WILLIAM WARh LIBRAR UNIVERSITY OF MICHIGAN ANN ARBOR GENERAL LIBRARY OP May twenty-first 19 31 My dear Sir: At the request of Professor Francis W. Kelsey, I have taken pleasure in forwarding to you by mail Volumes 6 and 7 of the Humanistic Series of the University of Michigan publications. We shall be glad to know that they, have reached you safely. C^wx - L^T. Librarian Dr. Matteo Delle Corte, Ispettore degli Scavi, Pompei, Naples, Italy. WWB:B THE GETTY RESEARCH INSTITUTE LIBRARY Halsted VanderPoel Campanian Collection of spictngan HUMANISTIC SERIES Size, 22.7 x 15.2 cm. 8 VOL. I. ROMAN HISTORICAL SOURCES AND INSTITUTIONS. Edited by Professor Henry A. Sanders, University of Michigan. $2.50 net. VOL. II. WORD FORMATION IN PROVENCAL. By Dr. Edward L. Adams, University of Michigan. (Ready in February, 1908. ) VOL. III. STUDIES IN THE LATIN LANGUAGE AND LITERA- TURE. Edited by Professor Clarence Linton Meader, University of Michigan. (In press. ) VOL. IV. PART I. STUDIES IN THE LIFE OF HELIOGABALUS. By Professor Orma Fitch Butler, Oxford College for Women (Ohio). $1.25 net. PART II. THE MYTH OF HERCULES AT ROME. By Dr. John G. Winter, University of Michigan. (Ready in December.} Size, 28 x 18.5 cm. 4 VOL. VI. ATHENIAN LEKYTHOI WITH OUTLINE DRAWING IN GLAZE VARNISH ON A WHITE GROUND. By Arthur Fairbanks, Director of the Museum of Fine Arts, Boston. With xv plates, and 5 7 illustrations in the text. $4. oo net. volumes of the University of Michigan Studies are published by authority of the Executive Board of the Graduate Depart- ment of the University of Michigan. A list of the volumes thus far published or ar- ranged for is given at the end of this volume. Umurrsitv of Michigan etttDirs HUMANISTIC SERIES VOLUME VI ATHENIAN WHITE LEKYTHOI THE MACMILLAN COMPANY NEW YORK BOSTON CHICAGO ATLANTA SAN FRANCISCO MACMILLAN & CO., LIMITED LONDON BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, LTD. TORONTO S -* i2 _^> 3 _s c rt - 43 n -o "o 'S. ~ ."2 43 C C "3 c _0 CJ *O U) 6 o Q "u c i^ ^ j^ C3 15 J: (J D 03 t J "JT *' d (- 3 o .S i i c i*i o s o o w. scene. | 1 2 ^3 DRAWING ment or access garment or ace 1 3 5 -o > 1 arment. 43 1 for garments. "H. 3 D-, O C 'S. 2 u 3 -S >-, ^ 1 c -g i ^ c o ra C 1 15 V N for garments. T}j n j~ '53 C O l_! 60 u 60 S - .S Jj t^_ U OJ c c 1 f c 3 C V "3 -o o - > u o N J3 43 rt 60 ^ "c Lri o -o -c "3 1 O ~V 43 "- "a * c n o c c ."2 "o c c c 13 "i -> *c 4J ^ j u o ~-, 4 a -a 15 OJ 2 Q 1 ^ 3 ^ 1 a S % -S "r^ tj <*. o 3 03 g. i > S o 5. 8 _o sT 3 o r) 60 C 2 -o c CO 3 "s H u CO o S3 a S U CO -o c 1 1-1 2 Q i S u K J3 * o B o X i a. o- o 1 E U ^ 1 Si 1 Ox 3 1 U S u D_ 1 "bb I s of bars c 1 3 CO "bb 2 1 10 w-> 4J CO 1) u o o = * 8 jj u 15 * 15 i 4-f s -a OH W _ 3 * r o u tu t< K M ri CO M ri (4 DH M u U Jz; ~ -'- j^ J2 -g M -o _o O -0 u m a T3 d -o -8 g u h z CO CO y ^ M o u 1 1 O "i i i -o C5 i o O T3 4 - PB (A O ' r- -* V _^ * ^_ ' > ^ : ca U D ATHENIAN LEKYTHOI WITH OUTLINE DRAWING IN GLAZE VARNISH ON A WHITE GROUND BY ARTHUR FAIRBANKS MUSEUM OF FINE ARTS, BOSTON Neto fforfc THE MACMILLAN COMPANY 1907 All rigktt reserved COPYRIGHT, 1907, BY ARTHUR FAIRBANKS. Set up and electrotyped. Published December, 1907. Nor-wood Press J. S. Gushing Co. Berwick & Smith Co. Norwood, Mass., U.S. A. THE GETTY CENTER LIBRARY PREFACE THE purpose of the present volume has not been to make a thesaurus of lekythoi with drawing in glaze on a white ground, though I have included in it all the examples that I have seen and some that I know only by description ; I have rather aimed to study the differ- ent classes of white lekythoi in their relation to each other and to vases in a different technique. Using as a basis the work of Pettier, Furtwangler, Bosanquet, and others, I have brought these classes of lekythoi into a fairly well-established series, dating approximately from 475 to 4-3 B>c - The results are important for the history of Greek vase painting, in that changes are much more clearly defined here than in other kinds of vases during this period. Delays, for which I am only in part responsible, have postponed the appearance of the present volume until it is somewhat out of date so far as the Athenian collections are concerned. A discussion of the new lekythoi, mainly from Euboea, may be added in a supple- ment to a second volume, if I am able to complete my work by treating lekythoi with drawing in dull color. My thanks are due to many friends who have assisted me in these studies, and in particular to the museum curators, who have given me every opportunity to study the collections in their care. In expressing my regret that MacMahon's article on white lekythoi (American Journal of Archaeology, 1907, p. 7 f.) appeared too late for me to make use of it, I wish to acknowledge obligation to Mr. MacMahon and the Journal of Archaeology for permission to reprint one plate (plate XV). Finally, both on my own behalf and on behalf of the classical department of the University of Michigan, I desire to thank the Honorable Peter White, Regent of the University, for the generous aid which has made it possible to publish this volume in the University of Michigan Studies. ARTHUR FAIRBANKS. LITERATURE IN addition to the catalogues of vases in the public museums (of which Collignon-Couve, Catalogue des vases peints du Mus'ee national d' Athenes, 1902, is most important for lekythoi) and in private collections (e.g. Frohner, Collec- tion van Branteghem, 1892), the following books are devoted wholly or in part to white lekythoi : BENNDORF, Griechische und sicilische Vasenbilder, Berlin, 18691883. DUMONT, CHAPLAIN, POTTIER, Les ceramiques de la Grece propre, Paris, 1884-1890. POTTIER, Etude sur les lecythes blancs attiques a representations fun'eraires, Paris, 1883. MURRAY, White Athenian Vases in the British Museum, London, 1896. The following articles, also, are important for the study of these vases : Arch. Zeit. 1880, S. 134 f. Furtwangler, " Weisse attische Lekythos." Am. Jour. Arch. 1886, p. 385 f. Wright, "Unpublished White Lekythoi from Attica." Athen. Mitth. XV. S. 40 f. Weisshaupl, " Attische Grablekythos " (also Festschrift fur Otto Benndorf, Weisshaupl, " Der Gang zum Grabe "). Jour. Hell. Stud. 1896, p. 164 f. Bosanquet, "On a Group of Early Attic Lekythoi." 1899, P- J ^9 f. Bosanquet, "Some Early Funeral Lekythoi." In the effort to place the different classes of lekythoi, constant reference is made in the following pages to Hartwig, Die griechischen Meisterschalen des strengen rothfigurigen Stiles, 1893, and to Klein, Die griechischen Vasen mit Lieb- lingsinschriften, Zweite Auflage, 1898. INTRODUCTION I ALL through the history of Greek vase-painting attempts were made to secure a white ground as the foundation for the painter's work. These attempts met with varying success, but never with such success as to supersede other forms of decoration. The ad- vantages of a white ground are obvious. Black lines show better on white than on dark red, and polychromy could be introduced with the white ground into this lesser art, instead of being limited to painting of a more ambitious type. But it was difficult to attach a white coating securely to the vase, and when the coating was first made secure this end was attained at the expense of whiteness. Later a white chalky coating was attached securely to the vase, but the coating itself was so friable that the painted scene was anything but permanent. So far as general vase-painting was concerned, the use of a white ground never passed the experi- mental stage ; only on vases of one type, manufactured for a special purpose, did it ever become common. These vases were the so- called white lekythoi, made at Athens for use in connection with the burial of the dead. The Greek word \iJKv0os is an old name for a flask or bottle in which oil was carried. 1 So in Homer the word is used to denote the golden vessel containing oil which Nausikaa and her two companions took with them, that they might have oil with which to anoint them- selves after the bath. In the time of Aristophanes and Plato" it still means the oil-flask which the athlete carried together with his strigil, an oil-flask "worth an obol." Small flasks, presumably of a different shape, were used for perfumes, and these also received the same name ; such a perfume bottle is mentioned in the Andromeda of Sophocles, 8 and Pollux interprets the adjective which Sophocles uses in this connection as meaning /*oi>oAi'0ov9, " of one piece of stone." The l OJytity, VI, 79, 215. * Aristophanes, Ran. 1200 f., Frag. 14; Plato, Charm. 161 E [Hif>f>. Mi*. 368 C and *chol.]. Sophocles, Frag. 133; Aristophanes, Plutut, 810 cd Si \jicv0oi fripov ytftovffi ; Etcln. 538; Frag. 8. B I 2 ATHENIAN WHITE LEKYTHOI use of lekythoi in burial rites is expressly mentioned by Aristophanes l in an often-quoted passage, which, so far as I am aware, is the only passage in literature referring to the particular class of lekythoi to be treated in the present monograph. The date of the Ecclesiazousae (392 B.C.) corresponds to the period represented by large numbers of the smaller extant lekythoi. Evidently the term is employed by Greek writers to mean any small flask such as may be used for oil or perfumes. 2 Scarcely more light as to the exact meaning of the term is gained from an examination of vases on which the name is incised. 3 One of these is of an early shape from which the later pitcher, as well as the later oil-flask, may have been derived ; another would in modern terminology be called an aryballos, although this type of aryballoi seems to have been devised to take the place of earlier lekythoi when what we now call lekythoi were manufactured solely for use in con- nection with burial. It is, therefore, merely a matter of convenience when modern students in the effort for a more exact terminology employ the term aryballos to cover the vessels with a mouth some- what like that on lekythoi and a full body flattened on the bottom, while they limit the term lekythos to slender vases with a separate foot attached. I shall attempt to outline the development of this form in the latter part of this introduction. The typical lekythos shape was attained by the beginning of the fifth century, i.e. before the outline technique became general on this type of vase, and the changes which appear after this date affect only details. The leky- thoi with outline drawing on a white ground are small vases ordina- rily from six to twelve inches high, with a high, nearly straight, body on a disk-foot, a slender neck to which is attached the small high handle, and a rather large bell-shaped mouth. The upper two-thirds of the body is covered with a white or whitish slip on which the design is drawn in outline. The lekythos shape on which this outline technique appears deserves attention both for its beauty and for its adaptation to the 1 Eccles. 995 Ne. rbv ru>v ypa. 'Ap^. 1887, pi. 6), has a creamy white slip on a pottery foundation. Enough examples of painted stelai remain to show that a white marble surface was often used for painted figures at about this period. The substitution of a pottery placque covered with white paint or with some form of white slip for a slab of marble, would be quite natural, independently of the use of a white slip on vases. Apparently we are justified in connect- ing the introduction of vases with a white slip into Athens with the effort for novelty which marked the workshop of Nikosthenes; it is possible, however, that instead of introducing this type of vase from Naukratis, he rather adapted a process which was already in use for painted placques. In any case both the practice of painting on white placques, and the presence of fragments of Naukratis ware with a white slip in Athens, must be considered in studying the appearance of a white slip on Athenian vases at this time. r 4. The Outline Technique. It is a curious fact that the practice of drawing some part or parts of the figure in outline was associated with the use of a white slip from comparatively early times. On the Melian amphorae the heads of women were drawn in outline, and the same is true of the hydriae found on the island of Rheneia. On an early series of Rhodes plates (e.g. the Euphorbos plate, Brit. Mus. Vase Cat. II, A 268) most of the scene is drawn in outline. On the Rhodes oinochoai with a white slip, and on the Rheneia hydriae the heads of animals were treated as on the Melian amphorae; and on the Rhodes ware a space was com- monly left white underneath the bodies of animals. On the sarcophagi from Klazomenai we find the heads of animals drawn in outline and the eyes are of much the same type as those on the wares that have just been considered. The Kyrene vases show no use of outline drawing. On the Naukratis pottery, however, there are some repetitions of the Rhodian usage ; or again the faces of the women are covered with a white enamel paint, whiter than the slip, and on this surface the de- tails are drawn in outline. 1 This use of lines on white to give detail was already practised at Athens where the flesh of women was given in white on normal black-figured ware. An examination of the female profile and of the treatment of women's eyes and hair, as well as of animals' heads, shows that the use of outline technique was not de- veloped sporadically in different places, but rather that it formed a 1 E.g. Jour. Hell. Stud. pi. Ixxix. INTRODUCTION 17 continuous development. Whether it arose in Asia Minor or in the islands cannot be determined until the matter has been more ex- haustively studied; the hydriae found on Rheneia, however, do supply a definite link between the Melos amphorae and the oinochoai (and vases with similar technique) found on the island of Rhodes. On a black-figured amphora signed by Amasis and on a few others in the style of Amasis (Berlin Inv. 3210; de Luynes, Vases peints, pi. Ill, cp. also Wien. Vorlegebl. 1889, IV, 4; Jour. Hell. Stud. 1899, p. 140, n. i), the head of a female figure is drawn in outline on the red ground. Curiously enough the drawing is quite like that on the island ware just referred to. In particular the eye differs from the ordinary female eye on black-figured ware with its rounded ends (Fig. ijd) and from the more "^ careless incised eye on later black-figured ware (Fig. 17^), and in contrast with these types it has the long sharp ends that appear on the island ware and on some examples from Naukratis (Fig. 17^). On a few vases of this period, as on a later small amphora at Athens, a female head overlaps a male head, and is drawn in outline on red instead of having the outline incised, to make it more distinct. Winter in an interesting article (Arch. Zeit. 1885, S. 187 f.) has called attention to small female heads drawn in outline on a series of kylikes by Eucheiros, Hermogenes, and other " Klein- meister." This style, dating from perhaps the middle of the sixth century B.C., is an anticipation both of the red-figured methods, and even more exactly of the later outline technique on white. It is found on relatively few vases except kylikes, unless the Gorgoneion found in the interior of kylikes and rarely on other vases, and the bearded mask of Dionysos or a satyr (also en face, cp. Munich, Jahn 1113) be reckoned as another form of the same style. In the same article Winter pub- lishes a single instance of a profile head drawn in outline on the red clay ground from the period of the severe red-figured style; he also adds a very similar head drawn in outline on marble which is interest- ing as showing that this outline technique was not at this time limited to vases. I have already referred to the large pottery placque found on the Acropolis, which bears the figure of a warrior drawn in outline on a white slip. The last three instances come from the same period as the early white lekythoi with outline drawing. These lekythoi cannot be con- i8 ATHENIAN WHITE LEKYTHOI nected directly with the female heads on the early "Kleinmeister" kylikes, for they are separated from them by a considerable interval. They are, however, closely connected with the pottery placque and the marble slab just mentioned; and the Bonn kylix published by Winter may be regarded as their immediate prototype so far as vases are con- cerned. In other words, they are to be regarded as a variation on the red-figured technique, a variation probably caused by the use of out- line drawing on white for tablet and mural painting. NOTE. A complete study of outline drawing would have to consider not only the outline drawing by incised lines on a metal surface, but also the imitation of this in pottery; namely, drawing by incised lines on a surface painted solid black. And as the vases with a white ground first received monochrome drawings in outline, and later colors were used to bring out certain surfaces, in particular garments, so the black vases with outline drawings received added colors for flesh parts as well as for garments. Another group of vases with rude outline drawings (e.g. Berlin, Inv. 3382, and Athens, Nat. Mus. 537, Cv. 1120) is hardly important enough to need mention. But the occasional out- line faces on the early Corinthian tablets from the Isthmus (Berlin, Furtw. 475, 479, etc.) and the Corinthian aryballoi (e.g. Berlin, Furtw. 1042, 1094) should not be entirely overlooked. LEKYTHOI WITH DRAWING IN GLAZE LINES The general lines for the classification of white lekythoi have already been laid down by Dumont, Pottier, Furtwangler, and Bosan- quet; nevertheless, much remains to be done both in the careful deter- mination of particular classes and in the study of the relations existing between these classes and other types of vases. A general division may be made between lekythoi on which ornament or scene or both are drawn in a glaze color, and lekythoi on which appear only lines of dull color, usually a gray or pink. There are only three or four specimens known to me, as to which there is any real doubt about the nature of the color in which the lines are drawn. And the general grouping I propose has a second advantage in that it is in the main chronological and not merely mechanical. Vases with drawing in glaze lines belong to the fifth century, and for the most part to the middle or earlier part of the century; while vases with drawing in dull color were not manu- factured till after the middle of the fifth century. The only practical difficulty in drawing a hard and fast line at this point arises in the fact that one group of vases with a peculiar thick outline color is so closely allied to one group on which the drawing is in glaze, that it seems proper to discuss these two groups together under the present heading (i.e. D VIII, series I and series 2). As a matter of fact the dull color used for the outlines in the class referred to (D VIII, series 2) is no more like that ordinarily used on lekythoi with drawing in dull color than it is like the glaze color on the lekythoi now under discussion. The general classification of lekythoi with drawing in glaze lines is indicated by the table which faces the title-page. Four main groups may easily be distinguished. Group A includes vases which are somewhat closely connected with lekythoi having black figures on a white ground. The slip is a dirty yellow or brownish as on these black- figured lekythoi, and solid black is often found either for the flesh or for a garment or accessory (but not for both). The distinguishing feature of the group as a group is the fact that part or all of the scene is outlined in fine relief lines of black glaze. As a whole this group is earlier than the groups which follow it in the table, and coincides in '9 20 ATHENIAN WHITE LEKYTHOI time with the later black-figured lekythoi and in general with the "severe" red-figured vases. Group B is distinguished by the rather coarse lines of thinner brownish glaze on a slip like that in Group A; the fact that ordinarily an enamel white is added for women's flesh and for some accessories is a convenient means of determining most of the vases which come under this heading. 1 This group, which is unique and with a few exceptions belongs to a quite limited period, succeeds Group A in time, and precedes Groups C and D. The short- ness of the period in which this enamel white was used is easily explained by the fact that the discovery of a fine white slip, the use of which soon became universal, made it no longer feasible to add white paint for details. Group C is easily distinguished by the character of the slip. This is a fine white paste, almost shiny when it is polished and applied in a thicker coating than the earlier brownish slip; as compared with the slip on vases with outlines drawn in dull color it is of a firmer, more even texture and less friable, although no sharp line of division exists at this point. Most of the vases of this group have on the shoulder the typical palmettes of later lekythoi; the maeander above the main scene assumes a stereotyped form which does not often occur outside this group; while the drawing is in rather fine lines of glaze varying from yellow to dark brown. This group includes the greater number of really fine white lekythoi, and it is only beginning to receive the attention it deserves. 2 Under this general heading are included the first experiments in the use of a dull color for a part of the drawing, now for the shoulder or shoulder and maeander (while the main scene is in glaze lines), now for the main scene (while the remaining decora- tion is in glaze lines). Group D, as I shall attempt to show, does not succeed Group C, but is for the most part contemporary with it. The same white slip is used on these small careless vases as on the finer ones of the group just referred to, only that here it is more carelessly applied and is often decidedly shiny, as though a transparent varnish had been put on after the vase was completed. As on the small vases of Group A the neck and shoulder are red and the shoulder commonly has the old two concentric rows of bars. The drawing on typical specimens is in coarse lines of yellow glaze, and the scene is usually one figure at the 1 Cp. Bosanquet, Jour. Hell. Stud. 1896, p. 164 f., where a series of vases belonging to this group are carefully studied. 2 Sec Bosanquet, Jour. Hell. Stud. XIX (1899), p. 169 f. CLASSIFICATION 21 tomb. On a few lekythoi closely allied to the main series of Group D a thick, muddy paint is used for part or all of the drawing. This last class (Class VIII, 2) is most conveniently discussed at this point, so that I include it under Group D, even though some specimens show no glaze at all for the outlines. 1 At this point in the discussion it is necessary only to give the general lines of classification; to do more than this would only tend to pro- duce confusion, consequently I postpone all treatment of the classes which come under these groups to the detailed discussion of each group. What has been said already should be sufficient to enable the reader to turn at once to the group under which will fall any given lekythos that he is studying. NOTE. In dealing with any such classification the student hardly needs to be reminded that it is not necessarily genetic. The first purpose of classification is to sort out the material so that what is essentially alike may be grouped together for purposes of study; with this in view I have attempted to select the most important technical dif- ferences as the basis for a classification of white lekythoi. Groups selected in this man- ner represent sometimes successive types, sometimes only different styles, the work of different shops or different artisans instead of steps in a consecutive series. The groups which have already been defined belong, as I have attempted to point out, to both of these two sorts. Groups A, B, and C are in reality successive stages of development, although they overlap, and perhaps vases belonging to each continued to be made even after the use of a dull color on a white chalky surface became general. Group D neither succeeds nor precedes Group C, but it represents a different style which probably began about the same time and may have continued long after vases of Group C were manu- factured in any numbers. So far as the classes under these groups are concerned, it is probably useless to attempt a chronological classification; and yet even here some classes do represent an advance in type over preceding classes. The primary aim of these classes, however, is simply to group together vases that belong together, in order that they may be studied by classes and not simply as isolated specimens. 1 M. Dumont and M. Pettier include this Group D, and ordinarily Group C also, under white " Attic " lekythoi. Group B comes under their definition of " Locrian" lekythoi, but such vases as Athens No. 1754, Dumont-Chaplain, pi. xxxvii, are treated as " Attic " white lekythoi, in spite of the definition. GROUP A. LEKYTHOI WITH DRAWING IN FINE BLACK RELIEF LINES ON A BROWN SLIP The first group of outline lekythoi, viz. lekythoi on which the out- lines are drawn in fine black lines of glaze standing out in relief on a brownish slip, is closely connected with the contemporaneous black- figured lekythoi. The same shapes are found in both classes, and the decoration is practically the same, namely, an ornament in black glaze on the red shoulder, a band usually of maeander above the main scene and often two purple lines on the black just below it. No new variety of slip is introduced with the new technique. On all the vases of this group the slip is firm and hard, adhering closely to the body of the vase; its color is usually a dirty brownish yellow, and the surface is rather smooth but not shiny. Nor does the artist hesitate to employ the silhouette method, especially for a garment, when it is suited to his end. Finally an argument that seems to me conclusive the places where vases of the present group are found practically coincide with the places where are found black-figured lekythoi of the same period. Of both classes by far the greater number have been found in the vicinity of Athens or Eretria; and the specimens which come from else- where in Greece, from Cyprus, Asia Minor, Sicily, and Italy betray clearly their Athenian origin. 1 The inference may fairly be drawn that the two kinds of vases were made in the same workshops for the same market, 2 while the later outline lekythoi were made more and more for the Athenian market, and presumably their manufacture be- came a special branch of the potter's art. That the outline ware and the black-figured ware are essentially different in spite of this close connection between them I have attempted to show in the Introduc- tion (p. 7 f.). The lekythoi of the present group may be subdivided into three well-marked classes; and although the line of division which I propose is somewhat artificial, nevertheless it serves to bring together the vases which must be studied together. These classes are as follows: 1 For the outline lekythoi, cp. Perdrizet, in Bull. Corr. Hell. 1898, p. 417 f. 2 It is an interesting feet that more than half the outline lekythoi of this group which were found out- ride of Greece, are almost duplicated among those found in Greece. GROUP A: CLASS I, i 23 Class I. Lekythoi on which flesh parts of the main figure are in black silhouette and accessories in outline. Class II. Larger vases with black neck on which the flesh parts are drawn in outline, while silhouette is used rarely and only for garments. Class III. Smaller vases with red neck and only outline drawing. GROUP A: CLASS I. Flesh in silhouette, accessories in outline Except in the use of silhouette the vases of Classes I and II are alike. In height they do not vary much from 0.30 m.; in general shape and decoration they are very like the finer black-figured lekythoi of the same period (e.g. those published Jour. Hell. Stud. 1893, pi. i-iii). They are not very slender, the upper part of the body is almost a per- fect cylinder, the shoulder is rather flat, while the neck is shorter and the mouth slightly larger than in later specimens. The neck and all the handle, as well as the mouth and the lower part of the body, are covered with black glaze. On the red shoulder there is usually a series of fine short radial lines at the base of the neck (which may be bounded by concentric circles), and outside of these are 1+3+1 pal- mettes in black glaze. Above the main scene at the top of the body is a maeander, which is often broken by a horizontal cross in a square; below the scene the black glaze comes up over the lower edge of the white slip and forms the base of the picture, while the black itself is usually bounded by two narrow purple lines. The form of the foot varies in different specimens, but the form which later becomes typical is found here only on isolated specimens. Class I consists of a few vases on which the flesh parts of the human figure are in silhouette, just as on black-figured vases, while the outline method is used only for garments and subsidiary objects. In later classes of lekythoi with outline drawing garments are occasionally done in solid black, but in these cases the details are not incised; such in- cised details are not found outside the present class, except in the case of two or three animals on vases under Class III (a). Three vases of the present class are interesting in that they rep- resent practically the same scene, viz., a bearded man leaning on a stick and looking at a cock, above which hangs a lyre. i. Naples, Heyd. 2438. Ruvo. H. 0.24 m. D. 0.28 m. The vase is reproduced from a photograph, Bull. Corr. Hell. 1898, p. 419, and Jahr. Arch.Inst.Vll, 188. 24 ATHENIAN WHITE LEKYTHOI The maeander above the scene is broken by squares containing an oblique cross. The hair, the features of the face, and the anatomy of the breast are indicated by the use of extremely fine incised lines which hardly cut through the black glaze to the ground color underneath. Purple is applied on the black for the beard and for the taenia about the head. A preliminary sketch with blunt point in the soft surface was not followed in detail (e.g. for the right arm). The inner angle of the eye is open, and the pupil is indicated against the upper lid, as is customary on red-figured vases. A bearded man stands facing toward the right, his right hand on his hip, leaning on a stick in his left hand; a black-bordered himation leaves his right breast uncovered. He looks down at a cock which turns away from him. In the field on each side are imita- tion inscriptions; at the right above hangs a lyre with plectrum; at the left hang strigil, sponge, and oil flask. 2. Larnaca, Coll. M. Pierides. From Amathonte or Curium. H. 0.25 m. Bull. Corr. Hell. 1898, p. 417 f. Maeander of the simplest type. Incised lines for the eye (late black-figured type), anatomy of breast, and detail of cock. Purple is applied on black for taenia and beard. A bearded man as before, except that his right hand is held out to the cock, which faces him. Before him imitation inscription and lyre in field. 3. Berlin, Furtw. 2250. Athens. H. 0.24 m. (Fig. 18.) Maeander of the simplest type. No preliminary sketch can be detected. The incised lines and applied purple of the last two speci- mens are missing, and it may be that the vase was never finished. The bearded man leans on a stick under his left shoulder and extends his left hand to cock facing him; right hand on hip as in FIG. 18 (no. 3). no. I. Imitation letters and lyre in field before him. These three vases are as much alike as Greek vases ever are; with- out hesitation they may be referred not only to the same city, but to the same workshop, and probably to the same artist. If the scene is re- garded as complete in itself, it would represent what is so often seen on Greek vases, a person playing with some pet creature. In fact nos. 2 and 3 do represent just this scene, but on no. I the cock is turned away and the man is simply looking on. One point of difference be- tween black-figured lekythoi (a few late ones excepted) and lekythoi with outline drawing is that for the latter the scene is restricted at first to one figure, or very rarely two figures. This end was often attained by means of abbreviation, or by selecting a figure with some accessory out of a larger scene which was familiar to the artist. In the present case we are evidently dealing with an abbreviated scene of cock-fighting. GROUP A: CLASS I, 2-3 25 The cock-fight is one of the few scenes from daily life which appear on black-figured ware; its occurrence, however, may easily be accounted for. The cock appears with other animals in the animal friezes of early 'Rhodian and Corinthian ! wares. One or more cocks are chosen much more frequently than other animals to ornament the shoulder on early Attic black-figured lekythoi. Where two cocks face each other in the heraldic schema so common in early vase painting, the sug- gestion of a cock-fight is inevitable. 2 The change from this schema to the scene of actual combat is but slight; the cock combat represented in a vignette by Laborde 3 apparently served the same ornamental purpose on the shoulder of a lekythos, which is commonly served by a cock between ivy leaves. The addition of other figures on the shoulder of an early lekythos in Madrid 4 gives the full scene, cocks fighting, men holding other cocks in readiness, and spectators. Finally on the body of a lekythos in the Louvre the same subject is treated in a manner that is more pleasing and suggestive, though no less literal, than on the Madrid lekythos. In this scene the fight is not actually in progress, but one man has put his cock down and bends over to watch it, while the other cock is still in the hands of a man leaning on his stick; one spectator completes the scene. This scene is given in black figures on a white ground, and the vase is assigned by M. Perdrizet, who has published it, to the latter part of the sixth century B.C. 5 Cer- tainly a scene which reminds the student so forcibly of the following century by its everyday character, its freshness, and its avoidance of fixed types, cannot be placed much before 500 B.C., even though it stands in connection with the earlier series of cocks and cock-fights which have been mentioned above. For the sake of comparison a black-figured alabastron 8 deserves mention; on each side is represented a man holding a cock ready for combat. Again, on several vases, one of which belongs to a some- what later period, are seen old men giving cocks and hares to epheboi. 7 The connection of these vases with the present series is evident. 1 Amer. Jour. Arcb. 1898, p. 199, pi. vi. 2 E.g. on an early Attic vase in Leyden (Roulez, Cboix det vases feints, pi. x, Holwerda, Jabr. Arcb. Inst. 1890, S. 245), where cocks with large spurs are placed facing each other. 8 Laborde, Collection Lambert, II, 25, Vign. 7. * Coll. Salamanca, published in Annalt, 1863, pi. G, p. 233. 6 Revue arcbeologiyue, 1893, I, pi. v. 6 Berlin, Furtw. 2030; Arcb. Zeit. 1878, pi. 21. 7 Roulez, Vases de Leyde, pi. xvii, I, a plate with black figures on a yellowish ground; Munich, Jahn, 804.; Comptes re ndus, 1868, p. 129, Stcph. 1721 ; Arcb. Zeit. 1885, Taf. xv, Berlin, Furtw. 1395 j AnnmR, 1876, pi. B, Ganymede with cock. 26 ATHENIAN WHITE LEKYTHOI The three lekythoi with outline drawing which we are considering, clearly give the abbreviation of the earlier scene of a cock-fight. The connection between them and the Louvre lekythos is certainly very close. On the Naples vase (no. i) the palaestra utensils are drawn in the same manner as on the Paris vase; and the figure of a man leaning on a stick is the same, except for the cock which he holds on the Paris lekythos, an omission which is easily accounted for. The figure of a bearded man leaning on his stick, so well known on red-figured vases of the severe style, is found on several of the early outline lekythoi (e.g. Brit. Mus. Cat. Vases, III, D 25); perhaps it is evidence of the force of tradition that it is found with the cock on the black-figured Louvre lekythos, the outline lekythoi now under con- sideration, and again on the vase of Hieron representing men with cocks. It is not strictly a black-figured type, and its presence on the Louvre vase is additional evidence that this vase belongs to the period of transition. The result of the comparison between these lekythoi and others with the same scene is to show that the artist of these outline lekythoi drew his material from earlier types, while at the same time he modified the material to accord with a new kind of vase. The question why these outline lekythoi at first represent only a single figure, must be left for later consideration. 4. Athens, Nat. Mus. 1809. Cv. 1025. Aegina. H. 0.307 m.; Cir. 0.316 m. Dumont-Chaplain, Les ceramiques de la Grece propre, I, pi. xi, i; Rayet-Collignon, La ceramique grecque, p. 215. Cp. Ath. Mittb. XVI, 311. The poor reproductions are responsible for much that is erroneous in the comments on this vase. Plate I, 2. The maeander above is broken by horizontal crosses. The figure of Eros and the palmettes in the field are solid black; the wings, lyre, and phiale are drawn in outline. Details of the head and anatomy are incised with very fine lines; purple is applied for the wreath on the head, and also in the centre of the palmettes. Eros naked flies to right, both wings raised behind him; in his right hand he holds a phiale, in his left a lyre. In the field are two large sprays with scrolls, palmettes, and lotus buds. I have already called attention to the fact that this class of outline lekythoi resembles very closely both in shape, size, and ornamentation a later type of lekythos with black figures on a white ground. This lekythos from Aegina recalls in particular one specimen of that group of black-figured lekythoi (Athens, Nat. Mus. 1138, Athena seated be- fore an altar, Fig. 19) on which the same type of scroll with palmettes GROUP A: CLASS I, 4 27 appears in the field. On these two vases there is a spot of applied purple in the centre of the palmettes. Such scrolls in the field are not common except in the present class of outline lekythoi, and I recall but two or three other vases (Karlsruhe, exhibition no. 167, and Metropoli- tan Museum, Class III, 40 infra) on which the pal- mettes have the added refinement of a purple spot. Such is the likeness of these two vases in all details of ornament that we do not hesitate to class them to- gether, and to infer about as early a date for the Eros vase as we must assume for the Athena vase. The scene on this latter shows the profile, 1 attitudes, 2 and drapery 3 of the developed black-figured tech- nique, and it deviates from this only in the way the eye is drawn. It might have been made either at the end of the sixth century, or early in the fifth century. On black-figured ware a representation of Eros is rarely found, 4 and then only on late specimens. E.g. the Eros on a pitcher at Rome 5 betrays a late date by the freedom and coarseness of the drawing, by the selection of a scene typical on red-figured ware, as well as by the incised lines giving the outline of body and wing. 6 An alabas- tron in Berlin (Furtw. 2032) is much more interesting in that it gives a complete scene in which Eros bears a rational part: Zeus pursues Ganymede, and Eros follows, goading him on. Eros is here a boy with long hair done up behind; only one wing is seen, and that appears to be attached under the armpit. On an early red-figured kylix in Munich (Jahn, noi; Gerhard, Aus. Vasen. Taf. 289) Eros appears three times in palaestra scenes. The wings, attached to the middle of the back with no organic relation to the body, are of the same broad, stiff type as on the outline lekythos we are considering, but in each instance the Eros is running, not flying. On this vase in one scene a lyre hangs in the field; on another vase (Gerhard, Aus. Vasen. Taf. 287) in a little freer style, he brings a lyre to a youth who is moving away. The presence of the lyre in the hands 1 E.g. Brit. Mut. Cat. fasts, II, B 448, z6i. a Cp. Ibid. B 604, Seated Dionyo. * Cp. the aegis of " chlamys" type, e.g. Brit. Mu. B 161. 4 Furtwangler, Eros in der fasenmalerei. * Palazzo del Conservator!, No. 66. 6 Wings of just this type are (wind on a kylix by Chachrylion now in Florence, Harrbon-MaccoD, pi. x. 28 ATHENIAN WHITE LEKYTHOI of Eros seems to indicate the connection of love and music; * and the fuller scene of which our vase is an abbreviation seems to be located in a palaestra. Although Eros is represented as present at a sacrifice on the Munich vase just mentioned (Jahn, 1101), the phiale in the other hand of our Eros is probably borrowed together with the style of the wings - from the familiar scene representing Nike with phiale before an altar. In many points there is a striking resemblance between our lekythos and another outline lekythos at Athens 2 which is to be treated under Class II. In shape and ornament the two vases are identical, although the black glaze comes up a little higher on the lower body of the Eros vase than it does on the Nike vase. On the latter vase also there is a scroll in the field with lotus buds like that on the Eros vase; the Nike has the same single curl falling free in front of the ear as the Eros, although it is drawn in a brown glaze instead of being incised; finally the drawing of the feathers in the wings is of exactly the same type on both the figures, a type that is unusual elsewhere. The nearest parallel which I have found to the high square wings of our Eros, with parallel lines separating two sets of quills from the part of the wing which is covered with smaller feathers (not represented), is the right-hand Nike on a vase at St. Petersburg; 3 on the corresponding Nike at the left the small feathers of the wing are represented, as on later winged figures, by small glaze dots. 4 This vase recalls the style of Douris. The flying Nike on the lekythos at Athens is easily paralleled on red-figured vases of the severe style. The profile, the eye, the hair, the hands, and the treatment of the garment folds, all suggest a date earlier than 470 B.C. Returning to the Eros vase, we miss the profile of the face, which has been destroyed by an injury to the vase. 5 The figure is drawn with ex- treme care, although a degree of stiffness remains, e.g. in the way the left hand holds the lyre. This stiffness is the more apparent if it be compared, e.g. with the Eros on the knuckle-bone vase of Syriskos. 6 On the lekythos at Athens the Eros is seen in full profile, and yet the anatomy of the lower part of the body is visible as though here the 1 Cp. also Berlin, Furtw. 2,305, Hartwig, Meistcrschalen, Taf. Ixxii. 2 Athens, Nat. Mus. 1827, Nike flying toward an altar, Plate I, I. Cp. also Berlin, Furtw. 2.249. 8 Petersburg, Steph. 1356; Comptes rcnducs, 1875, p. 159; Atlas, 1875, pi. V, I. * Contrast the drawing of the feathers of the wing, e.g., on a Naples vase, Real Museo di Napoli, V, 20, and on the Berlin vase Furtw. 2250. The form of wing in the early fine style may be seen on the Munich hydria, Jahn, 345, Man. Inst. I. pi. x-xi. 6 Possibly we may get some clue to the profile from the vases which show the same style of wings. 6 Rome, Papa Giulio Museum, Case Ixxxvii. GROUP A: CLASS I, 5 2g figure were seen from in front; on the vase of Syriskos the body bends in a graceful curve as the right hand is stretched out in front and the left hand with its scroll is drawn back at the side; consistently with this attitude the lower part of the body is nearly in profile, while the breast is turned toward the spectator. On the other hand, the Eros at Athens is much more successful than that on the Florence kylix by Chachry- lion. 1 The scrolls and palmettes in the field are a new and temporary ele- ment in lekythos painting. 2 The Athena lekythos at Athens 3 is a single example of such ornament in black-figured ware; the long sprays with leaves commonly serve the same purpose in this technique. On two of the vases just referred to Syriskos and Chachrylion put the spray with spirals and lotus bud into the hands of Eros, thus frankly recog- nizing the purely ornamental character of the figure. I have dwelt at some length on this vase partly because of its intrinsic interest, and partly because I would assign to it a somewhat earlier date than has sometimes been given. M. Mayer, 4 for example, compares with it the Eros on the shoulder of a vase in Berlin, 5 and sug- gests for vases of this class the date 465-450 B.C. An examination of vases having the same scene, and of vases which show the same tech- nique, would lead me to place this particular vase fifteen or twenty years earlier. 5. Athens, Nat. Mus. 1973, Cv. 964. Eretria. H. 0.283 m. AeXxtov. 1889, 140, no. 14; Atb. Mitth. XVI, 311. Slip a dirty yellow, in color and consistency closely resembling the vase published by Dumont-Chaplain, I, pi. 23. Above is a simple mat-antler. The dogs and hares, as well as the flesh parts of the man, are in solid black, and details are shown by fine incised lines. The garment is in outline, with fine lines of glaze to indicate the folds. A bearded hunter, two spears in his left hand, moves rapidly to right, raising a large stone behind him in his right hand. He wears a chlamys. Before him two dogs are pursuing hares over stony ground in which grows a tree. This vase is so damaged that only the general outlines of the scene can be made out. Representations of a hunt are somewhat unusual on Greek vases, but the history of this scene is very like that of the cock- fight. The early friezes of animals were easily adapted into scenes of pursuit, in this instance the pursuit of hares by dogs. 8 The simple 1 Harrison-Maccoll, Greet Pates, pi. x. Nat. Mus. 1138 (Fig 19). Cp. Man. hst. V, wxv. Atk. Mink. XVI, 311-311. 6 Furtw. 2252. 9 Shoulder of" proto-Corinthian " lekythos in Athens, Arch. Ztit. 1883, p. 161 ; Amer. Jnr. Arck. 1900, pi. iv, lower frieze. Shoulder of black-figured lekythos, Millingen, Cegkill ^aus, pi. xxxv, I. 3 o ATHENIAN WHITE LEKYTHOI scene of pursuit is next elaborated into the representation of a hunt, with the net into which the hares are being driven, and the man who urges on the dogs or waits in hiding to kill the hare when it is entangled in the net. 1 In each instance the scenes take the place of an animal frieze. On a lekythos in Vienna 2 the main scene represents a hunt, but here the hunt is suggested rather than depicted with full literalness. The same elements appear in the vase before us, except that the second hunter with dog in leash is omitted. Any attempt to indicate land- scape before the period of the developed red-figured style is of course unusual; on the later black-figured vases, however, particularly on lekythoi, a tree often takes the place of purely ornamental branches, and in several instances a rock is represented. A figure very similar to that on the present vase, a warrior charging, in his left hand two spears, while his right hand is raised behind him with a large stone, is found on a black-figured lekythos with white slip at Athens (Nat. Mus. 1989). Mayer 3 sees in this figure a variant of Kephalos pursued by Eos. Certainly there is a somewhat striking resemblance between this hunter and the figure of Kephalos raising a stone in his right hand to defend himself from Eos on the Blacas krater; 4 but that vase is at least half a century later than the lekythos we are considering. This conception of Kephalos with a raised stone, ac- companied by his dog, is somewhat unusual, and a bearded Kephalos is of course out of the question. In addition to the Blacas krater two polychrome lekythoi must be considered; 5 on these, curiously enough, a hare hunt is represented as taking place near a grave monument. Probably these two lekythoi are to be dated in the latter half of the fifth century. Loschcke 6 has attempted to show that the later vases with black figures on a white ground sometimes repeat a plastic type. It is by no means impossible that we have on the present lekythos an abbreviation of some larger painting of a hunt, possibly a scene in which Kephalos was one of the hunters, in which case the painters of the Blacas krater and of the grave lekythos in the British Museum may have drawn their inspiration from the same painting. 6. Paris, Cab. Med. 299. Vulci. H. 0.195 m. Vases peints du cab. du med. pi. ill A; de Luynes, Vases peints, pi. 16; Six, Jabr. Arch. 1 Phiale from Capua, Brit, Mus. Cat. fasts, II, B 678; tripod from Tanagra, Berlin, Furtw. 1727 (cover). 2 Black-figured on white ground ; Laborde, II, pi. 18. 8 Ath. Mitth. XVI, 312. 4 Brit. Mus. Cat. Vases, III, E 466. 6 Ibid. Ill, D 60 ; Athens, Nat. Mus. 1957, 'E<. 'Apx- 1894, pi. ii. 8 Ath. Mitth. V, 381. GROUP A: CLASS I, 6 3 , Inst. 1892, p. 185; Furtwaingler, Meisterwerke, S. 280, A. 3; Pettier, Gaz. arch. 1885, p. 284, no. 10. The form of the vase is less slender than those that have been considered. Slip like that on the Eros vase no. 4 supra. Above is a maeander with horizontal crosses, added after the main scene was painted. The man's body is black, and details are indicated by exceedingly fine incised lines. Helmet and shield are drawn in fine relief lines of black glaze. No applied purple. A warrior with shield and spear, his Corinthian helmet drawn back to leave the face exposed, falls backward, his legs pierced with arrows. In the field unmeaning letters. The workmanship on this vase, as on the earlier members of this whole class, is extremely careful. At several points a close examination reveals the fact that the outlines were drawn with a finer brush than was used for filling in the interior, a procedure that is familiar in the red-figured technique. For example, the outline of the left leg appears to have been drawn with the finer brush, and the stroke is continuous even where this leg is behind the other. So the right heel, the nose, and the back of the hair were put on with a finer brush so as to leave a correct outline. The eye is hastily drawn with round inner angle and sharp outer angle; a short line instead of a circle indicates the pupil, as is frequently the case with later black-figured vases. The anatomy is carefully indicated by means of the fine incised lines. While the hips are in full profile and the right shoulder is thrown forward so that the upper part of the back comes into view, the anatomy of the lower part of the body is drawn in detail just as though it were seen from in front. The point of failure is exactly the same as in the case of the Eros vase (no. 4 suprd)\ and the effect is naturally stiff and awkward. Very much the same thing is seen in some of the black-figured work of Nikosthenes; 1 but on red-figured ware it occurs but rarely. The boy fishing and one of the satyrs on a kylix ofChachrv- lion - show something of the sort; but it is hardly conceivable that it should occur on such a carefully painted vase as the Paris lekythos unless the vase were from a date rather early in the fifth century. The manner in which the "cross" of the abdomen is drawn can be paral- leled only in the severe style of red-figured ware. With this vase may be compared a kylix from Corneto 3 on which also is represented a warrior falling back before arrows. The resem- blance is only of the most general character, but it is interesting to see how much the same subject is treated by another vase painter of 1 E.g. Brit. Mm. Cat. fam, II, B 195. * Hartwig, MeitteruMe*, Taf. r. Berlin, Furtw. 2304, " Kras des Epiktrtw." 32 ATHENIAN WHITE LEKYTHOI about the same epoch. A gem published by Furtwangler l reproduces the scene on this lekythos much more closely. On both lekythos and gem the warrior is wounded with arrows and is falling backward as the result of the wound; on both he carries shield and weapon, but wears no garment, and the helmet is pushed back from his face. This is exactly the "heroic" nudity of Greek sculpture, as seen, e.g. in the marbles from ^Egina. 2 On a pitcher with black figures on a white ground Loschcke 3 finds the reproduction of a plastic type, and it has been suggested more than once 4 that this lekythos reproduces the dying Diitrephes of Kresilas. The suggestion is attractive and, if accepted, it gives a date within narrow limits to our lekythos. The statue by Kresilas cannot have been erected much before 450 B.C., nor can such a vase as this be dated much, if any, later than this date. The first six vases of this class form a closely connected group, and probably all were made about the same time. This period would seem to be earlier than that of the Glaukon vases (465-450 B.C.), both because the drawing on the vases of the present class is stiffer, and because a comparison of these scenes with parallel scenes on other vases directly suggests a slightly earlier date. In my mind these considerations outweigh decidedly the possibility that the Paris lekythos reproduces a statue of about 450 B.C.; I believe that this vase gives an abbreviation of a battle-scene, just as the previous vase gives the abbreviation of another familiar scene. 7. Naples, Coll. S. Angelo 99, Heyd. 135. Metapontum. H. 0.25 m. Heydeman, Arch. Zeit. 1869, S. 83, 20. Plate II, I. On the shoulder bars and typical palmettes; the simple maeander is broken by one blank square; slip yellowish. The preliminary sketch with a dull point may be seen. Solid black with fine incised lines is used for the figures and garment; the altar is in outline, with purple blotches on the side and purple flame. Apollo hastens to the right, and looks back at a hind which follows him, raising his right hand as though to stop it; in his extended left hand are a bow and two arrows. A garment hangs in pointed folds over both arms; his hair falls in curls over shoulders and breast. The eye is elliptical, with a stroke for the pupil. At the right is an altar with Ionic volutes. Before him is the inscription APTEMIAI, behind IEPON. On the first four vases of Class II is found a similar scene, a woman or a goddess (Artemis, Nike) engaged in an act of worship, accom- 1 Mfister-werke, Eng. trans, p. 124, fig. 49. 2 With the attitude of the falling man compare the wounded giant on a vase, showing the influence of Euphronios, Brit. Mus. E 443 ; cf. Brunn, Problcme in tier Geschichte der f^asenma/erei, S. 58. 8 Ath. Mittk. V, 381. * E.g. Furtwangler, Meiiter-werke, Eng. trans, p. lai. GROUP A: CLASS I, 7-8 33 panied by a black animal; the scene is evidently abbreviated from scenes of worship on black-figured ware, in which the gods bear a part. We may fairly assume that this vase, like the first vases under Class II, was intended for dedication at some temple no doubt, as the inscription indicates, a temple of Artemis. Here as on the Eros vase (no. 4) and the "Diitrephes" vase (no. 6) the body is seen nearly en face, so that the anatomy drawn in fine lines is visible. In technique nos. 4, 6, and 7 form a group quite closely connected; no. 5 is so mutilated that it is difficult to say how closely it is related to these three. 8. Boston, 8374. "Traced to Palermo." H. o.26m. Plate I, 3. Mouth bell-shaped; neck red; on the shoulder a row of bars with dots between the ends, then a row of lotus buds, each connected with the next but one by a curved line. Four lines, separating three rows of dots, were put on after the main scene was painted. Below the slip a wide red line is reserved in putting on the black, and on either side are purple lines applied on the black glaze. The foot consists of a red band above a black torus. The youth is in black, drawn with a moderately coarse brush and then filled in solid, while the horse is in outline. Details in fine incised lines. A young warrior running toward the right throws himself back to check a prancing horse, he holds the reins near the horse's head in his left hand. In his right hand are two spears; a Corinthian helmet, pushed back on his head, has a crest drawn in coarse outline. The eye is of a very unusual shape, wide open and drawn in full profile. Above and below the horse are imitation inscriptions. On either side of the scene are large palmettes (three on one side and four on the other) surrounded by lines with scrolls and lotus buds. This vase is of peculiar interest, both for the scene itself, and for its connection with other lekythoi. In the Bibliotheque nationale is a small black lekythos on which almost the same scene occurs, except that the youth is behind the horse; l the figure of the youth is incised in the black, while the horse is added in white paint, with red for reins, tail, etc., and the inscription is done in white. Again the scene is almost exactly duplicated on a vase discussed under Class III, series a, except that there it is reversed. The vigor and dash with which the scene is drawn is unique among outline lekythoi of this period; on later leky- thoi the scene occurs a few times, but it is drawn in a particularly spiritless manner. The palmettes on either side of the main scene are characteristic of the vases placed at the beginning of Class III, and as some other peculiarities of this lekythos are paralleled on others in that series, the further discussion of it is postponed till then. 1 De Ridder, Catalogue dei vaies feimti, No. 493, Fig. 85. 