.C.

Ca. 460-440 B.C.

Modern context

Ca. 600-550 07:15 Pit Pit over bedrock.Scanty filling. 43, 1321

B.c.

233, 241, 260, 275, 287, 288, 291, 294, 299, 300, 303-305, 309,310,312,317,318,374,381,382,626,632,634,642,801, 1157, 1302, 1306, 1353, 1424, 1669, 1756, 1759, 1780, 1833, 1927 Agora XII, p. 395. N 12:3 Well 1831 Agora XII, p. 395. N 18:2 Pocket 1461, 1701 Agora XII, p. 395. N 18:5 Cistern 231 Agora XXI, p. 99. N 18:6 Pocket 377 Agora XII, p. 395. N 18:7 Well 185, 1262, 1425, 1920 Agora XII, p. 395. N 18:7 or 8 183 N 18:8 Great hole 625 N 20:8 Burial Cremationburial. 850, 861 Hesperia 8, 1939, p. 215 (Shear). N 21:2 Cutting 101
Agora XII, p. 395. M: 7th-5th c. B.C. S: ca. 500 B.C.

O 12:1 Well 587 Agora XII, p. 396; Agora XXI, p. 99. O 12:2 Well 133, 401, 712, 1361 AgoraXII, p. 396. O 17:2 Dealer's dump 992, 1264 0 19:3 Burial(?) 1237 Agora XII, p. 396. O 19:4 Well 557 Agora XII, p. 396; Agora XXI, p. 99. O 19:7 Deposit 1437, 1648 Agora XII, p. 396. O 22:1 Cistern 225, 1835 Agora XII, p. 396.

7th c. B.C.

Late 7th c. to ca. 575 B.c.

Modern context

Ca. 550-525 B.C.

Ca. 480-470 B.C.

4th c. after Christ

Ca. 425-400 B.c.

Ca. 500-450 B.C.

Ca. 475-460 B.C.

Ca. 520-500 B.c.

Ca. 360-325 B.c.

5th c. B.C. 0-Q 16-17 Stratifiedfill: South Road House Fountain Investigationsin the area of the Southeast and the Mint. 733, 1656, 1692 Agora XIII, p. 274. O-R 7-10 Constructionfillings 1888 548, 584, Agora XII, p. 396.
Well

Ca. 510-490 B.C.

4th c. B.C.and earlier

Ca. 400-350 B.C.

P 7:2

S: 5th c. B.C.

700 Agora XII, p. 396.

DEPOSIT SUMMARIES
P 7:5 Well 428, 528, 732, 1451
P 7:9 Pit Ca. 600-550 B.C.

335

Ca. 600-550 B.c.

First half of 6th c. B.C. Q 13-14:1 Cistern L: 1706 U: 125, 383, 534, 535, 603, 707, 708, 710, 1870 Agora XII, p. 397. Ca. 420-400 B.C. Q 15:2 Well 785, 1577 Agora XII, pp. 397-398; Agora XXI, p. 100. Q 17:2 Well 33, 1280 AgoraVIII, p. 130. Q17:8 Well 402 Agora XII, p. 398.
First half of 6th c.
B.C.

1299 Agora XII, p. 396. P 8:1 Filling 526 Agora XXI, p. 100.
P 8:5 Well

First half of 2nd c. after Christ

Ca. 580-560 B.C.

12, 676, 1317, 1359 Agora XII, p. 397. P-R 6-12 Constructionfilling 99, 558, 884, 1740, 1859 Agora XII, p. 397. To ca. 150 B.C.

POU: ca. 575-500 B.C.

Q 7:1 Pit 57, 83, 447, 768, 833, 1785, 1826 Agora XII, p. 397.

Ca. 550-500 B.c.

POU and U: ca. 550-525 B.C. Q 18:1 Well 29, 322, 360, 734, 750, 1257, 1325, 1342, 1746, 1818, 1874, 1880 Agora XII, p. 398; Agora XXI, p. 100. Q20:1 Pit 562,1729 Agora XII, p. 398.
Ca. 520-480
B.C.

Late 6th to mid-4th c. B.C. Q 8:9 Pit Classical pit above a Geometricwell with a small amount of pottery from the late 6th to the middle of the 4th c. B.C. 1901 Agora VIII, p. 130. Q 10:1 Filling 73, 543, 1749 Agora XII, p. 397. Q 10:4 Well 482,1931 Agora XXI, p. 100. Q 12:2 Well 608 Agora XII, p. 397.
POU: ca. 600-575
B.C.

Ca. 325-300 (?)

B.C.

R 8:2 Well Third into last quarterof 7th c. B.C. 695, 697 Agora XII, p. 398; Agora XXI, p. 100. R 10:1 Well 1395 Agora XXI, p. 100. R 11:2 Well 350, 619, 1281, 1678 Agora XII, p. 398.
R 12:1 Well Ca. 520-480 B.C.

Early 1st c. after Christ

5th c. B.C.

Ca. 600-550 B.C.

Ca. 520-490 B.C. Q 12:3 Well 102, 216, 474, 507, 509, 552, 643, 743, 802, 821, 826-828, 835,839, 853,869,870,872,878-883,885,889-892,894-920, 922-925, 928, 932, 938-964, 966, 967, 969, 971-974, 976-991, 993-1030, 1032-1059, 1061-1065, 1067-1073, 1075-1094, 1099-1109, 1111-1115, 1117-1123, 1126, 1129, 1149-1152, 1156, 1159, 1161, 1175, 1176, 1185, 1286, 1328, 1515, 1525, 1527, 1564-1566, 1582, 1758, 1761, 1836 Agora XII, p. 397; Agora XXI, p. 100; Hesperia 55, 1986, pp. 1-74. Ca. 575-540 B.C. Q13:5 Well 10, 40, 125, 320, 436, 443, 459, 536, 537, 679, 723, 1277, 1376, 1722, 1744 Agora XII, p. 397.

372,844,845,849,862,1031,1074,1147,1514,1609,1611, 1612, 1632, 1764, 1771, 1772, 1830, 1942 Agora XII, p. 398. R 12:3 Well POU and U: ca. 525-500 376, 438, 476, 1326 Agora XII, p. 398; Agora XXI, p. 100. POU and U: ca. 520-480
B.C.

R 12:4 Well

B.C.

96, 181,319, 652, 681,753, 754, 864, 1365 Agora XII, p. 398; Agora XXI, p. 100. R 13:3 Well 417, 426, 705, 709, 765, 1332, 1333 Agora XII, p. 398.
Ca. 600-550
B.C.

336 R 13:4 Well 465(?), 1205 Agora XII, p. 398; Agora XXI, p. 100. R 17:3 Well 13, 139, 716 Agora XII, p. 398. R21:3 Well 1293, 1378, 1382, 1493, 1851, 1900 Agora XII, p. 398. S 16:1 Well 9 Agora XII, p. 398; Agora XXI, p. 100. S 17:1 Cuttings 354, 701 Agora XII, p. 399. S 19:3 Cistern 276, 313 Agora XII, p. 399.

DEPOSIT SUMMARIES
Ca. 440-425
B.C.

T 24:3 Well

POU and U: ca. 500 B.C. and earlier

18, 36, 118, 150, 721, 780, 1463, 1661, 1820 AgoraXII, p. 399.
Ca. 600-570 B.C.

T 25:2 Well 50 Agora XII, p. 399. T-U 19:1 Filling 1673 Agora IV, p. 245. T-U 19-20

Ca. 500 B.C.and earlier

To ca. 500 B.C.

Late 6th c. B.c.

Ca. 425-400 B.C.

5th c. B.C. and earlier

6th and early 5th c. B.C. Constructionfillings (I): 342, 618, 1739, 1873 (II): 22, 42, 47, 1479, 1480, 1654, 1727, 1748 (III): 47, 90, 637, 1837, 1838, 1893 Agora XII, p. 399.
5th c. B.C.

U 19:2 Well
To ca. 330-320 B.C.

722, 770, 1483, 1498, 1723 Agora XII, p. 399.

U 22:5 Filling 4th c. B.C.

Ca. 600-550 B.c. S 21:2 Well The mid-6th-century date of 437 lowers by about two decades the date of this well given in Agora XII and XXI. 6, 437, 1301, 1455 Agora XII, p. 399; Agora XXI, p. 100. S 22:1 Well 672 Agora XII, p. 399. T 18:1 Well POU and U: ca. 600-575 B.C.

Trial cut inside circularbuilding. Scanty filling. 279 To ca. 500 or soon after U 23:2 Well L: 659 M: 1282(?), 1331, 1358, 1383,1402, 1736, 1755, 1809, 1887 Agora XII, p. 399; Agora XXI, p. 100. U 24:1 Well 1804 Agora XII, p. 399. U 24:2 Well 742 Agora XIII, p. 275.
U 25:2 Well POU and U: to ca. 500 B.C.

U: 500 B.C.and earlier 1819 95, 356, 434, 803, 1470, 1789, 1796, Agora XII, p. 399. Ca. 575-500 B.C.

POU and U: early 5th c. B.C.

T 18:2 Well 455, 615, 1453, 1454, 1872 Agora XII, p. 399; Agora XXI, p. 100.

6th c. B.C. to ca. 520-500 B.C.

Ca. 600-550 B.C. T 18:3 Filling: Eleusinion area 1788 16, 58, 67, 74, 345, 367, 432, 1369, 1751, Agora XII, p. 399; Agora XXI, p. 100. T 18:4 Pit 6th c. B.c. and earlier 1868 469, 628, 684, 790, 1298, 1347, 1381, Agora XII, p. 399. POU and U: ca. 550-500 B.C.

L: 63, 232, 235, 321, 419, 49, 523, 788, 789, 1305, 1324, 1349, 1379, 1468, 1469,1471, 1475, 1619, 1750,1939 M: 69, 162, 357, 547, 1386, 1724, 1815, 1816 U: 38, 60, 65, 81,115,177, 549, 719,806, 1276, 1595,1625, 1704, 1754, 1791, 1823 Agora XII, p. 399. U 26:3 Pit 529 V 23:1 Well U: ca. 500-490 B.C. 327, 384,692, 786 Agora XII, p. 399. V 24:2 Well L: 215, 246, 461,550 U: 52, 201, 324, 1292 Agora XII, p. 399.
3rd c. B.C.

T 19:1 Well

POU: ca. 525-500 B.C.

62, 82, 106, 191, 344, 356, 630, 640, 693, 751, 814, 1258, 1370, 1417, 1621, 1622, 1635, 1636, 1638, 1675, 1720, 1752, 1840, 1878, 1885, 1886, 1895, 1898, 1922 Agora XII, p. 399. T 19:6 Pocket Early 6th c. B.C. Pocket in bedrock.Dumped filling. 702, 729, 730

Ca. 525-500 B.c.

CONCORDANCE AGORAEXCAVATIONS : POTTERY INVENTORY NUMBERS

A deposit referenceis given only if the piece is listed in the Deposit Summaries,pp. 329-336.

Inv. No. 3 4 12 21 24 31 31 g 47 48 53 60 61 66 77 81 113 116 127 130 131 143 198 206 210 249 267 268 270 277 281 289 290 322 323 334 340

Cat. No. 1428 26 1806 638 460 286 306 255 1528 1212 1924 284 265 1520 331 273 453 270 567 1535 148 439 452 1442 147 124 489 1311 1860 641 27 14 1655 1356 610 1943

Deposit

H5-6

341 349 354 365 384 387 411 418 419 441 444 454 470 479 480 483 495 539 648 671

-456

H5-6 H5-6(?)

-755 -771 774 825 830 853 860 990 997 998 999 1000 1058 1122 1123 1125

G 15:3 G 15:3

G 15:3

1728 1477 718 122 1576 1268485 1269 196 1348 45 257 1715 1339 1921 154 613 15861936 143 530 1440 624 244 149 553 1522 728 1949 671 627 1329 1476 366 127017101445

G 13:1 G 15:1 G 13:1

G15:6

H 17:4

117:1

G15;2 116:1 116:4 I16:4 I 16:4 116:4 116:4

338 1125 bis 1127 1130 1131 1132 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1153 1154 1155 1156 1157 1158 1159 1160 1161 1162 1163 1227 1229 1233 1234 1235 1237 1238 1240 1241 1242 1243 1244 1245 1246 1247 1248 1249 1250 1254 1255 1257 1261 1938 489 1336 1446 85 736 686 1330 1567 1568 1578 1588 1587 1597 1598 1630 1592 1631 1593 1594 893 888 866 1783 1784 1766 1797 1798 1799 1800 804 1588 865 1827 1457 680 41 767 70 123 72 1350 1699 1708 1685 1688 1713 1718 35 117 21 1690 34 815 748 1266 375

CONCORDANCE 1262 1263 1266 1269 1270 1276 1277 1278 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 1293 1295 1296 1297 1298 1299 1300 1301 1302 1303 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 1321 1322 1323 1331 1337 1338 1339 1342 1343 1344 1345 1346 1353 1354 1355 1356 1357 164 683 1162 874 1559 819 1165 847 1128 1239 1240 927
1130 1166

G 15:2 G 15:2 G 15:2 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G15:1 G 15:1 G 15:1 G15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G 15:1 G6:3 (L) G 6:3 (L) G6:3 (L) G6:3 (L) G6:3 (L) G6:3 (L) G 6:3 (L) G6:3 (L) G6:3 (L) G 6:3 (L) G 6:3 (L) G6:3 (L) G6:3 (L) G6:3 (L) G 6:3 (L) G 6:3 (L) G6:3 (L) G6:3 (L) G 6:3 (L) G 6:3 (L) G6:3 (L) G6:3 (L)

1180 867
1131

1095 1217 1547 370

1167

1177 1166 1169

1171 1168

1179 852 930

1116

860 1238
1124

1096 1241 1242 1646 1550 1545 1549 1523 1617 873 747 1604 1600 1614 876
1231 1193

934 1132 1164

1172 1178 1163

G 6:3 (L) G 6:3 (L) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U)

CONCORDANCE
1359 1360 1361 1362 1363 1364 1365/1366 1367 1368 1369 1370 1383 1384 1386 1391 1392 1393 1394 1395 1396 1397 1398 1399 1400 1401 1413 1425 1543 1544 1545 1546 1547 1548 1549 1550/1551. 1552 1553 1554 1555 1556 1557 1558 1559 1560 1561 1562 1563 1599 1684 1739 1847 1869 1905 1990 2028 2031 2032 1558 1507 1510 1509 1511 1508 1561 1560 1524 1526 1537 1657 1825 1407 1552 1534 1639 1605 771 773 756 774 1207 1232 1133 1915 1160 1485 1486 1484 1490 1489 1487 1488 1492 1501 975 1243 926 1251 689 756 758 1546 1548 1651 1433 1426 53 130 289 633 1899 1706 464 1308 1312 G 6:3(U) G 6:3(U) G 6:3(U) G 6:3 (U) G6:3(U) G 6:3(U) G 6:3(U) G 6:3(U) G 6:3 (U) G6:3(U) G 6:3(U) G 6:3(U) G 6:3(U) G 6:3(U) G 6:3 (U) G 6:3(U) G6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3(U) G 6:3(U) -2565 K 13:1 G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) 2032 bis 2033 2034 2035 2036 2037 2040 2045 2071 2071 g 2093 2106 2324 2325 2394 2395 2397 2398 a 2398 b 2399 2560 2561 2562 2563 2564 2568 2569 2570 2571 2586 2587 2588 2589 2590 2591 2592 2612 2613 2614 2621 2622 2623 2624 2625 2626 2627 2628 2629 2630 2632 2633 2641 2642 2643 2644/2645 2646 1313 1314 590 1377 1265 24 1855 281 228 323 646 296 465 1205 348 706 178 88 87 449 863 1097 1206 783 937 1650 213 875 1769 479 1639 1624 975 1229 1236 1196 1222 471 1768 1608 1902 1645 1553 1551 663 1066 781 1233 1134 1135 1136 1199 470 660 395 396 688 H 8-10 H8-10 H8-10 H 8-10 H8-10 H8-10 H 8-10 H8-10 H 8-10 J 12:3 R 13:4(?) R 13:4 H 8-10 (?) H8-10 H8-10 H 8-10 H 8-10 H 8-10 G 6:3 (U) G 6:3 (U) G 6:3 (U) G6:3(U) G6:3(U) G 6:3(U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U)

339

H 17:4

Q 13-14:1 (L) H 8-10 H 8-10 H 8-10

340 2647 2648 2658 2659 2660 2661 2662 2663 2664 2665 2666 2667 2668 2669 2670 2671 2672 2673 2674 2675 2676 2677 2678 2679 2680 2681 2682 2683 2684 2695 2699 2700 2709 2710 2711 2712 2713 2714 2715 2716 2717 2718 2719 2720 2721 2722 2723 2724 2725 2726 2730 2731 2737 2738 2739 2740 2741 687 877 663 1137 1138 1209 1139 1170 1218 1140 1244 1223 1245 859 1191 1199 965 1203 1246 1189 1195 1562 1529 1538 1529 1544 1543 1652 784 1198 1531 682 607 1607 1580 1584 1602 1603 968 1202 1201 1204 1194 1200 1208 968 1098 936 935 1247 1628 1606 1521 1529 1189 1234 737 G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U)

CONCORDANCE 2742 2743 2744 2755 2766 2767 2768 2769 2770 2771 2788 2789 2790 2791 2792 2793 2794 2801 2824 2909 2955 2987 2989 3012 3012 bis 3015 3016 3019 3038 3039 3040 3040 bis 3040 ter 3040 quater 30405 30406 30407 30408 3041 3073 3074 3083 3090 3120 3139 3167 3223 3241 3256 3259 3267 3268 3269 3271 3287 3300 3301 1506 1571 1573 397 1414 1222 1500 1517 1767 1224 222 508 1530 1529 1247 1248 1249 1250 622 1263 545 1478 258 1332 1333 417 709 765 1660 444 1662 1663 1664 1665 1666 1667 1670 1672 1687 1738 171 236 1944 285 1765 195 1563 746 636 456 1918 1679 1867 1355 787 217 574 G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) G 6:3 (U) H 12:11 G-H 10-11

R 13:3 R 13:3 R 13:3 R 13:3 R 13:3

E-F 12-14 I 14:1

E 14:11 E 14:11 E 14:11 I14:1 F 12:7

CONCORDANCE
3307 3433 3433 bis 3434 3435 3437 3442 3468 3535 3555 3557 3566 3575 3576 3579 3580 a-e, g,h 3588 3616 3631 3650 3652 3660 3663 3666 a, b, e 3666 c 3666 d 3703 3704 3777 3782 3795 3798 3805 3853 3854 3857 3858 3861 3882 3971 3988 4121 4152 4153 4217 4222 4225 4226 4234 4235 4236 4237 4238 4239 4240 4241 4243 1345 1481 1482 160 1658 1781 1913 611 1813 175 301 214 71 103 158 1770 112 404 298 490 352 1315 779 1373 1374 1375 30 519 564 274 120 277 155 1697 1717 1879 240 333 1287 1681 1644 1844 1585 1773 23 1822 1616 1252 105 691 1589 416 1696 1807 1398 410 1821 E 14:11 H 8-10 H8-10 H 8-10 H8-10 H 8-10 114:1 H8-10 H8-10(?) F 11:2 E 14:11 E 14:11 E 14:11 4251 4255 4276 4277 4303 4304 4305 4337 4338 4339 4340 4342 4346 4347 4552 4573 4578 4585 4590 4591 4596 4601 4602 4626 4628 4629 4630 4631 4632 4633 4634 4636 4637 4638 4656 4657 4670 4671 4672 4673 4677 4678 4680 4684 4686 4687 4689 4690 4691 4712 4727 4745 4746a 4746b 4746 c, d 4746 e, g 39 157 762 403 253 268 68 714 1125 353 228 1335 1817 75 726 761 249 1658 107 1213 127 727 1279 136 1862 423 1691 1307 1863 77 639 1154 1719 1596 1601 1747 1695 54 1741 481 1303 1309 559 1278 488 648 555 572 466 208 1881 141 365 569 570 571 572 E 14:11 E 14:11(?) E 14:11(?)

341

E 14:11(?) E 14:11 E 14:11 E 14:11 E 14:11 E 14:11 E 14:11 G 15:3

H 8-10 I14:1 F 10:1

H 8-10 (?) H 8-10 (?) H 8-10 (?) H 8-10 (?) H 8-10 (?) H-I 10:1 (?) H-I 10:1 F 11:2 F 14:1 G 11:5 G 11:5 G 11:5 G 11:5 K 14:1 H8-10(?)

G 12:1 G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1 F-G 12:1

-4685 E 14:11 E 14:11 E 14:11 E 14:11(?) E 14:11 E 14:11 E 14:11 E 14:11 E 14:11 E 14:11

E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 F 12:5 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14

342 4746 f 4749 4750 4754 4803 4807 4815 4818 4822 4823 4824 4837 4888 a 4888 b 4889 4905 4910 4925 4926 4927 4928 4930 4946 4947 4951 4953 4954 4992 4993 4994 a, c-e 4994 b 4995 5001 5002 5008 5014 5016 5023 5024 5047 5078 5084 5085 5086 5087 5103 5112 5201 5202 5207 5209 5224a 5224b,c,e 5224d 5224 f 5226 5228 573 187 189 480 104 346 251 556 466 187 153 382 838 846 1360 636 1413 1927 1353 1780 1833 300 1883 1721 574 224 1841 369 340 211 212 1892 1415 817 156 1141 1896 1340 28 430 568 1346 1344 690 1143 336 540 623 493 1536 759 260 299 294 317 632 626 E-F E-F E-F E-F E-F E-F

CONCORDANCE
12-14 12-14 12-14 12-14 12-14 12-14 5229 5230 5231 5232 5237 5280 5294 5295 5296 5300 5302 5303 5341 5354 5363 5364 5365 5398 5442 5463 5467 5468 5520 5549 5687 5891 5892 5893 a, b 5893 c 5893 d 5894 5895 5980 6033 6048 6059 6065 6066 6068 6069 6070 6077 381 1756 1669 1302 801 1947 361 111 1917 137 31 100 412 332 1297 1323 1919 605 670 1935 735 620 1444 413 483 1786 1659 1734 1735 1733 1730 1782 51 380 440 1423 1682 145 1680 1668 1689 44 1737 87 1753 1801 1732 502 760 328 335 510 406 472 1211 1192 1 N 10:1 N 10:1 N 10:1 N 10:1 N 10:1 E13:1 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 F 13:3 F 12:5 F 12:5 F 12:5 F 12:5 F 12:5 G11:8

E-F 12-14 E-F 12-14 -5297 N 10:1 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 N 10:1 N 10:1 N 10:1 N 10:1 N 10:1 F-G 12:1 (?) F-G 12:1 (?) E-F 12-14 E-F 12-14 (?) E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 (?) E-F 12-14 (?) E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 F 12:6 F 12:6

E-F 12-14 G-H 10-11

19:1 19:1 1 9:1 1 9:1 H 8-10 H 8-10 H 8-10 19:1 H 8-10

F 12:6 F 12:6 -6078 -6079 --6089 F 12:6 E-F 12-14 E-F 12-14 E-F 12-14 N 10:1 N 10:1 N10:1 N 10:1 N 10:1 N 10:1

6080 6090 6091 6102 6104 6106 6116 6136 6137 6138 6155a

E 15:6 E 15:6 E 15:6 E 14:8 E15:6 E 15:6 E 15:6 E 14:8

CONCORDANCE
6155 b-c 6156 6157 6176 6177 6178 6180 6181 6182 6221 6457 6478 6481 6486 6517 6548 6552 6554 6557 6560 6561 6564 6566 6568 6571 6577 6587 6628 6635 6660 6661 6684 6726 6731 6753 6822 6999 7036 7047 7095 7109 7135 7136 7137 7218 7219 7223 7224 7227 7237 7238 7239 7268 7269 7295 7419 7442 2 715 1427 1368 1497 1354 657 1127 887 1831 698 1787 128 134 1539 56 1793 1430 467 94 385 635 1436 1110 1448 400 486 165 651 5 161 1388 1467 1937 498 1443 820 1859 1909 1789 494 1745 1808 1790 247 330 95 803 95 512 650 394 1847 744 1932 78 497 E 14:8 E 14:8 E 14:8 E 15:6 E 15:6 E 15:6 E 15:6 E 15:6 N 12:3 F-G 12:1 F-G 12:1 E-F 12-14 E 13:1 G 11:8 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 E-F 12-14 F 12:5 E-F 12-14 E 15:6 7446 7530 7560 7806 7807 7826 7835 7866 7888 7891 7893 7896 7897 7898 7902 7903 7906 8536 8538 8539 8540 8541 8556 8733 8737 8739 8778 8779 8788 8795 8796 8797 8798 8799 8800 8878 8883 8886 8888 8901 8918 8919 8953 8956 8963 8964 8965 8966 8967 8968 8973 8995 9060 9082 9264 9266 9267 197 769 409 373 1627 1183 339 405 1431 921 516 506 516 1620 1752 82 492 1188 204 822 1503 1505 669 1351 1701 1461 1777 542 524 933 1581 1569 393 772 738 1707 191 751 1675 61 805 1626 1926 1400 777 359 1401 1316 1462 1472 1304 560 1296 647 220 664 218

343

B 13:6

D 7:2

E 14:5 E 14:5 E 14:5 E 14:5 E 14:5 E 14:5 T 19:1 T 19:1 D 7:2 D7:2 D 7:2 D7:2 D 7:2 D 7:2 N 18:2 N 18:2

C9:15 D-E 8-9:1

E 14:5 E 14:5 E 14:5 E 14:5 E 14:5 E 14:5 T 19:1 T 19:1 T 19:1 M 18:6 M 18:6

D 11:1 P-R 6-12 T 18:1

T 18:1 T 18:1 T18:1 D7:2 D7:2 D7:2 D7:2 D7:2 C 12:3

G 15:6 G 15:6 G 15:6 G 15:6 J 18:2

M 17:4 M 17:4

344 9269 9270 9273 9275 9276 9277 9278 9283 9284 9320 9326 9327 9358 9449 9457 9459 9460 9512 9529 9730 9977 9992 10007 10036 10092 10155 10175 10192 10194 10195 10202 10203 10204 10262 10432 10507 10513 10575 10650 10651 10652 10653 10674 10716 10776 10782 10785 10786 10787 10808 10825 10826 10845 10864 10905 10961 11027 1925 108 1495 575 207 1714 763 1599 1824 188 435 1839 170 1779 279 661 190 1364 231 80 564 692 256 1850 1422 1642 327 387 1300 138 451 1802 226 388 311 126 1941 1197 704 138 589 138 1504 1271 368 203 457 1709 1698 184 1757 392 109 1384 1726 338 1590 M 17:4 M 17:4 M 17:4 M 17:4 M 17:4 M 17:4 M 17:4 M 17:4 M 17:4 K 17:1 M 18:2 M 17:4 M 18:8 M 20:3 U 22:5 C 9:6 C9:6 N 18:5

CONCORDANCE 11028 11029 11030 11031 11032 11071 11394 11395 11400 11666 11988 11989 12015 12019 12020 12046 12061 12069 12208 12211 12230 12230 bis 12231 12235 12236 12252 12253 12255 12304 12379 12380 12382 12449 12450 12495 12496 12500 12526 12527 12533 12540 12561 12581 12627 12628 12630 12631 12653 12669 12670 12671 12673 12674 12676 12686 12689 12752 1591 1583 741 1776 517 205 426 705 1363 1438 861 850 386 621 1409 399 503 1237 132 1271 84 868 1337 1418 1795 484 1948 1283 1843 158 66 210 576 1874 750 29 377 13 716 1705 1275 391 700 734 1257 80 557 1805 52 324 1292 12 1317 1359 676 1142 116 D 15:1 D 15:1 D 15:1 D 15:1 D 15:1 D 15:1 R 13:3 R 13:3

N 20:8 N 20:8

O19:3 G-I 11-12

V 23:1 B 13:5 M 20:3 (L) V 23:1 M 18:8 B 14:5 B 14:5 G-H 10-11 G-H 10-11

H 12:18 H 12:18 H 12:9

H 12:6 G-H 11-12 L 18:2 Q 18:1 Q18:1 Q18:1 N 18:6 R 17:3 R 17:3 G 11:3 G 11:3 P 7:2 Q18:1 Q 18:1 019:4 V 24:2 (U) V 24:2 (U) V 24:2 (U) P8:5 P8:5 P8:5 P8:5 G 11:3

