+e + eee rites tet ists of afete: 5 aay Orie KS A teh ae ity z Ly delet ee een 4 Melts faecal Peete Ve tare Tee eee ite enetaestats Pn) alhdee PE CD hes PO OOS peat Feeney 5 fi" POOR tht ty Foie tetaty pit, fal oie! ate! yal 7 aeaita tal y takers ete eR Lsara rete tee pao tipe sed) Seis as #4 a aie" Nretbee ARAN iy wie itt Pye ye? GLO ne eplete, ep gte: ty pany Lagete =: Sete be! seat» Tey Die pep Ke NNS aA 4 - 1 \ { q é ; ¥ : ¥ 7 Or Pat tha oe he ah eae A HANDBOOK OF ATTIC RED-FIGURED VASES SIGNED BY OR ATTRIBUTED TO THE VARIOUS MASTERS OF THE SIXTH AND FIFTH CENTURIES B.C. BY JOSEPH CLARK HOPPIN, Pu.D., F.R.G.S. PROFESSOR OF CLASSICAL ARCHAEOLOGY IN BRYN MAWR COLLEGE VOLUME I CAMBRIDGE HARVARD UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OxForD UNIVERSITY PRESS IQIQ pe ese tA: = ’ ‘ COPYRIGHT, 1919 HARVARD UNIVERSITY PRESS ‘% ~ ? com TO THE HAPPY MEMORY OF HERBERT FLETCHER DE COU AND RICHARD NORTON THIS BOOK IS AFFECTIONATELY DEDICATED PREFACE LL students of Greek ceramics have felt for many years the need of a work like the present, and it is a matter of surprise that during all this time no such work has been attempted. I could wish that its preparation might have found a more able workman than I, but the fact that the gaily painted Attic vases have absorbed me more than any other branch of archaeology ever since I first began the study, and that I have enjoyed far more leisure of late years than has fallen to the lot of my less fortunate confréres, may perhaps excuse the self-appointed undertaking. I began the book for my own convenience but I question whether I should ever have done so had I realized at the out- set the magnitude of my task. With a few brief interruptions I have devoted my entire time to it for nearly two years. The compilation of the unpublished material has been a matter of extreme difficulty owing to the European war. Requests were made to the directors of all the important European museums for photographs and data through vari- ous official channels which ensured their safe arrival, but in many cases these requests were fruitless. In consequence I am unable to include photographs of the following vases: Brygos 2*, Douris 14*, and Hermonax 2*; photographs of these could not be obtained from the museum in Florence. Nikosthenes 5* and Pamphaios 19* bis; photographs of these could not be obtained from the Villa Giulia, Rome. Euergides 4*, in Leipzig; Euergides 6*, Hischylos 2* and Pamphaios 14* in Munich; Hischylos 5* and Pamphaios 20* in Wiirzburg; Epiktetos 23*, Pamphaios 18* and 19* in Petrograd; Epikte- lave] tos 1*, Kallis 1*, Mys 1*, Myson 1* in Athens; Pistoxenos 1* in Brussels; requests for photographs of these as well as for data of other unsigned vases were either (as is most probably the case) eure ignored or else the replies have failed to reach me.’ Dr. Friedrich Hauser of Stuttgart, the owner of Euphro- nios 15* had died before my letter reached him. Pamphaios 15* is not in Palermo and I have been unable to trace it. - It must also be remembered that in many of the European museums, especially those in Italy, the conditions, owing to the war, changes in the directorate, renumbering the collec- tions and the adoption of modern methods, are extremely chaotic, and it is often extremely difficult to locate a given vase. For these reasons a number of vases must perforce appear in these pages with very insufficient data. Further- more, barring a few stray publications, very little material of a German or Austrian source has been accessible to us in America since 1915. Much as I regret these lacunae in the book they seem inevitable in view of present conditions and as there is little prospect of any amelioration in the near future I have decided, albeit reluctantly, to let ete work appear in an incomplete form. It has not been easy to decide on a AIS which would satisfy every one. My chief ambition has been to produce a book which could be used by students with the mini- mum amount of labor, and hence it has seemed the simplest plan to adopt throughout the alphabetical order for the vari- ous painters and potters and to arrange the works of each, whether signed or attributed, alphabetically by museums in a numerical order. I am aware that this will not appeal to those who prefer their material classified by subject-matter or shapes. To avoid this difficulty a list of both subjects and 1 Dr. Oskar Waldhauer of the Hermitage Museum in Petrograd wrote to me very courteously expressing his regret that the unsettled condition of affairs in the museum made it impossible to furnish me with the desired photographs. [ vi J shapes employed by each master has been introduced at the end of the section dealing with him, together with a third list of vases attributed to his hand by various scholars but which are cited under the name of another artist in this book. For the benefit of those who propose to work along cor- responding lines I may say that the card-catalogue system has been employed throughout; the only practical way to handle such a voluminous material. No less than five sep- arate catalogues have been used in the preparation of this book: (1) The main catalogue, consisting of cards 5 X 8 inches specially printed with spaces for the necessary data; (2) the museum index; (3) the index of publications; (4) the inscriptional index; and (5) the general index. Each catalogue has acted as a check on the others and thus made it almost impossible for any vase to be listed twice. The only instances where such a thing is possible have been in the case of vases usually reckoned as disappeared and then dis- covered in some museum. Several such cases did occur in the course of the work but they have been detected and I do not think that any vase here cited has been catalogued twice. The question of how far to go in listing attributions has been a very vexed one.! Mere mention in a catalogue of “style of Douris” or “style of Hieron” does not, to my mind, constitute a legitimate attribution, and therefore, except in a few instances, no attributions have been included unless some scholar has definitely assigned a given vase to a certain hand. J have endeavored to eliminate my own individuality in this matter by refraining from all attribu- tions except those which are based on my own published work. But I have not been able to sink my identity entirely. 1 All the various attributions made by Beazley in his different articles as well as those in his Vases in America have been here included as long as such attributions have been assigned to an artist to whom a definite name is attached. Occasionally, however, in his Vases in America a number of vases have been grouped together as belonging to the same hand without identifi- cation of the artist by a definite name. Such attributions have not been included here. [ vii ] The same vase is very often assigned to several different artists by different scholars, and as it is obviously incon- venient to catalogue the same vase more than once in the Handbook I have adopted the principle, where a difference of opinion occurs, of listing such a vase among the works of the artist to whom, in my opinion, it belongs, but in every case the various attributions are mentioned. Frequently I have been obliged to include vases among the works of a painter, who, I feel sure, had nothing whatsoever to do with their manufacture, for the simple reason that only one scholar has attempted to identify them. Probably no one today can be found who believes that the amphorae in Berlin and Munich (Makron 44 and 75) were ever painted by Makron as asserted by Furtwiéngler; yet no other scholar has attempted to identify them and until some one else gives them their rightful status I have no course but to include them under the Makron attributions. To be ideal, such a volume as the present ought to include a plate of every vase mentioned in it. This is of course im- possible, for aside from the tremendous expense involved, the work would be far too cumbersome for students’ use. Klein’s monumental work on the “‘ Meistersignaturen ”’ is thoroughly out of date, and the recent attempt of Nicole in the Revue Archéologique for 1916 to bring it up to date has not been alto- gether successful. Reinach’s Répertoire, certainly one of the most useful books the archaeologist possesses, is of little value for the study of stylistic details owing to the sketchy char- acter of the illustrations; it is only fair, however, to state that the work was never intended for such a purpose. My inten- tion, therefore, has been to publish a book which should prove a combination of both Klein and Reinach — complete in its list of artists and the material signed by them, with plates large enough to reproduce their work in a form sufficient to permit the analysis of stylistic details. It is not intended, however, to relieve the student of the task of using the [ viii J larger publications when it is a question of discussing the peculiarities of any painter’s work. The question of references also presents some difficulty. That the bibliography attached to each vase is complete in the sense that every mention of it throughout the whole of the very voluminous literature no matter how slight, is included, is, I fear, distinctly not the case. Much of the literature of a hundred years ago is comparatively worthless and has generally been ignored. Also references have frequently been omitted which merely mention a given vase without drawing any conclusions from it. I have endeavored to include all references which seemed to me vital, in short to use my common-sense, and I hope that the number of those which have been omitted through oversight or inadvertence will not be found very great. One valuable lesson I have learned. Until I began my task I had never realized how general is the habit of quoting references without verification. Time after time I have detected the same error repeated in one work after another. Consequently every reference in this book (except in the case of some of the older publications which have been inaccessible to me) has been verified either in manuscript or proof. That I have succeeded in eliminat- ing all errors is too much to hope for, but I think in the main they have been materially reduced. Needless to say I shall welcome any corrections or additions which may be sent to me. . Vases signed by a potter alone have been catalogued under his name entirely regardless of their authorship though such authorship has been indicated whenever possible. Vases signed by both potter and painter have been listed under the name of the painter. All signed vases are denoted by an asterisk after the number. Since the actual catalogue was finished some time ago and the numerical system adopted, I have been unable to avoid the use of bis, ter, etc., after some numbers as only in that way could new vases be inserted or [ ix ] old ones changed.! Some potters have been very difficult to treat owing to the general uncertainty about them. Meidias is a case in point, for not only is there the greatest divergence of opinion as to his date but no two scholars seem to agree as to what vases are really Meidian and what are not. I have not attempted to bring order out of this chaos and have simply included in the list of his works all vases which have been attributed to him by different scholars from time to time. For the correctness of such attributions I beg that I be not held responsible. The title of the work is a sufficient excuse for the omission of certain artists or potters. No black-figure vases have been included except in the case of vessels of the dual technique; nor any non-Attic masters unless it was probable that their activity lay in Athens. The potters Charinos, Kleomenes, Kriton, Lysiades, Lysias, Lykinos, Platon, Teisias and The- rinos have been omitted since their signatures are attached only to vases in plastic form or those which possess no figured decoration whatsoever. Only those vases on a white ground which bear a signature or which can safely be - attributed to a definite named artist have been included.” I should like at this point to enter a protest against the indiscriminate habit of attributing vases. Probably no one has struck a more important note in the study of Greek ceram- ics than Beazley and whether one accepts his attributions 1 A further difficulty has been encountered since all the Beazley attribu- tions have been listed on the basis of his various articles and the first proof of his Vases in America. Numerous changes, however, were made by him before the final appearance of his book (for instance the majority of the vases originally assigned by him to the Painter of the Berlin Amphora as ‘ school- pieces ’ have since been definitely included among the actual works of that master, and a few attributions to other painters definitely discarded) and it has occasionally proved impossible to make a change in the numerical system which was adopted before the present work went to press. Wherever such changes have occurred they have been duly noted. * For this reason I have not included Beazley’s attributions of a number of white lekythoi to the Achilles Painter though I agree absolutely with him as to the correctness of these attributions. [x] or not, one must recognize that their author has made a very exhaustive study of the subject and possesses a wonderful eye for stylistic details. But all students are not Beazleys and unless they possess similar characteristics they had best walk warily in his footsteps. This book could never have been produced without the intelligent and generous codperation of a multitude of schol- ars to whom my very warmest thanks are due. Foremost among them is my very dear friend Mr. C. Densmore Curtis of the American Academy in Rome who at my request made a tour through all the museums of Italy and Sicily to obtain for me the desired data and photographs. Mr. Curtis met everywhere the most courteous and kindly assistance during his wanderings through the museums, and. for the services rendered me through him I wish to express my most grateful thanks to the following: in Rome, Dr. Nogara at the Vatican, Professor Colini and Signorina Morpurgo at the Villa Giulia, and Signor Castellani; in Florence, Professor Pernier; in Naples, Professor Spinazzola and Signorina Levi; in Corneto, Professor Cultrera; in Orvieto, Signor Faina; in Syracuse, Professor Orsi; in Palermo, Professor Gabrici; in Girgenti, Baron Giudice. For photographs, data, suggestions and assistance in many ways I wish to express my gratitude to the following: Dr. Arthur Fairbanks the Director and Dr. L. D. Caskey, Cura- tor of Classical Antiquities of the Boston Museum of Fine Arts; Miss Gisela M. A. Richter, Assistant Curator of Classical Antiquities and Mr. William Clifford, Librarian of the Metropolitan Museum in New York; Dr. Stephen B. Luce, Jr., Curator of the Classical Antiquities in the Phila- delphia Museum; Professor George H. Chase of Harvard University, and the staff of the Harvard Library; Professor . J. R. Wheeler * of Columbia University; Professor Paul Baur 1 Since the above was written, the study of Archaeology and the Classics in this country has suffered an irreparable loss by the death of Professor [xi] of Yale University; Professor William N. Bates of the Uni- versity of Pennsylvania; Professor David M. Robinson of Johns Hopkins University; Professor Henry Johnson of Bowdoin College; Miss Mary H. Swindler of Bryn Mawr College; Mr. Arthur Hamilton Smith, Keeper of Greek and Roman Antiquities in the British Museum, and Sir Cecil Smith, Director of the Victoria and Albert Museum; Mr. Edward Warren of Lewes and the directors of the museums of Birmingham, Canterbury, Edinburgh, Glasgow, Liverpool, and Norwich; M. Babelon, Director of the Cabinet des Médailles in Paris; M. Salomon Reinach, Director of the Museum of St. Germain-en-Laye; Dr. Robert Zahn, Direc- tor of the Antiquarium in Berlin; and Professor Georges Nicole of Geneva. To M. Edmond Pottier, Conservateur of the Louvre are due more than mere thanks. The material required from the Louvre, photographic as well as notes, was extremely vol- uminous and the labor involved to collect it by no means small. M. Pottier, in spite of ill-health, and war conditions in the Louvre, has spared no pains to place in my hands photographs of more than twenty vases and data relating to more than two hundred and did so in the kindly and helpful spirit which all Americans who have ever worked in the Louvre have learned to love and admire; had he been the author himself he could not have taken more interest. _ Mr. J. N. McClure, Harvard ’18, acted as secretary for me during the completion of the book and gave me invaluable assistance; Mr. C. Chester Lane and Mrs. M. S. Heller of the Harvard University Press have been more than kind during the onerous period of its preparation, Also, it would have been absolutely impossible to have published the work at the present time had it not been for the generous assist- Wheeler. In view of my own affection for him after a friendship of more than twenty years, I can only express the deep regret I feel in common with all his friends. [ xii ] ance of Mr. J. D. Beazley, who in addition to allowing me the free use of the proofs of his great work on the Vases in America, has given me countless suggestions and to whom I feel that I owe an especial debt of gratitude. Lastly this book is a tribute to the memory of two devoted friends. DeCou was killed at Cyrene on March 11, 1911, and his name must be added to the glorious roll of those who have become martyrs in the cause of science. Norton died in Paris on August 2, 1918, worn out by his untiring efforts as head of the Norton-Harjes Ambulance Corps during the darkest days of the Great War. Both died as they had lived, true and gallant gentlemen. I count it as a privilege that for more years than I care to number we three had been the closest of friends, fellow-students and workers in school and field, with never a cloud to mar a friendship which will always be among my most precious memories. [ xiii J CONTENTS Numbers followed by an asterisk refer to signed vases. Only signed vases are illustrated in this book. INTRODUCTION . THE ACHILLES PAINTER AGATHON . 1*, Jahrbuch des kais. deut. arch. Inst., 1895, p. 38, figs. 12, 13. THE AISCHINES PAINTER . AISON Attributed Vases THE ALKIMACHOS PAINTER . THE ALTAMURA PAINTER THE AMBROSIOS PAINTER ANDOKIDES . 1*, Antike Denkmédiler II, pl. 1. 1*, Furtwangler-Reichhold, Die griechische Vasenmaleret, III, pl. 133. 2*, Jahreshefte des oester. arch. Inst., 1900, pp. 70, 71, figs. 8, 9. 3*, Jahrbuch des kais. deut. arch. Inst., 1889, pl. 4. 4*, from photographs. 5*, F.R., Die griechische Vasenmaleret, II, pl. 111. Attributed Vases APOLLODOROS . 1*, Hartwig, Die griechischen Meisterschalen, pl. 69, no. I. 2*, Hartwig, Die griechischen Meisterschalen, pl. 69, no. 2a—d. Attributed Vases ARISTOPHANES 1*, F. R., Die griechische Vasenmaleret, III, pl. 127. 2*, F.R., Die griechische Vasenmaleret, III, pl. 128. Attributed Vases THE BALD-HEAD PAINTER THE PAINTER OF THE BERLIN AMPHORA. School Pieces . [xv ] 42 45 76 THE PAINTER OF THE BERLIN NIKE HyYDRIA 2381 THE PAINTER OF THE BOLOGNA AEGISTHUS 78 THE PAINTER OF THE BOLOGNA BOREAS 80 THE PAINTER OF THE BOSTON PHIALE 83 THE PAINTER OF THE BOSTON TITHONOS AMPHORA . go THE PAINTER OF THE BOWDOIN EvE KYLIx . 92 THE PAINTER OF THE BOWDOIN PyxIs 94 THE BRISEIS PAINTER . ea ee IOI THE PAINTER OF THE BRUSSELS OINOCHOE 104 BryGOS relay lel peaaee 106 1*, fragment with signature only. 2*, unpublishable. 3*, Wiener Vorlegeblatter, VIII, pl. 2. 4*, F.R., Die griechische Vasenmalerei, I, pl. 47, and cut on p. 239 of the Text. 5*, Journal of Hellenic Studies, 1914, pl. 9. 6*, Wiener Vorlegeblatter, C, pl. 7, 2. 7*, Wiener Vorlegeblatter, VIII, pl. 3. 8*, F. R., Die griechische Vasenmaleret, I, pl. 25. o*, F. R., Die griechische Vasenmalerei, I, pl. 50. 9* bis, no reproduction obtainable. Attributed Vases RE ica 122 THE PAINTER OF THE CERBERUS PLATE . 144 CHACHRYLION . 146 1*, Schéne, Museo Bocchi di Adria, pl. 2, no. 4. 2*, fragment too slight for reproduction. 3*, Hartwig, Die griechischen Meisterschalen, pl. 2, no. I. 4*, Hartwig, Die griechischen Meisterschalen, fig. 4. 5*, Hartwig, Die griechischen Meisterschalen, pl. 2, no. 3. 6*, Harrison and MacColl, Greek Vase-paintings, pl. 10. 7*, Wiener Vorlegeblitter, D, pl. 7 (right-hand section). 8*, Wiener Vorlegeblitter, D, pl. 7 (left-hand section). 9*, Hartwig, Die griechischen Meisterschalen, pl. 1. 10°, Hartwig, Die griechischen Meisterschalen, pl. 2, no. 2. 11*, Louvre Album, II, pl. 91 G 36. 12*, from a photograph. 13*, Hartwig, Die griechischen Meisterschalen, figs. 2a-c. 14*, from a photograph. 15*, Perrot-Chipiez, Histoire de l’art dans Vantiquité, X, fig. 230. [ xvi ] 16*, Noél des Vergers, Etrurie, III, pl. 37. 17*, Monumenti Antichi Lincet, 1907, p. 458, fig. 328. 18*, Hartwig, Die griechischen Meisterschalen, figs. 3, 3a, 3b. 19*, fragment too slight for reproduction. 19* bis, no reproduction obtainable. eee e ew 178 DREMMePEORMUUDES PAINTER 2 dec cy eee we es) «199 ee hd ee ey, v & W183 1*, fragment with signature only. 2*, F. R., Die griechische Vasenmalerei, I, pl. 43. 3*, from photographs. 4*, from photographs. 5*, from photographs. ewer AINTER OF THE CHICAGO STAMNOS .... 3.5: 2... 193 PieetinNreR OF THE CHRYSIS HYDRIA ..:...°.. .-% 196 Sere ATINIRR Ge IDF THE PAINTER OF THE COPENHAGEN AMPHORA ..... .. 200 THE PAINTER OF THE DEEPDENE TROPHY PELIKE .... . 203 NT ee Sd ny ee 205 Tue DIocENES AMPHORA PAINTER ............ 206 Dovuris 5... GR ee PS c's, tk DOO 1*, fragment too slight for reproduction. 2*, Archaeologische Zeitung, 1883, pl. 1. 3*, Archaeologische Zeitung, 1883, pl. 2. 4*, F. R., Die griechische Vasenmalerei, III, pl. 136; p. 87, fig. 43. 5*, Archaeologische Zeitung, 1883, pl. 4. 6*, Archaeologische Zeitung, 1883, pl. 3. 7*, Ephemeris Archaeologike, 1907, p. 222, fig. 1. 8*, Wiener Vorlegeblitter, VII, pl. 5. g*, Hartwig, Die griechischen Meisterschalen, pl. 22, no. I. 10*, from photographs. 11*, Hartwig, Die griechischen Meisterschalen, pl. 21. 12*, American Journal of Archaeology, 1900, pp. 185-189, figs. 1-3. 13*, F. R., Die griechische Vasenmalerei, II, pl. 74. 14*, no reproduction obtainable. 15*, Wiener Vorlegeblitter, VIII, pl. 1. 16*, Wiener Vorlegeblitter, VI, pl. 3, 1a, 1c, and Murray, Designs from Greek Vases, pl. 8, no. 29. 17*, Wiener Vorlegeblatter, VI, pl. ro. [ xvii] 18*, F. R., Die griechische Vasenmalerei, I, pl. 48. 19*, from photographs. 20*, Wiener Vorlegeblétter, VII, pl. 2. 21*, Wiener Vorlegeblitter, VII, pl. 3. 22*, Wiener Vorlegeblatter, VI, pl. 9. 23*, Wiener Vorlegeblatter, VII, pl. 4, no. 2. 24*, from a photograph. 25*, Wiener Vorlegeblatter, V1, pl. 8a—b. 26*, from photographs. 27*, Hartwig, Die griechischen Metsterschalen, pl. 67, no. 3a-b. 28*, Revue Archéologique, 1913, i, pp. 31-40, figs. 1-3. 29*, Hartwig, Die griechischen Meisterschalen, fig. 66. 30*, F. R., Die griechische Vasenmalerei, I, pl. 53. 31*, F. R., Die griechische Vasenmalerei, I, pl. 54. 32*, Ephemeris Archaeologike, 1886, pl. 4. 33*, 34%, Ephemeris Archaeologike, 1907, pl. 10. 35*, Perrot-Chipiez, Histoire de l’art dans lantiquité, X, hig. 2093. 36*, Wiener Vorlegeblatter, VI, pl. 5. No reproduction obtainable of 37*, 38*, 39*. Attributed Vases .° 2 5. 0. THE PAINTER OF THE DUTUIT OINOCHOE |. > 29 2 eee Tue PAINTER OF THE DWARF PELIKE (>) 7 THE EPELEIOS PAINTER 5 2) 2. f . 0) 4 EPIGENDS <=. 5 eRe ta OS ee 1*, Wiener Vorlegeblitter, B, pl. 9, no. 2a—-b. EPIKTETOS . 2.0.0.0. 4. GR 1*, fragment too slight for reproduction. 2*, Jahrbuch des kais. deut. arch. Inst., 1891, pl. 5, no. 1. 3*, Gerhard, Auserlesene Vasenbilder, pl. 299. 4*, from photographs. 5*, Burlington Fine Arts Club Cat., 1888, pl. 10. 6*, Bolletino d’Arte, 1911, p. 342, fig. 1. 7*, from photographs. 8*, from a photograph. 9*, from photographs. 10%, F. R., Die griechische Vasenmaleret, II, pl. 73. 11*, from a photograph. 12*, from a photograph. 13*, from a photograph. 14*, from photographs. [ xviii ] 15*, Wiener Vorlegeblitter, 1890-91, pl. 7, no. 3. 16*, from photographs. 17*, from a photograph. 18*, from a photograph. 19*, Perrot-Chipiez, Histoire de l’art dans l’antiquité, X, fig. 205-207. 20*, from photographs. 21*, Perrot-Chipiez, ibid., fig. 208. 22*, fragment too slight for reproduction. 23*, no reproduction obtainable. 24*, Jahrbuch des kais. deut. arch. Inst., 1891, pl. 5, no. 2. 25*, Arch.-epigraph. Mitt. aus Oesterreich-Ungarn, V, pl. 4. 26*, Archaeologische Zeitung, 1885, pl. 16. 27*, 27* bis, 28*, 30*, no reproduction obtainable. 29*, Klein, Euphronios, p. 14. Attributed Vases . EPILYKOS . ate 1*, from a photograph. 2*, Monuments Piot, XX, p. 123, fig. 5. THE PAINTER OF THE EPINETRON FROM ERETRIA IN ATHENS ERGINOS ; THE PAINTER OF THE ETHIOP PELIKE THE PAINTER OF THE EUAION KYLIX IN THE LOUVRE THE EUCHARIDES PAINTER . EUERGIDES . 5 eRe one oe 1*, Ephemeris Archaeologike, 1885, pl. 3, no. 2. 2*, fragment too slight for reproduction. 3*, Journal of Hellenic Studies, 1913, p. 347, fig. 1. 4*, no reproduction obtainable. 5*, Annali dell’ Inst., 1849, pl. B. 6*, no reproduction obtainable. Attributed Vases . EUPHRONIOS Pe et ae Ta he sm hag eRe 1*, Jahrbuch des kais. deut. arch. Inst., 1888, pl. 2. 2*, Journal of Hellenic Studies, 1888, pl. 6. 3*, Archaeologische Zeitung, 1882, pl. 3. 4*, Hartwig, Die griechischen Meisterschalen, pls. 51, 52. 5*, Hartwig, Die griechischen Meisterschalen, pls. 47, 48. 6*, F. R., Die griechische Vasenmalerei, I, pl. 23. 7* F.R., Die griechische Vasenmaleret, I, pl. 22. [xix J] 339 342 345 348 349 351 350 362 369 376 8*, American Journal of Archaeology, 1916, pls. 2-6. 9*, Monumenti dell’ Instituto, II, pl. ro. 10*, F. R., Die griechische Vasenmalerei, II, pls. 92, 93. 11*, F. R., I, pl. 5, and Per.-Chip., figs. 246-247. 12*, Hartwig, Die griechischen Meisterschalen, pl. 53. 13*, Hartwig, Die griechischen Meisterschalen, pls. 58 and 59 no. It. 14*, F. R., Die griechische Vasenmaleret, II, pl. 63. 15*, no reproduction obtainable. Attributed Vases . ONESIMOS fea Me Attributed Vases. . THE PANAITIOS PAINTER . EUTHYMIDES ide Meee 1*, Archaeologische Zeitung, 1873, pl. 9. 2* F.R., Die griechische Vasenmalerei, I, pl. 14. 3*, F. R., Die griechische Vasenmaleret, II, pl. 81. 4*, from drawings by Baglione, and photograph. 5*, Schéne, Mus. Bocchi, pl. 4, 2. Attributed Vases . EUXITHEOS . at eee 1*, Beazley, VA. fig. 4. 2*, Louvre Album, II, pl. 91 G 33. Attributed Vases . THE FLYING-ANGEL PAINTER THE FOUNDRY PAINTER THE ‘ Frau MEISTERIN ’ GALES aah ate 1*, from photographs. 