34 ATHENIAN WHITE LEKYTHOI 9. Cambridge, Fitz. Mus. Gard. 133. Athens. H. 0.195 m - Cata- logue, pi. xxx. Shape like the earlier outline lekythoi, i.e. the body retreats in a curve from the shoulder, the red neck merges into the shoulder without a break, and the mouth is of the old shallow type. Shoulder decorated with two concentric rows of bars. Above the scene is a double row of dots between enclosing lines. The youth and horse are in solid black, the garments in outline. An ephebos on horseback wearing chlamys and petasos, and carrying two spears. The horse and youth are in black silhouette, the petasos and garment in outline. On each side is a large palmette surrounded by a line with scroll, as in the vases discussed first under Class III. The vase is interesting in that it combines the shape and decora- tion of the smaller vases in Class III, with the peculiar technique of Class I in the drawing of the scene. This same scene, an ephebos on horseback, is represented on an actual grave-vase on a lekythos of the following class (Class II, no. 19, Athens, Nat. Mus. 1975), and it appears occasionally down to the later, if not the latest, classes of white lekythoi; here, however, it has no reference to the grave. While the first seven vases of this class form a homogeneous group, the last two stand rather by themselves; no. 9 may be explained as a somewhat later recurrence to an experiment which had not proved successful. Conclusion of Class I (Group A} Turning from the single vases of this class to the class as a whole, we may pass over the question of shape and decoration (cf. supra, p. 23), and take up at once the style of the main scene. In each instance this scene consists of a single figure which is done in black silhouette with details in fine incised lines, while garments and accessories are only outlined. In several cases purple is used for some details. The technique suggests at once a comparison with vases on which the whole representation is in black silhouette on a white ground. On the one hand the present group presents the general appearance of the black- figured "Locrian" lekythoi, and we usually find the applied purple of the black-figured technique. It should be remembered, however, that the incised lines on our lekythoi are very different from the normal incised lines of this technique. Similar engraving of details in very fine even lines is found only on a few black-figured vases, and those dating from the first half of the fifth century. In particular, the treatment of the hair by engraving only its edges, either as a wavy line or a CONCLUSION OF CLASS I (GROUP A) 35 series of short parallel lines, is an evident imitation of red-figured methods. Other indications are not lacking that these silhouette figures were made by artists accustomed to the other technique. The preliminary sketch with a dull point in the soft clay is found in one in- stance here, 1 as in the better specimens of Class II. A careful study of some of these vases (nos. 4, 6, 8) shows that the black glaze was applied as in the red-figured technique, i.e. at least a part of the out- line was drawn with a finer brush than was used for the space between the outlines. So far as the scenes represented are concerned, we find in each in- stance that a scene, the development of which can be traced in later black-figured and early red-figured vases, has been abbreviated to suit the lekythos-painter's purpose. These vases presuppose the principle that the lekythos field like the field in the centre of kylikes in this same period shall have but a single figure; and to this figure is always given some attribute so that it will suggest a complete scene. In other classes of lekythoi a single figure is often cut out from a larger scene and left without clear meaning, or a whole scene is given with the one or two figures which alone are necessary for its completeness. It is only in the present class that the method of abbreviation and suggestion is consistently followed. This fact confirms the belief (a) that this class is homogeneous, and () that the painter or painters of these vases were accustomed to produce the regular red-figured vases from which these scenes were abbreviated. There is some truth in what Dumont 2 says of the Eros vase (no. 4) that it is one of the examples which indicate the transition from the black-figured to the outline technique. We cannot, however, date this class any earlier than the earliest specimens of Classes II and III; consequently it is misleading to speak of these vases as furnishing a link in the direct process of development. Such a statement, moreover, neglects the influence of the red-figured methods in the development of outline painting. Coinciding in time with the black-figured vases which have the same form and decoration, 3 and with the earlier specimens of the following classes which have the same decoration, they are rather to be regarded as an experiment. In spite of the care lavished on them, the pure outline technique showed such large possibilities that the experiment proved unsuccessful, and later the silhouette method continued to be used only for an occasional garment. It is possible 1 Naples, Hcyd. 2438, No. i, tupra. Let teramijuei de la Crete fnfre, I, 371. E.g. Jour. Hell. Stud. 1893, pi. i-iii. 36 ATHENIAN WHITE LEKYTHOI that the experiment was tried by a single painter or rather by a single workshop, and the wide distribution of the group was the outcome of an (unsuccessful) effort to develop a market for vases- of this type. The considerations already alleged as to date go to show that the group is contemporaneous with the severe style of the red-figured tech- nique, and is later than the beginnings of this style. The general character of the scenes, as well as the details of the drawing, correspond to the red-figured vases of this period, and can be paralleled in black- figured ware only on vases of the same period. GROUP A: CLASS II. Drawn in black glaze outline, silhouette only for accessories In general shape and ornamentation this second class agrees exactly with the first (p. 23). Here, however, the figure is drawn entirely in outline; and where gar- ments are filled in solid with black, the details are not incised, but painted on the black (if they are given at all) in white or purple lines. In one instance an animal has details incised in solid black, and here the engraving is in the coarse lines usual in the black- figured technique. i. Paris, Louvre CA 599. Eretria. H. 0.273 m -> Cir. 0.294 m. (Fig. 20). Slip creamy yellow, smooth but FIG. 20 (no i) not snm y. Above the scene is a simple maeander; the bounding lines stop with the maeander instead of continuing around the vase. The glaze is ap- plied more thinly for the ends of the hair, on the bracelet, etc. A dull purplish brown is used for the torch flame, and for the fluid falling from the phiale. The bull is solid black with details incised. The main outlines are indicated in a preliminary sketch with a dull point in the soft clay. A woman (Artemis) moves to right, carrying a torch in her left hand, and pouring wine from a phiale in her right. She wears a sleeve chiton undergirded (and with over- GROUP A: CLASS II, i 37 fold ?), the folds of which are not arranged in groups; her hair is looped over the ear and falls free behind; around her head is a stephane drawn in outline. Behind her hangs her quiver above a small tree; in front prances a bull, hardly larger than a dog; between it and the woman is an imitation inscription. The quiver of Herakles is often seen hanging on a tree on vases representing one of the labors of Herakles; so in this scene Artemis has laid aside her quiver to perform an act of ritual, and the only pecu- liarity is that it hangs above the tree instead of on its branches. The tree with its small leaves and apples ( ?) is of the usual type except that it has only a thin stem, instead of a trunk that would support the branches, not to speak of the added quiver. The torch and phiale of Artemis will come up for discussion later, but it is evident that they denote a religious scene. On red-figured vases the bull is occasionally present at scenes of sacrifice, but no animal is common except the dog; the bull of this vase and the doe of no. 3 must be explained with reference to black-figured ware. On this ware the bull is found in scenes of sacrifice, particularly in processions to the altar, 1 and again in processions of deities. 2 The fact that it appears now with Apollo, now with Hermes, or with Dionysos, prevents us from explaining it as the attribute of any one god in the sense that the deer is the attribute of Apollo or Artemis; it occurs in a procession of deities, and its presence is to be explained in the same manner as in religious processions of men, i.e. it is the bull led to sacrifice. Sacrificial processions in which gods are the actors instead of men are to be explained after the analogy, e.g. of marriage processions in which the gods are actors. The attitude of the bull, absurd as it is to make bulls prance like horses, shows an effort on the part of the artist to suggest the solemn religious procession. This bull may well be compared with the doe on the interior of a kylix signed by Thypheithides. 3 The attitude is similar, and the animal in this in- stance also is drawn in black with engraved details, although the vase belongs to a series of red-figured kylikes. The Artemis herself belongs with a series of vases soon to be con- sidered (nos. 9-12) on which a woman (or Artemis) performs a religious function before an altar. On the vase before us this figure with the prancing bull presents an almost unintelligible abbreviation of a scene not uncommon on later black-figured ware. 1 Gerhard, Aut. Paten. Taf. 242, i; Brit. Mui. Cat. fasti, II, B 79, 6485 Atheru, Nat. Mus 598; Mut. Greg, (kylix), 161,278. 2 Gerhard, Aut. Paten. Taf. 31, 73 (Brit. Mu. B 157); Brit. Mm. B 195, 167 (Afo. ha. IV, Tav. xi), and 138. Brit. Mut. Cat. faiei, III, E 4. 38 ATHENIAN WHITE LEKYTHOI 2. Athens, Nat. Mus. 1792 (Coll. 365), Cv. 1019. Attica. H. 0.258 m. Atb. Mitth. XVI, 3ii,Taf. x, 2; Jour. Hell. Stud. 1896, p. 173. Slip brownish yellow. Above the scene is a simple maeander. Drawn in outline, but himation and dog are in solid black; the cord attaching the plectron to the lyre is purple. A woman (wearing sleeve chiton, short black himation, her hair in sakkos with stephane) advances to right, her head thrown back, playing a large lyre. Before her a dog in the same attitude as the bull on the preceding vase. This scene, unintelligible in itself, becomes clear when a third figure is supplied (in thought) toward which the dog is leaping. 1 The similarity of this dog and the bull on the last vase is very striking, though here there are no incised lines. The head of the woman, as well as her attitude, also recalls that Artemis, for we find the same sharp nose and round chin, and the same stephane as in the case of the Artemis. Mayer 2 compares this lyre player with the musician Hippodamas on a vase of Hieron; and the attitude is not infrequent for lyre players on red-figured vases of the severe period. 3 3. Oxford, Ashm. 265. Gela. H. 0.29 m. P. Gardner, Cat. pi. xxv. On the shoulder are fine carefully drawn palmettes. Above the scene a simple maeander. Drawn in outline; over-garment and doe in solid black. Preliminary sketch with a dull point in the soft clay. Nike runs rapidly to right (or flies, for her feet seem to be above the ground) hold- ing in her right hand a spear or wand. She wears a sleeve chiton and over it a small cape; her hair is arranged like that of Artemis (no. i). Before her is a doe in black; and an inscription which is read NI[KE] I^OI. 4 A flying figure pursuing a youth is one of the favorite scenes on earlier red-figured vases; the winged figure is often labelled Eos, sometimes Nike or Iris, or again it may be an Eros. It is this pursuing winged figure which appears on the present lekythos, but a doe, in much the same attitude as the bull on no. I, here takes the place of the fleeing youth. The result is a scene complete in itself, but one in which Nike as such is quite out of place. Nevertheless no one would 1 Musician, dog, and third figure, Hartwig, S. 471 (and Taf. xxvi, Int.); cp. also a lekythos with black figures on white, very fine incised details, in the National Museum at Athens. ' 2 Ath. Mitth. XVI, 311, referring to jfahr Arch. Inst. 1887, S. 164; cp. also the lyre player on a relief from Akarnania, Ath. Mitth. XVI, pi. xi. 8 E.g. Naples, Heyd. 3118, woman advancing and playing lyre (the eye has inner angle open); Rome, Palazzo dei Conservator!, 179 (pelike), bearded man playing lyre between two women (the eye here is archaic, the chin full and round). * The Nike on a red-figured vase in the same museum, Gardner, pi. xxiv, is very similar. GROUP A: CLASS II, 2-4 39 hesitate to call this figure Nike, even if there were no inscription, for the name is almost a generic term for flying female figures. The relation of the vase-painter's Nike to the early winged " Artemis " is a question that will arise in connection with a vase in the following class (no. 3, Louvre MNC 650). The wand which she carries can hardly be a spear; it may be the wand or kerykeion which Nike (or Iris) often borrows from Hermes. 1 The " cape " or chlamys fastened on the right shoulder is not a usual overgarment for women, but it is rarely that another overgarment is given to Nike by vase painters of this period. Certainly it is more suitable to her, and, e.g., to the maenads at the death of Orpheus, 2 than the himation of ordinary life, which would necessarily be thrown off in active exercise. The attitude is clearly that of running, even though the feet are free from the ground. For Nike (Iris, Eos) the position of the runner with front knee bent is less common than that of a per- son lightly leaping from one step to another as by the aid of wings (the front leg straight forward). 4. London, Brit. Mus. D 23. Gela. H. 1 1 in. White Ath. Vases* pi. xxvi, A. Slip brownish yellow. The maeander above is simple. Traces of the preliminary sketch may be seen. Drawn in outline, but column, himation, and serpent are in solid black. Before a slender column a woman (sleeve chiton and himation, hair in sakkos) moves to right, holding out a phiale in her right hand. In front of her a large serpent rises on its tail looking to right. At the right is an inscription HOTAI KAAC. A column, serpent, and altar occur occasionally on black-figured ware to denote a temple of Athena before which a sacrifice is in prog- ress. 3 On the present vase we have, not a sacrifice, but a simple scene of libation such as is found on many members of this class. The ser- pent is slenderer than on the black-figured vases mentioned, and lacks the dropped lower jaw, nevertheless the drawing has more in common with these serpents than with the more realistic creatures on red- figured vases. The woman is the same figure that we have seen on two of the pre- ceding vases, and that we find on several which follow, a woman in full profile, standing or walking to the right, with both hands extended. The preliminary sketch includes the phiale in her right hand, but it is 1 E.g. Naples, Heyd. 3373; Brit. Mus. E 379. * Gerhard, AM. Vau*. Taf. 156. 8 E.g. the archaic plate in the British Museum, B 80, and a hydria of usual black-figured ware, Gerhard Am. Paten. Taf. 142, i -a. 40 ATHENIAN WHITE LEKYTHOI placed in the hand and not on top of it as in the later drawing. The action of the left hand is explained by comparison with the next num- ber, in which Nike holds a phiale in each hand. On these four vases a silhouette animal precedes the woman, and on several vases of Class III l an animal forms part of the scene. Two of the present group are from Gela, the other two from Eretria and Attica. The common characteristic of a silhouette animal, pointed out by Bosanquet, 2 belongs to a passing fashion; one can hardly admit, however, that these vases all came from the same work- shop after examining the profile of no. I, Louvre CA 599, and no. 4, Brit. Mus. D 23. The Athenian and Eretrian specimens have the straight nose and full round chin which is familiar in the red-figured O O work, e.g. of Hieron; while the Gelan specimen in London, which is much more careful, has the earlier type of chin such as is seen on vases by Chachrylion. Nevertheless these four vases present one schema, and a comparison of the variations is instructive with reference to the methods of the vase painter in this period. 5. Athens, Nat. Mus. 1827, Cv. 1023. Eretria. H. 0.262 m., Cir. 0.271 m. (Plate I, l). Jour. Hell. Stud. 1896, p. 173, n. 21. Slip quite brown, thin. Above is a maeander in sets of two, separated by horizontal crosses. The lines below the maeander stop with the maeander at each side of the scene. Drawn in black glaze, and thinner brown glaze is used for the folds of the upper part of the chiton, curl in front of ear, bracelets, etc. No preliminary sketch can be detected. Nike flies down toward an altar, holding a phiale in each hand, her wings spread in opposite directions. She wears a sleeve chiton undergirded; above, the folds (in thin glaze) are in one series; below, they are like the outline of the figure (black) and are arranged in sets. The hair is looped over the ears and gathered in a knot at the back of the head, but one curl falls in front of the ear. Between Nike and the altar is a spray with scrolls and lotus buds (cp. no. 4 of Class I, Athens, Nat. Mus. 1809). 6. Berlin, Furtw. 2249. Athens. H. 0.27 m., Cir. 0.27 m. Slip now quite brown (as the result of fire ?). The maeander is in sets of two, sepa- rated by horizontal crosses. Folds of the upper part of the garment in thin glaze. The scene is almost identical with that on the previous vase, except that both wings are raised behind; the hair falls free behind and a (reserved) white taenia is about the head. These two vases are about as much alike as any two Greek vases, both in the style of drawing, and in details of the scene represented. The differences in the position of the wings, in the treatment of the 1 No. 3, Louvre MNC 650; no. 4, Louvre MNB 909; no. 6, De Witte, Vases Lambert, 92; no. 10, Politi, Vau grec. sic. agrig., p. 10, Tav. ii. Cp. also Class I, 7, Naples, Heyd. 135. 2 Jour. Hell. Stud. 1896, p. 173, n. 21. GROUP A: CLASS II, 5-6 4, hair, and in the scrolls of the altar, are just the differences which one would expect when a painter feels free to reproduce the same scheme instead of copying mechanically. In both instances the wings and the hair represent types common early in the fifth century, i.e. there is no trace of inventiveness on these vases. The profile of the face is an exaggerated case of a profile common in this group of lekythoi; the long, straight nose, 1 full lips, and round chin are found in kylikes of the second quarter of the century, but such pronounced specimens as this occur only on white or on red-figured lekythoi. The outline of the left breast on no. 5 betrays the hand of a painter accustomed to drawing women in three-quarters profile. The connection is all the more evident when we notice that the kylix painter often draws the outline of the breast farthest from the specta- tor (not of both breasts 2 ), in order just to suggest that the upper part of the garment is of some transparent material. In treating the folds of the upper part of the garment differently from the folds of the lower part, the painter is following old tradition; in the case of the upper folds the use of thin brown glaze appears here for the first time on white lekythoi; the lower folds, drawn in sets of straight lines without any reference to the folds of the drapery, can easily be paralleled on vases before 475 B.C. The altar on no. 6 with denticula under the Ionic volute, and over the volute a sort of protecting cover, is not un- usual; 3 the peculiar "horns" on no. 5 are not so easily explained, although something of the sort is found on a stamnos in the British Museum, 4 and here the purpose is apparently to prevent the fire and ashes from falling over the edge of the altar. Almost exactly this scene is common on red-figured lekythoi of the severe period. 5 On black-figured ware it is found only on specimens of a late date, 6 perhaps even later than that in which the present group of lekythoi falls. The appearance of Nike pouring a libation on an altar may at first sight appear difficult to explain, and this is not the place to discuss the question in detail. Two facts, however, will shed light on it. (i) The figure, which from the standpoint of the vase painter is Nike, could often more fittingly be called Iris; she is the 1 Cp. the nose on figures by Phintias, Hartwig, Meiaerubaltn, S. 170, 171. * E.g. Brit. Mus. E 61, a kylix by Hieron. E.g. Brit. Mus. E 80; Louvre, kylix 193 (87). * Brit. Mus. E 456. 8 E.g. Athens, Nat. Mus. 1508 ; Brit. Mus. E 580, 584; also E 643 ; Petenburg, Steph. 1533. Cp. the small hydria, Brit. Mus. 8357, which belongs to a well-defined group found for the roost pt on the island of Rhodes. 42 ATHENIAN WHITE LEKYTHOI messenger of the gods to men, and even the attendant of the gods, not simply the herald of victory. On a small amphora 1 of a date not much later than the lekythoi under consideration, the same figure appears bringing a pitcher to fill a phiale held by a bearded man who is reclin- ing at a banquet; behind him a standing woman holds up her right hand under her garment in a gesture of adoration. Here Nike is the messenger of the gods to honor a man, and there is no specific indica- tion that a victory enters into the matter at all. Nike often brings a taenia or a crown; when she comes with a pitcher to fill a man's phiale, 2 it is as the cup-bearer of the gods come to serve some man whom they would honor. On a large pelike in the Louvre 3 Nike brings phiale and oinochoe to a seated king, no doubt Zeus, for the names Nike and Zeus are added in a similar scene on a vase of a little later date. 4 This winged figure is just the cup-bearer of the gods, but she is called Nike by the artist, for the name has come to mean a winged female figure. This use of the name is probably due to the fact that this figure, as it appears on vases of the first half of the fifth century B.C., was based on types of winged figures which had been developed in plastic art under the name Nike. (2) What has just been stated may account for the presence of Nike in a banquet hall, or even at a sacrifice; 5 but it does not explain why she should herself approach an altar as though to perform an act of sacrifice. One may say that Nike bringing a libation to an altar is simply a variation of Nike bringing wine to Zeus himself. Such a statement, true though it may be, does not explain the other cases in which gods are represented before an altar in an act of worship. 6 The fact that black-figured vases not infrequently represent the gods as engaged in forms of human activity (banquet, procession, marriage scenes, etc.), has already been mentioned; and it is a curious fact that a god engaged in worship should be the one of these scenes to become a favorite in the fifth century. That gods should worship gods their equals can only be understood on the assumption that we are dealing with an idealized scene from human life. 1 Museo GregorianO) no. IIO. 2 On the later pelike, Brit. Mus. E 379, we read the name NIKE by a winged figure bringing a libation to a bearded warrior. 8 No. 223, severe period of the red-figured ware. 4 Cf. Nike pouring for Athena, Athens, Nat. Mus. 1717; for Apollo, de Luynes, pi. 26; for Poseidon, Brit. Mus. E 445. 6 Brit. Mus. E 455, 456. 6 Athena, Athens, Nat. Mus. 1 1 38 (black-figured lekythos) ; Apollo, Brit. Mus. E 80 ; " Pherephatte " (kylix with outline drawing on white), Athens, Nat. Mus. 2187, Ath. Mitt A. VI, Taf. iv. GROUP A: CLASS II, 7-9 43 7. London, South Kensington Mus., G. Salting Collection 1131. Attica. H. about 0.28 m. Burlington Fine Arts Club Exhibition, 1904, No. 35. On the shoulder bars and palmettes. The maeander is broken by horizontal crosses. The foot is a concave disk. Drawn in black relief lines ; garment solid black with purple fold lines ; purple is also used for the wine and for the flame. A winged woman stands in profile before an altar with flame, holding up her left hand and pouring on the flames from a phiale in her right hand. Her wings are erect behind. She wears a sleeve chiton and black himation ; her hair is wrapped in a cloth, except for a lock in front of her ear. The eye is en face. In the field is an imitation inscription. 8. Wien, Hofmus. 650. Inv. 192. H. about 0.28 m. Shoulder typical. The simple maeander barely reaches to the edge of the scene. Thin glaze is used for the folds of the upper part of the chiton, and purple for the wine and the flame. Traces of a preliminary sketch. Drawing very hasty. The scene is the same as on the preceding number except that the himation is in outline, and no cloth covers the woman's hair. This last vase looks like a rude copy of no. 7; the drawing is much coarser than on any other vase of the present class, and can only be compared with that on some of the small vases of Class III. The scene forms a link between the flying Nike before an altar and the woman (Artemis) before an altar of the succeeding vases; no new elements appear. 9. Athens, Nat. Mus. 1906, Cv. 1076. Athens. H. 0.27 m. Slip with slight greenish tinge, not very thin. Above is a simple maeander. The vase is much damaged. A woman walking rapidly to right holds out a phiale in her right hand; the raised left hand is gone. Before her are traces of what was probably an altar, with an imita- tion inscription over it; and behind, some object, perhaps a quiver, hung in the field. She wears a sleeve chiton and over it a short black himation; her hair is looped over her ear and falls free behind, held only by a white (reserved) taenia around the head. This is the same advancing figure with phiale which was seen, e.g. on no. i, but it is much more gracefully drawn than the figures that have preceded. The head is smaller, and while the lips are still full and the nose straight, the chin is much more delicate; the hair is like that on no. 6, and the garments like no. 4, but the folds of the drapery are drawn with much greater freedom and truth than on any of the vases that have been considered. 44 ATHENIAN WHITE LEKYTHOI 10. Athens, Private Collection. Attica. H. 0.25 m. Slip thin, brownish. Above the scene each two sets of maeander are separated by horizontal crosses. Purple is used for the taenia on the hair, and for the quiver strap. The flame of the torches also was apparently purple. Artemis hastens to right toward an altar, holding in each hand a lighted torch. She wears a sleeve chiton and over it a short black himation. Her hair, which falls on the side so that it covers her ears, is gathered in a knot behind and held by a -taenia wound around it several times. Behind her hangs a quiver drawn in outline and a bow in solid black. A very similar scene from a red-figured lekythos in the National Museum at Athens is published by Benndorf. 1 Here Artemis holds the bow in her left hand, and her right hand is held up with the fore- finger raised as though perhaps she were watching an arrow that had just left her bow. The attitude, the garment, even to the difference in the folds of the upper and lower part, the type of face, and the treat- ment of the hair are very like those on the lekythos just described. On a red-figured lekythos in Naples 2 the scene on our lekythos is re- produced even more accurately. In this instance Artemis holds out torches in both hands, and the quiver (not "Gewandstiick ") hangs in the field behind. The long archaic eye and the peculiar treatment of the hair (falling over the ears and gathered in a high compact mass held by a purple cord wound around it several times) are the same as on the outline lekythos at Athens. Somewhat the same type of face and treatment of hair appear also on an amphora in London. 3 It is on lekythoi however that the close parallels are found, and they prove not only that outline lekythoi and red-figured lekythoi were made by the same hands, but also that lekythos painting in this epoch was a somewhat distinct branch of the potter's art. The following number evidently belongs in the same series, though the scene is slightly varied. u. Berlin, Inven. 3312. Source unknown. H. 0.253 m - The row of short bars on the shoulder above the palmettes is omitted. Slip brownish yellow, thin. Maeander broken by upright lines (as on some earlier vases of Douris). Thin glaze is used for the flame of torch and for one curl in front of the ear. The very light preliminary sketch (in the soft clay) is seen in the solid black of the himation. The lower part of the vase is much injured. Artemis approaches an altar, holding a delicately outlined oinochoe in her right hand, and in her raised left hand a torch. She wears sleeve chiton and black himation. Her hair is looped over her ears and, confined only by a reserved white stephane around the top of the head, falls free behind. The eye is archaic, the chin full and round. Behind her hang horizontally an outline quiver and a black bow. 1 Griecb. Sic. fat., Taf. xxxvi, 8. 2 Heyd. 3191. 8 Brit. Mus. E 299 b. GROUP A: CLASS II, 10-12 45 12. Athens, Private Collection. Attica. Height originally about 0.25 m., but part of the mouth is missing. (Fig. 21.) Slip thin, brownish. Each two sets of the maeander are separated by a horizontal cross. Preliminary sketch with a dull point. Thin glaze is used for the flame. Thechiton is a dull reddish brown (laid on thickly) with black folds. A woman stands stiffly before a low altar with large flame, holding out a scroll in her left hand, and in her right hand a burning torch. She wears a sleeve chiton and short himation; her hair is looped over the ears and gathered in a compact mass behind; the eye has its inner angle open, and a rather large pupil against the upper lid (of the same type as on the "Glaukon" vases which follow, nos. 17 and 1 8). Behind her in the field hangs a black alabastron. FIG. 21 (no. 12). The present series (nos. 9-12) might be regarded as a continuation of no. I. On two of the series the woman is unmistakably Artemis, and on no. 9, as on no. I, she pours a libation as she walks. The quiver hangs in the field behind on nos. i and 10 (and perhaps on no. 9) and the torch is in her hand on nos. i, 10, 11, and 12. The same type of gar- ments runs through the series, and the hair is ar- ranged in the two ways already familiar, except that when it is bound up the ends no longer protrude. On all the series the drawing is somewhat freer than on the preceding six numbers, but no. 12 stands apart from those that precede it and is to be classed with the "Glaukon" vases, nos. 17 and 18. On this vase (no. 12) Artemis gives place to a woman, perhaps a priestess, and the woman's alabastron hangs in the field instead of the quiver of Artemis. The graceful poise of her body, as well as the later type of eye, indicates a later date than any vases yet considered. The use of a dull color is purely experimental, and this particular sort of color is found only on a few small vases of Class D. The altar and the act of libation on these vases present no new facts beyond those discussed under nos. 5 and 6. That Artemis should lay aside her quiver and bow to perform an act of worship is no more strange than that Apollo or Athena should be represented as engaging in worship in each case it is an idealization of the human act. The most noticeable characteristic of this Artemis is the torch which she carries on nos. 9, 10, and 11. The Artemis with torch and 46 ATHENIAN WHITE LEKYTHOI bow on a kylix by Douris is explained by Hartwig l as a cult type; of the four reasons adduced for this suggestion, the peculiar garment is the only one which would apply to that figure any more than to the representations of Artemis on these lekythoi. Are we then to regard this advancing figure as the modification of some familiar cult-image ? o o o It is altogether probable that the allusion to Artemis " darting over Lycian mounts with gleaming torches in both hands " 2 was suggested by some plastic type, and perhaps the same should be said of the figure on these vases; but if this be true the variations appearing on these different vases show that the artist was not holding closely to any one plastic type. 3 The meaning of the torch in the hands of a divinity is not always easy to explain. In marriage scenes the torch was an essential part of the procession at night, and as such it naturally passes into the hands of a god when the whole scene is transferred to the Olympian world; this use of the torch in marriage scenes accounts also for its presence in the hands of Eros. 4 When maenads and satyrs are carrying torches, 5 or again when it is in the hands of Demeter or Kore, 6 it indicates a O 7 worship carried on at night. 7 On a vase in St. Petersburg 8 a youth (Satyr) seems to have brought torches to the altar, perhaps to light its flames. It has been suggested that this is the meaning of the torch Nike so often carries, inasmuch as Nike is so often the servant of the gods, present to aid in a sacrifice; in any case the torch has come to be a regular attribute of Nike. 9 There remains the Artemis-Hekate- Erinys type, a single type (or pair of types) which oftentimes only receives its particular name from other elements in the scene. How the torch came into the hands of Artemis in this type is not at first sight evident. Certainly it was not because she was a moon goddess, even if it be granted that she possessed this function before the fifth 1 Meisterscbalen, Taf. Ixvii, 2; S. 602, 604. 2 Sophocles, Oed. Tyr. ao6 ; Track. 214; Aristophanes, Ran. 1362. 8 Artemis, with torch and spear, advancing, is represented as a cult statue on a late vase in St. Petersburg, Steph. 420, Man. Inst. VI-VII, Ixvi. 4 With Man. Inst. X, xxxiv, i, compare Gerhard, Aus. Vasen. Taf. 312 and 313; and Eros with torch, Comptes rendus, Atlas, 1861, pi. v, 2. 5 Comptes rcndus, Atlas, 1862, pi. v, I; Sacken-Kenner, Samml. des Antikencabinets (Wien), S. 175 (102); Laborde, I, pi. xliv, i ; Annal'i, 1873, pi. I ; cp. the black-figured amphora, Berlin, Furtw. 1881. 6 E.g. Elite cer. Ill, 64, p. 183 ; and a kylix of Brygos, Annali, 1850, pi. G. 7 Sophocles, Ant. 1120 and 1150; Oed. Col. 1049 f. ; Euripides, Ion, 716, 1074 f. ; Aristophanes, Ran. 342, 351. 8 Comptes rendus, Atlas, 1873, pi. vi ; Steph. 1776. 9 If the figure on no. 3 of Class III (Louvre MNC 650) is to be called Nike, it suggests the possibility that the Nike of the vase painter got her torch from Artemis, for the winged figure with two animals is certainly derived from the " Persian " or " Asiatic " Artemis. GROUP A: CLASS II, 13-14 47 century B.C. Nor does it seem to me likely that it was because she used the torch in hunting at night, 1 though on at least two vases of somewhat later date, bow and torch are both present in her hands. 2 Probably in the case of Artemis, as in the case of Persephone, the reason is to be sought in some cult usage. The torch inevitably ac- companies night worship, and even if it had no mystic significance, it w^s easily transferred from the hands of priestess or attendant to the hands of the goddess who originally instituted the rite in which the priestess was using it. It is difficult to trace the plastic type of Artemis with torch to as early a date even as the present series of lekythoi; and inasmuch as the " Artemis " of these vases is an idealized Artemis worshipper or priestess, it seems to me more natural to regard the torch on this series of vases as derived from Artemis worship directly, and not indirectly through a plastic type. 13. Palermo, 160. Gela. H. to shoulder about 0.22 m. Above the scene a short band of simple maeander, below it two purple lines on the edge of the black glaze. Foot a disk with concave edge. Solid black is used for a garment. The preliminary sketch was drawn with a dull point in the soft clay. The mouth of the vase is missing. A woman in profile bends forward holding out in each hand a fruit over a kalathos on the ground. She wears an Ionic chiton girded; her hair is all covered with a sakkos, except a small lock in front of her ear. The eye is en face. Behind her is a stool on which a black garment has been laid. Above it in the field hangs a mirror; in front of the woman is an imitation inscription, and in the field above hangs a small basket with high handle. This lekythos is the only one in the present class on which the simple scene of domestic life is depicted, a scene which becomes usual on lekythoi of Group B, and is not uncommon in the following- class (Class III). The hanging objects mark the place as a gynaikeion; here the woman has laid aside her black himation on a stool, and is holding out some fruit which perhaps she has just taken from the basket on the ground before her. The scene is treated with a literal- ness and simplicity which are quite in contrast with the stereotyped form found later. 14. Berlin, Inven. 3338. Attica. H. 0.243 m -' Cir. 0.251 m. The slip is cream yellow. The lines bounding the maeander below stop with the maeander. A broad line of thinner glaze is used for the outline of the sleeve and upper fold of chiton, and purple is used for the running water. 1 As Farnell suggests, Cults of the Greek States, II, 459. a Paris, Cab. Med. 1 1 ; Gat. Arch. 1885, p. 284, no. 1 6 ; on one tide Artemis with bow, on rtrene, woman with torch; Man. Inst. XI, zliii (Boston Museum of Fine Art*, Twtmty-fiftb j4**m*l Report, p. 46) ; Artemis with torch and bow at the death of Actaeon. 48 ATHENIAN WHITE LEKYTHOI Between two streams of water at a fountain a woman bends over and stretches out both hands toward a large hydria (drawn in solid black) which stands on a low block. She wears a sleeve chiton undergirded, but the sets of folds in which the drapery is ar- ranged are continuous from the shoulder down; these folds are drawn as straight lines, except for the angle at the waist. On each side is an imitation inscription. 15. Athens, Nat. Mus. 1791 (Coll. 380), Cv. 1026. Attica. H. 0.24 m. ; Cir. 0.25 m. Benndorf, Gnech. Sic. Fas.Taf. xxiii, 2; Heyde- mann, Griech. Vasen. v, 2; cp. Gaz. arch. 1878, p. 184; Dumont- Chaplain, Ceram. II, 50. Slip cream yellow. The simple maeander and enclosing lines were added after the scene was drawn. Nike bends forward and extends both hands toward a large hydria (in solid black) which stands on a low block below a water-spout. Both wings are raised behind, and are drawn much in the same manner as on no. 5 supra. The figure closely resembles that on the preceding number, except that the hair is done up in a cloth, and the eye has the inner angle open. Before her is an imitation inscription. The peculiar interest of no. 14 lies in the fact that the Berlin Museum possesses an almost exact replica of it in red-figured ware; except for the fact that the (red) hydria stands a little farther off and rests on the ground, the scene is identical on the two vases. Both these vases are closely allied to the first six treated under this class. The creamy slip is the same that is found on no. I, and the brownish purple on nos. i and 14 is an uncommon use of the purple paint which is usually applied on black. Moreover, a broad strip of thinner glaze is used in the same manner on nos. I, 5, 6, and 14 to mark the border of the chiton sleeve and fold. A comparison of hair, profile, and eye on nos. 6 and 14 shows. a remarkable similarity, but it is a similarity of type. On the other hand, nos. 14 and 15 can hardly be independent of each other. Not only is the general scene the same, even to the fact that the position of legs and arms is identical, and the same type of hydria is set on its low stand; such details as the drawing of the hands, and the horizontal line across the skirt below the knees, can hardly be explained except on the supposition that there is some direct connec- tion between the vases. The eye on no. 15 (not quite correctly repro- duced in Benndorf) is only one proof of the more careful workmanship of this vase. While some of the scenes in this class are found only on these lekythoi, and their development cannot be traced, it is evident that in dealing with this scene we are on familiar ground. Like no. I (which is an abbreviation of a sacrificial procession) the present scene is GROUP A: CLASS II, 15-16 49 abbreviated from one that is typical on black-figured vases, viz. the "hydrophoria" which is seen on so many hydriae. The fountain is represented here by the one or two mouths from which water gushes, and but one woman is represented, bending toward the hydria which is being filled. Number 15 is specially interesting in that this figure is winged. There can hardly be any doubt that the Nike is intended to suggest that the action has a religious significance; certainly at v$po6poi were not unknown in various cults, 1 and it seems probable that here again the servant of the gods is seen performing the tasks which men perform in honor of the gods. Interpreted in this way, these vases fall into line with the earlier members of the series, all of which bear a religious theme. 16. Athens, Nat. Mus. 1964, Cv. 1066. Eretria. H. 0.29 m. Cp. AcXriof, 1889, 76, no. 5; Jour. Hell. Stud. 1896, p. 173, n. 21. (Fig. 22.) Slip thin, brownish. Maeander simple, drawn after the main scene, which interrupts it. The preliminary sketch in the soft clay gives some details which were not reproduced in black. A warrior leans over to put on greaves; before him stand spear and shield (in profile), and a sword hangs above. His Corinthian helmet is pushed back over the braids of his long hair, and he wears a corselet over his short chiton. The eye is archaic, and the fine profile has the familiar straight nose and round chin. This scene is drawn with great care, and is unique in the present series. Bosanquet 2 compares it with the figures on vases which Hartwig attributes to Amasis, and notes especially the eye, and the beaded hair along the edge of the fore- head. This treatment of the hair over the forehead is found in the work of.Hieron and of Brygos, as well as on the vases attributed to Amasis; moreover, the pupil of the eye on our vase is not placed near the inner angle as on the "Amasis" vases figured by Hartwig, and the nose extends much farther out from the upper lip than on these vases. It remains true that the general impression of the helmeted head is very like one head on the Munich amphora discussed by Hartwig, 3 and there can be no question that our lekythos belongs to the same period. It is not without interest that this same scene (surrounded by the same simple maeander) occurs on the interior of the frag- mentary Paris kylix with the name Amasis. 4 1 Bcnndorf, Gritch. Sic. fai. S. 41, A. 213, 114. 8 Jour. Hell. Stud. 1896, p. 173, n. ai. E * Munich, 41 1 ; Hartwig, Taf. xxxvii, &. Hartwig, Taf. xxxvii, a, and cp. S. 87. 50 ATHENIAN WHITE LEKYTHOI The figure of a warrior putting on greaves is part of a scene which occurs rather frequently on black-figured ware, and in a modified form on red-figured ware of the severe period. Hartwig 1 mentions ten black-figured vases with this scene, and it would not be diffi- cult to add as many more. On these vases the warrior, generally a bearded man, is wearing the right greave and raises his left knee to put on the other one. At his feet is a helmet and sometimes a shield. On either side are other figures, in one series an archer in characteristic costume at the left, 2 and at the right a woman holding his spear, or Athena in full armor; in a second series 3 four or more figures are usually present, one of which is an old man, the father, one a woman, and the rest warriors. This archer is also found on earlier specimens of the "departure" scenes, 4 which became so popular in the fifth cen- tury B.C., and perhaps originally was intended to suggest some scene from the Trojan war. 5 When this motif was adopted by painters of red-figured ware, the knee was still raised to receive the greave, and oftentimes the helmet (and shield) still stood by the warrior's feet. 6 But the painter of this ware was not bound by tradition, and the warrior now quite gener- ally an ephebos may wear his helmet pushed back; 7 again he may bend over to put on the greaves instead of raising his knee, as in the realistic scenes on a kylix of Brygos. 8 From this scene the kylix painter occasionally took the central figure for the interior of a kylix, 9 and in the present instance the same figure is chosen for a lekythos. 10 Some of the preceding scenes have been treated as abbreviations of more complete scenes; in this instance it is fairer to say that the central figure has been reproduced without the usual accessory figures. In red-figured ware the scene is found mainly on kylikes, and the present vase evidently belongs to the same period as the work of the great kylix painters of the severe period. 1 Hartwig, Meistersc/ia/en, S. 403, A. I. 2 Brit. Mus. B 243, 521 ; Ruvo, Coll. Jatta, 1608 (Bull. Nap. Nouv. ser. V, pi. xii) ; Wiirzburg, Urlichs, III, no. 89 (Gerhard, Aus. Vasen. Taf. 264, i). 8 Brit. Mus. B 165, 224, 292, 572, 657; Leyden, Roulez, pi. xiv, I ;. Gerhard, Aus. Vasen. Taf. 262. 4 E.g. Brit. Mus. B 246, 252, 255. 6 Paris, Bibl. nat. (de Luynes, pi. 12). 6 Hartwig, Taf. xvi, kylix of Euphronios ; Munich, Jahn, 421 (Gerhard, Aus. Vasen, Taf. 201), etc. 7 Hartwig, Taf. xxxvii, 1-2, kylix of Amasis. 8 Vatican (Mus. Greg. II, 81), Gerhard, Aus. Vasen. Taf. 269-270. 9 Hartwig, Taf. xxxvii, 1-2; Berlin, Furtw. 2263 ; Athens, Hartwig, S. 87, Fig. loa. 10 For the shield cp. the kylix of Brygos, Gerhard, Aus. Vasen. Taf. 269 ; and for the hanging sword, that of Amasis, Hartwig, Taf. xxxvii, 1-2. GROUP A: CLASS II, 17-18 51 17. Athens, Nat. Mus. 1828, Cv. 1020. Eretria. H. 0.29 m. Sketch by Studniczka \njahr. Arch. Inst. II, 163. Cp. Atb. Mitth. XVI, 31 1 ; 'E^>. 'A/3^., 1886, 33; Daremberg-Saglio, Fig. 2680; Klein, Lieblings- inschriften, S. 157, 13. Slip brownish. The maeander is broken both by horizontal and by oblique crosses. On the black garment the brush was drawn in the direction of the folds, and the folds themselves (called by Studniczka "Streifen") were added in purple (or white) lines of dull color. An ephebos carrying two spears in his left hand advances rapidly to right, looks back, and stretches his right hand back. He wears a black chlamys, and a petasos hangs at the back of his neck. Eye with large pupil; the hair is gathered in little bunches, indicated by relief dots, in front of the ear and in the middle of the forehead; the profile shows a short, straight nose, full lower lip, and round chin. At the left of the figure is written stoichedon. TLAVKON KALOS 18. Paris, Cab. Med. n, de Ridder 494. Locri ( ? ). H. 0.21 m. Gaz. Arch. 1885, p. 284, no. 16, pi. 32, 2. Neck and mouth modern. The shape of the body and the use of two concentric rows of bars to ornament the shoulder correspond with what is found in Group III. Slip brownish yellow. Above is a maeander with horizontal crosses; below on the edge of the black glaze are two purple lines. The stag has thin glaze lines and dots. Artemis hastens to right, drawing an arrow from her quiver with her right hand, and holding out the bow in her left hand. Before her runs a deer. She wears kekry- phalos, sleeve chiton, and a "cape" (or chlamys) fastened on the right shoulder. The inscription KALE HE PAI is partly on one side, partly on the other. The ephebos on no. 17 is explained by Mayer * as a Kephalos, who has been isolated from the Eos-Kephalos scene which is so common on later red-figured vases. He is indeed very like the Kephalos on some of these vases, 2 and the analogy of other lekythoi justifies us in looking for some more complete scene from which this figure is taken. The resemblance which Mayer points out, however, is of a somewhat general character, and the Eos-Kephalos scene became common only at a later date. In particular our ephebos extends his hand back as if in con- versation with some one following him, instead of making a gesture indicating fright. On a vase bearing the name Douris, and probably by the kylix painter of this name, 3 an athlete is represented in a very similar attitude, surrounded by objects indicating a palaestra. The black garment with folds painted on it in dull color is charac- teristic of the vases in the following group (Group B, Class IV), and i Ath. Mitth., XVI, 311. * E.g. Bull. Arck. tf*fl., I, 1843, TJV. i. a 'E<(>.'Jipx- 1886, pi. 4; Hartwig, Meiueruhaltm t 1*8. ATHENIAN WHITE LEKYTHOI other considerations will lead us to place this "Glaukon" series of vases among the later vases in the present group. The present vase belongs in the "later Glaukon group" of Bosanquet, 1 in which the lettering is still Attic but stoichedon, and which Bosanquet dates about 465 B.C. Number 18 shows many points of likeness with both no. 17 and no. 12 (woman before burning altar); two amphorae in Paris 2 also show the same style of drawing. The eye with large pupil against the upper lid and inner angle slightly opened, the curls of the hair in relief, the short straight nose and round chin, recur on all these specimens; the Artemis on the Paris amphora 3 is almost a replica of the Artemis on our lekythos, and bears the Glaukon inscription of our no. 17; moreover the same freedom and grace of touch appear in the drawing on all these vases. Such drawing is to be expected after 465 B.C. rather than before that date, but Pottier's suggestion, 4 "the latter half of the fifth century," seems to me too late. 19. Athens, Nat. 1975, Cv. 1061. Eretria. H. 0.31 m. AeXrto^, 1889, p. 174,6; Atb. Mittb. XVI, S. 389 (sketch by Wolters), S. 310, A. 2. (Fig- 23.) The row of short bars above the palmettes on the shoulder is omitted. Slip thin, brown- FIG. 23 (no. 10). ' srl - Traces of the preliminary sketch in the soft clay. A woman (body and feet en face) stands looking to right, and holding in both hands a large flat basket, such as is very often seen in later representations of worship at the 1 Jour. Hell. Stud. 1896, p. 1 68. 2 De Luynes, yasa feints, pi. xxiv, xxv. 8 De Luynes, pi. xxv. * Gaz. Arch. 1885, p. 285. GROUP A:. CLASS II, 19-20 53 grave. At her left on a low block is a high amphora on which is depicted with great care a warrior on horseback; above the warrior are palmettes and below are lines radiat- ing from the foot of the vase. Although the drawing on this vase has suffered considerably, there is no question that it belongs in this class, and it is probable that it is closely related to the series which has just been under consideration. On vases of the following groups (B and C) the practice of represent- ing body and feet en face is not unusual, but this is the only specimen of it which occurs in the present class. The scene, too, is unusual. In- stead of abbreviating some familiar subject which vase painters had often treated, the artist of this lekythos has given us a literal scene of worship at the grave. That the amphora in the scene really is a grave monument is abundantly proved by Dr. Wolters in the article in the Atbenische Mittbeilungen above referred to. On later lekythoi actual grave monuments are occasionally copied, 1 but usually we have the conventional stele which, along with the grave mound, the lekythos painter chose as the symbol of the tomb. Again, real vases are some- times represented standing on the steps of the stele, but this is almost the only instance of a lekythos on which a vase is used as itself a grave monument. 2 The drawing is not at all unlike that on a lekythos of the following Group (B) which has been published by Weisshaupl; 3 both that vase and the present one differ from many later lekythoi with grave scenes, in that on these two the grave scene is drawn with a cer- tain directness which disappears later when the artist is limited to one of several fixed types. 20. Paris. Gaz. des Beaux- Arts, 1866, II, p. 177. Artemis, holding a bow, pours from a pitcher in her right hand into a phiale carried by Apollo (with lyre). Unfortunately the description of this vase is very incomplete. If it should be classed here, it is the only one of the present series on which two figures are represented; on several of the smaller vases in the same technique (Class III), however, there are scenes including two figures. On red-figured ware of the severe style a woman often fills a cup for a (departing) warrior, and not infrequently this scene of human life is transferred to the world of the gods. E.g. on a red- figured lekythos of this period in London 4 there is almost the same scene which is seen on the white lekythos in Paris. In a word, if this 1 E.g. the stele with lion on top, Athens, Nat. Mus. 1938, Strena Helbigiana, S. 41. * E.g. Brit. Mus. D 56 and 65 ; cp. infra in Claw V, no. 16, Cornell Unirenity Museum. 8 Athen, Nat. Mus. 1815 (3515) ; Atk. Mittk. XV, S. 40 f. 4 Brit. Mitt. E 579- 54 ATHENIAN WHITE LEKYTHOI lekythos belongs in this group, it simply means that one more scene familiar on red-figured vases of the earlier part of the fifth century is to be found also in the earlier outline technique. 21. Paris, Louvre. Rayet-Collignon, Histoire de la cer antique grecque, pi. x. Slip creamy yellow. The maeander above is broken by horizontal crosses. There is a purple band near the base of the lyre (to attach the plectron ?). One purple line only is drawn on the upper edge of the black below the scene. In front of three Doric pillars which support an entablature of which the maeander is the upper member, is the head of a woman turned to the right, and before her is a lyre which she is playing with her left hand. The eye has a dotted circle for a pupil, and its inner angle is slightly open. The lips are full and the chin also is rather full and round; the nose continues the line of the forehead in a straight line, and the inner contour of the nostril is added, although it is curiously out of position. A richly ornamented kekryphalos covers most of the hair, but a mass of it is shown over the forehead, and looped in front of the small ears. 2ia. Arch. Zeit. 1 880, S. 136, A. 5. "Im athenischen Kunsthandel ein besonders vorziiglicher Stuck . . . mit einem grossen weiblichen Kopfe, neben welchem noch die leierspielenden Hande vorkommen, von vier dorischen Saule iiberdacht." 22. London, Brit. Mus. D 22. H. 10 in. White Ath. Vases, pi. xiv. Arch. Zeit. 1885, Taf. xii, 2. Slip brownish yellow. The maeander above is simple, and both the maeander and the lines below it stop with the main scene. Thin brown glaze is used for the necklace, and purple within a black outline for the fruit. Between two scrolls with palmettes is a bust of Athena, holding up an apple or pome- granate in her left hand. The eye, the profile (including the peculiar line for the inner contour of the nostril), and the hair about her face are like no. 21. She wears a high crested helmet, and beneath this the hair falls free behind. 23. Burlington Exhibition, 1888, Cat. 135; Coll. Dr. H. Weber. Attica. H. 0.273 m - The scene is like the last, except that the apple is missing, and the fingers are raised as if holding a flower. The reproduction of the face shows a less characteristic profile and an eye of the simple archaic type. With these three vases belong a series of smaller vases in the next class on which is found the same scene a large female head turned to the right. I propose to postpone any discussion of this scene until those vases have been described. Here, however, the fact may be noted that not only this eye with the dotted pupil and inner angle slightly open, but also the distinctive profile of these heads, correspond very closely to the type of eye and profile on heads by Douris. CONCLUSION OF CLASS II (GROUP A) 55 Conclusion of Class II (Group A~] An examination of the present class as a whole shows it to be quite homogeneous. Only one specimen (no. 18) differs from the type of form and ornamentation which characterizes not only the present class and the preceding class, 1 but also one series of black-figured lekythoi. 2 In neither of these three groups is the shape of the foot characteristic, except as the later form of foot with red edge and hori- zontal groove at the top, begins to appear for the first time. In the present class the edge of the foot commonly contracts slightly from the bottom up, and it may have a narrow strip of black glaze in the middle of the edge. Both in this class and in the preceding one there are two varieties of slip, a thin, dull, brownish yellow slip, and an- other that is quite a creamy yellow, slightly thicker, and very smooth though never shiny. On some lekythoi one may detect scratches which seem to have been made in the slip while it was being polished on the wheel. 3 In both Class I and Class II there are several instances which show that the maeander pattern was added after the main scene was already painted; but it is only in the present class that the lines bound- ing the maeander are broken where the main scene interrupts them. 4 Moreover in several instances the lines below the maeander stop with the maeander and do not go around to the back of the vase. 5 The maeander itself is either of the simplest type and unbroken, or else it is of a slightly more complex type, and a horizontal cross is drawn be- tween each pair of the maeander pattern. This horizontal cross between pairs of maeander is seen not infrequently around the interior scene on kylikes by Douris (later period). 6 In such small points the homo- geneous character of this class is very evident. Turning from the ornamentation to the main scene of these vases, we can ordinarily discover a preliminary sketch, lightly drawn with a dull point in the soft clay. This sketch is not only very careful, but it also often shows details which were not added when the scene was finally painted. The scene as a whole is painted in fine relief lines of black; a few specimens show a coarse line of slightly thinner brownish glaze, which bounds the sleeves and the fold of the chiton; again, in a few instances, thinner glaze is used for the folds of the upper part of 1 Described above, p. 23. Cp., however, Jour. Hell. Stud., 1893, pi. i-iii. 8 Cp. Jour. Hell. 'Stud. 1893, pi. i-iii. Nos. i, 5, 11, etc. 8 E.g. no. 4, Brit. Mus. D 13. Hartwig, Taf. Uv, Ixvi. 56 ATHENIAN WHITE LEKYTHOI the chiton, for flame, for the ends of the hair, etc. As on black-figured vases, purple is often added for some such detail as a curl or a quiver band, but the effect of purple on white is quite different from its effect when applied on black. On two vases apparently this color is thinned to a purplish brown, and used for a flame, or for a stream of water. 1 Finally, solid black is used regularly for the hair, for the himation when that garment is worn, and in several instances for an accom- panying animal. The painter is accustomed to the silhouette effects of the black-figured ware, and uses them to produce a pleasing variety. Except in the case of one or two animals, the stereotyped incised lines disappear; and where the artist feels it necessary to render the folds of a garment, he does it in a more realistic manner by adding lines in a dull color. In a word, the artist of these vases is using only the materials which were at hand in the potter's shop, the glaze in a thick and a thin state, applied in lines or in masses, and the purple which had been applied on the black of black-figured ware; but from these materials he is seeking to produce the varied and realistic results which were finally attained in the polychrome white lekythoi. With two exceptions the full figures (as distinguished from the large heads) follow one schema: the figure is approximately in full profile, and both arms are extended in front. The deviations from this position are in later specimens, and show considerable freedom in the drawing. On the other vases the woman (or the man) faces to the right, and either stands squarely on both feet or moves forward rapidly; the effort to introduce an easy pose comes later. The profile attitude, however, is not quite successful. The left shoulder is brought into view, and usually the left breast of women is indicated as though the garment were transparent, 2 unless it is covered by the black over- garment. This profile attitude is found on red-figured lekythoi and less frequently on amphorae; it is carefully avoided in the scenes on the outside of kylikes, and is not common on the interior of these vases. The garments, arrangement of the hair, etc., show but little variety. The women all wear the long Ionic chiton with sleeves, and under- girded so as to let a fold fall loose about the hips. Over this may be a himation reaching to the knees, or a smaller garment fastened on the right shoulder and leaving the right arm and shoulder free. The hair is shown in a low mass over the forehead, and is looped in front of the ears; it may fall free behind, held only by a taenia around the top of the head, or it may be all confined in a cloth, or again it may 1 Purple on white, nos. 10, ra, 21, 22; brownish purple, nos. i, 14. 2 Cp. nos. 2, 5, 12. CONCLUSION OF CLASS II (GROUP A) 57 be gathered in a mass at the back of the head and held by a long cord wound around the head many times. 1 Ear-rings and bracelets com- plete the costume. Most of these figures show more or less clearly a distinctive profile which is best known in the work of Hieron, namely, a straight nose continuing the line of the forehead, full lower lip, and large round chin. The small protruding chin often seen on the early red-figured vases occurs but once or twice. The eye tends to be rather long, and is set back from the nose. In most instances the inner angle is closed as in the normal archaic type; on nos. 14 and 15 the inner angle is open, but the pupil is nearly in the centre of the eye; while on the "Glaukon" group (nos. 12, 17, 18) the eye is not so long, and the pupil is indicated toward the open inner angle against the upper lid. On two of the vases with large head the eye has a dotted circle for the pupil, as in much of the work of Douris. The imitation inscriptions on many of these vases show that some- thing in the way of writing was called for, and on four of them there is a legible inscription. 2 These inscriptions are in the Attic alphabet, and only in one instance (no. 17) are the letters arranged stoichedon. With reference to the scenes represented it is necessary only to sum up what has been already said. Some of the scenes (hydro- phoria; serpent-temple-priestess; warrior arming) can be traced back to black-figured prototypes; while others (Nike pursuing; woman, Artemis, or Nike before altar) are peculiarly characteristic of the red- figured lekythoi of the severe period. As compared with the scenes on vases of Class I a slightly different method of treatment may be pointed out. In both classes the scene is limited to a single figure, but in Class I we found traces of a rational effort to abbreviate the scene, and even by a single figure and its accessories to suggest the larger scene which was in the painter's mind; ordinarily in the present class the painter just cuts out the figure he wants without essentially modifying it. This latter method is the one more commonly adopted in decorating the interior of kylikes, where somewhat the same con- ditions are prescribed. The fact that so limited a number of scenes are found on vases of this class seems to indicate that they were pro- duced by a relatively small number of workmen, and those without any great degree of originality. We have seen that only one grave 1 Hair free behind, nos. i, 3, 6, 9, 1 1, 14, 22, 23, cp. Hartwig, Taf. xxiii ; hair in a cloth, not. 2, 4, 7, 13, 15, 18, 21 ; hair in a mass at the back of the head, nos. 5, 10, 12, 19. N. 3,4, 17, 18. 