D15:1 B 14:5 B 14:5 B 14:5 B 14:5 D15:1 G-I 11-12

G 11:5 G11:5

B 13:5 B 15:1 D 15:1

CONCORDANCE
12753 12765 12768 12769 12777 12778 12779 12790 12811 12966 12994 13010 13012 13013 13015 13019 13020 13025 13026 13027 13030 13031 13032 13034 13036 13039 13041 13105 13113 13123 13125 13126 13127 a-d, f-o 13127 e 13204 13237 13245 13246 13249 13250 13255 13257 13266 13268 13271 13275 13323 13332 13337 13338 13339 13340 13345 13346 13347 13348 13349 665 1190 740 1542 653 739 776 1653 609 668 194 742 550 215 461 806 1791 719 38 60 1823 549 1704 1276 69 1754 1812 424 139 523 1804 118 789 788 325 655 1928 1743 227 1684 602 1803 1182 1456 617 1613 129 463 1882 230 1864 351 541 446 1671 1702 1686 G11:3 G11:3 G11:3 G11:3 G11:3 G11:3 G11:3 G11:3 13373 13383 13385 13387 13425 13426 13427 13428 13456 13507 13523 13575 13576 13618 13621 13653 13735 13736 13745 13746 13747 13748 13749 13750 13750 bis 13751 13757 13763 13764 13766 13781 13782 13783 13784 13785 13786 13813 13814 13815 13823 13826 13829 13834 13835 13842 13843 13844 13845 13846 13847 13848 13849 13850 13851 13852 13853 1494 1619 18 36 185 1262 1920 1425 580 1845 183 1264 992 500 1235 356 786 384 1809 1887 1755 1383 1736 1358 1331 1402 659 1282 201 246 81 65 177 115 1625 1595 1816 1815 1724 162 357 547 1386 1475 1750 1305 1324 63 321 235 232 419 1939 1379 1468 1469 1471

345

U25:2(L) T24:3 T24:3 N18:7 N18:7 N 18:7 N18:7 N-P20:1

U24:2 V24:2(L) V24:2(L) V24:2(L) U25:2(U) U25:2 (U) U 25:2 (U) U25:2 (U) U25:2 (U) U25:2 (U) U25:2 (U) U25:2 (U) U 25:2 (U) U 25:2(M) U25:2 (U)

017:2 017:2 G11:6 T19:1 V23:1 V23:1 U23:2(M) U23:2(M) U 23:2(M) U23:2(M) U23:2(M) U23:2(M) U 23:2(M) U23:2(M) U23:2(L) U23:2(M?) V24:2(U) V24:2(L) U 25:2(U) U25:2(U) U 25:2 (U) U 25:2 (U) U 25:2 (U) U 25:2 (U) U 25:2(M) U25:2(M) U25:2(M) U 25:2(M) U25:2 (M) U 25:2 (M) U25:2(M) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L) U25:2(L)

R17:3 U25:2(L) U 24:1 T24:3 U 25:2 (L) U 25:2 (L)

-13822 H 12:6 H-I 11-12 G- 11-12 H- 11-12 H-I 11-12 H- 11-12 F-G12:1 H8:1

H H H H H

10:2 10:2 10:2 10:2 10:2

346 13854 13856 13857 13858 13859 13862 13863 13864 14039 14049 14050 14051 14052 14053 14054 14208 14283 14326 14367 14368 14370 14371 14372 a,b,d,e 14372c 14378 14379 14380 14485 14498 14564 14577 14626 14661 14688 14689 14690 14809 14862 14939 14940 14945 14946 14947 14951 15002 15009 15020 15059 15088 15089 15114 15128 15191 15196 15199 15247 15248 1349 496 1820 1661 1463 721 780 150 1327 322 360 1342 1818 1746 1325 1533 1880 1447 1470 1819 434 374 642 634 1306 1424 1759 11 169 448 1835 272 775 1940 437 1301 225 557 614 499 871 1519 1144 929 672 1502 1294 101 6 1455 1289 1187 1260 1834 1493 831 832

CONCORDANCE U 25:2 (L) U 25:2 (L) T24:3 T24:3 T24:3 T24:3 T24:3 T24:3 Q18:1 Q18:1 Q18:1 Q18:1 Q18:1 Q18:1 Q18:1 T 18:1 T18:1 T 18:1 N 10:1 N 10:1 N 10:1 N 10:1 N 10:1 N 10:1 15249 15250 15251 15262 15263 15271 15353 15355 15366 15374 15375 15376 15377 15387 15389 15390 15430 15439 15440 15441 15442 15443 15452 15455 15456 15457 15508 15536 15545 15618 15648 15649 15654 15723 15724 15725 15726 15865 15887 15888 15920 15922 15953 15954 15956 15957 15958 15959 15959 bis 15970 16296 16325 16450 16452 16562 16563 16564 842 843 851 800 792 855 1318 1256 1259 798 854 791 1700 1382 1851 1900 796 808 799 809 807 823 46 837 841 856 810 1378 1293 546 813 857 797 755 1285 1380 89 1186 25 458 223 1432 1184 782 666 764 1518 1449 1450 1934 1396 625 1540 1574 1876 49 462 B 21:3 B21:3 B21:3 B21:5 B21:5 B 21:18 D-E 18-19 G 18:1 B 21:19 B21:7 B 21:20 B 21:20 R21:3 R21:3 R21:3 B21:9 B21:21 B21:21 B21:21 B21:21 B21:21 C 18:11 B21:12 B21:12 B21:12 B 21:22 R21:3 R21:3 C 18:11 B 20:3 B 20:3 B 20:4

022:1 E2:3 G3:1 S21:2 S21:2 0 22:1 E 19:7 E 19:7 F 19:5 F 19:5 F 19:5 F 19:5 S22:1 F 19:4 E 19:7 N 21:2 S21:2 S21:2 F 19:4 F 19:4

C 9:6 D-E 18-19 D-E 18-19(?) F 19:5 F 19:5 F 19:4 F 19:4 F 19:4 F 19:4 F 19:4 F 19:4 F 19:4 F 19:4 G-I 11-12
G 18:1

G 18:1

R21:3 B21:3 B21:3

CONCORDANCE 16567 16568 16569 16582 16586 16587 16588 16589 16591 16620 16633 16745 16763 16766 16779 16792 16793 16811 16813 16814 16823 16824 16825 16964 17060 17084 17140 17155 17223 17337 17339 17340 17341 17393 17429 17466 17467 17486 17489 17493 17779 a, c-f 17779 b 17780 17781 17800 17801 17805 17806 17811 17829 17830 17831 17858 17888 17918 17962 17963 606 818 1403 1272 816 811 812 1429 1288 654 495 1848 1173 1618 1633 848 834 1933 1274 198 1145 1146 1554 1643 219 413 752 588 199 1362 1854 131 146 7 1853 749 1391 520 1473 1811 91 92 110 174 55 200 1464 421 1694 1465 1466 1372 1357 563 349 836 829 17964 17966 17967 18006 18270 18275 18277 18349 18502 18503 18524 18526 18527 18528 18529 18530 18531 18533 18567 18612 18628 18633 18635 18795 18950 19001 19045 19079 19129 19136 19137 19163 19215 19289 19319 19465 19481 19482 19483 19530 19531 19583 19584 19585 19597 a-h,k-o 19597 i,j 19667 19697 19741 19748 19835 19848 19849 19879 19933 19999 20007 830 140 513 793 1341 724 1474 245 1225 1226 3 1404 1319 17 20 724 673 731 1912 166 252 121 278 491 1570 1267 182 266 48 825 824 595 264 858 1181 283 261 250 1310 313 276 76 182 238 514 515 1435 1408 1420 884 113 280 1929 192 1865 237 1725 A 18:2 A 18-19:1 A 18-19:1 B 19:2 A 17:1 (U) A 17:1 (U) A 17:1 (U) D 17:2 D 17:2 A 17:1 (U) A 17:1 (U) A 17:1 (U) A 17:1 (U) A 17:1 (U) A 17:1 (U) A 17:1 (U) A 17:1 (L) C 18:4 C 19:5 D 17:7

347

B 21:14 B21:14 B21:14 B21:14 B21:14 B 21:14

A-B 21-22:1 G 6:3 (U) G 6:3 (U) G 6:3 (U) G 15:1 G 15:1 G 15:1 G 15:1 G 13:1 G 13:1 G 13:1 A-B 21-22:1 L-M 17-18:1

B 19:10

A 18-19:1 C 18:4 C 18:4 C 18:4 C 18:4 D 19:1 B 18:6 A 19:1

A-B 19-20:2 M 11:3 M 11:3 M 11:3 M 11:3 M 11:3 A-B 19-20:2 J 18:4 (U) J 18:4 (L) J 18:4 (L) J 18:4 (L) J 18:4 (L) A 18-19:1 A 18-19:1 A 18-19:1 A 18-19:1 J 18:4 (U) J 18:4 (U) J 18:4 (L) J 18:4 (L) J 18:4 (L) J 18:4 (L) J 18:4 (L) J18:4(L) J 18:4 (L) N21:9 A 18:2 A 18:2

S 19:3 S 19:3 A 18-19:1 A 18-19:1 A 18-19:1 A 18-19:1(?) A 18-19:1 (?) A 18:6 A 17:2 P-R 6-12

D 17:4

348 20018 20029 20033 20110 20111 20112 20236 20241 20299 20324 20378 20379 20380 20381 20384 20393 20551 20552 20553 20566 20567 20596 20645 20651 20678 20679 20681 20691 20707 20708 20716 20737 20738 20739 20740 20741 20742 20743 20744 20745 20746 20747 20748 20749 20751 20752 20753 20754 20780 20851 20852 20869 20870 20871 20872 20892 21180 193 1155 745 259 243 229 239 379 584 314 295 267 302 292 1775 221 717 1366 1441 99 1740 93 711 535 341 1343 350 1749 619 1281 1678 1764 1771 1772 1830 1609 1514 1611 1612 1632 849 845 862 844 1147 1031 1074 1942 372 163 1945 1774 79 1649 1148 37 468

CONCORDANCE
21186 21221 21285 21371 21382 21531 1931 482 1760 173 526 675 1575 152 407 1320 1399 1371 1452 778 297 168 411 378 1856 1299 616 427 1261 1910 1321 1395 525 1846 1634 1908 429 8 445 1273 629 1785 447 57 768 83 833 1826 73 1390 539 142 43 1742 551 420 794 795 1459 1460 454 1693 1416 Q 10:4 Q10:4

B17:1 D17:9 D17:9 D 17:9 -21558 -21562 O-R 7-10

P8:1 07:12 0 7:9 07:9 07:9 07:9 07:9 07:9 07:9

21565 21566 21568 21571

-21569 -21572 A 18-19:1 C 18:8 C 18:8 C 18:8 P-R 6-12 P-R 6-12 G-H 11-12 Q 13-14:1 (U) 21692 21693 21699 21702 21703 21705 21708 21709 21711 21712 21713 21797 21834 21863 21864 21865 22134 22151 22158 22165 22167 22175 22176 22177 22178 22179 22180 22181 22216 22268 22308 22310 22317 22320 22321 22330 22331 a 22331b 22332 22333 22335 22340 22341

07:12

P 7:9 07:9 07:9 07:9 07:15 R10:1 C 13:2 N 7:3 N 7:3 N 7:3

R11:2 Q 10:1 R 11:2 R 11:2 R 11:2 R12:1 R 12:1 R12:1 R12:1 R 12:1 R 12:1 R 12:1 R12:1 R 12:1 R 12:1 R 12:1 R 12:1 R 12:1 R12:1 R12:1 R 12:1 R12:1 R 12:1 D 17:10 D 17:10 D 17:10 D 17:10 D 17:10

Q7:1 Q7:1 Q7:1 Q7:1 Q7:1 Q7:1 Q7:l Q 10:1

07:15

CONCORDANCE
22418 22465 22466 22471 22494 22532 22537 22695 22839 22840 22844 22866 22884 22898 22899 22903 22916 22926 22957 22985 22986 22989 22997 22999 23014 23017 23033 23034 23046 23049 23090 23097 23124 23132 23147 23149 23150 23153 23155 23158 23159 23162 23164 23169 a, d,f 23169 b,c,e 23171 23174 23175 23196 23197 23198 23199 23200 23211 23215 23222 23223 135 1267 1367 543 1387 33 1280 587 415 32 1923 720 151 1891 1676 594 290 308 1421 293 1829 282 565 358 554 1579 307 315 725 433 538 593 1572 1295 1512 1704 1394 475 931 119 521 511 97 477 478 389 1491 1615 694 658 1610 1762 209 441 532 544 1352 23232 23235 23265 23267 23268 23273 23276 23305 23311 23321 23322 23323 23324 23325 23332 23333 23342 23355 23404 23405 23406 23451 23468 23470 23483 23489 23528 23542 23543 23544 23545 23621 23622 23664 23665 23676 23730 23762 23890 23891 23911 24013 24036 24045 24049 24055 24059 24060 24067 24079 24104 24105 24106 24107 24108 24109 24117 649 1731 1623 1712 1906 600 442 1828 586 1513 1555 1556 1557 1637 1763 1532 757 840 1716 1711 1842 697 695 699 766 1866 713 528 428 1451 732 1792 86 431 703 1901 98 1338 1871 1334 1577 785 202 558 1888 890 969 932 872 1158 821 870 869 899 891 889 1761

349

Q 10:1 Q17:2 Q 17:2 O 12:1 H-K 12-14 H-K 12-14 H-K 12-14 H-K 12-14 M-N 15:1 M-N 15:1 H-K 12-14

H H H H H H H H H

12:15 (U) 12:15 (U) 12:15 (U) 12:15 (U) 12:15 (U) 12:15 (U) 12:15 (U) 12:15 (POU) 12:15 (L)

H-K 12-14

H 12:14 H 12:14 H 12:14 H-K 12-14 H-K 12-14 M-N 15:1 M-N 15:1

R 8:2 R8:2 J 14:3 J 14:3

P7:5 P 7:5 P7:5 P7:5

H 12:15 H 12:15 (U)

Q 8:9

H 12:15 (U) H 12:15 (U)

Q 15:2 Q 15:2 P-R 6-12 O-R 7-10 Q 12:3 Q 12:3 Q 12:3 Q 12:3 H 13:4 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3

H 12:15 (L) H 12:15 (L) H 12:15 (L) H 12:15 H 12:15 (L) H 12:15 H12:15 (POU) H 12:15 (POU) H12:15 (POU) H 12:15 (POU) H 12:15 (POU)

350 24123 24219 24261 24275 24278 24297 24312 24316 24317 24318 24319 24320 24321 24322 24323 24324 24325 24326 24327 24328 24329 24330 24331 24332 24333 24334 24335 24336 24337 24338 24339 24340 24341 24342 24343 24344 24345 24346 24347 24348 24349 24350 24351 24352 24353 24354 24355 24356 24357 24358 24359 24360 24361 24362 24363 24364 24365 474 1322 548 1930 1230 1890 608 950 952 1049 915 916 917 951 954 956 955 1030 1027 1028 1029 1037 892 989 1117 1104 839 1045 1042 1044 977 976 982 978 979 980 981 985 984 983 1047 1043 986 987 988 958 960 959 918 957 895 827 894 828 902 1106 1053 Q 12:3

CONCORDANCE 24366 24367 24368 24369 24370 24371 24372 24373 24374 24375 24376 24377 24378 24379 24380 24381 24382 24383 24384 24385 24386 24387 24388 24389 24390 24391 24392 24393 24394 24395 24396 24397 24398 24399 24400 24401 24402 24403 24404 24405 24406 24407 24408 24409 24410 24411 24412 24413 24414 24415 24416 24417 24418 24419 24420 24421 24422 990 991 922 923 993 1118 1016 1018 1017 1015
1011

O-R 7-10

Q 12:2 Q 12:3 Q 12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3

Q 12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12;3 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q12:3 Q 12:3

994 995 1013 997 1012 1000 998 996 1009 999 1019 1001 1111 1021 1020 1003 1005 1006 1004 1008 1119 1149 1090 1014 1007 1002 1054 1091 903 914 949 925 973
1109

1150 910 938 940 941 942 943 944

1061

1062 1114 1063

CONCORDANCE 24423 24424 24425 24426 24427 24428 24429 24430 24431 24432 24433 24434 24435 24436 24437 24438 24439 24440 24441 24442 24443 24444 24445 24446 24447 24448 24449 24450 24451 24452 24453 24454 24455 24456 24457 24458 24459 24460 24461 24462 24463 24464 24465 24466 24467 24468 24469 24470 24471 24472 24473 24474 24475 24476 24477 24478 24479 939 1065 1064 1068 1048 911 912 913 945 947 946 948 1112 1041 1046 1075 1078 1077 1076 1056 1057 1067 1058 1059 1113 1084 1082 1073 1080 1079 1081 1083 1085 1086 1087 1088 1089 1108 1010 1072 1092 1115 1055 907 974 905 906 1070 1093 908 1069 853 1071 900 928 1103 1100 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 24480 24481 24482 24483 24484 24485 24486 24487 24488 24489 24490 24491 24492 24493 24494 24495 24496 24497 24498 24499 24500 24501 24502 24503 24504 24505 24506 24507 24508 24509 24510 24511 24512 24513 24514 24515 24516 24517 24518 24519 24520 24521 24522 24523 24524 24525 24533 24534 24535 24536 24537 24538 24539 24540 24542 24544 24545 1101 1102 1099 901 1151 1120 1023 1022 1121 1122 1025 1024 1032 1026 1035 1123 896 1033 964 961 971 962 963 1034 967 966 897 898 953 1040 1039 1036 904 1094 1038 972 1185 802 1107 919 920 1052 924 1050 1051 909 880 881 883 882 878 879 1152 885 1105 826 835 Q12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3

351

352 24546 24547 24548 24555 24557 24577 24578 24579 24580 24581 24582 24643 24644 24645 24646 24647 24648 24650 24651 24652 24661 24673 24675 24677 24679 24680 24681 24690 24693 24694 24697 24699 24721 24743 24750 24755 24773 24781 24868 24904 24906 24943 24944 24945 24946 24947 24948 24949 a-c 24949 e 24950 24951 24952 24953 24954 24955 24956 25013 1176 1161 1175 1286 743 1582 1525 1527 1564 1565 1566 102 643 216 552 501 1794 1291 591 1385 319 681 754 181 96 652 753 364 505 64 1814 329 561 886 263 596 390 234 1434 864 1365 436 10 723 679 1376 1277 536 537 1744 1722 125 40 320 443 459 179 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 -25338

CONCORDANCE
25014 25268 25272 25273 25274 25278 25295 25299 25308 25312 25314 25315 25316 25324 25332 25343 25344 -25345 R 12:4 R 12:4 R 12:4 R 12:4 R12:4 R12:4 R12:4 25349 25351 25352 25353 25354 25355 25364 25365 25366 25367 25368 25369 25370 25371 25375 25378 25380 25382 25384 25385 25389 25390 25392 25417 25453 25469 25490 25511 25512 25513 25514 25515 25516 25517 25518 25577 25581 25600 1889 408 1326 476 376 438 1907 1703 1284 362 1439 176 1406 159 1914 347 344 1405 1673 172 42 15 1911 592 1458 603 707 708 710 534 1870 125 383 531 450 504 167 674 1392 1392 180 133 4 1153 1858 316 1216 1215 1227 1220 1253 1228 1214 1221 59 1852 1629

A 17:1 (U) R 12:3 R 12:3 R 12:3 R 12:3 G 12:21 G-H 11-12

E 19:5 F 19:4 D-E 18-19 110 G-H 11-12 G-I 11-12 T 19:1 T-U 19:1

Q 13-14:1 (U) Q 13-14:1 (U) Q 13-14:1 (U) Q13-14:1 (U) Q13-14:1 (U) Q13-14:1 (U) Q13-14:1 (U) Q 13-14:1 (U) C 9:6

R 12:4 R12:4 Q13:5 Q13:5 Q 13:5 Q 13:5 Q13:5 Q13:5 Q 13:5 Q 13:5 Q 13:5 Q 13:5 Q 13:5 Q13:5 Q 13:5 Q 13:5 Q 13:5

A 17:2 012:2 N 7:3

D D D D D D D D

12:4 12:4 12:4 12:4 12:4 12:4 12:4 12:4

CONCORDANCE
25601 25649 25654 25661 25694 25695 25702 25703 25713 25717 25784 25809 25811 25823 25827 25835 25839 25840 25854 25855 25868 25882 25883 25889 25890 25903 25911 25912 25913 25914 25915 25916 25919 25920 25921 25928 25932 25956 25961 25962 25963 25966 25967 25968 25971 25977 25980 25982 26073 26182 26210 26211 26212 26223 26231 26241 26289 254 712 1361 401 1832 1290 1437 1648 1692 1656 733 1877 1393 1904 601 631 1897 667 529 1677 1946 1905 1254 1411 326 1861 334 1849 1496 585 581 473 1174 644 114 1647 206 1640 97 582 1397 656 518 583 645 562 578 1499 248 662 579 1778 1219 1419 1729 970 414 26290 26295 26437 26438 26439 26441 26442 26443 26460 26507 26508 26530 26531 26533 26536 26537 26538 26541 -26542 26544 26545 26546 26549 -26562 26609 -26615 -26617 M 17:7 -26629 M 17:7 M17:7 -26632 L-M7:1 1857 604 1796 356 1370 1720 1885 640 1258 355 422 1410 74 1788 58 67 367 1369 432 1751 684 469 1868 628 1347 1298 354 701 790 1872 455 615 637 487 19 47 16 1875 533 1389 342 1739 1723 1674 1480 1498 1837 90 47 1483 402 696 722 1838 42 22 1727 H 12:21 A 17:1 (U) T 18:1 T 18:1 T 19:1 T19:1 T 19:1 T 19:1 T 19:1 I17:2 117:2 T18:3 T 18:3 T 18:3 T 18:3 T 18:3 T18:3 T 18:3 T 18:3 T 18:4 T 18:4 T 18:4 T 18:4 T 18:4 T 18:4 S 17:1 S 17:1 T18:4 T 18:2 T 18:2 T 18:2 T-U 19-20

353

O12:2 012:2 012:2 -26440 019:7 O 19:7 0-Q16-17 0-Q16-17 -Q 16-17

-26532 A 19:5 -26534 U26:3 -26540

26619 26630 26631 26636 26637 26638 26639

T-U 19-20 T 18:3

-26642 -26643 -26645 -26646 -26647 Q20:1 -26649 -26650 -26651 -26652 -26656 -26668 L-M 17-18:1 Q20:1 H 12:21

T-U 19-20 T-U 19-20 U 19:2 T-U 19-20 U 19:2 T-U 19-20 T-U 19-20 T-U 19-20 U 19:2 Q17:8 U 19:2 T-U 19-20 T-U 19-20 T-U 19-20 T-U 19-20

26648

26726 26741 26742 26743 26747

354 26748 26749 26750 26753 26755 26756 26757 26758 26760 26769 26770 26771 26773 26776 26777 26781 a, b
26781 c

CONCORDANCE 1748 1654 1479 1893 598 599 1884 612 345 1641 597 1381 770 618 1873 729 730 702 1453 1454 1417 1898 1878 1622 693 106 630 62 1840 1886 1922 527 138 425 1621 1636 1638 814 1635 1895 1255 685 50 242 304 303 305 291 T-U T-U T-U T-U 19-20 19-20 19-20 19-20 27079 27080 27081 27082 27083 27087 27090 27091 27092 27096 27189 27233 27320 27324 27371 27426 27427 27468 27556 27586 27588 27626 27748 27749 27794 27805 27839 a, c,d 27839 b 27845 27846 27885 27887 30999 31003 31005 31010 31013 31014 31016 31021 31030 31031 31075 31088 31089 31090 31091 31116 275 233 241 288 287 318 312 310 309 1157 371 1810 1903 9 262 1541 337 363 271 418 1916 1412 678 677 269 1210 566 577 1060 1516 398 1894 1156 1126 1758 1129 507 509 1515 1159 1836 1328 1683 144 522 1869 343 186 N N N N N N N N N N 10:1 10:1 10:1 10:1 10:1 10:1 10:1 10:1 10:1 10:1

T 18:3

26782 26787 26788 26794 26795 26796 26797 26798 26799 26800 26801 26802 26803 26805 26809 26810 26811 26818 26819 26820 26822 26823 26824 26877 26953 26975 27074 27075 27076 27077 27078

T 18:4 U 19:2 T-U 19-20 T-U 19-20 T 19:6 T 19:6 T 19:6 T 18:2 T 18:2 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1 T 19:1

S 16:1

H-J 12-14

I10:1 I10:1

T T T T T T

19:1 19:1 19:1 19:1 19:1 19:1

T25:2 N N N N 10:1 10:1 10:1 10:1

H 13:5 H 13:5 H 13:5 H 13:5 H 13:5 H 13:5 Q12:3 Q12:3 Q12:3 Q 12:3 Q 12:3 Q 12:3 Q 12:3 Q12:3 Q12:3 Q12:3 I10:1 I10:1 I10:1 I10:1 I10:1

INDEXES
INDEX I: POTTERS,PAINTERS,GROUPS,AND CLASSES
PROTOATTIC Analatos Painter 18, 35 KynosargesPainter 734 Pair Painter 734 Ram-jug Painter 5, 59 Andokides,potter 6 Antidoros 1813 Antimenes Painter 3, 20, 203, 219, 2212,
27, 277, 332, 353, 3718, 86, 89, 90, 90144, 91148, 89, 90,197, 361,614,636, 1385; mannerof 43, 203, 219, 2213,276, 3410, 90, 361, 491; related to 203, 277;

1678, 1683, 1802, 1806; related to 63, 81, 1669, 1670 Cactus Painter 821
Camtar Painter 9, 921, 1022, 23, 82, 83, 6,

CORINTHIAN Timonidas, Potter 1183

circle of 92, Antimenean 32, 391, 476, "brother" of Psiax 90, connectedwith Nikosthenes 90, 90142 Antiope Painter, near 369
Archippe Painter 36, 3612, 13; closest to

ATTIC BLACK FIGURE

ACHELOOS PAINTER1130-31, 31, 357, 640; manner of 218, 3820; recalls 197

Achilles Painter 15, 1518, 1728, 97, 255, 268, 337; perhaps by 254 Acropolis 601, Painter of 284
Acropolis 606, Painter of 42, 1024, 25, 264, 36; near 1024, 25

Acropolis 627, Painter of 83

Affecter 915, 197

1391 Arming Lekythoi, Group of 824-828 Athena Painter 47, 96, 759, 1181 Athens 533, Painter of 1807 Athens 581, Class of 2, 3, 46, 95 Athens 581 i, Class of 46, 887-925; perhaps 926-928 Athens 581 ii, Class of 47, 929-1096 Athens 581 i or ii, Class of 1097-1124 Athens 1104, Class of 623
BAKCHIOS, POTTER 16, 274

166 CapodimonteGroup 95, 822 Caylus Painter 57, 96, 1768, 1769, 1776-1778 CeramicusPainter 19, 194,227, 394, 4010, 513, 77, 7741, 78, 535-537; compared with 609; perhaps by 1356 CHC Group 3, 60, 61, 96, 1578-1601, 1605; connected with 1604, 16061608, 1611, 1612; probably1602, 1603 Chimaera Painter 74; not far from 407; perhaps recalls 406 Chiusi Painter, connectedwith 569 Cock Group 45, 46, 92, 95, 95182,793, 837-863 Copenhagen68, Class of 745 Copenhagen 99, Group of 17, 97, 325, 326; comparedwith 329

Agora A-P 428, Painter of 96, 1397 Agora P 1241, Painter of 91, 1708 Agora P 7891, Group of 921-923 Agora P 24327, Group of 95, 1027-1029; near 1030; comparewith 1031, 1032 Agora P 24340, Group of 95, 976-989, 1110 Agora P 24366, Group of 95, 990-993 Agora P 24377, Group of 95, 994-1000; near 1001; comparewith 1111 Agora P 24381, Group of 95, 1011-1014 Agora P 24377 and P 24381, Neighborhood of the Groups of 1009, 1010 Agora P 24402, Group of 95, 1002-1008 Agora P 24486, Group of 95, 1022-1025; compare with 1026 Amasis, potter 4012, 42, 44, 4411, 483,

DANCER, CLASS OF THE 1413 Bareiss Painter 1803 Delos 636, Workshopof 92, 1409 Bateman Group 42 Diosphos Painter 31, 47, 48, 486, 69, 694, Beldam Painter or manner of 192 95, 96, 433, 575, 864, 1848; near 96, Bellerophon Painter 610,8, 342, 698 1161, 1501; by or near 1160 Berlin Painter 15, 1518, 1628, 97, 249, Dog Group 96, 1606-1608 337 252, Dolphin Group 44, 4413,505, 91, 92,797, Berlin 1686, Painter of 43, 82, 86, 76; rerelatedto 796 798; calls 88, 73 Dot-ivy Class 693, 694 Berlin 2034, Class of 1286 Dot-ivy Group 749, 755 Berlin A 34, Painter of 224, 74, 340; close Dresden Lekanis, Group of the 22, 227, to 588; perhaps from the workshop of 50, 513, 52, 52", 70, 78, 150, 413, 541, 134 591, 1303, 1443, 1444, 1859; compare BMN Painter 1881 5, 592; connectedwith 610 Boeotian Horse-bird Group, compare with 1300 8392, 87; vases signed by 4411, 6736 Boston C.A., Painter of 637 Amasis Painter 43, 82, 42, 4223, 44, EARLYOLPAI,GROUPOFTHE 39, 395, 41, Boulogne 441, Painter of 193, 242 4410, 1, 48, 483, 572, 60, 6736, 682, 82, 149, 675-678, 713-716 Bucci Painter 1129 86, 87, 87122,88, 94, 95,172,680, 681, Burgon Group 11, 1411,1514,82, 767 Edinburgh Painter 12, 31, 45, 47, 92, 94, 94176, 95, 192, 215, 884, 885; near 494; 720, 750, 970, 1257, 1657, 1687; recalls 1753; influenced by the Heidelby or near 564; recalls 886 Elaious I, Painter of 61, 96, 1536, 1780, 44, 449, 49, 497, 5315, 59, 593, berg Painter 82; pupil of Kleitias 87122 C PAINTER 626, 63, 6311, 6525, 79, 81, 8167, 68, 82, 1830; compare 1032, 1537, 1538 Anagyrus Painter 810,571, 78, 7843,540 1458, 1660-1667; manner of 626, 63, Elbows Out 44, 682, 791, 1701; manner Anavysos Painter, workshop of 97, 97205, 1417 of 1714 6525, 81, 1668, 1937; recalls 68, 82,

