Corinthian and Attic Vases in the Detroit Institute of Arts: Geometric, Black-figure, and Red-figure (Monumenta Graeca Et Romana) 9004164081, 9789004164086, 9789047423782

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Corinthian and Attic Vases in the Detroit Institute of Arts

Monumenta Graeca et Romana Editor-in-Chief John M. Fossey (McGill University) Associate Editor Angelo Geissen (University of Cologne) Advisory Board Christiane Delplace (CNRS, France) Christine Kondoleon (Museum of Fine Arts, Boston) Nota Kourou (University of Athens) Michael Vickers (University of Oxford)

VOLUME 12

Corinthian and Attic Vases in the Detroit Institute of Arts Geometric, Black-gure, and Red-gure By

Brian Madigan

LEIDEN • BOSTON 2008

On the cover: 63.13, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data A C.I.P. record for this book is available from the Library of Congress

ISSN 0169–8850 ISBN 978 90 04 16408 6 © Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands

For Jack P. and Helene C. Madigan

CONTENTS List of Illustrations ..................................................................................................................................

ix

Foreword ..................................................................................................................................................

xiii

Acknowledgments ...................................................................................................................................

xv

List of Abbreviations .............................................................................................................................. xvii Chapter One Corinthian Geometric ..................................................................................................

1

Chapter Two Proto-Corinthian and Corinthian Black-Figure .........................................................

3

Chapter Three Attic Geometric .........................................................................................................

13

Chapter Four Attic Black-Figure ........................................................................................................

15

Chapter Five Attic Red-Figure and White-Ground ..........................................................................

45

List of Works Cited ................................................................................................................................

67

Archaeological Provenances ...................................................................................................................

71

Concordance of former Collections, Galleries, and Donors ...............................................................

73

Concordance of Beazley Numbers .....................................................................................................

75

Attributions to Painters, Groups, Classes and Styles ........................................................................

77

Index ........................................................................................................................................................

79

LIST OF ILLUSTRATIONS Photographs: 1. 76.97, Detroit Institute of Arts, Founders Society Purchase, William H. Murphy Fund. photo: Detroit Institute of Arts. 2. 81.687, Detroit Institute of Arts, Founders Society Purchase, William H. Murphy Fund. photo: Detroit Institute of Arts. 3–4. 24.119, Detroit Institute of Arts. photos: Detroit Institute of Arts. 5. 71.32, Detroit Institute of Arts, Gift of Jerome Eisenberg. photo: Detroit Institute of Arts. 6. 71.32, Detroit Institute of Arts, Gift of Jerome Eisenberg. photo: author. 7. 24.178, Detroit Institute of Arts. photo: Detroit Institute of Arts. 8. 24.179, Detroit Institute of Arts. photo: author. 9. 24.11, Detroit Institute of Arts. photo: author. 10. 34.55, Detroit Institute of Arts, Gift of the family of the late Henry Glover Stevens. photo: author. 11–12. 24.12, Detroit Institute of Arts. photos: author. 13. 24.161, Detroit Institute of Arts. photo: author. 14. 24.162, Detroit Institute of Arts. photo: Detroit Institute of Arts. 15. 24.163, Detroit Institute of Arts. photo: Detroit Institute of Arts. 16. 24.164, Detroit Institute of Arts. photo: Detroit Institute of Arts. 17. 24.165, Detroit Institute of Arts. photo: author. 18. 24.167, Detroit Institute of Arts. photo: Detroit Institute of Arts. 19. 24.168, Detroit Institute of Arts. photo: Detroit Institute of Arts. 20. 24.169, Detroit Institute of Arts. photo: Detroit Institute of Arts. 21. 24.174, Detroit Institute of Arts. photo: Detroit Institute of Arts. 22. 24.176, Detroit Institute of Arts. photo: Detroit Institute of Arts. 23. 65.83 A, B, Detroit Institute of Arts, Gift of Mr. & Mrs. Alvan Macauley, Jr; 65.67 A, B, and 65.82 A, B, Detroit Institute of Arts, Gift of the Founders Society, from the bequest of Dr. Lester W. Cameron. photo: Detroit Institute of Arts. 24–25. 50.193 A & B, Detroit Institute of Arts, Gift of the Founders Society, General Membership Fund. photos: Detroit Institute of Arts.

x

list of illustrations

26–27. 24.127, Detroit Institute of Arts. photos: Detroit Institute of Arts. 28–29. 76.22, Detroit Institute of Arts, Founders Society Purchase, Dr. and Mrs. Arthur Bloom, William H. Murphy, and Matilda R. Wilson Funds. photos: Detroit Institute of Arts. 30–32. 24.14, Detroit Institute of Arts. photos: Detroit Institute of Arts. 33–35. 24.351, Detroit Institute of Arts. photos: Detroit Institute of Arts. 36–38. 63.10, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 39–41. 63.14, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 42–44. 63.15, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 45–47. 63.16, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 48–50. 63.18 A, B, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 51–52. 63.17, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 53. 24.229, Detroit Institute of Arts. photo: Detroit Institute of Arts. 54. 64.148, Detroit Institute of Arts, Founders Society Purchase, Sarah Bacon Hill Fund. photo: Detroit Institute of Arts. 55. 64.148, Detroit Institute of Arts, Founders Society Purchase, Sarah Bacon Hill Fund. photo: author. 56. 24.193, Detroit Institute of Arts. photo: Detroit Institute of Arts. 57. 24.193, Detroit Institute of Arts. photo: author. 58. 24.122, Detroit Institute of Arts. photo: Detroit Institute of Arts. 59–60. 24.123, Detroit Institute of Arts. photos: Detroit Institute of Arts. 61–62. 24.124, Detroit Institute of Arts. photos: author. 63–64. 24.125, Detroit Institute of Arts. photos: author. 65. 24.233, Detroit Institute of Arts. photo: Detroit Institute of Arts. 66. 24.234, Detroit Institute of Arts. photo: Detroit Institute of Arts. 67. 24.236, Detroit Institute of Arts. photo: author. 68. 24.237, Detroit Institute of Arts. photo: Detroit Institute of Arts. 69. 24.238, Detroit Institute of Arts. photo: Detroit Institute of Arts. 70. 24.239, Detroit Institute of Arts. photo: Detroit Institute of Arts.

list of illustrations

xi

71. 24.240, Detroit Institute of Arts. photo: author. 72. 24.241, Detroit Institute of Arts. photo: Detroit Institute of Arts. 73. 24.242, Detroit Institute of Arts. photo: Detroit Institute of Arts. 74. 24.243, Detroit Institute of Arts. photo: Detroit Institute of Arts. 75–76. 24.245, Detroit Institute of Arts. photos: Detroit Institute of Arts. 77. 24.334, Detroit Institute of Arts. photo: Detroit Institute of Arts. 78. 70.448, Detroit Institute of Arts, Bequest of Robert H. Tannahill. photo: Detroit Institute of Arts. 79. 24.232, Detroit Institute of Arts. photo: Detroit Institute of Arts. 80. 24.316, Detroit Institute of Arts. photos: Detroit Institute of Arts. 81. 63.11, Detroit Institute of Arts, Gift of the Founders Society. photo: Detroit Institute of Arts. 82. 79.8, Detroit Institute of Arts, Founders Society Purchase, Hill Memorial Fund. photo: Detroit Institute of Arts. 83. 24.155, Detroit Institute of Arts. photo: Detroit Institute of Arts. 84. 63.167, Detroit Institute of Arts, Gift of Francis E. Ross. photo: Detroit Institute of Arts. 85. 77.46, Detroit Institute of Arts, Gift of Mrs. Charles Crouse in memory of her sister Mary Woodruff. photo: Detroit Institute of Arts. 86–87. 24.13, Detroit Institute of Arts. photos: Detroit Institute of Arts. 88–89. 63.12, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 90–91. 24.120, Detroit Institute of Arts. photos: Detroit Institute of Arts. 92–93. 24.150, Detroit Institute of Arts. photos: Detroit Institute of Arts. 94–95. 37.154, Detroit Institute of Arts, Gift of Mr. and Mrs. Ernest Kanzler. photos: Detroit Institute of Arts. 96–97. 63.13, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. photos: Detroit Institute of Arts. 98. 24.246, Detroit Institute of Arts. photo: author. 99. 67.76, Detroit Institute of Arts, Gift of the Founders Society, Bernard and Theresa Schulman Foundation Fund. photo: Detroit Institute of Arts. 100. 24.121, Detroit Institute of Arts. photo: Detroit Institute of Arts. 101. 24.333, Detroit Institute of Arts. photo: Detroit Institute of Arts. 102. 81.827, Detroit Institute of Arts, Founders Society Purchase, Hill Memorial Fund, William H. Murphy Fund, and the Dr. and Mrs. Arthur Bloom Fund. photo: Detroit Institute of Arts. 103. 24.149, Detroit Institute of Arts. photo: Detroit Institute of Arts.

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list of illustrations

104. 24.157, Detroit Institute of Arts. photo: Detroit Institute of Arts. 105. 24.250, Detroit Institute of Arts. photo: Detroit Institute of Arts. 106. 24.251, Detroit Institute of Arts. photo: Detroit Institute of Arts. 107. 24.306, Detroit Institute of Arts. photo: Detroit Institute of Arts. 108. 25.214.27, Detroit Institute of Arts, Gift of David A. Brown. photo: Detroit Institute of Arts. 109. 25.214.29, Detroit Institute of Arts, Gift of David A. Brown. photo: Detroit Institute of Arts. 110. 24.117, 24.118, Detroit Institute of Arts. photo: Detroit Institute of Arts. 111–12. 36.106, Detroit Institute of Arts, Gift of Mr. and Mrs. Lewis Reichle, photos: Detroit Institute of Arts. 113. F80.47, Detroit Institute of Arts, Gift of the Fort Wayne Military Museum. photo: Detroit Institute of Arts. 114. 24.253, Detroit Institute of Arts. photo: Detroit Institute of Arts. 115. 79.163, Detroit Institute of Arts, Founders Society Purchase, Hill Memorial Fund, and William H. Murphy Fund. photo: Detroit Institute of Arts.

Drawings: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

grafto on 24.14 grafto on 24.14 grafto on 24.14 grafto on 24.14 grafto on 24.14 grafto on 24.14 grafto on 63.18 grafto on 63.17 grafto on 64.148 (from Johnston 1979) grafto on 63.12 prole of no. 84 (79.163)

FOREWORD The collection of Greek vases in the Detroit Institute of Arts, while fairly large and containing representative examples broadly distributed across the large schools of Greek vase painting, is little known nor well published. Over the course of the twentieth century, the collection has been developed by museum purchase, as well as from gifts, the two largest discrete blocks of added vases being a large number from Gotha in the 1920’s and a smaller group of vases from the Hearst collection in the 1960’s. Despite the imbalance that such large acquisitions and gifts sometimes produce, judicious acquisition over time has resulted in a collection which encompasses a considerable range of vase types, subject matter, and chronology. The goal of the present catalogue is to make available those vases from two of the schools of Greek vase painting, the Athenian and the Corinthian, leaving aside the substantial collection of South Italian vases for separate treatment. The vases presented here are those from these two poleis decorated in the geometric, the black-gure and the red-gure styles. The catalogue includes white-ground vases and those without gural decoration, but with black- or red-gure techniques; black glaze pottery is not included. The terms used to describe the attribution to artists in a catalogue including both Attic and Corinthian vases pose a problem of consistency. The identication of Athenian painters will necessarily be built on the connoisseurship of John Beazley, who employed a vast array of terminology for describing the attribution of vases by painting style and shape. While Beazley insisted that the terms he employed had specic, non-interchangeable meanings, the full range of this terminology has not been practiced in subsequent scholarship. And for vases outside of Attic black- and redgure, in the present case Geometric, Proto-Corinthian, and Corinthian, neither the current state of the scholarship nor the nature of the material lend support for invoking this sense of precision. But even for Attic black- and red-gure, I have not presumed to attempt Beazley’s range of distinctions. Martin Robertson’s lucid discussion of Beazley’s terms included in Beazley Addenda has been accepted here as a guide. I have chosen not to overplay my hand, and err on the side of conservatism. When I nd various aspects of a vase’s painted decoration to be notably close to the style of an identied painter, but certain details of the painting, or perhaps the condition of the painting do not leave me fully convinced of the attribution, I indicate this by Beazley’s term “manner.” Vases are assigned to a “class” or a “group” established by Beazley according to the dening characteristics of vase shape or painting style, respectively. I use “related” only in the case of one Corinthian vase to indicate an afnity in painting style with a previously identied painter. Although both Beazley and Robertson express some ill ease with the term “workshop”, I have used it for three vases that I connect with the Bedlam Painter, but which, being without gural decoration, seem to be the sort of things that could be turned out in large numbers by any of a group of craftsmen, without the reasonable possibility of identifying an individual painter. Attributions cited without a published reference are those which have been communicated to the museum verbally or in writing. If comparanda were given for such attributions, the scholar’s name is indicated in brackets. Comparanda in support of my own attributions of which photographs are only available, so far as I am aware, in the Beazley Archive at Oxford are included when they seem particularly apposite. Otherwise, Beazley’s listing or a published source are given. The sole exception is Palermo N.I. 1720 (catalogue no. 6) which is unpublished so far as I am aware.

xiv

forward

A large number of vases derive from the Gotha Museum, and the collection of Duke, later Prince, Albert. In the provenance entry for these vases, the number assigned to the vase in the D.I.A.’s original list of that collection is given. Only rarely does that list also record a “catalogue number”, presumably that of the Gotha Museum; they are noted along with the D.I.A.’s list number. Many of the vases from Gotha also have a separate number for the Collection of Duke Albert (“H.A.”); these are also given in the provenance entry. In the concordance of earlier collections, both the D.I.A.’s list number and the Albert Collection number are recorded. As a number of the vases derive from earlier collections, restoration is a potential problem for the understanding of both painting style and iconography. Such restorations are described under the entry for condition. Descriptions of the vase and its painted decoration aspire to record those elements which are not apparent from the photograph. The vases are illustrated, so far as possible, with the professional photographs of the museum. Only where such photographs or details do not exist have I resorted to my own photographs.

ACKNOWLEDGMENTS The peculiar pleasure in nishing a project such as this is the opportunity to express my appreciation to those whose contributions have not only made the work possible, but also made it enjoyable. Foremost, my thanks to Bill Peck, who was curator of the collection of ancient art at the Detroit Institute of Arts during the long span of the work. Bill had long recognized the need for the museum’s collection to be made available to the scholarly audience, and had begun working on the publication himself. His enthusiasm for the publication of the Greek vases was manifest not only in the unstinting support for moving the work forward, but his unagging willingness to grant access to the collection, and the records bearing on its development. I also owe a similar debt to other members of the curatorial staff of the Department of Ancient Art, Elsie Peck and Penelope Slough. In the nal stages of preparation of the text, George Keyes and Brian Gallagher, curators of the museum, continually aided in settling the numerous small details. During a visit to the Beazley Archive at Oxford University early on in the project, Donna Kurtz and John Boardman were models of scholarly courtesy and efciency, as well as personal warmth in helping me to make the fullest possible use of that extraordinary resource. Two anonymous reviewers for Brill have added immeasurably to improving the nal product in catching the gaffes, large and small. Sylvia Inwood of the museum’s Rights and Reproductions Department, with unagging good humour, devoted her careful attention to the many challenges of accurately working up the numerous photographs of the mostly unpublished objects that the catalogue involves. Sarah Bassett was a constant source of wise council, most particularly with respect to football aryballoi. Kim Fiona Plas of Brill Publishing has kept her hands on the tiller of the project, always a reliable source of information on the details of the publishing process, and lending just the right touch of auctoritas to avoid the shoals. I would also like to express my appreciation for the critical collaborative work of library staffs, the interlibrary loan ofce at Wayne State University, and the circulation staff at the University of Michigan library, without whose labours, none of this could have proceeded. It is also a pleasure to acknowledge at this point the contribution of nancial resources, practical yet absolutely critical to the completion of such a project. The visit to the Beazley Archives was made possible by a faculty research grant from the provost’s ofce of Wayne State University. And the heavy load of photographic costs late in the project was subvented by a research grant generously provided by Dean Sharon Vasquez of the College of Fine, Performing and Communication Arts at Wayne State University. Finally, it would be remiss not to acknowledge the personal support of Cressida, who early on endured the absences of the work, and who, while doubting that the project would ever be done, never failed to point out the manifold ways in which it does not rise to the level of science.

LIST OF ABBREVIATIONS Journal titles are abbreviated following the American Journal of Archaeology. Citations of ancient authors and works follow The Oxford Classical Dictionary. In addition the following are used: ABV Addenda ARV 2 CVA EAA LIMC Para

J.D. Beazley. Attic Black-gure Vase-painters. Oxford 1956. T.H. Carpenter, T. Mannack, and M. Mendonça. Beazley Addenda: Additional References to ABV, ARV 2 & Paralipomena 2. Oxford 1989. J.D. Beazley. Attic Red-gure Vase-painters2. Oxford 1963. Corpus Vasorum Antiquorum. Enciclopedia dell’antica, classica e orientalie. Roma 1958–66. Lexicon Iconographicum Mythologiae Classicae. Zürich 1981–1997. J.D. Beazley. Paralipomena: Additions to Attic black-gure Vase-Painters and to Attic red-Figure Vasepainters2. Oxford 1971.

CHAPTER ONE

CORINTHIAN GEOMETRIC 1. Geometric Oinochoe, 76.97 Fig. 1

what Weinberg has described as the Protocorinthian Geometric.

Shape and ornament: Coldstream’s lekythosoinochoe. Nearly straight, conical base, tall tapering neck, trefoil mouth and ribbon handle. Surface covered by ne horizontal glaze lines except as follows: near the top of the body, a band of double outline, hatched triangles; below, a dotted lozenge chain, with dots in the interstices. At the centre of the neck, a multiple zigzag with vertical bars on the apices; anked above and below by dotted lozenge chains as on the body. A glaze band at the juncture of the body and neck. Mouth glazed with interior reserved; reserved circle on lip to either side of mouth with swastika. Handle decorated with horizontal banding. Underside of base reserved. The extension of linear decoration over the entire surface of the vase, replacing the dark glaze, begins on oinochoe on the Middle Geometric II (Coldstream 1968, 96). The tendency reaches its fullest extent in the Late Corinthian period, but normally with a black band surviving at the bottom of the vessel (Weinberg 1941, 34). Similarly, the extended height of the Detroit vase, and the elongation of the body and attening of the contour give it an afnity with examples of the early Protocorinthian period ( Johansen 1923, 81; Coldstream 1968, 107). The decoration of the vessel is with exclusively geometric motifs, without any of the gural or curvilinear devices that are introduced in Protocorinthian period, but the use of such geometric decorations persists on this vase form well into the Protocorinthian period (Dunbabin 1962, 35). The combination of Late Geometric elements combined with elements of the developing Protocorinthian is consistent with

Date: Weinberg’s (1941) Protocorinthian Geometric, 725–700 B.C. Dimensions and condition: Height: 22.6 cm; Diameter: 21.0 cm; Diameter of mouth: 5.8 cm. Broken and repaired, particularly lower edge and underside. Some abrasion and pitting of surface. Provenance: ex coll. Charles Ede, London; Charles Seltman. Bibliography: Chittenden and Seltman 1947, no. 48; Lane 1971, 26 and pl. 11B; Charles Ede Limited 1976, no. 12; Peck 1977, 18 and g. 8; Moon and Berge 1979, 3, no. 2; Cuomo di Caprio 1993, 3, no. 2.

Exhibitions: Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979–February 24, 1980; From Pasture to Polis: Art in the Age of Homer, Museum of Art and Archaeology, University of Missouri-Columbia, October 9, 1993–June 19, 1994. Comparanda: Munich 2284: Coldstream 1968, pl. 19d: elongated neck and at contour of body. Dunbabin 1962, 37, no. 215, pl. 9: pattern of decoration. Johansen 1923, pl. XVIII, 5: wider body and taller neck in conjunction with retained geometric motifs.

CHAPTER TWO

PROTO-CORINTHIAN AND CORINTHIAN BLACK-FIGURE 2. Corinthian Amphoriskos, 81.687 Fig. 2 Shape and ornament: Slightly convex mouth. Flaring foot. Interior of neck and top of mouth reserved. Reserved line on exterior of mouth. Glaze on exterior of handles. Horizontal zigzag on neck. On shoulder and body, lling ornament of variously sized rosettes around animals. Subject: On shoulder, panther, with face frontal, and water fowl. On body, two panthers to left, two panthers to right, faces frontal. Attribution and date: The Ampersand Painter; by Neeft as the Temenide Painter; Middle Corinthian, 595–570 B.C. Dimensions and condition: Height: 16.2 cm. Diameter: 9.8 cm. Diameter of mouth: 3.0 cm. Diameter of foot: 41. cm. Intact. Extensive surface abrasion, with loss of glaze throughout. No bibliography Comparanda: London 1814.7–4.476: Temenide Painter [Neeft]. Chicago 1905.343: Amyx 1988, pl. 90: decoration, particularly the proportions and anatomical details of the panthers, and the lling ornament. Delos 472: Dugas 1928, no. 472, pl. XXXIV: shape and decoration, but animals and lling ornament also close in style. Palermo N.I. 1720: shape, general decoration, and style of the animal friezes; probably by the same painter.

3. Corinthian Column Krater (Kelebe), 24.119 Figs. 3–4 Shape and ornament: Corinthian column krater. Flat, thick rim with 2 column handles on each side running from extensions of rim to shoulder. Spreading foot. Interior of mouth, neck and handles glazed. On each side of upper surface of rim, double lotus chain. On each extension of rim, a siren facing right with head turned to left, one wing and one claw raised. On shoulder on each side, tongues. Upper gural zone framed above by two thin (dilute) lines and below by two (dilute) lines which at times blend into one. Lower gural zone framed below by (dilute) band, at top of glazed area. Rays at bottom with (dilute) band above. Foot glazed with underside reserved. All decoration in red; fabric buff. Subject: upper zone: A: Banqueting scene. 1: nude male with llet, left arm extended with palm up, right hand holding pitcher, facing right. 2: female on couch, with llet, mantle around upper body, wearing necklace, facing left. 3: male on same couch as 2, with llet, mantle over left shoulder, but neckline indicated (chiton?), holding rhyton in right hand, facing left. Cushion, mattress and tooled legs of couch for 2 and 3. In front a table with tooled legs, and 2 unidentied objects, footed bowl with 3 triangular forms on it, and handless bowl. Below this a low stool with cushion. 4 and 5: as 2 and 3, except that man reaches down to seize bowl with right arm, same furniture. 6 and 7: as 2 and 3, except that man’s arm is held open in front of body, same furniture. Tortoise shell lyres hang between the groups.

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B: Procession of horsemen. 3 mounted warriors, each with Corinthian helmet, hoplite shield (device: pinwheel), 2 spears, facing left. Flying bird and serpent follow to right. lower zone: A: 1: grazing goat to right. 2: panther to left, face frontal. 3: siren to right, head turned left. 4: panther to right, face frontal. B: 1: grazing goat to right. 2: lion to left, face frontal. 3: grazing goat to right. 4: lion to left, face frontal. under handles: 2 seated, confronting lions, heads frontal. A banquet scene on one side and horsemen on the other constitute the favoured subjects of the Detroit Painter on the vases attributed to him or possibly his (Amyx 1988, I: 196, II: 947). All these surviving attributed vases are column kraters, where these subjects work well with the broad registers. This narrow range of subject matter caused Benson (1956, 228) to name the painter of the Detroit vase and two others as the Banquet Scene Painter. And he further attributed to this painter the banquet side of a vase in Paris (Louvre E 634), while the rest of the vase he assigned to the Three Maidens Painter, positing an important case of different painters collaborating on a single vase. Amyx questioned the strategy of identifying painters by choice of subject (Amyx 1961, 10–11, n. 31) as insufciently distinctive given the commonness of the subjects. He therefore proposed naming the painter after the Detroit collection, which was not well known, even though the surface of the Detroit vase is poorly preserved. Amyx neither saw the banquet side of Louvre E 634 as by the Detroit Painter, nor agreed that there was any compelling evidence for painters collaborating on the Corinthian vases under consideration (Amyx 1961, 8). Bakir (1974, 44–48), considering the Detroit vase as a part of the Three Maidens Group, placed it relatively to the other vases assigned to the same painter at the chronological middle of the painter’s career. Some details of the representation: while a banquet is not an unusual subject, the inclusion of

females (hetairai) with the males on the banquet scene of the Detroit vase is (Amyx 1988, II: 647). Further, it is possible to detect inscribed lines inside the contours of the legs, tails, and heads of the horses on B. The poor surface preservation bars certainty, but this would appear to indicate two overlapping horses in each case, comparable to the same arrangement on the vase once on the Basel Market by the Detroit Painter (Benson 1969: 121, no. 7 and pl. 37, g. 16). Attribution and date: As name piece of Detroit Painter by Amyx; to the Banquet Scene Painter by Benson; Middle Corinthian; 600 to 575 B.C. Dimensions and condition: Height: 42.3 cm. Diameter of body: 48.2 cm. Outside diameter of mouth: 37.3 cm. Diameter of foot: 23.3 cm. Broken and repaired. Handles broken and repaired. Cracks in body beneath each handle running through lions. Cracks on side A with repair and on right side of upper gural zone. Cracks on side B running through each horseman; rider at right partially obscured by repair. Numerous cracks running through animals in lower zone. Surface badly worn with much loss of glaze. Much glaze missing on rim, handles, shoulder, lower body and foot. Some loss of glaze on all gures on both sides. Upper gural zone on side A almost entirely lost, visible only in incision. Accessory colour: Red: neck, front shoulder and belly of goats; neck and belly of lions. Provenance: ex coll. Gotha, no. ZV 2030 Bibliography: von Massow 1916, 63, g. 16; V[alentiner] 1924, 11–12 and g. 1; Robinson and Harcum 1930, I: 63; Payne 1931, 317, no. 1184; Benson 1956, 228; Amyx 1961, 10–11; A.G. Basel 1961, p. 56; Kleinbauer 1964, 358, n. 20; Benson 1969, 113–115, 121; Banti 1958–66, 93; Bakir 1974, 15, no. K44; Amyx 1988, I:196, no. A-4, II:647; Moon and Berge 1979, 26–27, no. 16.

Exhibition: Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979– February 24, 1980.

proto-corinthian and corinthian black-figure Comparanda: once Basel Market: Benson 1969, pl. 37, g. 16: better preserved horsemen by same painter. Louvre E 629: Benson 1969, pl. 36, g. 13: hetairai at banquet.

4. Corinthian Kotyle, 71.32 Figs. 5–6 Shape and ornament: Spreading foot. Top edge of rim reserved. On interior, a glaze band above a reserved band, the remainder glazed. On level of handles, a band of vertical zigzags framed by double lines. Single ground-line separates gural zone from rays beneath, which have a single line at the bottom. Subject: Two panthers, with faces frontal, and a goat, all to right, surrounded by variously sized curvilinear blotches with incised lines. Date: Middle Corinthian, 595–570 B.C. Dimensions and condition: Height: 13.8 cm. Diameter at rim: 19.9 cm. Diameter of foot. 10.3 cm. Some chips and abrasion of surface. One large chip above panther to left of goat. Accessory colours: Red: goat: shoulders, belly, ribs, haunch. panther to left of goat: neck, shoulder, ribs, haunch. panther to right of goat: as other panther with addition of stripe on belly. White: seems to have been added over red. On panther to left of goat, the white on shoulder ran across the face.

5

5. Proto-Corinthian Aryballos (Pointed), 24.178 Fig. 7 Shape and ornament: Neck ares slightly. Small foot. Interior of rim glazed. Rays on top of mouth, framed by lines. Four horizontal lines on handle. Dot rosettes on shoulder, below which a line and band. Checker pattern on body with framing lines. Single bands above and below a series of seven lines. Three broad bands, then three lines above rays at the base. Glazed circle at centre of underside of foot. Attribution and date: Sub-Geometric Style; by Neeft as close to but in ways distinct from the Falanto Group; Late Proto-Corinthian or Transitional, ca. 650–620 B.C. Dimensions and condition: Height: 6.3 cm. Diameter of mouth: .5 cm. Diameter of body: 4.2 cm. Diameter of foot: 1.3 cm. Chips and abrasion on surface throughout. Some incrustation on foot. Colour of glaze varies due to misring. Provenance: ex coll. Gotha, no. 82. No bibliography Comparanda: Falanto Group: Neeft 1987, 116–17: shape and decoration. Corinth KP 1870: Stillwell and Benson 1984, no. 1474; Neeft 1987, 238: shape and decoration of preserved lower portion. Corinth KPm 1874: Stillwell and Benson 1984, no. 1476; Neeft 1987, 298: shape and decoration of preserved lower portion.

No bibliography Comparanda: Amyx and Lawrence 1973, An 168 (oinochoe), pl. 50: animal frieze.

6. Proto-Corinthian Aryballos (Pointed), 24.179 Fig. 8 Shape and ornament: Flat disk mouth. Small foot. Two wide bands on top of mouth. Three

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horizontal lines on handle. Spirals on shoulder, rising from a wide band. Five lines above and six lines below gural zone. Single band near bottom of body. Foot glazed. Glazed band on underside of foot.

Subject: In upper gural zone, one goat and one panther facing right surrounded by large and small rosettes. In lower gural zone, two goats and one panther facing right, surrounded by large and small rosettes.

Subject: Three dog-like animals running to left.

Attribution and date: By Amyx to unattributed vases in the Scale-Pattern Group; by Neeft to same painter as Toronto 919.5.95; Middle Corinthian, 600–575 B.C.

