Corpus Vasorum Antiquorum: Fascicule 1(18) [Sponsored by Samuel H. Kress Foundation, Reprint 2020] 9780520345010

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CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 18

The Los Angeles County Museum of Art, Fascicule I

U N I O N A C A D E M I Q U E INTERNATIONALE

CORPVS VASORVM ANTIQVORVM THE LOS ANGELES COUNTY MUSEUM OF ART PAMELA M. PACKARD and

PAUL A. C L E M E N T

UNIVERSITY OF CALIFORNIA PRESS BERKELEY • LOS ANGELES • LONDON

1977

The Los Angeles County Museum of Art Los Angeles • California F A S C I C U L E 1 • [U.S.A. F A S C I C U L E 18]

Corpus Vasorum Antiquorum (The Los Angeles County Museum of Art Fascicule l) is sponsored in part by the Samuel H. Kress Foundation

University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England

ISBN

0-520-02850-3

Library of Congress Catalog Card Number: 74-84142 Copyright o 1977 by The Regents of the University of California ALL SIGHTS RESERVED

Printed in the United States of America by The Stinehour Press, Lunenburg, Vermont This book has been composed in Monotype Bembo Illustrations printed by The Meriden Gravüre Company Meriden, Connecticut

Preface T H I S FASCICULE contains all the Corinthian, Attic red- and black-figured, and South Italian vases in the collection of the Los Angeles County Museum of Art. In addition to these the museum has a small number of vases of various fabrics including Etruscan, Mycenaean, Cypriote, and some very fine specimens of Tepe Sialk ware. B y far the largest number of vases in the fascicule were given to the museum by the late William Randolph Hearst in 1950, though none was ever in the once great collection at San Simeon left in part to the State of California after his death. One, and that not the least handsome, was given to the museum by Dr. Jacob Hirsch. All, or almost all, have been in the past part of famous English and European collections. Our own work on these vases began in the fifties. Much excavation was necessary to remove the sometimes rather weird restorations once popular. As here presented all vases are essentially clean. For permission to study and to publish these vases we thank the Trustees of the Los Angeles County Museum of Art. Our work over the years has been facilitated by the cooperation of the directors and other officers of the museum, in particular, Kenneth Donahue, the present director; Richard Brown and Marvin Ross, his predecessors; Rexford Stead, Deputy Director of Fine Arts; and Jay Bisno, former curator of ancient art. The photography, executed under the direction of one or the other of us, is primarily the work of Lowell Weymouth and various staff-photographers of the University of California. Mrs. Jeanne Peppers made the drawings of the graffiti and also provided assistance with the indices.We are grateful to D. A. Amyx for furnishing important information, to the late T. B. L.Webster for reading the Attic red-figure portion of the fascicule and for much helpful advice, to A. D. Trendall for his valuable assistance with the South Italian portion, and to Elizabeth Walters for a final proofreading which saved us blunders. The entire work has been improved by the careful editorial supervision of Dietrich von Bothmer, to whom we are much indebted. Needless to add, any errors or infelicities that remain are ours alone. The publication of this fascicule was made possible by generous grants from the Samuel H. Kress Foundation through the Los Angeles County Museum of Art and from the von Bothmer Publication Fund of the Archaeological Institute of America. To both we are most grateful, and also to Franklin D. Murphy and Dietrich von Bothmer who were instrumental in obtaining the funds. Finally, thanks are due the Research Committee of the University of California, Los Angeles. Their grants from year to year have helped pay much of the cost of photography and other expenses incidental to our work. PAMELA M . PACKARD PAUL A . CLEMENT

Los Angeles 1974

Contents ABBREVIATIONS

Corinthian, III C (Plate 1) Attic Black-figure, III H (Plates 2 - 2 2 ) Attic Red-figure and White-ground, III I and J (Plates 2 3 - 3 9 )

ix

3 3 24

Early South Italian, IV (Plate 40)

44

Apulian, IV D (Plates 4 1 - 4 4 )

45

Gnathian, IV D c (Plate 44)

48

Lucanian, IV F (Plate 45)

49

Campanian, IV E (Plates 46-50)

50

Paestan, IV Gs (Plates 5 1 - 5 2 )

54

BIBLIOGRAPHY

57

CONCORDANCE OF OLD AND NEW LOS ANGELES INVENTORY NUMBERS

60

CONCORDANCE OF LOS ANGELES INVENTORY NUMBERS WITH BEAZLEY'S NUMBERS

6l

CONCORDANCE OF BEAZLEY's NUMBERS WITH LOS ANGELES INVENTORY NUMBERS

62

INDEX OF ATTRIBUTIONS TO PAINTERS, POTTERS, AND GROUPS

63

INDEX OF SUBJECTS

65

INDEX OF FORMER OWNERS AND DONORS

66

LIST OF PLATES

67

Abbreviations

ABL

C. H. E. Haspels, Attic Black-figured Lekythoi (1936)

ABV

J. D. Beazley, Attic Black-figure Vase-painters (1956)

A]A

American Journal of Archaeology

AK

Antike Kunst

AM

Mitteilungen des Deutschen Archäologischen Instituts. Athenische Abteilung

APS

A. Cambitoglou and A. D. Trendall, Apulian Red-figured Vase-painters of the Plain Style (1961)

ARV

J . D. Beazley, Attic Red-figure Vase-painters (1942, 2d edition 1963)

AV

J . D. Beazley, Attische Vasenmaler des rotfigurigen Stils (1925)

BCH

Bulletin de Correspondance Hellénique

BICS

Bulletin of the University of London Institute of Classical Studies

BSA

Annual of the British School at Athens

BSR

Papers of the British School at Rome

CVA

Corpus Vasorum Antiquorum

FAS

H. Bioesch, Formen attischer Schalen (1940)

FI

A. D. Trendall, Frühitaliotische Vasen (1938)

FR

A. Furtwängler and K. Reichhold, Griechische Vasenmalerei (1904-1932)

EVP

J . D. Beazley, Etruscan Vase-Painting (1947)

Jdl

Jahrbuch des Deutschen Archäologischen Instituts

JHS

Journal of Hellenic Studies

LCS

A. D. Trendall, The Red-figured Vases of Lucania, Campania, and Sicily (1967)

Mon. Piot.

Fondation Eugene Piot. Monuments et Mémoires publiés par l'Académie des Inscriptions et Belles-Lettres

NSc

Atti della Accademia dei Lincei. Notizie degli Scavi di Antichità

Paestan Suppl.

A. D. Trendall, "Paestan Pottery—a Revision and a Supplement" in Papers of the British School at Rome 20 (1952) 1-53

RM

Mitteilungen des Deutschen Archäologischen Instituts. Römische Abteilung

Suppl.

A. D. Trendall, "The Red-figured Vases of Lucania, Campania, and Sicily. First Supplement" in Bulletin of the University of London Institute of Classical Studies Supplement 26 (1970)

UKV

K. Schefold, Untersuchungen zu den Kertscher Vasen (1934)

VA

J . D. Beazley, Attic Red-figured Vases in American Museums (1918)

VIE

A. D. Trendall, Vasi antichi dipinti del Vaticano—Vasi italioti ed etruschi

VP

(Wì) J . D. Beazley, Greek Vases in Poland (1928)

CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 18

The Los Angeles County Museum of Art, Fascicule i

NOTE WHERE more than one vase appears on the same plate, the profiles are in approximately the same scale. In the bibliographies we have cited the author of the standard reference work first (Beazley for the Attic vases, Trendall for the South Italian) followed by other items by that author. Thereafter the bibliography is strictly chronological, starting with the earliest publication. Where there are no citations it may be assumed that the vase was hitherto unpublished. Most books are listed with an abbreviated title which will be sufficient to locate the work in the complete alphabetical bibliography at the end. For the most part only letter-abbreviations are included in the List of Abbreviations.

Plate i, 1 - 5 CORINTHIAN 48.24.3 (A5141.48-368). SQUAT OINOCHOB. By or very near the Painter of Athens 931 [Amyx]. About 600 B.C. Gift of William Randolph Hearst, 1948. H. to top of handle 21.8 cm.; H. to top of mouth 15.9 cm.; D . of body 18.1 cm.; D . of foot 17.9 cm. Trefoil mouth, ribbon handle. Broad neck and bottom, sharp tooling between body and convex foot. A shallow groove circles the underside of the foot about 2 cm. from the outer edge. One large piece broken on front with cracks around it. Grayish tan incrustation covers small parts of body and underside of foot. Glaze has flaked off most of left side of vase. Subsidiary decoration. Interior of body and neck reserved. Top of neck and top and exterior of mouth black with white dot-rosettes on side: three on the spout and one on each lateral lobe. Exterior of neck and all sides of handle black except base which is reserved on all sides. Between the picture zones on shoulder and body, a band of dicing with pairs of black framing lines, the outermost line of each pair covered with a wider red stripe (now mostly worn off over the black). Below the picture zone on body, a wide black band (thin along edges) with a thick red stripe at top and bottom (color much disintegrated) which often covers the feet of the animals above. Rays at bottom of body based on red-painted side of foot. Underside of foot reserved. Shoulder zone. In the center a siren with outspread wings between two sirens that face it. Behind these on each side a panther also facing the center, and beyond them an owl on left and a goat on right. Fill decoration of dots, blobs, and rosettes. Body zone. A water bird between lions flanked by goats, all facing the center. Four more animals, alternately panther and goat, follow the goat on the left in a procession from around the back of the vase. Fill decoration as on shoulder. Incision. On shoulder for contour of breast and part of face of right siren, neck of central siren, and everywhere for inner markings on all figures and rosettes. Red. O n shoulder for breast and wing-stripes on sirens, bands on hind and forequarters and belly of both panthers, neck of right panther, goat's neck, two spots on its body and a band on its hindquarters. O n body for front of neck and breast and a wingband on water bird; hind and forequarters and bellybands on flanking lions, spots on

ribs of left flanking lion; other animals similarly marked, some with red necks. Bibliography: Cat. Sothehy April 12-13, J943 P- 5 no. 29; Feinblatt, Los Angeles County Museum Bulletin 2 nos. 3-4 (1949) 17 fig- 3; Clement, Hesperia 24 (1955) 23; Amyx, California Studies in Classical Antiquity 4 (1971) 25 no. 6.

Plate 1, 6-7 CORINTHIAN 53.7.3 (A634O.53-3).

ARYBALLOS.

About 570

B.C.

Gift of Helena Fairbanks, 1953. H. 10.1 cm.; D. of top of mouth 5.1 cm.; D . of body 8.7 cm.; D . of foot 6.0 cm. Mouth with concave side, ribbon handle, base-ring foot. Flat bottom of foot inside the ring shows string marks made when cutting the vase from the wheel. Unbroken. Interior of neck black. Around the top of the mouth a wide black band between two black lines. A black stripe on the outer edge and on the side of the mouth. Exterior of neck and all sides of handle reserved. Black tongues on shoulder. On the body, circling the vase with a frame of three black stripes above and below, is a broad black band divided vertically by pairs of incised lines into twenty-four bands. These vertical bands are grouped such that three black alternate with three red (over the black and often worn off). Joint of body and foot black; lower edge and underside of foot reserved. Amyx compares aryballoi in San Francisco (CVA pi. 2, 5), Scheurleer ( C V A 1 pi. 6, 8), Mainz University (CVA Germany 15 pi. 30, 10), and Payne, Necrocorinthia 321 f., fig. 162, no. 1294.

Plate 2 ATTIC BLACK-FIGURE 50.8.3 (A5933.50-9). AMPHORA TYPE B. By Painter B [Picozzi], or the Painter of the Syracuse Horse-Head [Birchall]. Picozzi's list for Painter B includes Birchall's entire list plus several other vases. About 560 B.C. Gift of William Randolph Hearst, 1950. Once owned by Hamilton Gray, Viscount Cowdray. H . 34.0 to 33.7 cm.; D . of body 25.1 cm.; D . of mouth 15.6 cm.; D . of foot 13.1 cm. Mouth slightly flaring,

Plate i, 1 - 5 CORINTHIAN 48.24.3 (A5141.48-368). SQUAT OINOCHOB. By or very near the Painter of Athens 931 [Amyx]. About 600 B.C. Gift of William Randolph Hearst, 1948. H. to top of handle 21.8 cm.; H. to top of mouth 15.9 cm.; D . of body 18.1 cm.; D . of foot 17.9 cm. Trefoil mouth, ribbon handle. Broad neck and bottom, sharp tooling between body and convex foot. A shallow groove circles the underside of the foot about 2 cm. from the outer edge. One large piece broken on front with cracks around it. Grayish tan incrustation covers small parts of body and underside of foot. Glaze has flaked off most of left side of vase. Subsidiary decoration. Interior of body and neck reserved. Top of neck and top and exterior of mouth black with white dot-rosettes on side: three on the spout and one on each lateral lobe. Exterior of neck and all sides of handle black except base which is reserved on all sides. Between the picture zones on shoulder and body, a band of dicing with pairs of black framing lines, the outermost line of each pair covered with a wider red stripe (now mostly worn off over the black). Below the picture zone on body, a wide black band (thin along edges) with a thick red stripe at top and bottom (color much disintegrated) which often covers the feet of the animals above. Rays at bottom of body based on red-painted side of foot. Underside of foot reserved. Shoulder zone. In the center a siren with outspread wings between two sirens that face it. Behind these on each side a panther also facing the center, and beyond them an owl on left and a goat on right. Fill decoration of dots, blobs, and rosettes. Body zone. A water bird between lions flanked by goats, all facing the center. Four more animals, alternately panther and goat, follow the goat on the left in a procession from around the back of the vase. Fill decoration as on shoulder. Incision. On shoulder for contour of breast and part of face of right siren, neck of central siren, and everywhere for inner markings on all figures and rosettes. Red. O n shoulder for breast and wing-stripes on sirens, bands on hind and forequarters and belly of both panthers, neck of right panther, goat's neck, two spots on its body and a band on its hindquarters. O n body for front of neck and breast and a wingband on water bird; hind and forequarters and bellybands on flanking lions, spots on

ribs of left flanking lion; other animals similarly marked, some with red necks. Bibliography: Cat. Sothehy April 12-13, J943 P- 5 no. 29; Feinblatt, Los Angeles County Museum Bulletin 2 nos. 3-4 (1949) 17 fig- 3; Clement, Hesperia 24 (1955) 23; Amyx, California Studies in Classical Antiquity 4 (1971) 25 no. 6.

Plate 1, 6-7 CORINTHIAN 53.7.3 (A634O.53-3).

ARYBALLOS.

About 570

B.C.

Gift of Helena Fairbanks, 1953. H. 10.1 cm.; D. of top of mouth 5.1 cm.; D . of body 8.7 cm.; D . of foot 6.0 cm. Mouth with concave side, ribbon handle, base-ring foot. Flat bottom of foot inside the ring shows string marks made when cutting the vase from the wheel. Unbroken. Interior of neck black. Around the top of the mouth a wide black band between two black lines. A black stripe on the outer edge and on the side of the mouth. Exterior of neck and all sides of handle reserved. Black tongues on shoulder. On the body, circling the vase with a frame of three black stripes above and below, is a broad black band divided vertically by pairs of incised lines into twenty-four bands. These vertical bands are grouped such that three black alternate with three red (over the black and often worn off). Joint of body and foot black; lower edge and underside of foot reserved. Amyx compares aryballoi in San Francisco (CVA pi. 2, 5), Scheurleer ( C V A 1 pi. 6, 8), Mainz University (CVA Germany 15 pi. 30, 10), and Payne, Necrocorinthia 321 f., fig. 162, no. 1294.

Plate 2 ATTIC BLACK-FIGURE 50.8.3 (A5933.50-9). AMPHORA TYPE B. By Painter B [Picozzi], or the Painter of the Syracuse Horse-Head [Birchall]. Picozzi's list for Painter B includes Birchall's entire list plus several other vases. About 560 B.C. Gift of William Randolph Hearst, 1950. Once owned by Hamilton Gray, Viscount Cowdray. H . 34.0 to 33.7 cm.; D . of body 25.1 cm.; D . of mouth 15.6 cm.; D . of foot 13.1 cm. Mouth slightly flaring,

The Los Angeles County Museum of Art (1)

4 handles cylindrical, ovoid body, echinus foot. T w o incised lines spiral around the inside o f the neck, one on the lower reserved portion, the other on the glazed part above. Mended from several large pieces; part o f interior strengthened with fabric. Subsidiary decoration. Entire vase black glazed except for interior o f body and o f lower part o f neck, picture panels, inner sides o f handles (one more than the other), and underside o f foot. T w o red stripes (a trace o f color near the handle) circle the vase at the top o f the neck just below the mouth. The stain o f another stripe remains at the level o f the top o f the handles, and two more just bel o w the picture panels. None clearly runs all the w a y around the vase, and the stains that remain are very faint indeed. A and B . Horse's head to right, framed by faint red lines within the reserved panel on all sides. Incised are the halter, the features, and the heavy mane with ten clumps o f hair on one side, nine on the other. Incised contour. None. Graffito. Incised on convex center o f bottom o f vase a large

Bibliography: Beazley, Paralipomena 10, ABV 17 near bottom; Cat. SothebyJune 7,1888 no. 8 (Hamilton Gray); Cat. Sotheby Dec. 2,1946 p. 6 no. 49 (Cowdray); Clement, Hesperia 24 (1955) 23; Picozzi, StudiMiscellanei 18 (1971) no. 76 pp. 39, 51, 57, pi. 52; Birchall, JHS 92 (1972) 58 no. 3.

Plate 3 A T T I C BLACK-FIGURE 50.14.2 (A5832.50-137).

AMPHORA TYPE B.

B y the Painter

o f Kassel T674, a member o f Group E [R. Lullies], About 540

B.C.

Gift o f William Randolph Hearst, 1950. Once owned by the Count o f Saint-Ferriol, Arthur Dunnet, Arthur Colegate.

H. 43.1 to 42.7 cm.; D . o f mouth 18.5 cm.; D . o f body 29.6 to 29.4 cm.; D . o f foot 16.1 to 15.8 cm. Slighdy flaring mouth, cylindrical handles, inverted echinus foot. Reassembled from many pieces. Background glaze is mottled green and reddish in many areas, most especially on B and on side right o f A . Subsidiary decoration. Interior o f body and neck reserved up to about 5 cm. from top. Exterior o f vase black except top o f mouth, picture panels, ray zone at base o f body (36 rays), and lowest edge and underside o f foot. O n neck three equally spaced red stripes, one below mouth circling vase, and two between handles on each side (lowest along top o f picture panel). A t top o f picture on A , a panel o f addorsed lotus-palmette festoon with red at hearts; on B a hanging chain o f lotus-buds and lotuses with white central tip on lotuses, red edges on buds except end buds and leftmost lotus. Below the pictures, a very diluted glaze groundline; on the sides a red line. T w o red stripes circle the vase just below the picture panel, two above the rays, and three on foot (at top, center, and lower edge). A . Herakles attacks Geryon, and Eurytion has fallen to the ground in the center. Herakles (lion skin, chitoniskos, baldric) holds the club at his waist in right hand while thrusting his left arm behind the shields o f Geryon and aiming at his rightmost body. Remaining o f Geryon are parts o f three heads and two bodies, three pairs o f legs, two arms, two spears, and three shields. His visible attire consists o f short chiton, greaves, corslets, baldric, and Corinthian helmets (the middle helmet partially overlying the falling left body's head). The chiton on his leftmost body is ornamented in the front with scale pattern and a zigzag hem border, in the rear with a checkerboard with dotted saltires on alternate squares and a hem border o f S's. This leftmost body turns back at the waist (contour o f back not rendered), his shield shown from the inside, his spear pointed down in his right hand. A b o v e the shield the spear's shaft is in thin glaze (fired orange) and lacks incised contour, while the point below the shield is incised but lacks glaze. The spear shaft o f the middle body (point appearing in front above shields) does not continue behind in either glaze or incision. A sixteen-point star adorns the middle shield. The fallen Eurytion (chitoniskos, corslet, and baldric) leans back on his left hand, and with right hand holds his head, doubtless clubbed by Herakles. His right leg, bent up, crosses in front o f the left thigh. The upper edge o f the right thigh appears just in front o f Herakles' left shin. B . Dionysos with three satyrs and a woman (conven-

Attic Black-Figure tionally called Ariadne). The god (chiton, himation, wreath) stands in the center with a rhyton in his left hand, a train of ivy in his right. Facing left toward him, the woman wears a peplos with double border at the hem, and a himation decorated with rosettes and drawn over her head. Her right arm and part of her hand are preserved in stain. The satyrs all face right. A tuft of hair protrudes above the forehead of the leftmost, and only the rightmost satyr has a tail. Incised contour. On A for most of Herakles' left foot, left shin just below knee, top and part of lower right forearm, lion's nose; top of Eurytion's right leg above knee; Geryon's shields, crest of middle helmet, middle body's spear shaft just behind point, lower parts of greaves of middle and leftmost bodies, front of middle body's front ankle, top of middle body's rear foot, bottoms of toes of all (except forward foot of leftmost body). On B for left satyr's right forearm and fingers in front of body; top of second satyr's left thumb, right side of his chest; Dionysos' big toes, bottom of chiton, leaves in wreath; front edge of woman's peplos at knee level and bottom edge; edges of right satyr's forearm just behind waist, top edges of his chest. Red. On A for front of Herakles' chitoniskos skirt, knot in lion's forelegs; Eurytion's beard, baldric (a wide strap), band at top and bottom of corslet; dots on rim of Geryon's left shield, stripe on rims of other shields, cap of middle helmet, crest and greaves of leftmost body, spots surrounded by white dots on squares without saltires on rear half of Geryon's chiton skirt. On B for beards of Dionysos and satyrs; fillet on right satyr; leaves of Dionysos' wreath, top of rhyton, panels on his himation; overfold of woman's peplos and panel at bottom of skirt, rosettes on her himation. White. On A for Herakles' baldric; blazon on Geryon's middle shield, top edge of middle helmet cap; band on lower edge of crest of leftmost body and his baldric. On B for dots along Dionysos' neckline; woman's flesh, dots on rosettes on her himation. Stain of probable white on A for teeth of lion, on B for a fillet on middle satyr hanging across his chest from both shoulders. For side A compare Naples 81094 ( C V A Italy 20 pi. 14,1) and Louvre F 53 ( C V A 3 pi. 19,1; ABV136, 49), both in Group E. For side B compare side A of Munich 1401 (CVA 1 pis. 32, 2 and 33, 2; ABV 297, 11) which substitutes men for satyrs, by the Painter of Berlin 1686; and side B of Louvre F 32 ( C V A 3 pi. 15, 2; ABV 135, 43) again in Group E. Bibliography: Beazley, Paralipomena 55, ABV 133, 7,

5 BSA 32 (1931-1932) 8; Boucher, Mon. Piot 20 (1913) 9699, figs. 7-8; Technau, RM53 (1938) 103 no. 5; Neutsch, Ganymed (ed. R. Herbig, 1949) 38 no. 6; Clement, Hesperia 24 (1955) 1-12 no. 1, pis. 1-2; Brommer, Vasenlisten1 34 no. 6, Vasenlisten2 48 no. 6, Vasenlisten3 60 no. 6; Lullies, AKj (1964)85; Robertson,ClassicalQuarterly 63 (1969) 213 note 6.

Plate 4 ATTIC BLACK-FIGURE 50-9-35 (A514I.50-793).

AMPHORA TYPE B.

About

520

B.C.

Gift of William Randolph Hearst, 1950. Once owned by the Earl of Plymouth. H. as restored 43.2 to 43.0 cm.; D. of body 27.6 to 27.3 cm.; D. of mouth 18.7 to 18.55 cm. Flaring mouth, cylindrical handles. Put together from many fragments; foot modern, lowest part of most of ray zone, and many parts elsewhere restored in plaster. Modern paint, once extensive, now restricted to plaster patches and to some fracture lines with no restoration of figure-work or of pattern-work. Considerable surface abrasion in field of picture panels. Several spots of red (thin glaze) and of reserve where the figures are inadequately blackened. Subsidiary decoration. Interior of body and top of mouth reserved, inside of neck black down to 6.5 cm. from top. Exterior black except picture panels, ray zone at base of body (47 rays), and underside of foot. A red stripe on each side of neck between handles, another circling neck above handles (doubled in part on B). Two stripes just below pictures, and stain of two above rays. Above the pictures on A and B, a hanging chain of lotusbuds with dots in the interstices; below, a thin black groundline. A. Dionysos between maenads and satyrs. The maenad on left wears a belted fawnskin over a chiton with incised crosses, a slash border at neck and circles at hem. Her raised left hand is outstretched to Dionysos' beard WavOtptwvos, the suppliant's gesture (Iliad I 501-502). The left arm was originally drawn in black silhouette in front of her waist, but the artist changed his mind and white was never added to the black. Instead he painted a new arm in white directly on the reserved ground between the maenad and the god, adding first a short black stump at the shoulder. Stain of white remains for her forearm and hand crossing Dionysos' right upper arm, her thumb

6 touching the tip of his beard, and her fingers along its anterior edge overrunning the adjacent section of ivy. The stain of the maenad's right hand lies across her waist with palm up, thumb and fingers extended, their tips across the silhouette of the abandoned left forearm. A line from her foot to Dionysos' hem is unclear (perhaps the trailing end of his chiton). Dionysos (chiton, striped himation, wreath) turns back toward her. Incised slashes between parallel lines form borders at the top and bottom of his chiton and at the mouth of the rhyton in his right hand (no fingers drawn). Ivy radiates through the field from behind him. The right maenad wears fillet, fawnskin, and chiton with a short vestlike overfall (striped skirt, slash borders at neck, armholes, and hem of overfall, circles on lower hem). White originally spread beyond the abbreviated black-glaze silhouette to give her a fully formed face covering the rhyton tip, vine, and some reserved ground. A satyr stands on each end. On both, the fingers of the hand toward the center were not depicted, and on the right satyr the left hand (presumably at his side) was never incised. B. Two hoplites on left and two on right fight over the body of a warrior fallen backward beneath his shield. The fallen man draws up his knees and leans backward on his elbow (only a small patch of his arm above the elbow is preserved above the advanced foot of rightmost figure). An edge of his helmet remains by the knee of the warrior behind him, whose forward foot appears beneath his back. All five are equipped with greaves, short chitons (the second from left is loose, the others tight), corslets (presumably also on the rightmost), and shields (the leftmost in three-quarter view, the second from left seen from the inside). The leftmost and two rightmost wear Corinthian helmets, the other two are too fragmentary to classify. The right pair also wear cloaks. All but the fallen man wield spears, the two on right using their left hands. In each pair the right figure wears a sword, and the leftmost has at least a baldric. The tight chitons have lower borders of incised dots or slashes between stripes, and the same pattern appears at the base of the corslet of the second from left, incised crosses on his chiton. The fallen man and the left spearman in each pair have roundels as their shield blazon; roundel and ring blazon on the rightmost. Incised contour (small in amount, careless in execution). On A for front edge of beards; parts of satyrs' bellies, front of right thigh of left satyr, buttock of right satyr; part of top of Dionysos' foot, rhyton; bottom of maenads' chitons. On B for shield rim of leftmost hoplite, front

The Los Angeles County Museum of Art (1) edge of his helmet, back of left greave at ankle, part of left foot; buttock of second from left, front edge of his left thigh, lower part of left leg and foot; part of fallen man's right leg; buttock of second from right, back of left leg, left shin, left shoulder; rightmost's shield rim, front of helmet covering beard, lower edge of his left upper arm, front of his right (front) ankle. Red. On A for all beards, tails of satyrs, fillets of maenads (left mostly stain) and of left satyr, dots on chiton of left maenad, stripes on himation of Dionysos, stripes on skirt of right maenad. On B for chiton of leftmost hoplite, small roundels on his shield rim; stripes on chiton of second from left, inner border of his shield; a mark on chiton of fallen warrior; two dots on rim of shield of second from right, stripes on his cloak; a mark on chiton of rightmost, a stripe on his cloak, his shield rim. White. On A for chiton of Dionysos except borders, flesh of maenads (mostly stain). Stain of probable white on A for spots on left maenad's fawnskin; dots on himation of Dionysos and on chiton and fawnskin of right maenad. On B for baldric of leftmost hoplite, his shield blazon, borders of crest; shield armband of second from left, baldric, dots on his chiton; roundels on shield of fallen man; dots above incised border at base of chiton of second from right, tip of his scabbard, blazon, two small roundels on helmet crest; edge of rightmost's helmet crest trailing across his cloak, his shield blazon. With our side A compare side B of the amphora type A Rhodes 11.751 (CVA Italy 9 pi. 6, 2-4) and of an amphora type B from the Robinson collection (CVA USA 4 pis. 25, 2b, and 27).

Plate 5 A T T I C BLACK-FIGURE 5O.9.39 (A5141.5O-797). NECK-AMPHORA. A b o u t 53O B.C.

Gift of William Randolph Hearst, 1950. Once owned by the Earl of Plymouth. H. 42.4 to 42.0 cm.; D. of body 28.5 cm.; D. of mouth 18.5 to 18.3 cm.; D. of foot 4.8 cm. Echinus mouth lipped on interior and with a tooled groove at base on exterior. Triple handles. Ridge at base of neck (with a slight gap above B), fillet between body and torus foot. Mended from many pieces, with missing parts restored in plaster. Subsidiary decoration. Interior of body and top of mouth reserved; black on inside of neck, sides of mouth,

Attic

7

Black-Figure

outer faccs o f handles, top and side of foot. A red stripe on inside o f lip. O n the neck o f A and B an addorsed lotuspalmette chain between thin black lines, with incision in lotuses and hearts o f palmettes, red for palmette hearts and lotus bases. Ridge between neck and body red. O n shoulders alternate red and black tongues, stopping under the handles. In the handle-area four palmettes and three lotuses connected by tendrils suspended from the handle. Below the groundline (which circles the vase) are three pairs o f black lines with running meander to left between upper pair, lotus-bud chain between lower pair. Rays (38) at the base o f the body, red on the fillet below them (directly on reserved ground for the most part). Lowest edge and underside o f foot reserved. A . Dionysos faces right between two dancing maenads; and a satyr stands on right. The god, right arm akimbo, has a striped himation and a sleeved chiton with incised crosses all over and spirals at the hem. The base o f his beard is visible just below the plaster patch. The left maenad wears a sleeved chiton, and the right a chiton with overfall (incised circles at the neckline and crosses at the hem). Both dresses are striped, and both maenads are filleted. Ivy twines through the field behind Dionysos and above all (crossing the top palmettes in the handle-areas). B . W o m a n and warriors—an arrival, a departure, or an escort. O n each side o f the woman (chiton with incised crosses and circle-and-slash ornament at hem and at neck, striped himation draped over her head) is a hoplite, and on each end an archer. She extends both hands, with palms upward, toward the warrior in front o f her. He has greaves, a Corinthian helmet with stemmed crest, a shield (ram protome with legs as blazon), and two spears. Similarly equipped is the hoplite on left, but his shield has no device and his helmet has a low attached crest with a border o f incised circles and slashes and a row o f dots along the base. He stands left but turns his head to watch the others. Although he carries two spears, only one shaft continues below the shield. The compass hole is clearly visible in the center o f each shield. The archers both wear pointed caps and chitoniskoi with incised circle-andslash borders at the hem. The shaft o f a weapon extends behind each, the right one held in the left hand. The right archer's head overruns the handle-area palmette. Incised contour. O n A for back o f left maenad's right arm, both sides o f upper body, back o f skirt; the entire back side o f Dionysos, front o f chiton, front o f left foot; garments o f right maenad from breast down; satyr's forehead, mouth, beard, upper edge o f left forearm, front o f torso. O n B for left archer's forehead, nose, base o f cap,

back from buttock to knee; left hoplite's shield and upper edge o f front foot; lower front o f woman's chiton just below knee level; right hoplite's shield; upper edge o f right archer's forearm, buttock, back o f left thigh. Red. O n A for fillets and stripes on garments o f maenads, Dionysos' beard and stripes on his himation, satyr's beard and tail. O n B for base o f left archer's cap, beard, right archer's quiver flap, borders o f greaves on hoplites, shield rims, stripes on woman's himation and its borders, dots on her chiton. White. Stain only o f probable white remains on A for flesh o f maenads, dots and dot-rosettes on garments o f Dionysos and of right maenad. O n B for dots around incised crosses on woman's chiton, dot-rosettes on her himation and on right archer's chitoniskos and quiver, his crossed baldric straps, a r o w o f dots above and below lower border o f each archer's chitoniskos, baldric on left archer, a row o f dots at base o f crest on left hoplite's helmet, shield blazon o f right hoplite, stripe along edge o f his helmet crest. Graffito. Incised on underside o f foot:

V Plate 6 ATTIC BLACK-FIGURE 36.11.1 (A4110.36-1).