58 ATHENIAN WHITE LEKYTHOI scene is found in this class, and only one of the scenes of household life which are common in the next group of these lekythoi, a clear in- dication that the lekythos painter is as yet uninfluenced by the use to which his vase is to be put. The later numbers of the present class undoubtedly overlap the earlier numbers of Group B, but the change of technique was introduced by other workmen, who at the same time introduced new scenes. There can be no doubt that these vases were produced by men accustomed to making the ordinary red-figured ware. All the scenes (even those characteristic of black-figured ware) correspond to what are found on red-figured vases of the severe period; the preliminary sketch with a dull point can be discovered on most of these lekythoi, and the same materials were used on both classes of vases to produce somewhat similar effects. The most striking example of the connec- tion between the two kinds of ware is to be found in the pair of lekythoi in Berlin, 1 a pair on which the same scene is painted, evidently by the same hand, but one is in the red-figured, the other in the outline technique. GROUP A: CLASS III. Vases with red neck, mostly small; drawing in black relief lines The third class under Group A is less homogeneous than the first two, since it contains specimens which remind the student of more than one type of black-figured lekythoi; it is, however, marked off distinctly from the first two classes by considerations of size, shape, and ornamentation. Few vases of the present class are more than .20 m. in height, and many of them are less than .15 m. high. The body of the vase is somewhat heavier than in the case of those which have been treated before, and in many instances it begins to contract slightly from the shoulder down. Often the mouth is low, as in the earlier black-figured lekythoi. Neck and shoulder are not usually separated by a plastic ridge, and both the neck and the inside of the handle are red like the shoulder. The ornament on the shoulder rarely consists of palmettes, and when they do appear, they are carelessly drawn and may be only four in number. The characteristic ornament of the shoulder consists of a double row of concentric bars, or, in a few instances, of the band of lotus buds pointing out from which the two rows of bars probably were developed. The slip is usually of the thin 1 Supra, no. 14, Berlin, Inven. 3338. GROUP A: CLASS III, i 59 brownish yellow type; in two or three cases it is thicker and of a cream-yellow color. Above the main scene the usual maeander (or maeander broken by crosses) is rarely replaced by lines separated by rows of dots as on lekythoi with black figures on a white ground (cp. supra. Fig. 14, p. 13), or by some other pattern (e.g. the simplified key pattern, Fig. 24); and on smaller specimens it , , may be omitted altogether. Below the scene the ' I I black glaze is commonly broken by a rather wide line left in the original red of the clay, or by several narrow lines either left red or incised to show the red. The foot usually consists of a torus with a band of black on its upper part, and above this a flat red member (supra, Fig. 10). On these smaller vases the drawing is some- what careless, and the preliminary sketch is rarely found. Solid black garments occur only three or four times, and that on vases which in other respects do not exactly correspond with the rest of the group. For the sake of convenience in study this class will be discussed under several somewhat arbitrary subdivisions: - a. Vases with scrolls and large palmettes on each side of the main scene. b. Larger vases with but one figure. c. Smaller vases with but one figure (which may be replaced by a large head). d. Vases on which the scene consists of two figures. e. Vases (rather small, and with but one figure) on which thin yellow glaze is used for the garment folds. a. Vases with large scroll and palmettes on each side of the main scene. i. Athens, Nat. 1858 (Coll. 398), Cv. 1014. H. 0.16 m. Dumont, Peintures ceramiques, p. 40, n. 2; Dumont-Chaplain, I, pi. xi, 2 (the reproduction is imperfect); II, p. 51, n. 2. On the shoulder a row of short bars and 1 + 3+1 palmettes. The maeander is simple; below the scene a reserved red line, and a purple line on the black. Slip brown. On each side of the main scene are two large palmettes enclosed by lines with scrolls. The shield has its outline incised with a pair of compasses. A warrior moves to right and looks back, extending his right hand back; in his left hand he carries a shield and two spears. The tiger ( ?) on the shield is vigorously drawn in silhouette. He wears a chlamys over his corselet. The profile shows full lips and round chin; the eye is en fact, but the pupil is set near the inner angle; the curls of the hair around the forehead are indicated by means of relief dots. 60 ATHENIAN WHITE LEKYTHOI This attitude has already been discussed in connection with a lekythos of Class II (Athens, 1828, Class II, 17); it is found on other lekythoi of the present class, and it occurs occasionally in interior scenes on kylikes of the severe period. The extremely careful and delicate drawing is unusual on so small a lekythos. The precision of the drawing, as well as the small head and high cranium, recall the manner of Douris. 2. Athens, Nat. 2023, Cv. 1018. Attica. H. 0.22 m. Benndorf, Griecb. Sic. Fas. Taf. xix, 3; cp. Gaz. Arch. 1878, p. 184; Heyde- mann, Gnech. Vasen. S. 4, A. 13. The shape is slenderer than most of this group; mouth rather low; foot of the type which later becomes universal (Fig. n). On the shoulder two rows of bars; the maean- der, which is careful, is broken by horizontal crosses; below the scene are two purple lines on the black, as on most of the specimens in Classes I and II. Two large palmettes on each side of the scene. Nike, both wings raised behind her, advances toward the right, holding her himation over her left arm, and carrying a lighted torch in her right hand. She wears a sleeve chiton ornamented with thin glaze crosses, and a himation draped to leave the right arm free. A stephane is left white about the head, and over her face in the middle of the forehead falls a small tuft of hair. The name NIKE is written before the figure. While this vase clearly belongs in the present class (e.g. the red neck), from the shoulder down there is nothing except its size to differentiate it from vases of the preceding classes. The stiff folds of the himation and this particular attitude of walking are familiar on red-figured vases of the earlier period; the slight archaism, however, is hardly notice- able, so delicate is the drawing. Almost the same figure, but drawn much more hastily, is seen on a vase from Corinth (Benndorf, Griech. Sic. Vas. Taf. xxxvi, 9; and cp. Benndorf 's reference to others cited by Knapp, Nike in der Vasenmalerei, S. 27 f.) ; this vase is interesting in that it gives a name which Benndorf reads as ANATKE, instead of the name NIKE. The head on our lekythos (especially the profile and eye) and the wings are quite like those on a red-figured lekythos found at Gela (Benndorf, Griech. Sic. Fas. Taf. xlviii, i), on which we read NIKE before the figure, and HIITON KAAO* below it, above a burn- ing altar. The profile is very fine and reminds one distinctly of the Olympia pediment sculptures, and of the "omphalos Apollo" at Athens. The small head, the eye with dotted pupil near the inner angle, and the garment ornamented with strokes of thinned glaze, call to mind again the manner of Douris. In any event, it is probable that this vase and the one discussed just before it are from the same hand. GROUP A: CLASS III, 2-3 61 The interpretation of the figure is simplified by the cases where it occurs with an altar. It is reasonable to suppose that a Nike should light the altar flame for a sacrifice on ocasion of a victory; on the fol- lowing vase, however, we have a winged "Artemis" with torch, and on a lekythos at Oxford (Ashm. 265, Class II, 3) the name NIKE is read before a figure in an "Artemis" scene, so that perhaps the torch should be regarded as an attribute which has come to Nike from this type of Artemis. 1 Without the altar the present scene has that entire absence of specific reference which is characteristic of so many early outline lekythoi. 3. Louvre MNC 650. Attica (?). H. 0.203 m -5 Cir. 0.228 m. Plate II, 2. Low mouth and rather squat body; the foot curves down to an edge, and is all black, as on the earliest types of lekythoi. The shoulder, separated plastically from the neck, is ornamented with a row of bars, and then a row of lotus buds pointing out- wards. Slip creamy yellow. Above the scene is a simple maeander; below it the black glaze is broken by a broad line left red, on either side of which are purple lines on the black. A preliminary sketch with dull point in the soft clay gives the barest outlines. A dull grayish color is used for the chiton, and on it the folds are drawn in thin glaze; the himation is black with added purple folds; the torch flames, the markings of the upper wing feathers, and the inner markings of the deer are in a thin yellow glaze. The wolf is black with added purple details. On each side of the scene is a series of several palmettes and scrolls, and on the right a lotus bud. A woman with wings raised, holding her skirt in her right hand and carrying a lighted torch in her left hand, moves rapidly to right and looks back. The wings are in oppo- site directions, i.e. the wings, like the body, are seen en face. She wears a sleeve chiton, represented as though it had a sort of train, and a short himation draped under the right arm. Her hair is looped up behind and fastened on top of the head; the eye is en face and of the same shape as the female eye on black-figured vases. At the left a she-wolf (or bitch) leaps up and touches her skirt with its fore feet; while at the right a fawn is running in front of her. In the field are imitation letters. Perhaps no other outline lekythos shows drawing so archaic and at the same time so charming, as the one under consideration. From the standpoint of the vase painter this figure, like others which have already been considered (Oxford, Ashm. 265, Athens, Nat. Mus. 2023), no doubt should be called Nike; although it is obviously suggested by some scene (perhaps a relief in stone or metal) representing the so- called "Persian" Artemis. 2 This type of Artemis, a winged figure accompanied by wild animals, is found on early ware from Melos and 1 Cp. Hartwig. Meiittritbalen, Taf. Ixviii, a, S. 604, A. I. 3 Cp. c.g. Arcb. Ztit. 1854, Taf. Ixi ; Baumcitter, Denkmtltr, Abb. 139. 62 ATHENIAN WHITE LEKYTHOI Rhodes, 1 and again on the Francois vase; it does not appear among the regular types on black-figured ware, but instead we find a scene in which Artemis and Apollo and Leto are represented with fawns. The present figure is totally different from the quiet, lifeless Artemis of this black- figured scene. Her attitude, however (body en face, feet to right and head to left), is common on black-figured ware, and continues to be used on many of the early red-figured kylikes. 2 The manner in which the skirt is held up belongs to the art of the beginning of the fifth century; 3 the parallel folds of the chiton and the stiff lines of the himation also suggest an early date for this lekythos. The profile has a straighter line for nose and forehead than appears on the earlier signed kylikes, but the full round chin of a little later date is also absent. 4 The treat- ment of hair, mouth, hands, feet, and drapery may be compared with that on a red-figured amphora attributed to Phintias or Euthymides. 5 Long toe joints, such as are seen on this figure, are associated with the work of Euphronios; they appear also on a vase signed by Panphaios (the decoration of which is sometimes assigned to Euphronios), 6 on which the wings of the "wind-gods" are quite like the wings of our "Artemis," and the mouth is treated in the same manner. The use of color on this lekythos, especially of the thin orange- yellow glaze for filling, is unique, and deserves special notice as an anticipation of the later use of color on polychrome lekythoi. The near- est parallels are two alabastra of about the same period as our leky- thos : one signed by Pasiades, 7 which perhaps is more archaic, although it shows some marked resemblances to the lekythos (the treatment of the hair is the same, there are the same round folds along the bottom of the chiton, and a black stork recalls the black wolf beside "Artemis"); the other an alabastron of freer style 8 on which orange-yellow is used both for wing feathers and for the himation. The same color is also found on an oinochoe of considerably later date, 9 and occasionally on kylikes with a white slip. Evidently the use of color on this lekythos and on the Pasiades alabastron is an early experiment which was dropped because it did not meet with great popularity. 1 Melos, Berlin, Furtw. 301 ; Rhodes, Brit. Mus. A 267. 2 Murray, Designs, pi. xi, Brit. Mus. E u, by Panphaios. 8 Hartwig, Meistcrscbalen, Taf. iv, xxiv ; cp. the skirt of the Nike on Taf. xxviii. 4 Cp. the profile on a vase "in the style of Douris," Murray, Designs, pi. 38, Brit. Mus. E 64. Brit. Mus. E 256, Cat. Ill, pi. x. 6 Ibid. E 12. 7 Ibid. B 668, White Atb. Fasts, pi. xviii A. 8 Berlin, Furtw. 2258, " Stilstufe des Brygos." 9 Brit. Mus. D 14; Witt Atb. Vases, pi. xxi B. GROUP A: CLASS III, 4 63 4. Louvre MNB 909. Attica (?). H. 0.257 m -J Cir. 0.29 m. Plate III, i. In general shape, in the ornamentation of the shoulder, and in the lines on the body below the main scene, this lekythos resembles the one just described (no. 3). The slip, however, is yellowish brown .(almost bistre); and above the main scene the ornament consists of three rows of dots between parallel lines. Traces of a preliminary sketch drawn in the soft clay with a dull point can clearly be made out. Lion, tree, and gar- ment are in solid black, with details added in rather coarse incised lines. The anatomy of Herakles is indicated partly in black relief lines, partly in dull purplish lines. He wears a purple taenia about his head, and purple is also applied on black for the centre of the palmettes. On each side of the scene is a series of four palmettes with scrolls and lotus bud. Herakles (nude, drawn in outline) kneels on left knee and clasps his hands, holding the lion's neck in his bent left arm and strangling it till it gasps for breath. The lion attempts to push the head of Herakles aside with his paw. Behind them is a tree with leaves and fruit, on the branches of which hang the garment of Herakles and his sword in its scabbard. The club of Herakles is behind him, and in the field above are imita- tion inscriptions. Almost identically the same scene, with the addition of one or two more figures, is found on a series of black-figured hydriae, 1 on the ex- terior of several black-figured kylikes, 2 and rarely on vases of other shapes. So stereotyped has the scene become that the tree with gar- ment and sword is hardly ever missing, the attitude of the combatants is the same, and even the effort of the lion to push back the head of Herakles with his left hind leg is almost always repeated. In a second type the figures are erect, but a wrestling scene with the figures nearly prostrate is especially well adapted to the shoulder of a hydria and to the exterior of a kylix where a long, narrow band is to be ornamented. In adapting this scene to a lekythos with outline drawing where only one or two figures were permitted by custom, the painter has found it necessary to abbreviate it by dropping all the spectators; the remaining figures are copied without change, even though they are not well adapted to a square field. On a white lekythos with silhouette figures in the British Museum 3 another black-figured scene, Herakles and the Cretan bull, is abbreviated in the same way by omission of spectators. The present vase is one of a comparatively small number on which an animal in solid black appears. No special significance is to be attached to this fact, however, except as showing that the painter (and those for whom he painted) were so familiar with the use of silhouette figures 1 Brit. Mu. B 301 ; Wiirzburg, Url. 116, Gerhard, Ant. Vattm. Taf. loa. * E.g. Brit. Mus. B 434. Brit. MM. B 616. 64 ATHENIAN WHITE LEKYTHOI that they liked the effect of some solid black. The use of incised lines on the present vase does show that the painter was still under the in- fluence of the black-figured technique. The hard treatment of the muscles and such small points as the "scalloped" outline of the hair show that the vase belongs with red-figured work of the severe period. On a few of these red-figured vases the artist has made some slight attempt to render the expression of the face, and it seems reasonable to regard the firmly set mouth of this Herakles as due to an effort of the painter in this same direction. In shape and ornamentation this vase antedates the period when the type of lekythos for outline work had become definitely fixed. The use of the lotus bud on the shoulder and of the conventionalized checker- board pattern over the scene is found only on these transitional speci- mens. The purple spot on the centre of the palmettes is also very un- usual; so far as I have noted, it occurs only on vases which belong considerably earlier than the middle of the fifth century B.C. 1 4a. New York, Metrop. Mus. H. 0.257 m - Plate IV. The body of the vase is nearly cylindrical; the rather short red neck is separated from the shoulder by a slight plastic ridge, and the mouth flares at the top (Fig. 2). On the shoulder a row of short concentric bars, and interlaced lotus buds pointing outward. Above the scene is a simple black maeander on a band of red; below it the black glaze is broken by a reserved red line, on either side of which is a purple line on the black glaze. The foot is a disk, the edge of which is grooved above and has a strip of black below. Slip brownish yellow, slightly lustrous. No preliminary sketch. In the main scene solid black (dark brown) glaze with incised details is used for Perseus and Pegasus; the Medusa is drawn in outline with black relief lines and lines of thin glaze. Bright vermilion is freely applied both on the black and directly on the slip. In the field are imitation inscriptions. At the left of the scene are three palmettes and two lotus buds on one stem; at the right six palmettes and one bud, also on one stem. In the centre of each palmette is a spot of vermilion. Medusa lies on the ground, her head toward the right, her shoulders still supported on her elbows. The clenched hands and drawn-up right leg seem to indicate pain. She wears a short chiton with a red girdle, above the girdle the folds are in thin glaze, below in black; her double-topped endromides are red. From her shoulders rise wings of a modified oriental type, with red stripe. Blood is gushing freely from her neck, from which Pegasus has almost completely emerged, though the hind legs still are hidden. Pegasus is a prancing winged horse with head raised, not quite half the size he assumed later; vermilion is applied on the tail, the neck, and on the inner edge of the wings. Above and to the left of Pegasus Perseus is running (or flying) rapidly toward the left, he carries the head of Medusa in a red wallet (xi/Juris) slung on his extended right arm, and in his left hand is his curved knife. On his head is a red petasos, his hair is looped up behind, over both arms a chlamys is loosely draped, and on his feet are double- 1 Cp. the discussion of Athens, Nat. Mus. 1809, Class I, 4. GROUP A: CLASS III, 4 a 65 topped endrotnides (red on a black ground). He is represented as a beardless youth, considerably smaller than Medusa. 1 On black-figured Athenian ware both early and late the scene of the death of Medusa is not uncommon. 2 The full scene included the beheaded Medusa, Perseus fleeing with the aid of Athena or Hermes or both, and the two pursuing Gorgons; but often one or another of the figures were omitted. The high recurved wings of the Gorgons, the kneeling position of Medusa, the attitude of Perseus running with arms extended in opposite directions, and the endromides (with one flap) worn both by Perseus and by the Gorgons are characteristic of this scene. On red-figured ware the scene commonly has but two or three figures, Athena standing by Perseus, Perseus and a pursuing Gorgon (perhaps on opposite sides of an amphora), or as here Perseus fleeing from the beheaded Medusa. Pegasus springing from the blood of Medusa is found rarely on red-figured ware, not at all on the earlier ware. It seems that the painter of this lekythos has adapted the figure of Perseus with slight modification from the scene on black-figured vases, while the Medusa resembles the Medusa of black-figured vases only in her wings and endromides. The Perseus on this vase is hastily drawn, but in spite of the rude profile and clumsy left arm it is apparently the hasty work of a painter who knew his craft. His elevated position and relatively small size certainly look like an effort for perspective, yet it should be remembered that one type of Perseus on black-figured ware is represented in the same way, 3 and here it is quite improbable that the painter had any thought of drawing in perspective. As compared with the Perseus of the earlier scenes this figure has a very different balance, which creates the impression that he is flying rather than running; here also the posi- tion of the right arm is in a measure explained by the wallet, which by this means is exposed to view. The looped-up back hair is familiar on red-figured vases of the severe period. The position of the petasos is somewhat peculiar, 4 but possibly it is placed well forward so as not to be displaced by the rapid motion. A chlamys draped over both shoulders is not infrequent on figures of Apollo; 5 Perseus on earlier * This description is based on a photograph and detailed description which Dr. Edward Robiiuon has rery kindly placed at my disposal. * Cp. the discussion by Jahn, in PAilologui, XXVII, i f. ; by Knarx, ? *emoJe Ptrui f*M*m grtifcn tractaverint ; and by Kuhnert in Roscher's Lexikon. ' Wien, Masner, 121 ; Berlin, Furtw. i68a ; Munich, Jahn, 619. * Cp. the petasos of Hermes, Munich, Jahn, 619. * Naples, Coll. San Angelo, 99, Class I, no. 7. F 66 ATHENIAN WHITE LEKYTHOI vases had a chiton; on red-figured ware he wears either a chiton or a chlamys fastened on the right shoulder. While the curved knife is like what he carries in other scenes, the wallet is peculiar in that it shows the head of Medusa protruding. 1 The endromides, also, are decidedly peculiar. On black-figured ware they regularly have one long flap in front, and rarely a wing is added behind for Hermes or Perseus; on red-figured ware they are usually replaced by small wings; 2 here it would seem that the vase painter had confused the wing with a second flap, for I have not found any other clear instance of a flap both behind and in front of the shoe. The long toes and fingers demand no comment on a figure painted in the black-figured style. Except for the wings and sandals the Medusa shows little or no rela- tion to the figures of Medusa on earlier ware. The nearest parallel to the treatment of the figure on this lekythos is perhaps found on a hydria in the British Museum, 3 though on the hydria she is lying in the opposite direction. The studies of wounded figures in scenes of battle, such studies as are presupposed, e.g. by the wounded figures in the pedi- ments of the Aegina temple, are presupposed also in the treatment on this lekythos. The resemblance to the dying warrior at the south end of- the eastern Aegina pediment is very striking, especially when it is remembered that the vase belongs approximately to the same epoch as these sculptures. The wings of this Medusa are a rather odd modi- fication of the high recurved "oriental" wings which belong to earlier representations of the Gorgons. 4 I do not find any exact parallel for these narrow round-topped wings, though the general shape is quite like the wings of the little souls on a black-figured loutrophoros. 5 This same short chiton is worn by men, e.g. on a lekythos of the preceding class; 6 the use of thin glaze for the folds of the upper part of the garment is found both on outline lekythoi and on red-figured vases of this period. 7 The endromides are like those of Perseus, except that they are painted in red on a white ground and not on a black foundation. On vases of the sixth century Pegasus does not appear in the present scene from the Medusa story. The Selinunte metope is perhaps the only monument before the fifth century in which the birth of Pegasus is represented. On several vases of the fifth century the birth of Chry- 1 Cp. Brit. Mus. E 181. 2 Berlin, Furtw. 1652; Munich, Jahn, 619 and 405. 8 Brit. Mus. E 1 8 1. * E.g, Annali, 1851, Tav. P; 1866, Tav. R. 6 Man. Inst. VIII, Tav. v. 6 Class II, 1 6, Athens, Nat. Mus. 1964. 7 Class II, 5, Athens, Nat. Mus. 1827 ; III, 9, Munich, 245. GROUP A: CLASS III, 5 67 saor from the neck of Medusa is depicted in a realistic manner; ' an Etruscan vase and a Cyprus sarcophagus give the birth of Pegasus and Chrysaor together from the neck of Medusa, who is kneeling as in the scenes on earlier vases; 2 on later south Italian ware the headless Medusa sits erect with her hands folded, and on one of these vases the head and wings of Pegasus may be seen protruding from her neck. 3 So far as other monuments show, the painter of the present vase was following the story in his own original manner when he inserted the Pegasus here, instead of adapting the scene from some previous work. 4 It is quite customary on lekythoi of Group A to find a scene from black-figured ware abbreviated to one (or two) figures. The pecu- liarity of the present vase lies first, in the freedom with which the painter has introduced new meaning into the scene, and secondly, in his in- consistent use of the black-figured and outline technique. While in Class I the figures are in black and accessories in outline and in Class II the figures are in outline and accessories often in black, here one figure is in black and the other figure in outline. Difference of treat- ment corresponds with the difference of technique, in that the Perseus is adapted from the high-running Perseus of the black-figured scene, while the Medusa is reclining as on the earlier red-figured ware. The originality of the painter is evident in his treatment of the wings, the endromides, and the figure of Pegasus, as well as in certain realistic details. To this realistic trend may be attributed the fairly successful treatment of the human form in complex attitudes, the view of Medusa's head protruding from the wallet, the study of soft material in the chiton of Medusa, and the effort to express the pain of a person dying from a wound in the figure of Medusa. 5. Collection A. B(arre), Froehner, no. 353. Attica. H. 0.16 m. On the red shoulder are black palmettes. The kantharos and club are solid black, the flame red on a white ground; the remainder of the drawing is in outline. Between two scrolls with palmettes and lotus bud stands Herakles, leaning forward on his club; in his left hand is a fruit, in his right a kantharos. Before him is an altar with a fire on it. He wears the lion's skin girded over a short tunic. Four letters are scattered in the field. 5 A series of scenes representing a goddess (or woman) before an altar has been discussed under Class II. The appearance of Herakles 1 Brit. Mus. E 181 ; Stackelberg, Die Graber der Hellene*, Ttf. 39; cp. the terra-cotta, Baumewter, Dentma/er, Abb. 1438. a Roscher, Lexikon, III. 1031, Fig. 3 ; Munich rate, Jahn, 910. 8 Brit. Mat. Cat. Pates, IV, xiv, a, F $OO ; Muteo Borbonico, XIII, Ta. 59. 4 Probably the closest parallel is the vae published by Gerhard, Trinkubale*, Taf. ii-ii. 6 This vase is known to me only by the description and reproduction in Froehncr's catalogue. 68 ATHENIAN WHITE LEKYTHOI in such a scene perhaps calls for some comment. On a black-figured amphora in the British Museum l Hermes, Herakles, and lolaos are represented in a procession playing musical instruments and accom- panied by animals, it would seem to be a procession before a sacrifice. Herakles and Hermes appear again by an altar on a pseudo-Panathenaic amphora. 2 At least three vases represent Herakles actually engaged in the act of sacrifice: (i) a krater in Vienna, 3 which gives Herakles sacrificing by an idol marked Chryse in the presence of Nike and Jason ( ? ) ; (2) fragments of a krater in London, 4 on which Athena, Philoktetes, and Lichas are present at a similar sacrifice; and (3) fragments of a large vase found at Kertsch, 5 which gives Lichas, Herakles, and probably Hyllos engaged in a sacrifice, doubtless the sacrifice on Mt. Oeta. The present scene cannot be regarded as an abbreviation of either of the sacrifice scenes mentioned. It should rather be classed with the representations of a god before an altar, a scene by no means uncommon on red-figured lekythoi of early date and on the interior of kylikes. The meaning of the scene has been dis- cussed above (p. 42 f.). 8 If we may judge by Froehner's reproduction, the drawing on this vase is considerably more free than on the previous numbers of the present class. Herakles is still bearded, and the lion skin is girded over a short chiton, as is usual on later black-figured ware; it is less common to see the lion's head pushed back so as to leave the head of Herakles uncovered. 5a. Palermo, Selinunte room. H. to shoulder about 0.18 m. Mouth and neck gone. On the shoulder a row of bars and a row of lotus buds. Above the scene a double row of dots. Between large palmettes with scrolls stands a youth in profile; he leans forward on his staff and holds up a wreath ( ?) in his right hand. The loosely draped himation leaves the right side of his body free. 6. Paris, Hotel Lambert. De Witte, Catalogue, no. 92. Locri H. 0.20 m. Between large black palmettes an ephebos stands facing toward the right. He wears a himation, and at his feet is a black (silhouette) dog. 7. Paris, Hotel Lambert. De Witte, no. 90. Locri. H. 0.14111. An ephebos runs to the right and looks back; on either side a series of black pal- mettes. 1 Brit. Mus. B 167. 2 Annal'i, 1836, Tav. F, 2. 8 Arcb. Zeit. 1845, Taf - 3S> r - * Brit. Mus. Cat. fasts, III, E 494, pi. xvi. 6 Comptes rendus, 1876, p: 161, Atlas, pi. v, I. 6 The scene is elaborated on several hydriae, e.g. 6.1'ite ceramiquc, II, pi. xxxiv, xxxva. GROUP A: CLASS III, sa- 9 69 These two lekythoi are known to me only from the description of De Witte. Number 7 repeats a familiar theme; number 6 is the more interesting of the two in that a black animal occurs for the fourth time in the present series. 8. Girgenti, Mus. municip. Case IV, 22. Height originally about 0.22 m. On the shoulder, which is covered with the slip, are bars and lotus buds. The slip is brownish. Above the scene is a simple maeander, below it three red lines reserved in the black glaze. Drawn in relief lines of glaze which is now reddened by the action of fire. The mouth is gone. A Bacchante dances toward the left and looks back; both hands are extended, covered with her garment. She wears an Ionic chiton, undergirded; her hair falls free on her shoulders. Her face has disappeared. On each side are two large palmettes. This type of dancing Bacchante with her garment held out to cover her hands is discussed in connection with a lekythos of Class VII; 1 although the figure is not limited to a definite date, still it is probable that this vase and the specimen under Class VII are not far apart in time. 9. Munich, Jahn, 245 (1758). H. 0.21 6m.; Cir. 0.234 m. (Fig. 25.) The shape is approximately the developed lekythos type, with rather flat shoulder. On the shoulder a band of short bars, then a series of lotus buds. The slip is yellowish brown, hard and thin. Above the scene is a narrow ivy leaf band, carelessly executed; the black glaze below the slip is broken by a wide, red line, on either side of which are purple lines on the black. The use of thin glaze is apparently due to retouching. A Bacchante moves toward the right and looks back (the head and feet in profile, body en face). The figure from the waist up, together with the "tennis racket" in her right hand and the serpent in her left hand, appears to be modern. The skirt of the chiton is not retouched. On either side are two large stiff palmettes with scrolls and lotus bud. An imitation inscription occurs at the right of the figure. FIG. 25 (no. 9). This vase possesses some interest because it has been so skilfully retouched. The feet with the long toe joints (cp. nos. 3 and 4 above) are ancient, and so is the skirt with its archaic parallel folds. The use of thin glaze applied with a fine brush, the peculiar sleeves and wide D VII, a, no. 3, Bologna, Pell. 355. 70 ATHENIAN WHITE LEKYTHOI neck band, " the tennis racket," the sketchy treatment of eye and hair, and the free drawing of the face betray a modern hand. The ivy leaf band above the scene is unusual on white lekythoi, but it is found on a few later black-figured specimens. The use of this ornament harmonizes with the shoulder and with the lines below the scene; together they suggest a rather early date for this vase. 10. Raccolta raimondiana. Politi, Sette vasi greco-sicoli-agrigentini, p. 9, Tav. ii. "Ripresenta un giovane di belle forme, ignudo, galeato, io schinieri alle gambe, il parazonio a doppio balteo pendente al manco lato, e con due giavelotti nella destra. Ha gia spiccato un salto per afferrar le briglie di un cavallo. ... II doppio balteo e di bianco sovrapposto, e cosi la stretta banda che gli cinge la chioma in parte nascosta dell' elmo. II fodero del parazonio e tinto in rosso listato nero." The illustration shows four palmettes with lotus buds on each side of the scene. The drawing on the vase shows some slight resemblance to that which seems to be spurious on the lekythos just described; the resemblance may be due, however, simply to the manner in which the drawing is reproduced. The other lekythoi on which this scene of youth and horse is found have been mentioned already. 1 As com- pared with them, we find here the same spirited horse running with head raised, the same naked ephebos running beside the horse and throwing himself to stop the horse. The only noticeable difference is that in Politi's illustration horse and youth face toward the left. It will be noticed that the present vase (as well as the one discussed under Class I) shows affinities both with the present class of lekythoi, and with the class of black lekythoi to which the one in Paris belongs. The palmettes and the lotus bud on each side of the scene are characteristic of the present group of outline lekythoi and are not used elsewhere in the same manner. On the other hand, the subject represented, the vigor of the scene, and some details of the technique cannot be paralleled, so far as I can ascertain, among outline lekythoi. The use of incised lines demands that treatment of the hair for the youth and for the horse's mane which is seen both on the black and on the white speci- mens. The eye of the youth is unique among white outline lekythoi, but it does not seem out of place on a black lekythos. The similarity of the scene on all the specimens under discussion is striking, and it would seem that they must have been produced together. This is the only instance in which I have been able to discover clear evidence that incised outline work on black influenced drawing in outline on a 1 A I, no. 8, Boston, 8374; p. 33. GROUP A: CLASS III, 10-12 71 white slip. Accordingly it seems to me very rash to infer that the practice of outline drawing on white was in any measure due to incised drawing on black. n. Raccolta raimondiana. Politi, ibid. p. 10, Tav. ii. "Presenta una donna seduta, cuffiata, con tunica sottilmente increspata, e manto a larghe pieghe che la cuopre dal mezzo in giu. rivolta ed alza le braccia verso un piccolo disco. . . . Vedesi in terra avanti i di lei piedi un pavoncino similmente in nero, in atto di beccare in terra." The plate shows two large palmettes with scrolls and lotus bud on each side; by one of the palmettes a black lekythos hangs in the field. This scene differs from those on the last two vases in that both the subject and the character of the drawing is what one might expect on lekythoi of the pres- ent type. A woman seated and engaged in a game of ball is found on other small lekythoi of the present series and on several aryballoi. 1 The seat, the garments, and the treatment of the hair can also be paralleled without difficulty. The inner angle of the eye is open, but the eye is still rather long; this sort of eye is most common on the second large group of lekythoi, and on one or two of this second group the black crow is also seen with its mis- FIG. 26 (no. 12). tress. 12. Naples, Heyd. 2763. Locri. H. 0.20 m.; Cir. 0.23 m. (Fig. 26.) Developed lekythos shape. On the shoulder is a band of short bars, and then a series of lotus buds pointing out. The slip is yellow-brown with quite a shiny surface. Above the scene is a simple maeander. The scene itself is drawn in very fine lines of nearly black glaze, and the hair of the goat, as well as the hair and beard of the satyr, is drawn by light touches of a brush charged with a thin light brown paint that appears 1 Cp. also a kylix in Leyden, Roulez, pi. xx. 72 ATHENIAN WHITE LEKYTHOI to be duller than the paint ordinarily used. On the edge of the himalion is a dull red border. The foot curves down to a sharp edge and is all black, as on earlier specimens of black-figured lekythoi (cp. no. 3 supra). Behind a large goat (facing to the right) and partly hidden by it stands a satyr, also facing to the right. He wears a himation, is bearded, and the crown of the head is bald. No similar scene is found on any other outline lekythos, nor is there any parallel to the technique of this vase. Like some others of the series now under examination, the vase is to be regarded as an ex- periment; and it is not impossible that an experiment so out of line with the usual outline lekythoi was made in Italy rather than in Greece. The goat is often found with Dionysos or with satyrs on later black- figured and earlier red-figured ware, but in this instance it is unusually large. In adapting his subject to lekythos traditions the painter has, as in many instances, left it without any particular meaning. It is a noticeable fact that several of the lekythoi just enumerated show marked affiliations with black-figured lekythoi of an earlier date. The low mouth occurs on several of them; some have the developed lekythos shape, but others have the rather squat body with sides re- treating from the top down, which is regularly found on lekythoi of the preceding century; on two of them the foot also is of the early type, i.e. it comes down to a sharp edge and is all black. The earliest ornament for the shoulder after the animal frieze was the series of inter- laced lotus buds, and more specimens of this shoulder ornament are found in this series than among all other outline lekythoi. It is no doubt true that the use of palmettes on each side of the central scene is nothing more than a temporary fashion, yet the use of it as a criterion brings together a number of lekythoi which have other points in com- mon and which are allied to certain types of earlier black-figured lekythoi. In spite of great differences of detail, the present series of lekythoi falls into two sets. Numbers 1-5 were found in Attica and correspond to two types of red-figured vases from the same source; most or all of the last seven were discovered in Italy and Sicily, and show some marked peculiarities. Numbers 6 and 7 are known to me only from a meagre description and probably repeat common lekythos types. Number 9 has been retouched, but the drawing originally was from the "severe" period; no. 10 appears to be a unique example of the influence of incised outline drawing; no. n presents a familiar type rather freely drawn; and no. 12 is an experiment in the use of color, drawn perhaps later GROUP A: CLASS III, 12 73 than any of the other specimens. The first five, both in the style of drawing and in the figures themselves, recall the work of the great Attic kylix painters. Numbers I and 2 show more than one characteristic of the style of Douris; nos. 3 and 4 carry us much farther back, although the scene on no. 4 is still one which is characteristic of the kylix. The nearest parallels to no. 3 on the other hand are found in a series of alabastra, one of which bears the name of Pasiades. Number 5 is later than any of the four preceding, and again the nearest parallels are found among kylikes. One of the series, no. 4, is transferred from the black-figured tech- nique with only the slightest concessions to the demands of the new technique. On three others an animal is drawn in solid black, a de- vice which has already been discussed in Class II (p. 40); this practice is derived from the regular black-figured technique only in the sense that the artist liked the bold effect of some solid black, though the use of incised lines in some instances may denote a closer connection. The same fondness for black is seen in the black garments of some figures on vases of Group II. Where the animal is necessary to the scene, as in the contest of Herakles and the lion (no. 4), or in the case of the abbreviated sacrificial procession, the black animal may be due simply to tradition as yet not set aside. The animals associated with Artemis are attributes, though they may be regarded as essential to the scene; the dog with his master and the bird with her mistress are simply adjuncts to make the scene richer. The dog with his master is seen on grave monuments, but is rare on lekythoi; the domestic bird, on the other hand, is an interesting feature of the whole history of lekythos painting. The first series of vases under Class III may contain vases thirty or forty years apart; it is in no sense a compact group; and yet it seems to me probable that these vases were for the most part the product of some one workshop, or some one group of painters. The affiliations with lekythoi which antedate outline painting in shape, in decoration, and in the use of black are characteristic of the series. The very ten- dency to experiment within certain limits, may be regarded as the mark of some one workshop. Nor does the predilection for an animal in the scene appear elsewhere in such a degree. A comparison of the palmettes on these lekythoi with the palmettes on red-figured ky- likes of the later "severe" style confirms the suggestion already made that these lekythoi were made by men who were accustomed to paint kylikes. 74 ATHENIAN WHITE LEKYTHOI b. Vases over O.2O m. in height (mostly about 0.25 m.); the scene consists of but one figure. 13. Collection von Branteghem, Froehner, no. 175. H. 0.24 m. Nike stands facing to the right before an altar with flame, and makes libation. Her left hand is raised in the attitude of worship. The scene representing Nike before an altar has been discussed above (p. 41 f.); in the same class there were also lekythoi picturing Artemis or a woman making a libation by a burning altar. The hand raised in worship is seen in reliefs with scenes of worship more com- monly than in the more generalized vase paintings. 14. London, Brit. Mus. D 31. Athens. H. 10 in. Shape rather slender. The yellowish-brown slip extends over the shoulder, but is omitted on the band for the ornament above the scene. On the shoulder five palmettes in black. Above the scene pairs of a maeander pattern are separated by horizontal crosses. The scene itself is much defaced. Below the scene 2 + 3 narrow lines in the red of the clay. Iris ( ?), a winged figure with wings extended in opposite directions, moves rapidly toward the right and looks back. Her left hand is held out before her, palm up; the right hand holds a kerykeion behind. She wears short chiton, bracelets, and winged endromides. The representations of Nike in rapid motion are to be interpreted as referring to the messenger of the gods bearing word of victory; in the present instance she is replaced by the Homeric messenger of the gods in the same attitude. Iris with the kerykeion and in the same dress as on our lekythos is seen on a red-figured vase, 1 perhaps separating Apollo from Idas and Marpessa; on another red-figured vase she re- places Nike in the function of pouring a libation for Athena. 2 On red- figured vases of the later severe epoch 3 it is more usual to see her with long chiton and without the endromides, though in such scenes she is not acting as messenger. 15. London, Brit. Mus. D 27. H. ;| in. White Ath. Pases, pi. xxiii A. On the red shoulder is a row of bars, and outside this four rude palmettes in black. Slip dirty yellow. Above the scene a simple maeander, below it bands of purple and reserved red. Traces of a preliminary sketch. Oinochoe in solid black. A woman moves rapidly to right, and looks back; in her left hand she holds out a fluted phiale, in her right she holds behind her an oinochoe. She wears a sleeve chiton, a himation which is rather short and is draped under the right arm, and on her head a sakkos held by two bands. The right breast is "durchgezeichnet." 1 Gerhard, Aui. fasen. Taf. xlvi. 2 fclitt c'eramiquc I, pi. Ixxii, p. 338. 8 Brit. Mus. Cat. Vases, III, E 65, by Brygos. GROUP A: CLASS III, I3~i8a 75 The figure of Iris on the last vase is replaced by that of a woman in the same attitude; the phiale and oinochoe may still be intended to sug- gest a religious action. The eye is still rather archaic, and the tufts of hair under the edges of the cloth suggest some of the earlier mem- bers of the present group ; but the folds of the garment are quite free. The upper part of the face is noticeably short, and the chin is small and round. Some of these details, as well as the general elegance of the figure, recall the manner of Brygos. 16. Syracuse, "Dono Lentinello." H. about 0.25 m. Two rows of bars on the red shoulder. Slip yellowish brown. Above the scene is a simple maeander. A woman hastens toward the right and looks back; in her left hand she holds out a pitcher, in her right a phiale. 17. Athens. Atk. Mitth. XVII, 437, Taf. i, no. 5. H. 0.215 m. Two rows of bars on the red shoulder. The slip is yellow, and above the scene is a simple maeander. A woman is drawn in almost exactly the same attitude and clothing as on no. 15, except that the hair is not covered. The left hand is empty, and the right holds a taenia behind her. The treatment of the sleeve and of the part of the skirt which is blown back behind the foot by the woman's rapid motion show a mannerism which appears on several lekythoi of Group B; the hima- tion, also, is draped differently from the one on the last vase. On both of these lekythoi the folds of the chiton about the neck are somewhat clumsily drawn. With the present lekythos was found a red-figured lekythos with identically the same scene, except that the taenia is lack- ing (Atb. Mitth. XVII, Taf. i, no. 3). 1 1 8. Raccolta raimondiana. Politi, Sette vasi greco-sicolo-agri- gentini, p. 10, Tav. ii. "In bella attitudine vedesi una Baccante camminatrice, coronata di ellera, con fine tunica a larghe e corte maniche, e con manto avvoltolato alia sinistra spalta e nel braccio ili-lli) stesso lato con aperte mani mostra spiegata una benda di attortigliati nastri adorna alia estremita." The plate shows that the attitude, as well as the garments, of this figure is like that on the preceding vases, except that the woman is moving in the opposite direction. i8a. Palermo (case 48). H. circ. 0.25 m. On the shoulder two rows of bars. Above the scene a simple maeander. A woman en face moves rapidly toward the right and looks back, holding out in both 1 Cp. also the red-figured vase, Athens, Nat. Mus. 1522. 76 ATHENIAN WHITE LEKYTHOI hands a large black taenia. She wears a Doric chiton with overfold, ungirded. Her hair falls loose about her shoulders, but around her head is a taenia. 19. Cambridge, Fitz. Mus. 1423.. H. 7^ in. On the red shoulder bars and lotus buds. Slip yellowish. Above the scene is a simple maeander. Thinner glaze is used for the garment folds, and a thick red paint for the taenia. A woman moves rapidly to the right and looks back, holding out a large taenia in both hands. She wears sleeve chiton and himation, and her hair is in a sakkos. The thick red, here used for a taenia, is found again on small leky- thoi of Class VIII; this stereotyped scene, also, is not unusual in Classes VII and VIII. There is no doubt that the two classes overlap, and that these small lekythoi continued to be painted in black relief lines after other methods were used for more careful specimens. 20. Athens, Nat. Mus. 1807, Cv. 1038. Salamis. H. 0.25 m. Dumont-Chaplain, II, 51, no. 9. On the red shoulder are four rude palmettes. The slip is brownish yellow. Above the scene is a simple maeander; below it, one reserved red line between four applied purple lines. The foot is a plain disk. A woman hastens to right and looks back; she holds up her skirt in her left hand, and extends her right hand behind her. Drawing rude. In this profile the thick lips and full, round chin which have already been mentioned as occurring on red-figured vases of the later severe period are seen in an exaggerated form. 21. Athens, Nat. Mus. 1857, Cv. 1022. Salamis. H. 0.20 m. Atb. Mitth. XVI, 312. In shape and ornamentation this vase is an almost exact duplicate of the one just described. A warrior advances to right and looks back, he wears petasos and chlamys, carries two spears in his left hand, and extends his right hand behind him. It is instructive to compare this vase with a lekythos which has already been described. 1 That "Glaukon" lekythos has almost exactly the same scene, and many characteristics of the drawing are the same, while there is the greatest difference in the execution of the drawing. In execution as well as in style this vase very closely resembles the one just described (no. 20), and the two are so alike in their technique that it is reasonable to regard them as from the same shop if not from the same hand. In that case the two would be classed with the 1 Athens, Nat. Mus. 1828, cp. supra, p. 51, A II, no. 17. GROUP A: CLASS III, 19-24 77 "Glaukon" lekythos, as hastily drawn representatives of the same period and the same school as that more careful specimen. 1 22. London, Brit. Mus. D 76. H. 9 in. White Atb. Pases, pi. xxv B; Jour. Hell. Stud. XV, 192, pi. vii. On the red shoulder are two rows of bars. Slip brownish yellow. Above the scene, a simple maeander reversed; below it, 2 + 3 incised lines showing the red of the clay. The edge of the foot spreads slightly and is black on its lower half. A preliminary sketch was drawn with dull point in the soft clay. Dull pink is used for the taenia, for the folds of the chiton below, and on the kalathos. A woman turns to go toward the right and looks back at a lekythos held up in her right hand, while in her left hand she holds a basket with taenia and other objects for worship at the grave. She wears sleeve chiton (the right breast is drawn in), and himation draped under the right arm. Her hair is gathered in a knot at the back of the head, and adorned by a narrow stephane left white. A kalathos of wool stands on the ground be- hind her. Before her open lips is the inscription PATPOKL XAIPE. The long, straight nose with inner line of nostril added, and the chin, which is full and round, though rather small, recall the fine profiles of a later date than would be suggested by the rest of the drawing. The eye, however, is set well back toward the ear. The inscription is discussed by Mr. A. S. Murray in the Journal of, Hellenic Studies, and he compares the proverb ITaT/ao/cXo? Tr/so^acri?. An examination of the preliminary sketch shows that the artist started with the common type of woman advancing to right, a schema which determined the line of the right leg by the knee, but modified it by drawing the right foot en face; the inscription, also, is the two-line phrase beginning with a name, as in the case of the rather common KALO* type, but a thoroughly individual tone is given it by making it a phrase of farewell. And if Mr. Murray's suggestion be adopted, it is unique also in its generalized meaning. 23. Naples, Heyd. 2432. H. 0.20 m.; Cir. 0.22 m. On the red shoulder are four rude palmettes. The slip is brownish yellow. Above the main scene is a simple maeander; below it, a red clay line between added purple lines. On the edge of the garment is a line of dull color, now grayish, once probably red. A youth facing to the right leans on a stick under his left shoulder which supports his garments, and holds out a wreath in both hands. 2 His hair falls in curls to the shoulder; eye and profile differ from those on other vases of this class. Behind in the field hang strigil, sponge, etc. 24. Corneto, 316. (Fig. 27.) Two bands of bars on the shoulder. Above the scene a careless maeander; below it a reserved red line between purple lines. If one may judge from the photograph, the wreath and the marks on the altar are in dull color. 1 Cp. Athens, Nat. Mus. 1306, 1631, "late severe" style. 2 On a vase discussed below, B IV, i, iz, Brit. Mus. D 25, the figure is in the same attitude. ATHENIAN WHITE LEKYTHOI A youth stands in full profile facing toward the left, his left arm covered by a large himation, his right hand holding out a wreath. Before him is a rude block (altar) with splashes of blood on the side. The hair is like that on the vase just considered, of a type unusual on Attic vases of the middle of the fifth century B.C. These two lekythoi found in Italy re- semble each other both in the scene represented, and in the character of the drawing. On the latter of the two not only are the hair, eye, and profile (espe- cially the treatment of the inner contour of the nose) unlike what is found on Attic vases of this period, but the atti- tude and the treatment of the folds of the garment would be very unusual. In a word, while the technique is the same as in the case of other lekythoi in this series (shape, size, slip, decoration), the style of the drawing is decidedly different. It seems to me probable that they are imitations of the technique of the present series, either made in Attica at a later date for the export trade, or more prob- ably made in Italy. With the exception of the two vases just examined, the present series is quite homogeneous. The vases are all of about the same size, about 25 cm. high, and the shape approximates to that of the later white lekythoi. The shoulder is deco- rated in one of two ways: (a) two rows of bars, such as are regularly found on smaller white lekythoi whether the drawing is in black or in outline; or (/>) four rude palmettes alternating in a series, a pattern that is quite unusual elsewhere. The slip is always of the thin brownish variety. Above the scene is a maeander usually simple; below it at some little distance the black glaze is broken by rather a broad red line (often between purple lines on the black), or else several fine lines are incised in the black glaze. The foot is generally of the simplest type with plain red edge. A dull color, which doubtless was once red, is used for a garment border or stripe in several instances. FIG. 27 (no. 24). GROUP A: CLASS III, series b 79 Number 13 I know only by description. Numbers 14-22 present variations of one theme, viz. a figure advancing (with one exception advancing to the right), looking back, and extending the hands in op- posite directions. On no. 14 it is Iris who is drawn in this schema; on no. 22 the schema was modified after the preliminary sketch was made, and a woman is drawn in the act of starting for the grave. The history of this type is easily followed. On early reliefs and early black- figured vases a person is often seen standing en face, the feet in profile to right, and the head in profile to left. 1 Hardly later the effort is made to draw the person in motion, with arms extended in opposite directions. 2 The great kylix painters rather avoided this schema, though it is found occasionally in the work of Brygos and Hieron. 3 The scene on this series of vases, then, is not an abbreviation of some fuller scene, but it is simply a familiar figure of black-figured ware, which is found in various settings. It is used independently by the lekythos painter, just as it was used in combination with other figures by the painter of red-figured ware. On the two succeeding groups of outline lekythoi (Groups B and C) the same figure appears not infrequently; and one detail of the figure appears first in the present group. On nos. 15 and 17 an attempt is made to represent rapid motion by drawing a full round fold which is thrown out behind from the bottom of the chiton skirt. Something of the sort is seen on a vase by Brygos, 4 but in general the earlier painters of red-figured kylikes seem to have handled the skirt in a more severe and simple manner. The mannerism of this round fold appears quite commonly on the vases in Group B, and it has not entirely dis- appeared from the fine lekythoi of Group C. The scene connected with worship at the grave on no. 22 recurs occasionally in the two or three following groups, and the likeness of the figure on no. 23 to the man offering sacrifice on a vase in the following group has already been noted. On the vases of this series which I have myself seen, the eye is of the later severe type in which the inner angle is slightly open; the pro- file shows a nearly straight nose and round chin; the garment folds are drawn with some freedom, although the curve of the himation about the neck occasionally shows signs of archaism (cp. no. 15); moreover, the way in which the breast is drawn on nos. 15 and 22 is rather crude. 1 E.g. Leto on the amphora, Brit. Mu. B 168. E.g. the hydria icene, &Rtt cinm. Ill, s Ai Heraldes on a Munich pitcher, Jahn, 609. Hurtwig, Meisttrtcbaltn, Taf. xxxiii, cp. xliii. 8o ATHENIAN WHITE LEKYTHOI The work on these vases may be compared with that on three red- figured vases in the British Museum, viz. E 94, E 350, and E 375. These vases are all more careful than the lekythoi under consideration, in particular the eye has the dotted pupil; but the treatment of profile, attitude, and garment is much the same. These vases have been de- scribed as "in the style of Douris," and the lekythoi of this series may safely, I believe, be referred to the same period as the later work of Douris. With the exception of no. 22, which is unique, all these leky- thoi are "shopwork"; but nos. 20 and 21, from Salamis, are far more careless than the others. The discovery of no. 17 in the same grave with a red-figured vase on which the same scene occurs is but one more proof of the fact that the whole group of lekythoi under discussion (Group A) were produced in the same workshops as the red-figured ware. That this is said to be a fourth-century grave does not seem to me sufficient to prove that the lekythoi belong to so late a date, when the position of this series in the present group and its connections with the two following groups furnish such clear evidence that it should be dated about the middle of the fifth century. C. Vases under .20 m. in height; the scene consists of but one figure. While the two preceding series, and the series that follows, show some degree of homogeneity, there remain a considerable number of smaller vases which it is convenient to class together, although they have little in common except their size. Some of these are but care- less replicas of other vases in the present class (Class III), or in the preceding classes ; others are connected rather with later groups (Groups B and C) than with the present group, while a very few are relatively careful and original. 25. Berlin, Furtw. 