Attribution and date: The Silhouette Style; by Neeft as the Alari Group; Late Proto-Corinthian, 650–630 B.C. Dimensions and condition: Height: 7.4 cm. Diameter of body: 3.8 cm. Diameter of base: 1.1 cm. Badly abraded in places. Much of the glaze has been removed from the upper surface of mouth and the outside of the handle. Silhouettes of dogs and parts of bands worn away in places. Provenance: ex coll. Gotha, no. 81. Bibliography: V[alentiner] 1924: 10.

Comparanda: Alari Group: Neeft 1987, 206–10. Thebes R. 91.2: Ure 1934, 21, Rhitsona grave 91.2, pl. III; Neeft 1987, 209: shape and decoration. Blinkenberg 1931, no. 1080, pl. 49: shape and except for direction of animals, the entire decoration, though the animals themselves are rendered in a differing style. Athens (without no.): Dunbabin 1962, 17, no. 35, pl. 2; Neeft 1987, 197: shape and, except for variations, the decoration.

7. Corinthian Alabastron, 24.11 Fig. 9 Shape and ornament: Slightly attened base with indentation at bottom. Line on inner edge of mouth, from which a series of tongues radiate. Handle glazed. One thin and one broad line below lower gural zone. On the bottom, petals surrounded by two thin lines above, and one thin and one broad line below. Reserved circle at centre of bottom. Dark brown glaze. Light tan fabric.

Dimensions and condition: Height: 21.9 cm. Diameter of body: 10.7 cm. Diameter of mouth: 5.6 cm. Much repaired and repainted. In lower register, head, forepart and rear of panther repaired and repainted. Head of goat behind panther repaired and repainted. In upper register, head of panther is restored. Accessory colour: Red: upper zone: panther’s belly, stroke on haunch; goat’s neck and belly. lower zone: panther’s neck, shoulder, belly, ribs; goats’ neck, belly, ribs, strokes on haunch. Provenance: ex coll. Julius Bohler. Bibliography: V[alentiner] 1924, 11; Amyx 1988, 158.

8. Corinthian Alabastron, 34.55 Fig. 10 Shape and ornament: Top of mouth concave. Small indentation on bottom. Radiating petals on top of mouth; a row of dots on the vertical face. A glaze line preserved on one side of the handle. Petals at top of body. A ring of dots at bottom of body, with dot at centre. Subject: Water fowl between two facing lions with a rosette over back of each lion. Attribution and date: Related to the Dolphin Painter; by Neeft as a late work of the Kestner Painter; Early Corinthian, 620–595 B.C.

proto-corinthian and corinthian black-figure Dimensions and condition: Height: 9.2 cm. Diameter: 5.0 cm. Diameter of mouth: 3.5 cm. Intact. Much of the glaze chipped off and the surface abraded. Accessory colour: Red: shoulders of lions. Provenance: ex. coll. the family of Henry Glover Stevens.

7

Patches of incrustation on forepart of lion. Some loss of colour in glaze in rear due to misre. Accessory colours: Red: lion: neck, shoulder, strokes on ribs. bull: neck, top of shoulder, strokes on ribs, underbelly, strokes on haunch. White: lion: over red on shoulder, front of leg, and ribs. bull: over red on top of shoulder, underbelly, lower parts of strokes on haunch.

No bibliography Provenance: ex coll. Julius Bohler. Comparanda: Los Angeles, Arthur Silver Collection: Amyx 1988, pl. 19, 2a & b: shape, and close in style, particularly the rendering of the lions’ manes and ears.

9. Corinthian Aryballos, 24.12 Figs. 11–12 Shape and ornament: Payne’s Early Corinthian aryballos B 1. Slightly attened bottom with tooled recess in centre. On upper surface of mouth, radiating tongues, with single lines framing at the inner and outer edges. Handle decorated with vertical zigzag on outer surface. Tongues on bottom, framed above and below by double lines. Centre of bottom reserved. Subject: Confronted bull and lion. Bull is on side A facing right; lion is on side B facing left. Both animals surrounded by rosettes and oral elements in glaze and incision. Attribution and date: By Benson to the Painter of the Lowering Bulls; listed by Amyx as unveried attribution to the Painter of Louvre A454; by Neeft to the Chimaeroid Panther Group; Early Corinthian, 625–600 B.C. Dimensions and condition: Height: 11.0 cm. Diameter of body: 10.2 cm. Diameter of mouth: 5. cm. Intact. Large pattern of cracks on right side of belly. General surface pitting and abrasion.

Bibliography: V[alentiner] 1924, 11; Benson 1956, 224; Amyx 1988, 101, no. 2.

10. Corinthian Aryballos, 24.161 Fig. 13 Shape and ornament: Payne’s Early Corinthian aryballos B 2. Mouth ares, and is concave on top and side. Bottom tooled at centre. Interior of neck glazed. Reserved petals on top of mouth. On main part of body, a rosette with eight petals, alternately reserved and red, joined to a spoked wheel of two concentric circles and a dot at centre. Beneath the handle a glazed circle, with three crossing diameters. On handle, three horizontal lines between vertical lines. Date: Middle Corinthian, 590–70 B.C. Dimensions and condition: Height: 10.2 cm. Diameter: 9.5 cm. Diameter of mouth: 5. cm. Intact. Chips in mouth. Abrasion of surface throughout. Accessory colour: Red: interiors of alternate petals on body. Provenance: ex coll. Gotha, no. 69. Bibliography: V[alentiner] 1924, 10.

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Comparanda: Dugas 1928, no. 184, p. XXII: spoked rosette. Dugas 1928, no. 187, pl. XXII: shape. Thebes R. 86.199: Ure 1934, 45–46, Rhitsona grave 86, no. 199, pl. X: shape.

11. Corinthian Aryballos, 24.162 Fig. 14 Shape and ornament: Payne’s Early Corinthian aryballos B 2. Top of mouth concave and ares slightly. Glaze line at top of interior of neck. On top of mouth a glaze band anked by single lines at the inner and outer edges. A glaze line at top and bottom of vertical face of mouth. On the body, a quatrefoil lotus bud and leaf pattern. Attribution and date: Payne’s quatrefoil aryballoi; Late Corinthian, 570–550 B.C.; Neeft as Middle or Late Corinthian, 590–550 B.C.

12. Corinthian Aryballos, 24.163 Fig. 15 Shape and ornament: Payne’s Early Corinthian aryballos B 2. Top of mouth concave, and ares at edge. Glaze line at top of interior of neck. On top of mouth a glaze band anked by single lines at the inner and outer edges. Medial glaze line on vertical face of mouth. Row of dots on body below neck. On the body, a quatrefoil lotus bud and leaf pattern. Six-petal rosette beneath handle. Attribution and date: Payne’s quatrefoil aryballoi; by Neeft as Middle Corinthian 590–70 B.C. Dimensions and condition: Height: 7.0 cm. Diameter: 6.9 cm. Diameter of mouth: 4.9 cm. Intact. Chips on lower rim of mouth. Outer edge of mouth abraded. Surface and glaze abrade throughout. Provenance: ex coll. Gotha.

Dimensions and condition: Height: 6.8 cm. Diameter: 6.6 cm. Diameter of mouth: 4.8 cm. Intact. Chips in surface. Some abrasion and misring of glaze. Provenance: ex coll. Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 39

Bibliography: V[alentiner] 1924, 10.

Comparanda: Payne 1931, no. 1263, g. 161: shape and decoration. Dugas 1928, no. 205, pl. XXII: shape and decoration.

Bibliography: V[alentiner] 1924, 10.

Comparanda: Payne 1931, no. 1263, g. 161: shape and decoration. Dugas 1928, nos. 196, 197, 215; pl. XXII: shape and decoration; 215 particularly close in decoration. Thebes R. 92.11: Ure 1934, 43–44, Rhitsona grave 92, no.11, pl. IX: shape and decoration. Thebes R. 125b.5: Ure 1934, 43–44, Rhitsona grave 125b, no. 5, pl. IX: shape and decoration. Boardman and Hayes 1966, no. 103, pl. 9: shape and decoration.

13. Corinthian Aryballos, 24.164 Fig. 16 Shape and ornament: Payne’s Early Corinthian aryballos B 2. Top of mouth concave, and ares slightly. Glaze line at top of interior of neck. On top of mouth a glaze band anked by single lines at the inner and outer edges. Glaze lines at top and bottom of vertical face of mouth. On the body, a quatrefoil lotus bud and leaf pattern. Attribution and date: Payne’s quatrefoil aryballoi; Late Corinthian, 570–550 B.C.

proto-corinthian and corinthian black-figure Dimensions and condition: Height: 6.9 cm. Diameter: 6.5 cm. Diameter of mouth: 4.7 cm. Chips in bottom and top of mouth. Some abrasion of glaze. Provenance: ex coll. Gotha. No bibliography Comparanda: Payne 1931, no. 1263, g. 161. Dugas 1928, nos. 196 and 197; pl. XXII: shape and decoration. Boardman and Hayes 1966, no. 103, pl. 9: shape and decoration.

14. Corinthian Aryballos, 24.165 Fig. 17 Shape and ornament: Payne’s Early Corinthian aryballos B 2. Mouth concave on top and ares slightly. Inner and outer edges of mouth glazed. On top of mouth a line on either side of a wider band. Broad band on vertical face of mouth. Row of petals on top of body. On body below, three band above and below a checker pattern. On bottom, three glaze circles around reserved centre. Attribution and date: The Linear Style, Payne’s Group J; Early Corinthian, but according to Payne lasting well into the sixth century, 620–575 B.C.; by Neeft as Middle Corinthian, 590–70 B.C.

9

Thebes R. 92.6: Ure 1934, 26–27, Rhitsona grave 92, no. 6, pl. V: shape and decoration of body. Thebes R. 145.6: Ure 1934, 26–27, Rhitsona grave 145, no. 2, pl. V: shape and decoration of body. Dugas 1928, no. 169, pl. XXII: shape and decoration. Boardman and Hayes 1966, no. 62, pl. 9: shape and decoration.

15. Corinthian Aryballos, 24.167 Fig. 18 Shape and ornament: Payne’s Early Corinthian aryballos B 1. On top of mouth, glaze band at centre, with single lines at inner and outer edges. Glaze line at centre of vertical face of mouth. Glaze line at top of throat. A row of petals on body below neck. On body, a wide glaze band crossed by double incised lines, and framed by triple glazed lines. Two glaze lines at bottom of body. Attribution and date: Incised decoration like that of Payne’s football aryballoi; painted decoration like that of Payne’s Subgeometric Style of Late Corinthian at-bottomed aryballoi; Late Corinthian, 570–550 B.C.; by Neeft as Middle Corinthian, 590–70 B.C.

Dimensions and condition: Height: 6.3 cm. Diameter: 7.0 cm. Diameter of mouth: 5.2 cm. chips in surface throughout. Incrustation on bottom.

Dimensions and condition: Height: 8.1 cm. Diameter: 7.6 cm. Diameter of mouth: 4.1 cm. Intact. Small chips in mouth and body. Considerable abrasion of fabric on rim and handle. Abrasion of glaze on body.

Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 39; found at Corinth.

Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 255.

No bibliography

No bibliography

Comparanda: Payne 1931, no. 641, g. 127: shape and decoration.

Comparanda: Payne 1931, no. 1294, g. 162: incised decoration.

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Boardman and Hayes 1966, no. 36, pl. 8: incised and painted decoration. Alexandrescu 1978, no. 288, inv. V8337, pl. 29: shape and incised decoration. Thebes R. 86.252: Ure 1934, 24–25, Rhitsona grave 86, no. 252; pl. IV: painted decoration.

16. Corinthian Aryballos, 24.168 Fig. 19 Shape and ornament: Payne’s Early Corinthian aryballos C. Glaze line at top in interior of throat. Glaze line at inner edge of mouth and diagonal strokes along the outer edge. Vertical face of mouth glazed. Glaze line at base of neck. On body, a row of petals above and below a set of three glaze bands, the centre one being red. Base glazed. On the underside of base a glaze circle on either side of an incised circle. Two glaze lines on handle. Date: Early Corinthian, 620/15–595/90 B.C.; by Neeft as Middle Corinthian, 590–70 B.C. Dimensions and condition: Height: 6.0 cm. Diameter: 6.1 cm. Diameter of mouth: 3.4 cm. Intact. Neck broken off and repaired. Chips in top and bottom of mouth. Glaze abraded. Accessory colour: Red: central band on body. Provenance: ex coll. Gotha, no. 76, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 214. No bibliography Comparanda: Thebes R. 92.14: Ure 1934, 27–28, Rhitsona grave 92, no. 14; pl. IV: shape. Payne 1931, no. 642 [Neeft]. Dugas 1928, no. 155, pl. XXII: decoration.

17. Corinthian Aryballos, 24.169 Fig. 20 Shape and ornament: Payne’s Early Corinthian aryballos B 2. Glaze band in interior of neck. Three glaze lines on top of mouth. Glaze band on vertical face of mouth. A row of petals on body beneath neck. Beneath, the body is decorated with a glaze band, two narrow glaze bands, a wide glaze band, and two glaze bands as the rst. Bottom a glaze circle. Date: by Neeft as Middle Corinthian, 590–70 B.C. Dimensions and condition: Height: 6.6 cm. Diameter: 6.7 cm. Diameter of mouth: 4.0 cm. Intact. Chips in rim. Abraded glaze throughout. Provenance: ex coll. Gotha, no. 73, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 39. No bibliography Comparanda: Thebes R. 92.6: Ure 1934, 20–23, Rhitsona grave 87, no. 2, pl. IV: shape and decoration.

18. Corinthian (?) Aryballos, 24.174 Fig. 21 Shape and ornament: Payne’s Early Corinthian aryballos B 1. Base slightly attened. On upper surface of mouth, three wide circles. Vertical edges of mouth glazed. Outside of handle painted with haphazard horizontal lines. Animals in gural zone surrounded by rosettes and bordered above and below by two thick lines. Two concentric circles on underside. All decoration in brown glaze. Subject: Confronting lions with water fowl facing right between; duck facing right on opposite side. Attribution and date: Arlesheim Group; Late Corinthian, 570–550 B.C.; by P.E. Slough as

proto-corinthian and corinthian black-figure Etruscan, ca. 560 B.C.; by J. Szilagyi as EtruscoCorinthian and attributed to the Bobuda Painter, ca. 560 B.C. Dimensions and condition: Height: 14.3 cm. Diameter of body: 12.0 cm. Neck and mouth skewed off axes. Broken and repaired. Glaze heavily abraded in places. Small chips missing from front. Accessory colour: Red: shoulder of bird on back. Provenance: ex coll. Gotha. No bibliography Comparanda: Basel, private coll.: Benson 1953, 56 and pl. 11: decoration.

19. Corinthian Aryballos, 24.176 Fig. 22 Shape and ornament: Payne’s Early Corinthian aryballos B 1. Glaze line at top of interior of neck. Three glaze lines on top of mouth. Two glaze lines on handle. A row of tongues on body below neck. On body a central glazed band crossed with double incised lines, and framed above and below by three glazed lines. Three glazed lines on bottom, around reserved centre. Attribution and date: Shape and incised decoration like Payne’s Early Corinthian football aryballoi; painted decoration like that of Payne’s Subgeometric Style of Late Corinthian at-bottomed aryballoi; Late Corinthian, 570–550 B.C. Dimensions and condition: Height: 7.9 cm. Diameter: 7.6 cm. Diameter of mouth: 4.2 cm. Intact. Chips in rim. Fabric of rim, handle, and upper body badly abraded. Glaze abraded throughout. Provenance: ex coll. Gotha, no. 74, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 248.

11

No bibliography Comparanda: Payne 1931, no. 1294, g. 162: incised decoration. Boardman and Hayes 1966, no. 36, pl. 8: incised and painted decoration. Alexandrescu 1978, no. 288, inv. V8337, pl. 29: shape and incised decoration. Thebes R. 86.252: Ure 1934, 24–25, Rhitsona grave 86, no. 252; pl. IV: painted decoration.

CHAPTER THREE

ATTIC GEOMETRIC 20. Geometric Pyxis with lid, 65.67 A, B Fig. 23, centre

21. Geometric Pyxis with lid, 65.82 A, B Fig. 23, right

Shape and ornament: Flat pyxis (A) with lid (B). Echinus body. Sunken rim pierced by four holes to secure lid. Flat lid with four holes to match those in body, and a high conical knob, slightly incut at bottom. Sunken rim glazed. On body, a band of multiple zigzags framed above and below by four lines. Wide band of glaze above reserved foot. On the lid, glaze lines on the knob. A wide glaze area beneath knob, then a band of dots anked on either side by triple lines.

Shape and ornament: Flat pyxis (A) with at lid (B). Handle on lid takes shape of small pyxis on a ribbed stand with conical handle. Edge of lid and lip pierced by four holes. On the body, the main decorative eld is a hatched, orthodox meander. Bordered above by a band of steep, single zigzags and a band of vertical chevrons, each band separated by triple lines. Below the meander band, a band of steep, single zigzags and a band of dog teeth, each again separated by triple lines. Foot glazed with underside reserved. Lid decoration from centre: large glazed circle; triple lines; band of dog teeth; double lines. Knob decoration: knob of small pyxis decorated with horizontal banding; lid glazed, with reserved band; body of small pyxis decorated with chevrons bordered above and below by double lines. Stand of knob glazed.

Attribution and date: Group of Kerameikos Grave 20; Middle Geometric I, second half of the 9th century B.C. Dimensions and condition: Body height: 4.0 cm. Body diameter: 13.8 cm. Inner diameter of rim: 8.1 cm. Lid height: 6.6 cm. Lid diameter: 10.6 cm. Intact. Some loss of glaze from misring and abrasion. Provenance: ex coll. Andre Emmerich Gallery, New York. Bibliography: Andre Emmerich Gallery, 1965, no. 112.

Comparanda: Kerameikos 265: Coldstream 1968, pl. 3h, and Bohen 1988, no. 110, pl. 9.2: shape, except with taller handle on lid.

The vase exhibits features the majority of which place it within the Middle Geometric II/Strong Geometric II. However, there are some residual elements of Middle Geometric I/Strong Geometric I. To the earlier style belongs the rather more pronounced curve to the body than the atter prole typical of the later (Coldstream 1968, 24). The use of double ancillary bands above and below the principal meander also deviates from the characteristic later pattern of single ancillary bands (Coldstream 1968, 24). Compare, for example, Kerameikos 4728 (Bohen 1988, no. 130: 31, 90, pl. 11.5) with Kerameikos 2591 (Bohen 1988, no. 137: 35, 91, pl. 11.6) But the larger diameter, at 25 cm., falls into the pattern for the Middle Geometric II. Likewise, the broader base

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in proportion to the rim (Coldstream 1968, 23) suggests the later phase. The use of a knob in the shape of a pyxis on a ribbed stand also conrms the later date (Coldstream 1968, 23). Finally, in contrast with Coldstream’s observation that the contours of the meanders in the Middle Geometric II are often less neatly drawn than formerly (Coldstream 1968, 23–24), those on the Detroit vase are more careful than the norm. Date: Middle Geometric II, ca. 800 B.C. Dimensions and condition: Height with lid: 18.4 cm.; Height without lid: 11.3 cm.; Diameter: 25.0 cm.; Diameter of lid: 18.0 cm.; Interior diameter of mouth: 15.8 cm. Body and lid broken and repaired. Some minor repair and repainting. Grafto: On underside of lid near hole: X Provenance: ex coll. Andre Emmerich Gallery, New York; Herbert Cahn, Zurich. Bibliography: Andre Emmerich Gallery, 1965, no. 115; Moon and Berge, 1979, p. 3, no. 1; Langdon, 1993, no., 26.

Exhibitions: Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979–February 24, 1980; From Pasture to Polis: Art in the Age of Homer, Museum of Art and Archaeology, University of Missouri-Columbia, October 9, 1993–June 19, 1994. Comparanda: Kerameikos 257: Coldstream 1968, 23–24, pl. 4b. Kerameikos 2591: Bohen 1988, no. 137, 35, 91, pl. 11.6. Kerameikos 4727: Bohen 1988, no. 154, 93–94, pl. 11.8. Kerameikos 5716b: Kübler 1954, 171, pl. 56.

22. Geometric Pyxis with lid, 65.83 A, B Fig. 23, left Shape and ornament: Globular pyxis (A) with lid (B). Body globular. Knob of lid in the form of a small pomegranate pyxis on turned stand. Edge of lid and lip pierced by four holes. Decoration of body from top: triple lines, a band of dots, triple lines, a band of steep, single zigzags, triple lines, a row of dots, triple lines, a band of four-limbed sigmas, triple lines, a band of dots, triple lines, a band of steep, single zigzags, triple lines, a band of dots, triple lines. Two lines on base. Decoration on lid: on the knob, a central band of four-limbed sigmas with lines above and below and on base. The juncture of the base and the spread of the lid glazed. The spread of the lid decorated with a central gear pattern with, on either side a set of triple lines, a band of dots and triple lines. Attribution and date: Group of Kerameikos Grave 20; Middle Geometric I, second half of the 9th century B.C. Dimensions and condition: Height of body: 11.4 cm. Diameter of body: 19.4 cm. Height of lid: 8.1 cm. Diameter of lid: 13 cm. Inner diameter of lid: 9.5 cm. Broken and repaired. Some missing pieces and repainting above foot. Glaze abraded on body. Provenance: ex coll. Andre Emmerich Gallery, New York. Bibliography: Andre Emmerich Galleries, 1965, cat. no. 113.

Comparanda: Kerameikos 263: Coldstream 1968, pl. 3g. Kerameikos 264: Bohen 1988, no. 109, pl. 9.2.

CHAPTER FOUR

ATTIC BLACK-FIGURE Amphorae

23. Attic Panathenaic Amphora, 50.193 A & B Figs. 24–25 Shape and ornament: Lid: Conical lid with tapering knob. Two reserved lines at junction of knob and lid. Reserved groove on lid near edge. Interior glazed. Vase: ogee mouth. Medial ridge around neck. Handles segmental in section. Fillet joins body to spreading foot. Rim of mouth reserved. Handles fully glazed. Above the medial ridge on neck, a double palmette and lotus bud chain on neck, framed by glazed lines. Below the medial ridge a row of lled tongues. Junction of body and foot reserved. Tooling at top of foot reserved. Bottom edge of foot reserved. Subject: A: Athena Promachos between two columns surmounted by two male gures. Athena is dressed in a chiton and an over-robe (ependytes). She wears aegis and plumed Attic helmet, and carries a spear and hoplite shield. Shield decorated with nine dots around rim; in centre, laurel wreath surrounding a small quatrefoil design with a dot in each lobe (all faded). Statues of male gures stand on columns to either side facing goddess. Each wears a mantle, holds a thyrsos or sceptre with foliate crown, and carries a large cornucopia. Goddess and columns stand on thin black groundline. Vertical inscription to right of left column. B: Footrace: 1–4: nude males running right. In his study of the correspondence between the statues represented standing on columns anking Athena on Panathenaic prize amphoras and the archons of Athens, Eschbach groups the Detroit

vase with Thebes A 377 and Berlin, Staaliche Museen 3980 as belonging to the tenure of Philokles, 392/1 B.C. (Eschbach 1986, 18–26), although the Detroit vase lacks an archon inscription. The association of these vases relies on the identity of the gures on the columns, a bearded male, in himation, with a cornucopia. The attributes carried in the right hand differ from case to case, on the Detroit vase probably a thyrsos. The statue represented by these gures, best preserved among the vases on the Detroit example, has been identied by Eschbach (1986, 23–26) as Pluton/Hades, dating at the latest to the very early years of the fourth century B.C. However, Meyer questioned the reliability of Eschbach’s approach for determining dating, since the style appeared to date the vase later in the century (Meyer 1987, 143). E. Bell thought the statues appeared more like magistrates holding the attributes of divinities rather than gods themselves, and suggested on the basis of stylistic aspects of the painting a date in the 370’s B.C. (Moon and Berge 1979, 222–23). Bentz (1998, 167), following Meyer’s critique, has concurred with the dating in the 370’s on the evidence of the vase shape. D. Kyle has pointed out that the length of the stride of the runners and the sweep of their arms on B (and one might add the spacing of the runners across the surface) indicates that the vase depicts one of the longer footraces (Neils 1992, 83). Attribution and date: By Beazley to the Asteios Group; dated in Moon and Berge (1979) 375–70 B.C.; dated in Eschbach (1986) to 392/91 B.C. Dimensions and condition: Height without lid: 70.5 cm. Diameter: 37.5 cm. Height of lid: 13.6 cm.

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Width of lid: 37.5 cm. Diameter of mouth: 22.1 cm. Diameter of foot: 16.2 cm. Lid broken and repaired. Some repainting on amphora. White faded on shield of Athena. Some glaze thinly applied on B, resulting in reddish colouring. Features of Athena quite faded. Accessory colour: White: A: face, left arm and feet of Athena; wave pattern on the hem and dots near the waist of her ependytes; shield device and dots around rim. Dipinto: vertically along the left column:  (a prize from the games at Athens) Provenance: ex coll. Richard Norton; Charles Morley; found at Cyrene. Bibliography: ABV 412.3; Addenda 107; Robinson 1951–52, 65–66; Cummings and Elam 1971, 10 and 33; Moon and Berge 1979, 222–23, no. 125; Eschbach 1986, 21; Meyer 1987, 143; Valavanis 1990, 329, n.10; Valavanis 1991, 58, n. 63; 68, n. 95; 94, n. 187; 115, n. 271; 120, n. 288; 325; Neils 1992, 33, 83, 160; Hamilton 1996, 152–53; Bentz 1998, 167.

Exhibitions: Museum of Fine Arts, Boston, 1909 (loan no. MFA 368.09 Norton); Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979–February 24, 1980.

24. Attic Amphora, 24.127 Figs. 26–27 Shape and ornament: Type B amphora. Flaring, slightly concave mouth. Cylindrical handles. Inverted echinus foot. Interior of mouth glazed to depth of 5.4 cm., with red line at end of glaze. Top of rim reserved. Handles not completely glazed on inside. Red line around vessel above handles. Row of suspended lotus buds with dots between at top of gural panels, framed by double red lines above and single red line below. Figural panels framed on sides by single red lines. Double red lines at bottom of gural panels, the lower one extending around vessel. Rays at bottom of body, with double red line above. Red line around foot

around shoulder of echinus foot. Lower edge of foot reserved. Subjects: A: Hoplites ghting between two spectators. 1: male in mantle, facing right. 2: warrior in chitoniskos, cuirass with diagonal sash, greaves, Corinthian helmet, with sword sheath, brandishing spear and holding hoplite shield (device: two pellets), facing right. 3: warrior in chitoniskos, cuirass, greaves, Corinthian helmet, with sword sheath, brandishing spear, holding hoplite shield, kneeling to right, head turned to left. 4: male in chiton (neckline visible) and mantle, facing left. B: Boys exercising horse. 1: nude boy running right. 2: boy in chitoniskos riding horse to right. 3: nude boy running right, looking left. Attribution and date: By Beazley to Swing Painter; by Böhr to the circle of the Swing Painter; 540–20 B.C. Böhr (1982, 103 and 106) distinguishes the painter here and on a group of four other vases from the Swing Painter primarily on the bases of details in the drawing of the anatomy. However, she also cites aspects of the lotus bud decoration here, and even the shape of the vessels to support her modication of Beazley’s original attribution. Dimensions and condition: Height: 34.6 cm. Width: 23.4 cm. Diameter of foot: 13.1 cm. Some chips on rim, neck, and on surface of B, but otherwise intact. Dent below left handle. Misre caused greenish cast to sections of B. Accessory colours: Red: A: 1: beard, crown of hair, bands on mantle. 2: sword, spear, lower section of chitoniskos. 3: helmet, spear, lower portion of chitoniskos. 4: bands on mantle. B: 1: hair. 2: as 1 and mane of horse. 3: as 1. White: A: 1: dot clusters on mantle. 2: dots along lower hem of chitoniskos, 2 pellets on shield. 4: dots clusters on mantle. B: 2: chitoniskos. Dipinto: On underside of base: I H

attic black-figure Provenance: ex coll. Gotha; found at Capua. Bibliography: ABV 305.18; Addenda 80; V[alentiner] 1924, 12 and g. 3a; Johnston 1979, 74, no. 12 A, 1; Böhr 1982, 103 and 106.

Comparanda: Ghent 11: ABV 305.16; Addenda 80: subject of A. Adolphseck, Schloss Fasanerie 1: ABV 693.3bis; Para 132; Addenda 79 (304.3bis): painter (Böhr). Tarquinia, Museo Nazionale 1748: ABV 308.64; Para 133; Addenda 82; painter (Böhr).

25. Attic Amphora, 76.22 Figs. 28–29 Shape and ornament: Type B amphora. Flaring mouth, echinus foot. Cylindrical handles. Glazed on interior with upper surface of mouth reserved. Red line below mouth. Red line above figural panels, interrupted by handles. Handles glazed entirely. Palmette and lotus festoon above gural panels, framed by black lines, with red lotus calyxes and palmette hearts. Double red lines below panels, circumscribing body. Rays at base with red line above. Tooled edge and red line at midpoint of foot, red line at bottom edge. Subject: A: Herakles and the Nemean lion. 1: Iolaos holding club, running left, head turned to right. 2: Herakles, facing right, wrestling lion, facing left, gorytos and bow hung up behind on framing line of palmette and lotus festoon. B: Warrior departing in chariot (quadriga). 1: male in cuirass, greaves, and Corinthian helmet, carrying hoplite shield, climbs into chariot, drawn by four horses, facing right. 2: charioteer in chiton and petasos, facing right. 3: bearded old male in chiton and mantle, facing left (holding shield of 1?), head turned to right. 4: female in peplos(?) and llet, facing left. 5: male in greaves and Corinthian helmet, facing left, head turned to right. 6: male in greaves, holding hoplite shield (device: two pellets), facing left. 7: female in peplos and llet, facing left.