2*, Monumenti Antichi Lincei, 1900, pl. 3 and figs. 9, 10. THE GERAS PAINTER 5 ge ee THE PAINTER OF THE GIRGENTI KALYX KRATER . eo 406 413 413 421 430° 439 447 451 452 454 461 462 466 409 INTRODUCTION OR close on to a century the study of Greek vases has been one of the most fascinating fields of the many which are included in the science of classical archaeology. And this with reason, for of all the records which the Hellenic world has left behind, vases are perhaps the most complete and satisfactory. Most of the greater works of art in marble or bronze have long since disappeared in the lime-kiln or melting-pot; inscriptions are usually wofully fragmentary and can seldom be read without extensive emendations and the mighty monuments of architecture with very few exceptions are little more than shapeless ruins or foundations. But the little vessels of painted clay are practically imperishable and emerge from the soil after a sleep of over two thousand years as fresh and bright as the day they left their maker’s hands. No other objects of an age which knew not the photographic camera give us as complete a record of the actual daily life of the Greeks nor so varied a portrayal of their wonder- ful mythology and tradition which in spite of Homer and the poets would be lifeless without the complement of vase-paintings. Small wonder that countless scholars have found delight in the study of objects which best serve to breathe the breath of life into an age now dead to us! 3 Since the discovery early in the nineteenth century of the vari- ous Etruscan cemeteries, veritable gold-mines for Attic vases (one need waste no time in refuting the theory of their Etruscan origin now entirely obsolete) collectors like Sir William Hamilton (the husband, by the way, of the fair and frail Emma, Lady Hamilton), Prince Lucien Bonaparte, the Duc de Luynes, and scholars like Gerhard, Welcker, and Jahn, the pioneers in the field, found their delight in the study of these new and fascinating documents. The presence of the masters’ signatures on many of the vases added a fillip to the pursuit and laid the foundation for [ xxi ] the identification of unsigned vases now so prominent a division of the science of ceramics. Owing, however, to the lack of accur- ate reproductions, photographic or otherwise, as well as collec- tions easily accessible, interest in the subject was necessarily confined to the favored few. In passing it may be remarked that of all the scientists who have occupied themselves during the last century in the study of Greek antiquities not one has possessed a better eye, nicer taste or more intelligent discrimination than the famous French savant, the Duc de Luynes, and the student of today finds his criticism still fresh and accurate largely because his method was based on correct principles. The history of Greek pottery has been written too frequently elsewhere for this book to touch at all upon the subject. Only a brief résumé of the progress of the study may here be included. Perhaps the first really scientific treatment of the subject was contained in the Introduction of Otto Jahn’s catalogue of the Munich vase collection. More and more as the nineteenth cen- tury advanced did the various private collections find their way into museums and consequently the museum vase catalogues ~ began to assume a new importance. Reproduction on a wider scale also was made possible by the appearance of such works as the Auserlesene Vasenbilder, and the Trinkschalen und Gefasse of the German archaeologist Gerhard and the Elite Céramographique of the French scholars Lenormant and De Witte, the last entitled to the distinction of containing almost the worst and most inaccurate plates ever published. The various archaeological journals were filled with articles on new and interesting vases and by the seventies the study of Greek ceramics may be said to have been in full swing. The era of modern scientific criticism in vases may be dated from the publication of Adolf Furtwangler’s catalogue of the Berlin collection, one of the greatest works that extraordinary German scholar has left us. Before the end of the century fairly complete catalogues of the collections in the Louvre and the British Museum had been added, not to speak of a number of minor collections. Meanwhile the identification of vases with and without signa- tures was occupying the scholars, and in 1886 when the second edition of Klein’s Meistersignaturen made its appearance the [ xxii ] number of signed vases was fairly extensive. As the identity of such artists as Euphronios, Douris, Hieron, and Brygos became sharply emphasized through the study of their signed work, the -fashion prevailed of setting up the ‘ Big Four’ so to speak, as a veritable Procrustean bedstead to which every red-figured vase was fitted willy-nilly. One has only to glance hastily over the articles written before the end of the century to see how common it was to speak of a vase as ‘ style of Brygos’ or ‘ style of Hieron.’ Even Paul Hartwig’s monumental work on the Greek ‘ Meister- schalen’ which appeared in 1893 is still tarred with that brush, and though original and daring in its treatment did not materially emancipate the study of Greek vases from the conventional view. The true distinction between the formulae used by potter and ‘painter was not as yet thoroughly understood and for that reason -Klein’s Euphronios, valuable though it be, has not stood the test of time. Likewise the study of the names followed by the xanés formula occurring so frequently on vases was still bound by ‘the old idea that such names represented favorites of the vase- painters in the erastic sense and some strange and fantastic theories as to their importance in the dating of vases prevailed. By the publication of Reinach’s Répertoire in 1900 access to rare and out of print publications became possible to the general student. With the new century began the most valuable publication of Greek vases yet attempted, that of Furtwangler and Reichhold, containing more accurate drawings of most of the best-known vases than had heretofore been produced. Furtwidngler’s untimely death a few years later did not serve to interrupt its publication, his part having been entrusted to the able hands of Friedrich Hauser. As yet we do not know who has been selected to replace Hauser, whose death leaves a great gap in the archaeological world. In this publication an attempt was made for almost the first time to break away from the ‘ Big Four ’ fetish and to differentiate the work of the unnamed masters. It is to Furtwangler’s credit that he was the first to reduce Klein’s imaginary Euphronios to his true proportions and to distinguish between the vases which were rightfully his and those which belonged to different hands [ xxiii ] though the product of his atelier, and to identify two masters of the first rank, the Panaitios and Penthesilea Painters. Where Furtwiangler has led the way many have followed, but the credit for having done more than any one else to revolution- ize the study of Greek ceramics belongs to an English student, J. D. Beazley of Oxford, who in eight years has created almost a new science. His theory developed to its logical conclusion is briefly that every Attic r.f. vase can be identified as belonging to a certain hand. This of course has not been done and probably never will be, since considering the inferiority of so many of the Greek vases to do it would be useless labor. But Beazley has been responsible for the identification of more than fifty nameless painters, many of them like the Achilles, Pan, and Berlin Am- phora Painters, masters of the very first rank. While his method has not met with universal acceptance at the hands of the older archaeologists it is hard to see how that can be long delayed. The best proof perhaps of its accuracy is that in several cases practi- cally the same results have been reached by him and by other scholars working independently, like the simultaneous discovery of the planet Neptune by Adams and Leverrier. I am unable to agree with him on some of his attributions but having tested his method with considerable care as I have had to do in the prepara- tion of this work, I am obliged to declare my unqualified support of his theories. Much has been gained during the last hundred years and many of the problems which vexed our grandfathers in the scholastic field have been solved. It is my earnest hope that the publication of this work, which for the first time makes every well known vase practically accessible to the student as has never been the case before, will by its convenience spread the study of those artificers of a bygone age among a greater body of scholars and that before another quarter-century is past the problems which now vex us may be as clear as the day. [ xxiv ] < BOOK OF . . . mn . ~ . - aa ‘ * a ‘ << i? =» “ oe ~ x 5 aS * . rit 4 ‘ * - x % : . q i J z bl ; " aa * « | - a : . . : \ , bs 4 ‘ The classification of subjects which follows the list of attributed vases is based on the following principles. Mythological: All gods or their attendants and all legends in which they figure which are not classified elsewhere. Heroic: All scenes representing heroes like Herakles, Theseus, etc. Epic: All scenes taken from the Epic Cycle. Bacchic: All scenes relating to Dionysos and his following. Military: Arming scenes or combats not otherwise classified. Komastic: Scenes of revelry. Symposia: Banqueting scenes. Athletic: Athletic sports of any kind. Sacrifice: Scenes of ritual or sacrificial ceremonies. Genre: All scenes from daily life not otherwise classi- fied. All vases bearing the potter’s or painter’s signature are indicated by an asterisk after the number. As far as pos- sible in the bibliography of each vase all references which give an illustration have been placed first and in their chronological order. HANDBOOK OF mei RED-FIGURED VASES THE ACHILLES PAINTER Beazley, JHS. 1914, pp. 179-226: idem, VA. pp. 163-165. The Achilles Painter is the name given by Beazley to the name- less artist who painted the amphora in the Vatican representing Achilles on one side and a woman, Briseis perhaps, on the other. This artist was a master of distinct individuality and belongs to the early period of the Fine Style; Beazley considers him a pupil of Hermonax. On p. 219 of Beazley’s JHS. article he gives a list of forty-three white lekythoi which he attributes to this painter, but these, for obvious reasons, have not been included in the list below. ibe ATHENS CC. 1392 (1639). Lekythos. From Eretria: h. 0.38. Cat. (CC.) p. 453: Beazley, no. 25, pl. 14, 2. Man and woman at stele. . ATHENS CC. 1408, (5885) (1293). Lekythos. From Eretria: h. 0.41. Cat. (CC.) p. 458: Beazley, no. 32. Youth riding to grave-stele. . ATHENS N. 1087 (12480). Lekythos: h. 0.32. Nicole, Cat. Suppl. p. 238: Beazley, no. 23, pl. 14, I. Woman bringing a bird to another woman seated on a rock. . ATHENS 12123. Lekythos. AJA. 1906, pp. 410-11, pl. 17 (MacMahon): Beazley, no. 33. Youth leading horse to stele. . BERLIN 2332. Nolan amphora (triple handles). From Nola: Heo:2). Ga aeo20. Klein, Llp. 158: CIG,. 77007) Beazley, no. 7, fig. 5 n (B). Panofka, Higennam. p. 14: Com- paretti, Mus. Ital. ii, p. 57: Wernicke, p. 56. For graffito brat Io. II. see Cat. pl. ili, no. 2332. This is the only instance of the name Alkaios as a kados name. Munich 753 has the name Alkaios given to a figure on the vase. A. Young warrior running. AVKAIOS (retr.). Four stroke sigma, not three stroke as in Beazley. B. Bearded man with stick. KAAO8S. Graffito on foot KP. BERLIN 2346. Nolan amphora (ridged handles). From Nola: h. 0.34. an Cat. p. 635: Beazley, no. 17, fig. 5 b (B): Genick, Griech. Ker. pl. xiv—-xv, no. 2. A. Peleus and Thetis ? B. Man with stick. . BERLIN 2347. Nolan amphora (ridged handles). From Nola: h. 0.345. Cat. p. 636: Jahn, Entfiihrung der Europa, p. 8, pl. ib: Beazley, no. 18, fig. 5h (B): Overbeck, KM. (Zeus) i, P. 433, NO. 14 ¢. A. Europa on bull. B. Man with stick. BERLIN 2355. Pelike: hooi2s: Cat. p. 640: Overbeck, HG. p. 34, no. 36, pl. 2, 1: Panofka, Mus. Bart. p. 117: Beazley, no. 4, fig. 12a (A), fig. 12b (B): Roscher, iii, p. 721, no. 8: Winter, JAV. p. 60, 14. A. Oidipous and the Sphinx. B. Man with spear. BERLIN. Aryballos (squat lekythos). Beazley, no. 34 bis (‘a very slight work’). Head of Selene. BosTON 01.8077. Lekythos: h. 0.415. Beazley, no. 28, fig. 31. Zeus pursuing woman. BOSTON 03.817. Kalyx krater. From Campania: h. 0.244, Ce 2a Ann. Rep. Mus. F. A. 1903, p. 65, no. 13 (misnames it a bell krater): Beazley, no. 36, fig. 25 (A), fig. 5 0 (B). [4] EZ. 13; 14. ae 16. 17. 18. IQ. A. Zeus pursuing woman. B. Man with stick. BosTon 06.2447. Nolan amphora (ridged handles): h. 0.332. Ann. Rep. Mus. Fine Arts, 1906, p. 59, no. 3: AJA. 1911, p. 383 (Goldmann): Beazley, no. 12, fig. 7 (A), fig. 5 q (B). A. Ojidipous and the Sphinx. B. Youth with stick. BrusseEts A 1378. Lekythos. Beazley, no. 24, pl. 13: Sale Cat. Somzée Coll. pl..7, no. 49. Man and woman at stele. DEEPDENE 92.4.1 Aryballos (squat lekythos). Grp. 17,n0. 92: Beazley, no. 34. Woman and warrior. DRESDEN 308. Nolan amphora (ridged handles). Beazley, no. 16, fig. 19 (A). A. Zeus pursuing a woman. B. Man with stick. DRESDEN 315. Nolan amphora (ridged handles). Beazley, no. 19, fig. 5 p (B). A. Youth with spears and old man. B. Woman with tainia. LEYDEN 24.41. Nolan amphora (triple handles). From Italy: hee:3s- Cat. no. 41, p. 108: Beazley, no. 6. A. Eos. B. Youth with stick. Lonpon, Brit. Mus. E 320 (868). Nolan amphora. (ridged handles). Formerly in Payne Knight Coll.: h. 0.336. Cat. iii, p. 225: Beazley, no. 14, fig. 17 (part of A), fig. 5 e (B). A. Eos and Kephalos. B. Man with stick. Brit. Mus. E329. Formerly in Temple Coll. Nolan amphora (ridged handles). From Nola: h. 0.33. Cat. iii, p. 228: Beazley, no. 8, fig. 4 (A), fig. 5, x (B). 1 Acquired at the recent sale, by the Metropolitan Museum, New York. Pagel 20. Pa a2 222 24. 25. 26. a7. A. Youth and woman with armor (Thetis and Achilles ?). B. Man with stick. Brit. Mus. E 331 (869). Formerly Durand Coll. 233. Nolan amphora (ridged handles). From Nola: h. 0.342. Cat. ili, p. 229 ( by same hand as Brit. Mus. E 320’): Beazley, no. 13, fig. 16 (A), fig. 5 d (B): Hackl, p. 45, 406. A. Eos and Kephalos. B. Man with stick. Graffito =KO. Brit. Mus. E 385. Pelike. Formerly in Temple Coll.: h. 0.26. Cat. iii, p. 248: Beazley, no. 5, fig. 8a (A), fig. 5 c (B). A. Nike and young warrior. B. Man with stick. Brit. Mus. E448 (802). Formerly Canino Coll. 7. Stamnos. From Vulci: h. 0.377. Cat. ili, p. 275: Beazley, no. 35; figs 24, pieeaeeee, Jacobsthal, Gott. Vas. p. 21. A. Warrior’s departure. B. Youthful warrior’s departure. Municu 2329. Nolan amphora (ridged handles). Beazley, no. 11, fig. 15 (A), fig. 5 m (B). A. Youth giving lyre to boy. B. Man with stick. OXFORD 324. Lekythos: h. 0.31. Cat. pp. 32-33, fig. 36: Beazley, no. 26, es) ae ee ISOl Date ieee Aphrodite riding on a swan. OXFORD, Inv. 1914. 730. Kalyx krater. Beazley, no. 36 ter, fig. 29 (A), fig. 30 (B). A. Artemis and Apollo. B. Woman. OxForRD (in possession of Dr. F. C. Conybeare). Lekythos. Beazley, no. 27, figs. 2 and 22. Youth shaking hands with woman. Paris, CaB. D. MED. 357. Amphora (pointed foot): h. 0.61. Cat. p. 259: De Witte, Anzeiger, p. 213, 8: Heydemann, [6] Paris Ant. p. 76, 41: De Ridder, Mon. Piot, 1900, pp. 13- pl. 77, 1 (group of two maenads): Roscher, i, pp. 1106, 1109-10: Beazley, no. 3, fig. 11: Saglio, i, pp. 629, fig. 712; 681-2, fig. 805; ili, pp. 1485-6, fig..4767; 1956, fig. 5100: Beazley, VA. p. 163: Buschor, p. 194, fig. 141: Stephani, CR. 1863, p. 220, 2: Pottier, Louvre Cat. iii, p. 1098 (attr. to Euaion P.): Jacobsthal, Gétt. Vas. p. 5. Continuous frieze. Dionysos, maenads, and silens. Especi- ally remarkable is the group of the two maenads and the single maenad seen from behind. The vase is one of the masterpieces of ancient art. 28. Cas. D, MEp. 372. Neck amphora (twisted handles). For- merly in Beugnot Coll. From Vulci (?): h. 0.495. Cat. p. 272: Milliet-Giraudon ii, pls. 79-80: Panofka, Ann. d. Inst. 1835, p. 78: Mon. d. Inst. ii, pl. 14 = Rei- nach, i, p. 92, 1: Inghirami, Vas. Fitt. iv, pp. 93-4, pl. 365: De Witte, Cat. Beugnot, pp. 38-9, no. 38: WV. 1889, pl. 8, no. 9: Overbeck, HG. p. 11, pl. i, 3: Baumeister, p. 1040, feet oog Winter, J/AV.p. 50, c, 1: Kretschmer, pp. 171, 190-1: Roscher, s. v. “Oidipous’, pp. 709-10, fig. 2 (Héfer): Beazley, no. 2, fig. 10 (A), fig. 6 (B): Six, Jhb. 1915, p. 92, fig. 13 (figs. of Euphorbos and Oidipous): CIG. 7704. A. Euphorbos carrying the infant Oidipous. The scene is unique. EV@OPBOS OIAIFOAAS. B. Bearded man with stick. Hair outline is reserved, not incised as stated by De Ridder. 29, Paris, LouvrE G 444. Lekythos. Cat. iii, p. 1110: Beazley, no. 21, fig. 9. Nike with phiale, and warrior. ‘Traces of a second picture on the shoulder, which, with the neck and mouth, is lost. 30. Paris, Petir Patats 325. Nolan amphora (ridged handles). Beazley, no. 9. A. Diskobolos. B. Youth with strigil. 31. PETROGRAD 710 (St. 1688). Nolan amphora (ridged handles) : HaOG3. ae Ee 32. Soh 34. 35: 30: Cat. ii, p. 267 (W. p. 91): Beazley, no. 18 bis, fig. 13 (A), fig. 5 f (B). A. Youth and boy with lyre. B. Youth. , PETROGRAD 767 (St. 1535). Kalyx krater: h. 0.25. Cat. ii, p. 200 (W. p. 90): Beazley, no. 36 bis, fig. 5 k (part of B): Overbeck, KM. (Poseidon), p. 371, no. 6. A. Poseidon and Amymone. B. Woman running to man. PETROGRAD 713 (St. 1536). Nolan amphora (triple handles) : h. 0.33. Cat. ii, p. 200 (W. p. ney CR. 1865, p. 41, 45 (A) = Rei- nach, p. 54, no. 2: Beazley, no. 5 bis, fig. 28 (A), fig. 5a (B). A. Nereid riding on dolphin, holding a helmet in her l. (Thetis ?). B. Youth with stick. RICHMOND, COLL. StR FREDERICK Cook. Lekythos. Beazley, VA. p. 164. Two women. RoME, VATICAN 487 (81). Amphora: h. 0.60. Mus. Greg. ii, 58, 3 (ii, 62): Helbig-Reisch, Fiihrer, i, p. 307: Overbeck, HG. p. 387, no. 11, pl. 16, 2: Gerhard, Aus. Vas. pl. 184 = Reinach, ii, p. 91, 7 (bad reproduction): JHS. 1880, pl. vi (bad reproduction): Klein, Euphr. p. 246: Winter, JAV. pp. 20, 28, 58, B, 2: Beazley, no. 1, fig. r (A): Roscher, i, p. 14 (A): JHS. 1916, -p. 394, fig. 12 a (head of Achilles): Saglio, i, p. 28, fig. 54 (A): iii, p. 36, fig. 3723 (A): p. 1307, fig. 4528 (detail of A): Luckenbach, p. 552: CIG. 7650. A. Youthful warrior, Achilles. A+ IAAEV8. B. Woman with oinochoé and phiale (Briseis ?). Graffito on base JV. SYRACUSE... 21133... Lekythos. From Gela. Shoulder and neck missing. Orsi, Mon. Ant. Linc. xvii (1907), pp. 395, 397, an 290: Beazley, no. 31. Young warrior pursuing woman. [8] 37 a-b. SyRAcUSE. Two lekythoi. a. 19894, Beazley, no. 30, fig. 23. b. Beazley, no. 209, fig. 3. Nike and youth. Two women. 38. SYRACUSE 19859. Nolan amphora (ridged handles): h. 0.33. Beazley, no. 10, fig. 14 (A). A. Nike and youth. B. Man with stick. 39. SYRACUSE 21186. Lekythos. From Gela: h. 0.42. Mon. Ant. Linc. 1907 (xvii), p. 321, pl. 8: Beazley, no. 22, fig. 20. For the name Kleinias cf. Klein, LI. pp. 162 ff.: Pollak, Rom. Mitt. 1898, p. 88. Artemis with torch and woman tying her girdle. KAAOS PHAIOXS. 40. ? Formerly in Collection Paravey, Paris. (ridged handles). KAENIAS Nolan amphora El. Cér. iii, pl. 20: Beazley, no. 15, fig. 18 (A), fig. 5 g (B). A. Zeus pursuing a woman. B. Man with stick. 41. ? Formerly in Canessa Coll., Paris. handles). Sale Cat. Canessa Coll. 1910, no. 171, no. 20. Nolan amphora (ridged pl. 20: Beazley, A. Ojidipous and the Sphinx. B. ‘ Figure drapée.’ SUBJECTS Bacchic, 27. pepuichral; 1,2, 4, 13. Mythological, 6, 7,9, 10, 11, 15, 17, 18, 20, 21-27, 29, 32, 33, 37 a, 38, 39, 40. Heroic, 8, 12, 15, 19, 28, 35, 41. rene 720, 23, 25, 26, 28, 31, 34, 37b. Military, 5, 14, 16, 22, 24, 36. Athletic, 30. SHAPES B.f. form, 35. Nolan, 5-7; 12, 15- 20, 23, 39, 31, 33) Amphora sons Neck, 28. Pointed foot, 27. Pelike, 8, 21. Stamnos, 22. Krater, Kalyx ri 26-32; Lekythoss1—3;.4;-10, 13, 24, 20, 29, 34, 36, 37 a-b, 39. Aryballos, 9, 14. Lo] AGATHON The potter Agathon is known to us only by a small pyxis in Berlin. His painter seems to have been a contemporary of Megakles and a good example of the ‘ miniaturist ’ style. t*, BERLIN Inv. 3308. Pyxis. From Attica: h. 0,165, d. 0.13. Furtwangler, Arch. Anz. 1895, p. 38, no. 30, figs. 12, 13. F.R. 1, p. 290. Ducati, Midia, p. 37. Nicole, Corpus, no. 67. Gods. Zeus, Iris, Ares, and Nike. , JEVSs (r.) [IJ]PIS ATAOQN APH NIKH (z.) EPOIHSEN. SUBJECTS SHAPES Mythological, 1*. Pyxis, 1%, [ 10 ]
Wermmicke wigs
Hauser, Jhb. 1912, p. 31, fig. 4: F.R. ii, p. 77, figs 4a (A):
Beazley, no. 7: Roscher, i, p. 152 (detail of A): Duruy,
Hist. ii, p. 254 (A): Hartwig, p. 578: Welcker, Alt. Denk.
v, p. 297 (A): Saglio, v, p. 537, fig. 7165 (fig. of Klytaim-
nestra: WV.1, pl. 1, 1.
A. Death of Aegisthus. A-AISOOS (r.) OPESSTES
KVVTA-MEST“A (r.) EV. KTRA.
B. Scene in palaistra. N[I]KOSTRATOS (r.).
4. COPENHAGEN 125. Amphora.
Ussing, To graeske Vasez. p. 7, pl. 1: Beazley, no. 1.
A. Old man walking, attended. by black boy.
B. Youth buying amphora.
[200 J
5. Lonpon, Brit. Mus. E163. Formerly Canino Coll. 1693.
Hydria. From Vulci: h. 0.563. The vase is of the older
shape. Decoration on body only.
Cat. ill, p. 148: Stuart, Archaeologia 23, p. 242: CIG.
7748, 8345 q: Birch, Class. Mus. ii, p. 417: Rev. Arch.
Pee o21; Folzer, p, 116, no. 187: AZ, 1846, p. 287:
Pyl, de Medeae Fab. p. 60: Aus. Vas. iii, p. 28: Heyde-
mann, Jason in Kolchis (Hall. Winck. Progr. 1886), p. 19,
note 48: Hackl, p. 50, no. 569; 51, 576: Schone, p. 658,
no. 31: Beazley, no. 4: Roscher, s.v. Jason, pp. 84-85.
Renewing of Jason’s youth. MEAEIA (r.) IASON.
Graffito on base AHK VAPI. Also a monogram like Hackl,
fe. no, 575 (0. plate).
6. Brit. Mus. E 350 (old no. 808). Formerly Canino Coll. 42.
Diota. From Etruria: h. 0.455.
Cal. iil, p. 234, pls. 13 (A), 18, 1 (B), ( after Douris’):
Murray, Handbook, pl. vii, 2 (A): CIG. 7449: Jahn,
Vasenb. p. 25: Heydemann, Satyr- u. Bakchennam. p. 27:
Klein, LI. p. 130: Beazley, no. 2: Saglio, i, p. 814, fig.
4256 (head of nymph).
A. Dionysos and nymph. AIONV20O& (r.) NVN¢AIA HO
PAIS KAVO8.
B. Two women. KAPTON KA\O. (r.) KAVE NAIXI (z.).
7. Brit. Mus. E 442 (old no. 784). Formerly Canino Coll.
1492. Stamnos. From Vulci: h. 0.345.
Cat. iii, p. 270: Beazley, no. 8: W. Miiller, p. 29, no. 16:
Wulff, p. 46.
A. Theseus and Marathonian bull.
B. Theseus and Prokrustes. KA\VOS.
8. MunicH 2408 (Jahn 343).!_ Stamnos.
Cat. (Jahn), p. 107: Beazley, no. 9.
A. Daughters of Pelias.
B. Women and old man.
9. Paris, Louvre Gi14. From Etruria. Stamnos: h. 0.255,
d.o.18. The vase is in very bad condition.
1 Cf. Aus. Vas. pl. 157, 3-4 = Reinach, ii, p. 81, 3, 4. According to Jahn the
vase in the Aus. Vas. is a duplicate of the Munich vase, but not the same.
[ 2or ]
Cat. iii, p. 952 (‘style suggests group of Hieron and
Douris’): Beazley, no. 10: Saglio, iv, p. 1456, fig. 6565 (A).
A. Herakles and Dionysos at banquet. TOITENAE VWVKOI.
B. Three women running.
10. LouvrRE Gigo. Formerly in Campana Coll. Stamnos: h.
0.335, d.0.175. The vase is in bad condition.
Not mentioned in Catalogue: Beazley, no. 11.
A. Men and youths.
B; Same.
11. WURZBURG 316. Stamnos. Formerly in Feoli Coll.: h. 0.35.
Cat. p. 71: Panofka, Arch. Anz. 1847, p. 24: Boehlau, AZ.
1883, pp. 215-222, pl. 12 = Reinach, i, p. 449: Beazley,
no. 13: Walters, li, p. 150: Harrison, Myth. p. 84, fig.
19 (A): Baumeister, iii, p. 1988, fig. 2132 (A): Duruy,
Hist. i, p. 452 (A): AJA. 1918, p. 151, fig. 5.
A. Harmodios and Aristogeiton.
B. Komos.
12. ? Stamnos. Formerly in Campanari’s possession, Rome.
From Vulci.
DeWitte, Cab. Durand, no. 38: Gerhard, Aus. Vas. pl.
301 = Reinach, li, p. 148, 6-7: Heydemann, Pariser
Antiken, p. 89 (A): Beazley, no. 12: Baumeister, iii,
p. 1919, fig. 2034: Saglio, i, p. 363, fig. 455: Schreiber,
Bilderail. pl. 82, 1 (A).
A. Women folding clothes.
B. Woman, youth, and man.
SUBJECTS | SHAPES
Myth., 2 a. | - Amphora, 4.
Heroic, 2b, 5,7; 8: Pelike, 1.
Epic, 3. Stamnos, 3, 7-12.
Bacchic, 6, 9. Hydria, b.f. form, 5.
Historic, 11. Krater, Volute, 2.
Athletic, 3. Diota, 6.
Komastic, I1.
Genre, I, 4, 10, 12:
_ [ 202 ]
THE PAINTER OF THE DEEPDENE TROPHY PELIKE
Beazley, VA. pp. 161-162.
To the painter of the pelike at Deepdene,! representing Nike
erecting a trophy, Beazley has given this name. The artist was
active during the early period of the Fine Style.
1. BERLIN 2354. Pelike. From Nola: h. 0.25.
Cat. p. 639: Frankel, AZ. 1876, p. 125, pl. 11 = Reinach,
1, 417, 5-7: Heydemann, Bull. d. Inst. 1869, p. 191, no,
12: Genick, pl. 23, 3: Winter, JAV. p. 60, 20: Beazley,
no. 4.
A. Athena and man.
B. Woman.
2. BRUNSWICK, BowDOoIN COLLEGE. Lekythos: h. 0.26.
Beazley, no. 6, fig. 98.
A. Woman seated, and woman standing with lyre. On foot-
stool KA...
3. DEEPDENE 84. Pelike.
_ Sale Cat. p. 16: Tischbein, iv, pl. 21 (A) = Reinach, ii, p.
326, 4: El. Cér. i, p. 304, pl. 94: Inghirami, Vas. Fit. ii,
pl. 164 (A): Migliarini, Ann. d. Inst. 1852, p. 101 (eye
as detail): Beazley, no. 1: Roscher, iii, p. 326, 5 (A).
A. Nike erecting a trophy.
B. Youth.
4. Lonpon, Brit. Mus. E 316. Formerly Castellani Coll. 1873.
Nolan amphora. From Capua: h. 0.34.
Cat. ili, p. 223, pl. xii: Hauser, Oesterr. Jhresheft. (viii),
1905, p. 28, fig. 3 (A): Walters, i, pl. 36: Beazley, no. 5.
A. Seated Athena and woman.
B. Woman.
5. Brit. Mus. E407 (old no. 930). Pelike. From Nola:
h. 0.261.
1 The pelike was acquired at the recent sale of the Hope Collection by the
Boston Museum of Fine Arts.
[ 203 ]
Cat. ili, p. 255: Kekulé, de fabula Meleagreo, p. 40: Vogel,
Scenen Eurip. Tragod. p. 85: Beazley, no. 3.
A. Artemis and youth.
B. Woman.
6. PETROGRAD 732 (St. 1676). Pelike. From Nola: h. 0.25.
Cat. ii, p. 259 (W. p. 94, pl. 1): CR. 1868, p. 79 = Reinach,
i, p. §5, no. 13: Beazley, no. 2.
A. Woman playing flute, woman playing lyre, and tiny Eros.
B. Youth. :
SUBJECTS SHAPES
My tga ears Amphora, Nolan, 4.
Genre, 2, 6. 3 Pelikejasyig-so:
Lekythos, 2.
[204 J
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THE DIOGENES AMPHORA PAINTER
| Beazley, VA. p. 52.
This artist is a contemporary of Myson and the Eucharides
Painter, identified by Beazley. No. 2 in the list below was
included by Hartwig in his list of attributions to the Diogenes
(i.e. Foundry) Painter.
1, BOSTON 13.200. Hydria: h. 0.417.
Ann. Rep. Mus. F.A.1913, p. go: Bull. Mus. F.A. xii, p. 6:
Beazley, VA. p. 52.
Carpenter, Danae, Perseus, Akrisios, and Eurydice.
Shoulder. Theseus and Marathonian bull.
2. Lonpon, Brit. Mus. E 261. Formerly in Blacas Coll.
Amphora. From Vulci: h. 0.56.
Cat. ili, p. 197: Durand Coll. 430: Magnoncourt, 66:
Gerhard, Rapp. Volc. p. 742, e: CIG. 7475 b: Gerhard,
Aus, Vas. pl. 273 = Reinach, ii, p. 135, 1-2, (Gerhard
falsely places the vase in the Vatican): Lenormant, Gaz.
Arch. 1875, pls. 3-4, p. 13: Wernicke, p. 62, no. 3: Hart-
wig, p. 385 (attr. to Foundry P.): Klein, LJ. p. 102, no. 3:
Beazley, VA. p. 52: Hauser, F.R. ii, p. 281 (considers
vase allied in style to the Kroisos amph., v. Myson 16):
Hackl, p. 22, no. 67.
A. Youths and boys. ANTIMENON (r.) ORASVKVEIAES
(r.) AIOAENES (r.) KAVOS.
B. Dionysos and silens.
Graffito on base A. Dipinto on base OS.