NECK-AMPHORA.

B y the Antimenes

Painter [Beazley]. About 520 B.C. Gift o f Mary M. Edmunds, 1936. Purchased by Marsh from the Naples Museum in 1872. H. 37.9 cm.; D . o f body 25.9 to 25.6 cm.; D . o f mouth 18.3 cm.; D . o f foot 14.7 to 14.5 cm. Echinus mouth

8 lipped on interior and with a tooled groove at base on exterior. Triple handles. Ridge at base of neck, fillet between body and torus foot. On inside of neck a twicespiraling incised line underlying the black glaze. Mended from several large pieces, with some modern paint remaining in handle palmettes. Cracks in glaze on A on hoplite's shield and on father's head. Subsidiary decoration. Interior of body and top of mouth reserved; black on inside of neck, sides of mouth, outer faces of handles, top and side of foot. Red line around outer edge of lip. Addorsed lotus-palmette chain between thin black lines on neck of A and B, with incision in lotuses and on hearts of palmettes. Red on centers of each and on tops of lotuses. Ridge between neck and shoulder red (reserved under handles). On shoulder alternate red and black tongues divided by relieflines, stopping under handles. In the handle-area four palmettes and three Ionises (solid centers) connected by tendrils suspended from the handle. Below the groundline (which circles the vase) are three pairs of black lines with running meander to left between the upper pairs and lotus-bud chain with relief-line links between the lower pairs. Rays (34) stand on a thin black line at the base of the body, red on the fillet below them. Lowest edge and underside of foot reserved. A. Departure. A hoplite, an archer, and a dog stand in the center between father (?) on left, and mother (?). The hoplite has a Corinthian helmet, Argive shield (running human leg as blazon), greaves with tassels at ankles, and a spear. The archer (pointed cap, leggings with incised cuffs) stands left with the hoplite but turns his head to the right. Behind them the dog stands left also, perhaps sniffing the scepter held by the father (chiton with striped himation around waist and over right shoulder), whose right arm and hand are not rendered. On the right, the mother (chiton, striped himation draped over her head) lifts a corner of her himation with right hand, and with the left pulls another edge in front of her. Both parents bow their heads. In the field above the mother's head, a dot. B. Four warriors combat, the third from left falling back. Each is equipped with a corslet, short chiton (falling man's is tighter and decorated with crosses, others are striped), Corinthian helmet, greaves, spear, shield (Argive except second from left which is Boeotian with palmette on the armband; blazon of white roundels on the left shield), baldric and scabbard (the latter not shown on the second from left). The helmets are arranged with stemmed crests on the central two, stemless crests on the outer

The Los Angeles County Museum of Art (j) two. The feet, elbows, and spears of the outer two overlap the handle-area decorations; the leftmost warrior lacks inner markings on his head. Incised contour. On A for front half of bottom of father's right foot, bottom of his chiton, right side of himation fold behind waist; hoplite's left ankle and toes, front of right ankle and top of foot, rim of shield; part of back of archer's leg above and below dog; edge of mother's himation just behind neck. On B for leftmost's right elbow and shoulder, most of his leg and foot over palmette, part of back of left greave, front of chiton at waist, spear below helmet crest; buttock of second from left, front of chiton at waist, edge of nose by shield, part of front of right greave at ankle, round back of left greave; round back of second from right's greave, edges of scabbard behind waist, top edges of spear adjacent to rightmost's body; rightmost's right arm over palmette, bottom edges of corslet, back of left greave, right calf over palmette. Red. On A for greaves and tassels, shield rim, parents' himation stripes. On B for stripes on three looser chitons, greaves except left leg of leftmost, shield rim of second from left, edge of crest of rightmost. White. On A for mother's flesh (mostly stain), a small patch (her fingers perhaps) above drapery held up by her right hand; shield blazon. On B for roundels on leftmost shield. Stain of probable white on A for hair, beard, mustache of father, groups of three and four dots on his and mother's garments; stripe along dog's belly and chest; dots on base of hoplite's helmet crest. On B for all baldrics; ends of scabbards and sword hilts of right two warriors; dots at base of crests of end warriors; crest of second and palmette on his shield armband; ends and center of crest of third, roundel on his shield. Graffito. Incised on underside of foot:

For our side A compare side B of the neck-amphora Wiirzburg 202 (Langlotz pi. 56; ABV 341) which is compared to the Painter of London B 272. Tassels at the

Attic Black-Figure base of greaves (in the rear, however) occur also on a redfigured lekythos by the Oionokles Painter, Cleveland 28.660 ( C V A USA 15 p. 20, not visible on plate 31; ARV2 648, 37). Bibliography: Beazley, Paralipomena 119, ABV 273, 113.

Plate 7 A T T I C BLACK-FIGURE 50.8.1 (A5933.50-7). NECK-AMPHORA. By the Antimenes Painter [Beazley]. About 520 B.C. Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 40.9 to 40.5 cm.; D. of body 26.3 cm.; D. of mouth 18.8 to 18.6 cm.; D. of foot 14.1 cm. Echinus mouth lipped on interior and with a tooled groove at base on exterior. Triple handles. Ridge circling vase between neck and shoulder, and fillet with incised line below between body and torus foot. Unbroken. The surface is dented in a groove on B from the right warrior's shield to his head. Subsidiary decoration. Interior of body and top of mouth reserved; black on inside of neck, sides of mouth, outer faces of handles, top and much of sides of foot. Addorsed lotus-palmette chain between thin black lines on neck of A and B with incision in lotuses and hearts of palmettes, faint red at bases of some lotuses and palmettes and central petals of lotuses. Alternate red (mostly stain) and black tongues divided by relief lines on shoulder, stopping under handles. In handle-area four palmettes and three lotus-buds (solid centers) connected by tendrils suspended from the handle. Below the groundline (which circles the vase) are three pairs of black lines with running meander to left between the upper pairs and lotus-bud chain with relief line links between the lower pairs. Rays (32) at base of body. Red on fillet between body and foot. Lower edge and underside of foot reserved. A. T w o warriors escort a woman (the recovery of Aithra by Demophon and Akamas, or of Helen by Menelaos and Agamemnon?) who wears a peplos with incised crosses, and a himation enveloping her head and arms. The men both have corslets, short chitons, scabbards and baldrics, Corinthian helmets, spears, and greaves. The left has an Argive shield (tripod blazon) and a zigzag border at the hem of his chiton and below the crest of his helmet; the right has a Boeotian shield (inside view with volutes on the armband), arcs at his hem and spirals below

9 his crest. The latter's spear, presumably behind his body but in front of his shield, is drawn in thick black over both corslet and shield but is not incised. With right hand he reaches back for the edge of the woman's himation. Both helmets and spears and the left warrior's rear foot cross the handle-area palmettes. The black glaze on the lower part of the right shield and on the woman's garments is very thin in places. Incised details on her face barely penetrate the black beneath the original white, and only her eye is clearly visible now. B. T w o warriors duel as a woman watches on each side. The left warrior prevails, and his spear tip punctures the other on the side of his back just missing his shield. The wounded, collapsing, is shown in back view. His spear should pass behind himself and the shields, although it was drawn in thick black (without incised contour however) over them. Each warrior wears corslet, short chiton, greaves, Corinthian helmet (left with stemless crest, right with tall stemmed crest), and has a shield (the left Boeotian in inside view with volutes on the armband and an incised hand strap, the right Argive with roundels as blazon). The women both wear girt peploi with incised crosses, a zigzag hem decoration on left, spiral hem on right. The left woman appears to have an overskirt as well. The right had a necklace incised in the original white. Stepping forward to help the wounded (or implore his attacker), she holds her right hand behind the falling warrior and her left in front of his shoulder (clear from the stain). She partially overlies both palmettes of the handle-area behind her. The lower palmette was painted over her rear foot but not skirt. Incised contour. On A for left warrior's right forearm, front of helmet over chin, edges of spear behind (not following silhouette), lower shield rim; bottom and lower right side of woman's peplos, back of her himation just above and below shield, bottom of her skirt; backs of right warrior's ankles, lower edge of corslet on his right side, inner edge of lower shield rim. On B for lower edge of left woman's peplos; left warrior's right fingers and shoulder, front of left thigh and knee, lower indented edge of shield, upper edge of spear by shield; right warrior's right shoulder and side, parts of shield, front of his helmet below nose; bottom of right woman's peplos. Red. On A for woman's himation stripes (color remains on rightmost edge of each side of her), stripes on backs of right warrior's greaves and his shield rim, dots on chiton of each. On B for dots on skirt of right woman and of left hoplite. Stain of probable red on B for dots on right warrior's chiton.

10

The Los Angeles County Museum of Art (1)

White. On A , traces on woman's neck and cheek, right hand and feet; a trace on right warrior's shield armband. On B , traces on right hand, neck, front ankle of right woman, and on shield blazon of right hoplite. Stain of probable white (very faint in most places, possibly missed elsewhere) on A for left warrior's baldrics across right shoulder, shield blazon, part of middle and ends of his helmet crest and its trailing end continuing across right shoulder and upper arm; right warrior's baldrics, stripe along top of his crest; some dot-rosettes around incised crosses on peplos of woman. On B for dot-rosettes around some of incised crosses on women's skirts, flesh of left woman; dot-rosettes on warriors' chitons and dots along their chiton borders; three roundels on crest of left warrior's helmet, his baldric, and shield armband. Thick black. On B for a row of dots on right shoulder and chest of left warrior. Graffito. Incised on underside of foot:

H. 44.3 to 43.6 cm. as restored; D . of body 28.1 to 27.7 cm. as restored; D . of mouth 19.0 cm.; D. of foot 13.6 cm. Echinus mouth lipped on interior and with a tooled groove at base on exterior. Triple handles. Ridge at base of neck, fillet between body and torus foot. Broken in many pieces. One handle and great parts of body restored in plaster. Subsidiary decoration. Interior of body and top of mouth reserved; black on inside of neck, sides of mouth, and outer faces of handles. A red stripe along outer edge of mouth. On the neck of A and B an addorsed lotuspalmette chain between thin black lines. On A the incision lines on lotuses and hearts of palmettes are filled with black glaze. Alternate black and red tongues on the shoulder, stopping under the handles. In the handle-area four palmettes and three lotuses (solid centers) connected by tendrils suspended from the handle. Below the groundline (which circles the vase), a predella framed above and below by a pair of black lines. Rays (33 preserved, probably 43 originally) stand on a thin black line at the base of the body; red on the fillet below them. Foot black with a reserved line at outer edge of top, reserved lower edge and underside. Predella. Animal frieze of lions and boars, entirely in silhouette.

For side A compare the neck-amphora Louvre Campana 10236 (Ghali-Kahil, Les enlevements pi. 2). Also side B of the neck-amphorae London B 244 (CVA 4 pi. 59, 4; ABV271, 74) and Villa Giulia 15537 (CVA Italy 1 pi. 3 , 2 ; ABV 269, 47). Both are by the Antimenes Painter, each with an extra figure on the right but otherwise similar to ours. For the graffito compare Hackl, "Merkantile Inschriften" 4i.xlix.b. Bibliography: Beazley, ABV 273, 108, Raccolta Guglielmi 46 under no. 44; Cat. Sotheby May 14,1946 p. 4 no. 16 (Brooks); Ghali-Kahil, Les enlevements 101 no. 90; Clement, Hesperia 24 (1955) 23, ibid., 27 (1958) 70; Brommer, Vasenlisten2 296 no. 15, Vasenlisten3 409 no. 2 1 .

Plate 8 ATTIC BLACK-FIGURE 50.9.36 (A5141.50-794).

NECK-AMPHORA.

About

52O-5IO

B.C.

Gift of William Randolph Hearst, 1950. Once owned by the Earl of Plymouth.

A . Herakles and the lion wrestle, upright, between Iolaos on the left and Athena and Hermes on the right. Herakles (chitoniskos, scabbard, and baldric) locks his left arm around the lion's head and forces its mouth open by inserting his fingers at the back. His right hand grabs the right forepaw which scratches at his chest. The lion's left hind leg claws Herakles' left knee while the right hind leg alone stands on the ground. Behind them Iolaos, bearded (corslet, short chiton, fillet, scabbard, and baldric), holds Herakles' bow in his left hand and club in his right. On the other side of the battle Athena (sleeved chiton, aegis, Attic helmet with crest overrunning the tongue-pattern on shoulder) watches with a spear in her right hand, her left hand by her side. Beside her Hermes (boots, chlamys, petasos) turns back to watch as he departs to the right. Both hands are in front of him, the kerykeion in his right hand pointing downward to the right. B . T w o warriors combat as a woman watches on right, and doubtless another originally stood on left. The warriors each wear corslet, chitoniskos, baldric, and C o rinthian helmet (left with tall stemmed crest, right with stemless crest). The left has also a scabbard, the right greaves. Striding ahead, the left warrior raises his spear

Attic

11

Black-Figure

high against his foe. His large Boeotian shield (seen from the inside) has volutes and palmettes on the shield strap. His opponent, looking back and covering himself with an Argive shield (device unclear, perhaps a bucranium), attempts to flee. He is depicted in back view with right leg forward, his shield in left hand, spear in right with the shaft end crossing the handle-area palmette. The woman (belted chiton with overfall, shawl) raises both arms. Although she faces the battle, her feet face right prepared to retreat to a safer vantage point. Incised contour. O n A for Iolaos' right forearm (well outside the black), Herakles' right lower forearm and left elbow, parts o f lion's tail. O n B for raised right hand and fingers of left warrior, his spearhead; top of right warrior's left greave, parts of shield rim. Red. On A for Iolaos' fillet, line on beard, dots on chiton; dots on Herakles' chiton and on lion's mane; top edge of Athena's helmet crest, dots on chiton; Hermes' beard, dots on clothes. O n B for dots on warriors' skirts, top edge of shield of left warrior, line on edges of greaves, dots on clothes of woman. White. On A for Iolaos' baldric, bottom end of scabbard, dots on lower border of chiton; Herakles' baldric, end of scabbard, lion's lower teeth, stripe on lion's belly; Athena's face (much broken), left arm and hand, feet, object on her right side (perhaps part of the aegis); Hermes' hat (mostly stain). O n B (mostly stain) for shield blazon and armband o f warriors, border on helmet crest o f right warrior, woman's arms, face, feet, dotrosettes on clothes. White fills the incision lines on face. Thick black. O n B for dots at edge of hair and face of woman. Graffito. Incised on underside o f foot at edge toward side A :

O f the many parallels the unattributed amphora Louvre F 229 ( C V A 4 pi. 43, 7) seems closest to our side A in style as well as composition. Side B is similar to the amphorae Bologna inv. no. C 254 ( C V A Italy 5 pi. 18,3),

and Los Angeles 50.8.1 (above, pi. 7), both lacking predellas. For the graffito compare Peredolskaya, Krasnofigurnye Vasy C L X X V I . i . Bibliography: Brommer, Vasenlisten2 94 no. 38, 4, Vasenlisten3 120 no. 50; Moore and Bothmer, CVA The Metropolitan Museum of Art fasc. 4, p. 47.

Plate 9 A T T I C BLACK-FIGURE 50.8.4 (A5933.50-10).

NECK-AMPHORA.

About

5 1 0 B.C.

Gift o f William Randolph Hearst, 1950. Once owned by Lord Melchett. H. 37.5 to 36.7 cm.; D . o f mouth 16.6 to 16.3 cm.; D. o f body 24.0 to 23.8 cm.; D. of foot 13.5 cm. Echinus mouth lipped on inside and grooved at base on exterior. Triple handles. Ridge between neck and shoulder, interrupted at handles; fillet between incised lines dividing body from torus foot. An incised line spirals around the inside of the neck. Unbroken except for a plaster-patched nick in the lip. Surface stained in parts especially on B. Glaze on handles and foot greenish. Subsidiary decoration. Interior o f body and top of mouth reserved; black on inside of neck, sides of mouth, outer faces of handles, top and most o f side of foot. A red line at outer edge of top of mouth. O n the neck of A and B an addorsed lotus-palmette chain between thin black lines, incision in lotuses and hearts of palmettes. O n shoulders alternate red and black tongues, stopping under the handles, with a red band at top (often over the ridge between neck and shoulder). In the handle-area four palmettes and three lotuses (solid centers) connected by tendrils suspended from the handle. Below the groundline (which circles the vase) a lotus-bud chain between pairs of black lines. Rays (35) standing on a black line at the base o f the body. Fillet between body and foot red with red line just above it. Lowest edge and underside o f foot reserved. A. A man plays the cithara as a pair o f women stand on each side (perhaps Apollo and Muses). Holding the plectrum in his right hand, the citharode (chiton, himation, wide fillet) supports his instrument (which overruns the tongues above) with his left hand in the carrying-strap. The women wear short-sleeved peploi, and the outer one on each side has also a chiton beneath and a necklace. In each pair the faces of the two women are separated by a thick black band giving silhouette to the outer figure.

12 The inner woman on left holds up a lotus flower in her left hand while her counterpart on the right clutches a small circular object in her left hand. Although the outer left woman's drapery folds were incised before white was applied to the hand across them, the outer right's were incised over the hand after white was added. Between the women and the citharode hang two leafless vines. B . Warriors' departure. A hoplite and an archer standing left behind a large shield bid their parents (?) farewell. The archer wears a pointed cap and a short-sleeved garment. The hoplite has greaves, Corinthian helmet (whose crest overlies the tongue border above), spear, and an Argive shield (its blazon a boar protome including front legs). The shield is not fully glazed to the outer incised line along the lower left and right edges, and in the center the compass-hole is visible. On the right the mother (chiton and himation) holds up an edge of her himation with her right hand (to wipe a tear?). The aged father (chiton with dot border at ankles, himation) stands on the left holding a tall staff. His right foot has only four toes. Incised contour. On A for front of left inner woman just above and below arms, front of inner woman on right down to arm; back of citharode's neck, front of hair, back of his himation hanging below women's hands, small of back, right hand, lower edge of chiton, seven strings and base of cithara, cord of plectrum, tassel. The citharode's ear is incised over his fillet. On B for shield rim, front of helmet over chin, small of mother's back. Red. On A for fillet of outer woman on each end and dots on their peploi, all women's irises; citharode's fillet and dots on his himation (many flaked off). On B for dots on father's clothes and sole-shaped splotch on his thigh; four roundels on shield rim; mother's iris, dots on her himation. White. On A for flesh of women, dots on peplos of outer woman on each side (most around an incised central cross), dots on sleeve edge of outer woman on left; dots on citharode's himation, two lines on base of his cithara, curlicue, upper arms, ends of tuning pegs, and plectrum in his right hand. On B for father's hair, beard, mustache, four vertical lines at his forehead (mostly stain), dotrosettes on his himation, dots along chiton hem; shield device; mother's flesh and dot-rosettes on her himation. For shape compare the list of Bloesch's Canoe Potter in JHS 71 (1951) 38. For side A compare Villa Giulia 760 (CVA Italy 1 pi. 7, 4; ABV 372, 156) from the Leagros Group, and 1 5 5 3 5 (ibid., pi. 4 , 4 ) ; for side B , N e w York 41.162.171 ( C V A Gallatin Collection pi. 5, 4, New York fasc. 4, pi. 28).

The Los Angeles County Museum of Art (1) Bibliography: Strong, Catalogue 45 no. 47, pi. 41; Cat. Sotheby May 14, 1946 p. 1 1 no. 86 (Melchett); Clement, Hesperia

2 4 ( 1 9 5 5 ) 1 3 n o . 3.

Plate 10 ATTIC BLACK-FIGURE 5 0 . 8 . 2 0 ( A 5 9 3 3 . 5 O - 2 6 ) . NECK-AMPHORA. A b o u t 5 1 0 B.C.

Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 44.4 to 43.5 cm.; D. of mouth 20.6 to 20.4 cm.; D. of body 29.1 to 28.8 cm.; D. of foot 16.4 cm. Echinus mouth lipped on interior and with a tooled groove at base on exterior. Triple handles. Ridge at base of neck, fillet between body and torus foot. Mended from several large pieces. Black glaze is often thin and streaky with many red spots on silhouettes of figures. Subsidiary decoration. Interior of body and top of mouth reserved; black on inside of neck, sides of mouth, outer faces of handles, top and much of side of foot. Red stripe around outer edge of mouth. On neck of A and B , addorsed lotus-palmette chain framed above and below by thin black lines. Ridge between neck and shoulder is red. On shoulders alternate red and black tongues, stopping under the handles. In handle-areas four palmettes and three lotuses connected by tendrils suspended from the handle. Below the groundline (which circles the vase) is a dotted lotus-bud chain between pairs of thin black lines. Rays (39) at the base of the body, with the fillet below them very streaky black. Lower edge and underside of foot reserved. A. Apollo plays the cithara between Artemis (on right) and Leto or a Muse, and a fawn stands behind him. Apollo (chiton, himation, fillet) holds the plectrum on its string in his right hand and with his left supports the instrument from behind. A dilute glaze tassel hangs down the right side of the cithara. The goddesses wear chitons, himatia, necklaces, and fillets, and each lifts an edge of her himation with the right hand. Artemis apparently holds the ivy sprays (painted over her silhouette) at the waist with her left hand which is not depicted. A quiver, with dilute glaze spots for the tops of arrows, hangs at her back adjacent to the handle-area palmette. B . Hermes, Athena, and Dionysos with a goat. Arriving from the left, Hermes (chlamys, winged boots, petasos) carries the kerykeion horizontally in his right hand (its top behind Athena). His rear foot overlaps the handle

Attic Black-Figure

13

palmette. Athena (chiton, himation, fillet) is taller than the others, and stands right resting her left hand high on the spear (mostly hidden by Dionysos, its tip overlying the tongue-pattern above). Her shield (tripod for device) leans against her knee in front. An ivy spray was painted across her face before the white was added. Facing Athena, Dionysos wears a chiton, himation, and ivy crown. Incised contours. On A for the left contour of Leto's garments (but not hanging end of himation), front of fold hanging from wrist, bottom of himation, bottoms of feet; front and top of Apollo's hair, chest, left edge of lowest himation end on right, lower left edge and bottom of chiton, seven strings on cithara; back of fawn's head and top of right ear; edges of Artemis' drapery held up in front. On B for front of Hermes' petasos rim, bottom of his left (front) foot; Athena's back at waist; Dionysos' face, beard, wreath, part of hair over right shoulder, rear (right) arm, left lower edge of chiton; goat's belly, hair on his neck, beard, and hind legs. Red. On A for fillets and dots on garments of each, dots on top of cithara body, dot at top of fawn's right foreleg. On B for dots on all garments, stripe along base of beards; rim and back of Hermes' petasos, wings of his boots; Athena's fillet, dots on border of shield; berries in Dionysos' wreath; dots on goat's neck. White. For flesh of all goddesses (faint with only a few traces remaining), on A for two faint lines with dots between along base of cithara, on B for a stripe along goat's lower belly. Stain of probable white for dot-rosettes on garments of all figures; on A for edges of right arm and tops of both arms of cithara; on B for tripod on shield. Dot-rosettes on clothes all have three dots, some also have incised crosses in the centers. Graffito. Incised on underside of foot:

Of the many vases Berkeley 8.3376 (CVA related to the Painter Group, and London B

with this theme the closest are U S A 5 pi. 2 1 , 2b; ABV 391, 2), of Munich 1416 of the Leagros 259 ( C V A 4 pi. 63, 3a: the plate

numbers are confused in the text; ABV 331, 12) by the Priam Painter. The reverses of these two neck-amphorae are also similar to ours. On the Berkeley vase are Herakles, Hermes, Athena, and a panther; on the London vase Ariadne, Dionysos, and Hermes. For the graffito compare Peredolskaya, Krasnofigumye Vasy CLXXX.4. Bibliography: Cat. Sotheby May 14, 1946 p. 4 no. 1 7 (Brooks); Clement, Hesperia 24 (1955) 23.

Plate 1 1 ATTIC BLACK-FIGURE 50.8.19 (A5933.50-25). NECK-AMPHORA. B y the Edinburgh Painter [Beazley]. Late sixth century B.C. Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 45.7 to 45.2 cm.; D. of mouth 21.5 to 2 1 . 1 cm.; D. of body 29.8 to 29.3 cm.; D. of foot 16.2 cm. Echinus mouth lipped on inside and with a tooled groove at base on exterior. Triple handles. Ridge between neck and shoulder except below handles, fillet between body and torus foot. Neck and mouth broken all around. Dent in wall of body on A between Hermes and Athena and above Cerberus. Repaint in pattern-work on neck. Subsidiary decoration. Interior of body and top of mouth reserved; black on inside of neck, sides of mouth, outer faces of handles, fillet above foot, top and most of side of foot. Addorsed lotus-palmette chain on neck of A and B , with incision on lotuses and hearts of palmettes, a black framing line above and below. Red centers on palmettes and lotuses and a dot at tip of central petal of each lotus. Red stripe on and above ridge between shoulder and neck. Black tongues on shoulder, stopping under handles, and on each side continuing further to right than to left. In handle-area four palmettes and three lotuses (open centers) connected by tendrils suspended from the handle. Below the groundline (which circles the vase) are three pairs of black lines with lotus-bud chain between upper set and running meander to left between lower set. Faint lines from preliminary sketch visible near top of lotus-bud band (double on B), and a single line on A just below the groundline—all somewhat lower than the glazed lines for which they were the guides. Rays (42) at base of body, often overrunning the lines above. Lower edge and underside of foot reserved. A. Herakles and Cerberus with Athena and Hermes. Herakles (short chiton, fillet, quiver) pulls Cerberus,

H balking, to the right. Turning back at the waist (no transition indicated), he tugs on the collar with both hands. A row of incised dots marks Herakles' jawline, and the incised contour on his chest is rippled to show his ribs. Something sticks out behind, perhaps one end of his bow. Holding a spear, Athena stands to right in the center behind Cerberus and raises her left hand. She wears a chiton with incised stars and a circle border at hem, aegis with a pin at the throat, and Attic helmet with key pattern on the crest. The tongue border above stops for the crest which overruns it. Incision on the once-white flesh barely scratches the black now remaining and reveals that she also wore a necklace and earrings. Behind all the others Hermes (chitoniskos with loop and vertical border on hem and circles on sleeve, chlamys, petasos, hair in krobylos, winged boots) stands right with his left hand outstretched toward Athena, kerykeion in his right (its shaft ending over the handle-area palmette). Fine long incised lines on his chiton imply a thin material. There are two swastikas incised on his cloak over the left upper arm. B . A hoplite and his dog greet a king as a man stands by on the left. The king (striped himation, fillet, scepter) sits on a stool (diphros) with crossed animal-form legs. The staff of the scepter in his left hand, hidden by folds of his himation, ends behind the stool as if held in his right hand which instead reaches forward to the dog jumping on his knees. The hoplite (short loose chiton, chlamys, corslet?, greaves, fillet, Argive shield) holds up his Corinthian helmet (key pattern along the base of the crest) to salute the king. His right thumb was never completed. The end of his chlamys hanging behind is apparently draped from the left arm. In his left hand are two spears that, properly, pass in front of the right part of the shield, but seemingly behind the left part and the man on left. They were drawn in black across these parts, but incised outline was never added. Looking back and holding a spear, the man on left (chiton with S-border at hem, striped himation with circle border) stands to right behind the hoplite. The incised folds of his himation overrun the hoplite's shield. Incised contour. On A for Hermes' left shoulder, upper arm near elbow, lower side of wrist, cloak over right shoulder, right arm and torso down to spear shaft, part of hair in krobylos, bit of front of each thigh, edges of kerykeion just above and below body; Cerberus' right hind leg, hindquarter, feet, clumps of hair on back and necks, lower edge of belly, right foreleg below knee, rear head and neck (except lower side ofjaw); on Athena a lock of hair over right shoulder and upper arm, front of

The Los Angeles County Museum of Art (7) helmet above forehead, edge of aegis toward Hermes, bottom and lower side of skirt to left, point of spear and parts of shaft; Herakles' shoulder, a curl at his forehead, edges of both arms and most of hands, torso below chest (except front of belt). On B for right side of left man's rightmost himation fold (inside silhouette); hoplite's right fingers, outer edges of both thighs, front of right greave and backs of both, right foot (silhouette not all filled in), back of himation fold just below shield, most of shield rim (overrun by silhouette on right), helmet eyehole and lower edge just above hand; dog's ear and front of right hind leg above knee; king's buttock, left hand (sloppy) and front of himation hanging from it, lower edge of himation. Red. On A for Hermes' beard, hat strap, stripes on chlamys, wings of boots; neck of Cerberus' rear head, dots on neck of front head, second clump of hair on rear neck, strand of hair across front head in front of ear (corresponding to an incised strand on rear head), alternate clumps of hair down back and on front neck (with a stripe on front edge of remaining clumps on neck), mark to right of left hind knee; fillet over Athena's helmet, panels on aegis, four stripes on skirt below Cerberus; Herakles' fillet, belt, quiver below top border. On B for left man's himation stripes; hoplite's fillet, a mark on his chest, chiton stripes, shield rim; dog's collar, lines between incisions on ribs; king's fillet. Stain of probable red on A for a few dots on garments, end of bow behind Herakles; on B for left man's fillet and hoplite's beard. White. Stain of probable white on A for Hermes' petasos, chitoniskos over his chest; Athena's flesh, dots on upper border of her hem, dots around rim of pin at her throat; Cerberus' teeth in both heads; parallel baldrics on Herakles, dot-rosettes (around incised crosses) on his chiton; on B for hair, beard, mustache, and forelock of men on ends, dot-rosettes on garments of each figure, hoplite's helmet crest, three bolts on stool legs, a stripe on dog's belly, his eyebrow. Graffito. Incised on underside of foot:

/

Attic

Black-Figure

15

Bibliography: Beazley, ABV 479, 4; Cat. Sotheby May 14,1946p.