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Side A adopts the scene of Herakles wrestling the lion on the ground, a variation on the labour introduced by Exekias (Boardman 1978, 14) and which enjoys considerable popularity thereafter. The Detroit vase follows Exekias’ model in having Herakles’ near leg raised off the ground, as if the hero has just leapt onto the lion and is bearing down all his weight. The surviving fragments of Exekias’ version (Boardman 1978, ill. 1) show the hero’s hands locked together, so that he apparently does not fend off a counter by the lion with a rear leg. The response by the lion is a regular feature of later depictions of the subject, even among artists associated with the Lysippides Painter (Boardman 1978, 14–15 and gs. 1a–b), a group in which the Detroit vase has been placed stylistically. On a vase in Philadelphia (University Museum MS 3497) which Beazley saw as related to both Exekias and the Lysippides Painter, the central section with the hero and the lion is missing. However, it is clear that Herakles wraps his arms around the lion, and since only one rear paw of the lion is apparent on the ground, the other leg must be in the clawing response. But the Detroit vase follows the model of Exekias only in focusing all attention on Herakles pressing down upon his opponent, without adopting the motifs there of the hero’s locked hands, or the clawing response of the lion. The ovoid form on the Detroit example which overlaps the lion’s neck, and cannot be accounted for as part of the lion’s anatomy may be Herakles’ left forearm, wrapped around the beast’s neck. This requires imagining a preternaturally long upper arm, but the arrangement is paralleled (e.g., Villa Giulia 859). Attribution and date: By W. Moon and L. Berge to the Manner of the Lysippides Painter; ca. 520 B.C. Dimensions and condition: Height: 45.5 cm. Diameter: 29.3 cm. Outer diameter of mouth: 20.6 cm. Diameter of foot: 16.5 cm. Broken and repaired. Much of mouth restored. Upper part of left handle and surface of vessel beneath left handle restored. Large section of neck on side B restored. Repainted: A: left hand of 1; palmette

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and lotus festoon above gorytos; section of belly below 2. B: 2: white on lower portion of chiton; 3: beard and locks of hair; chip in ank of foremost horse; palmette and lotus festoon above the horses’ heads. Numerous chips and cracks lled and repainted over entire surface. Accessory white often worn. Glaze streaky. Accessory colours: Red: A: 2: beard and front of hair; tongue, bands on chest and ank of lion. B: 1: top edge of plume. 2: beard, manes of rst and third horses, tail of rst horse, harness of rst horse. 4: llet. 6: rim of shield. 7: llet, border of peplos. White: B: 2: chiton. 3: hair and beard. 4: face and feet. 6: shield device (2 pellets). 7: as 4. Provenance: ex coll. Mohammed Yeganeh. Bibliography: Ars Antiqua A.G. 1959, no. 98, pl. 46; Brommer 1973, 111, no.11; Peck 1976, 10, g. 5; Moon and Berge 1979, 91–93, no. 54.

Exhibition: Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979–February 24, 1980. Comparanda: Ensérune, Coll. Abbé J. Giry: Boardman 1978, ill. 1: subject. Philadelphia, University Museum MS 3497: Para. 318; H. 1915, g. 65: subject. Villa Giulia 859: ABV 601.13; LIMC IV, s.v. Herakles, pl. 43, 1862: subject.

26. Attic Neck Amphora, 24.14 Figs. 30–32 (detail of A) Shape and ornament: Echinus mouth. Ridge at juncture of mouth and neck and rim between neck and body. Handles triple with studs at the base. Fillet between body and foot. Spreading torus foot. Top of mouth reserved. Double palmette and lotus bud chain on neck, with red lotus sleeves and palmette hearts. Ridge at bottom of neck red.

Tongue pattern overlaps from rim onto shoulder. Red line at top and for ground-line (or misred black line?) of main gural zone. Two red lines at top of glazed area below main gural zone, and one red line at bottom. Rays on base. On either side below handles, 8 palmettes attached to interlocked S-gures with spiral ends. Three palmettes on either side of design; two opposed on vertical axis, one in centre on horizontal axis. Two in centre of design on vertical axis. Dot in centre of design. Black line immediately below handle. Fillet above foot red. Top edge of torus foot red; lower half of foot reserved. Subject: shoulder: A: Athletes. 1: nude runner moving right. 2: male in mantle, facing right. 3: nude male boxer, facing right. 4: nude male boxer, facing left. 5: as 2, but facing left. 6: as 1 but running left. 7: as 5. B: Battle of hoplites and horsemen. 1: male on horse in chlamys, galloping to right. 2: warrior in chitoniskos and Corinthian helmet, holding hoplite shield and spear, running to right, head turned to left. 3: horseman in chlamys, galloping to right. 4: warrior in chitoniskos and Corinthian helmet, holding hoplite shield, running to right, head turned to left. 5: as 3. 6: as 4. 7: male in mantle, facing left. body: A: Warrior’s departure in a chariot (quadriga). 1: warrior in chitoniskos and Corinthian helmet climbs into chariot to right. 2: charioteer in chiton. 3: male in chiton and mantle, facing left. 4: female in peplos and mantle, holding shield (device: two visible pellets), facing left. B: Horsemen and archers. 1: warrior mounted on horse, wearing Corinthian helmet, frontal, head turned right. 2: male in short tunic, wearing a tall, pointed hat or helmet, frontal, head turned to left. 3: warrior mounted on horse in tunic or chitoniskos and cap, frontal, head turned to right. 4: male in short tunic, leggings, and brimmed hat with a pointed crown, with gorytos, facing right. 5: warrior mounted on a horse in tunic or chitoniskos and Corinthian helmet, frontal, head turned right.

attic black-figure

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Following the usual convention for a quadriga in prole, the trace horses of the quadriga on A are shown ahead of the pole horses (Moore and Bothmer 1972, 1). The reins of the two pair of horses are held by the charioteer, and two by the mounting warrior, as if these horses have just been harnessed (although no groom is shown). This is perhaps meant to indicate that the warrior himself has harnessed the pole horses whose reins he apparently holds, and will pass those reins to the charioteer once in the car.

B: 1: mane of horse. 2: shield. 3: as 1. 4: as 2. 5: as 1. 6: as 2.

The attendants of the hoplites on B (B:2 and 4) wear hats to distinguish them as such, and which are vaguely reminiscent of the soft hats worn by Skythians.

Grafti: drawing 1. side A: to left of body scene 1, along ground-line of shoulder scene:

The grafti on B, while they sometimes wander into the shoulder scene, seem to be coordinated with the scene on the body, as they usually fall between the heads of the gures there. In this respect they are similar to identifying labels. Nevertheless, they are inscribed, and in their forms have similarities with grafti of commercial or personal signicance. These, however, are normally on the undersides of bases. The rst grafto is the only one which by its position might belong to the shoulder scene. If the strokes of this rst grafto are numerals, this would suggest that these grafti are considerably later than the manufacture of the vase itself, as such extensive numerals are more commonly found on vases of later date ( Johnston 1979, 28). Attribution and date: By H. Mommsen to Group E (contra, D. von Bothmer); ca. 540 B.C. Dimensions and condition: Height: 30.4 cm. Width: 22.7 cm. Diameter of mouth: 14.7 cm. Diameter of foot: 12.3 cm. Broken and repaired Large triangular area of the base has been restored and repainted. Some chips missing on side A. Much of black glaze is misred. Accessory colours: Red: shoulder: A: 1: hair. 2: band on mantle. 3: as 1. 4: as 1. 5: as 2. 6: as 1. 7: as 2.

body: A: 1: chitoniskos. 2: hair, manes of horses, tail and harness of foremost horse, reins of white horse. 3: front edge of hair and beard. 4: peplos. White: body: A: 2: chiton, one horse. 4: face, dots on mantle, shield device. B: 1: mane of horse. 2: cap. 3: cap and mane of horse. 4: as 2. 5: as 1.

drawing 2. side B: In body scene, between heads of 1 and 2:

drawing 3. In body scene, between heads of 2 and 3:

drawing 4. In body scene, between heads of 3 and 4:

drawing 5. In body scene, between heads of 4 and 5:

drawing 6. In shoulder scene, beneath 6:

Provenance: ex coll. Georg Schwarz, Berlin. Bibliography: V[alentiner] 1924, 12 and g. 3c.

Comparanda: London Market, Christie’s, XXXX12989: group. Heidelberg, Ruprecht-Karls-Universitat, S186: group. London, B160: ABV 134.15.: group.

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Vatican, Museo Gregoriano Etrusco Vaticano, 353: ABV 138.2; Addenda 37: group and subject. Munich, 1381: ABV 142.5: subject.

do not have the bad proportions which Moignard (1982, 205) identies in the painter’s latest work, and the rufing of the folds of drapery (A:1 and 2, B:1 and 2) better suit the painter’s mature phase.

27. Attic Neck Amphora, 24.351 Figs. 33–35 (detail of A)

Dimensions and condition: Height: 39.4 cm. Width: 25.2 cm. Diameter of mouth: 19.4 cm. Diameter of foot: 13.5 cm. Broken and repaired. Section of mouth missing, smaller chips in mouth. Numerous chips on inside and outside of neck. Both handles broken, part of left handle missing. Section of shoulder beneath right handle missing. Side A: numerous chips; section missing from legs of 3; large dent in pot at same point; fragment in bud chain below missing. Side B: numerous chips; one large section missing between 2 and 3; one section missing to right of 3; two fragments in bud chain below missing. Rays at base repainted, with red line overlapping the repainting.

Shape and ornament: Echinus mouth. Ridge at juncture of neck and shoulder. Triple handles. Fillet at juncture of body and foot. Torus foot. Inside of neck glazed to juncture with body. Reserved lip, with red line at outer edge. Insides of handles reserved. On neck, double palmette-lotus chain, framed by single black lines. Red line on rim at juncture of neck and body. At top of shoulder, alternating red and black tongues, with black lines framing. Beneath each handle, interlocked design of two lotuses on horizontal axes and four palmettes on vertical axes. Chain of upright lotus buds beneath gural zone, bordered above and below by double black lines. Rays at base with red line at bottom. Fillet at base red. Lower edge of foot reserved. Subject: A: Three male revellers. 1: male in short mantle and ivy wreath, holding ivy vine and drinking horn, facing right. 2: male in short mantle and ivy wreath, holding lyre and plectrum, facing right. 3: male in short mantle and ivy wreath, holding kantharos and ivy vine, facing left. B: A female and two male revellers. 1: male in short mantle and ivy wreath, facing right. 2: female in chiton, mantle and llet, facing right. 3: male in short mantle and ivy wreath, facing right, head turned to left. 2 or 3 hold ivy vines. Attribution and date: By D. von Bothmer to the Acheloos Painter; ca. 510 B.C. The raucous merriment of the scenes on both sides of the vase are typical of much of the Acheloos Painter’s interest in subject matter, and distinguish him from the rest of the Leagros Group to which he belongs (Moignard 1982, 202). The Detroit vase falls into the later style of the Acheloos Painter as dened by Moignard (1982, 204). The twisting pose appears (B:3), yet the proportions of the bodies

Accessory colours: Red: A: 1: ivy wreath, dots on mantle. 2: as 1. 3: as 1 plus beard. B: 1: wreath, beard, dots on mantle. 2: llet, dots on mantle. 3: wreath and dots on mantle. White: B: 2: face (perhaps repainted), hand, feet. Provenance: ex coll. Gotha, no. 85; found in Italy. No bibliography Comparanda: London B 167: ABV 382.1; Para 168; Addenda 101: painter. New York, Kevorkian: ABV 383.10; Addenda 101: painter, with similar subject.

28. Attic Neck Amphora, 63.10 Figs. 36–38 (detail of A) Shape and ornament: Echinus mouth. Ridge at top and bottom of neck, which is concave. Triple handles. Fillet between body and foot, with medial ridge. Torus foot. Glazed mouth with reserved lip, and red line at inner and outer edges. Interior of

attic black-figure mouth glazed to depth of 8.2 cm. Insides of handles reserved. Ridges at top and bottom of neck red. Neck on side A decorated with double palmette and lotus chain, bordered above and below by a black line. Neck on side B decorated with three palmettes, linked by tendrils. Tongue pattern at shoulder. Beneath each handle, an interlocked design of four palmettes and three lotus buds on tendrils. Ground-line at bottom of gural zone, extending to lateral palmettes. Below gural zone, an upright lotus bud chain, framed by double glaze lines. Rays at base. Fillet between body and foot red. Lower edge of foot reserved. Subject: A: Frontal chariot (quadriga) with charioteer and warrior inside. 1: charioteer in chiton, head turned to left, apparently holding the goad (kentron) which runs diagonally behind the horses. 2: warrior’s head in Corinthian helmet, with two spears he holds, facing right. B: Departure: male between two mounted warriors. 1: frontal male on horse, wearing cuirass and Corinthian helmet, holding two spears, head turned to right. 2: male in chiton, mantle and llet, with staff, facing right. 3: frontal male on horse, wearing chitoniskos and llet, holding two spears, head turned to left. The frontal chariot as on A is a composition whose origin is disputed. Beazley (1964, 43) thought it originated in Corinthian painting, while Moore (1971, 412) felt that the earliest examples in Attic vase painting are at least as early as the Corinthian. The example in Detroit by the Edinburgh Painter is remarkable in that it exceptionally reverts to the very much older composition of showing only the front legs of the horses (Moore 1971, 413). The reason would seem not far to seek. The same composition is employed on the vase in Würzburg assigned by Beazley to “the Edinburgh Painter or very near him.” The larger size of that amphora allows the painter room to depict the horses’ rear legs, and even the luxury of anking the chariot with a pair of hounds. On the small amphora in Detroit, all is compressed horizontally: the spears and goad take more vertical positions,

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the chariot is diminished in width, the pole horses must overlap their heads, and the four horses have become bipedal. However, the same composition as on the B side of the Detroit vase, a standing gure between two frontal horsemen, is used on Brussels R319, described by Beazley as “near the Edinburgh Painter”. The A side of the Brussels vase is a chariot, but depicted turning, a more complicated spatial depiction. The Brussels vase is even smaller than the Detroit example, yet on the B side the frontal horses are rendered as quadrupeds. The greater space on the Detroit vase is reected in the staff held by the central male, and the horizontal spears of the horsemen. The absolute size of the amphora is therefore not an entirely compelling explanation of the reduction of the horses on the Detroit vase to two legs, and perhaps the intention is to add a touch of the archaic. Attribution and date: By Beazley to Edinburgh Painter; early 5th century B.C. Dimensions and condition: Height: 27.6 cm. Width: 17.2 cm. Diameter of mouth: 12.6 cm. Diameter of foot: 9.2 cm. Intact. Small chip in lip. Chip in third horse from left on A which has been repainted. Slight greenish cast to sections of glaze on B. Dipinto: On underside of base: #175 SSW 12293 Accessory colour: Red: A: 1: hair. Manes and harnesses of all four horses. Bottom front of chariot box. B: 1: horse’s mane. 2: llet, bands and central dots on mantle. 3: llet [or hair?], horse’s mane. Provenance: ex coll. William Randolph Hearst SSW 12293, T. 332, P.C. 8449, Estate no. 5599; purchased from Spink & Sons, 1935. Bibliography: ABV 478.1; Para 217; Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 43.

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Comparanda: Würzburg 195: ABV 479.4: on B a frontal chariot. Brussels R319: ABV 483.2: on B a woman between frontal horsemen.

29. Attic Neck Amphora, 63.14 Figs. 39–41 (detail of A)

Attribution and date: Leagros Group, late 6th century B.C. Dimensions and Condition: Height: 37.2 cm. Width: 25.4 cm. Diameter of mouth: 17.0 cm. Diameter of foot: 12.3 cm. Intact. Lip chipped in several places, body slightly abraded. White circles on shield of A:2 have been repainted.

Shape and ornament: Echinus mouth. Ridge between neck and body. Triple handles. Fillet between body and foot, with medial ridge. Spreading torus foot. Top of mouth reserved. Interior of mouth glazed to a depth of 10.2 cm. Neck decorated with palmette-lotus chain framed by single black lines. Red line on ridge at join of neck and body. On shoulder, a tongue pattern. Beneath each handle, four palmettes and three lotuses joined by spiralling tendrils. Red ground-line at base of gural zone. Meander framed by double red lines. Lotus chain with double lines beneath. Rays at base. Red line at bottom of body, above llet. Lower edge and underside of foot reserved.

Accessory colours: Red: A: 1: dots on chitoniskos, rim of shield. 2: manes of horses, rim of shield, tails (2) of horses. B: 2: hem of mantle, dots on chiton.

Subject: A: Battle. 1: warrior on right knee in chitoniskos, cuirass, Corinthian helmet, baldric and sword, holding spear and hoplite shield, facing right. 2: warrior in chariot (quadriga), wearing Corinthian helmet, holding spear and hoplite shield (device four pellets), facing right. B: Departure. 1: warrior in Corinthian helmet, chlamys, greaves, holding spear and hoplite shield (device: dolphin), facing left. 2: female in peplos with over-fall and mantle, facing right. 3: as 1, but with running leg as shield device.

Provenance: ex coll. Ruesch, Cat. no. 6 of Ruesch Collection Sale at Galerie Fischer, Lucerne, 1936; William Randolph Hearst P.C. 8056, Estate no. 5592.

The wheeling chariot composition here on side A offers a variation of the motif of the added opponent, rst seen on vases attributed to the Manner of the Princeton Painter (Moore 1971, 417–418), here collapsing onto one knee. This motif is further combined in this example with the motif, occasional in Antimenean painters, of the noses of the pole horses overlapping (Moore 1971, 418–19), here with the comic effect that their seem to share nostrils.

White: A: 1: lower edge of and two dots on helmet plume, baldric, dots on hem of chitoniskos, circles on shield. 2: triangles of dots suspended from harnesses, edge of helmet plume, circles on shields. B: 1: top edge of helmet plume, shield device (dolphin). 2: face, hands, feet, triangles of dots on mantle and chiton, trim on mantle around left hand. 3: back of bottom edge of and dots on helmet plume, shield device (running leg).

Bibliography: Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 66.

Comparanda: Christie’s Nov. 1981, no. 302: attributed to “the Leagros Group (?)” by D.C. Kurtz (photo: Beazley Archive, Oxford): painter. Edinburgh 1887.211: ABV 271.84: subject of A. Christie’s Nov. 1981, no. 302: subject of B.

30. Attic Neck Amphora, 63.15 Figs. 42–44 (detail of A) Shape and ornament: Echinus mouth. Ridge at juncture of neck and body. Triple handles. Fillet between body and foot, with medial ridge. Torus foot. Lip reserved. Interior glazed to bottom of

attic black-figure neck. Insides of handles reserved. Double palmette and lotus chain on neck, framed by black lines. Red palmette hearts and lotus calyxes, and red dots on lotus stems. Red line on ridge at juncture of neck and body. Row of alternating red and black tongues on shoulder framed by a red line above and a black line below. Ridge between neck and shoulder red. Beneath either handle, interlocked design of four palmettes and three lotus buds on tendrils. Ground-line at base of gural zone. Below, a meander chain framed by double black lines. Below, a chain of lotus buds bordered below by two black lines. Rays at base. Ridge separating body and foot may originally have been red. Lower half and underside of foot reserved. Subject: A: Horsemen anking hoplite and archer. 1: mounted warrior in tunic with baldric, and llet(?), holding two spears, frontal, with head turned to right. 2: warrior in Corinthian helmet with llet and greaves, holding spear and hoplite shield (device: serpent), facing left. 3: male in tunic and Skythian cap, with gorytos, facing left. 4: mounted warrior in tunic with baldric, and llet (?) holding two spears, frontal, with head turned to left. B: Hoplite battle. 1: warrior in chitoniskos, cuirass, greaves, sword sheath, and Corinthian helmet strides right, holding hoplite shield and brandishing spear. 2: man falling on right knee, in chitoniskos, cuirass, greaves, baldric, Corinthian helmet with llet, holds hoplite shield (device: ivy wreath) and spear, faces right with head turned left. 3: as 1, but with baldric and sword sheath, and striding left (shield device: running leg). Attribution and date: By Beazley to the Eye-Siren Group; 520–510 B.C. Dimensions and condition: Height: 37.5 cm. Width: 27.2 cm. Diameter of mouth: 17.6 cm. Diameter of foot: 13.8 cm. Mouth and small portion of neck broken and repaired. Foot may not belong. Handles broken and reattached. Misring of black glaze on B. Accessory colours: Red: A: 1: llet and mane of horse. 2: upper edge of helmet plume, llet, rim

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of shield. 3: bands on cap, trim of gorytos. 4: llet and mane of horse. B: 1: upper edge of plume, rim of shield, top and back edges of greaves. 2: upper edge of plume, llet on helmet, rim of shield, bands on chitoniskos, top and back edges of greaves. 3: top edge of plume, rim of shield, top and back edges of greaves. White: A: 1: baldric. 2: dots at base of plume of helmet, shield device. 3: gorytos strap. 4: baldric. B: 1: single rows of dots on base of plume, neckline and right sleeve and double row on lower hem of chitoniskos, interior shield supports, trim of arm bands of shield, hand grip of shield, end of sword sheath. 2: single row of dots at base of plume, neckline, right sleeve, double line on baldric, shield device (ivy). 3: single row of dots at base of plume and on right sleeve, double row at hem of chitoniskos, baldric, end of sword sheath, shield device. Provenance: ex coll. Charles Cope; Spink and Sons, London (sale on 6/4/37); William Randolph Hearst SSW 12645. Bibliography: ABV 287.2; Para 125, 6bis; Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 68; Anonymous 1964, 33.

31. Attic Neck Amphora, 63.16 Figs. 45–47 (detail of A) Shape and ornament: Echinus mouth. Handles triple. Fillet at juncture with torus foot. Reserved top of mouth. Interior glazed to bottom of neck. Red line at top, outer edge of rim. Insides of handles reserved. Double palmette and lotus chain on neck, framed by black lines. On shoulder an alternating red and black tongue pattern, black and red lines at top, black line at bottom. Beneath each handle, interlocked design of palmettes and buds on tendrils. Red ground-line at bottom gural zone. Beneath that zone a chain of upright buds, framed by double black lines. Rays at base of vase with a black line below. Red line on llet. Lower third of foot and upper edge reserved. Red line at bottom of glaze on foot.

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Subject: A: Battle: fallen hoplite between rearing horsemen. 1: horseman in cuirass, chitoniskos, baldric with sword, greaves and plumed Corinthian (?) helmet, holding two spears, facing right. 2: warrior in cuirass, chitoniskos, baldric with sword, greaves, double plumed Corinthian helmet, holding a spear, on right knee facing right with head turned up to left. 3: as 1, but facing right. B: Warrior’s departure. 1: male in chitoniskos and Skythian cap, bow in right hand, gorytos hung over left shoulder, walking left. 2: male in chitoniskos, cuirass, greaves baldric with sword and Corinthian helmet, holding spears and carrying a Boiotian shield (device: two snakes with rosette between), walks left, head turned to right. 3: female in chiton and mantle stands facing left. Attribution and date: Painter of London B 272; 520–500 B.C. Stylistic afnities with the Painter of London B 272 can be seen in the looping folds at the hem of the himation; the small kink in the edge of the himation below the looping folds as it runs to the back of the gure; the line which denes the foremost edge of the body under the himation, dipping as it denes the front of the shoulder; the line of the back of the horses’ jaws; the eyes of the horses; the general proportions of the horses’ heads. Dimensions and condition: Height: 42.8 cm. Width: 28 cm. Diameter of mouth: 19.1 cm. Diameter of base: 13.8 cm. Complete and largely intact. Foot broken off and repaired. Chips in mouth. Accessory colours: Red: A: 1: chitoniskos, mane and tail of horse. 2: chitoniskos, back edge of greave on right leg. 3: as 1. B: 1: beard and chitoniskos. 2: rim of shield, back and top edges of greaves, dots on chitoniskos. 3: dots on mantle. White: A: 1: baldric, sword pommel and handle, plume of helmet, teeth of horse. 2: baldric, end of sword sheath, plume of helmet, shield device (tripod). 3: baldric, end of sword sheath, plume

of helmet, teeth of horse, dots on hem of chitoniskos. B: 1: strap of gorytos, dots on hem of chitoniskos. 2: baldric, plume of helmet, end of sword sheath, snakes on shield, dots on hem of chitoniskos. 3: face and feet, dots on mantle. Grafti: (Differently oriented from each other) on central disc of underside of foot: X on rim of underside of foot: X Provenance: ex coll. Sidney Burney (no. 66), sale through William Permain 5/30/35; William Randolph Hearst, SSW 12286, P.C. no. 8442, T 757, Estate no. 3994. Bibliography: Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 85.

Comparanda: London B 272: ABV 341.1; Para 153: painter. Bologna, Museo Civico, coll. Palagi 1432. A. 0,375: CVA Italia 7, Bologna 2, pl. 11: subject of A.

32. Attic Neck Amphora with lid, 63.18 A, B Figs. 48–50 (detail of A) Shape and ornament: Lid (A), which may not belong: pomegranate-shaped knob, with ridges at base of stem and where it joins the lid proper. Stem of pomegranate glazed. Four glazed circles on top of lid. At edge of rim, a row of dots on either side of a glaze line. Vase [B]: Echinus mouth, with slight flare at edge. Ridge below mouth, at top of neck. Handles triple. Fillet joins body to torus foot. Interior glazed to base of neck. Glazed mouth with reserved lip. Handles glazed with insides reserved. Double palmette and lotus chain on neck, bordered above and below by a black line. On shoulder, alternating red and black tongues framed by lines. Beneath each handle, interlocked design of palmettes and buds on tendrils. Red line at base of neck above each gural zone. Red ground-line for gures. Beneath gure zone, interlocked chain of upright lotus buds,

attic black-figure bordered above and below by a red and a black line. Rays at base, with black line below. Two red lines on llet. Subject: A: A gathering of gods. 1: Poseidon in mantle, holding trident, facing right. 2: Artemis (?) in chiton and mantle, facing right. 3: Apollo in chiton and mantle, playing kithara, facing right. 4: Leto (?) in chiton and mantle, facing left. 5: Hermes in chlamys, winged boots and peaked cap, holding kerykeion, faces left. B: Dionysos and satyrs. 1: satyr facing right. 2: Dionysos in chiton, mantle, and ivy wreath, holds kantharos and grapevines, facing right. 3: satyr with wineskin over shoulder, facing left. Attribution and date: Group of Würzburg 210; ca. 510 B.C. Stylistic afnities with Würzburg 210 can be seen particularly in the interior anatomic details of the satyrs; the contours of the satyrs’ heads and ears; and the head of Dionysos. Dimensions and condition: Height: 41.5 cm. (with lid 46.5 cm.). Width: 26.9 cm. Diameter of foot: 14.7 cm. Diameter of lid: 18.9 cm. Height of lid: 7.4 cm. Vase intact. Small chips on inside of mouth which have been patched. Lid may not belong. Lid has been broken all around the rim and repaired. Misring of glaze throughout, particularly on B:1. White of Dionysos’ chiton retouched below the knees. White of feet of Leto retouched. Accessory colours: Red: A: 1: beard, dots on mantle. 2: dots on chiton and mantle. 3: dots on mantle, and lower hem of mantle, support strap for kithara. 4: dots on mantle. 5: beard, dots on mantle. B: 1: tail and beard. 2: beard and dots on mantle. 3: as 1.

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White: A: 1: dots on mantle. 2: face, arms and feet, dots on mantle. 3: vertical supports of kithara, dots on mantle. 4: as 2. B: 2: chiton, dots on mantle. Grafto: drawing 7. on underside of foot:

Provenance: ex coll. C. and E. Canessa, New York (sale American Art Galleries, January 25 & 26, 1924, cat. no. 65); William Randolph Hearst, SSW 9943, P.C. no. 7227, lot. no. 244, art. 7, Estate no. 5561. Bibliography: Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 92; Johnston 1979, 125, no. 35.

Comparanda: Würzburg 210: ABV 373.178; Para 163; Addenda 99: painter. Würzburg 214: ABV 373.179; Para 163; Addenda 99: painter. London B 225: ABV 371.144; Addenda 99: painter.

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Krater

33. Attic Column Krater, 63.17 Figs. 51–52 Shape and ornament: Top of mouth slightly convex. Neck slightly concave. Fillet at juncture of body and foot. Foot in two degrees. Cylindrical handles. Interior completely glazed with red lines at inner and outer edges of mouth. On each side of the upper surface of mouth, three pairs of confronted lion and boar. Top surface of handle extensions decorated with a palmette and tendril. Edge of rim glazed. Ivy vine on side of mouth, with a black line at top and bottom. Undersides of rim and handle extensions reserved. Palmettes and vines in panel on each side of neck, framed by double black lines. Alternating red and black tongues on shoulder. Figural zones framed on sides by vertical vines, each framed by double black lines on the outside, single black line on inside. Double red line at bottom of gural zone. Reserved triangular patch beneath each handle. Rays at base of body, with red line at top. Fillet red. Lower part of bottom stage of foot reserved. Subject: A: Hieros gamos (?) of Zeus and Hera in chariot (quadriga). 1: Zeus wearing mantle, in chariot box facing right, holding reins and goad (kentron). 2: Hera wearing peplos and mantle drawn over her head, in chariot box facing right. 3: Apollo in mantle, playing kithara, facing right. 4: female (Artemis, Aphrodite, Muse or one of the Charities?) in peplos and mantle, holding blossom in left hand, facing right. 5: Hermes in petasos, chitoniskos, chlamys and boots with tongues, holding kerykeion, facing right. Four overlapping horses of chariot overlap 3 and 4. B: Dionysos with two maenads and two satyrs. 1: satyr facing right. 2: maenad in chiton, and with ivy wreath, facing right. 3: Dionysos in chiton and mantle, wearing ivy crown, holding kantharos in left hand, and ivy vines in right. 4: maenad in chiton with nebris, and ivy crown, facing left. 5: satyr playing aulos, facing left.