3. PETROGRAD. Column krater. From Kertsch.
Cat. (W.) p. r110 (no number given): Beazley, VA. p. 52.
A. Zeus and Athena.
B. Missing.
4. RoME, VATICAN 489 (84). Amphora. From Vulci: h. 0.46.
Helbig-Reisch, Fiihrer, p. 308, no. 489: Mus. Greg. ii, pl.
[ 206 ]
56, 1 (60, 1): Overbeck, KM. (Poseidon) p. 331, no. 8:
pl. xii, 25 (A): Beazley, VA. p. 52.
A. Poseidon and Polybotes.
B. Warriors. .
eens (=) KAYO FON Al,
Graffito.
SUBJECTS SHAPES
Myth., 3, 4. Amphora, b.f. form, 2, 4.
Heroic, 1. Hydria, b.f. form, 1,
Bacchic, 2. Krater, Column, 3.
Genre, 2.
Military, 4.
[ 207 ]
DOURIS
Frucht, Die signierten Gefasse des Duris.
Pottier, Dourts,
Helbig, Ann. d. Inst. 1873, pp. 53 ff.
Michaelis, AZ. 1873, pp. 10 ff.
P. J. Meier, AZ. 1883, pp. 1 fi.
~ Klein, pp. 150-161.
Reisch, Rim. Mitt. 1890, pp. 335 ff.
Walters, 1, pp. 434-436.
Robert, in Pauly-Wissowa, s.v. Duris.
Sauer, in Thiemes Lex.
Hartwig, pp. 200-230, 583-627.
Hauser, BPW. 1906, p. 403.
Furtwiangler in F.R. i, pp. 267-271: Hauser, ibid., iii,
Ppp. 87-90.
Waldhauer, Rev. Arch. 1913, 1, pp. 31-40.
Buschor, p. 174.
Perrot and Chipiez, x, pp. 523-554.
Romaios, Ephem. Arch. 1907, pp. 219-238.
Beazley, VA. pp. 97-100.
Nicole, Corpus 74.
Buschor, Jhb. 1916, pp. 74-95.
With the exception of Hieron we have more signatures of
Douris than of any other artist of the r.f. period. ‘Twenty-three
complete vases are preserved today bearing his signature as
painter and on one (13*) he adds the ézoinoev formula as well,
thereby proving the existence of his own factory. Further, we
have six vases in a more or less fragmentary condition, and a
seventh (2*) which though lacking a signature is a duplicate of
its fellow in Berlin (3*) which bears the joint signatures of Kleo-
phrades as potter and Douris as painter. Four vases have en-
tirely disappeared (36*—39*). All are kylixes with the exception
of 1* (doubtful shape), 13* (kantharos) and 18* (psykter).
In addition we have five lekythoi (7*, 32*-35*) which are
obviously by the same hand and bear the name AORIS alone
without the verb. Whether these were the work of Douris
- £ 208 }
has been hotly disputed. Klein and Beazley reject them abso-
lutely; Hartwig, Pottier, Perrot, and Romaios accept them.
From their style as well as the forms of the letters employed, the
latter view seems to have some good reason.
The usual form of the signature is AORIS EARAQOSEN but the
following variations are to be found.
Attic rho in the name: 8", 16*.
Ionic sigma in the name: 3”, 11*, 14*, 28*, 30%, 31*.
Attic rho in the verb: 3*, 8*, 16*.
Ionic sigma in the verb: 11*, 28*, 30*, 31*.
Gissed celta in name: 3*,°8*, 0", 11°, 14*, 15*, 18*.
1*
The following xadés names are used by him.
eEesE a Oaret GIL 1197, 14°, 15°, 22°, 26%, 31*;
Aristagoras: 18*; Panaitios: 2*; Hippodamas: 4*,12*,
25°; Hermogenes: 10%.
As we see from 13* he was the master of his own atelier. In
his earlier years he painted for no less than three different potters,
Kleophrades (3*), Kalliades (19*), and Python (25*, 30* and 31°*).
Douris never rises to any great heights; in fact he may be
called a pot-boiler; but judging from the number of his vases in
existence he evidently managed to hit the popular taste of his
time. As a rule his work is quite unmistakable, especially his
female heads which are quite suz generis.
At the same time there exists a considerable difference of
opinion among scholars as to the vases which should be attributed
to him. Most of those which Hartwig assigned to his ‘ Twig
Master’ are probably Dourian; again a number of vases which
figure among the attributions below have been indiscriminately
attributed to Euphronios, Peithinos, and Hieron.
1*, ATHENS. Vase-shape uncertain (fragment). From Acropolis.
The fragment is not mentioned in the Catalogue. It is
doubtful if it belongs to a kylix.
Tsountas, Ephem. Arch. 1885, p. 56.
Hartwig, p. 230. FODert, NOwT a.
Nicole, Corpus, no. 74, 21. Frucht, no. 29.
I. Traces of a figure and the signature. AORIS E[ARAO-
SEN].
£209 J
2*, BERLIN 2283. Kylix.!. From Vulci: h. 0.155, d. 0.443.
Companion-piece to Berlin 2284.
Cai, p. 567:
AZ. 1883, pp. 1 ff., pl. 1, 2 (Meier) = Reinach, i, p. 444.
Nicole, Corpus, no. 74, 2.
Frucht, no. 7.
Roscher, iil, p. 325.
Klein, no. 5.
Beazley, no. Io.
Buschor, Jhb. 1916, p. 80.
For additional literature v. Berlin 2284.
About two-thirds of the vase preserved. Although the
signature is missing there can be absolutely no question
of the authorship. The foot of 3* with the Kleophrades
signature might possibly belong to this vase.
I. Winged Nike and youth in armor. KAV-- Around
central medallion a frieze of quadrigae. KAVO2 PANAI-
THOS dae:
A. Scene from palaistra. Eight youths. [TANAITIO&
[K]AVOLS}].
B. Thesame. Four youths. KAV[O8] (retr.).
1 The small fragment on p. 211 belongs to no. 3*. The exterior design of no.
2* is on p. 213.
bua
a A
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21a
5 "Gs es
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9
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Farr]
3°. BERLIN 2284. Kylix (fragments).! From Vulci. Companion-
piece to Berlin 2283 with the same subjects except that
the quadrigae in the outside frieze on the interior face
to the 1. The foot might possibly belong to no. 2*.
Cat. p. 570.
Nicole, Corpus, no. 74, 3.
Robert, no. 3. |
Jhb 1887.) .104-
Buschor, Jhb. 1916, p. 80.
Helbig, Bull. d. Inst. 1881, pp. 242 ff.
Klein: pyts3 sang: 6:
Furtwiangler, AZ. 1883, p. 183.
Hartwig, p. 222.
Wernicke, p. 86, 5
Beazley, no. 9.
Frucht, no. 8: v. also Kleophrades 1*.
KVE[OO]PA[AES EPO]IESEN (painted on foot).
A. AORIS EAP[AOZEN]. |
B. +AIRESTLTRATO® KAVO8}].
1 Only the lower fragment on p. 213 belongs to no. 3*.
Cate]
[y273..]
4*. BERLIN 2285. Kylix. From Caere: h. 0.115, d. 0.285.
Cali pas7i: Nicole, Corpus, no. 74, II.
WV. vi, pl. 6. Pottier, Douris, p. 108, fig. 22.
Hartwig, p. 597. Buschor, p. 176, fig. 126 (A).
Robert, no. 13. ~ Walters, i, p. 435, pl. 39 (A).
Frucht, no. 20. —Rayet-Coll. p. 179, fig. 72 (A).
Wernicke, p. 68. - Michaelis, AZ. 1873, pp. 1 ff., pl. 1.
Klein, p.155,no.9. Helbig, Ann. d. Inst. 1873, pp. 53 ff.
‘Mon. d. Inst. ix, pl. 54 = Reinach, i, pp. 196, 414.
Hauser, F.R. ii, pp. 87-90, pl. 136, 1.
Per. and: Chip. x,-p- 551, figa1y7 (4s
Diitschke, Jhb. 1912, p. 130, fig. 2 (detail of A).
Baumeister, iii, p. 1539, fig. 1603 (detail of A); p. 1580,
fig. 1652. |
Saglio, ii, p. 468, figs. 2598-99 (ext.); v, p. 648, fig. 7313 (A).
Girard, Educ. Athén. p. 103, fig. 5 (A): p. 105, fig. 6 (B).
Duruy, Hist. i, p. 630; ii, p. 228 (A and B).
Winter, Kunstgesch. in Bild. i, pl. 89, 4.
Hoeber, Griech. Vas. fig. 47 a—b (ext.).
I. Youth washing. AORIS EARAQOSEN.
A. Schoolscene. Instruction in poetry and playing the lyre.
Three bearded teachers and two youths. HITOAAMASs
KAVOs. Onroll MOISAMO!I AOISKAMANARON EVRQN
AP+OMAI AEINAEN.
B. Thesame. Lessons in singing and writing. Two youths,
two boys, and a bearded man. HIPFOAAMAS [KA]\OS.
[ 214 ]
[ez |
5*, BERLIN 2286. Kylix (foot wanting). From Caere: d.o0.32.
Cahn Des 7s
Meier, AZ. 1883, p. 20, pl. iv = Reinach, i, p. 445.
Klein, p. 156, no. 12.
Nicole, Corpus, no. 74, 23.
Hartwig, p. 589.
Robert, no. 23.
Frucht, no. 16.
Beazley, VA. p. 98, note 1 (declares signature to be a
forgery). 7
Buschor, Jhb. 1916, p. 75, pl. 2.
I. Symposium. AORIS EARAQOSEN.
A and B. Men and women.
1 Beazley includes this vase among the works of his ‘ Painter of Louvre G 187’
(q. v.).
. [ 216]
J 2. Arps
a \ 5Y
ers + AK ‘3
\ SK
ee A SP | a3
Bie Gp ~-&® "0
Bw
6*, BERLIN 2287. Kylix (outer part and foot wanting). From
Caere.
Cary. aa:
Meier, AZ. 1883, p. 13, pl.:3 = Reinach, 1, p. 445.
AZ. 1878, p. 165.
Robert, no. 21.
Frucht, no. 26.
Klein, p. 159, no. Ig.
Nicole, Corpus, no. 74, 22.
Hartwig, p. 612.
Robert, Szen. d. Ilias (15 Halle Pr., p. 6, figs. 3-5).
Girard, Peinture, p. 195, fig. 110 (1).
I. Combat of two hoplites. AORIS EARAQOSEN.
A and B. Combat, five hoplites on each side.
1 nate al
LZ,
£ iy yy } }
AD)
‘
“|
x
*
‘
As ; 5
4 tS
7 Ps
.
‘
&
7*, BERLIN, Inv. 4838. Lekythos. From Greece: h. 0.225.
Romaios, Ephem. Arch. 1907, p. 222, fig. 1.
A. Woman with torches. On her cloak (letter to each fold
AORISs.
[ 221 |
8*. Bonn, AKAD. KUNSTMUSEUM.! Kylix: h. 0.125, d. 0.33.
WY. vil; 5.
Klein, p. 158, no. 17.
Robert, no. 17.
Bull. d. Inst. 1878, p. 72.
Hartwig, p. 589.
Frucht, no. 17.
Nicole, Corpus, no. 74, 19.
Eitrem. zur Iliasanalyse. (Videnskabs.-Selskabets Skrifter,
Christiania IT hist. filos. Kl. 1901, 2, pp. 33 ff.).
I. Warrior. AOPIS EAPAQOSEN (r).
A. Warriors arming. KA[\O]s. ‘Traces of other letters.
The vase has been repainted.
1 Formerly in Professor Loeschcke’s possession.
[ 223 ]
*
g*. Boston 95.31. Kylix. Formerly in Van Branteghem Coll.
From Corneto: h. 0.079, d. 0.21.
Ann. Report Mus. Fine Arts, 1895, p. 20, no. 18.
Nicole, Corpus, no. 74, 6 (fails to mention present loca-
tion).
Van Branteghem Sale Cat. pl. 19, no. 67.
Kleiniaos p90) n0..7-
Frucht, no. 11.
Hartwig, p. 210, pl. 22, 1.
Robert, no. 6.
Beazley, VA. p. 98.
Per. and Chip. x, p. 553, fig. 318.
Roscher, 1, p. 2760.
Buschor, Jhb. 1916, p. 81.
Elderkin, AJA. 1910, p. 189.
Hauser, Philologus, 1894, pp. 209-218.
Wolters, Szizber. Bayer. Akad. 1913, 4 p. 15.
I. Zephyros carrying away a youth (Hyakinthos ?)
AORIS EARAO[S]EN : +AIRESTLRATOS] KA[VO]s.
[224]
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(c}
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[ 225 ]
10°, BOSTON 08.930. Kylix: h. 0.101, d. 0.275. Handles mis-
sing. The foot is ancient but does not belong to the
vase, which was bought in two different lots.
Ann. Report Mus. Fine Aris, 1898, p. 65; NOys0:
Beazley, VA. p. 98.
Arch. Anz. 1899, p. 144, no. 39.
Frucht,; no. 13: >
Buschor, Jhb. 1916, p. 81.
I. Bearded man balancing on r. foot with arms extended.
AORIS EARAQOSEN.
A and B. Bacchic komos.
{ 226 ]
11*, BOSTON 00.338. Kylix. Formerly in Bruschi Coll. From
Corneto: h. 0.095, d. 0.24.
Ann. Report Mus. Fine Arts, 1900, p. 39, no. 8.
Robert, no. r. 7
Dennis, Cities and Cemeteries of Etruria, i, p. 410.
Reisch, Rom. Mitt. 1890, p. 331 ff. figs. 5 and 6.
AJA, 1001, p.302:
Hartwig, pp. 206-210, pl. 21.1
Per. and Chip. x, p. 528,4ig. 205 (2);
Klein, LI. p. 98, 5.
Beazley, no. 6.
Frucht, no. 2.
Buschor, Jhb. 1916, p. 80.
Nicole, Corpus, no. 74, I.
I. Diskobolos. AORIZ EARAOSEN.
A and B. Warriors in combat. [+AI]REST[RA]TOS
KAVOS. +[AIJRESTRATO[S] KAVOS.
Graffito on foot AY. :
1 The vase has been cleaned since published by Hartwig and the inscriptions
are clearer.
28a
4
[ 229 ]
12*, BosTON 00.499. Kylix. From Orvieto: h. 0.12, d. 0.31.
i
Ann. Report Mus. Fine Arts, 1900, p. 40, no. 9.
Not. d. Scav. 1886, p. 120.
Tarbell, AJA. 1900, pp. 183-191, cn 1; igs: 133
Arch. Anz. 1901, p. 166, no. 9. .
Beazley, VA. p. 98.
Robert, no. 14.
Frucht, no. 109.
Nicole, Corpus, no. 74, 12. :
Dionysos with kantharos. AORIS EARAOSEN. By
error the sigma in éypadcev on fig. 1 in Tarbell is four-
barred instead of three.
A and B. Silens and maenads. HIFTOAAMA2 KAVOS.
23t
13*. BRrussELs, Mus. DE CINQUANTENAIRE. Kantharos. Form-
erly in Campana Collection.
Caen 20;
Brunn, KG. ii, p. 668, no. 2.
Robert, no. 11.
Frucht, no. 12.
Memorie d. Inst. ii, pl. 5, p. 399 = Reinach, 1, D. Onis
CIG.Stso:
Roscher, 1-p2203250) aan
AZ, 38405 DD. 207% 3008
WV = vi, Aas ©
Nicole, Corpus, no. 74, 31.
FR, pp: 65-87; pli 74.
Panofka, Higennam. p. 39.
Pottier, Douris, pp. 15, 79, fig. 1.
Wernicke, p. 86, no. 5.
Klein, p. 160, no. 22.
Michaelis, Jhb. 1886, p. 36, note 1 (form of quiver and
bow).
Hartwig, p. 215.
Per. and Chip: x, pp..5435545, @$.03 tes oa
Beazley, VA. p. 97.
Buschor, Jhb. 1916, p. 81.
A. Herakles in combat with Amazons. AORIS EARAQOSEN :
AORIS EP[OIESEN].
B. Similar combat. Bearded warrior (Telamon ?) with .
Amazons. +AIRESTRATOS KA\VOS.
0232]
*
‘
4
‘
,
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A. , :
14*, FLORENCE 73750. Kylix.! From Orvieto ?: h. 0.10, d. 0.29.
. Hartwig, p. 211.
Robert, no. 9.
Frucht, no. 30.
Klein, LI, p. 99, no. 6.
Nicole, Corpus, no. 74, 9.
~ Buschor, Jhb. 1916, p. 81.
I. Man holding hare. A[ORI]= EALRJASE[N].
A. Two men and two youths. HO PAI[= +AIRE]2T[LRA-
TJOfS KA]VOS.
B. Same.
1 In spite of every exertion it has proved impossible to secure a photograph of
this vase.
[235]
15*. LonpoN, Brit. Mus. E 39:. Kylix. Formerly in Canino
Coll., R. Rochette Coll., Blacas Coll. From Vulci:
heog.t05, dio.275:
Cat. il, p. 64.
Dubois, Vases de eons DIAS
WV. viii, I.
Frost, JHS. 1906, p. 219,. Be 12 (restorations omitted).
CIG. 8149.
Brunn, KG. ii, p. 669, no. 7.
Murray, Des. no. 24 (I).
Panofka, Eigennam. p. 38.
Jiithner, p. 66, fig. 53.
Klein, p. 152, no. I.
Wernicke, p. 85.
Robert, no. 7.
Jhb. 1896, p. 27, fig. 8.
Hartwig, p. 205.
Nicole, Corpus, no. 74, 7.
Gardiner, Greek Ath. Sp. p. 404, ae ey.
Frucht, no. 1 (the earliest of the signed vases).
Buschor, Jhb. 1916, p. 80.
I. Athlete. XAIRESTRATOS KAVOS.
A. Scene from palaistra. Boxers. AORIS [EA]RAQOSEN.
B. Same. KAVOS.
Pleo
«i
Ii .
Ns
(A
, iY
i
° Ap
£238]
16", Brit. Mus. E 48 (824).! Kylix. Formerly Canino Coll.
Pe ee FOr V ules. hh) o.125, d. 0.327).
Crh D573:
Mus. éir. 183.
DeWitte, Descrip. no. 1 and 6.
CiG, 8146, 8157.
Brunn, KG. ii, p. 668, no. 3; idem, Abh. Bayer. Akad.
167 210.-197. .-
Frucht, no. 18.
Walters, i, pl. 1.
Gerhard, Aus. Vas. p. 153, pl. 234 = Reinach, ii, p. 234.
- Robert, no. 28.
WV. vi, 3.
Per. and Chip. x, pp. 537-538, figs. 304-306.
Wulff, p. 46, d. |
Murray, Des. no. 29 (J), p. 13, fig. 6 (A).
Baumeister, ili, p. 1789, fig. 1873. |
Pottier, Douris, p. 53, fig. 11.
Roscher, iv, p. 1012.
Klein, p. 158, no. 16; Euphr. p. 196, g.
C. Smith, Jhb. 1888, p. 142.
Milani, Mus. Ital. iii, p. 235, d.
Nicole, Corpus, no. 74, 25.
Hartwig, p. 613.
Gardiner, Greek Ath. Sp. p. 394, fig. 124 (detail); idem,
JHS. 1905, p. 285, fig. 21 (A).
Reinach and d’Eichthal, Bacchylides, p. 48.
W. Miller, Theseusmetopen, p. 17, no. 71.
I. Theseus and Minotaur. AOPIS EAPAQOSEN.
A. Labors of Theseus, Skiron and Kerkyon.
B. The same. Krommyon sow and Sinis.
1 According to the C/G. there is a graffito on the foot but this is not mentioned
in the Catalogue.
L 239 J
17*, Brit. Mus. E 49 (852). Kylix. Formerly Canino Coll.
1184. From Vulci: h. 0.127, d. 0.314.
Cat. iii, p. 74. | Graffito in old Ca#. pl. B.
WV. vi, Io. |
CIG. 8147.
Robert, no. 25.
Frucht, no. 23. |
Murray, Des. no. 30 (I); Handbook Greek Arch. pl. v (ext.).
Klein, p. 154, no. 7. .
Brunn, KG. ii, p. 669, no. 6.
Saglio, iii, p. 1722, fig. 4906 (banqueter).
Hartwig, p. 605. |
Jacobsthal, Gott. Vas. pp. 50, 51, 57, fig. 78.
F.R. ii, p. 82, fig. 45 (detail of A).
Nicole, Corpus, no. 74, 24.
Schreiber, Bilderatl. pl. 77, 9 (A).
Buschor, Jhb. 1916, p. 80.
I. Bearded man with staff. AORIS EARAQOSN (retr.).
A. Symposium. Three men on couches attended by two
boys. KAVOS KAV\VOS.
B. The same.
Graffito on foot LAG.
C240]
5
2 Dy
J
[ 242
18*. Brit. Mus. E 768. Psykter. From Caere: h. 0.285.
Cat. ili, p. 363.
Robert, no. 10.
Frucht, no. 15.
WV. vi, pl. 4.
Nicole, Corpus, no. 74, 10.
Bull. d. Inst. 1866, p. 185.
F.R. 1, pp. 246-248, pl. 48.
Pottier, Douris, fig. 14.
Wernicke, p. 59, no. I.
Roscher, iv, p. 462.
Peleioe e101, No. .23.
Hartwig, p. 226.
Per. and Chip. x, p. 529, figs. 296-297 (falsely called a
kylix).
Hoeber, Griech. Vas. fig. 57.
Buschor, p. 175, fig. 125; idem, Jhb. 1916, p. 80.
Saglio, v, p. 614, fig. 7238 (two silens).
A and B. Revel of silens. Continuous frieze of eleven figures.
ARISTAAORAS KA\VOS AORIS EARAQOSEN.
[ 243 ]
19*. Paris, LouvRE Giis. Kylix. From Sta. Maria di Capua:
komad sans: ,
Cat. 11; p. 954-
Pottier, Douris, p. 67, figs. 8-10.
Wavy:
DeWitte, Cat. Paravey, no. 82; Cat. d’une coll. no. 75.
Fréhner, Mus. de France, pls. xxii: Choix, pls. liv.
Harrison and MacColl, pl. 18 (Z).
Brunn, Troisch. Misc. ii, p.:201,
Nicole, Corpus, no. 74, 16.
Robert, no. 24, Bald u. Lied, p. 98: ‘Scen. d. Ilias, p. 7,
figs. 6-7 (ext.), 12 (J).
Frucht, no. 27.
Meier, AZ. 1882, p. 18.
Wernicke, p. 66.
Klein, p. 160, no. 21.
Per. and Chip. x, p. 530, fig. 299, mi xi iD ha. gor (A),
302 (B).
Furtwangler,; Aegina, p. 343.
Hartwig, p. 615.
Roscher, i, p. 1266 (J).
Diimmler, BPW. 1891, p. 469.
Beazley, VA. p. 97.
Luckenbach, p. 517, I
Schneider, Troisch. Sagenkr. p. 145.
Loewy, Neue Jhb. fiir klass. Alierth. 1914, pp. 81 ff. pl. 1.
I. Eos carrying the body of Memnon. HEOS MEMNON
AORIS EARAOSEN KAVIAAES EPOIESEN ENEMEK-
NERINE HERMOLFENES KA\Os.
A. Combat, Menelaos and Paris in the presence of Artemis
and Aphrodite. MENEVEOS AVEXSANAROS (retr.) AR-
TEMIs.
B. Combat, Ajax and Hector in presence of Athena and
Apollo. AIAI HEKVOR ATPOWON AOEAIA.
[244]
‘ iy (2 x VY
a) \. a
i 43
<5
es fay
¢ ‘ )
me
y
S ;
f E
OZ AG
Bs
225,
SG ‘oe
\ eam s
. qo
ie Sm
20°, LouvrE G 116. Kylix. Roca ty Ba Genpana Coll.: h.
| 0.125, d. 0.30.
Pottier, Cat. iii, p. 957: Dourts, pp. ae 84, fig. 13 (A).
WY. vii, 2.
Brunn, KG. ii, p. 669, no. 4.
Blcinp.158, no. 25.
Graef, Jhb. 1886, p. 202, no. oe
Hartwig, p. 613.
Roscher, iii, p. 247, 5 (Nereus and Doitig on B).
Per. and Chip. x, p. 539, fig. 307 ie
Nicole, Corpus, no. 74, 16.
Frucht, no. 14.
Robert, no. 27.
I. Poseidon and a female figure (Amphitrite?). AORT[I€
EJARAOSEN.
A. Peleus and Thetis.
B. Nereus, Doris, and four Nereids.
[ 247]
1*, Louvre Gity.. Kylix: h. o:t2, dio.31,
Pottier, Cat. iii, p. 958; Douris, p. 61, fig. 20 (Z), pp. 101,
105.
WY. vii, 3.
Nicole, Corpus, no. 74, 14.
Diimmler, Bonn. Stud. p. go. -
Girard, Peinture, p. 197, fig. 111 WZ).
Klein, p. 159, no. 20.
Robert, no. 20.
Frucht, no. 24.
Hartwig, p. 612.
Per. and Chip. x, p. 548, note 1.
Loewy, Jhb. 1888, p. 141.
I. Combat, Greek hoplite and barbarian standard-bearer.
ATO]RIS EALRJAOSEN.
A. Combat, five hoplites.
B. The same, fragmentary.
— «L248 J
22%. LouvRE G118. Kylix: h. 0.11, d.0.27.. The axis of the
interior is not at right angles to the handles.
Cat. il, p. 960.
Pottier, Douris, pp. 29, 104, fig. 6.
Cat. Campana iv, 136.
WV. vi, 9.
Wernicke, p. 85, no. 2.
Robert, no. 8.
delet a 52, no.-2.
Brunn, KG. ii, p. 670, no. 10.
Frucht, no. 3.
Hartwig, p. 204. _
Per and Chip: x, p. 540, fig. 315 (A).
Nicole, Corpus, no. 74, 8.
Buschor, Jhb. 1916, p. 81.
I. Youth with forked stick. ATO]R[I]s EARA$SEN: XAI-
RESTRESTRATOS KA\OS [sic]. |
A. Four youths and two trainers.
B. The same.
[east 3]
23*, Louvre Giig. Kylix (fragments).
Cat. lll, p. 961. 7
WV waren 2.
Nicole, Corpus, no. 74, 15.
Klein, p. 153, no. 4.!
Robert, no. 22.
Hartwig, p. 204, note 1.
Frucht, no. 4.
Buschor, Jhb. 1916, p. 81.
I, Gymnasiarch. AOR[I]S EARALOSEN].
A and B. Palaistra. Remains of ten figures, not eight as
stated by Klein.
1 The description by Fréhner mentioned by Klein refers to G 120.
L252 ]
24*, LouvRE G1i20. Kylix (fragments, only the interior pre-
served).
Cat. iii, p. 962.
Hartwig, p. 204, note 1 (corrects the error of Klein in
giving Fréhner’s description (Choix, p. 8) to G 119.)
Nicole, Corpus 74, no. 18.
Frucht, no. 5.
Buschor, Jhb. 1916, p. 81.
I, Nude ephebos holding a phiale. AOR[I]S EARALOSEN]
and X. : |
L 253 ]
25*, Louvre Gia1. Kylix. Formerly in Campana Coll.: h. 0.125,
d. 0.335. (Plates of this vase on pp. 255 and 257.)
Pottier, Cat. iii, p. 962; Douris, pp. 107-109, fig. 21 (2).
WY. vi, 8 a-b.
Brunn, KG. ii, p. 668, no. 8.
Klein, p. 156, no. Io.
Per. and Chip. x, p. 550, fig. 316 (J).
Hartwig, p. 584.
Nicole, Corpus 74, no. 13.
Robert, no. 15.
Frucht, no. 21.
I. Seated youth with hare. Around central medallion a frieze
of ten groups each of a standing man and a boy sitting.
AORIS EARA®SEN HO PAIS KAVOS. Same formula on
outer frieze. :
A and B. Three similar groups on each side. HO PAIs
KAVOS (three times). [HIJTPOAMA[S] [szc].
Signature of the potter on edge of the foot TVOON.
£254]
& &) (= * @
Ale SY
L 255 ]
. *
5 ig * As
-
*
5 ¥
ta te
< Le ie
’
ae See
».
2
Si a IN:
MH Ns SS
ys.
x
zoe!
ro
L257]
26", LouvRE G122. Kylix: h. 0.10, d. 0.22.
Cat. ili, p. 963.
Nicole, Corpus 74, no. 28.
Frucht, no. 6.
Beazley, no. 1.
Buschor, Jhb. 1916, p. 81. |
The vase has been extensively restored. It is not found in
either Klein’s or Hartwig’s lists.
I. Woman playing lyre, withdog. AORIS [EA RAG ]SEN]
XAI[PJES[TPATO]S.
A. Seated youth with a hare on his knees.
B. Youth standing.
Graffito on foot XJ.
[ 259 ]
27*, Paris, TH. REINACH’S Cott. Kylix (fragments). Form-
erly in Van Branteghem Coll.
Gerhard, Aus. Vas. pl. 145, p. 182 = Reinach, Ui, p. 75.
Van Branteghem Sale Cat. no. 68.
Robert, no. 26.
Frucht, no. 22.
Hartwig, pp. 606 ff. pl. 67, 3 a-b.
Per. and Chip. x, p. 530, fig. 298.
The fragment was originally fastened by clamps into the
Vatican stamnos, no. 503 (v. Helbig-Reisch, Fuhrer, i,
P. 313).
I. ee of meander pattern and signature. rAOR]Is
EARAO[SEN].
A. Symposium. Nude hetaira on coulcls and two male
figures.
ahzbon!