2251. H. 0.19 m.; Cir. 0.22 m. Benndorf, Griech. Sic. Fas. Taf. xxvii, 3. The slip extends up over neck and shoulder; on the shoulder are two bands of rays. Slip yellowish brown. Below the scene are four incised lines. The scene is drawn with unusually thick paint, so that the lines stand out in relief. Athena stands en face, head to left, carrying a spear in her right hand, and a Corin- thian helmet in her left hand. She wears an Ionic chiton with sleeves, and over this a short Doric chiton which is girded over an overfold from the shoulder. Apparently there was a small aegis over this. At her right a shield is set up against a pillar, and on her left is a low altar of stones upon which is wood and an ocn^Js. GROUP A: CLASS III, 25-26 81 Unfortunately this vase has been much damaged; the feet and the face have almost entirely disappeared. Enough remains of the gar- ment to show that the folds are treated with greater freedom than on the "women advancing" of the preceding series, and the drawing as a whole is more careful than on the lekythoi that follow. Athena wear- ing her hair as other women do and carrying her helmet in her hand is something unusual. On two vases of Group C a woman brings a helmet to a warrior who is departing for battle; the scene before us is rather to be compared with a terra-cotta in the British Museum representing Athena carrying a helmet, which has been thought to repeat the type of Pheidias's Lemnian Athena. In any case the figure of the war-god- dess presiding over the arts of peace is a conception which appears in Athenian art in the second half of the fifth century B.C. The present scene may be regarded as an abbreviation of that which is preserved to us on a later red-figured vase 1 in the British Museum; a priest (Herakles) and other persons (Lichas, Philoktetes) are roasting meat on spits over the altar fire, in the presence of Athena. The god- dess wears two chitons, as on our lekythos, and over them an aegis; the attitude, however, and in particular the helmet are such as to sug- gest that the painter has in mind the Athena Parthenos of Pheidias. On the lekythos before us Athena is not herself offering sacrifice, as was the case on a black-figured lekythos 2 already mentioned; she is rather the goddess to whom the sacrifice of mortals is offered. It is noticeable that on the red-figured vase just mentioned the altar is built of rude stones just as on the lekythos, and in each instance the 6crv<; is clearly indicated on the altar. This type of altar, which is not usual on vases, is seen on vases representing the sacrifice at Chryse, 8 and on a vase 4 thought to represent the sacrifice of Herakles on Mt. Oeta. That these vases drew their inspiration from some painting then well known would seem probable. 26. Dresden, Albertinum 1028, Inven. 1825. Greece. H. 0.135 m. Jahr. Arch. Inst., 1902, Arch. Anz. p. Il6. On the shoulder two rows of bars; a simple maeander above; the publication of the vase shows white slip extending over almost the entire body of the vase, and the scene beginning near the bottom of the body. A naked youth (Apollo ?) stands en face looking toward the left; his left hand grasps a tree, in his right he holds out a phiale; a small mantle covers the upper part of the back and falls in long points in front of each arm. l Brit. Mus. E 494, Catalogue, III, pi. xvi. * Athens, Nat. Mus. 1138. 8 Man. Inst. VI- VII, Tav. viii ; Labordc, I, pi. xxiii. * Stephani, in Comptet renJus, Atlas, 1876, pi. T, I. G 82 ATHENIAN WHITE LEKYTHOI The shape of this lekythos is entirely typical, but the method of applying the white slip for the scene and the scene itself are unique. The naked figure of a youth either standing by a tree or holding the branch of a tree in his hand is commonly to be understood as meaning Apollo on red-figured ware of this period; 1 and the fact that he holds out a phiale as if pouring a libation is no reason for thinking this figure other than a god. 2 Probably the scene from which this figure was taken was a scene in which Apollo played a part; but the lekythos painter, in selecting the single figure, has followed his general practice and left out all that is specific. On the figures of Apollo ordinarily a himation is draped around the lower part of the body. This type of small mantle, probably a chlamys not pinned at the neck, is found occasionally on red-figured ware of the earlier part of the century. 3 It may well be the case that the painter here is drawing from a scene that took shape at a period considerably earlier than this particular vase. 27. Athens, Nat. Mus. 1785, Cv. 1028. Athens. H. 0.16 m. Shape rather squat, the body growing larger below the shoulder. The shoulder is nearly flat and there is no break between neck and shoulder; on the shoulder are two bands of rays. Maeander above the scene simple. The foot is a simple disk. Dull pink is used on the edge of the garment. On a stool sits a youth facing to the right. He is completely wrapped in a himation which covers even the back of the head. A purple taenia is about his head, and the locks in front of his ears and over the forehead are drawn with great care. At the left a purse, at the right a mirror, hang in the field. This vase is drawn with considerable care, and is perhaps the earliest of the present series. In style and workmanship it closely resembles the first two vases of series a under the present class (Athens, Nat. Mus. 1858 and 2023). The scene should be compared with that on a red-figured lekythos in Athens (Nat. Mus. 1785). 28. Burlington Exhibition, 1888, Catalogue, no. 136 (Dr. H. Weber). Attica. H. 0.128 m. The description is sufficient to show that the scene is similar to that on the vase just described. 29. Athens, Nat. Mus. 1874, Cv. 1037 (Coll. 393). H. 0.16 m. On the shoulder two rows of bars; body rather slender. Above the scene a maeander, below it an incised line between purple lines applied on the black. A dull pink line is 1 Apollo with the branch of a tree in his hands, Naples, Heyd. 2634, Monument!, II, xvi ; the same standing by a palm, St. Petersburg, Steph. 1807, Arch. Zeit. 1866, Taf. 21 1 ; Apollo standing by a tree, as on this lekythos, Monument!, IV, xlviii, and Brit. Mus. Cat. fases, III, 516, pi. xviii. 2 E.g. Artemis, Class II, I, Louvre CA 599 ; and II, 20, Paris. 8 On a. warrior, Brit. Mus. E 379, Gerhard, Aus. Fasen. Taf. cl ; cp. the vase of Euphronios, Monument! II, Tav. x ; Klein, Eupbronios, S. 136 ; also Class III, 4**, New York, Metr. Mus. GROUP A: CLASS III, 27-34 83 drawn along the edge of the garment. A woman wearing a sleeve chiton and himation advances, holding out a wreath. In the Held a taenia is suspended. 1 30. Dresden, Albertinum 370. H. 0.16 m. On the shoulder a row of bars and lotus buds. No maeander; below the scene a reserved red line between four purple lines. Thin glaze is used for folds of the chiton. A woman in profile moves toward the right, carrying a distaff in her right hand. She wears a sleeve chiton and a himation. 31. Athens, Private Collection. H. o.ii m. (Fig. 28.) Mouth gone; neck continuous with shoulder, and shoulder ornamented with two rows of bars; shape quite slender. Slip thin brownish; above the scene is a checker- board pattern made by large dots between lines; below it a reserved red line between purple lines. The preliminary sketch with dull point in soft clay represents the figure with wings down. "Nike" stands, body en face, feet to left and head to right, with wings raised behind her; her left hand is under her himation, and in her right she carries a thyrsos. In the field is a branch with scrolls. The drawing is very rude, and the vase is mainly interesting because it illustrates the manner in which different conceptions were confused by the careless vase painter. The general attitude, the garments, and such details as the added breast line, call to mind the "women advancing" on series b of the present class. FI G- 28(50.31). At the period when that series was painted, the decoration of larger lekythoi had become in a measure fixed, but reminiscences of earlier styles continue to be found in the smaller specimens. 32. Athens, Private Collection. H. to shoulder, 0.09 m. Two rows of bars on the red shoulder. Above the scene a broken maeander pattern; below it, a reserved red line between purple lines. Very careless. Athena moves toward the right, raising her right hand and carrying the aegis on her extended left arm; the gorgoneion is very prominent. She wears a sleeve chiton, and a helmet. 33. Coll. Calefati, no. 5. Bull. Arch. Napol I, 1843, p. 80. " Donna bacchica. Lekythos di altezza palmo; figura a tratti nero in fondo bianco sporco. Donna in lungo chitone di nero che lascia verso i piedi di lei un lembo del colore del fondo. Le braccia ed il volto della donna sono anche di bianco. Ella e nelPatto di camminare a sinistra; tien colla sinistra un tirso e col bracchio destro distese tien colla mano una oenochoe. Innanzi alia testa leggesi KAAE." 34. Oxford, Ashm. 269 b. H. about 0.14 m. On the red shoulder two rows of bars; above the scene a simple maeander; below it two purple lines. 1 With the scene compare the red-figured lekytho*, Athero, Nit. Mut. i?34- 84 ATHENIAN WHITE LEKYTHOI At the left a thyrsos leans against the wall. At the right a Bacchante dances toward the right. Her hands are covered with her garment; over the chiton is a leopard skin. 1 35. Athens, Nat. Mus. 1882, Cv. 1034. H. 0.14 m. On the shoulder two rows of bars; slip brownish. Below the scene are four incised lines. Eros flies toward the right, holding out a bird in his right hand. In the field is a branch with scroll (cp. no. 31). 36. Berlin, Furtw. 2245. Nola. H. o.n m. Low mouth ; bars on the shoulder; maeander omitted. Below the scene is a reserved red line between applied purple lines. Eros flies toward the right, holding out a bird (dove ?) in each hand. The eye is archaic. Of this pair of vases with the same scene one was found in Greece, the other at Nola. The subject, an Eros flying, has already been dis- cussed in connection with a lekythos of Class I. 2 These hasty and careless vases may well be later than finer specimens where some degree of originality is found. The interest of this series is due largely to the light it throws on the methods of the humbler vase painter. 37. Copenhagen, Smith 133. Nola. H. 4^ in. " Lineartegn. paa hv. Grund. En vinget Nike liberer af en Phiale paa et Altar, der er prydet med joniske Voluter, og paa hvilket der braendet en lid. Him baerer Aermechi- ton og Himation." On a red-figured vase from Athens (Copenhagen, Smith 134) the same scene appears, and other instances have been treated under Class II. Judging from the description, however, we note that the Nike found on earlier vases of Class II (nos. 5 and 6) and the more realistic representation of an altar with fire on vases slightly later (II, nos. 9 and u) are here combined. Two vases of the following class (IV, i, Brit. Mus. D 24 and 25) should also be compared with the present lekythos. 38. Louvre. H. about 0.20 m. Above the scene is a simple maeander; below it, a reserved red line. The brownish slip is shiny, as though covered with a transparent glaze. Dull brown is used for the wreath. Nike flies toward the right, both wings behind her, holding out a wreath in both hands. She wears a sleeveless chiton with overfold, ungirded. Her hair is rolled in behind and ornamented with a stephane. Eye in full profile. 1 The Oxford label "winged ear of bearded corn and flower" is clearly wrong. This scene occurs on no. 8, p. 69, and is discussed under D, VII, a, 3, Bologna, Pell. 355. 2 No. 4, Athens, Nat. Mus. 1809 (p. 26). GROUP A: CLASS III, 35-42 85 38a. Syracuse, 19706. Gela. H. about 0.22 m. On the shoulder a row of bars and five palmettes; simple maeander; below the scene a reserved red line between three applied purple lines. Nike flies toward the right, holding out a wreath in both hands above a kalathos on the ground. She wears an Ionic chiton and a small mantle which leaves the right arm free; her hair falls free behind. 39. Louvre. H. about 0.20 m. Technique as on no. 38. A woman wearing chiton and himation stands before a rude stool, looking at herself in a mirror. Behind her a taenia is festooned in the field. 39a. Aachen. H. o.um. Jahr. Arch. Inst., V. Arch.Anz. 160, 6. Between two Doric columns a woman, wearing chiton and himation, advances toward the right. 39b. Aachen. H. 0.095 m. Jahr. Arch. Inst. y \. Arch. Anz. 160, 7. At the left a Doric column, at the right a woman is pouring a libation on an altar; she wears Ionic chiton and himation (for the scene cp. Berlin, Furtw. 2217). 40. Athens, Private Collection. H. about 0.20 m. A woman stands facing to the right, and pours from a phiale on a rude block (altar). She wears Ionic chiton, and has a cloth about the hair. 41. Athens, Private Collection. Attica. H. 0.185 m - A single glaze line takes the place of the maeander above the scene. The brownish slip is thicker than is usual on vases of the present group. The fluid is added in a brown glaze color. A youth stands leaning on his stick, and pours from a large phiale. He wears a himation ornamented with a broad, black stripe near its lower edge. In the field are letters apparently imitating rudely a kalos inscription. 42. Corinth, Collection Rendis. Dumont-Chaplain, I, 370, pi. xi, 3; cp. Vol. II, 51, no. 3. H. about 0.16 m. A youth stands before a low pillar holding out a pomegranate in his left hand. A gar- ment is thrown loosely over his arms, and he holds a staff behind him in his right hand. The provenance of this lekythos is not given by the French scholars who publish it, but there is nothing in the drawing to forbid the sup- position that it was found at Corinth. A considerable number of such small lekythoi, generally of a later style, have been found at Corinth, and most of them are probably of Corinthian manufacture. All that I have seen, however, are of very poor workmanship, a fact which accounts for the little attention that they have received. That they 86 ATHENIAN WHITE LEKYTHOI were manufactured at Corinth and placed in Corinthian graves is probably due to the influence of Athenian practice. 43. Bologna, Museo civico, Pell. 358, Fig. 54. Greece. H. about 0.156 m. (Fig. 29.) Two rows of bars on shoulder. Above the scene is a double row of dots; and in the black below it a reserved red line. Slip hard, brownish yellow. -, _, A youth stands facing the left, and leans on a stick which holds up the fV U. garment under his right arm. Before him is a narrow stele with the word i KE^I^IO^ on it. The treatment of the eye resembles that on red-figured (1) I ware of the free style. In the field hang a strigil at the right, sponge and ala- bastron at the left. X ' Common as the grave stele becomes on later lekythoi, the r\ examples of a grave stele with an inscription on it are re- ^* markably few, and of these few not all are above suspicion. FIG. 29. Q n a wm 'te lekythos in Athens, 1 and on another in Munich 2 there is seen on the stele an imitation of quite a long inscription. The nearest parallel to the present vase, however, is found in sev- eral red-figured lekythoi. The stele on these vases bears the same sort of inscription as the stele on the white lekythos. 3 44. Copenhagen, Smith 132 (993). Athens. H. 5^ in. "Sw. lineartegn. paa hv. Grunde. En Kvinde, der baerer Aermechiton og Hima- tion og om Haaret Sphendone, staaer stottet til en lang Stav eller Landse." 45. Bologna, Mus. civ., Pell. 357. Greece. H. 0.16 m. On the shoulder two rows of bars. Slip brownish. Above the scene is a simple maeander, and in the black below a reserved red line. A woman stands en face looking at a mirror in her right hand; in her left she holds up an alabastron with cords. She wears sleeve chiton and himation, and her hair is in a sakkos. At the left is a basket containing wool and two distaffs ( ?); at the right, a chair. 46. Leyden, Jans. 1915. Greece. H. 0.155 e ^ "Zwart op geelwit; enkel in omtrek. Voor eene vrouw, voor welke eene bloempot of derglijke staat; zeer uitgesleten." * 47. Athens, 1829, Cv. 1637. Eretria. H. 0.21 m. Above the scene is a series of curved lines, below it four red lines reserved in the black. Red is used for the himation and pink stripes for the chiton. The work is careful. 1 Athens, Nat. Mus. 1958, Class V, 20. 2 Uncatalogued, Class V, 10, Fig. 43. 8 Bull. Inst. 1 868, p. 155 ; Commentations In bonorem Tb. Mommseni (Heydemann), p. in ; C.I.G., 7703, 8414, 8415, 8416, 8419, 8420, 8429: Brit. Mus. Cat. Pases, F 67, 92 (pi. iii), F 331. 4 The "bloempot" is doubtless a kalathos j probably Jans. 1917 and 1918 belong to the same series, but the scene has disappeared. GROUP A: CLASS III, 43-53 87 A woman sits on a stool facing the left, looking at a mirror in her right hand. She wears sleeve chiton and himation. In the field behind her hangs a lekythos. 48. Athens, Nat. Mus. 1879, Cv. 1036 (Coll. 397). H. o.n m. The slip covers the shoulder, on which are two bands of rays. No maeander. Below the scene four lines are incised in the black glaze. A large head faces toward the right. The hair is in a sakkos; the inner angle of the eye is closed, and a dotted pupil is drawn against it. In the field a branch with scrolls. The same type of eye is found on nos. I and 2 of the present class, and the scroll in the field occurs several times on vases of Class II. 49. London, Brit. Mus. D 46. Nola. H. 4^ in. Arch. Zeit. 1885, S. 198. Both neck and shoulder are white; on the shoulder two bands of rays. Above the scene is a simple maeander; below it, five incised lines. Slip thin, brownish yellow. A large head, facing toward the left, between two fluted columns. The hair is in a sakkos. Eye in profile; lips rather full; chin round, but not very large. 50. Wien, Hofmus. 621. H. 3f in. The decoration and the scene are almost exactly like that on the preceding vase; the sakkos is put on in such a way as to emphasize the knot of hair at the back of the head. 51. London, Brit Mus. D 32. H. 6J in. Arch. Zeit. 1885, S. 197, and cp. 1880, S. 136. On the shoulder five careless palmettes. Above the scene is a simple maeander; be- low it, a reserved red line between purple lines. Slip yellow-brown. A large female head facing toward the right, toward a small chelys. The hair is in a sakkos. The upper eyelid and inner contour of the nose are added, and the chin is drawn with considerable firmness; the lips, however, are in the style of the "severe" red-figured vases. 52. Dresden, Albert. H. about 0.12 m. The yellowish slip covers shoulder and neck. On the shoulder are two rows of bars; above the scene, a simple maeander; below it, reserved red lines. Dull red is applied for the ear-ring. A large head facing toward the right. The hair is in a sakkos. In front is a spray with scrolls. The drawing is freer than on the preceding specimens. 53. Hotel Lambert, De Witte. Locri. H. 0.12 m. A large female head; the hair is in a sakkos. Before it is a Doric column. These vases with a large female head are of course intimately con- nected with the four vases having the same scene, which belong under Class II. The fluted columns of nos. 49 and 50 appear on nos. 21 and 21 a of Class II; the lyre of no. 51 on the same vases of Class II; and 88 ATHENIAN WHITE LEKYTHOI the branch with palmette and scroll of nos. 48 and 52 on nos. 22 and 23 of that class. Winter has published no. 22 of Class II and nos. 49 and 51 of the present class. 1 He compares II, 22 with the interior of a red-figured kylix now in Bonn, which closely resembles the later work of Epiktetos, and dates both the kylix and this lekythos about 480 B.C. I have no reason to question this date for the kylix, but with reference to the lekythos (Class II, 22) other considerations might lead us to modify this conclusion. It belongs to a small group which may well have come from the same hand. Numbers 21 and 22 of Class II show exactly the same type of drawing, nos. 22 and 23 are about as much alike as two Greek vases ever are, and no. 48 of the present class shows some of the same characteristics. These profiles seem to me to resemble one type of profile in the work of Douris and Hieron 2 much more closely than the profile on the interior of the Bonn kylix, and we should hardly go astray in claiming that a decade or more intervened between the two vases which Winter compares. I have already pointed out the intimate connection between the small vases just described, and the larger ones, nos. 21-23, of Class II. Winter 3 assigns nos. 49 and 51 of Class III (Brit. Mus. D 32 and 46) "wohl spatestens dem Ende des fiinften Jahrhunderts." With reference to such careless work as that of these small lekythoi it may seem useless to hazard an opinion, but the profiles on them are of much the same type as those on the corresponding larger lekythoi (II, 21-23) and only the treatment of the eye suggests a later date. The simple profile eye of no. 49 (Brit. Mus. D 46) and the eye with an experiment in the way of an upper lid on no. 51 (Brit. Mus. D 32) need not be much (if any) later than the middle of the fifth century B.C.; and in view of the many points of similarity with the larger vases having the same scene, I am inclined to regard these small lekythoi as the product of the same period as the larger ones, no. 48 perhaps as early as the larger ones, nos. 49 and 51, it may be, somewhat later. The earlier history of the female head or bust on Attic vases has been traced by Winter in the article to which reference has already been made. A white lekythos with figures in black, now in Vienna, may properly be compared with this series. 4 On it are seen three large heads, Herakles, Athena, and perhaps Hebe; while two rudely drawn Nikes fly overhead. The lekythos belongs with a series of fifth 1 Arch. Zeit. 1885, S. 196-198. 2 The fluted pillar also is a favorite object on kylikes of the late severe period. 8 Arcb. Zeit. 1885, S. 198. * Laborde, Vases Lambcrg, II, pi. xxiii, and vignette 9 ; Sacken-Kenner, S. 155, 12.. GROUP A: CLASS III, series c 89 century black-figured - lekythoi which were produced under the in- fluence of the red-figured technique. The eye of Athena, and the nose of Herakles, the inner contour line of which has been added, recall the outline lekythoi with a similar scene. In themselves these little lekythoi have scarcely any interest. Only one or two show any care in the drawing, and instead of originality there is a crude commingling of types already familiar. As a series, however, they throw some light on the habits of the poorer class of potters, and they illustrate anew the persistence of stereotyped ma- terial. A few specimens are rather squat, but the proportions are generally similar to those of the larger and finer lekythoi. But the mouth is low, not bell-shaped or trumpet-shaped; neck and shoulder are not separated by a plastic ridge; and the foot is usually a simple disk (flat underneath) with red edge. Above the scene the simple maeander is common, but frequently it gives way to a simple line, or to one of the ornaments which had been used on earlier types of lekythoi (checker- board pattern, rows of dots, etc.); below it are found incised lines in the black, or a reserved red line between purple lines; on the shoulder the two rows of bars, the degenerate form of the lotus bud ornament, almost always occur. In a word, the peculiarities of this series consist almost entirely of reversions to types which had been discarded in the case of the larger lekythoi. In the field imitation inscriptions are found a few times; a taenia or mirror hangs on the wall occasionally, or a branch with scroll is drawn in the field. The latter is seen on lekythoi of Classes I and II; the objects in the field become more common in the classes which follow. Of the scenes only the first (no. 25) has any intrinsic interest; this is a careful and effective abbreviation of a definite red-figured scene. On nos. 27 and 29 a meaningless figure is copied out of some larger scene; l the work is rather careful, but uninteresting. The Eros fly- ing, 2 the Nike pouring libation or flying with wreath, 3 the women advancing and looking back, 4 are scenes which probably were copied from larger lekythoi of this same group, either by the same artists or by later copyists. So the large head 5 on the last numbers of the series is either a copy of the same thing on larger lekythoi, or a later 1 Cp. Hartwig, S. 343, also Taf. xli. * Nos. 35 and 36 ; cp. Class I, 4, Athens, Nat. Mus. 1809. 8 Nos. 37, 38, 40; cp. Class II, 5-11, and Class IV, i, nos. 9-10. * Nos. 19-33 5 C P- Class III, scries b, 1 5 f. * Nos. 48-53 ; cp. Claw II, it f. 9 o % ATHENIAN WHITE LEKYTHOI adaptation of it. The grave scene on no. 43 stands by itself. If the inscription is genuine, it denotes an effort to be realistic of which there is rarely any trace on these lekythoi. In any case this vase would seem to be decidedly later than the rest of the series; the nearest parallels to it are found in Group D. The toilet scenes, 1 also, are among the later members in the series. Toward the middle of the O fifth century they begin to occur commonly on certain classes of vases, of both the red-figured and outline technique; in the case of lekythoi a considerable number occur in Group B and a few in Group C. The three in the present series are no doubt later than many of the ex- amples in the following group. While the ornamentation of these small lekythoi often recalls earlier work, the drawing and the scenes represented show that the group is not from any one period, and that some of the series are of a relatively late date. Evidently the drawing in black relief lines on yellowish ground was not discarded entirely when the fine white slip and another kind of paint came into use for the larger and finer leky- thoi. It is in the case of the humbler workman that the inertia of his style is greatest and progress is made most slowly. d. Vases on which the scene consists of two figures. With the exception of some ten or twelve vases, all the lekythoi of Group A have scenes representing but a single figure. The series on which two figures are seen is in a measure experimental, and in con- trast with the repetition in series c it shows considerable originality. 54. Louvre, L 34. Athens. H. about 0.20 m. The mouth is low and the body is of the squat type. The neck is red, but the shoulder is white, and on it is first a row of short bars, then a band of lotus buds with dots between. Above the scene are three rows of dots between four lines on a red ground; below it, a reserved red line between purple lines applied on black. Slip cream-white, smooth. Solid black is used for garments and accessories; coarse lines of thin glaze for the anatomy. Eye archaic. Two warriors are playing pessoi on a square block in front of a palm tree. At the left an ephebos (black chlamys, helmet back) holds two spears in his left hand and extends his right hand to play. At the right a bearded warrior (helmet back) is in the same posi- tion; he carries a shield on his left arm as well as spears in his hand. From the back of the handle branches with five or six palmettes on either side of the scene. In the field is an imitation inscription. 1 Nos. 39, 45, 46. GROUP A: CLASS III, 54 91 Only three or four lekythoi with outline drawing preserve in some detail the characteristics of small lekythoi in the finer black-figured technique; and of these few perhaps the present specimen is the best. In shape and ornament it is uninfluenced by the changes which are seen on late black-figured and early red-figured lekythoi. The scene also is a well-known black-figured type. On black-figured amphorae and lekythoi two closely related scenes not infrequently occur, viz. Achilles and Aias playing at pessoi, and two heroes ' drawing lots before a statue of Athena. Both scenes include the central block toward which the armed heroes, seated or kneeling, extend the right hand, while behind them their shields stand in the field. The latter of the two scenes is found on an ordinary black-figured lekythos of much the same style as the present one, 2 and on several lekythoi s with black figures on a white ground. It was adapted for use in a frieze by the addition of other figures on two red-figured kylikes of the school of Epiktetos; 4 and on a kylix by Hieron 5 the two parts of the scene, warriors casting lots and warriors in battle, are treated as one whole; finally on a later kylix 8 the scene of casting lots before Athena was developed in a much freer manner. The black-figured amphora figured by Gerhard 7 belongs in this series, for Athena is present, but the heroes seem to be playing pessoi instead of casting lots on a base before the statue. The second type, viz. Achilles and Aias playing pessoi, would seem to be the older. It is found on several fine black-figured am- phorae, of which the best is signed by Exekias; 8 and it regularly in- cludes the square block with pessoi, the seated heroes (bearded, in full armor, carrying spears), and behind them the shields standing up- right. The helmets are sometimes worn and sometimes are standing above the shields. This scene also is adapted for use as a frieze by the addition of other figures; 9 and once it occurs on an interesting red- figured kylix as one of three distinct scenes in a frieze. Except on this kylix and a kyathos (Brit. Mus. B 466) the heroes are seated on a rude block or an ochladias. The outline lekythos in the Louvre differs from this second type: 1 Palamedes and Protesilaos (?), cp. Euripides, Ifb. Aul. 194.5 o Brit. Mm. Cat. fatei, II, p. 145. 5 Berlin, Furtw. 1953, cp. Brit. Mus. B 541. Brit. Mus. B 637, 638 ; Palermo, Selinunte room, case XXIII. Copenhagen, 100; cp. Arcb. Aim. 1891, S. 101, no. 10. Hartwig, Meiitcrtcbalen, S. 176, Taf. xxviii. Roulez, Vaiet de Leyde. pi. ii. 7 Aut. Vun. Tif. 119. Munich, Jahn, 567 ; Brit. Mus. B 193, an ; Man. hit. I, xxvi, a ; II, xxii, by Exekias. Kylix, Brit. Mus. B 438; kyathos, B 466 ; cf. Mm. Greg. II. 68, 1* ; Brit. Mus. E 10. ATHENIAN WHITE LEKYTHOI (i) in the more realistic treatment of the shields, one of which is omitted, and the other carried by the warrior; (2) in the fact that one of the warriors is a youth with helmet pushed back; and (3) in the presence of a palm behind the central block. On a lekythos with black figures on a white ground in the Athena series 1 the shields are omitted entirely, but there is no effort to differentiate the warriors. Again on an amphora in Berlin 2 there is a similar tree behind the central block, and one of the warriors has his helmet pushed back. Such a tree is not unusual, and it usually serves a merely decorative purpose. The comparison of our lekythos with this series enables us to place it somewhat accurately in the series, and to define the characteristics of its painter. Such a comparison shows (i) that it is a black-figured scene, this type of which is not adopted by painters in the later technique. It shows (2) that the maker of this leky- thos changed the type in minor details to make it less stiff and closer to nature. While most of the early outline lekythoi bear evident traces of being made in the workshops which regularly produced the red-figured ware, this one might well have been drawn by a master who was accustomed to the earlier technique. All things considered, this lekythos can hardly be later than 480-470 B.C. 55. Munich, Jahn, 199 (1587). H. 0.195 m.; Cir. 0.234 m. (Fig. 30.) FIG. 30 (no. 55). Rather short red neck and low body. On the shoulder a row of bars and 1 + 3 + 1 palmettes, with dots between them. The maeander above the scene is broken by horizontal crosses. Below the scene is a reserved red line between applied purple lines. Slip hard, brown, not very smooth. The pillar is solid black. Two youths stand beside a square pillar about as high as their hips. The one at the left is closely draped in a himation under which his left hand is raised; his hair falls over his ears, and curls are indicated at the edge. The one at the right leans on a knotty stick under his left arm, which also supports the loosely draped himation. His feet are crossed as he leans on his stick, and the body is seen from behind. The right hand rests on his hip, while the left is extended, as if in conversation with his companion. Straight locks of hair are indicated at the back of the head, and there is a little tuft in the middle of the forehead. Over the pillar are the letters KAL. Brit. Mus. B 638. 2 Berlin, Furtw. 1870. GROUP A: CLASS III, 55-56 93 The square pillar is not common on Greek vases nor is its meaning certain. In this instance it evidently denotes some place where young men are accustomed to gather; it may best be interpreted as the meta or goal post of a palaestra. The type of a man leaning forward on a staff is found only on later black-figured vases. 1 It has occurred also on outline lekythoi of Class I (nos. I and 2); but in these instances the attitude was more simple in that the body was seen from in front in three-quarters view. The old man on a vase in the earlier style of Euphronios 2 is seen from behind; and both the lines of the back and the folds of the garments are in the same style as on the lekythos under consideration. On several kylikes still in the severe style 3 a similar figure is found with the right hand on the hip; and the same type continues in the free red-figured style. 4 Compared with this series the figure on the lekythos would probably antedate the middle of the fifth century B.C. The archaic eye and profile of a type often found on Hieron's vases are in line with this conclusion. The second figure, a youth entirely wrapped in a himation, occurs on many vases of this same epoch, and the profile is much the same as that of the first youth. On later types of outline lekythoi the same figure occurs more than once. The connection between outline lekythoi and red-figured kylikes has already been mentioned. The single figure generally found on lekythoi of this group corresponds to the single figure usually seen in the interior of earlier kylikes, just as the maeander above the scene on lekythoi follows the same line of development as the maeander around the scenes on kylix interiors. Even earlier than the transition to two figures in these interior scenes the experiment was tried of putting two figures on lekythoi, and in later groups this practice becomes the rule. 56. London, Brit. Mus. D 30. Gela. H. ;J in. Shape and foot like no. 55. On the red shoulder are 1 + 3+1 palmettes. Above the design an unbroken maeander; below it a reserved red line between purple lines. The slip is quite brown. At the left stands a woman wearing chiton and himation, looking at a mirror which she holds in her left hand. Her hair falls unconfined, except by a fillet, which is left in the color of the slip. Facing her, an ephebos leans forward on a staff which confines his garment in place; his right hand rests on his hip. Before him is the word KALE. E.g. Athens, Nat. Mus. 1158. Artb. Ztit. 1885, S. 181, Ttf. i. 1 Brit. Mus. E 107, cp. 85 ; the maeander around the interior icene is broken by horizontal crowes, as on the lekythos; cp. also a kylix by Micron in Munich, Jahn, 804. 4 Cp. Politi, Due vati fittili agrigentint, a bell-shaped krater. 94 ATHENIAN WHITE LEKYTHOI The figure on the right corresponds almost exactly to the right- hand figure on the Munich lekythos described just before. The woman looking at herself in a mirror we have met with on nos. 45 and 46 above, but these scenes from the gynaikeion are not common outside of Group B (Class IV). The hair is frequently treated in this manner on lekythoi of Group B, and on red-figured ware of about the middle of the fifth century B.C. 57. Oxford, Ashm. Mus. 269. Gela. H. 0.27 m. On the shoulder a row of bars and five palmettes with many leaves. Above the scene a simple maeander; below it a reserved red line and three applied purple lines. Ap- parently there was a preliminary sketch in the soft clay. The drawing has nearly disap- peared. At the left a woman in profile advances with extended right hand. She wears a chiton, and a himation which is so draped as to cover most of the right arm. At the right a youth leans forward on a staff which supports the drapery under his left arm; his right hand is on his hip. Between the two is draped a taenia, and on the ground is a kalathos. Behind the youth hang a sponge, bag, and strigils ( ?). Mr. Gardner in the catalogue of the Museum speaks of a stele between the two figures, but I find no traces of it. The figure at the right is almost exactly the same as the figure at the right on the two preceding vases. 58. London, Brit. Mus. D 28. Gela. H. 7^ in. Shape and foot like no. 55. On the red shoulder are 1+3+1 palmettes. Above the design the maeander is broken by horizontal crosses; below, it seems to have been restored. Slip quite brown. Drawing attributed to the "best period." The eye in transition style, perhaps with dotted pupil. The vase is much damaged. At the left a bearded man in short chiton, a small cloak over his arms, wearing a cap of fur provided with wings. He holds out both his hands and rushes toward the second figure. Approaching him from the right is a warrior, his helmet drawn back, wearing a mantle over his shoulders. In his left hand he grasps a scabbard which is attached by the usual belt, and presumably he held in his right hand the drawn sword. A warrior with helmet back and mantle over his shoulder is a common figure on vases of this period, and the act of drawing the sword is not infrequent. The gesture of the figure at the left, holding out both hands as though to get into some connection with his com- panion, is also common on red-figured vases of the later severe epoch. The interest in this vase centres in the cap worn by the figure at the left, a cap furnished with wings, and apparently made of fur. Already on GROUP A: CLASS III, 57-58 95 vases of the black-figured technique l Hermes is depicted with wings on.his petasos, while his shoes with high flaps have no wings. On red- figured vases even of early period 2 Hermes has not only the wings on his petasos but also small wings on his shoes; in later art the wings on shoes or ankles become a rather frequent characteristic of Hermes. The other figure in Greek art who has these wing-appendages is Per- seus. 3 According to the story 4 Perseus obtained from the Graiai winged sandals, kibtsis (wallet), and cap of Hades. This story is literally illustrated on a black-figured amphora in London. 6 More commonly Perseus has both the wings on his sandals and wings on his cap like the ones on the cap of Hermes, 6 and at least in one instance the cap has wings and they are not found on the sandals. 7 It seems per- fectly clear that the winged sandals are original in the story of Perseus; so far as the wings on the cap are concerned, however, it is quite pos- sible that they properly belong to the messenger of the gods and do not belong to the cap of Hades which Perseus received along with his sandals. That the winged cap on Perseus monuments may not be the cap of Hades which rendered him invisible, but is rather an adjunct to his winged sandals, is rendered probable by the fact that he wears this cap not only in his conflict with the sea-monster, and when he turns Polydektes into stone, but even when he receives the freed Andromeda. 8 On the present lekythos the wings spring from the centre of a cap which seems to be made of fur, not from the petasos which Hermes usually wears; moreover, it is hardly possible to think of Hermes rushing toward a man who seems ready to attack him. The winged 1 Gerhard, Aut. Vasen. Taf. ex ; cp. the late black-figured lekythos, Benndorf, Griecb. Sic. fat. Taf. xlii, 4. On a red-figured kylix in Berlin, Furtw. 2536, and an outline lekythos in Munich, Jahn, 109, he wears a winged files, and similar high shoes. 2 Berlin, Furtw. 2160; Munich, Jahn, 405 ; Gerhard, Aut. Vaten. Taf. vii ; Jour. Hell. Stud. 1901, pi. i. 8 Boreas also often has wings on his ankles, e.g. Gerhard, Aus. faun. Taf. 152, I. * Apollodorus, II, 38. 6 Brit. Mus. B 155, Gerhard, Aut. Paten. Taf. 323. 8 (a) Munich, Jahn, 910, Gerhard, Aut. Paten. Taf. 89, 4: a rudely drawn red-figured rase, with outlines of figures incised. Perseus and Pegasos springing from the decapitated Medusa. (t) Annati, 1878, Tav. S. Interior of a free red-figured kylix. Pcrscu, with head of Medusa in left hand, combats sea-monster. (e) Annali, 1 88 1, Tav. F. Red-figured krater, white added. Perseus turns Polydektes into stone with the Gorgon's head in the presence of Athena. 7 Berlin, Furtw. 2377. Red-figured hydria, " Der Stil noch etwas gebunden." Athena encouraging Perseus, who holds the head of Medusa in his left hand. 8 Relief in the Capitoline Museum, Stoll, Cotter und Herotii, II. 41. Hades, bowertr, is called' vrtpwrbt by Euripides, Ale. 260. 9 6 ATHENIAN WHITE LEKYTHOI cap, then, would indicate Perseus, though the figure is not invisible, so that the cap can hardly be the cap of Hades which properly belongs in the Perseus story. The other attributes of Perseus are lacking, in particular the Gorgon's head, or one might be tempted to regard the scene as representing Perseus in the act of turning Polydektes into stone. The four leky- thoi which have just been consid- ered are alike in size, shape, and decoration; and none of the others in the present se- ries shows these same character- istics. The style of drawing also is much the same on these four vases; in particular they do not show the use of solid black or of lines in some dull color which is found on many other vases of the series. All three of them were found in Italy, but the work is distinctly Athe- nian. Probably they were made together for the FIG. 31 (no. 59). , export trade. 59. Athens, Private Collection. H. 0.173; Cir. o.i66m. (Fig. 31.) Shape rather squat, foot simple. On the shoulder bars and imitation lotus buds. Slip rather thin, light brown. Above the scene are two rows of dots connected by oblique lines; below it, a reserved red line. The taeniae and one garment are solid black. Two women stand lamenting by a large round tumulus on a low base. Black taeniae GROUP A: CLASS III, 59-60 97 hang above and on the tumulus; the base is ornamented with circles. The woman at the left wears a black sleeve chiton, and she is arranging a taenia on the tumulus. Her companion on the right wears a scant sleeve chiton drawn in outline with stiff perpen- dicular folds; her hair is down, and in her mourning she is pulling it with both hands. This vase is drawn with considerable care for one so small, but this fact only emphasizes the severe manner of the painter. The figures stand stiffly on both feet; the effort to draw both arms on the right-hand figure leads to an imperfect profile view; and the garment folds are of the early type. The relatively early date which must be assigned to the vase only makes it the more interesting. It is one of the earliest representations on lekythoi of that scene which afterwards becomes most common, the mourning at the grave. And while such scenes become stereotyped very soon and the vase painter only repro- duces the work of his predecessors, the present vase is quite unaffected by any such tradition. The painter draws what he has seen, women at the grave tearing their hair in grief or decorating the tumulus with offerings. In later conventional scenes the black garment of mourn- ing is replaced by garments white or colored; the artist here feels at liberty to paint one of the figures in black. Such being the literalness of the figures, it is fair to assume that the tumulus also is represented with a fair degree of accuracy. The circles on the base of the tumulus are seen on several lekythoi of slightly later date in the National Museum at Athens. 1 Here they are interpreted by Mr. Bosanquet 2 as holes for objects set up around the tumulus proper, on the supposition that the artist drew on the perpendicular face what he saw on the horizontal face but could not draw there. The occurrence of the dotted circles on the present vase can be better explained, I think, as abbreviated rosettes ornamenting the perpendicular surface of the base. The literalness of the rest of the scene would rather be in favor of some such explanation. 60. London, Brit. Mus. B 633. Rhodes. H. 8 in. Froehner, Deux peintures de vases grecs, pi. i; Roscher, Lex ikon, I, 1 1 68 f. Neck red; on the shoulder two rows of bars. The slip is cream-colored. Above the scene is a simple maeander; below it are 2 + 4 reserved red lines breaking the black glaze. The horses are in solid black, with details incised, and bright red is used for cushions and garments. Figures and couch are drawn with some freedom in fine relief lines of black glaze. There are traces of a preliminary sketch. The two Dioskouroi are in the air riding toward the right above a couch. The couch is supported by legs with Ionic capitals, and both legs and couch are richly orna- 1 Athens, Nat. Mus. 1935, 1958, 1960, Class V, aa, ao, 54. *Jw- Htll. Stint. 1899, p. 1-1. ii 98 ATHENIAN WHITE LEKYTHOI mented with inlaid palmettes, rosettes, and small animals. On it are three covers, one of which is red, and at either end a red cushion; on the right cushion is laid a large fan. The Dioskouroi are beardless youths with no garment except the red chlamys which floats behind. Under the couch is the inscription |wi|VA (KaA^ Mw'a?). Mr. H. B. Walters states 1 that the technique of this vase is such as to suggest that it was made in Naukratis. The peculiarities of the vase can all be paralleled on vases which probably were made in Athens; these Athenian vases, however, would seem to be of earlier date than the one under consideration and most of them are of less careful workmanship. The figures on this vase are drawn with vigor and freedom; the couch shows much attention to detail; and the in- scription has an Ionic lambda. Other vases from Athens on which are animals in black with details incised, 2 or figures in outline with accessories in solid black, must be placed well back in the first half of the fifth century B.C. The use of a red like the red on this vase belongs to the middle of the fifth century at Athens, and is not found on the vases mentioned in the last sentence. In a word the vase does not find a natural place in the Athenian series, though the details of tech- nique can be matched on vases made at Athens. 61. Athens, Nat. Mus. 1984, Cv. 1064. Eretria. H. 0.31 m. AeXrtov, 1889, 227, no. 2; Festschrift fur 0. Benndorf, S. 94. Shape slender, retreating slightly from the shoulder down. Neck and shoulder red; on the shoulder are rude palmettes in black. Slip dull brown, thin and smooth. Above and below the scene is a simple maeander; below the lower one are reserved red lines between lines of -applied purple. On the border of each himation is a line in a pink wash color. Preliminary sketch drawn with a dull point in the soft clay. Two women stand facing each other; the one at the left holds up an outline taenia in both hands. Each wears chiton and himation; the hair is in a roll at the back of the head, and there is also a small knot in front over the forehead. In the field between them is the word KALE, and above it hangs an alabastron. In general style of drawing this vase resembles the vases of Class B (dating from the middle of the fifth century B.C.), rather than the earlier vases of the present class. The taenia is of the type which was used in worship at the grave (cp. no. 59 supra), and no doubt the scene should be interpreted as having reference to such worship. The contrast, however, between the treatment of the subject on this vase and on no. 59 above is very striking. There the artist draws the mourn- ing at the grave literally as he saw it; here it is barely suggested by the presence of the taenia. This treatment of a subject by suggestion 1 Brit. Mus. Cat. Pases, II, *88. 2 Class III, nos. 3 and 4; Class I, no. 7. GROUP A: CLASS III, 6~6 3 99 is rather characteristic of the red-figured ware at the end of the "severe" period and the beginning of the "fine" period. 62. Athens, Nat. Mus. 1978, Cv. 1062. Eretria. H. 0.31 m. AeXrtof, 1889, 213, no. 2. In shape, decoration of the shoulder, slip, maeander strips, and lines below the main scene, this lekythos is like the last. Here also a pink wash is used on the border of the garment, and there are evident traces of the preliminary sketch with a dull point in the soft clay. The lines of the garment are even finer than is usual in this class. The beard and the hair at the back of the head are drawn in separate careful curls as on some lekythoi of Class V. A bearded man with large wings runs after a retreating woman and holds out both hands to catch her. He wears a short chiton girded at the waist. She is looking back at her pursuer; her hair is bound up behind by a cord wound around it several times, and she wears a long sleeve chiton and a rather short himation. The pursuit of Oreithyia by Boreas is a rather frequent subject on larger red-figured vases of "fine" period. On several vases with rather severe drawing l the scene appears in much the same type as on this lekythos except that there are one or more additional figures; and where there are but two figures, one occurs on one side, the other on the other, on vases with drawing of the "fine" style. 2 Later still Boreas holds Oreithyia in his arms, 3 or carries her off in a chariot. A comparison of the lekythos with this series shows at a glance that it is coincident with red-figured vases of the later "severe" period, and that the scene has been abbreviated to two figures in order to bring it into accord with lekythoi of the same technique as the present speci- men. 63. Athens, Nat. Mus. 1988, Cv. 1063. Eretria. H. 0.31 m. 1889, 229, no. 22. In shape, decoration of the shoulder, slip, maeander strips, and lines below the lower maeander this lekythos is like the last two. Here also there is a pink wash on the border of one of the himatia, and there is a light preliminary sketch with a dull point. As on the last specimen, the hair falls in carefully drawn curls. Two youths stand facing each other, and hold out taeniae (one is solid black, the other drawn in outline). Each wears a himation; the one at the left leans on a stick, and his garment has the pink stripe on the edge. The last three specimens resemble each other so closely in their technique that they unquestionably belong together, and probably are from the same hand. The combination of a rather crude shape and ' Stamnos, Atinali, 1860, Tav. LM, hydri*, Mon. //. IX, Tav. xvii ; krater, Gerhard, Am. fair*. Taf. clii ; Atheiw, Nat. Mm. 1638. 8 Pelike, Arcb. Zeit. 1845, Taf. xxxi, I, 1. E.g. amphora, Nm>. Ammtltt, 1839, pi. H. ioo ATHENIAN WHITE LEKYTHOI somewhat free drawing on a lekythos of full size emphasizes the sepa- rateness of this set of three vases, and the question might naturally arise whether they are manufactured in Athens or at some local shop on the island of Euboea. When later scenes and rather free drawing are combined with such crudity as is evident both in the drawing and in the shape of these vases, and when, too, the use of color is in a manner which never became general, it is difficult to avoid the con- clusion that the potter was not fully in touch with his fellow -craftsmen of the Kerameikos. Turning from the consideration of individual vases to the series as a whole, one is impressed first of all with the lack of unity in the series. Some of the specimens approach the shape of the earlier squat type; others suggest the tall cylindrical type; others still have nearly the shape which finally superseded both of these. It must be regarded rather as an accident that most of them have the same type of foot. Both types of slip, one smooth and creamy, the other thin and quite brown, are represented; and the ornamentation of the shoulder and of the body above and below the main scene does not follow any one type. On the contrary, there are well-defined sets within the series. The last three specimens form one such set; numbers 55-57 form an- other distinct set; and there are marked points of likeness between the other three. Solid black is used for some accessory on several of the first six vases, but the artists of these lekythoi always felt at liberty to use solid black in this manner. As for the drawing on these vases, while it never shows special excellence, it does not show the mark of haste which denotes the manu- facture of vases in large numbers for a cheap market. It is not routine work, but it is not the work of men with any skill. The erect, square attitude which recurs most frequently is particularly wooden, even when the artist seems to be working from life, and the figures which show more skill (e.g. on no. 55) are copies of what has become con- ventional. It is noticeable that the profile with full lips and large round chin, which was so common on vases of this class which have already been discussed, is not found on lekythoi of the present series. The presence of an inscription, or of some object like an alabastron in the field, is more common than in the case of the vases discussed before. The scenes which are depicted on these nine vases include some of particular interest. The two warriors playing pessoi is a scene char- GROUP A: CLASS III, 64-65 101 acteristic of black-figured ware, and it is treated in the same manner as on this ware. The bearded man pursuing a woman and the two youths in the palaestra are just as clearly scenes from red-figured ware. Several of the grave scenes are quite as conventional as those on vases of Group B, but one of them (no. 59) is purely a scene from life. The scene representing the Dioskouroi is quite unique so far as vase-painting is concerned. The present series, then, is one which lacks historical unity. The common characteristic of two figures instead of one represents an experiment which was tried undoubtedly at different times and under different circumstances. The vases which it brings together, however, are not entirely without connection; rather, they form two or three sets of vases, each one of which possesses a real unity. And there is a certain bond of likeness which runs through them all, for the principles which led to the experiment were the same in each instance; it was an effort to introduce a more comprehensive scene on white lekythoi with- out going too far beyond the bounds of convention, which led to these experiments, and the later classes of lekythoi show that at length the experiment won popular favor and became in turn the conventional type for white lekythoi with outline drawing. e. Vases on which thin yellow glaze is used for garment folds. On several of the larger and more careful vases of Class II a thin yellow glaze is used for the garment folds; the same characteristic serves to distinguish one series of the smaller lekythoi with red neck in Class III. 64. Athens, Nat. Mus. 2033, Cv. 1069. H. 0.16 m. On the shoulder five rude palmettes (arranged as the four palmettes on the shoulder of nos. 20 and 21, Athens, 1807 and 1857, from Salamis). Above the scene is a simple maeander; below it are two red lines. Foot with black torus and red band above. The drawing is rude and poorly preserved. A woman stands by an altar and looks away. She wears a himation over the chiton; the folds of the latter are in thin glaze. 65. Athens, Nat. Mus. 1806, Cv. 1021. Vicinity of Athens. H. 0.165 m - Klein, Lieblingsinschriften, S. 156, 12. Foot a simple flat disk; mouth low. On the shoulder are five rude palmettes ar- ranged as on the last specimen. Maeander simple. Below the scene are three black lines on the red of the clay. The folds on the upper part of the chiton are of thin glaze; below, the lines are black and fine. Eye en fact with large black pupil in the inner corner. 102 ATHENIAN WHITE LEKYTHOI Nike with both wings raised behind advances to right. Over the chiton she wears a narrow scarf which is drawn under the wings behind and comes over both arms. Before ... ... ^VAVKON her race is the inscription .,.. ~ < . rier hands are held up before her as though she were carrying a taenia. On a red-figured vase at Athens (Nat. M us. 1496) this same inscrip- tion occurs in the same style of lettering; in this instance the maeander above is broken by horizontal crosses, and the scene is from domestic life, one woman brings a box to another woman who is seated and holds a wreath. Another of these Glaukon lekythoi has already been discussed under Class II (no. 17, Athens, 1828); in that case the in- scription is written stoichedon, while on the present vase that same care is not observed. That vase, then, would be one of the earlier members of the Glaukon series, and would fall perhaps near the middle of the period in which lekythoi of Class II were made. The wings are less crudely drawn than on earlier vases of Class II, and the folds of the skirt follow, though still somewhat crudely, the general lines of its fall. Probably the present vase is from about the same period, and it is not uninteresting to compare a careless and a relatively careful speci- men which were made about the same time. 66. London, Brit. Mus. D 29. H. 6j| in. Brit. Mus. Cat. Vases, III, pi. xxiv. Neck restored; the body is rather thick-set but with graceful lines; foot a simple red disk. On the red shoulder is a row of short bars and four unsymmetrical palmettes. Above the scene is a simple maeander; below it red, purple, and white lines; the slip is hard and a dull brown in color. The upper folds of the chiton are in thin yellow glaze. Preliminary sketch with dull point in the soft clay. The eye is en face with pupil near the inner angle. A woman facing to the right bends over a large loutron in which she is washing. She wears a sleeve chiton with deep fold hanging over the girdle, and her hair is enclosed in a sakkos. On the bowl of the loutron is inscribed KOMA^; in the field are imita- tion letters and the word KAAOs. This scene occurs on quite a number of vases beginning with the work of Epiktetos, and continuing through the fine period of red- figured work. 1 On some of the specimens by Douris the shape of the loutron is quite different from the one on this lekythos, but in the interior of a kylix in London (Brit. Mus. E 90) and on a kylix published by Gerhard, 2 much the same type of loutron is seen. The latter kylix 1 Hartwig, Afeisterscba/en, 599, A. I. Several of the specimens have been renumbered in the new Brit. Mus. Cat. fasts, III, viz. : Hartwig (9) E 90; (18) E 201 ; (20) D 29 ; (21) E 653. 2 Gerhard, Aut. Vascn. Taf. 296. GROUP A: CLASS III, 66-68 103 shows the full scene of women washing, from which the significant figure appears on the present lekythos. Though not especially suc- cessful, the woman is drawn with considerable care, as is shown by the preliminary sketch, and by the presence of such details as the added inner contour line of the nose. The profile is of a type which is quite characteristic of the earlier specimens of Group B, in which group domestic scenes are more common than in any other group of lekythoi. This lekythos, then, may fairly be regarded as a transi- tional specimen, though the technique is in every detail that of Group A. 67. Naples, 2429 (Heyd. 2440). Ruvo. H. 0.20 m. On the red shoulder are four rude palmettes. Above the scene is a simple maeander; below it a clay-red line between three applied lines. The slip is yellow brown. Nike with wings raised behind her stands facing the right, holding out the string of a wreath in both hands. She wears the usual sleeve chiton with thin glaze lines for the folds, and over it a himation with a few black folds. Her hair is in a cloth, and she wears ear-rings. Though not so carefully drawn, this figure bears a considerable resemblance to the Nike before an altar on a lekythos in the British Museum (D 24). This general scene is very common, so that the resemblance would hardly be worth noticing except that the profile of the goddess on the two vases is strikingly similar. The technique of the one vase places it distinctly in Group B (i, 11), as that of the other places it in the present series. Perhaps the similarities in draw- ing which I have pointed out in speaking of this lekythos and of the one which just precedes justify the conclusion that the same influences which led to the development of the new technique in the following group, the desire for variety and the desire to make the scene more graphic, led earlier painters to experiment with close parallel lines of thin glaze to represent a particular type of garment folds. 