On side A, the use of a chariot, rather than a mule-drawn wagon, to transport the bridal pair reects the world of gods and heroes rather than of mortals (Krauskopf 1977, 24–27), but it cannot be dismissed that a mortal marriage is being given a divine comparison with their chariot and company of gods (Krauskopf 1977 and Connor 1979). The reduction here to the essential characters and absence of mortal wedding gifts, vases and baskets, may give a slight advantage to the interpretation of the marriage pair as Zeus and Hera in the hieros gamos. As Dionysos sometimes appears as one of the gods in attendance to the procession (Connor 1979), the subject on side B may be linked to the marriage on side A. Attribution and date: Manner of the Antimenes Painter; late 6th century B.C. Dimensions and condition: Height: 40.8 cm. Diameter of body: 33.0 cm. Maximum diameter: 35.0 cm. Diameter of foot: 19.1 cm. Broken and repaired. Rim chipped and repaired in several places. Section of right extension of handle restored and repainted. All handles broken, reattached and repainted. Large cracks beneath right handle restored and repainted. Nearly all of palmette and tendrils on neck of A repainted. Small chips in shoulder decoration on both sides repainted. Much of gures on B repainted. Section at waist of A:1 repaired and repainted. Crack in head of A:3 repaired and repainted. Crack in right upright of kithara repaired. Nearly all of face of A:4 is repaired. Mane of one horse repaired in two places. Two large cracks below gural zone on A repaired. Two large cracks on A beneath gural zone, one of which extends up into horses’ rear hooves, repaired and repainted. Two sections in rays on side B repaired and repainted. Foot broken and repaired, but no gaps. Interior greatly abraded. Accessory colours: Red: A: 1: beard, dots on mantle. 3: lower hem of mantle, support strap of kithara. 4: dots on mantle. 5: dots on chlamys, beard, tongues of shoes. 2 horses’ tails; 2 horses’ manes; harness of foreground horse. B: 1: beard

attic black-figure and tail. 2: ivy crown. 3: ivy crown, beard, dots on mantle. 4: as 2. 5: as 1. White: A: 2: face and hand. 3: vertical supports of kithara. 4: face, hand and feet. Triangles in mane of rearmost horse. B: 2: arms, feet and face. 4: as 2. Grafto: On central disc of underside of foot: X

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ston 1979, 207). The set on the rim may represent a personal mark, or bear some commercial signicance. If the attribution to the Antimenes group is accurate, it is in accord with the prominence of such marks on vases of that group ( Johnston 1979, 12 and 56). Further, black-gured kraters make up a small number of vases with such marks, so that the Detroit example provides evidence for the hypothesis that at least some kraters were traded with such marks, like other better represented shapes ( Johnston 1979, 36).

drawing 8. on underside of rim of foot: Provenance: ex coll. William Randolph Hearst, no. 9953 or 9853 (both are penciled on bottom).

This example of a mark does not appear in Johnston’s catalogue, and does not appear to match closely any of the types dened there. It is not clear if the larger group on the rim is intended as a ligature. The X at the centre of the foot, and the left mark on the rim may correspond to chi, but as Johnston points out it was used so often, it is difcult to determine if a letter is intended, or whether the vase was simply being marked ( John-

Bibliography: Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 87; Moore and Philippides 1986, 161, no. 476.

Comparanda: London B 232: ABV 270.57: painter and subject on B. Harrow 26: ABV 272.94: painter and subject on B. Melbourne 1729.4: Para 58 (141.4bis); Addenda 38: Connor 1979, g. 1: subject on A.

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Hydriai

34. Attic Hydria (Kalpis), 24.229 Fig. 53 Shape and ornament: Slightly convex mouth. Inverted echinus foot. Interior of neck glazed. Red line at inner edge of rim. Rim reserved. Red line on neck. Interiors of handles reserved. On neck, a checker pattern with double lines framing. Glaze ground-line for gural zone, with red band beneath. Lower edge of foot reserved. Subject: Maenad ees before the arrival of a (Dionysos’?) chariot (quadriga). Foreparts of harnessed horses at left. 1: maenad in chiton, mantle and llet, runs right, looking left. In background, ivy vines with grape clusters and large blossoms(?). Attribution and date: Manner of the Red-Line Painter; ca. 500 B.C. The compositional pattern here which can be paralleled in the work of the Red-Line Painter and near him, comprising a panel on a small vase in which a gure appears in conjunction with some sacred or divine apparatus which is cut off by the frame, is one which can also be compared to work of the Painter of the Half-Palmettes (Lissarrague 1997). Dimensions and condition: Height: 20.5 cm. Diameter of body: 16.4 cm. Diameter of mouth: 10.0 cm. Diameter of foot: 7.6 cm. Intact, with right handle missing and restored. Hole in body to left of gural zone. Chip in body below gural panel, and in foot. Some abrasion of glaze, especially in gural zone. Repainted: legs of white horse; feet, arms, and face of 1; berries on ivy vine. Accessory colours: Red: 1: llet, pupil, dots on mantle. Mane of each horse; dots on harness of foreground horse. White: 1: feet, arms, face, dots on chiton and mantle. Second horse; dots on harness of third horse. Berries on ivy vine.

Provenance: ex coll. Gotha, no. 87, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 10. No bibliography Comparanda: London 1847.3–6.30 (B493): ABV 443.7; 606.18; Addenda 142; Ahlberg-Cornell 1984, 154, XI.12: painter. New York 06.1021.50: ABV 606.21; Addenda 142; LIMC I, s.v. Achilleus, pl. 88, no. 308: painter and composition. Boston 76.53: ABV 711; Addenda 142 (607.13); Hornbostel 1980, 104: painter. Villa Giulia M488: ABV 603.64; Mingazzini 1930, pl. 73: painter. Villa Giulia M443: ABV 606.19; Holmberg 1989, 72, and g. 23: shape and painter. Naples 86334: ABV 606.20; Holmberg 1989, 75, and g. 28: shape and painter. Agora 23197: Addenda 142; Moore and Philippides 1986, pl. 63, no. 658: shape and painter. Agora P2741: ABV 608.4; Addenda 142; Moore and Philippides 1986, pl. 70, no. 737: subject. London 64.10–7. 284: CVA Great Britain 8, British Museum 6, pl. 97, no. 12: subject.

35. Attic Hydria, 64.148 Figs. 54–55 (detail) Shape and ornament: Torus mouth. Concave neck. Torus foot joined to body by llet. Cylindrical handles. Vertical handle in rear segmental with central rib. Spindle form at joining of vertical handle and rim. Mouth and neck completely glazed on inside; underside of mouth reserved. Horizontal handles reserved on inside. Figural panel on shoulder bordered above by band of alternating black and red tongues. Single black lines frame the panel laterally. Shoulder and main gural panels separated by black line. Main gural panel framed laterally by vertical ivy vine and double black lines, on the inside and single black lines on the outside. Below the main gural panel a chain of palmettes and dots, and with a hanging lotus bud on left. Palmette chain framed above by

attic black-figure two black lines, and below by a single black line, then two red lines which circumscribes the body. Rays at base with red line at top. Fillet red. Lower edge of foot reserved. Subject: shoulder: Herakles and Amazons: 1: Amazon (?) in chitoniskos, cuirass, greaves and Corinthian helmet, with sword in sheath and spear, and holding hoplite shield (device: two pellets), striding left. 2: Amazon in chitoniskos, cuirass, Attic helmet, with spear and hoplite shield (device: gure offering libation), striding right. 3: Herakles in chitoniskos and lion skin, with sword sheath, sword in hand, striding right. 4: Andromache in chitoniskos, cuirass, greaves and Attic helmet, with sheathed sword, hoplite shield and spear, on one knee to left. 5: Amazon in chitoniskos, greaves and Attic helmet, with sheathed sword, spear and hoplite shield (device: central pellet), striding left. 6: Amazon in chitoniskos, cuirass, greaves and Attic helmet, holding spear and hoplite shield (device: two pellets), running right while looking left. body: Herakles and the Erymanthian boar: 1: Dionysos in chiton and mantle, wearing ivy wreath and holding ivy vine, facing right, head turned to left. 2: female goddess (Charity?) in chiton, mantle, and llet, facing right. 3: Herakles in chitoniskos and lion skin, wearing gorytos and sword sheath, holding the boar, facing right. 4: Head and arms of Eurystheus emerging from vessel, facing left. 5: Athena in peplos with aegis, and Attic helmet with llet, holding spear, facing right, head turned to left. 6: Hermes in chlamys, petasos, high tongued boots, holding kerykeion, squats facing left. 7: female goddess (Charity?) in chiton, mantle, and llet, facing left. The arrangement on the body here is the variation developed in Attic vase painting where Herakles stands with his foot up on the pithos about the drop the boar down into the vase where the terried Eurystheus hides. This moment in the story is occasionally embellished as here with attendant gures around the central group of Herakles, the boar and Eurystheus. (LIMC IV, s.v. Herakles; Luce, 1924, 314–18) Frequently these comprise divinities, in the Detroit case Athena, Herakles’

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protector, Hermes, who seems to be directing by gesture where the hero should deposit his burden, and Dionysos. The appearance of Dionysos is exceptional as he is not directly connected with this labour. His presence may be to comment on the use of the pithos, more appropriate to the storage of wine, but pressed into service by Eurystheus as a hiding place. But Dionysos is the one gure who looks away from the central action, out of the scene to the left, the direction from which Herakles has arrived, and the reference here may be to what has come before rather than the current action. Apollodorus (2.5.4) describes Herakles’ ght with the centaurs at the cave of Pholus as a side adventure within the hero’s journey to nd the boar. Linking the two stories is the shared wine jar (pithos) of Dionysos; in Pholus’ cave opening it elicits the attack of centaurs. If Apollodorus’ chronology of Herakles’ exploits follows an older tradition, the presence of Dionysos on the vase may be to draw the audience’s attention to these sequential narratives involving a pithos as a plot device. Closer to the date of the vase, Sophokles, Trachiniae 1095–97, places the centauromachy at Pholus’ cave as the exploit immediately preceding that of the boar, so the chronological sequence of the centauromachy and the capture of the boar may not be the invention of Apollodorus. Besides the gathering of gods, one or two women without attributes also make occasional appearances in this labour, as here. On a vase by Oltos (Louvre G17, ARV2 62.83) one such gure is identied by inscription as a local nymph, another as Eurystheus’ wife. In cases were there are no inscriptions, only the frightened gestures suggest an identication of such ancillary gures as Eurystheus’ wife and daughter (Leningrad 1522 (St. 49), ABV 284.10) (Schauenburg, 1970, 41–42; Beckel, 1961, 56). As one woman on the Detroit vase seizes Herakles from behind in a fruitless effort to restrain him, and the other at the far right raises on hand in surprise, the two should be identied as the wife and daughter of Eurystheus. The broad eld of the shoulder panel offers the painter enough space for an expansive Amazonomachy. Despite this, the painter does not

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revert to the arrangement of the battle which developed before the middle of the century with what Bothmer describes as “complete groups”, that is, pairs of duelling antagonists, even though the number of gures employed here allows for just such a composition (von Bothmer, 1957, 30–35). Although only one Amazon is given added white for esh, and notably not Andromache, the shared weaponry, armour, tunic decorations, and shield devices indicate that Herakles is alone here among ve Amazons. Only the Corinthian helmet worn by 1 is distinguishing, and, although unusual for Amazons, not unknown. The Amazons on either side of the central pair of Herakles and Andromache should be understood as rushing to the aid of their queen. This arrangement of the central Herakles group being anked by one or more helping Amazons takes hold after the middle of the century as an adaptation of the duelling composition to the more restricted space available on an amphora’s panel (von Bothmer, 1957, 37–42). The painter of the Detroit vase has integrated this newer compositional device back into the broader space available on the hydria’s shoulder. The framing Amazons on either end in their determined movements away from the centre should be understood as taking on foes beyond view, rather than eeing. Attribution and date: By Beazley to the Leagros Group, near Painter S; ca. 510 B.C. Dimensions and condition: Height: 46.4 cm. Width: 30.3 cm. Outside diameter of mouth: 21.7 cm. Diameter of foot: 15.4 cm. Broken and repaired. Large vertical crack through the gural panel to the right of centre has been lled in and repainted. Accessory colours: Red: shoulder: 1: dots on chitoniskos. 2: as 1 plus rim of shield. 3: chitoniskos. 4: as 1. 5: rim of shield. 6: as 1.

body: 1: beard and ivy wreath, dots on mantle. 2: llet, dot on chiton, dots and bands on mantle. 3: dots on upper part of chitoniskos (incisions on lion skin); lower portion of chitoniskos red. 4: beard and front of hair. 5: llet, trim of plume, dots on peplos. 6: crown of petasos, beard, dots and bands on chlamys. 7: llet, dots and bands on mantle. White: shoulder: 1: plume, disks on shield. 2: strokes on plume, sword handle, shield device. 3: lion’s claws, sword handle, sheath. 4: sword hilt and handle, sheath, baldric. 5: shield device. 6: face, arm, thighs, feet, shield device. body: 2: face, arms, feet. 3: gorytos strap, boar’s tusks. 5: as 2. 7: face, feet. Grafto: drawing 8. (from Johnston 1979) on underside of foot, scratched through the original surface:

Provenance: ex coll. Dr. Herbert Cahn, Basel; Münzen and Medaillen A.G., Basel; Andre Emmerich Gallery, N.Y. Bibliography: Para 164.11bis; Schauenburg 1970, 41, n.79; Andre Emmerich Gallery 1964, no. 17; Johnston 1979, 152, type 2F, no. 38, g. 11, L.

Exhibition: Andre Emmerich Gallery, N.Y., April 22–May 30, 1964. Comparanda: Leningrad 1522 (St. 49), ABV 284.10; Addenda 74: subject. Louvre G17: ARV2 62.83; Para 327; Addenda 165: subject.

attic black-figure Oinochoe

36. Attic Oinochoe, 24.193 Figs. 56–57 Shape and ornament: Oinochoe, type 3 (chous). Trefoil mouth. Small disk foot. Inside of mouth glazed. Outside of handle glazed. Upright palmette set on volutes to either side of central scene, attached to handle by tendrils. Glaze beneath handle. Glaze line at juncture of body and foot. Subject: Gigantomachy: Athena and giant. 1: Athena in peplos and Attic helmet, with aegis, llet, holding hoplite shield (device: 2 pellets), striding right. 2: giant in chitoniskos, cuirass, baldric, and Corinthian helmet with llet, holding shield (device: circle over a T-shape), running right, seen from behind. Vines with grape clusters sprout from his shoulders.

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Attribution and date: Class of red-bodied oinochoe III; ca. 500 B.C. Dimensions and condition: Height excluding handle: 10.4 cm. Diameter: 7.5 cm. Diameter of foot: 4.7 cm. Intact. Chip in rim repaired and repainted. Added white misred. Accessory colour: White: 1: feet, arm, face, llet, aegis, pellets on shield. 2: baldric, llet, plume of helmet shield device. Provenance: ex coll. Gotha, no. 108, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 199. No bibliography Comparanda: Kerameikos: ABV 440.6.

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Lekythoi

37. Attic Lekythos, 24.122 Fig. 58 Shape and ornament: Echinus mouth. Torus foot. Interior of neck and top of mouth reserved. Row of solid tongues at juncture of neck and shoulder. On shoulder, ve palmettes with tendrils. At top of body, an interwoven pomegranate framed by double lines. Glaze ground-line for gural zone, with remainder of vase glazed. Subject: Satyrs and maenad. 1: satyr stalking to right. 2: maenad in peplos, mantle, and fillet, ees to right, looking left, with ivy vines sprouting behind her. 3: satyr striding right, looking left. Attribution and date: Manner of the Gela Painter; ca. 500 B.C. Dimensions and condition: Height: 26.7 cm. Diameter: 11.6 cm. Diameter of mouth: 63. cm. Diameter of foot: 7.6 cm. Broken and repaired. Handle and mouth broken off and repaired. Chipping of fabric on rim. Chipping and abrasion of glaze on body and foot. Misring of glaze. Accessory colour: White: 1: feet, arms, face. Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 7; found at Syracuse.

38. Attic Lekythos, 24.123 Figs. 59–60 Shape and ornament: Echinus mouth. Ridge at juncture of neck and shoulder. Inverted echinus foot. Interior of neck and mouth glazed. Handle glazed externally, interior reserved. Red line at juncture of neck and shoulder. Palmette in centre of shoulder, with alternating red and black leaves, set on volutes with dots at centres. Glazed line at edge of shoulder and body. Red line on top of foot. Edge of foot reserved. Subject: shoulder: Standing gures ank palmette. 1: male in mantle, facing right. 2: as 1, but facing left. body: Warrior with attendants. 1: male in mantle, holding spear or sceptre, facing right. 2: as 1. 3: hoplite in chlamys, greaves and Corinthian helmet, holding spear and hoplite shield (device: 4 crescents, facing outward, dot at centre), facing left. 4: as 1 but facing left. 5: as 4. Attribution and date: Phanyllis Group: E: the Group of Hoplite-Leaving-Home; late 6th century B.C. Dimensions and condition: Height: 19.7 cm. Diameter: 9.3 cm. Diameter of mouth: 4.3 cm. Diameter of foot: 4.9 cm. Broken and repaired. Neck broken and reattached. Chip off foot reattached. Chipping of fabric on left side of main gural zone. Glaze worn and chipped on mouth and handle. Misfiring of glaze on mouth and lower body.

No bibliography Comparanda: Syracuse 2287: Haspels 1936, pl. 24.2: shape and painter. Palermo: Haspels 1936, pl. 23.3: shape and painter.

Accessory colours: Red: shoulder: 1 & 2: mantle trim. body: 1, 2, 4, 5: mantle trim; 3: helmet and greaves. White: body: 3: shield device; 4: triple dots on upper part of mantle. Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 6; found at Syracuse.

attic black-figure No bibliography Comparanda: Athens, Agora P 154247: ABV 464.18; Addenda 117; Moore and Philippides 1986: pl. 77, 831: shape, subject and painter. Havana, Lagunillas: ABV 464.12: shape, subject and painter.

39. Attic Lekythos, 24.124 Figs. 61–62 Shape and ornament: Echinus mouth. Disk foot. Interior of mouth glazed, with rim reserved. Exterior of handle glazed. Row of solid tongues at top of shoulder. Below on shoulder, a chain of pendant lotus buds with dots between. Glaze ground-line for gural zone. Below gural zone, glaze band and reserved band. Vertical surface of foot reserved. Subject: Herakles battling an Amazon. 1: Athena in peplos, mantle, and Attic helmet, holding a spear, seated to right on a folding stool (okladias). 2: Herakles in chitoniskos and lion skin, with sword sheath, and with bow and gorytos appearing above right shoulder, holds sword (?), striding right. 3: Amazon in chitoniskos with short mantle over shoulders, Attic helmet, and greaves, holds hoplite shield and spear, falls to right while looking left. 4: Zeus (?) in chiton, mantle and llet, holding sceptre, seated facing left. Attribution and date: Class of Athens 581i; ca. 500 B.C. Dimensions and condition: Height: 20.0 cm. Diameter: 9.3 cm. Diameter of mouth: 4.8 cm. Diameter of foot: 5.6 cm. Broken and repaired, with some fragments missing and restored near 1 and 4. Accessory colours: Red: 3: edge of mantle, dots on chitoniskos, helmet plume. 4: beard and mantle decoration.

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White: (?) 1: face. 2: chitoniskos. 3: face, arms, legs. 4: chiton, llet. Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 9; found at Cyrene. Bibliography: von Bothmer 1957, 47–8, 239, no. 96, pl. 37.4; Böhr 1982, p. 69, n. 359.

Comparanda: Athens 579: Haspels 1936, pl. 31. 3: subject and painter. Agora P24511: Roberts 1986, 44, 238, pl. 11: shape and painter. Bochum, Univ. S 444: Para 226; Addenda 123: shape and painter. Agora P 24055: ABV 716; Addenda 123 (493.97ter); Moore and Philippides 1986, 215, no. 890, pl. 80: shape and painter.

40. Attic Lekythos, 24.125 Figs. 63–64 Shape and ornament: Echinus mouth. Strap handle. Inverted echinus foot. Interior of mouth glazed. Top of mouth reserved (?). Exterior of handle glazed. White-ground from top of neck to glazed area at bottom of body. Filled tongues hang from line at bottom on neck. Hanging lotus bud chain on shoulder, with glaze line at edge of shoulder and body. Glaze ground-line for gural scene. Subject: Satyrs and maenad. 1: satyr dancing, facing right. 2: maenad in peplos and short mantle dancing to right, head turned to left, ivy vine (?) rises from both shoulders. 3: satyr facing left. Attribution and date: Class of Athens 581, manner of the Marathon Painter; early 5th century B.C. Dimensions and condition: Height: 20.6 cm. Width: 9.9 cm. Diameter of foot: 6.1 cm. Whiteground seems to have run over black glaze in places. Mouth and foot broken off and reattached.

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Section of foot missing. Extensive abrasion and chipping of glaze. Incrustation on underside of foot. Accessory colour: White: 2: arms, face and feet(?). 3: beard and hair. Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 8; found at Gela. No bibliography Comparanda: Athens 1144: Haspels 1936, pl. 31.2: shape and painter.

41. Attic Lekythos, 24.233 Fig. 65 Shape and ornament: Disk foot. Interior of neck glazed. Top of mouth reserved. Neck and shoulder reserved. Exterior of handle glazed. A row of solid tongues at the juncture of the neck and shoulder. A row of rays on shoulder. Decorative panel of body white-ground. Glaze line at edge of shoulder and body. Two glaze line frame an ornamental band, now lost. Band of two-tiered lattice. Horizontal ivy vine framed by single glaze lines. Band of three-tiered lattice. Glazed band framed above by double glaze lines and below by single glaze line. Vertical face of foot reserved with glaze band at lower edge. Attribution and date: Workshop of the Bedlam Painter; 470–50 B.C.

No bibliography Comparanda: Haspels 1936, 181–82. Toronto C.350: Robinson and Harcum 1930, no. 328: shape. Robinson 1950, 71, no. 18 (inv. 34.194), pl. 30: shape and decoration. Blegen, Palmer and Young 1964, 141, and 260, Corinth grave no. 388–9 (T2874), Corinth grave no. 388–10 (T2876), and Corinth grave no. 388–11 (T2866), pl. 63: shape and decoration.

42. Attic Lekythos, 24.234 Fig. 66 Shape and ornament: Disk foot. Interior of neck and top and sides of mouth glazed. Neck and shoulder reserved. A row of solid tongues at junction of neck and shoulder. A row of rays on shoulder. Remainder of vase glazed, with vertical surface of foot reserved. Date: Mid-5th century B.C. Dimensions and condition: Height: 17.4 cm. Diameter: 5.8 cm. Diameter of mouth: 3.5 cm. Diameter of foot: 4.3 cm. Mouth broken off and repaired. Small chips in fabric throughout. Abrasion of glaze throughout. Misring of glaze throughout. Incrustation throughout. Provenance: ex coll. Gotha, no. 99, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 138. No bibliography

Dimensions and condition: Height: 21.9 cm. Diameter: 7.3 cm. Diameter of mouth: 4.1 cm. Diameter of foot: 5.5 cm. Mouth broken off and repaired with restored neck. Chips in rim, handle and foot. Fabric and glaze severely abraded. Incrustation throughout. Provenance: ex coll. Gotha, no. 92, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 137.

Comparanda: Glasgow (H) D 88: CVA Great Britain 18, Glasgow, pl. 26.7: shape and decoration. Robinson 1950, 72, no. 21 (inv. 34.63), pl. 31: shape and decoration.

attic black-figure

35

43. Attic Lekythos, 24.236 Fig. 67

body: Colloquy. 1: male in mantle facing right. 2: as 1. 3: as 1 but facing left.

Shape and ornament: Cocks on shoulder, on either side of handle. Glaze line at juncture of shoulder and body. Glazed below gural zone.

Attribution and date: The Cock Group; ca. 500 B.C.

Subject: shoulder: Cock. body: Satyrs and maenad. 1: satyr dancing to right. 2: maenad in peplos and mantle, ivy vines rising behind her, walking right, looking left. 2: satyr dancing right.

Dimensions and condition: Preserved height: 10.4 cm. Diameter: 5.2 cm. Diameter of foot: 2.8 cm. Mouth and neck missing. Glaze abraded and incrusted throughout. Provenance: ex coll. Gotha, no. 97, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 146; found on Malta.

Attribution and date: The Cock Group; ca. 500 B.C.

No bibliography

Dimensions and condition: Preserved height: 7.6 cm. Diameter: 5.5 cm. Neck, handle, and foot missing. Chipping and abrasion of glaze throughout.

Comparanda: the Cock Group: ABV 466–471; Para 208–212; Addenda 117–18; Haspels 1936, 67: shape and decoration.

Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 145; found at Malta.

45. Attic Lekythos, 24.238 Fig. 69

No bibliography Comparanda: the Cock Group: ABV 466–471; Para 208–212; Addenda 117–18; Haspels 1936, 67: shape and decoration.

Shape and ornament: Slight ridge at juncture of neck and shoulder. Disk foot. Interior of neck glazed. Top of mouth reserved; exterior glazed. Exterior of handle glazed. Short solid tongues at top of shoulder. On shoulder, palmettes linked by tendrils. Body entirely glazed. Double red lines at top of body. Vertical face of foot reserved.

44. Attic Lekythos, 24.237 Fig. 68

Attribution and date: Workshop of the Bedlam Painter; rst half of the 5th century B.C.

Shape and ornament: Spreading disk foot. Neck and shoulder reserved. Exterior of handle glazed. Cocks on shoulder, on either side of handle. Glazed ground-line for figural zone, above a reserved band, with glazing below. Vertical face of foot reserved.

Dimensions and condition: Height: 15.9 cm. Diameter: 6.6 cm. Diameter of foot: 3.64 cm. Neck broken and re-attached. Side of handle at top restored. Chip out of edge of body and shoulder near handle restored.

Subject: shoulder: Cock.

Provenance: ex coll. Gotha, no. 100, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 253.

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No bibliography Comparanda: Robinson 1950, 71–72, no. 19 (inv. 34.231), pl. 30: shape and decoration. Haspels 1936, 175: decoration. Moore and Philippides 1986, 153, nos. 1118 and 1119, pl. 38.

47. Attic Lekythos, 24.240 Fig. 71 Shape and ornament: Disk foot. Neck reserved. Exterior of handle glazed. On shoulder, a row of short solid tongues, then a row of rays. Body glazed. Two red lines (?) on lower part of body. Vertical surface of foot reserved. Date: First half of 5th century B.C.

46. Attic Lekythos, 24.239 Fig. 70 Shape and ornament: Slight ridge at juncture of neck and shoulder. Disk foot. Interior of neck glazed. Top of mouth reserved; exterior glazed. Exterior of handle glazed. Short solid tongues at top of shoulder. On shoulder, palmettes linked by tendrils. Body entirely glazed. Red line near bottom of body. Vertical face of foot reserved.

Dimensions and condition: Height preserved: 12.4cm. Diameter: 4.8cm. Diameter of foot: 3.6cm. Mouth missing. Large chip in body. Small chips in body and foot. Surface of body, shoulder and neck discoloured and darkened. Provenance: ex. coll. Gotha, no. 102 (cat. 98); found at Cumae. No bibliography

Attribution and date: Workshop of the Bedlam Painter; rst half of the 5th century B.C. Dimensions and condition: Height: 15.1 cm. Diameter: 6.1 cm. Diameter of foot: 4.2 cm. Intact. Chipping of fabric throughout. Abrasion of glaze throughout. Some incrustation on top and bottom of foot. Extensive misring of glaze.

Comparanda: Robinson 1950, 72, no. 21 (inv. 34.63), pl. 31: shape and decoration. Blegen, Palmer and Young 1964, 162–63, 251, and 264, Corinth grave no. 358–5 (T2289); Corinth grave no. 358–6 (T2286), pl. 54; and Corinth grave no. 403–8 (T1120), pl. 65: shape and decoration.

Dipinito: on base: Cumo 89 Jan 13. Provenance: ex coll. Gotha, no. 101, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 349; found at Cumae.

48. Attic Lekythos, 24.241 Fig. 72

No bibliography

Shape and ornament: Disk foot. Shoulder reserved with a series of sloppy rays alternating with glazed blotches. Glazed below gural zone.

Comparanda: Robinson 1950, 71–72, no. 19 (inv. 34.231), pl. 30: shape and decoration. Haspels 1936, 175: decoration. Moore and Philippides 1986, 153, nos. 1118 and 1119, pl. 38.

Subject: Colloquy. 1: female in mantle, seated, facing right. 2: male in mantle, facing right. 3: female in peplos, walking right, looking left. 4: man in mantle, facing left. Attribution and date: Class of Athens 581 ii; ca. 500 B.C.

attic black-figure

37

Dimensions and condition: Preserved height: 11.9 cm. Diameter: 6.8 cm. Diameter of foot: 3.4 cm. Broken, with mouth and neck missing. Substantial abrasion of surface and glaze. Some incrustation throughout.