=
KS
\ WZ
¢ (CS,
Sat SIRES
[° 262. ]
262: |
c
28*. PeETROGRAD, COLL. ORrLoFr-DAviIpoFF (Count ALEXIS).
fey O11... 0.30.
Waldhauer, Rev. Arch. 1913, 1, pp. 31-40, figs. 1-3.
Nicole, Corpus 74, no. 30.
Frucht, no. 31.
I. Man with stick. [AORI]= EARA2EN.
A and B. Athletes.
L 263 ]
29*. STUTTGART, HAUSER’s Cott. Now in Leipzig. Kylix
(fragment). From Corneto.
Hartwig, p. 616, fig. 66.
Nicole, Corpus 74, no. 20.
Robert, no. 16,
Frucht, no. 28.
I. Remains of a shield and crest of a helen [AO]RIs
EARAOSE[N].
A. Hand holding a torch (?), legs of two figures, one certainly
a silen as tail is seen behind. Execution is rather hasty.
1 So stated by Frucht.
[ 264 J
30*, VIENNA, OESTERR. Mus. 324. Formerly in Castellani Coll.
Kylix. From Caere: h. 0.132, d. 0.326. The vase was
found in the same grave with Vienna 325, also signed
by Python and Douris.
Cah aa Beazley, VA. p. 98, note tr.
WV. vii, 1 (B). Pottier, Douris, fig. 19 (A).
Robert, no. 4. Meier, AZ. 1883, pp. 24 ff.
Frucht, no. 9. F.R.1, pp. 267-275) ples.
Nicole, Corpus 74, no. 4. Schreiber, Bzlderail. pl. 35.
Roscher, iii, p. 1699, 4 (J).
Brunn, Bull. d. Inst. 1865, p. 217.
Baumeister, iii, p. 2034, fig. 2207.
Hartwig, p.216 8. p. 21, 1
Per. and Chip. x, p. 547, fig. 314 (A).
Klein, p. 157, no. 14; Euphr. p. 219.
Saglio, ili, p. 1306, fig. 4527, (fig. on A).
Winter, Jiing. Att. Vas. p. 42, note 1.
Buschor, Jhb. 1916, pp. 77-79. —
I. Libation. Warrior and woman. AORI2 EARAQO2EN.
A. Warriors arming. .--- O2 KAVOS. Traces of a T.
B. Warriors arming. HO PAl= KA\VO8.
Signature of potter on rim of foot NOOY'T.
[ 266 |
Leeer
31", VIENNA, OEsTERR. Mus. 325. Kylix. From Caere: h. 0.129,
d. 0.337. Vase is from same grave as Vienna 324.
Cat. p. 44.
Nicole, Corpus 74, no. 5.
Mon. d. Inst. viii, 41 = Reinach, i, p. 174.
WV. vi, I.
Robert, no..5; Bild u. Lied, p. 29, 213 ff.
Frucht, no. ro.
Klein and Brunn, Verhandlungen der 29. Philologenver-
samml. zu Innsbruck, pp. 152-158.
Peed pp. 207-275, pl. 54.
Fowler and Wheeler, p. 496, fig. 393.
Roulez, Ann. d. Inst. 1867, p. 4o fi.
Brunn, Bull. d. Inst. 1865, pp. 217 ff.
Klein, p. 156, no. 13.
Baumeister, 1, p. 29, fig. 30.
Pottier, Douris, figs. 16 and 17.
Diimmler, Bonn. Stud. p. 85 ff.
Roscher, iii, p. 662, fig. 3 (A).
Reisch, Rém. Mitt. v (1890), pp. 321 ff.
Hartwig, p. 223 ff.
Per. and Chip. x, p. 540, figs. 308 (A), 309 (B), 310 (J).
Saglio, ii, p. 301, fig. 2479 (central group on A); v, p. 575,
fig. 7202 (A).
Girard, Peintures, p. 218, fig. 124 (A).
Hoeber, Griech. Vas. fig. 56 (B).
Buschor, Jhb. 1916, pp. 77-79.
I, Odysseus and Neoptolemos. AORIS EARAQOSEN.
A. Contest of Ajax and Odysseus over the arms of Achilles.
HO PAIS KAVOS. |
B. Voting of the Greek chiefs. +AIRE2TRATO2 KAV\VOR2.
Signature of potter on rim of foot TYOON.
[ 269 ]
32". ATHENS CC. 1188 (1303) 3500. ye From Eretria:
h. 0.30.
Cat. p. 374. | | .
Tsountas, Ephem. Arch. 1886, p. 40, nie Lyons.
Per. and Chip. x, p. 524.
Pottier, Gaz. Arch. 1888, p. 174.
Robert, no. 12.
Harrison, JHS. 1889, p. 233.
Nicole, Corpus, 74, no. 32.
Reisch, Rom. Mitt. 1890, p. 333.
Hartwig, p. 228; Nachirag, no. 5 a.
Klein, p. 150. (According to Klein the lekythos has
nothing to do with Douris, but this view is not generally
accepted.)
Beazley, VA. p. 98 (agrees with on
Romaios, Ephem. Arch. 1907, p. 230, fig. 4.
Nude ephebos standing before a stool on which his cloak
is placed. On the cloak AORIS.
1 Since there exists a reasonable doubt whether nos. 32*-35* should be classed
as signed vases, they have been listed after the vases bearing legitimate signatures.
[270 ]
33*, ATHENS CC.1189 (1633). Lekythos. From Eretria:
h. 0.25.
ale p7 374.
Nicole, Corpus 74, no. 33 (wrong ref. to JHS. v. Euph-
ronios 17).
AeXriov, 1892, p. 85, no. IS.
Romaios, Ephem. Arch. 1907, pl. 10, pp. 219-238; fig. 2
on p. 226.
Woman standing, holding a lyre. On edge of her cloak
AORIS.
Cease!
34*, ATHENS N 1030 (12803). Lekythos. From Eretria: h. 0.24.
Cat. (N) 1030, p. 219. (attr. to same hand as Athens
CC 1189). Companion-piece to Athens CC 1189.
Romaios, Ephem. Arch. 1907, p. 225, figs. 2-3, pl. x.
Nicole, Corpus 74, no. 35..
Per. and Chip. x, p. 527, fig. 294.
Youth holding out a lyre. On edge of cloak (one letter
-to each fold) AORIS.
psa
35°. SYRACUSE 22666. Lekythos: h. 0.30.
Orsi, Due Vast Gelesi (Symb. lit. in honor. J. de Petra,
Naples, 1911), pp. 73 ff., fig. 1.
Per. and Chip. x, p. 525, fig. 293.
Nicole, Corpus, 74, no. 36.
Nike running with torches. In a white space AORIS.
[273 ]
36*, ? (formerly in Bassegio Coll., Rome). Kylix.
WV. vi, 5.
Robert, no. 19: Scenen. d. Ilias, p. 5, fig. 2.
Klein, p. 159,-no, 18.
Nicole, Corpus, no. 74, 27.
Hartwig, p. 612.
Frucht, no. 25. }
From a drawing in the Apparat of the Berlin Museum.
I. Armed warrior. AORIS EARAQOSEN.
A. Combat over fallen warrior. HO TAIS KA\OS.
B. Fragment of similar scene.
[ 274 ]
oa.
‘ mie Mae
: a ¥ ee
D Ss ae Ss <——Z
al ae
Be VF i
ey)
ey Qe,
| CN
4 a > BLOM >.
eG f ONS SS i
A a y it Fa i i Pay! ‘Sy e Dy
egal ff eee
RQ ld tea Oak
Me, me. ape a
ais ys Psy ae Gp oat
roe \ tee epaste
APM sak
ye
Lays
37%. ? Formerly in the Hope Coll.; Durand 118; Magnoncourt
23. Kylix.
Brunn, KG. ii, p. 669, no. 5.
Klein, p. 154, no. 8.
Hartwig, p. 622.
Frucht, no. 34.
CIG. 8148. |
I. Bearded man and boy playing the flute.
A. Komos. AORIS EARAQOSEN.
3600 Pe koixe
Only known by a description of DeWitte’s, Rev. de Phil,
i, Pp. 513. }
Klein, p. 156, no. 11.
Brunn, KG. ii, p. 670, 9.
Frucht, no. 33.
I. Seated man holding a purse.
A and B. Epheboi. Signature occurs twice on exterior.
30 ir ay be
Kiem p15 2 sng.
Frucht, no. 32.
Mentioned by Brunn (KG. i, p. 670, no. 11) as being in
Braun’s Collection and similar in character to Louvre
G 118.
ATTRIBUTED VASES
40. ApRIA, Mus. Boccui 319. Kylix (fragments).
Schone, Mus. Bocchi, pl. iv, 5, p. 101: CIG. 7886: Hart-
wig, p. 205: R. Rochette, Letire ad M. Schorn?, p. 21:
Klein, LI. p. 99, 8; MS. p. 161, no. 1: Wernicke, p. 86,
no. 6: Letronne, Rev. Arch. iii, p. 382.
I. Seated youth. +AIRESTRAT[OS KAVOS]. Doubtful
whether the vase had any exterior pictures.
41. ATHENS CC. 1169 (1689) 3833. Amphora (Panathenaic).
From Aegina: h. 0.195. ;
Cat. p. 365: Duruy, Hist. i, p. 376 (A): Benndorf, GSV.
p. 57, pl. 31, 2 a-b: Heydemann, Griech. Vas. p. 4: Hart-
-L 2764]
42.
43.
44.
45.
46.
wig, p. 625, note 1, no. 6: Wernicke, p. 51: Kretschmer,
Peroa; wien, LI. p.-120.
A. Athena before altar. PVOOKVEE K[A]\VOs [H]O-
[PAI]s KAVOS (retr.).
B. Two boxers.
ATHENS N 1027 (12781). Lekythos. From Eretria.
Cat. (N.) p. 218 (‘style of Douris’): Romaios, Ephem.
Arch. 1907, pp. 229, fig. 4, 236: Nicole, Corpus, no. 74,
34 (wrongly classed under the vases with the inscription
AOPIs).
Athlete with akontion.
ATHENS N 1028 (12394). Lekythos. From Eretria: h. o. a5
Cat. (N.) p. 218: Romaios, Ephem. Arch. 1907, PP. 234,
fig. 5, 238: Beazley, JHS. 1911, p. 286, no. 27 (attr. to
Berlin Amphora P.).
Nude komast with kotyle and stick.
ATHENS. Krater. From Acropolis: h. 0.44.
Tsountas, Ephem. Arch. 1885, pp. 219-228, pls. 11-12 =
Reinach, i, pp. 509.5, 510.1: Hartwig, p. 625, note 1, no. 1:
Athen. Mitt. 1891, p. 200: Roscher, ii, p. 2187 (B): Beazley,
VA. p. 64, no. 5 (attr. to Syriskos P.): Harrison, Myth.
Int. figs. 29-30.
A. Theseus, Minotaur, Ariadne, and Minos. OESEVs
MINOTAVPOS APIANNE MIN[O8]. }
B. Four Attic kings. WKOS NI[S]OS PAWAS OPNEVsS.
Base restored.
BattimoreE. Kylix. From Chiusi: h. 0.09, d. 0.23.
Hartwig, p. 212, pl. 22, 2: Rom. Mitt. 1887, p. 168: AJA,
1888, p. 385: Klein, LI. p. 99, no. 10: Beazley, no. 7.
I. Two Amazons. +AIRESTRATOS! KAVOS.
BaALtimorE. Kylix. From Chiusi: h. 0.10, d. 0.22.
Hartwig, pp. 657-659, pl. 72.2 (attr. to the Twig P.):
Rom. Mitt. 1887, p. 169, ix: Beazley, VA. p. 99: Nicole,
Corpus 115, sec. 1, no. 1 (attr. to the Twig P.).
I. Two men spinning a top. K-\VOS X.-H. Whip has
three lashes not given in Hartwig plate.
1 The last letter of the name is perfectly clear.
Lager]
A7-
48.
49.
50.
Si
noe
BALTIMORE: COLL. of Professor David RoBInson. Kylix.
From Capua: d. 0.33.
Robinson, AJA. 1917, p. 87: ese ee. Pp. 99.
I. Symposium. [AISK.
A and B. Same.
BERLIN 2163. Amphora. From Locri: h. 0.458.
Cat. p. 487 (‘Stufe des Douris’): Panofka, Mus. Bart. p. 97,
no. 27: Genick, Griech. Ker. pl. ii (B): Hartwig, p. 625.
A. Zeus.
Beelrisy
BERLIN 2166. Pelike (fragments). From Caere: h. 0.18. ©
Cat. p. 490: AZ. 1875,' pl. x, p. 86 = Reinach, 1, p. 417,
1-4: Hartwig, p. 625: Roscher, ii, p. 324.
A. Libation. Nike, Zeus, and Poseidon. Nik TEVS [O-
SEIAON (retr.). -
B. Wanting.
BERLIN 2167. Pelike (fragments). From Caere: h. 0.16.
Companion-piece to Berlin 2166. —
Cat. p. 490: Hartwig, p. 625: Roscher, iii, p. 324.
A. Libation. Zeus, Nike, and Poseidon. NIKE IEVS.
B. Traces of standing female figures. | )
BERLIN 2288. Kylix. From Vulci: h. 0.13, d. 0.33.
Cat. p. 577: Panofka, Tod des Skiron, pl. i, 2; idem,
Bild. Ant. Leb. pl. vi, 5 (A): Hartwig, p. 623, no. 13:
Benndorf, Bull. d. Inst. 1865, p. 160: Klein, Euphr. p. 200:
Roscher, iv, p. 1012, no. 5: Buschor, Jhb. 1916, pp. 86-
87ff., pl. 4 (I), figs. 9-10 (ext.).
I. Theseus and Skiron. OESEV= SKIPON.
A. Combat over fallen warrior.
B. Men and youths.
BERLIN 2289. Kylix. From Vulci: h. 0.13, d. 0.33.
Cat. p. 579: Gerhard, TG. xiv, 1-4: Hartwig, p. 622, no. 8,
p. 105, note 1, no. 6: Hauser, Oesterr. Shresheft. 1909,
1 Not 1874 as stated in the Berlin Catalogue. .
[ 278]
53:
54.
55:
56.
ee
pl. I (7): Per. and Chip. x, pp. 657, 659, fig. 362 (I): Saglio,
Iv, p. 1112, fig. 6160 (seated fig. on J).
I. Two women, one sitting, one standing.
A and B. Komos.
BERLIN, Inv. 3168. Kylix: h. 0.09, d. 0.24.
Furtwangler, Arch. Anz. 1891, pp. 117-118, figs. 12, 12a
and b (‘style reminiscent of Makron or Brygos but belongs
to another master’): Hartwig, pp. 260-264, pl. 27 (attr.
to Peithinos): Beazley, no. 4 (attr. to Douris): Saglio, v,
PP. 492, fig. 7098 (A); 541, fig. 7170 (A).
I. Triptolemos.
A. Eros and youths.
B. Youths.
BOSTON 97.369. Kylix: d. 0.215.
Ann. Rep. Mus. Fine Arts, 1897, p. 27, no. 12: Beazley,
VA. p. 99.
I. Woman at louterion washing her hands. HE Als
KAVE.
BOSTON 00.343. Kylix. Formerly in Bruschi Coll. From
Corneto: h. 0.121, d. 0.328.
Ann. Rep. Mus. Fine Arts, 1900, p. 43, no. 12: Hartwig,
pp. 674-677, pls. 74-75 (attr. to Twig P.): Beazley, VA.
Pp. 99 (attr. to Douris): Nicole, Corpus 115, sec. 1, no. 5.
I. Maenad and silens.
A. Men in conversation.
B. Warriors and women.
BosTon 01.8029. Kylix. Formerly in poureiaenen Coll.
From Orvieto: h. 0.08, d. 0.20.
Ann. Report Mus. Fine Arts, 1901, p. 33, no. 14: Hartwig,
-p. 598, pl. 67, 1: Beazley, VA. p. 98: Klein, LI. p. 104, 7:
Nicole, Corpus 74, sec. 2: Per. and Chip. x, p. 600, fig. 341
on Pp. 599.
I. Youth washing. HIPOAAMAS KAVOS.
BosTON 10.208. Kylix (fragment). Formerly in Hartwig’s
Coll. |
[ 279 J
Ann. Report Mus. Fine Arts, 1910, p. 64: Hartwig, p. 620,
no. 4, fig. 67: Beazley, VA. p. go.
I. Erast and Eromenos. + KAVO.
A or B. Remains of four figures in mantles.
58. BOSTON 95.41. Formerly in Van Branteghem Coll. Leky-
thos. From Athens: h. 0.30.
Hartwig, p. 228, note 1: Van Branteghem Sale Cat. no. 70:
Klein, Lf. p. 100, 15: Beazley, VAnpans:
A. Ephebos with halteres. +AI[R]JESTR[AT]OS KAVOS.
59. Boston, Hoppin Coty. Kylix. From Italy: h. 0.152,
d.o.29. The vase is now on loan in the Boston Mus.
of Fine Arts. It was acquired by me in Athens in 1806.
It is said to have been found near Naples.
Arch. Anz. 1902, p.8: AJA. 1902, p. 24, no. 1: Beazley,
VA. Pp. 99.
I. Silen and maenad. HE PAI2 KAVE.
A. Silens and maenads. The exterior is almost a duplicate
of the Boston kylix signed by Douris, 00.499, 2. no. 12*.
Graffito on foot 9&.
60. BRUNSWICK, BOwDOIN CoLLEGE. Kylix (fragment).
Beazley, VA. p. go.
A. Head of man and shield.
61. Bryn Mawr R gor. Plate: d. 0.153.
Swindler, AJA. 1916, p. 331, fig. 13.
I. Bearded man on couch playing kottabos. HO TAIs
KAVOS.
62. BRYN Mawr R 38. Kylix (fragment). Said to come from
the Acropolis. Formerly in Van Branteghem Coll.
Swindler, AJA. 1916, p. 332, xiii, fig. 14 (7): Van Brante-
ghem Sale Cat. no. 71. .
I. Nude youth with helmet putting on greave. HO PAIs
KAVOS.
A. Lower parts of three warriors.
63 a-b. BryN Mawr. Kylix (fragments).
Swindler, AJA. 1916, pp. 339, no. 7, 340, fig. 20 (attr. to
Euphronios): Beazley, VA. p. 99.
[ 280 ]
64.
65.
66.
67.
68.
a. I. Archer and female figure.
b. I. Part of female figure. A and B. Legs and palmette.
Cuicaco, ArT INSTITUTE 32. Kylix. F ormerly in Van
Branteghem Coll.: h. 0.074, d. 0.203.
Van Branteghem Sale Cat. no. 69, pl. 20: Hartwig, p. 6o1,
pl. 67, 2: Klein, LI. p. 104, no. 6, fig. 27: Per. and Chip. x,
Pp. 598, fig. 340: Harrison and MacColl, pl. 10: Beazley,
VA. p. 100: Nicole, Corpus 74, sec. 2.
I. Artemis with torch. HIPTOAAMAS KA\Os.
CORNETO 5771. Kylix (fragments). From Corneto: h. 0.095,
cheo2 93.
Rom. Mitt. 1899, p. 338, figs. 7-8: AZ. 1884, p. 246: Hart-
wig, p. 589: Nicole, Corpus 74, sec. 2, no. 1.
I. Warrior. KA\VO& (retr.).
A. Five figures (two seated) in conversation. HO PAIs
KAVO[S]. HO PAIS KAV[OS].
B. Wanting.
FLORENCE 3910(360). Kylix (fragment; cut down asa plate).
Hartwig, p. 225: Klein, LJ. p. 100, 3 (‘sicher Douris’).
I. Nude, infibulated man with strigil. ARISSA.
A and B. Traces of two armed figures and a stele.
FLORENCE 3922 (1988). Kylix. From Chiusi: d. 0.285.
Heydemann, Mitt. aus. d. Antikensamm. in Ober- u. Mittel-
Italien, p. 85, no. 9: Hartwig, p. 621, no. 7: Jacobsthal,
Gott. Vas. pp. 57-58, figs. 79 (J), 80 (A): Milani, Mus.
Heer Arch. 1) Pp. 151.
I. Bearded man on a couch, holding a kylix. K [A ]vVOs HO
PAIS.
A. Three bearded men on couches and two boys.
B. The same.
GIRGENTI. Lekythos. From Girgenti.
Politi, Una lechitos (estratto dalle Effemeridi scientifiche e
letierarte per la Sicilia, fasc. 70): Hartwig, p. 228, note 1.1
A. Seven warriors arming, and a quadriga.. (Cf. the quad-
rigae on Berlin 2283 and 2284).
* According to Hartwig the drawing given by Politi is very bad and gives an
entirely false idea of the style.
[ 281 ]
609.
70.
spike
02:
73:
74-
Lonpon, Brit. Mus. E50. Kylix. From Civ. Castellana
(Falerii): h. 0.088, d. 0.196.
Cat. iii, p. 75: Klein, LI. p. 104, no. 8: Hartwig, p. 608,
pl. 67, 4: Arch. Anz. 1893, p. 187: Saglio, ili, p. 1017,
fig. 4386: F.R. ii, p. 83, note 1: Nicole, Corpus 74, sec. 2:
Jacobsthal, Gott. Vas. p. 56.
I. Ephebos on couch holding a kylix. KAVOS HIPO-
AAMAS.
Brit. Mus. E 51 (853). Formerly Canino Coll. 2023. Kylix.
From Vulci: h. 0.126, d. 0.288.
Cat. iii, p. 75 (‘int. by Douris, ext. by some painter under
his influence’): Murray, Des. no. 31 (J): Hartwig, p. 620,
no. 2,
I. Woman smelling flower.
A. Bearded man and hetairae.
B. Youths and hetairae.
Brit. Mus. E 52 (845). Formerly Canino Coll. 1435. Kylix.
From Vulci: h. 0.12, d. 0.304.
Cat. iii, p. 76: Murray, Des. no. 32: Hartwig, p. 620, no. 3.
I. Bearded man. HO PAIS KAV\OS (retr.).
A and B. Scenes from palaistra. HO PAIS KAVOS.
Brit. Mus. E 53 (846). Formerly Canino Coll. 1338. Kylix.
From Vulci: h. 0.109, d. 0.288.
Cat. iii, p. 77: Murray, Des. no. 33 (J): Hartwig, p. 622,
no. 9.
I. Bearded man, sitting. HO PAIS KAVOS.
A and B. Komos.
Brit. Mus. E 54 (847). Formerly Canino Coll. 1525. Kylix.
From Vulci: h. 0.111, d. 0.30.
Cat. iii, p. 78: Murray, Des. no. 34 (J): Hartwig, p. 622,
no. Io.
I. Two bearded men. HO PAIS KAVOS.
A and B. Komos.
Brit. Mus. E55 (812). Formerly Canino Coll. 589. Kylix.
From Vulci: h. 0.104, d. 0.29.
[ 282 ]
75:
76.
77:
78.
79.
Cat. ii, p. 79: Murray, Des. no. 35 (I): Hartwig, p. 623,
no. 12.
I. Maenad. KAVOs.
A. Dionysos, silen, and maenad.
B. Two silens and three maenads.
Brit. Mus. E 56 (848). Formerly Canino Coll. 1538. Kylix.
Prom Vulc1: h:o.133, d: 0:325.
Cai. ili, p. 80: WV. C, 3: Murray, Des. no. 36 (1): Hart-
Wig, p. 600, note, p. 621, no. 6: Buschor, Jhb. 1916, p. 85.
I. Achilles and Odysseus ? HO PAIS KAVOS.
A. Warriors and women.
B. Four bearded men and two youths.
Brit. Mus. E345 (914). Nolan amphora. Formerly in
Payne-Knight Coll.: h. 0.305.
Caz iil, -p- 233.
A. Male flute-player.
B. Ephebos.
Brit. Mus. 1901.5 = 14.1. Kylix. Formerly in Bourguig-
non Coll. From Orvieto: d. 0.23. :
Bourguignon Sale Cat. p. 18, no. 52 with fig.: Arch. Anz.
1902,).5120.
I. Youth with bird-cage on his lap containing a fighting
quail (?); above, bird clapper. HO [AIS KAVOS.
A and B. Palaistra. Very much damaged.
Brit. Mus. E 807. Pyxis (fragment). From Attica.
Cai. ili, p. 381: Hartwig, p. 625, fig. 68.
The form of the vase to which the fragment belonged is
uncertain, though it was most probably a pyxis.
Woman’s head. E A.
MunlicH 2648 (369). Kylix.
Srepew. MV. Air: Hartwig, pl) 623.0. 16:5 -R. i
pieetea-1t5, pl. 24? Leonhard, Hzervon) p, 18, no. 26:
Luckenbach, p. 577: Pottier, Louvre Cat. ili, p. 1024:
Frucht, p. 41, note 24: Graef, Jhb. 1886, p. 202, no. 66:
taipla32,-1—7.
L 283 J
The handle of the vase with the signature of Hieron does
not belong to it, being of a different colored clay. Pottier,
however (loc. cit.), believes that it does belong toit. That
the vase is in the style of Douris seems evident.
I. Libation. Herakles Sara and Athena.
A. Peleus and Thetis.
B. Nereids.
80. MuNicH 2646 (371). Formerly in Canino Coll. Kylix.
From Vulci: h. 0.115, d. 0.415.
Cat. (Jahn), p. 118: Jahn, Sdchs. Ber. 1853, pl. x (ext.),
(Herakles u. Linos): Hartwig, p. 624, no. 18; for inscription
Vv. p. 258, no. 8: Engelmann, Rev. Arch. 1907,1, p. 87, fig. 2:
Kretschmer, p. 87, no. 56: F.R. il, pp; 230-232) plato,
(attr. to Douris), and fig. 80: Jacobsthal, Gott. Vas. p. 42,
no. 7: -Per,-and_Chipa x, spbe2,
I. Bearded man on couch holding his head in his hands, and
youth playing flutes. Cf. Hartwig, pl. 64,3. OVAVNA-
MOV (retr.).1 | |
A. Herakles slaying Linos.
B. Men and boys conversing.
81. MUNICH 2647 (793). Kylix. |
Hartwig, p. 622, no. 11 (drawing in Berlin Apparatus xxii,
99): Panofka, Eigennam. pp. 64 ff.: CIG. 7444 b: Ger-
hard, AZ. 1855, p. 112: Klein, LE. pa trj7eg hretecmamer
p. 148 (132), 175: Wernicke, p. 82: Beazley, VA. p. 99:
Buschor, Jhb. 1916, pp. 84 ff. pl. 3 (Z), figs. 7-8 (ext.).
I. Two komasts. |
A. Dionysos and thiasos. TOVOPASM[ON].
B. Silens and maenads. []OV[V]OPASSMON KAVO[$].
82. OxrorD, ASHMOLEAN Mus. Kylix (fragments). From
Naukratis.
Ann. Brit. School at Athens, v, p. 65, fig. 3: JHS. 1905,
p. 120, pl. vi, 5: Hauser, F.R. iii, p. 90, fig. 44 (attr. to
Hieron): Nicole, Corpus 88, sec. 2, no. II.
1 Inscription refers to the beginning of a Theognis scholion (v. Hiller-Crusius,
Anth. Lyr. p. 103, 949). 7
L 284 ]
The fragments which belong together were found in different
campaigns. The vase originally had a school scene similar
to Berlin 2285. Fragment belongs to exterior of the vase.
Man seated, reading a scroll, and bearded flute-player (cf.
Brit. Mus. E 767). On scroll: sTESI+OR NOWM\-
HUO ASOISAI.
83. Paris, Cas. D. MEp. 539. Kylix: h. 0.118, d. 0.32.
Cat. p. 406: El. Cér. i, 44-45: Luynes, pls. 33-34 =
Reinach, ii, pp. 261, 2-3, 262: Milliet-Giraudon, pls. 66-
69: BCH. 1806, p. 370, 2 (Hartwig): Wantig, K: Hart-
Wig, Pp. 232-233, 611, 623, no. 15: Graef, Jahrb. 1886,
203,70; 1001, p. 45, 3: Beazley, VA: p. 99: Eldridge,
AJA. 1917, p. 43, no. 9: Saglio, v, pp. 227-230, figs. 6884
(A), 6886 (B), 6888 (1): WV. i, pl. o, r.
ieee cieus and Thetis, PEAEYS OETIs:
A. Dionysos, Hephaistos, and silens.
B. Maenads and silens.
83 bis. PARIS, CAB. D. MED. 540. Kylix. Formerly in Dubois
Mole -o.100, d, 0.202.
Cat. p. 408, figs. roo—ro1 (ext.), pl. 21 (J): Buschor, Jhb.
1916, p. 89 (attr. to Douris).
I. Bearded man with stick. HO [AI[S] KAVO8.
A and B. Warriors and men.
Stet eee. hep. 542, Kylix: h.o.126,d. 0.315.
Cat. p. 411: CIG. 8350: Overbeck, KM. (Hera), p. 31
h, pl. 9, 25 (fig. of Hera on I): Mon. d. Inst. v, pl. 35 =
Peder). 141: Braun, Bull) d) inst. i1846, p. 115:
Jahn, Ann. d. Inst. 1851, pp. 279ff.: Gerhard, Arch. Anz.
1846, p. 287: DeWitte, ibid., 1850, p. 212: Miiller-
Wieseler, ii, pl. 65, 834: Welcker, Ali. Denk. iii, p. 194:
Duruy, Hist. d. Grecs, 1, p. 227: Diimmler, Bonn. Stud.
p. 81: Wantig, I: Hartwig, pp. 672-674 (attr. to Twig P.):
Kretschmer, p. 192: Beazley, VA. p. 99: Roscher, iii,
p. 3086, 1 (1): Eldridge, AJA. 1917, p. 43, no. 8.
I. Hera (sitting) and Prometheus. HPA TPOMEOES.
A. Return of Hephaistos. B. Komos.
Graffito on base: v. Cat. p. 413.