4 no. 15, pi. 1 (Brooks); Clement, Hesperia 24

Incised contour. O n A for parts o f top o f head, front o f himation just below left arm, bottom o f chiton; part o f

(1955) 23; Brommer, Vasenlisten1- 53 no. 50, Vasenlisten2

bull's lower tail, back and top o f horn. O n B for right

73 no. 50, Vasenlisten3 91 no. 20.

shoulder and forearm, bottom and left edge o f chiton, chiton behind bull's neck; back o f bull's head, back o f

Plate 12

left front hoof, part o f lower tail.

ATTIC BLACK-FIGURE

spots on himation and chiton, and on bull's neck; on A

50.8.22 (A5933.50-28).

Red. O n A and B for fillet, two stripes on near wing,

NECK-AMPHORA.

Near the Painter

o f Munich 1519, in the Group o f Copenhagen 114 [Beazley]. Late sixth century B.C. Gift o f William Randolph Hearst, 19 jo. Once owned by E. J. Jekyll, Lord Melchett.

also for spots on bull's testicles. White. O n A and B for woman's flesh, a row o f dots on incised band below each red stripe on near wing (stain only on B), dot-rosettes (nearly all stain) on chitons and on himation (on A only), dots on neck o f chiton on A . Graffito. Incised on underside o f foot:

H. 44.5 to 44.2 cm.; D . of mouth 20.3 cm.; D . o f body 28.8 cm.; D . of foot 15.1 cm. Echinus mouth lipped on interior and with a tooled groove at base on exterior. Triple handles. Ridge at base o f neck, fillet between body and torus foot. Broken in many pieces and mended with missing parts restored in plaster, especially the mouth and neck on B. Inside o f body strengthened by restorer. Clay under foot a reddish tan, reserved areas o f body redder. Subsidiary decoration. Interior o f body and top o f mouth reserved; black on inside o f neck, sides o f mouth, outer faces o f handles, top and most o f side o f foot. O n the neck o f A and B an addorsed lotus-palmette chain between thin black lines with relief lines connecting ends o f lotuses. Ridge at base o f neck red except below handles. Alternate red and black tongues on shoulder, stopping below handles, with a red stripe along the top on A only. In handle-area four palmettes and three lotuses (open centers) connected by tendrils suspended from the handle. Below the groundline (which circles the vase) a dotted lotus-bud chain between pairs o f black lines (often thin glaze). Rays (36) stand on a black line at the base o f the body, the fillet below them black but much o f it fired red. Lower edge and underside o f foot reserved. A and B . A winged woman (chiton with incised crosses, himation, incised necklace) rides sidesaddle on a bull walking to the right. She looks back and holds her right arm akimbo, her left forward over the bull's head. Many vines with bunches o f grapes cross the field randomly, with at least two branches originating in her right hand. The exact position o f the various vines varies slightly on the two sides. O n A the bull's left forefoot is forward. O n B the right is forward, the woman's right wing starts in front o f the right arm instead o f behind it, and only one finger o f the left hand has black silhouette though four fingers were painted in white.

A modern graffito, R. R E A D Y | BRITISH M U S U M (sic) I 1882. For shape compare London B 239 ( C V A 4 pi. 58, 3; ABV 371, 147) o f the Leagros Group which is no. 6 o f Bloesch's Lea-Group neck-amphorae in JHS 71 (1951) 38. For women on bulls see especially Technau, Jdl $2 (1937) and La Coste-Messelière, Au Musée de Delphes 153 ff. Bibliography: Beazley, ABV 395, 4, JHS 49 (1929) 311; Cat. Christie July 6, 1914 p. 4 no. 18, 2 (Jekyll); Strong, Catalogue 45 no. 46, pl. 41; Technau, Jdl 52 (1937) 83-84 fig. 5; Cat. Sotheby May 14,1946 p. 11 no. 85 (Melchett); Clement, Hesperia 24 (1955) 12-13 no. 2.

Plate 13 ATTIC BLACK-FIGURE 50.9.44 (A5141.50-802).

NECK-AMPHORA.

About 500

B.C.

Gift o f William Randolph Hearst, 1950. Once owned b y Howard; London market 1946 from a German collector (Spink). H. 42.5 to 42.0 cm.; D . o f mouth 17.3 to 17.0 cm.; D . o f body 26.4 to 26.0 cm.; D . o f foot 13.7 cm. Echinus mouth lipped on interior and with a tooled groove at base

i6 on exterior. Triple handles. Ridge at juncture of neck and body, fillet between body and torus foot. Mended with missing areas restored in plaster. Black glaze reddish in many places. Subsidiary decoration. Interior of body and top o f mouth reserved; black on inside o f neck, sides o f mouth, outer faces of handles, top and much of side o f foot. O n the neck of A and B an addorsed lotus-palmette chain between thin black lines (relief line for tendrils connecting lotus flowers). Red stripe on ridge between neck and shoulder. O n shoulders alternate red and black tongues, stopping under the handles. In the handle-area four palmettes and three lotuses (open center left of A, solid center right of A) connected by tendrils suspended from the handle. Below the groundline (which circles the vase) a lotus-bud chain between pairs of black lines. Rays (57) at the base o f the body, red stripe on the fillet below them. Lower edge and underside of foot reserved. A . Herakles and the bull. With his left knee and foot Herakles forces the bull's head and neck down while he ties him. His left hand holds the ropes at the bull's shoulder, and his right pulls the ends up over the back—a rather precarious pose. The bull is down on his left knee, with mouth open bellowing. Part of his tail overlaps the palmette in the lower right field. Herakles' cloak hangs in the upper left field, and his quiver (on its side) is suspended above the bull's rump. B. Herakles, on left, meets with Athena while Hermes exits to the right (perhaps an entry into Olympos). Herakles (chitoniskos, belted lion skin, quiver and scabbard) carries his club in right hand and bow in left. Athena wears an Attic helmet, chiton, spear, and aegis whose snakes appear around the edges of the shield. O n parts of the left rim of her shield, the black glaze was never applied. The crest of her helmet and Herakles' club both overrun the tongue border above. Hermes has petasos, chlamys, kerykeion (in right hand, its head overrunning handle palmette), and winged boots. Incised contour. On A for top o f Herakles' left upper arm and abdomen (both on reserved ground), part o f front edge o f right thigh, right ankle; top of back of bull's right hind leg. O n B for Herakles' right arm, part of scabbard and part of lion's tail; Athena's shield (compass-drawn); Hermes' right forearm, parts of bottom of his cloak, edges of kerykeion just above and below body. Red. O n A for dots on hanging cloak, tip o f Herakles' beard, stripe on bottom o f hanging quiver. O n B for end o f Athena's helmet crest, a few dots on Hermes' chlamys. Stain o f probable red on B for Hermes' beard and petasos.

The Los Angeles County Museum of Art (1) White. O n B for tip o f Herakles' scabbard, Athena's feet. Stain of probable white on A for bull's teeth, horn, stripe on lower edge of belly and around testicles; on B for dots along Herakles' lower chitoniskos border, Athena's face and roundels on her shield. Bibliography: Brommer, Vasenlisten2 26 no. 3 and 147 no. 26,1, Vasenlisten3 30 no. 4 and 195 no. 30.

Plates 14 and 15 A T T I C BLACK-FIGURE 50.8.2 (A5933.50-8). STAMNOS. B y the Michigan Painter [Philippaki], About 500 B.C. Gift o f William Randolph Hearst, 1950. Once owned by B. Hertz, J. Mayer, William H. Forman, Joan Evans and Sir John Evans. H. 34.1 to 33.8 cm.; D . of mouth 21.3 cm.; D . o f body 28.0 to 27.8 cm.; D . of foot 14.2 cm. Torus mouth and foot. Deep thin groove at base of neck, wide fillet between body and foot. Broken and mended in antiquity, with many rivet holes still visible on the inside. Breaks are plaster filled and repainted on exterior without significantly affecting the figure drawing. Subsidiary decoration. Interior of vase matte black with a red stripe on neck 2.5 cm. from top o f mouth. Ivy on either side o f a zigzag line on top of mouth; outer side of mouth black with a red stripe near top; underside o f mouth reserved. Neck black with band of ivy on each side o f a zigzag line (which overlies a wheel-drawn black guideline), bordered above and below by a red stripe. Black tongues on top of shoulder. Handles black with inner sides reserved; around and below them are vines with bunches of grapes. T w o black lines divide upper from lower picture zone except over the handles. Below the groundline a chain of lotus-buds with dots in the interstices and double frame lines above and below. Rays (41) at base of body; fillet below them red. Top and most of side o f foot black with a red line at center and at outer edge o f top; lower edge and underside of foot reserved. Shoulder. Komos in a continuous band around the vase. The seventeen figures form six groups of from two to five figures each. In the center of A a woman with krotala fills her oinochoe from a large column krater (incised fillet between body and foot). Her companions around the vase dance, drink, flirt, and play musical instruments. Counting her as first, the other women in this zone are the fourth (playing auloi), sixth (playing cithara), eighth

17

Attic Black-Figure (playing auloi), tenth, thirteenth, and sixteenth (the last three all with krotala). The first wears a sleeved chiton, an animal skin around her waist, and a fillet. The other women wear chitons, striped himatia, and sakkoi (except fourth and tenth who are filleted). The eighth and thirteenth move left, the others right. The men, all bearded, each have striped himatia; the third, seventh, and eleventh also wear boots (left foot of eleventh restored bare). All are filleted, and the third and twelfth wear caps. The third, fifth, twelfth, fifteenth, and seventeenth men face left, the others right. The second, seventh, ninth, and fifteenth carry kylikes (the seventh an eye cup), and the fifth has a large rhyton. The eleventh plays the lyre. Note the rolls of fat on the twelfth's stomach, also to a lesser extent on the third, fifteenth, and seventeenth. Body. A. A man and a woman recline left on a couch as a man with cithara and a woman dancing with krotala entertain them on left, and another man stands on right. Both women wear chitons, striped himatia, and striped sakkoi. The dancer also has an animal skin tied around her waist. The men, all bearded, each have a striped himation and fillet, and the citharode wears boots. The reclining man also has a clearly incised mustache and conical cap (visible mainly in stain that coincides with the ends of the incised fillet over it as on the other caps on this vase; the incised back of his head may be modern). In his right hand he holds a large kylix upside down by the foot. In the area of his thighs the vase wall is dented and the glaze misfired orange, presumably both from contact with another vase during firing. The couch has carved legs and volute headboard, and two pillows (or one doubled) under the woman's left elbow. In front of it is a three-legged table with a low rectangular footstool and a crouching white dog beneath it. Six strips of meat and a floral spray (?) hang over the edge of the table, and three loaves rest on it. The citharode has a peculiarly rounded eye, perhaps blind. His cithara, like the others on this vase, has a rounded base, the Wiegenkithara. B . Komos. Alternately three men and three women dance in a procession from left to right. The men wear striped himatia, the middle one a conical cap, the others fillets. The rightmost plays the cithara as he leads the dance, and the other two each carry kylikes, the middle one (part of the bowl wrongly restored as reserved) held upside down behind the head. The women wear chitons, striped himatia, and fillets. The foremost holds krotala over her head, and the middle has one krotalon. Incised contour. On the entire vase it is used very sparingly, mainly just runovers from interior lines.

Red. On shoulder for neck of krater and area of fillet at its base; all fillets (except over caps, and the fourth figure's which is lost in a break line); all beards; stripes on all himatia; spots on chitons of first, fourth, eighth, and thirteenth; stripes on sakkoi of sixth, eighth, thirteenth, and sixteenth; edges of boots of seventh; dots on himation of sixteenth and her chiton neckline. On side A of body for stripes on himation of each, beards of men, patches on women's sakkoi, fillets of citharode and right man, dots on dancing woman's chiton, stripe on coverlet hanging on right end of couch. On side B of body for stripes on all himatia, women's fillets, fillet and beard of outer two men. Stain of probable red on A for pupil of reclining woman's eye. White. On shoulder for parts of flesh of fourth, sixth, and eighth (bits of white on feet remain). On side A of body for women's flesh (mostly stain), reclining woman's chiton, reclining man's cap (faint traces), capital of right couch leg, three oval loaves on table, dog (partly stain). Stain of probable white on shoulder for flesh of women (sometimes painted over sleeves); dot-rosettes on himatia of fifth, sixth, ninth, eleventh, and twelfth, and on chitons of first, fourth, eighth, tenth, thirteenth, and sixteenth; dots above hem of first, spots on her fawnskin; two dots on kylix of second; cap on third and twelfth; dots along mouth of fifth's rhyton; ends of sixth's cithara arms. On side A of body for dot-rosettes on himatia of citharode and reclining figures, a dot at base of each cithara arm, a row of dots along edge of citharode's himation on chest, spots on dancing woman's fawnskin and dots along her chiton hem, decoration at top and bottom of left couch leg, circle of dots at base of right leg, dots in openwork at bottom of right leg and below capital. On side B of body for women's flesh, dot-rosettes on their chitons and on himatia of outer two women, dots across chest on border of middle woman's himation, middle man's cap, spots on right woman's fawnskin at waist and below. Dipinto. In black glaze on underside of foot:

i8 Bibliography: Beazley, Paralipomena 156, ABV 343, 1 , EVP 27; Cat. Sotheby and Wilkinson February 7,1859 p. 13 no. 182 (Mayer); Cat. Sotheby, Wilkinson, and Hodge June ig, i8gg p. 60 no. 317 (Forman); Hackl, "Merkantile Inschriften" 22.xvi; Cat. Sotheby July 29,1946 p. 16 no. 167 (Sir John Evans); Clement, Hesperia 24 (1955) 23;Philippaki, The Attic Stamnos 13, 23, 46 note 4, and pi. 8.

Plate 16 ATTIC BLACK-FIGURE JI.25.I (A5933.51-122). HYDRIA. About 530 B.C. Gift of William Randolph Hearst, 1951. Once owned by Arkwright. H. 37.7 to 37.2 cm.; H. to top of handle 38.8 cm.; D. of mouth 16.8 to 16.5 cm.; D. of body 27.5 cm.; D. of foot 15.0 cm. Flaring mouth, small rotelle at top of vertical handle which is segmental in section, horizontal handles cylindrical. Neck thrown in two sections with a tooled ridge at the joint on exterior, a groove on interior. Another ridge between neck and shoulder, and between body and torus foot. Unbroken. Black glaze sometimes greenish. Some modern black on neck and on rosettes on side of lip. Subsidiary decoration. Interior reserved except for a wide black band at top of neck. Top and outer side of mouth reserved with black blob-rosettes on side. Above the shoulder picture is a border of tongues, below a very dilute glaze line dividing it from the main picture, which is framed at sides by ivy, below by two dilute glaze lines (the uppermost double at left side and center). Inner sides of horizontal handles and patch beneath them reserved. Traces of a red stripe on underside of ridge around middle of neck and on both sides of ridge at base of neck. The latter ridge is reserved above the picture, black elsewhere. T w o red stripes circle the vase below the picture zone, another just above the rays (45) at base of body. Ridge between body and foot reserved with a red stripe on each side of it. Lower edge and underside of foot reserved. Shoulder. A weaponless fight. T w o hoplites duel in the center as a hoplite on either side attacks a foe outside the picture. Each wears a short chiton, corslet, greaves, and Corinthian helmet (all overlapping tongues above), and carries an Argive shield. The first and third from left have short cloaks as well. A scabbard hangs behind the second, ending near his hand. The first and third fight in nearly identical poses as if with spears, the others as with swords,

The Los Angeles County Museum of Art (1) these too posed alike. On each end a folded cloak lies on the ground. Many of the thinner parts of silhouette such as feet and ends of crests are in thin glaze. Body. A departing chariot. A charioteer on the left (chiton, striped himation, fillet) mounts the chariot with his left foot and holds the reins with both hands, a goad in his right hand. Behind the chariot a man with striped himation and spear faces him. A hoplite (corslet, greaves, Corinthian helmet, Boeotian shield, spear) stands behind the four horses, his rear leg obscured by their hind legs. At their heads is another hoplite (corslet, short chiton, greaves, Corinthian helmet, Argive shield, scabbard, baldric). The two pole horses are slightly behind the others. The right pole horse is white (the others black), and a traceline runs between him and the first horse. The object at the withers of the pole horses is part of their harness through which all the reins pass en route to the driver. The front horse has his mouth open. As on the shoulder, in many places the glaze is thin, especially for spear shafts, goad, and horses' legs. The goad is incised but not glazed in the section between the driver's hand and the head of the second man. Incised contour. On shoulder for ends of left cloak; front of right forearm of second, part of back of his greaves; lower end of right cloak. On body for charioteer's right hand, back down to mid-thigh, front of himation at midriff (on reserved ground outside silhouette), goad from hands up to head of second man; hand of second man, front edge of his himation below hand, shoulder (outside silhouette); all parts of chariot, reins, most contours of horses; parts of shield rim of left hoplite; back of right hoplite's greaves, part of back of his rear thigh, front of midriff. Red. On shoulder for shield rim of first, third, and fourth figures, dots on shield rim of second, chiton of all but first, stripes on cloak of first and on left folded cloak, fillet over helmet of fourth. On body for beard and fillet on head of charioteer, stripes on his himation; spot on chariot box, traceline (visible also on white horse's rump); front horse's tail, his mane, forelock, collar; a line down white horse's neck and pupil of his eye (flaked off except oudine); second man's fillet, himation stripes; left hoplite's fillet over helmet, rim of shield; right hoplite's fillet over helmet, chiton, shield rim. White. On shoulder for three dots on shields of first and third, centers of shields of second and fourth. On body for dots on himatia of charioteer and second man; right pole horse; roundel on left hoplite's shield, dots below crest on his helmet cap; dots on top of right hoplite's

Attic Black-Figure helmet cap, hilt of his sword, roundels on shield. Stain of probable white on body for a baldric strap down from right hoplite's left shoulder. Graffito. Incised on bottom of foot:

For the rosettes on the side of the mouth Bothmer compares Florence 3825 (CVA fasc. 2 pi. 22) and Leipsic T 3329 (CVA fasc. 5 pi. 12, 3-4). Bibliography: The Illustrated London News June 16, 1951, p. 994, fig. 1 ; Clement, Hesperia 24 (1955) 23.

Plates 17 and 18 ATTIC BLACK-FIGURE 50.8.5 (A5933.50-11). HYDRIA. In the manner of the Antimenes Painter [Beazley]. About 520 B.C. Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 50.7 to 50.0 cm.; H. of handle 51.9 cm.; D. of mouth 27.6 to 27.4 cm.; D. of body 33.8 to 33.4 cm.; D. of foot 17.8 cm. Torus mouth with shallow groove near outer edge on top. Rotelle and three knobs imitating rivets at top of vertical handle. Fillet between body and torus foot. Mended from many pieces. Black glaze, especially on back, is poor—often thin and streaky with wide (sometimes nonparallel) brushstrokes and scattered red splotches in greenish areas. Subsidiary decoration. Interior of body reserved, of neck black. Tongues around top of mouth; knobs reserved, rotelle black. Exterior of vase black except for inner sides of horizontal handles and patch beneath them, picture panel on body and on shoulder (wider than that on body), ray zone, and lower edge and underside of foot. Above the picture panel on shoulder, alternate black and red tongues over a scalloped line. Above the picture on body a band of running meander to left, its reserved band

19 extending on the left beyond the picture's side frame (ivy leaves) beneath the shoulder panel although only one section of meander continues beyond the side frame. One meander was also painted beyond the side frame on the right but later covered with black. A thin black groundline separates the main picture from the predella which is framed only by thin black lines. T w o red stripes circle the vase just below the predella, another stripe just above the rays (58) at base of body, one on the fillet below them, and one along outer edge of foot. Shoulder. A quadriga with charioteer (long belted chiton, goad in hand) stands in the center, with a hoplite at the horses' heads. T o their left are a woman, man, and hoplite; to the right a woman and youth. The women each wear a peplos (incised wavy line in vertical panel on each, dot-rosettes on rightmost), and the right once had a zigzag necklace incised lightly on the white but barely penetrating the black glaze beneath (so also other details on flesh). Her left hand was painted in white (now vanished) directly on the reserved ground without a black silhouette. The man and youth each have a chlamys (dot-rosettes) and spear only. The hoplites have Argive shields, Corinthian helmets (incised circles in band at base of crest), greaves, and spears (left has two spears). The shield blazons are a lion head with forelegs on left, a running human leg on right. The upright ends of the yoke and the chariot pole are in thin glaze. Body. A quadriga with driver and hoplite aboard, a hoplite and Scythian archer facing them behind the horses, an old man in the center behind the horses (with feet right but facing left), and another archer at the horses' heads. The charioteer wears long belted chiton and has a Boeotian shield (device a bull's head) strapped to his back. Black glaze was never added to his goad where it crosses reserved ground just above his hands and at its tip. The hoplite beside him has a corslet (incised curlicues on lower border), short tight chiton, Corinthian helmet (incised quirks at base of crest), Boeotian shield (seen from inside with an incised tassel on the upper part, a small section outside the rim glazed by mistake), scabbard (decorated in panels formed by groups of three incised lines), and two spears (completely crossing the side border and overlapping the top frame). The hoplite on the ground has a Corinthian helmet (incised circles at base of crest), two spears, and Argive shield with roundel blazon. The bearded archer with him wears a pointed cap, trousers with a few incised crosses, and a quiver. A spear (or perhaps an abandoned version of the driver's goad) runs across the shield of the hoplite in the chariot, up across the

20 other hoplite's helmet, and emerges beyond the crest. Behind these the old man stands dressed in chiton and striped himation (dot-rosettes on himation, incised wavyline borders on both garments). His white beard originally came to a point beyond the black glaze silhouette of his chin. The archer on right has an elaborately decorated Scythian suit of trousers and long sleeves (dot-rosettes, incised crosses and long wavyline panels), pointed cap, and quiver. The line between his left hand and face is unclear. Both quivers are decorated with a band of roundels (with incised cross on left) separated by four parallel diagonal lines. On the left quiver a row of dots runs above the roundel design, and on the right quiver a wavy incised line borders the opening. Incised lines without glaze at the front of the chariot box mark the hitch for the tracelines. Predella. Deer hunt. T w o spear-bearing horsemen on left and three on right pursue a deer with one spear already stuck in its hindquarters and another about to strike its back. Incised contour. The artist is careless about keeping his incision and silhouette together. On shoulder, for shoulder and front of left woman; left man's right shoulder and arm except elbow, front of chlamys; left hoplite's shield rim, back of his right thigh, backs of greaves, back of himation, tops of feet; charioteer's chiton except lower back and bottom, both forearms (not following silhouette closely), butt end of goad; most of chariot box, wheels, part of railing, horses except a few areas on legs (note incised eye and face of otherwise undrawn and unpainted horse between fully executed heads to left and to right); right hoplite's shield rim, back of greaves; sides of right woman's skirt; back of youth's chlamys. On body for chariot (except back of railing and front of box), for hoplite and charioteer in it and their equipment (except ends of spears and crest of hoplite's helmet); front of right hoplite's crest, back of his helmet and inner edge of crest, part of lower edge of his hand, rim of shield; front of left archer's cap, his left calf, right foot (outside silhouette), top of quiver, arrows, flap; lower edges of old man's chiton and himation, top of left foot; right archer's shoulder and outer edge of left arm (pardy over side frame), top of cap (over meander above), front of chest, right arm, all below waist (except toes of left foot), arrows in quiver, bottom of back end of quiver (outside silhouette); horses (except small parts of legs, hooves, and end of one tail). In predella for all reins, leftmost horse's mane, underside of tail; second horse's back, mane, chest, neck, belly; third horse's face, mane, chest, and neck;

The Los Angeles County Museum of Art (i) third man's chest and back; fourth horse's face, throat, neck, chest, underside of right foreleg, hindquarter, upper part of tail; fourth man's torso; fifth horse's head, neck, chest, belly, and underside of tail; fifth man's torso. Red. On shoulder for left woman's eye, panels on her peplos; left man's beard, stripes on his chlamys; left hoplite's shield rim and stripe on chlamys; mark on chariot box, manes and tails of horses, collar on outer horse; right hoplite's shield rim; right woman's fillet and panels on her peplos; stripes on youth's chlamys. On body for top and bottom edge of chariot box and a vertical stripe down center; charioteer's beard and rim of his shield; chiton of hoplite in chariot, rim of his shield; rim of shield of hoplite on ground, border of his crest; stripe on left archer's cap, his beard, flap and roundel on quiver; old man's himation stripes; two horses' tails, two manes, all forelocks, collar of near horse; right archer's quiverflap and roundels on quiver. In predella for forelocks, manes and tails of first, second, and third horses, tip of tail of fourth. Stain of probable red in predella for forelocks, manes, and tails of fourth and fifth horses. White. On shoulder for flesh of women, shield blazons, chiton of charioteer, edge of right hoplite's crest, dotrosettes on right woman's peplos and on chlamys of left man and youth. On body for charioteer's shield blazon, his chiton; top and dots along base of crest of hoplite in car, part of shield armband just above his forearm; roundels on right hoplite's shield, dots along base of his crest; dots along top of quiver of left archer; hair of old man, his beard (mostly stain), dot-rosettes on his garments and dots over chiton's incised hem border; dot-rosettes on right archer's suit (one on adjacent horse); six groups of three lines (mostly stain) for ornaments below harness collar, a few single dots on horses' heads as part of harness decoration, a group of five dots on mouth of front horse for teeth (or else strays from archer's suit). In predella for line down deer's neck from throat to base of chest (mostly stain). Stain of probable white on shoulder for stripes on crest of left hoplite's helmet, three groups of three dots below horse's collar. On body for mustache and eyebrow of old man, right archer's baldrics. Preliminary incision. On body for front horse's tail, rump, and right hind leg. For the composition of the main scene compare the amphora type A Wiirzburg 268 (Langlotz pi. 81.A; ABV 328, 10) by the Long-nose Painter. Bibliography: Beazley, ABV 277, 6; Cat. Sotheby December 2, 1946 p. 5 no. 41 (Brooks); Clement, Hesperia 24 (i955) 23.

Attic

21

Black-Figure

Plate 19, 1 - 2

White. Flesh o f Amazons; shield devices, ends o f scabbards, spots on helmet crests and their trailing ends, dots

A T T I C BLACK-FIGURE 36.11.2 (A4110.36-2).

OINOCHOE.

along base o f right crest; Herakles' baldrics, line on lower B y the Gela Painter

[Bothmer], Late sixth century B.C.

j a w o f lion for teeth, three roundels for claws on each dangling hind foot o f lion skin. Graffito. Incised on bottom o f foot, very small:

Gift o f Mary M . Edmunds, 1936. Once owned by Mary M . Edmunds and George F. Edmunds. Probably purchased by Marsh from the Naples Museum in 1872. H. at mouth 21.3 cm.; H. with handle 22.7 cm.; D . o f body 14.5 cm.; D . o f foot 9.0 cm.; minimum D . o f neck 6.8 cm. Trefoil mouth, handle segmental in section, spreading foot. T w o tooled lines form a collar between neck and shoulder. Unbroken. Glaze much flaked off except in picture panel. Unpolished areas are pale, but picture zone is orange-red. Subsidiary decoration. Interior o f body reserved; inside o f neck and mouth and entire exterior black except for picture panel, part of inner side o f handle, lower edge and underside of foot. Traces o f a red line along top o f lip. O n the collar above the picture a border o f key pattern to right with a red stripe above it. Framing the picture on top are tongues, on sides a net pattern, below three red stripes circling the vase. A narrow red stripe on top o f foot near outer edge. Herakles in Amazonomachy. Swinging the club over his head with right hand, Herakles (short chiton, lion skin belted at waist, crossed baldrics, end o f b o w over right shoulder) faces right between two Amazons. His left hand is hidden behind the shield of the right one. Both Amazons wear short chitons, corslets, filleted helmets, and scabbards. The left one, retreating, turns back and holds up her spear and shield (blazon o f roundels and a ring divided by two lines) horizontally toward Herakles. The other faces Herakles and thrusts her spear at him. Her shield's device is a bull's head. The rendering o f her shield-wielding arm and o f her spear-wielding arm is hopelessly confused. Parts o f both Amazons' contours have a black outline where white for the flesh did not entirely cover the underlying black glaze. Their eyes show the tear duct at the corner. The dots on Herakles' club, iris on Amazons, and bullhead device are in black over white. Incised contour. Left paw o f lion skin hanging between Herakles' legs, lower side o f his right hand, beard, lower edge o f both shields. Red. Dots on chiton o f each figure, Amazons' fillets, rim o f left shield, dots on rim o f right shield, dots on lion's mane.

Bothmer points out that in shape and composition this oinochoe closely resembles Louvre F 344 which Miss Haspels has attributed to the Gela Painter ( A B L 214 no. 194)Bibliography: Bothmer, Amazons 52 no. 136bis; B r a m mer, Vasenlisten2 16 no. 219, Vasenlisten3 20 no. 24.

Plate 19, 3-5 A T T I C BLACK-FIGURE 50.8.14 (A5933.J020).

OLPE.

B y a painter o f the Dot-ivy

Group [Bothmer]. Late sixth century B.C. Gift o f William Randolph Hearst, 1950. H. to top o f mouth 19.6 cm.; H. at top o f handle 20.0 cm.; D . o f mouth 9.5 cm.; D . o f body 11.7 to 11.5 cm.; D . o f foot 8.4 cm. Convex mouth slightly offset from neck by a narrow tooled surface, ribbon handle, spreading foot. Unbroken except for a chip below handle base. Glaze varies from black to greenish. A n incised line spirals five times around inside o f neck. Subsidiary decoration. Interior o f body reserved, interior o f neck black. Handle and exterior o f body black except for the picture panel which is framed below by a dilute black groundline, above by two rows o f dots separated and framed by two black lines. This upper border continued about 1.5 cm. on the right end and was covered with background black. A red stripe crosses the top and bottom o f the panel, the lower stripe continuing doubled across the back o f the vase. Lower edge and underside o f foot reserved.

The Los Angeles County Museum of Art (i)

22 Dionysos between satyrs. Dionysos (himation, chiton, wreath) rushes to the right clutching his himation with right hand. His head, turned back, and the drinking horn in his left hand both overlap the upper frame. The satyr on either side dances toward him. Each has long thin fingers, a thin black stripe for tail, and long incised lines for ears (which never actually form a point at the top). The left satyr's rear foot is cut off by the frame. A vine with several large bunches of hanging grapes twines between and above the figures. Incised contour. Left satyr's right forearm, hair over shoulder; part of Dionysos' hand, bottom and right edge of his himation, front of beard, front leaves in wreath; right satyr's beard, part of chest, upper edge of left forearm. Not all silhouettes are filled in to the contour line. White. Dot-rosettes on Dionysos' himation, stain only for chiton on his chest. Bibliography: Cat. Sotheby December 2,1946 p. 8 no. 67; Clement, Hesperia 24 (1955) 23.