356
Eleusis 767, Painter of 89, 914, 78, 7843,

INDEXES
HAEMONIAN 47, 61, 96, 961-967, 969-

590 Emporion Painter 48, 486, 192; manner of 486; connectedwith 486 Ergotimos26, 3219,80 Eridanos Workshop 80, 1389, 1390 Eucharides Painter 15, 1518, 249; perhaps by 188
Euphiletos Painter 138, 14, 1413, 15, 181,

228 Exekias, potter 1236,262, 66, 85105

Exekias 4, 7, 82, 12, 1236,37, 1411, 15, 1514, 26, 27, 35, 623, 66, 71, 72, 728,

86, 86114, 87, 88, 84, 197, 279, 322, 370, 886, 1912; Greek find spots of 87,
87118; manner of 57, 276,7, 87118;

patterns favored by 27; shapes signed by 262 Eye-siren Group 644

31 FALLOW-DEER PAINTER Fat-runner Group 44, 4413, 92, 95, 800-

802 Ferrara T.800, Group of 96, 1609, 1610; compare 1611, 1612 Flat-mouthed Oinochoai, A 735 FP Class of cups 60

GELAPAINTER 46, 92, 95, 95182, 772,869-

879, 970, 1945; might be by 880-883; near 835 Geron Group 95, 899-901, 1099-1103 Golonos Group 69, 575, 1848; akin to 1848
Gorgon Painter 5, 6, 612, 614, 912, 19, 23, 239, 285 30, 33, 3514, 39, 396, 4010, 4012, 43, 49, 494, 51, 54, 549, 75-77, 7732, 7739, 40, 78, 79, 8170, 4, 6, 11, 12,

975, 1529, 1530, 1534, 1535 Haimon Group 3, 47, 60, 61, 1528, 1830; compare908 Haimon Painter 60, 96, 97, 1182; manner of 57, 61, 67, 95, 96,965,968, 969, 1183, 1186-1217, 1220-1236, 1286, 1295, 1502-1512, 1514-1527, 15311533, 1760, 1829; near 1513; probably by 1218, 1219; perhapsby 1185; painter or manner of 1184 Haimon Workshop 2, 46 Half Palmettes, Painter of 97, 665 Heidelberg Painter 63, 6311,79, 81, 8167, 82, 87, 63, 1671, 1672, 1678, 1679, 1682; close to 1684; influence of the Amasis Painter 82 Hermione Group 796 Hermogenes, potter 59, 64, 91, 91150, 1473, 1806, 1811 Hermogenian Class of skyphoi 59, 61 Heron Class 60, 61, 94, 96, 1629 Hobble Group 294 Honolulu Class, near 92, 683 Hoplite-leaving-home, Group of the 46, 829-834 Horse-bird Group 78 Horse-head Amphorae,Group of the 6'4, 76, 7631, 77, 14-23; Corinthian imitation of 7631 Hound-and-hare Group 47, 95, 11771180 Hypereides, potter 14, 226 Hypobibazon Class 93; may come from 99, 100

to 251; recalls the black-figuredneckamphoraeby 192 Kolchos,potter 8392 Komast Group 23, 24, 2414, 49, 497, 59,
594, 62, 623, 78, 7850, 79, 80, 8170, 417,

1369,1453, 1454, 1658, 1659; connected with 2413, 594

Kriton Group 4012

Kriton, potter 394 KrokotosPainter 60; related to 1483 KX Painter 19, 194, 196, 35, 51, 513, 52,
529, 5211, 59, 5934, 78, 79, 8059, 26,

126, 151, 351, 523, 791, 1310, 1336,

1452; manner of 513, 594, 616, 1337;

recalls 78, 609; Boeotian imitators of 1303

KY Painter 249,
11,13,15,

62, 7630, 79,

418, 422, 716, 1658; mannerof 594, 79, 146, 716 Kuban Group 97, 259-261, 264

LANCUTGROUP61, 96, 1539-1541; con-

nected with 1542 Leafless Group 57, 67, 68, 96, 17611765, 1767-1778, 1833; probably 1834, 1835
Leagros Group 1129, 2521, 31, 353, 3822,

45, 92, 93,94, 101,197,324, 328, 362, 392, 492, 493, 654, 736, 818-821, 1183; perhaps by a painter of 505, 569 Light-make Class 214 Lindos Group 61, 96, 1570-1577
Lion Painter 610, 77

ISTANBUL PAINTER 7518

Little-lion Class 47, 96, 1161-1175; near 1176 Little Master Cups: Signatures, the Name Missing 1743, 1744 London B 76, Painter of 1024, 199, 2417,
353, 36, 3612, 37, 3715, 493, 82, 83, 31,

123, 138-140, 145, 341, 342, 349, 412, 421, 671, 708, 1297, 1367-1369, manner of 614, 89, 9, 39-40, 396, 4012, 41, 43, 75, 7518, 76, 77, 4, 10, 12, 26, 123,

KALINDERU GROUP 95, 924, 1074-1089,

138, 141-143, 399, 410, 421, 672, 680, 703, 705-708, 717, 723, 725, 726, 1857; compare manner of 125, 531, 710, 1911; painter or manner of 123, 532, 673, 704, 709, 777, 1370;
workshop of 39-40, 41, 7523; Boeotian imitator of 7518 Griffin-bird Painter 63, 638, 10, ; recalls 449 Group E 42, 6, 82, 1129, 1910, 37, 85105,

1113-1115; compare 1550 Kallikles, potter 1411 "KarithaiosPainter"101 Kittos Group 16, 1625,97, 275; probably 277 Kittos, potter 16, 97, 274 Kleiboulos Painter 56, 96, 1414, 1415 Kleimachos,potter 3714 Kleisophos215 Kleitias 3, 26, 3219, 37, 3715, 70, 79, 80,
8064,65,

34, 118, 459, 551,611,626,1346; near 1024,178, 179, 620, 767 London B 174, Painter of 87 London B 343, Painter of 94, 650 London B 620, Painter of 1928 Long-nose Painter 193 Louvre C 11266, Painter of 476, 487; related to 476; close to 476, 487
Louvre E 876, Painter of 332, 34, 613

81, 8168, 8170, 87, 47, 118,

625, 1810, 1874; teacherof the Amasis

Painter 87122 Kleophrades Painter 15, 1518, 1628, 97,

86, 87, 87115,88, 30, 48, 74, 632, 1881;

near 1910; Greek findspots of 87, 87118

Group P 910-920, 938-960, 1109

324, 329, 336; compare manner of 97, 250; goes with others that may belong

Louvre F 6, Painter of 6, 9, 10, 24, 28, 83, 85, 86, 92, 54-56, 58, 59, 63, 447,448, 510, 561, 768, 1922; manner of 86, 57, 1351; may be by 442-445, 449; near 1330; connectedwith 1409 Louvre F 51, Painter of 231 Louvre F 120, Painter of 1749
Lydos 6, 9, 1023, 1411, 24-25, 24-2517-19,

INDEX I: POTTERS,
15 44, 4411, 49, 546, 279, 34, 37, 3714 55, 5511, 58, 83, 8390, 8392, 93, 84, 85, 86, 88, 90, 90139, 49-52, 82, 118, 119,

PAINTERS,

GROUPS, AND CLASSES

ST. AUDRIES PAINTER 7, 30

357

Oxford Siren-jug, Associated with the Class of the 734

Salax, potter 55, 97, 1407 Sandal Painter 449;near 449;not far from
449; related to 449 Sappho Painter 47, 69, 693'4, 95, 95189,

172, 228, 378, 422, 429,430, 476, 627, 789, 1262, 1349, 1446, 1447, 1809, 1877, 1888; manner of 25, 2520, 515, 85, 436, 437, 442-445, 1350; related to
42, 9, 2416, 546, 85, 439-441;

PALERMO GORGONEION, COMPARE THE PAINTER OF THE 1787

perhaps

Palmette-and-swanGroup 1289
Panther Painter 51, 512, 517, 77, 7741,

1495; probably1850 Segment Class 2, 68, 6841 42,1795-1800

Snake-and-spots Group 97, 97205; prob-

by 9, 60, 84, 85, 435, 628, 790, 1475 Lydos, as potter and painter 3714 Lysippides Painter 86, 87, 87118,84, 193,
1928; manner of 915, 1129, 134, 86, 87,

349, 399; close to 534

Paseas 55, 5518 Phanyllis Group 45, 46, 92, 95, 95182,

ably belongs to 1418

Sophilos 5, 614, 8, 89, 9, 913, 917 248, 1113, 26, 28, 284, 30, 32, 323, 325, 33, 3312, 332, 3514, 43, 513, 571, 58, 59, 728, 78, 7850, 79, 80, 8065, 8170, 6, 29,

191, 640; related to 1704

MADRID PAINTER, NEAR 3820, 3823, 95189

824-835 Pholos Painter 96, 1237 Phrynos Painter 1810; probablyby 750
Piraeus Painter 8, 84, 18, 74, 7732, 341,

Marmaro Painter 91, 1426 Mastos Painter 193, 329 Michigan Painter 92-93, 239, 324, 362 Munich 1379, Painter of 76 Munich 1393, Painter of 63 Munich 1410, Painter of 89, 82 Munich 1519, Painter of 93, 362 Munich 2418, Class of 101
NEARCHOS, POTTER 64

725 Pistias Class 61, 96, 1614-1616; may be from 1617 Polos Painter 57, 8, 89, 49, 497, 51, 54, 55,
5512, 70, 82, 151, 158, 160, 161, 427,

47, 118, 140, 145-147, 419, 421, 542, 606, 610, 778, 1369; may be by 1912; near 308, 11, 26, 30; not far from 33,
3312, 606 Sophilos, potter 917, 32, 323, 7953

Nettos Painter 24, 5, 610,7, 8, 19, 22, 224,

23, 238, 262, 285, 30, 395, 51, 512,7, 52, 5212, 73, 74, 7411, 75, 77, 7732, 8170,

594, 620, 621, 733, 1263, 1271, 13111321, 1344, 1377, 1399-1405, 18621868; near 622; companion of 623, 1345 Priam Painter 357, 92, 645 Princeton Group 7, 86; recalls 76 Princeton Painter 82, 11, 1129,30,76, 459 Prometheus Painter 57, 325, 82, 83, 606; recalls 83, 170
Psiax 45, 48, 55, 5518, 56, 61, 86, 89, 90,
90144, 91, 93, 1425, 1615; by or near of the Antimenes Paint817; "brother"

Swan Group 50, 52, 5210,56, 562, 59, 98, 732, 765, 1275, 1276, 1281, 1287, 1294, 1427; related to 9, 164, 1445
Swing Painter 42 3, 6, 11, 1130, 134, 1413,

1733,409, 70, 86, 88, 88130,89, 53, 77, 79,116, 190,639, 1803, 1883; compare 183
TALEIDESPAINTER3714, 42, 4223, 4411,

1-3, 7, 8, 14, 15, 117, 137, 341-344, 346, 399, 400, 406,408, 410, 527, 528, 530, 698, 708, 725; near 137,401, 407, 520, 603, 1362; close to 527, 697; follower of 223, 238;comparedwith 55, 137, 405; perhaps near 1, 121, 409, 1363 Nicosia Olpe, Painter of the 680, 752 Nicosia C 975, Painter of 60, 94, 1657, 1825(?) Nikias, potter 14, 228 Nikomachos Series 97, 286, 290-292, 302, 312; probably293, 295 Nikosthenes Painter 89 Nikosthenes, potter 20, 574, 66, 8392, 86,
89, 89137, 90139, 90142, 491, 1175,

750; recalls 91 Taleides, potter 42 Tarquinia RC 6847, Painter of 93; perhaps by 514; comparedwith 512
Theseus Painter 47, 60, 92, 94, 94177, 95,

er 90, 90144 Ptoon Painter 249, 2411, 2413, 637; resem-

bles 430

790, 1484-1496, 1657; perhaps by 1499; recalls 1497 Three-line Group 1425
Timagoras, potter 3714, 91

RAGUSA GROUP620

1353, 1752; connected with 574; vases found in Athens 89, 89137 Nikoxenos Painter 3824,93, 653 North Slope Group 92, 60, 748 North Slope AP 942, Group of 82, 83, 375
OAKESHOTT PAINTER 1692

Oxford 236, Painter of 96, 96202,1775(?) Oxford 237, Painter of 96, 96202,1773 Oxford Lid, Group of the 59, 92, 14631465; compare 1466, 1467

Ready Painter 86; near 515, 1330; compared with 52 Red-bodied Oinochoai of Shape 3, Class of 42,660, 764 Red-bodiedOlpai 660, 682 Red-line Painter 97, 657; manner of 353, 395, 396; compare560; associatedwith 658; compare with the manner of 209, 395, 396 Rhodes Pelike, Painter of the 97, 737; connectedwith 395, 396 Ring-collar Oinochoe 724, 728 Robinson Group 134, 15, 97, 256; perhaps by a painter of 257 Rodin 1000, Painter of 94, 1500 Rouen 531, Painter of 610 Rycroft Painter 11, 12, 2521, 27, 92, 93, 101, 187, 195, 196, 513; perhaps by 470; near 514; recalls 467

Timenor, potter 91153 Timiades Painter 1803 Tleson Painter 1686, 1692
Tleson, potter 64, 91, 91150, 1686

Top-band StemlessCups, Class of 67, 68,

6846, 1784

Toronto 305, Group of 42 Towry Whyte Painter 87 Trefoil Olpai, Group of 4011,679, 680 Tyrrhenian Group 8, 9, 82, 84, 118, 170, 1803
URE'S CLASS OF SKYPHOI A 1 60,

1480 Ure's Class of Skyphoi A 2 60, 1481, 1482 Ure's Class of Skyphoi B 60 Ure's Class of Skyphoi K 2 61, 96, 1501, 1504-1516, 1537, 1542, 15581562, 1564-1568; may be 1563, 1569 Ure's Class of Skyphoi K 2 or Pinchbase 1519-1528; probably 1530

358 Ure's Class of Skyphoi K 2, silhouette 1557; may be 1543-1556 Ure's Class of Skyphoi R 61, 1502
VATICAN MOURNER, PAINTER OF THE

INDEXES Wurzburg 351, Painter of 687

XANTHOS KLEOPHRADES, POTTER 4411

KleophradesPainter 369, 1160, 1935 A 6.3444, PAINTER OF 80, 127

MAKRON1495 Menon, potter 90, 90146 Myson 214
NIKOXENOS PAINTER 369

515, 87, 460 Vatican 309, Painter of 9, 10, 2416, 83,

85, 86, 176, 446; near 1024, 545

ZENOKLES, POTTER 64

Vatican 342, Painter of 711 Vatican 359, comparethe painter of 1912 Vatican G. 47, Class of 42, 101 Vatican G. 49, Group of 687 Vatican G. 50, Class of 687, 688, 755757 Vatican G. 52, Group of 44, 4413, 92, 805-813 Villa Giulia M. 482, Painter of 97, 754 Vogell Pelike, Painter of the 214, 215
WARSAW PANTHENAIC, PAINTER OF THE

ATTIC RED FIGURE

ANDOKIDES, POTTER 90, 90146

OLTOS 90, 90140, 1900, 1912

Andokides Painter

94176,

886

Antiphon Painter, mannerof the 214

214 PAINTER CERBERUS

PAIDIKOS ALABASTRON, GROUP OF THE 48

Pan Painter 1495

Paseas 55, 5518, 1425 Phintias 2710 Psiax 55, 5518, 90
SOSIAS, POTTER 32

DIKAIOS PAINTER 369

324 White Heron Class. See Heron Class Woman Painter. See Painter of Berlin A 34 Wraith Painter 1809 Wurzburg 199, Group of 203, 92, 502; comparedwith 362

EPIKTETOS 55, 5518, 90, 90140

EpidromosPainter 1495 EucharidesPainter 276 Euphronios2710

HILINOS, POTTER 90

TALOS PAINTER 1935

Telephos Painter 1428 Thalia Painter 214

WINCHESTER PAINTER 1495

359

INDEX II: SUBJECTS

and Memnon 81, 8168, 1396, ACHILLEUS: 1846(?); receiving armor 79, 8059, 88, 88125, and Troilos 353, 81, 8168, 610, 1183 Achilleus and Aias Gaming 84, 915-917, 950-952, 1049 Aias: and Kassandra 72; and Teukros 79(?); carryingAchilleus 116(?), 1810 Aineas carrying Anchises 116, 657, 684 Akademos79 Akastos 610 Amazon 692, 741, 918, 957, 968, 1903; with chariot wheeling round 742, 1578, 1580, 1581. See also Herakles Amazonomachy 2710, 173, 776, 975, 1278, 1382, 1628, 1768, 1804, 1816 Animal, upside down 5210, 66, 6628, 1329, 1748. See also Swan Animal foreparts,type uncertain 8 Animal frieze 5, 8, 9, 1021, 19, 24, 25,
2518, 28, 29, 2911, 30, 31, 3110, 33, 34,

954-956, 1027-1031, 1139, 1165, 1558, 1634; with Dionysos and Hephaistos 900(?); with Dionysos, Hermes, and Apollo 932; Athena Polias 13 Athlete 268, 272, 286, 337, 836(?), 856, 879, 1184, 1719. See also Boxer, Boy runner, Jumper, Pentathlon, Runner, Wrestler BEE83. See also Index III, Shield device Bellerophon 1597; and the Chimaera 30, 342 Bird 22, 24, 693, 85, 2, 6, 153-156(?), 158(?), 159, 160(?), 161, 163, 350(?), 411(?), 516, 526, 621(?), 677, 695(?), 700(?), 792, 1271, 1322, 1341, 1359(?), 1360(?), 1457, 1460, 1469(?), 1576(?), 1630, 1631,1640, 1643,1913, 1918, 1920(?); preening 25, 442-444. See also Cock, Crane, Duck, Eagle, Goose, Guinea hen, Heron, Owl, Swan, Water bird Boar 610, 31, 138, 154, 353, 354(?), 403(?), 405, 406, 409, 476-478, 536, 540, 542, 550, 596(?), 609, 610, 649, 675, 676, 728-730, 1340, 1364, 1374, 1395, 1517, 1601, 1633, 1913. See also Calydonian Boar Hunt Boxer 264(?), 267, 269(?), 326(?), 461, 494, 682, 1895 Boy runner 793 Bull 638, 138, 151(?), 354(?), 413, 534(?), 610, 712, 729, 745, 758, 1301, 1327, 1328, 1561, 1872; at laver 872. See also Tierkampf CALYDONIAN BOAR HUNT31, 610 Cattle 1450 Cavalcade.See Horseman Centaur 165, 803(?), 1720, 1808(?) Centauromachy118, 823, 858 Chariot 1411, 73, 85, 93, 86, 87, 91-93, 97, 105, 108, 109, 194(?), 196, 210-212, 221,223, 256, 341,377, 435, 468, 470, 481,486, 491,492,498, 509, 512, 554, 565, 566, 579, 600,634, 638, 639, 651,658, 664, 689, 737, 740, 770, 789,990-992,1096,1126,1157,11861197, 1214, 1222, 1225, 1226, 1246, 1269, 1282, 1382, 1391, 1393, 1394, 1446, 1500, 1526, 1528, 1650, 1760, 1882, 1893, 1903, 1921, 1936, 1945, 1946; departure with 88130, 80, 215, 457, 493, 495, 650, 870, 902, 993, 1269(?), 1500, 1505, 1516, 1518, 1521-1523, 1531, 1707; frontal 84, 85,

35, 48, 52, 53, 77, 82, 83, 8494,6, 138, 151-156, 351-356, 368, 380,412, 413, 421, 476, 477, 536, 550, 604, 608-610, 616, 621, 639, 729, 1260, 1263, 1301, 1302, 1307, 1323, 1324, 1329, 1332, 1338, 1340, 1341, 1343, 1350, 1359, 1369, 1373, 1400, 1436, 1453, 1456, 1748, 1860, 1865, 1871, 1873, 1918 Antilochos, Departure or Death of 1912 Aphroditewith Eros 16, 302 Apollo 79, 74, 182, 184(?), 195, 207, 486(?), 514, 566, 574(?), 575, 600, 821, 873, 875, 932, 1151(?), 1191, 1222, 1246, 1505, 1521, 1522; and Artemis 875, 1222(?), 1224, 1531(?); Apollo, Artemis, and Leto 901, 1231. See also Herakles and the Tripod Archer 650, 684, 902 Ariadne 466(?), 885(?). See also Dionysos

87, 87116,54, 361, 421, 606, 627, 632, 778, 1799, 1875, 1912; race 27, 3110, 270(?), 276(?), 284, 309-311, 319, 327, 369, 482, 930, 1504, 1552(?); wedded pair in 19, 1910,89, 182, 184, 190(?), 195, 471, 513, 514, 516, 563, 643(?), 970, 1447; wheeling round 106, 209, 1506, 1533, 1579. See also Amazon with chariot wheeling round; Goddess mounting chariot Chimaera 30, 399(?), 402, 533, 698, 708. See also Bellerophon Cock 1132,15, 16, 17, 84, 136, 236, 248, 249, 257, 266, 332, 333, 550, 551, 787, 790, 791,793, 837-839, 841-855, 862, 863, 1461, 1470, 1611, 1612, 1626, 1637, 1681, 1714, 1741, 1742; on altar 790. See also Index III, Shield device Combat. See Fight Conversationscene 1266 Courting scene 796, 871, 1582, 1583, 1822, 1889 Crane 1258, 1460(?). See also Pygmies and Cranes

Arming. See Warrior Artemis 207, 486(?), 574(?), 575, 875, 1222(?), 1257(?). See also Apollo Aristaios 9, 77, 141, 434 Atalanta 610 Athena 11, 13, 14, 15, 16, 1627, 17, 73, 89, 97, 68(?), 110, 112(?), 183, 188, 193, 204, 216, 225, 226-229, 231-235, 237, 239-241,243, 247, 250-252, 254, 256,258,260,261,266,271,272,274276, 286-291,293, 301-307, 319-322, 324, 329, 331,332, 338, 366, 470, 474, 556, 736, 818, 821,835, 885, 896, 897, 915-917, 950-953, 1049, 1392(?), 1824; Birth of 81, 8168, 87, 90, 74, 90; and Dionysos 686, 694, 899, 928; feast in Honor of 88; and giant 183, 864,

DANCER 60, 201(?), 348, 396, 488(?), 756, 1453, 1483, 1586, 1587, 1643, 1677, 1746, 1812, 1947. See also Komast Deer 637, 638, 76, 490, 696, 789, 875, 1260(?), 1333(?), 1432, 1493, 1619, 1662,1687, 1700, 1703, 1731(?), 1734, 1735, 1739, 1740(?), 1748(?), 1870 Demeter 192(?) Departure of Amphiaraos 199 Departure 86, 71(?). See also Chariot; Warrior Diaulos 263 Dionysos 182, 197, 198, 207, 223, 363(?), 390, 397, 500(?), 507(?), 513, 580, 582, 586(?), 661(?), 681(?), 690, 693, 722, 736, 737, 753, 760, 932, 1040(?), 1073, 1079-1086, 1100, 1101, 1103, 1151(?), 1188-1190, 1214, 1222, 1225, 1226, 1249(?), 1251, 1429, 1505(?), 1518, 1521, 1534, 1547(?), 1559, 1564, 1566, 1606(?), 1682(?), 1690, 1776(?), 1795, 1838, 1894,1904; and Ariadne 102, 198(?), 224, 501(?), 554(?), 666, 693(?), 755, 903(?), 1060, 1233; and Ariadnewith satyr 890, 891, 1124, 1771; and Ariadne with satyr and maenad 1769; and Athena and giant 899, 928, 1037; and Herakles 1039(?), with satyrs and a deer 1493; and Ikarios 88, 681(?); and Oinopion 88, 681(?); in a symposion 483, 925,

360 1054, 1090, 1119, 1149, 1150, 1204, 1498; mounting chariot 921-923; on a mule with maenad 1095, 1146; on a mule with satyr and maenad 218, 880, 974(?), 1389(?); with Ariadne mounting a chariot, satyr 1053, 1106; with maenad 91, 95, 111, 214(?), 472, 773, 781(?), 906, 911-913, 945-947, 10551059, 1067, 1075-1078, 1092, 1113, 1115, 1168, 1174, 1238, 1498, 1527; with maenad on a donkey or mule 907, 973, 1130, 1217, 1228, 1761 (and satyr), 1780(?); in a mule cart 1498; with satyr 82, 89(?), 96, 107, 213, 214, 391,395, 751,847, 848, 878, 901, 910, 926, 931, 938-944, 1020, 1021, 1061-1066, 1093, 1114, 1116, 1127, 1132,1137,1171,1563,1569,1606(?), 1682, 1762 (and reclining man), 1772 (and a man), 1847; with satyr and maenad2710,876,881,883, 905, 1099, 1262, 1389(?), 1529, 1588, 1770; with satyr, maenad, and donkey 880; with satyr and man 1764. See also Athena; Hephaistos, Return of Discus thrower 228, 1780 Dog 85, 96, 63, 210(?), 215, 486, 610, 717, 789, 791, 870, 1291, 1428, 1478, 1607, 1906. See also Hounds pursuing hare;Index III, Shield device Dolon 1928
Dolphin 1023, 3410, 68, 91-92, 347, 1138,

INDEXES 1398, 1436, 1451, 1455, 1456, 1517, 1680, 1701-1703, 1866(?), 1873, 1918. See also Lion; Panther; Index III, Shield device Fight 85, 86, 88, 47(?), 72, 209, 216, 473, 491,611,637, 646, 656, 748, 754, 794, 819, 826, 837-840, 867, 887, 892, 989, 1042, 1044, 1045, 1104, 1110, 1117, 1148, 1161, 1163, 1164, 1172, 1175, 1181, 1254, 1349, 1385; with chariot 1382; with horseman 1074. See also Warrior Foot race 100, 253, 255, 262, 263, 271, 308, 315, 317, 318, 323, 325, 1050, 1051. See also Runner Fountain scene 642, 645, 655, 660, 869 Fox 169, 595 Funeral games. See Patroklos;Pelias the Boar 968; and the Bull 362, 896, 971, 1022-1026, 1033, 1035, 11211123, 1202, 1215, 1525; and the Centaurs 80, 8056;in a chariot drawn by centaurs 1266; and Dionysos, with satyrs and a deer 1493; feasting 1484, 1485; and Hermes 877, 966; and the
Hesperides 94, 94176, and a goddess

1852; and the Hydra 359, 1155; and Iolaos 89; and Kerberos 102, 216(?), 640(?), 1428(?); and Kyknos1378; and
Lamia 94177; and the Lion 89, 89'33, 94, 94176, 394,474,857,897,961-967,

GooSE 8, 75, 141-144, 344, 351, 352, 354, 367, 540, 550, 595, 671, 1339, 1356, 1373, 1643(?), 1911 Giant 1877(?) Gigantomachy 11, 183. See also Athena and giant; Dionysos and Athena and giant
Girl 132; on swing 88

1353, 1697, 1761, 1762, 1798-1800. See also Index III, Shield device Donkey 1421(?). See also Dionysos; Maenad; Satyr Duck 368(?), 559 Duel 81
EAGLE 234,

2, 6, 28, 50, 343(?), 421, 512, 550, 603(?), 679, 699, 791(?), 1288, 1379, 1758, 1769, 1774, 1831. See also Index III, Shield device Eileithyiai. See Athena, Birth of Eirene and Ploutos 16, 287 Ekphora 72 Ephedrismos1490, 1491 Eros. See Aphrodite Erotic scene 1723, 1724, 1822 Eumaios 1928 FAWN 638, 210(?), 1481 Feline 24, 6, 10(?), 146, 152-155, 156, 158, 176, 352(?), 354, 412, 418, 421, 521,530, 535-537, 542, 543, 545, 558, 608, 616, 621(?), 636, 653, 705, 726, 1260, 1280, 1301, 1302, 1306-1309, 1311(?), 1323, 1325, 1340(?), 1352, 1358, 1360, 1368, 1369, 1374, 1390,