L 285 ]
85.
86.
87.
88.
89.
Cas. D. MED. 543. Kylix (fragments).
Cat. p. 413: Milliet-Giraudon, ii, pls. 62-63: Klein, p.
168, no. 13: LI. p..100, no. 12: Hartwig; pyro; pee
Beazley, no. 5.
The fragments of this kylix were found in the Bibliothéque
Nationale along with a handle with Hieron’s signature
which belongs to no. 558. The interior of that vase
described by Klein (v. Hieron 19*) belongs to this vase.
I. Dionysos (seated) and maenad. [KA ]\OS.
A. Silens and maenads. X[AIPES] TPA[TOS].
Cas. D. MEp. 544. Kylix (fragments).
Cat. p. 414: Milliet-Giraudon, ii, pl. 63: Hartwig, pp.
217-210, figs. 30 a-b.
I. Warrior putting on chiton. [KA]\VOS ?
A. Traces of an Amazon putting on greaves. Horse? 0.
Paris, LouvRE G123. Kylix: h. 0.12, d. 0.29.
Cat. iii, p. 964: Hartwig, pp. 616-619, pl. 68: Pottier,
Douris, p. 121, fig. 24 (1): Nicole, Corpus 74, sec. 2, no. 2:
Per. and Chip. x, p. 601, fig. 342 (J): Hoeber, Griech. Vas.
fig. se (iy: )
I. Zeus carrying sleeping girl. Os IEVSs.
A. Men and youths; six figures. [KA ]\OS ? (retr.).
B. The same; five figures.
Louvre G 124. Kylix (handles restored): h. 0.11, d. 0.295.
Cat. iii, p. 965: Hartwig, p. 621, no. 5.
I. Manand woman. HO PAIS KAV[O$S].
A and B. Warriors, men, and women.
Graffito on foot AT.
Louvre G125. Kylix (fragments): h. 0.14.
Cat. iii, p. 966 (not mentioned by Hartwig): Nicole, Corpus
VA; SOCi2:
I. Warrior pouring libation on altar.
A. Libation; hoplites and youths conversing.
B. Wanting.
. 28Gai
go.
QI.
Q2.
93:
94.
95.
Louvre G126. Kylix: h. 0.105, d. 0.305.
Cat. ili, p. 966: Frucht, p. 41, note 24: Hartwig, p. 623,
no. 14: Nicole, Corpus 74, sec. 2: drawing (with resto-
rations) in the Apparat of the German Archaeological
Institute in Rome. | 7
I. Theseus and Skiron. Cf. Berlin 2188.
A. Peleus and Thetis.
B. Nereids.
Louvre G 126 dis. Kylix (fragments).
Cat. ili, p. 967: not mentioned by Hartwig.
I. Traces of a male figure on a couch.
A. The same.
B. Wanting.
Louvre G127. Kylix: h. 0.008, d. 0.228.
Cat. iii, p. 967: Cat. Canino, no. 109: CIG. 7885: Hart-
wig, p. 202, pls. 19, 2; 20: Beazley, VA. p. 98: Pottier,
Gaz. Arch. 1888, p. 174: Wernicke, p. 86, no. 7: Klein,
Preteen nosa, LL); 790; no: 11.
f. Singing youth with lyre. +AIPESTATOS KA[V]Os.
A and B. Komos. PA EOP TO:
Louvre G128. Kylix (fragment).
Cait. ili, p. 968: not mentioned by Hartwig: Nicole, Cor-
pus 74, sec. 2: Beazley, VA. p. 08.
I. Youth singing and playing lyre. Same as G 127.
[+AIREST]RATOS [KAVOS].
Louvre Gi31. Kylix (fragment). Formerly in Campana
Coll. Only part of the exterior is preserved.
Cat. ili, p. 969: Hartwig, p. 226, fig. 31: Pottier, Gaz.
Arch. 1888, p. 174: Klein, LI. p. 100, no. 2: Wernicke,
DSO; no. 2.
A. Upper part of two boxers. APIZ2TAALOPAS KAVOS].
Porras 130. Kylix: h. 0.11, d; 0.30.
Cat. ill, p. 973: Hartwig, p. 590, pls. 65-66: Kretschmer,
p. 235: Per. and Chip. x, pp. 787-7809, figs. 417-419 (lacks
outer row of figures on J).
L 287 ]
96.
97:
98.
99.
I. Dionysos and boy; libation. Around medallion an outer
frieze of twenty-six male figures in pairs. HO PAIS KA\VOS.
Outer frieze, KIVAP + OS ANPISTOTEVES EV[K]\[E]s
OVTIMIAES AIONVSIOS L[PO]JOEM[IS] KVEOKPITOS
VEOAIKOS [AV]KIMA+0Os EV#IVETOS ON ON IAS
KL.! All retrograde.
A. Four pairs of men and boys, and bearded flute-player.
S KAVIPON PIVON EVOLIIVETOS EVLOVMIJAES.
B. Five figures, one bearded. HO PAIS KAVOS (last word
retr.).
Louvre G 276. Kylix: h. 0.09, d. 0.23.
Cat. ili, p. 1035: Cat. Campana, no. 141: Hartwig, p. 502,
no. 2: Beazley, no. 2.
The description is taken from Hartwig: Beazley mentions
only one figure on each side of exterior and omits the
women. The vase has been much restored.
I. Youth and boy: white zone around central medallion.
CH]O PALI]s KALVJO[S NIAIL+1.
A. Two women.
B. Youth with hare pursuing a boy.
Louvre G 318. Kylix: h. 0.09, d. 0.23.
Cat. iii, p. 1038: Girard, Educ. Athén., pp. 104-5.
Lier,
A and B. School scene similar to Berlin 2285.
PETROGRAD, HERMITAGE 6o1 (St. 1637). Amphora: h. 0.41.
Cat. ii, p. 241 (W. p. 109): CR. 1866, pl. v, 1-3 = Reinach,
i, p. 24: Jahn, Entfiihrung der Europa, pl. v: Hartwig,
p. 625, note 1, no. 3: Overbeck, KM. (Zeus), p. 427, no.
9, pl. 6, 9: Baumeister, i, p. 518, fig. 559 (A).
A. Europa riding on a bull over the seas.
B. Zeus with sceptre.
PETROGRAD, STROGANOFF Cott. Nolan amphora. From
Capua.
1 Pottier reads L- -OEMIS VEOAIK[O]S K[AW]IMA+05 EV-
ofIJVETOS.
[ 288 |
CRO1874, p. 208, pl. vii, 1.= Reinach, i, p. 45, 3-4
(Reinach has mixed two different. vases together, v.
Painter of Berlin Nike Hydria 2381, no. 5): Hartwig,
Dso25, note 1,no. 4. :
A. Above, Nike presenting a wreath to figure on B. Below,
two youths. NIKE.
B. Above, youthful athlete receiving the wreath. Below,
libation, warrior and woman. HO PAIS KA\OS.
100. ROME, VATICAN 541 (164). Kylix: d. 0.33.
Mus. Greg. ii, 86, 2, (ii, 89, 2): Helbig-Reisch, Fiihrer,
1, p. 330: Amn. d. Inst. 1875, pls. F, G = Reinach, i, p.
fee4s,4-7- liartwig, p: 620, no. 1.
f. Bearded man, seated, in conversation with youthful
warrior.
A and B. Warriors and old men.
Senseless inscriptions.
Graffito AVIPARPY.
Tor. VATICAN 545 (232). Kylix. From Vulci: d. 0.20.
Mus. Greg. ii, 74, 1, (ii, 78, 1): Gerhard, Aus. Vas. pls.
10g, 202, 3-5 = Reinach, ii, pp. 59, 6-9, 101: Helbig-
Reisch, Fiihrer, i, p. 331: Gerhard, Akad. Abhand. i,
pl. 5,4: Hartwig, p. 624, no. 19: Overbeck, HG. p. 451,
Der 01, pl. ig, 3 (A): Bonn. Siud. p. 83: Roscher, i,
p. 2204 with fig. (J): Saglio, iii, p. 93, fig. 3673 (JZ):
Robert, Scenen d. Ilias, p. 8, figs. 9-10 (ext.): Lucken-
Baca Dp. 515, 2, af.
I. Herakles crossing sea in Sun-god’s cup. KAVOS.
A and B. Combat of two warriors in presence of Athena
and another divinity.
102. VATICAN 578. Kylix. From Cervetri: h. 0.12, d. 0.30.
Mon. d. Inst. ii, pl. 35 = Reinach, i, p. 102, 1-3: Helbig-
Reisch, Fiihrer, i, p. 344: Mus. Greg. ii, 86, 1, (89, 1 a-b):
Gerhard, Ann. d. Inst. 1836, pp. 289 ff.: Hartwig, p. 667
(Twig Painter), two figures of A on p. 669, fig. 72: Saglio,
li, p. 407, fig. 2575 (1); iii, p. 610, fig. 4147 (J): Roscher,
ii, p. 85 (7): Klein, Euphr. p. 191: Jahrb. 1892, p. 116:
L 289 |
Robert, in Hermes, 1909, p. 388: Winter, Jiing. Ait. Vas.
p. 42: Baumeister, i, p. 124, fig. 124 (J): Welcker, Alt.
Denk. iii, pl. 24, 1: CIG. 7749.
I. Athena and Jason, the latter emerging from the dragon’s
jaws. IASON.
A and B. Youths and men.
103. STUTTGART, Havuser’s Cort. Kylix. From Orvieto:
h. 0.082, d. 0.198.
Hartwig, p. 206, fig. 28..
I. Seated ephebos washing his legs.
104. SyRACUSE. Lekythos.
Beazley, VA. p. 98.
Man with sword.
105. ? Kylix. From Orvieto.
Bull. d. Inst. 1831, p. 35: ClG. 7825 0.e=)e eee
Munich Cat. p. Ixxix: Panofka, Eigenn. pl. i, 10: Klein,
Euphronios, p. 100: LI. p. 94, no. 1, fig. 24: Wernicke,
p. 68: Beazley, VA. p. 99 (attr. to Douris): Per. and
Chip. x, p. 387, fig. 232 (J).
I. Woman embracing a youth. HIKET[ES] KAVOS.
A and B. Symposium.
106. ? Kylix (fragment). Formerly in Kopf Coll., Rome.
Hartwig, Festschrift an Otto Benndorf, pp. 86-88 (with
cut): Buschor, Jhb. 1916, p. 88.
I. Man and hetaira. HE PAIS KAVE.
A and B. Traces of four male and two female figures.
L 290 ]
SUBJECTS
Biya, 3, 0°, 20°, 35°, 41,
48-50, 53, 64, 84, 87, 98, 99.
Heroic, 13*, 16", 44, 45, 51, 79,
SU ros oO. 00, 101, 102.
MaiGg1G, 31.75 ?.
Boece tO. 12°, 18", 20° ?,
55) 59, 74, 81, 83, 84, 85, 95.
MiUitaIy0°. 5 411, 217, 20%,
Bono 517 55; 00, 62, 63,
65,66, 68, 75, 83 bis, 86, 88,
89, 100, 104.
Pete eo 7 2s TI, 15°, 22%,
byeeecow, 41,142, 58, 60, 71,
77, 94:
Komastic, 10°, 37", 43, 52, 72,
73, 79, 81, 84, 92, 93.
Symposium, 5*, 17, 27%, 47,
52, O1, 67, 69, 80, OI, 105,
106.
Genre, ee ee 14”, 24°, a5, 200)
Be as 334 ,3° > 40; 46, 54,
55, 50, 57, 95, 70, 75, 77, 78,
80, 82, 87, 88, 95, 90, 97, 103.
SHAPES
| Panathenaic, 41.
Amphora , Nolan, 76, 99.
( Neck, 48, 98.
Pelike, 49, 50.
Krater, Kalyx, 44.
Psykter, 18*.
Pyxis, 78.
Kantharos, 13”.
Lekythos, 7*, 327-35", 42, 43,
58, 68, 104.
Kylix,. 2*-6*, 8*-12*, 14*-17*,
19 31°; 30°39, 40, 45-47,
517-57; 59) 60, 62-07, 69-75;
7710-07 1O0-1029205;.100,
Plate sor:
Ae ee
OTHER ATTRIBUTIONS
Berlin Amph. P. 18, 72.
Berlin Foundry P. 1.
Bowdoin Eye kylix P. 3.
Brygos, 15, 22, 28, 68.
Euphronios, 17.
Panaitios P. 44.
Kleophrades, 20.
Onesimos, 16, 17, 20.
Pan P. 28.
Tyszkiewicz P. 4.
L 291 ]
THE PAINTER OF THE DUTUIT OINOCHOE
Beazley, JHS. 1913, pp. 106-110: idem, VA. p. 69.
A charming little oinochoé now in the Petit Palais, Paris, and
formerly in the Dutuit Collection, has furnished the name for the
artist of the ripe archaic period who, according to Beazley, was
the author.
1. BERLIN 2330. Nolan amphora. From Nola: h. 0.315. The
vase is intact.
Cat. p. 628: Beazley, no. 11: Gerhard, Prodromus, p. 223,
58.
A. Dionysos with thyrsos and kantharos.
B. Maenad with snake and thyrsos.
Senseless inscriptions.
2. BreRLIN. Neck amphora (double handles).
Beazley, no. 9.
A. Dionysos, maenad, and silen.
B. Man and youth riding, both in Thracian cloaks.
3. Boston 13.188. Nolan amphora: h. 0.342.
Ann. Rep. Mus. Fine Arts, 1913, p. 90: Von Duhn, Rdm.
Mitt. 1887, p. 242, fig. 15: Beazley, no. 12, fig. 3 (B), pl.
xi (A).
A. Thetis and Hephaistos polishing shield.
B. Nike running.
4. Lonpon, Brit. Mus. E179. Kalpis. Formerly in Temple
Coll. ‘ From Nola: h. 0.355.
Cat. iii, p. 158: Beazley, no. 14, pl. xii: Hackl, p. 60.
Picture on shoulder and body. Flying Nike with oinochoé.
Graffito on foot IKPIO.
5. Brit. Mus. E 510. Oinochoé (ridged handle). From Vulci.
Formerly Durand Coll. 179, and in Hope Coll.: h. 0.278.
Cat. il, p. 310: Beazley, no 2p) im
Seated silen with kantharos and pointed amphora, and
maenad with snake and lion.
. E29]
6. Brit. Mus. E511. Oinochoé (round handle). From Vulci.
Formerly Durand Coll. 84, and in Hope Coll.: h. 0.276.
The vase is intact.
Cat. ili, p. 310: Beazley, no. 1, fig. 2, pl. viii.
Dionysos, silen, and goat.
7- MUNICH 2445. Oinochoé (thin: form Furtw. 208).
Beazley, no. 6.
Eros flying with oinochoé and phiale.
8. NapLes (H 3155). Neck amphora (double handles): h. 0.29.
Cai. p. 483: Klein, LJ. p. 142, 2: Beazley, no. 8.
A. Bearded kitharist. ARXINO[S] KAVOS.
B. Man leaning on stick. HO PAIS KAV\VOS.!
9g. NEw YorK 13.227.16. Lekythos: h. 0.372.
Bull. Meir. Mus. 1914, p. 234, fig. 2: Pacey VA. p. ee
Nike holding a thurible.
10. Paris, LouvRE G137. Neck amphora (double handles):
h. 0.325.
Cat. ili, p. 972: Klein, LJ. p. 142, no. 1: Beazley, no. 7.
Pictures on the neck only.
A. Flying Nike with phiale and oinochoé. AP+INOS.
B. Nike running. KAV\OS.?
11. LouvRE G 203. Formerly in coll. of Raphael Menges. Nolan
amphora: h. 0.324.
Cat. ili, p. 1024: Heydemann, Paris. Ant. p. 39, 50:
Beazley, no. 10: CIG. 7641: Millin-Reinach, Peintures,
ii, pl. 41: Inghirami, Mon. ér. v, p. 390, pl. 37: Klein,
Euphronios, p. 246: Welcker, Alte Denk. iii, p. 31, pl. 4:
Roulez, Vases de Leyde, p. 27 (wrongly places vase in the
Vatican): Furtwangler in Roscher, i, p. 2216. ~
A. Herakles, and Athena pouring a libation into a kantharos
held by him.
B. Hermes with kerykeion.
Senseless inscriptions.
1 So Klein; the Cat. does not give a facsimile.
2 Klein reads AP-+INO2 KAVOS on both sides; Beazley AP-+INOS
alone. M. Pottier, however, informs me that the inscriptions read as stated above.
[ 293 J
1a
13.
T4.
Toe
Louvre G 239. Oinochoé (thin: form Furtw. 208): h. 0.31.
Cat. iii, p. 1028 (attr. to the group of Douris-Brygos):
Beazley, no. 5. ;
Maenad with thyrsos and snake.
Louvre G 240. Oinochoé (ridged handle): h. 0.315. :
Cat. iii, p. 1028 (‘style de l’école de Douris’): Beazley,
nose plex.
Dionysos (l. arm restored) with kantharos and thyrsos,
maenad with oinochoé and branch.
Paris, PETIT PAtLatis 395. Oinochoé (ridged handle).
From Nola: h. 0.24. :
Froéhner, Vases du Prince Napoléon, pl. 1: idem, Mus.
de France, pl. iv (same plate with a few corrections):
Beazley, no. 4, fig. 1: Lenormant, Coll. Dututt, p. 39,
no. 69, pl. 14.
Winged Artemis stroking a fawn.
SYRACUSE 20536. Lekythos. From Gela: h. 0.37.
Orsi, Mon. Ant. Linc. 17 (1907), p. 394, fig. 288: Beazley,
no. I3.
‘Woman with thymasterion and phiale.
_ SUBJECTS SHAPES |
Myths, 33)4, 7, G1stow 3s Nolant133 ante
b ? ? 2 ? ? b Am h >) ? ef
Heroic, 3. aa Neck, 2, 8, Io.
Bacchic; 1; 2595;.G,4r2yie: Hydria, Kalpis, 4.
Genre,.2;8,.15. Lekythos, 9, I5.
Oinochoé, 5-7, 12-14.
[ 294 J
THE PAINTER OF THE. DWARF. PELIKE
Beazley, VA. p. 166.
To a minor contemporary and imitator of the Achilles Master
Beazley has given the name of the Dwarf Pelike Painter.
P]
1. Boston 76.43. Nolan amphora. From Nola: h. 0.315.
Cat. p..155, no. 423: Heydemann, Bull. d. Inst. 1860,
p. 20, no. 6: Wernrcke,-p. 63, no--1:. ‘Klein; E/-p. 168:
Beazley, VA. p. 166.
A. Woman with mirror Ae, and youth. KAAOSs AIQN.
B. Youth.
2 Boston. 76.45. Pelike. From Capua: h. 0.242.
Cat. p. 156, no. 426, fig. (A): Beazley, VA. p. 166.
A. Youth walking with dwarf servant! and dog.
B. Youth.
3. Lonpon, Mrs. Haty’s Cott. Nolan amphora.
Beazley, VA. p: 167.
A. Peleus and Thetis.
B. Youth running.
4. Paris, Louvre G 378. Nolan amphora: h. 0.335.
Not mentioned in Cat.: Beazley, VA. p. 166.
A. Zeus and Hebe.
B. Youth.
SUBJECTS SHAPES
Myth., 3, 4. Amphora, Nolan, 1, 3-4.
Genre, I, 2. Belikess,
1 For dwarf servants cf. Pottier, Mon. Piot, 13, pp. 159-160.
L 295.1
THE EPELEIOS PAINTER
Beazley, VA. p. 12.
To an anonymous painter who was the author of the kylix at
Bryn Mawr with the name Epeleios, Beazley has given that
name. The artist was a contemporary of Oltos.
1. Bryn Mawr. Kylix. From Vulci: h. 0.121, d. 0.324.
Gsell, Nécropole de Vulci, pls. 13-16: Klein, LI. p. 65,
no. 2 (mistakenly placed in the Torlonia Coll., Rome):
Beazley, VA. p. 12: Swindler, AJA. 1916, pp. 323-330,
figs. 10 (I), 11-12 (A and B).
I. Youth with stick. EPEVEIOS KAVOS NAI+I.
A. Youths. IsPA+OS KAVOS EPEVEIOS (retr.) KAVOS
I+IAN HO PAIS KAVOS.
B. Men and youths. -EOAOPOS NAI+1 KAVOS (retr.)
HO PAIs KA\VOS (retr.) EPEVEIOS KAVOS NAI+1 HO
PAIS KAVOSs.
2. CORNETO 5293. Kylix: h. 0.138, d. 0.33.
Beazley, VA. p. 12.
I. Youth with oinochoé.
A and B. Komos.
3. MUNICH 2619 (331). Kylix.
Cat. p. 97: CIG. 7398: Cat. éir. no. 1352 Kes. diva. 22,
no. 14: Ann. d. Inst. 1875, p. 60: Panofka, Eigennam.
p. 32: Graef, Jhb. 1886, p. 202, no. 65: Klein, LI. p. 65,
no. 3: Heydemann, Satyr- u. Bakchennam. p. 38: Wernicke,
p. 31, no. 4: Luckenbach, p. 562, A: Kretschmer, p. 180,
note 1: Overbeck, HG. p. 185, no. 31: Beazley, VA. p. 12.
I. Silen filling krater with wine. sIVENOS TEPPON HEAVs
HOINO EPEVEIOs KAVOS.
A, Peleus, Thetis, and nymphs. MEVEVS OETIS (retr.)
XOPA (not A as in Jahn) KAVWKA EPATO (retr.) IPISIA
(retr.) KYMATOOA (retr.).
[ 296 J
B. Komos. EPEVIOS KAVOS (retr.) OEODOPOS KA\OS
pees = KAVOS No.) ow. A .OS NAIXI ISPA+OS
KA\[O]s.
4. New York 09.221.48. Kylix: h. 0.117, d. 0.337.
Bull. Meir. Mus. v, p. 142, fig. 2: Beazley, VA. p. 12.
I. Komast. HO PAIS KAV\OS.
A and B. Komos. OPAIs AVOS NAIXI. HO PAIS KAVOS
EPEVE O=.
5. WuRzBURG 345. Kylix: h. 0.12.
Cat. ili, p. 85: Gerhard, Aus. Vas. iv, p. 66, pl. 293-204,
no. 1-3, 7 = Reinach, ii, p. 145, 1-3, 7: Beazley, VA. p. 12.
I. Youth before ithyphallic herm. HO ..I¢s KAVOS.
A. Youths and men, horse. HO PAIS KAVOS.
B. Warriors, youths, and horses. O AKAVS.
SHAPES SUBJECTS
Kylix, 1-5. Komastic, 2, 3, 4.
Genre, I.
Military, 5.
Bacchic, 3.
Heroic, 3.
E2078]
EPIGENES
Klein, p. 186.
Nicole, Corpus 76.
Only one vase bearing the signature of Epigenes the potter, is
known to us. The painter of it, judging by the style, belongs to
the same period as Aison and the Kodros Painter.
1*, Paris, Cas. D. MED. 851. Kantharos (without foot). From
Vulci: h. 0.078, d. 0.065.
Caisne sor.
Bull. d. Inst. 1846, p. 68.
AZ: 1846;p: 272. Klein, p. 186.
CIG. 8158. Luckenbach, p. 553.
Jahn,- AZ. 18537 par28: Jo:
Brunn, Troisch. Misc. i, p. 68.
Schmidt, Aun. d. Inst. 1850, p. 143, pl. HI = Reinach,
1,-).0250;-2 uu cogeee.
Brunn, KG. ii, p. 670.
DeWitte, Arch. Anz. 1850, p. 211, no. 5: Brunn, ibid.
1852, D.-LO5:
Milliet-Giraudon, pls. go-91.
Stephani, CR. 1873, p. 130, 133.
Roscher, iii, p. 295, 5 (B).
We By ploix. 3:
Winter, Jiing. Ati. Vas. p. 55, V, 3.
Nicole, Corpus, 76.
PRP oe
Ducati, Mzdia, p. 38.
A. Libation. Agamemnon, Kymathea, and Oukalygon.
A+IAAEV2 KVMAO=A A...----- VKAAE-ON.
B. Thetis, Patroklos, Nestor, and Antilochos. NESST-.-
ANT-AO+02 PATPOKAS OET- - EVIAENESeeiees
SHAPES SUBJECTS
Kantharos17. a Mythological, 1*.
[ 298 |
agqoua /S)\\
wm) PY
[ $ OKOVIL | WY
i ,
NSA,
; 2\.
Zr
(
ee
(
Ry
nos avynro & >
L 299 J
EPIKTETOS
Robert in Pauly-Wissowa, s.v. Epiktetos.
Klein, pp. 100-108. Beazley, VA. pp. 14-18.
Walters, 1, p. 422. Nicole, Corpus, 59.
Hartwig, pp. 12-16: 85-94.
Sauer in Thiemes Lexikon, s.v. Epiktetos.
Perrot and Chipiez, x, pp. 358-378.
Twenty-three vases and three fragments with the signature
of Epiktetos are preserved to us today: five other vases signed
by him have completely disappeared. ‘The existing vases and
fragments are eight kylixes, six eye kylixes (four of these are of
the mixed technique — 7*, 16*, 23*, and 26*, with a b.f. central
picture and r.f. exterior—), eight plates, a pelike, a neck amphora,
a kotyle, and a fragment from some larger vessel the form of
which is uncertain.
The signatures are invariably those with the éypadey formula
except on 1* where the ézoinoev formula also occurs. By a
curious error which occurs so often that it was probably inten-
tional he generally signs his name with éypacd¢er instead of the
correct spelling (5*; 7*,/11*, 12°, 13°) 28", 21 923 eea eee
27* bis, and 30%). Evidently his services were in considerable
demand as we find his signature as painter combined with no less
than five potters — Pamphaios (4*, 19*), Hischylos (7*, 16*, 23*,
28*), Pistoxenos (14*), Python (10*), and Nikosthenes (15*, 26*).
Only a single case of a kadés name, that of Hipparchos (20*)
occurs on any vase signed by him, but the name is to be found
frequently on vases which may be safely attributed to his hand.
Whether he was the originator of the r.f. style is very doubtful,
and although we have examples of mixed technique, the fact that
no b.f. vase exists by him would seem to make this improbable.
He was, however, the most prominent painter of his period and
judging from the number of vases which are usually regarded as
being in his style, he undoubtedly had numerous imitators.
1 Nicole (no. 30) mentions erroneously a signed fragment in Constantinople.
_L 300 J
1*. ATHENS Ar. Plate (fragments). From Acropolis.
Beazley, no. 37.
I. Part of shield and lower part of a male figure in cloak.
[EJPIKTETOS EPOILESE KAI EAPJAOSEN.
2*. BALTIMORE. Kylix. From Chiusi ?: h. 0.135, d. 0.328.
Hartwig, Jhb. 1801, p. 250, pl. v, 1; 1892, p. 118.
Hartwig, Rom. Mitt. 1888, p. 167.
Deaziey. NO: 13, p. 15, fig. 7.
Harrison and MacColl, p. 16, pl. ix.
Nicole, Corpus 59, no. 15.
I. Silen lying and drinking. Exergue. EMIKTETOSs
EAPAQOS .N.
fe for
*
3". BERLIN 2170. Pelike. From Caere: h. 0.32.
Cat. p. 492.
Brunn, KG. 11, p.:075,.n0. o
Gerhard, Aus. Va. iv, p. 72, pl. 209 =aikenimenmes
p. 148, 1-3: Kapp. Vole. pp. 546, 732.
CIG. 8176. |
Beazley, no. 42: idem, JH'S. 1910, p. 61, no. 26 b.
Jahrb. 1888, p. 146.
Nicole, Corpus 59, no. 27.
Duruy; Wisi pays 4a
Klein, no. 25.
A. Goddess? EPIKTETOS EAPAQOSEN.
B. Thesame. ETIKTETOS EAPAQOSEN.
| L 302 ]
w
ane
q
a
<
hay
C&S
SE
\\
Ery KTET OS
[ 303 ]
4*. BERLIN 2262. Kylix. From Vulci: h. 0.15, d.0.315. The
foot does not belong to the vase.
Cat, D534.
Brunn, KiGows p.- 722, Nesta
Gerhard, Aus. Vas. iv, p. 46, pl. 272, 1-4 = Reinach, ii,
P- 134, 5, 9, 7, 9. :
Panofka, Bild. Ant. Leb. pl. ii, 2 (A), iii, 7 (B), p. 4.
Klein, no. 7.
Winter, Kunstgeschichte in Bildern, i, p. 88, 4 (J).
Beazley, no. 6. |
Saglio, ii, p. 801, fig. 2760 (central group of A).
CAG O17 7.
Girard, Educ. Athén. p. 193, fig. 18 (A).
Nicole, Corpus 59, no. 8.
I. Silen with wine-skin. TAMAQOZGOs TAMAOIOS.
A. Athletes in palaistra. EPIKTETOS.
B. Youth with horses. EAPAOSEN KAVOS.
£304]
5*, CasTLE ASHBY. Collection of Marquess of Northampton.
Plate. From Vulci: d. 0.188.
Burlington Cat. 1888, p. 49, no. 110, pl. 19.
DeWitte, Cat. éir. no. 177.
GIG28170-
AZ. (Ooty Panos at,
Brunn, KG. i, p. 673, no. 18.
Klein, no. 16; Euphronios, p. 305, no. 18.
Beazley, no. 32.
Saglio, iii, p. 187 (Lechat denies that the figure is a
hippalektryon).
Nicole, Corpus 59, no. 19.
Youth riding a cock. EPIKTETOS EAPAS®EN (!)
L 306 J
6*, FERRARA, Mus. Civico. Kylix: h. 0.14, d. 0.32.