68. London, Brit. Mus. D 42. H. 7 in. On the shoulder two rows of bars. Above the scene the simple maeander is drawn on the red of the clay; and below it there are four black lines on the red as in the case of no. 65 (Athens, Nat. Mus. 1806). Slip dull brown. The foot is of the type which later became typical. Traces of a preliminary sketch with dull point. The glaze of the out- line is thinner than in some of the earlier specimens. The flame of torch and altar is given in a thin brown glaze. Eye of the early type, en face. A woman stands facing to the right, and holds a burning torch over an altar with Ionic volutes. A flame burns on the altar, and there are blood marks on its side. The woman wears himation over a chiton (striped with thin glaze lines) with full sleeves, and her hair is done up in a sakkos which covers it completely. Behind her is a chair with striped cushion, over which a taenia is festooned in the field. 104 ATHENIAN WHITE LEKYTHOI Scenes representing a goddess or a woman before a burning altar have been discussed above (p. 44 f.). They continue to be found in Group B, and the present lekythos differs from those that were treated before in that this scene is combined with a festooned taenia and chair with cushion of a type which is very characteristic of Group B; i.e. the religious scene has not been supplanted by a domestic scene, as often happens, but in this instance is has been transformed into a sacrificial scene of domestic life. It is only in his treatment of the scene that the artist has anything of originality; the drawing is rude and conventional. 69. Athens. Nat. Mus. 1918, Cv. 1075. Attica (Vari). H. 0.15 m. AeXrtW, 1891, 15, no. 99. Form rather slender. Above the scene a simple maeander; below it a single applied purple line on black. The hair is not solid black, but an effort is made to represent it more graphically. Drawing more careful than on the following specimens. A satyr runs to the right and looks back toward a thyrsos which stands erect. The same scene, including the thyrsos standing erect, is seen on a red-figured vase at Athens (Athens, Nat. Mus. 1554). 70. New York, Metr. Mus. 1824. Amer. Jour. Arch. II, 397, no. 7. Vicinity of Athens. H. 0.158 m. Low flat mouth. On the shoulder are two bands of rays far apart. Above the scene a series of vertical lines close together, instead of maeander. Slip quite brown. The glaze of the drawing is thinner than on some of the earlier specimens. A dull purplish color (fading to gray) is used for the himation. The folds of the chiton below are drawn in close lines of thin glaze. A woman sits facing toward the right, holding a mirror in her left hand, and raising a flower to her nose with her right hand. The chair or stool is no longer to be seen. Over her chiton she wears a himation which is wrapped closely round her and covers the right arm; her hair is also covered with a cloth. Behind her in the field hangs a purse; and before her is inscribed KAU-E. A seated woman with mirror is found on many of the red-figured vases of about this period, 1 and belongs with the other scenes from domestic life which came into favor about the middle of the fifth cen- tury B.C. Why this figure is so closely draped is not easy to say. The combination of a flower and a mirror in the hands of a woman is found on the following vase. 71. Athens, Nat. Mus. 1793, Cv. 1032. Vicinity of Athens. H. 0.20 m. Shape careless. Foot a simple red disk, flat underneath. Above the scene is a simple maeander; below it, a red line between applied purple lines. 1 E.g. Athens, Nat. Mus. 1194 (drawing severe) ; Nat. Mus. 1624 (later careless drawing). GROUP A: CLASS III, 69-75 105 t A woman stands by a box or seat, and holds in her left hand a mirror, in her right hand a flower. She wears the usual two garments, and her hair is in a sakkos. 72. Athens, Nat. Mus. 1784, Cv. 1027. Vicinity of Athens. H. O.I 8 m. Bull. Corr. Hell. V, 359, no. 25. Shape and ornamentation like the last specimen. The slip is unusually greenish. A woman carrying a large box in her left hand and a mirror in her right hand ad- vances toward the right and looks back. She wears a Doric chiton girded, open at the side, with fold from the shoulder; her hair is held up by a cloth behind. The appearance of the Doric chiton is only noticeable because the conventional practice on this group of lekythoi demands the other type of garment. No doubt a change of fashion in women's garments was the occasion for the change by the painter, and this painter antici- pates the freedom which is found in the following class of lekythoi. 73. Athens, Nat. Mus. 1786, Cv. 1029. Vicinity of Athens. H. 0.20 m. Shape and ornamentation like the last two. Drawing very hasty. A Bacchante carrying a thyrsos advances to left and looks back. Hands very stiff. The sleeve chiton, undergirded, has an ornament along the edge. 1 74. Athens, Nat. Mus. 1787, Cv. 1030. Vicinity of Athens. H. 0.18 m. Shape and ornamentation like the last three. The slip is marred by careless polish- ing on the wheel. A woman carrying a branch in her left hand moves toward the right and looks back, extending her right hand back. The sleeve chiton has black folds above and thin glaze folds below; her hair is in a sakkos. 2 75. Athens, Nat. Mus. 1788, Cv. 1031. Vicinity of Athens. H. O.I 8 m. Heydemann, Griech. Pasen.Taf. ix, 3; Bull. Corr. Hell.V, p. 368, no. 26. The body grows smaller from the shoulder down. Foot simple; ornamentation like the last four. On a chair with high back sits a woman playing with four balls. She wears the usual sleeve chiton. The full scene from which this figure of a woman playing with several balls is taken appears on a vase in Leyden; 8 a gyfiaikeion is represented, and two youths are bringing presents to the woman who is performing. On a lekythos already discussed (no. II, p. 44) the 1 On the evolution of the maenad type cp. Brit. Mui. Cat. Ill, 35. A figure very like the present one is found on the red-figured vase, Athens, Nat. Mus. 1915. 2 This schema of a figure advancing and looking back is discussed above, p. 79. * Roulez, fasti peintt de Leydc, pi. xx. io6 ATHENIAN WHITE LEKYTHOI same scene appears, and a black crow adds another element from domestic life. 1 76. Athens, Nat. Mus. 1829, Cv. 1637. Eretria. H. 0.21 m. Shape rather heavy. Above the scene an ornament of curved lines; below it are four clay-red lines. Red is used for the himation, and pink lines for the close folds of the chiton. Slip slightly greenish. On a stool sits a woman facing toward the left; she holds a mirror up in her right hand. The sleeve chiton is ornamented with close pink stripes (or folds); the red himation covers the left arm. Her hair is drawn in rather careful curls. In the field hangs a lekythos, and the word K A AE is inscribed. Although this vase is much later than other members of the group, it has many of the technical characteristics which would place it here. It is strange that the use of fine black relief lines on white lekythoi dis- appeared so completely that this is almost the only specimen of a mruch later date on which the drawing is in this style. 77. Athens, Nat. Mus. 2022, Cv. 1016. Megara. H. 0.185 m - Foot a plain red disk. Maeander simple; below the scene a reserved red line. The slip is rather fine, but the drawing is rude. A woman ( ?) carrying a lyre advances toward the right; she wears a himation reach- ing to the knees. 78. Athens, Nat. Mus. 1883, Cv. 1024. H. 0.20 m. Dumont- Chaplain II, 51, no. 8. Foot a plain red disk. Above the scene two rows of dots; below it, a clay-red line. The slip was badly scratched in careless polishing. Nike, with wings spread in opposite directions, advances toward the right. She wears a chiton, and also a himation which covers her hands. 79. Syracuse, 22951. Camarina. H. about 0.17 m. Two rows of bars on the shoulder; maeander above the scene. Black relief lines are used for the head and arms, and solid black, applied unevenly, for the garment. The chiton, the feet, and the rocks are drawn in thin orange glaze. On a pile of rocks a woman sits facing toward the right, supporting her head on her left hand. In the field at the right hangs a bow. 80. Syracuse, 23949. Camarina. H. about 0.30 m. On the red shoulder are five rude palmettes; the maeander is very careless. Slip yellowish brown. Black relief lines are used for the garment, the spear, the right hand, and the left arm; the legs, the head, and the helmet are drawn in coarser lines of thin glaze; the rocks are black with added white details. A youth in three-quarters view sits on a pile of rocks, his head bowed. His right hand supports a spear on his shoulder, and his left rests on his knee. He wears a short sleeve- less chiton, girded; his Corinthian helmet is pushed back.. 1 Cp. also Athens, Nat. Mus. 1512, 1513. GROUP A: CLASS III, 76-80 107 These two lekythoi are particularly interesting in that they form a sort of transition between Group A and Group B. On several vases of Group B, 1 also found in Sicily, the black relief lines are used for part of the drawing, but the use of white enamel clearly places these in the second main group. In spite of the difference in size it would appear that these two lekythoi came from the same shop at the same time. The similarity in the scene, which does not appear elsewhere on outline lekythoi, suggests that the experiment in two forms of out- line technique was made by a painter who was inclined to experiment; and when white enamel was added for the flesh of women, his ex- periment proved the final break with the fine relief lines of the red- figured technique. Numbers 77 and 78 are so rude and insignificant that they deserve no further mention. With this exception the series consists of lekythoi about o.i 8 m. high, and rather heavy in shape. The mouth is low and spreading, the foot a simple red disk, the slip brown or sometimes slightly tinged with green. Numbers 71-75 form a particularly homo- geneous set. The ornament above and below the scene and on the shoulder is of the same type, the style of drawing is the same, and they were all found in the same vicinity. The scenes also present types which are characteristic of the later period of Group A, in fact, all but one are scenes of domestic life. Numbers 64-70 do not form such a closely connected series, and yet they have many points in common. Three of them have inscriptions in the Attic alphabet; the altar scenes and Nike figures of lekythoi considered in preceding classes appear on most of them; the conventional garments of earlier classes are repeated here; and on several the traces of a preliminary sketch may be discerned. At the same time there are indications that these lekythoi also belong to a period of transition. Two of them present scenes from the domestic life of women, and one or two other scenes could be interpreted in this same way. On no. 70 a dull color is used for the himation (as on Class II, 12, p. 43); and I have already pointed out that the profile on nos. 66 and 67 closely approximates to a type common on earlier vases of Group B. The peculiar palmettes on the first four numbers of this series are the most characteristic feature of their ornamentation. These occur on three lekythoi discussed above (nos. 20, 21, 23, p. 76, 77), and they are rarely found on red-figured lekythoi of this period. 1 1 Cla IV, eria i, nos. 1 5 and 19 ; tenet 2, no. 13; tenet 3, no. 1 7. * Cp. Athens, Nat. Mus. 1 302. io8 ATHENIAN WHITE LEKYTHOI The schema is not particularly attractive, and evidently never met with popular favor. The use of thin glaze for garment folds appears as an experiment on one of the earlier numbers of Class II (5, p. 61), and is common enough on red-figured lekythoi from the middle of the fifth century B.C. 1 It seems to indicate the same kind of material which on early sculptured reliefs is indicated by the use of wavy parallel lines close together. On white lekythoi the device is soon dropped, and succeeded by other methods of representing different textures. The only interest which attaches to this device is that it is a first attempt to represent garments of different material, and that this aim for greater picturesqueness is one motive in producing the changes in technique which appear in Group B and the succeeding groups. Conclusion of Class III (Group A} It is now possible to summarize the characteristics of Class III as a whole. Most of the lekythoi of this class are small and rather squat, with low, broad mouth and a simple red disk for the foot. A few are of medium size, rather slender, with the bell-shaped mouth; the finer shape which is common in the two preceding classes is rarely found here. The universal characteristic of the class is that neck and shoulder are red, and commonly there is no plastic ridge separating the two. As for the ornamentation, the shoulder has either the band of lotus buds pointing out, or more commonly the two rows of bars into which this earlier type degenerated. On a few specimens four or five rude palmettes are found. Above the scene the maeander is usually simple; rarely is it broken by horizontal crosses, or replaced by some entirely different device. Below the scene the ordinary type of ornament is a wide reserved line, between purple lines applied on the black; the two purple lines just below the scene, common in Classes I and II, are not found here. In general it may be said that these small lekythoi repeat many of the characteristics of the earlier black-figured lekythoi, and do not show the influence of the finer lekythoi with black figures on a white slip (many of them from Eretria) with which the two preced- ing classes are so closely related. Turning to the question of technique in the drawing, we find traces of a preliminary sketch on only a few specimens; most of them are 1 Cp. Athens, Nat. Mus. 1503, 1507. CONCLUSION OF CLASS III (GROUP A; 109 so careless that this device was dispensed with. As in the whole of Group A, the drawing is in fine relief lines of black; the hair is in sil- houette, but with the exception of two small and distinct series nothing else is in solid black. In one or two instances details are added in purple on a black ground, but this also is a refinement belonging to larger vases. On three or four specimens a line of some wash color is drawn along the edge of the garment, and in two cases solid color is used for a garment. Thin glaze is rarely used, e.g. for flame, but in one series thin glaze lines close together denote a particular texture of the chiton. In general we find here the same type of scene as before, viz. a single figure with a suggestion of the action in which it is engaged; in a few instances, however, the artist breaks this convention and strikes out on a line which was followed by later lekythos painters, by the ad- dition of a second figure. On some of the earlier specimens the scene is flanked by two large palmettes, and when this is abandoned, other objects begin to be introduced into the field. Columns stand at the side ; utensils of the palaestra, a purse or a mirror or a lekythos, hang at the side; a basket of wool on the ground indicates a scene from do- mestic life, or a goal-post suggests the palaestra; in one case the later grave monument appears. These devices for filling out the scene be- come typical in the next groups, and something of the kind is found in all later classes of lekythoi. Finally, an inscription is sometimes added. This occurs only once or twice in Classes I and II, where one conventional type is most closely followed, but there is greater range of freedom in these small lekythoi. The contents of the scenes are in general the same as in the preced- ing classes. The commonest type is a figure a warrior, or a woman, or a goddess advancing and looking back. Other types which recur less frequently the woman by an altar, the flying Eros, the large head also repeat scenes which have been studied in connection with the first two classes. As was pointed out under Class II, these are not abbre- viations of larger scenes, but rather extracts from them. In this class two new types appear, the domestic scenes which are characteristic of Class IV, and the grave scenes which eventually displace all other types. In contrast with the other types the grave scenes cannot be re- garded as extracts from more complete representations; they are com- plete in themselves, and were in all probability devised for this class of vase because of its use in connection with the burial of the dead. The presence of the various objects in the field and the experiments in the i io ATHENIAN WHITE LEKYTHOI use of thin glaze and even of color, alike show the effort of the artist to produce more decorative and picturesque effects. It is hardly worth while in the case of a class which is so far from being homogeneous to study the details of the scenes. As to the at- titude of the figures, we find figures in full profile standing squarely on both feet, and figures in motion, partly turned to the spectator, with the breast and shoulder in imperfect perspective. The women generally have the same two garments as in the preceding class, but in two in- stances the Doric chiton with open side appears. The hair of the women is either done up in a sakkos, or fastened in a mass at the back of the head by means of a cord; the simple braid down the back is not found. The inscriptions which occur on isolated specimens have a special interest as they throw some definite light on the question of date. Com- bining these data with such results as may be obtained by a study of the technique, both of the drawing and of the pottery itself, we may say with some confidence that the vases of Class III are in general con- temporaneous with those of the two preceding classes, i.e. they belong to the second quarter of the fifth century B.C. Some specimens of the present class show closer relations with the genuine black-figured ware than any in the first two classes; shape and decoration are the same as in the case of black-figured lekythoi, and some scenes characteristic of the black-figured technique are reproduced with scarcely any modi- fication. On the other hand, there are specimens which, both in the general style of the drawing and in the subjects represented, are closely allied to the vases of Class IV. One thing is clear, viz. that Class III represents a different current in lekythos painting from the two preced- ing classes. They show the influence of the lekythoi with black figures on a white ground, such as have been found especially in Eretria; these vases show no traces of that influence, but on the contrary continue the traditions of the early small lekythoi with black figures on a red ground. In Class IV these two currents combine. The larger size and the orna- mentation of Classes I and II prevail, and the scenes are rather in the spirit of the later specimens of Class III. The account of Group A would be incomplete without some mention of the numerous lekythoi found in almost every tomb that is opened near Athens, on which some form of conventional decoration takes the place of a scene representing men or women. Although these lekythoi are not limited to any one chronological period, they are drawn in black CONCLUSION OF GROUP A , , i glaze on a dull white surface, and the general shape and ornamentation follow types which have been described in connection with the classes under Group A. The larger number of these lekythoi are rather small, and have the red neck of Class III. Usually the maeander runs around the top of the body, and it may be repeated at the edge of the black slip below. The typical shoulder ornament consists of fvo rows of black bars on red. The ornament on the body of the vase may be a branch of ivy with leaves (as on one published specimen '), or a spray with scrolls and palmettes. More commonly it consists of a series of parallel bands, of which one is almost sure to consist of a checkerboard pattern; the ivy-leaf pattern or a series of small palmettes occurs very frequently. In such patterns there is nothing to distinguish outline technique from black-figured technique, and the glaze is usually applied flat instead of being put on so thick as to stand out in relief. Still the general resemblance of this numerous series of lekythoi to the more careful specimens which have been discussed in detail is such that they deserve a word of mention in this connection. Their manu- facture and use seems to have continued well into the fourth century without any appreciable change in technique. Conclusion of Group A The one characteristic which is common to all the lekythoi which have been discussed under the first three classes is the use of relatively fine lines of black glaze for the main scene, and the application of this glaze in so thick a state that the lines actually stand out in relief. This same characteristic is found on most of the small alabastra, on which the scene is drawn in outline, and on two or three of the kylikes with outline drawing on a white surface. There are, however, such differences in the technique of the different classes of vases with outline drawing in glaze lines that it is not possible to treat them together, and the com- parison of these different groups of lekythoi with vases of other shapes having a similar technique is not particularly instructive. Some general questions remain to be discussed before passing t) the following group. These questions naturally fall under three headings: 1. Character of the scene and of the drawing on lekythoi of Group A. 2. Relation of these lekythoi to vases of other shapes. 3. Use, range of export, reasons for change of technique. 1 Renan, Minion de Pbenicie, pi. xxi, no. 7 ; Pettier, Vatti anti^met d L*vre, II, F 518. ii2 ATHENIAN WHITE LEKYTHOI i. Character of the scene and of the drawing. As a rule the scene on these lekythoi consists of but a single figure, and the reasons for this are not evident at first sight. Lekythoi with black figures on a white ground have scenes with three or four figures ; the same is true of some alabastra with outline drawing on white, and later outline lekythoi regularly have two figures. A little later than the period in which the lekythoi of this group were made, it became customary to put but one figure on the side, e.g. of the amphora; this was an exten- sion of a device which had for some time been usual in the case both of outline and of red-figured lekythoi. Both for the amphora and for the lekythos the primary reason for this limitation of the scene seems to have been its purely decorative character. In order to express some definite thought as many as three figures were ordinarily necessary. The sharp curvature of the lekythos interfered with the use of many figures for this purpose, and as soon as the purely decorative character of the scene was frankly recognized, one figure with a few accessories, or a figure framed by large palmettes, was seen to be the best means of attaining that end. A cock suggesting the cock fight, an altar as for sacrifice, the arms which a warrior was engaged in putting on, such accessories helped to give the single figure meaning. Still, the first aim of accessories was to fill up the field about the single figure and their meaning was comparatively unimportant; in fact, the meaning of the scene was soon lost sight of completely. The manner in which a single figure could best be used for decorative purposes had been in a measure determined by the experiments of kylix painters with the in- terior of the kylix. Here the conditions were slightly different in that the field was round instead of square; in the round field there was no place for the bounding palmettes, and such accessory ornaments as the hanging utensils were not so easily introduced; again the round field was not nearly so favorable for a flying figure, and such figures were relatively less common. But the other scenes the person advan- cing, or advancing and looking back, the youth leaning on a stick, the woman seated or standing by an altar were used in exactly the same manner on the interior of kylikes as on lekythoi; it seems reasonable to believe that in general they were adapted by the lekythos painter from the use on kylikes. The close connection between these two types of vases I shall have occasion to emphasize under the next heading. 1 The general nature of these scenes has already been made apparent; they were primarily decorative, and there was no consistent effort to 1 Cp. Klein, Eupbronios 2 , S. 26. CONCLUSION OF GROUP A 113 give them any definite meaning. Such scenes ready for the painter to copy existed already on the interior of kylikes; others could be obtained either by extracting figures from more complete scenes, or by condensing the fuller scenes. The range of these two latter methods has already been suggested in the preceding discussion. The old man leaning on his staff and looking down at a cock, the hunter with dog pursuing a hare, may fairly be regarded as abbreviations of the same scene as it occurred on black-figured lekythoi or on the exterior of kylikes. The artist succeeds in retaining all that is really significant. It is much simpler to take a single figure, with or without some accessory, just as it stands in the fuller scene; and this method of extraction is the com- moner. In either case the range of invention is extremely small, and when the figure has been obtained, it continues to be copied as long as it meets popular fancy. Perhaps the flying Nike or Eros was not simply copied, butwas further developed by the painters of lekythoi in both the outline and the red-figured technique; again, when once the type was set, it continued to be reproduced with no change, the figure always faced to the right, and the only variations are in the objects placed in the hands. In the other scenes also more than ninety per cent of the figures face to the right. No variety is sought in the garments; women have the sleeve chiton and himation, Nike the chiton and light shawl or scarf, men the himation, youths the chlamys. The gesture of holding out both hands seems to have pleased the painter, and it is used con- stantly. Even the treatment of the hair follows one or two definite types. That there should be no effort for variety seems strange, and if it be true that lekythoi were painted in this general style for more than a quarter of a century, such persistence of type seems still more strange. Only two of the scenes found on these lekythoi can be regarded as in any sense distinctive; the rest are purely decorative and might appear on the amphora or the kylix with as much appropriateness as they have on lekythoi. The two distinctive scenes have to do with domestic life, 1 and with the grave. 2 The lekythos as a perfume bottle found its use in the gynaikeion ; in the present group a few specimens have scenes drawn from domestic life, and these are the scenes which show some connection with reality; in the following group such scenes predominate and become fixed in a few new types. The lekythos as a perfume bottle also found a use in connection with the burial of the dead. A few scenes are drawn from this source in the present group, and these arc 1 Class III, nos. 39, 45, 46, 56, 70, 71, 75, 76. * Cla II, no. 19 ; CU III, not, 43, 59, 6j. I ii 4 ATHENIAN WHITE LEKYTHOI even closer to reality than is the case with domestic scenes, for here the artist had no types at all to fall back on. Scenes connected with the grave continue to be unusual in Group B; in later groups they almost completely supplant other types, a fact that is due to the habit of using lekythoi more and more for the sole purpose of funeral perfumes. The decoration of pottery with scenes suggested by the use to which it was put, and in particular the prevalence of scenes drawn from domestic life, is an integral part of the movement in which red-figured ware supplanted the black-figured ware. The only originality evinced by the makers of these lekythoi has to do with the technique. A white slip has been used in all the history of vase painting (cp. supra p. 14 f.) and on later black-figured pitchers and lekythoi its use was quite common. On the outline lekythoi of this group two kinds of slip are found : a hard, thin, brownish slip not unlike that on the earlier black-figured ware except that it is more carelessly put on and is considerably less white, and a thicker white slip of creamy consistency. Something like this second type of slip is found on a group of later black-figured lekythoi from Eretria to which reference has been made more than once; on these specimens, however, the slip is less fine and creamy. On a few kylikes with outline drawing the second type of slip is used, and here it is more carefully made and applied than on any of the outline lekythoi. The first kind of slip, only of a still darker color, is the only kind that is adapted to the peculiar tech- nique of lekythoi in Group B; while on lekythoi of later groups a pure white slip of different consistency supplants both the earlier kinds. The fine relief lines of black glaze in which the scene is drawn are just like the lines used for details of the figure on red-figured vases; the use of solid black for the hair, and the practice of making a prelimi- nary sketch in the soft clay on more careful specimens, are also part of the red-figured technique. Lines in thin glaze for garment folds are found on red-figured lekythoi as frequently as on white lekythoi. The experiments in the use of dull color are wholly new, but they follow naturally when the painter has a white surface on which to work. After the dependence of the outline painter on both the black-figured and the red-figured methods has been fully recognized, it remains true that the innovation of using lines instead of surfaces is quite as important as the change from the black-figured to the red-figured technique. In a word it may fairly be said of the present group, Group A, as a whole that it is a series of experiments in a new technique, and that the future successes of the new method are only dimly foreshadowed. CONCLUSION OF GROUP A 115 2. The relation of this group of white lekythoi to other classes of vases. It has already been pointed out that the white lekythoi of Classes I and II were in all probability made in the same shops with a series of black-figured white lekythoi of which most specimens were found on the island of Eretria; and farther it is clear that both these series of lekythoi were made under the influence of painters of red- figured vases. The similarity of the two series of lekythoi lies in their technique; the shape and size are the same, the same kind of slip is used, and the ornamentation is exactly the same. On the other hand, the general schema and the style of the main scene is different: the out- line lekythoi have a single figure drawn with ornamental purpose, while the black-figured specimens generally present a scene of three or four figures. The latter scenes are such as would be found on the shoulder of a hydria, or more commonly on the exterior of a kylix; the former correspond to the interior scene of the kylix. The technique of Class III, on the other hand, bears little or no resemblance to that of red-figured lekythoi, or to the series of Eretrian lekythoi just mentioned. In size, shape, slip, and decoration these small specimens continue the traditions of one series of black-figured lekythoi with little or no change. But here again the schema and style of drawing has changed, and that in the same direction as in the case of the larger specimens of the preceding classes. It is again the same type of scene as that on the interior of kylikes which is found on these lekythoi; moreover the device of framing the scene by scrolls and pal- mettes is a device which properly belongs to the kylix painter, though it is used to frame scenes on the outside rather than on the interior of the kylix (cp. supra p. 73 and 93). The range of scenes on these lekythoi which are derived originally from types on black-figured ware has already been brought out in the preceding discussion, and it is only necessary to summarize the results. Class I is intermediate between the outline and the black-figured tech- niques; the cock-fight, the hunting scene, the falling warrior, the man on horseback, are all scenes the origin of which can be traced to the earlier technique. The hydrophoria scenes are characteristic of black- figured hydriae, and the warrior putting on greaves is a figure found on both black-figured and red-figured kylikes. Herakles and the lion recur again and again on the outside of the kylix or on the shoulder of the hydria of black-figured ware; and heroes casting lots are found on black-figured lekythoi and kylikes. In the interior of a few later black-figured kylikes l we find also the familiar advanc- 1 E.g. Brit. Mm. Cat. f*ui, II, B 439, 440, 450. n6 ATHENIAN WHITE LEKYTHOI ing figure which is drawn on so many of the smaller outline lekythoi. It will be noted that it is the kylix more than any other one type of black-figured vase which furnishes scenes for these lekythoi. The dependence of this technique on the black-figured technique has also been emphasized in the preceding discussion. 1 The outline painter still makes large use of silhouette, and in a few instances the details on the solid black are incised instead of being added in paint. The use of purple applied on black is a distinctive feature of the earlier technique which is still quite common. Finally, the outline lekythoi of this group are found in the same range of localities as vases of the later black-figured technique. The connections which have been traced between these lekythoi and vases in the earlier technique mark them as a sort of intermediate class, but they are much more closely related to the red-figured vases. The use of the line instead of the surface for decorative purposes is characteristic of the red-figured ware; to give up black surfaces en- tirely is but a step farther in the same direction. It seems quite probable that this step was taken by those accustomed to make red-figured vases. This is probable because exactly the same shapes and decorations ap- pear in outline and red-figured lekythoi, because even such details of technique as the preliminary sketch with a dull point are found in both, and because, as we have seen, there are several pairs of vases, one in each technique, so much alike that both members of each pair probably came from the same hand. The flying Nike or Eros is as common in one technique as in the other, and a woman approaching an altar, or a figure running and looking back, is characteristic of red-figured lekythoi also. A particular interest attaches to the relation between these white lekythoi and the red-figured kylikes. It has already been pointed out that much the same conditions prevail on lekythoi and in the interior of kylikes, and that scenes on the former were influenced by the de- vices of the kylix painter. Moreover, the series of kylikes is better known and affords a better standard of comparison than any other series which could be chosen. On two vases of Class II (nos. 3 and 4) the profile is of the same type as on some of the earlier red-figured kylikes, e.g. some specimens by Chachrylion; the spray with scroll and palmette which is rather frequent in Classes I and II was also used by Chachrylion. One of the earlier vases of Class III (no. 3) stands quite by itself, and recalls many features of the work of Phintias. On this 1 Cp. p. 56, 57, 72, supra. CONCLUSION OF GROUP A 117 lekythos and on no. 4 of the same class the long toe and finger joints are in the earlier manner of Euphronios. Very few of these lekythoi, however, suggest anything earlier than the style of Douris. The small head, the eye with dotted pupil near the inner angle, the treatment of the hair, and in one instance the use of thin glaze dots on the garment, show the influence of this painter. 1 If the vase published in the 'Et^Tj/xf/ats d/>xcuo\oyivi7 (1886, pi. iv) with the name Douris is indeed from the hand of this painter, the youth with spears (Class II, 17) deserves special mention in this connection. One of the most careful vases of Class II (no. 16) has been compared with the " Amasis" vases figured by Hartwig; whether or not it is from the hand of Amasis or some pupil of his, it certainly belongs to the same period. The characteristic maeander over the scenes of these lekythoi, i.e. the rather simple maeander in sets of two, separated by horizontal crosses in a square, is the form of ornament around the interior scene on ky likes of this period. That type of profile and drawing, however, which appears most frequently on lekythoi of this group, is associated with the name of Hieron. The long straight nose, full lower lip, and round chin, as well as the line marking the woman's breast as if it could be seen through a transparent garment, these are common enough on these lekythoi, so that they may be said to be characteristic of the group as a whole. Two points are clear from the above discussion : (a) the lekythoi of Group A belong in general to the same period as the red-figured ky- likes in the "later severe" style; and (6) these lekythoi stand under the influence of the great kylix painters more than perhaps any other kind of vases. At the same time the work on them is so careless and so lacking in originality that the study of them adds very little to our knowledge of the development of the ceramic art in this period. 3. Use, duration of manufacture, range of export. --The scenes depicted on the lekythoi of this group afford little or no clew to the use for which they were made. Most of the scenes are such as appear on all classes of vases, except that the use of a single figure instead of a group of figures first becomes common on these lekythoi. The scenes from the domestic life of women and from the burial of the dead do, however, stand somewhat by themselves in that they show some slight degree of originality and in that they appear on these lekythoi quite as early as on any class of vases. Even apart from the fact that these scenes soon supplant all others on later groups of lekythoi, we might * Cp. Class II, nos. 17, 11-13 i &*** III, no*, a, 47~5- ii8 ATHENIAN WHITE LEKYTHOI reasonably infer that they suggest the uses to which these lekythoi were put. The shape indicates that they were vases for perfumes and un- guents and that they were made to stand on tables or shelves rather than to be carried about. Combining the data from these sources with the literary evidence, we may assert that they were perfume vases used first in the domestic life of women, and then in connection with funerals. That for daily use the lower aryballic shape and the more stable red- figured vases should supplant the slender vases with more friable sur- face is only what would be expected. The lekythos becomes a funeral vase, but the lekythoi of this group are simply perfume vases. Duration. A comparison of these lekythoi with other classes of vases has made it reasonably certain that this technique came into use early in the fifth century B.C., although most of our specimens date from about 470-460 B.C. The questions in regard to the origin of the technique have been discussed above. Its disappearance is easily accounted for. In the first place, the use of enamel-white for women's flesh was a device which became popular as soon as it was tried, and the careful relief lines were no longer attempted. Then the discovery of a means of producing a fine white slip was the occasion of farther changes in technique, and the hard yellow slip of Group A finally disappeared entirely. The fine relief lines of this group belong properly to the red-figured technique, and with the attempt for a more pictur- esque treatment in the two following groups, accompanied as it was by the differentiation of outline painting from red-figured painting, the use of these lines also disappeared once for all in the case of vases with a white surface. Perhaps the more friable surface of the later white slip made them more difficult to produce, while at the same time they were less adapted to the purpose of these artists. A comparison of vases with black (not relief) lines in Group C with vases on which the lines are in thin glaze will show, I think, that the artist was right in discarding the use of black lines. It is possible that a very few vases in this group should be dated after the middle of the fifth century, but these are isolated specimens which were produced in shops with the red-figured ware, when the white lekythoi proper were being made by artists who devoted themselves to the manufacture of vases in that technique. Range of Export. Lekythoi of Group A are found wherever late black-figured and early red-figured vases are found. They are most common in Attica and Eretria; they also occur in Boeotia, Salamis, Cyprus, southern Italy, and Sicily. Local conditions in Eretria may CONCLUSION OF GROUP A 119 account for the preservation of an unusually large number of those which were imported there, or perhaps the manufacture of white leky- thoi in Eretria was undertaken in order to meet the local demand. In Italy these vases do not seem to have met with popular favor, but iso- lated specimens are found in widely separated localities. In Sicily, however, they found a ready market, and a considerable number are preserved in Sicilian museums. GROUP B: CLASS IV. LEKYTHOI ON WHICH ENAMEL-WHITE IS USED FOR'WOMEN'S FLESH OR SOME ACCESSORY; SLIP BROWNISH The second group of outline lekythoi is marked by the use of an enamel-white paint for the flesh of women and occasionally for some accessory. 1 As domestic scenes from the life of women predominate, it is usually very easy to determine the lekythoi which belong to this class; a few lekythoi have been included here where there is no occasion for the use of enamel-white, and on which it does not occur. In the case of these some doubt might arise as to whether they have been properly classified, but the number of these vases is small and the character of the drawing is such as to lead me to discuss them under this heading. On most of the lekythoi of this group the slip is quite brown, rather darker than is the case on the lekythoi already discussed; the outlines are drawn in rather coarse lines of glaze that has been slightly thinned; and on the enamel-white details are added in a thin yellow glaze. With one exception the neck is covered with black glaze; no ornament except the maeander is placed above the scene ; most of the vases are about 0.30111. in height, and the general shape is ap- proximately that of the finer large specimens of Group A. Except where the contrary is expressly noted in the descriptions which follow, the typical treatment is to be assumed : namely, the black neck, brownish yellow slip, drawing in coarse lines of brown glaze, and enamel-white for the flesh of women. The typical shoulder ornament (except in series 2) consists of five palmettes arranged as in the later fine black-figured lekythoi with white slip; this is alluded to as typical in the descriptions. The three series in the present class are determined by the color of the shoulder. Series I. The shoulder is red, and the ornament black. Series 2. The ornament is left red, and the rest of the shoulder is black. Series 3. The shoulder has the white slip, and the ornament is in black glaze. 1 Cp. the discussion by Weisshaupl, Atb. Mittb. XV, 40 f., and by Bosanquet, Jour. Hell. Stud. 1896, 167 f. 1 2O GROUP B: CLASS IV, i, 1-3 121 Series I. Lekythot of Class lV y with ornament in black outline on a red shoulder 1. Athens, Nat. Mus. 1887, Cv. 1640. H. 0.17 m. Neck and shoulder red; the shoulder is ornamented with two rows of bars. Maeander of the simplest type. Below the scene the slip is bounded by a narrow line of glaze, then a wider line left red. The shape of the body is not cylindrical, but it retreats slightly from the shoulder. The drawing is careless. No other color is used except enamel white for the woman's flesh. By a Doric pillar stands a woman wearing two garments drawn in outline. She holds a thread to which is attached a weight (such as was used in spinning ?). The eye is of a good profile type. Inscription KAVV. This lekythos is unique, in that it is the only one known to me on which the characteristics of Group B are combined with the red neck and shoulder ornament of earlier small lekythoi. The pillar also re- calls the lekythoi of Group A on which the scene consists only of a large head framed in by pillars. On the present vase the drawing is careless, and it only has interest as a link between this class and preceding classes. It is noticeable that even on this intermediate vase the scene is taken from the domestic life of women. 2. Louvre CA 9. H. 0.26 m. Pettier, Lecythes blancs, p. 154, no. 96. The palmettes on the shoulder are rather rude; the maeander above the scene is not simple, and a horizontal cross breaks it into groups of three. Foot of the type which later becomes typical. The glaze lines of the outline are rather fine. The slip is now quite brown. Pink, a purplish brown, and purple occur. There are traces of a preliminary sketch in the soft clay. At the right is a slender Doric pillar in flesh color; glaze is used to bound the outline and to give the details. Before it an ephebos stands squarely on both feet facing to the left. The body is in three-quarters profile. His petasos and chlamys are tinted brown, with a darker maroon color for details, and a ribbon of purple holds on the petasos. In his right hand are two spears, the sword case shows below the chlamys, and the sandals are laced up to the knees. The pointed nose and full lower lip are noticeable; the curl in front of the ear, also, is rather carefully drawn. This vase is interesting only in its relation to the one next to be de- scribed. This scene, an ephebos in armor, has been found on lekythoi of the preceding group; it is found more often on amphorae of aslightlv later period than on any lekythoi. 3. Athens, Nat. Mus. 1968, Cv. 1625. Eretria. H. 0.293 m -J Cir. 0.305 m. AcXriO!/, 1899, 99, no. 3. Amer.Jour. Arch. 1902, p. 410 f. (Fig- 32.) 122 ATHENIAN WHITE LEKYTHOI Where the red surface of the clay is exposed it seems to have been treated with a transparent glaze. The shoulder has only three palmettes, each with nine leaves. The slip is thin and smooth, greenish yellow. Maeander broken by horizontal crosses as on the last specimen. Flesh pink, garment light red. Traces of a preliminary sketch with dull point in the soft surface. Athena stands, body en face, head and left foot to right, and leans on the spear in her left hand. Her head is bowed, and her right hand rests on her hip. She wears a Doric chiton with free overfold, the light red of which is applied over a few folds indicated in glaze; over both shoulders is an aegis of the collar type fringed with ser- pents. The hair falls free behind, and is held about the head by a wide red taenia. The ear is reversed, the left shoulder does not connect with the neck, and at other points the drawing is careless. Behind Athena is an unfluted column. The peculiarity of the present vase lies in the fact that a flesh pink, not an enamel- white, is applied for the woman's flesh. This might easily arouse suspicion as to the genuineness of the vase, although there is nothing in the circumstances under which the vase was procured for the Museum to confirm this suspicion. 1 The points of like- ness between this and the preceding vase in Paris are sufficient to relieve its complete isolation: the ornamentation of the two lekythoi is practically the same; the same flesh pink occurs on the Paris vase; more- over the schema of the scene a figure standing before a pillar and the general character of the drawing are very similar. The very carelessness of the drawing is not such as would be likely to occur on a modern imitation of ancient ware. A pillar on vases of the fifth century is occasionally used to represent a house, but usually, as on a lekythos already described (II, 4), it denotes a temple. We have, then, Athena standing before a temple and looking down at her worshippers. 1 M. Tsountas, ephor of antiquities at Athens, very kindly responded to my inquiries about this vase with the statement that the date of its discovery is not known ; " the only fact obtainable is that it came from a grave on the estate of one Nostraki, who dug by the permission of the authorities." FlG. .32 (no. 3). GROUP B: CLASS IV, i, 4 123 In another connection I have tried to bring this lekythos into rela- tion with a well-known relief, the so-called "Mourning Athena" re- lief. 1 Comparing this Athena with the Athena on the relief, we may note that the attitude is much the same, although the feet and legs are treated differently; this mode of drawing the lower part of the figure is, however, just what might be expected of a lekythos painter who was reproducing freely a figure with which he was familiar. 2 The garment and the hair also are unlike those on the relief, but again these follow types with which the vase painter was familiar. With the exception of the position of the spear the differences between vase and relief are what one would expect when the vase painter drew his inspiration from a statue or relief; the position of the spear on the relief is due, in my opinion, to the fact that the sculptor of the relief represented an erect statue as bending over, and used the spear as a support for the figure. I do not mean to suggest that the vase painter drew his inspiration from this relief; apart from the fact that a vase painter would not be likely to reproduce the scene of a relief then insignificant, it seems to me probable that the vase is older than the relief. Nor would it be easy to account for the adaptation of the relief figure so as to get from it the Athena on our lekythos. If, then, there is any connection between the lekythos and the relief, it is due to the fact that the makers of both were freely reproducing some well-known Athena statue. The leky- thos, as will appear from the later discussion of this group of lekythoi, is to be dated not far from the middle of the fifth century B.C., and the statue which suggested the relief cannot long precede this date. The column on the lekythos suggests that we are dealing with a temple statue; the bowed head, the right hand on the hip, and the left hand holding the spear would comprise all the data which the lekythos gives for the recognition of the statue. 3 4. Athens, Nat. Mus. 1996, Cv. 1650. Eretria. Height of shoulder 0.16 m. Neck and foot missing. Palmettes typical; complex maeander broken by horizontal crosses. Solid black is used only for accessories. A woman (three-quarters front view) moves to right, looks back, and holds behind her a black phiale; in her left hand she holds out a black oinochoe. She wears a sleeve chiton and himation, both in outline; her hair is in a knot behind her head. 1 Amer. Jour. Arcb. 1902, p. 410 f. 2 Compare the lekytho* at Athens, Nat. Mus. 1825, discussed below under series 3, no. 21 ; and no. 14 of series i. Ldschcke (Atb. Mittb. 1880, p. 380) has pointed out another specimen of ware with white slip on which it is probable that a statue is represented. i2 4 ATHENIAN WHITE LEKYTHOI This is exactly the same figure, the woman advancing and looking back, which occurred more frequently than any other one scene on lekythoi of Class III, and on corresponding red-figured lekythoi. Even the suggestion of religious meaning by means of oinochoe and phiale is given in the same manner on the previous series of lekythoi. There is, however, one characteristic feature of the drawing; the sweeping fold of the skirt of the garment may be described as a mannerism of the painters of this class of lekythoi. When.it first appears it is the one bit of originality in the work of men who were closely following the models which had been set for their work. 5. Syracuse, 21146 (L 19). Capo soprano. H. about 0.32 m. On the shoulder five rather rude palmettes. Slip brown; above the scene a maeander in sets of three, separated by horizontal crosses. Preliminary sketch with a dull point. The coarse lines of the drawing vary from brown to black. One garment is black with added white crosses, the other light brown with darker fold-lines. A woman hastens toward the left and looks back; in her right hand is a black kalpis, in her left a white phiale. The black sleeve chiton is kicked up behind by her foot; over this a short brown himation is loosely draped; the hair is loosely drawn back and twisted in a round knot, which is supported by a taenia. Behind her in the field is draped a , ' . EVA ION white scarf, below it ,, . . ~ ., . KA VO> Other vases with the name Euaion are discussed by Klein (Vasen mit Liebhngsinschriften, S. 131 f.); the lekythos under series 3, no. 3, has the same white taenia draped in the field behind the woman, but the archaic schema of the woman advancing and looking back is abandoned. 6. Syracuse, 2289. Camarina. H. 0.30 m. Five rude palmettes on the shoulder and maeander broken by horizontal crosses as on the last specimen. A Bacchante with thyrsos hastens toward the right and looks back. She wears a chiton and a short himation; her hair is in a flat knot at the back of her head. In the field behind her is draped a scarf. 7. London, Brit. Mus. H. 10 in. On the shoulder five palmettes with many leaves (no dots). The maeander is broken by horizontal crosses. The thick slip is a slightly reddish brown. The garment is brown with darker brown fold-lines and narrow red border. A bearded Hermes hastens toward the left and looks back; his right hand is extended in front of him, and in his left is the kerykeion. He wears a long chlamys, a petasos hang- ing by its string, and winged shoes; his long hair is in a small knot at the back of his head. Inscription KAVO. GROUP B: CLASS IV, i, 5-9 125 8. Athens, Nat. Mus. 1869, Cv. 1044. H. 0.28 m. The usual palmettes, without the added row of bars above; simple maeander with rude horizontal crosses. No solid color. The drawing is very careless. A woman in the typical two garments moves to right, carrying in her right hand an object like a small shield (a cymbal or a phiale ?). Behind her is an altar with a taenia. While the presence of the altar marks this as one of the scenes which was originally religious in meaning, it is useless to look for any particu- lar meaning here. It becomes evident as the vases of this series are examined that the painters are simply reproducing scenes which had been already worked out as suitable for this type of lekythos, and there is even less trace of originality than in lekythoi of Group A. In other words, the altar here is put in just to fill up the space, and the reason why it is selected rather than some other object, is that it was once an integral part of a scene with definite religious content. Of the seven lekythoi already considered only one shows a garment in solid black, and generally the garments are in outline. It would seem that there was a brief period, or more probably a passing fashion, in which sil- houette effects were discarded temporarily and the simple outline treat- ment was preferred. It may have been the introduction of dull colors which helped to end this fashion, and in later members of this class the artist had his choice between dull color or black glaze for garments. 9. Athens, Nat. Mus. 1804 (Coll. 396), Cv. 1627. Eretria. H. 0.213 m. Atb. Mitth. XV, 55, no. n. On the shoulder the usual palmettes with dots added between. Above the scene a simple maeander; below it are two purple lines on black, as in Class II. Drawn in thin glaze; garment brick-red with black fold-lines. The drawing is careless. Nike stands holding two burning torches over an altar with flame. She wears a chiton with sleeves, and a fold hangs over the girdle. Eye archaic. The archaic eye and the use of purple lines below the scene mark this vase as one of the earliest in this class. The brick-red color of the garment is an experiment which was not often repeated; on the other hand the use of dull black for the folds of the garment, of which this is one of the earliest examples, continues through this and the fol- lowing group. The scene has already been discussed under Group A (p. 41 f.); Nike as an attendant at a sacrifice is no unusual figure on red-figured ware. It is worth noting that almost exactly this same scene, Nike with torches before an altar with flame, recurs on a number of red-figured lekythoi, some of which, to say the least, should be regarded as older than the present specimen. 1 1 Cp. Brit. Mut. Cat. f^aies, III, 582; Athens, Nat. Mm. 1313, 1508. 126 ATHENIAN WHITE LEKYTHOI 10. Athens, Nat. Mus. 1921, Cv. 1649. Attica. H. 0.22 m. 1890, 7, no. 6. (Fig. 33.) Palmettes typical, with added dots. Maeander unbroken. Accessories in black, garment dull pink. Nike flies to right, with phiale in her left hand and oinochoe in her right. In front of her is a scroll. She wears sleeve chiton (in outline, no folds), and himation in dull pink with fold-lines of a darker color. Both the flying figure and the scroll in front of it have occurred somewhat fre- quently on lekythoi of Group A, and that not on the latest members of the group. In the present instance it would seem that the figure is copied in a somewhat mechani- cal manner; it is altogether too large for the field which it is to occupy, as though the artist had taken it from a larger vase without knowing how to reduce it to the proportions of the vase on which he was working. The scroll also is considerably larger than is usual on vases of the earlier group. At the same time the artist shows some attention to details, and the oinochoe, for instance, and the wings of the figure, are drawn with care. It is evident again that the artist is working from lekythos models, instead of adapting his figure from more complex scenes. n. London, Brit. Mus. D 24. Locri. H. II in. White Ath. Vases, pi. xxiii B. Palmettes typical, with added dots. Maeander in sets of two, separated by horizontal crosses. The slip is almost shiny, and perhaps has been treated with a FIG. 33 (no. 10). transparent glaze. Traces of a preliminary sketch. Below the scene are two purple lines. Solid black is used for accessories; the lower part of the chiton is purple, the himation is pink with brown fold-lines; the flame on the altar is black and red. Inner angle of the eye slightly open. The vase is handled by the artist with more care than usual for these leky- thoi. Nike stands with wings raised holding a wreath above an altar on which a flame is burning. She is drawn in profile and stands squarely on both feet. The wings are small, and are attached irrespective of the garments. Her hair is held by an ornamented GROUP B: CLASS IV, i, 10-12 127 band, which supports a roll at the back of the head. The usual two garments are drawn with some freedom; on the right arm is a bracelet. The first two letters of a kalos in- scription remain With all the care the painter has taken for this figure, the garment does not fit over the left shoulder, the wings are out of proportion to the size of the person, the figure leans forward so as to require some support from the wings, and the profile and upper part of the head are unique. Nike before an altar is represented on red-figured lekythoi even more frequently than on the outline lekythoi. On a vase of some other shape she is represented in this same manner holding a wreath over an altar (without flame). 1 12. London, Brit. Mus. D 25. H. 12% in. Brit. Mus. Cat. Vases > III, pi. xxiii. Palmettes typical. Above the scene a short closed strip of maeander with two hori- zontal crosses. Preliminary sketch with dull point in the soft clay. Accessories in black. Himation and phiale dull pink (mauve) with brown fold-lines. Eye in full profile. A bearded man leans forward on his staff, and holds a phiale in his right hand over an altar on which a flame burns. A wreath of large leaves on his head is left the color of the slip. His himation is wrapped loosely around him and kept in place by the staff; in the lowered left hand is a branch of myrtle. The altar (at the right) is built of large unhewn stones, and has two splashes of blood. Above it hang in the field a wreath and a fillet (or lock of hair). Enamel-white does not occur on this lekythos ; there is, however, no opportunity for its use except perhaps on the phiale, and the tech- nique and style of the vase leave no doubt that it belongs here. This figure of a man resting on his stick occurs more than once on lekythoi of Group A, 2 and is part of the material at the command of a painter in this epoch. The altar of unhewn stone 3 is unusual in this period, although later a rude altar of somewhat this shape becomes very com- mon. The presence of myrtle branch, fillet, and wreath, along with a type of altar which is unusual, would seem to indicate that this scene is not so purely conventional as that on most lekythoi of this series. It would seem that the artist had used a familiar figure for his priest, and then had taken the altar and the details of the scene either from the actual practice of worship or from rather literal representation of worship. As on the preceding lekythos, the skill of the painter is not equal to his carefulness. The effort to give the easy posture is quite awkward, the folds of the garment behind which should fall perpen- i Tischbein, V, pi. xxviii. da I, 1-3 ; CU HI, 5, 3, 4- *Cp. the altar on the lekythos, Berlin, Furtw. 