Goat 76, 6, 154, 177, 351, 355, 356, 421, 423, 425, 436, 437, 479, 542(?), 560, 609(?), 639(?), 729(?), 731, 1260(?), 1297,1301,1302,1329, 1333(?), 1340, Horse 73, 7732, 93, 40, 49, 53, 69, 70, 83, 94, 104, 142, 189, 199, 270, 435, 475, 1358,1371,1486,1489, 1497, 1739(?), 548, 581,610, 633, 718, 817, 884, 894, 1740(?), 1748(?), 1860; satyr-headed 218 1154, 1567, 1589, 1653, 1660, 1717, Goddess mounting chariot 223, 1774, 1800(?), 1818, 1829; being led: 1143, 1154, 1608, 1698; grazing 133, 1186-1188, 1190, 1214, 1222, 1225, 408, 1361, 1678; in profile with head 1226, 1505, 1518, 1521-1523, 1531 shown frontally 101; winged 60, 874, God 8390,207. See also individualdeities 1341. See also Chariot;Horseman 1644 1641(?), Gorgon Horse foreparts399 Greeting 47 Horse race 12, 1890(?), 262, 263, Griffins, confronted55 Horse taming 88, 88125 Guinea hen 1618 Horse-bird 78 Horsehead 614, 1023, 73, 748, 76, 7733, HARE 789(?), 791, 796, 1747, 1821 13-23, 132, 138 Horseman 6, 19, 2110, 24, 3220, 33, 70, Helios(?) 874 Helmsman 1704 71,75,76,81,89,1,11,29,35-38,50, Hen 1438 69, 82, 101, 125, 128, 166, 172, 179, 186, 360, 364, 422, 435(?), 476, 606, Hephaistos: on a mule with satyr and maenad 974(?); Return of 11, 500(?), 620, 632, 648, 673, 679, 685, 697, 701, 709, 717, 752, 791,792, 895, 959, 960, 507(?), 1389(?), 1646 Hera 821 986, 1074, 1166, 1167, 1177, 1267, Herakles 90, 62, 68(?), 112(?), 193(?), 1283, 1291, 1295, 1296, 1381, 1434, 1435, 1458, 1501, 1553, 1557, 1628, 721, 775, 904(?), 914(?), 1156; and the Amazons 91, 96, 395, 687, 789, 929, 1630, 1631, 1648, 1660, 1668, 1669, 1688, 1693, 1711-1715, 1766, 1826, 1414, 1426, 1803; and Antaios 654; 1899, 1916, 1933, 1944. See also Apotheosisof 643(?), 736, 821, 835(?), Warrior, mounted;Squire 898(?), 953(?), 1039(?), 1040(?), 1492(?), 1852(?); in battle 1941; and Hounds pursuing hare 638, 791, 866,

1034, 1198, 1199, 1239, 1240, 1512, 1519, 1776, 1830, 1883; and pigs 1928(?); and Nessos 168, 1392; and the Tripod 3220, 365, 1036, 1152, 1182, 1237, 1502; and Triton 53, 816, 1038, 1142, 1346. See also Symposion Hermes 1132,72, 53, 91, 207, 211, 212, 217, 225, 471, 497(?), 502, 513, 516, 568(?), 578, 581(?), 582, 640, 643, 662(?), 736, 753, 818, 877, 932, 966, 1120,1295, 1484(?), 1500, 1776,1809, 1852, 1892(?), 1943 Heron 60, 94, 1484, 1485, 1500 Hippalectryon,youth riding a 1476 Hismene 1453 Homecoming47 Hoplite. See Warrior Hoplitodromos277, 315

INDEX II: SUBJECTS 1433. See also Dog; Pandareos and the Golden Hound Human foreparts 10
Hunter 84, 85104, 169, 789

361 478, 519, 532(?), 536, 539, 546, 547, 550, 679, 746, 797, 1260, 1280, 1301, 1302, 1306, 1326, 1329, 1330, 1338, 1340, 1341, 1343, 1350, 1359, 1387, 1436, 1453, 1465, 1469, 1472, 1617, 1651, 1687, 1700, 1701, 1703, 17301733, 1735, 1807, 1860, 1917, 1918, 1923, 1925; confronted 55. See also Pantheress;Index III, Shield device Pantheress560(?), 1692 Patroklos, Funeral Games for 80, 8056, 610 Pegasos 1628, 1597, 1716. See also Bellerophon and the Chimaera;Index III, Shield device Pelias, Funeral Games for 610 Peleus: seizing Thetis 208, 653, 927, 972, 1185, 1235, 1503,1513,1532,1902(?); and Thetis, Wedding of 80, 8056,8171, 47, 182(?), 419, 514(?) "Penguin"woman 375, 617(?) Pentathlon 14, 228 Persephone 191(?) Perseus 434, 1891(?); and the Gorgons
75, 81, 8168

IOLAOS 89, 474, 789, 896, 966, 1034, 1198, 1199, 1392(?), 1830 Iris 173, 469(?), 516(?), 1409(?), 1453, 1641(?)
JAVELIN THROWER 228

Judge 494(?) Judgment of Paris 79, 81, 8168, 94, 433, 556(?), 564 Jumper 228, 489(?), 1750(?)
KERBEROS 216. See also Herakles

"Knights",Chorus of 88 Komast 62, 79, 203, 398, 417, 474, 610, 635, 1452, 1454, 1461, 1621, 16571659, 1699, 1775, 1801. See also Komos Komos 1486, 1487, 1489, 1494(?), 1584, 1585, 1729, 1930. See also Komast LENAIA 908 Leopard 670 Leto 207
Lion 6'4, 47, 7,
7740, 26, 30, 67, 138, 7

140, 145, 146, 151,155,156, 160, 350, 368, 399(?), 407, 412, 476, 479, 490, 522, 532(?), 535, 540, 550, 593, 625, 652, 678, 702-704, 706, 707, 710, 711, 714, 729, 777, 788, 798, 1107, 1131, 1173, 1227, 1263, 1265, 1271-1273, 1277, 1285, 1300, 1305, 1306, 1324, 1329, 1332, 1341, 1345, 1347, 1358, 1365(?), 1368, 1370, 1371, 1375, 1456, 1457, 1472, 1514, 1517, 1555, 1601, 1620, 1633, 1781, 1834, 1857, 1858, 1871, 1913, 1914, 1919; confronted pair 34; protome 5. See also Feline; Herakles; Lioness; Tierkampf; Index III, Shield device Lioness 560(?)
MAENAD 60, 6628, 91,114,

222, 334, 335, 365, 375, 377,380, 382, 384, 388, 392, 416,430, 450, 461,465, 484, 492,497,503, 504, 506, 536, 555, 558, 559, 561,569-571,576, 579, 598, 601,630, 636, 641,644,646, 647,661, 662, 680, 681,685, 707,720, 739, 747, 759, 768, 776, 781,784, 785, 789, 817, 833, 840-842, 870, 888, 893, 899, 902, 914, 949, 967, 969, 973, 1041, 1043, 1141, 1147, 1046-1048, 1102 111111, 1154, 1159, 1194, 1195, 1212, 1241, 1242, 1249, 1269, 1270, 1283, 1284, 1292, 1295, 1372, 1386, 1415, 1422, 1428, 1434, 1440, 1466, 1468, 1475, 1477, 1478, 1480, 1483, 1487-1489, 1495(?), 1496, 1500, 1544, 1560, 1561, 1599, 1602, 1623, 1624, 1640, 1642, 1649, 1661, 1662, 1669, 1671, 1685, 1719, 1757, 1764, 1768, 1770-1772, 1798, 1802, 1814, 1825, 1828, 1830, 1833, 1835, 1842, 1850, 1887, 1888, 1897, 1907, 1912, 1937, 1942, 1948; winged 158 Man's head 10, 25, 637, 69, 748, 85, 1, 10, 129(?), 179, 180, 439-441, 446-448, 451-456, 458; confrontedpair 748. See also Index III, Shield device Meleager 610 Menelaos and Helen, Wedding of 80, 8057 Minotaur, human-headed 96. See also Theseus Mourner 8, 19, 394, 513, 72, 84, 374, 1259. See also Prothesis Mule 96, 500, 507, 769, 958, 970, 1800(?). See also Dionysos; Hephaistos, Return of; Satyr; Maenad Musician. See Index III, Musical Instrument
NEREID927, 972, 1513. See also Poseidon Nereus 10 Nessos 84 Nike 292, 469(?), 516(?), 518, 764, 889, 1409(?), 1551, 1829, 1846. See also Index III, Shield device

Phalanx 82 Polyphemos84 Poseidon: on a sea-horse with Nereid 1138; Stable of 88, 88125 Potnia Theron 595 Priam, Death of 656(?) Procession 29, 30, 35, 82, 191, 207, 373, 378, 381,387 Prothesis 19, 1910, 48, 72. See also Mourner Protome 6, 74, 748, 77. See also Animal foreparts; Lion; Horsehead; Human foreparts; Man's head; Satyr head; Woman'shead;Index III, Shielddevice Pygmies and Cranes 1471, 1722

214,220,393,

1704 OARSMAN

499, 507(?), 557(?), 610, 822, 868(?), 1087-1089, 1169, 1218, 1230, 1536, 1542(?), 1546, 1677(?), 1773, 1823; on bull 1615; meanad on donkey 1844, between satyrs 1780; maenad on mule 96, 1109, 1200-1203, 1205. See also Dionysos; Satyr Male siren. See Siren Man 46, 47, 56, 61,63, 64, 65,68, 76, 78, 81, 88, 92, 93, 97, 98, 108, 109, 112, 174, 178, 181,184, 190, 200-202, 215,

Octopus 659. See also Index III, Shield device

Odysseus and the Sirens 94, 94176

RAM 9(?), 12, 154, 155, 157, 534(?), 542(?), 550, 609(?), 616, 639(?), 1159, 1436, 1606, 1620, 1629, 1701, 17361738, 1740(?) Reveler 79, 503, 1885(?) Rider. See Horseman Runner 82, 92, 230, 231, 791, 800. See also Boy runner; Foot race; Hoplitodromos

Owl 319, 1499. See also Index III, Shield device

PADDEDDANCER.See Komast

SACRIFICE 782

Pandareosand the Golden Hound 82 Panther 912, 1023, 2411, 6, 67, 145, 148, 151,163, 380, 382, 413,426, 438,449,

Satyr head, confrontedpair 76, 10, 723. See also Index III, Shield device Satyr 76, 82, 85, 89, 42, 51, 77, 96, 165, 214, 219, 466, 607, 661(?), 723, 774, 803(?), 865, 868(?), 899, 1070, 1158, 1242(?), 1247, 1252,1255,1348, 1384,

362 1389, 1554, 1562, 1568, 1571-1573, 1607, 1619, 1674, 1675, 1682, 1726, 1727, 1749, 1755, 1760-1763, 1765, 1767, 1776-1779, 1797, 1808(?), 1832, 1841, 1908; and maenad 91, 57, 96, 214, 466(?), 499, 610, 663, 665, 667, 688, 738, 744, 757, 783, 849-853, 882, 1068, 1069, 1112, 1136, 1144, 1170, 1179, 1507-1511, 1539, 1540, 1590, 1591, 1600, 1639, 1645, 1647, 1708, 1780, 1796, 1853; picking grapes 1071. See also Dionysos; Hephaistos, Return of Scythian 79, 1382 Siren 5, 717, 234, 2519, 75, 76, 82, 84, 1, 2(?), 5, 6(?), 33, 61, 121, 137, 139, 149, 152, 153-156 (?), 158(?), 160(?), 343(?), 349, 350(?), 351, 355, 373, 377, 380, 411(?), 413, 415, 416, 421(?), 423, 424, 427, 450, 520, 528, 537, 547, 550, 596, 602, 603(?), 608, 610, 621(?), 622, 623, 626, 671, 695(?), 700(?), 713, 715, 716, 725, 727, 733, 734, 797, 798, 1261, 1263, 1271, 1280, 1299, 1301, 1310, 1311, 1314, 1321-1325, 1329, 1330, 1332, 1355, 1358, 1334, 1338-1343, 1359(?), 1360(?), 1367, 1369, 1373, 1400, 1439, 1462, 1464, 1465, 1469(?), 1691, 1863-1865, 1867-1869, 1871, 1880, 1918(?), 1920(?); bearded 129(?); confronted 33; flying 85105; male 73, 129(?), 133, 1303, 1357. See also Odysseus and the Sirens; Siren or sphinx; Index III, Shield device Siren or sphinx 43, 120, 123, 124, 127, 130,150, 153, 160, 379, 401,415, 421, 438, 529, 538, 548, 592,608, 618, 621, 674, 799, 1307, 1309, 1313, 1316, 1320, 1324, 1331, 1341, 1369, 1377, 1401, 1404, 1441-1444, 1463, 1468, 1638, 1862, 1871, 1909. See also Siren; Sphinx Snake 234, 227, 303-305, 379 Spectator 82, 86, 88, 92, 100, 242, 379, 461, 487, 491, 494(?), 748, 754, 796, 801,810, 827, 830, 836, 839-842, 844, 845, 849-852, 854-857, 885, 892, 894, 897, 952, 989, 1031, 1117, 1163, 1164, 1177, 1198, 1199, 1254, 1385, 1459, 1476, 1609, 1697, 1709, 1895 Sphinx 2411,2519,30, 75, 82, 84, 92, 1, 3, 10(?), 117, 128, 139, 140, 149, 152, 160, 162, 176(?), 352(?), 357,400, 450, 510, 523, 528, 541, 543, 560, 590, 591, 594, 621(?), 622, 700(?), 733, 802, 862, 863, 1267, 1271, 1274, 1311(?), 1312, 1315, 1316(?), 1317-1319, 13211324, 1335, 1340(?), 1341, 1344, 1350, 1351, 1369, 1388, 1390, 1398-1400, 1402, 1403, 1404(?), 1405, 1409(?), 1441, 1462, 1467, 1576(?), 1582, 1583, 1585, 1587, 1589, 1592-1599, 1604,

INDEXES 1605, 1632, 1636, 1638, 1656, 1669, 1859, 1866(?), 1873(?), 1884; confronted pair 82, 176(?), 510. See also Siren or sphinx; Theban Sphinx Squire 41, 82. See also Iolaos Stag 612, 1260, 1301(?). See also Deer Swan 24", 638, 75, 27, 122, 135, 164, 175, 340, 368(?), 373, 410, 412, 414, 425, 436, 437, 445, 449, 519, 550, 587, 619, 672, 732, 746, 766, 792(?), 1266, 1275-1277, 1281, 1285, 1287, 1289, 1294, 1298, 1363, 1427, 1445, 1476, 1627, 1910, 1918; paintedupside down 98 Swimmer 1430(?) Symposion 214, 24, 81, 420, 430-432, 480, 553, 681, 903, 914, 949, 994-1019, 1054, 1091, 1145, 1205, 1206, 1286, 1418, 1498, 1667, 1759; with Herakles 1109(?). See also Dionysos
THEBAN SPHINX 96, 1216

Theseus 68(?); and the Minotaur 96, 171, 885, 1162, 1268, 1881; and Prokroustes 96, 391, 1160; Rescue of the Athenian Youths and Maidens 80 Thetis. See Peleus Tierkampf 67, 625, 1107, 1227, 1266, 1872 Tityos 228 Trainer 100, 242, 272, 286, 494(?), 836(?), 879, 909, 1184 Triptolemos 192 Triton 724, 1244(?), 1697. See also Herakles Troilos. See Achilleus
SCENE88, 88125 VINTAGE

Water bird 130, 1279. See also Heron; Swan Wedding scene 190, 191(?), 511, 513, 516, 517, 563, 970 Woman 74, 82, 97,46, 61, 68, 71, 76, 9294, 105, 112, 113, 167, 181, 185, 187, 190, 191,194, 198, 199, 205, 209, 215, 376, 377, 380, 382, 383, 385, 386, 388, 394, 450, 460, 464,491,492,497,505, 508, 509, 513, 527, 554, 557, 560, 567, 568, 570, 571, 576-578, 583-585, 588, 589, 597, 599, 600, 613, 630,636, 638, 643, 644,654, 660, 668,680,691,693, 739, 747, 761, 763, 767, 770, 778, 780, 789, 796, 799, 804, 813, 823, 824,828, 844, 845, 858, 861,868, 869,902, 904, 914, 917, 934-936, 948-950, 963, 970, 993, 1039, 1040, 1097, 1098, 1109, 1133, 1134, 1140, 1145, 1149, 1151, 1160, 1176, 1181, 1192, 1194, 12061214, 1219, 1220, 1223, 1225, 1229, 1232, 1234, 1236, 1241, 1244, 1245, 1248, 1250, 1253, 1256(?), 1269, 1270, 1292, 1295, 1354, 1391, 1393, 1397, 1417, 1419, 1420, 1446-1449, 1453, 1488, 1494, 1500, 1537, 1541, 1542, 1548, 1649, 1672, 1677, 1721, 1723, 1757, 1760, 1767, 1782, 1795, 1802, 1837, 1845, 1850, 1851, 1855, 1859, 1896, 1905, 1912, 1916, 1920, 1926, 1927, 1932, 1943, 1945, 1948; carrying hydria 642; in orchard 924, 1052; leading cow or bull 919, 920, 1221; working wool 69, 1848 Woman's head 610, 69, 75, 88, 7, 439, 458, 1753 Wool working 516, 1848 Wrestling 100, 230, 242, 264(?), 269(?), 314(?), 326(?), 1609, 1610, 1709

Victor 328 Youth 56, 60, 63, 69, 91, 97, 98, 126, 166, 184, 194, 330, 375, 385,429,461,467, WARRIOR 81, 85, 89, 93, 32, 34, 48, 49, 493, 512, 562, 572, 631,633,646, 647, 52, 55, 58, 59, 72, 73, 79, 82, 103, 170, 658, 681,756, 762, 767, 771,791,796, 213, 215, 457, 464, 485,487,491,496, 799-801,805-815, 817,824,828,829, 614, 626,629,646,679,719,749,750, 831-834, 836,854,855,859,866, 884, 768, 820, 831, 832, 860, 886, 887, 892, 893,895, 902, 904,937,958-960, 967, 989-992, 1044-1046, 1102, 1105, 986, 989, 993, 1033, 1046, 1048, 1072, 1125, 1180, 1243, 1248, 1290, 1459, 1094, 1128, 1135, 1162, 1166, 1167, 1479, 1501, 1565, 1663-1666, 1169, 1172, 1176-1178, 1205, 1212, 1669(?), 1676, 1678, 1679, 1683, 1688, 1234, 1253, 1257, 1268, 1351, 1355, 1707, 1751, 1766, 1774, 1815, 1819, 1383, 1386, 1392, 1480, 1487, 1490, 1877, 1878, 1901, 1945; arming 735, 1491, 1538, 1543, 1622, 1630, 1632, 815, 827, 1689, 1886(?); departing 1635, 1652-1654, 1662, 1673, 1685, 71(?), 103, 215, 493, 495, 628, 680, 1698, 1713, 1718, 1723, 1728, 1756, 683, 747, 824, 825, 828-830,833, 841, 1783, 1806, 1839, 1840, 1843, 1849, 842, 844-846, 888, 976-988, 1043, 1874, 1876, 1886, 1922, 1924, 1942 1047, 1147, 1640(?); departing with chariot 902; in chariot 79, 614; mounted 24, 41, 82, 206; mounting chariot 889, 1153, 1354; mounting ZELUS 83, 821, 1378. See also Athena, Birth of horse 93. See also Fight

363

INDEX III: GENERAL INDEX

AGORA,Archaic Cemetery 1

Agora, North Slope 26, 29, 75, 83, 87118 Agora, Rectangular Rock-cut Shaft (deposit G 6:3) 1, 13;shapes not found in Attic black figure 2; Stoa of Attalos 1, 433; Stoa Gutter Well (deposit Q 12:3) 1, 13, 433. See also Deposit Lists Aigina 74 Altar 782, 790(?), 1530(?); with flames 1295; oxtail on 1495 Amphora. See Vase, representation of; Index IV Animal skin 170 Archon 15-17, 271, 273, 274, 278, 286, 289, 290, 296-298 Armor:corslet 32, 80, 118, 209, 216, 487, 611,637, 684, 741,742, 794, 827, 952, 1689, 1877; greaves 71, 106, 118, 173, 209, 215, 450, 473,491,626, 639, 657, 679, 680, 719, 735, 741,747, 749, 754, 815, 820, 825-827, 829-832, 888, 1105, 1290, 1459, 1479, 1665, 1678, 1689(?), 1810; helmet 476, 886, Attic 24, 183, 204, 240, 254, 261, 290, 322, 324, 332, 470, 556, 686, 692, 694, 736, 835, 899, 900, 929, 932, 953, 1027-1031, 1382, 1426, 1492, 1580, 1804, caplike 15, Corinthian 4012, 32, 34, 41, 48, 52, 55, 58, 59, 79, 82, 118, 206, 209, 213, 215,216, 485, 487,491, 496, 611,614, 626, 629, 637, 679, 741, 742, 748, 749, 794, 819, 825-832, 837, 838, 846, 888, 889, 892,902,915-917, 950, 951, 954-957, 968, 976-978, 1027-1031, 1043-1047, 1074, 1105, 1110, 1125, 1143, 1147, 1161, 1163, 1164, 1172, 1175, 1197, 1243, 1382, 1396, 1663-1666, 1679, 1689, 1751, 1774, 1810, 1815, 1816, 1819, 1877, 1878, 1901, 1949, "Illyrian" 1152, 1153; vambrace52. See also Plumes on helmet
Athena Polias 13

Bracelet. See Jewelry Branch 818; held by someone 57, 192, 328, 681, 925, 1808, 1861; in the field 102, 217, 222, 224, 328, 395-397, 554, 644, 655, 664, 687, 688, 737, 739-741, 771-774, 780, 818(?), 835, 847, 853, 869,876, 878, 880-883, 889, 890, 897, 898, 901,903,905-918,921-923, 925, 928-930, 933-935, 938-953,957-973, 986, 990, 993, 1002-1028, 1033, 1034, 1036, 1037, 1039, 1040, 1048, 10531055, 1058-1066, 1068, 1069, 1072, 1073, 1075-1092, 1095-1098, 11051107, 1109, 1111, 1113-1115, 1119, 1121, 1128, 1134, 1137, 1140, 1151-1153, 1169, 1171, 1174, 1183, 1185, 1192, 1194, 1196, 1198-1201, 1208-1210, 1213, 1224, 1225, 1227, 1229, 1231, 1232, 1239, 1240, 1242, 1247, 1250, 1251, 1256, 1278, 1295, 1419, 1440, 1484-1488, 1490, 1492, 1497-1500, 1502, 1509-1514, 15231526, 1530, 1532-1534, 1537, 1538, 1541-1553, 1555, 1556, 1558-1564, 1624, 1639, 1648, 1690, 1756, 1759, 1762, 1771, 1798, 1837, 1847, 1852, 1894, 1897, 1904, 1905, 1930 Building 640; fountain house 47, 645, 655, 660, 869, 1625(?), 1896(?); house 419; palace 47, 821; temple 47 Burnedvase 109, 113, 115, 166, 187,189, 250, 251,335, 341,345, 352, 365, 381, 426,480, 540, 611,791,798, 799,801, 807-810, 823, 829, 830, 836, 896, 934, 992, 1230, 1302, 1424, 1471, 1599, 1606, 1832, 1863, 1865, 1948(?) Bush 1295(?)

Corinthian 23, 42, 49, 58-59, 592, 623,

69; borrowing from Attic 43; imitation of Attic 7631;influence on Attic 23-24, 2417,43, 48, 58, 62, 75, 79, 81,8170, 82 Cornucopia287, 288 Corslet. See Armor Couch. See Furniture
Cradle kithara. See Musical instrument

Crosshatching 528, 725, 1366, 1704, 1900 Cushion: used in carrying hydriai 357, 660; used in carrying chests and boxes 516, 644. See also Furniture, cushion and pillow Cycladic, influence on Attic 73-74
DENT in vase 35, 116, 657, 686, 694, 776,

839, 870, 877, 883, 925, 1000, 1002, 1030 Dilute glaze. See Glaze Dipinto 358, 1150 Dioros 1490 Dolphin-wheel 1900 Doric: building 47. See also Column Double line. See Drawing Drawing: double incised line 12, 15, 20, 341,342, 346, 399,437, 606, 708, 709, 725; outline 73, 7, 32, 47, 256, 407, 520, 527, 588, 610, 1453, 1753; redrawing 451, 474; upside-down 98, 1747, 1748 Drinking horn. See Vase, representation of
EARRING. See Jewelry Eleusis 78

Athens: Akropolis 18, 56, 58, 76, 78, 83, 87, 87118;Areopagus 1, 56, 96; Hill of the Nymphs 56, 96; Shrine of Nymphe 18, 19, 691; South Slope 18
Aulos. See Musical instrument

BARBITON. See Musical instrument

Basket 516, 554(?), 644(?), 924, 1097, 1418, 1511, 1623, 1848,
Bilingual 5518, 90, 90145,146

Bit burr 471, 581 Block seat. See Furniture

Boeotian 7518, 78

Box 376, 377(?), 516, 554(?), 644(?)

Ependytes228, 563 hero 79 CALYX-KRATER. See Vase, representation Eponymous Eridanos 80 of; Index IV Euboean 4513 Cave 878(?), 906, 1070(?) Exergue 54, 545, 68 Cervetri 87 Exports 2, 24, 4, 82, 18, 36, 63, 78, 82, 89 Chair. See Furniture Eye 40, 409, 57, 61, 66, 67, 672, 673, 680, Chamfer 67 681, 705, 860-863, 1010, 1079-1086, Chest 516 1108, 1128, 1129, 1247, 1376, 1601, Chian 57-58 1608, 1610, 1651(?), 1749, 1753Column 1132, 13, 14, 15, 16, 17, 47, 85, 1756, 1778, 1781-1784, 1824 116, 237, 248, 249, 252, 256, 257, 260, 265, 266, 271-274, 276, 278-283, 285, 286, 290, 296-300, 302, 319, 332, 333, FENESTRATED WALL (STAND) 30, 32 419, 527(?), 645, 655, 660, 790(?), Fillet: around head 56, 57, 65, 76, 81, 90, 818, 821, 869-871, 875, 1853, 1856(?) 93, 96-98, 105, 111, 114, 117, 120, Column-krater.See Vase, representation 123,139,165,181,187,190,199,207of; Index IV 209, 213, 215, 217, 218, 220,222, 376, Coral red 91, 1822 379, 385, 393, 396, 397, 400, 439, 447, Corfu 52 448, 454, 466, 472,493,499, 500, 504, Corinth 78 510,514,516,517,523,527,529,548,

364 554,557,562,574,575, 578, 584-586, 589, 592,602,613,660,663,666,691, 720, 735, 736,748, 752, 755-757, 768, 786, 791,798,813,815,817,818,824, 827,834, 839-842,844,845,849-855, 858, 873,880,881,884,885,888,890, 893, 894,898,901,904,905,907,908, 912-914, 918, 920, 922, 924, 925, 927, 930-933,936, 937, 945, 946, 948-950, 957, 961,963,964,967,971-973,977, 978, 981, 983, 987-991, 993-1004, 1011-1013, 1015-1018, 1026, 1027, 1034, 1036, 1039, 1040, 1047, 1048, 1052, 1053, 1056, 1058, 1059, 1072, 1075-1078, 1090, 1094, 1098, 1111, 1113, 1115, 1121, 1127, 1130, 1132, 1134, 1136, 1147, 1149, 1160, 1163-1165, 1167-1172, 1177, 1181, 1182, 1184, 1187, 1188, 1192, 1197-1200, 1205, 1206, 1209, 1211, 1215, 1216, 1219, 1220, 1222, 1225, 1226, 1228, 1229, 1236, 1238, 1257, 1259, 1262, 1268, 1369, 1391, 1396, 1418, 1447, 1448, 1482, 1484, 1486, 1487, 1489-1491, 1521, 1527, 1531, 1563, 1564, 1578, 1581-1585, 1587, 1590, 1591, 1595, 1597-1600, 1606, 1607, 1609, 1639, 1640, 1642, 1652, 1655, 1671, 1699, 1708, 1756, 1762, 1764, 1766, 1770-1772, 1783, 1837, 1839, 1876, 1884, 1896, 1902, 1908, 1916, 1927, 1931, 1943, 1945; around neck 203, 398, 904, 925, 1348; around shoulders 77, 474, 688, 1094(?), 1384, 1610(?), 1621; held by someone 1132, 804, 890, 1066, 1247, 1418, 1419; on helmet 55, 58, 206, 324, 487, 683, 692, 694, 828, 835, 837, 838, 842, 846, 915, 917, 952, 954, 956, 968, 977, 1028-1030, 1042, 1074, 1110, 1152, 1161, 1163, 1164, 1172, 1774, 1901, 1903; on wall 181, 375, 516, 561, 564, 568, 574, 800, 805, 841, 851, 1783, 1826 Flower 181, 191(?), 567, 585(?), 695, 817, 1151 Fountain house. See Building Furniture: block seat 736, 878, 893, 910-913, 938-942, 945-947, 953, 1040, 1058, 1207, 1211; chair 388, 1097; couch 374, 382, 388, 420, 431, 480, 553, 681,760,876,890,891,903, 914, 925, 949, 973, 1054, 1091, 1109, 1145, 1204, 1206, 1207, 1233, 1418, 1498(?), 1524, 1667, 1759, 1767(?), 1822, 1856(?); cushion 388(?), 1484, 1606; hassock 821; mattress 388(?), 480, 760, 1116, 1606, 1667, 1761, 1783, 1784, 1798; okladias 63, 181, 392,516,574,647,666,722,736,767, 799, 836, 841-845,847,854,855,873,