Bold Avie, 1011,-pp: 341-342,fig. 1.
Mute, 271; fig. 3.
Beazley, no. 11.
Nicole, Corpus 59, no. 16.
eteana (hip. x, p, 358, note 3.
I. Bearded komast running. ETIKTETOS EAPAQOSEN.
L 307 |
7*. Lonpon, Brit. Mus. E 3 (814). Formerly in possession of
Bassegio, Rome. Eye kylix: h. 0.135, d. 0.30.
Cat. ili, p. 42. : Nicole, Corpus 59, no. 3.
CIG. 8179. Klein, no. 2.
Brunn, KG. ii, p. 701,n0.6. Beazley, no. 2.
Walters, JH'S. 1909, pl. 12, pp. 109, 110, no. 8.
I. b.f. Young rider. HIS+VVOS EPOIESEN.!
A.r.f. Silen with pelta and horn. ECIKTETOS.
B.r.f. The same. EAPASQEN (!)
8*, Brit. Mus. E 24. Kylix. From Nola? h. 0.077, d. 0.194.
Gori p. 57, pl. Vi, I. .
Cat. Durand Coll. no. 133.
Brunn, KG. ii, p. 672, no. 12.
CIG. 8162.
Klein, no. 12; Euphronios, p. 315, no. 60.
Beazley, no. 14, p. 15, fig. 8.
Per. and Chip. x, p. 360, fig. 204.
Nicole, Corpus 59, no. 13.
I. Crouching silen with wine-skin. ETIKTETOS EAPAO-
SEN (wrongly given in Klein). |
1 Walters (loc. cit. p. 114) suggests the possibility that the interior picture is
the actual work of Hischylos himself.
L 309 J
o*. Brit. Mus, E 37 (828). Kylix. From Vulci. Formerly
Durand Coll. 341: h. 0.11, d. 0.295.
Cai. 10; p..03.
Panofka, Cab. Pourtalés, p. 119.
Brunn, KG. i, p. 672, no. 9.
Murray, Designs, no. 22 (J).
GIG, 8103: se |
Klein, no. 9; Euphronios, p. 308, no. 30; LI. p. 30, no. 2.
Gerhard, Aus. Vas. il, p. 38 note.
Wernicke, p. 33, note 2..
Hartwig, p. 665, note 1,
Beazley,ane. 82 3 oe =
Nicole, Corpus 59, no. 10.
I. Singer on couch. HIPTAR.-~- KAYO.
A. Theseus and Minotaur. EARAOSEN.
B. Komos, five youths. EMIKTETOS EAPA.-EN.
Caio!
[rzs|
o*. Brit. Mus. E 38 (823). Kylix. From Vulci. Formerly
Canino Collcs72*- ho 24d -0.3245
Cais iispst3:
Bull. d. Inst. 1829, p. 137.
Micali, Storia, pl. 90, I.
CIG. 8160.
Brunn, KG. ii, p. 671, no. 4.
Chil sein 572; |
Panofka, Vasenb. pl. iii, 4 (A).
Fowler and Wheeler, p. 491, fig. 390.
Murray, Designs, no. 23 (1), p. 8, fig. 2 (A).
Klein, no. 8; Euphrontos, p. 310, no. 38.
F.R. ii, pp. 82-84, pl. 73 = Buschor, p. 157 (A), fig. 112,
Hartwig, p. 51.
Jacobsthal, Gott. Vas. p. 42, no. 3.
Walters, 1, p. 423.
Pe...and.Chip. x, pp. 364-365, fies 209 (I), 210 (A).
Beazley, no. 7.
Roscher, 1, p. 2233.
Nicole, Corpus 59, no. 9.
Hoeber, Griech. Vas. fig. 43 (J).
I. Dancing girl and flute-player.
A. Herakles slaying Busiris. PVOON EPOIESEN.
B. Symposium. EPIKTETOS EAPAOSE[N].
[ 312 J
[ 313 J
r1*. Brit. Mus. E 135 (987). Plate: d. 0.194.
Cai. Mi; p.130:
Walters <1, ploy ea.
DeWitte, Cat. ér. no. 117.
CiG3107.
Kleingmo <1.
Brunn, AG, 1: p2074) noece
Corey, p. 68.
Beazley, no. 33.
Nicole, Corpus 59, no. 17.
Archer. EPIKTETOS EAPASOEN (1!)
[314 J
12. Brit. Mus. E 136 (988). Plate: d. 0.106.
Cara), 130.
DeWitte, Cat. ér. no. 189.
L1G. 8172.
Klein, no. 15.
iui kG. 11, p. 673, no. 15.
Kretschmer, p. 181.
Beazley, no. 34, p. 18, fig. ro.
Nicole, Corpus 59, no. 18.
Youthful warrior with horse. EPIKTETOS EAPASOEN (!)
Peal
13*. Briv; Mus. F137. Plate. dw oms7.
Cat. iil; pi136, pinvi 2s
DeWitte, Cat. étr. no. 175.
CIG. 8169.
Klein, no. 19.
Saglio, v, p. 309, fig. 6958 (flute player).
Brunn, KG; li, p..072; Noe 17.
Beazley, no. 35.
Nicole, Corpus 59, no. 22.
Youth playing flutes and man lifting kotyle. ETIKTETOs
EAPASOEN (1!)
[ 316 ]
ath
14*. Brit. Mus. E139. Kotyle.! From Capua?: h. 0.91, d.0.145.
Cahn, peieg:
Minervini, Mon. di Barone, 1, p. 37.
Ann. d. Inst. 1876, p. 27.
Brunn; KG, 1, pps 671.0. 5,720.
Klein, no. 24.
Kretschmer, p. 180.
Beazley, no. 38.
Hartwig, p. 375, note r.
Nicole, Corpus 59, no. 26.
A. Dionysos andsilenwithmule. -TIKTETOS EAPAOSEN.
B. Silen with mule. PISTOS+ENOS EPOIESE (the vase
is broken here).
1 The two handles have been omitted in the plate to insure a larger size.
: [ 318 J
1s*, OpESSA. Fragment. From Panticapaeum.
Jahn, Int. Munich Cat. p. xxvii, no. 116.
Klein, no. 27.
Brunn, KG. 11, p. 673, no. 23.
WV. 1890/91, pl. vil, 3.
Pottier, Louvre Cat. ili, p. 760.
Beazley, no. 43. |
Nicole, Corpus 59, no. 29.
A. Komos. .IKOSOEN* EPIKT.
EPOIEs.
0320]
[321]
16*, ORVIETO, FAINA COLL. 97. Eye kylix.1. From Orvieto:
ds0.32)
Cat. p. 46.
Korte, Ann. d. Inst. 1877; p. 132, no. 21.
Klein, no. 4; Euphronios, p. 291, no. 2.
Nichols, AJA. 1902, p. 328, no. 11.
Beazley, no. I. ,
Walters, JHS. 1909, p. IIo, no. 2.
Nicole, Corpus 59, no. 5.
I. b.f. Stag. HIs+VVOs EP.
A.r.f. Youth running. EPIKTETOS EAPASOEN.
B. Missing.
1 The restorations have been removed from the photograph from which the
picture was taken.
— £322]
L323 J
17*, Paris, Cas. D. MED. 509. Plate. From Vulci: d. 0.192.
Caip L352, 107 50;
CIG. 8166.
Cat. éir. 1837, p. 26, no. 53.
Milliet-Giraudon, pl. 56.
Dubois, Cat. Pourtalés, p. 89, 374.
Brunn, KG. ii, p. 673, no. 13 (wrongly described).
Pourtalées Sale Cat. no. 389.
Klein, no. 17; Euphronios, p. 315, no. 59.
Hartwig, p. 31: Jhb. 1891, p. 256, 15.
Beazley, no. 30.
Nicole, Corpus 59, no. 20.
Silen running with flutes. ETIKTETOS EAPAQOSEN.
[324 ]
18*. Cap. D. M&p. 510. Plate. From Vulci: d. 0.197.
Cat. p. 382, no. 510.
C1G. $171. :
Milhet-Giraudon, pl. 56 (left-hand picture).
Cat. Beugnot, p. 64, no. 63.
Cat. éir. p. 107, no. 178.
Klein, no. 18; Euphronios, p. 312, no. 47.
Beazley, no. 29.
Nicole, Corpus 59, no. 21.
Komast. EPIKTETOS EAPASOEN (!)
Graffito X.
L 325 J
*
19*. Paris, LouvRE Gs. Eye kylix. From Vulci: h. 0.14,'
d. 0.32. ;
Cat. iii, p. 886: Album, ii, p. 137, pl. 89.
CIG. 8178.
DeWitte, Not. 1843, p. 46, no. 174.
Brunn, KG. ii, p. 723, no. 10.
BCH. 1897, p. 239, fig. 4 (A).
Per. and Chip. x, pp. 361-362, figs. 205 (n), 206 (A), 207
(B), (wrong ref. to G 7).
Klein, no. 6; Euphronios, p. 298, no. 9.
Beazley. no. -5.° |
Walters, JHS. 1909, p. 116, no. 9.
Nicole, Corpus 59, no. 7 (wrongly notes Klein no. 6 as
‘ disparu.’) :
I. Ephebos urinating into an oinochoé. TAMAQIOS
EPOIESEN.
A. Warrior picking up spear. EPIKTETOS.
Be Archer = EAPNOSEN:
L-326 |
iN
meietpaRls
ES aay
2H be
ES Son.
: : ae
PT aka
ante
HiME Sas) Ble
L327.
20°, LouvrE G6. Kylix.1. The vase is in a very fragmentary
condition.
Cat. iii, pp. 887-8809.
CIG. 8159.
Brunn, KG. ii, p. 672, no. ro.
Mus. éir. no. 561.
Gerhard, Rapp. Volc. 714.
Klein, no. 10; Exuphronios, p. 309, no. 31.
Beazley, no. Io.
Nicole, Corpus 59, no. II.
I. Woman seated, playing lyre. HIPTAPXOS KA\OS.
A. Eight warriors in combat over ‘fallen warrior. - -IKTE-
TOs.
B. Seven dancing raaennde EAPAQO. .N.
1 The vase possesses the peculiarity of having a palmette border on the interior.
Not only is this a unique feature in the work of Epiktetos but I have failed to
find a similar pattern in the work of any other master.
[ 328 J
[ 329 J
: ¥
\
z
+
q
ek
ty
21*. LouvRE G7. Plate.
Cat. iii, pp. 889-891.
Album, ii, p. 137, pl. 89.
CIG. 8168.
Beazley, no. 36.
Nicole, Corpus 59) no. 23.
De Witte, Cat. éir. p. 105, no. 174.
Brunn, KG. ii, p. 673, no. 16.
Per. and Chip. x, pp. 362-363, fig. 208 (J).
Klein, no. 23; Euphronios, p. 307, no. 28.
From Etruria: d. 0.20.
I. Youthful athlete and trainer. EMIKTETOS EAPAS-
OMEN (!)
[2330]
22*, Louvre G8. Eye kylix (fragment).
Cat. iii, p. 891. .
Beazley, VA. p. 18.
Nicole, Corpus 59, no. 2.
Only the edge of. the kylix with EPIKTE is preserved, with
no decoration.
23*, PETROGRAD 645.1 Eye kylix.
Cat. (W.) p. 85. ,
Helbig, Bull. d. Inst. 1868, p. 73.
Klein, no. 3; Euphronios, p. 294, no. 12.
Nichols, AJA. 1902, p. 328, no. 16.
Beazley, no. 3.
Walters, JHS. 1909, p. 110, no.12.
Nicole, Corpus 59, no. 4.
I. bf. Youth with stick and wine-skin. HIS+VV-S
EPOIESEN.
A.r.f. Fat, bearded komast.
B.r. Ithyphallic mule. EPIKTETOS EAPASQOEN (!)?
1 It has unfortunately proved impossible to secure any photograph or data of
this vase.
2 So Klein; Waldhauer gives the regular form.
bs3cJ
24*. RoME, ToRLONIA Cott. Kylix. Formerly in coll
Aug. Castellani. From Vulci: h. O08 d. 0°. x
Bull. d. Inst. 1868, p. 75.
Hartwig, Jhb. 1891, p. 250, pl. v, 2.
Klein, no. 13; Euphronios, p. 314, no. 55+
Beazley, no. 19.
Nicole, Corpus 59, no. 14.
I. Komast balancing kotyle on his ae
EAPAQO.-EN.
¥
m
re
ba é
dy
wad
i=
An
wy :
i 4
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~ iss
GPRS
he
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[332]
£ eee
aly
a
E 3aad
25*, VIENNA, HormusEuM. Neck amphora (convex handles),
Formerly in Lichtenstein Coll.: h. 0.43.
Schneider, Arch. Epigr. Miti. a. Oesterr. v, p. 139, pl. 4.
Klein, no. 26.
Beazley, no. 41.
Saglio, iv, p. 755, fig. 5854 (B).
Nicole, Corpus 59, no. 28.
A. Apoxyomenos. Efl.-E-..- EAP-Q.
B. Boxer binding cestus. Ef.....-.- Es hs tele
7 L 334 J
26*. WuURZBURG 358.! Eye kylix: h. 0.17, d. 0.30.
Catal, peor.
Klein, no. 1; Euphronios, p. 293, no. 10.
Bull. d. Inst. 1865, p. 55.
CIG. 8164.
Nichols, AJA. 1902, p. 328, no. 9.
AZ. 1885, p. 253, pl. 16 = Reinach, i, p. 462, 4.
Beazley, no. 4.
Walters, JHS. 1909, p. I10, no. 10.
Nicole, Corpus 59, no. I.
I. b.f.. Youth holding skyphos.
A.r.f. Silen squatting. EPIKTETOS EAPASOEN (1)
B.r.f. Horse. NIKOSOENES EPOIESEN.
1 It has proved impossible to obtain photographs of J and B.
oe
27*, Disappeared. Plate. Formerly in Braun’s Coll.
Klein, no. 22; Euphronios, p. 316, no. 68.
Bull. d. Inst. 1846, p. 77.
CIG. 8174.
Beazley, no. 31.
Dionysos and silen. EPIKTETOS EAPASOEN (!)
27* bis. Disappeared. Kylix. Formerly in Roger Collection.
Nicole, Corpus 59, no. 25.
Klein, no. 21.
I. Kneeling man and woman with jug. EMIKTETOs
EAPASOEN.
28*. Disappeared. Formerly in Magnoncourt Coll. Kylix.
From Vulci.
Gerhard, Rapp. Volc. 644.
Mus. étr. 1115. Cat. éir. 78. Magnoncourt (34).
CIG. 8165.
Brunn, KG. il, p. 701, no. 5.
Klein, no. 5.
Beazley, VA. p. 18.
Walters, JHS. 1909, p. 116, no. 17.
Hartwig, p. 345, note 2, no. 5.
I. Nude hetaira with phalloi. In field a lekythos in the
form of a phallos. EPIKTETOS EAPAQOSEN.
A. Herakles and centaurs. HIS+V\VOS EPOIESEN.
B. Dionysos and silens.
aaa
29*. Disappeared. Formerly in Pourtalés Coll. Kylix. From
Vulci.
Cat. étr. no. 568.
Panofka, Cab. Pourtalés, no. 182, pl. 41.
Pourtalés Sale Cat. no. 178.
Klein, no. 11; Euphronios, p. 14 with cut.
CIG. 8175.
Beazley, no. 12.
Nicole, Corpus 59, no. 12.
I. Youthful komast. EPIKTETOS EAPAOSEN.
Pago
30°. Disappeared. Plate.
Bull. d. Inst. 1841, p. 135:
CIGas1 73.
Kleing no. 20.1
Nicole, Corpus 59, no. 24.
Hartwig, p. 105, note 1, no. 3.
Beazley, VA. p. 18.
Man vomiting, assisted by hetaira. EPIKTETOS EAPAS-
MEN (!)
ATTRIBUTED VASES
31 a-c. ATHENS Ag7, A1g2, A1o4. Kylix. Three fragments
from the Acropolis.
a. A.o7 (Beazley, no. 22).
I. Youth playing kottabos. ...OSEN.
b. A 192 (Beazley, no. 23).
Ext. Herakles and Nemean lion. ....TETOS.
c. A. 194 (Beazley, no. 28).
7.. Maenad. HIFfAP+Os.
32. ATHENS, AcrRopoLtis A114. Kylix. From Acropolis.
Benndorf, GSV. pl. 12, 2 = WV. iii, pl. ii, 4: Beazley,
no. 18.
Pee wunoiaur. ..ECOE...
33. BOSTON 95.34. Kylix: d. 0.183.
Van Branteghem Sale Cat. no. 38: crip, Rep. Mus. Fine
cos, p. 20, no. 22: Klein, Li. p: 62, no. 8, fig. 7:
Beazley, no. 20.
I. Silen riding on wine-skin. HIPTAP+Os KAVOs. On
the skin HIFPAOXO.
34. BosTON 10.212. Kylix (fragment).
Ann. Rep. Mus. Fine Arts, 1910, p. 62: Beazley, no. 27,
eas. 1g. 0.
I. Silen kneeling with horn.
1 Klein’s description of no. 21 in his list (also lost) is so like that of no. 20 (no.
27*bis) that Beazley is probably right in believing them to be one and the same.
[ 339 J
35:
36.
37:
38.
39:
40.
CorneTo. Kylix. From Corneto: h. 0.11, d. 0.33.
Bull. d. Inst. 1878, p. 180: Reisch, Rém. M1it. 1890, p. 341,
fig. 9: Klein, p. 111, no. 2: Beazley, no. 21.
I. Silen with wine-skin. EPOIESENOX. On the wine-skin
PROIES.
COPENHAGEN 119. Kylix.
Jahn, Ber. d. Sachs. Gesellsch. 1867, pl. v, 1: Klein, p. 109,
no. 5; Li. p. 62, no. 5: Saglio, i), Dp) 13e sige omae
Duruy, Hist. p. 211: Bliimner, Technologie, 11, p. 340,
fig. 54: Birket-Smith, De mal. Vaser, no. 119: Beazley,
no. 15, p. 17, fig. gbis: Schreiber, Balderatl. pl. 73, 7.
I. Youthful hermoglyph at work. HITADXOS KAVOS.
HEIDELBERG A 13. Kylix (fragment).
Beazley, no. 17.
I. Nude woman squatting.
Naptes 1 (Gabinetto segreto). Cup kotyle. From Anzi di
Basilicata: h. 0.10.
Cat. p. 620, no. 1, pl. xi (inscriptions): Fiorelli, Race.
Pornogr. no. 1 (Bull, del Mus. Naz. 1863, no. 7, p. 106, L):
Minervini, Bull. Nap. i, pp. 25 ff.: Beazley, no. 4o.
A. Woman and mule. Senseless inscriptions.
B. Silen and maenad. Senseless inscriptions.
OXFORD 520. Cup kotyle: d. 0.177.
Panofka, Cab. Pourtalés, no. 191, pl. 34: Bild. Ant. Leb.
pl. 12, 2 (A): Gardner, JHS. 1904, p. 306: Beazley, no. 39
(attr. to Epiktetos): Saglio, i, p. 778, fig. 922 (A).
A. Two young komasts at column krater.
B. Youth with horses.
PALERMO 2351. Kylix (fragments).
Koepp, AZ. 1884, p. 42, note 21: Klein, p. 113, no. 11:
Hirsch, De Animarum apud ant. Imag. p. 10, no. 19:
Hartwig, JHS. 1891, pp. 334-349, Pl. 19 (A); p. 340 (B):
Beazley, no. 26.
A. Combat, Herakles and Eurytos. EPOIESEN.
B. Combat.
£340]
4I.
42.
43.
44.
‘PETROGRAD, Inv. 14611.
Paris, CAB. D. MED. 517 bis. Kylix (fragments).
Cat. p. 390: Beazley, no. 24.
A. Two youths. KAV\V...
Cas. D. MED. 678? Kylix (fragment).
Beazley, no. 25: not mentioned in Catalogue.
A. Head of man with flutes.
Kylix. From Berezan.
Beazley, no. 16.
I. Nude hetaira with phalloi.
HIPFPFAP+Os KAVOSs.
(Cf. Klein, p. 102, no. 5.)
RoME, VATICAN 1286 (230). Kylix: d. 0.30.
Helbig-Reisch, Fiihrer, i, p. 329: Mus. Greg. ii, pl. 84, 2
(87, 2): Klein, p. 113, no. 9; Euphrontos, p. 302, no. 7:
Beazley, no. 9 (attr. to Epiktetos): Rdm. Mitt. 1800,
Pp. 341.
I, Nude warrior and flute-player.
A. Athena mounting chariot of Herakles.
B. Komos. EfOIESEN.
SUBJECTS
Myths?) 5"; 44
Hermie . 10,28"; 31 b,.32,
AO.
Bacio, 47.7, 8*, 14", 17",
go, 230% 20°, ae Ast 31 C,
33-35, 38.
Military. 7°, 11°, 12", 19°, 20",
40, 44.
Athletic, 4*, 21*, 25*.
Komastic, peeoeeiO. i365 15%,
Pewee 247 20,27" bis, 28",
29", 30%, 39, 42, 44.
Symposium, 9*, 10%, 31 a.
Genre, a6. tO. , aa, 30, 37, 39;
AT, 43.
EEO LESEN,
EPOEIESEN.
SHAPES
Amphora, Neck, 25%.
Pelike, 3*.
Kotyle, 14*, 38, 39.
Kylix, i 4, 6*, ik (eye), 3s
10*, 16* (eye), 19” (eye), 20”,
22 eye), 23 (Gye) 3240, 20:
27" bis (eve) ,28"; 20" 31-37,
40-44.
Plate, 1%, 5*;11 13%, 177, 18°,
Pe ery Pacis be
? Fragment, 15%.
OTHER ATTRIBUTIONS
Euergides, 26.
[ 341 ]
EPILYKOS
Robert in Pauly-Wissowa s.v. Epilykos.
Perrot and Chipiez, x, p. 582.
Furtwangler, F.R. 11, pp. 181-184.
Pottier, Mon. Piot, ix, pp. 135-178: Rizzo, ibid. xx,
Ppp. IOI~I53.
Buschor, Jhb. 1915, pp. 36-40.
Rodenwaldt, Arch. Anz. 1914, p. 87.
P. J. Meier; AZ. 1884, PP. 240 ff.
Nicole, Corpus :75.
Hoppin, Euthymides ion his Fellows, Pp. 34.
. Beazley, VA.-p. 21:
Only one undisputed signature of Epilykos exists (1*). The
Berlin fragments (4041!; v. Skythes 1*) are probably signed by
Skythes and Epilykos is used as a kadéds name. Most peer aey
they were partners.
Epilykos affects a miniature style, and exhibits considerable
skill.
t*, Parts, LouvrE Gio. Kylix. From Etruria. Formerly
Campana Coll. 669: h. 0.09, d. 0.22. The exterior has
been extensively restored.1
Cat. ili, p. 891-893.
Album, ii, p. 137, pl. 89.
Cat. Campana, iv, 669.
Pottier, Mon. Piot, ix, p. 155, fig. 4 (JZ).
Klein psitz, coer
Wernicke, ‘p. 32, no.:2: 7
Nicole, Corpus 75, no. I.
Per. and Chip. x, p. 367, fig. 213 (J).
Jahrb. 1915, p. 38, fig. 1 (J).
I. Hermes holding a flower. ETIWKO. .-RAOSE- KAVOS.
A. Herakles and Acheloos.
B. Silen and maenad.
1 Owing to the restoration the exterior has not been included here.
[ 342]
[ 343 J
2*, Louvre G to bis. Kylix (fragment).
Cat. ill, p. 893.
Rizzo, Mon. Piot, xx, (1912), p. 123, fig. 5.
Nicole, Corpus 75, no. 3.
F.R. ii, p. 183, fig. 63.
Beazley, VA. p. 21, no. 4 (attr. to Skythes).
Per, and Chip: x, p. 583. lig sa33)
Buschor, Jhb. 1915, pp. 36-40.
A. Two youths at a krater. ..... KOS .-nAQ...
KAVO2 SKVOES. ‘There is considerable difference of
opinion as to whether the inscription is the signature
of Epilykos or Skythes.
SHAPES SUBJECTS
Kylix, 175.27. Myth., 1*.
Heroic, 1*.
OTHER ATTRIBUTIONS Bacchic, 1*.
Hegesiboulos, 1*. Komastic, 2™.
Skythes, 6.
[ 344 ]
THE PAINTER OF THE EPINETRON FROM ERETRIA
IN ATHENS (CC. 1588)
_ Furtwangler, F.R. i, pp. 290 ff.
The class of vases called ‘ onoi’ or “ epinetra’ is well known.
To the painter of one of the best of these Furtwangler has given
the name, and attributed a number of vases to the same hand.
The artist was a contemporary of the painters who worked
for Meidias, Xenotimos, and Megakles and is a good representa-
tive of the miniaturist style of the late fifth century B.c.
1. ATHENS 1629 (CC. 1588). Epinetron or onos. From
Eretria: 1. 0.20.
For shape v. Walters, 1, p. 199.
Cat. p. 503: Ephem. Arch. 1897, pp. 129-142, pls. ix, x
(Hartwig): Staes, Deliton, 1892, p. 77: Pollak, Arch.
Epigr. Mitt. a. Oesterr. 1895, p. 21, no. 21 (attr. to Xeno-
timos): Kretschmer, p. 201, no. 7: Roscher, ili, p. 2119,
9 (A): F.R.i, p. 290: Nicole, Meidias, p. 118, fig. 28 (B):
Walters, ii, p. 43, fig. 117: Hauser, Oesterr. Jhresheft. 1909,
p- 95: Briickner, Athen. Mitt. 1907, p. 95, fig. 6 (B):
Saglio, iii, p. 1650, fig. 4863 (B); iv, p. 201, fig. 5408:
Ducati, Midia, p. 38, note 3: Beazley, VA. p. 180.
Long sides: A. Scene in gynaekonitis; Aphrodite and Eros.
APPOAITE EPOS PEIOQ KOPE APMONIA
HBE IMEPOs. |
B. Same. OEQ VEPIA[+ APIS ?] OEANQLE-
PANQ ?] IPFPOAVTE ASTEPOPE AAKES-
TIs.
Short side: C. Peleus and Thetis. TEAEVS OETIS EYAI-
MENE NEPEVS AVPA NAQ MEAITE AA-
TIs.
2. BERLIN 2471. Aryballos. Formerly in Sabouroff Coll. From —
Attica, Trachones: h. 0.23.
Cat. p. 690: Furtwangler, Samm. Sab. pl. 55: Rayet and
Coll. p. 245, fig. 92 (detail): F.R.i, p. 291 (attr. to Eretria
[345 J
Epinetron P.): Dumont, Gaz. d. Beaux Arts, 1873, i,
p. 119: Wieseler and Gebhard, Gdti. Gel. Ges. 1874, p. 10:
Furtwangler, Ann. d. Inst. 1877, p. 226: Heydemann,
Satyr- u. Bakchennam. p. 12, (A): Saglio, ili, p. 1489, fig.
4772: Duruy, Hist. ii, p. 297: Milchhofer, Jhb. 1894, p.
6o, no. 12: Ducati, Midia, p. 38, note 1: Beazley, VA.
p. 180, note I.
I. Bacchic thiasos. +PYSIS KISSO ANOEIA SIAENOS
MAKAPIA FEPIKAYMENE #ANOPE NAIA NYM@E AIO-
NYsOSs KOMOS (r.) +OPQ KAAE.
3. BERLIN 2532. Kylix. From Vulci. Formerly in Canino
Coll.: d. 0.305.
Cat. p. 712 (same hand as Berlin 2471): CIG. 7461: Ger-
hard, 7G. pp. 6 ff., pls. vi, vii: Stuart, Archaeologia, xxiii,
p. 188: Jahn, Vasenbilder, p. 23 e: Winter, JAV. p. 50,
no. 4: Heydemann, Satyr- u. Bakchennam. p. 25k: Furt-
wingler, Samm. Sabouroff, Int. to Vases, p. 7: Roscher, ii,
p. 2266, figs. 5 a and b (ext.).
I. Silen and maenad. KOMOs KAAE.
A. Bacchic thiasos. + OPIAAOS +OPO KISO5 KOMO[S].
B. Same. KISOS ANOPE KISOS +OPO.
4. Lonpon, Brit. Mus. E 774. Pyxis. From Athens: h. 0.166.
Cat. iii, p. 366 (‘style of Xenotimos’): Dumont-Chap.
pl. ix: Heydemann, Comm. Mommsen. p. 171 (attr. to
Megakles): F.R. i, pp. 289-290, pl. 57, 3 (attr. to Eretria
Epinetron P.): idem, Samm. Sabouroff, i, Int. to Vases,
p. 8: Kretschmer, p. 201, no. 13: Nicole, Corpus 94, sec.
1 (attr. to Megakles): Saglio, iii, p. 1424, fig. 4691 (figs. of
Pontomedea and Doso); p. 1649, fig. 4862 (frieze): Beazley,
VA. p. 180, note 1.
Cover. Frieze of two lions and a boar.
Body. Toilet scene. [TAAENE KVMOOEA KVMOAQKE
OAAEIA FAAYKE AOSQ PONTOMEAEIA.
5. Brit. Mus. E564 (995). Formerly in Steuart Coll. Oinochoé:
h. 0.191.
Cat. ili, p. 323: Beazley, VA. p. 180, note 1.
Libation scene; woman and two youths.
[346]
6. OXFORD 537. Lekythos: h. 0.184.
Gardner, JH'S. 1905, p. 70 with fig.: Beazley, VA. p. 179,
fig. 110 bis (attr. to Eretria Epinetron P.).