Plate 20 A T T I C BLACK-FIGURE 5O.9.43 (A514I.5O-801).

LEKYTHOS.

About

5 4 O - 5 3 O B.C.

Gift of William Randolph Hearst, 1950. Once owned by Charles T. Seltman. H. 27.7 to 27.5 cm.; D . of body 15.5 cm.; D . of foot 8.0 cm. Shoulder lekythos with convex shoulder, echinus mouth and foot, segmental handle. Ridge at joint of shoulder and neck. Rough hole in bottom of foot 1.5 by 1.3 cm. Repaired with part of lower body and much of neck restored in plaster, small patches elsewhere. Clay fine, a tannish red with surface polished to a darker tone. Much of this exterior polished skin is now lost, especially on right side of body. Subsidiary decoration. Interior of body reserved; interior of neck, all sides of mouth (much flaked off), exterior faces of handle, body below pictures, and foot black. Red band on and above ridge at neck. A dilute black line circles the vase as a groundline for pictures on shoulder and body. T w o red stripes circle the vase at top of black portion of body. Underside of foot reserved. Shoulder. A man sits right on a stool (diphros) in the center with a woman standing on each side, a youth on the

left edge, an old man on the right facing away from the central group. The seated man holds an uncertain object in his lap. The right woman wears a striped peplos; all other figures have striped himatia, and all but the boy wear chitons as well. The old man is filleted, and the seated man and left woman are wreathed. Much of the black glaze is thin and has fired orange. Body. Dionysos stands surrounded by vines and flanked by a maenad and satyr dancing on each side, the right satyr with his back to the center. Dionysos, wreathed, holds a rhyton in his right hand. He wears a chiton with incised border at ankles and a himation with wide red panels alternating with narrow black panels with incised crosses. The maenads wear peploi (the left with overskirt) with red stripes and panels and incised lower borders (spirals on left and quirks on right). White on the right maenad's face originally extended higher for her forehead. Incised contour. On shoulder for top of youth's right forearm, left woman's shoulder and back to top of legs, right woman's hair over shoulder, back of old man's himation below waist. On body for left satyr's beard, back of right thigh, right arm and hand; bottom of left maenad's peplos; Dionysos' face, outer leaves on wreath, beard, rear shoulder, upper part of front edge of himation fold hanging from extended arm, bottoms of garments; right maenad's buttock and edges of both thighs; right satyr's beard, right hand, both arms, both edges of right and upper edge of left thigh. Red. On shoulder for stripes on himatia and on right woman's peplos, youth's hair, left woman's dotted wreath, patch on seated man's beard, old man's fillet. On body for left satyr's beard and front of hair; left maenad's wreath, ribbon hanging down her face and neck, panels on overfold and underskirt of peplos; Dionysos' beard and stripes on himation; four radiating panels each on right maenad's skirt and overfold, a trace of hair or ribbon on her cheek; right satyr's tail and hair at forehead. White. On shoulder for women's flesh (stain only for left woman's arm extended to man), old man's beard, brow, hair and long clump hanging down shoulder. On body for flesh of maenads, dot-rosettes on their skirts. In shape and scheme of decoration Bothmer considers this lekythos closest to Turin 4109 (CVA Italy 40 pi. 15, 5-7: the pictures of the complete vase are left and right reversed) and to a vase at Strasbourg, Musée Rohan, to which it is also related in style. For shape compare also Rhodes 12.217 (CVA Italy 9 pi. 8, 4), Athens 414 (Has-

Attic

Black-Figure

23

pels, ABL pi. 11, 3; ABV177) near the Taleides Painter, and Haspels, ibid. pi. 13,1 (ABV 17s, 14; Paralipomena 73: now lost) by the Taleides Painter.

A T T I C BLACK-FIGURE 50.8.17 (A5933.5O-23).

Plate 21, 1-3

LEKYTHOS.

LEKYTHOS.

About

480 B.C.

Gift of William Randolph Hearst, 1950. Once owned by Clifford White.

A T T I C BLACK-FIGURE 50.8.12a (A5933-50-I8A).

Plate 21, 4-7

About 480

B.C.

Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 21.1 cm.; D . 8.1 cm. Echinus mouth, flanged handle, disk foot. Unbroken but upper left part of body is chipped and cracked. Surface very abraded and much of black glaze has flaked off or fired red. Clay light tan. Subsidiary decoration. Interior and top of mouth reserved. Sides of mouth, outer sides of handle, lower body, top and at least upper edge of foot black. Tongues at base of neck stopping at handle, palmettes on shoulder. Above the picture a net pattern (two rows of dots). A red stripe near top of body below the picture. A black drip to the left end of upper part of picture frame. T w o warriors (presumably Achilles and Ajax) gaming in the presence of Athena who stands in front o f the gaming board. She (chiton, himation, Attic helmet with fillet over it) stands right but turns her head to left. Her left fingertips (in faded white) reach the upper border. The kneeling warriors wear cloaks, sleeved chitoniskoi, and Corinthian helmets. Each holds his spear in front, and rests his Boeotian shield against his back (parts of three circles for blazon of right shield). Branches laden with "apples" cross the field behind the figures. Incised contour. Right part of Athena's chiton below waist, much of himation fold hanging from her left arm; shield rims (but not convex surface behind), cloak below arm of right warrior. Red. Athena's fillet over helmet extending over background in front and rear. White. Athena's flesh (stain only on arms), crest border of left warrior. Stain of probable white for several dots on left warrior's helmet crest, part of edge o f Athena's and right warrior's crests, rings on right shield, "apples" throughout field near branches. For shape compare London 1922.10-18.1 (Haspels, ABL pi. 22, 4). Bibliography: Cat. SothebyMay 14,1946p. 5, first item in lot no. 26 (Brooks); Clement, Hesperia 24 (1955) 23; Brommer, Vasenlisten3 337 no. 89.

H. 24.4 to 24.2 cm.; D . 8.7 cm. Echinus mouth, handle slightly flanged, torus foot. Neck broken at top of handle, crack filled with plaster. Foot mended from several pieces, string marks on underside. Shoulder and body whiteslipped. Subsidiary decoration. Interior o f body and top o f mouth reserved, interior and exterior o f mouth black with a red line around exterior edge. Exterior of neck reserved with tongues at base. On the shoulder five palmettes with leaves (or stylized lotus) on each side of the handle, which is black on the outer sides. Frame above picture (but not around back) is net pattern between pairs of black lines; below picture a thin black line. Body below the groundline is black except for two reserved bands with two red stripes below each, the lower two narrower. Top of foot black, side reserved with black band in center, underside reserved. Athena aids a warrior in battle against two attackers on a chariot. The left enemy falls headlong behind the chariot, his shield and spear beneath him, helmet slipping off over his head, and one arm above at his side. His companion, round shield held diagonally in front of him, drives on thrusting his spear. Both wear long girt tunics with incised crosses on the skirts, and tall crested Corinthian helmets. The four horses (only two heads depicted) surge ahead with all forelegs off the ground. Behind them Athena (chiton,himation, aegis, Attic helmet) leaps in midair toward the driver, spear in hand. On the right in the path of the advancing chariot, her ally (corslet and short chiton, Corinthian helmet, Argive shield) hastens to escape (or has fallen to his knees), but turns back holding his spear against the onrushing horses. The net-pattern frame stops for most of the driver's helmet crest, but not for Athena's. Incised contour. Tunic skirt and shield rim of fallen warrior, front o f his beard, front of helmet below eyehole; part of driver's shield rim, right hand; chariot wheel, rear horse's hind leg, front horse's chest and top of his head, parts o f reins; bottom of Athena's skirt. Red. Stripe along side o f face and beard of fallen warrior; wide fillet on driver's helmet cap, part of lower rim

24 of shield, a dot on his skirt and two on chariot box; alternate folds on Athena's chiton, edge of aegis, stripe on crest; horses' tails, manes, collar of nearest; fillet over fleeing warrior's helmet cap, rim of his shield, a curved line for its device. For the composition Bothmer compares ABV 545, nos. 184-194 of the Haimon Group and Paralipomena 275-276. Bibliography: Cat. Sotheby May 14, 1946 p. 12 no. 97 (White); Clement, Hesperia 24 (1955) 23.

Plate 21, 8-10 A T T I C BLACK-FIGURE 50.8.41 (A5933.50-i8b). lekythos. About 470 B.C. Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 25.4 to 25.2 cm.; D. at shoulder 8.0 cm. Chimney mouth, segmental handle, trochilus foot. Body broken in many pieces and mended. Pocked surface, black glaze often thin or fired red. Clay light tan. Subsidiary decoration. Interior of body and top of mouth reserved, sides of mouth black. Handle black on exterior faces. Tongues around base of neck, rays on shoulder all around the vase. Above the picture a checkerboard pattern. Body below the picture black with three "wetincised" lines circling the vase. Top of foot and side of lower "degree" black. T w o quadrigae race to right. Both charioteers (long chitons, the right belted) bend forward and hold two goads. The right charioteer's torso is drawn very carelessly over the horses of the rear chariot, his head, neck, and arms never rendered. T w o short vertical lines over the forward team of horses belong to the yoke. The drawing is all very sloppy, both silhouette and incision. Incised contour. Left charioteer's right arm, part of right charioteer's skirt, parts of horses' hind legs and tails, most of horses' heads and necks, rump of rear horse in forward team, most of chariot wheels and part of left box. White. For chitons (a few traces remain); stain of probable white for rows of dots along reins and collar of each front horse. Compare for both scene and shape Cambridge 167 (CVA 1 pi. 22, 39; ABV 545, 199) and Brussels A2297 (CVA 2 pi. 21, 27; ABV 545, 205), both in the manner of the Haimon Painter. Bibliography: Cat. Sotheby May 14, 1946 p. 5, second item in lot no. 26 (Brooks); Clement, Hesperia 24 (1955) 23.

The Los Angeles County Museum of Art (1)

Plate 22 A T T I C BLACK-FIGURE 50.9.42 (A5141.50-800). BAND-CXJP. About 530 B.C. Gift of William Randolph Hearst, 1950. Once owned by Charles T. Seltman. H. 10.5 cm.; D. at rim 21.8 to 21.6 cm.; width with handles 29.3 cm.; D. of foot 6.9 cm. Broken and mended. Much of handle right of A fired red. Subsidiary decoration. Interior black with a reserved line on rim, a reserved disk in center with a black circle and dot in the middle. Exterior black except for the figure zone, a narrower reserved band below it, inner sides of handles, and vertical side of foot. On both sides of each handle a palmette grows at the end of a tendril; red for the heart and central frond of each palmette except on the right of A. Underside of foot reserved with a black ring where the stem becomes hollow. A and B. Komasts: seven on A, six on B , alternately male and female. On A five of the seven move to left, two as pairs with joined hands. There is no directional trend on B. The men are naked; the women wear black belted garments with incised dots or dashes on some of the belts. T w o of the "women" (white flesh) on A have incised male genitalia that were overpainted with white, now gone. No incised contour. Red. Tunics of women; fillets of second, fourth, and sixth on A, and of fourth and sixth on B ; smear in front of left foot of sixth on A (male running left). White. Flesh of women. White overlies black for thighs and most faces but is otherwise painted directly on the reserved ground. Compare the band-cups once Scheurleer 626 (CVA Pays Bas 1 pi. 4, 1), Copenhagen 3628 (CVA 3 pi. 118, 1), and Paris market (Vente Drouot 26-27 novembre 1934 pi. 2). Bibliography: Cat. Sotheby June 29-30, 1931 p. 27 no. 285, pi. 5.

Plate 23 A T T I C RED-FIGURE 50.8.21 (A5933.50-27). amphora type A. B y the Deepdene Painter, his name vase [Beazley]. About 470-460 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks.

24 of shield, a dot on his skirt and two on chariot box; alternate folds on Athena's chiton, edge of aegis, stripe on crest; horses' tails, manes, collar of nearest; fillet over fleeing warrior's helmet cap, rim of his shield, a curved line for its device. For the composition Bothmer compares ABV 545, nos. 184-194 of the Haimon Group and Paralipomena 275-276. Bibliography: Cat. Sotheby May 14, 1946 p. 12 no. 97 (White); Clement, Hesperia 24 (1955) 23.

Plate 21, 8-10 A T T I C BLACK-FIGURE 50.8.41 (A5933.50-i8b). lekythos. About 470 B.C. Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 25.4 to 25.2 cm.; D. at shoulder 8.0 cm. Chimney mouth, segmental handle, trochilus foot. Body broken in many pieces and mended. Pocked surface, black glaze often thin or fired red. Clay light tan. Subsidiary decoration. Interior of body and top of mouth reserved, sides of mouth black. Handle black on exterior faces. Tongues around base of neck, rays on shoulder all around the vase. Above the picture a checkerboard pattern. Body below the picture black with three "wetincised" lines circling the vase. Top of foot and side of lower "degree" black. T w o quadrigae race to right. Both charioteers (long chitons, the right belted) bend forward and hold two goads. The right charioteer's torso is drawn very carelessly over the horses of the rear chariot, his head, neck, and arms never rendered. T w o short vertical lines over the forward team of horses belong to the yoke. The drawing is all very sloppy, both silhouette and incision. Incised contour. Left charioteer's right arm, part of right charioteer's skirt, parts of horses' hind legs and tails, most of horses' heads and necks, rump of rear horse in forward team, most of chariot wheels and part of left box. White. For chitons (a few traces remain); stain of probable white for rows of dots along reins and collar of each front horse. Compare for both scene and shape Cambridge 167 (CVA 1 pi. 22, 39; ABV 545, 199) and Brussels A2297 (CVA 2 pi. 21, 27; ABV 545, 205), both in the manner of the Haimon Painter. Bibliography: Cat. Sotheby May 14, 1946 p. 5, second item in lot no. 26 (Brooks); Clement, Hesperia 24 (1955) 23.

The Los Angeles County Museum of Art (1)

Plate 22 A T T I C BLACK-FIGURE 50.9.42 (A5141.50-800). BAND-CXJP. About 530 B.C. Gift of William Randolph Hearst, 1950. Once owned by Charles T. Seltman. H. 10.5 cm.; D. at rim 21.8 to 21.6 cm.; width with handles 29.3 cm.; D. of foot 6.9 cm. Broken and mended. Much of handle right of A fired red. Subsidiary decoration. Interior black with a reserved line on rim, a reserved disk in center with a black circle and dot in the middle. Exterior black except for the figure zone, a narrower reserved band below it, inner sides of handles, and vertical side of foot. On both sides of each handle a palmette grows at the end of a tendril; red for the heart and central frond of each palmette except on the right of A. Underside of foot reserved with a black ring where the stem becomes hollow. A and B. Komasts: seven on A, six on B , alternately male and female. On A five of the seven move to left, two as pairs with joined hands. There is no directional trend on B. The men are naked; the women wear black belted garments with incised dots or dashes on some of the belts. T w o of the "women" (white flesh) on A have incised male genitalia that were overpainted with white, now gone. No incised contour. Red. Tunics of women; fillets of second, fourth, and sixth on A, and of fourth and sixth on B ; smear in front of left foot of sixth on A (male running left). White. Flesh of women. White overlies black for thighs and most faces but is otherwise painted directly on the reserved ground. Compare the band-cups once Scheurleer 626 (CVA Pays Bas 1 pi. 4, 1), Copenhagen 3628 (CVA 3 pi. 118, 1), and Paris market (Vente Drouot 26-27 novembre 1934 pi. 2). Bibliography: Cat. Sotheby June 29-30, 1931 p. 27 no. 285, pi. 5.

Plate 23 A T T I C RED-FIGURE 50.8.21 (A5933.50-27). amphora type A. B y the Deepdene Painter, his name vase [Beazley]. About 470-460 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks.

Attic Red-Figure H. 45.7 to 45.5 cm.; D. of mouth 21.3 to 20.9 cm.; D. of body 27.3 to 27.0 cm.; D. of foot 15.8 cm. Mouth flaring, lipped and grooved on inside. Handles slightly flanged. A fillet between incised lines at joint of body and foot. Foot in two degrees, lower convex and much taller than upper which has concave top and short vertical side. Unbroken. A spall beneath rightmost palmette on neck of A. Black glaze has green tinge in some places, orange in others. Subsidiary decoration. Interior of body worn dull black, interior of neck and mouth good black. Top and underside of mouth reserved. Handles black on inside and outside with ivy on side faces. Above the picture on A, lotus-palmette border; on B, joined slanting addorsed palmettes, both borders with relief line. Below the pictures, pairs of facing meander squares alternating with dotted crosses and saltires with inverted V's in their quadrants. Vertical lines in the meander do not meet the heavy framing lines above and below. Underside of foot, side of its upper degree, and lower edge of its lower degree are reserved. A. Athena serves wine to Herakles (short thin chiton and lion skin). The quiver, its flap closed, hangs on his left side. His left hand rests atop his club, and in his right is a kantharos, which Athena fills from her oinochoe. She has sleeved chiton, himation, small disk earring with three pendants, aegis, Attic helmet, and a long spear. Her helmet has two rows of dots at the base of the crest, whose trailing end runs down her back. From the lower edge of the aegis hang five snakes, apparently with mouths open and tongues hissing (but looking more like rather curly question marks as Tillyard also noted). The scales are reduced to dots or short lines, and along the lower edge is a border of Z's. The eyes of the grinning little gorgoneion look toward Herakles. B. A maenad (Ariadne: so Tillyard) pours wine for Dionysos (long thin chiton with sleeves, himation, ivy wreath). He holds a kantharos in his right hand, and in his left a thyrsos with four branchlets on the stem and three on top. His hair is long and curly. The maenad (dressed like Dionysos but with heavier chiton, reserved fillet, disk earring) fills his kantharos from the frontal oinochoe in her right hand. In her left is a small forked twig or vinestock. Relief contour. On A for Herakles' hands and wrists (not ends of fingers), forward (left) leg (not always following the outline, several times corrected with a new line), most of rear leg, tail of lion and pelt behind it, front of chest (but not left shoulder), kantharos stem and

25 bowl (but not rim or handles except outside of lower part of left handle); Athena's face (except lower lip), front of neck, right shoulder and arm, advanced (right) foot, spear, oinochoe handle and body. On B for Dionysos' right forearm and hand, lower edge of left hand, lower edge of himation in front of knee, base of kantharos bowl on right side; maenad's neck, her right shoulder and arm, mouth and sides of body of oinochoe. Inner drawing. Relief line on A for folds, details, knobs on Herakles' club; on B for most folds and inner contours, leaves on Dionysos' wreath. Dilute glaze on A for muscles, some hair on lion's mane, a stitchline (?) near edges of lion skin, Athena's earring, some marks on aegis; on B for some of Dionysos' long hair, two lines on stem of kantharos. Red. On B for leaves on thyrsos branchlets (a few specks of color, mainly stain). Much like our side B is side B of the painter's Brussels pelike R 250 ( C V A 2 pi. 19, 3; ARV2 501, 34), and of Munich 2416 (FR pi. 64; ARV2 385, 228), a kalathoid vase with spout by the Brygos Painter. Beazley lists other vases with Athena serving Herakles wine in AK4 (1961) 56 if. Bibliography: Beazley, ARV2 500,28, AK4 (1961) 57, II 6, ARV1 327, 25, VA 194 no. 1 (addenda to p. 133); Tischbein, Collection of Engravings II pis. 22-23; Caf. Christie July 23,19171p. 14 no. 71 (Hope); Hoppin, Handbook II268 no. 6; Reinach, Répertoire II298,1-2; Tillyard, Hope Vases 48-49 no. 84, pi. 8; Cat. SothebyMay 14,1946 p. 7 no. 43, pi. 2 (Brooks); Clement, Hesperia 24 (1955) 15 no. 9; Brommer, Vasenlisten1 18 no. 4, Vasenlisten2 25 no. 4, Vasenlisten3 28 no. 4.

Plate 24 A T T I C RED-FIGURE 50.8.27 (A5933.50-33). NOLAN AMPHORA. By the Berlin Painter [Beazley]. About 470-460 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks. H. 34.9 to 34.4 cm.; D. of mouth 16.1 cm.; D. of body 19.3 cm.; D. of foot 9.4 cm. Echinus mouth with tooled groove at base, lipped inside. Thin ridge at joint of neck and body, fillet between incised lines at joint of body and foot. Triple handles, torus foot. Slight restoration of chips in neck and mouth. Several greenish and red splotches on A and B.

26 Subsidiary decoration. Interior unglazed below neck. Handles black on all sides. Below the Nike meanders, below the youth a short band of running key pattern, each with thick black and reserved lines above and below. Lower edge and underside of foot reserved. A. Nike (sleeved long chiton, himation, wide reserved taenia) runs through the air supporting a cithara at its base with her right hand. Her left is through the straphold behind the strings. Below the end of her near wing the tip of the off-wing is visible. A thick tress of hair falls down her neck and zigzags along the border of the himation achieving a three-dimensional effect through the use of dilute brown shading. On her rear foot the background glaze does not cover the entire area below the sole of the foot. B. A wreathed youth in himation facing left toward the Nike on A extends his right hand to receive the cithara. Contour stripe. Missing only on right side of tassel hanging from cithara on A. Relief contour. On A for lower ends of wing feathers, lower edge of right sleeve, left (fore) leg, most of cithara, its seven strings and tassel. None on B. Inner drawing. Relief line on A for most inner contours, eyebrows, and most folds; on B for features, some anatomical marks, folds. Dilute glaze on A for outline of face, mouth and nose, hair down back, across breast, and at forehead, saltires on underside of himation by left knee, fine folds on upper chiton, wavy line on chiton at calf level, edge of wing covert, arcs on wing covert, a line across wing halfway down feathers; on B for most muscles, hair at forehead. Red. String-attachments at top of cithara, garland of youth. Preliminary sketch. Visible on Nike's right thigh, youth's left arm and leg. On the Oionokles Painter's Nolan amphora with the same subject, once Goluchow, Czartoryski, 34 (CVA Poland 1 pi. 22, 2 a-d; ARV2 646,10), Nike walks on the ground instead of in the air; on the Providence Painter's Nolan Vienna 698 ( C V A 2 pis. 58, 5 and 59, 2; ARV2 637, 29), and on the Berlin Painter's in St. Louis (acc. no. 57:55, Bulletin of the City Art Museum, St. Louis 44, i960, 11-13; ARV2 203,104) she simply drifts. The Providence Painter's Apollo on the neck-amphora 15.005 in the Rhode Island School of Design ( C V A USA 2 pi. 18; ARV2 635, 1) has a three-dimensional lock of hair just like that of our Nike. Bibliography: Beazley, ARV2 202, 75, ARV1 135, 61,

The Los Angeles County Museum of Art (j) Der Berliner Maler 17 no. 59, AV80 no. 46,JHS 42 (1922) 93 no. 48, VA 38; Tischbein, Collection of Engravings III pi. 7; Lenormant and de Witte, Él. Cér. I 313-314, pi. 99; Roscher, Lexikon III 329; Cat. Christie July 23, 1917 p. 16 no. 87a (Hope); Hoppin, Handbook I 60 no. 11; Reinach, Répertoire II 310, 4; Tillyard, Hope Vases 52 no. 92, pi. 9; Cat. SothebyMay 14,1946p. 5 no. 30 (Brooks); Clement, Hesperia 24 (1955) 14 no. 5, pl. 7c; Isler-Kerényi, AK14 (1971) 27 note 24.

Plate 25 A T T I C RED-FIGURE 50.8.23 (A5933.50-29). NECK-AMPHORA. By the Hector Painter [Beazley]. About 440-430 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks. H. 49.05 to 48.7 cm.; D. of mouth 18.8 to 17.8 cm.; D. of body 25.8 cm.; D. of foot 13.6 cm. Mouth in two degrees, the lower echinus shaped; lipped on interior and tooled at base on exterior. Triple handles. Fillet between shoulder and neck and between body and foot. Foot in two degrees, the lower torus. Unbroken. Subsidiary decoration. Interior of body unglazed, upper two-thirds of neck and top of mouth black. On upper degree of mouth egg-pattern with relief line. A single enscrolled palmette on the neck of A and B. On the shoulder above the pictures on both sides, tongue-pattern stopping below handles. Beneath the pictures circling the vase, a band of meander in three's alternating with dotted saltires (the "odd man" at middle of B), the whole framed above and below by two thick black lines. Handles black on all sides with a small palmette at the base and addorsed palmettes enscrolled beneath. Underside of foot, side of its upper degree, and lower edge of its lower degree are reserved. A. Libation of Triptolemos attended by Demeter, on left, and Persephone. Demeter (chiton, black-bordered himation, decorated polos with leaves on top) holds a sheaf of wheat in her left hand, a scepter with lotus finial in her right. In the center, Triptolemos (himation over left shoulder, reserved wreath) sits in his winged car, a staff and sheaf of wheat in his left hand and a phiale in his right. The airborne car has Z's on the side of the floor, and egg-pattern on the side of the seat; parts of the offwing appear at the top and beneath the seat. Persephone (peplos with black border, fillet wound three times around

Attic

Red-Figure

27

head with leaves based in lowest band) pours wine into his phiale from a frontal oinochoe in her right hand; in her left a torch. The hair o f each is knotted behind. B. T w o youths (each in Initiation) face a woman on the left (himation; chiton with dots, saltires, and black border; sakkos with leaves in front and tie strings in back) who holds a phiale and parts her lips as if speaking to them. The central youth has a staff. Contour stripe. Missing on B for back of woman's sakkos, space between feet o f central figure. Relief contour. O n A for Demeter's face, neck, right shoulder, right arm and hand, left hand and himation below it, polos, most of scepter; Triptolemos' face, top of head, neck, back, arms and hands, himation from left arm to mid-thighs, phiale, staff; most of car (except lower outer edge of wheel), wings; front of Persephone's head, neck, right arm and shoulder, left wrist, front of peplos just below right arm, oinochoe (except foot), torch. None on B. Inner drawing. Relief line on A for most features and folds, inner contours, wreath of Triptolemos; on B for eye, brow, most folds on each. Dilute glaze on A for designs on polos o f Demeter (zigzags, opposed V's, and chevrons); Triptolemos' curly hair at forehead and sideburns, some muscles, stippling on wing coverts, Z's on floor of car; curly ends of Persephone's hair at forehead and in front of ear, individual faggots of torch and strings tying them. Dilute glaze on B for some folds on each, saltires and dots on woman's chiton; youths' necks, mouths, ends of hair, himation borders; left youth's nose and chin. Red. Stain of probable red on A for berries in Triptolemos' wreath, wine from oinochoe to phiale and below from phiale to level of car seat, torch flame, inscription. White. Stain of probable white on A for ten leaves above Demeter's polos, four leaves based in Persephone's fillet; on B for four leaves in the woman's sakkos. Incision. On A for wheat of Demeter and Triptolemos (very fine and elaborate), and for edges of wheel (compass drawn). Preliminary sketch. Clearly visible on all, especially on Demeter whose complete nude contour was drawn. Inscription. On A above the head of Triptolemos: K

*

^

o £

Compare the painter's stamnos Florence inv. 80190 (CVA Italy 13 pis. 48, 5 and 56,1-2; ARV2 1036, 6) and the neck-amphora by Polygnotus, London E 281 (CVA 3 pi. 16, 2; ARV2 1030, 36). A list of Triptolemos scenes

appears in Recueil Charles Dugas (Metzger, ed.) 132 ff., and Peschlow-Bindokat adds to it in Jdl 87 (1972) 144 ff. Bibliography: Beazley, ARV2 1036, 4, ARV1 684, 4, AV 395 no. 3, VA 173, 196; Tischbein, Collection of Engravings IV pi. 9; Inghirami, Pitture di vasifittili 1 1 4 - 1 6 , pi. 7 no. 2; Lenormant and de Witte, Él. Cér. Ill 168-169, pi. 56; Overbeck, Kunstmythologie pi. 15 no. 11, II.538; Buschor in FR III 260 no. 34; Cat. Christie July 23, 1917 p. 13 no. 58 (Hope); Hoppin, Handbook II 13 no. 261s; Reinach, Répertoire II 324, 4; Tillyard, Hope Vases 49-50 no. 86, pis. 8-9; Cat. Sotheby May 14,1946 p. 7 no. 44, pi. 3 (Brooks); Clement, Hesperia 24 (1955) 18 no. 17; Recueil Charles Dugas (Metzger, ed.) 136 no. 78; PeschlowBindokat, 87 (1972) 84 notes 92 and 95.

Plate 26 A T T I C RED-FIGURE 50.8.35 (A5933.50-41). About 460-450 B.C.

PELIKE.

B y Hermonax [Beazley].

Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. H. 33.3 to 33.1 cm.; D . of mouth 17.1 cm.; D . o f body 25.0 to 24.8 cm.; D. of foot 17.6 cm. Torus mouth with two or three careless toolings on underside at top of neck. Handles flanged with central rib. Fillet between incised lines at joint of body and disk foot. Surface quite pocked and pitted. Unbroken with cracks in bottom of foot, one continuing up the side a few inches on B. Subsidiary decoration. Interior good black on upper neck and mouth, below very thin and streaky. Handles black except a small section at top on inner sides, small reserved palmette at base on exterior. Below each handle and addorsed to its palmette, a large encircled palmette with scrolls at top, scrolls and lotus at bottom. O n large palmette's heart, a reserved area with cross and ring of six dots. Below handle right of A (pi. 26, 3) black glaze overruns a dot above and below the cross. The central frond o f each palmette has a thick black rib. Thick black (sometimes standing in relief) outlines all reserved areas of the handle decoration except the hearts of the larger palmettes. Contour stripe is not always detectable due to surface pitting. Lotus-palmette on neck of A, circled palmettes with residual lotuses on neck of B, both with relief line. O n A scrolls connect palmettes and lotuses; on B they are unconnected. Circling the vase below the figure scenes, a border of meander (7 type) in pairs alternating

28 with clotted cross squares, "odd man" on right end of A. Edge of top, side, and underside of foot are reserved. A. Arrival or departure. A youth (chlamys, petasos, high-laced sandals,filletand wreath intersecting near forehead, striped scabbard) stands frontally in the center with two spears, one a head taller than the other (overlapping upper border). His hat thong is not drawn. A phiale in his right hand receives and spills the libation that his mother (?) pours from her oinochoe (trefoil mouth, foot in two degrees, fillet between shoulder and neck). The wine flows into the phiale at a forty-five degree angle. The mother wears peplos with long ungirt overfold and a double stephane with four leaves rising from the upper tier. Her hair is tied behind her head and hangs in long strands down her back. Her forefoot seems to be the left, but toes for a right foot are drawn. Her left hand lacks one finger, and the index finger has background glaze running over its relief line. The father, presumably, stands on the right in himation and wreath, his right hand raised, a staff in left. B. A man with staffstands frontally between two women in chitons, and all wear long himatia. The leftmost woman also has a disk earring and a sakkos with dotted tie string holding her chignon; the rightmost has a doubled fillet. Poses are similar on A and B. Contour stripe. Everywhere, very thin along top of right hand of woman on A, and she has an additional contour stripe on top of her head inside the hair line. Relief contour. Several times it is embedded in the background glaze. On A for woman's forehead, nose, chin, right arm and fingers (not thumb or top of hand), lower side of left wrist, thumb and index finger, toes of forefoot, body and foot of oinchoe; youth's forehead, nose, chin, lower side of right arm, front of neck, left hand (except knuckles and edges of chlamys beside hand), phiale, spears; man's forehead, nose, lower side of right arm, edges of staff by knee. On B for left woman's chin; man's forehead, nose, and top of staff; right woman's forehead, nose, and lower side of right forearm. Inner drawing. Relief line on A for eyes and brows, most folds, clasp on chlamys of youth, some muscles, two lines across lower end of his scabbard, central rib and two lines at base of spearhead; on B for eyes, brows, folds, muscles, left woman's earring, tie string of sakkos. Dilute glaze on A for some muscles, hair at back of neck of woman and youth; on B for back of women's necks and a little hair there, chiton folds at ankles of left woman, line between two sections of fillet of right woman. Red (faint). On A for wreath of man. Stain of probable

The Los Angeles County Museum of Art (1) red for wreath of youth on A and man on B, and for wine from oinochoe and phiale on A. Preliminary sketch. Faint but visible throughout. Graffiti. Incised twice on convex center of underside of foot:

The same graffito, twice, appears on the stamnos Louvre G 415 by the Painter of the Louvre Symposion (Philippaki, The Attic Stamnosfig.16; ARV2 1070, 2). Bibliography: Beazley, ARV2 485, 31, ARV1 318, 25, AV 301 no. 20; Johnson, AJA 49 (1945) 499-501, fig. 17; Cat. SothebyMay 14,1946p. 6 no. 34 (Brooks); Johnson, AJA 51 (1947) 245-247; Clement, Hesperia 24 (1955) 15-16 no. 10, pis. 7d-f, 8; Weill, BCH 86 (1962) 83.