Provenance: ex. coll. Gotha, no. 129, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 140.

Accessory colour: Red: hair and blobs on garments of all gures. Hems of mantles of 2 & 4.

Comparanda: Haspels 1936, 181–82: shape and decoration. Robinson 1950, 71, no. 18 (inv. 34.194), pl. 30: shape and decoration. Blegen, Palmer and Young 1964, 141, and 260, Corinth grave no. 388–9 (T2874); Corinth grave no. 388–10 (T2876); and Corinth grave no. 388–11 (T2866), pl. 63.

Provenance: ex coll. Gotha no. 96 (cat. 47); found on Malta. No bibliography Comparanda: Koblenz, Brommer coll.: ABV 499.34; Addenda 124; Brommer 1942, 110–11, gs. 4–6: shape and painter. Lyons, coll. Metzger: ABV 502.97; Metzger 1944–45, 298–99, pl. 25: shape.

49. Attic Lekythos, 24.242 Fig. 73 Shape and ornament: Disk foot. Neck and shoulder reserved. Handle glazed on exterior. A row of short, solid tongues at the juncture of the neck and the shoulder. On shoulder, a row of diagonal rays. Glaze line at edge of shoulder and body. White-ground body with at top three-tiered lattice. Horizontal ivy vine with alternating leaves and berry clusters, framed by black lines. Two-tiered lattice, with single line at bottom extending the width of the lattice. One thin line and two wider bands below. Vertical surface of foot red glazed, with single black line. Attribution and date: Workshop of the Bedlam Painter; ca. 470–50 B.C. Dimensions and condition: Height preserved: 11.9 cm. Diameter: 4.7 cm. Diameter of foot: 3.4 cm. Mouth missing. Small chips in edge of shoulder. Substantial incrustation, especially on white-ground.

No bibliography

50. Attic Lekythos, 24.243 Fig. 74 Shape and ornament: Disk foot. Neck and shoulder reserved. Exterior of handle glazed. Row of short, solid tongues at top of shoulder. On shoulder, a row of diagonal rays. Black line at edge of shoulder. Body white-ground with three-tiered lattice. Ivy vine with alternating leaves and berry clusters, framed by single lines. Two-tiered lattice, with a single line at bottom extending the width of the lattice. One thin and two wider glaze lines below. Vertical surface of foot red glazed, with medial black line. Attribution and date: Workshop of the Bedlam Painter; 470–50 B.C. Dimensions and condition: Height preserved: 11.6 cm. Diameter: 4.5 cm. Diameter of foot: 3.4 cm. Mouth missing. Small chips in handle and foot. Incrustation throughout, especially on white-ground. Provenance: ex. coll. Gotha, no. 130, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 144. No bibliography

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Comparanda: Haspels 1936, 181–82: shape and decoration. Robinson 1950, 71, no. 18 (inv. 34.194), pl. 30: shape and decoration. Blegen, Palmer and Young 1964, 141, and 260, Corinth grave no. 388–9 (T2874); Corinth grave no. 388–10 (T2876); and Corinth no. 388–11 (T2866), pl. 63: shape and decoration.

51. Attic Lekythos, 24.245 Figs. 75–76 Shape and ornament: Mouth slightly convex. Foot in two degrees. Mouth glazed inside and out. Handle reserved on the inside. Reserved neck and shoulder. A row of tongues, then a row of rays on shoulder. Meander at top of body, framed by single lines. Figural zone framed by single lines. Below gural zone, a wide band, then a single line. Lower body glazed. Vertical surface of rst stage of foot reserved. Bottom edge of foot reserved.

Provenance: ex coll. Gotha, no. 94. No bibliography Comparanda: Louvre F 460: ABV 546.220: painter. Paris, private collection, attributed to the Haimon Group by D. von Bothmer (photo: Beazley Archive, Oxford): painter. National Museum of Natural History 467805: Schwarz 1996, no. 17, pl. 27: shape, painter, and subject.

52. Attic Lekythos, 24.334 Fig. 77 Shape and ornament: Disk foot. Solid tongues at base of neck. Rays on shoulder. Vertical surface of foot reserved. Date: Early 5th century B.C.

Subject: Dionysian symposion(?) 1: gure (Dioskouros or maenad?) in chlamys on horse or mule to right. 2: female (?) gure (Ariadne?) in mantle seated on chair, playing lyre, facing right. 3: Dionysos(?) in mantle seated on chair with footstool, holding vines that spread to left and right, facing left. 4: gure (Dioskouros or maenad?) in chlamys and pilos (?) with llet, on horse or mule, facing left.

Dimensions and condition: Height preserved: 8.0 cm. Diameter: 4.4 cm. Diameter of foot: 3.3 cm. Mouth, most of neck and handle missing. Chips in edge of shoulder and foot. Flaking off of glaze on body.

Attribution and date: Haimon Group; early 5th century B.C.

Comparanda: Robinson 1950, 72, no. 21 (inv. 34.63), pl. 31: shape and decoration.

Dimensions and condition: Height: 16.1 cm. Width: 4.9 cm. Diameter of foot: 4.0 cm. Broken and repaired, with badly damaged or misred surface. Neck broken and reattached; neck probably does not belong. Handle missing (restored in plaster). Triangular patch to right of horseman on right side. Misring throughout. Abrasion on mouth and gural scene.

Provenance: ex coll. Gotha, no. 104 (cat. 84). No bibliography

attic black-figure Alabastron

53. Attic Alabastron, 70.448 Fig. 78 Shape and ornament: Neck slightly concave. Disk mouth with upper surface reserved. Underside of mouth, neck and inside of neck glazed. Tongue pattern at top edge of body. Reserved band in glazed area below tongues. Double black lines below the gural zone. Meander below gural zone framed above and below with thin red lines. Reserved band at top of base. Subject: Musician and dancers. 1: female aulos player facing right in chiton and mantle. 2: male dancer facing right, head turned left and downward, mantle over right arm, skyphos in right hand, staff in left. 3: male dancer facing right, looking left, mantle over right arm, llet on head, staff in left hand.

39

Attribution and date: Theseus Painter; early 5th century B.C. Dimensions and condition: Height: 15.2 cm.; Width: 4.8 cm.; Diameter of mouth: 3.6 cm.; Thickness of mouth: .3 cm.; Height of neck: 1.5 cm.; Diameter of neck: 1.7 cm.; Inside diameter of neck: 1.4 cm.; Height of figure zone: 7.5 cm. Intact. Incrustation on neck; some abrasion around base. Provenance: ex coll. Robert H. Tannahill. No bibliography Comparanda: Toledo 63.27: Para 257; Addenda 129: painter.

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Cups

Agora 27426: Para 290; Moore and Philippides 1986, 286, pl. 104: shape and painter. 54. Attic Cup-Skyphos, 24.232 Fig. 79

Shape and ornament: Offset lip ares slightly. Disk foot, with tooled recession on top half. Interior glazed, with reserved line on inside of rim. Exterior of handles glazed. Palmettes on either side of the gural scenes, set on volutes. Two glaze circles and central dot on underside of foot. Subject: Identical scenes of a satyr and maenad on each side. 1: satyr moves right, seizing the dress of 2. 2: maenad running right, looking left, holding hem of dress in right hand, and hanging loop (wreath?) in left. Ivy vines in background. Attribution and date: The Láncut Group; early 5th century B.C. Dimensions and condition: Height: 7.2 cm. Diameter at rim: 13.3 cm. Diameter of foot: 6.4 cm. Broken and repaired. One handle missing. Two chips in rim. Glaze abraded on rim and handle. Some misring of glaze. Incrustation on underside of foot. Provenance: ex coll. Gotha, no. 112, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 281. No bibliography Comparanda: Salonica 34.83: ABV 577.33; Robinson 1950, 55 and pl. 12.5: shape, painter and subject. once N.Y. 74.51.1360: ABV 578.47; Addenda 138; Gjerstad 1977, 43, no. 390, pl. XXX, 8: shape and painter. London 1896.1–2.114: ABV 578.48; Addenda 138; Gjerstad 1977, 43–44, no. 391, pl. XXXI, 1: shape. Thebes R. 76.3: ABV 577.24; Ure 1913, 40, Rhitsona grave 76, no. 3, pl. 9: shape, painter and subject.

55. Attic Skyphos, 24.316 Fig. 80 Shape and ornament: Rim offset and slightly aring. Handles cylindrical, with slight upward curve. Interior glazed with reserved tondo decorated with three concentric circles. Upper edge of lip reserved. Insides of handles reserved. Ivy vine on exterior of lip. Tongue pattern on lower body. Fillet beneath bowl in dilute glaze. Disk foot with vertical surface reserved except for glazed band along lower edge. Underside of foot glazed with resting surface and interior reserved. Subject: A & B: Herakles wrestling Triton. 1 & 2: female in peplos running left, head turned right. 3: Triton snaking right. 4: Herakles stands straddling Triton facing right, head turned left. 5 & 6: female in peplos running right, head turned left. Attribution and date: The CHC group; early 5th century B.C. Dimensions and condition: Height to top of handle: 16.4 cm. Height to top of bowl: 15.9 cm. Diameter of bowl: 21.5 cm. Diameter of foot: 12.1 cm. Broken and repaired in antiquity; broken again and repaired. Two fragments missing below right handle. Chips in lip and foot. Pitting and chipping of the surface throughout. Holes for clamps from ancient repairs; one clamp survives. Accessory colours: Red: A & B: beard of Herakles. White: line in black band above gural zone. A & B: arms, feet, face of 1, 2, 5, 6. Stripe on body of Triton; and its dorsal n (to left of Herakles’ head). Provenance: ex coll. Gotha, no. 110, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 283; found on Rhodes.

attic black-figure No bibliography Comparanda: Leyden I.1906.1.3: ABV 618.37; Addenda 144; CVA 2, pl. 65.3, 4: shape and painter. Karlsruhe 198: ABV 619.64; Addenda 144; AhlbergCornell 1984, pl. 155, XI 15.A: shape, subject and painter. Ambrose 2004, no. 19: subject and group [Fossey].

56. Attic Skyphos, 63.11 Fig. 81 Shape and ornament: Lip offset and slightly aring. Cylindrical handles curve upward slightly. Fillet between body and foot, with a projecting ridge. Torus foot. Interior glazed with reserved upper surface of lip. Tondo decorated with two concentric circles and dot in centre. Lip decorated externally with horizontal ivy vine. Figural zone bordered above by black line and below by double black lines. Reserved band below gural zone has double black lines within. Alternating black and red tongues at base bordered above by three and below by two black lines. Foot glazed with lower edge reserved. Underside of foot glazed with central tondo and resting surface reserved. Subject: On each side an identical symposium. 1: female in chiton and with llet on head moves left, head turned right. 2: female aulos player in chiton and mantle and with llet on head, facing right. 3: reclining male in mantle and with llet on head lies on mattress and cushion facing left. 4: female aulos player in chiton and mantle facing right. 5: reclining male in mantle lies on mattress and cushion facing right. 6: as 4. Attribution and date: By Beazley to near the Dog Group; early 5th century B.C. Dimensions and condition: Height to top of handles: 16.7 cm. Height to top of lip: 16.1 cm. Diameter: 22.5 cm. Diameter of foot: 13.1 cm. Broken and repaired. Abrasion on lip and handles. Badly joined fragment on A:6, with lower part of gure repainted. Much of head of B:3 repainted.

41

Repainted white: A: arms of 2 and 4, and face of 6. B: arm of 4 and faces of 1, 2 and 6. Accessory colours: Red: A & B: all llets, and bands on all gures’ garments. White: B: 1: face, arm, feet. 2: face, arm, dots on garment. 3: pillow. 4: face, arm. 5: pillow, dots on garment. 6: face, arm, feet, dots on garment. A: the same, with the following additions: 3: dots on garment, band on cushion. 4: dots on garment. 5: band on cushion. Provenance: ex coll. Morton; Spink & Sons (sale 12/1/36; received by Hearst 4/29/37); William Randolph Hearst, SSW 12337, T. 1028, P.C. 8493, Estate no. 5588. Bibliography: ABV 624.2; Para 308; Cat. Parke-Bernet Galleries 5–6 April 1963, no. 50.

Comparanda: symposium and relining gures compared by Beazley to those of the Dog Group, ABV 624.1–3. Cyprus Museum inv. C439: Gjerstad 1977, 44, no. 400, pl. XXXI, 8: shape and decoration exclusive of gures.

57. Attic Band Cup, 79.8 Fig. 82 Shape and ornament: Slight are to lip. Handles cylindrical. Rim at juncture of body and stem. Foot in form of inverted, flattened echinus. Reserved interior tondo with glazed circle at centre, black concentric ring. Handles reserved on inside. Single upright palmettes on tendrils ank handles, with red central petals, a row of white dots trimming tops of hearts, and red hearts. Reserved band in glazed area beneath figural panels. Red line at juncture of body and foot. Side of foot reserved. Subject: Arming scene on both sides A: 1: nude male facing right. 2: male in chitoniskos on horse facing right, holding spear. 3: male in chiton and mantle, holding sceptre or

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staff, facing right. 4: as 1 with llet. 5: as 3. 6: male in cuirass over chitoniskos facing right, and llet, wearing left greave, putting right greave on, Corinthian (?) helmet on ground between legs. 7: female in peplos facing left, wearing llet or crown, holding hoplite shield and spear. 8: as 1 & 4, but head turned to left. 9: as 3, but facing left. 10: as 2, but facing left. 11: as 1, with llet, and with head turned to left. B: 1: male in chitoniskos on horse, facing right. 2: male in chiton and mantle, holding sceptre or staff, facing right. 3: nude male, facing right. 4: as 2. 5: male in cuirass and chitoniskos and llet, facing right, wearing left greave, putting right greave on, Corinthian (?) helmet on ground between legs. 6: female in peplos facing left, wearing llet or crown, holding hoplite shield and spear. 7: as 3, but wearing llet and with head turned to left. 8: as 2, but facing left. 9: as 1, but facing left and holding spear. Attribution and date: by von Bothmer to Little Masters: Group of Villa Giulia 3559; or Group of Louvre F81; ca. 530 B.C. Dimensions and condition: Height: 17.9 cm. Diameter: 30.7 cm. Diameter of base: 13.2 cm. Broken and repaired. Fragment replaced in glaze below left end of gural zone on B. Accessory colours: Red: A: 1: hair and pectorals. 2: hair, horse’s mane, and on horse’s rump. 3: hair, chiton, and hem of mantle, dots on mantle. 4: as 1. 5: as 3. 6: hair, chitoniskos, dots on cuirass, greaves. 7: llet or crown, over-fall of peplos, central panel of peplos, dots on shield. 8: as 1. 9: as 3. 10: as 2. 11: as 1. B: 1: hair, horse’s mane, stripe on horse’s rump. 2: hair, chiton, dots on mantle. 3: hair, nipples. 4: hair, mantle. 5: hair, chitoniskos, left greave, dots on cuirass. 6: llet, over-fall of peplos. 7: as 3. 8: hair, chiton. 9: hair, horse’s mane.

chitoniskos. 2: along neck and hem of chiton, and dots on mantle. 4: dots along hem of mantle. 5: dots on hem and sleeve of chitoniskos, and waist of cuirass. 6: face, arms, feet, hem of over-fall of peplos, shield device (tripod?). 8: dots on mantle. 9: chitoniskos. Provenance: ex coll. Michael Clerici, Jonesville, MI; Summa Galleries, Beverly Hills, CA. No bibliography Comparanda: Louvre F 81: ABV 191.3; CVA pl. 83. 3 and 6: shape and painter. London 1906.12–15.2: ABV 196.3; Addenda 53; LIMC I, s.v. Amazones, pl. 446, no. 38a: shape and painter.

58. Attic Cup, 24.155 Fig. 83 Shape and ornament: Cup, type C. Rim ares. Slight incision at top of foot. Spreading disk foot. Interior glazed with reserved central circle with glaze dot at centre. Interior edge of rim reserved. Handles glazed with some of interiors left reserved. On body, a palmette chain framed by arches, with lotus buds at interstices. Reserved band below. Glazed band on underside of foot. Attribution and date: Cracow Class; early 5th century B.C. Dimensions and condition: Height: 6.7 cm. Diameter of mouth: 16.3 cm. Diameter of foot: 8.4 cm. One side broken and repaired, with one large and one small fragment missing. Chipping of fabric throughout. Glaze chipped and worn throughout. Some misring. Accessory colour: White: lotus buds.

White: A: 1: smear on thigh. 2: chitoniskos. 3: dots on mantle. 5: as 3. 6: dots along waist and arm of cuirass and hem of chitoniskos. 7: face, arms, feet, hem of over-fall of peplos, shield device (tripod). 9: as 3. 10: chitoniskos and on bridle. B: 1:

Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. no. 284.

attic black-figure No bibliography Comparanda: Blegen, Palmer and Young 1964, 155, 216, and 221 Corinth grave no. 262–8 (T3160), pl. 36; Corinth grave no. 275–4 (T1218), pl. 39: shape and decoration. Pease 1937, 260, no. 1076, g. 1.1: shape and decoration. Jacopi 1931, 229, no. 11 (12335): shape. Campbell 1938, 572, no. 15 (1032): shape.

59. Attic Cup, 63.167 Fig. 84 Shape and ornament: Rim offset. Disk foot. Interior glazed with central reserved tondo, in which two concentric glazed circles and central dot. Interior edge of rim reserved. Handles glazed on exteriors. On body between handles, palmettes, with alternating red and black leaves and red hearts, and lotus buds, which have been reduced to long strokes, all supported on a chain with dots at centres. Reserved band below. Vertical face of foot reserved. Date: First quarter of the 5th century B.C. Dimensions and condition: Height: 8.2 cm. Diameter at rim: 14.9 cm. Diameter of foot: 5.9 cm. Broken and repaired. Missing fragment restored on rim. Chip on interior restored. Some abrasion of glaze. Provenance: ex coll. Francis E. Ross; found in Italy, said to be from an Etruscan tomb.

43

Gjerstad 1977, 48, no. 456, pl. XLV, 5: shape and decoration. Naples 81151: CVA Italia 20, Napoli 1, pl. 14, no. 9: shape and decoration.

60. Attic Mastoid, 77.46 Fig. 85 Shape and ornament: Handleless cup. Flaring mouth. Completely glazed inside. Reserved lip. Figural zone framed by single black lines. Underside of base reserved. Subject: A: Return of Hephaistos. 1: satyr holding an unidentied object in right hand, walking right. 2: Hephaistos in chlamys, riding mule to right, looking left. 3: maenad in chiton and mantle, playing krotaloi(?), walking right, looking left. B: Return of Hephaistos. 1: satyr playing lyre, walking right. 2: Hephaistos riding mule right. 3: maenad, in chiton and mantle. playing krotaloi(?), walking right, looking left. Attribution and date: Manner of the Bedlam Painter; rst half of 5th century B.C. Vases of this shape have been found exclusively in Etruria, and the shape has been shown to have been fabricated for the Etruscan funeral market (Malagardis 1997, 37). The Detroit example would date relatively late in the sequence, which ceases early in the second decade of the 5th century B.C. Dimensions and condition: Height: 9.9 cm. Diameter: 9.7 cm. Diameter of mouth: 9.6 cm. Intact. Phalluses of both mules have been bowdlerized. Some abrasion on rim.

No bibliography Provenance: ex coll. Mrs. Charles Crouse. Comparanda: Blegen, Palmer and Young 1964, 158, 243, and 302, Corinth deposit no. 9–g (T1794), pl. 43; Corinth grave no. 337–7, (T693), pl. 51: shape and decoration. Hadjiprodromon Collection: Gjerstad 1977, 49, no. 462, pl. XLVI, 6: shape and decoration.

Bibliography: Peck 1977, 18 and g. 8.

Comparanda: London B 658: ABV 586.67; Addenda 139; Boardman 1974, g. 279: painter. Amiens 623: ABV 587.5bis; Addenda 139; Rouen 1982, gs. 108a-c: painter.

CHAPTER FIVE

ATTIC RED-FIGURE AND WHITE-GROUND Stamnoi

61. Attic Stamnos, 24.13 Figs. 86–87 Shape and ornament: Stamnos, with sharply inclined, slightly curving handles. Mouth in two degrees. Ridge at juncture of neck and body. Handles cylindrical. Fillet with ridge in centre at juncture of body and torus foot. Interior completely glazed. Egg pattern on mouth. Shoulder tongues framed by reserved line above, reserved and glaze line below. Figural zone provided with reserved ground-line. Lower edge of foot reserved. Subject: A: Hermes conducting two goddesses. 1: goddess in chiton and mantle, holds dove, facing right. 2: goddess in chiton and mantle, holds sceptre, facing right. 3: Hermes in chitoniskos, chlamys, winged boots, and petasos, holding kerykeion, walking right, head turned left. B: woman with two attendants. 1: woman in chiton, mantle, and llet, facing right. 2: woman in peplos and mantle, holds mirror, facing right, head turned to left. 3: woman in chiton, mantle and llet, facing left. The presence of Hermes on side A makes it clear that this should be understood as a scene from the broader subject of the Judgment of Paris, the conducting of the goddesses to Mt. Ida to be judged by the Trojan prince. The identication of the subject is complicated by the appearance of only two goddesses with Hermes. As the top of the staff held by A:2 is restored, only its thickness and the internal lines suggesting a faceted surface indicate that it is a sceptre rather than a spear. Beazley and Clairmont took it as a spear, and therefore identied her as

Athena. Raab (1972, 89–90, 171), in recognition of the damage, thought it more likely a sceptre. Accordingly, the gure should be Hera, not Athena. The dove held by A:1 is paralleled as an attribute of Aphrodite in depictions of the Judgment on Attic and south Italian vases (Raab 1972, 85; LIMC VII, s.v. Parides iudicum, pl. 127, no. 108). Without any of the normal attributes, A:1 is difcult to identify as Athena, who therefore is absent. The woman at the centre of the second side, B:2, was identied by Clairmont as Aphrodite in the company of two Horai. She is sometimes shown in this fashion at the Judgment, preening, accompanied by attendants (compare LIMC VII, s.v. Parides iudicum, pl. 109, no. 20). This visual presentation of the goddess here is paralleled in Sophokles’ satyr play on the Judgment of Paris, in which Aphrodite’s concern with her beauty, as with B:2, is embodied in the motif of the mirror [Fr. 361 P.]. Clairmont speculated that B:3, as a Hora, might hold a piece of fruit, but damage to the vase in this area makes it impossible to determine what, if anything, was held in the left hand. Alternately, the woman preening herself at the centre of B is the mortal pendant to the beauteous goddesses, and the visual ellipsis of the full procession on side A is employed to balance both sides of the vase with three-gure compositions. Attribution and date: By Beazley to the Tyszkiewicz Painter; 480–70 B.C. Dimensions and condition: Height: 37.4 cm. Width: 31.5 cm. Diameter of mouth: 21.7 cm. Diameter of foot: 14.7 cm. Broken and repaired, with repainting along joins. Repainted: A: 1: chin, right arm and wrist, left hand, and chest to left of dove. 2: lower neck, top of right shoulder,

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right forearm and hand and adjacent drapery, drapery hanging behind back, most of chiton below mantle, and sceptre top. 3: front brim of hat, lower circle of kerykeion, drapery at left elbow, and left leg. B: 1: chignon, X crack through middle of torso, left wrist, and drapery at knees and in front of shines. 2: forehead, central portion of mirror, drapery at buttocks, lower back of mantle, and left ankle. 3: V crack through centre of torso, and left hand. Repair to tongues on shoulder above B:1 and 3. Patch on neck above B:2. Some repair to mouth above B:1. Entire interior covered with cloth strips for patching. Accessory colour: Red: A: double line llet on 1 and 2. B: 1: llet; 2: llet. Dipinto: in red: API Provenance: ex coll. Hartwig; Georg Schwarz, Berlin. Bibliography: Beazley 1916, 148; V[alentiner] 1924, 12 and g. 3b; Clairmont 1951, 48, pls. 31–32; Richter 1926–27, 25–35; ARV 2 291.28; Philippaki 1967, 36; Raab 1972, 89–90; Johnston 1979, 134, no. 94, type 9E, xii.

62. Attic Stamnos, 63.12 Figs. 88–89 Shape and ornament: Flaring mouth in several degrees. Rim at juncture of mouth and shoulder. Cylindrical handles, somewhat attening. Foot in three degrees. Interior completely glazed. Vertical faces of bottom stage of mouth reserved. Middle stage decorated with egg pattern framed by glaze lines. Tongue pattern on shoulder, with glaze line at top. Egg pattern around the handles. Below the gural zone, a stopped meander pattern, framed by glazed lines. On side B four saltire squares with dots in the interstices added. Reserved line at join of base and foot. On second stage of foot a double, egg pattern framed by glaze and reserved lines. Lower edge of foot reserved.

Subject: Continuous frieze of women in a procession. A: 1 [underneath left handle]: woman in chiton and mantle, with llet, facing right. 2: woman in chiton, mantle, and fillet, holding skyphos, walking right. 3: woman in chiton, mantle, llet, and wreath, holding parasol (skiadeion), walking right, head turned left. 4: woman in chiton, mantle, and wreath, playing krotala, walking right. 5 [underneath right handle]: woman in chiton, mantle, and llet, holding skyphos, walking right. B: 1: woman in chiton, mantle, and llet, walking left, head turned right. 2: woman in chiton, mantle, and sakkos, with llet and wreath, holding skyphos, facing right, in front of chair (klismos). 3: woman in chiton, mantle, and wreath, playing aulos, walking right. The vase is one of a group referred to as Lenaia vases because of their initial association (Frickenhaus 1912) with that Dionysian cult, although whether they depict events of that cult or of the same god’s Anthesteria is a matter of long dispute (Hamilton 2003). The Villa Giulia Painter produced a series of stamnoi, including the Detroit vase, which are not only included in this group, but are all very close in composition and iconography: Boston 90.155, Louvre G408, and Florence 4005. The women on these stamnoi have attributes, skyphoi, krotala (castanets) and aulos (double utes), consistent with the celebrations of Dionysian cult. And although the women on the Detroit vase are dressed in a manner appropriate to Athenian women, one (A:4), she playing the krotala, has her hair loose, in the manner of a maenad. All this is consistent with Athenian women acting the parts of maenads in the worship of Dionysos, and is supported by another stamnoi by the Villa Giulia Painter, depicting the women with the same attributes in the presence of an image of the god: Louvre C 10762, and Boston 90.155. The depiction of the procession on the Detroit vase is erratic: the musicians play, but the other gures move left or right, and some stand still. As Maurizio (2001, 29–32) points out, the processions identied with the Anthesteria were markedly informal and practiced in smaller social units, in contrast with

attic red-figure and white-ground the cults under strict state control. It is probably not necessary to conclude with Miller (1992, 101) that the painter is being careless in substituting the parasol in the hands of A:3 for the more appropriate thyrsos, or including the chair, incongruous with a procession or a setting in a shrine. As both occur regularly in depictions of Dionysian processions and cult, there is no need to argue them away. The Villa Giulia Painter himself has a woman holding a parasol in the presence of an image of the god on Louvre C 10762, and the chair appears with the women on the opposite side from the image of the god on Boston 90.155. And chairs are carried in processions of the Anthesteria as part of the ritual marriage between Dionysos and the wife of the archon basileus (Simon 1963, 11–12): London E 465 and Louvre G 422. Attribution and date: By Beazley to the Villa Giulia Painter; 460–450 B.C. Dimensions and condition: Height: 33.3 cm. Width: 28.0 cm. Outside diameter of mouth: 22.1 cm. Diameter of foot: 14.0 cm. Intact. Some incrustation, especially on interior, on lower edge of foot and on inside of handles. Misring of glaze below gural zone, and inside and outside of mouth.

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Accessory colour: White: A: 1: llet. 2: llet. 3: wreath. 4: wreath. 5: llet. B: 1: llet. 3: wreath. hair-bands of (1), (2), (5) and (6); and wreaths of (4), (7) and (8). Grafto: drawing 10. on underside of foot:

Provenance: ex coll. Forman, no. 352; Marsden J. Perry, Providence, RI (sale Anderson Galleries, March 6 & 7, 1936, cat. no. 32); William Randolph Hearst, SSW 12211. Bibliography: Frickenhaus 1912, 36; AmerArtAss, March 6–7 (1936), 9, 2; Cat. Parke-Bernet Galleries 5–6 April 1963, cat. no. 60; ARV 2 621.42; Para 398; Addenda 270; Philippaki 1967, 140–41, 154; Schone 1987, 178 & 588; FrontisiDucroux 1991, L 8; Miller 1992, 101; Delavaud-Roux 1995, 259–60.

Comparanda: Boston 90.155: ARV 2 621.34; Addenda 270: painter and subject. Florence 4005: ARV 2 621.37: painter and subject. Louvre C 10762, ARV 2 621.40: painter and subject. Louvre G408: ARV 2 621.39: painter and subject.