A. Woman in chair at toilet. E.
B. Maid with fillet and box. OEANO.
7. ROME, VATICAN HR 525. From Vulci. Oinochoé.
Helbig-Reisch, Fiihrer, i, p. 324: Mus. Greg. ii, pl. 5, 2
(11, 2a): Beazley, VA. p. 180, note 1: Overbeck, HG.
p. 631, pl. 26, 12: Michaelis, Parthenon, p. 139: Studniczka,
Jhb. 1887, p. 178: Baumeister, i, p. 746, fig. 798.
Menelaos pursuing Helen, in presence of Aphrodite and
Peitho.
PEIOQ MENEAEQ? A®OOAITH HAENH.
SUBJECTS SHAPES
Nv th 1. Pyxis, 4.
Heroic, 1, 7. Lekythos, 6.
Bacchic, 2, 3. Kylix, 3.
Genre, 1 (possibly), 4, 5, 6. Aryballos, 2.
Epinetron, r.
OTHER ATTRIBUTIONS Oinochoé, 5, 75
Meidias, 43.
[ 347 J
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Potter for Aristophanes (q.0
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my
THE PAINTER OF THE ETHIOP PELIKE
Beazley, VA. p. 138.
A minor and rather insignificant artist of the late archaic
period, identified by Beazley.
I.
Boston 01.18. Amphora: h. 0.335.
Beazley, VA. p. 138.
A. Woman pouring wine for young soldier. APHS.
B. Youth leaning on staff.
Grafhto TITTIT.
. DEEPDENE 89,1. Pelike.!
Sale Cat. p. 16: Tischbein, ii, pl. 21 = Reinach, ii, p.
297,6: Beazley, no. 2.
A. Herakles and woman.
B. Youth.
. DRESDEN 323. Pelike. From Nola.
AZ. 1865, p. 17, pl. 194 (A) = Reinach, 1, p. 396, 1-2:
Hettner, Bildw. z. Dresden, 4th ed. p. 13: Roscher, ii,
p. 1195 (A): Winter, JAV. p. 59, D 3: Beazley, no. 4.
A. Circe and one of Odysseus’ men.
B. Woman muffled.
Lonpon, Brit. Mus. E 411. Pelike. From Nola. Formerly
in Blacas Coll., also Durand Coll. 737: h. 0.223.
Cat. iii, p. 257: Beazley, no. 6.
A. Woman with oinochoé and youth with spear. Imitation
inscription for 6 mats xaXos.
B. Youth.
. Brit. Mus. E413. Pelike. Formerly in Blacas Coll., also
Durand Coll. 406: h. 0.242.
Carin p, 258: Beazley, no. 5.
A. Young warrior and old man.
B. Youth.
1 Acquired at the recent sale by Mr. Cory.
[ 349
6. PARIS, CAB. D. MED. 393. Pelike. From Nola: h. 0.228.
Cat. p. 288: DeWitte, Cab. Durand, p. 103, no. 306:
Dubois, Coll. Panckoucke, 411: Gerhard, AZ. 1865, pp. 83-
85, pl. 201, 3-4 = Reinach, i, p. 397, 2-3: Panofka,
Hyperbor. Rom. Stud.i, p. 296: Stephani, CR. 1868, p. 141,
1: Dumont-Chap. p. 380, 6: Saglio, ili, p. 96, 13: Winter,
Jiing. Ati. Vas. p. 59 D4: Roscher, I, p. 2233: Beazley,
DO.- :
A. Herakles led prisoner me one of Busiris’ men.
B. Youth.
a. Panis, Louvre G 434. Pelike: h. 0.265.
Cat. ili, p. 1109: Millingen, AUM. p. 63, pl. 25: Bearley!
no 3: Winter, JAV. p. 60, 10: Saglio, v, p. 295, fig. 6933.
A. Dionysos and giant. AS HOP .-.- NAOII.
B. Youth.
Sars Pelike:
DeRossi, Vases de Blacas, vol. ii (unpublished plates in
library of British Museum): Beazley, no. 7.
A. Hermes and youth.
B. Youth.
SUBJECTS SHAPES
Myth., 7, 8. Amphora, 1.
Heroic, 2, 6. Pelike, 2-8.
Military, 1, 4, 5.
Epic, 3:
L 350]
THE PAINTER OF THE EUAION KYLIX IN THE
LOUVRE (G-401)
Pottier, Caf. ii, p. 1008:
Beazley, VA. p. 157.
A nameless artist of the early Fine Style has been called by
Pottier the Euaion Painter, from the name used by him. He is
a prolific artist and may be readily recognized by his fondness
for extremely tall, slender figures.
The list given below might easily be increased as his vases are
extremely common.
1. ATHENS CC. 1555, (1054) 1586 (C 485). Pyxis. From
tice. 0. 0,10, d. 0.11.
Cat. p. 488: Heydemann, Griech. Vasenbild. pl. i, 1:
Beazley, VA. p. 158: Winter, JAV. p. 53, iii, 1.
Boreas and Oreithyia.
2.5%, Peithinos,; 1 Ors.
3. Botocna VP. 274. Kylix. From Etruria: h. 0.14, d. 0.32.
Cat. (Pal.) pp. 41-42, figs. 28-30: Heydemann, iii Hall.
Winck. Progr. p. 55, no. 352: Beazley, no. 5.
IT. Manand youth arming. A. Warriors arming.
Graffito on base “A.
4. BOSTON 91.223. Kylix: d. 0.31.
Ann. Rep. Mus. F. A. 1891, p. 11, no. 3: Beazley, VA.
Pp. 157-
I. Silen and maenad. A and B. Silens and maenads.
5. Boston 95.56. Olpe (shape Berl. Cat. pl. vi, 272): h. 0.108,
d.o.105. The vase is a counterpart of Brit. Mus. E 570.
Ann. Rep. Mus. F. A. 1895, p. 22, no. 54: Beazley, VA.
p15.
Bearded silen dancing between a krater and an oinochoé.
KAAOSs.
[351]
IO.
Li.
r2.
Ieee
BosTON 01.8078. Kylix: h. 0.123, d. 0.305. The base does
not belong to the vase.
Beazley, VA. p. 157.
I. Man with cup and youth with oinochoé.
A and B. Komos.
. BosTON 10.181. Kylix: h. 0.117, d. 0.288.
Ann. Rep. Mus. F. A. 1910, p. 62: Beazley, VA. p. 157.
I. Man giving fillet to youth.
A. Two bearded men and.a youth.
B. Three bearded men and a youth.
. Brunswick, Bowpo1n Cott. Oinochoé (fragment).
Beazley, VA. p. 158.
Silen pursuing maenad.
. Bryn Mawr R 1837. Kylix (fragments). Formerly in
Bourguignon Coll.
Swindler, AJA. 1916, pp. 334, 335, fig. 16 (ext.): Beazley,
VAS peis7. 7
I. Head of bearded man. A. Four men on couches.
Bryn Mawr. Kylix (fragment).
Swindler, AJA. 1916, p. 336, fig. 17: Beazley, VA. p, 158,
fig. 96.
I. Two youths at a krater.
CAMBRIDGE, HARVARD 1646.95. Kotyle: h. 0.145, d. 0.179.
Beazley, VA. p. 158. | :
A. Silenrunning. 3B. Silen holding amphora,
EDINBURGH, ROYAL SCOTTISH MUSEUM Sot! 213, Kylix:
h. 0.1217; d=0.200,.
Beazley, no. 8.
I. Athletes. A. Same. 3B. Same.
Lonpon, Brit. Mus. E 79. Kylix. From Capua. Formerly
in Castellani Coll.: h. 0.139, d. 0.321.
Cat. iii, p. 105: Murray, Designs, no. 56 (J): Hartwig,
p. 350, note 1 (attr. to same hand as Vatican 584): Beaz-
ley, 00.20:
[352]
14.
15.
16.
ae
18.
IQ.
I. Departure of youth and maiden.
A. Three bearded men, women and old man sitting.
B, Same as I.
Brit. Mus. E148. Kotyle. Formerly in Temple Coll.: h.
0.139, d. 0.178.
Cat. iii, p. 140: Beazley, VA. p. 158.
A. Bearded man. KAV\VOC.
B. Youth. Same (retr.).
Brit. Mus. E570. Jug (one handle). Formerly in Temple
Coll. From Nola: h. 0.115.
Cat. iii, p. 324, pl. 19, 2: Beazley, VA. p. 158.
A. Seilenos. KAAOS.
Graffito on base £ TF.
New York 06.1021.177. Plate: h. 0. 051, d. 0.149.
Canessa Sale Cat. p. 47, no. 131: Beazley, VA. p. 158:
Sambon, Coll. Canessa, p. 27.
I. Silen at oven.
OxFORD 1911.618. Kylix.
_ Beazley, no. 7, fig. 97 GRY.
I. Youth and woman.
~ A. Youths and women.
B. Same.
Paris, Cas. D. Mép. 817. Kylix: h. 0.116, d. 0.325.
Cat. pp. 479-482, pl. 23 (J), figs. 116 (A), 117 (B): Beaz-
ley, no. 4.
I. Libation: man and woman.
A. Men, women, and youths.
B.. Same.
Paris, Louvre G4or. Kylix. From Etruria: h. 0.125,
deG20-
Cat. iii, p. 1098: Cat. Campana, iv, no. 697: Klein, LI.
po 133, no. 9: Wernicke, p. 67, no. 5: Beazley, no. 1.
I. Maenad and resting silen. EYAIQ - KAAO8.
A and B. Silens and maenads.
3534
20. LouvRE G 565. Kotyle: h. 0.15, d. 0.17.
Not described in Cat.: Beazley, VA. p. 158.
A. Komasts.
B. Same.
Traces of inscriptions.
21. PALERMO 1107. Kalyx krater.
Politi, Descr. due Vasi fittili, pls. 2-3: Beazley, VA. p. 158:
Winter, JAV. p. 69, b, 2: Hartwig, Rom. Mitt. 1897,
p. 102, note 1, no. 2.
Decoration in two rows.
Lower. Youths and women.
B. Same for both rows.
A ‘aoe Youths’ departure.
22. Rome, VATICAN 408 (99). Kalpis. From Vulci: h. 0.43.
- Helbig-Reisch, Fiihrer, i, p. 311: CIG. 7815: Pottier,
Louvre Cat. iii, p. 1098 (atin to Euaion P.): Mus. Greg.
ii, pl. 13, 1 ae 1) = Panofka, Eigennam. pl. iii, 4:. Mon.
d. Inst. ii, pl. 23 = Reinach, i, p. 96, 4, 5: Heydemann,
Ann. d. Inst. 1867, pp. 363 ff.: Panofka, ibid. 1835,
p. 231 ff.; 1836, p. 331: Bull. d. Inst. 1834, pp. 109, 202;
1835, p. 9: Duruy, Hist. i, p. 42: Wernicke, p. 67, no. 1:
Klein, LI. p. 131, no. 1: Hauser, Oesterr. Jhresheft. 1905,
p. 38, fig. 6: Jatta, Rom. Mitt. 1888, p. 252. ,
Thamyris seated on a rock, and three women. OAMVPAS
+OPONIKE EVAION KAVO8.
23. VATICAN 584 (167). Kylix. From Vulci: d. 0.31.
Helbig-Reisch, Fiihrer, i, p. 348: Braun, Ruinen und
Museen, p. 822, no. 45: Mus. Greg. ii, pl. 87, 1 (90.1):
Hartwig, p. 350, note 1 (attr. to same hand as Brit. Mus.
E 79): Beazley, no. 3: Diimmler, Jhb. 1887, p. 170:
Winter, Jing. Ati. Vas. p. 10.
I. Arming scene; youth adjusting greaves, and bearded
man.
A. Same (warriors).
B. Same (warriors).
[354]
24. VATICAN 585 (169). Kylix: d. 0.32.
Mus. Greg. ii, pl. 87, 2 (90, 2), p. 18: Helbig-Reisch,
Fiihrer, i, p. 348 (attr. to same hand as 584): Hartwig,
Oesterr. Jhresheft. 1901, pp. 153, 154, fig. 180: Beazley,
no. 2.
I. Two athletes with strigils.
A. Two athletes with trainer.
B. Same.
SUBJECTS
Divth. 1-22.
SHAPES
Hydria Kalpis, 22.
eee 5. 6,11, 15, 160, 10.. Krater, Kalyx, 21.
Military, 3, 21, 23.
Komastic, 6, 10, 20.
Prentcee7 oi 3, 14,17, 18.
Symposium, 9.
Athletic, 12,24.
OTHER ATTRIBUTIONS
Lykaon P.., 1.
Pyxis, I.
Oinochoé, 8.
Olpe, 5.
Koty emit st 4 e200
Kylix, 374; 6, 7, 9, 10, 12, 13;
17-19, 23, 24.
Plate, 16.
Jug, 15.
[355]
THE EUCHARIDES PAINTER
Starting with the stamnos in Copenhagen, no. 124, on which
the name of Eucharides occurs, Beazley in the Annual of the
British School at Athens, vol. xviii, pp. 217-233 has assigned a
number of other vases which probably come from the hand of
the painter of the Copenhagen vase. In BSA. xix, pp. 245ff. he
gives further reasons for believing that the Eucharides Master
was the pupil of the Nikoxenos Master. Cf. also Beazley, VA. pp.
45-47. |
1. ATHENS. Kalpis (fragment).
Beazley, no. 20.
A. Youth and woman.
2. BERLIN (Inv. 3257). Kalyx krater.. From Falerii (Civita
Castellana): h. 0.37, d. 0.41.
Arch. Anz. 1893, p. 88, no. 33, A and B;_ bad photo-
graphs (considered as related to the style of the early
work of Euphronios): Klein, LJ. p. 139, no. 9: Beazley,
no. 8.
A. Four warriors, the two central ones in combat. NIKON
between warriors (not on shield as in Klein). KA\VOS on
shield; HIFON on other shield. .
B. Trumpeter summoning two youths arming and an archer
to battle.
3. Brussets A 721. Neck amphora (double handles).
Beazley, no. 4. For the owl on the diskos, cf. JAS.
1908, p. 316, pl. 31: also Jiithner, Ant. Turngerathe, p. 29.
A. Akontistes. Owl (silhouette) on diskos resting on
ground. KA\OS (?)
B. The same.
4. COPENHAGEN 124. Stamnos.
Beazley, no. 14, pl. x (A): Klein, LI. p. 128.
A. Seated youth between two women. Dog. EV+AAIAES
(retr.) KAVOS.
[ 356].
B. Youth standing between two seated women. Flying
Eros above each handle. KAV\VOS.
5. FLORENCE 3990. Column krater: h. 0.43.
Beazley, no. 12.
A. Warrior’s departure. 3B. Silens and maenads.
-6. Lewes, WARREN CoLL. Kylix (fragment).
Beazley, no. 23.
I. Man and naked woman on a bed.
7. LONDON, Brit. Mus. E 174 (733). Kalpis: h. 0.298.
Cat. iii, p. 156: DeWitte, Descript. no. 64: El. Cér. iii, p.
53, pl. 19: Beazley, no. 18: Overbeck, KM. (Poseidon)
p. 226 K.
On body. Poseidon pursuing Aethra (?).
8. Brit. Mus. E 278 (806). Formerly in Canino Coll., and
Durand Coll. 18. Neck amphora (ridged handles).
From Vulci: h. 0.504.
Cat. iii, p. 206: Mon. d. Inst.i, pl. 23 = Reinach, 1, pp. 70,
71: Ann. d. Inst. 1830, p. 228: El. Cér. ii, p. 162, pl. 55:
Overbeck, KM. (Apollon), p. 63, no. 19, pl. 23, 3: Inghir-
ami, Vas. Fitt.i, pl. 45: Miiller-Wieseler, ii, pl. 13, no. 146:
idem, 4th ed. pl. 26, 7: Beazley, no. 2, fig. 3, pls. 13-14;
_ VA. p. 45, fig. 26 (fig. of Apollo).
A. Apollo. 8B. Tityos and Leto.!
Graffito on foot identical with that on E 279 4
9. Brrr. Mus. E 279 (796*). Neck amphora (ridged handles).
From Vulci ?: h. 0.557. |
Cat. iii, p. 207: Inghirami, Vas. Fit. iv, pls. 347-48:
Beazley, no. 1; fig. 2, pls. 11-12.
A. Dionysos.
‘B. Woman with oinochoé and torch.
Graffito on foot identical with that on E 278 rs
1 Beazley calls the figure ‘Ge.’ Furtwingler (F.R. i, p. 277, note 1) supports
this view while Graef (Miiller-Wies. 4th ed.) retains the old identification.
[3571
10.
If.
I2.
te
T4.
15.
16.
MuniIcH 2317. Neck amphora (twisted handles).
Liitzow, Miinch. Ant. pl. 18: Beazley, no. 6.
A. Woman with lyre.
B. Same. Faces of both figures restored.
NAPLES (H 2201). Kalyx krater. From Apulia: h. 0.50.
Only a small part of the vase is old.
Cat. p. 224: Stephani, CR. 1863, p. 247, 3; 1868, p. 149, 4:
Mus. Borbonico, xv, pl. 15: Beazley, no. 11.
A. Two friezes. Above, komasts; below, two silens.
B. Same. Above, libation; below, komasts.
NAPLES SA 249. Neck amphora (double handles): h. 0.30.
Cat. p. 689; graffito on pl. 19: Beazley, no. 5.
A. Dionysos with horn and branch. |
B. Silen with wine-skin. On wine-skin KA\OS.
Grafito Ww.
NEw YorK 07.286.78. Amphora: h. 0.47.
Beazley, VA. p. 46, fig. 27. |
A. Apollo and Artemis.
B. Athlete and trainer.
OXFORD 315. Lekythos. From Gela: h. 0.33.
Cat. p. 31, pl. 24, 3: Beazley, no. 21.
Triptolemos standing beside winged car.
PaRIs, LoUvRE G 47. Kalyx krater. From Etruria: h.o0.46.
_ The vase has undergone numerous restorations. ~
Cat. ili, pp. 917-18: Album, ii, pp. 145-46, pls. 93-94:
Beazley, no. 9.
A. Four warriors arming and a woman.
B, Four warriors running.
Louvre G 136. Kylix: h. 0.08, d. 0.21.
Cat. ili, p. 972: CIG. 7799: Emmanuel, Orchestre Grecque,
p. 262, fig. 531: Klein, LJ. p. 96, no. 1: Beazley, no. 22,
fig. 5: (7).
I. Hoplitodromos and youth playing flutes. ARISTEIAES
EISVKA.}
1 Klein and Pottier read ef ov xa[Nés].
[ 358 J
17. LouvRE G 163. Kalyx krater: h. 0.475, d.o.51. Vase con-
siderably restored including face of Memnon.
Cat. iii, pp. 1ot1-14: Mon. d.. Inst. vi-vu, pl. 21 =
Reinach, i, p. 149: Roscher, iii, p. 657: Ann. d. Inst.
1858, pp. 362, 373, pl. P = Reinach, i, p. 299 (for lower
figures): Rev. Arch. 1808, ii, p. 362; p. 156, fig. 1: Robert,
Thanatos, pp. 4 (A), 7: Ravaisson, Mon. Grecs rélatifs a
Achille (tirage A part Mém. de l’Acad. des Inscript. et
Belles-lettres, 34, 2™° Partie), pls. 5 and 6)!: Baumeister,
i, p. 727, fig. 781: Saglio, iv, p. 1398, fig. 6516 (A): Beaz-
ley, no. Io.
A. Death and Sleep lifting body of Memnon. Below two
silens as a second frieze. HVIMNOS.
B. Embassy to Achilles. Achilles, Odysseus, Phoinix, and
Diomedes. Below two komasts. OVWTEVS AIOMEAES.
18. Louvre G 202. Neck amphora (ridged handles): h. 0.32.
Cat. iii, p. 1024 (considered as coming from the same
factory as Louvre G 203): Beazley, no. 3, fig. 4.
A. Silen pursuing
B. Maenad with torch.
19. Louvre G 221. Amphora (Panathenaic shape): h.o.43. The
handles do not belong to the vase.
Corin, p. 1025: Beazley, no. 7.
A. Man with pig.
B. Man.
20. PETROGRAD 642 (1357). Stamnos. From Caere: h. 0.38.
Cat. ii, p. 139 (W. p. 110): Mon. d. Inst. 1856, pl. vill =
Reinach, i, p. 244, 1 (wrongly called a krater): Cat. Cam-
pana, ser. iv—vii, no. 880: Ann. d. Inst. 1856, p. 37: Knatz,
p. 8, B, 2: Welcker, Alte Denk. v, pl. 17, 2: Overbeck, KM.
(Zeus), p. 412, no. 9, pl. vi, 4: Roscher, iii, p. 2047: Tonks,
Brygos, p. 115, no. 59 (attr. to Brygos and wrongly called
a kylix): Saglio, i, p. 362, fig. 453 (A): Beazley, no. 16;
VA. p. 47, fig. 28 (Danae and workman).
1 Ravaisson speaks throughout of the ‘cratére d’Euphronios’ and probably con-
fuses it with the Antaios krater.
[ 359]
21.
A. Danae with infant Perseus, Eurydice (?), Akrisios and
workman at the chest.
B. Three warriors.!
PHILADELPHIA MS 4842. Kylix. From Orvieto: h. 0.077,
d. 0.208.
Beazley, VA. p. 46: Hall, Penn. Univ. Mus. Jour. iv
(1913), p. 156, fig. 134.
I. Boy writing on tablet with stylus.
22.
23:
24.
RomE, VATICAN 502 (106). Kalpis. From Vulci: h. 0.42.
Mus. Greg. ii, 12, 2 (18, 2): Gerhard, Aus. Vas. pl. 202,
1, 2 = Reinach, ii, p. 101, 3, 4: Helbig-Reisch, Fihrer,
i, p. 313: Brunn, Sitz. Ber. Bayer. Akad. 1868, p. 76:
Luckenbach, p. 515, r: AZ. 1882, p. 21 (P. J. Meier):
Overbeck, KM. (Apollon), p. 522, no. 14 a: idem, HG. p.
451, no. 103: Beazley, no. 17: Robert, Scenen d. Ilias,
Pp. 9, fig. 13. |
On shoulder. Combat, Achilles and Hector in the presence
of Athena and Apollo.
WurzBuRG 144. Kalpis: h. 0.36, d. 0.15.
Cat. iii, p. 33: Beazley, no. 19.
On shoulder. Dionysos with kantharos and branch, and
woman with oinochoé and phiale.
Graffito on foot (mentioned in Cat. but not given).
WURZBURG 329. Stamnos: h. 0.45, d. 0.21.
Cat. lil, p. 77: Beazley, 00. 13);piaee.
Continuous scene encircling the entire vase, so that a
figure comes under each handle. In one case the joint of
the handle comes directly in the drapery of one of the
figures. |
Archer, bearded man, two warriors, woman with oinochoé,
warrior with phiale and Scythian archer. The other
figures are not given in Beazley’s plate.
1 Thus described by Beazley; Reinach and Catalogue call them Amazons.
[ 360]
25. ? (BOURGUIGNON). Stamnos.
Bourguignon Sale Cat. pl. 3, no. 30, p. 10: Beazley, no. 15.
A. Peleus and Thetis. Altar under handle. KAVOs. On
altar KAVOS.
B. Nereus mounting chariot. ‘Nop under handle. KA\OSs.
On altar EISVAE.
SUBJECTS SHAPES
Myth.,-7, 3, 13,-14. INECk 43,7010). 13;
Heroic, 20, 25. Ampor Deo.
Epic. 1b}, 22: 3 Panath. shape, 19.
Preetice. 0-17.17, 15,223. Stamnos, 4, 20; 24-25:
Military, 2, 5, 15, 24. Hydria Kalpis, 1, 7, 22, 23.
Athletic, Bers ea 6. fh | Column, 5.
Komastic, 11. Kalyx, 2) 11,15, 17.
Genre, 1, 4,6, 10, 19, 21. Lekythos, 14.
Kylix, 6, 16, 21.
[ 361 ]
EUERGIDES
Beazley, JHS. 1913, pp. 348 ff.; VA. pe 10.
Several fragments are preserved with the signature of the potter
Kuergides. His painter, according to Beazley, was a contempo-
rary of Epiktetos and of rather mediocre ability.
1*, ATHENS (CC.1160), (2807-1430). Kylix. From Corinth:
i 0.05,d2 01 FG:
Caizpe 350:
Klein, p. 100, no. 3.
Nicole, Corpus 78, no. 2.
Ephem. Arch. 1885, p. 55, pl. ili, 2 = Reinach, i, p. 507.
Hartwig, JHS. 1891, p. 348, fig. D.
Rizzo, Mon. Pitot, xx, p. 143, fig. 17.
Beazley, no. 43.
I. Youth carrying in his r. over his shoulder a stick from
which his chlamys is suspended, a wine-skin in his I.
EVEDAIAESs E. Identically the same design by a dif-
ferent artist is on a kylix in Baltimore (Hartwig, loc.
cit. pr 347, fe. ©).
[ 362 ]
2*, ATHENS. Kylix (fragment). From Acropolis.
Beazley, JHS. 1913, p. 348.
Nicole, Corpus 78, no. 5.
The fragment possesses no decoration whatever and has
only the four letters of the name. EVEP.
[ 363 J
3°. HEIDELBERG B 2. Kylix (fragments). From Caere ?
Beazley, no. 20, fig. 1.
Nicole, Corpus 78, no. 4.
The fragments from the Magazzino Ruspoli at Cervetri
were divided up, as far as known, between the collec-
tions of Leipzig, Heidelberg, and Munich.
I. Woman running. Impossible to say whether there were
any outside pictures. E[VEPA]JIAES EP[OIESEN ?].
[ 364 J
4*. Lerpzic. Kylix (fragments).! Formerly in Magazzino
Ruspoli, Cervetri. From Caere. Probable, though not
absolutely certain, that the fragments.belong to the
same vase.
Klein, p. 100, no. 2.
Nicole, Corpus 78, no. 3.
Beazley, no. 35.
Klein, Euphronios, p. 263, note. Inscription wrongly
read by Loeschcke as belonging to Euthymides.
Luce, AJA. 1916, p. 468, I, A.
I. Body andhead of youth bending forward. EVEAAIAESE.
A. Herakles and Nemean lion. HEAAKV[ES ].
B. Missing.
1 T regret that it has proved impossible to obtain a photograph of this vase.
[ 365 J
5*, Lost. Kylix. From Capua.
Klein, p. 99, no. I.
CIG. 8196 b.
Minervini, Bull. Nap. vi, p. 5.
Brunn, KG. i, p. 682.
Ann. d. Inst. 1849, p. 145, pl. B = Reinach, i, p. 281.
Rizzo, Mon. Piot, xx, p. 142 (attr. to Skythes), fig. 16.
Panofka, Vasenb. 8, 195 ff.
Beazley, no. 41.
Nicole, Corpus 78, no. 1.
I. Dancing girl with krotala. EVEPAIAES EMPOI[E].
A. Between two sphinxes, youth leading two horses.
PVE+ SIEP Os.
B. The same. Three youths, one with akontion. HO PAIs
KAVOS.
[ 366 ]
~
> i
,
6*, Municu, GLyPTOTHEK. Kylix (fragment).
Rizzo, Mon. Piot, xx, p. 144, note 1.'
Nicole, Corpus 78, no. 6.
ATTRIBUTED VASES
7, ATHENS CC.1205 (1740). Alabastron. From Athens
(Ceramikos): h. 0.17.
Cat. p. 382: Deltion, 1892, p.13,n0. 47: Beazley, VA. p.19.
A. Woman dancing with castanets.
B. Woman with flower.
8a-e. ATHENS. Kylix (fragments). From Acropolis.
Five fragments, cited by Beazley, nos. 44-48.
a. 44. Jahrb. 1899, p. 154, fig. 2. Ext. Vase painter,
seated Athena, bronze workers.
b. 45. Ext. Theseus and Minotaur.
c. 46. Int. Diskobolos.
d. 47. Ext. Two fragments. Young warrior running with
shield (device, bird) and back view of another warrior.
e. 48. Two fragments. Ext. Centaur, head of Herakles.
KV. Undoubtedly the same scene as no. I4.
9. BERLIN 2265. Kylix. Formerly in Gerhard’s Coll.: h.
Oss, d. 0.34.
Cat. p. 541: Beazley, no. 21, fig. 3 (J): Hartwig, Jhb.
1801, p. 253, fig. 2 (A).
I. Youth holding kotyle. OIVOKOMOS.
A. Youth lying down, drinking from a krater. HO ALIS
KJAVOS. :
B. Youth lying down with wine-skin. Two sphinxes facing
under each handle. KAPT[A] NAI+[I].
10. BouLOGNE 183. Kylix.
Le Musée, ii, p. 280, fig. 28: Beazley, no. 20: M. Mayer,
Arch. Anz. 1889, p. 186, no. 183.
I. Youth in vat. ....-Is KAVOS (either "Epdfeu-ts or
6 Tats.)
1 Rizzo states that he is informed by Hauser of the existence of this fragment,
which is part of the interior with an ithyphallic silen (obscene).
L 369 J
11. BOULOGNE 591. Kylix.
Mus. ér. 563: Beazley, no. 19: Gardiner, JHS. 1907,
p. 34, fig. 23 (A): Greek Ath. Sp. p. 335, fig. 89: Klein,
LI. p. 63, no. 3; MS. p. 110, no, 2; Lewiseesn paces
fig. 32 (Gardiner, loc. cit. p. 34, note 89, gives the wrong
reference to Le Musée.)
I~ Cocks “EPOSAPOPREVO. :
A. Athletes. Diskobolos, akontistes, and youth. —OPEVO.
B. Maenad and silens. Under each handle two griffins,
facing. TPOSA—.
12 a-b. BRUNSWICK, BOWDOIN COLLEGE. Kylix (two frag-
ments).