Plate 27,1-2 ATTIC RED-FIGURE 50.8.24 (A5933.50-30). pkuke. By the Sabouroff Painter [Beazley]. About 450 B.C. Gift of William Randolph Hearst, 1950. Once owned by Calefatti (from Nola), Holland, Sir John Evans. H. 22.0 to 21.7 cm.; D. of mouth 12.0 cm.; D. of body 16.0 cm.; D. of foot 12.3 cm. Mouth convex; handles segmental in section. Incised line between body and disk foot which is lipped at top. Unbroken. Small chip in mouth on B.

Attic

Red-Figure

Subsidiary decoration. Entire vase black inside (dull and streaky), and outside except for the pictures, a band of dotted-egg with relief-line borders above the pictures on A and B , and the lower edge and underside of foot. The groundline is partial on B , nonexistent on A. A. A woman (chiton with long overfall and dotted hemline near ankles) standing behind a chair (klismos) offers a scarf to a youth (himation) who faces her. The painter was confused as to the direction of the folds above her breasts. B . A woman (long chiton with dotted hemline near ankles, himation, sakkos) pours a libation from her phiale over a flaming altar. The altar has a volute on each side of the top, dots between horizontal lines on the molding below, and a one-step base. The left side of the base is badly smeared with traces of the painter's fingerprint. Contour stripe. Missing on A below feet of both figures and above youth's front foot. A relief line cuts short the back of the woman's skirt above its contour stripe, and background black between the stripe and the new bottom of the skirt was never applied. Relief contour. On A for woman's neck, hands and arms, front above arms; rear heel of both figures; youth's right (front) leg. On B for left side of altar (partly within contour stripe), left shoulder of woman. Inner drawing. Relief line on A and B for eyes, brows, and most folds on each figure; anklebones of youth, earring of woman on B , molding and base of altar. Dilute glaze on A for mouths, dot border (stitchline) on woman's chiton hem, fifteen stripes on chair seat (continuing below onto its contour stripe), youth's himation borders; on B for contour of chin, neck, rear heel, himation borders, chiton folds, left side of phiale, right volute on altar, a line at lower edge of its base. Red (faint). On A for woman's fillet (arranged in three horizontal and two vertical lines). Stain of probable red on A for wreath of youth, on B for flame on altar, libation from phiale. White (faint). On A for sash with two strings at each end. Preliminary sketch. Visible mainly on A for woman's arms, youth's nude contours beneath the drapery. A similar woman (without the altar) appears on B of the Nolan Munich 23 42A also by the Sabouroff Painter (CVA 2 pi. 59, 2; ARV2 842, 118). Bibliography: Beazley, ARV2 843,134, ARV1 564, a5; Gerhard, Apparatus xxiii.31.1; Cat. Sothehy July 29, 1946 p. 16 no. 165 (Evans); Clement, Hesperia 24 (1955) 17 no. 1 3 , pi. 9a-b.

29

Plate 27, 3-4 ATTIC RED-FIGURE 50.8.7 (A5933.50-13). pelike. B y the Biscoe Painter, his name vase [Beazley]. About 440 B.C. Gift of William Randolph Hearst, 1950. Once owned by W . E. Biscoe, Marshall Brooks. H. 24.6 cm.; D. of mouth 14.5 cm.; D. of body 19.0 to 18.8 cm.; D. of foot 13.0 cm. Convex mouth, ribbon handles, incised groove between body and disk foot. Right handle broken and mended. Large cracks on underside of foot. Subsidiary decoration. Interior streaky black. Handles black, dotted-egg with relief line below the base of each. Above the picture on A , a lotus-palmette border, on B addorsed diagonal palmettes, both borders with relief line. Below the picture on A and on B , a strip of meander in threes alternating with dotted crosses whose upper and lower edges are the thick black framing lines; an extra cross square at the right on A. Vertical edge and underside of foot are reserved. A . Dionysos stands between a maenad and a satyr who plays the auloi. The latter's pointed ear is set low toward the back of his head (the pointed reserved areas in his hair belong to the wreath). Dionysos (long chiton with sleeves, himation) holds his thyrsos and a kantharos that must be nearly empty since he pays no attention to keeping it level. The maenad (sleeved chiton with long overfall hanging in heavy folds below the waist like a peplos, and animal skin girt at waist) prepares to fill the kantharos from a tilted oinochoe in her right hand while her left holds a torch. All are wreathed with ivy. B . Three himation-clad youths converse. The rightmost has a staff. Contour stripe. Apparently missing on B for left youth's back below waist, between his feet, a section above waist of central youth. Relief contour. On A for satyr's neck, most of face, auloi, back, chest; Dionysos* forehead and nose, back of neck, part of thyrsos staff, small parts of himation on his right side; maenad's neck, most of face, oinochoe mouth, most of sides of torch. None on B . Inner drawing. Relief line on A for most features, folds, tail of satyr, leaves of wreaths; on B for eyes, brows, fingers, toes, and folds. Dilute glaze on A for ends of hair of each, some spots on maenad's animal skin, satyr's pubic hair; on B for edges of hair and himation borders. Preliminary sketch. Quite deep and visible on all fig-

30 ures, especially complete on A. A fillet sketched for Dionysos was overpainted with black and color never added. Both sides of the painter's stamnos Louvre G 531 (CVA 4 pi. 21, 9-10; ARV2 1063, 4) are similar, particularly the two left figures on A. Bibliography: Beazley, ARV2 1063, 2, ARV1 718, l , JHS 47 (1927) 147; Passeri, Picturae Etruscorum 207-208; Cat. Sotheby May 14,1946 p. 7 no. 45 (Brooks); Clement, Hesperia 24 (1955) 17 no. 14, pi. 9c; Maule, A]A 75 (1971) 89-90, pi. 24,16.

Plate 28, 1 - 7 A T T I C RED-FIGURE 51.15.1a (A5933.51-108). VOLUTE-KKATER. By the Painter of London E 470 [Corbett]. About 450 B.C. Gift of William Randolph Hearst, 1951. Once owned by the Duke of Buckingham, Eileen A. Craufurd. H. from bottom of body to top of mouth 41.1 cm.; restored D. ca. 31.6 cm. Mouth with concave side, top of neck offset and concave. Tooling at junction of neck and shoulder. Put together from many pieces; gaps filled with terracotta fragments, apparently of modern manufacture, and some joints filled out with plaster. Parts of surface, particularly in reserved areas, are damaged. Parts of one handle and almost the whole of the other are modern. Foot lost and now replaced by a plaster cast of the foot of London E 470. P. E. Corbett had noted that the first restorer's foot was alien; it was in fact concocted out of two feet from Italiote vases and a coupling-ring of the restorer's own fabric. The first restorer had also attached to the picture on B the fragments 51.15.1b. The once extensive restorations of pattern-work and of figure-work have been removed. Glaze has misfired; its color varies from black to greenish black to greenish tan, and much of it (including most contour stripes and relief contours) fired red. Subsidiary decoration. Interior of body plaster-covered. Interior and lower part of exterior of neck glossy black. Top and underside of mouth, inner surface of voluted member of handles, and upper section of neck opposite handles reserved. On side of mouth dotted-egg with single framing line at top, double at bottom. On offset top of neck (stopping under handles) lotus and encircled palmette with berries between fronds on some palmettes, double framing lines top and bottom, left and right.

The Los Angeles County Museum of Art (1) Tongue-and-dot at shoulder (stopping under handles) with the dot on the vertical separator, single framing line at top, double at bottom. The like pattern at handleattachments on body, but with double framing lines top and bottom. In the handle-area, diagonal encircled palmette with scrolled lotus. On the flat sides of the voluted handles, double ivy leaf with single framing lines. Below pictures, meander in threes alternating with checker squares. The subsidiary decoration is mostly relief contoured. A. Menelaos attacks Helen. T o the left, an alarmed companion of Helen runs away; to the right, Apollo prepared to give sanctuary. Helen is entirely lost; Menelaos' falling sword was never rendered. He has a helmet, shield, cuirass with lappets (pteryges), and short chiton. On his helmet crest are faint stripes, at his cuirass neckline a band of roundels between double framing lines, and on each shoulder flap a star. An undecorated band appears at the bottom of the helmet's nape-piece, at the lower edge of the left and at all edges of the right shoulder flap, for the corslet belt (with double framing lines top and bottom), and around the shield's rim (traces of red in slightly incised compass-drawn lines). On the band for the shield's arm-bracket is a zigzag pattern between double framing lines. Lines across and by the anterior edge of Menelaos' biceps perhaps belonged to the arm-bracket (in some degree like that by Douris on I of the cup Vienna 3694, CVA 1 pi. 9, 1; ARV2 425, 427, 3). Helen's companion wears chiton, himation, and taenia. Her left thumb is preserved, and the contour stripe for her outspread left hand remains at the corner of the fragment above the preserved parts of her hand. Apollo has a branch, doubtless of laurel, in his right hand and a bow (no string drawn) in his left; he wears himation and laurel wreath. B. A symposium with two couches and a three-legged table in front of each (on a leg of one table three studs in a triangle, on the other table a row of five). T w o symposiasts on the leftmost couch, a tip of drapery of one of the presumably two others who occupied the right couch, a servant at the left side, and a woman (perhaps playing the auloi for the men?) between the couches complete the picture. For the servant, probably a boy, the left wrist and hand with a strainer are preserved. The leftmost symposiast rests his left elbow on a pillow decorated with prickle-pattern and a band of egg-pattern between double framing lines. In the area of black background between the diners (below the right diner's outstretched right arm) are the strings and part of the right arm of a lyre (hanging on the wall behind). The strings (four parallel relief lines

Attic

Red-Figure

o f unequal length, inclined slightly to left o f vertical) are entirely contained within the area o f black. The section o f arm is a vertical reserved strip bounded by relief contours within contour stripes ending at the anterior edge o f the right diner's himation. The box o f the lyre is presumably concealed behind the right diner. O f the woman between the couches only the bare feet, facing right, and the lower edge o f her chiton are preserved. O n the right couch there remains for the left diner only a splaying end o f drapery over the left end of his striped cushion. A t the base o f the right couch's left leg is a small area bounded by relief line; it has the appropriate profile and is probably (as suggested by Corbett) the bottom o f a stand placed behind the couch. Relief contour. O n A for face, neck, back o f hair, right hand, and left thumb o f Helen's companion; Menelaos' right hand (excluding thumb), front o f helmet, forehead, crest (flaked and disintegrated), edge o f cuirass and chiton to left, section of chiton between legs. O n B for all preserved contours (except part o f stand base by left leg o f right couch, and right foot o f left table). Inner drawing. Relief line on A for most o f the inner detail o f all three figures. O n B relief line for most inner detail, dilute glaze for stripes o f right pillow.

31 Maximum height 3.8 cm.; maximum width 6.7 cm. Glaze misfired; its color on exterior varies from black to greenish black to greenish tan; small areas are light red. Glaze on interior has fired red. The clay is red. A youth's head to right; aryballos, strigil, and perhaps a sponge, the first two certainly hanging from hooks attached to the top o f a stand. Tongue-and-dot above double framing lines, the dot on the vertical separators between tongues. The implements and stand are enclosed by a relief line and a contour stripe, both everywhere overrun by background glaze. They bear little relation to the present drawing and seem to represent an abandoned version. The roughly triangular section of reserve at lower left by the aryballos is itself contoured by a relief line and may represent part o f a sponge. This two-piece fragment cannot belong to the volutekrater 51.15.1a. The preserved parts o f tongue-pattern and of picture on side B o f the volute-krater are sufficient to assure, for any possible position o f the two-piece fragment, the appearance o f the lower part o f the lampstand on which aryballos and strigil hang. The stand bottom by the left leg o f the rightmost couch on the volute-krater cannot be associated with the stand top which has aryballos and strigil, for in that case the youth's head would

Preliminary sketch. O n A a considerable amount for Menelaos and Apollo, less on Helen's companion; on B extensive remains for two diners on left couch.

be positioned over the preserved feet and skirt o f the flute

The profile o f the forward edge o f the helmet's cheekpiece is not unlike that o f the "Thracian" helmets on the fragmentary loutrophoros N e w Y o r k 07.286.70, by the Painter o f Bologna 228 (Richter and Hall, Red-figured Athenian Vases no. 81, pis. 83-84; ARV2 512, 15).

the same painter is alike in every detail. P. E. Corbett

Bibliography: Beazley, ARV2 6 1 5 , 1 ; Cat. SothebyJanuary 17-18, 1951 p. 22 no. 168, pi. 3; Ghali-Kahil, Les enlèvements 88 no. 65, pl. 62, 2; Clement, Hesperia 24 (1955) 23, Los Angeles County Museum Bulletin 9 (1957) 5-15 and plates, Hesperia 27 (1958) 56 note 46; Farnsworth, Archaeology 12 (1959) 248, fig. 10; Brommer, Vasenlisten2 294 no. 8, Vasenlisten3 407 no. 7.

no. 3.

girl. The head on the two-piece fragment seems certainly to be male: the youth arming on A o f London E 470 by was the first to note that the two-piece fragment does not belong with the rest. Sir John Beazley suggested that it is in fact part o f a companion piece to the volute-krater. It should now be added to the painter's list ARV2

615 as

Plate 29 A T T I C RED-FIGURE 50.8.6 (A5933.50-12).

COLUMN-KRATER.

B y the Syracuse

Painter [Beazley]. About 470-450 B.C.

Plate 28, 8 A T T I C RED-FIGURE 51.15.1b. Fragment o f two joining pieces, once restored to side B o f the volute-krater 51.15.1a in such fashion that the head on the fragment became that o f the leftmost diner on the volute-krater. B y the Painter o f London E470.

Gift o f William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks. H. 40.8 to 40.4 cm.; H. with handles 41.1 cm.; D . o f body 32.4 to 32.0 cm.; D . o f mouth 34.2 to 33.2 cm.; D . o f foot 15.4 cm. T o p o f mouth convex. Fillet between body and foot, which is in two degrees, the lower bigger. Handles mended. Surface much eroded, especially on B. Subsidiary decoration. Interior o f body matte black

32

The Los Angeles County Museum of Art (1)

(except underside o f shoulder), inside of neck and top o f mouth glossy black. Ivy on vertical side o f the mouth. Underside of mouth's overhang and neck behind it unglazed except under the handles where black continues up the neck until it reaches the underside o f the mouth. Handles black except underside o f lug part. O n neck o f A and B, dotted lotus-bud chain with relief line. Pictures framed by tongue-pattern above, ivy on the sides, a reserved groundline below. A red stripe circles the vase just below picture zone, partially overlying the reserved groundline. Rays (47) at base of body. Lower edge and underside of foot reserved.

Bibliography: Beazley, ARV2 518, 2, ARV1 352, 6, VA 106 no. 112; Tischbein, Collection of Engravings IV pi. 41; Lenormant and de Witte, Él. Cér. Ill 259, pi. 95; Cat. Christie July 23,1917 p. 11 no. 48, pi. 2 (Hope); Hoppin, Handbook II 98 no. 56; Reinach, Répertoire II 330, 1 (his reference to Inghirami 1 1 8 is an error: so Tillyard); Tillyard, Hope Vases 74 no. 125, pi. 20; Cat. Sotheby May 14, igq6 p. 6 no. 33 (Brooks); Clement, Hesperia 24 (1955) 14-15 no. 7.

A . Hermes chases one woman while another flees to the left, and an elderly man looks on at the right. Presumably the figures are Herse (the pursued), Aglauros, and Cecrops (El. Cer., infra). Herse (sleeved chiton, himation, fillet) rushes to the right with a giant step, left leg forward. Her concealed left hand holds up her skirts to facilitate her flight, and she looks back toward Hermes (short chiton with kolpos, chlamys, petasos) who has almost caught her. His left hand passes behind her shoulders, his right holds the kerykeion in front o f her, and his advanced left foot (clear from the preliminary sketch) is hidden by her garments. Behind Hermes Aglauros (dotted chiton with sleeves and double black vertical border, himation, and fillet), partly cut offby the side frame, looks back as she runs. The old king Cecrops on right (long chiton with sleeves, himation) holds a scepter with lotus finial in his right hand.

A T T I C RED-FIGURE

B. Conversation, youth between two men in himatia. Relief contour. On A for Aglauros' face, neck; Hermes' petasos, kerykeion, face, right wrist; Herse's face (double line for forehead and nose, one line within contour stripe), neck, right chiton sleeve below elbow, and edge of himation below right arm (within contour stripe); Cecrops' right hand, scepter staff, face (except forehead). On B for right man's right forearm, top o f chest. Inner drawing. Relief line on A for facial features, inner contours, most folds, Herse's fillet; on B for eyes, brows, some folds, lower edge o f left man's beard, mustache and front of beard of right man. Dilute glaze on A for some garment borders, dots and upper folds o f Aglauros' chiton, Hermes' chitoniskos outline, muscles in his arms and legs, Herse's upper chiton folds, Cecrops' lower chiton folds, hair, and beard; on B for some folds, mouths, himation borders. White. O n A for some hairs on top of Cecrops' head. Preliminary sketch. Very deep and complete on A g lauros and Hermes, present but less conspicuous on others.

Plate 3 0 , 1 - 3

48.25 (A5890.48-1).

COLUMN-KRATER.

B y the Leningrad

Painter [Beazley]. About 470-450 B.C. Gift o f j a c o b Hirsch, 1948. Once owned by E. P. W a r ren, Tipping, Vladimir Simkhovitch. From Agrigento. H. 44.4 to 44.1 cm.; D . of mouth 37.4 to 37.0 cm.; D . of body 35.3 to 34.3 cm.; D . of foot 19.2 to 19.0 cm. Top o f mouth slopes upward to inside. Foot in two degrees with tooling between the degrees and between body and foot. Several chips mended; handle right of A broken and repaired at bottom and near top, a large piece missing at top. A patch of ivy repainted on lip to right of each side and on left o f B. A small neat hole (D. of 2 cm.) pierces center of bottom. Subsidiary decoration. Inside of neck and body a worn dull black. Handles black with inner sides painted very streakily, underside of lug part reserved as also inner side of lip overhang and top of neck behind it. O n top of each handle a palmette with scroll and ivy leaf; lotus-bud chain with dots in the interstices around top o f mouth; ivy on side of mouth. O n neck of A lotus-bud chain with dots in the interstices; neck of B black. Tongue-pattern framing pictures at top of shoulder, cut off on ends by side borders o f ivy. Below pictures a wide reserved band on A , narrow on B. Both bands have a thick black line along the top, and along the bottom a red stripe (partly stain) which circles the vase. This red stripe is mostly over the reserve on B and over black on A. At base are rays with red stripe along top of the reserved area. Relief line in lotus pattern and between tongues on shoulder; thick black framing lines on all pattern bands. Foot black with underside, lower half of lower degree, and toolings reserved. A . Symposium with a youth between two men, all wearing himatia fallen to the hips. Sharing one couch, the

Attic Red-Figure youth and right man clasp wrists. The other man, on a couch of his own (cut off by the side frame), passes a sixstringed lyre toward them. The two men each hold a kylix, the right reserved, the left black with the stem and foot omitted (though clearly intended). The left man's right pectoral runs across his left arm, and fold lines cross the black bowl of his kylix. The right man's wreath crosses his reserved fillet diagonally. Hanging on the wall are a kylix and a basket (?) covered by a cloth. The couches each have a three-legged table in front, and a low stool lies below the right one. Aeolic capitals adorn the couch heads. The two adjacent couch legs share one base. Visible parts of the tables are alike except that the panel near the top of the right leg is plain on the right table, striped on the left. The hanging end of the left man's himation is apparently hidden behind the striped panel. The left leg of the right table ends in a hoof. Its right leg is cut off prematurely by the groundline that slopes upward at this end of the panel. B. Komos. A youth plays the auloi for a youth on each side of him as they all proceed to the right. Each wears only himation with the right shoulder bare. Contour stripe. Missing only for stool below right table on A. Relief contour. On A for left man's face, neck, shoulders, right side and arm, lyre (except ends of arms); on other figures all (except hair and ends of himatia below table and drapery over man's thighs and stomach); bowl of kylix in field, right man's kylix (except left side and handle); youth's pillow, underside of right couch, all couch legs (except part of rightmost), top of shared base for couch legs, top of footstool, tables (except left foot and top of right end of right table, and left side of panel at top of leg of left table). On B for left youth's left forearm, rear calf, and part of each shin; back of central youth's neck, part of front calf, part of underside of right forearm, ends of auloi. Inner drawing. Relief line on A for folds and inner contours, muscles, reserved fillet of right man; on B for folds, muscles, cheek of middle youth. Dilute glaze on A for some folds on left man, edges of hair and beards, muscles, contour and handles of left man's kylix, fuzz on cheek of youth, line across reserved fillet of right man, foot of kylix on wall (a circle in center of bowl), stripes on mattresses and pillows, on cloth covering basket on wall, and on panel at top of left table leg; on B for some muscles, folds, ends of hair, finger divisions on left and right youths, lower himation border of central youth, chin contour of right youth.

33 Thick black. Dots along top of hair contour of all on A. Red. On A for fillet of left man, wreaths of youth and right man. On B for fillet of central youth, wreath of right youth. The painter's krater Trieste S 391 (CVA Italy 43 pi. 1; ARV2 567,2) has the same boxlike footstool and the cloth hanging on the wall. For the latter see also the chair drapes on a Stanford pelike (17410) and kalpis (17412), both by undetermined early mannerists (Webster, A]A 69,1965, 64, pis. 17, 5 and 19,6; Paralipomena 390). Compare musicians (cheek and hands) on our krater and that of the Pan Painter in Syracuse (inv. 12781, Der Pan Maler pis. 29, 2 and 30, 2; ARV2 551, 16), and also his collarbones ending in hooks like the hooks of the right man on our side A. Bibliography: Beazley, ARV2 567, 3, ARV1 373, 3, AV 247 no. 21, VP no. 80; Cat. Parke-Bemet April 24, 1943 p. 9 no. 50 (Tipping); Feinblatt, Los Angeles County Museum Bulletin 2 (1949) 15-17, fig. 1-2; Clement, Hesperia 24 (1955) 17 no. 12.

Plate 30, 4-6 A T T I C RED-FIGURE 50.8.31 (A5933.50-37) COLUMN-KRATER. Related to the Boreas Painter and the Florence Painter [Beazley]. About 460 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir John Coghill, Thomas Hope, Viscount Cowdray. H. 36.35 to 36.0 cm.; D. of body 28.4 to 28.2 cm.; D. of mouth 30.8 to 30.5 cm.; D . of foot 14.6 to 14.4 cm. Top of mouth slightly convex; lip overhang continues behind handles (somewhat squashed left of A). Incised groove between body and foot, which is in two degrees, the lower bigger, with tooling between. Handles broken and mended, several chips in rim. Seven pairs of holes, presumably ancient, are drilled through the wall on opposite sides of a horizontal crack much of the way around the lower part of the body; of these fourteen holes at least nine are visible on the exterior face and have been plugged with plaster and repainted in modern times. One hole inside has the stub end of a lead rivet. Surface cracks in field between heads of left satyr and Dionysos. The color of the reserved areas varies from orange to reddish. Subsidiary decoration. Worn black on interior of neck and of body (matte) except underside of shoulder. Mouth

34 overhang reserved on the inner side as is top of neck behind it. Vertical handles black, the underside of the lug part reserved. On top of each handle a large palmette with side spirals, around top of mouth a lotus-bud chain with dots in some of the interstices. The same pattern on neck of A with buds a bit elongated; neck on B black. Ivy (rows of dots) on vertical side of mouth and on sides of the pictures on A and B . Above the pictures a tonguepattern, below a very diluted thin black line and a reserved band in part overrun by background black. Body below groundline black with red stripe at top. Relief line in tongues and in lotus-buds on neck. Foot black with underside, lower half of lower degree, and toolings reserved. A . Perhaps preparations for the Return of Hephaistos (Webster). A Dionysiac procession moves to right with Dionysos between two satyrs. The leading satyr plays the auloi as a bearded and bald midget satyr, complete with tiny thyrsos in left hand, rides on his shoulders. A pair of plugged repair holes appears between the legs of the large satyr. Dionysos (long chiton with sleeves, himation) looks back and carries a thyrsos and a kylix. His right foot and swirling chiton overlap the feet of the balding satyr behind him who leads a mule (cut off behind the forequarter by the frame of the picture). The satyr holds the reins near the ends with his left hand, and at the bit with his right. The mule's right ear is back, his tongue protruding under the pressure of the bit, and neither foot actually touches the ground. Except for the midget, all figures are wreathed, the leftmost clearly with ivy. B . Conversation between a man and two youths, all in himatia, the rightmost with a staff. Contour stripe. Diluted in places, notably at end of right satyr's tail. Relief contour. On A for mule's lower chest, left satyr's right buttock, Dionysos' forehead and nose, right satyr's face, fingers, left hand, part of right arm, upper back of right calf, auloi, midget satyr's back above and below tail. Inner drawing. Relief line on A for most inner contours and facial features, folds in Dionysos' garments and leaves on his thyrsos; on B for eyes, brows, and folds. Dilute glaze on A for a f e w muscles on satyrs' legs, handles and stem of kylix, hair of left satyr and midget, ends of hair and beard of Dionysos and right satyr, lines on tail of left satyr, mule's bridle (outlines in relief line) and inside of ear; on B for mouths, noses, and himation borders. Red. On A for wreaths (Tillyard claims they are white,

The Los Angeles County Museum of Art (1) wrongly). On B a meaningless line running across right youth toward man at knee level. White. On A for some of leaves on thyrsos (mostly stain). Bibliography: Beazley, ARV2 540, ARV1 344; Millingen, Coghill 39 pi. 4 1 ; Inghirami, Pitture di vasijittili III 1 3 0 - 1 3 1 , pi. 268; Cat. Christie July 23, 1917 p. 13 no. 62, pi. 2 (Hope); Reinach Répertoire II 14, 3; Tillyard, Hope Vases 76-77 no. 130, pi. 2 1 ; Cat. Sothehy December 2,1946 p. 7 no. 53, pi. 3 (Cowdray); Clement, Hesperia 24 (1955) 16-17 no- n -

P l a t e 31, 1 - 2 ATTIC RED-FIGURE 50.8.28 (A5933.50-34). CAIYX-KRATER. B y the Mykonos Painter [Beazley]. About 460-450 B.C. Gift of William Randolph Hearst, 1950. Once owned by E. P. Warren, F. Devey, Marshall Brooks. From Agrigento. H. 36.45 cm. as restored; D . of mouth 35.9 to 35.2 cm. Torus mouth, top of body offset. Foot broken off at base of body about 29.7 cm. below top of mouth and restored in wood. Floor inside plaster. Handle left of A mended. Entire surface varnished. Subsidiary decoration. Interior of vase glazed (glossy except near bottom) with a reserved band near top of mouth and another about 3.6 cm. lower. On exterior around top of body lotus-palmette with relief line, a reserved band below. Repaint on three palmettes on B . Inner sides of handles and patch beneath reserved. Below the pictures a reserved band and beneath it (between handles) meander in pairs alternating with dotted saltires that are based on the lower black line of the frame. A . Hermes (chlamys, pilos, kerykeion) pursues a w o m an (sleeved chiton with dot border near ankles, himation, and sakkos). She flees with both hands extended palm upward, and a series of curls escapes the sakkos in front of her ear. She is probably Herse. B . A woman on left hastens up and converses with a man (possibly Aglauros and Cecrops), perhaps relating the events of side A. She (chiton, himation, stephane) has just arrived from the left and extends her right arm toward the man (long chiton with sleeves, himation, wreath). In his right hand is a spear. Several long curly locks of hair trail down his left shoulder.

Attic

Red-Figure

Relief contour. On A for Hermes' forehead, brim of cap, back of neck, most o f both arms, back of right (rear) thigh and top o f shin, front o f left ankle, edge o f chlamys on back above waist and in front of right leg, kerykeion (left side overrun by background); woman's toes, right (rear) heel, bottom of left foot, second and third fingers of left hand, neck. O n B for woman's upper arm and most of hand, part of lower side of forearm, heel and toes o f right (forward) foot, bottom o f left foot; short section of man's back beyond ends of hair, right toes, left heel and big toe. Inner drawing. Relief line on A for facial features, folds, and inner contours, very thick relief line for chlamys and himation borders; on B for most folds, facial features. Dilute glaze on B for chiton folds on man, some of longer hair, woman's himation border. Red. On A for tie strings o f Hermes' cap. O n B for wreath of king. Preliminary sketch. Quite noticeable on A for body contours beneath drapery. Bibliography: Beazley, ARV2 515, 7, ARV1 355, ai; Cat. Sotheby May 14,1946p. 6 no. 42 (Brooks); Clement, Hesperia 24 (1955) 15 no. 8, pi. 7a-b.