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Kraters

63. Attic Column Krater, 24.120 Figs. 90–91 Shape and ornament: Flaring rim, slightly convex on top. Neck slightly concave. Handles cylindrical. Fillet at juncture of body and foot. Foot in two degrees. Interior completely glazed. Lotus bud chain with dots on top of rim. Inner and outer edge of rim red. Side of rim decorated with vine, with glaze line at bottom. Top surfaces of horizontal extensions decorated with upright palmette and vines. Neck on side A decorated with lotus bud chain with dots between. Undersides of extensions for handles reserved. Figural zones bordered above with row of tongues, thin red line and reserved line below, and on each side an ivy vine framed by glaze lines. Rays at base of body. Lower edge of foot reserved, with red line at end of glaze. Subject: A: Helios driving his chariot (biga). 1: Helios in chitoniskos, short mantle, and wreath, with sun disk on his head, holding goad (kentron) in right hand, in chariot to right. Irregular groundline indicating the sea, with dolphin beneath horses. B: two athletes and a youth. 1: nude athlete, with llet, striding left, head turned to right. 2: youth in mantle and llet, facing left. 3: nude athlete with llet, striding right, head turned left. The depiction of Helios on the principal side places this image at a juncture in the development of the divinity’s iconography. The earliest appearances of Helios in anthropomorphic form in Attic black-gure of the late 6th and early 5th centuries B.C. typically depict him frontally in his chariot and bearded (Lacroix 1974, 92–98; Yalouris 1980, 316–17; LIMC V, addenda, s.v. Helios, pp. 1008–11). This form survives briey into red-gure on a polychrome bobbin by a follower of the Brygos Painter (Agora P5113, LIMC V, addenda, s.v. Helios, p. 1009 no. 11). That bobbin already incorporates a change in Helios’ iconography which also appears in late black-gure, the depiction of him as a youthful, beardless gure. The

Detroit vase is among the earliest examples of the shift in the depiction of Helios in a chariot seen in prole, yet maintains the older iconography of a bearded gure. The peculiar position of the Detroit vase with respect to the changing iconography of Helios has involved the vase in discussion of the introduction of Helios into depictions of the gigantomachy. Helios wears a cuirass in the gigantomachy on a fragmentary vase by the Pronomos Painter (ARV2 1338), a depiction thought to reect the same subject on the interior of the shield of Pheidias’ Athena Parthenos, The Detroit vase has been thought also to show Helios in a cuirass, and therefore raised questions about the origin and signicance of such iconography (Schauenburg 1955, 70, n. 320; Dörig and Gigon 1961, 56 and 85, n. 33; Schauenburg 1962, 53 and n. 30). Dörig and Gigon credit Pheidias with introducing the cuirass into the iconography of Helios, but that creates the chronological difculty of dating the Detroit vase later than the Athena Parthenos, 438 B.C. Schauenburg rst associated the appearance of Helios in a cuirass and therefore the Detroit with his participation in the gigantomachy. The entire situation turns on the appearance of the cuirass on the vase. In favour of this interpretation, there are no interior details on Helios’ garb above the waist, while the lower portion of the chitoniskos is drawn with numerous folds. However, against this interpretation are other details. The short sleeve at the top of the right arm has a hemmed edge, without indication of the shoulder lappet of a cuirass. A curving form extends down from the front of Helios’ waist onto the upper portions of the thighs, ending in a series of scallops. The extent this hangs down onto the thighs is too long to match a cuirass. Moreover, the scallops suggest soft cloth rather than leather or metal. Finally, the belt cinching the chitoniskos is apparent at the back of the waist. Thus the curving form on the front should more likely be understood as a kolpos, appearing only in the front as Helios leans forward. If the bulk of the visual evidence is against a cuirass, then Schauenburg’s identication of the

attic red-figure and white-ground subject of the Detroit vase as Helios participating in the gigantomachy has less force, and the issues of the relationship between the vase and Pheidias’ rendering of that subject all dissolve. Appropriately, this less militant Helios drives a biga rather than a quadriga, since it is the quadriga which is described as Helios’ chariot in the epic Titanomachia, when Helios declines to join the other titans in attacking the gods (frags. 4 and 11). There remains the issue of the beard indicating an older immortal. The painter’s retention of this older iconography may be to invoke the image of the primordial god, father of all things (Sophokles, TGF IV F 752; and Suda, s.v. ƵƲƫƵưƱƣƵưƲƧƳ). Attribution and date: By Beazley to the Leningrad Painter; ca. 480–70 B.C. Dimensions and condition: Height: 40.0 cm. Diameter: 32.1 cm. Diameter of foot: 16.6 cm. Broken and repaired. Numerous large cracks running over entire surface repaired and repainted. Repainted: A: hip of horse, hub and lower spokes of chariot wheel, front and rear frames of chariot box, section from left shoulder down to back edge of chitoniskos, entire face forward of eye, lower rays. B: 1: back of left thigh, centre of left hand. 2: middle of thighs, drapery descending from left shoulder to waist. 3: face and most of hair, top of right shoulder, cracks through chest, cracks through buttocks and thighs. Accessory colour: Red: A: wreath on head of Helios, section of reins, water. B: llets of all gures, stripe on mantle of 3. Provenance: ex coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 57. Bibliography: ARV2 569.43; Addenda 261; V[alentiner] 1924, 12 and cover illustration; Beazley 1928, 40, n. 2; Richter 1926–27, 25–35; Schauenberg 1955, 70, n. 320 and g. 17; Dörig and Gigon 1961, 85, n. 33; Schauenberg 1962, 53, n. 30; Lacroix 1974, 94 and pl. 25.1; Moon and Berge 1979, 168–69, no. 96; von Gall 1979, pl. 43.1–2; LIMC IV, s.v. Helios, no. 14.

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Exhibition: Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979–February 24, 1980. Comparanda: London E 351: ARV 2 570.56: painter. Richmond 62.1.3: ARV 2 1659 (567.3bis); Addenda 261: shape and painter.

64. Attic Calyx Krater, 24.150 Figs. 92–93 Shape and ornament: Flaring mouth. Body attached to foot with pronounced ridge. Foot ares slightly with two stages and tooled moulding at top. Interior glazed with reserved band below mouth. Below the mouth a running band of laurel leaves bordered above and below by thin reserved lines. Below gural zone on side A, a band of alternating triangles of upright and hanging palmettes bordered above by a running wave and below by a band of short vertical lines. On side B, below the gural zone a running band of laurel leaves bordered above and below by reserved lines. Ridge at juncture of body and foot bordered above and below by reserved lines. Foot glazed with reserved line on upper edge. Underside and lower edge reserved. Subject: A: Dionysian scene with Eros: 1: nude satyr with llet crown, holding thyrsos, sitting to right. 2: maenad in over-girt peplos wearing llet crown, facing right. 3: Eros holding tympanum ies to right. 4: maenad in over-girt peplos, wearing llet crown, holding thyrsos, strides right, looking left. 5: satyr with short mantle around upper legs, wearing llet crown, holding thyrsos, sitting to left. B: Eros with ephebes: 1: ephebe in mantle, standing to left, looking right. 2: Eros flies to right holding a strigil and aryballos. 3: ephebe in mantle facing left. Between 1 and 2 jumping weights (halteres) hang on background. Attribution and date: Toya Painter; mid-4th century B.C.

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The painting of the Detroit vase shares with the work of the Toya Painter a number of specic parallels which suggest the attribution. The front of the peplos is congured with a triangular panel at the centre of the overfall below the belt. The overfall ends in a broad band broken into one or more shallow arcs, continuing across the gure as a series of dashes or dots. A similar broad band decorates the lower hem of the peplos, which is then echoed by a series of dots or circles slightly above it. Other garments sport a similar broad band at the hems. Male anatomy features a squared pectoral muscle, which is complemented with a squared epigastric arch. The upper edge of the male mantle worn by the trio of gures on the B sides is often rendered by a series of diagonal and rapidly drawn lines. The wings of the frequent Eros gures are congured with a broad crowning stripe, with a series of echoing rows of dots beneath it. Flowers decorating crowns worn by a number of his gures are rendered with vertical strokes, giving them the appearance of radiate crowns. The subject of side A of the Detroit vase nds a close parallel on Louvre G519, an unattributed vase which must be near to the Toya Painter if not by him. The central group of Eros and a maenad on each follow the same gural composition, although the Eros in the Louvre vase does not seem to hold a shield, the two gures of Eros a virtually duplicates; the maenad differs only in the position of her proper right arm. The satyr framing the scene on the right of the Detroit vase repeats the maenad on the left of the Paris vase, save for the appropriate turn of the head to view the central excitement. The B side of the Paris vase is more summarily rendered than the Detroit example, though they share the three-gure composition with the paraphernalia of the palaistra. Dimensions and condition: Height: 39.5 cm. Width at mouth: 35.6 cm. Width of body: 21.7 cm. Width of foot: 14.7 cm. Broken and repaired. On side A, a staple on underside of mouth; a chip at shoulder of 2 lled but not repainted. Triangular section missing at waist of 3 lled but not

repainted. Much white glaze missing from body of 3. Chips across lower part of peplos of 4 and her thyrsos, lled but not repainted. Section missing near knee of 5, running into thyrsos of 4; not lled. Small chip in border below 4. Chip below right handle. Foot cracked with small chips missing. On side B, a staple in mouth above right handle. Chip missing from mouth above 1. Rim chipped above 2. Chips around face and neck of 3. Chips around waist level of 3 lled and repainted. Accessory colour: White: A: 1: llet crown and dots on thyrsos. 2: fillet crown, necklace and bracelets. 3: body, llet crown, and dots around tympanum. 4: llet crown and necklace, including the ends hanging from behind her head, and dots on thyrsos. 5: llet crown, dots and ribbons on his thyrsos. Provenance: ex coll. Gotha. No bibliography Comparanda: London F 74: ARV 2 1448.5; Addenda 379; Drougos 1982, pl. 17ƣ: painter. Vatican 9101: ARV 2 1448.7; Addenda 379; Drougos 1982, pl. 17Ƥ and ƥ: painter. Athens NM 1328: ARV 2 1449.14; Addenda 379; Drougos 1982, pl. 18ƥ: painter. Louvre G519: CVA France 8, Louvre 5, III, I, e, pl. 4, nos. 8–9: subjects.

65. Attic Bell Krater, 37.154 Figs. 94–95 Shape and ornament: Mouth in two degrees. Disk foot, with ridge at top edge. Cylindrical handles. Interior glazed with one reserved line at upper edge of mouth, and one 6 mm. below mouth. On the outside, laurel leaves below the mouth framed by reserved lines. Insides of handles reserved. Below gural zone, band of stopped meanders in groups of three, alternating with saltire crosses, with dots in interstices. Handles glazed with insides and corresponding band on vessel reserved. At

attic red-figure and white-ground junctions of handles and body, egg pattern framed by black lines. Top edge of foot reserved. Subject: A: Procession. 1: man with llet, short mantle over shoulder, and staff, facing right. 2: man with llet, short mantle over shoulders, barbiton and plectrum, striding right, head turned left. 3: woman in llet, chiton and mantle, playing aulos, walking right. 4: boy in llet and mantle, holding torch, walking right, head turned to left. B: Palaistra scene. 1: man in mantle, holding strigil, facing right. 2: man in mantle with staff, facing right. 3: man in mantle, facing left. Writing slate with stylus hanging between 2 & 3. As the combination of participants here and their attributes do not seem to correspond to a religious or state procession, it can probably be described as an informal, private one. The affected sauntering of the gure (A:1) who is accompanied by the musicians and the torch bearer suggests a wry treatment by the painter of a man off to a night of symposium participation. The barbiton and the aulos as instruments one might expect to nd performed at a symposium make appropriate accompanists (West 1994, 57–59), but there may also be a further underscoring of gentle mockery in that Anakreon was specically associated with this long-armed version of the lyre (Suda s.v. barbiton). The reverse offers another and perhaps

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contrasting aspect of male life, the athletic arena. The same procession, indicated by the barbiton, aulos and torch, paired with the scene of youths on the opposite side is employed by the Christie Painter on bell kraters several times (Hornbostel 1980, 143–45). Attribution and date: By Beazley to the Christie Painter; 450–20 B.C. Dimensions and condition: Height: 33.3 cm. Width at rim: 22.1 cm. Diameter of foot: 14.0 cm. Foot broken and repaired, restored on side A. Some misring and abrasion of glaze. Provenance: ex coll. Ugo Jandolo, Rome; Mr. and Mrs. Ernest Kanzler; according to Beazley from Spina. Bibliography: ARV 2 1047.23; Para 444; Bulletin of the Detroit Institute of Arts, 17 (1938): cover illustration; da Rocha Pereira 1966, 95.

Comparanda: Hamburg 286: Hornbostel 1980, 144: painter and subject. London market, Christie’s: ARV 2 1047.19; Addenda 230; Hornbostel 1980, 145: painter and subject Malibu, Getty 71.AE.250: ARV 2 1047.24; Addenda 321; Hornbostel 1980, 145: painter and subject.

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Hydria

66. Attic Hydria (Kalpis), 63.13 Figs. 96–97 Shape and ornament: Torus mouth, concave above and below. Handles cylindrical. Torus foot joined to body by a fillet. Mouth glazed with upper surface and underside reserved. Interior of neck glazed to a depth of 2.7 cm. Red line on neck below mouth. Vertical handle completely glazed; insides of horizontal handles reserved, corresponding to reserved bands on the body. Chain of pendant lotus buds with dots between at the bottom of the neck, framed by above and below, and on side by lines. Figural zone framed laterally by vertical vines between single lines. Ground-line at bottom of gural zone, with reserved line below that. A chain of pendant lotus buds separated by dots at the level of the horizontal handles, framed by double lines. Lower edge of foot reserved. Subject: Fountain house scene. 1: male in mantle, wearing leaf crown, holds staff, faces right. 2: female in chiton, mantle and llet, with hydria on head, faces right, head turned left. 3: male in mantle, wearing leaf crown, leans on staff, faces right and holds blossom out to female. 4: female in chiton and llet, facing left, holding a coin (?) in left hand, hydria on ground in front of her. 5: female in chiton and mantle, wearing leaf crown, carrying hydria on head, faces left, her head turned right. 6: female in chiton, wearing sakkos, sponge or stopper (?) in right hand, facing right, waterspout in form of lion’s head and hydria on a two-stepped base in front of her. Water ows from the waterspout. The identication of the subject has been addressed by Keuls (Keuls 1997, 236, and Keuls 1985, 235), who admits to the controversial nature of the large group of vases showing genre scenes of male/female interaction with a potential sexual or romantic connotation. Keuls interprets the

scene here as one of molestation of a group of women at a fountain house. The women in her view cannot be slaves because they are dressed too well. The vase therefore depicts a group of Athenian housewives or the daughters of a household fending off the unwanted sexual advances of two men. Scholarship since Keuls has addressed in greater detail the subject of prostitution and its operation in Athens, and has questioned her rigid division of women into two all-inclusive categories of “housewife and hetaira” (Davidson 1997, 73–77; Cohen, 2003). A separate body of scholarly literature on the social status of women who appear in genre scenes of this type generally acknowledges the potential for ambiguity, but considers a wider range of examples from which to draw conclusions (Sutton 1981; Williams, 1983; Meyer 1988). The interpretation by Keuls is awed by assumptions that prove unlikely and by failing to account for critical iconographic details. That prostitutes, therefore presumably slaves, would not be dressed in ne clothing, is contradicted by the substantial incomes that prostitutes could earn in Athens (Loomis 1998, 166–85, 309–12, 334–35). The woman at the centre, young to judge by her hair hanging down to her shoulders, whom Keuls describes as gesturing in protest with her left hand, in fact holds a coin rendered in red. The male holds out to her in his right hand a ower, a common indicator of sexual or romantic attraction, not necessarily tied to the social status of those involved (Sutton 1981, 304–08). The scene is set at a fountain, perhaps a fountain house, a place with an unsavoury reputation (Williams 103). The setting may also play off the punning use of ƭƣƬƬưƳ, well or cistern, to refer to prostitutes (Davidson 1997, 79). In black-gure depictions of men accosting women at fountain houses, their intent is overtly violent (Berlin F1910, ABV 387.18; New York 98.8.12, ABV 602.41; Agrigento C862, ABV 604.73). These vases also include boughs spread over the background, as if the site is decked out for some festival (Williams

attic red-figure and white-ground 1983, 102–03). As the men on the Detroit vase wear wreaths on their heads, a similar festival context may be intended. Men offering money to women is a common subject on vases, most if not all of which have been interpreted as scenes of prostitution (Sutton 1981; Meyer 1988). However, these vases typically show the man handing a bag of money, i.e., a purse, to the woman. A vase assigned by Beazley to the manner of the Pig Painter renders the subject in this fashion (ARV 2 566.6). Only a few examples show the man holding the purse and a coin taken from it (Sutton 1981, 292 and 432, n.23). The Detroit vase may be unique in showing only a coin, without the purse, and this may be at the core of the woman’s response. Judging by what a prostitute could earn in Athens, and the use of prostitution as an access to income by women, who otherwise were locked into occupations like wool-working, which offered little in the way of income, the response by the woman may not be a moral one, but a nancial one. That the coin is rendered in red, rather than in white suggests that this is not a silver coin the man proffers. The few vases of this subject matter which actually depict a coin, and particularly the Detroit vase in showing only the coin, without the purse, may be among the earliest depictions of coinage in Greek art and therefore comprise a valuable and as yet unconsidered source of information on another aspect of Athenian society, the distribution and use of small coinage in the Athenian economy. The assumption prevalent in studies of the social impact of coinage, that coinage was the provenance of the elite, has been recently challenged (Kim 2002). If the rendering of the coin in red on the vase is intended to indicate its small denomination, thus generating the woman’s response, this provides evidence for the usage of

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such coins in these kinds of transactions. It also indicates that the men on the vase may themselves not belong to the elite of society simply because they use coins. Attribution and date: By Beazley to the Pig Painter; ca. 475–460 B.C. Dimensions and condition: Height: 35.5 cm. Diameter of body: 31.3 cm. Diameter of mouth: 14.7 cm. Diameter of foot: 13.1 cm. Lower Broken and repaired. Some patching on neck in front and in back around vertical handle. Large section below 2 and 3 restored. Lower parts of garments and feet of 4, 5 and 6 restored. Section of glaze above head of 4 repainted. Repainted: 1: feet, areas of mantle; 2: feet, areas of dress in upper torso, lower half of hydria; 3: feet, back of mantle, end of staff; 4: feet and lower part, right sleeve and abdomen area of chiton; 5: feet and lower edge of chiton; 6: feet, bottom stage of platform. Accessory colour: Red: 1: wreath. 2: llet. 3: wreath, bud. 4: llet, ribbon at end of hair, and coin (?). 5: wreath. 6: water from lion spout. Provenance: ex coll. Spink and Sons, London (sale 6/24/36); William Randolph Hearst, SSW 12274, T-749–665, P.C. 8430, Estate no. 2366. Bibliography: Cat. Parke-Bernet Galleries 5–6 April 1963, no. 65; ARV2, 565.40; Para 389; Addenda 260; GBA 1964, 37, no. 136; Moon and Berge 1979, 166–167, no. 95; Moon 1983, 212; Keuls 1985, 238; Keuls 1997, gs. 22–23.

Exhibition: Greek Vase-Painting in Midwestern Collections, Chicago Art Institute December 22, 1979–February 24, 1980. Comparanda: Cleveland 26.549: ARV 2, 563.9: painter.

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Oinochoai

Comparanda: London E 543: ARV 2 1348.1; Addenda 368; LIMC II, s.v. Apollon, pl. 212, no. 364: painter.

67. Attic Oinochoe, 24.246 Fig. 98 Shape and ornament: Oinochoe, shape 1. Trefoil mouth. Ridge at juncture of neck and body. Fillet at juncture of body and foot. Foot in two stages. Interior of neck glazed. Filled tongues at juncture of neck and shoulder. Reserved band beneath gural zone with meanders, alternating with saltire crosses with dots at the interstices. Vertical face of lower stage of foot reserved. Subject: Zeus and Ganymede. 1: male with sceptre and short mantle over shoulders, striding right. 2: youth with orange hair, wearing a short mantle over shoulders, holding a hoop in the left hand, a bird in the right, walking right, and looking left. Attribution and date: Manner of the Painter of London E 543; late 5th century. Dimensions and condition: Height, with handle: 28.3 cm. Diameter: 12.5 cm. Diameter of foot: 7.0 cm. Intact. Small chips in rim and handle. Surface severely abraded throughout. Provenance: ex coll. Gotha, no. 117, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 328. No bibliography

68. Attic Plastic Oinochoe, 67.76 Fig. 99 Shape and ornament: Oinochoe in the form of a woman’s head. Trefoil mouth with high, cylindrical handle. Mouth, handle, and sakkos glazed completely, with ears incised. Face and neck of woman reserved. Hair red. Eyebrows, outline of eyes, irises glazed with pupils indicated by incision. Eyeballs in white and lips in red. Glazed band at base. Underside reserved. Ivy wreath over sakkos in white. Attribution and date: By Beazley to Group N: the Cook class; early 5th century B.C. Dimensions and condition: Height with handle: 16.7 cm. Maximum width (at nose): 7.0 cm. Width across head: 6.6 cm. Intact. Chipping of glaze on handle and lip. Loss of paint on wreath, hair, eyeballs and lips. Provenance: ex coll. Münzen and Medaillen A.G., Basel, (sale May 6, 1967). Bibliography: Para 503 (1541.66ter); A.G. Basel 1967, no. 114.

Comparanda: Berlin 2192: ARV 2 1540.40; Beazley 1929, 62, nos. 30–33, g. 15: shape. Norman (OK), Stovall Museum C49–50/3: Heisserer 1986, 55, no. 88: shape.

attic red-figure and white-ground Lekythoi

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framing single lines above gural frieze. Reserved line below the gural zone.

69. Attic Lekythos, 24.121 Fig. 100

Subject: Nude satyr running right, with llet on head.

Shape and ornament: Mouth forms slight ogee. Strap handle. Foot in two degrees. Interior of mouth glazed; top surface reserved. Neck and shoulder reserved. A row of solid tongues at the juncture of the neck and the shoulder. On the shoulder, a row of diagonal rays. Meander at top of body, framed by double lines. Reserved band beneath gural zone. Vertical faces of both stages of foot reserved.

Attribution and date: Manner of the Providence Painter; second quarter of the 5th century B.C.

Subject: Nike in sakkos and chiton runs to right carrying a llet.

Comparanda: Athens NM 17280: ARV 2 645.2; Addenda 275; Yalouris 1976, pl., 90a: painter. New York 06.1021.114: ARV 2 637.35; Para 400; Addenda 273; Papoutsakis-Sermpetis 1983, pl. 26: painter. San Antonio 86.134–67: Shapiro, Picon and Scott 1995, 156, no. 78: painter. Yale 1913.148: ARV 2 645.6; Addenda 275; Burke and Pollitt 1975, 58, no. 50: painter.

Attribution and date: By Beazley to the Karlsruhe Painter; mid-5th century B.C. Dimensions and condition: Height: 20.3 cm. Diameter: 6.8 cm. Diameter of foot: 5.0 cm. Diameter of mouth: 3.8 cm. Broken and repaired. Large section of foot missing and replaced. Small fragments at top of body missing and replaced. Chipping in glaze. Misring or re damage has discoloured reserved areas.

Dimensions and condition: Preserved height: 8.4 cm. Diameter: 4.4 cm. Broken, with neck, handle, and foot missing. Small chips and abrasion throughout glaze. No bibliography

71. Attic Lekythos, 81.827 Fig. 102

Accessory colour: White: llet.

70. Attic Lekythos, 24.333 Fig. 101

Shape and ornament: Echinus mouth, with slight ridge at join with neck. High neck in continuous curve with shoulder. Segmental handle. Body nearly cylindrical. Fillet at join with foot, with a medial ridge. Disk foot, with groove near top. Rim and vertical face of base reserved. Dotted egg pattern at base of neck. Palmettes and tendrils on shoulder. Figural scene bounded above and below by pairs of stopped meanders alternating with one saltire cross-square with strokes between the arms, and elsewhere cross-squares with dots in the corners.

Shape and ornament: Reserved neck, shoulder and top of body. Row of dots at base of neck. Diagonal tongues on shoulder. Row of dots with

Subject: Pursuit of the nymph, Aigina, by Zeus. 1: Zeus in chitoniskos and short mantle, holding sceptre strides to right, seizing with extended right

Provenance: ex coll. Gotha; found at Athens. Bibliography: ARV2 731.16.

Comparanda: London D 29: ARV 2 734.90: painter. London E 127: ARV 2 737.130: painter.

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arm. 2: Aigina, in chiton and diagonal mantle, wearing stephane, eeing and looking left. The sceptre identies the aggressor as Zeus. The seizing of the victim by the shoulder, and her responding gestures of surprise or terror are all conventional for subjects of this sort (KaempfDimitriadou 1979: 22–23). The difculty, then, is to identify Zeus’ victim, which might be Thetis, Semele, or Aigina. Arafat has argued that the large number of vases between 490 and 440 B.C. with Zeus pursuing a woman, and the virtual disappearance of the subject after that time corresponds to the long struggle of Athens to seize Aigina (Arafat 1990: 77–88). He concludes, in the absence of specic iconographic indicators, that the victim should be identied as Aigina. While there is a danger of a circular argument, as Arafat himself acknowledges, his conclusions seems warranted. The vase here has similarities in general composition and gestures with two depictions by the Berlin Painter (Basle BS 1906.297 and Cabinet des Médailles 439; Arafat 1990: pls. 24 and 25a). More specically, the same arrangement of Aigina’s hair and her crown, reinforce the connection. Allusions to contemporary military and political events are not unknown in the work of the Nikon Painter (Wade-Gery 1933: 99–101). Finally, the popularity of the subject may have received additional boost from Aischylos’ treatment of the Sisyphos myth, which apparently included as at least a plot device, the story of Zeus’ rape of Aigina, for the revealing of which Sisyphos was punished (Mette 1959: frag. 374). The drama, too, may have an element of interest in the continuing Athens/Aigina conict.

Comparanda: London E 538: ARV 2 652.37; Addenda 276: painter. Oxford 1954.245: ARV 2 651.25: painter. Palermo V780, ARV 2 592.32, 1660; Para 394: painter and subject.

72. Attic Lekythos, 24.149 Fig. 103 Shape and ornamentation: Squat lekythos. Flaring mouth. Slight ridge at juncture of neck and body. Broad foot. Top of mouth glazed. On body, a reserved fan palmette with tall central spike, which splits a pair of denatured lotus buds framing the palmette. Reserved triangular shapes to either side. Dot at centre of palmette heart. Reserved band beneath. Attribution and date: Robinson’s type 2 of palmette lekythoi; middle of the 4th century B.C. Dimensions and condition: Height: 11.7 cm. Diameter: 6.1 cm. Diameter of mouth: 3.6 cm. Diameter of foot: 4.8 cm. Small chips in rim and base. Some chipping of glaze throughout. Incrustation around handle and at juncture of body and base. Provenance: ex. coll. Gotha, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha. Duke of Edinburgh, no. 324. No bibliography

Attribution and date: Nikon Painter; ca. 470 B.C. Dimensions and condition: Height: 44.3 cm. Width at shoulder: 14.8 cm. Diameter of base: 9.9 cm. Intact. Small chips and scratches in surface. Provenance: ex coll. Claudio Bertolin. Bibliography: Peck 1982, 12 and g. 9.

Comparanda: Toronto GA.31, C.509, GA.20, C.347: Robinson and Harcum 1930, nos. 480, 481, 482, 483: shape and decoration. Robinson 1950, 146–50, no. 99 (inv. 38.138), pl. 103; 146–51, no. 100 (inv. 38.232), pl. 103; 146–51, no. 105 (inv. 38.3), pl. 104; 146–50 and 152–53, no. 110 (inv. 34–VI–10), pl. 105; 146–50 and 153, no. 114 (inv. 34–VI–7), pl.

attic red-figure and white-ground 105; 146–50 and 153, no. 115 (inv. 34–VI–27), pl. 105: shape and decoration. Robinson 1933, 176, no. 434 (inv. 508), pl. 143; 176, no. 435 (inv. 662), pl. 143: shape and decoration.

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Robinson 1933, 176, no. 434 (inv. 508), pl. 143; 176, no. 435 (inv. 662), pl. 143: shape and decoration.

74. Attic Lekythos, 24.250 Fig. 105 73. Attic Lekythos, 24.157 Fig. 104 Shape and ornament: Squat lekythos. Sharply aring mouth. Ridge at juncture of neck and body. Broad foot. Interior of neck partially glazed. Top of mouth glazed. On body, a reserved fan palmette with tall central spike, which splits a pair of denatured lotus buds framing the palmette. Reserved quarter circles to either side, with interior glaze lines, approximating scrolls. Dot at centre of palmette heart. Reserved band beneath. Attribution and date: Robinson’s type 2 of palmette lekythoi; middle of the 4th century B.C. Dimensions and condition: Height: 12.3 cm. Diameter: 6.4 cm. Diameter of mouth: 3.7 cm. Diameter of foot: 5.4 cm. Intact. Chips in rim, neck, handle and body. Incrustation on lower part of body and underside of base.

Shape and ornament: Squat lekythos. Sharply aring mouth. Slight ridge at juncture of neck and body. Broad foot. Interior of neck and top of rim glazed. On body, a reserved fan palmette with tall central spike, which splits a pair of denatured lotus buds framing the palmette. Reserved triangular shapes to either side, with glazed scroll within. Dot at centre of palmette heart. Reserved band beneath. Attribution and date: Robinson’s type 2 of palmette lekythoi; middle of the 4th century B.C. Dimensions and condition: Height: 9.8 cm. Diameter: 5.3 cm. Diameter of mouth: 3.5 cm. Diameter of base: 4.2 cm. Large and small chips throughout. Provenance: ex. coll. Gotha, no. 125 (cat. 86). No bibliography

Provenance: ex coll. Gotha, no. 123, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 324. No bibliography Comparanda: Toronto GA.31, C.509, GA.20, C.347: Robinson and Harcum, 1930, nos. 480, 481, 482, 483: shape and decoration. Robinson 1950, 146–50, no. 99 (inv. 38.138), pl. 103; 146–51, no. 100 (inv. 38.232), pl. 103; 146–51, no. 105 (inv. 38.3), pl. 104; 146–50 and 152–53, no. 110 (inv. 34–VI–10), pl. 105; 146–50 and 153, no. 114 (inv. 34–VI–7), pl. 105; 146–50 and 153, no. 115 (inv. 34–VI–27), pl. 105: shape and decoration.