Beazley, nos. 31 and 50, fig. 6: idem, VA. p. Io.
a. 31,-Int. Youth mea
b. 50. Ext. Head of young warrior in Corinthian helmet.
13. Bryn Mawr. Kylix: d. 0.115. The foot and handle are
missing.
Swindler, AJA. 1916, pp. 321, no. x, 322, fig. o.
I. Kneeling youth lifting a kotyle.
13 bis. CasTLE ASHBY. Kylix.
Beazley, VA. p. 10.
I. Nude youth at bell krater.
A and B. Combats.
14. CoRNETO, Mus. BRUSCHI 699 (495). Kylix. From Corneto:
hv ons nd oe
Beazley, no. 39.
I. Warrior running. MOIE. :
A. Between sphinxes: Herakles and centaurs.
B. The same. Peleus and Thetis.
15. HEIDELBERG. Kylix (fragment).
Beazley, no. 30.
Ext. Fawn and silen running.
[370]
16. LIVERPOOL, INSTITUTE OF ARCHAEOLOGY. Kylix (fragment).
Beazley, no. 8.
A. Small fragment of exterior with arm and the back of a
male head. ITA.
17. Lonpon, Brit. Mus. Eg (828). Kylix. From Vulci: h.
Ori52) (10.40:
Cat. ili, p. 45: Panofka, Exgennam. p. 23, pl. 3, 7: Ger-
hard, Aus. Vas. 178-179 = Reinach, il, p. 89, 4: Murray,
Des. no. 6 (1): Roscher, iii, 246 (fig. of Nereus): CIG.
73205: Overbeck, HG. p. 196, no. 45, pl. 7, 4 (A, B):
Ann. d. Inst. 1832, p. 110, no. 14: Klein, LJ. p. 66: Graef,
Jahrb. 1886, p. 202, no. 61: Wernicke, p. 85: Beazley,
Oj,
I. Ithyphallic bearded man holding horn. KAVOS OEIAON.
A. Peleus seizing Thetis: two Nereids. OETIS.
B. Hermes and Nereids bringing the news to Nereus. Hip-
pocamps under each handle separating the groups. NE-
PEVs (retr.) HEPMES.
peeete us. E10 (835), Kylix. ..From Vulci: -h. 0.143,
d. 0.376. |
Gai, it, p. 46: Gerhard, Aus. Vas. i, p. 77, pl. 186 =
Reinach, ii, p. 93: Murray, Des. no. 7 (I): Overbeck,
HG. p. 355, no. 25: Welcker, Rhein. Mus. v, p. 140: Alt.
Denk. p. 459, no. 27: Ann. d. Inst. 1850, p. 87, no. 27:
Heydemann, [liupersis, p. 20: Jahn, Telephos u. Trotlos,
p. 86: Kretschmer, p. 155: pers no-2; CI1G, 7673.
I. Sphinx.
Ext. Divided into three groups: a. Achilles and Troilos
and another youth: b. Two armed warriors and a third
on horseback. c. Two warriors playing dice.
A. TEVEOOs.
B. HE+TOP. A © was added in antiquity in place of T to
cover a rivet hole.
19. Brit. Mus. E 20 (832). Kylix. From Vulci: h. 0.113,
0.22.
Cain, p. 55. (attr.:to Bees CIG. 7670: Murray,
C371]
Des. no. 16 (I): Ann. d. Inst. 1849, p. 145: Gerhard,
Rapp. Volc. p. 154, no. 411; p. 186, no. 766; Archaeologsa,
XXili, p. 251; xxxi, p. 265: Beazley, no. 3.
I. Youth with cloak. HO PAIS KAVOS.
A. Combat, Menelaos and Paris. MENEVEOS.
B. Troilos ? between two horses. [VE+SIFlOSs.
20. Brit. Mus. E 21. Kylix. From Vulci: h. 0.133, d. 0.336.
Cat. iii, p. 56 (attr. to Euergides): Murray, Des. no. 17 (J):
Roulez, Bull. del’Acad. d. Sctences, Brux. 1842, p. 267;
1841, I, p. 437: Panofka, Eigennam. pp. 9, 46: CIG.
7827 b: Mélanges Arch. iv, 4: Jahn, Arch. Aufs. p. 139:
Wernicke, p. 34, no. 3: Miinch. Arch. Stud. p. 371 (ext.):
Beazley, no. 4.
I. Boy running. HO PAIS KAVOS.
A. Youth running between two horses. HIFTOK BITOS.
B. Remains of a similar scene. [, perhaps IIAnéur7os as in
E 20. Cf. Loeschcke, Bonner Stud. p. 250.
21. Brir. Mus. E 22 (830). Kylix: h-oa27 ao
Cat. iii, p. 57: Murray, Designs, no. 18 (I): Beazley, no. 5:
Nicole, Corpus 88, sec. 2, no. 8 (attr. to Hieron).
I. Hoplitodromos.
A. Youths arming.
B. Warriors running. Cf. Berlin 2307 (Aus. Vas. 261).
22. LONDON, VICTORIA AND ALBERT Mus. 4807-1901. Kylix:
hvo.r3s, deo.4e:
Gerhard, Aus. Vas. pl. 180-181 = Reinach, li, p. 90:
Kretschmer, p. 201, no. 4: CIG. 7397: Beazley, no. 6:
Graef, Jhb. 1886, p. 202, no. 62.
I. Youth in pithos.
A. Peleus and Thetis, three Nereids. TEVEVS MEVITE.
B. Four Nereids and palm tree. HO PAIS KAVOS.
23. LONDON (in possession of Mr. Charles Ricketts and Mr.
Charles Shannon). Kylix.
Beazley, no. 7: idem, VA. p. 19, fig. 11 (J).
I. Youthin vat. A. Athletes. B. Komos.
Riga ed
24.
Munic# 2605 (Jahn 1238). Kylix.
Cat. (Jahn) p. 348: Ann. d. Inst. 1831, p. 253: Mon. d.
Inst. i, pl. 7, no. 39 = Reinach, i, p. 75: Beazley, no. 22.
I. Youth with halteres.
A. Youth running between two griffins. HO PAIS KA\OS.
B. Thesame. MAI+1 [sic/] KAPTA.
25 a-e. Municu. Kylix.
20.
27.
28.
20;
Five kylixes in Munich 2607-2609, 2612, 2597: in Beazley,
nos. 23-27.
a. 2607. JI. Youth with kylix at krater. A. School.
B. Komos.
b. 2608. 7. Silen running. A. Maenads and silens.
B. Komos.
c. 2609. J. Warrior running. A. Departure of chario-
teer, Hermes and Eros. B. Combat.
d. 2612. (Beazley figs. 4 (7) and 5 (B). J. Woman run-
ning. A. Between sphinxes, man mounting cha-
riot. B. Same sphinxes, maenads, and silens.
HO fAls KAVOs. On B VASIOS.
e. 2597. I. Youthrunning. No exterior pictures.
NEw York 09.221.47. Kylix: h. 0.117, d. 0.337.
Bull. Metropolitan Mus. v (1910), p. 142, fig. 1 (attr. to
Epiktetos): Beazley, no. 49: idem, VA. p. 19.
I. Youth bending with flower. HO PAIS KAVOS NAI.
A and B. Athletes. HO PAIS and some senseless letters.
vad
Graffito 5 rige v ARZIAAY.
OrvIETO, Farina Cott. 171. Kylix. From Orvieto.
Beazley, no. 40.
I. Youth running with horn.
A and B. Komos.
Paris, Louvre G 20. Kylix (fragment): h. 0.09.
Cat. iii, p. 898: Album, ii, p. 139, pl. 90: Beazley, no. 13.
I. Youth running holding krotala. [MEM]NON [KAVOS].
Louvre G21. Kylix: h. 0.125, d. 0.32.
Cat. iii, p. 898: Beazley, no. 10.
E3733
I. Youth with horn. O PAIs NAI.
A. Youth with horses. HO -Als NAI.
B. Youth dancing: panther (frontal head) seizing fawn.
T.ls KAVOS.
30. Louvre G 22. Kylix: h. 0.125, d. 0.33.
Cat. ili, p. 899: Beazley, no. 11.
I. Diskobolos. HO -Al- K/\VOS.
A. Two youths chasing a stag. TAIS - -\OS.
B. Two youths chasing a fawn. HO TAIsS KA- O.
31. Louvre G71. Kylix: hyow2, doar
Cat. iii, p. 923 (style allied to that of Chachrylion): Rev.
de l’art anc. et mod. 1901, p. 9 (A): Beazley, no. 12:
Luce, AJA. 1916, p. 468, TA.
I. Youth with halteres (head restored). O PAIS KA\VOS
NAIL.
A. Herakles and lion: Theseus and Minotaur: Theseus and
Prokrustes. HEPAKVE.- --- OS.
B. Komos.
32. Louvre Go6. Kylix (fragment): h. 0.14.
Cat. iii, p. 926: Album, ii, p. 153, pl. 99: Beazley, no. 15.
I. Youth lifting stone or (as stated in the Catalogue) an
amphora. ION KAVOS [MEMNON ?}].
33. Louvre Gi4o1. Kylix (fragment).
Beazley, no. 14.
I. Man running with stick.
34 a-c. Louvre. Kylix (fragments).
Beazley, nos. 16-18, mentions three fragments in the
Louvre which have not been published, as follows:
a. no. 16, fig. 2. Louvre S 1403. Ext. Athletes.
b. no. 17. Louvre S$ 1395. Int. Head of youth. 2
c. no. 18 (Louvre no. not given). Ext. Head of young
warrior. HO.
35. WURzBURG 347. Kylix. From Vulci: h. 0.13, d. 0.34.
Cat. iii, p. 87: Beazley, no. 28.
L 374 J
ik
A,
ish
Youth running. HO.-A-s.-..0.
Youth, and panther attacking fawn. HO PAIS KAVOS.
Komos. Same inscription as on A.
36 a-g. In various museums. Kylix (fragments).
Beazley, nos. 32-34, 36-38 and 42, gives a list of seven
fragments in the museums of Dresden, Leipzig, and Adria.
None have been published and little of interest is pre-
sented. The numbers given here are those of Beazley’s
list.
a. 32. Dresden. Ext. Youth with halteres, and a hand.
b. 33. Dresden. Int. only. Woman running.
c. 34. Leipzig (from Caere). Int. Part of male head.
Ext. Komos.
d. 36. Leipzig (from Caere). Int. Back view of youth,
arm extended in cloak.
e. 37. Leipzig. Ext. Pegasos and part of bending youth.
HO.
f. 38. Leipzig. Ext. Woman running.
g. 42. Adria. Int. Youth lifting halteres. HO PAIS
KAVOS. .
SUBJECTS SHAPES
Myth., 18, 25 e, 36f. Kylix, 1*—-6*, 8-36.
Hermie 4, Sb, Se, 14, 17, 22, Alabastron, 7.
21, |
Epic, 18, 19. OTHER ATTRIBUTIONS
Baccme, 11, 15, 25 b, 25 d. Chelis 5*.
Military, 8 d, 12 b, 14, 21, 25,
25d, 34 Cc.
ee ee oc, 11, 21, 23,24,
26, 30, 34a, 30a, 30g.
Reomastic.i 5,0, 0, 10, 12 4,
Pee eae a, 25 b, 27, 28,
31, 32, 35, 30C.
Genre, 3*, 4*, 8a, 19, 20, 25 a,
25 ¢,
29, 39; 33, 35:
[375]
EUPHRONIOS
Robert in Pauly-Wissowa, s.v. Euphronios.
Klein, pp. 137-149; Euphronios.
Sauer in Thiemes Lexikon, s.v. Euphronios.
Furtwangler in F.R. i, pp. 27-30, 98-109, 110-113; ii,
PP. 15-19, 133-135, 172-178.
Walters, 1, pp. 430-434.
Hartwig, pp. 95-153, 444-502.
Buschor, p. 163.
Perrot and Chipiez, x, pp. 390-446.
Radford, JHS. 1915, pp. 107-139.
Beazley, VA. pp. 30-31.
The signatures of Euphronios concerning which there can be
no dispute are eleven in number; a twelfth (1*), a fragmentary
kylix from the Acropolis has merely the inscription |Os EAP
but as the restoration in view of the style to Ei@pédvos éypawev
offers no difficulty it may safely be regarded as a definite signa-
ture. Another Acropolis fragment (2*) has the verb only, but
the style is so distinctly that of Euphronios it would be difficult
to suggest another name. Nos. 3*, 15*, and a have the name
only without the verb.
Of the twelve authentic signatures 1%, a , 10% and 14* bear
the éypawev formula alone and are thus certainly works from the
hand of the master himself; 7* in addition bears the signature
of Chachrylion as potter.
The other eight all have the ézoincev formula and of these 12*
has in addition the signature of Onesimos (although only the
last four letters of this name are preserved the restoration is now
universally accepted) as painter; and as the style of this differs
from the others it is clear that certainly three different artists —
(Euphronios, Onesimos, and a nameless painter) were at work in
the same factory.
As several of the seven ézoinoev vases and a large number of
unsigned vases were clearly by the same hand and had in addi-
tion the name Panaitios, Furtwangler christened this anonymous
[376]
painter the Panaitios Master! and it is now generally agreed that
five of these vases (5*, 6*, 8*, 9% and 11*) are the work of his
hand. Vase 4* was attributed to the Penthesilea Painter by Furt-
wiangler, but Beazley with perhaps better reason has assigned it
to a different hand, to the artist who painted 2*. Miss Radford
considers that two painters were at work on this vase, the inte-
rior being the work of an artist she has termed the Polychrome
Painter and the exterior by another nameless artist. This view
has not met with general acceptance. Hartwig attributed 13* to
Onesimos, but Buschor, with whom Beazley agrees, prefers to
consider this vase as the work of a painter he terms the Perugia
Painter: Miss Radford attributed it to the Brygos Painter but
that attribution would seem to be forbidden by the style.
Summed up briefly the following division of the work of
Euphronios seems generally accepted:
Euphronios as artist: 1*, 3°, 7*, 10% and 14".
Onesimos: 12%.
Onesimos or the Perugia Master: 13%.
Panaitios Patter: 5*, 6*, 8*, o*, 117 and 15°.
Penthesilea Painter or another: 2*, 4*.
There is no variation in the éypayev signatures; of the others
the following variations are to be found:
EVOPONIOS EPOIESEN: 4”.
EVORONIOS EPOIESEN: 12%.
EVORONIOS EPOIESEN: 6%, 11%, 13%.
EVOPONIOS EPOIESEN: 8%, 9%.
EVORONIOS EPOrlESEN: 5™.
The following xados names are used by Euphronios:
Glaukon: 2* ?, 4™.
Pamaitios: 5*, 6™.
Penpros: 7*,.14*.
Erothemis: 12*.
Lykos: 13°.
devios: 12".
1 Furtwangler even went so far (F.R. ii, p. 134) as to regard Onesimos as the
Panaitios Painter and assigned 13* to him. This view, of course, is not accepted.
L377
1*, ATHENS. Kylix (fragments). From Acropolis.
Winter, Jahrb. 1888, p. 66, pl. 2.
Richards, JHS. 1894, pp. 190, I9gI.
TFCRIa pe oe ores.
Wolters, Athen. Mitt. 1888, p. 105, note 1.
Radiord J HS. 1015p.1me-
Beazley, no. 10 (attr. to Euphronios as painter).
Hartwig, pp. 247-250 (attr. to Peithinos).
A. Peleus and Thetis. OETIS (retr.) [EVOPON]IOS EA-
PLAOSEN] (retr.).
E37ou
2*. ATHENS, ACROPOLIS. Kylix (fragments). From Acropolis.
White ground on both interior and exterior.
Harrison, JHS. 1888, pp. 143-146, pl. vi.
Wernicke, p. 93, no. 13.
Nicole, Corpus 79, sec. I.
MR 254.
Hartwig, pp. 490, 500, no. 8.
Swindler, AJA. 1900, p. 149, no. 4 (attr. to Penthesilea
Master).
Per. and Chip. x, p. 700, fig. 388 (detail of B).
Radford, J/H'S. 1915, :p.. 137.
Furtwangler, Arch. Anz. 1891, p. 65 (attr. to Sotades).
Beazley, VA. p. 83 (attr. to same painter as Berlin 2282).
Girard, Peinture, p. 181, figs. 101-102.
I. Orpheus and a Thracian woman. Foreign origin of
woman shown by tattooing on neck and arms. [EV®PO-
NIOs EP JOIESEN OPOEV[ s].
A and B. Traces of fallen barbarian and horse. [AVAV-
K]JON [KA\OS}.
— £380 J
3*. BERLIN 2281. Kylix (fragments).
Caransor.
AZ. 1882, pp. 37 ff. pl. 3 = Reinach, 1, p. 4309.
Klein, no. 6; Euphronios, p. 159-181 (figs. on pp. 160,
176).
Radtord) J HS::1015,.pert 2
Nicole, Corpus 79, no. 11.
Hartwig, pp. 150 ff.
Even if the signature is correctly restored, the determina-
tive word is missing.
I. Altar of Zeus and death of Astyanax. Under exergue
EV[@]PLONIOS]. On top step of altar AlOS, on lower step
HIEPO[N]. Above head of Astyanax ASTV[ANA + $].
A, Combat] = ONG Ou
Bie Theisames 2. EVs.
[ 382 J
eeseseskes
— 1 TAMMIE yy £ 7
.
SS :
y ‘NR, bia
‘ ; £ \ Me »:
ae,
we eS
3 0
MY,
{
4*. BERLIN 2282. Kylix. From Vulci: h. 0.12, d. 0.35. Foot
dip
modern, except a small piece. Vase much restored.
Cai pi503:
Gerhard, TG. p. 18, pl. 14, 5-10
CLG 8207.
Panofka, Vasenb. pl. iv, 7.
Bull. d. Inst. 1836, p. 38.
Ann: d. Inst. 1842, Pp. 112.
Wiss, ples. 0:
Brunn, KG. ii, p. 682; Trotsch. Misc. i, p. 63.
Jahn, AZ. 1853, p. 134.
Stephani, CR. 1873, p. 130.
Buschor, p. 179.
Klein, no. 9; Euphron. pp. 240 ff.; LI. p. 154.
Weil, AZ. 1870, p. 101.
Athen. Mitt. 1881, p. 113; 1883, p. 254, pl. xi, 5.
Hartwig, pp. 484 ff., 500, no. 7, pls. 51, 52.
FiReiyp283-
Wernicke, p. 92, no. 11.
Diimmler, Bonn. Stud. p. 78.
Furtwangler, Arch. Anz. 1891, p. 609.
Swindler, AJA. 1909, p. 149, note I, no. I.
Radford, JHS. 1915, pp. 136, 139.
Beazley, VA. p. 83 (attr. to same hand as Aeoeele
fragments, 1888, no. 2*).
Roscher, iii, p. 1184.9 (head of youth on J).
Per. and Chip. x, pp. 707-708, figs. 386-387 (J).
Nicole, Corpus 79, no. Io.
Saglio, i, p. 1358, fig. 1808 (head of youth on J).
Girard, Peinture, p. 178, figs. 98-99 (heads on I).
White ground. Youth and girl. [EV]OPONIOS :[E ]POl-
ESEN [AIJOMEA[E] ?
A. Boys on horseback, racing. AVAVION KA[\O3].
B. Same. Only a few fragments preserved.
On foot EVO[PONIOs EPOIESEN].
L 384 ]
s*, BosTON 95.27. Kylix. Formerly in Van Branteghem Coll.
hs
From Viterbo: h. 0.129, d. 0.368.
Cat. p. 141, no. 388 (for history of the vase).
Gerhard, Bull. d. Inst. 1830, pp. 233, 243; 1831, p. 85;
1846, p. 105; Rapp. Volc. 708.
CIG. 8209.
Brinn, AGoi, p. 652400. 2:
Van Branteghem Sale Cat. no. 52, pls. to-14.
Nicole, Corpus 79, no. 5.
Burlington Cat. 1888, no. 8, pls. 4-6.
Hartwig, pp. 466 ff. pls. 47, 48, 1.
Wernicke, p. 79, no. 2.
Klein, Euphronios, pp. 97-11; Ll. pie gene
Per. and Chip. x, pp. 469-471, figs. 411-413.
Beazley, VA. p. 86, no. 17.
Radiord, J So 10152) tas
Two komasts. EVORONIO® EPOrlESEN (sic/ retr.)
KAVOs HO FAIS.
A. Komos, six figures. TANAITIOS KAVOS.
B. Same, five figures. The same inscription, retrograde.
L 386 ]
6*. Lonpon, Brit. Mus. E 44 (822). Kylix. From Vulci:
h. 0.120 sda og.
Cat. ili, p. 68.
Durand Coll. no. 61.
CIG. 8206.
Duruy, Hist. ii, p. 184 (Z).
Murray, Des. no. 27 (1), p. 10, fig. 4 (A).
Panofka, Eigennam. p. 62.
Klein, no. 4; Euphronios, pp. 86-104 Pp. 88-89, ext.,
p. 98, 1).
Brunn, KG. i, p. 684, no. 3.
Wernicke, p. 79.
Meier, AZ..1885, p. 185, note 9.
Per. and Chip. x, pp. 425-427, figs. 248-250.
Harrison and MacColl, pls. 12 (J), 13 (ext.).
Studniczka, Jhb. 1887, p. 162, note 22.
Nicole, Corpus 79, no. 4.
Hartwig, p. 444.
EReie ppl iit re alee
Hackl, p. 29, 192.
Radford, JMS. 1915, p. 120.
Beazley, no. 2.
Kalkmann, Jhb. 1896, p. 30, fig. 12 (J).
Winter, Kunsigesch. in Bild. i, pl. 88, 6 (I).
Fowler and Wheeler, p. 493, fig. 392.
Saglio, iii, p. 1827, fig. 4967 (J); iii, p. 89, fig. 3759 (A).
Hoeber, Griech. Vas. fig. 50 (A).
WV. i, pl. 7.
I. Old man and hetaira. PFANAITIOS KA\OS.
A. Herakles bringing Erymanthian boar to Eurystheus.
EVPVSOEVS. KA E:
B. Quadriga accompanied by Hermes. VAVOS KA\OS EV-
ORONIOS EPOIESEN. .
Graffito on foot \.
L 388 ]
“*, MUNICH 2620 (337). Kylix, red ground around central
medallion. From Vulci: d. 0.428.
Cat. (Jahn), p. 103.
Cat. étr. no. 81, p. 107 (DeWitte): Res. étr. no. 37.
Bull. d. Inst. 1830, p. 4.
Chia s22e%
Mon. Nouv. Ann. 1838, pl. 15, 16 = Reinach, 1, p. 238.
Klein, no. 3; Euphronios, pp. 53 fi.
Hartwig, pp. 145 ff.
Panofka, Vasenb. pl. iv, 9-10.
Guigniaut, Religions, pl. 180.
W Vevepl?3;
F.Ri4, pp: eS 1007 pin aa
Walters, i, p. 432, pl. 38 (A).
Radford, JS. 1015; perm
Beazley, no. 9.
Brunn, KG, pa7o3enoa7,
Buschor, p. 163.
Per. and Chip. x, pp. 395, 399, 400-401, figs. 237, 241-243.
Harrison and MacColl, pl. 11.
Springer-Michaelis, Handb.’ p. 167, fig. 309 (A).
Nicole, Corpus 79, no. I.
I. Young rider on horseback. VEAAPO[S] KA\VOSs.
A. Combat, Herakles and Geryon. HEPAKVES [AEP ]VO-
NES VEA[A]POs K[A]VOS EVPVTION IOVEOS AOE-
[NAIA].
B, Four armed youths driving off Geryon’s herd. HO PAIS
KAVOs VEAAPOS.
On the edge of foot. + A+ PVVION EPOIESEN EVOPONIOs
EAPAOSEN.
L 390 J
rete At Ay
8*, New YorRK 12.231.2, Kylix: h, 0.105, d. 0.327,
Richter, AJA. 1916, pp. 125-133, pls. 2-6.
Bull. Metr.. Mus. vii, p. 153.
Nicole, Corpus 79, no. 12.
AJA. 1014; p. 116, fig, 3;
Beazley, VA. p. 85, no. 3 (attr. to the Panaitios Master).
Radford, JHS. 1915, p. 123, same attribution.
I. WHerakles and small companion (Hyllos?). EVOPONIOs
EPOI[ESEN] HEPAKVES.
A. Contest of Herakles and the sons of Eurytos. |O0IT[OS]
KV.
B. Contest of Herakles and Busiris. ..KES.
[ 392 J
Sout vd ka a a
o*. Paris, Cas. D. MED. 526. Kylix. From Corneto.
Carpe 30%:
Milliet-Giraudon, ii, pl. 57.
Panofka, Eigennam. pl. iv, 6.
Brunn, KG. ii, p. 684, no. 5.
Mon. d. Inst. ii, pl. x (A) = Reinach, i, p. 89, 1-3.
Overbeck, HG. pl. 17, 2; p. 413, no. 38.
CIG. 8208.
Wire Diake
Roscher, i, p. 1195 (A).
Ann. d. Inst. 1834, p. 295; 1875, Pp. 309.
Nicole, Corpus 79, no. 7.
Robert, AZ. 1882, p. 47.
Klein, no. 5; Euphronios, pp. 136-159 (p. 137, A minus
the restorations).
Hartwig, pp. 413, 479.
Kretschmer, p. 168.
Radford, JAS? 7915) p. 223.
Beazley, VA. p. 84 (attr. to the Panaitios Master).
I. Only two fragments of an arming scene. [E]VOPON[ 10s
EPOIESEJN. >
A. Dolon seized by Odysseus and Diomed; Athena and
Hermes. [AA ]JAMFMMO[N] (r.) AOVJON (retr.)
AIOMEAES (retr.) OVWTEV[S] (retr.) EVOPJONIOS
TEPOIJESEN.
B. Remains of two figures.
[ 304 J
L305 J
1o*. Parts, LouvrRE G103. Kalyx krater. From Caere:
hyo AG wd co.55:
Cat. lll, pp. 930-935: Album, ii, p. 154, pls. 100, ror.
FO ReiS pp. 72-1765 pis o2n0s:
WV. Vv, pl. 4.
Brunn, AG. ii, p. 685, no. 8.
CIG. 8209 b.
Braun, Mon. ed Annali, 1855, pl. v = Reinach, i, p. 242.
Ann. d. Inst. 1854, p. 38.
Furtwangler, Roscher, i, p. 2207 (A).
Saglio, 1, p.. 282, fig. 329 (A).
Winter, Oesterr. Jahresheft. 1900, pl. v, 2.
Hartwig, pp. 147 ff.
Fowler and Wheeler, p. 492, fig. 391.
Klein, no. 1; Euphronios, pp. 118-119.
Rayet and Collignon, p. 153, fig. 68 (A).
Buschor, p. 161, fig. 114 (A).
Radtords/ HS 1Ons rie,
Nicole, Corpus 79, no. 2.
Hoeber, Griech. Vas. fig. 48 (A).
Beazley, no. rf.
Per. and Chip. x, pp. 395, fig. 238 (B), 405, fig. 244 (A),
400, fig. 245 (B), pl. viii (detail of A).
Girard, Educ. Athén. p. 169, fig. 14 (B).
Springer-Michaelis, Handb.” p. 167, fig. 310 (heads on
A).
A. Herakles and Antaios. HEPAKVE2 [AN]TAIOS EVO-
PONIOS EAPAQOSEN.
B. Musical competition. Three seated youths, one stand-
ing.
£396 J
ESo7
11*, LouvRE Gio4. Kylix. From Caere: h. 0.165, d. 0.39.
Cat. iii, pp. 935-942: Album, ii, pp. 155, pl. 102 (JZ).
WVigvssp leer:
Rayet and Coll. p. 165, fig. 69 (Z).
DeWitte, Mon. Grecs. 1872, 1, p. 190, pls. 1-2.
Duruy, His#. ii, p. 122 (J). Wulff, p. 45 c.
Nicole, Corpus 79, no. 6. Hartwig, pp. 481-484.
Martha, Avi Etr. fig. 110 (1). Walters, i, p. 481, no. 4.
D’Eichthal and Reinach, Bacchylides, pl. iv (J).
Harrison and MacColl, pl. xiv (J).
Buschor, p. 165, fig. 117 (J).
Smith, JH.S. 1808, p296)pl. 149
Bull. d. Inst. 1872, p. 190.
_ Robert, Marathonschl. p. 50.
Is
Klein, no. 7; Euphronios, pp.182 (1), 194-195 (A and B).
Winter, Oesterr. Jhresheft. 1900, p. 120, fig. 43 (detail of J).
F.R. i, pp. 27-30, pl. 5 (crown falsely restored) (attr. to
Panaitios P.).
Radford; S--10155,ps821n
Beazley, VA. p. 8s, no. 1 (attr. to Panaitios P.).
Per. and Chip. x, pp. 422-423, figs. 246-247 (A and B),
pls. ix and x (J).
Pottier, Douris, fig. 12 (B).
Robert, Arch. Anz. 1889, p. 142: Hermes, 33, p. 132 ff.
Saglio, v, pp. 230, fig. 6887 (1); 647, fig. 7312 (J).
Baumeister, iii, p. 1793, fig. 1877 (J).
Hoeber, Griech. Vas. fig. 51 (1).
Winter, Kunstgesch. in Bild. i, pl. 89, 2 (J).
Harrison, Myth. Int. fig. 24 (ext.), p. 148, fig. 28 (2).
Girard, Peinture, p. 177, fig. 97 (J).
Pottier, Rev. de l’art anc. et mod. 1901, p. 17, fig. 8 (Z).
Theseus, Athena, and Amphitrite. OESEVS A®ENAIs
AM¢.....TE (@.) TRIT- > EVORO= sas PrOIESEN.
A. Exploits of Theseus: Skiron and Prokrustes. ..... Ss