1151, CU III, 15. 128 ATHENIAN WHITE LEKYTHOI dicularly stand stiffly out, and the eye is set too far back from the line of the profile. 13. Wien, Hofmus. Inv. 1874. Eretria. H. about 0.25 m. (Fig. 34.) On the shoulder five palmettes, without scrolls or dots. Slip yellow; maeander simple. Drawn in coarse lines of rather thin glaze. The garment is pink with glaze folds. Work hasty. On a diphros sits a bearded man facing the left; his left hand supports a staff on his shoulder, and his right hand is extended. A himation is draped around his knees and over his left shoulder. Behind him is a square chest, nearly as large as the diphros. Inscription KAVO^. The drawing on this vase is hasty and some- what careless; no white- enamel paint is used, but none of the objects are present on which it is commonly found. The figure is a good example of the method of those who painted the lekythoi of this class, in that the figure and the box behind it are extracted from some FIG. 34. larger scene, though by themselves they have no meaning. The only originality in the present class consists in the development of domestic scenes and in the occasional use of some detached figure like this seated man. 14. London, Brit. Mus. D 26. Eretria 9^- in. White Ath. Vases, pi. xxi A. Palmettes typical, careless. Maeander broken by horizontal crosses; below the scene a series of lines, purple on black. The slip is slightly greenish brown. Accessories in black; the chiton was originally red ( ?). A simple preliminary sketch was drawn with dull point in the soft surface. On a black chair a woman sits facing the right, and bends her head forward to look at a lekythos which she holds up in her left hand ; she also holds out a fruit (pomegranate) GROUP B: CLASS IV, i, 13-16 129 in her right hand. She wears chiton with large sleeves, and a himation is wrapped about her knees; her hair is in a mass at the back of her head. The figure is in full profile, and very carelessly drawn. In the field at the right hangs a wreath, at the left the handle (of a mirror). This vase is ope of the earlier members of a series representing a woman at home, seated in an easy chair. The mirror and the wreath are not yet meaningless accessories, but mark the woman's apartment; the lekythos and the pomegranate I am inclined to regard as objects belonging to such an apartment with as yet no reference to the prepara- tion for worship at the grave. Except as a member of the series the vase is entirely devoid of interest. 15. Palermo 147. Gela. H. about 0.30 m. On the shoulder rude palmettes. The slip is quite brown; across the top is a short band of simple maeander. Most of the figure is in medium lines of thin brown glaze, but fine black relief lines are used for the himation folds. A woman stands en face beside a stool, looking toward the left. In her right hand she holds out a flower, in her left a mirror. The upper part of the chiton is marked with parallel lines of thin glaze; over it a himation is loosely draped. Inscription KALE. The combination of lines in thin glaze with black relief lines has been noted on other lekythoi found in Sicily 1 (Class III, nos. 79 and 80); on the later numbers of Class III the same treatment of the upper part of the chiton is occasionally found. Both the black neck and the use of white-enamel paint place this lekythos here without question, yet the influence of the older technique is striking. 16. Athens, Nat. Mus. 2540, Cv. 1646. H. to shoulder, 0.17 m. Klein, Lieblingsmschriften, S. 139, no. 6. Upper part missing. Lines of the drawing rather fine. Black is used for accessories, dull pink for the garment. A woman stands holding a kalathos over a low table from which hang branches of green (or fillets). She wears a himation drawn in outline over a pink chiton. On the upper part of the chiton the fold-lines are drawn in darker pink, on the lower part in KAVOs. thin glaze. Inscription, N( ^QN The difference in the fold-lines of the upper and lower parts of the chiton may be explained by the difference in the two styles of painting: on earlier vases fold-lines in glaze were usually added only to the lower part of the chiton; on vases with dull color for garments, how- ever, they were also indicated on the upper part of the garment. If the dull color were added here by a second hand, and this is probable, the difference of treatment is so much the more easily understood. 1 Cp. also no. 19 of the present series, series i, no. 13, and leria 3, no. i f. i 3 o ATHENIAN WHITE LEKYTHOI 17. London, Brit. Mus. D 21. Eretria. H. 12^ in. White Ath. Vases, pi. viii. Palmettes typical, not very careful. Maeander unbroken, except by the helmet of the warrior. Drawn in fine black lines; the beard is in thin yellow glaze, and the hair on the body in thin brown glaze. Accessories in black; the crest of the helmet is enamel-white in brown outline. Eye in profile. The preliminary sketch shows the left foot drawn back as though the figure were running rather than walking. Below the scene are two purple lines. A bearded warrior strides to right, a shield on extended left arm, spear lowered in right hand. The body is full en face, feet and head to right. He wears helmet with cheek pieces, a mantle falling over the shoulders loosely, and endromides. Brown mark- ings indicate hair down the centre of the torso. Above the shield is written KAA05. The treatment of the hair on the torso is quite in the manner of Brygos, but the drawing shows the freedom of a later period. Parts of the figure are drawn with great care; the arms, however, the left shoulder, and the very narrow hips mark the limitations of the artist. The same type of warrior occurs on a pelike in the British Museum as one of a group of figures. 1 It is not unusual in the case of such a figure for the helmet to break the maeander over the scene. 2 Apparently this figure is not copied from other lekythoi, but, like the scenes on leky- thoi of Class II, it is taken out of the fuller scene on another type of vase; here, however, it is from a scene for an amphora or krater that the figure is taken. It should be noted that not only the thin brown for curls of the hair, but even the use of enamel-white for the accessories, is found on the pelike above referred to. 18. Cyprus. Jahr. Arch. Inst. 1887, S. 168, Taf. xi; Ath. Mitth. XV, 56, no. 13. Palmettes typical but careless; maeander unbroken. No black (except for the hair under the helmet), and no solid color are used. Style free. An Amazon stands in full profile, bending over her left foot, which is placed on a stone that she may adjust her sandal. She wears a short chiton with tight fitting sleeves, and anaxyndes which fit the legs closely; the chiton is girded up so that it hardly reaches below the hips. On her head is a leather helmet with cheek pieces. Behind her in the field hangs the lunate shield with quiver and bow. With this lekythos Dummler compares the Amazon vase published by Winter (Die jungeren attischen Fasen, S. 34), where also Attic war- riors are transformed into Amazons. The relations with Cyprus, as he farther points out, were such that this lekythos was not brought thither earlier than 449 B.C., nor much later than that date. This date, depending on purely external considerations, corresponds exactly with 1 E 379. 2 cp. Brit. Mus. E 448. GROUP B: CLASS IV, i, 17-19 the date which would be obtained by comparing the lekythoi of this series with other classes of vases. A group of Amazons preparing for battle are depicted on a rather early red-figured kylix in the British Museum. 1 The present figure is taken from such a series in the more complete scene. The youth bending over to adjust his sandal on the Parthenon frieze is evidence that the figure in this attitude was familiar to painters in the middle of the fifth century. 19. Wien, Oest. Mus. 1090 (10441). H. about 0.30 m. (Fig. 35.) On the shoulder five rather rude palmettes. Above the scene the rather short maeanderis broken by two horizontal crosses and en- closed at the end. The slip is quite brown. Black is used for the helmet, and black with added de- tails in white for the shield. Bright red was used for the chiton and the belt. There are traces of a pre- liminary sketch with a dull point. An Amazon is running toward the right, and raising her battle- axe to strike some one behind her, toward whom she looks. She wears a short chiton with loose skirts under a cuirass which is orna- mented with armed figures on the shoulder pieces; there are sandals on her feet, and on her head a helmet with high crest, the head piece black, the crest and cheek pieces white; a little loose hair F, G ^5 (no. 19). appears in front of her ear and below the helmet. On her left arm she carries a crescent-shaped shield on which white lines show the layers of leather ( ?). Before her a low plant is drawn. This Amazon, like the one on the preceding vase, is drawn with con- siderable vigor and truth; and again she is simply an Attic warrior transformed into an Amazon. Except for the white-enamel paint, which invariably denotes a woman, and the shield and battle-axe, we should think her an Athenian ephebos. As on some other vases of this i Brit. Mus. E 1 1. 132 ATHENIAN WHITE LEKYTHOI period the eyes and mouth have a definite expression of determination, as if she intended her blow to kill; the expression is the more noticeable on such a beautiful face. 20. Athens, Nat. Mus. 1953, Cv. 1631. H. 0.32 m. Typical palmettes with nine to eleven leaves. A short band of complicated maeander pattern is broken by two checkerboard squares. Enamel-white is used for the string around the hair and for the ornamentation of the basket. Solid black is used for the ac- cessories, but there is no solid color. A woman stands in partial profile facing the left; she carries on her left arm a basket containing lekythoi and taeniae, and in her right hand is a casket. Her hair is held in a coil at the back of her head, by a cord which is wound around it several times. She wears a sleeveless chiton (drawn in outline) with a long overfold girded. Unfortunately this vase has been much damaged, and it is almost impossible to get a clear conception of the figure. The garment, a Doric chiton with overfold, and the treatment of the legs and feet the left seen from the front and the right in profile differ from what is found on most vases of this series. On later outline lekythoi these traits are common, and they have already been noted in connection with the "Athena" lekythos, no. 3 of this series. The feet are drawn in the same way on a lekythos of Class III (no. 22), a lekythos which has almost the same scene as that on the one under discussion. In that instance an inscription indicated that the scene had to do with a burial, and the same explanation is to be given of the scene here. I.e. this woman is starting for the grave, and she carries the characteristic basket with its lekythoi and taeniae for the worship at the grave. 21. Athens, Nat. Mus. 1865, Cv. 1636. H. 0.27 m. Ath. Mittb. XV, S. 56, no. 12. Palmettes typical, without bars above. Maeander rude, broken by horizontal crosses. Below the scene are two purple lines on the black. No color is used. Both drawing and ornament are careless. A woman stands holding up both hands toward a large flat basket containing taeniae, which seems to be suspended above them. She wears sleeve chiton and himation, drawn in outline, and her hair is done up in a cloth. 22. Athens, Nat. Mus. 1972, Cv. 1068. Eretria. H. 0.30 m. AeXrtot', 1889, 139, no. 8. Palmettes typical, without bars above. Maeander complicated, broken by horizontal crosses. No color, except that solid black and enamel-white are used for taeniae. A youth stands facing to the right with a black taenia in both hands. He is in the act of putting this taenia on a stele before him. An outline himation is loosely draped around him. The stele is a slender shaft with triangular top, on three high steps; one white taenia is tied around it, and another is draped in the field behind the boy. GROUP B: CLASS IV, i, 20-25 133 This is the first lekythos coming under discussion on which the act of decking a stele is depicted. In technique it unquestionably belongs in the present series; the drawing, though careless, is quite free, so that it may well be one of the latest members of the series, and perhaps is later in time than some vases of later classes on which this scene has become normal. Certainly this shape of stele occurs more than once on lekythoi of Groups C and D. The use of white for taeniae occurs even on red-figured lekythoi of a little later date; but when this peculiarity is combined with other marks of the present series, there can be no doubt that the painter was working with the type of this series in his mind. 23. Athens, Private Collection. Eretria. H. 0.268 m. Palmettes typical, but without bars above. Maeander of the simplest type. Taeniae black and (originally) colored. Red is used for the mantle. At the left a simple shaft crowned with a low block has four taeniae tied around it. A woman advances away from this toward the right, carrying a large, nearly square box in both hands. Her hair is done up in a cloth, and she wears red himation over outline chiton; no folds are indicated in the garments. The general appearance of the woman recalls the figure on no. 21 (Athens, 1865). The box is of the same character as the one on certain lekythoi of Class III (e.g. no. 72, Athens, 1784). Its use on this vase indicates that it had something to do with worship at the grave; it is found also on vases where it seems to be simply one of the objects in a woman's apartment. 1 24. Athens, Nat. Mus. 1844, Cv. 1638. Eretria. H. 0.305 m. Bull. Corr. Hell. Ill, 449, no. 18; Atb. Mitth. XV, 54, no. 10. Palmettes typical. Maeander broken by horizontal crosses. The shape is heavy, and the lines of the drawing coarser than usual. Solid black is used for accessories, and a dull dark pink for garments. At the left a woman sits on a black chair, holding up a wreath in both hands. She wears dark pink chiton and himation drawn in outline, both with glaze fold-lines. By her side on the floor is a kalathos. At the right a woman in similar dress holds before her a smegmatotheke. 25. Athens, Nat. Mus. 1826, Cv. 1641. Eretria. H. 0.30 m. Ath. Mitth. XV, 53, no. 9. Palmettes typical. Maeander broken by oblique cross of the type which later be- comes typical; the foot also is of the type which becomes normal. Black, brown, and purple are used for accessories; the garments are (at present) without color. The pre- liminary sketch is not closely followed. At the left sits a woman on a brown chair, holding up a wreath in both hands. She wears an outline chiton with large sleeves, and a himation drawn in outline is over her 1 E.g. the red-figured lekytho*, Athens, Nat. Mu*. 1645. 134 ATHENIAN WHITE LEKYTHOI knees. The head is quite small; the hair is in a coil at the back of her head, held by a purple taenia, and there are little curls over the forehead. At the right a woman, drawn nearly in profile, stands squarely on both feet and holds out a flower in each hand. A purple taenia is about her head, and her hair falls in a close mass down the back. She wears a sleeve chiton with girded overfold; the folds are in- dicated only in the preliminary sketch. In the field hang a lekythos and an oinochoe. The seated woman in this scene is drawn more carefully than the same figure on no. 14 above (Brit. Mus. D 26), but the type is almost exactly the same, and the faults of that figure are in less degree found here. This is the earliest vase known to me, and the only vase in the present series, on which the later oblique cross interrupts the maeander band. The use of brown paint for the chair is limited to vases of the present group, and the present specimen is perhaps the earliest one on which it occurs. 26. Paris, Collection de feu M. Joly de Bammeville. Cat. (W. Froehner), no. 13. H. 0.187 m - At the right a woman sits in a chair, and looks at herself in a mirror. At the left a standing woman offers her a taenia. The description of the technique of this lekythos is quite incomplete, but apparently it should be classified in the present series. 27. Paris, Hotel Lambert, no. 84. Gaz. des Beaux-Arts, 1866, II, p. 117. Palmettes typical; the maeander above is simple. Drawn "au trait rouge," accord- ing to De Witte; but probably it is a glaze color. At the left stands a woman in full profile holding out her hands as with a thread or wreath. She wears a "purple" chiton with fold-lines below, and over it a himation leaving the right arm free; her hair is in a cloth. At the right a woman (chiton with purple fold-lines and himation) turns to go, reaching back with her right hand and holding out an alabastron in her left. She also stands squarely on both feet (which are turned to the right), but her body is viewed en face. Between them is a kalathos on the ground, and over it the word V ABE. The description of this vase is also imperfect, but I have little hesi- tation in classifying it at this point; the general technique of the vase, the style of the drawing, and the details of the scene leave no doubt in my mind that the "trait rouge" of De Witte describes the reddish brown of the thin glaze lines that are used on these lekythoi. The scenes from the gynaikeion which occur on these last four leky- thoi will receive fuller discussion later. It is sufficient to point out now that the objects in the hands of the women leave no doubt as to the in- GROUP B: CLASS IV, i, 26-28 135 tention of the artist. The wreaths and the taenia, the smegmatotheke, the alabastron, the mirror, and the kalathos on the ground are all objects which have to do with the domestic life of women. The smegmato- theke, or toilet vase, which appears on no. 24 for the first time, is es- pecially popular with the makers of vases in this group, and it is found only rarely in later groups. The black lekythos and oinochoe hanging in the field mark the revival of a habit which appeared in Class I, but which was later dropped by the painters of outline lekythoi; on leky- thoi of Groups B and D these objects in the field are commonly found. Further, the presence of the lekythos in women's apartments furnishes additional proof, if that be needed, that this shape of vase was used in the daily life of women. In practice they may have been hung on the wall, though it is more probable that this is merely a convention of the painter, who wished objects in the field, not tables, shelves, or cupboards. 28. Athens, Nat. Mus. 1913, Cv. 1647. Athens. H. 0.27 m. AeXrtoM, 1892, 13, no. 42; Ath. Mitth. XVIII, 98; Jour. Hell. Stud. 1896, p. 167 n.; Klein, Lieblingsinschriften, S. 162, 10. Plate V, I. Palmettes typical, somewhat elongated. Simple maeander above, two purple lines on the black below. Black and magenta are used for garments, white for the woman's head- cloth and for the dog, as well as for the woman's flesh. Traces of preliminary sketch in the soft clay. At the left a woman stands squarely on both feet, in profile, holding out a red fruit and an (outline) pomegranate in her hands. She wears chiton with full sleeves (in outline, folds only in preliminary sketch) and black himation with purple fold-lines; her hair is all in a white cloth. Facing her a youth stands with right leg bent, both feet on the ground, in profile. He is closely wrapped in a magenta himation, fold-lines in thin glaze; his long hair is rolled up behind, and the braids are apparently fastened over the forehead; in front of the ear is long, loose hair drawn in thin glaze. His left hand is placed on his hip under the gar- ment. In front of him and facing the woman is a white dog. Behind the woman a black oinochoe hangs in the field. Between the figures is the . . . inscription The name Lichas occurs on red-figured vases depicting the sacrifice of Herakles on Mt. Oeta, 1 and the inscription Lichas kalos is found on some five red-figured vases. On each of four Nolan amphorae with this inscription the figure facing toward the left is draped more or less closely in the himation, and in the two published specimens his left arm is raised under the garment as here. 2 1 E.g. Brit. Mu. E 494; Compttt rendut, Atlas, 1869, pi. ir, I. * Klein, S. 160, 1-4; Tischbein, IV, pi. xvii; Oxford, AAm. Qa. fig. a$ 136 ATHENIAN WHITE LEKYTHOI On four other lekythoi of the present group this inscription occurs, the fourth time with the added word 3AMIOY. 1 All five lekythoi date from the same period, though there is some slight difference in the freedom of the drawing. Mr. Bosanquet has pointed out the fact that both Lichas and Samios are Spartan names, likely to be popular at Athens in connection with the " laconism " of Kimon ; 2 in that case these vases no doubt antedate the ostracism of Kimon in 462. The eye of the youth is not closed at either angle, and has a large, black dot for a pupil, a type not uncommon in the early fine period of the red-figured style. The straight hairs in front of the ear may be seen on a lekythos of Group C now at Athens (no. 64, Athens, Nat. Mus. 1945); it is the more careless use of a device for picturesque treatment which was used by the later great kylix painters. The gar- ment of the youth is drawn with much freedom, and stands in striking contrast with the conventional garments of the woman. Apparently the woman with the fruits is in her home, and she seeks to attract the visiting youth by a present of fruits; the oinochoe on the wall, if it means anything, means that the woman is in her own apartments. The dog appears as the companion of a youth both on vases 3 and on reliefs; this is one of the points where the lekythos scene and the grave- relief scene come together, and in each instance the dog is present as the everyday companion of the youth. This lekythos is unique in the present series in that it gives a definite particular scene from daily life, instead of repeating some purely formal scene of general meaning. At the same time the artist is working with the conventions of the series, and neither figure by itself shows anything of special interest. 29. Oxford, Ashm. Mus. 268. Gela. H. 0.36 m. Catalogue, pi. xxi. Palmettes typical; maeander broken by horizontal crosses. Below the scene are two purple lines on the black. A dull mauve pink is used for garments and shield, and solid black for accessories. The enamel-white of the woman's flesh has disappeared. Ap- parently the figures were drawn with a coarse brush in thin glaze, then black was added with a fine brush for the head, feet, etc. At the left a woman in full profile holding a crested helmet in both hands. She wears a dull pink sleeve chiton (white fold-lines) and himation drawn in outline; her hair is held in a mass at the back of the head by a sphendone which is adorned by leaf- points around the front. The helmet is painted the same dull pink as her chiton. Facing her stands an ephebos in three-quarters profile (head and feet in profile), grasping an erect spear with his right hand; his left arm is covered by a himation drawn 1 Boston Mus. 448, series 3, no. 15 ; series z, no. 5, Oxford, Ashm. Mus. ; series 3, no. 14, Athens, dealer's shop; series 3, no. 13, Brit. Mus. D 50 {Jour. Hell. Stud. 1896, pi. vi). 2 Jour. Hell. Stud. 1896, p. 167. 8 Cp. the alabastron, Brit. Mus. D 15. GROUP B: CLASS IV, i, 29-30 137 in outline. Against the spear rests his shield, which is black with a pink rim. His head and shoulders are said to be repainted. Both these figures stand with feet squarely on the ground, as in the domestic scenes of the series; and as it is apparently in the home that this woman brings the young warrior his helmet, it may fairly be in- cluded in the list of such domestic scenes. The treatment of spear and shield resembles that on a lekythos of Class II (no. 16, Athens, Nat. Mus. 1964) where the shield in profile rests against the spear while the warrior puts on his armor. Here, however, the spear is not left to stand alone, but serves to support the youth's arm. Leaf-points such as are seen on the woman's sphendone do not become common till a later epoch. The helmet, on the other hand, is of the type which occurs regularly on the later kylikes of the severe period. The use of black lines for the head, feet, etc., on lekythoi found in Sicily, has been noted under no. 15, p. 129. 30. London, Brit. Mus. 033. Eretria. H. ii in. Palmettes typical, somewhat elongated. Maeander unbroken. Drawn in dark- brown glaze outline, and partly restored in gray. Enamel-white is applied for the flesh of Electra, but apparently not for that of the second woman. Solid black, dull purple, and bright red are used for garments. Considerably damaged. In the centre a stele, a shaft resting on two steps and surmounted by a triangular palmette. On the upper step, facing the left, sits Electra; one foot is drawn up on the lower step, the left arm and right elbow rest on the raised knee, and she supports her chin by her right hand. She wears a black sleeveless chiton (black stripes below) and a red himation. Before her face is the name EAEKTPA. At the left stands Orestes leaning on the staff in his left hand and extending his right hand as if in conversation. He wears a short chiton, a dull purple chlamys, and a petasos at the back of his neck. At the right a woman stands en face looking to left; with her left hand she lifts the drapery from her shoulder; on her right arm she carries a large box or basket adorned with patterns in horizontal rows. While the remaining members of this series fall into two sets ac- cording to the number of figures represented, and the two sets have many points in common, the present specimen stands quite alone. Three figures are very rarely represented on any of the lekythoi on which the drawing is in glaze lines; the stele is of a type represented in Group C; the style of drawing is much freer than on any other specimen of this series; and in particular the figure of Orestes with the small round head is unlike anything in this group, but resembles the epheboi on one set of lekythoi in Group C (Class V, series c). Perhaps the most tangible difference from the other members of the series appears in the 138 ATHENIAN WHITE LEKYTHOI use of the white-enamel paint, which is omitted from one of the women and is put on the arms of Orestes. The scene of Orestes and Electra at the tomb is not so commonly represented on Greek vases as some other scenes from the Orestes story, but there are striking points of likeness between this vase and other much later vases on which the same scene does appear. The best known of these later vases is a hydria in Naples 1 with two scenes, one above the other, the lower of which has this same theme. Electra is sitting on the steps of a stele, supporting her head on her right hand as here and resting the left arm on her knees; Orestes stands before her in a similar easy attitude and extends his right hand, this time holding a phiale; among the other figures is the servant in Doric chiton at the extreme left. Again on a Lucanian amphora in the Coghill collection 2 Electra sits in just the same attitude, veiled as on the Naples vase; Orestes stands before her holding out a kantharos; on the other side of the stele is Hermes (?) and behind him the servant, who carries an alabastron as on the Naples vase. Finally, on another vase, published by Millingen, 3 Electra sits on the steps of a stele marked Agamemnon in a slightly different attitude; Orestes behind her on the right side of the stele, holds out his hand to her as on our lekythos; and behind Electra stands a woman holding a large box on her left arm and lifting the gar- ment from her shoulder with her right hand. The figure corresponds very closely to the attending servant on the lekythos, but as there is nothing to mark her as a servant, she has been called Chrysothemis; perhaps no definite person was in the mind of the painter. All these vases are much later than our lekythos. Somewhat the same scene, however, appears on an early terra-cotta plaque found on the island of Melos 4 and preserved in the Louvre. Electra sits in the same attitude as on our lekythos, except that she faces toward the right and supports herself on one hand placed on the step behind her; the old nurse stands behind her, and Orestes ( ? ) with one foot on the stele step holds out his hand as if in conversation (Robert names this figure Talthybios, Bild und Lied, S. 168); two youths follow with a horse. Finally, mention should be made of a white lekythos with drawing in fine lines of dull pink, 5 a style which was popular at Athens about 425 B.C. The figure on the steps of the stele has been interpreted as a 1 Raoul-Rochette, Man. inedit. pi. xxxiv; Baumeister, Abb. 1308. 2 Millingen, Vases grecs de la collection de Sir John Cogbill, pi. xlv. 8 Peinturct des -vases antiques, pi. xiv. * Man. Inst. VI- VII, tav. Ivii, middle of the fifth century. 6 Raoul-Rochette, Man. inedit. pi. xxxi A. GROUP B: CLASS IV, i, CONCLUSION 139 youth because of the short hair, but there can be little doubt that it is intended for a woman and the lines behind the head are part of the garment which was drawn up as a veil. Electra, then, seated on the steps of the stele, faces the right as on the relief, and before her is the standing youth Orestes; behind her on the other side of the stele is a standing woman in the style of drawing which is characteristic of the women on these vases with pink outline. The lekythos in the British Museum which we are considering may be of about the same date as the relief from Melos, but it antedates the four other vases with which it has been compared, three of them by at least a century. It is in every way probable not only that all these scenes go back more or less indirectly to some one antecedent, but, further, that that antecedent was some popular painting. The British Museum lekythos furnishes valuable data in confirmation of both points. The fact that there are three figures at all, and the fact that there is an attempt to draw persons resting in easy attitudes on a vase in a series where the attitudes are unusually stiff, both point to some particular influence which was not operative on other members of the series. Moreover, all three of these figures, together with others, are found in almost exactly the same attitudes on other vases having the same scene. Another curious fact is that this type of youth is perfectly familiar on vases of Group C, and that still later both the type of the seated woman on the stele and that of the standing woman adjusting the garment on her shoulder become somewhat common. 1 I can hardly question that while the other members of this series date from about 460 B.C., the one under consideration is from ten to twenty years later, when the use of enamel paint had been discontinued and a pure white engobe was regularly used. No other reason for the return to the old technique suggests itself than that there was something in the proto- type of the scene which made the abandoned technique seem more suitable. We may perhaps be justified in thinking that the prototype was a painting, and that in that painting the flesh of men and women was painted in a tint lighter than the background. Apart from the lekythos just considered, the members of this series fall into two sets according as they have one or two figures in the scene; the two sets sho\v some differences in the choice of scene and in its l Robert, Bild und Lied, 169, A. 18, discusses the Orestes and Electm scene as the prototype of seems of mourning at the grave. 140 ATHENIAN WHITE LEKYTHOI execution, but there is no marked difference in the technique and ornamentation of the vases. All have the brown or greenish slip, often slightly rough; on all the drawing is in lines of slightly thinned glaze and enamel-white is added for the flesh of women. The shape does not differ much from the finer specimens of Class II; the mouth is usually trumpet-shaped and not a simple bell, and the foot is a disk the edge of which flares slightly toward the bottom. The black pal- mettes on the red shoulder also are like those on the shoulder of leky- thoi of Class II; sometimes they are more slender, on about half there is a row of short concentric bars next the neck, and a few times there are dots in the field between the palmettes. The maeander is rarely of the simple key pattern; generally it is somewhat complicated and broken by a horizontal cross; once the checkerboard pattern and once the later oblique cross break the maeander.- On six specimens two purple lines appear on the black just below the scene, as was the case on most lekythoi of Class II. A slight preliminary sketch like that on the better red-figured vases may be traced on about half. Only four are drawn in simple outline without some solid color; two have a garment in solid black without other color, but generally a dull pink or a bright red is also used; on the pink ground fold-lines are indicated in a darker color, but on the red they are usually in glaze outline. This pink is probably a variety of the purple used by makers of black-figured ware; the red is a new color and gradually becomes the more popular. As for the attitude of the figures, the full profile, especially for sitting figures, is more common than on'any other of the later classes of vases, and the standing figures rest squarely on both feet. 1 It only emphasizes the stiffness of attitude to say that advancing figures appear only three times. On twenty-three of this series the scene consists of but a single figure. With one or two exceptions the subjects are the same as in Group A,, and the treatment of the subject is such as to suggest that the artist was working, not from other types of vases, but from outline lekythoi of the earlier classes. Naturally the peculiar characteristics of Group B appear less commonly here; the work also is careless, except in two or three cases. The six lekythoi with two figures may all be classed as domestic scenes, although a man appears on the last two. The distinctive profile of the domestic scenes, the stiff attitudes, the wool basket, wreath, or smegmatotheke, objects of domestic life, are found on all of them. It may be mere chance that in these six instances there 1 Cf. the stiff figures on the red-figured kylix, Brit. Mus. E 80, Cat. Ill, pi. v. GROUP B: CLASS IV, 2, 1-2 141 is no direct reference to the grave or to preparations for a visit there; but they are simple scenes of domestic life. Aside from two fragment- ary kalos inscriptions there is only the Lichas inscription which will call for consideration again later. Even apart from this inscription the series would be dated about 460 B.C., and there is no reason to question that they were produced in a comparatively short period. Series 2. Lekythoi of Class IV with reserved red palmettes on a black shoulder The typical shoulder ornament of this series consists of three pal- mettes and two lotus buds; instead of the row of short bars next the neck there is a narrow egg-pattern. The maeander is quite simple, and unbroken. 1. London, Brit. Mus. D 19. Gela. H. 11 in. Palmettes and maeander typical; below the scene is one purple line. The added white has almost disappeared; there is some indication that it was added to the wings as well as to the flesh. Lines of the outline quite coarse. Garment purple with fold- lines added in white (?). Nike flies toward the right and looks back. She wears a chiton, and her hair is in a round black coil behind. Traces of an inscription in the field. 2. London, Brit. Mus., D 20. Gela. H. 14 in. White Ath. Vases, pi. xxii. Palmettes and maeander typical. Slip a warm yellow, smooth. White for acces- sories; dull pink with brown lines, and black with purple lines are used for garments. The drawing is of the late severe period. On a diphros (drawn in outline) a woman sits facing the right, and holds up a ring, probably a wreath from which the leaves are gone. Her hair is in a close knot at the back of the head rather high up, and about the forehead black relief dots are added. She wears a chiton with large sleeves, in dull pink with almost perpendicular fold-lines, and a black himation is wrapped about her knees. She has ear-rings and bracelets. In the field at the left is a white alabastron and below a kalathos on the ground; at the right hangs a sakkos. Before her is the word K A V E. This carefully drawn and somewhat stiff figure illustrates perhaps better than any other specimen the type of these domestic scenes. The delicate nose, small lips, and slightly elongated eye may have been due to a conscious effort on the artist's part to produce a distinctly feminine type of face. The black relief dots on the hair appear oc- casionally from the time of Amasis on, but the round stiff knot of hair i 4 2 ATHENIAN WHITE LEKYTHOI is unusual. It belongs to the period of transition from the mass of hair twice doubled and held in place by a band, to the coil or knot held up by a cloth which was passed under it and fastened over the front part of the head. The use of purple for fold-lines on a solid black is an adaptation of the means at the disposal of the maker of black-figured ware, which is quite characteristic of Group B, the last group of lekythoi that shows clearly the influence of this earlier tech- nique. Both in the use of relief dots for the hair, and in the use of these fold-lines, this lekythos recalls a specimen of Group A (Class II, no. 17, Athens, Nat. Mus. 1828); it is one of the later numbers in that group and belongs to much the same period as the one now under consideration. As compared with later members of the present series, it is noticeable that this scene is less formal and conventional. The accessories are much the same, but it is an alabastron, a vase made to hang, that hangs on the wall, rather than a lekythos or an oinochoe; perhaps this is the earliest appearance of the sakkos on extant vases, and it is true to fact that this also should hang on the wall. The range of ornament is soon established, and within this range the later artist chooses without much thought. Although this vase and the preceding are decidedly the earliest of the series, it illustrates particularly well the main characteristics of the whole series. 3. Syracuse. 19897. Gela. H. 0.42 m. Plate III, 2. On the shoulder typical palmetteswith lotus buds. The maeander is broken by hori- zontal crosses; below the scene is a purple line on the edge of the black. Drawn in medium lines of rather thin glaze; black with purple details, brown with black details, and red with white details are used for garments and accessories. The mirror is in thin glaze. Before a brown Doric pillar a woman sits in profile facing the right, looking at a mirror in her right hand. She wears a red sleeve chiton and a black himation which leaves the right arm free; about her head is an outline taenia, from which her hair falls in a long knot between the shoulders; on her right arm is a bracelet. The chair on which she sits is brown; beneath it is a black crow; above the woman hang a black lekythos and a taenia, while before her on the ground is a red kalathos. In style this lekythos is extremely like no. 2, though the drawing is much more delicate and the figure is in a more graceful pose. The introduction of domestic objects into the scene is still in a somewhat tentative stage; most of the objects, the pet bird, the kalathos, and the lekythos on the wall, occur separately on lekythoi of Group A; here they are combined as though to leave no room to question the domestic significance of the scene. GROUP B: CLASS IV, 2, 3-6 143 4. Syracuse, 19900. Gela. H. 0.38 m. On the shoulder typical palmettes with lotus buds. The unbroken maeander above is somewhat complicated; below, a maeander broken by horizontal crosses is drawn on a red ground. The drawing is in fine lines nearly black; solid black is used for the bob- bins, but no other color is seen. A woman stands en face holding up in her left hand a large bobbin of yarn which falls in many strands from her right hand as she unwinds it. She wears a sleeve chiton with fine fold-lines and a himation which leaves the right shoulder free. Her hair is appar- ently braided or tied together and then caught up in a loose coil with the ends protruding above. Before her is a kalathos containing several large bobbins of yarn. For this scene from the gynaikeion I find no parallel on other vases. For once the lekythos painter has attempted a scene from real life, and while it is not entirely successful from the standpoint of decoration, it is a welcome relief from the stereotyped figures ordinarily found. Probably the vases thus far considered are earlier than most of the lekythoi under series I, though the red-figured shoulder marks a step forward in the development of the ornamentation. 5. Oxford, Ashm. Mus. H. 0.25 m. Jour. Hell. Stud. 1896, p. 167, note 6(#); Klein, Litblingsinscbriften, S. 162, 8. Typical palmettes and lotus buds on the shoulder. Maeander unbroken. Drawn in coarse black lines; solid black, dull pink, and bright red are used for accessories. Before a slender Ionic column (the capital and base painted in white enamel) sits a woman in profile, holding up the two ends of a wreath. She wears a sleeve chiton, over her knees and left shoulder is a himation with red stripes; she has ear-rings, and her hair is held in a knot by a wide purple taenia. On the ground before her is a white goose, above which hangs a black oinochoe. Inscription AI_I_ A< The meaning of the column (beside a woman's head) on lekythoi of Class II is not clear; but in this instance there is no doubt that it in- dicates a portico connected with the women's apartments; and like the crow on no. 3 and on a lekythos of Class III (no. u) the duck or goose is a favorite pet in the gynaikeion. The stork on a later vase in the present series has no close connection with the scene, but these birds are the actual pets of daily life. As the dog with his master on the former Lichas vase (series I, no. 28) marked a point of connection between lekythoi and grave monuments, so the bird with her mistress calls to mind a considerable series of such monuments, all of them, however, considerably later than these lekythoi. 6. Oxford, Ashm. Mus. H. about 0.36 m. Typical palmettes and lotus buds on the shoulder. Maeander unbroken. The slip is quite brown ; on the edge of the black below the scene are two purple lines. The white 144 ATHENIAN WHITE LEKYTHOI enamel ordinarily used for the flesh has disappeared if it ever was used. Dull red, and black with purple lines are used for garments, etc. A girl advances toward the right, holding out in both hands a black casket. She wears a dull red sleeve chiton with fold-lines added in white; a black mantle with purple lines is loosely draped over both arms; her hair is held in a knot by a narrow purple taenia, and she has a bracelet. The large box or casket, which occurs frequently on lekythos of the present class (cp. series i, no. 23, etc.), is occasionally found on grave scenes, but only as an article of domestic use. It probably represents the casket in which were kept jewels and other small articles used in feminine toilet. As such it is found, e.g. on the Hegeso grave stele. The skirt is drawn with a full fold behind, in a manner peculiar to the present class. 7. Athens, Nat. Mus. 1912, Cv. 1648. Athens, Kerameikos. H. 0.23 m. Typical palmettes; maeander unbroken. Below the scene on the black glaze are two purple lines. Garment black with purple fold-lines. Traces of a preliminary sketch. A youth (?) stands before a diphros, holding in his right hand fruits, in his left a basket. He wears a himation drawn over both shoulders. In the field is an outline alabastron. This scene follows the type of the woman before an altar which is common in Class II and on red-figured lekythoi. While the type has been consistently adapted to its new meaning, the generalized, purely ornamental character remains the same. 8. Athens, Nat. Mus. 1845 (Coll. 400), Cv. 1635. H. 0.255 m -' Cir. 0.255 m - dth. Mitth. XV, S. 56, 14. (Fig. 36.) Palmettes and maeander typical. Dull pink is used for the chair, and black with purple details for garment and hair. Pre- liminary sketch. At the left a woman stands in full profile, holding out a smeg- matotheke on her right hand and an aryballos in her left hand. A purple cord wound around her hair three times holds it in a coil at the back of her head; she wears a sleeveless chiton with long fold from the shoulders, ungirded. The flesh is only slightly whitened. On a dull pink chair a woman sits in profile, holding out a taenia in both hands. She wears an outline chiton with large sleeves, and over her knees is a black himation with purple fold- lines; a wide purple taenia holds her hair up at the back of her FIG. 36 (no. 8). head. Behind her hangs a sakkos drawn in outline. The peculiar stiffness of these slender, thin figures, characteristic as it is of most lekythoi in this group, continues to be noticeable in one GROUP B: CLASS IV, 2, 7-10 ,45 series of lekythoi under Group C (Class V, series e); and this line of connection deserves mention at this point because one of the marks of that series is the wide taenia with serial black marks, like the taenia held by this seated woman. The smegmatotheke decorated with fine hatchings, such as the standing woman carries, is also found in that series. 9. Athens, Nat. Mus. 1987. Cv. 1645. Eretria.. H. 0.32 m. Jour. Hell. Stud. 1896, p. 172. Palmettes and maeander typical. Brown with black details, and black with purple details, are used for garments, etc. By a chair with brown cushion stands a woman holding out both hands. She wears a black chiton with purple fold-lines, and a brown himation with black fold-lines. Before her is a kalathos in black with purple details. At the right, facing the first woman, stands a second, holding out a black smegmato- theke. Her hair is in curls down to the shoulders; she wears a sleeveless outline chiton with fold from girdle, and apparently an overfold from the shoulder. On these last two vases the chair is no longer black, but it is painted with a thick dull color varying from brown to a slightly pinkish shade, which may have been made from the purple that was applied on black. It continues to be used for chairs and some accessories in this group, and rarely on vases of Group C. 10. Athens, Nat. Mus. 2032, Cv. 1633. H. 0.25 m. Plate V, 2. Palmettes and maeander typical. White and magenta are used for garments, black for accessories. The preliminary sketch includes fold-lines which were not added in color. At the left a woman stands in partial profile holding out both hands as if with a taenia. She wears a sleeveless chiton drawn in outline, with fold from the shoulder, ungirded; her hair is in a round knot, a little up from the neck. At the right a woman in partial profile faces the first woman and holds out a black fruit in her right hand. Her hair is arranged like that of her companion, but it is covered with a cloth; a few locks stray out in front of the ear. She wears a chiton with large sleeves, drawn in outline; and a white himation (folds in thin glaze, a wide magenta stripe near the middle and along the lower edge) is draped around the body, and held at the hip by the right hand. Between the figures a black bird seems to stand on the wall with his head down. Of these two figures the one at the left is hastily drawn, and repeats a type which is very characteristic of the present series. The small head with low crown is more marked than usual, and the pose is stiff; while the round knot of hair resembles that on no. 2 of this series. Although the right-hand woman stands squarely on both feet and the drawing is not free, still the figure is executed with considerable care, and it 146 ATHENIAN WHITE LEKYTHOI shows some slight attempt at originality. The delicate profile of the face and the treatment of the eye call to mind that series of lekythoi under Class C which has been mentioned in connection with no. 8. The himation is handled in a manner that is not specially graceful, but it does not follow any lekythos type. On the other hand, the lines of the chiton about the breast follow very closely the type of this series; it is farther noticeable that only one breast is indicated, just as if the figure were in full profile. This is the same trait which was noted in some of the later vases in Class II, and is probably due to old tradition, a tradition which persisted even when the method of treatment had otherwise changed. Finally a sort of originality on the part of our artist is evidenced by the bird. The conventional accessories are omitted, and in their stead a bird is perched in an almost impossible attitude on a projection of the wall. The difference in technique between the two standing figures extends even to the character of the lines in which the figures are drawn, and it would hardly be rash to suggest that they came from different hands. n. Berlin, Inven. 3175. Athens. H. 0.343 m.; Cir. 0.368 m. Jour. Arch. Inst. 1891, Arch. Anz. S. 118, 14. (Fig. 37.) The neck is slenderer and the body swells more than in other members of the series. Palmettes and maeander typical. Slip of a warm yellow tone. Black accessories, and applied purple for taenia. The -preliminary sketch in the soft clay gives some details which are missing in the completed scene. At the left stands a woman, her body only slightly out of profile, pouring from a phiale in her right hand and hold- ing a sceptre erect in her left hand. Her hair is looped loosely over her ears, and bound to the back of the head, with ends free, by means of a broad purple taenia. She wears sleeve chiton and himation drawn in outline. At the right a woman stands squarely on both feet, body en face, and faces her com- panion; she holds a black oinochoe in her lowered right hand, and holds up a torch in her left hand. She wears a sleeveless chiton with deep fold from girdle, and an overfold from the shoulder. Her hair is in a knot, held up by a broad purple taenia. FIG. 37 (no. n). GROUP B: CLASS IV, 2, u-na 147 To judge from the preliminary sketch the painter has made a curious mistake in the right arm of the figure at the left, so that the elbow is not covered by the sleeve as was originally intended. In this instance the two stiff figures of the gynaikeion, which constituted the repertoire of our artist, receive the attributes of the libation scene that is so com- mon on the red-figured vases of the period. On a vase of the following series (3, no. 29, Athens, Nat. Mus. 1754) the same transformation is more successfully carried out, and the figures seem to be Demeter and Kore. On the present vase it is only clear that the schema of mistress and servant is preserved, while at the same time the sceptre of a god- dess is given to the mistress and the torch (of Artemis or Kore ?) is given to the servant. The small firm chin and long nose give an odd, prim expression to the faces, perhaps not intended by the artist. It is unusual to find the old style of doing up the hair (figure at the left) on a vase of this series; on the other hand, the elongated eyes are typical of these lekythoi. na. Athens, Nat. Mus. Inv. 12771. Eretria. H. 0.39 m. 'E<. 1905, I A OS Inscription stoichedon, with letters spaced widely, K A A 5 M HA A NOT. 9. Athens, Nat. Mus. 1922, Cv. 1630. Eretria. H. 0.30 m. Ath. Mitth. XV, 52, no. 7; Jour. Hell. Stud. XVI, 165, no. 4 pi. v; Klein, Lieblingsmschnften, S. 159, I. On the shoulder palmettes of an intermediate type (Jour. Hell. Stud. XVI, p. 175, Fig. 3). Above the scene a simple maeander. Two shades of brown for box, white and black for accessories; black with purple fold-lines for garment. At the left a woman in full profile stands squarely and holds out a large box in both hands. She wears a sleeveless chiton, girded over overfold from shoulder (drawn in outline, lines often wavy); her hair falls in a long coil or braid, the end of which is in a purple bag, and there is a purple ribbon about the head. At the right a taller woman in full profile stands squarely facing the first, and holds out a white smegmatotheke in her right hand. She wears a sleeve chiton drawn in out- line, and over it a black himation with purple fold-lines. Her hair is held close to the head by a purple cord which passes around it three times. At the left a black oinochoe A I I A 0* hangs in the field. Inscription, K A A M E A A N P. 10. Athens, Nat. Mus. 1963, Cv. 1628. Eretria. H. 0.405 m. Atb. Mitth. 1. c. no. 5; Jour. Hell. Stud. 1. c. no. 5, pi. v; Klein, 1. c. no. 2; AeXriW, 1889, cr. 75, 3. Shoulder palmettes like those on the last number. Above and below the scene is a maeander broken by oblique crosses, but not reversing. Air-hole in lower part of body. White is used for accessories; magenta, and black with purple fold-lines, for garments. By a stool a woman in profile stands squarely, holding up a white smegmatotheke in her left hand, and an alabastron in her right hand. She wears a sleeve chiton drawn in outline, and a black himation with purple fold-lines; her hair is in a small knot at the back of her head. Before her is a stork with foot raised. 162 ATHENIAN WHITE LEKYTHOI At the right a woman stands squarely, body and feet en face, looking at her companion: on her left arm she carries a three-handled basket containing red and white taeniae. She wears a sleeveless chiton girded over a long overfold from shoulder; it is a dull magenta A I 4> | AO Z red with glaze fold-lines; a cloth covers her hair. Inscription, K A A 0^ MEAANOPO. n. Rome, Museo artistico industriale. Greece. H. 0.365 m. Rom. Mitth. XIII, S. 84, Taf. iv; Klein, 1. c. S. 160, 3. On the shoulder egg-pattern and palmettes. The slip is yellowish. The maeander above the scene is broken by oblique crosses, not reversing. Black with added purple lines and red are used for garments, and brown and black for accessories. At the left a woman stands in profile holding out in both hands a large brown basket with one purple and one white taenia. She wears a sleeveless chiton once red, girded over a long overfold; her hair is held in a small knot by a purple cord wound several times around her head. Opposite her is a woman en face holding some object down in her right hand. She wears a sleeve chiton and a long black himation (purple folds) beneath which her left arm is bent; her hair is arranged like her companion's. Behind her is a stool with white legs and brown seat. Between the two is a crow on the ground; at the left hangs an oinochoe, at the right A I I AO 5 an oinochoe and a sakkos; in the middle is the inscription, K A A ^ MEAANOPO. 12. Athens, Nat. Mus. 1923, Cv. 1629. Eretria. H. 0.36 m. AeA.Ttoj>, 1889, 0-./6, 4; Atb. Mittb. 1. c. no. 6; Jour. Hell. Stud. 1. c. no. 6, pi. v; Klein, 1. c. S. 1 60, 4. Palmettes of the experimental type figure in Jour. Hell. Stud. 1. c. p. 176. The maean- der above the scene is broken by oblique crosses, but does not reverse. Brown for chair; black and white for accessories; black with purple fold-lines for garment. There is an air-hole in the lower part of the body. At the left a woman in profile sits holding out both hands, on the right hand a white smegmatotheke. She wears sleeve chiton drawn in outline, and a black himation (purple fold-lines) is about her knees; her hair hangs in a braid or long coil. At the right a woman in profile stands squarely, body and feet en face, looking at her companion; on her left arm she carries a basket of taeniae like that on no. 10. She wears a sleeveless chiton, with long overfold from shoulder ungirded. Her hair is ar- ranged like that of the first woman. In the field at left hang a mirror and an oinochoe. A I > | AO Z Inscription, K A A 3 MEAANOPO. This interesting series has been carefully discussed by Mr. Bosan- quet in the article in the Journal of Hellenic Studies above referred to. GROUP B: CLASS IV, 3, 11-12 163 At least four of the series were found in Eretria, and the three preserved at Athens doubtless came from the same hand; that they were made at Athens and not in Eretria can hardly be doubted, for this Diphilos would hardly receive such tribute from an Eretrian. His name with- out the name of his father appears on an outline lekythos of Class C * and on a few red-figured vases; 2 Bosanquet also calls attention to the Olympian inscription 3 giving a decree of Elis that confers proxenia on a Diphilos, son of Melanopos of Athens. According to Thucydides (VII, 34) a Diphilos commanded a fleet in 414, and Laches, son of Melanopos, was commander in 427 (III, 86). The date of the inscription from Olympia cannot be given precisely. The dates given by Thucydides would harmonize well with the fame of the same person as a beautiful youth near the middle of the century. The shoulder ornaments on these lekythoi are nearly, but not quite, of the type which became normal; the maeander, also, is broken by the oblique cross as in Group C, but it is not yet the later type of ornament with reversing maeander. No preliminary sketch is to be detected, as though the artist no longer felt the need of such a guide in reproducing figures of these simple types. The figures themselves stand stiffly on both legs, and are either in full profile or en face with the head in profile; the garments are of the usual two types which seem to have indicated mistress and maid; and on each vase one garment is treated in silhouette. The only trait which deserves special notice is the prevalence of a treatment of the hair which is all but limited to this group of vases. The attendants, and on one of these vases the mistress also, have the hair in a long coil or braid which hangs down the back, and is either tied with a ribbon or confined in a little bag at the bottom. On one of these four vases, no. 9, the garment of the attendant is drawn with a peculiar wavy line, a trait which has already been noticed in connection with no. 7 supra. Three of these vases standing together on the museum shelves at Athens attract attention even from the casual observer by their careful drawing and finish combined with great rigidity of attitude and gesture. The grace of single lines and the freedom of the stork (or heron ? 4 ) on no. 10 indicate that the painter felt bound by definite types in the figures 1 Infra. C V, 44, Berlin, Inv. 3970, cp. Arch. Aiu. 1898, p. 191, no. 95 Jour. Hell. SnJ. 1899, P- 179. n - I- 2 Hartwig, Meisterubalen, pi. xxxiv-xxxv, i, Brit. Mu. E 68, in the style of Brygos ; /&*. ha. 1856, pi. xnr, Lowrre. 4 E.g. Brit. Mus. E 455 and 456, Gerhard, Mm. faun. Tf. 155. i 7 4 ATHENIAN WHITE LEKYTHOI of this series of lekythoi. The present vase gives a red-figured scene with no change except what is due to the limitation to two figures. 