Plate 31, 3-4 A T T I C RED-FIGURE 50.8.39 (A5933.50-45). BELL-KRATER. B y the Meleager Painter [Beazley]. Early fourth century B.C. Gift of William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 34.4 to 33.7 cm.; D . of mouth 37.0 to 36.5 cm.; D . of foot 17.9 to 17.6 cm. Mouth in two degrees with a wide shallow groove at its base on exterior. Incised groove between body and disk foot lipped at top. Unbroken. Surface much abraded on the right side of B. Subsidiary decoration. Interior good black with a reserved band at top o f mouth and below where mouth begins to flare. On exterior laurel between reserved bands on lower degree o f mouth. Handles black with inner sides and small patch beneath reserved. Dotted-egg with relief line around bases of handles (interrupted by the reserved patches). The contour stripe o f the figure on each end of A overruns the egg-pattern. Beneath the pictures on A and B a band of meander in fours (threes at right end of A and B) alternating with checker squares. Each band has

35 double framing lines on all sides (mostly covered by background black at ends). Reserved stripe between body and foot which is black with Up, lower edge, and underside reserved. A. Symposium with five diners in almost identical poses except for their right arms and heads. The three youths and two men, each wreathed and wearing himation fallen below waist, recline to left on one long couch (or two adjoining?) with three legs visible and no mattress. Each rests his left arm on a striped pillow. The first and fourth from the left turn their heads to the right. T w o three-legged tables, drawn with an attempt at perspective, bear food and fillets. The rightmost object on the right table is an aryballos with the mouth reserved. B. Eros between two naked youths facing him, all filleted. Each figure holds one hand forward and one foot behind. Eros and the right youth face each other, both apparendy holding something. The object in front of Eros at knee level could be a suspended aryballos. O f the youth on right only his fillet, his forward foot, and parts of his right forearm and hand remain intact. The background overruns the lower abdomen of the leftmost. Relief contour. On A for faces, necks, and parts of right arm of each figure, couches, tops and undersides of tables and most o f legs (except central leg of right table). None remaining on B, apparendy flaked off of face and right arm of Eros and face of left youth. Inner drawing. Relief line on A for folds, muscles, leaves on wreaths; on B for anatomical marks, some wing feathers. Dilute glaze on A for some pillow stripes. White and yellow. O n A for wreaths and for seven objects (fruits, cakes) and three hanging fillets on each table; white for three raised dots (perhaps a flower) at fingertips of right hand of rightmost diner; yellow for three groups o f decorations (probably garlands) hanging from reserved framing band above first, third, and fifth figures. White on B for fillets. The painter's krater Reading 45.viii.i ( C V A pi. 26, 2; ARV2 1411, 37) with similar scene has the same decorations above the picture on A , and his krater Brussels A196 (ARV2 1411, 35) has the same subject on each side. T o these Bothmer adds the krater ARV2 1411, 33 now illustrated in Cat. Sotheby December 3,1973 pi. 33 no. 140. For garlands hung on walls see Robinson, Olynthus VIII 301. Bibliography: Beazley, ARV2 1411, 34; Cat. Christie July 23,1917 p. 18 no. 103b (Hope); Tillyard, Hope Vases 93 no. 154; Cat. Sotheby December 2, 1946 p. 7 no. 62 (Cowdray); Clement, Hesperia 24 (1955) 20 no. 23.

The Los Angeles County Museum of Art (1 )

36

Plate 32, 1-3 A T T I C RED-FIGURE 50.8.34 (A5933.50-40). BELL-KRATEH. B y the Nostell Painter [Beazley], Early fourth century B.C. Gift o f William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Viscount Cowdray. H. 34.2 to 33.6 cm.; D. of mouth 37.9 to 37.7 cm.; D . of foot 20.1 to 19.5 cm. Mouth in two degrees with a wide shallow groove at its base on exterior. Incised groove between body and disk foot lipped at top. Large piece of mouth and body broken and mended on B without restoration o f picture; small hole and chip on inside wall to right o f A near handle attachment. Subsidiary decoration. Interior good black with a reserved band near top of rim and another below where mouth begins to flare. A large patch of very thinned glaze fired orange on inside floor and wall. O n exterior laurel between reserved bands on lower degree of mouth. Handles black with top of insides and patch beneath reserved; dotted egg-pattern with relief line around handlebases (but not across the reserved patch). Below the handles superimposed palmettes with spirals and leaves on sides. Circling the vase below the pictures, meander in fours (only two below rightmost figure on A) alternating with checker squares; double black framing lines above and below. Thin reserved line between body and foot which is black with lip, lower edge, and underside reserved. A . Symposium. A girl (chiton with small circles, blackbordered himation, earring—no bracelet, pace Tillyard— checkered sphendone and stephane with three spikes in front) stands playing the auloi between two couches each carrying a youth and a man. The banqueters wear elaborate wreaths decorated with spirals and ivy leaves, and himatia fallen to the waist. All recline to left, each with a striped pillow (knobbed at the ends) under his left arm, and all watch the girl. The second from left swings a kylix as in the game of kottabos. The tables in front of the couches are drawn with an attempt at perspective and show all three legs (lion-paw feet) and the voluted panels at the top of each leg. Each table bore at least five objects (loaves, strips of meat or fish, fruits) plus a garland, two on the right table. B. Three youths in himatia. Relief contour. O n A for face, hands, and wreath leaves

of each figure; chest of left man, right arm and most o f right foot of girl, shoulders and arms of right man (except his right forearm), most of right arm of right youth, most o f right table, legs of left table. O n B for big toes of left and central youths. Inner drawing. Relief line on A for facial features (including double eyelids), main body contours, some folds and anatomical marks, wreaths, girl's sphendone, circles on her chiton; on B for eyes, brows, fingers, some folds. Dilute glaze (Tillyard claims it is fine relief line) on A for most hair, many anatomical marks and folds, beards of men, fine stripes on pillows; on B for necklines, facial outlines, feet of all, most folds, two curls at ear o f central youth. Red (faint). O n A for berries or balls in wreaths and spikes on girl's headdress. Stain o f probable red on A for most of the food on tables, and twelve dots (nine o f them grouped in threes) above figures right of the girl. Tillyard claims that there is no added color on this vase. White. Oblong object on right table and dots above it. Stain of probable white for the same on left table. There are a number of bell-kraters with this composition. Compare, for example, Madrid inv. 11020 (CVA Spain 2 III-ID pi. 14, 2; ARV2 1333, 7) by the Nikias Painter. Bibliography: Beazley, ARV2 1422, 2, ARV1 868, 3; Tischbein, Collection of Engravings IV pi. 40; Cat. Christie July 23,19171p. 18 no. 103a (Hope); Reinach, Répertoire II 329, 5; Tillyard, Hope Vases 91 no. 152, pi. 25; Hahland, Studien 72; Cat. Sotheby December 2, 1946 p. 7 no. 57 (Cowdray); Clement, Hesperia 24 (1955) 19 no. 20.

Plate 32, 4-6 A T T I C RED-FIGURE 50.8.37 (A5933.50-43). BELL-KHATER. B y the Telos Painter [Beazley]. Early fourth century B.C. Gift o f William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Viscount Cowdray. H. 34.1 to 33.4 cm.; D . of mouth 36.3 to 35.9 cm.; D . o f foot 18.2 to 17.9 cm. Mouth in two degrees with a wide shallow groove at its base on exterior. Incised groove between body and disk foot lipped at top. A thin tooled line on top of foot at outer edge. Unbroken. The color of reserved areas varies from orange to reddish.

Attic

Red-Figure

Subsidiary decoration. Interior good black with a lopsided disk o f thinned glaze at the bottom. A reserved line on inside at top o f mouth and another below where mouth begins to flare. O n exterior laurel between reserved bands on lower degree o f mouth. Insides o f handles and patch beneath reserved. Dotted-egg at handle bases but not across reserved patch. In the handle-areas a palmette and spirals with contour stripe but no relief line. Circling the vase below pictures, a band o f meander in threes alternating with checkers (four meander squares below handle right o f A ) , a pair o f thin black framing lines above and below. Foot black with lip, lower edge, and underside reserved. A . Unexplained scene, possibly theatrical. T w o satyrs sit below and in front o f a colossal couch (or perhaps a canopy) shown from slightly above. It has a fringed cover and a pillow at each upper corner. A man on left and a woman on right stand on pedestals (the woman's is twotiered) facing the central group. All figures are wreathed. The man and woman wear elaborately decorated chitons. A b o v e the waist on each are crescents and dots and an upside-down embattled lower border. The same patterns appear reversed at the ankles o f the woman's dress; the man's is shorter and has small circles on the skirt, four horizontal lines at the hemline. The woman has an unidentified oval object in her right hand. The satyrs sit on skins that presumably cover rocks, or perhaps a low couch, but nothing actually is drawn. The reserved rectangular area between them was apparently intended to be black as the contour stripe for the hanging edge of the skin at left implies. The right satyr, in rear view, rests his left arm on a pillow. A garment with black border drapes over his right knee and left arm with ends hanging under his left knee and arm. The left satyr rests his left arm on a pointed amphora. A line o f background glaze runs over his right wrist, and the canopy leg overruns his leg. The canopy has a decoration of circles, dots in groups o f three, and horizontal lines. B. Three filleted youths enwrapped in himatia. Relief contour. O n A omitted only for hair and beards, feet o f man and left satyr, man's pedestal, part o f left satyr's right hand and part o f his pelt, drapery over right satyr's right leg, and rectangular object on ground in center. The lines are mostly sloppy, often not following the contour closely and covered by background glaze, and often running out o f glaze at the ends. A relief line n o w covered by background black may have been the original line o f the amphora or o f whatever the satyrs sit on. The

37 line ran from the amphora's point to the pillow. Relief contour on B for chin o f right youth. Inner drawing. Relief line on A for facial features, leaves in wreaths, some folds, some decoration on garments o f man and woman, tail o f right satyr, fringe on canopy, Unes on pillows; on B for eyes and brows, some folds, three pairs o f horizontal lines separating and framing two rows o f four small circles between right and central youth at chest level, and seven circles in a vertical line (the lowest two more conical than circular) between left and central youth starting down from knee level. These lines and circles are presumably doodles. Dilute glaze on A for parts o f hair on each figure, some decorations on man's and woman's chitons, dots on pelt o f left satyr, eyelids o f both satyrs, some decorations on canopy and stripes on pillows; on B for some folds, lower borders o f himatia, mouths, left youth's toes, anklebones, and chin. White. O n A (partially over applied clay and sometimes pinkish, all presumably gilded originally) for wreaths o f each; woman's necklace o f four dots, two bracelets on each wrist, earring, object in right hand; dot above canopy to left o f right pillow; stain only o f two dashes to right o f left pillow. The left satyr's wreath seems to have traces o f gilding still. O n B white for fillet of each youth. Preliminary sketch. Much, done with a sharp instrument that left fine red-purple lines. Something circular was sketched over the left satyr's left calf, perhaps a wreath held in his right hand, but color or glaze was never added for it. A colossal couch with similar cover appears on Naples 2202 (Metzger, Représentations 363 no. 41, pl. 48,2) and on Leningrad B 2338 (Schefold, UKVno. 239 pi. 15). Canopies occur on the krater Naples 81393 (Richter, Furniture fig. 606) and on the cup London E 76 (ihid. fig. 608; ARV2 406,1) by the Briseis Painter. A bell-krater by the Telos Painter in the Danson collection at Grasmere (Boardman, Burlington Magazine 108, 1966, 474 fig. 44; Paralipomena 491 : should be no. 2ibis in the Telos Painter's list in AR V2 1426) has pedestals and women dressed like ours. Bibliography: Beazley, ARV2 1426, 23 (wrongly cited as A5933.50-33); Tischbein, Collection of Engravings II pi. 56; Müller and Wieseler, Denkmäler der alten Kunst II 9-10, pl. 49 no. 617; Cat. Christie July 23,1917 p. 15 no. 75 (Hope); Reinach, Répertoire II 305, 1; Tillyard, Hope Vases 91-92 no. 153, pi. 25; Hahland, Studien 56; Brommer, Satyrspiele1 78; Cat. Sotheby December 2, 1946 p. 7 no. 54 (Cowdray); Clement, Hesperia 24 (1955) 19 no. 21; Brommer, Satyrspiele2 82 no. 171.

38 P l a t e 33 ATTIC RED-FIGURE 50.8.38 (A5933.50-44). BELL-KRATER. Associated with the Walters-Dresden Painter by the meander pattern [Beazley]. Early fourth century B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks. H. 34.1 to 33.6 cm.; D. of mouth 35.4 to 35.0 cm.; D. of foot 17.8 to 17.4 cm. Mouth in two degrees with a wide shallow groove at its base on exterior. Incised groove between body and foot in two degrees, upper much taller and lipped at top. Unbroken. Glaze streaky and reddish below pictures and on foot. Subsidiary decoration. Interior black (now glossy only near top) with a thin reserved band where the mouth begins to flare and again at top of mouth. On exterior laurel between reserved bands on lower degree of mouth. Handles black with insides and patch below reserved, egg-pattern around bases (stopping at reserved patches). Two enscrolled palmettes superimposed in handle-area. Below the pictures circling the vase, meander in threes with a dot in center of most, alternating with checker squares ("odd man" at right end on B). Foot black with lip, side of lower degree, and underside reserved. A. Chariot race in the Pythian games. Charioteer (long chiton, laurel wreath) drives a quadriga past the goal post (meta), an Ionic column on a high two-stepped base and with abacus adjoining the reserved band above the picture. He holds a pair of reins in each hand and a goad in his right hand. In the field above and below the horses is a laurel spray with berries, in the upper right field a spray of ivy with berries. A wavy red line below the horses' feet from the laurel to the column may be the finish-tape. B. Three youths in himatia, the left with a staff (background black overrunning his arm at the elbow). In the upper field to right of center a writing tablet. Relief contour. On A for face, neck, left thumb and index finger, lower side of right arm, of hand and of left forearm; chariot axle, parts of wheels, left side of front railing; neck, head, and rear legs above hocks of horse beside white one; back of rear legs above hocks of third horse, his muzzle; small parts of other horses; left side of column below horse's head. On B for big toe of each. Inner drawing. Relief line on A for most folds, features, harness collars, inner contours ofhorses,flutingon column; on B for features, some folds, toes. Dilute glaze on A for

The Los Angeles County Museum of Art (1) some chiton folds, some inner markings on white horse (others lightly incised); on B for himation borders and some folds, chin and mouth of right youths, three lines in center of writing tablet. Red. On A forfinishtape, a hooked ornament between the hind legs of the first two horses, line above bottom step of column. On B for fillet of each. Stain of probable red on A for charioteer's wreath, a pair of reins in each hand, stem of ivy above. White. On A for berries in laurel, first horse, roundels on collars of all and on heads of third and fourth horses. Yellow. On A for harness of first horse. For laurel wreaths as the victor's prize in the Pythian games, see Gardner, Athletics of the Ancient World 36. Bibliography: Beazley, ARV2 1438, top; Tischbein, Collection of Engravings II pi. 28; Inghirami, Pitture di vasi Jittili pi. 276; Cat. Christie July 23, 1917 p. 22 no. 132b (Hope); Reinach, Répertoire II 299, 2; Tillyard, Hope Vases 99 no. 164, pi. 27; Hahland, Studien 72; Cat. Sotheby May 14, 1946 p. 7 no. 49 (Brooks); Clement, Hesperia 24 (1955) 20 no. 22.

Plate 34 ATTIC RED-FIGURE 50.8.9 (A5933.50-15). HYDRIA (KALPIS). By the Io Painter [Beazley]. About 440-430 B.C. Gift of William Randolph Hearst, 1950. Once owned by Thomas Hope, E. P. Warren, Marshall Brooks. H. 29.8 to 29.4 cm.; D. of mouth 13.7 cm.; D. of body 23.2 to 23.0 cm.; D. of foot 11.7 cm. Mouth in two degrees with concave top; disk foot. Vertical handle mended. Below the front of the left handle is a small nick with a chip stuck just beneath it; on the front of the vase, a spall in the lotus chain. Some of the glaze is streaked and greenish, and it has cracked in a few places. Subsidiary decoration. Inside of body and neck reserved except for a black band at top of neck. Top and underside of mouth reserved. Insides of horizontal handles and patches beneath them reserved. Vertical handle and back of vase all black. The picture is bordered on sides by a net pattern, above by lotus-bud chain with relief line, below by a reserved band. Dotted lotus-bud chain with relief line on the front between the horizontal handles. Lower edge and underside of foot reserved. On shoulder, a domestic scene. A woman sits facing right between two youths, and a woman rushes up from

Attic

Red-Figure

39

each side. The central woman (chiton, himation with embattled border below knees, fillet) sits on a stool (diphros) and passes a one-handled cup (diluted black handle, bowl in added color, now only stain) to the youth (himation) in front o f her. He holds out his right hand to take it. A very crooked staff extends behind him. The left youth (himation) stands in back of the seated woman and has a staff in his right hand. Behind him is a wool basket. The women on either end (chiton and himation for both, also a fillet for rightmost) each extend an arm toward the central group. The black background runs over the chiton sleeve of central and right women, but was not completely filled in up to the contour stripe around the back and lower edge of the left youth's himation. Contour stripe. Missing for cup of central woman. Relief contour. Left youth's shoulder, part of forearm; part of right leg of stool. Inner drawing. Relief line for some folds, eyes; dilute glaze for some folds, lower himation border of right woman and both youths. Red. Stain o f probable red for cup bowl of central woman, three vertical and horizontal bands for fillet in hair of central and right women. Similar scenes appear on the hydria Cracow inv. 1473 (CVA Poland 2 pi. 12, 2; ARV2 1116, 44) by the Hephaistos Painter, and on the kalpis Rhodes 13261 ( C V A Italy 10 pi. 5, 3; ARV2 571, 82) by the Leningrad Painter. Bibliography: Beazley, ARV2 1122, 3 (wrongly cited as A5933.50-14), ARV1 390, 3; Cat. Christie July 23,1917 p. 16 no. 84b (Hope); Tillyard, Hope Vases 63 no. 113; Cat. Sotheby May 27, 1929 p. 8 no. 44a (Warren); Cat. Sotheby May 14, 1946 p. 6 no. 40 (Brooks); Clement, Hesperia 24 (1955) 18 no. 15.

Plate 35, 1 - 2

A nude woman between Eros and a youth. The woman, wearing only sakkos, earring, necklace, and bracelets, sits back on a cloak with right elbow on her right thigh. Her left arm leans on the back support, whatever it may be, and she turns to Eros who strides toward her from behind. He is filleted and carries something (a folded garment or tray of cakes?) with both hands. His wings and the carried object lack any inner markings. The youth, filleted with cloak draped over left knee, leans toward the woman and rests his foot on a low stele or the like, his arm on his knee. He offers the woman an object (fillet?) held between his hands, its end drawn in his left hand but otherwise incomplete, and her right index finger is crooked as though receiving it. A thin swath of background glaze overlies his buttocks flattening the profile there. Relief contour. Left leg of woman, youth's right upper arm and left ankle. Inner drawing. Mostly relief line, some dilute glaze for hair at ear o f woman and some o f hair of youth, folds in woman's sakkos. Applied clay in relief. Fillets on youth and Eros, and jewelry on woman, with gilding remaining on fillets o f youth and Eros and on right bracelet o f woman. Added color. N o traces remain, but perhaps it has completely disappeared, since Eros' wings and the various draperies (on the youth, beneath the woman, and carried by Eros) lack inner markings and seem unfinished, which is unlikely since gilding was applied. Preliminary sketch. Visible on legs, arms, body, and cheek o f youth; woman's arms and legs, cloak (presumably fold lines); Eros' wings.

A T T I C RED-FIGURE 36.11.3 (A4110.36-3). TREFOIL OINOCHOE quarter of fourth century B.C.

mended, handle and other missing parts restored in plaster. The black is solid and lustrous, but cracked in a few places. Subsidiary decoration. Interior of body a very thin and streaky black with a few big drops of thick glossy black. Entire exterior of vase and inside o f neck glazed except figures and a band of dotted-egg with relief line framed by pairs of relief lines. Underside o f foot reserved.

(CHOUS).

Second

Gift of Mary M . Edmunds, 1936. Once owned by Mary M . Edmunds and George F. Edmunds. Probably purchased by Marsh from the Naples Museum in 1872. H. of mouth (left o f picture) 19.3 cm.; D . of body 14.3 to 14.1 cm.; D . of foot 10.1 cm. Trefoil mouth with front lobe straight; convex foot. Much broken and

A n Eros similar to ours but in the pose o f our youth appears on a hydria in the workshop of the Washing Painter from the Eridanos necropolis (Schlorb-Vierneisel, AM 81,1966, 42 pi. 34,land 5). Compare also the pelike London E 435 (Schefold, UKV no. 514 pi. 72) for the woman's head, the chous Louvre G 575 (van Hoorn, Choes and Anthesteria fig. 280) for shape and the youth, and the chous Leningrad 14442 1904 (ibid., fig. 374) for the wings.

4°

Plate 35, 3-4 A T T I C RED-FIGURE 50.8.10 (A5933.50-16). LEKYTHOS. B y the Oionokles Painter [Beazley]. About 480-470 B.C. Gift of William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 23.6 cm.; D . o f mouth 4.9 cm.; D . of body 9.1 cm.; D . o f foot 5.6 cm. Echinus mouth, lipped on inside. Toolings between mouth and neck, neck and shoulder. A fillet formed by two incised lines between foot and body. Disk foot slightly lipped at top. Unbroken except for a chip on right side of mouth. Black glaze much disintegrated on left side of back of vase between the border patterns. Subsidiary decoration. Inside o f mouth black extending about a centimeter down inside of neck, top o f mouth reserved. Dotted-egg pattern at the base o f the neck; lotus and palmette scroll with relief contour on shoulder. Back of vase plain black except for the meander borders that circle the vase above and below the picture. The meanders are in threes alternating with dotted saltires and crosses which adjoin (in the lower border only) the topmost of the framing lines below. In the upper border one dotted saltire square at the left is based on the framing line. In both meander borders the "odd man" is at the handle. Body below meanders and top of foot black. Side and undersurface of foot reserved. A man with sword pursues a woman, perhaps Hermes and Herse (so Tillyard). "With a forward lunge the man (chlamys fastened with a pin at shoulder, petasos, winged boots, fillet) grabs the woman's shoulder with his left hand, draws back his sword in right hand. She (chiton, black-bordered himation with the ends draped over her left forearm, kerchief decorated with saltires), still running rapidly, looks back and stretches her right hand toward him in supplication, her left in the opposite direction. Three long strands of hair hang down her right shoulder. The reserved groundline is uneven. Contour stripe. Everywhere except lower edge of woman's chiton. Relief contour. Man's face, both arms, right (rear) thigh, front of left boot, ankle, top of foot, sword, petasos; woman's face, both arms, left hand, feet. Inner drawing. Relief line for features and folds, pin on man's chlamys, marks on his boots, sword, saltires on woman's kerchief.

The Los Angeles County Museum of Art (1) Red. Man's fillet and petasos cord, inscriptions. Inscriptions. T o right o f heads o f man and woman respectively:

Jt

A

V

6

£

k.^ V £

The subject is unclear. Hermes does not generally use the sword except when killing Argos. He may appear with one on a black-figured pelike in Chicago (ABV 396, 23) republished by Mrs. Price in AJA 75 (1971) pi. 93,1 where he plays the auloi between two satyrs. For the use o f winged shoes see Yalouris, BCH 77 (1953), especially p. 312 if. Our painter drew the same kind o f beard for a satyr on side B o f his Nolan amphora N e w York 09.221.41 (Richter and Hall, Red-figured Athenian Vases 55 no. 33, pi. 32; ARV2 646, 6). Bibliography: Beazley, ARV2 649, 44, ARV1 439, 37, AV138 no. 24; Buck, Proposals pi. 9; Cat. Christie July 23, igi7 p. 17 no. 91a (Hope); Tillyard, Hope Vases 60-61 no. 107, pi. 15; Cat. Sotheby December 2,1946 p. 6 no. 51 (Cowdray); Clement, Hesperia 24 (1955) 14 no. 6.

Plate 36 ATTIC WHITE-GROUND 50.8.18 (A5933.50-24). WHITE-GROUND LEKYTHOS. B y the

Painter of the N e w York Hypnos [Beazley]. About 425420 B.C. Gift of William Randolph Hearst, 1950. Once owned by Marshall Brooks. From Attica (Vari?). H. 45.8 to 45.5 cm.; D . of mouth 7.1 cm.; D . of body 12.8 to 12.6 cm. Echinus mouth, tooling at top and bottom of neck, segmental handle. Foot modern. Broken in many pieces and restored with a few plaster patches. Many o f the matte outlines have faded considerably or disappeared, especially in the lower portions o f the two youths. Subsidiary decoration. Mouth, neck, and handle black on all sides. Shoulder and body white. Three spindly palmettes and many tendrils on shoulder, bordered above by egg-pattern between framing lines (pattern stops at handle-area). A t top of body running meander with two framing lines on each side. These decorations are reddish brown. Lower part of body black with reddish brown framing band at top. A woman (purple himation around legs and hips,

Attic

Red-Figure

sphendone with decoration o f wavy gray vertical lines) sits to right in front of a tomb. Her hair is the color o f her himation, and a blond child sits on her lap. A mirror hangs above behind her head. The tall stele is crowned by a palmette (crossing the meander pattern above) resting on a pair o f double volutes, and an ovolo necking band tops the shaft. A tiny winged eidolon hovers on each side o f the capital. T o the right of the stele a brown-haired youth with an elaborate basket stands facing the woman. Most of his lowest parts have vanished, but the edge of a garment with purple outline, presumably a himation, hangs in front from his slightly bent knee. The basket has an embattled border near the top, zigzags below. T o the left o f this group a woman (reddish brown hair, girt peplos, and sphendone) stands left confronted by a brownhaired youth leaning on a staff in his right hand, his left hand stretched toward her. Parts o f his himation outline remain in red and gray. Bibliography: Beazley, ARV2 1242, 8; Cat. Sotheby May 14, 1946 p. 8 no. 58, pis. 5-6 (Brooks); Clement Hesperia 24 (1955) 23.

Plates 37, 38 A T T I C RED-FIGURE 50.8.15 (A5933.50-21). r m x TYPE B. B y the Nikosthenes Painter. First associated with this painter (then the "Sleep and Death" Painter) by Braunholtz. Signed by the potter Pamphaios. About 510-500 B.C. Gift of William Randolph Hearst, 1950. Once owned by Caroline Augusta Tulk, Edward Preston, Marshall Brooks. H. 12.3 to 12.1 cm.; D . o f mouth 33.5 to 33.1 cm.; D . with handles 41.5 cm.; D . o f foot 12.5 cm. Torus foot tooled at top and offset from stem by a shallow step. Broken in many pieces and repaired with large parts missing on I and B. Subsidiary decoration. O n the interior a narrow reserved band and black line form the tondo border. A reserved stripe with black line on it (mostly worn off) runs around the top of the rim. O n the exterior below the pictures, a dotted black palmette chain with black framing lines above and below, relief line for tendrils. T w o upright palmettes are together on A below the second centaur and Herakles' companion, the rest alternately up-

41 right and pendant. Undersides o f handles and patches beneath them reserved. A thin black line separates the reserved patch from the reserved line at the rim, and the lower edge o f the patch is relief contoured. Below the handle to the left of A is an ivy leaf, half broken. Below the right handle, a grasshopper facing left, a thick black dot for his eye. Side of foot, resting surface, and inside o f stem reserved, remainder o f underside black. I. A youth places a striped pillow on a couch with a four-legged table beneath. Part of his face is preserved at the edge of the break at top of field. Above the pillow along the break is a contour stripe and a short section of relief line for the boy's left forearm that was behind the pillow. O n the side of the pillow are abraded lines for his right hand. The outer edge of the contour stripe for his right arm remains at the top of the fragment with his torso. A tiny section o f couch remains to the left of the boy's thigh, and its wide legs appear on the edges of the picture. The mattress is decorated with two rows of circles separated by a w a v y line, all running lengthwise. A . Herakles in centauromachy. Herakles (chitoniskos, corslet, baldric, lion skin) and Iolaos or another companion (naked, his Boeotian shield with lizard for its device) fight back to back against three centaurs. Each centaur carries a tree, and a tree grows from the ground between Herakles and his opponent. A cloak and quiver hang at upper right. The tail of the leftmost centaur, interrupted by the handle, continues over the ivy leaf under the handle. The torso of the second centaur is frontal, and he wields his tree with the left hand only. The third centaur, whom Herakles is about to dispatch, falls to his knee preparing to deal a final blow with his tree (held with both hands behind his head). Herakles' left arm reaches to the centaur's shoulder, his hand pressing the centaur down; his right arm is drawn back with sword. His comrade, in partial back view, lunges forward with spear in right hand; his shield passes in front of the second centaur, useless for defense. B. Harnessing the chariot for Athena and Herakles. Parts o f four figures remain on the left. Hermes (chlamys, winged boots, pilos) ushers Herakles (chitoniskos, lion skin, club, quiver and bow) to Athena's chariot which she (chiton, aegis, Attic helmet) boards with her left foot. A fourth figure, represented now only by the plumed Corinthian helmet apparendy pushed back on his head, stood beside a horse being led up from behind (his rump and hind leg visible behind the chariot just in front of Athena). Hermes held in his right hand a kerykeion with

42 head down; his left is extended in front. Behind his rear calf is an end of the chlamys. Two of the scales of Athena's aegis on her shoulder have a double outline. On the far right a groom brings up another horse. His left hand is at its head, perhaps bridling it, his right hand on the neck. The horse's tail is cut by the handle. A bird flies above. The fragment below the horse belongs farther to the left and gives a foreleg of the horse with the groom's foot behind it. A contour stripe running down the left edge of the fragment is probably the contour of the groom's leg. Relief contour. On I everywhere except forehead of youth, top of mattress just behind youth, and all parts of picture contiguous with the framing circle. On A everywhere except bottoms of feet touching the groundline, hair, and beards (vertical relief strokes along lower edges); double relief line on shoulders of rightmost centaur (one line over his hair) and on the horse's back of the first centaur (one line over background black). On B everywhere except soles of feet. Inner drawing. Relief line on I for lines on pillow; on A for most interior lines including saltires on quiver and folds on hanging cloak; on B for circles on lion skin and scales on quiver behind Herakles, scales on aegis and right leg of Athena seen through chiton. Dilute glaze on I for muscles, decoration on mattress; on A for some circles on lion skin and brisdes around its head, rightmost centaur's eyebrow, mustache, and long hair; on B for herringbone pattern on feathers of helmet of fourth figure. Brown wash. For lion skin on B and for plumed helmet cap. Incision. On A for bristles on lion pelt over Herakles' right shoulder; on B for edges of chariot wheel, not coinciding exactly with its relief contour. Thick black. Dots on A along top and back of second centaur's hair; on B a dot on pin at Herakles' waist and dots on border of Athena's aegis. Red. On A for stripes on branches, wreaths of two left centaurs, fillet of right centaur, leaves of branches on tree. On B for three lines at Athena's horse's rump, and harness in right hand at shoulder of right horse. Preliminary sketch. Detectable on table legs on I, on most figures on A, and on Herakles on B, most lines well within the final contour of the figure. Inscription. Painted in black on rim of foot on side B:

The Los Angeles County Museum of Art (1) preserved to left and to right of the nick. The thirteenth character is spaced like a letter and is slightly closer to the fourteenth than to the twelfth. It is presumably a partially written sigma, misplaced and superfluous. The centauromachy on A occurred during Herakles' visit to Pholos just before he subdued the Erymanthean Boar. Herakles' weapons in this battle were traditionally firebrands and bow and arrows rather than a sword (Apollodorus II.v.4; Diodorus Siculus IV.12). When attacking a single centaur, certainly Nessos in most cases, he sometimes uses a sword. In battling more than one centaur he very rarely uses it, although he occasionally wears a scabbard. On published Attic vases with more than one centaur the sword occurs only on Berlin 1737 (Greifenhagen, Antike Kunstwerke2 pi. 27; Paralipomena 72,1); London B 51 (Rumpf, Sakonides pi. 11; ABV123, 4; ARV2 1583); Wiirzburg 198 (Langlotz pi. 51; ABV 224,1); Copenhagen 14268 ( C V A 8 pis. 336-337; ARV2 1583, 1654); and Conservatori 124 ( C V A Italy 36 pis. 9-10; ABV 99, 50). The companion, presumably Iolaos, does not usually accompany Herakles in this episode. There are sometimes bystanders, but in no other case does a companion participate in the fight, though on Wiirzburg 198 there is a fallen hoplite. The presence of sword and companion on our cup could be due to confusion with the battle of Lapiths and centaurs. The shape of our cup is that of London 1907.10-20.1 (Bloesch, FAS pi. 18, 4; ARV2 129, 21). An ivy leaf like ours appears under both handles of that cup (by a painter in the wider circle of the Nikosthenes Painter) and on other Nikosthenic cups (ARV 2 125, 15, 16, 17, 20, and 1627, 14615; and 132, 2 Marseilles). On the cup London E 11 (Hoppin II289; ARV2 129, 22 and 130) again in the wider circle of the Nikosthenes Painter, the handle interrupts the horse tails as on our cup. For the grasshopper under one handle Bothmer compares the bee on Munich 2620 A (ARV2 129, 23). Several dozen examples of plumed helmets occur in Attic vase painting, both in red and black figure. Lists are given by Wrede in AM 41 (1916) 369 f. and by Miss Moore in AJA 76 (1972) 2 note 6 with references to further discussions.