Comparanda: Toronto GA.31, C.509, GA.20, C.347: Robinson and Harcum 1930, nos. 480, 481, 482, 483: shape and decoration. Robinson 1950, 146–50, no. 99 (inv. 38.138), pl. 103; 146–51, no. 100 (inv. 38.232), pl. 103; 146–51, no. 105 (inv. 38.3), pl. 104; 146–50 and 152–53, no. 110 inv. 34–VI–10), pl. 105; 146–50 and 153, no. 114 (inv. 34–VI–7), pl. 105; 146–50 and 153, no. 115 (inv. 34–VI–27), pl. 105: shape and decoration. Robinson 1933, 176, no. 434 (inv. 508), pl. 143; 176, no. 435 (inv. 662), pl. 143: shape and decoration.

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chapter five 75. Attic Lekythos, 24.251 Fig. 106

Shape and ornament: Squat lekythos. Mouth forms slight ogee curve. Handle segmental in section. Ridge at juncture of neck and body. Interior of neck glazed. Egg pattern framed by black lines in reserved band forms the ground-line for the gural decoration. Subject: Eros squatting to right before a oral shoot. Date: Early 4th century. Dimensions and condition: Height: 7.3 cm. Diameter: 6.0 cm. Diameter of mouth: 2.7 cm. Intact. Glazed chipped in numerous places, especially on mouth and handle. Provenance: ex coll. Gotha, no. 127, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 329. No bibliography Comparanda: Piali: ARV 2 1365.2; Dugas 1927, 334, no. 8 (860): shape. Toronto C.674: Robinson and Harcum 1930, no. 478, pl. LXXXV: shape. Robinson 1933, 146–47, no. 250, (inv. 311), pl. 116; 148, no. 259 (inv. 474), pl. 117; 149, no. 260 (inv. A33), pl. 117: shape. Robinson 1950, 144–45 no. 92 (inv. 34.122), pl. 101; 241–42, no. 399 (inv. 34.150), pls. 167 and 111: shape.

76. Attic Lekythos, 24.306 Fig. 107 Shape and ornament: Squat lekythos. Slightly convex mouth. Slight ridge at juncture of neck and body. Vertical extension of handle runs to base. Interior of neck and rim glazed. Reserved band on body with glazed meander.

Date: Early 4th century B.C. Dimensions and condition: Height: 7.1 cm. Diameter: 5.4 cm. Diameter of base: 4.9 cm. Heavily incrusted. Extensive chipping of fabric and glaze. Provenance: ex coll. Gotha, no. 128, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 158. No bibliography Comparanda: Robinson 1933, 148, no. 259 (inv. 474), pl. 117; 180, no. 465 (inv. 74), pl. 145: shape. Robinson 1950, 144–45, no. 92 (inv. 34.112), pl. 101; 242, no. 399 (inv. 34.150), pls. 167 & 111: shape.

77. Attic Lekythos, 25.214.27 Fig. 108 Shape and ornament: Squat lekythos. Mouth ares. Slight rim at juncture of neck and body. Interior of neck glazed. On body, a reserved fan palmette with tall central spike, which splits a pair of denatured lotus buds framing the palmette. Reserved triangular shapes to either side, with a glazed crescent scroll within. Lower vertical face of foot reserved. Attribution and date: Robinson’s type 2 of palmette lekythoi; middle of the 4th century B.C. Dimensions and condition: Height: 10.1 cm. Diameter: 5.5 cm. Diameter of mouth: 3.4 cm. Diameter of base: 4.3 cm. Glazed rim of mouth. Lower portion of base reserved. Incrustation on interior of throat. Chipping throughout. Abrasion of glaze on rim, handle, and upper part of body. Misring of glaze throughout. Provenance: ex coll. David A. Brown; found at Olbia, Ukraine. No bibliography

attic red-figure and white-ground Comparanda: Toronto GA.31, C.509, GA.20, C.347: Robinson and Harcum 1930, nos. 480, 481, 482, 483: shape and decoration. Robinson 1933, 176, no. 434 (inv. 508), pl. 143; 176, no. 435 (inv. 662), pl. 143: shape and decoration. Robinson 1950, 146–50, no. 99 (inv. 38.138), pl. 103; 146–51, no. 100 (inv. 38.232), pl. 103; 146–51, no. 105 (inv. 38.3), pl. 104; 146–50 and 152–53, no. 110 (inv. 34–VI–10), pl. 105; 146–50 and 153, no. 114 (inv. 34–VI–7), pl. 105; 146–50 and 153, no. 115 (inv. 34–VI–27), pl. 105: shape and decoration.

78. Attic Lekythos, 25.214.29 Fig. 109 Shape and ornament: Squat lekythos. Pronounced air to mouth. Slight rim at juncture of neck and body. Interior of neck and top of mouth glazed. On body, a reserved fan palmette with tall central spike, which splits a pair of denatured lotus buds framing the palmette. Reserved triangular shapes to either side. Reserved band below. Vertical surface of foot reserved. Attribution and date: Robinson’s type 2 of palmette lekythoi, middle of the 4th century B.C. Dimensions and condition: Height: 7.5 cm. Diameter: 3.7 cm. Diameter of mouth: 2.6 cm. Diameter of base: 2.9 cm. Neck broken and repaired. Chip in rim. Abrasion of surface throughout. Provenance: ex coll. David A. Brown; found at Olbia, Ukraine. No bibliography Comparanda: Toronto GA.31, C.509, GA.20, C.347: Robinson and Harcum 1930, nos. 480, 481, 482, 483. Robinson 1933, 176, no. 434 (inv. 508), pl. 143; 176, no. 435 (inv. 662), pl. 143: shape and decoration.

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Robinson 1950, 146–50, no. 99 (inv. 38.138), pl. 103; 146–51, no. 100 (inv. 38.232), pl. 103; 146–51, no. 105 (inv. 38.3), pl. 104; 146–50 and 152–53, no. 110 (inv. 34–VI–10), pl. 105; 146–50 and 153, no. 114 (inv. 34–VI–7), pl. 105; 146–50 and 153, no. 115 (inv. 34–VI–27), pl. 105: shape and decoration.

79. Attic Lekythos, 24.117 Fig. 110, left Shape and ornament: Body cylindrical but slightly convex. Mouth slightly convex. Handle segmental in section. Disk foot with indentation near top of vertical face. Top of mouth reserved. Upper part of neck, mouth and handle glazed. Lower part of neck, shoulder and gural zone covered in white-ground. Shoulder decorated with interlocked palmettes and tendrils. At top of body, rightward facing meander framed by double brown lines. Lower part of body and upper surface of foot glazed. Vertical face of foot reserved. Subject: Grave scene. 1: nude male holding phiale in left hand, facing right. 2: female in chiton, facing left, holding wreath(?) in right hand, basket on ground before her. Between the two a stele with two-step base, crowning moulding and double tier of acanthus, and with a llet tied to middle. Attribution and date: Manner of the Woman Painter; late fth century B.C. Despite the serious abrasion to the surface, certain details indicate the vase is by the Woman Painter or near to him. The nose, and the eye in particular are somewhat oversized for the prole of the face. The mouth droops down at the corner giving the lower face a pinched appearance. The line of the eyebrow ends at about the point of the eye, short of the prole line. The fold of the upper eyelid is indicated as an intermediate line between the lid proper and the eyebrow. The lower tier of acanthus is given a darkened upper edge in the same colour as the crowning moulding and the llet. The shoulder ornament,

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though nearly indistinct, has leaves for the palmettes which have a slightly turgid quality, and the calyx rendered as nearly a circle. For both the shoulder and the acanthus of the stele, compare Hamburg 290. Dimensions and condition: Height: 30.7 cm. Width: 7.8 cm. Diameter of foot: 4.9 cm. Mouth, neck and handle broken and repaired with some loss of glaze. Loss of white-ground and faded paint in lower neck and shoulder. Loss of white-ground, and faded paint on shoulder and body. Foot and adjoining body broken and repaired with part of lower body lled. Loss of glaze on upper surface of foot. Accessory colours: Red: hair of 1 and 2. Brown: llet, crowning moulding and acanthus collar. Provenance: ex coll. Gotha, no. 119. No bibliography Comparanda: Amsterdam, Allard Pierson Museum, 627: ARV 2 1373.13; Addenda 370: painter. Athens NM CC1671; ARV 2 1372.4; Addenda 370: painter. Cambridge (MA), Harvard Univ., Sackler, 1952.75: painter. Cambridge (MA), Harvard Univ., Sackler, 65.1908: ARV 2 1372.13: painter. Hamburg 290: Hornbostel 1980, 140, no. 81: shoulder decoration. New York 06.1169: ARV 2 1372.6: painter. Zurich, Galerie Vollmoeller, XXXX217643: painter.

80. Attic Lekythos, 24.118 Fig. 110, right Shape and ornament: Disk foot with tooled upper edge. Glazed line at preserved top edge. Two glaze lines above gural zone. Glaze ground-line for gures. Vertical face of foot reserved.

Subject: Grave scene. 1: female in sakkos and chiton, nearly frontal, looking right, holding a at basket (kanastron) with an unguent container (exaileptron) on top, and llet hanging over sides. 2: male in mantle facing left, holding a vessel (?). In between, a stele with two-stepped base, and crowned with two mouldings, two volutes and palmette. A basket (kanoun) sits on the top step, in front of the stele. Attribution and date: Quadrate Painter; third quarter of the 5th century B.C. Where the condition of the vase’s surface allows, the evidence, this points to the attribution of the vase to the Quadrate Painter. The prole of the forehead and nose runs in an extremely shallow curve, but ends with a slight but distinct swelling at the end of the nose. The corner of the mouth drops, and the chin has a pronounced bulbous quality, and the lower contour of the jaw does not run into the neck. The eyebrows have a marked arch, then dropping at the inner corner before reaching the profile. Straggling locks hair are indicated with quick, curving zigzags. With the complete loss of the meander at the top of the body, the chequered squares within this meanders for which the Quadrate Painter is named are not evident. The crowning elements of the stelae which appear on these vases, a palmette above horizontal volutes (24.118) are those used elsewhere by the painter: Athens, National Museum, CC1675; New York 99.13.4 (GR 623). The unguent container carried by the female gure on 24.118 is a device appears with some regularity on the vases of this painter: New York 99.13.4 (GR 623); New York 06.1021.130; Oxford 1920.252; Athens, National Museum CC1634; Auckland 12965. Dimensions and condition: Preserved height: 15.9 cm. Diameter: 7.7 cm. Diameter of foot: 5.4 cm. Broken and repaired, with mouth, neck and shoulder missing. Body reconstructed from fragments. Fragments missing at centre, between gures, at top of body to right of 2, and above 1. Loss of paint.

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Accessory colours: Red: llet in kanastron of 1, basket at base of stele, and vessel held by 2.

Attribution and date: Sabouroff Painter; third quarter of the fth century B.C.

Reddish brown: mantle of 2.

The condition of the surface of the vase places emphasis on the diagnostic evidence of the boy and the shoulder ornamentation. The boy’s prominent nose, ending just below the vertical height of the head, with the mouth and jaw then dropping away gives the face its particular pointed appearance. The prole of the forehead and nose curves slightly out; the mouth slants upward; the eyebrow arches in a simple, at curve, intersecting the prole line. The hair is arranged in a loose mass with small indications of individual locks at the back of the neck. These same features occur on male gures on San Simeon 9895; Athens NM 14857; and an example in the Vlasto Collection, Athens. The stele with a base in several steps and simple crowning mouldings without volutes or acanthus is one used by the Sabouroff Painter on these same vases. The palmettes and tendrils of the shoulder decoration can also be compared to that on the same vases again, and on Berlin 2455.

Provenance: ex coll. Gotha, no. 60; found near the Dipylon Gate in Athens in 1871. No bibliography Comparanda: Athens NM 1936 (CC1634); ARV 2 1239.58; Addenda 352: painter. Athens NM 1937 (CC1675): ARV 2 1239.59; Addenda 352: painter. Auckland 12965: painter. Luzern Market, Ars Antiqua, XXXX216696: ARV 2 1239.41bis: painter. New York 99.13.4 (GR 623): ARV 2 1238.30: painter. New York 06.1021.133: ARV 2 1239.42: painter. Oxford 1920.252: ARV 2 1239.53: painter.

81. Attic Lekythos, 36.106 Figs. 111–12 Shape and ornament: Mouth slightly convex. Handle segmental in section. Slight ridge at juncture of neck and shoulder. Fillet at juncture of body and foot. Disk foot with tooling at top of vertical face. Neck, mouth and handle completely glazed with upper surface of mouth reserved. Shoulder and gural zone on body white-ground. Palmettes and tendrils on shoulder in brown. At top of body, double brown lines frame a meander. Glazed ground-line for gural zone followed by reserved band. Reserved line at top and bottom of llet between body and foot. Vertical face of foot reserved. Subject: Grave scene. 1: boy in mantle, facing right. 2: female with right hand extended to left, holding in left hand a llet which hangs down and a at basket (kanastron), itself encircled by a wreath, and containing wreaths (?). Between the two is a grave stele on two-step base, with a llet tied around the middle.

Dimensions and condition: Height: 20.9 cm. Width: 6.7 cm. Diameter of foot: 5.1 cm. Intact. Small chip in left side of mouth. Most of shoulder and body decoration is worn or faded away. Loss of glaze on foot and lower part of body. Accessory colours: Red: 1: mantle. Blue-green: llets Provenance: ex coll. Mr. and Mrs. Lewis Reichle. No bibliography Comparanda: Athens NM 14857: ARV 2 847.210: painter. Athens, Vlasto Collection: ARV 2 847.200; Addenda 297: painter. Berlin 2455: ARV 2 846.196; Para 423; Addenda 297: painter. San Simeon 9895: ARV 2 850.267: painter.

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Alabastron

82. Attic Alabastron, F80.47 Fig. 113 Shape and ornament: Tear-shaped body. Top of mouth reserved. On body, three white ground bands separated by two sections with net patterns: a row of solid tongues with glaze band below, red line on reserved band, net pattern framed by glaze bands, key pattern framed by thin glaze lines, net pattern framed by glaze bands, row of dentils with glaze line beneath, reserved band, glaze band, reserved band. Bottom of body glazed. Attribution and date: By W. Peck to The Emporion Painter; ca. 470 B.C.

Dimensions and condition: Height: 14.9 cm. Diameter: 5.2 cm. Over half the rim broken and restored. Abrasion and chipping of glaze throughout, particularly on white ground bands. Provenance: ex coll. Fort Wayne Military Museum. No bibliography Comparanda: Yale, Stoddard Collection, no. 121: Baur 1922, 115, g. 41: shape and decoration. Gerona 806: Mertens 1977, 96, pl. XIV.4: shape and decoration.

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Provenance: ex. coll. Gotha, no. 132, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 364; found at Athens. 83. Attic Feeder, 24.253 Fig. 114

Shape and ornament: Disk foot, spreading from body. Shoulder reserved with black-gure wave. Date: Second quarter of the 4th century B.C. Dimensions and condition: Height without handle: 4.7 cm. Height with handle: 5.4 cm. Diameter of body: 5.8 cm. Chipping of handle and spout. Misring of glaze.

No bibliography Comparanda: Toronto C.883: Robinson and Harcum 1930, no. 343: shape and decoration. Robinson 1950, 267, no. 480 (inv. 34–VIII–3), pl. 178; and 268, no. 485 (inv. 341–VIII–2), pl. 178: shape and decoration. Sparkes and Talcott 1970, no. 1197, pl. 39: shape and decoration.

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Cup

84. Attic Kylix, 79.163 Fig. 115, drawing no. 11 Shape and ornament: Kylix, type B. Small ridge on foot. Bowl skewed on horizontal axis. Insides of handles reserved. Subject: Nude male youth with staff, and llet around left thigh, facing left. He lays a llet onto an altar. While the general action of offering a thanksgiving is clear, certain details point to a more specic context. The llet around the gure’s leg, along with the nudity, suggests that the boy himself has been successful in some athletic contest or scrutiny. However, the walking staff held under the arm seems at rst inconsistent with such a context. Its placement in the composition is emphatic as it denes the horizontal of the ground-line upon which the boy stands. But a walking staff might be expected in connection with some journey in public, where the boy would also be expected to appear clothed in a himation rather than nude. Just such a procession in public does appear on another kylix by the Triptolemos Painter, done slightly earlier in his career. The subject of Louvre G 138 has been examined by Knauer (1996), who suggests that the interior procession around the tondo on that kylix depicts boys and their fathers, all clad in himatia, on their way to celebrate the koureion held on the third day of the Apatouria festival, in which members of a phratry voted on the qualications of boys to become members of the community. On the exterior frieze of the Louvre vase the procession, lead by an aulos player, arrives in the presence of an athletic trainer, holding his characteristic forked staff. Knauer proposes that both the literary and athletic trainers of the boys are depicted by the painter in these two processions in order to draw attention to the literary and athletic examinations the ephebes are to undergo. The boy on the Detroit kylix even sports the same ephebic hairstyle as on the Louvre kylix, with a

tight roll of hair on the nape of the neck and a short fringe above the forehead (Knauer 1996, 234), reecting the shearing of the child’s hair on the day of the koureion. Unfortunately, the texts relating to the koureion are not always specic on the details, nor consistent, but this has been taken to reect the variations in procedures among the various phratries (Lambert 1993, 166–68). The features of the cutting of the child’s hair and the scrutiny for phratry admission do seem assured (Lambert 1993, 161–63) and can be linked to the tondo of the Detroit vase, with its representation of the ephebic hairstyle, the llet around the thigh attesting to having passed scrutiny, and the offering of thanks to the god. Many of the specic details of the Detroit vase are repeated on another kylix by the Triptolemos Painter (London Market, Southeby’s 13 & 14. 12.82, lot 233). Here a youth in mirror image of the Detroit gure, lays a llet on an altar. He sports the same hair style, and leans on a staff. However in the London example, he still wears the himation. Attribution and date: By J. Boardman and D. von Bothmer to the Triptolemos Painter; ca. 480 B.C. Dimensions and condition: Height: 9.5 cm. Diameter: 23.1 cm. Diameter of base: 9.1 cm. Diameter of tondo: 13.5 cm. Handles and foot repaired. Accessory colour: Red: llet around left thigh; traces of red llet held in hands. No bibliography Comparanda: London Market, Southeby’s 13 & 14. 12.82, lot 233: painter and subject. Malibu, Getty (once Basle, Market, MM): ARV 2 366.91; Addenda 223: painter and subject. Tarquinia RC 1918: ARV 2 366.88; Addenda 223: painter and subject.

attic red-figure and white-ground

Drawing 11. Prole of no. 84 (79.163)

65

LIST OF WORKS CITED A.G. Basel. 1961. Auktion 22. Münzen und Medaillen A.G. Basel. Kunstwerke der Antike. 13 Mai 1961. Basel. ——. 1967. Auktion 34. Münzen und Medaillen A.G. Basel. Kunstwerke der Antike. 6 Mai 1967. Basel. Ahlberg-Cornell, G. 1984. Herakles and the Sea-Monster in Attic Black-Figure Vase-Painting. Stockholm. Alexandrescu, P. 1978. Histria. IV. La céramique d’époque archaïque et classique. Bucuresti. Ambrose, J. 2004. Art from the ancient World. vol. 33. Medeld, Mass. http//www.fragmentsoftime.com. Amyx, D.A. 1961. The Medallion Painter. AJA 65: 1–15. ——. 1988. Corinthian Vase-Painting of the Archaic Period. Berkeley. Amyx, D.A. and P. Lawrence. 1973. Corinth. VII. Part II. Archaic Corinthian Pottery and the Anaploga Well. Princeton. Andre Emmerich Gallery, 1964. Masterpieces of Greek Vase Painting, 7th to 5th Century B.C., Andre Emmerich Gallery, N.Y., April 22 to May 30, 1964. New York. Andre Emmerich Gallery. 1965. Early Art in Greece. New York. Anonymous. 1964. Acquisitions. Bulletin of the Detroit Institute of Arts 43: 33. Arafat, K.W. 1990. Classical Zeus. Oxford. Ars Antiqua A.G. 1959. Ars Antiqua A.G., Auktion 1. 2 Mai 1959. Luzern. Bakir, T. 1974. Der Kolonnettenkrater in Korinth und Attika zwischen 625 und 550 v. Chr. Würzburg. Banti, L. 1958–66. Scene di banchetto, Pittore delle. EAA. VII. Roma. Baur, P.V.C. 1922. Catalogue of the Rebecca Stoddard Collection of Greek and Italian Vases in Yale University. New Haven. Beazley, J.D. 1916. Fragment of a Vase at Oxford and the Painter of the Tyszkiewicz Crater in Boston. AJA 20: 144–53. ——. 1928. Greek Vases in Poland. Oxford. ——. 1929. Charinos: Attic Vases in the Form of human Heads. JHS 49: 38–78. ——. 1938. Attic white Lekythoi. Oxford. ——. 1964. The Devleopment of Attic Black-Figure2. Berkeley. Beckel, G. 1961. Götterbeistand in der Bildüberlieferung griechischer Heldensagen. Waldsassen. Benson, J.L. 1953. Die Geschichte der korinthischen Vasen. Basel. ——. 1956. Some Notes on Corinthian Vase-Painters. AJA 60: 219–30. ——. 1969. The Three Maidens Group. AJA 73: 109–22. Bentz, M. 1998. Panathenäische Preisamphoren. AntK. Beiheft 18. Blegen, C.W., H. Palmer, and R.S. Young. 1964. Corinth XIII. The North Cemetery. Princeton. Blinkenberg, C. 1931. Lindos. I. Les petits objets. Berlin. Boardman, J. 1974. Athenian Black-Figure Vases. New York. ——. 1978. Exekias. AJA 82: 11–25. —— and J. Hayes. 1966. Excavations at Tocra. 1963–1965. Oxford. Bohen, B. 1988. Kerameikos. XIII. Die geometrischen Pyxiden. Berlin. Böhr, E. 1982. Der Schaukelmaler. Mainz am Rhein. von Bothmer, D. 1957. Amazons in Greek Art. Oxford. Brommer, F. 1942. Herakles und die Hesperiden auf Vasenbildern. JdI 57: 103–23. ——. 1973. Vasenlisten zur griechische Heldensage3. Marburg. Brueckner, A. 1910. Kerameikos-Studien. AM 35: 183–234. Burke, S.M. and J.J. Pollitt. 1975. Greek Vases at Yale. New Haven. Campbell, M.T. 1938. A Well of black-gured Period at Corinth. Hesperia 7: 557–611. Charles Ede Limited. 1976. Corinthian and East Greek Pottery. London. Chittenden, J. and C. Seltman. 1947. Greek Art: A comparative Catalogue. London. Clairmont, C. 1951. Das Parisurteil in der antiken Kunst. Zürich. Cohen, E.E. 2003. Athenian Prostitution as a liberal Profession. In ed. G.W. Bakewell and J.P. Sickinger, 214–36. Gestures: Essays in ancient History, Literature and Philosophy presented to A.L. Boegehold. Oxford. Coldstream, J.N. 1968. Greek Geometric Pottery. London. Connor, P.J. 1979. A marriage Procession. AA: 158–61. Cummings, F.J. and C.H. Elam, eds. 1971. The Detroit Institute of Arts Illustrated Handbook. Detroit. Cuomo di Caprio, N. 1993. La Galleria di falsi. Rome. Davidson, J.N. 1997. Courtesans and Fishcakes. London. Delavaud-Roux, M.-H. 1995. L’èigme des danseurs barbus au parasol et les vases “des Lénéennes”. RA: 227–63. Dörig, J. and O. Gigon. 1961. Der Kampf der Götter und Titanen. Olten. Drougos, S. 1982. ó    4 ..  ó .   Toya. ArchEph 121: 85–97. Dunbabin, T.J. 1962. Perachora: The Sanctuaries of Hera Akraia and Limenia. II. Oxford. Dugas, C. 1927. Vases et bronzes de Tégée. BCH 51: 329–44.

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——. 1928. Exploration archéologique de Délos. X. Les Vases de l’Héraion. Paris. Eschbach, N. 1986. Statuen auf Panathenäischen Preisamphoren des 4. Jhs. v. Chr. Mainz am Rhein. Fairbanks, A. 1914. Athenian Lekythoi with outline Drawing in matt Color on a white Ground. New York. Felten, F. 1976. Weissgrundige Lekythen aus dem athener Kerameikos. AM 91: 77–113. Frickenhaus, A. 1912. Lenäenvasen. Berlin. Frontisi-Ducroux, F. 1991. Le dieu-masque: une gure du Dionysos à Athènes. Paris. von Gall, H. 1979. Bemerkungen zum Kyrosgrab im Pasagadae und zu verwandten Denkmälern. MittIran 12: 271–79. Gardner, E.A. 1897. A Catalogue of the Greek Vases in the Fitzwilliam Museum, Cambridge. Cambridge. GBA 1964. La Chronique des Arts 106 (February): 1–107. Gjerstad, E., et al. 1935. The Swedish Cyprus Expedition. 1927–31. Stockholm. ——. 1977. Greek Geometric and Archaic Pottery found in Cyprus. Stockholm. Griefenhagen, A. 1966. Antike Kleinkunst2. Berlin. H., E.H. 1915. Two black-gured Amphorae from Orvieto. Museum Journal 6: 85–93. Hamilton, R. 1996. Panathenaic Amphoras: The other Side. In ed. J. Neils, 137–62. Worshipping Athena: Panathenaia and Parthenon. Madison. ——. 2003. Lenaia Vases in Context. In eds. E. Csapo and M.C. Miller, 48–68. Poetry, Theory, Praxis: The social Life of Myth, Word and Image in ancient Greece: Essays in Honor of William J. Slater. Oxford. Haspels, C.H.E. 1936. Attic Black-gured Lekythoi. Paris. Heisserer, A.J. ed. 1986. Classical Antiquities: The Collection of the Stovall Museum of Science and History; The University of Oklahoma. Norman. Herbig, R. 1949. Lekythen-Meister in Heidelberg. In ed. R. Herbig. 10–17. Ganymed. Holmberg, E.J. 1989. Who made the Vases of the Red-Line Painter and Relations? OpRom 17: 61–76. Hornbostel, W. 1980. Aus Gräbern und Heiligtümern. Mainz am Rhein. Jacobsthal, P. 1927. Ornamente griechischer Vases: Aufnahmen, Beschreibungen und Untersuchungen. Berlin. Jacopi, G. 1931. Clara Rhodos. IV. Explorazione archeologica di Camiro—1. Scavi nelle necropolis Camiresi 1929–30. Bergamo 1931. Johansen, K.F. 1923. Les vases sicyoniens. Paris. Johnston, A.W. 1979. Trademarks on Greek Vases. Warminster. Kaempf-Dimitriadou, S. 1979. Die Liebe der Götter in der attischen Kunst des 5. Jahrhunderts v. Chr. AntK. Beiheft 11. Berlin. Karouzou, S.P. 1945. Vases from Odos Pandrosou. JHS 65: 38–49. Kern, J.H.C. 1957. An Attic ‘Feeding Bottle’ of the 4th Century B.C. in Leyden. Mnemosyne, 4th series, 10: 16–21. Kim, H.S. 2002. Small Money and the moneyed Economy. In ed. P. Cartledge, E.E. Cohen and L. Foxhall, 44–51. Money, Labour and Land. London. Kleinbauer, W.E. 1964. The Dionysos Painter and the ‘Corintho-Attic’ Problem. AJA 68: 355–70. Keuls, E.C. 1985. The Reign of the Phallus. New York. ——. 1997. The Hetaera and the Housewife: The Splitting of the female Psyche in Greek Art. MedInstRome 44 (1982): 23–40; rpt. In E.C. Keuls. Painter and Potter in ancient Greece. Stuttgart: 217–44. Knauer, E.R. 1996. Two Cups by the Triptolemus Painter. New Light on two Athenian Festivals? AA: 221–46. Krauskopf, I. 1977. Ein attisch schwarzgure Hydria in Heidelberg. AA: 13–37. Kübler, K. 1954. Keramkeikos V. Die Nekropole des 10. bis 8. Jahrhunderts. Berlin. Kurtz, D. 1975. Athenian White Lekythoi: Patterns and Painters. Oxford. Lacroix, L. 1974. Études d’archéologie numismatique. Paris. Lambert, S.D. 1993. The Phratries of Attica. Ann Arbor. Lane, A. 1971. Greek Pottery3. London. Langdon, S. ed. 1993. From Pasture to Polis: Art in the Age of Homer. Columbia, Missouri. Lissarrague, F. 1997. Le peinture des demi-palmettes: aspects iconographique. In ed. J.H. Oakley, W.D. Coulson and O. Palagia, 125–39. Athenian Potters and Painters. Oxford: 125–39. Loomis, W. 1998. Wages, Welfare Costs and Ination in Classical Athens. Ann Arbor 1998. Luce, S.B. 1924. Studies of the Exploits of Hercles on Vases. AJA 28: 296–325. Malagardis, N. 1997. ‘Attic vases, Etruscan stories’—Les échange et les hommes. Origine, vie brève et mort d’une forme de vase attique archaïque. In ed. J.H. Oakley, W.D. Coulson and O. Palagia, 35–53. Athenian Potters and Painters. Oxford. von Massow, W. 1916. Die Kypseloslade. AM 41: 1–117. Maurizio, L. 2001. Performance, hysteria, and democratic identities in the Anthesteria. Helios 28: 29–41. Mertens, J.R. 1977. Attic White-ground. New York. Mette, H.J. 1959. Die Fragmente der Tragödien des Aischylos. Berlin. Metzger, H. 1944–45. Dionysos chthonien d’après les monuments gurés de la période classique. BCH 68–69: 296–339. Meyer, M. 1987. Review of Statuen auf Panathenäischen Preisamphoren des 4. Jhs. v. Chr., by N. Eschbach. Gnomen 59: 142–45. ——. 1988. Männer mit Geld. JDAI 103: 87–125. Miller, M.C. 1992. The Parasol: An oriental Status-Symbol in late Archaic and Classical Athens. JHS 112: 91–105. Mingazzini, P. 1930. Vasi della Collezione Castellani. Rome. Moignard, E. 1982. The Acheloos Painter and Relations. BSA 77: 201–11. Moon, W.G. 1983. Ancient Greek Art and Iconography. Madison. —— and L. Berge. ed. 1979. Greek Vase-Painting in Midwestern Collections. Chicago. Moore, M.B. 1971. Horses on black-gured Greek Vases of the Archaic Period: ca. 620–480 B.C. diss. New York University. Moore, M.B. and D. von Bothmer. 1972. A Neck-Amphora in the Collection of Walter Bareiss. AJA 76: 1–11.