29. Athens, Nat. Mus. 1754 (Coll. 679), Cv. 1626. Athens. H. 0.40 m.; Cir. 0.43 m. Dumont-Chaplain, I, pi. xxxvii; Heydemann, Griecb. Vas. S. 7, A. 23,Taf. viii; Atb Mitth. XV, 48, no. 4. On the shoulder three palmettes with an even number of black leaves and odd num- ber of dull red leaves. Above and below the scene there is a maeander broken by hori- zontal crosses. Light red, black with purple lines, and white with dark lines are used for garments, etc. The preliminary sketch in the soft surface gives some fold-lines which were not added in color. At the right Demeter stands in partial profile, holding a sceptre and a sheaf of corn. She wears a sleeve chiton, black with purple detail, and a light red himation, the folds of which were not added in the completed sketch; a crown is on her head, and the himation covers the long braid or coil of hair which hangs down the back. At the left Kore stands in full profile, pouring from a phiale in her right hand, and holding up a torch in her left hand. She wears sleeve chiton drawn in outline, and hima- tion, white with dark fold-lines. Her hair is looped over the ear and hangs in a long coil or braid; about the head is a narrow taenia. The vase is larger and more careful than most of the series, though there is nothing like the attention to detail which is found on the Bonn fragment (no. 5). The general schema only differs from the ordinary type in that one of the figures is neither in full profile nor fully en face, and in that both of them wear the same kind of garment. The stiff- ness with which they stand and the treatment of the hair, on the other hand, are quite characteristic of the present group. The attributes of the two goddesses are not repeated with such constancy that it is possible to name them definitely. The attributes of the queen belong to Kore when she is represented with her husband, to Demeterwhen she is with her daughter and when Hades is not present. In the Trip- tolemos myth especially the crown and sceptre and the sheaf of corn belong to Demeter, because it is as the queen of the earth that she sends out to men the gift of the grain. So the torch belongs to Demeter in the myth of her search for Persephone, but where the latter appears as the attendant of her mother in other Eleusinian myths she very naturally has the torch. Again, in these libation scenes it is the sister who brings the libation to her brother god, the wife to her husband, the daughter to her mother. These two figures, then, may be named with some confidence, though they are often confused by the vase painter. A scene at first sight very like this is found on a vase pub- lished by Tischbein. 1 A column stands between the two standing 1 Engravings from Ancient Pases, III, 56. GROUP B: CLASS IV, 3, 29-30 175 figures, and in this instance it is Persephone the queen who brings a libation to Demeter with torches, the Demeter who has been seeking her daughter; in spite of the different conception of the scene, the lines of the figures are very like those of the white lekythos at Athens. The suggestion of Dumont that the two goddesses are here the god- desses of the dead is emphatically rejected by Weisshaupl ' and the scene is classed with such other mythological scenes as the representa- tions of Nike, Eros, etc. There can be no question that it is a mytho- logical scene, one of relatively few which are found on lekythoi of this group. It might appear in just this form on a red-figured vase of some other shape. Still the fact remains that the use of these lekythoi in connection with burial was becoming general at the time when lekythoi of this style were the fashion; under these circumstances it is hardly possible that this mythological scene should not have recalled the lower world, the proper realm of the two goddesses, to the Greeks for whom the lekythos was made. 30. Athens, Nat. Mus. 1983, Cv. 1065. Eretria. H. 0.33 m. AeXrt'oi', 1889, cr. 227, 2; Jour. Hell. Stud. 1896, p. 172. The shape of the body is retreating from the shoulder downward. Neck white with a band of black ivy leaves and fruit, then four lines below; on the shoulder are five pal- mettes with red and black leaves, and stars in the field. Above and below the scene is a maeander pattern, broken by horizontal crosses. Slip rather thin. Bright red garment, black for accessories. Two Amazons stand facing each other; they wear short red chitons, red anaxyridts, and Phrygian caps. One rests one hand on her hip and in the other carries a spear. Her companion holds out a corselet. In the field is a swan, and above hangs a battle-axe. The shape of this lekythos, with its body retreating from the shoulder, is a relic of earlier types; a lekythos with black figures on a white slip, now at Athens (Nat. Mus. 1948), is one of the later specimens in which it occurs. The peculiar ornamentation of the neck and shoulder has been discussed under no. 20 above (Athens, Nat. Mus. 1982), on which this same ornamentation is repeated. On the other two vases with this ornamentation a grave scene is depicted; scenes from the story of the Amazons are a favorite theme with painters of red-figured ware, and . on two lekythoi of series I in the present class (nos. 18-19) tne subject is an Amazon arming herself. The likeness between no. 20 of the present series and the vase now under consideration is sufficient to make it probable that the three lekythoi with this peculiar ornamentation of neck and shoulder were made at about the same time as the other Atk. Mink. XV, 48. 176 ATHENIAN WHITE LEKYTHOI members of the series. On an outline lekythos of this class an Amazon scene, though purely mythological, suggests that the vase was used in the domestic life of women, just as the Demeter-Kore scene suggests that that vase was made to be used in connection with burial. While no definite line separates in time the three series of lekythoi in Class IV, the traces of connection with earlier classes are gradually disappearing and the later type appearing with greater consistency. In the lekythoi of series 3 the mouth still flares slightly at the upper edge, but the other lines of the vase and the shape of the foot follow the later type except in a few instances. On the white shoulder there is first the egg-pattern, then a pattern of scrolls and three palmettes with red and black (or only black) leaves; these elements are not arranged just in the manner that is customary on later lekythoi, but the difference is slight. Several times the lotus buds are added as on the lekythoi of the preceding series; but these vases show other deviations from the type which is most common in this series, and none of them come from the vicinity of Eretria, where many of the typical specimens were found. The slip varies from a light brown to a dull dark brown, and only once is greenish and almost creamy in its consistency. Above the scene the maeander is broken by horizontal crosses on fully half the speci- mens; the oblique crosses which in later classes almost entirely sup- plant the horizontal ones, are found on several of the most typical of the lekythoi in this series. The purple lines below the scene are no longer found, but on two of these vases the maeander pattern is, by exception, repeated on the lower edge of the slip. A preliminary sketch is found on less than half of this series. As the scenes become stereotyped, the need of such aid grows less, and it is often impossible to detect any traces of an outline sketch in later classes. The character- istic marks of the group, the drawing in coarse glaze lines, and the use of enamel-white for the flesh of the women are found universally, with the single exception that on one vase from Gela pink instead of white is used for the flesh. Only two of the thirty in the series show no trace of color, and on these it may have faded. The dull pink and the thin bright red are found several times, and there are some experiments in the use of color, such as the series of parallel red lines close together on no. 15; one of the noticeable characteristics of the series, however, is still the presence on almost every vase of a himation in black with fold-lines added in a thick purple. The use of a silhouette color is all but discontinued after the present class. GROUP B: CLASS IV, 3, CONCLUSION 177 The scene itself consists of but a single figure on only three speci- mens; and the contrast between this and the two previous series is further marked by the fact that the scenes consisting of a single figure in those series seemed to be adapted from scenes in Group A, while these three vases have a scene which is adapted from the domestic scene with two figures that is so common in Group B. Of the scenes with two figures eight are purely domestic and refer to the life of women in the home; twelve suggest the worship of the dead, but on ten of these it is the preparation at home to carry offerings to the grave that is depicted; and nine have to do with religion and mythology, though four or five of these also have to do with acts that take place in the home. Some object in the field to indicate the setting is found on fully half these vases. A hanging mirror or oinochoe or sakkos, a chair or di- phros, a pet bird, indicate the gynaikeion; the smegmatotheke or the jewel-case in the hands of the maid suggest that the toilet is being made; or taeniae and lekythoi, whether hung on the wall, in the hand, in a basket, or on the grave stele, are symbols of worship at the grave. So far as the arrangement and drawing of the scene are concerned, it is not difficult to describe a type to which most of these lekythoi conform with considerable exactness. Six or seven of them stand somewhat by themselves: nos. 26-28, all three probably found in Italy, are more closely related to the red-figured ware of the period than to the other lekythoi of this series; nos. 20 and 30 differ from the type in scene as well as in ornamentation; finally, nos. 21 and 22, one from Gela and one from Attica, show a curious combination in the scene of figures which do not belong together. With the exception of the seven lekythoi just mentioned, one fairly well-marked type prevails. The lekythoi which approximate to this type were found in Attica and near Eretria, most of them near Eretria on the island of Euboea. In the case of all these the scene may be regarded as in the home. One figure is in full profile, either sitting, or standing squarely on both feet, one foot slightly in advance of the other; the second figure is standing, either in full profile like the first, or squarely en face with only the face turned toward her companion. Almost no attempt is made to show a " Spielbein " or to draw the figure in partial profile; and the attempts which are made are quite unsuccessful. The figures are unduly slender, and stiffly as they stand, the lines of the garments are not other than graceful. Normally one of the women has a sleeve chiton and himation, and her companion has the simpler attire of a servant, a sleeveless chiton with ungirded overfold. This simple schema is i/8 ATHENIAN WHITE LEKYTHOI capable of more or less variation and we find now two women in the same attire, now a man and woman; or again the variety is gained by changing the gestures and the objects carried. The ordinary treatment of the hair covered with a cloth, or bound with a cord, or supported by a taenia is usually found; in a good many instances, however, it is gathered in a long coil or braid, the end of which is perhaps covered with a cloth. 1 While some of the women carry an alabastron, a taenia, or some other object, the commonest object is a smegmatotheke (either solid white or solid black); a large box also is fairly common. In the case of the domestic scenes a mirror or sakkos or oinochoe usually hangs in the field; accessories hanging in the field do not occur regu- larly in the other scenes. The inscriptions are particularly interesting because the name of the father of the kalos youth is ordinarily given, and this fact helps to identify the persons in question. These three-line inscriptions are limited to a comparatively brief period. They do not occur in any previous series of outline lekythoi, and in the later series there are only some two specimens, both of these on lekythoi of about the same date as the present series. They are found on a few red-figured lekythoi with shoulder pattern like that on series 2, 2 and very rarely on vases of other shapes. The names have been discussed as they occur, and it has been shown that Glaukon and Diphilos and Lichas are names of youths who would probably receive the epithet kalos not far from the year 460 B.C. The general style of these vases, particularly those with domestic scenes, agrees with the date thus reached; while oc- casional specimens may have been made in this technique after the middle of the century, the use of it seems to have been brought to a rather abrupt conclusion a little before 450 B.C. Conclusion of Class IF (Group B) The study of the three series under the present class has, I believe, justified the principle of division according to the ornament of the shoulder; it has become clear that these three series succeed one another in time, while they almost certainly overlap to some extent. Series I has the shoulder ornament of Class II ; series 2, an ornament used on 1 Cp. Naples 3164 (1333, 2277), on which the scene belongs to the same type of domestic scene as is found on this series of outline lekythoi. Cp. also the hair of Athena on a vase in the British Museum, E 445, and on a stamnos published by Gerhard, Aus. fascn, Taf. 300. 2 Discussed by Bosanquet, Jour. Hell. Stud. 1896, p. 165. CONCLUSION OF CLASS IV (GROUP B) 179 red-figured lekythoi of just this period ; and series 3, an ornament which approximates to the ornament used on lekythoi of Group C. Two- thirds of the lekythoi in series I have only one figure and the scenes are adapted from the scenes used in Classes I -I II; in series 3 only one-tenth of the specimens have but one figure, and these instances are abbreviated from the domestic scenes in which two figures are usual. Several specimens in the first two series have the two purple lines on the black below the scene as in Class I; in series 3 this has disappeared, and the maeander also is modified in the direction of what is common in Group C. No change takes place in the general shape, but the later type of foot has become normal in series 3. In the first series only one- third of the scenes can be classed as domestic; in the third series three- fourths of the scenes are located in the house, and half this number have no reference to anything going on outside. Grave scenes are found in greater number than in Group A, but the percentage of them does not increase within this group; the fact that they do occur in some number proves that lekythoi were now generally used in the worship of the dead. Dull red, or some similar color, was used on more than half the lekythoi of series I and on nearly all those of series 3; solid black had been used occasionally for a garment in Group A, but it is particularly characteristic of the present group; black or black with added lines in purple occurs on one-third of the lekythoi in series I, on two-thirds of those in series 2, and on more than half of those in the last series. In a word, lekythoi of series I show many points of con- nection with Group A, and those of series 3 with Group C; the similarirv in drawing between particular specimens qf this last series and two styles in Class V has been noted above. But while the three series succeed each other in time and mark a gradual change from one main group to the main group (C) that follows, the features of Group B are so marked that it is hardly necessary to state them again. Not only the use of rather coarse lines of glaze, which varies in color from black to light yellow, and the white enamel which is used almost without exception for the flesh of women, but also the type of the individual figures, the style of drawing, and the general schema of the scene are so distinctive that often one characteristic alone would be sufficient to show that a lekythos belongs to this group. The differentiation of outline lekythoi with a white slip from both black-figured and red-figured ware began in Group A. The method of procedure in making the white lekythoi of Group B is still much the i8o ATHENIAN WHITE LEKYTHOI same as in the more common ware of the period. The preliminary sketch in the soft clay with a dull point is found on many of these lekythoi; black glaze, either in masses or in lines, is the material most used; and the dull purple, applied either in lines on a black ground or solidly on the white surface, is much the same purple which was used already by the maker of black-figured vases. In fact, almost the only addition to the resources of the painter is a bright red which is applied in different degrees of thickness. On the other hand, the makers of these lekythoi had developed a distinct type of female figure which is rarely found on red-figured vases, and the schema of the scene is peculiar to the white lekythoi. It is only on a few red-figured lekythoi with red figures on the shoulder that the scenes approximate to those on the white lekythoi of the present group. A peculiar interest attaches to the apparent connection between the lekythoi of this group and the scenes depicted on Attic grave stelai. On the stelai as on these lekythoi the scene is usually domestic in char- acter. The mistress and slave, the commonest type on the lekythoi, is found on many of the earlier grave monuments, as, e.g. the seated mis- tress and slave l (Athens, Nat. Mus. 732 A), the girl bringing a jewel box to her mistress 2 (" Hegeso " monument), or the attendant bringing a child to its mother 3 (Jour. Hell. Stud. 1884, pi. xxxix). On some of the earlier lekythoi 4 the woman is seated alone, as on the grace- ful "Mynno " stele in Berlin. 5 On later grave monuments a woman is playing with a bird 6 or a youth with his dog 7 as on some of these leky- thoi. Most of the grave reliefs are at least half a century later than the lekythoi of this group, an4 it would be unreasonable to suggest that the sculptors were influenced in any large degree by the quite insignificant lekythoi. Rather we should infer that the Greek thought of the dead shaped itself in some measure in connection with the lekythoi which were used in great numbers. The type of scene on the lekythoi soon changed, but the thought of the dead wife and mother as engaged in the ordinary occupations of the home, was so natural and so simple, so thoroughly in line with Greek sentiment, that it persisted and found nobler expression in the sculptor's work. 1 Series i, no. 25, Athens, Nat. Mus. 1826; Series 3, no. 6, Bonn, Jour. Hell. Stud. 1896, pi. iv. 2 Series 3, no. 8, Collection Tyszkiewicz, Sale Catalogue, p. 14, no. 15. 3 Ibid. no. 7, Berlin, Furtw. 2443 4 Series 2, no. 2, London, Brit. Mus. D 20; cf. series 2, no. 9, Athens Nat. Mus. 1987. 6 Furtw. Sammlung Sabouroff. 6 Series 2, no. 10, Athens, Nat. Mus. 2032; cf. Gardner, Sculptured Tombs of Hellas, pi. xxx ; pi. xviii. 7 Series I, no. 28, Athens, Nat. Mus. 1913 ; cf. Gardner, Ibid. pi. xiii, xv. CONCLUSION OF CLASS IV (GROUP B) 181 This comparison between the scenes on lekythoi and on grave monu- ments raises the question as to the purpose for which the lekythoi with domestic scenes were destined. While it is possible that this type of scene was introduced as expressing the Greek thought of the dead, it is more natural to assume that this scene like the later grave scene - was in line with the use of the vase. The prevalence of scenes from domestic life on vases of other types at just this period rather tends to confirm this view. Still it cannot be denied that lekythoi with domestic scenes were used for funeral purposes; as indeed almost all the leky- thoi we have were preserved to us in graves. Two such vases ' show indications of having been exposed to fire after being broken, and it is well known that at times vases used at the funeral were broken as a part of the ceremony. The lekythoi found at Eretria, however, were buried intact, and many of them have been recovered in almost perfect con- dition. This is the only group of lekythoi in which inscriptions play any important part, and here they are found on nearly a quarter of the specimens preserved. Their presence can only be interpreted to mean that individual vases of this group were more highly esteemed or the potters sought for them a higher esteem than in the case of other white lekythoi. It has already appeared that the names in these inscriptions were from well-known families at Athens, and that the persons are more easily placed because on some half a dozen vases the names of father and son appear together. Thus the very limited period in which these lekythoi found favor is marked not only by a definite style of drawing and ornamentation, but also by the names of Glaukon, son of Leagros, Diphilos, son of Melanopos, Lichas, son of Samios, etc. Probably most of these vases date from the ten or twenty years before the middle of the fifth century B.C., though a few isolated specimens may be even ten years later. 1 Scries 3, no. 7, Berlin 2443 ; and series 3, no. 14. GROUP C. LEKYTHOI WITH WHITE SLIP: THIN GLAZE USED FOR DRAWING THE SCENE The third main group of lekythoi is like the second in that thin glaze is used for at least a part of the drawing, though the lines are finer and drawn with greater care than in the case of vases belonging either to Group B or Group D. For the first time there appears the fine white slip which is characteristic of the best Attic lekythoi; this is found on all except a small transitional group, which have a glaze of the same quality but of a yellow color. There is little or no variation in the shape and size of these lekythoi or in their ornamentation. The neck is black, the shoulder is covered with a white slip on which a palmette-scroll orna- ment is drawn in glaze with occasional use of dull color, and over the main scene is a maeander, either continuous or interrupted by other orna- ments. Both the shoulder ornament and the maeander tend to assume definite typical forms. Considerable care, sometimes great care, in the drawing goes with the larger size and fine slip of these lekythoi; at the same time a slightly different technique was adopted for the cheaper ware, a technique sufficiently marked so that the cheaper vases constitute a distinct class, Group D. While the use of glaze in solid masses, except for an occasional black garment with purple fold-lines, has entirely disappeared, the use of dull color for gar- ments and accessories is far more general. The range of colors used for this purpose is, however, still somewhat limited. Within this group are two definitely marked classes : Class V. All the drawing in glaze; some vases allied to those in the preceding classes; inscriptions rarely occur. Class VI. Some of the drawing in glaze, but either the maeander (and shoulder ornament) or the main scene in outlines of dull color; many vases allied to those in which only dull color is used for the out- lines; no inscriptions. 182 GROUP C: CLASS V, i '83 CLASS V. Lekytboi with white slip ; drawing all in thin glaze. The vases of the present class are arranged in smaller series for the sake of discussion. In general no sharp line distinguishes one series from another, so that they are numbered consecutively; at the same time it is clear that such a series as that which Bosanquet calls the " Hygiainon class," or the " lotus bud series," represents a single workshop or school of artists. Most of the lekythoi which have real artistic value belong to the present class. a. Slip yellowish; generally two lotus buds between the palmettes on the shoulder. i. Berlin, Furtw. 2444. Athens. H. 0.27 m. (Fig. 41.) Below the egg-pattern on the shoulder are three palmettes with outline lotus buds added to the two scrolls on each side of the central palmette. This palmette has four black leaves with spaces for three leaves in dull color, which, however, cannot now be seen. Above the scene the maeandcr is unbroken. Slip of a warm yellow, very smooth but not glazed. Drawn in moderately fine lines of thin glaze. Purple is used for the taeniae on the hair, and Furtwangler finds traces of bright red on the shield. Preliminary sketch with a sharp point. At the left stands in profile a woman with head slightly bowed, holding out a child in both hands. She wears a sleeve chiton, undergirded. Her hair falls in a small mass or braid at the back of the neck and is held in place by a purple cord wound four times around the head; it is drawn nearly solid, but with a fine brush, and stiff curls fall over the forehead. The child is held facing the mother. It is wrapped in swaddling clothes, or rather in a large woollen cloth which completely covers its body and arms; its hair is in yellow curls. Facing the woman a bearded man stands in partial profile, holding a spear against his left arm and in his right hand a Corinthian helmet. He wears a chiton, undergirded, and has a light scarf over both shoulders; about his short hair is a red taenia. In the preliminary sketch a shield rests against his knees at an angle of forty-five degrees; this was perhaps colored red. FIG. 41 (no. i). On black-figured ware, 1 and rarely on late red-figured ware, 2 the departure of Amphiaraos is depicted in a somewhat complicated scene. Once s the chariot is omitted, and the necklace is exhibited in a very 1 Berlin, Furtw. 1655; Gerhard, Aui. Paten. Taf. 163. Annali, 1863, Tav. G ; Roscher, Ltxikon t I, 195. * St. Petersburg, Stephani, 406. 184 ATHENIAN WHITE LEKYTHOI realistic manner. On two of the vases just cited the child is represented, perched on its mother's shoulders. On vases of the fine period scenes of farewell displace scenes of departure, 1 in other words the scene is so modified as to belong to the distinctive life of the household. Some- O times on red-figured vases it is treated with considerable feeling and delicacy. When, however, it is reduced to two figures, it is handled in a stiff, conventional manner; ordinarily a woman is handing a hel- met to a youth or pouring wine for him to drink. 2 Such is the treat- ment of the scene on most of our lekythoi; i.e. it is not distinctly the parting of husband and wife, but simply the parting of a young man and woman, 3 and further it is treated conventionally, so conventionally that a grave stele without meaning appears between the figures. 4 The present vase keeps one element from the black-figured ware, namely, the child, and so uses it as to increase the meaning of the scene. In spite of the stiff attitudes and expressionless faces, the mother holding up her child to look at it as her husband takes his armor, brings out the thought that she will have only the child when its father shall have gone off with the army. In the suggestion of emotion this vase is to be compared with one in Group B, 5 where the woman exhibits clearly her affection for the youth. A typical farewell scene on red-figured vases depicts a young warrior departing from his father and other members of the family. The scene of a young warrior leaving a maiden occurs on lekythoi of the present series 6 and will be discussed below; on two or three of these lekythoi also a bearded man is pictured with a woman at the grave. 7 The present scene differs from both of those just mentioned in that it gives the farewell of a departing husband to his family. While it is connected traditionally with the Amphiaraos series, the question may fairly be raised whether the painter did not have in mind rather the departure of Hector as described in the sixth book of the Iliad; certainly it is treated in much the same spirit. So far as Class IV of these lekythoi is concerned, this effort to put some meaning into the scene is discoverable only on some of the earlier specimens. 1 Munich, Jahn, 382 ; Tischbein, I, pi. xiv j Laborde, Coll. Lamberg, pi. xxi. Cp. also Tischbein, V, pi. xxxiii. 2 Cf. Mus. Gregor. II, 58 ; Helbig, Fuhrer, II, S. 304, 1223. 8 Group C V, 49, Athens, Nat. Mus. 1818; on Brit. Mus. D 51 of the same series the presence of the house pet may indicate that we are dealing with a home scene. 4 Cp. Group C VI, I, no. 6, Athens, Nat. Mus. 1761 ; C VI, i, no. 20, Paris, Cab. Med. 4893, etc. 6 Group B IV, 2, no. 13, Oxford, Ashm. 267. 6 Group C V, 28, Athens, Nat. Mus. 1789 ; 49, Athens, Nat. Mus. 1818. 7 Group C VI, i, no. 8, Boston, 450; no. 6, Athens, Nat. Mus. 1761. GROUP C: CLASS V, 2-3 185 Practically all the lekythoi of the present group are of a shape that is typical from now on, and average about 30 cm. in height. This vase and the following differ from those of the preceding class in the absence of white enamel for the flesh of women, in the entire disappearance of masses of black from the scene, and in the smoother, lighter yellow slip. On some of the specimens also color is more freely used. The slender figure and small head of the man is perhaps an innovation, which reaches its climax in series e. On the other hand, the stiff attitudes (e.g. the feet set squarely on the ground '), the treatment of the woollen chiton, 2 the shoulder pattern with two lotus buds, 3 indicate that there is no break between Groups B and C. The hair of the woman looped up behind the head and held by a broad purple taenia around it, with a few stiff locks on the forehead, is exactly in the style common in Group B. 4 A shield standing on the ground beside the warrior is also found on a vase of Group B, 5 though it is treated some- what differently. 2. Athens, Nat. Mus. 1763, Cv. 1643. H. 0.27 m. Festschrift fur 0. Benndorfy S. 91, 6. On the shoulder egg-pattern, palmettes (in front only four leaves in black glaze) and two lotus buds. Maeander unbroken. Preliminary sketch with dull point. Drawn in rather coarse lines of yellow glaze; hair with the same brush but filled in nearly solid. Chair black. At the left by an easy chair stands a woman holding out a long taenia in both hands. She wears a chiton with long overfold ungirded. At the right, looking at her, stands a girl en face and holds out toward her with both hands a basket containing alabastra. Her hair is all in a cloth. She wears a simple sleeveless chiton ungirded; the folds are indicated only in the preliminary sketch. 3. Berlin, Inven. 3171. Athens. H. 0.307 m.; Cir. 0.309 m. On the shoulder palmettes (central leaf in outline) and two lotus buds. Compli- cated marauder, unbroken. Slip hard and smooth, not shiny. Drawn in fine lines of nearly black glaze. Himation dull red; folds of the chiton in similar red but thinner. Preliminary sketch with dull point. At the left a woman nearly in profile draws her himation about her head with her right hand as she steps forward. The dull red himation forms a dark background for the profile of her face. A scant chiton with perpendicular red lines (not folds) shows below; the himation, covering back of head and both arms, falls to her ankles. Stiff curls are indicated over the forehead by dots in relief on a light yellow back- ground. 1 Cp. p. 150, n. a. * Group B IV, i, no. 25, Atheiu, Nat. Mm. 1816; IV, a, no. 8, Athens, Nat. Mm. 1845. * Group B IV, series 2. * Group B IV, 2, no. 8, Athens, Nat. Mui. 1845 ; IV, I, no. 25, Athens, Nat. Mus. i8a6. * B IV, i, no. 29, Oxford, Ashm. 168 ; cp. Group A II, 16, Athens, Nat. Mus. 1964. i86 ATHENIAN WHITE LEKYTHOI At the right a girl advances to meet her carrying on her head a basket with lekythos, etc. Her left hand rests lightly on her hip. She wears a sleeveless chiton with overfold; the fold-lines are stiffly drawn in red. Her hair is in a roll at the back of her neck. The scene on these two vases is much the same, the preparation to go to the grave, though the moment chosen by the painter of the second is later; the same subject occurs on a few specimens of the earlier classes. 1 No. 2 shows the same spirit as the earlier vases, especially those with the name Diphilos, namely a tendency to treat the scene as belonging to the interior of the house; it is a domestic scene as truly as the pic- tures of women putting on jewelry or playing with a baby. As such it has already become quite conventionalized. No. 3 is a strange combination of literalness and conventionalism. The preparations have been completed, the attendant has the basket on her head and balances it gracefully enough with left hand on her hip; the mistress is draped and her head covered for the street. In fact they are pictured as already in motion, but yielding to the demands of convention the painter has drawn them facing each other, instead of going in the same direction; if the maid were following her mistress it would be exactly literal, but at the cost of symmetry. This scene differs from the pre- ceding only in the meaning assigned to it. So definite and fixed is the schema which is outlined in the preliminary sketch, that this schema is practically the same whether the vase is to show a preparation inside the home for worship at the grave, or an excursion to the tomb. The figures on no. 3 show an unusual combination of stiffness and delicacy. The folds of the girl's chiton and the stiffness of her right knee are in strange contrast with the graceful conception of her pose. So the skirt of the woman's chiton is like a stiff cylinder, 2 and her left shoulder is quite out of harmony with the figure; yet there is a strik- ing charm about her attitude and the face is very delicately drawn. Occasionally on lekythoi of a later period is found the same device of a dark surface against which the profile stands out clearly. In this case it may be accidental; in other cases there is no question that a painter accustomed to red-figured work is using the device to produce the same emphasis on the profile for which that technique provides the opportunity. On other vases of this group one often sees the effort to treat hair realistically by the use of dark lines on a yellow background. 1 One figure, A III, 22, Brit. Mus. D 76 ; B IV, i, no. 20, Athens, Nat. Mus. 1953 ; two figures, B IV, 2, no. 14, Athens, Nat. Mus. 1929; B IV, 3, numbers 10 and 12, Athens, Nat. Mus. 1963, 1923, " Diphilos." 2 Cp. B IV, I, no. 27, Paris, Hotel Lambert 84; IV, 2, no. 14, Athens, Nat. Mus. 1929. GROUP C: CLASS V, 4 187 The use of relief dots to indicate curls, as on no. 3, is rare on white lekythoi. 1 4. Berlin, Inven. 3262. Greece. H. 0.287 m. Jahr. Arch. Inst. 1893. Arch. Am., S. 93, no. 55. (Fig. 42.) Shape slightly squarer than usual, i.e. side perpendicular and shoulder more hori- zontal. Glaze rich yellow, smooth but no polish or varnish. On the shoulder palmettes (central leaf in outline) and two lotus buds. Maean- der unbroken. Drawn in not very fine lines of thin glaze; hair put on with the same brush. No prelimi- nary sketch is visible. Brown is used for the box on the stele and for the upper fastenings of the lyre strings. In the centre a square altar-like stele on two steps. Three black lekythoi in different positions, a pitcher, and a kantharos stand at regular intervals on the upper step. On top of the stele is a large lyre, erect as if fastened to a wall behind it, and a small casket. At the left a youth in profile stands squarely on both feet holding out a wreath in his right hand toward the stele. He wears a large himation draped so as to leave the right arm and shoulder free. His hair falls in regular curls to the shoulder. Opposite him stands a woman en face, extending her right arm up toward the stele. She wears an open Doric chiton with overfold; the lines of the garment are graceful but quite severe. Her hair is drawn loosely back so that it covers the ears, and is gathered in a knot at the back of the head. FIG. 42 (no. 4). On later lekythoi the stele assumes a traditional form, and varia- tions are made, if at all, in the figures beside it. At this time a tra- dition exists to guide the artist in his figures, but he is experimenting with the stele. The square shape hardly occurs again; 2 the lyre and the casket are found in the hands of people at the tomb, 8 not again on the tomb itself; and the row of vases on the steps has only a few paral- lels. 4 No doubt the painter was accustomed to see lekythoi set up in just this way on the steps of actual stelai, no doubt caskets were left at the tomb and lyres left resting against it in connection with the worship of the dead. 1 Cp. Group C V, 22, Athens, Nat. Mus. 1935, and Group A II, 16, Athens, Nat. Mm. 1964, and discussion of the Utter vase. a Cf. altar base and narrow stele, Group B IV, 3, no. 21, Athens, Nat. Mus. 1815. * Louvre CA 612 Class XII ; Class X, Louvre MNB, 1729. 4 No. 9, Brit. Mus. D 65 ; no. 22, Athens, Nat. Mus. 1935$ C VI, 1, no i, Brit. Mus. D 56; Class XII, Brit. Mus. D 82 ; cp. A III, no. 59, p. 96. i88 ATHENIAN WHITE LEKYTHOI The boy and the woman show nothing of this contact with reality. The pair, one in full profile, the other directly en face, is familiar on lekythoi of the preceding group, and is the regular schema again in series e below. The woman's garment is treated with the same realism and stiffness on a much finer vase with lekythoi on the steps; l the same profile and this peculiarly shaped head are also found on vases of that series (series c). The youth (or girl) with long curls and draped in a himation becomes a fairly common figure on lekythoi. The square chin and head, with pointed nose, are found with the stiffer lines of the lekythos itself on the first group of lekythoi with outlines in dull color. 5. Boston, Mus. P. 9069. Athens. H. 0.315 m. Plate VI. On the shoulder three palmettes (four black leaves and three in outline), and two lotus buds with central leaves outlined. Maeander complicated, unbroken. The preliminary sketch with a dull point can be traced. Drawn in fine lines of glaze; dull black is used for one garment, and dull red for taeniae. At the left a bearded man kneels on the steps of the stele and looks up. His left hand, under the garment, rests on his hip; his right grasps his cane. He wears a long himation which clings closely to his body. The hair is drawn in black curls with a fine brush. A square stele rests on two steps; at the top is a leaf-and-dart moulding and above this a pediment with scrolls at the sides and a palmette at the top. Within the pediment are two youths boxing, and two youths seated on the ground watching them, all four in silhouette. On the outer scroll of the pediment a nude youth stands en face on each side; the one at the left carries a strigil and in his left hand a staff, the one at the right rests his left hand on his hip and holds a staff in his right. At the right stands in profile a youth entirely wrapped in a dull black himation. In the field at the left hangs a discus, at the right a lyre. Both in spirit and in the style of the drawing this vase resembles the lekythoi of Class VI, series i, more than any in the present class. The draped figure at the right is matched on a lekythos in Athens; 3 even the rather square head and the loose fold of the himation in front of the neck are repeated. On another Athenian lekythos 4 the face of the bearded man resembles the face of this kneeling figure in the profile, the eye, and the treatment of the curly beard. Finally, a lekythos of that series in Boston 5 shows a stele of almost the same peculiar shape as here but without the plastic decoration; on this 1 No. 22, Athens, Nat. Mus. 1935 ; the general lines of the figure are repeated on a vase in Berlin, Inven. 3291, Group C VI, i, no. 5. 2 Cp. no. 25, Athens, Nat. Mus. 1797; Group C VI, i, no. 16, Athens, Nat. Mus. 2035. 8 Class VI, i, no. 16, Athens, Nat. Mus. 2035. 4 Class VI, i, no. 15, Athens, Nat. Mus. 1993. 6 VI, i, no. 10, Boston, 8440. GROUP C: CLASS V, 5-6 189 same vase the nude youth at the left is in the same attitude as the small figure at the right of the stele on the vase now under discussion. The other examples of figures in the pediment of a stele are found on the rude vases of Group D. On a fourth vase of Class VI there are two figures, a seated woman and a child, on top of a square stele. 1 It has been suggested that the last-mentioned figures represent a relief, which the artist did not know how to draw in any other way. No such explanation is possible for our two athletes here, for there are other figures drawn in relief. For statues of athletes to be erected on graves was not uncommon, but their presence as acroteria of a pediment can only be due to the fantasy of the painter. His boldness had already been evinced by the introduction into the pediment of a palaestra scene. The kneeling figure at the left would almost seem to be a spectator of the wrestling contest in the pediment, so eagerly does he watch. The contrast between him and the stiff figure at the right is not in- frequently found on later lekythoi. It may perhaps be maintained that this wholly draped youth, apart from the rest of the scene, is in- tended to be the dead person for whom the tomb was erected. 6. Madrid, Mus. Arqu. H. about 0.40 m. On the shoulder three palmettes (the central leaf in outline) and two lotus buds. The rather short maeander above the scene is unbroken. At the extreme right is a pillar on one step, around the top of which is a wreath (painted ?), while below a taenia is tied about it. The top of the stele breaks the maeander pattern. In front of the stele, his back toward it, is a youth with right hand extended. He wears a long himation, under which his left hand is placed on his hip. At the left a woman in profile holds out an alabastron in her right hand and a taenia in her left. Between the two a taenia is draped in the field. She wears a sleeveless chiton, and her hair is in a roll at the back of the head. The peculiar drawing of the faces and of the woman's garment may be due to retouching; it is possible also that the stele (and the maeander pattern) have been added by a modern hand. Without careful per- sonal examination, it would be rash to draw any inferences from the peculiarities of this vase, but the garment of the youth and the hands of both figures are in harmony with the rest of the series. The shoulder ornament also follows the type of this series. 7. Munich, Jahn, 209 (1696). Athens. H. 0.397 m.; Cir. 0.406 m. Stackelberg, Graber der Hellenen,Taf. xl; Thiersch, Uebtr die hellen. bemalten Vasen, Taf. iii ; Benndorf, Griech. Sic. Vas.> Taf. xxvii, i. 1 No. 14, Athens, Nat. Mu. 1815. 190 ATHENIAN WHITE LEKYTHOI On the shoulder each of the three palmettes has four black leaves (with spaces for red leaves between); two lotus buds. Fine yellowish slip, much cracked. Maeander complicated, unbroken. Drawn in fine lines nearly black; the hair also is done with a fine brush. A reddish brown is used, e.g. for Charon's pole and garment; and a faded color, probably red, for the other garments. The preliminary sketch is found in trans- parent lines not very fine, as though it had been drawn in colorless glaze; the right arm of Hermes does not follow this sketch exactly. Charon's feet are suggested apparently by the use of a point. At the left Charon is drawing a boat to the shore with a long pole, bending his knees to the task. The boat has a large eye in front and "thole pins" on the upper edge. Charon wears a brown exomis (fold-lines in glaze) and a round felt cap. His rough ? unkempt face is in striking contrast with the faces of the other figures. By the prow of the boat Hermes stands en face, grasping the arm of a woman with his left hand and pointing her toward the boat with the kerykeion in his right. He wears high laced boots, a chlamys, and cap with large wings. His bearded face is drawn with care and dignity. At the right stands a woman in partial profile, returning Hermes' glance, and hold- ing out the right arm which he grasps. She wears a sleeve chiton and a himation which entirely covers her left arm. Her hair partly covers the ears and is gathered in a small knot at the back of her head. Jahn designates much of the lower part of the scene and some other details as modern restorations. The skirts of Charon's exomis, most of the chlamys of Hermes, the feet of Hermes (the restoration approxi- mately correct), and some lines in the lower part of the woman's garment are no doubt modern. Jahn also detected KALO inscrip- tions which have now disappeared. Some lines of the preliminary sketch he seems not to have interpreted correctly. On this, perhaps the earliest extant lekythos with a Charon scene, the realistic character of the drawing is noticeable. Where the artist cannot find conventions he draws from life, only emphasizing the traits which are in harmony with popular belief. The " dolphin "- headed boat, the ferryman throwing his weight against the pole, dressed in the ordinary garb of a toiler of the sea, this part of the scene comes from the experience of the Athenian sailor, though perhaps through the painting of some master. The repulsive features of the ferryman, 1 his high cheek-bones, pointed nose, and thin scattering beard, have been made yet more ugly to express the dread he inspired in those who looked for his coming. Hermes is bearded as on black- figured vases, but his character has been ennobled in contrast to the ferryman. It is almost with a look of kindly pity that he escorts the 1 In the reproduction in Jour. Hell. Stud. (1899, p. 182., fig. 6) the face is apparently made more ugly by unsuccessful retouching. GROUP C: CLASS V, 8 191 woman to Charon's boat. While his garments seem to be obscured by retouching, one may detect the lower corner of the short girded chiton which he usually wears under his chlamys. The woman, in contrast with the other figures, is no new personage. In treatment of head and hair she closely resembles the type represented, e.g. on no. 4, though, true to the scene, she comes with bent head and hesitating step. Perhaps it is the same effort for real exactness which leads the painter to draw the pupil of the eye with a curved line, to add carefully the inner contour of the nose, and to treat the hair with such literalness. 8. Boston, Mus. 6545. H. about 0.40 m. Plate VII. The body bulges slightly and the mouth is relatively small. Slip a warm brownish yellow, of fine texture. Most of the shoulder pattern has disappeared, but the lotus buds below the palmettes remain. Maeander simple, unbroken. Preliminary sketch visible. Drawn in black glaze with added purple for taenia and for fold-lines on black. Bright red and purplish red (once the same ?) for other garments. Much defaced. At the left Charon with pole in both hands is pushing a boat with high prow (or stern ?) toward the shore. He wears short girded chiton, black with purple fold-lines. His rounded forehead and stubby nose are distinct, but the cap has disappeared and no traces of a beard remain. Before his head flies a "soul" wearing a long chiton. Facing him Hermes stands en face, with kerykeion erect in his right hand and clasp- ing with his left the arm of a youthful figure. The face has disappeared. He wears high boots, a chlamys of bright red, and a petasos with low crown hanging on his shoulder. The young girl behind him is completely draped in a himation of purplish red, and has a purple fillet about her head; her hair is in a coil at the base of her head, and curls appear in front, Behind her flies a "soul" like the first, carrying a thymiaterion (?). At the right stands a woman in profile, wearing a long chiton and a himation (black with purple fold-lines) which covers the back of her head. The workmanship of this vase is inferior to the last, and the damaged condition of the vase makes it difficult to judge of the scene. Only one head remains intact, the hastily drawn head of the girl for whom Charon has come. Apparently she is looking up at Hermes, the con- ductor of souls. The scene differs from that on the preceding vase in that Hermes turns from the person he brings, to address the odd little boatman. Hermes is perhaps bearded; he wears hunting " boots," held in place by thongs around the leg, and with no indication of wings. 1 Judged by this vase the feet of Hermes on the preceding vase have been restored with approximate correctness. The figure at the extreme right may safely be interpreted as a mourner. Perhaps it is the girl's mother, with black garment over her head, who adds this new element to make the scene complete. If this interpretation is correct, the three 1 Cp. the Hermes on a Jena lekytho* published by Schadow, 1897. i 9 2 ATHENIAN WHITE LEKYTHOI figures at the left form one group signifying the death of the girl, and the mother is facing the fact of her daughter's death. Such a com- plex scene is unusual on lekythoi of the present class. For the first time on lekythoi we find here the small winged figures which must be regarded as souls of the dead. 1 On black-figured vases is sometimes found one "soul," a miniature of the dead man, dressed as was the man himself. On later lekythoi little naked souls with large wings are sometimes seen, usually in groups of two or three gathered about the tomb or the corpse. The presence of more than one, as on the present vase, seems to preclude the idea that here also we have a man's soul beside his dead body, although on the vase before us it might be said that two dead persons were represented. It seems more reasonable to say that these are souls of the (unburied ?) dead who haunt cemeteries and the entrance of the lower world. No doubt they are drawn on the lekythoi to suggest the shadowy existence which awaits in Hades those who have just died. The souls on lekythoi with drawing in glaze differ from those on lekythoi with drawing in dull color in that they are larger and clothed in long garments. They constitute a transitional stage between the soul which is a genuine image of the dead person in question, and the naked figures with long slender wings that are found later. Both these souls are dressed like women. It would throw light on a vexed question if one could make out what the one at the right is carrying. At first sight it resembles the thymiaterion sometimes carried by Nike, nor would such a transfer be unnatural when one compares this figure with such flying Nikes. If souls fly, they will come to be represented with wings; and if they have wings, they will come under the influence of the types of winged figures. 9. London, Brit. Mus. D 65. H. 15^ in. White Ath. Vases, pi. xxvii. Neck white with pattern of ivy leaves and fruit. On the white shoulder a row of bars and five palmettes. Above the scene a wavy line; below the scene a maeander broken by horizontal crosses. Drawn in thin yellow glaze varying to black. Vermilion for one mantle. On three steps rises a fairly slender shaft with acroterion. On the steps stand a lekythos and smegmatotheke; at the right is a basket on a diphros. Two taeniae are bound about the stele. An alabastron hangs in the field over the basket. At the left a woman stands in profile; her left hand is extended and in her right she holds up an alabastron. She wears a sleeve chiton (perpendicular stripes) and vermilion 1 On these souls see Benndorf, Griecb. Sic. fas., on Taf. xiv, xxxiii ; R. Hirsch, De animarum apud antiques imaginibus ; O. Kern, Aus der Anemia, 89 f. GROUP C: CLASS V, 10 193 himation. Her hair is held by a cloth in a knot at the back of her head. She wears ear-rings. On the other side of the stele stands a woman en face (right foot and head turned toward the stele) taking a taenia from the basket with her right hand and holding up in her left hand a high pyxis with stem and lid. She wears a sleeveless chiton with two girdles and a rather short overfold from shoulder. Her hair is in a large knot held up by a band around her head. In the attitudes, the garments, the treatment of the hair and eyes, and the profile of the figure at the left, this vase resembles the type common in Group B. The absence of white enamel excludes it from that group, and the peculiar ornamentation marks it as an experiment. The same ornamentation occurs on two other outline lekythoi in Athens (B IV, 3, nos. 20 and 30, Athens, Nat. Mus. 1982 and 1983) and on one or two later lekythoi with black figures on a whitish ground. The resemblance between this specimen and the first of those just named (Athens, Nat. Mus. 1982, B IV, 3, no. 20) has been dis- cussed above. The two no doubt came from the same shop at the same time, if they are not from the same hand. Even without such a parallel in the subject represented, the character of the drawing on this vase would show that it belonged with the previous group except for the omission of the white enamel and the change in the consistency of the slip. There is every indication that Groups B and C overlap, and it appears from the next lekythoi that Group D is contemporaneous with Group C. The basket on a diphros appears as a domestic scene on B IV, 2, no. 14 (Athens, Nat. Mus. 1929). The presence of a diphros at the tomb should probably be explained as the result of this domestic scene rather than as copied from actual practice, whatever the practice may have been. The basket on a diphros had become part of the apparatus of the lekythos painter. 10. Munich (uncatalogued). Athens. H. 0.35 m. (Fig. 43.) Shape slightly contracting from the shoulder. Neck and shoulder red; on the shoulder five rude palmettes with groups of three dots. Slip white with transparent shiny glaze. Above the scene a maeander broken by checker-board squares; below it a simple maeander. Drawn in yellow glaze with black only for the hair and lekythos. Possibly red was used on garments. Preliminary sketch with a sharp point. In the centre is a small stele on three high steps. On it is an imitation inscription in three lines; on top stands a large kantharos in outline. At either side of the stele hang objects in the field, at the left a black lekythos, at the right a purse. At the left a woman in profile approaches, holding up an egg in her right hand. She wears a sleeve chiton and (red ?) himation; a taenia holds her hair in a knot at the back of her head; she wears ear-rings. Profile of the "severe" type. 194 ATHENIAN WHITE LEKYTHOI At the right stands a woman in profile holding out a large taenia in both hands. Her dress is like her companion's; profile more careless. The shape of this lekythos, the ornamentation of neck and shoulder, the shiny white slip, the second maeander, and the yellow glaze used for the drawing all are characteristics of Group D. It is only the size of the lekythos and the composition of the scene which leads me to discuss it here. In fact it forms a sort of transition from the earlier numbers of the present series to a technique which came to be used only for small and hasty lekythoi. The lekythos and purse hanging on the walls evidently have nothing directly to do with the tomb. In the do- mestic scenes of Groups B and C they no doubt repre- sent literal fact; from domes- tic scenes they have been transferred to scenes at the tomb merely for decorative effect, and with the entire dis- appearance of domestic scenes these accessories at length dis- appear also. The two women are some- what hastily drawn, but by an accustomed hand. The lines of the garments in particular show considerable skill and accuracy, and the faces and hands of the women, though not spe- cially successful, are not the work of a beginner. The shape of the head and the treatment of the hair (except for the Stephanos) are in line with the type of the present series. The interesting part of the scene is its literalness. The painter had in mind some actual stele with its inscription and its bronze kantharos fastened on top; before such a stele he had seen women standing, as they presented an egg or started to fasten a sash about the stone. An egg, possibly an egg-shaped fruit, is seen with other offerings on the FIG. 43 (no. 10). GROUP C: CLASS V, 11-12 195 basket which mourners bring to the tomb; ' I do not know other cases in which the egg alone is held out toward the stele, but the literalness of this scene in other respects may justify the belief that this was actually the practice. As for the kantharos, the holes filled with lead in more than one gravestone at Athens indicate that the practice of placing metallic objects on such stones was by no means unusual; that these objects were bronze vases in many instances is more than probable. The imitation of the inscription is almost unique on white lekythoi. 2 Rarely on red-figured vases a real inscription is given on the pictured tombstone; most if not all these specimens come from southern Italy. 3 The presence of this inscription is one more proof of the literalness of the painter of the present lekythos. 11. Athens, Private Collection. Athens. H. 0.32 m. On the shoulder palmettes with three leaves in front (and spaces for red leaves) and five leaves at the sides. Slip white and shiny. Maeander broken by horizontal crosses and checker-board squares. Preliminary sketch with blunt instrument in the soft clay. Drawn in yellow glaze. At the right a large round tumulus about the top of which a taenia is fastened; behind it is a narrow stele with round top. From the left a woman approaches to deck the tumulus with another taenia. She wears sleeveless chiton and bracelets. This lekythos, like the preceding, marks the connection between Groups C and D. The reversion to the earlier shape, the shiny white slip, and the drawing in yellow glaze are found here; moreover in this instance there is but one figure and the scene is a duplicate of some found in the later group. The vase is interesting only as it shows that both Group C and Group D begin from the present series. 12. Naples, Heyd. 2433. Locri. H. 0.22 m.; Cir. 0.25 m. On the shoulder an egg-pattern, then palmettes with two lotus buds below; the two sides are not symmetrical. Above the scene is a simple maeander. Slip quite brown. Drawn in very fine light brown lines, the hair and chair-legs in solid black. No color used. Two women stand facing each other; the one at the right holds out her hand, the one at the left a phiale and pitcher, above a low stool. Both wear chiton and himation. The hair is held at the back of the head by a purple taenia. This lekythos is described here because it has lotus buds with the palmettes on the shoulder, it is a question, however, whether the 1 Benndorf, Grieck. Sit. fai. Taf. xvi, i ; xxii, i . On remains of eggs and marble copies of eggt found in tombs see Raoul-Rochette, Mem. de r Inn. dt France, XIII, 1838, p. 780 f. a A similar imitation inscription occurs on no. 10 infra, Athens, Nat. Mus. 1958. On lekythot of Class III (no. 43, p. 86 infra) a real inscription occurs. Cp. Heydcmann in Commentations in konortm Tk. Mommuni and other references, p. 86 infra, no. 3. 196 ATHENIAN WHITE LEKYTHOI shoulder pattern does not come direct from the red-figured lekythoi independently of the other lekythoi in the present series. Neither the profile nor the hair recall the Athenian lekythoi of this period, nor does such a stool occur on other lekythoi. 1 Apparently the slip also is of a different consistency. The difference may best be accounted for by supposing that the vase is of local manufacture in imitation of Athenian ware. Looking back at the series as a whole, one sees that it forms the transition from Group B to both Groups C and D. The lotus buds on the shoulder of the typical specimens continue the red-figured shoul- der pattern found in Group B IV, series 2. Probably the change to the pattern on B IV, 3 and to this pattern appeared at about the same time but under different circumstances. The use of a preliminary sketch in this series, a practice of the maker of red-figured ware, goes with the fondness for the commoner shoulder pattern of red-figured lekythoi of the period. But the other pattern (without lotus buds) soon prevailed, and the separation of red-figured work from outline work on a white surface went on increasing. On the typical speci- mens of this series one also finds an unbroken maeander. This was the commoner form on red-figured lekythoi, not on the later lekythoi of the present class. The yellow slip of fine creamy consistency, too light for the use of white enamel paint and not white enough for the free Use of color in the drawing, goes with the lotus buds on the shoulder. The slip has changed and the enamel-white has disappeared; the drawing, however, is still in the same rather coarse lines of yellowish glaze as in the pre- ceding group. And while the use of masses of black has almost dis- appeared, these painters do not yet experiment with the variety of colors that soon are to be seen. As might be expected in such a period of transition, the combina- tion of stiffness and grace, of convention and literalness, is very marked. New elements are introduced from real life with some freedom, for these painters are given to experiment in their subjects as well as in their technique. In general the figures are not new, they are the men and women who are seen on earlier lekythoi; Hermes is represented as on vases in a different technique, the babe is like those on earlier black-figured vases, only Charon is an absolutely new figure. Still, 1 A woman seated on a similar stool is seen on a red-figured vase, published by Tischbein, IV, 16 ; Elite C'er am. I, 33. GROUP C: CLASS V, 13 197 the treatment of the face is changing, a new treatment of the hair and a different shape for the head come into use. The great change is in the use made of the figures; the adaptation of a Hector-Androm- ache scene for the tomb, the creation of the Charon scene, entirely new to vase painting, the excursion to the tomb, and the literal picture of actual worship at the tomb, as compared with the repetition of what is familiar on other sets of lekythoi, this list of new scenes is very noteworthy. Closely as this series is connected with Group B, it furnishes the links which connect that group with both Class V and Class VI of the present group and with Group D. The slender figures and rather small heads and a similar treatment of the garments are found in series c and particularly in series e of this Class V; the Charon scene and farewell scenes are found again in Class VI; while so many of the characteristics of Group D are present, especially in the case of nos. 10 and II, that it is difficult to classify these vases at all. b. Other experiments in the use of thin glaze on white. In addition to the large lekythoi for which the lotus bud on the shoulder is the characteristic mark, we may distinguish a series of small lekythoi with drawing in thin glaze (series b), and a series of large lekythoi with drawing in very black glaze (series c), which also belong to the period of transition. Experiments in the shoulder ornament and the maeander accompany variations in shape and new scenes. 