INDEXES
888, 899, 900, 903, 909,924,932,933, 940, 1002-1008, 1014, 1039-1041, 1046, 1048, 1049, 1054, 1056-1068, 1073, 1075-1090, 1100, 1101, 1103, 1108, 1112-1114, 1119, 1124, 1127, 1137, 1149, 1168, 1171, 1174, 1187, 1188, 1192, 1206, 1209-1211, 1213, 1214, 1216, 1220, 1221, 1226, 1245, 1249, 1253, 1420, 1424, 1429, 1434, 1437, 1477, 1534, 1550, 1559, 1563, 1569, 1592-1596, 1632, 1653, 1685, 1759, 1762-1764, 1767, 1771. See also Shield device; pillow 904, 925, 973, 1145,1429, 1485, 1493; stool 516, 736, 739, 781, 1667; table 388, 420, 431, 681, 876, 890, 903, 925, 949, 1054, 1091, 1109, 1145, 1204, 1206, 1207, 1233, 1418, 1524, 1623, 1667, 1759; throne 497, 821, 1721, 1939 502, 555, 560,580,583,637,640, 644, 653, 660, 686,747,756,767,773,877, 881,883,885,890,896,898-900, 906, 907, 909, 917, 925, 942, 944, 946, 952, 963, 966, 971-973, 1033, 1052, 1092, 1093, 1097, 1106, 1132, 1138, 1198, 1204, 1209, 1214, 1269, 1498, 1761, 1769; dot rosette 73, 460, 630, 1383, 1649, 1795; dots 24, 47, 56, 61, 68, 71, 76, 88, 89, 93-96, 102, 103, 107, 167, 172, 174,182, 184,187,188, 195, 197, 198, 202, 205, 207-209, 213, 215, 223, 224, 239, 243, 252, 254, 258, 331,363, 380, 381, 386, 387, 391-393,395, 430, 461,465, 466,473,487,488,491-494, 497,499, 502, 508, 516, 555, 558, 564, 568-571,574-576, 578-581, 597, 636, 643, 644, 646, 656-658, 660, 673, 679, 681,686, 687, 691, 694, 719, 736-739, 741,747, 749, 756, 757, 773, 760, 776, 780, 781, 783, 791,800, 802, 804, 813, 821, 822, 835, 837, 838, 840,849, 851, 853-855, 860, 868, 870, 871, 873, 876-879, 881-885, 889, 890, 893, 896-899,901-903, 905, 906, 908, 911, 912, 914, 915, 932, 938, 940, 947-950, 953-955, 958, 962, 975, 984, 990, 1019, 1030, 1037, 1039, 1040, 1042, 1047, 1048, 1052, 1055-1057, 1059, 1061, 1063, 1066, 1095, 1097-1100, 1102, 1103, 1106, 1109, 1117, 1124, 1126, 1127, 1132, 1139, 1159-1161, 1163-1165, 1168, 1171, 1172, 1174, 1179, 1185, 1190, 1207, 1211, 1235, 1238, 1240, 1248, 1257, 1268, 1278, 1286, 1290, 1385, 1419, 1459, 1460, 1477, 1484, 1486, 1488, 1495, 1498, 1500, 1527, 1528, 1531, 1536, 1559, 1563, 1569, 1591, 1593, 1606, 1630, 1639, 1640, 1653, 1708, 1709, 1711, 1728, 1762-1764, 1770-1772, 1776, 1784, 1803, 1830, 1847, 1848, 1851, 1885, 1900, 1945; key pattern 167; maeander763; rosette69, 95, 381, 564, 568, 633, 680, 681, 833, 1257, 1698, 1719, 1916, 1926; stripe 57, 60, 71, 74, 81, 88, 92, 94, 96, 105, 107, 181, 182, 191,200, 201,207, 211,215, 217, 218, 225,364, 374, 377, 381,384, 450, 461, 471,487, 491-494, 501,502, 514, 557, 564, 568, 578, 613,628, 636, 637, 646, 647, 665, 681,683, 686, 693, 722, 735, 736, 738, 742, 748, 749, 751,753, 754, 764, 767, 770, 776, 781, 786, 789, 807, 808, 813, 816, 821,827, 828, 831, 832, 839-842, 844,845, 847-849, 853-855, 861,866, 885,888, 889, 891, 893, 894, 899-901,904, 905, 907,909, 911-913, 915-925, 927-929, 932, 933, 937-940, 942-952, 957-963, 966, 967, 969, 971-974, 977, 981,983-986, 989-991,

See "Neck-piece" of chiton; Oriental dress; Scythian cap; Shawl; Thracian cloak Garment, red 432, 851 (part), 1459, 1476, 1672 (part), 1697 (part), 1698 (part), 1802, 1851 (part), 1859, 1926 (part); chiton 31, 80, 224, 385, 536, 544, 646, 673, 697 (part), 719 (skirt), 748, 929 (skirt), 1099 (skirt), 1268, 1269, 1378, 1426, 1454, 1641, 1658, 1659, 1709, 1753, 1806, 1819, 1941 (skirt); cloak 169, 433, 630 (part), 673(?), 679, 680, 701, 767, 1378,1391, 1479 (part), 1662, 1671 (part), 1912, 1943; corslet32; himation 1920; peplos 167 (overfold), 322, 767, 804, 1257 (overfold), 1292, 1446 (overfold), 1677, 1708 (overfold),1916, 1920 Garment, white: chiton 69, 108, 169, 186, 207,217,256,369,433,450,471,482, 495, 562, 575, 576, 632, 650, 651,666, 694, 722,755,810,905, 906, 910-913, 915, 916,921,922,931,933,938, 940, 942-945, 952, 953, 974, 990, 991, 1036, 1037, 1053, 1056, 1059-1065, 1073, 1076-1079, 1081, 1083-1086, 1092, 1095 (part), 1099, 1103, 1113, 1114, 1124, 1162, 1187-1190, 1197, 1226, 1282, 1290, 1346, 1426, 1476, 1483, 1500, 1569, 1581, 1592, 1595, 1609, 1612, 1631, 1661, 1662, 1683, 1690, 1693, 1707, 1763, 1764, 1802, 1842, 1850, 1875, 1945; corslet 952, 1689; himation 647; skirt 1262 Garment decoration: circle 373, 382; cross 39, 92, 375, 555, 563, 599, 636, 767, 1725, 1945; dot cluster 76, 84, 90, 92, 105, 181, 201, 202, 209, 213, 215, 218, 252, 254, 319, 331, 363, 387, 390-392,450,466,470,486,492-494,
GARMENT.

INDEX III: GENERAL 993-1004, 1007, 1010-1013, 10151018, 1021, 1024-1026, 1028, 1029, 1032-1036, 1039, 1043, 1047-1049, 1053, 1054, 1056, 1058, 1059, 1062, 1065, 1066, 1073, 1074, 1076-1092, 1094, 1099-1103, 1106, 1109-1117, 1119, 1120, 1123, 1124, 1132, 1137, 1144, 1145, 1149, 1150, 1152, 1159, 1160, 1163-1165, 1168-1172, 1177, 1180-1183, 1187, 1188, 1190, 1197, 1198, 1201-1204, 1206-1209, 1211, 1213-1217, 1219, 1220, 1222, 1225, 1226, 1230, 1231, 1233, 1235, 1236, 1254, 1256, 1266, 1351, 1382, 1393, 1420, 1460, 1476, 1521, 1528, 1559, 1563, 1564, 1586-1588, 1594, 1595, 1612, 1644, 1647, 1713, 1751, 1760, 1764, 1769-1771, 1776, 1783, 1798, 1809, 1814, 1824, 1830, 1837, 1848, 1852, 1859, 1876, 1921, 1927, 1941, 1945, 1948; wavy line 799, 1176; zigzag line 72
Geometric 20, 22, 23, 30, 32, 39, 531, 583, 471

INDEX

365 237, 238, 244, 245, 256, 260, 265, 271, 274, 276, 279, 283, 285, 299-301, potter 274; written kionedon 16, 276, 286, 289, 290, 296-301. See also Kalos name; Index VI Ionian alphabet 17 Ionian influence 6633 Incense 69
228 JAVELIN

1217, 1276, 1277, 1280, 1286, 1296, 1299, 1301, 1305, 1307, 1309, 1311, 1317, 1318, 1320, 1322, 1325, 1328-1330, 1368, 1371, 1387, 1389, 1398, 1399, 1402, 1404, 1405, 1412, 1423, 1435, 1437, 1447, 1455, 1456, 1461, 1477, 1506, 1509, 1512, 1515, 1522, 1541, 1547, 1551, 1556, 1576, 1589, 1593, 1596, 1609, 1614, 1616, 1627, 1631, 1637, 1646, 1736, 1810, 1820, 1821, 1832, 1834, 1846, 1881, 1914, 1917-1919, 1921, 1930, 1937, 1949; mottled 83, 228, 321, 489, 694, 793, 995, 1437, 1532, 1542; smeared 481; streakof 657; streaky100. See also Burned vase; Wash Goal post 263, 308, 369, 664, 930, 1051, 1197, 1504, 1531, 1533, 1557 Gorgoneion 55, 56, 66, 67, 305, 1423, 1785-1793, 1805. See also Shield device Graffito 34, 1559, 1603, 1615, 1833
Grave marker 7, 719, 84, 22, 74, 118

Jewelry: bracelet 292, 644; earring 183, 644, 1391; necklace 644, 789, 1884; ring 292
KALOS NAME: Andokides 3714,

Greaves. See Armor

Glaze: abraded (worn) 3, 8, 14, 46, 69, 72, 96, 116, 118, 143, 156, 161, 179, 181,215,253,267,343,374,401,410, 411,413,522,528,550,554,581,594, 624, 630, 631, 669, 673, 694-696, 698-701,716,717,722,731,757,798, 802,814,821,829,855, 863, 898, 911, 912,924,931,939,941,943, 945, 960, 977, 985, 997, 999, 1004, 1007, 1009, 1010, 1012, 1014, 1018, 1027, 1028, 1038, 1043, 1061, 1069, 1073, 1078-1080, 1124, 1145, 1268, 1292, 1304, 1312, 1315, 1396, 1399, 1403, 1422, 1484, 1553, 1598, 1630, 1678, 1700, 1759, 1831; cracked 40, 899; dilute 170, 191, 517, 630, 641, 1809; flaked 117, 128, 129, 132, 133, 135, 137,276,322,339,353,374,401, 519, 522,546,729,792,798,802, 830, 851, 896, 912, 939, 943, 978, 985, 1014, 1020, 1038, 1061, 1067, 1069, 1073, 1079, 1080, 1094, 1132, 1215, 1260, 1266, 1305, 1314, 1322, 1328, 1345, 1393, 1451, 1472, 1484, 1490, 1556, 1587, 1759, 1766, 1772, 1856, 1863, 1946; misfired, 3, 7, 12, 14, 16, 35, 39, 45,71,73,83,119,122,127,131,145, 153,164,181,215,246,251, 286, 306, 316,339,366,368,375,393, 398, 430, 434, 436,441,445,463,483, 507, 525, 528,538,543,546,592,604, 611, 612, 615,617,624,627,647,653,659, 661, 666,682,684,700,712,728, 744, 748, 862, 887, 765,787,797,828,839,848, 940, 946, 895,897,914,919,920,929, 968,979,983,1006,1047,1054,1061, 1072, 1077, 1083, 1116, 1181, 1206,

228 Hassock. See Furniture Headdress 205. See also Sakkos; Stephane; Wreath Helmet. See Armor Herm 1530 Hole: in bottom 402, 798, 1796; for libations 374; in top of closed shape 70, 1906; near top of pyxis 1284, of stand 516, 553, 594; for suspension 48, 53, 72, 1399, 1431, 1432, 1434, 1943; to vent gases 282 House. See Building Hydria. See Vase, representation of; Index IV
HALTERES

91; Antimenes 90; Eumares 55 Kamiros43 Kantharos.See Vase, representationof Kerameikos46, 78, 80, 87, 87118 Kithara. See Musical instrument Krater.See Vase, representationof Krobylos567 Krotala. See Musical instrument Kuban 97 Kynosarges73 6842 LACONIAN CUP Ladle 214 Laver 872 Lebes gamikos. See Vase, representation of; Index IV Lekanis. See Vase, representation of; Index IV Loutrophoros. See Vase, representation of; Index IV Lyre. See Musical instrument
MASS PRODUCTION 2

INFIBULATION 1486, 1489 Inscription 1411, 13, 18, 25, 47, 84, 126,

168, 187, 468, 480, 524, 546, 553, 817, 819, 820, 1381, 1407, 1414, 1416, 1425, 1430, 1432, 1473, 1474, 1686, 1694, 1705-1707, 1743, 1744, 1752, 1802, 1804, 1806, 1809, 1813, 1874,
1912, 1930, 1938; imitation 375,

434(?), 782, 1181, 1212, 1268-1270, 1292,1424,1434, 1572(?), 1573,1669, 1685,1688, 1749,1815,1816, 1847(?), 1851, 1853(?); in added red 1411553, 610, 1430, 1912; nonsense 115, 381, 503, 575, 750, 752, 782, 791,871, 872, 879, 1448, 1689, 1695, 1696, 1745, 1814, 1820, 1899; on Panathenaic 18(?), archon 14, 271, 273, 278, 286, 289, 290, 296, 297, 298, prize 1411,

Mattress. See Furniture Menidi 32 Mended in antiquity 159, 169, 188, 272, 321, 398, 472, 553, 681, 753, 786, 1270, 1341, 1373, 1491, 1749. See also Re-used in antiquity; Trimmed in antiquity Metal prototype 26, 33, 35, 353, 36, 40, 41, 43, 51, 56,69 Misfiring. See Glaze, misfired Mistake 686, 897, 922, 1038,1044, 1187, 1414 Musical instrument:aulos 45, 165, 598, 661,681,879, 1486, 1487,1489,1493, 1494, 1524, 1588; barbiton 203, 506, 772, 1136, 1286, 1413; cradle kithara 1486; kithara 74, 182, 184, 195, 202(?), 207, 486, 514, 566, 600, 821, 901, 1242; krotala 1068, 1146, 1170, 1483, 1507, 1508, 1527, 1546; lyre

366 219, 433, 574, 575, 583, 764(?), 873, 875, 932, 1151, 1187, 1191, 1209, 1211, 1220, 1222, 1224, 1225, 1231, 1246, 1253, 1431, 1516, 1521, 1522, 1531, 1920 Myrrhinous 87 18
NEBRIS80, 102(?), 158, 215, 487, 1162,

INDEXES
4014, 47, 48, 55, 55"1)l , 581, 67, 71,

73, 89, 90, 91, 92, 93, 94, 192;

influence on black figure 93

Red-bodied40, 42 Re-used in antiquity 1929, 1936. See also

Trimmed in antiquity

1641, 1823, 1891 "Neck-piece"of chiton 1707 Necklace. See Jewelry

OKLADIAS. See Furniture;Shield device

Rhodes 62 Riding crop 24, 182, 701 Rim, figures on top of 476 Ring. See Jewelry Rock 1002, 1038, 1070, 1107
Roof tiles 69, 692, 71, 471

Olympieion 4 Oriental dress 1678 Ostrakon 56, 5622,96, 546 Outline. See Drawing
PALACE. See Building

SAKKOS 113, 871,904

Samos 6524

Palm branch 312(?) Palm tree 22, 528, 575, 872, 875 Palmette 74, 97, 1, 1397. See also Index IV Panathenaic,competitionsample 274 Panathenaiccommission 1517 PanathenaicFestival 12-13, 134 Panel: earliest 5, 59;unframed36, 82 Panther head 118 Patronymic 14, 226 Pelta 929, 1166, 1177, 1178; device on, balls 929 Persian Sack 1, 46 Pick 141 Pickaback1490 Pillar 1216, 1856(?). See also Column Pillow. See Furniture Plant 702(?), 1906. See also Flower; Palm tree; Poppy; Tree; Vine Plastic snake 20 Plumes on helmet 206, 819, 1125, 1766 Polos 82, 594, 622, 1320, 1322, 1388 Polychrome47 Pomegranate74, 588 Poppy 74 Predella 45, 91, 636, 638, 639, 817 Preliminarysketch 1446 Protoattic pottery 5, 719, 20, 23, 30, 32, 395, 531, 73, 77, 520 RED, applied directly on the clay 466, 1329, 1889 Red, splash of 853 Red contour419, 1912 Red face 31, 32, 121, 123, 124, 126, 178, 400, 417, 440, 441,451-453,455, 456, 529, 541, 610, 671, 723, 724, 797, 1299, 1303,1369, 1388, 1442, 1467
Red figure 2, 26, 2756, 10, 32, 33, 38,

Scale pattern. See Garment decoration Scepter 181 Scythian cap 79 Shawl 17 Shield 345(?), Boeotian 215, 450, 457, 464, 637, 657,742, 867,902, 975-982, 985-989, 992, 1037, 1049,1110,1117, 1148, 1414, 1766; round34, 41, 48, 72, 76, 79, 91, 100, 103, 118, 188, 209, 213, 215, 216, 228, 234, 237,239, 240, 247, 250-252, 256, 258, 260, 271, 277, 282, 293, 298,303,305,315,319,321324, 329, 336, 366, 395, 450, 473,485, 487, 491,495, 496, 611,614, 626, 628, 637, 646, 650, 679, 680, 683,686, 687, 692, 694, 719, 735, 741,747-749, 754, 768, 789, 794, 815, 819, 825, 826, 828-832, 837-842, 844-846, 864, 887, 888, 892, 898-900, 902, 928, 929, 954-956, 983, 984, 990, 1027-1031, 1042-1045, 1047, 1074, 1102, 1105, 1110, 1139, 1147, 1148, 1161, 1163-1165, 1172, 1175, 1180, 1181, 1197, 1243, 1248, 1278, 1290, 1349, 1378, 1382, 1426, 1501, 1558, 1565, 1581, 1628, 1634, 1640, 1663-1666, 1669, 1676, 1678, 1679, 1683, 1766, 1768, 1815, 1816, 1819, 1824, 1877, 1878, 1901, 1940. See also Pelta Shield device 16, 1627;anchor 209; arc 956; balls 91, 103, 215, 487, 495, 637, 650,748,749,768, 826,837,841,844, 845, 846(?), 954(?), 1030, 1031, 1047, 1110, 1147, 1161, 1163-1165, 1172, 1501, 1628(?), 1766,1815,1816,1824; ball and circle 955, 1628(?); ball with ivy 91; bee or wasp 628; blob 1248; bow 1382; bull's head 260(?), 687, 719, 741; chariot box 473, 680; circle, arcs, balls 692; circle and dot 209; circles 1042, 1044, 1139, 1181; cock 1105; dog 366(?); dolphin 319, 322, 815, 828, 831, 832; dot and arc 867; dots 1027, 1768; eagle 118, 646; female leg 213, 450(?), 464, 491, 686, 694,

735, 819, 892; frame 735; Gorgoneion 1728; horse foreparts 450; horsehead 435, 898, 1679(?); leaf 213; lion 366(?); lion's head 1663, 1665, 1679(?); man's head 1678; Nike 256; octopus 747; okladias 825; owl on tendril 239; panther head 464; Pegasos 1628, 251, 329(?), 336; rings 1816; rosette899; satyr head 51; serpent 213, 1029 (three-dimensional),1047, 1815; siren 324(?); star 34, 228, 277, 321, 900 (with dots), 1378; star rosette, compass drawn 679, 899, 902, 1102, 1278; thunderbolt 260(?), 976(?), 979-982, 985-988, 1037, 1110, 1117, 1148; tripod 209, 240(?), 683, 735, 742, 864, 892, 975; Tyrant Slayers 17; wreath 637, 954(?), 1028; wreath and ball 76. See also Pelta
Ships on rims 34, 3410, 65, 614, 1704

Siana 62-63 Silhouette technique 3220, 52, 56-57, 61, 66, 6628,68, 73,96,476-479,490,604, 727, 732, 745, 746, 764, 765, 937, 1008, 1041, 1070, 1256, 1279, 1285, 1294, 1295, 1329, 1387, 1420, 1424, 1427, 1429, 1434-1440, 1449, 1450, 1539, 1541-1557, 1570-1577, 1596, 1604, 1605, 1611, 1615, 1617, 1626, 1633, 1636, 1637, 1643, 1645, 1656, 1729, 1747, 1779, 1794, 1801, 1821, 1842, 1843, 1845, 1847, 1906, 1929 Six's technique 484, 56, 5621,563, 90, 91, 1175, 1411, 1430-1433 Slip 94, 1, 3, 8, 120, 122, 135, 344, 346, 349, 399, 415, 539, 596, 603, 675, 700, 787, 1918(?), 1938, 1940 Sosian 32 Spata 43 Stephane 511, 557. See also Wreath Stone 118, 391, 610, 771(?), 858, 1268, 1720 Stool. See Furniture Stopper 71, 1758, 1929 Subgeometricpottery 55, 623
TABLE.See Furniture Taranto 63 Temple. See Building Test vase 134 Thebes 87118,96 Thracian cloak 895, 1501 Throne. See Furniture Torch 471, 472, 511, 514, 517, 563, 668(?), 785(?) Tree 118, 187, 391, 654, 924, 1052, 1093(?), 1131, 1215, 1237, 1493, 1497, 1498, 1503, 1517, 1550, 1905(?). See also Palm tree Trimmed in antiquity 1368. See also

INDEX III: GENERAL Mended in antiquity; Re-used in antiquity Tripod 1910, 365, 610, 764(?), 1036, 1135(?), 1152, 1182, 1237, 1502 Tyrant-Slayers. See Shield device

INDEX

367
White ground 3718, 45, 4517, 47, 48, 481, 484, 52, 56, 57, 61, 89136, 90, 90142, 90145,91, 91148, 94, 96, 219, 477, 772,

VAMBRACE. See Armor

Vari 51, 77, 78 Vase, representationof: amphora Type B 462; amphora, pointed 1486, 1487; calyx-krater 1422; column-krater610, 1286; cup 1286, 1729, 1885; drinking horn 63, 85, 51, 96, 111, 198, 207,218, 223, 224, 391,395, 472, 501,610, 666, 693, 694, 722, 737, 753, 755, 773, 878, 901, 903, 904, 906, 910-914, 931, 938-945, 947(?), 949, 952,1015,1018, 1056, 1059, 1062-1066, 1092, 1094, 1114, 1130, 1171, 1187, 1188, 1214, 1217, 1222, 1228, 1249, 1429, 1431, 1484, 1485, 1527, 1529, 1532(?), 1559, 1568, 1569, 1571, 1606, 1682, 1727, 1760(?), 1762, 1764,1770, 1772,1838, 1841, 1847, 1861, 1926; hydria 642, 660, 869; kantharos 102, 214, 582, 610, 681,690, 736, 847, 891,899, 900, 928, 1014, 1020, 1021, 1057, 1061, 1073, 1075, 1077, 1090, 1099-1101, 1103, 1113, 1115, 1146, 1149, 1251, 1493, 1518, 1795, 1817; krater 1511(?); lebes gamikos 471; lekanis 553; loutrophoros 386; skyphos 1422, 1560; volute-krater463 Vine 27, 91, 96, 98(?), 102, 114, 188, 198, 211,213, 218, 223, 390, 393, 472,

483, 486, 506, 507, 509, 513, 557,563, 569-571,658, 686, 688-690, 693, 694, 722, 736, 738, 743, 744, 755, 759, 760, 781, 783, 818(?), 873, 899, 904, 919, 926, 974, 1001, 1031, 1056, 1093, 1094, 1099-1103, 1110, 1112, 1116, 1120, 1141, 1146, 1150, 1155, 1160, 1182, 1184, 1187, 1188, 1205, 1211, 1219, 1238, 1286, 1389(?), 1412, 1415, 1421, 1422, 1424, 1429, 1491, 1493, 1507, 1508, 1519, 1520, 1527, 1536, 1554, 1565, 1566, 1569, 1646, 1647, 1653, 1761, 1763-1766, 1768-1770, 1772-1774, 1776, 1780, 1795, 1830, 1838, 1845, 1897, 1904; held by someone 931, 932; staves for 1483 Vraona 41, 42, 43, 82 Vulci 87

1606 Wash 53, 78, 91, 102, 106, 110, 113, 186, 187,224, 226, 245, 259, 262, 277,282, 308, 327, 331,356, 361,397, 398,489, 500, 511,514, 555, 557, 564, 570, 575, 585, 636, 661, 761, 1385, 1585, 1596, 1601, 1750, 1897, 1908, 1925, 1946. See also Glaze Weathering 117 Wheat 192 White for figures, applied directly on the clay 47, 256 (part), 303, 306, 308, 310, 338, 419, 597,660, 687, 908, 914, 924, 949, 1211, 1220, 1226, 1453, 1484, 1485, 1500, 1584, 1587, 1588, 1590, 1600, 1708, 1724, 1760, 1768, 1861, 1903 (part), 1912
WARPING 35,

817, 822, 840, 869, 872, 874, 875, 923, 993, 1001, 1024, 1032, 1049, 1054, 1071, 1136, 1137, 1145, 1152, 1160, 1181, 1183, 1216, 1222, 1227, 1237, 1256, 1286, 1295, 1329, 1414, 1570, 1571, 1573-1577, 1615, 1617, 1637, 1823 Wine 1733,20, 214, 39, 40 Wineskin 1554, 1779 Women's flesh left black 994-999, 10021009, 1011-1013, 1049, 1054, 1075-1078, 1087, 1090, 1112, 1113, 1151, 1160, 1181, 1182, 1234, 1250, 1262, 1483, 1503, 1505, 1513, 1518, 1524, 1532 Wool 69, 516, 1848 Workshop 1, 3, 23, 31, 39, 4012,41, 4223, 433, 45 Wreath: around head 111, 181, 182, 192, 197, 198, 207, 214, 223, 328, 390, 395, 474, 484, 505, 514, 554, 575, 580, 598, 667, 681,686, 690, 693, 694, 737, 759, 761,817, 870, 890, 891,899, 900, 921, 923, 926, 928, 940, 974, 1002, 1037, 1053, 1062, 1072, 1075, 1081, 1084, 1090, 1092, 1103, 1115, 1116, 1119, 1130, 1152, 1153, 1168, 1187, 1222, 1262, 1429, 1486, 1487, 1541, 1564, 1690, 1753, 1761, 1773, 1838, 1839, 1849; hanging 98(?), 1461; held by
someone 878, 910, 947(?), 1061, 1068,

1072, 1114, 1266, 1541, 1753, 1761, 1769, 1829, 1948; round penis of mule 500, 1109. See also Shield device

368

INDEX IV: SHAPE AND ORNAMENT

Entries in small capitals appear in the text as main headings;these referencesare italicized. We have given other referencesto the same shape that we consideruseful to the reader. Omitted are commonornamentsused in the standardmanner, such as the tongue pattern on the shoulder at the junction with the neck, or rays above the foot, or palmettes at handles. Instead we have listed these ornamentsonly when they occur in non-standardcontexts or on rare shapes.