Bibliography: Beazley, ARV2 125, 11, ARV1 99, 13, AV 44 no. 10; Cat. Fargus Brothers, Bristol 1864 no. 270 (Tulk); Wrede, AM 41 (1916, published in 1928) 370 no. 14; Braunholtz, JHS 43 (1923) 133-138 fig. 1-2, pis. 3-4; AJA 28 (1924) 184 fig. 2; Cat. Sotheby May 14,1946 P f t N C & k ' O S f c f O K ^ f S / V p. 5 no. 28 (Brooks); Clement, Hesperia 24 (1955) 13-14 Epigraphically the fourth letter can be phi, theta, omicron; no. 4; Brommer, Vasenlisten1 50 no. 4, Vasenlisten2 68 no. 4,130 no. 17, Vasenlisten3 88 no. 6, 165 no. 19. a widish vertical nick defaces it, and parts of the circle are

Attic Red-Figure

Plate 39, 1-3 A T T I C RED-FIGURE 50.8.32 (A5933.50-38). STEMLESS KYLIX. By the Marlay Painter [Beazley]. About 430-420 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Wright, Marshall Brooks. H. 6.4 to 6.0 cm.; D. of mouth 22.2 to 21.8 cm.; D. with handles 28.7 cm.; D. of foot 13.1 cm. About halfway between tondo and rim a sharp ledge divides the interior into two degrees. Transition between foot and bowl smooth. Foot in two degrees, both convex, the upper taller. Unbroken. Surface much corroded. Parts of black glaze have fired orangish and greenish. A grayish incrustation covers parts of the reserved areas of exterior. Subsidiary decoration. A black band runs all along the top of the exterior. Below it, framing the lozenge pattern, are a reserved band and a relief line. The patches behind handles and inner sides of handles are reserved, and the patches are framed above handles by slanting relief lines. Below handles and lozenges are two narrow and one wide black band separated by two narrow reserved bands. The bowl below these is black. Lower degree of foot is reserved on outside (except for a short section), and on its resting surface, black on its inside face. The floor of the underside of foot has nine concentric rings of varying width alternately black and reserved, with a black dot at the center. The second black ring from the center is concave with a ridge on each edge. The fourth black ring from the center has a tooled step down toward its inner edge. I. A man and a youth, each in himation, recline to left on a couch with striped pillows, a three-legged table in front. The youth holds a stemless kylix in his left hand, its near handle visible over the end of his index finger. Adjoining the frame behind his shoulder is a shelf. A small reserved exergue is set within a pair of reserved framing bands circling the picture, and the rest of the interior is black including the top of the rim. A and B. Alternate rows of black and reserved lozenges separated by relief lines and each with a white or black dot respectively. In the reserved patch behind each handle is a naked black figure with white fillet, framed on the sides by a band of chevrons between relief lines, above by an arched relief line. The figure to the right of I holds two wreaths of black dots, the other has only one. Relief contour. Youth's forehead, nose, back of neck,

43 right shoulder, arm, torso, drapery on thigh; man's forehead, nose, right shoulder and upper edge of arm. Inner drawing. Relief line for some folds and features. Dilute glaze for folds on youth's shoulder. White. Dots on black lozenges of A and B, fillet on the black figure below each handle. The same shelf occurs with couches on the stemlesses Vienna 136 and 131 (CVA 1 pi. 23, 2 and 3 respectively; ARV2 1278, 38 and 37) also by the Marlay Painter. Amyx discusses hooks and shelves in A]A 49 (1945) 513-514. The painter's cup Laon inv. 37.1064 (CVA pi. 50; ARV2 1279, 51 to) is closest to ours but with slight variations. Bibliography: Beazley, ARV2 1279, 51 (note that ARV2 reverses the Hesperia plates for this and the following cup of the Marlay Painter; the reference to A]A 1955 is an error for Hesperia 1955), ARV1 768, 40; Cat. Christie July 23,1917 p. 17 no. 95c (Hope); Tillyard, Hope Vases 106 no. 181; Cat. Sotheby May 14,1946 p. 7 no. 47 (Brooks); Clement, Hesperia 24 (1955) 18-19 n o - 18, pi. 10a.

Plate 39, 4-6 A T T I C RED-FIGURE 50.8.33 (A5933.50-39). STEMLESS KYLIX. By the Marlay Painter [Beazley]. About 430-420 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Wright, Marshall Brooks. H. 6.6 cm.; D. at mouth 22.0 cm.; width with handles 29.7 cm.; D. of foot 12.4 cm. About halfway between tondo and rim a sharp ledge divides the interior into two degrees. On the exterior a tooled band near the base of the bowl. Foot in two degrees separated by a groove; both are convex, the upper taller. Complete except for a small piece on the rim to upper left of interior picture and another to lower right of picture. Some repaint in lozenges along fracture lines on exterior. Subsidiary decoration. A black band runs all along the top of the exterior. Below it, framing the lozenge pattern, are a reserved band and a relief line. The patches behind handles and inner sides of handles are reserved. On each side plain black glaze extends in a wedge above the handles after the lozenges stop. Below the handles and lozenges are alternately two black and two reserved bands. The bowl below these and the foot are black. The resting

44 surface of the foot is reserved, its inside face black. The floor of the underside of the foot has twelve concentric rings of varying width alternately black and reserved, with a black dot at the center. The innermost and outermost wide black rings are concave in section. Both edges of the inner ring are set o f f b y reserved projecting ridges, but only the inner edge of the outermost ring is ridged. I. A youth in himation extends his right arm to a woman seated on a chair (klismos), whose seat continues beyond the back. She wears a pointed earring, and chiton and himation that entirely cover her except for the head and the raised right hand. An alabastron with wrist strap (no connecting strings shown) hangs on the wall directly above the right hand of the youth (not in his hand as Tillyard claims). The small reserved exergue is set well within a pair of reserved framing bands circling the picture. The rest of the interior is black, including the top of the rim. A and B . Alternate rows of black and reserved lozenges separated by relief lines, a black dot on each reserved lozenge. In the reserved patch behind each handle is a black goat framed each side by a band of chevrons between relief lines. Two more relief lines form a gable above. Relief contour. Woman's forehead, nose, neck, front knee; youth's forehead, nose, neck, shin; underside of chair seat. Inner drawing. Relief line for some folds, facial features. Dilute glaze for nine vertical lines and a saltire on side of chair seat. A similar cup interior by the Marlay Painter is Vienna 93 (CVA l pi. 23, i ; ARV2 1278, 36). For aryballos carrying-straps see Haspels, 55^4 29 (1927-1928) 2 1 6 223, and for black glazed stripes on carrying-straps see, e.g., the calyx krater New York acc. no. 07.286.66 (Richter and Hall, Red-figured Athenian Vases no. 127, pi. 129; ARV2 617, 2) by the Spreckels Painter and a cup by the Painter of Munich 2660 in the Fitzwilliam Museum (no. 32.11, CVA Cambridge 2 pi. 24, 3a; ARV2 784, 21). Lozengy on A and B with a black figure under the handle, as on this and the preceding cup, occurs on a number of Marlay Painter cups and is common on cups of his colleague the Lid Painter. The exteriors are presumably all by one hand, uncertain whether one of these two or another (see ARV2 1279, 51 bis). Bibliography: Beazley, ARV2 1279, 48 (note that ARV2 reverses the Hesperia plates for this and the preceding cup of the Marlay Painter; the reference to AJA 1955 is an error for Hesperia 1955), ARV1 767, 26, AV

The Los Angeles County Museum of Art (1) 414 no. ubis; Tischbein, Collection of Engravings III pi. 57; Cat. Christie July 23, 1917 p. 1 7 no. 95c (Hope); Reinach, Répertoire II 321, 6; Tillyard, Hope Vases 105106 no. 180; Cat. Sotheby May 14, 1946 p. 7 no. 46 (Brooks); Clement, Hesperia 24 (1955) 19 no. 19, pi. 10b.

Plate 40 E A R L Y S O U T H ITALIAN 50.8.29 (A5933.50-35). BEix-KRATER. B y the Tarporley Painter, his name vase [Moon], About 400 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks. H. 37.5 cm.; D. of mouth 37.2 to 36.7 cm.; D. of body 26.7 to 26.4 cm.; D. of foot 17.1 cm. Mouth in two degrees with a tooled ledge above and below lower degree on exterior. Disk foot lipped at the top. Left half of handle to the right of A broken including a small piece of the interior wall, now mended. Circling the vase at the level of the upper meander frame is a row of tiny parallel grooves, apparently "wrinkles" made on the wheel by the instrument that drew the guideline for the border before the clay was hard. The glaze is somewhat greenish and cracked in a few places with a tiny spall by Dionysos' mouth, and a spot flaked ofF in front of the satyr. Clay reddish brown. Subsidiary decoration. Interior glossy black with a reserved band at top of mouth and another below where mouth begins to flare. On the exterior, laurel to right between reserved bands on lower degree of mouth. Handles black with inner sides and patches beneath reserved. Tongues at handle bases, stopping for the reserved patches. Below the pictures on each side, a band of meander in threes alternating with dotted saltires. On the right of B the band ends with a saltire, elsewhere with three meanders. Foot black with lip, lower edge, and underside reserved. A. A maenad crowns the young Dionysos with a wreath as a horned satyr watches from the right. Dionysos, a cloak draped over his left arm and pulled behind by his right hand, carries a stemless kantharos with laurel decoration and ribbed body. His thyrsos leans against his left shoulder supported only by his chin if at all. A dotted fillet, tied in back, decks his head. The maenad wears a chiton with three buttons on the right sleeve, himation with crosses and embattled border, earring, necklace, bracelet, and shoes. A sphendone with dots, zigzags, and crosses on it binds her hair. In her left hand is a situla

44 surface of the foot is reserved, its inside face black. The floor of the underside of the foot has twelve concentric rings of varying width alternately black and reserved, with a black dot at the center. The innermost and outermost wide black rings are concave in section. Both edges of the inner ring are set o f f b y reserved projecting ridges, but only the inner edge of the outermost ring is ridged. I. A youth in himation extends his right arm to a woman seated on a chair (klismos), whose seat continues beyond the back. She wears a pointed earring, and chiton and himation that entirely cover her except for the head and the raised right hand. An alabastron with wrist strap (no connecting strings shown) hangs on the wall directly above the right hand of the youth (not in his hand as Tillyard claims). The small reserved exergue is set well within a pair of reserved framing bands circling the picture. The rest of the interior is black, including the top of the rim. A and B . Alternate rows of black and reserved lozenges separated by relief lines, a black dot on each reserved lozenge. In the reserved patch behind each handle is a black goat framed each side by a band of chevrons between relief lines. Two more relief lines form a gable above. Relief contour. Woman's forehead, nose, neck, front knee; youth's forehead, nose, neck, shin; underside of chair seat. Inner drawing. Relief line for some folds, facial features. Dilute glaze for nine vertical lines and a saltire on side of chair seat. A similar cup interior by the Marlay Painter is Vienna 93 (CVA l pi. 23, i ; ARV2 1278, 36). For aryballos carrying-straps see Haspels, 55^4 29 (1927-1928) 2 1 6 223, and for black glazed stripes on carrying-straps see, e.g., the calyx krater New York acc. no. 07.286.66 (Richter and Hall, Red-figured Athenian Vases no. 127, pi. 129; ARV2 617, 2) by the Spreckels Painter and a cup by the Painter of Munich 2660 in the Fitzwilliam Museum (no. 32.11, CVA Cambridge 2 pi. 24, 3a; ARV2 784, 21). Lozengy on A and B with a black figure under the handle, as on this and the preceding cup, occurs on a number of Marlay Painter cups and is common on cups of his colleague the Lid Painter. The exteriors are presumably all by one hand, uncertain whether one of these two or another (see ARV2 1279, 51 bis). Bibliography: Beazley, ARV2 1279, 48 (note that ARV2 reverses the Hesperia plates for this and the preceding cup of the Marlay Painter; the reference to AJA 1955 is an error for Hesperia 1955), ARV1 767, 26, AV

The Los Angeles County Museum of Art (1) 414 no. ubis; Tischbein, Collection of Engravings III pi. 57; Cat. Christie July 23, 1917 p. 1 7 no. 95c (Hope); Reinach, Répertoire II 321, 6; Tillyard, Hope Vases 105106 no. 180; Cat. Sotheby May 14, 1946 p. 7 no. 46 (Brooks); Clement, Hesperia 24 (1955) 19 no. 19, pi. 10b.

Plate 40 E A R L Y S O U T H ITALIAN 50.8.29 (A5933.50-35). BEix-KRATER. B y the Tarporley Painter, his name vase [Moon], About 400 B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Marshall Brooks. H. 37.5 cm.; D. of mouth 37.2 to 36.7 cm.; D. of body 26.7 to 26.4 cm.; D. of foot 17.1 cm. Mouth in two degrees with a tooled ledge above and below lower degree on exterior. Disk foot lipped at the top. Left half of handle to the right of A broken including a small piece of the interior wall, now mended. Circling the vase at the level of the upper meander frame is a row of tiny parallel grooves, apparently "wrinkles" made on the wheel by the instrument that drew the guideline for the border before the clay was hard. The glaze is somewhat greenish and cracked in a few places with a tiny spall by Dionysos' mouth, and a spot flaked ofF in front of the satyr. Clay reddish brown. Subsidiary decoration. Interior glossy black with a reserved band at top of mouth and another below where mouth begins to flare. On the exterior, laurel to right between reserved bands on lower degree of mouth. Handles black with inner sides and patches beneath reserved. Tongues at handle bases, stopping for the reserved patches. Below the pictures on each side, a band of meander in threes alternating with dotted saltires. On the right of B the band ends with a saltire, elsewhere with three meanders. Foot black with lip, lower edge, and underside reserved. A. A maenad crowns the young Dionysos with a wreath as a horned satyr watches from the right. Dionysos, a cloak draped over his left arm and pulled behind by his right hand, carries a stemless kantharos with laurel decoration and ribbed body. His thyrsos leans against his left shoulder supported only by his chin if at all. A dotted fillet, tied in back, decks his head. The maenad wears a chiton with three buttons on the right sleeve, himation with crosses and embattled border, earring, necklace, bracelet, and shoes. A sphendone with dots, zigzags, and crosses on it binds her hair. In her left hand is a situla

Apulian (dotted rim, laurel diagonally across the pail), and a narthex is held up by her arm. The satyr holds a thrush in his right hand, a thyrsos in his left. He has a few whiskers on his cheek, and his tail is very short and highly placed. B. Three youths in black-bordered himatia, each with one arm akimbo. The rightmost points with his right hand, and the central youth has a staff. Relief contour. On A for Dionysos' chin, back of neck, right shoulder, right side of torso, inner side of each hand, top of left shoulder, tops of legs, left shin and heel, top and right side of kantharos, upper part of thyrsos staif; maenad's forehead and tip of nose, neck, right shoulder, lower side of right arm and hand, thigh, right heel and toe, left foot, most of thyrsos staff; satyr's nose, chin, front of neck, left shoulder and arm, fingers, back of torso, left leg (except very top) and foot, top of right calf, front of right ankle. On B for left youth's chin, front of neck, right heel, top of left foot, part of bottom of himation; middle youth's chin, neck, lower part of right hand, left ankle, part of bottom of himation; right youth's chin, neck, lower part of right hand, left ankle and top of foot, back of right heel. Inner drawing. On both sides relief line for most inner lines; dilute glaze for parts of himation borders, and on A for top of satyr's thyrsos and decorations on wreath and kantharos. On the narthex see Plutarch, Moralia, 612 D (Loeb Classical Library VIII p. 5 note d and the references there cited). Bibliography: Trendall, APS 33 no. 1 , FI 40 no. 59; Tischbein, Collection of Engravings II 64-67, pi. 33; Dubois de Maisonneuve, Introduction à l'étude des vases 13 pl. 21 no. 1 ; Cat. Christie July 23,1917 p. 18 no. 109 (Hope); Reinach, Répertoire II 300, 3; Tillyard, Hope Vases 1 1 3 no. 2 i i , pi. 30; Beazley, VP 73 note 4; Moon, BSR 1 1 (1929) 41, pi. 13; Cat. Sotheby May 14, 1946 p. 8 no. 60, pi. 4 (Brooks); Clement, Hesperia24 (1955) 20no. 24, pl.ioc-d; Robinson, AJA 60 (1956) 24-25 notes 128 and 132; Schauenburg, RM 69 (1962) 30 no. 41, 39 note 37; Trendall, Early South Italian Vase-painting (1974) 50 no. 109.

Plate 41, 1 - 2 APULIAN M62.27.2 (L2100.A255.62-2). bell-krater. Near the Avignon Painter [Trendall]. Mid-fourth century b.c. Gift of Mrs. Ben R. Meyer, 1962. H. 29.0 to 28.0 cm.; D. of mouth 29.4 to 29.2 cm.; D.

45 of body 19.5 cm.; D. of foot 12.4 cm. Widely flaring mouth in two degrees, disk foot lipped at top. Unbroken. A thick grayish tan incrustation on parts of interior, small areas of exterior, and underside of foot. Clay brownish pink. Glaze greenish especially at handles and on right side of A. Spall on Dionysos' left calf. Subsidiary decoration. Interior black with a reserved band on top of mouth and below where mouth begins to flare. On exterior, laurel to left on lower degree of mouth with a reserved band below it covered by black at the handles. Handles black with part of inner sides and a narrow patch beneath reserved. Below the pictures a strip of meander in threes alternating with dotted saltires, ending with a half meander on the right of A, a saltire on the right of B . Foot black with lip, lower edge, and underside reserved. A. A maenad (sleeveless girt chiton, sphendone, earring, necklace, bracelets, shoes) on left approaches the young Dionysos (wreath, shoes) seated on his cloak. She has a thyrsos in her right hand, a large phiale in her left. He holds up a kantharos in his right hand and a thyrsos in his left. Between them in the field is a spray of berries, above them a dot-fillet whose tasseled ends hang to the edges of the phiale. Above Dionysos is a rosette, behind him a fillet with a long string hanging below, and on the ground a small berry spray and a laurel spray. The background is not entirely filled in between the maenad's hand and the phiale. B. T w o youths in himatia and shoes, the right holding a staff in his right hand. In the field above them is a quartered disk, behind them on the right edge of the picture a small stele. Contour stripe. Not clear around faces on A. Relief contour. On A for maenad's neck, back of sphendone, bottom of right upper arm and bottom of left forearm and hand, bottom of phiale; Dionysos' left forearm and elbow, front and back of torso, parts of both legs below the knee. None on B. Inner drawing. Relief line for most inner contours and folds on A and B. On Dionysos many relief lines cross over the thyrsos staff that should be in front of them. Dilute glaze for edges of hair and garment borders. Yellow. On A for maenad's jewelry, dots along front of sphendone, lines on phiale and dots over it, fillet above it, thyrsos staff and decorations on top; Dionysos' wreath and its ends hanging down his left shoulder, thyrsos staff and marks on top, kantharos; edges and dot at center of rosette, fillet behind Dionysos, stems and dots in laurel and berry sprays.

Apulian (dotted rim, laurel diagonally across the pail), and a narthex is held up by her arm. The satyr holds a thrush in his right hand, a thyrsos in his left. He has a few whiskers on his cheek, and his tail is very short and highly placed. B. Three youths in black-bordered himatia, each with one arm akimbo. The rightmost points with his right hand, and the central youth has a staff. Relief contour. On A for Dionysos' chin, back of neck, right shoulder, right side of torso, inner side of each hand, top of left shoulder, tops of legs, left shin and heel, top and right side of kantharos, upper part of thyrsos staif; maenad's forehead and tip of nose, neck, right shoulder, lower side of right arm and hand, thigh, right heel and toe, left foot, most of thyrsos staff; satyr's nose, chin, front of neck, left shoulder and arm, fingers, back of torso, left leg (except very top) and foot, top of right calf, front of right ankle. On B for left youth's chin, front of neck, right heel, top of left foot, part of bottom of himation; middle youth's chin, neck, lower part of right hand, left ankle, part of bottom of himation; right youth's chin, neck, lower part of right hand, left ankle and top of foot, back of right heel. Inner drawing. On both sides relief line for most inner lines; dilute glaze for parts of himation borders, and on A for top of satyr's thyrsos and decorations on wreath and kantharos. On the narthex see Plutarch, Moralia, 612 D (Loeb Classical Library VIII p. 5 note d and the references there cited). Bibliography: Trendall, APS 33 no. 1 , FI 40 no. 59; Tischbein, Collection of Engravings II 64-67, pi. 33; Dubois de Maisonneuve, Introduction à l'étude des vases 13 pl. 21 no. 1 ; Cat. Christie July 23,1917 p. 18 no. 109 (Hope); Reinach, Répertoire II 300, 3; Tillyard, Hope Vases 1 1 3 no. 2 i i , pi. 30; Beazley, VP 73 note 4; Moon, BSR 1 1 (1929) 41, pi. 13; Cat. Sotheby May 14, 1946 p. 8 no. 60, pi. 4 (Brooks); Clement, Hesperia24 (1955) 20no. 24, pl.ioc-d; Robinson, AJA 60 (1956) 24-25 notes 128 and 132; Schauenburg, RM 69 (1962) 30 no. 41, 39 note 37; Trendall, Early South Italian Vase-painting (1974) 50 no. 109.

Plate 41, 1 - 2 APULIAN M62.27.2 (L2100.A255.62-2). bell-krater. Near the Avignon Painter [Trendall]. Mid-fourth century b.c. Gift of Mrs. Ben R. Meyer, 1962. H. 29.0 to 28.0 cm.; D. of mouth 29.4 to 29.2 cm.; D.

45 of body 19.5 cm.; D. of foot 12.4 cm. Widely flaring mouth in two degrees, disk foot lipped at top. Unbroken. A thick grayish tan incrustation on parts of interior, small areas of exterior, and underside of foot. Clay brownish pink. Glaze greenish especially at handles and on right side of A. Spall on Dionysos' left calf. Subsidiary decoration. Interior black with a reserved band on top of mouth and below where mouth begins to flare. On exterior, laurel to left on lower degree of mouth with a reserved band below it covered by black at the handles. Handles black with part of inner sides and a narrow patch beneath reserved. Below the pictures a strip of meander in threes alternating with dotted saltires, ending with a half meander on the right of A, a saltire on the right of B . Foot black with lip, lower edge, and underside reserved. A. A maenad (sleeveless girt chiton, sphendone, earring, necklace, bracelets, shoes) on left approaches the young Dionysos (wreath, shoes) seated on his cloak. She has a thyrsos in her right hand, a large phiale in her left. He holds up a kantharos in his right hand and a thyrsos in his left. Between them in the field is a spray of berries, above them a dot-fillet whose tasseled ends hang to the edges of the phiale. Above Dionysos is a rosette, behind him a fillet with a long string hanging below, and on the ground a small berry spray and a laurel spray. The background is not entirely filled in between the maenad's hand and the phiale. B. T w o youths in himatia and shoes, the right holding a staff in his right hand. In the field above them is a quartered disk, behind them on the right edge of the picture a small stele. Contour stripe. Not clear around faces on A. Relief contour. On A for maenad's neck, back of sphendone, bottom of right upper arm and bottom of left forearm and hand, bottom of phiale; Dionysos' left forearm and elbow, front and back of torso, parts of both legs below the knee. None on B. Inner drawing. Relief line for most inner contours and folds on A and B. On Dionysos many relief lines cross over the thyrsos staff that should be in front of them. Dilute glaze for edges of hair and garment borders. Yellow. On A for maenad's jewelry, dots along front of sphendone, lines on phiale and dots over it, fillet above it, thyrsos staff and decorations on top; Dionysos' wreath and its ends hanging down his left shoulder, thyrsos staff and marks on top, kantharos; edges and dot at center of rosette, fillet behind Dionysos, stems and dots in laurel and berry sprays.

46

The Los Angeles County Museum of Art (1)

Preliminary sketch. Visible on A on both figures, some lines redrawn many times; none visible on B. Trendall kindly informs us that this vase is by the same hand as Sydney 68, and compares also Bologna 592 (CVA Italy 12 pi. 22, 3-4).

(Damevski, Vjesnik series 3 vol. 5, 1971, p. 94, pis. 7, 4 and 13,3), and also with Matera 9690 (Bracco, NSc 1947, 133 fig. 2), Berkeley 8.3815 ( C V A pi. 56, 3), Mississippi (Robinson, AJA 60, 1956, 24 pi. 19, 82-83), and Vatican V40 (VIE pis. 32d and 33d).

Plate 41, 3-4

Plate 4 2 , 1 - 3

APULIAN

APULIAN

M62.27.3 (L2100.A255.62-3). BEIL-KKATER. By the Dijon Painter [Trendall]. Mid-fourth century B.C.

M62.27.4 (L2100.A255.62-4). BELL-KRATER. From the workshop of the Gioia del Colle Painter [Trendall]. Third quarter of the fourth century B.C.

Gift of Mrs. Ben R. Meyer, 1962. H. 26.6 to 26.2 cm.; D . of mouth 28.3 to 28.0 cm.; D. of body 19.6 cm.; D. of foot 13.3 cm. Widely flaring mouth (somewhat lopsided) in two degrees. Disk foot lipped at top. Unbroken. Tan incrustation on underside of foot and part of interior. Clay coffee-color with a rosy wash. Subsidiary decoration. Interior black with reserved band at top of mouth and below where mouth begins to flare. On exterior, laurel to left on lower degree of mouth with an irregular reserved band below which is completely obliterated by black at the handles. Handles black with inner sides and a thin patch beneath reserved. Below the pictures on A and B, meanders between reserved bands. Foot black with lip, lower edge, and underside reserved. A. The young Dionysos follows a woman to the left. She wears a sleeveless girt chiton with dilute black borders down front and along hem, shoes, bracelets, necklace, earring, and sphendone with spikes. Her left hand and shoulder support a cista with open lid. Her wreathed pursuer, a cloak hanging behind his left shoulder and arm, carries in his left hand a thyrsos, in his right a wreath. The fingers of his left hand are very pointed. B. T w o youths (himatia, shoes) face a stele splashed with blood (or draped with fillets). The left youth has a staff. In the field above is a pair of halteres. Relief contour. None, but relief line for some inner drawing. Yellow. On A for jewelry, spikes in sphendone, much of outline of cista and dots on its legs; Dionysos' wreath (faint) and ends hanging down chest, dots on reserved head of thyrsos. Preliminary sketch. On A visible clearly on both figures. Trendall compares the style especially with Zagreb 8

Gift of Mrs. Ben R. Meyer, 1962. H. 23.2 to 22.5 cm.; D. of mouth 23.3 to 23.1 cm.; D. of body 14.4 cm.; D . of foot 10.6 to 10.1 cm. Mouth in two degrees with a tooled ledge at its base on exterior. Disk foot lipped at top. Broken at joint between body and foot, and at handle to left of A. Clay reddish brown. Most of the glaze is rather greenish yellow, and, where it is thin (including the edges of most reserved areas), it has fired a reddish brown rather than orange. Subsidiary decoration. Interior black with a reserved stripe on top of mouth and below where it begins to flare. On the exterior, continuous vertical zigzags or chevrons on lower degree of mouth. Handles black with inner sides and a small patch beneath reserved. Black dots around the handle bases except at the reserved patches. In the handle-areas a palmette flanked by a scroll and three leaves. Below the pictures, a band of waves. Foot black with lip, lower edge, and underside reserved. A. A woman with a mirror in her right hand and a situla in her left rushes to right, her head turned back. She wears a girt chiton, kekryphalos, bracelets, necklace, earrings, and shoes. A rosette in the upper right field. B. A wreathed satyr strides to the left carrying a situla in his right hand, and in his left a thyrsos decked with a hanging fillet. A rosette in the upper right field. Relief contour. Back of neck and front of stomach on A, front of torso on B. Inner drawing. Relief line, flat black, and some dilute glaze in hair on each side; dilute glaze wash on situla on A, on head of thyrsos and for lines on situla on B. Yellow. On A for jewelry, dots along front of kekryphalos, dots on shoes, handle and decorations around rim of mirror, handle and markings on situla, field rosette; on B for handle and lower edge of situla, wreath, tail, thyrsos staff and dots on top, fillet, field rosette.

47 Trendall places this vase in a large series of bell-kraters with chevrons below the rim which appear to be minor vases from the workshop of the Gioia del Colle Painter (on whom see Scarfi, Archeologia Classica 11,1959,179185 where he is called the Painter of Heroa A). He compares also Bologna 593 ( C V A Italy 12 IVDr, pi. 27, 3-4), Catania M B 4335 (Libertini no. 740 pi. 84), and Lucera 268.

Plate 42, 4-6 APULIAN M62.27.5 (L2100.A255.62-5). Painter. About 350 B.C.

PELIKE.