13. Berlin, Furtw. 2252. Athens, Hagia Triada. H. 0.181 m. Arch Zeit. 1880, S. 134 f. Taf. xi. Neck and shoulder white. On the shoulder Eros as a boy flies to the right hori- zontally. Eye en face, long hair, and high wings. On each side are palmettes with solid and outline leaves and one or two lotus buds. The body is heavy and the foot wide as compared with the slender neck. Above and below the scene are maeanders of a peculiar pattern. Slip thin and hard, yellowish. Drawing in glaze varying from yellow to black. The glaze is applied unevenly to hair and himation so as to produce the effect of shad- ing. Eyes en face. At the left a woman sits on an easy chair (cushion and footstool) holding up a wreath of small leaves before her. A quail on her lap looks toward her. She wears an Ionic chiton with fine fold-lines in thin glaze, bracelets, ear-rings, and a black himation over her knees. The hair is held by a wide cloth bound around her head. Facing her a bearded man, seen from behind, leans on a knotty staff under his left shoulder; his right hand rests on his hip. The himation leaves right shoulder exposed. Details in yellow glaze. In the centre above hangs a mirror, and at the left an alabastron 198 ATHENIAN WHITE LEKYTHOI is suspended by a cord from each handle. Behind the woman is a kalathos with bands of solid black. Before the man is an inscription Ol^VNPI + 0^ KAK) (from right to left), be- fore the woman KAlO^ and behind her HOPA l K A KD (from right to left). A flying Nike is seen on the shoulder of a red-figured lekythos in Naples (Heyd. 3184), unlike this Eros in that her wings are spread in opposite directions. On each side are scrolls, and the main scene consists of a woman looking back at a kalathos. I do not find other examples of this shoulder ornament or of the peculiar maeander pat- tern. Such experiments in ornamentation are in harmony with the taste of a painter who adapts a new scene for use on white lekythoi, experiments with a technique not yet common, and adds a kalos in- scription. The archaic form of the eye is found only on a few white lekythoi of Group A 1 and on the present specimen; the use of thinner glaze and the general style of the drawing distinguish this lekythos from those of Group A, though it may belong to the same period. Both the figures on this vase have been found on the lekythoi already discussed. Women seated at home are often seen on lekythoi of Group B; one of them 2 is engaged in the same act of lifting a wreath. The man leaning on a staff under his arm and turned so that he presents his back to the spectators is common on red-figured vases of the period; the attitude is discussed above in connection with one lekythos on which it occurs. 3 What is new here is the particular type of domestic scene in which the figures are combined, viz. the visit of a middle-aged man to a woman in her home. The two types appear with other figures in a scene which is distinctly marked as a gynaikeion by the occupa- tions going on there; 4 the present group may be described as an excerpt from such a gynaikeion scene, like the excerpts of Class II. 5 The visit of a youth to a woman in the woman's apartments is often depicted on red-figured vases of the fine period. He brings a bird as a present or jewels in a casket ; 7 in the present instance the quail on the woman's lap may be the man's gift, or it may be simply the woman's own pet. Such pets often occur as the only sign that the interior of the house is 1 Group A I, 4, Athens, Nat. Mus. 1809; II, 16, Athens, Nat. Mus. 1964. 2 Group B IV, 3, no. 2, Athens, Nat. Mus. 1847. The woman seated at home also occurs in domes- tic scenes of the present group, e.g. no. 49, Athens, Nat. Mus. 1818. 8 Group A III, 55, Munich, Jahn, 199. * Tischbein, IV, pi. i. 6 P. 57 supra. 6 In a cage (?), Man. last. IV, Tav. xxiv ; in the hand, Tischbein, IV, pi. xxxix. Hermann, GriecA. Pri-vata/tertumer, S. Il6, A. 2 and 3. 7 Gerhard, Aus. Vasen. Taf. 301, I ; cp. Man. Inst. IV, Tav. xxiii. GROUP C: CLASS V, 14-15 199 intended. 1 It is only on lekythoi with drawing in dull color that the bird is actually in or on the hand of one of the persons represented. It seems that the tame bird is brought to the tomb for the definite purpose of amusing the deceased with his own earlier pets. 2 The duck (or goose) and small birds like thrushes or finches are commonly shown as house pets; the quail occurs quite rarely. 8 14. Berlin, Furtw. 2445. Sunion. H. 0.26 m. On the shoulder three palmettes with leaves alternately in black glaze and in red. Fine white slip. Complicated maeander broken by checker-board squares. Drawn in rather coarse lines of thin yellow glaze (nearly black for hair, lekythos, etc.). Fold-lines of garments in glaze. Red is used for garments and taeniae. A slender stele with palmette in the triangular top rises from three steps decorated with two wide black lines. Several large red taeniae are fastened around the shaft; on the base rests a thick crown marked with black spots. At the left a bearded man in profile stands leaning on a stick under his left shoulder, his right hand is raised to his head in mourning, in his left he holds out a black lekythos. He wears a dark red himation, sandals, and a fillet in darker glaze than the rest of the hair. A youth approaches from the opposite side, his left hand on his hip, holding out in his right hand a long red taenia. He wears a himation with red edge. 15. Berlin, Furtw. 2446. Sunion. H. 0.256 m. Ornamentation like the previous vase except that the maeander is broken both by checker-board squares and by horizontal crosses. The style of drawing is the same; the hair is more yellow. A slender stele with suggestion of a palmette in the triangular top rises from two steps; three red taeniae outlined in glaze are tied around it; on the lower step stands a red pitcher. Above at the left a lekythos hangs in the field. At the left stands a man, wrapped in a dark red himation, tearing his hair with his right hand. Opposite him stands a woman holding out a red flower (?)in her right hand. She wears an Ionic chiton without color and a red himation covering the left hand; her hair is bound up in a small knot. The gesture of mourning, i.e. one or both hands raised to the head as if to tear the hair, does not occur again in the lekythoi catalogued under the present class; in later classes it occurs, though it is not common except in the "prothesis " scenes. 4 It may be regarded here 1 Group B IV, 3, no. 10, Athens, Nat. Mus. 1963 ; C V, 46, Brit. Mus. D 51, etc. 2 Atheni, Nat. Mus. 1768; Stackelbcrg, Grater Jer Hef/enea, Ta/. xlvi, i ; Louvre MNB 17x9, Pettier, Licythet blanct^ pi. iv. Tischbein, V, pi. xl ; Munich, Jahn, 358; lekythos, C V, 46, Brit. Mus. D 51 ; Tbchbein, II, pi. xxxii, xxxiii, with which compare the lekythoi mentioned in proceeding note. The quail occurs on a red- figured hydria in St. Petersburg, Comptei renJut, Atlas, 1865, pi. iv, 3 ; and on a lekythos in Berlin (Furtw. 2459) with outlines drawn in dull color. 4 Cf. Class VI, i, no. 15, Athens, Nat. Mus. 1993; no. 15, Munich, Inren. 1170. The gesture is more common in the first class of rases with drawing in dull color. Oftentimes the tale "souls" show the same gesture of lamenting, e.g. on Class V, no. 70, Brit. Mus. D 54. 2OO as one of the realistic traits found in the earlier series of this class (a-c) as contrasted with the conventional treatment of the scene in series d and e. The lekythos in the field is a modification of the object hanging on the wall of a house in the domestic scenes; it is a lekythos because it is at the grave, but there is no wall on which it may hang. The peculiar type of wreath on the base of the stele of no. 14 ap- pears as a characteristic feature of the lekythoi of series e. Probably it should be regarded here as something which the painter copied from reality, and that even more literally than the wreaths on the base of the stele on a lekythos of the next series. 1 If this explanation is cor- rect, we might go farther and say that its peculiar shape is either a rude effort to give perspective or that it shows the wreath as the man saw it, partly bent down by its own weight. 16. Berlin, Furtw. 2447. Sunion. H. 0.255 m - Ornamentation and style like no. 15. Apparently the dark red used for the garment was added to enforce the outlines of the scene, even the outlines of the hair. Much damaged. The scene consists of a single figure with no grave stele. A woman (her body en face) moves toward the right, carrying in both arms a naked dead boy. The stiffness of the dead body is realistic. The woman wears a long chiton in outline and a red hima- tion. A thick red taenia is about her head, and her hair is short. In the field at the left hangs a large taenia such as was used to tie on grave stelai. There could be no better example than this lekythos of the realistic tendency which so completely disappears in vases of the so-called Hygiainon series. A dead body is represented on outline lekythoi of later classes in the protbesis scene and in the scene of actual burial. The prothesis scene may be accounted for because it was here that lekythoi were actually in use; the burial scene is always idealized to a certain extent by the presence of the winged figures of Death and Sleep; only here has the painter deliberately chosen to represent in bald literalness the fact of death. 2 As on the previous vase the object hanging on the walls does not suggest the home, but the grave; it is a grave taenia hanging where there is no wall. These three lekythoi, nos. 14 to 16, were found together, and resemble each other in technique so closely that we may regard them 1 Class V, 22, Athens, Nat. Mus. 1935. 2 The nearest parallel to this scene is a lekythos with drawing in dull color belonging to a much later class (Oxford, Ashm. Jour. Hell. Stud. XV, p. 328). Before the stele comes a woman carrying a dead child, apparently on a flat tray. In that case as in the present case, the scene is an unsuccessful, grewsome experiment ; the only difference is that the painters of lekythoi of the first part of Class V are consistently modifying the lekythos scenes by introducing literal elements ; the painter of the Oxford lekythos surprises us by this freak in a series that follows conventional lines rather closely. GROUP C: CLASS V, 16-17 20 1 as from the same hand. The use of thin yellow glaze with rather a coarse brush for outline drawing on a slip originally pure white is unusual. It seems that the picture was completed with this glaze outline, and that the dark red paint was then applied in such a manner that it easily rubbed off the wide glaze lines, leaving these original outlines exposed. The man at the left of the stele on no. 15 was drawn first without a garment, and the glaze lines of his legs now appear through the dark red like the lines of a preliminary sketch; in fact the glaze lines serve the same purpose as the sketch lines with a dull point in giving the basis for the figure. It is only on these three vases that we find any trace of the effort to reenforce glaze outlines with a brush containing red paint; the attempt was quite unsuccessful, and can be explained only as an experiment in the direction of the general use of dull color on outline lekythoi. 17. Berlin, Inven. 3383. Source not known. H. 0.336 m. (Fig- 44-) The body of the vase expands slightly below the shoulder. Slip very smooth and white. The scroll and palmette pattern on the shoulder is unusually complicated; alternate leaves of the palmettes are dark red. Complicated maean- der broken by complete oblique cross squares. Drawn in fine lines of light yellow glaze; hair in black blotches with yellow I ends; garments and taeniae on stele in a pink wash. The preliminary sketch (which gave the figure at the right a slightly different position) is in lines of transparent glaze. A slender tapering stele rises from three steps; two taeniae are fastened to the shaft; at the top is an egg moulding and a pal- mette resting on scrolls. At the left a woman in profile FIG. 44 ( n o. 17). approaches, holding a smegmato- theke in her right hand and a flat box or basket on her left arm. She wears a long sleeve chiton in outline and a himation in faded pink; her hair is in a loose knot, with lock free in front of her ears. Opposite her stands a youth en face, looking at the stele and holding his right hand out (palm out) toward the stele. His only garment, a large himation now pink, covers his left hand and arm. 202 ATHENIAN WHITE LEKYTHOI The use of thin yellow glaze for the drawing and the similar pro- portions of the figures lead me to classify this vase with the three preceding in spite of important differences. The stele is of a type which later is characteristic of one large group of lekythoi with drawing in dull color. The toilet vase is rarely found outside Groups B and C ; otherwise the scene has little or nothing to deserve notice. While the woman is gracefully drawn, the youth with body and feet seen directly from the front reminds one of some stiff figures in the preceding group. The use of thin glaze for the preliminary sketch is unusual except in Class VI. It is a modification of the free use of glaze under color on the preceding vases, which is found occasionally on vases of the present group. The first vase in this series is unique and is classified here only for convenience; strictly speaking, it is quite outside the lines of classifica- tion which have proved useful for almost all these outline lekythoi. The three vases from Sunion belong at this point in the general line of development. They preserve the coarse lines of pure yellow glaze which are found on characteristic specimens of the first series, but the slip is of the white chalky variety found on the following series. Here again the palmettes have both black and red leaves; this use of red on the shoulder is found on many later types of lekythoi, but it does not occur regularly on later specimens of Class V. The only color besides glaze used on these lekythoi is red, sometimes rather dark when it is applied thickly, but becoming pinkish when it is thin. The general proportions of the figure and in particular the shape of the head are different from what was seen in series a. Some ele- ments remain in the following series; in general, however, these vases stand at one side and contribute little to the later development. C. Drawing in rather coarse black glaze lines. A small series of lekythoi closely related continue the tradition in many points from series a. The slip here is o'f fine chalky white, the ornament is nearer the type which soon becomes typical, and the drawing is done with a glaze that comes out almost black. The heavy, quite even lines recall the yellow lines of the previous series, many details in the figures are similar, and the same spirit, the same con- tact with reality, is found again here. The almost entire absence of GROUP C: CLASS V, 20 203 color, except on the one " Prachtstiick," may be partly due both here and in series a to the use of materials which would not stand the test to which these lekythoi have been subjected. 1 20. Athens, Nat. Mus. 1958, Cv. 1690. Eretria. H. 0.37 m. Ae\n'oi>, 1892, cr. 77, 7; Jour. Hell. Stud. XIX, 172. (Fig. 45.) On the shoulder egg-pattern and three palmettes (in front the palmette has six leaves); the maeander is broken by checker-board square. Drawing in rather coarse black lines; no color. FIG. 45 (no. 20). In the centre a stele rises on three steps and is crowned by a rather large acroterion; above an egg-pattern is a black triangle with reserved palmette, while at each side is a scroll ornament with small palmette in outline. At the top of the shaft is an imitation inscription in five lines; belqw it an outline taenia is tied around the shaft. On the lowest step are four circles. At the left stands in profile a woman holding out a taenia with hatched pattern in her right hand, and with her left raising her himation to wipe the tears, from her eyes. She wears a chiton with long loose sleeves and himation. A fillet holds the knot of hair at the back of her head. 1 The first three numbers have been ditcuMed by Bosanquet, Jo*r. He/I. StuJ. XIX, 169. 204 ATHENIAN WHITE LEKYTHOI Opposite her stands in profile with bowed head a young woman (?) holding out in both hands a large basket containing fruit (pomegranates) and taeniae. Her hair is short; she wears chiton and himation draped from behind over both arms. In front of her hangs a small lekythos. The imitation inscription has been discussed in connection with no. 10 (p. 193); in spite of the carelessness of that vase some other points of resemblance with the present number might be traced, resemblances, however, which are common to other members of both series. The figure at the left is peculiarly interesting in the literal- ness of its conception. Occasionally on later lekythoi, for instance in the earliest class with drawing in dull color, a man is represented as tearing his hair, though this is unusual except in prothesis scenes. The simplicity with which this woman raises her garment to wipe away the tears that could not be restrained is evidently copied from reality. The outline of the back of the figure and the large loose sleeve are often seen on vases of Group B. The taenia with peculiar marking which she holds out occurs on most of the lekythoi of series e in the present class. In spite of the full drapery and the basket which is almost always carried by women, the short-haired person at the right may be a young man. The short hair, as Bosanquet suggests, might indicate a slave; both the face and the figure look more like those of a youth. 21. Athens, Nat. Mus. 1959, Cv. 1691. Eretria. H. 0.36 m. AeXrtoz/, 1892, cr. 77, 8; Jour. Hell. Stud. XIX, 172. The shoulder ornament is like that on the previous vase and the maeander is broken by the checker-board square. Drawn in coarse lines of black glaze. A color now pink is used for taeniae and one garment. In the centre a short shaft rises from three high steps and is crowned by a rounded top with egg-pattern and reserved palmette. On the shaft are tied three pink taeniae. There are traces of four circles on the lower plinth. At the left a woman stands en face, looking at the stele with bowed head. In her right hand she holds up a small lekythos; on her left arm is a large deep basket contain- ing taeniae. She wears an outline chiton, girded over a long overfold. A fillet holds the knot of hair at the back of her head. On the right a youth sits on the second step with back toward the stele, holding a spear on his right shoulder. He wears a short pink garment, boots laced nearly to the knee, and a high round cap. Above him a taenia hangs looped up, while on the opposite side of the stele hangs a small purse. As on the previous vase, the lines of the figure at the left of the stele suggest figures on vases of the previous group. This manner of wear- ing the chiton belongs to a rather limited epoch soon after the middle GROUP C: CLASS V, 21-22 205 of the fifth century B.C. It has occurred on a few vases of Classes II and III; except on the figure of Athena, which was influenced by the plastic type, it is rarely seen on red-figured vases of the fine period. Though the figure itself has nothing unusual about it, in combination with the somewhat pensive youth on the other side of the stele, it forms a group as literal as that on the preceding vase. On later lekythoi one sees the dead himself sitting by the stele; such an interpretation of this scene would be out of line with the simple literalness of the artists who painted the lekythoi of this group. It is simply a mourner, a young ephebos, who rests on the steps of the tomb, thinking perhaps of a brother he has lost. 1 22. Athens, Nat. Mus. 1935, Cv. 1692. Eretria. H. 0.49 m. AeXnW, 1889, cr. 136, i; Jour. Hell. Stud. XIX, 169, pi. ii. Scarcely any of the shoulder ornament is visible. Maeander complicated, unbroken except by the top of the stele. Drawn in nearly black glaze; light brown and blue are used sparingly. The shaft of the stele rises from six steps and is crowned with a triangular pediment with egg-pattern and reserved palmette. From the fourth step rises an elliptical tumulus with wreaths on its top. On the shaft is one outline taenia. On the third and sixth steps stand lekythoi with wreaths hanging from alternate ones. On the second step are six circles (black outlines filled in with brown), on the bottom step a spray of foliage. At the left a youth stands en face, looking at the stele; on his left shoulder are two spears; his right hand rests on his hip. He wears a brown chlamys with black folds; a blue petasos hangs on his shoulder. Long curls of hair drop on his neck. At the right a woman rests her left foot on the lower step and holds out a shallow basket containing wreaths. She wears a Doric chiton with long overfold from the shoul- der; her hair is gathered in a round knot at the back of the head, and pulled out loose around the face. Above her in front hangs a small iekythos, and behind her a mirror. Although this Iekythos resembles the two preceding in so many details that we must regard them as coming from the same shop, pos- sibly from the same hand, it is of so much finer workmanship as to stand quite by itself. Alone with so much "shop-work" it is an ex- ample of what the Iekythos painter could do in a large simple manner when there was occasion for something better. To match the graceful figure of the ephebos on the left one must turn to the best red-figured vases of the fine period. The Achilles standing alone on one side of a beautiful amphora in the Vatican 2 repeats this type almost exacth . - a youth standing on his left leg and leaving the right free, his right hand on his hip, the spear on his right shoulder, though the Achilles 1 For the crowed legt cp. the seated man on a vase in Vienna, Sacken-Kenner, S. lot, 116, Laborde, I, pi. xxii. Gerhard, AM faitn. Taf. 184; Mm. Gregtr. II, 58. 2 o6 ATHENIAN WHITE LEKYTHOI is in armor and his head is smaller. In other words this is an excellent specimen of a red-figured type which could hardly have been repro- duced except by a hand trained to do the same thing in the other technique. Though both figures have a somewhat severe profile, the woman on the right belongs as clearly to this class of outline leky- thoi as the youth to red-figured " Nolan" amphorae. The Doric chiton falls over her raised knee, as she leans forward holding out her bas- ket, in lines almost too detailed and realistic for the highest beauty. This treatment of the folds of the garment and the way the hair is drawn tightly across the top of the head, between the loose locks in front and the knot behind, have already been mentioned in connection with earlier vases of this class. 1 As on these other lekythoi, the painter is working from reality, drawing the woman as he has seen her holding out her basket at the tomb. The large oval, supposed to represent the tumulus proper, 2 which is fairly common in Groups C and D, appears here for the first time; as is frequently the case, it stands well up on the steps, though not on the top step of all. The blue foliage on top of it is peculiar to the pres- ent specimen. The reserved palmette on the acroterion is regarded by Bosanquet as a literal reproduction of the palmette with egg mould- ing underneath as it was carved in relief on the shaft of a stele. 3 This literal reproduction of actual scenes is a striking characteristic of the present series; still the device in question would hardly occur here except that on red-figured vases the egg moulding and the palmette used with the scroll for ornament is given just this "reserved" form. Like the youth at the left of the stele, it is a red-figured type transferred with little or no change to an outline lekythos. The effect is to make the stele a little top-heavy, so that the device is soon discarded. The presence of vases on the steps of the stele has been mentioned above ; 4 the wreaths hanging from alternate vases are either a convention of the painter or an indication that the vases were in some way fastened in place so as not to be pulled down by the weight of the wreaths. Pictures of broken vases 5 show that they often were not fastened in place. Large vases, however, must have been held in place, as were the large marble vases which later constituted the grave monument. 6 1 No. 4, page 187. The same garment is treated in the same manner, and the head is similar, though the figure as a whole is entirely lacking in the grace possessed by this woman. 2 On black-figured ware, e.g. Gerhard, Aui. Vascn. Taf. 199; on red-figured ware, e.g. Harrison, Prolegomena to the Study of Greek Religion, fig. 45. 8 A similar palmette occurs on nos. 20, 21, and 58. 4 p. 187 and note 4, no. 4, of this class. 6 C VI, I, no. 25, Munich, Inven. 2170. 8 Cp. the vase, no. 26 infra ; also Man. Intt. VIII, Tav. v. GROUP C: CLASS V, 23-24 207 If one considers the literalness of the painters of this series in other respects, it seems probable that these small lekythoi were perhaps made of bronze and were fastened in place. The row of circles on the second step of the base occurs only on two or three other lekythoi. 1 It has been suggested by Mr. Bosanquet that as the oval of the tumulus seems to give the ground plan in an effort to give perspective, so these circles are intended to represent holes in the hori/ontal step of the base. The only other explanation possible is that they represent some ornament, as for example rosettes, on the perpendicular surface of the step. It is not easy to see why holes for vases should be left with- out the vases on a finished monument; nor, if rosettes were intended, is there any real reason why the painter should not have made rosettes when other points are given with such detailed literalness. 23. Leyden, 555. H. about 0.30 m. On the shoulder are traces of three normal palmettes with added red leaves. No maeander remains, nor are there any traces of color in the scene. The outlines are drawn in even lines of glaze (not very fine) which have faded to a dull brown. The hair of the youth is drawn in close parallel lines. On three steps stands a simple shaft with square top. At the right a woman standing en face extends her right hand, palm out, toward the stele; on her left arm she carries a kanistron. She wears a chiton with long overfold; her hair is in a round knot at the back of her head. Opposite her a youth in profile holds out his right hand, palm down, toward the stele; on his left arm hangs a chlamys, and in his hand he carries a spear. 24. Leyden, 556. H. about 0.30 m. On the shoulder are three normal palmettes with added red leaves, and extra leaves in the scroll by the handle. The maeander is simple. Drawn in even lines of black glaze; no trace of any color remains. On three steps stands a simple shaft with square top. At the right a youth en face carries in his left hand a spear erect, and holds out his right hand (palm in) toward the stele. He wears a chlamys, and his hair is in long curls. Opposite him a youth in profile carries two spears on his left shoulder and rests his right hand on a short staff. His short chiton is girded and the sides are pulled out loose over the girdle. His hair is short and not curly. These two vases are evidently a pair, and they are closely allied to the lekythos to be discussed next. The stele with plain flat top is characteristic of the first group of lekythoi in dull color, but a few more specimens are found in Class VI. These rather clumsy, heavy figures with short legs have little in common with most of the figures 1 Nos. 10 and zi, Athens, Nat. Mus. 1958 and (apparently) 1959; no. 54, Athens, Nat. Mas. 1960; C VI, a, no. n, Brit. Mus. D 56 ; A III, 59, Athens. Cp. the base of a tumulus on a red- figured vase, Harrison, Prolegomena to tkt Study of Greet Religion, fig. 45. 2 o8 ATHENIAN WHITE LEKYTHOI on these lekythoi. The long, prominent nose, the square chin, and the careful eye with small pupil against the upper lid appear on both vases. The work is the painstaking effort of an unskilled hand, rather than the hasty product of a skilled painter. 25. Athens, Nat. Mus. 1797, Cv. 1684. H. 0.41 m. Dumont- Chaplain, I, 390, pi. xxxv. The palmettes on the shoulder have disappeared. Maeander complicated, unbroken. Drawn in even lines of glaze now rather brown; the himation is in dull brown. The preliminary sketch with a dull point can be detected. The slender shaft of the stele rests on three steps, and is crowned by a leaf mould- ing, scrolls, and palmette. At the left a young girl in profile holds out both hands toward the stele; in the right is an alabastron, in the left was perhaps a taenia. Her garments have entirely disap- peared. Her hair falls in straight locks to her shoulders. Opposite her is a bearded man in partial profile, resting his right hand on his staff. He wears a brown himation. The even lines, once black, of this scene recall the two preceding vases; in particular the treatment of the girl's hair in close parallel strokes is almost the same as in the case of the youth at the left of the stele on no. 23. While the figures are rather stiff and repeat familiar types, the drawing is extremely careful and much more successful than on the two preceding vases. The taenia about the lower end of the stele is of a type quite characteristic of series e. 26. Cornell University. H. about 0.30 m. (Fig. 46.) Palmettes on the shoulder normal. Complicated maeander broken by oblique cross and horizontal cross of the same form. Drawing in fairly coarse lines of black glaze. On three steps, the middle one as wide as it is high, stands a large lekythos, drawn in outline. It is high enough to reach into the maeander, which is not broken at this point. Except for the large handle and bell-shaped mouth, the lekythos is of the normal type. At the left stands an ephebos holding a spear in his left hand, his right hand against his hip. He wears a petasos, a chlamys of some thick material, and boots laced half- way to the knee. At the right, also facing the stele, a second ephebos sits on a pile of rocks with right foot drawn up. In his right hand he holds two spears erect, in his left a short sword in its scabbard. His garment is under him and over one leg; he wears a high round hat and boots like those of his companion. Both figures are in three-quarters profile; the left arm of the seated youth is foreshortened (?) awkwardly. The genuineness of the drawing on this vase may well be ques- tioned. The peculiarity of the maeander and the figure at the right GROUP C: CLASS V, 25-26 209 with its awkward lines and unusual face are responsible for this impression. The interest of the scene, however, the way the monu- ment is carried up into the maeander,and the readiness of the painters of this series to deviate from traditional types of figures have led me to include the lekythos in the present discussion, in spite of my doubts as to its genuineness. A large marble lekythos was a common form of the funeral monument in the fourth century, while the earliest specimens go back perhaps to the middle of the fifth century; if the present vase belongs in this series, it must be about as early as the earliest marble lekythoi, though the use of large vases of pottery is thought to have been customary early in the fifth century. 1 A smaller vase on top of a high stele oc- curred on a lekythos already discussed, and on Italian red-figured vases of late date the high stele is quite commonly sur- mounted by a krater or similar vase. 2 Not only the broad black lines of glaze, but the treatment of the hair in separate locks with the same brush, are characteristic of the present series. The profile also of these youths is not unlike that of the seated figure on no. 21. The eyes with added lashes produce a different impression ; on the 1 Atk. Mitth. X, 359 f. and Taf. xiii. 8 No. 10 of the present scries, Munich (uncatalogued ) , p. 193 ; an example of the rate on artefc occur* on an Italian vaie figured by TUchbein, V, pi. x. P FIG. 46 (no. 26). aio ATHENIAN WHITE LEKYTHOI short head of the figure at the right they seem to leave no room for the bridge of the nose. As on nos. 21 and 22, the left-hand figure is conventional. The ephebos is very like the Hermes on a red-figured vase figured by Gerhard. 1 The attitude, the dress except for Hermes' chiton, even the boots are the same; the build of the ephebos alone is somewhat heavier and more clumsy. 2 On the same vase Athena supports her right elbow on the raised right knee, as does the ephebos on the right. Like the youth on no. 21, he is seated pensively by the tomb, perhaps the tomb of a comrade in arms. Perhaps the awk- ward drawing of this figure is due to the unsuccessful attempt of the painter to give what he had seen at the tomb. 27. Athens, Nat. Mus. 1790, Cv. 1775. Athens. H. 0.345 m. On the shoulder are typical palmettes. The maeander is broken by checker-board squares. Drawing in rather coarse lines of not very shiny black. Red and brown are used for garments. On three steps stands a rather heavy stele. The top is circular with rude palmette; near the top of the shaft hangs (or is painted) a wreath, and below it a taenia is tied around the shaft. At the left is a woman bringing a flat basket of taeniae to the stele. She wears a red chiton, a himation drawn in outline, and a wide cloth supporting her hair at the back of her head. Opposite her stands a youth, holding his right hand out in front of the stele toward the basket. He wears a long brown himation. Curls are drawn along the edge of his hair. This vase, which is much the worse for wear, closely resembles the one next to be described in style and in many details of the drawing. The conventional scene is varied by the gesture of the youth, who seems to be taking one of the taeniae from the basket to bind it on to the stele. The stele has the same round top as no. 21, a type which soon dis- appears. Whether the wreath is intended to represent a real wreath or a wreath painted on the actual stele, it points to the practice of hang- ing wreaths on the stele, just as, on no. 22, they are hung from leky- thoi fastened on the base. In any case its presence is another instance of the literalness of the painter. 28. Athens, Nat Mus. 1789 (Coll. 651), Cv. 1681. H. 0.376 m. Benndorf, Gnech. Sic. Vas. Taf. xx, 2. The palmettes on the shoulder are typical; the complicated maeander is broken by checker-board squares. The maeander and enclosing lines were added after the main sketch was complete. Below the scene are two purple lines on the black surface. Drawn in medium lines of black, not very shiny. Preliminary sketch with a dull point. The 1 Gerhard, Aut. Vaten. Taf. 144. 2 Cp. nos. 23 and 24 supra. GROUP C: CLASS V, 27-28 211 tumulus with stele and taenia are drawn in dull color, now faded; no other traces of color remain. From the high round tumulus rises a stele with triangular top (not completely given in Benndorf's illustration). Several taeniae are draped around the top of the tumulus, and the ends hang down. A woman at the left approaches (both feet flat on the ground), carrying an oinochoe in her left hand and pouring from a phiale in her right hand. She wears a chiton with long loose sieves and a himation reaching below the knees, both in outline. Her hair is held up behind by a cloth wound twice around her head. At the right a youth stands in profile with head bowed, holding a spear in his right hand. He wears a short chiton and a chlamys which covers his left arm. His hair is drawn with little curls by the same brush as the rest of the figure; a petasos hangs on his shoulder. Perhaps on no other lekythos is the tumulus so literally treated as here. On a black-figured loutrophoros already cited l the tumulus has the same form; it has the appearance of being covered with stone or tiling, and on the top is represented one of the grave amphorae. That scene, with its mourners about the tomb, is no doubt literal. The tumulus and stele here may be copied from reality, or it may be a tradition from the earlier ware; in either instance it is true to fact. With this monument is combined a typical "farewell" scene, as though the farewell were taking place at the tomb instead of occurring in the house. One type of farewell scene has already been mentioned, 2 and others will be discussed in connection with the next series. The proper farewell scene at the grave is unusual; on one red-figured amphora of about this period 3 an ephebos is represented with two women at a grave stele, but as both women have offerings for the tomb it is not distinctly a farewell scene. As compared with such scenes, the present vase differs in that ordinarily the woman has only a Doric chiton, not the Ionic chiton and himation, 4 i.e. the scene is ordinarily placed in the house. On one vase figured by Tischbein 5 the two figures reappear as on this vase, but two other persons also are repre- sented. Moreover the departure of a warrior in full armor is given more commonly than the departure of an ephebos.* In spite of these differences the scene belongs distinctively to red-figured ware, and all of these figures are types on such ware. The high round head of the ephebos reminds one of the heads in series e. The treatment of the garment folds, however, as well as the 1 Gerhard, Ant. Vaan. Taf. 199. No. i, Berlin, Furtw. 1444, p. 183. * Vienna, Sacken-Kenner, 168, Tijchbein V, pi. xv. 4 E.g. Vienna, Sacken-Kenner, S. 109 (i) and aoi (116), Laborde, I, pi. ui and xxii. Tischbein, I, pi. xiv. Gerhard, AM. ft**. Taf. IJ. 212 ATHENIAN WHITE LEKYTHOI broad, dull-black glaze lines, are sufficient to justify the classification of the vase here, even apart from the kind of maeander. The two purple lines on the black below the scene are an interesting example of an early tradition persisting long after it has been generally dis- carded. 29. Athens, Private Collection. H. 0.318 m. Typical palmettes with red alternate leaves on the shoulder. Drawn in fairly coarse lines of black glaze, now rather dull. Two shades of red and a blue occur. On three steps stands a slender stele surmounted by a low pediment; there are traces of a light red taenia near the base. At the left a woman stands squarely on both feet, looking at a light blue taenia which she holds out in both hands. She wears a Doric chiton, and her hair is held by a cord wound around it five times. At the right stands a youth, wrapped in a large red himation. The present series is connected with series a much more closely than with series b. The change of paint used in the drawing from a thin yellow glaze to a rather dull black glaze constitutes the most im- portant difference, while the slightly yellow slip found in most in- stances of the first series does not occur here. The left-hand figure on no. 20 preserves both the garments and the treatment of the hips under the garments from Group B, as do certain specimens of series a. It is only in these two series that an imitation inscription is found, and the checker-board break in the maeander is rare on other lekythoi. The treatment of the garment folds on the left-hand figure of no. 20 and the right figure of nos. 22 and 28 is quite in the style of series a. Finally, the shape of the head and treatment of the hair on the left-hand figure of nos. 20 and 21 and the right-hand figure of no. 22 correspond to a type pointed out in connection with series a. In contrast with the lotus bud on the shoulder of lekythoi in the first series, the ornament is much nearer the type common in the follow- ing series. The alternate leaves of red in the palmettes are found on most of these specimens as on many later lekythoi. The rather careful maeander with its including lines around the vase is broken in several instances by the top of the stele. 1 Unimportant as the fact seems, it sheds light on the manufacture of the vase. In later times the lekythoi were made in large quantities, and received their formal decoration before coming to the painter who drew the persons and the stele. But 1 On no. 20 the maeander is broken ; on no. 2z both maeander and including lines are broken ; on no. 28 the including lines are broken ; on no. 26 the lekythos cuts the maeander, which is not broken. GROUP C: CLASS V, 29 213 whenever the maeander, and particularly the lines enclosing the maean- der (made on the wheel), were broken by the top of the stele, they must have been drawn later than the stele and probably by the same hand which drew the stele and the figures by it. In other words the differen- tiation of labor which took place when the lekythoi were manufactured cheaply in large quantities was not yet common. The more careful lekythoi, at least, were probably the work of some one man from be- ginning to end. At the same time the use of the preliminary sketch becomes infrequent. When the general outline of the scene is per- fectly familiar, it is less necessary. In the use of color also a change is taking place. Along with the brown which had been used freely on vases of Group B a good red is now in use, and blue is tried on nos. 22 and 29; while the red is found quite regularly in the following series, blue is rarely seen. In the scene itself the occurrence of the tumulus for the first time l should be noted. It appears first in the literal form as represented on earlier ware, 2 then in an egg-shaped variety, resting like the stele on several steps. This latter form, which appears on later lekythoi with drawing in dull color, may possibly be a rude attempt at perspec- tive as Bosanquet suggests ; however it originates, it becomes con- ventional and is drawn in place of the stele on several steps. The shaft of the stele is rather slender on lekythoi of this series and is surmounted either by a triangular pediment or a round top with palmette. The reserved palmette and egg moulding, which have been mentioned as characteristic of this series, are evidently transferred from the red- figured technique; the use of the checker-board pattern in the maeander is to be explained in the same way. Accordingly, when one turns to the figures themselves, he is not surprised to find types which definitely belong to red-figured ware of this period (e.g. the left-hand figure on nos. 22, 26, and 28, as well as the second figure on the latter vase) along with types found mainly on white lekythoi. On no. 28, for example, the hair of the woman is sup- ported by a broad band underneath, as is often the case on red-figured ware, while on nos. 20 and 21 the mass of hair at the back of the head reminds us of one method of treatment on vases of Group B. Some features of the profile, particularly the full lower lip (e.g. on the youth at the right on no. 28), suggest a date earlier than would be assigned to these lekythoi on other considerations. 1 With the exception of Clan A III, 59, p. 96. * E.g. * black-figured lekythot, Naplet, Inven. 111609; Jour. Htll. Stud. 1899, p. 119, fig. 10. 2i4 ATHENIAN WHITE LEKYTHOI The most interesting feature of this series is the tendency to intro- duce new elements derived from the painter's own observation. In contrast with the academic figures of the next series and the repetition of a few types on lekythoi of later groups, there is a certain freshness and reality here, due to this literal turn of the painter. The woman wiping her eyes with her garment before an inscribed stele (no. 20), the pensive youth sitting on the steps of the monument and the woman setting down her basket before the stele (nos. 21 and 22), the youth taking a taenia from the basket (no. 27), the literal tumulus and stele (no. 28), the large lekythos taking the place of the stele (no. 26), are such elements drawn from actual scenes, elements which add to these vases a touch of real pathos. d. "Academic" series. The finest specimens of the present class, and some of the most beautiful lekythoi in our museums, belong in the series now to be con- sidered. Such delicacy and firmness of line as appear in these draw- ings are not excelled in the best red-figured work. But with all the care lavished on the drawing, with all the precision and devotion of the. artist, the figures are conventional and often stiff. The scenes represented are few, the particular figures occur again and again, and there seems to be a distinct effort to avoid anything new or unfamiliar. Several vases with the phrase "Hygiainon kalos " have served as the starting-point for determining the series. 1 In the following pages I have separated from what Mr. Bosanquet calls the "Hygiainon group" a small series (series e) which, though they are closely allied to the Hygiainon vases, present certain clearly marked peculiarities, such as the stiff slender figures and small heads of the persons represented; while in this series I have for convenience included two slightly vary- ing types, vases on which the drawing is in fairly broad lines of thin yellow and without much solid color, and vases with fine lines and more general use of color. My reason for separating series e and leav- ing the other two types together is a purely practical one; in the former case it seemed a comparatively easy task, in the latter very difficult. In general the vases of this series have a fine white slip, often almost shiny; the three palmettes on the shoulder approach the type which later became typical; 2 the maeander is ordinarily in reversing series, 1 Jour. Hell. Stud. 1899, p. 179 f. 2 Ibid. p. 179, fig. 5. GROUP C: CLASS V, 32-33 215 separated by dotted oblique crosses. The household scenes, including a few which may be interpreted as preparation to visit the grave, predominate; the last seven or eight in the series are scenes at the grave. 32. Acerra, Spinelli Collection. From Suessula (Campania). Bul- let. 1879, p. 148 f.; Rom. Mttth. 1887, S. 262, Taf. xii, 5; Jour. Hell. Stud. 1896, p. 1 66, 12; 1899, P- *8o; Klein, Lieblingsinschriften, S. 1 66, 6. On the shoulder, egg-pattern and palmettes; maeander reversing, broken by dotted oblique crosses. The chair is in dull pink, and the himation of the seated woman is bright red. At the left sits a woman in profile, her head bowed, holding some object (no doubt it is a wreath which has disappeared) in both hands. She wears a sleeve chiton, and a himation is wrapped about her knees. From the right a woman approaches, holding out both hands as if carrying a taenia. She wears a sleeve chiton, girded over a long overfold. In both cases the hair is bound at the back of the head in a flat knot, and left loose about the forehead. In the field at the left hang mirror and oinochoe, at the right a sakkos. Between them is the three-line inscription AZIOTTEI^j KAAO^ AAKIMAXou. 33. Oxford, Ashm. Gard. 266. Gela. H. 0.35 m. Catalogue, pi. xx ; Jour. Hell. Stud. 1899, p. 1801; Klein, Lieblingsinschriften, S. 162, Fig. 42. On the shoulder palmettes in red and dull black (?) almost effaced; maeander re- versing, broken by dotted oblique crosses. The chair and the body of the cithara are in dull pink; traces of red (?) for the himation of the seated figure. On a chair at the left sits a woman in profile, her head bowed, playing on a cithara with round base with her left hand while her right hand holds the plectron. She wears a sleeve chiton and a himation is wrapped about her knees. At the right another woman stands in profile, carrying a lyre in her right hand and extending her left hand from the elbow. She wears a sleeve chiton girded over a long overfold. In both cases the hair is in a rounded knot at the back of the head and loose around the forehead (that of the right-hand figure is restored), and both women wear ear-rings. In the field at the left hang sakkos and mirror, at the right an oinochoe. Between the women is the three-line inscription AAK I Mj/AH$ KAA03 AI3 + YAIAO. The three-line inscription with the name of the father occurs on only a small number of vases, the two under discussion, several in the preceding class (B IV, 3), and a few red-figured vases. 1 Of the four names on these two vases Alkimachos and Axiopeithes are found else- where on vases; 2 Klein mentions six red-figured vases (of the "early 1 Cp. Arch. An*. 1890, S. II ; Jour. Hell. Stud. 1896, p. 165. 2 Klein, Litblingumcbriften, S. l6a, 165-167; Cp. tufra, p. 147. 216 ATHENIAN WHITE LEKYTHOI fine" period) with Alkimachos, on three of which the omicron is given in the form of omega as in the Thasian or Parian alphabet. This type of inscription is the first of several indications that this series of Class V was contemporaneous with the later vases of Class IV. Perhaps the closest parallel to the two vases among the lekythoi already considered is the "Dromippos " vase in Berlin. 1 The objects hanging on the walls mark the interior of a home; the seated woman with mantle about her knees and the attendant before her with one or both hands extended are types long familiar to painters of these lekythoi; the wreath, also, which we may supply in the hands of the seated figure on no. 32, is part of this seated type. On the other hand, the treatment of the hair on the Dromippos vase is not what w T ould be expected in Class IV, and the "crinkly" edges of the chiton of the stand- ing figure can be matched only on vases of the present series in Class V- But while the three vases are alike in all these points, the difference in the spirit of the composition is very marked. The presence of the child on the Dromippos vase indicates a rather bold realism within the lines of the old types; the Axiopeithes vase simply repeats the old types (with the possible exception of the gesture of the standing woman), and the Alkimedes vase combines a red-figured type of musicians 2 with the familiar lekythos figures. It is the Axiopeithes vase which both in its stereotyped figures and its exquisite drawing best exemplifies the ideals of the present series. The Oxford vase, no. 33, is interpreted by Mr. Gardner as depicting a music lesson. So far as the presence of the musical instruments is concerned, and the manner in which the cithara is played, this scene repeats the music lesson type. 3 Yet it should not be forgotten that this vase shows no music lesson; it is the familiar domestic scene of seated and standing women with musical instruments introduced al- most as attributes; certainly all that would point to a lesson is omitted. The presence of the round cithara and the lyre in the same scene is unusual and may be due to the fact that both are hardly more than attributes. 4 34. London, Brit. Mus. D 53. Athens. H. iijin. White A th. Vases, pi. iv; Jour. Hell. Stud. 1899, p. 180. 1 B IV, 3, no. 7, Berlin, Furtw. 2443. 2 Vienna, Sacken-Kenner, 196 (76). 8 E.g. Berlin, Furtw. 2285 (kylix of Douris) ; the cithara and lyre are played with the left hand and by a plectron in the right hand. * Lyres are played and a round cithara hangs on the wall in the Linos vase, Annali, 1871, Tav. F; cp. also Brit. Mus. 271. GROUP C: CLASS V, 34-36 217 On the shoulder egg-pattern and palmettes with alternate leaves red; maeander broken by dotted oblique crosses, not reversing. Drawn in fine lines of brown glaze; the hair is filled nearly solid with black strokes on a yellow glaze surface. Dull pink with brown markings is used for the chair, dull black for the wreath, and bright red for the himation of the seated woman and for the sakkoi. On a chair at the left sits a woman in profile holding up the ends of a wreath as if to fasten them together. She wears a chiton and red himation. Before her stands a woman (body but not feet en fact) looking down at her and offering her a cord with her right hand. She wears a chiton girded over a long overfold. The hair of both women is rolled in a flat knot at the back of the head and laid in curls along the forehead. In the field on each side hangs a sakkos, and above the seated woman is an oinochoe. The purity of the profiles of these women is hardly excelled on the "Hygiainon" vases, and the drawing may well be from the same hand. The crinkly edges of the garments noted on no. 32 are not found either on this vase or on the Hygiainon vases; the eyes also are very simply drawn. 35. Worcester Art Museum (U.S.A.). H. about 0.35 m. Plate IX, i. On the shoulder egg-pattern and typical palmettes; maeander reversing, broken by dotted oblique crosses. Drawn in fine lines of brown glaze; the sketch lines of the body and garment in much thinner glaze show through the applied color of the garment. Purple is used for the ribbon on the hair; the taeniae on the basket are painted in thick white with added glaze details. At the left a woman in profile stands with bowed head holding out in both hands a large basket containing taeniae. She is dressed in a sleeveless chiton girded over a long overfold; her hair is held in a loose knot by a cord wound around it several times, so as to fall over the forehead and in front of the ear. Facing her stands a woman holding in her right hand a toilet vase. In the field at the left is a small oinochoe. Between the figures is the inscription HYflAINON KAAOS. 36. London, Brit. Mus. D 48. Athens. H. 14^ in. White Atb. Vases, pi. ii; Jour. Hell. Stud. 1896, p. 157 f.,and 1899, p. 180; Klein, Lieblingsmschriften, S. 167. On the shoulder egg-pattern and typical palmettes; maeander broken by horizontal reserved crosses, not reversing. Drawn in fine lines of brown glaze, which was used for the first sketch of the body as well as for the parts which were not to be covered with color; the lines of the himation, however, were drawn in an almost transparent glaze to which the color does not adhere. The himation and sakkoi are bright red. The body of the vase is separated into two parts by a horizontal partition; the lower portion has a hole in the side of the vase about three centimetres from the bottom. At the left stands a woman in profile, holding out in her arms a rolled-up mantle which she is giving to her attendant. She wears a sleeve chiton with long overfold un- 2 i8 ATHENIAN WHITE LEKYTHOI girded; her hair is held in a mass at the back of the head by means of a purple band, and a large curly lock is left loose in front of the ear. Before her stands in profile a girlish figure with short curly hair, who holds out both hands to receive the mantle. She wears a sleeve chiton (once light red) girded over a long overfold. Above the girl hangs a small oinochoe, and on either side of the scene a sakkos with strings ending in a trefoil. In the centre is the inscription HYTIAINON KAA05. 37. London, Brit. Mus. D 49. Fragment i J by ^\ in. The maeander is broken by checker-board squares. Drawn in fine lines of brown glaze. The head, shoulders, and right hand of a woman facing toward the right are pre- served; apparently she is taking something with her right hand from a basket on her left hand. She wears chiton and himation, and her hair is held at the back of her head by a white band. Before the figure is the inscription HYPIAINON KAAO^. 38. Madrid, Mus. Arqu. 11189. Klein, Lieblingsinscbriften, S. 168, 3. Cf. Arch. Zeit. 1874, p. 53, 2; Melida, Vasos griegos del mus. arqu. nac. p. 45. Plate VIII, 2. On the shoulder egg-pattern and typical palmettes; maeander partly reversing, broken by dotted oblique crosses. Drawn in fine lines of brown glaze, which is used also for the lines of the body to be covered with dull color. Dark red and light red (nearly faded) are used for garments; purple is used for the taenia on the hair. At the left stands a woman in profile looking down at an outline taenia which she is holding in both hands. She wears a dark red sleeveless chiton girded over a long overfold; a broad taenia holds the hair at the back of her head, allowing it to fall over the ear and on the forehead. Apparently the hair is painted in broad strokes of black on a yellowish ground. Before her stands a woman in profile, holding up a toilet vase on her right hand. She wears a light red open chiton (sleeveless) with overfold ungirded; her hair is entirely covered with a cloth except for a small lock in front of her ear. At the left hangs a sakkos with trefoil strings, at the right a small oinochoe, and between the figures is the inscription HyflAINON KAAO^. 39. Haverford, Penn. U.S.A. Collection of Mr. Alden Sampson. 1 With these Hygiainon vases belongs one from Class IV 2 on which the same name appears and which is probably from the same hand. Numbers 35-38 have various points of contact with Class IV, such as the peculiarities of the maeander on nos. 36 and 37, the basket of fil- lets painted in thick white on no. 35, 3 and the sleeveless chiton worn by 1 I have been unable to secure any description of this lekythos beyond the fact that it has the " Hygiai- non kalos" inscription. 2 Pans, Louvre LEC, Class IV, 3, no. 1 6. 8 Cp. Class IV, 2, no. 14, Athens, 1929 ; Class IV, 3, no. 13, Brit. Mus. D 50. GROUP C: CLASS V, 37-39 219 most of the women.' The delicate oinochoe in the field which occurs on all the complete Hygiainon lekythoi (and no nos. 32, 33, 43, 44 of the present series as well as on no. 6 of Class IV, 3, Berlin, 2443) ma y almost be regarded as the remarque of this artist. Several points in the drawing deserve notice. The relaxed front leg, breaking the fall of the front edge of the garment, hardly occurs on lekythoi with drawing in glaze outline except on no. 33 (Oxford, 266), no. 43 (Vienna, 1087), and on these Hygiainon vases. The lower part of the back is curved in deeply as on some earlier lekythoi; here it makes the body unduly thin from front to back. 2 The curve of the shoulder is so drawn as to make it appear that the shoulder itself is bent well forward. 3 The delicate hands with bent fingers are found on all the present series, but on many of the others the hands are larger than on these Hygiainon lekythoi. The features of the face also are small and delicately but simply drawn. In the treatment of the hair the artist has allowed himself some variety; the use of the ribbon wound several times around the head occurs on no. 35 for perhaps the last time on extant lekythoi. On all these vases, it is the lady who stands at the left with head modestly bowed, and her servant at the right. The Worcester vase and probably the Madrid vase give the " preparation to go to the grave," a type already discussed under Class IV. The London vase (no. 36) depicts a woman who has just come in, and the rolled-up mantle which she is handing to her servant replaces the basket and the taenia of the other specimens. On a red-figured kalpis in St. Petersburg 4 is a scene of feminine life at home in which one woman is carrying a rolled-up garment. The analogy of other motifs in the present series would suggest that this motif also was selected by the lekythos painter from some more extended scene on red-figured ware; the following numbers prove that for the moment it was very popular. 40. Bonn, University Museum. Banner Studien, .1890, S. 156 f., Taf. xi; Jour. Hell. Stud. 1899, p. 180. Maeander reversing, broken by dotted oblique crosses; below the scene is a simple maeander. Drawn in fine lines of brown glaze; light red was used for the mantle, the 1 Cp. Class IV, 2, no. 11, Coll. von Branteghem, 51; no. n, Berlin, Inren. 317$; and Qa IV, 3, no. 12, Brit. Mus. D 50. 8 Class IV, 2, no. 12, Coll. von Branteghem, 51. * Cp. no. 43, Vienna, 1087. This peculiarity is seen in lest degree on later lekythoi of the pi went scries, e.g. on no. 54, Athens, 1960. * St. Petersburg, Ermitage, Steph. 1931 ; the drawing indicates a rase slightly earlier than the Hygiainon lekythoi. Cp. also Brit. Mus. E 202 (Cat. y