ALABASTRA 47-48, 87, 90, 94178 Amphora Type A 2, 46, 94174; antecedents 42; known provenances 43

71, 91; Komast 79; Lip-cup 65, 91;

Little Master 89137, 90139, 91; Proto-A 91; Siana 81, 82, 85; Type A 89137, 91

Cup-skyphos 94 Amphora Type B 83; oversize 42 See also Neck-amphorae; Cup, standed 302 Amphorae. Panathenaicamphorae
ONE-PIECE 4-7, 70, 74, 75, AMPHORAE, 76, 77, 7740, 78, 79, 80, 82, 83, 85, 85105, 86, 87, 88, 89, 90, 90139, 91, 92,

rilled 35, 615; signed on underside of 1813; spreading 20; torus 10, 11, 21, 25, 28, 285, 29, 30, 37, 38, 39, 41, 45, 46, 47, 59, 60, 61, 67, 181, 398, 516, 543, 587, 669

93. See also under Psykter Amphorae,three types distinguished41

AMPHORAE, TYPE UNCERTAIN 18, 71(?)
AMPHORAE LIDS 18

Dicing 412, 413, 621, 665, 1338, 1399, 1400, 1405, 1662, 1805, 1806 DINOI 32, 33-35, 70, 75, 78, 7850,79, 82,
83; black-bodied 331 Dinoid vessel 344, 1186 DIsKS 71, 72; cut from a plaque 73

Guilloche 337, 51,343, 1299

Handle: concave 8, 353, 39, 4012, 41, 43,

Aryballos 87

Dot band 47, 160, 210, 394, 516, 592, 665,691,818,819,914,929,936,973, 975, 994, 1001, 1012, 1027-1030, Band with dots 563 1043, 1066, 1071, 1074-1078, 1133, Base. See Ring base 1146, 1147, 1189-1193, 1197, 1202, Biconicalbody 43 1205, 1212, 1214-1216, 1219-1229, Blob 60, 159, 163, 593, 732, 746, 766, 1234, 1237, 1264, 1286, 1291, 1293, 1050, 1260, 1263, 1272, 1285, 1287, 1297, 1299, 1307, 1312, 1318, 1319, 1306, 1312, 1314, 1315, 1319, 13211322, 1335, 1336, 1380, 1403, 1831, 1324, 1329, 1330, 1341, 1360, 1398, 1868 1399, 1427, 1467, 1871, 1943 Dot ivy 61, 692-694, 749, 1423, 1499, Borderof esses 52, 58, 141-143, 404, 414, 1578, 1580, 1581-1584, 1588, 1589, 439, 617, 1302, 1310, 1447. See also 1599-1602, 1606-1608, 1628, 1629, Z's 1639, 1640 BowLS68, 70, 71 Dots 31, 42, 52, 58, 144, 147, 486, 616, Bud-palmettefrieze 76 631, 741, 742, 744, 771, 782(?), 886, 937, 1155, 1161, 1280, 1287, 1294, 1300, 1332, 1403, 1434, 1441, 1463, CALYX-KRATERS 26-27, 46, 90, 92, 93 1469, 1472, 1603, 1916, 1918. See also Chain of upright lotuses and palmettes Index III, Garment decoration 1131,683 Drip ring 43, 44 CHALICES 57-58, 71, 84, 85
Checkerboard 2414, 41,46, 686, 687,692,

44; cylindrical49; double 28, 39, 4012, 43, 512, 673; flat 810;flanged 4, 7, 26, 147, 1934; lug 47, 49; oval 37; ribbed 810;ridged 37, 41, 42, 686; round 37; segmental 20; strap 19, 22, 40, 181, 619; triple 11; upright, double 28, loop 29, 32 Herringbonepattern 162 HYDRIAI 35-38, 44, 70, 80, 82, 83, 84, 86,
8613, 87, 88, 88126, 90, 91, 92, 93, 97;

methodsof carrying357; plain 368 IvY 1330, 1396, 1408, 1637, 1772; above figures 59, 720, 876; below panel 650; below rim 504, 1439; frames 37, 84, 470,474,480,626,627,632,642,646, 652, 769, 784; frieze 7, 2110,38, 41,42, 70, 55, 57, 58, 60, 62, 119, 370, 1330, 1439; on flange 1851, 1934; on handles 26, 491; on lid 370, 1293; on lip 63, 637, 1680; on neck 742, 835; on rim 25, 27, 34, 54, 60, 63, 637, 476-478, 490, 1409, 1483, 1484, 1486-1490, 1492, 1493, 1498, 1499; on shoulder 635, 800, 801, 837, 839, 841, 844, 845, 847-855, 859-863

1137
Chevrons 31, 576, 1748 Chous. See Oinochoai

EPINETRA 69, 95 Exaleiptron. See Kothons Fanlike ornament 136

Circles 128, 615, 1682, 1831, 1834; with dots 130. See also Index III, Garment
decoration
CLOSED VASES, TYPE UNCERTAIN 70

Collar, ring 736

COLUMN-KRATERS 23-25, 32, 65, 79, 80, 82, 83, 84, 85, 86, 88, 88130, 93 Crenellation 61, 695, 1615, 1849

Cross 120, 423, 603, 674(?), 1279, 1299, 1341, 1361; with triangle 1909. See also Index III, Garment decoration Cul 26, 27, 57, 58 CUPS62-68, 83, 84, 88, 89137, 90, 96; Band-cup 65, 91; Droop 89; Gordian

Fillet 45, 46, 60, 66, 67, 1786, Kantharos71, 90 1788-1791, 1794, 1796 Key pattern 11, 20, 219, 277, 319, 37, 38, Rim See 3823, 41, 46, 47, 69, 728, 84, 93, 375, Handle; Lid; Flange. Floral 34, 117, 128, 138, 142, 436, 550, 396, 404, 644,645, 650,669,685-688, 689(?), 690, 790, 821, 835, 870, 877, 626, 670, 1439, 1616, 1681 Foot: conical 51, 57, 63; with chamfered 879,917,930,1182,1184,1188,1199, 1200, 1208, 1209, 1211, 1218, 1328, edge 1813; with concave edge 67; disk 1945; above panel 99, 100, 685; below 13, 39, 45, 47; echinus 4, 89, 13, 18, 20, 332, 34, 36, 41, 32, 39, 37, 38, 25, 22, figures 27', 31, 200; on side of rim 26, 491, 495, 496. See also Index II1, 43, 44, 50, 227; flaring 89, 18, 42, 49, Garment decoration 60, 66, 71; flat 64, 1752; in two degrees KOTHONS 49, 84 4, 7, 18, 21, 223, 25, 26, 46,47,61,56;

INDEX IV: SHAPE AND ORNAMENT

Krater, spouted. See Louteria Krater. See Calyx-kraters; Columnkraters; Skyphos-kraters; Volutekraters Krater, standed 285, 302 KRATERS, TYPE UNCERTAIN 29, 70, 7850, 79 Kyathos 8390,89136,90 Lotus-palmette tendril 62 (perhaps combined with something else) LOUTERIA32-33, 75; influenced by column-krater32, 338 LOUTROPHOROI 18-20, 45, 71, 83, 84, 8718, 88, 91 Lozenge 587, 615, 701, 1345

369

653, 816, 835, 886, 1152; influencedby lekythoi 12; inverted 223, 1289; upand-down 12, 213-215, 223, 643, 821, 869, 883, 885, 1184; upright 829-834 AMPHORAE PANATHENAIC 12-17, 88, 93, 97,72 Panathenaic amphora, competition sample 134, 274 Panathenaic amphora, glazed on inside Maeander 31, 132, 136, 582, 1288, 1292, 15 1408, 1426, 1945. See also Index III, Panathenaicamphora,test vase 134 Leaves 214, 1410, 1613, 1759, 1764, Garment decoration Panathenaic amphora, undersized but 1766-1768, 1771. See also Ivy; Myrtle Molding 1853 prize 134, 14 GAMIKOI LEBETES 27-29, 79, 7954,86, 88 MASTOID 57 Panathenaic amphora, uninscribed, full Leg, tripod 49 Medallion, reserved34, 345 size 134 LEKANIDES 51-53, 75, 77, 78, 7847, 8059, Mouth: calyx-shaped 45, 46, 47; echinus Panathenaic amphora, without columns 81, 82, 85, 86 11, 13, 47; flaring 4, 8, 13, 18, 37, 45, 14, 17(?) LEKYTHOI 43-47, 76, 84, 91, 92, 93, 94, 128, 171, 1934; flat 396; in two degrees Panels, unframed614,33, 179 95, 96; sub-Deianeira 91; lekythos, top 18; plain 39, 41; rilled 10, 181; torus 4, PELIKAI 20, 93, 97. See also Neck-pelike of mouth glazed 924,1006,1021,1025, 20, 37, 38, 339; trefoil 39, 41, 42, 670, PHIALAI 56-57, 98 1029, 1055, 1077, 1084-1088; 671, 674 48 PHORMISKOI LIDS53, 72, 748, 75, 76, 82, 85, 89137; Myrtle 1413, 1418, 1678, 1679, 1682, Pithos 71 domed 22; flanged 50, 367-369, 371 1749, 1886 45, 71-72, 73, 79, 7954, 81, 83, PLAQUES Lip, offset 59, 62, 64, 67 91 Loops 21, 520 PLATES 53-56, 72, 75, 76, 80, 82, 8392, NECK-AMPHORAE Loopwork 84, 22 7-12, 70, 74, 748, 76, 89137,91, 96, 97; tripod-plate91 Lotus 532, 1299, 1300,1316, 1321, 1498, 77, 7732, 35, 7847,82, 83, 84, 86, 88, 89, Plates, standed 302 1659, 1702 90, 92, 93, 97, 82. See also under Pomegranate60, 1657, 1825 Lotus-bud frieze 12, 134 Psykter PSYKTERS 20-22, 90, 90142;psykter-amLotus buds 69, 34, 528, 816, 1498, 1854; Neck-amphora, decorated on shoulder phora 8392;psykter-neck-amphora89 ornament 550; and body 82, 37 hanging 7, 28, filling PYXIDES 49-50, 81, 82, 92, 98 29, 31, 319, 38, 3823,42,45,46,47, 89, Neck-amphora, varieties preferred by 69, 77, 81, 86, 98, 118, 197, 391, 514, Exekias 1237 516, 517, 655, 679, 723, 736, 753, Neck-pelike 94178 796-798,818,824, 825,827,828,869Net pattern 7, 38, 41, 42, 46, 593, 637, 95, Rays 52, 5210, 53, 637, 69, 1257; above 876, 878-883, 887-890, 892-928, figures 31; above foot 2, 20, 2212, 23, 96, 395, 396, 650, 657, 658, 663, 1129, 1132, 1145, 1162-1169, 1181, 30, 31, 59, 60, 61, 62, 66, 391, 587, 686-689, 692, 737, 740, 747, 751, 1182, 1259, 1382; on top side of rim 24, 791, 1297, 1302, 1455, 1465, 1476, 755-757, 772, 782(?), 822, 869, 871, 25, 2518, 54, 459, 474, 479, 611, 1396; 1613, 1659, 1749; below figures 1302, 874, 875, 1130, 1152, 1181, 1217, 1319, 1322, 1459, 1460, 1472; below upright 1021,11, 1131,2212,28,31,38, 1246, 1293, 1380, 1613 rim 572, 574; inverted 2212, 28, 285, 637, 66, 200, 201, 213, 215, 514-516, OINOCHOAI 39-43, 70, 748, 75, 76, 77, 82, 583, 598, 642, 653, 750, 790, 1258, in 2911, 30, 31, 118, 132(?), 516, 530, bronze 39 86, 88, 91, 92, 96, 97, 98; 1406, 1461 544, 553-555, 559,560, 563,568, 569, Olpe. See Oinochoai Lotus buds and lotus flowers 197 571, 573, 577, 587; on cul 27, 58; on OPEN VASES, TYPE UNCERTAIN 70-71 foot 35, 616; on lids 18, 53, 370, 413, Lotus-palmette chain 29, 30, 637, 148, Oval 162, 1627 557, 1678; above panel 2, 6, 50, 52, 75, 1330, 1336, 1338, 1341, 1343, 1345, 79, 89, 97, 101, 112, 683, 1934; 1347, 1350, 1351, 1353, 1380, 1386; inverted 767; on lip 1684; on neck 11, Palmette 27, 45, 46, 59, 60, 61, 637, 64, on rims 24, 249, 337, 52, 54, 436, 437, 13, 14, 15, 17, 185, 188, 198, 204, 209, 97, 137, 196, 373, 436, 477, 479, 445, 447, 1299, 1300, 1399, 1401319, 358; on rim 27 582(?), 660, 763, 823(?), 836, 1350, 1403; on shoulder 47, 132(?); stacked 1378, 1391, 1854. See also Index III 76, 138 Lotus-palmettecomplex 542 Ribbon pattern: 219'10, 31, 578, 1293, Lotus-palmettecross 10, 14, 54, 139, 141, Palmette chain 7, 637, 30, 41, 114, 1779 1382 166, 171, 176(?), 228, 523, 531, 551, Palmette complex 378 Palmette with ivy 92, 805-808, 810-813, Ridge 214, 616 591(?), 626, 1444, 1868 815 Rim: concave 650; corrugated 353, 36; Lotus-palmette festoon 66, 728, 118, 610, 721, 752, 1362, 1385, 1390; above Palmette with spirals or volutes 25, 131, flanged 22, 50, 52; flaring 332, 60; flat 474 33, 40, 606; grooved 8, 28; incurving panel 6, 7, 40, 34, 673, 680; below figures 1021; on neck 5, 10, 1022,4,6, 119, Palmette, buds, and volutes under han22; plain 36, 57; rilled 28, 512, 516, dles 11, 1237,200-202, 207, 213, 215, 491; on shoulder 2412;on top of rim 24, 620; rolled 34; rounded33,604; special 54, 80, 428, 523, 1389, 216, 218; adorsed diagonal 404; 332; torus 26, 27, 40, 72, 522, 565, 602 circumscribed 277, 3823,24, 42, 223, Ring base 51 Lotus-palmetteornament 176, 1860(?)

370 Ring rosette. See Rosette as filling ornament Ring 41, 146, 163, 165, 166, 171, 178, 179, 181, 185, 188, 192, 198, 204, 213, 215, 259, 387, 516, 729. See also Drip ring Rosette 912 Rosette as filling ornament 1457, 1471, 1801, 1860-1863, 1867, 1918; blob 153, 160, 164, 357, 368, 373,408,427, 538, 594, 604,621-623,678, 700, 727, 733, 746, 1271, 1305, 1311, 1313, 1325, 1345, 1377, 1402, 1404, 1856, 1913; circle 1341; dot 76, 117, 133, 136, 138, 139, 145, 160, 154,344,405, 409-411,416, 532, 589, 593,672,675, 678, 701, 702, 729, 1305, 1306, 1334, 1345, 1363, 1365, 1370, 1376, 1441, 1856, 1859, 1871, 1909, 1936, 1947; dot-wheel 75, 1, 671; incised 40, 92, 2, 3, 5, 9, 29, 30, 34, 122, 123(?), 125, 143, 145, 146, , 138, 140(?), 142, 150-152, 154-156, 158, 160,339,346, 348-351, 353, 356,357,368,375,379, 399,407,413,417,422,436,520,530, 543-545, 547, 548,550,590,591,595, 608,609,615,618,619,621,623,672, 674(?), 696, 698, 702, 704, 706, 708, 710, 714, 717, 723, 725, 726, 728, 729, 733, 734, 766, 787, 1258, 1260, 1263, 1271, 1273, 1280, 1298, 1302, 1304, 1307, 1308, 1310-1312, 1314-1316, 1317, 1318, 1322, 1323, 1326, 1331, 1334, 1335, 1337, 1343, 1344, 1357, 1359, 1363, 1369, 1371, 1373, 1388, 1398-1404, 1441, 1444, 1451-1453, 1456, 1462-1466, 1857, 1864-1866, 1868, 1871, 1873, 1911, 1913, 1914, 1918, 1919; part solid, part outline 519; plain 702; ring 136,399,412,414,

INDEXES
701, 727, 746, 1265, 1272, 1299, 1306, 1324, 1329, 1330, 1371; solid 373,729, 1299, 1873; wheel 75, 121, 134, 136, 340, 615, 678. See also Index III, Garment decoration Rosettes, frieze of 5, 30, 31, 51, 552, 575, 582(?), 673; above panel 6, 614; on handle 147, 160; on neck 3, 143; on rims 23, 24, 249, 32, 327, 54, 459, 605607, 1397, 1399; on side of mouth 6, 34, 117, 138; on top side of mouth 327 S-shaped filling ornament730 St. Andrew's cross 587, 670 Scale pattern 69, 1849 Shapes not found in the black figure from the Agora 2 SKYPHOI 58-61, 623, 77, 84, 91, 94, 95, 96, Corinthian type of 62, 623, 79, 89137,92; Hermogenian 71, 91; Heron Class 94 SKYPHOS-KRATERS 22-23, 75, 7521;lid of 74 SOS pattern 608 Spiral 1237,224, 60, 402, 406, 520, 1657; hanging 40, 76, 1, 117, 133, 134, 136, 138, 399, 400, 401, 675, 678, 701, 1451, 1909, 1910; upright 405 Stamnos 93 STANDS 28, 29-32, 77, 78, 82, 86; conical 22, 75, 76, 79; cylindrical 93, 94; pierced 28, 73; Sosian 72. See also Dinoi Star pattern 10, 11 Star 1341 Step pattern 337, 87, 133, 404, 405(?), 406, 408, 519 Stroke: short 164, 746, 1275, 1277; transverse1305; vertical160-162, 403, 1276, 1281, 1298, 1329, 1330, 1442, 1443, 1445, 1627 Support. See Stands Swastika 133, 526

69-70 THYMIATERIA

Tongue pattern 279, 33, 3310, 46, 47, 54, 56, 574, 58, 593, 60, 61, 637, 65, 70, 728, 93, 598, 1257, 1428, 1446, 1447, 1939(?); abovefoot 586, 60'4, 61, 1483, 1484, 1486, 1498, 1500, 1578, 1583, 1587, 1588, 1590, 1591, 1594, 1606, 1608, 1628; above panel 63, 66; below figures 597, 1852; below rim 279, 58, 1324, 1326; on cul 27; on lid 1264, 1291, 1293, 294, 1346, 1380; on lip 65, 1746; on rim 279, 337, 54, 1410; around tondo 1408, 1662, 1669, 1806; to distinguish obverse from reverse
2520

Torus molding 527. See also Foot; Mouth

VOLUTE-KRATERS 25-26, 65, 79, 7954, 93

Wavy line 10, 20, 31, 37, 377, 383, 389, 577,635,746, 1935. See also Index III, Garment decoration Whirligig 34, 51(?), 1297(?) White on black glaze 19-20, 31

Z's, Frieze of 2410. See also Border of esses Zigzag 20, 2417, 483, 52, 117, 128, 129, 133, 136, 164, 399, 409, 519, 596, 603, 678, 1257, 1301, 1303; with tongues

371

INDEX V: COLLECTIONS AND PROVENANCES

* = Attic red figure ** = Non-Attic

Museum AIGINA, amphora 565 column-krater 1175a pyxis

ATHENS, Agora Museum from the North

hydria
3714, 84, 84101,

55, 74, 1, 342,

698, 708 2411

4411
ADOLPHSECK, Prince Philipp of Hesse

amphora 2

632

Greco-Roman Museum ALEXANDRIA,

Panathenaic 18239 Museum hydria 222 neck-amphora 212 216

273

Slope of the Akropolis beakerlikevessel 4411 R. 294 calyx-krater A-P 1044 262, 87118 various kraters, 187 A-P 296 lebes gamikos 2910 A-P 15 2910 A-P 74 2910 A-P 104 2910 A-P 398 2910 A-P 680 2910 K 4-5 plate A-P 428 skyphos A-P 1786 skyphos-krater A-P 1734 1397 1353
239, 75, 7520,

85, 435 lebes gamikos inv. no. 79 lekanis inv. no. 39 inv. no.41 lekythos louterion inv. no. 1295 loutrophoros inv. no. 1680 inv. no. 1682 inv. no. 2865 oinochoe inv. no. 39 inv. no. 40 inv. no. 41 inv. no. 42
oon 2913

513 513
449
337,8

1910,2011 1910,20"
194, 6 87118

ALTENBURG, Staatliches Lindenau-

(636 361 1 B6,191

76, 121,140, 349, 777

ATHENS,Akropolis Museum from the

535 394, 4010,535, 536 536, 1356 536

ATHENS, Agora Museum amphora 734 P 22299 chalice 572 P2745 c 572 P5210 c 572 P6582 cup P 17837 (623 column-krater P 7006 egg-shaped krater 2 P 4948 29, 520 fragment 734 P 13279 mastos
P 1217 P 6463 P 12582 28 58 58

South Slope of the Akropolis chalice 1957-NAK 1580 571 column-krater 1957-NAK 1192 476 1957-NAK 1217 476 476 1960-NAK 315 thymiaterion 691
ATHENS, Benaki Museum

oo~- ~ 1259 Panathenaicamphora PA 157 274

PA 443 14, 1514, 100,

226 phormiskos inv. no. 691 plate inv. no. 74 inv. no. 1637 pyxis inv. no. 44 skyphos inv. no. 66 skyphos-krater inv. no. 101 inv. no. 129 inv. no. 153 inv. no. 154 inv. no. 801 inv. no. 1365
ATHENS,

1259
7733, 726

545
506, 145

loutrophoros
7676
ATHENS, Ephoria F

198, 1910 1935

158 137, 405 224 224 342, 698 224 344,401, 520 528

amphora
1144 614
ATHENS, Kanellopoulos Collection

lekythos 1184 cup

P 24556
P25277

28
28 7733

neck-amphora
P 22551

-~-

1781

P 25336 405 Panathenaic amphora

P 10353 P 10361 1411 1411
5622 5622 3220

[useum ATHENS, KerameikosM amphora inv. no. 48 93170 inv. no. 658 55, 7411, 75,
7516, 1, 697, 701

National Museum alabastron 12768 487 amphora

221 510, 717, 589

plate P 17678 P 17970 stand P 6575

cup 51, 1809, 1888 fragment inv. no. 109 419

87118

1003 16402 bottle **C.C 620

77 14
33

1183

372 calyx-krater
87118 15918

INDEXES
323, 337, 7953, 8056, 118

chalice 995 column-krater 441 1001 12587 16388

15920
571, 587 2413 2411 248, 9,11 15929 15933 15934 16385 16386 16387 19168

337
324, 3310 324,3310 309, 324, 3310 337, 3312
337,8

16399 16400 stand 501 961

223, 238 224, 118 3115

3220

ATHENS,National Museum, Akropolis

23 2411
2517

337,8
337,8

Collection amphora
821

87118

loutrophoros
199

cup 529 531 534 1044 19161 dinos 15499

1684 593, 1806

6310
87118

neck-amphora
353
838, 181, 7732, 341

bowllike vessel 1241 calyx-krater 615 column-krater 631 c

648 649 650 cup

682 263
87118

1746
917, 323, 332, 334, 7953, 8056 8065

673 991 1002

1036 16380

179 810,140, 421 3, 410

810, 913, 145 610

228
87118 87118
87118

epinetron 2184 2185 hydria 313 kothon 12688 19172 kraters,various lekanis 296 997 988 999 16353 16354 16355 16356 16357 16358 16359 16361 16362 16366 lekythos 371 404 413 415 430 574 595 1056 1130 2184 12274 louterion 2341 15442

16389 16391
16392 16393

693
693

610,342, 698 610,342, 698

610 610, 7734 215 4010, 7742

1632c
1746

1877
89137

1747
1748 1749

89137
89137
89137

oinochoe 355 146

49, 494, 5 1045 16285

dinos
587 334, 7953, 80.

19175
19176

752
4012, 76

1369 529, 26 513 513 513 534 534 399, 534 534 534 399, 534 534 399 349 15, 399
449 4410 449 449

766 Panathenaicamphora
2468 - (2) -(5)
1413

8056,8063,419, 1453 590 607

332

1627, 1729 1626, 286

346, 83, 8390,91, 8393,8495,50, 51, 1877

344 344

plate
19758 545 728 728 728 715, 715, 715, 715, 87118 87118 87118 87118

dinoid vessel
585 a 585 b

plaque
2410 2412 2413 2414 2415 2416 2417

epinetron 2599 fragments 491 503

597

575 1369 528

8168

skyphos 640 19044 skyphos-krater 907 16382

593 595 227, 535 224, 285, 306,

7411, 75, 7521,

674 758 759

802 a

187 1369 421

50

802 b 853
1408 a

435
87118 89137

192 835 1495

449 94176 16383

1, 2, 343, 344, 400, 528, 530, 725

224 5, 285, 306, 7411, 75, 7516 7521, 14, 343,

kothon 506 49, 496 kraters,various, and stands 391 262, 520
474 285, 76, 7625,

1850 835
16384

528, 697, 725

224, 285, 30, 307, 74, 7411, 75, 7521, 7, 343,

625
647

123, 341,421, 1369 264

87118

604
323, 337, 7953
8056

344, 346, 527

674 lekanis -(three)

187 515

INDEX V: COLLECTIONS AND PROVENANCES

lid 471 1296 1297
2112 2116
ATHENS, once

373

1366 89137 89137

5315 5315 199
87118 87118

private loutrophoros 197

BEAULIEU-SUR-MER, Villa Grecque

"Kerylos" Panathenaicamphora 226

BERKELEY, University of California

AVALLON, Musee

Municipal
7739

loutrophoros m~- ~ neck-amphora

789 790

amphora 50 80

145

BALTIMORE, Walters Art Gallery

amphora 8/60 cup 8/1

BERLIN,

76
81, 8172, 1806

921
926

1413
87118

Panathenaic amphora 917 228 921 1413 927 239

1086 1411

plaque 2546 plate 515

1074 2401 2402

435 1369
5621 546 4411

amphora 48.13 96 cup 48.36 638 oinochoe 42.2 687 Panathenaicamphora 257 ~257 ~plate 48.215 54, 544, 549, 75,
7523, 76, 11,

123, 140, 341, 342, 532, 708, 709, 1369

Museo Arqueologico BARCELONA,

2414 2421

89137 1392

~~pyxis
510

1397 50, 506

lekythos
52 449 BASEL,Antikenmuseum und Sammlung

2187 skyphos 603

1409

172 1453
89137

Ludwig amphora
88125

1410
1411

89137
89137 89137

column-krater 3410,476, 1353 cup B.S. 405 neck-amphora plate 421

BASEL, Bloch

skyphos-krater 496 497 498 stand

584

1692 632 91

227 227 227

308

ATHENS, from the Olympieion

fragments
_ATHENS, from the Pnyx

neck-amphora
8385, 6
BASEL, Cahn

fragment P 492
ATHENS,Goulandris

261

volute-krater HA 1418
BASELMARKET

Staatliche Museen amphora 1685 8392,172 1686 88, 88127 1693 89133 1697 88, 88127 1698 42 1699 42, 87, 87116 1961.7 55, 145 inv.no.3210 1753 inv. no. 4823 42, 36 calyx-krater *2180 2710 column-krater inv. no. 3763 2417 7952 3987 cup 1800 6523,1704 1958.7 1798 *2264 1912 *inv. no. 3232 1495 *inv. no. 3251 214 inv. no. 4281 6310 hydria 1656 620 inv. no. 3281 659 krater, fragment inv. no. 31 333 7732 lekythos inv. no. 3260 821 inv.no.3261 821 inv. no. 3764 10,145, 707 *1960.32 214 louterion 1682 337, 73, 737, 341, 408 1722 325, 3378, 8606 loutrophoros
1888
1910