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Moore, M.B. and M.Z.P. Philippides. 1986. The Athenian Agora. XXIII. Attic Black-gured Pottery. Princeton. Neeft, C.W. 1987. Protocorinthian subgeometric Aryballoi. Amsterdam. Neils, J. 1992. Goddess and Polis: The Panathenaic Festival in ancient Athens. Princeton. Noble, J.V. 1965. Techniques of Painted Attic Pottery. New York. Papabasileiou, G.A. 1910.      . Athens. Papoutsake-Sermpete, E. 1983.   Providence. Athens. Payne, H. 1931. Necrocorinthia. Oxford. Pease, M.Z. 1937. A Well of the late fth Century at Corinth. Hesperia 6: 267–316. Peck, W.H. 1976. Curatorial Report: Department of Ancient Art. Bulletin of the Detroit Institute of Arts 55: 9–10. ——. 1977. Curatorial Reports: Department of Ancient Art. Bulletin of the Detroit Institute of Arts 56: 17–20. ——. 1982. Curatorial Reports: Ancient Art. Bulletin of the Detroit Institute of Arts 60: 11–12. Philippaki, B. 1967. The Attic Stamnos. Oxford. Raab, I. 1972. Zu den Darstellungen des Parisurteils in der griechischen Kunst. Frankfurt am Main. Richter, G.M.A. 1926–27. Greek Art in Detroit. Art in America 15: 25–35. —— and M.J. Milne. 1935. Shapes and Names of Athenian Vases. New York. Roberts, S.R. 1986. The Stoa Gutter Well. Hesperia 55: 1–74. Robinson, D.M. 1933. Excavations at Olynthus. Part V. Mosaics, Vases, and Lamps of OIynthus. Baltimore. ——. 1950. Excavations at Olynthus. Part XIII. Vases found in 1934 and 1938. Baltimore. —— and C.G. Harcum. 1930. A Catalogue of the Greek Vases in the Royal Ontario Museum of Archaeology, Toronto. Toronto. Robinson, F.W. 1951–52. Recent Acquisitions of ancient and medieval Art. Bulletin of the Detroit Institute of Arts 31: 65–66. da Rocha Pereira, M.H. 1966. Anakreon. Das Altertum 12: 84–96. Rouen. 1982. Musées départemental des Antiquités. Hommes, Dieux et Héros de la Grèce. Rouen. Schauenberg, K. 1955. Helios. Berlin. ——. 1962. Gestirnbilder in Athen und Unteritalien. AntK 5: 51–64. ——. 1970. Zu attisch-schwarzguren Schalen mit Innenfriesen. Studien zur griechischen Vasenmalerai. AntK. Beiheft 7: 33–46. Schone, A. 1987. Der Thiasos. Göteborg. Schwarz, S.J. 1996. Greek Vases in the National Museum of Natural History, Smithsonian Institution Washington, D.C. Rome. Shapiro, H.A., C.A. Picon, and G.D. Scott. 1995. Greek Vases in the San Antonio Museum of Art. San Antonio. Simon, E. 1963. Ein Anthesterien-Skyphos des Polygnotos. AntK 6: 6–22. Smith, H.R.W. 1945. From farthest West. AJA 49: 465–79. Sparkes, B.A. and L. Talcott. 1970. The Athenian Agora. XII. Black and Plain Pottery. Princeton. Stillwell, A.N. and J.L. Benson. 1984. Corinth: XV. Part III. The Potter’s Quarter. The Pottery. Princeton. Sutton, R.F. 1981. The Interaction between Men and Women portrayed on Attic red-gure Pottery. diss. North Carolina 1981. Talcott, L. 1936. Vases and Kalos-Names from an Agora Well. Hesperia 5: 333–54. Ure, P.N. 1913. Black Glaze Pottery from Rhitsona in Boeotia. London. ——. 1927. Sixth and fth Century Pottery. London. ——. 1934. Aryballoi and Figurines from Rhitsona in Boeotia. Cambridge. Valavanis, P. 1990. La proclemation des vainqueurs aux Panathénées. BCH 114: 325–59. ——. 1991.  ï í     . Athens. V(alentiner), W.R. 1924. Greek Vases. Bulletin of the Detroit Institute of Arts 6: 10–11. Wade-Gery, H.T. 1933. Classical Epigrams and Epitaphs: A Study of the Kimonian Age. JHS 53: 71–104. Wehgartner, I. 1983. Attisch Weissgrundige Keramik. Mainz am Rhein. Weinberg, S.S. 1941. What is Protocorinthian Geometric Ware? AJA 45: 30–44. West, M.L. 1994. Ancient Greek Music. Oxford. Williams, D. 1983. Women on Athenian Vases: Problems of Interpretation. In ed. A. Cameron and A. Kuhrt, 92–106. Images of Women in Antiquity. London. Yalouris, N. 1976. Olympia: Altis and Museum. Zürich. ——. 1980. Astral Representations in the Archaic and Classical Periods and their Connection to literary Sources. AJA 84: 313–18.

ARCHAEOLOGICAL PROVENANCES Athens Capua Corinth Cumae Cyrene Gela

69: 80: 83: 24: 14: 46: 47: 23: 39: 40:

24.121 24.118 24.253 24.127 24.165 24.239 24.240 50.193 24.124 24.125

Italy Malta Olbia, Ukraine Rhodes Spina Syracuse

27: 59: 43: 44: 48: 77: 78: 55: 65: 37: 38:

24.351 63.167 24.236 24.237 24.241 25.214.27 25.214.29 24.316 37.154 24.122 24.123

CONCORDANCE OF FORMER COLLECTIONS, GALLERIES, AND DONORS American Art Galleries Anderson Galleries Ars Antiqua A.G., Lucerne Claudio Bertolin Claudio Bertolin Julius Bohler Julius Bohler David A. Brown David A. Brown Sidney Burney, no. 66 Herbert Cahn, Zurich Herbert Cahn, Zurich C. and E. Canessa, N.Y. Michael Clerici, Jonesville, Mich. Charles Cope Mrs. Charles Crouse Charles Ede, London Jerome Eisenberg Andre Emmerich Gallery, N.Y. Andre Emmerich Gallery, N.Y. Andre Emmerich Gallery, N.Y. Andre Emmerich Gallery, N.Y. Galerie Fischer, Lucerne Forman, no. 352 Fort Wayne Military Museum Founders Society, Dr. and Mrs. Arthur Bloom, William H. Murphy, and Matilda R. Wilson Funds Founders Society, bequest of Dr. Lester W. Cameron Founders Society, bequest of Dr. Lester W. Cameron Founders Society, Sarah Bacon Hill Fund Founders Society, Hill Memorial Fund Founders Society, Hill Memorial Fund, and William H. Murphy Fund Founders Society, Hill Memorial Fund, William H. Murphy Fund, and the Dr. and Mrs. Arthur Bloom Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Membership Fund Founders Society, Bernard and Theresa Schulman Foundation Fund Founders Society, William H. Murphy Fund

32: 63.18 62: 63.12 25: 76.22 2: 81.687 71: 81.827 7: 24.11 9: 24.12 77: 25.214.27 78: 25.214.29 31: 63.16 35: 64.148 21: 65.82 32: 63.18 57: 79.8 30: 63.15 60: 77.46 1: 76.97 4: 71.32 35: 64.148 20: 65.67 21: 65.82 22: 65.83 29: 63.14 62: 63.12 82: F80.47 25: 76.22 21: 65.82 22: 65.83 35: 64.148 57: 79.8 84: 79.163 71: 23: 28: 62: 66: 29: 30: 31: 33: 32:

81.827 50.193 63.10 63.12 63.13 63.14 63.15 63.16 63.17 63.18

68: 67.76 2: 81.687

Gotha, no. ZV 2030 Gotha, no. 10 Gotha, no. 60 Gotha, no. 69 Gotha, no. 73, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 39 Gotha, no. 74, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 248 Gotha, no. 76, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 214 Gotha, no. 77, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 39 Gotha, no. 81 Gotha, no. 82 Gotha, no. 85 Gotha, no. 87, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 10 Gotha, no. 92, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 137 Gotha, no. 94 Gotha, no. 96 Gotha, no. 97, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 146 Gotha, no. 99, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 138 Gotha, no. 100, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 253 Gotha, no. 101, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 349 Gotha, no. 102 Gotha, no. 104 Gotha, no. 108, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 199 Gotha, no. 110, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 283 Gotha, no. 112, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 281 Gotha, no. 117, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 328

3: 24.119 34: 24.229 80: 24.118 10: 24.161 17: 24.169 19: 24.176 16: 24.168 14: 24.165 6: 24.179 5: 24.178 27: 24.351 34: 24.229 41: 24.233 51: 24.245 48: 24.241 44: 24.237 42: 24.234 45: 24.238 46: 24.239 47: 24.240 52: 24.334 36: 24.193 55: 24.316 54: 24.232 67: 24.246

74

concordance of former collections, galleries, and donors

Gotha, no. 119 Gotha, no. 123, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 324 Gotha, no. 125 Gotha, no. 127, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 329 Gotha, no. 128, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 158 Gotha, no. 129, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 140 Gotha, no. 130, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 144 Gotha, no. 132, Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 364 Gotha, no. 248 Gotha, no. 255 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 6 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 7 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 8 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 9 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 39 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 57 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 145 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 255 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha, no. H.A. 284 Gotha, w/o no., Alfred Ernest Albert, Duke of Edinburgh, Duke of Saxe-Coburg and Gotha

79: 24.117 73: 24.157 74: 24.250 75: 24.251 76: 24.306 49: 24.242 50: 24.243 83: 24.253 19: 24.176 15: 24.167 38: 24.123 37: 24.122 40: 24.125 39: 24.124 11: 24.162 63: 24.120 43: 24.236 15: 24.167 58: 24.155 72: 24.149

Gotha, w/o no. Gotha, w/o no. Gotha, w/o no. Gotha, w/o no. Gotha, w/o no. Gotha, w/o no. Hartwig William Randolph Hearst, no. 9953 or 9853 William Randolph Hearst, P.C. 8056 William Randolph Hearst, SSW 9943 William Randolph Hearst, SSW12211 William Randolph Hearst, SSW 12274 William Randolph Hearst, SSW 12286 William Randoph Hearst, SSW 12293 William Randolph Hearst, SSW 12337 William Randolph Hearst, SSW 12645 Ugo Jandolo, Rome Mr. and Mrs. Ernest Kanzler Mr. & Mrs. Alvan Macauley, Jr. B. & I. McAlpine Charles Morley Morton Münzen and Medaillen A.G., Basel Münzen and Medaillen A.G., Basel Richard Norton Parke-Bernet Galleries Parke-Bernet Galleries Parke-Bernet Galleries Parke-Bernet Galleries Parke-Bernet Galleries Parke-Bernet Galleries Parke-Bernet Galleries Parke-Bernet Galleries William Permain Marsden J. Perry, Providence, R.I. Mr. and Mrs. Lewis Reichle Francis E. Ross Ruesch, Lucerne Georg Schwarz, Berlin Georg Schwarz, Berlin C. Seltman, London Spink and Sons, London Spink and Sons, London Spink and Sons, London Spink and Sons, London family of Henry Glover Stevens Summa Galleries, Beverly Hills, CA Robert H. Tannahill Mohammed Yeganeh

69: 24: 64: 12: 13: 18: 61:

24.121 24.127 24.150 24.163 24.164 24.174 24.13

33: 63.17 29: 63.14 32: 63.18 62: 63.12 66: 63.13 31: 63.16 28: 63.10 56: 63.11 30: 63.15 65: 37.154 65: 37.154 20: 65.67 84: 79.163 23: 50.193 56: 63.11 35: 64.148 68: 67.76 23: 50.193 28: 63.10 56: 63.11 62: 63.12 66: 63.13 29: 63.14 31: 63.16 33: 63.17 32: 63.18 31: 63.16 62: 63.12 81: 36.106 59: 63.167 29: 63.14 61: 24.13 26: 24.14 1: 76.97 30: 63.15 28: 63.10 56: 63.11 66: 63.13 8: 34.55 57: 79.8 53: 70.448 25: 76.22

CONCORDANCE OF BEAZLEY NUMBERS ABV 287.2 305.18 412.3 478.1 624.2 — ARV 2 291.28 565.40 569.43 621.42 731.16 1047.23 —

Para 125.6bis — — 217 308 164.11bis

Addenda — 80 107 — — —

— 389 — 398 — 444 503

— 260 261 270 — — —

catalogue number 30 24 23 28 56 35 61 66 63 62 69 65 68

ATTRIBUTIONS TO PAINTERS, GROUPS, CLASSES AND STYLES Corinthian Alari Group Ampersand Painter Arlesheim Group Banquet Scene Painter Detroit Painter Dolphin Painter Falanto Group Kestner Painter Linear Style Painter of Louvre A454 Painter of the Lowering Bulls Scale-Pattern Group Silhouette Style Sub-Geometric Style Temenide Painter

6: 24.179 2: 81.687 18: 24.174 3: 24.119 3: 24.119 8: 34.55 5: 24.178 8: 34.55 14: 24.165 9: 24.12 9: 24.12 3: 24.11 6: 24.179 15: 24.167 19: 24.176 5: 24.178 2: 81.687

Attic Acheloos Painter Antimenes Painter Asteios Group Bedlam Painter

CHC group Christie Painter Circle of the Swing Painter Class of Athens 581 Class of Athens 581 i Class of Athens 581 ii Class of red-bodied oinochoe III Cock Group

27: 29: 33: 23: 41: 45: 46: 49: 50: 60: 55: 65: 24: 40: 39: 48: 36: 43: 44:

24.351 63.14 63.17 50.193 24.233 24.238 24.239 24.242 24.243 77.46 24.316 37.154 24.127 24.125 24.124 24.241 24.193 24.236 24.237

Cracow Class Dog Group Edinburgh Painter Emporion Painter Eye-Siren Group Gela Painter Group E Group N: the Cook Class Group of Kerameikos Grave 20 Group of Louvre F 81 Group of Villa Giulia 3559 Group of Würzburg 210 Haimon Painter Karlsruhe Painter Láncut Group Leagros Group Leningrad Painter Little Masters Lysippides Painter Marathon Painter Nikon Painter Painter of London E 543 Painter of London 272 Painter S Phanyllis Group: E: the Group of Hoplite-Leaving-Home Pig Painter Providence Painter Red-Line Painter Quadrate Painter Sabouroff Painter Swing Painter Theseus Painter Toya Painter Triptolemos Painter Tyszkiewicz Painter Villa Giulia Painter Woman Painter

58: 56: 28: 82: 30: 37: 26: 68: 20: 22: 57: 57: 32: 51: 69: 54: 29: 35: 63: 57: 25: 40: 71: 67: 31: 35:

24.155 63.11 63.10 F80.47 63.15 24.122 24.14 67.76 65.67 65.83 79.8 79.8 63.18 24.245 24.121 24.232 63.14 64.148 24.120 79.8 76.22 24.125 81.827 24.246 63.16 64.148

38: 66: 70: 34: 80: 81: 24: 53: 64: 84: 61: 62: 79:

24.123 63.13 24.333 24.229 24.118 36.106 24.127 70.448 24.150 79.163 24.13 63.12 24.117

INDEX acanthus 59, 61 aegis 15, 29, 31 Aigina 55–56 Aischylos 56 altar 64 Amazons 29–30, 33 Anakreon 51 Anthesteria 46–47 Apatouria 64 Aphrodite 26, 46 Apollo 25, 26 Apollodorus 29 archer 18, 23 Ariadne 38 arming 41 Artemis 25, 26 aryballos 49 Athena 15, 29, 31, 33, 46, 48 Athena Parthenos 48 Athena Promachos 15 athlete 18, 48 aulos 26, 39, 41, 46, 51, 64

cornucopia 15 couch 3 crown 15, 26, 42, 49–50, 52, 56 cuirass 16, 17, 21, 22, 23, 24, 29, 31, 42, 48 cushion 3, 41

baldric 22, 23, 24, 36 banquet 3–5 barbiton 51 basket 26, 59, 60, 61 battle 18, 22, 23, 29 Berlin Painter 56 biga 48–49 bird 3, 4, 6, 10, 46, 54 blossom 26, 28, 52 boots 25, 26, 29, 45 bow 17, 24, 33 bowl 3 boxer 18 boy 16, 51, 61, 64 Brygos Painter 48 bull 7

llet 32, 46, 49 folding stool 33 footrace 15 footstool 38 fountain house 52

centaur 29 chair 38, 46–47 chariot 17, 18, 21, 22, 26, 28, 48–49 charioteer 17, 18–19, 21 Charity 29 chiton 3, 15, 16, 17, 18, 20, 21, 24, 25, 26, 28, 29, 33, 39, 41–42, 43, 45, 46, 51, 52, 55, 59, 60 chitoniskos 16, 18, 21, 22, 23, 24, 26, 29, 31, 33, 41–42, 45, 48, 55 chlamys 18, 22, 25, 26, 29, 32, 38, 43, 45 club 17 cock 34, 35 coin 52–53 colloquy 35, 36 column 15

dancer 39 departure 18, 21, 22, 24 Dionysos 25, 26, 28, 29, 38, 46–47 Dioskouros 38 dog 6 dolphin 22, 48 dove 46 duck 10 ependytes 15 ephebes 49, 64 Eros 49–50, 57 Erymanthian boar Eurystheus 29 exaileptron 60 Exekias 17

29

Ganymede 54 gigantomachy 31, 48–49 goad 21, 26, 48 goat 4, 5, 6 gorytos 17, 18, 23, 24, 29, 33 grapevine 25 grave 59, 60, 61 greaves 16, 17, 22, 23, 24, 29, 32, 33, 42 halteres 49 hat peaked 25 Skythian cap 19, 23, 24 Helios 48–49 helmet Attic 15, 29, 31, 33 Corinthian 3, 16, 17, 18, 21, 22, 23, 24, 29–30, 31, 32, 42 Hephaistos 43 Hera 26, 45 Herakles 17, 29–30, 33, 40 Hermes 25, 26, 29, 45 hetaira 4, 52 hieros gamos 26 hoop 54 hoplite 3, 15, 16, 17, 18–19, 22, 23, 29, 31, 32, 33, 42

80

index

Hora 45 horse 3–4, 16, 17, 18–19, 21, 22, 23–24, 26, 28, 38, 41–42, 48 hydria 52 Iolaos 17 ivy 20, 23, 25, 26, 28, 29, 32, 33, 35, 40, 54 Judgment of Paris 45 jumping weights 49 kanastron 60, 61 kanoun 60 kantharos 20, 25, 26 kentron 21, 26, 48 kerykeion 25, 26, 29, 45 kithara 25, 26 koureion 64 krotala 46 laurel 15 leggings 18 Lenaia 46 Leto 25 libation 29 lion 4, 6, 7, 10, 17, 29, 33, 52 lyre 3, 20, 38, 43, 51 Lysippides Painter 17 maenad 26, 28, 32, 33, 35, 38, 40, 43, 46, 49–50 mantle 3, 15, 16, 17, 18, 20, 21, 22, 24, 25, 26, 28, 29, 32, 33, 35, 36, 38, 39, 41–42, 43, 45–46, 48, 49–50, 51, 52, 54, 55, 60, 61 marriage 26, 47 mattress 3, 41 mirror 45 Mt. Ida 45 mule 26, 38, 43 Muse 26 nebris 26 Nemean lion 17 Nike 55 nymph 29, 55 okladias 33 Oltos 29 over-robe 15 palaistra 50, 51 palmette 17, 32, 59, 60, 61 panther 3, 4, 5, 6 parasol 46–47 peplos 17, 18, 22, 26, 29, 31, 32, 33, 35, 36, 40, 42, 45, 49–50 petasos 17, 26, 29, 45 Pheidias 48–49 phiale 59 Pholus 29 phratry 64 Pig Painter 53 pilos 38 pinwheel 4 pitcher 3

pithos 29 plectrum 20, 51 Poseidon 25 procession 3, 26, 45, 46–47, 51, 64 Pronomos Painter 48 quadriga reveller rhyton rosette runner running

17, 18, 21, 22, 26, 28, 49

20 3 6, 7, 24 15, 18 leg 22, 23

sakkos 46, 52, 54, 55, 60 sash 16 satyr 25, 26, 32, 33, 35, 40, 43, 45, 49–50, 55 sceptre 15, 32, 33, 41–42, 46, 54, 55–56 sea 48 Semele 56 serpent 4, 23 shield Boiotian 24 device 1, 4, 16, 17, 18, 22, 23, 24, 29–30, 31, 32, 42 hoplite 3, 15, 16, 17, 18, 22, 23, 29, 32, 33, 42 shoot 57 Sisyphos 56 skiadeion 46 skyphos 39, 46 Sophokles 29, 45, 49 spear 4, 15, 16, 18, 21, 22, 23, 24, 29, 32, 33, 41–42, 45 spectator 16 sponge 52 staff 21, 39, 42, 45, 51, 52, 64 stele 59, 60, 61 stephane 55 stool 3, 33, 38 strigil 49, 51 sun disk 48 sword 16, 22, 23, 24, 29, 33 symposium 41, 51 table 3 Thetis 56 thyrsos 15, 47, 49 Titanomachia 49 trident 25 Triptolemos Painter 64 Triton 40 tunic 18, 23, 30 unguent container 60 vessel 29, 60 vine 20, 25, 26, 28, 29, 32, 33, 35, 38, 40 volute 60 warrior 3, 16, 17, 18–19, 21, 22, 23, 24, 32 water fowl 3, 6, 10 wineskin 25 wreath 15, 20, 23, 25, 26, 29, 40, 46, 48, 52, 54, 59, 61 Zeus 26, 33, 54, 55–56

ILLUSTRATIONS 1–114

1 76.97, Detroit Institute of Arts, Founders Society Purchase, William H. Murphy Fund. Photo: Detroit Institute of Arts.

2 81.687, Detroit Institute of Arts, Founders Society Purchase, William H. Murphy Fund. Photo: Detroit Institute of Arts.

3 24.119, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

4 24.119, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

5 71.32, Detroit Institute of Arts, Gift of Jerome Eisenberg. Photo: Detroit Institute of Arts.

6 71.32. Detroit Institute of Arts, Gift of Jerome Eisenberg. Photo: author.

7 24.178, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

9 24.11, Detroit Institute of Arts. Photo: author.

8 24.179, Detroit Institute of Arts. Photo: author.

10 34.55, Detroit Institute of Arts, Gift of the family of the late Henry Glover Stevens. Photo: author.

11–12 24.12, Detroit Institute of Arts. Photos: author.

13 24.161, Detroit Institute of Arts. Photo: author.

14 24.162, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

15 24.163, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

16 24.164, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

17 24.165, Detroit Institute of Arts. Photo: author.

18 24.167, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

19 24.168, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

21 24.174, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

20 24.169, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

22 24.176, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

23 65.83 A, B, Detroit Institute of Arts, Gift of Mr. & Mrs. Alvan Macauley, Jr; 65.67 A, B, and 65.82 A, B, Detroit Institute of Arts, Gift of the Founders Society, from the bequest of Dr. Lester W. Cameron. Photo: Detroit Institute of Arts.

24 50.193 A, Detroit Institute of Arts, Gift of the Founders Society, General Membership Fund. Photo: Detroit Institute of Arts.

25 50.193 B, Detroit Institute of Arts, Gift of the Founders Society, General Membership Fund. Photo: Detroit Institute of Arts.

26 24.127, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

27 24.127, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

28 76.22, Detroit Institute of Arts, Founders Society Purchase, Dr. and Mrs. Arthur Bloom, William H. Murphy, and Matilda R. Wilson Funds. Photo: Detroit Institute of Arts.

29 76.22, Detroit Institute of Arts, Founders Society Purchase, Dr. and Mrs. Arthur Bloom, William H. Murphy, and Matilda R. Wilson Funds. Photo: Detroit Institute of Arts.

30 24.14, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

31–32 24.14, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

33 24.351, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

34–35 24.351, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

36 63.10, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

37–38 63.10, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photos: Detroit Institute of Arts.

39 63.14, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

40–41 63.14, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photos: Detroit Institute of Arts.

42 63.15, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

43–44 63.15, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photos: Detroit Institute of Arts.

45 63.16, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

46–47 63.16, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photos: Detroit Institute of Arts.

48 63.18 A, B, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

49–50 63.18 A, B, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photos: Detroit Institute of Arts.

51 63.17, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

52 63.17, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

53 24.229, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

54 64.148, Detroit Institute of Arts, Founders Society Purchase, Sarah Bacon Hill Fund. Photo: Detroit Institute of Arts.

55 64.148, Detroit Institute of Arts, Founders Society Purchase, Sarah Bacon Hill Fund. Photo: author.

56 24.193, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

57 24.193, Detroit Institute of Arts. Photo: author.

58 24.122, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

59–60 24.123, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

61–62 24.124, Detroit Institute of Arts. Photos: author.

63–64 24.125, Detroit Institute of Arts. Photos: author.

65 24.233, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

66 24.234, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

67 24.236, Detroit Institute of Arts. Photo: author.

68 24.237, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

69 24.238, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

70 24.239, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

71 24.240, Detroit Institute of Arts. Photo: author.

72 24.241, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

73 24.242, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

74 24.243, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

75–76 24.245, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

77 24.334, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

78 70.448, Detroit Institute of Arts, Bequest of Robert H. Tannahill. Photo: Detroit Institute of Arts.

79 24.232, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

80 24.316, Detroit Institute of Arts. Photos: Detroit Institute of Arts.

81 63.11, Detroit Institute of Arts, Gift of the Founders Society. Photo: Detroit Institute of Arts.

82 79.8, Detroit Institute of Arts, Founders Society Purchase, Hill Memorial Fund. Photo: Detroit Institute of Arts.

83 24.155, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

84 63.167, Detroit Institute of Arts, Gift of Francis E. Ross. Photo: Detroit Institute of Arts.

85 77.46, Detroit Institute of Arts, Gift of Mrs. Charles Crouse in memory of her sister Mary Woodruff. Photo: Detroit Institute of Arts.

86 24.13, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

87 24.13, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

88 63.12, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

89 63.12, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

90 24.120, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

91 24.120, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

92 24.150, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

93 24.150, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

94 37.154, Detroit Institute of Arts, Gift of Mr. and Mrs. Ernest Kanzler. Photo: Detroit Institute of Arts.

95 37.154, Detroit Institute of Arts, Gift of Mr. and Mrs. Ernest Kanzler. Photo: Detroit Institute of Arts.

96 63.13, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

97 63.13, Detroit Institute of Arts, Gift of the Founders Society, Membership Fund. Photo: Detroit Institute of Arts.

98 24.246, Detroit Institute of Arts. Photo: author.

99 67.76, Detroit Institute of Arts, Gift of the Founders Society, Bernard and Theresa Schulman Foundation Fund. Photo: Detroit Institute of Arts.

101 24.333, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

100 24.121, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

102 81.827, Detroit Institute of Arts, Founders Society Purchase, Hill Memorial Fund, William H. Murphy Fund, and the Dr. and Mrs. Arthur Bloom Fund. Photo: Detroit Institute of Arts.

103 24.149, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

104 24.157, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

105 24.250, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

106 24.251, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

107 24.306, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

108 25.214.27, Detroit Institute of Arts, Gift of David A. Brown. Photo: Detroit Institute of Arts.

109 25.214.29, Detroit Institute of Arts, Gift of David A. Brown. Photo: Detroit Institute of Arts.

110 24.117, 24.118, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

111 36.106, Detroit Institute of Arts, Gift of Mr. and Mrs. Lewis Reichle. Photo: Detroit Institute of Arts.

112 36.106, Detroit Institute of Arts, Gift of Mr. and Mrs. Lewis Reichle. Photo: Detroit Institute of Arts.

113 F80.47, Detroit Institute of Arts, Gift of the Fort Wayne Military Museum. Photo: Detroit Institute of Arts.

114 24.253, Detroit Institute of Arts. Photo: Detroit Institute of Arts.

115 79.163, Detroit Institute of Arts, Founders Society Purchase, Hill Memorial Fund, and William H. Murphy Fund. Photo: Detroit Institute of Arts.