263

lekythos
94176

amphora 88 cups 94 1687 1785 hydria

2912, 309, 88130

*3209 neck-amphora 1718

1720

1935 197
1236 37, 262, 197
8392,
93,

oinochoe
1732 52, 435

ATHENS,

Vlasto Collection chalice

-~~-

571, 7844

Panathenaicamphora 1832 337

3980
1621

lebes gamikos plaque _~-

~~~- ~

620 lekythos 864

7954, 1888

3983 phiale *S.M.2310

725 1428

374 plate 2099 plaque 1811-1826 stand *2315

BERLIN, University

INDEXES 00.331 60.1

cup 715, 728, 87118 3218 89, 89130, 134

1425

1881

hydria
86113

oinochoe
76, 7628, 10
BERNE, Jucker

lid 369
BEVERLY HILLS, Prinzmetal

neck-amphora 192
BEVERLY HILLS,Summa Galleries

amphora 63 BLOOMINGTON (Indiana), Indiana University Art Museum neck-amphora 7735 74.10.1 psykter 2110 75.102.1
BOLOGNA, Museo Civico

amphora 41292 column-krater 50 52 cup PU 270 lekythos

PU 204

101 711

03.784 5210, 6628 60.1172 1798 column-krater 68.777 3410 dinos 34.212 31 90.154 3514 hydria 01.8060 101 28.46 640 67.1006 36, 3611 76.34 620 lekythos 93.102 821 neck-amphora 89.273 1237 98.916 1803 98.923 750 4411 01.8026 01.8027 4411, 88125 915 01.8052 01.8059 1129, 1131 21.21 166 22.404 361 oinochoe 10.210 42, 750 1973.9 4012 Panathenaicamphora 01.8127 134 psykter-neck-amphora
00.331 89, 89134, 53

kothon A3 493, 34 neck-amphora A 2951 361 911 R219 R388 1353 oinochoe R 256 686 Panathenaicamphora A 1703 277 psykter
A 1652
218,
10, 11

2212 13

pyxis A 2072

1426

BUCHAREST, Institute of Archaeology

cup

1353
BUDAPEST, Hungarian Museum of

Fine Arts amphora

9132 42

oinochoe 51.95 oinochoe G 600 dinos N 128 fragments

-(2)

683

BUFFALO, Albright Art Gallery 76, 7628

CAMBRIDGE, Fitzwilliam Museum

334, 606
536

476 505 1160

449

skyphos 97.366 tripod-kothon 98.915

26, 791 421

Panathenaicamphora 11 268 12 337 BONN, University, Akademisches Kunstmuseum amphoriskos inv. 597 7518 neck-amphora inv. no. 39 656 pelike 214,5 inv. no. 574
BONN,Himmelmann

Muse Communal BOULOGNE, hydria 406 357 Panathenaicamphora 441 1 100

Museum BRAURON,

hydria 56 lekythos 5.1963 neck-amphora 44

101 822 166

Harvard

CAMBRIDGE (Massachusetts),

University, Fogg Art Museum column-krater 1925.30.125 2417,2518,19,

8494

plate 237 pyxis

1 1392
87118

Panathenaicamphora 60.309 337

CANBERRA, University House

BROOKLYN, Brooklyn Museum

hydria 659 Museum of Fine Arts BOSTON, amphora 63 80.605

89.256 89.257 98.918 94174
42, 88130, 89132 88, 88129

neck-amphora 62.147.2
L.68.155.1

skyphos 1353
(Once) CANINO,Prince Lucien

505
1130

BRUNSWICK, Herzog Anton Ulrich

Museum amphora
241 86113 Musees Royaux BRUSSELS,

Bonaparte oinochoe 4411

ASHBY (Once) CASTLE

mastoid
571

98.919 00.330

187 632

dinos R 222

34, 347, 8, 3514,

neck-amphora 1353

612

INDEX V: COLLECTIONS AND PROVENANCES

once Prince Ruspoli CERVETRI, DELPHI,Museum

375

neck-amphora

column-krater
34

~-

85
DETROIT, Institute of Arts

Musee CHATILLON-SUR-SEINE,

cup
1809

column-krater

63.17
Musee DIJON, cup 1299
DRESDEN, Albertinum

476

89, 913, 147 1353 Panathenaicamphor a 1411 14" pelike *8 B 17 214 plate

Museum of Art CLEVELAND, lekythos 29.135 loutrophoros 192 1910,387

V 102 9674

546, 430 546

638

volute-krater 4209

27.145

COLOGNE, University

hydria 1757

263, 8065,8171, 31, 47, 118,

659
3718

cup P5
COPENHAGEN,

637 National Museum

ZV 1779 ZV 1780
lekanis

1471,1810, 1874
FRANKFORT,

3718 513, 7847

amphora 13796 748, 10, 145 inv.no.7068 87118 cup inv. no. 5179 82, 8277 dinos inv. no. 4219 3410, 1353 hydria 13536 353, 620 lekanis inv. no. 7327 513 lekythos inv. no. 14067 4410 neck-amphora 13110 491 1130 3672 oinochoe 8076 394 V20 683 Panathenaicamphora 99 325, 326 volute-krater inv. no. Chr. VIII 3410 754
CORFU,Museum

ZV 1464
DUBLIN,

National Museum of Ireland neck-amphora 1921.97 1236, 37

Museum fur Vor- und Fruhgeschichte mastoid VF 313 571 571 VF,8315 neck-amphora VF 326 361

Museum ELEUSIS, amphora Z21 hydria 266 loutrophoros 765 766 neck-amphora 767

Museo Civico GELA, neck-amphora

55, 74, 7414, 8

-~-~

223

435

620, 621
198

Cav. Cesare Navarra-Salonia GELA, lekythos

125/B 94176
GENEVA, Musee d'Art et d'Histoire

83
89, 914 3714

neck-amphora MF153 Ortiz GENEVA, hydria GENEVAMARKET

1024,25

659

Panathenaicamphora - (3) 278 287 stand 1244 3116,

3220

skyphos 17

1615

GOTTINGEN, University hydria

3714, 84, 8499,

thymiaterion -(2) 325, 327,

3311, 12,606

70

50 GOLUCHOW (see Warsaw) GREENWICH (Connecticut),Bareiss hydria

3822, 23

louterion E 61.09
CORINTH, Museum

FLORENCE, Museo Archeologico Etrusco

amphora

1803
cup inv. no. 3897 *3930 *2 B 11 hydria 3790 3809 3858 inv. 94323 neck-amphora 3770 3871 70995 6415 1495
90140

cup CP-552
CYRENE,Museum

81, 8174, 1660

neck-amphora 1023 13 oinochoe

pyxis

1425 684

lid 416.17
DELOS,Museum

1385

191 720
3821, 3823

~- ~

1268

hydria 589 lekythos 598 oinochoe 591 phiale 640

635
1024 1130
920, 1023, 84,

621, 622 790

395, 347 574

GREIFSWALD, University

cup *316

214

8494,97 86113 ,

172,430
76359 83, 8383

THEHAGUE, Museum MeermannoWestreenianum cup 1746

376
HALLE,University

INDEXES dinos 334, 606

Pelizaeus HILDESHEIM,

Panathenaicamphora inv. no. 560 1413,228 Museum fir Kunst HAMBURG, und Gewerbe cup 1908.255 1962.171 hydria 1917.476 1917.987 neck-amphora 1917.473 1927.143 oinochoe 1960.6 amphora
1965.13
7739, 12

Kassel, Hessisches Landesmuseum amphora

T. 384 42

fragment 11 Panathenaicamphora 1253 1731

Hearst HILLSBOROUGH,

638,9

6843, 1796 101, 513

3821,23

T. 669 hydria T. 683 cup inv. no. A 37 T. 663

Museum KAVALA,

140, 532
3820 65, 6524

6310,1678

cup 637
HONOLULU, Academyof Arts cup

361 575 140, 532, 1370

amphora 983 a cup

KIEL,Schauenburg

88125 6526

3591 lebes gamikos 34.129

638

Museum of Fine Arts HOUSTON, 286, 86, 86111,

calyx-krater

Kestner Museum HANOVER,

~~-

2710

510
de Menil Collection HOUSTON,

hydria 1965.30 lid 752 mastoid 759 neck-amphora 1961.23

KING'S POINT (New York), Schimmel cup

88125

353, 636 371 571 1353

psykter 20, 217'9'10

INNSBRUCK, University

psykter 1900
LAON,Mus& lekythoi

hydria II 12 (6)

659

HANOVER (New Hampshire),

ISTANBUL, Archaeological Museum lekythos inv. no. 7314 7518

37890 37891 37.894

neck-amphora

835 835 433

1021, 166

Dartmouth College Panathanaicamphora

~~Kent HARROGATE,

249

lid A15.1176a-cand 1113 fragment

37.1017 1385
LEIPZIG, University amphora

column-krater
451 HAVANA,once Conde Lagunillas

80, 8058 Panathenaicamphora

L.3149 ITALIAN ART MARKET 16, 1622

T 3299 fragment hydria T 49 psykter T 367

LENINGRAD, Museum

hydria
636 lekythos 1184

353, 101

hydria
3613

203, 219 of the Hermitage

484, 1615 88125 2710 409, 88130

Panathanaicamphora -~239
phiale

~~-

1428

IZMIR, Archaeological Museum lebes gamikos 284, 30, 7954, 8057

alabastron 381

amphora
inv. no. 161

lekanis 1303 JENA,University amphora

614, 79

HEIDELBERG, University

calyx-krater
*inv. no. 1843

cup 285 iv. 29 a dinos 63/20 hydria 72/1 skyphos 279 volute-krater S39
Museum HERAKLEION,

6843
8276

column-krater
1524 (St. 55)

430 neck-amphora inv. no. 2417 284

Panathenaic amphora

3514 353

psykter
2111
KARLSRUHE, Badisches Landesmuseum

166 181 259, 264 1160

214 3410

alabastron 242 90145 lekythos B 306 822 Panathenaicamphora

65.45 14", 15, 1514, 1516, 279, 322

inv. no. 17553 skyphos 116 epinetron I 1955/1

LEYDEN,Rijksmuseum van Oudheden

cup 217

84, 84100

693

INDEX V: COLLECTIONS AND PROVENANCES

hydria PC 63 90, 90141 lid 370 PC 40 PC 76 370 PC 85 370 Panathenaic amphora PC 8 228 Musee LILLE, kothon 763 epinetron B 598 plate B589 B 590 B591 psykter B 299 psykter-amphora B 148 pyxis B 593 skyphos 1902.12-18.3 volute-krater B 364

377

1848

494, 8168 71,

1458 Public Museums LIVERPOOL, neck-amphora 56.19.27 1130,32 Panathenaicamphora 56.19.23 134 British Museum LONDON, alabastron A 1351 78 1900.6-11.1 484, 1615 amphora B166 76 B 170 94174, 192 B 182 116 *B 193 94176 B 194 42, 48,632 B 197 43, 88126 B 205 42 *E 254 369 1874.4-10.1 55, 74, 7414,2, 406 column-krater B 101 248, 13,450 88.6-5.599 24'4 1928.1-17.39 2411 1948.10-15.1 2417,84, 8498, 51,172, 430, 440, 790 cup B 379 626, 6525 B 380 626, 639, 6525 B 382 81, 8173 74 1662 B458 6845 B 601.41 1684 90.7-31.30 6526 1906.12-15.3 637 1947.7-14.16 1678 *E 36 1160 dinos B 100 334 B 601.26 334 B 103.14.2 344, 11 B 103.16 165 1971.11-1.1 344, 3514,79,
7953, 8056, 63,

hydria B 76 353, 369 B 303 101 B 307 353 B 324 1183 B 329 645 B332 357 lebes gamikos B 298 28, 2912 lebes gamikos or the like 284 B601.13 lekythos B 30 1905.7-11.1 43
4327

1425 1425 1425 2212

4411, 8392

1268 1499 491

neck-amphora B 167 1130, 3113,315 B 206 1129 B 207 1129, 31 B 208 1129, 31 191 B 209 1236, 37, 886 B 210 1236, 37, 262 B211 84 B244 90 B 271 505 B 273 197 B 274 197 B 277 362 B 294 223 1922.6-15.1 551 1926.6-28.7 505 90146 1980.11-29.1 oinochoe B 32 4012 B33 777 B471 441, 680 88.6-1.566 395 Panathenaicamphora
B 130 1128, 14,
141, 12, 1514,

Mrs. Leonard Russell LONDON, lekythos 76, 7625,139, ~~- ~ 1369 LONDON MARKET, Sotheby amphora 63 76 calyx-krater 2710 column-krater 465 476 -(2) neck-amphora 575 Los ANGELES, Mrs. Aaron Dechter lekythos 835
LUCERNE MARKET

fragment 399
LYONS,Musee

amphora 34
MADRID,Museo Arqueologico

B 134 B 135 B 144 B 603 B 604 B 605 B 606 B 607 B610 B 611 B612 1903.2-17.1 phiale B 368 B 678

228 138, 1413,228 134 134, 1413,1733 365 275, 277 1625 97217, 274, 277 173, 259 259 290-292, 312 312 295 277 261
574 574

dinos 10902 neck-amphora 10929

11008

332, 614 1022

90146

Panathenaicamphora 10901 134

MADRID, Gomez-Moreno

amphora

~cup 89
MALIBU,

513

MAINZ, University 81, 8174, 1660

J. Paul Getty Museum amphora 81.AE.114.30 55 79.AE.197 4411

cup

47,419

378 lekythos 76.AE.48

MARSEILLES,

INDEXES
1438 4411 1129
NEW JERSEY,private

1445
1447 1448 1449

176
1024, 25 1024, 178, 179 1024, 179

loutrophoros 194
NEW YORK,Cristos Bastis

Musee Borely 1806

cup 3000
MILAN, Bernareggi

cup
6846 MILAN, MARKET

Panathenaicamphora
1517
MONTCLAIR (New Jersey), Mrs. John

Dusenbery hydria 1267 lekythos

88124
MONTREAL,

Museum of Fine Arts 81, 8174, 1660 3824, 653

cup 59.Cb.2 hydria 39.Cb.1

1237 1470 197 1481 1496 116 116 1537 197 1555 89133 1559 193 1557 193 1560 193 1562 1803 1567 1575 193 1587 223 191 S.L. 458 oinochoe inv. no. 8757 12, 532 Panathenaicamphora 1413 1451 1454 239,324 100 1461
inv. no. 8746 249

amphora 6
NEW YORK,David Rockefeller

amphora
89131 NEW YORK,Metropolitan Museum of

Art: aryballos 62.11.11 amphora 06.1021.67 06.1021.68 12.198.4 41.85 41.162.103 41.162.184 51.11.3 56.171.8 56.171.12 58.32 L.66.31 column-krater 07.286.76 24.97.95 31.11.11 cup X.248.16 01.8.6 12.234.2 12.234.3 20.250 25.78.6 44.11.1 epinetron 10.210.13 hydria 74.51.1331 06.1021.48 06.1021.50 45.11.2 L. 69.11.12 krateror dinos 1977.193 lebes gamikos 57.12.8 lekythos 06.1021.62 41.162.29 56.11.1 loutrophoros 27.288 neck-amphora X.21.26

483, 87, 87123

88125

101, 187 502

42 42

168
89131

42

30
87117, 30, 632,

Moscow, Pushkin Museum volute-krater 263 ~~- ~

MUNICH,Museum antiker Kleinkunst

psykter SL 461
MUNICH,once Loeb

2213

1881 1928 63
2521, 3410, 476

(now Staatliche Antikensammlungen) alabastron 484 2294 amphora

1360 610, 748, 10

column-krater
2521

476
2518, 19 83,

MUNICH,private

oinochoe 394
Museum MYKONOS,

8393, 8495, 476

6526 8168

1365 1370
1375 1380

63 63
88126 8716,

632

hydria 986 amphora 2503 2770 cup Stg. 268 2454 lid

659

1391 1393 1395 1402 1403 1406 1407 1416 *2305 cup 2044
2121

86 63 89133 82 30 569 362 328, 505 369 262, 66, 6634

638

NAPLES, Museo Nazionale

89 133 83, 8393,85, 85 107, 50, 435 1678 16' 78 53 5, 81, 8176

637 637 1781 6632 1809 1848

3613

369, 3612,

13,

1183
353 353, 3612, 34
3822, 23

2170 inv. no. 7739 hydria 1681 1720 1722 1730 kothon
6072

1687 82, 8277 83, 8393,51, 172, 430, 1475 101,187 353 659
492 1129, 183

neck-amphora inv. no. 81103 1129,1131 181 inv. no. 86362 Panathenaicamphora 254 RC 184 1413 112848 134
NAPLES,Astarita

7850, 80, 8058 288, 2911, 319, 1

fragment 143
Musee NARBONNE,

172

822 1495 970

1910, 1935

neck-amphora
1437

neck-amphora
82, 1237

86, 87

INDEX V: COLLECTIONS 06.1021.29 1026 84 11.210.1 17.230.8 53, 79 17.230.14 1237, 3718, 370 505 41.162.179 41.162.193 362 1130, 32 53.11.1 56.171.9 76 56.171.16 1024,179, 551 56.171.19 361 59.64 430 oinochoe 1945 06.1021.79 46.11.7 1928 59.11.17 680 1978.11.22 4223 Panathenaic amphora 07.286.79 324, 329 07.286.80 324 14.130.12 14, 149 16.71 329 56.171.3 249 56.171.4 324 56.171.5 329 277 56.171.6 1978.11.13 14, 1412, 13
1514, 228

AND PROVENANCES 87
97207
88126 PARIS, Musee du Louvre

379

70 72 73 Civico

amphora
C 10620 614, 7739, 12,

63
ORVIETO, Museo

lekythos
296 449
OXFORD, Ashmolean Museum

C 10630 C 10635 C 10627 CA 823 CA 3327 E816

E817

140, 145 176 36 33 7518, 140 614,532, 777 6

5,7625,4,6,

plaque 14.146.3 a, b skyphos L. 1982.27.7 stand 31.11.4 volute-krater 1977.11.2 amphora hydria

714 1615 3219

262, 7850, 7954

NEW YORKMARKET,Parke-Bernet

~ ~

63

NEW YORKMARKET,Sotheby's

~-

659

Cyprus Museum NIKOSIA,

amphora 1934.iv-4.4
C 440

amphora 1911.256 470 1965.118 187, 514 column-krater 2414 G 128.18 G 131.32 1453 G 131.31 1453 510 G 190 cup *1911.617 1495 1939.118 1657 1965.120 637 1966.768 8392, 90, 90139 hydria 1932.732 620 lekythos 449 1934.353 loutrophoros 2011 1930.619 neck-amphora G 128.2 6,63 2414 G 128.18 916 G 128.20 9, 11 1920.107 oinochoe 680 1929.19 Panathenaicamphora 141 G 141.45 plate *310 1425 skyphos 1939.118 6019 stand w~~ 3220
Museo Nazionale PALERMO,

E818 E 824 F 29 F36 F 53 *G 1 *G 45 *G 46

-

139, 140, 145, 531 6 36 83, 8391,8494 118, 119 172

42, 85105

886 369 369 34 277

277,10

calyx-krater C 11292
C11298

CA 5950 F315 F316 *G 163 chalice CA 2988 column-krater C 11249

C 11250

2710 2712 277 276

2713 571, 586,7, 1353 249, 2411, 2413,

422 C 11252
C 11253 248,2413 2416 2520

C 11256
C 11257

2520
2520, 437

43
8392, 90139

bowl
682

10, 145, 707 Oberlin OBERLIN, College Art Museum lekythos 449 41.44
ODESSA,Museum

cup C 975 lekythos 1958.iv-223

94

cup *V661

C 11266 C 11270 C 11277 C 11278 C 11285 C 11286 C 11288

C 12251

476,487 3410 476,487 187 482 476 476

249
10,13

1495

PARIS,Bibliotheque Nationale, Cabinet

C 12252 CA 1750
E 623

2416 2411
249,11, 13

alabastron
*__ 90145

cup
*90140

ORVIETO, Faina Collection

amphora 52

8931

des Medailles hydriai 253 3613 257 736 _~84, 8499, 50 neck-amphora 222 441, 1753 Panathenaicamphora 293, 302 phiale 574 334

**E 635
E677

2412,422
2520

E 678 E 679 cup A 478 CA 1778 CA 1812 CA 2918 F 65

449 449 82, 8278 91153 1499 1687 1660

380 F 120 F 123 F 131 bis F 145 dinos C 11243 E 720 E 738 E 873 E 874 1749
89137 5210, 6628

INDEXES Panathenaicamphora MN 704 2!93, 295 MN 705 2:93 3)12 MN 706 MNB 3223 2;93 psykter 2;03,2212 C 12296 2;03 F319 2;03 F320 203, 2213 F321 pyxis 831,8168, 71, 75 CA616 skyphos 9 6'193 El. 1 593,6 599, MNC 676 volute-krater 4L91 F198
PARIS,Petit Palais
PROVIDENCE, Rhode Island School

6523, 1704
345 7
3514

of Design lekythos 22.216 amphora

4001 Museum RHODES,

821

REGGIO (Calabria), Museo Nazionale 57

347

334, 421, 606, 778

333, 3514, 75,

amphora 14093
cup

43,639 1798
7952, 8059
1129,31

E875 E876 hydria C 10651 C 10660 C 10693 C 10661 C 12532 E735 E 804 E 869 F7 F8 F 38 F39 F52 lekythos CA 99 CA 156 CA 178 CA 823 *CA 1802 G37 MNB 910 lid F317 F318 loutrophoros *CA 453 mastoid F70 neck-amphora C 10521 C 10634 E814 E 822 E 868 F 114 F 239 F241 F 240 oinochoe A474 F28 F 30

7518,7732,40, 12, 123, 341, 532, 707 1803 613

88126

639
3821

646 659
3714

lebes gamikos 309

PARIS,Musee Rodin

12307 lekanis 5008 neck-amphora 12174 oinochoe 13489 of Art

cup

687

2!82, 2913, 319

RICHMOND (Virginia), Virginia Museum

51,172, 430, 1475 3613 720 1267

3714, 91152

lekythos 237
PARIS, Darthes

4[49

62.1.15 neck-amphora 62.1.10

RIEHEN,Kuhn

1701
612, 912, 10, 1024

neck-amphora
PARIS,Jameson

1353

lekythos
84, 84102, 790

3714 644 821 1850 791 7518, 10, 777 1928 791 1850 369 369 1935
572 921

lekythos -

1615 ~~~-

(Once) RIEHEN, Gsell-Busse

PARIS,de Larosiere

amphora 63 48
RIMMINI, Museo Civico

amphora -_
PARISMARKET

hydria
2521

-~-

191

column-krater
PHILADELPHIA, The

ROME,Fondazione Lerici

hydria University Museum 1912

90146

8385
ROME, Museo del Palazzo dei Conservatori(Musei Capittolini) amphora

amphora 3442
*5399

oinochoe 2493
PRAGUE,

101

6 (72)

89131 249,11,13,15

column-krater
212

920,628 911
748
920, 84, 8498, 99

National Museum lekythos 192 1867 22.88 509

pyxis PRINCETON (New Jersey), Art Museum

418,422 ROME, Museo Nazionale di Villa Giulia amphora M.468 36

8392, 90139

628 1175 362 640 362 149 680 4411, 172, 680

of PrincetonUniversity amphora 86 166 hydria

170

bowl
682

3820, 23 1129,31

column-krater 50763 M. 447 cup 16336 63613

476 476
2521

neck-amphora
169

pyxis 48.54

81, 8172

505

1753

INDEX V: COLLECTIONS AND PROVENANCES

dinos 50599 hydria 22308 M. 430 kyathos lekythos
4410 Museum SALONICA, 3512 369' 13 Museo Nazionale SYRACUSE, 84, 8498 2517

381

column-krater inv. no. 825

Museum SAMOS,

790 8390

calyx-krater lekythos 2358

277 1945

amphora 43, 1753

88125 cup

TAMPA (Florida), Tampa Museum hydria

__~-

3822

neck-amphora M. 488 5195 oinochoe 861 psykter 50674 73655

97207

361 686 203 2212

1184 hydria
Museum SAMOTHRACE,

1453 35

TARANTO
cup

column-krater 459
SAN FRANCISCO, de Young Museum

52130 I.G.4412 I.G. 4434 I.G. 4435 neck-amphora 52.148

85, 85109,790 790 1813 1813 1814 34 7847

Museo Vaticano ROME, amphora 311 63 344 42, 7, 84 76 346 460 350 G36 88130 G37 89131 cup 244 6846, 1785 317 1810 335 8168 369 a 4411 dinos 306 29, 332, 3514, 523, 551 hydriai 416 736 417 357 428 3821
429
3821

amphora 243.24874

369

SARAJEVO, City Museum oinochoe 656 686 SCARBOROUGH-ON-HUDSON (New York), Vanderlip column-krater
_-_

oinochoe onco76, 7628,10 Panathenaicamphora inv. no. 9887 324

TARQUINIA,

~ ~ ~

2521

SMYRNA Museum lekanis __~-

7847

National Museum SOFIA, lekythos 449 6285

STETTIN, Museum

Museo Civico amphora RC 3984 63 RC 6847 514 RC7170 48 RC 8262 86, 87 inv. 617 632 cup 1796 RC 1637 neck-amphora RC 1061 1129 RC 5564 166

cup 1678
National Museum STOCKHOLM,

THEBES,

from Rhitsona oinochoe 687 skyphos 49.265 60, 1476

430 431 lekythos 448 neck-amphora

356

3821 3823 92
1130

amphora
inv. no. 2228
93170 STUTTGART MARKET,Kricheldorf

THERA, from Sellada

neck-amphora 179
SWITZERLAND, private

cup
6310

362 1353 Panathenaic amphora 374 239 375 249,337

ROUEN,Musee Departemental des

amphora -_~_ hydria neck-amphora

Museum TOCRA, amphora

711 3612, 34

63 cup 637

Antiquites amphora 447 lid 2059

470 369

1130 Panathenaicamphora 141, 1413 plate

546
SYDNEY, Nicholson Museum hydria 46.04 3820

SALERNO, Museo Nazionale

cup

-~~-

1798

TOLEDO (Ohio), Art Museum amphora 1961.23 645 calyx-krater 63.26 2712 hydria 1956.70 636 lekythos 29.49 835

382 neck-amphora 58.69 A stand 58.69 B stand 919.5.140 cup

1130
3111,13,15

INDEXES
WURZBURG,

University,

Martin von

*137

214 3613 2213

TORONTO, Royal Ontario Museum

hydria 3613 psykter IV 3069

31,31'14 15
WARSAW, National Mu Iseum

Musee St. Raymond TOULOUSE, cup 347 1806

TOBINGEN, University

Wagner-Museum amphora 192 244 261 266 267

265

87 48 96
94174

86, 87
88125

column-krater inv. no. 198560 cup 198521 epinetron 142454, ex Goluchow 225 neck-amphora 138537 oinochoe 14249

1353 422
6310

amphora S./10 1298 S./706 dinos S./10 1508 neck-amphora S./715 oinochoe 5445/28 volute-krater 6211
TURIN,

36 63 3410
1023, 166

69, 695

*507 cup 451 *468 dinos 453 hydria

324

369 1806 90140 612

3821

81o 394

4010, 708 391

WASHINGTON, Corcoran Gallery

Museo di Antichita 6844

amphora 26.664
WORCESTER

63
(Massachusetts),

cup 5776 (4112)

VIENNA,

Art

kyathos 436 lekanis 442 lid 297 oinochoe 332 phiale 429
ZURICH,

1615
515

369
4411, 680 574

KunsthistorischesMuseum amphora 3596 632 3598 470, 513

Museum amphora 1956.83

187, 470, 51 4 12, 1238

University lid (ETH)7

370

INDEX VI: INSCRIBED NAMES

'A]Kaoros 610 Oeodpao-ro]s(?) 278

'Aptrr]dio'?,o(?) 290
546 'AproTo[vvYi4ov

610 'AraA[advrr 274 BdKXtos(?)

296 A,qFlotK[Aefsb7

O'pov 610 1425 Ka]X[X]La[s(?) KaAA,]Ir7?j7/ 286 KaAAh[evo9546

KLrro]v(?) 274

HrfaiaoS610 [v[ftI]a' 271 290 fnv]d08r[Aov(?) idAaa 1407 1686 TAto-r]wv

273 cPpa]orTK[AEtir?(?)

1473 Ep,uoyyvrl, 1407 Evt.aprsT

OEi[crroKA7^ 289

610 ME[Aeaypos 1425 Mt]A[r]ia[tbS?(?) 1752 NLKOor[Ovt77

553 4PpvvLwv
278 XaplKXA?1S11(?)

PLATES

ONE-PIECE AMPHORAE
-........ mam

PLATE 1

3 (P 18524 a), view 1

:~t~;';J~:

3 (P 18524 a), view 2

1 (P 6155 a)

4 (P 25417)

?2.

? ..'? . ......,

PLATE 2

ONE-PIECE AMPHORAE

7 (P 17393 b) 8 (P 22151)

10 (P 24944) 10, detail

ONE-PIECE AMPHORAE

PLATE 3

_, Ns^*^fi-iiil..

m a .r

. . .

'
.

. ,,VI !i

15 (P 25352) 14 (P 290), Side A

16 (P 26636)

17 (P 18528 a), Side A

.,
18 (P 13385), Side A

24 (P 2037)

PLATE 4

ONE-PIECE AMPHORAE

...

.r

. ?

27 (P 289)

29 (P 12496)

31 (P 5300 a)

31 (P 5300 b) 30 (P 3703)

32 (P 22840)

.0w

..04WA.,

"q N ."'

A.

ONE-PIECE AMPHORAE

34 (P 1250), Side A

34, Side B

6( , . r,e

36 (P 13387), Side A

41 (P 1229 a)

43 (P 22317)

PLATE 6

ONE-PIECE AMPHORAE

47 (P 26651)

47 (P 26632 a)

47 (P 26632 c) 47 (P 26632 b + d)

49 (P 16563)

48 (P 19129)

ONE-PIECE AMPHORAE

PLATE 7

51 (P 5895)

52 (P 12669)

54 (P 4671)

-i .

55 (P 17800) 53 (P 1684)

4
d

.-

.-

... -j'

57 (P 22177), Side A

PLATE 8

I
4k

.~~~~~~~~~~~~~~~~~~
. A

58 (P 26532)

59 (P 25577)

60 (P 13027), Side B

68 (P 4305) 63 (P 13844)

?I_ wr.

_ a;n

INI=,0Xr\).~M~-a7?S

El

ONE-PIECE AMPHORAE

PLATE 9

73 (P 22216)

72 (P 1237)

.\
74 (P 26530) 76 (P 19583 a)

79 (P 20870)

PLATE 10

ONE-PIECE AMPHORAE

80 (P 9730)

82 (P 7903)

83 (P 22179) 86 (P 23622)

84 (P 12230)

87 (P 2398 b + P 6078)

ONE-PIECE AMPHORAE

PLATE 11

90 (P 26650) 93 (P 20596)

~~~~~b ~95

(P 7227 a), Side B

95 (P 7223), Side A

95 (P 7227 b), Side B

. ]s

fc

-.j''L?

1.%

rrr

PLATE 12

ONE-PIECE AMPHORAE

97 (P 25961)

97 (P 23164)

99 (P 20566) 98 (P 23730)

ONE-PIECE AMPHORAE
.

PLATE 13

+~~~~~~~~~~~~~~~~~~~~ ?II'~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?Zi .. ? . .,'

rr~~~~~~~~~~~~~~~
":"

,,.~I

4" .

,?

d -?,4

'. .

.-

..%:. .t;~~~~~~~~~~~Piiq~~~~~~~~~~~~~~LrL? ? ~~~~~~~~~~~~~~I, ?

~~~~~~~,??
:.~ .. .

b~~~~~~~~~~~~~~;L~~~~~~~~~~? C~~~~~~~~~~.~~~~~~~?~~ ii; ~~~~~~~~~~~~~~~~L~~~~~~~L~~~~~~~

i~~~~~~~~~~~~~~~~~~~~t
' rl

~ 'I t~ ~

~ ~

~ ~

~?"

~~~~~1~~~?
,i

i:i:;

;.

' ,,.

~ .,
?~

?~,

. '-

~. _~ ~3' . ? . rir, tl ~~~?r;li~~~..1 r~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~: .-.~

f~ ;,~_ ~~~~~~~~~~~~~~-,,,.
'-' '~-

3i.

i_

.
.

~;:~" .. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-~ ,~~~ ;'~~~c`

i~

~~~~~~~' ~

~ ~y,

~ ' '5. ' i'~

i ~ ~ ~ f '~~~~~~~~~~~~~~~~~~~~~~*r
.i ~~~~~~~~~~~~~~~~~~~~~~'~~

r~~~~~~~~~~~~~~~~~~~~~~~~~~~

-,: .~.

~c ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~...., ..:

,.

':'?'~~~~*'

C-

~~~~~~~~~~~..:..?'' ?"a~
'~.r..

.r: . '

,;

,;

1"-

ONE-PIECE AMPHORAE

1,_

\ L:1* :1T~~~~?*

118 (P 13126)

ONE-PIECE AMPHORAE

PLATE 15

-7
119 (P 23158) 120 (P 3795) 121 (P 18633)

122 (P 365)

125 (P 24952 a, b)

125 (P 25370)

123 (P 1235)

124 (P 267) 127 (P 4596)

PLATE 16

NECK-AMPHORAE

132 (P 12208) 128 (P 6481), Side A

? ..

.r..

r?

..

t__ ._ 'i. . 't.F

..

133 (P 25392), Side A

133, Side B

NECK-AMPHORAE
i 7? ' - -

PLATE 17

138 (P 10651) 138 (P 10195)

138 (P 10653)

138 (P 26810)

.a

PLATE 18

NECK-AMPHORAE

141, Side A 141 (P 4727), top view

142 (P 22310), top view

143 (P 648), top view

145 (P 6065)

148 (P 143)

NECK-AMPHORAE

PLATE 19

149 (P 825)

150 (P 13864)

152 (P 21562)

151 (P 22884 a)

151 (P 22884 b)

153 (P 4824)

PLATE 20

NECK-AMPHORAE

160 (P 3434) 164 (P 1262)

165 (P 6628)

167 (P 25382)

166 (P 18612)

N`

NECK-AMPHORAE

PLATE 21

173 (P 21371)

170 (P 9358)

172 (P 25349)

174 (P 17781)

175 (P 3555) 176 (P 25315)

177 (P 13783)

' I. ..

..

178 (P 2397)

179 (P 25013 a+b)

PLATE 22

NECK-AMPHORAE

181, Side B

182 (P 19045 a+ P 19584 a)

182 (P 19045 b)

it

:N

187 (P 4749 a)

NECK-AMPHORAE

PLATE 23

190 (P 9460)

189 (P 4750) 188 (P 9320 a)

a.

191 (P 8883)

192 (P 19879)

193 (P 20018)

194 (P 12994)

195 (P 3167)

I~~~~~~~~~~~~~:???cr

196 (P 419)

PLATE 24

NECK-AMPHORAE

202 (P 24036)

203 (P 10782)

201 (P 13764)

206 (P 25932)

Ao

207 (P 9276) 208 (P 4691)

NECK-AMPHORAE

PLATE 25
4,44,k

213 (P 2568), Side A

213, Side B

215 (P 13013), Side A

215, Side B

219 (P 17060)

226 (P 10204)

223 (P 15920 a)

228 (P 4340)

228 (P 2071 a, b), Side A

PANATHENAIC AMPHORAE

PLATE 27

228 (P 2071 c, e, f, h-j), Side B

232 (P 13847) 231 (P 9529 a)

235 (13846)

PLATE 28

PANATHENAIC AMPHORAE

238 (P 19585)

239 (P 20236 b)

239 (P 20236 a)

248 (P 26073) 246 (P 13766)

249 (P 4578)

250 (P 19482)

251 (P 4815)

PANATHENAIC AMPHORAE

PLATE 29

5..

254 (P 25601)

255 (P 47)

r?: h:
;?

k, ii

256 (P 10007), Side A 256, Side A, detail

257 (P 454)

PLATE 30
.o

PANATHENAIC AMPHORAE
.., --va -

I-;,
I

258 (P 2989)

261 (P 19481) 259 (P 20110)

273 (P 113) 264 (P 19215) 266 (P 19079)

271 (P 27556 a), Side A

PANATHENAIC AMPHORAE

PLATE 31

274 (P 3782)

278 (P 18635) 277 (P 3798)

279 (P 9457)

286 (P 31 a-c), Side A

290 (P 22916 a)

290 (P 22916 b)

PLATE 32

PANATHENAIC AMPHORAE

293 (P 22985) 296 (P 2106)

_.t

302 (P 20380)

311 (P 10432)

312 (P 27090)

314 (P 20324)

PANATHENAIC AMPHORAE

PLATE 33

A\

?I

320 (P 24954) 324 (P 12670) 325 (P 13204)

321 (P 13845)

326 (P 25890)

327 (P 10175)

328 (P 6102)

PLATE 34

PANATHENAIC AMPHORAE. AMPHORAE, TYPE UNCERTAIN am

.-A&I

332 (P 5341) 333 (P 3861)

331 (P 81)

335 (P 6104)

336 (P 5103)

)
337 (P 27427)

334 (P 25911)

AMPHORAE, TYPE UNCERTAIN

PLATE 35

342 (P 26642) 343 (P 31091)

345 (P 26760)

. ."

0.*.

*L

(P 25343) 344 (P 25343)

347 (P 25338) 348 (P 2394)

349 (P 17918)

351 (P 13340)

PLATE 36

AMPHORAE, TYPE UNCERTAIN. AMPHORA LIDS. LOUTROPHOROI

363 (P 27468)

365 (P 4745)

366 (P 1058)

'

368 (P 10776) 369 (P 4992)

uI

LOUTROPHOROI

PLATE 37

378 (P 21702)

375 (P 1261), Side A375,

Side B

375 (P 1261), Side A

375, Side B

379 (P 20241)

383 (P 25371) 380 (P 5980) 385 (P 6561)

PLATE 38

LOUTROPHOROI. PELIKAI

386 (P 12015)

388 (P 10262)

387 (P 10192)

S.

390 (P 24773)

391 (P 12561), Side B

391, Side A

PSYKTER. SKYPHOS-KRATERS

PLATE 39

398 (P 27885 a)

398 (P 27885 c)

--

.. . ..
.;;i. rt,

398 (P 27885 d)

398 (P 27885 b)

398 (P 27885 h)

I'.

I..

29

400 (P 6577) 399 (P 12046)

PLATE 40

SKYPHOS-KRATERS

403 (P 4277)

404 (P 3616 a, b)

405 (P 7866)

'P 406 (P 6116)

7 409 (P 7560)

I408(P 2

SKYPHOS-KRATERS. COLUMN-KRATERS

PLATE 41

413 (P 5520 and P 17084) 410 (P 4241)

412 (P 5303)

417 (P 3015)

a *

VA,

N'

A.

_
.

|W

.1,

PLATE 42

COLUMN-KRATERS

w 'Ilk

419 (P 13848)

420 (P 22330)

428 (P 23543)

421 (P 17806 a)

421 (P 17806 b)

430 (P 5047)

431 (P 23664)

429 (P 22134) 433 (P 23049)

COLUMN-KRATERS

PLATE 43

435 (P 9326) 437 (P 14689)

'. I'o

..

~l
,

,i

I~

436 (P 24943), Side A

436, Side B

I3

(P18

...4

439 (P 198)

440 (P 6033)

441 (P 23211)

PLATE 44

COLUMN-KRATERS

1|
.-'l

^
f
: .. .... .-. * ,

A*i
. .4

51 (P

...^

.. 10202)...

I
455 (P 26617)

448 (P 14564)

451 (P 10202)

459 (P 24956) 457 (P 10785)

460 (P 24)

461 (P 13015)

464 (P 2028) 462 (P 16564) 463 (P 13332)

COLUMN-KRATERS

PLATE 45

470 (P 2641 e)

4
470 (P 2641 a) 470 (P 2641 b,c)

471 (P 2612 d), Side B

471 (P 2612 a), Side A

471 (P 2612 c), Side B

472 (P 6136) 473 (P 25916)

PLATE 46

COLUMN-KRATERS. VOLUTE-KRATER

476 (P 25273)

483 (P 5549) 479 (P 2571)

487 (P 26630 a) 484 (P 12252)

h e+g

489 (P 268) 491 (P 18795 e, g, h)

VOLUTE-KRATERS. CALYX-KRATERS

PLATE 47

493 (P 5202) 492 (P 7906)

495 (P 16633)

494 (P 7109)

500 (P 13618) 497 (P 7442)

502

PLATE 48

CALYX-KRATERS. LEBETES GAMIKOI

505(P 24693)

505 (P 24693)

507 (P 31013) 506 (P 7896)

'1

I
510 (P 6106 a)
/t

511 (P 23162) 512 (P 7237), Side A

513 (P 17967 a)
If
. . . .

.wOS

q1
mF

.4't

LEBETES GAMIKOI

PLATE 49

514 (P 19597 n) b

514 (P 19597 a, b, d, e)

518 (P 25967 a)

PLATE 50

KRATERS, TYPE UNCERTAIN

??
520 (P 17486), Side A 520, Side B

1QtP:: r;cF*irx? .. ??? ?

522 (P 31089 a) 521 (P 23159)

STANDS

PLATE 51

526 (P 21382)

527 (P 26809)530

(P 671)

528 (P 23542) 531 (P 25375)

534 (P 25368)

533 (P 26638)

534 (P 25368)

532 (P 23215)

PLATE 52

STANDS

541 (P 13345) 541~ 540 (P 5112)

548 (P 24261)

542 (P 8779 b) 542 (P 8779 a)

STANDS

PLATE 53

.1
-OA

551 (P 22321)

553 (P 830)

554 (P 23014 a)

(PI ,557 4

557 (P 14862)

556 (P 4818)

557 (P 12631)

PLATE 54

STANDS

563 (P 17888 b) 561 (P 24721)

563 (P 17888 a)

J
563 (P 17888 c)

564 (P 9977)

564 (P 3777)

566 (P 27839 a)

STANDS

PLATE 55

575 (P 9275), view 1

575, view 2

575, view 3

575,view 3

582 (P 25962) 578 (P 25980)

583 (P 25968)

585 (P 25914) 586 (P 23311) 587 (P 22695)

S F*d' ie*-. ,. -? "6rs c.

??

Ji;i

PLATE 56

STANDS. LOUTERIA

!-q I'
591 (P 24651) 592 (P 25354) 593 (P 23097)

597 (P 26770)

598 (P 26755)

599 (P 26756)

603 (P 25364) 600 (P 23273) 602 (P 13255)

4

Iaimmml '"m

'..

LOUTERION. DINOI

PLATE 57

607 (P 2709)

608 (P 24312)

609 (P 12811)

611 (P 3468)

614 (P 14939) 612 (P 26758) 613 (P 483)

616 (P 21708)

PLATE 58

DINOI

'

iI.

;~

sw610,

detail 2

HYDRIAI

PLATE 59

620 (P 5467)
'" *esO

k?...... .o? 618 (P 26776 a)

'w~ia,4b

623 (P 5201)
m

621 (P 12019)

625 (P 16325) 626 (P 5228 b)

628 (P 26544) 632 (P

629 (P 22167) 627 (P 998)

632 (P 5226 b)

635 (P 6564 b)

633 (P 1869)

635 (P 6564 a)

HYDRIAI

PLATE 61

I
.

..:.

636 2W. (P 4905)

...:

636 (P 3256) 637 (P 26629)

639 (P 4634 a) 638 (P 21)

640 (P 26442)

644 (P 25920)

642 (P 14372 a, b)

PLATE 62

HYDRIAI

...8 <

:S:
.i . I

Zp.j..

647 (P 9082) 646 (P 2093)

648 (P 4686)

,(~~

I [1

I
r, r cn

'

I
652 (P 24680)

a--z~~~~~~[,bl~'

650 (P 7238 a)

655 (P 13237)

I..
654 (P 16620)

HYDRIAI

PLATE 63

658 (P 23197)

659 (P 13757)

660 (P 2642)

661 (P 9459)

662 (P 26182)

PLATE 64-

OINOCHOAI

'S
'f i

I.

671 (P 997) 673 (P 18531), view 1 673, view 2

677 (P 27749), view 1 672 (P 15002)

677 (P 27749), view 2

t<g?*wo

<t5
1

OINOCHOAI

PLATE 65

d+e

676 (P 12686) 678 (P 27748)

679 (P 24946), view 1

679, view 2

V
.1

PLATE 66

OINOCHOAI

681 (P 24673), view 1

Ao"'41

681, view 2

s.

L.i

i
?? t

683 686 (P 1135) (P 1263)

687 (P 2647)

OINOCHOAI

PLATE 67

689 (P 1557)

693 (P 26798)

698 (P 6457)

691 (P 4235)

692 (P 9992) 696 (P 26668)

694 (P 23196)

699 (P 23470 a)

703 (P 23665)

PLATE 68

OINOCHOAI

705 (P 11395) 706 (P 2395) 704 (P 10650)

707 (P 25365) 708 (P 25366)

709 (P 3016)

711 (P 20645)

714 (P 4337)

710 (P 25367)

vi
?k .,

OINOCHOAI

PLATE 69

'. 1

718 (P 354)
4..1..

719 (P 13025)

716 (P 12527)

721 (P 13862)

720 (P 22866)

723 (P 24945)

724, detail

PLATE 70

OINOCHOAI

728 (P 860) 733 (P 25784)

734 (P 12627)

735 (P 5463), view 1

735, view 2

OINOCHOAI
w.sJ,,.

-, ; F
b

PLATE 71

,-d-iL~
-

w ~~~ ~~4

fr~~~~ ~~~~~ijl)r~~~~

736 (P 1134), detail 1

736, detail 2

741 (P 11030 a)

745 (P 20033)

752 (P 17140)

753 (P 24681)

PLATE 72

OINOCHOAI

754 (P 24675)

755 (P 15723)

760 (P 6091)

759 (P 5209)

l
766 (P 23483)

769 (P 7530)

767 (P 1233)

768 (P 22178)

772 (P 8799)

OINOCHOAI. LEKYTHOS

PLATE 73

779 (P 3663)

777 (P 8963)

778 (P 21572 b)

778 (P 21572 a)

r*
* .
.. I

,. .

Di

I.
J:
.-

*'

780 (P 13863)

781 (P 2627)

782 (P 15954)

PLATE 74

LEKYTHOI

a b

789 (P 13127 a-d, f-i)

U
791 (P 15376), view 1 791, view 3 791, view 2

4e
790 (P 26609) I.

LEKYTHOI

PLATE 75

Is

793 (P 18006) 798 (P 15374)

800 (P 15262)

813 (P 15648) 805 (P 8918) 806 (P 13019)

/
b 817 (P 5002 a, b)

PLATE 76

LEKYTHOI

818 (P 16568)

816 (P 16586)

819 (P 1276)

.O,i

LEKYTHOI
IF,

PLATE 77

820 (P 6999) 822 (P 8539) 824 (P 19137)

825 (P 19136)

827 (P 24360)

831 (P 15247)

PLATE 78

LEKYTHOI

840 (P 23355)

837 (P 15455)

839 (P 24335)

841 (P 15456)

,*d

---

848 (P 16792)

849 (P 20746)

857 (P 15649)

847 (P 1278)

864 (P 24904)

869 (P 24106)

870 (P 24105), view 1

870, view 2

871 (P 14945)

874 (P 12

P
I

877 (P 26 872 (P 24067), view 1 872, view 2 878 (P 24537) 879 (P 24538)

PLATE 80

LEKYTHOI

*1

'V

886 (P 24743) 884 (P 19748)

880 (P 24533)

882 (P 24536)

885 (P 24540) 897 (P 24506)

i ,' 011 t . sI

NlI

898 (P 24507), view 1

898, view 2

899 (P 24107), view 1

899, view 2

903 (P 2440

910 (P 24412)

914 (P 24406)

915 (P 24319)

918 (P 24357)

919 (P

e?,

-sj

924 (P 24522), view 1

924, view 2

930 (P 1303)

932 (P 24060)

938 (P 244

I
4 0. 4

4p

.:

",;;ie
=
, ;;; . W.

ob

Ilk -

950 (P 24316)

957 (P 24358)

960 (P 24355)

968 (P 2715 + P 2722)

969 (P 24059)

976 (P 24340)

986 (P 24351)

990 (P 24366)

993 (P 24370)

1002 (P 24402

1015 (P 24375)

1021 (P 24390)

1022 (P 24487)

1027 (P 24327)

1029 (P 24329)

...ce

1036 (P 24511)

1037 (P 24330) 1038 (P 24514)

1042 (P 24337)

1046 (P

1052 (P 24521)

1053 (P 24365)

1070 (P 24470)

1071 (P 24475)

LEKYTHOI

PLATE 85

1075 (P 24438)

1079 (P 24452)

1082 (P 24449)

1087 (P 24457)

1110 (P 6568) 1107 (P 24518)

1120 (P 24485)

1125 (P 4338) 1142

PLATE 86

LEKYTHOI

1155 (P 20029)

1153 (P 25453)

1152 (P 24539)

1160 (P 1425 a)

?..

a*

m&

..

*.
-:.:':"

1162 (P 1266)

1165 (P 1277)

1175 (P 24548)

LEKYTHOI

PLATE 87

1182 (P 13266)

1183 (P 7826)

1181 (P 19319)

1185 (P 24516)

1184 (P 15953 a, b)

1188 (P 8536)
}e',.

4w.
..

.*,

PA

1216 2

1257 (P 12628), view 1

1257, view 2

1257, view 3

1257, view 4

WWPq

6.

I i

1258 (P 26443) 1259 (P 15366)

1263 (P 2 1261 (P 21711)

KOTHONS. PYXIDES

PLATE 89

1262 (P 13426)

1264 (P 13575)

1265 (P 2036)

1267 (P 19001)

1267 (P 22465) 168 (P 387) 1268 (P 387)

.

PLATE 90 10716b

PYXIDES

1071(

a afbtmktt^^^^M,

1272 (P 16582)

1273 (P 22165)

1271 (P 10716+P 12211)

1274 (P 1 16813) 1274 6813)

1275 (P 12540)

1281 (P 20708) 1278 (P 4684)

1282 (P 13763)

1283 (P 12255)
*r#jpF

1287 (P 3882), top

PYXIDES. LEKANIDES

PLATE 91

1289 (P 15114), top

1289 (P 15114)

1290 (P 25695)

1291 (P 24650)

1300 (P 10194)

,-. r
.. k

1297 (P 5354)

(P 21705) .299

1299 (P 21705) 1295 (P 23132)

1303 (P 4677)

cf

PLATE 92

LEKANIDES

/,Jr>
, %.";. % ..
e..,

.-

. .1 , -' - oI ."'...:. * ..

. . j:. . . .......
". . ... 016-

b 1327 (P 14039) 1311 (P 270)

1330 (P 1136)

1330, top of lid

1336 (P 1130)

1337 (P 12231)

1338 (P 23762)

LEKANIDES

PLATE 93

1343 (P 20679)

1344 (P 5085) 1346 (P 5084)

1349 (P 13854) 1347 (P 26545)

1350 (P 1238)

1351 (P 8733 a) 1353 (P 4926)

1354 (P 6178)

- *I

PLATE 94

LIDS

1361 (P 25654)

1362 (P 17337)

1363 (P 11400)

1364 (P 9512)

1365 (P 24906) 1367 (P 22466)

_ .--..

1367 (P 22466)

1368 (P 6176) 1369 (P 26536) 1370 (P 26439)

1366 (P 20552)

LIDS. PLATES

PLATE 95

1381 (P 26771)

1382 (P 15387)

1386 (P 13829)

1388 (P 6684) 1389 (P 26639 a, b)

1390 (P 22268) 1389 (P 26639 d)

1392 (P 25385)

PLATE 96

PLATES

._^

.a

1395 (P 21797)

1397 (P 25963)

1401 (P 8965)
..* 4t . .

1399 (P 21568) 1406 (P 25316) 1404 (P 18526)

1409 (P 12020)

1411 (P 25889)

1410 (P 26508)

vtL;

PLATES. PHIALAI

PLATE 97

*?-!,...

1415 (P 5001)

1417 (P 26794)

1416 (P 22341)

1418 (P 12235)

1422 (P 10092)

1426 (P 1599)

1419 (P 26223)

1425 (P 13428)

1428 (P 3)

1435 (P 19667)

1433 (P 1563)

1434 (P 24868)

1439

1438 (P 11666)
-.t -

1442 (P 210)

1443 (P 6822) 1444 (P 5468 a)

1447 (P 14326)

1446 (P 1131)
.I
k

I
1452 (P 21571) 1453 (P 26787 a)

1453 (P 26787 b)

1454 (P 26788)

k,

1461 (P 87

1458 (P 25355)

1460 (P 22333)

1463 (P 13859)

1464 (P 17805 a)

PLATE 100

SKYPHOI

ii

,..'I
^.

A
1475 (P 13834)

1476 (P 1000)

1480 (P 26647 a)

-,. I.. -.1low --:-~

---7

~ ~ ~
.

1483 (P 26652)

1484 (P 1545), Side A

\I ".'..I
O

SKYPHOI

PLATE 101

1487 (P 1548)

1488 (P 1549)

di

1490 (P 1546) 1491 (P 23174)

1493 (P 15199 b) 1493 (P 15199 a)

PLATE 102

SKYPHOI

1497 (P 6177)

1499 (P 25982)

1498 (P 26648), Side A

1498, Side B

1501 (P 1552 a)

1502 (P 15009)

SKYPHOI

PLATE 103

1506 (P 2742)

1508 (P 1364)

1509 (P 1362)

1511 (P 1363 a)

1513 (P 23321), Side A

1516 (P 27846)

1519 (P 14946 a)

1523 (P 1322)
i

1524 (P 1368) 1528 (P 48 a)

PLATE 104

SKYPHOI

1536 (P 5207 a)

1540 (P 16450), Side A

1548 (P 1561) 1541 (P 27426)

1550 (P 1319 a)

1557 (P 23324) 1555 (P 23322)

1564 (P 24580) 1565 (P 24581)

SKYPHOI

PLATE 105

1577 (P 23911)

1579 (P 23017)

1580 (P 2711)

' I f
6;

1592 (P 1145) 1588 (P 1140+P 1160), Side B

'.'. .k... "I.

.:.
w -m

1603 (P 2714), graffito 1597 (P 1142)

1609 (P 20741), Side A

PLATE 106

SKYPHOI

0 (P A Side 23198),

1610 (P 23198), Side A

1613 (P 13275)

V
1615 (P 23175 b) 1620 (P 7898), Side A 1615 (P 23175 a)
^..1 . ,- * . ?

d F Ie

e 1619 (P 13383)

1623 (P 23265)

SKYPHOI

PLATE 107

1628 (P 2730), Side A

1630 (P 1144)
* b,

1631 (P 1146)

1641 (P 26769)

1642 (P 10155)

.I

1644 (P 3988)

1647 (P 25928)

1657, detail

opm--

PLATE 108

CUPS

1658 (P 4585) a

..

..

I.

.-:
..::'

1659 (P 5891 a-c)

1658 (P 3435)

b 1660 (P 3038 a, b, d-f)

-1

1662 (P 3040j, q, r), interior 1661 (P 13858)

4.

CUPS

PLATE 109

1663 (P 3040 bis a, c, z) 1668 (P 6068)

"C? :i?i ?r -,:?lmu ,r s ':' ,?*.-r: - ?' i._..'' ?r

sj

;r'

1671 (P 13347)

1674 (P 26646)

1675 (P 8888)

1678 (P 20716), interior 1677 (P 25855)

PLATE 110

CUPS

A'

t
1680 (P 6066) ; s ' _'S 1679 (P 3268) 1682 (P 6059)

1684 (P 13250) 1685 (P 1242)

1687 (P 3041) 1692 (P 25713)

1691 (P 4630)

1689 (P 6069)

1693 (P 22340)

1694 (P 17811)

CUPS

PLATE 111

1697 (P 3853)

1700 (P 15377)

b a

1704 (P 13032), interior

1704 (P 23149), interior

1705 (P 12533) 1706 (P 1990) 1707 (P 8878) 1710 (P 1123)

1711 (P 23405) 1708 (P 1241)

1716 (P 23404)

1720 (P 26440) 1714 (P 9277)

PLATE 112

CUPS

1721 (P 4947)

1726 (P 10905)

1731 (P 23235) 1722 (P 24951 a) 1723 (P 26645 a) 1727 (P 26747)

1743 (P 13246)

1729 (P 26231) 1744 (P 24950)

1737 (P 6077)

1745 (P 7135)

1746 (P 14053)

1747 (P 4657)

1748 (P 26748)

1750 (P 13835)

CUPS

PLATE 113

.. .

Nt

1753 (P 6079)

1754 (P 13039)
.iV

1756 (P 5230)

762 (P 23199), Side Side A A 1762 (P 23199),

1769 (P 2570), Side A

1775 (P 20384) 1773 (P 4153)

1777 (P 8778)

1780 (P 4927), Side A

PLATE 114

CUPS

4I
1783 (P 1152), Side A

1781 (P 3437)

1784 (P 1153)

*?

1787 (P64
1786 1786 (P 5687) 5687)

1787 (P 6478)

1788 (P 26531)

1794 (P 24648)

CUPS

PLATE 115

V %

1795 (P 12236)

1796 (P 26437)

1791 (P 13020)

'.1 0

1798 (P 1156)

1797 (P 1155)

.. .:.
.dwL

1800 (P 1158)

PLATE 116

CUPS

..I

.kv ij.;.
~.? 11:~?

1802 (P 10203)

1803 (P 13257)

1804 (P 13125)

N
*
--J

1805 (P 12653)

1806 (P 12)

ol
6

1807 (P 4239)

1808 (P 7136)

<?

1809 (P 13745)

1810 (P 27233)

CUPS

PLATE 117

1814 (P 24697)

1815 (P 13814) 1816 (P 13813)

1817 (P 4346)

1819 (P 14368)

1822 (P 4222)

1823 (P 13030)

1824 (P 9284)

d
b 1825 (P 1384) 1826 (P 22181)

1828 (P 23305)

PLATE 118

CUPS. BOWL. EPINETRA

1832 (P 25694)

1834 (P 15196)

1835 (P 14577)

1836 (P 31030)

1837 (P 26649) 1841 (P 4954) 1843 (P 12304)

1838 (P 26741)

1839 (P 9327)

1848 (P 16745)

1850 (P 10036)

THYMIATERIA. CLOSED SHAPES

PLATE 119

1855 (P 2040) 1852 (P 25581)

1851 (P 15389)

1853 (P 17429) 1856 (P 21703)

T .

. ,';.,?f

1857 (P 26290) 1858 (P 25469)

1859 (P 7036)

1861 (P 25903) 1862 (P 4628)

PLATE 120

CLOSED SHAPES

1874 (P 12450)

oiF'~~~?S
4'... w N.Bui.
^ F ;,t,

1869 (P 31090) 1876 (P 16562)

1875 (P 26637)

'r

' '.

1879 (P 3857)

^.

1877 (P 25809)

1880 (P 14283)

1882 (P 13337)

1885 (P 26441)

1883 (P 4946)

b
a

1887 (P 13746)

1886 (P 26803)

CLOSED AND OPEN SHAPES

PLATE 121

1894 (P 27887)

'
m^ ^..*y 1896 (P 5016) 1890 (P 24297) 1891 (P 22898)

' a3

1899 (P 1905) 1900 (P 15390) 1905 (P 25882)

1910 (P 21712)

1906 (P 23268)

1909 (P 7047)

PLATE 122

OPEN SHAPES

1914 (P 25332)

1915 (P 1413)

1916 (P 27588)

1917 (P 5296) 1920 (P 13427 b) 1920 (P 13427 a)

1921 (P 479)

1922 (P 26805)

1924 (P 60)

1926 (P 8953)

It . >

:~~~~~~I

i. i

OPEN SHAPES. MISCELLANEOUS. PLAQUES

PLATE 123

1931 (P 21186 b)

1930 (P 24275)

S.I ,ti; 1929 (P 19849) 1931 (P 21186 a)

1933 (P 16811)

1934 (P 15970)

1935 (P 5442)

^-.

r^A
rI

15 "
1937 (P 6731)
.

1936 (P 539)

PLATE 124

PLAQUES. DISKS

1943 (P 340) 1942 (P 20754)

1944 (P 3090)

1946 (P 25868)

1945 (P 20852 b)

1945 (P 20852 a)

1947 (P 5280)

1948 (P 12253)

1949 (P 990)

PLAN A B
C|

EI E

K __

RN O

Q Q

IV

W V

1-N
2

-\ |
o\ <

"
0/4 ,

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Ar 'ACORA EXCAVATION
//
11_

ATHENS
I

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3
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GRAVES , @! \?

A 67 CENT. B.C.
\
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6
7C. B.c.

WELLS O 6T CENT-CA.52 5 B.C.

I I"

1y,i
j~IIX

0 \\007:9C0/

525-CA.

460

6\ --9~~~~~---<''~~ *My3 \'-CISTERNS D-E-9:1 10

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"
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46o-CA. 4oo B.C.

4TH CENT B. -C.

. 4'" CENT. B.C. lo\ \

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232 T24:53V2e T243e

V242

25 2 22
23 24

212 2

24

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26 27' 286
23*

25

U252
26 27 26
ACO OPOL15

29 5o ABPla
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29 30

DINSMOOR.R,-1980 WS!,

oEF

IioKa H t i A
Plan of the Athenian

L\ showi
Agora showing

the locatn of te deposits

the location of the deposits