By the Thyrsos

Gift of Mrs. Ben R. Meyer, 1962. H. 33.0 to 32.6 cm.; D. of mouth 17.4 cm.; D. of body 21.8 cm.; D. of foot 13.5 cm. Torus mouth, ribbon handles flanged with central rib, disk foot lipped at top. Three tooled lines at top of neck on A, two on B. Unbroken. Glaze thin in places and fired orange or greenish especially on side to right of A. Subsidiary decoration. Interior of body reserved, interior of neck black. Mouth black with a red stripe around its top. On neck of A a band of verticals with a row of dots beneath (not coordinated with the verticals), and a band of dotted-egg pattern below. Both bands are framed by pairs of relief lines. On the neck of B, laurel to left (frame above covered with black glaze) and below it dotted-egg pattern framed by pairs of relief lines. Handles black. In the handle-areas a large palmette with volutes and leaves on each side; below handle to the right of A a partial palmette on each side of the design, to the left of A a T on the palmette's heart. Below the picture on each side, a band of meander between double framing lines. The lower frame continues around the sides of the vase below the handle-areas, but black glaze covers it at the left end of side B and the adjoining handle-area. On the left end of both sides the relief lines of the upper frame cross part of the handle palmette. Foot black with tooled groove for lip, lower edge and underside reserved. A. A youth with fillet runs from a maenad with thyrsos (chiton with two black stripes down the front, necklace, earring, bracelets, spikes in hair). His right hand is at her left shoulder, and a cloak covers his forearm and left hand, which holds a staff. B. A youth with fillet watches a woman (dressed as on A but without the spikes in her hair) suspending a ball from her right hand. A string runs from her hand to the

ball and hangs beneath it across her left hand and below. The youth's cloak covers his whole right arm and hangs down his side to below the knee. In his left hand is a staff. In the background between the figures is a window. Contour stripe. Missing on B for back of woman's chiton behind knees. Relief contour. None. Inner drawing. Very thick relief line on both sides for eyes and brows, main inner contours, youths' anatomical marks, various garment folds, and on A for crossed lines on head of thyrsos. Dilute glaze on both sides for a border near bottom of youths' cloaks, some edges of hair, much of the vertical stripes on women's chitons. White. On A for dots between black lines on woman's chiton border; on B for string above and below ball (mainly stain). Stain of probable white on B for dots on ball, dots along chiton's vertical border. Yellow. On A for three spikes in woman's hair, and four dots above the picture along the upper frame; on B for five dots along upper frame, youth's fillet and staff. Stain of probable yellow on A for jewelry, dots along thyrsos staff and top, youth's staff and fillet; on B for jewelry. On the Thyrsos Painter see APS p. 77. Quite similar to this vase is the composition of the painter's bell-krater Lecce 634 (CVA Italy 6 pis. 17, 5 and 18, 2). Trendall compares also the pelike Lecce 699 (ibid., pi. 37, 1).

Plate 43 APULIAN 50.8.25 (A5933.50-31). KANTHAROS. Head-vase with the lower part modeled as Io and associated with the Iliupersis Painter [Trendall]. Second quarter of the fourth century B.C.

Gift of William Randolph Hearst, 1950. Once owned by Thomas Hope, Marshall Brooks. H. 18.2 to 17.7 cm.; D. of mouth 9.0 to 8.5 cm.; D. of base 6.3 cm. Handles low, segmental in section. Broken at the top and mended, with Io's right horn and two sections of the rim restored in plaster. Underside of base roughly finished. Clay pinkish tan with a red wash especially noticeable on pattern-work. Subsidiary decoration. Interior and handles black. Flesh areas and horn white-slipped, lips pinkish red. Horn and eyebrows a yellowish brown with an arched black line on the brows. Eyelids reserved with relief line for contour and lashes. A black circle and disk mark the iris and pupil.

48 The hair is curly, a mixture o f black and dilute brown. Most o f the hair behind the ears is wrapped in a sakkos which ends in front with a bow decorated by waves below and palmettes above. A frieze of felines confronted begins on either side o f the bow and continues around the head. Behind the ears the sakkos widens to include a band o f black wave-pattern above the animals, and below a band of lotus-palmette. The pattern bands are framed by narrow reserved stripes. Except at the handle joints, the top o f the vase is crowned with a dotted-egg pattern between pairs of relief lines. The underside of the base is reserved. A . Eros, reclining to right, turns toward a goose behind him as a fawn (on a dotted groundline of its own) grazes near his feet. Beneath him is a cloak, in his left hand a phiale. The goose's and Eros' wings are outspread, the upper contour yellow on Eros, and reserved on the goose, each with a band of black and a row of dots near the top. B. A seated woman plays a sambuca (?) on her left. Her garment has fallen below the waist, and she wears bracelets on both wrists and a wide sphendone decked with four spikes and black dots. Six or seven small dents along the base of the sambuca (which have collected more of the red wash than surrounding areas) may have been intended as string attachments, but no strings are indicated. A laurel bush grows on the left. Contour stripe. Lacking on A for rear half of goose, fawn's face and back of its left hind leg above hock; on B missing for much of sambuca and of left side of laurel. Relief contour. O n A for Eros' neck, chin, right shoulder, lower side of right wrist and leg; fawn's face, back of its left hind leg above hock, front of left fore and hind legs. On B for chin, right side o f torso, lower side of right arm, main branches of bush. Inner drawing. All relief line with some dilute glaze in hair on each side. White. On A for some spots on fawn and stripe on lower contour of its neck and belly just behind forelegs, back o f its right foreleg, and stain around much of the hind legs and backs of ears; dotted groundline below fawn, two faint plants (inverted V's) which fawn nibbles above Eros' ankles. On B for spikes in sphendone, bracelets, dots along curved arm of sambuca and on its upper horizontal bar. Yellow. On A for upper contour of Eros' wings, six dots above phiale. Bibliography: Gerhard, AZ 9 (1851) 369-371, pi. 32; Reinach, Répertoire I 374, 7-9; Cat. Sotheby May 14, 1946 p. 9 no. 63 (Brooks); Clement, Hesperia 24 (1955) 23.

The Los Angeles County Museum of Art

(i)

Plate 44, I A P U L I A N (GNATHIA) 50.8.11 (A5933.JO-17). About 340 B.C.

PELIKE.

Naples Harp Group.

Gift of William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 25.1 to 24.9 cm.; D . of mouth 11.9 to 11.7 cm.; D . o f body 14.2 cm.; D . of foot 8.3 cm. Mouth in two degrees, handles cylindrical, disk foot with a slight flange on top edge. Unbroken except for a few chips in lip. Clay light red. Subsidiary decoration. Interior of body and neck reserved. Mouth, handles, and exterior black. The neck on each side has three decorative bands divided by pairs o f incised lines. A t the top is a band o f white egg-pattern with dots and incision on A , plain on B. Below this on A , alternate red and yellow oblongs, the former with scalloped edges; on B a band of white circles alternating with two superimposed dots. In the third band on each side, long dotted pendants in white (but with yellow dots on A). Base of body, top of foot, lower edge and underside o f foot reserved, side of foot black. A . A blond woman leans to the left over a large laver with her hands in the basin. She wears sandals laced once under the arches and twice around the ankles, a kekryphalos, earrings, and a garter on her left thigh. These decorations and her inner details and hair are in yellow over the white flesh. The laver is white with a yellow wash everywhere except on the abacus atop the stem and on the lower step o f the two-stepped base. Various darker brown lines mark moldings. O n the ground between the woman and the laver is a white alabastron with yellow neck, lower body, and handle-lugs (or bracket holding it up). In each upper corner is a folded cloak and a yellow dot-fillet. The left cloak is red with faint brown folds or stripes, the right yellow with brown folds. A laurel bush with incised leaves and branches frames the picture on each side. It has white berries and a white rib on each leaf. A row o f yellow dots represents the groundline. B. Black. On the Naples Harp Group see Webster, BICS 15 (1968) 13 ff. Webster places this pelike close to Naples Harp B no. 12, a Panathenaic amphoriskos at University College London (ibid., pi. Id), and no. 13, the pelike Naples 540 (CVA Italy 24 pi. 66, 2). Bibliography: Cat. Christie July 23,1917 p. 25 no. 150b (Hope); Tillyard, Hope Vases 169 no. 330; Cat. Sotheby

48 The hair is curly, a mixture o f black and dilute brown. Most o f the hair behind the ears is wrapped in a sakkos which ends in front with a bow decorated by waves below and palmettes above. A frieze of felines confronted begins on either side o f the bow and continues around the head. Behind the ears the sakkos widens to include a band o f black wave-pattern above the animals, and below a band of lotus-palmette. The pattern bands are framed by narrow reserved stripes. Except at the handle joints, the top o f the vase is crowned with a dotted-egg pattern between pairs of relief lines. The underside of the base is reserved. A . Eros, reclining to right, turns toward a goose behind him as a fawn (on a dotted groundline of its own) grazes near his feet. Beneath him is a cloak, in his left hand a phiale. The goose's and Eros' wings are outspread, the upper contour yellow on Eros, and reserved on the goose, each with a band of black and a row of dots near the top. B. A seated woman plays a sambuca (?) on her left. Her garment has fallen below the waist, and she wears bracelets on both wrists and a wide sphendone decked with four spikes and black dots. Six or seven small dents along the base of the sambuca (which have collected more of the red wash than surrounding areas) may have been intended as string attachments, but no strings are indicated. A laurel bush grows on the left. Contour stripe. Lacking on A for rear half of goose, fawn's face and back of its left hind leg above hock; on B missing for much of sambuca and of left side of laurel. Relief contour. O n A for Eros' neck, chin, right shoulder, lower side of right wrist and leg; fawn's face, back of its left hind leg above hock, front of left fore and hind legs. On B for chin, right side o f torso, lower side of right arm, main branches of bush. Inner drawing. All relief line with some dilute glaze in hair on each side. White. On A for some spots on fawn and stripe on lower contour of its neck and belly just behind forelegs, back o f its right foreleg, and stain around much of the hind legs and backs of ears; dotted groundline below fawn, two faint plants (inverted V's) which fawn nibbles above Eros' ankles. On B for spikes in sphendone, bracelets, dots along curved arm of sambuca and on its upper horizontal bar. Yellow. On A for upper contour of Eros' wings, six dots above phiale. Bibliography: Gerhard, AZ 9 (1851) 369-371, pi. 32; Reinach, Répertoire I 374, 7-9; Cat. Sotheby May 14, 1946 p. 9 no. 63 (Brooks); Clement, Hesperia 24 (1955) 23.

The Los Angeles County Museum of Art

(i)

Plate 44, I A P U L I A N (GNATHIA) 50.8.11 (A5933.JO-17). About 340 B.C.

PELIKE.

Naples Harp Group.

Gift of William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 25.1 to 24.9 cm.; D . of mouth 11.9 to 11.7 cm.; D . o f body 14.2 cm.; D . of foot 8.3 cm. Mouth in two degrees, handles cylindrical, disk foot with a slight flange on top edge. Unbroken except for a few chips in lip. Clay light red. Subsidiary decoration. Interior of body and neck reserved. Mouth, handles, and exterior black. The neck on each side has three decorative bands divided by pairs o f incised lines. A t the top is a band o f white egg-pattern with dots and incision on A , plain on B. Below this on A , alternate red and yellow oblongs, the former with scalloped edges; on B a band of white circles alternating with two superimposed dots. In the third band on each side, long dotted pendants in white (but with yellow dots on A). Base of body, top of foot, lower edge and underside o f foot reserved, side of foot black. A . A blond woman leans to the left over a large laver with her hands in the basin. She wears sandals laced once under the arches and twice around the ankles, a kekryphalos, earrings, and a garter on her left thigh. These decorations and her inner details and hair are in yellow over the white flesh. The laver is white with a yellow wash everywhere except on the abacus atop the stem and on the lower step o f the two-stepped base. Various darker brown lines mark moldings. O n the ground between the woman and the laver is a white alabastron with yellow neck, lower body, and handle-lugs (or bracket holding it up). In each upper corner is a folded cloak and a yellow dot-fillet. The left cloak is red with faint brown folds or stripes, the right yellow with brown folds. A laurel bush with incised leaves and branches frames the picture on each side. It has white berries and a white rib on each leaf. A row o f yellow dots represents the groundline. B. Black. On the Naples Harp Group see Webster, BICS 15 (1968) 13 ff. Webster places this pelike close to Naples Harp B no. 12, a Panathenaic amphoriskos at University College London (ibid., pi. Id), and no. 13, the pelike Naples 540 (CVA Italy 24 pi. 66, 2). Bibliography: Cat. Christie July 23,1917 p. 25 no. 150b (Hope); Tillyard, Hope Vases 169 no. 330; Cat. Sotheby

Lucanian

49

December 2, 1946 p. 7 no. 59 (Cowdray); Clement, Hesperia 24 (1955) 22 no. 31.

Plate 44, 2 APULIAN (GNATHIA) 50.8.13 (A5933.5019a). fourth century B.C.

PELLKE.

Ribbed Group. Late

Gift of William Randolph Hearst, 1950. Once owned by Josef Fischl. H. 26.6 to 26.4 cm.; D. of mouth 12.3 cm.; D. of body 15.1 cm.; D . of foot 11.0 cm. Convex mouth. Tooling at top of neck and at top of body above the ribbing which extends almost to the base. Handles cylindrical with smooth baseplates. Foot in two degrees with lower degree flanged on top and grooved on side. Unbroken. Glaze thin and streaky on foot, and fired red in places. Clay a dark reddish brown. Subsidiary decoration. Interior of body mostly reserved with a few areas of thin matte black. Dilute glaze wash on most of interior of neck. Mouth, handles, and exterior of body black except for a reserved band with uneven edge below the ribbing at the base of the body (bottom of ribs also reserved on back; a black drip over the reserved band below the right handle). A yellow line runs around the top of the ribbing, but is not detectable on part of the back or around the left handle. Foot thin black with underside reserved. On the neck in yellow is a swan (details in brown, black eye) to the left between two wispy plants with many tendrils. Above is a festoon (necklace) with long dotted pendants (some on left end with three dots, others single), five X's along the top, and a dotted descender hanging from the volute at each end. On the Ribbed Group see Webster, BICS 15 (1968) 23 ff. Webster compares Naples 80856 (CVA Italy 24 pi. 66, 7). Bibliography: Cat. Sotheby May 14,1946 p. 14 no. 127, item 1 (Fischl); Clement, Hesperia 24 (1955) 23.

H. 32.9 to 32.7 cm.; D. of mouth 35.4 cm.; D. of body 25.6 cm.; D. of foot 16.5 cm. Mouth in two degrees; wavy tooled line between body and disk foot lipped at top. Unbroken. Contour of right youth's foot and right horse's belly and rear legs refreshed with a thin black line, and some modern black in handle-area to right of A. Most of the glaze is greenish. Clay a slightly reddish brown with a pink wash. Subsidiary decoration. Interior glossy black with a circular patch of thin glaze fired orange at the bottom. A reserved band on top of mouth and another below where mouth begins to flare. On the exterior, laurel to right between reserved bands on lower degree of mouth, the lower band covered with black at the handles. Handles black with inner sides and patch beneath reserved; tongues at handle bases but not across the reserved patches or over the tops. Below the handles a circled palmette with volutes and leaves on each side. Circling the vase below the pictures, a meander in threes with "dashed" saltires, between pairs of relief lines. Tooling between body and foot reserved. Foot black with lip, lower edge, and underside reserved. A. A horserace: two naked youths ride to the left. The front rider turns back waving his crop in his left hand, and holding the reins with his right hand on the left side of his mount's neck. Several lines across the ankle of each youth would seem to be the tops of boots, but the visible toes of the first rule this out. They are presumably from a tentative and abandoned version of the composition. None of the horses' hooves touches the ground. Black disks adorn their bridles, and the forelocks are tied to stand upright. Behind them is an Ionic column, perhaps the goal post (meta) which they have just passed. It has a rectangular base and a sketchy palmette necking band in addition to the ovolo on the echinus.

50.8.36 (A5933.50-42). BELL-KRATER. By the Anabates Painter [Trendall]. First quarter of the fourth century B.C.

B. Three draped youths, each wearing shoes and himation with broad black border. The central youth has a staff Relief contour. On A for lower side of left youth's left upper arm, both sides of right forearm, torso below waist, top of foot, part of front of his horse's left hind leg; right youth's nose, forehead, lower side of left arm (overrun by background glaze), chest, buttocks, his horse's chest and front of neck, right front leg and hoof, top of left front leg above knee. On B for top of left youth's rear foot, bottom of his himation above the foot.

Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Viscount Cowdray.

Inner drawing. Relief line for most inner lines on A and some on B. Dilute glaze on B for border of right youth's himation.

Plate 45 LUCANIAN

Lucanian

49

December 2, 1946 p. 7 no. 59 (Cowdray); Clement, Hesperia 24 (1955) 22 no. 31.

Plate 44, 2 APULIAN (GNATHIA) 50.8.13 (A5933.5019a). fourth century B.C.

PELLKE.

Ribbed Group. Late

Gift of William Randolph Hearst, 1950. Once owned by Josef Fischl. H. 26.6 to 26.4 cm.; D. of mouth 12.3 cm.; D. of body 15.1 cm.; D . of foot 11.0 cm. Convex mouth. Tooling at top of neck and at top of body above the ribbing which extends almost to the base. Handles cylindrical with smooth baseplates. Foot in two degrees with lower degree flanged on top and grooved on side. Unbroken. Glaze thin and streaky on foot, and fired red in places. Clay a dark reddish brown. Subsidiary decoration. Interior of body mostly reserved with a few areas of thin matte black. Dilute glaze wash on most of interior of neck. Mouth, handles, and exterior of body black except for a reserved band with uneven edge below the ribbing at the base of the body (bottom of ribs also reserved on back; a black drip over the reserved band below the right handle). A yellow line runs around the top of the ribbing, but is not detectable on part of the back or around the left handle. Foot thin black with underside reserved. On the neck in yellow is a swan (details in brown, black eye) to the left between two wispy plants with many tendrils. Above is a festoon (necklace) with long dotted pendants (some on left end with three dots, others single), five X's along the top, and a dotted descender hanging from the volute at each end. On the Ribbed Group see Webster, BICS 15 (1968) 23 ff. Webster compares Naples 80856 (CVA Italy 24 pi. 66, 7). Bibliography: Cat. Sotheby May 14,1946 p. 14 no. 127, item 1 (Fischl); Clement, Hesperia 24 (1955) 23.

H. 32.9 to 32.7 cm.; D. of mouth 35.4 cm.; D. of body 25.6 cm.; D. of foot 16.5 cm. Mouth in two degrees; wavy tooled line between body and disk foot lipped at top. Unbroken. Contour of right youth's foot and right horse's belly and rear legs refreshed with a thin black line, and some modern black in handle-area to right of A. Most of the glaze is greenish. Clay a slightly reddish brown with a pink wash. Subsidiary decoration. Interior glossy black with a circular patch of thin glaze fired orange at the bottom. A reserved band on top of mouth and another below where mouth begins to flare. On the exterior, laurel to right between reserved bands on lower degree of mouth, the lower band covered with black at the handles. Handles black with inner sides and patch beneath reserved; tongues at handle bases but not across the reserved patches or over the tops. Below the handles a circled palmette with volutes and leaves on each side. Circling the vase below the pictures, a meander in threes with "dashed" saltires, between pairs of relief lines. Tooling between body and foot reserved. Foot black with lip, lower edge, and underside reserved. A. A horserace: two naked youths ride to the left. The front rider turns back waving his crop in his left hand, and holding the reins with his right hand on the left side of his mount's neck. Several lines across the ankle of each youth would seem to be the tops of boots, but the visible toes of the first rule this out. They are presumably from a tentative and abandoned version of the composition. None of the horses' hooves touches the ground. Black disks adorn their bridles, and the forelocks are tied to stand upright. Behind them is an Ionic column, perhaps the goal post (meta) which they have just passed. It has a rectangular base and a sketchy palmette necking band in addition to the ovolo on the echinus.

50.8.36 (A5933.50-42). BELL-KRATER. By the Anabates Painter [Trendall]. First quarter of the fourth century B.C.

B. Three draped youths, each wearing shoes and himation with broad black border. The central youth has a staff Relief contour. On A for lower side of left youth's left upper arm, both sides of right forearm, torso below waist, top of foot, part of front of his horse's left hind leg; right youth's nose, forehead, lower side of left arm (overrun by background glaze), chest, buttocks, his horse's chest and front of neck, right front leg and hoof, top of left front leg above knee. On B for top of left youth's rear foot, bottom of his himation above the foot.

Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Viscount Cowdray.

Inner drawing. Relief line for most inner lines on A and some on B. Dilute glaze on B for border of right youth's himation.

Plate 45 LUCANIAN

The Los Angeles County Museum of Art (1)

50 Bibliography: Trendall, LCS 97 no. 507, pi. 48, 5-6; Tischbein, Collection of Engravings I 140-141, pi. 52; Panofka, Bilder antiken Lebens pi. 3 no. 1 ; Kirk, Outlines from thefigures12, pi. 19; Cat. Christie July 23,1917 p. 14 no. 67 (Hope); Reinach, Répertoire II 291, 1; Tillyard, Hope Vases 118 no. 222, pi. 31; Cat. Sotheby December 2,1946 p. 7 no. 58 (Cowdray); Clement, Hesperia 24 (1955) 22 no. 30.

Plates 46, 47 CAMPANIAN 50.8.16 (A5933.50-22).

NECK-AMPHORA.

B y the Ixion

Painter [Beazley]. About 330-310 B.C. Gift o f William Randolph Hearst, 1950. Once owned by the Duke o f Caraffa Noya (?), the Museum o f Capo di Monte, James Edwards, Thomas Hope, Viscount C o w dray. From Polignano. H. as restored 67.0 cm.; D . o f body 23.1 to 22.9 cm.; D . o f foot 15.8 cm. Mouth, handles, and part o f neck modern; a modern extension of the foot n o w removed. Tooling between neck and shoulder. Groove between body and tall foot with tooling near the wide molded base which is flanged on top and grooved on the side. Foot and body below pictures mended; ancient rivet holes at base o f body on B around break lines. A faint groove circling the vase (most noticeable on B at the level o f the youth's hips) is probably the joint where two separately turned sections o f body were put together. A large hole with smooth edges in base of body. Black glaze often thin and red-orange on A . Clay light tan. Subsidiary decoration. Interior reserved. O n the neck o f B a tall palmette with two stems on each side, the inner one opening into a "flower." O n the shoulder on A are encircled palmettes with small rosettes between them on a higher level; on B palmettes alternating with large quartered disks. Yellow dots border the reserved band circling the palmettes on each side, and on B a white line runs inside the reserved circling band as well. Rosettes on A have yellow centers and white lines at the edges (leftmost totally white and different in shape); disks on B have yellow centers and white around the inside o f rim. A reserved patch at the handle bases continues up the neck separating the shoulder patterns on the two sides. In the handle-areas are two superimposed palmettes with volutes and partial palmettes between them at the sides. O n the upper palmette the two fronds beside the central one are sprung and curl inward at the top. Circling the vase be-

l o w the pictures, a band o f waves. Foot black with lower edge and underside reserved. A . A heroic battle over a body, perhaps Greeks fighting Trojans over the body o f Patroclus. The warriors are distributed over three registers. In the top row are five warriors, two on left, three on right. Each has a spear and shield and wears only helmet and black-bordered cloak, and the fourth from left has a corslet as well. Three o f the helmets cross the upper border. The spear shaft o f the second figure is interrupted by his shield armband. In the middle register are six more warriors, three plus a corpse on the left and two on the right. The second from left, with cloak, helmet, and shield, attempts to retrieve the corpse (stripped o f clothes and armor) while his companions ward off the foe. The other figures in this register wear short chitons and helmets and lack shields, and all but the rightmost have corslets. All have cloaks except the fifth from left w h o has greaves. The central figure swings an ax with both hands over his head, and the man in front o f him, fallen backward, extends his right hand in supplication. His other hand, wrongly drawn, has a dagger. The figures on each end shoot arrows toward the center, each with b o w and quiver. T w o gashes in the clay run diagonally across the middle o f the fifth figure breaking the relief lines that they cross, but lying beneath the white o f his corslet. In the lowest register are four warriors. O n the far right an archer shoots up into the middle zone and seems to belong with that group. He is dressed like the archer on the left o f that zone but has a different helmet, and his cloak is dotted. In the center a wounded warrior kneels with his right leg on a spotted rock. A spear has cut clean through his bleeding left thigh from the right, and he attempts to aim a final thrust o f his spear at an opponent outside the picture. Behind him on left and right two spearmen duel. The foot o f the left one has no contour stripe at its toes where it crosses the reserved band beside the handle-area palmette, the contour stripe o f which crosses his ankle. All the lower figures have sideburns, and also the second and fourth in the middle. T w o o f the shields have dots on the rim o f the inside, one on the exterior rim, and another has black hooks around the rim o f the inside. Considerable space is depicted. The painter has attempted to show depth by placing the figures at different levels within each register, and by making more distant figures on a smaller scale, especially in the middle register. O n neck o f A , a woman in chiton and himation, and a warrior with a cloak and greaves with spiral decoration, his shield (?) on the right behind him.

The Los Angeles County Museum of Art (1)

50 Bibliography: Trendall, LCS 97 no. 507, pi. 48, 5-6; Tischbein, Collection of Engravings I 140-141, pi. 52; Panofka, Bilder antiken Lebens pi. 3 no. 1 ; Kirk, Outlines from thefigures12, pi. 19; Cat. Christie July 23,1917 p. 14 no. 67 (Hope); Reinach, Répertoire II 291, 1; Tillyard, Hope Vases 118 no. 222, pi. 31; Cat. Sotheby December 2,1946 p. 7 no. 58 (Cowdray); Clement, Hesperia 24 (1955) 22 no. 30.

Plates 46, 47 CAMPANIAN 50.8.16 (A5933.50-22).

NECK-AMPHORA.

B y the Ixion

Painter [Beazley]. About 330-310 B.C. Gift o f William Randolph Hearst, 1950. Once owned by the Duke o f Caraffa Noya (?), the Museum o f Capo di Monte, James Edwards, Thomas Hope, Viscount C o w dray. From Polignano. H. as restored 67.0 cm.; D . o f body 23.1 to 22.9 cm.; D . o f foot 15.8 cm. Mouth, handles, and part o f neck modern; a modern extension of the foot n o w removed. Tooling between neck and shoulder. Groove between body and tall foot with tooling near the wide molded base which is flanged on top and grooved on the side. Foot and body below pictures mended; ancient rivet holes at base o f body on B around break lines. A faint groove circling the vase (most noticeable on B at the level o f the youth's hips) is probably the joint where two separately turned sections o f body were put together. A large hole with smooth edges in base of body. Black glaze often thin and red-orange on A . Clay light tan. Subsidiary decoration. Interior reserved. O n the neck o f B a tall palmette with two stems on each side, the inner one opening into a "flower." O n the shoulder on A are encircled palmettes with small rosettes between them on a higher level; on B palmettes alternating with large quartered disks. Yellow dots border the reserved band circling the palmettes on each side, and on B a white line runs inside the reserved circling band as well. Rosettes on A have yellow centers and white lines at the edges (leftmost totally white and different in shape); disks on B have yellow centers and white around the inside o f rim. A reserved patch at the handle bases continues up the neck separating the shoulder patterns on the two sides. In the handle-areas are two superimposed palmettes with volutes and partial palmettes between them at the sides. O n the upper palmette the two fronds beside the central one are sprung and curl inward at the top. Circling the vase be-

l o w the pictures, a band o f waves. Foot black with lower edge and underside reserved. A . A heroic battle over a body, perhaps Greeks fighting Trojans over the body o f Patroclus. The warriors are distributed over three registers. In the top row are five warriors, two on left, three on right. Each has a spear and shield and wears only helmet and black-bordered cloak, and the fourth from left has a corslet as well. Three o f the helmets cross the upper border. The spear shaft o f the second figure is interrupted by his shield armband. In the middle register are six more warriors, three plus a corpse on the left and two on the right. The second from left, with cloak, helmet, and shield, attempts to retrieve the corpse (stripped o f clothes and armor) while his companions ward off the foe. The other figures in this register wear short chitons and helmets and lack shields, and all but the rightmost have corslets. All have cloaks except the fifth from left w h o has greaves. The central figure swings an ax with both hands over his head, and the man in front o f him, fallen backward, extends his right hand in supplication. His other hand, wrongly drawn, has a dagger. The figures on each end shoot arrows toward the center, each with b o w and quiver. T w o gashes in the clay run diagonally across the middle o f the fifth figure breaking the relief lines that they cross, but lying beneath the white o f his corslet. In the lowest register are four warriors. O n the far right an archer shoots up into the middle zone and seems to belong with that group. He is dressed like the archer on the left o f that zone but has a different helmet, and his cloak is dotted. In the center a wounded warrior kneels with his right leg on a spotted rock. A spear has cut clean through his bleeding left thigh from the right, and he attempts to aim a final thrust o f his spear at an opponent outside the picture. Behind him on left and right two spearmen duel. The foot o f the left one has no contour stripe at its toes where it crosses the reserved band beside the handle-area palmette, the contour stripe o f which crosses his ankle. All the lower figures have sideburns, and also the second and fourth in the middle. T w o o f the shields have dots on the rim o f the inside, one on the exterior rim, and another has black hooks around the rim o f the inside. Considerable space is depicted. The painter has attempted to show depth by placing the figures at different levels within each register, and by making more distant figures on a smaller scale, especially in the middle register. O n neck o f A , a woman in chiton and himation, and a warrior with a cloak and greaves with spiral decoration, his shield (?) on the right behind him.

Campanian B. Wedding preparations (or perhaps a religious ritual). On the left at ground level the bride (girt peplos with long apoptygma, shoes, polos and wreath, veil down back, earring, necklace, armband, bracelet) carries a phiale in her right hand, and a thyrsos in her left. Facing her a long-haired youth (himation over left shoulder and around hips, shoes, wreath with spikes in hair, wreaths on chest) stands with his left foot back resting on its toes, and with his right hand holding a wreath in front of the woman. Behind him on the right another woman (peplos like first, wreath) with a phiale adjusts the pin at her shoulder with her left hand. On a higher level at each end a woman (sleeveless ungirt chiton with stripe and dot borders, wreath) faces outside and turns her head to the center, apparently resting her inner elbow on an invisible support. The woman on left holds up a mirror in her right hand, and has a necklace, armband, bracelets, and shoes. The woman on the right has a cloak over her left shoulder, a bracelet and an armband on her right arm. In the center Eros (shoes, anklets, bracelets, wreaths across chest, on thigh, and on head) floats or reclines on an invisible couch and twirls a lvy£ in his hands. In the upper right field is a disk with two circles inside. Relief contour. On A almost everywhere on body, sometimes overlaid by background or added colors, occasionally missing on helmets and crests, and rarely elsewhere except the rock at the bottom which is contoured by a white stripe. On neck for top of woman's right foot, top of back of left greave. On B for upper left woman's forehead, nose, lips, front of neck, bottom of left forearm, right upper arm and top of forearm; lower left woman's face, front of neck, left upper arm, top of forearm, right wrist and hand, back of peplos just above waist, front of peplos just above and below waist, right foot, top of left shoe; front of youth's neck and part of chin, underside of right hand, both shins, lower edge of himation; lower right woman's face, arms, back of peplos from waist to knee, left foot; upper right woman's face (except end of nose), neck, right forearm, part of chiton by knee, both feet; most of Eros. Red. On A for blood dripping where spear pierces each side of the thigh of second figure on bottom; red-brown wash on inside of shield of second on top and in middle and of first on bottom. White. Helmets, crests, corslets, exteriors of shields, rims, armbands and hand-brackets on interiors of shields are all white with yellow inner markings or decorations except cap of fourth from left on bottom which is reserved. Additional white: in top row for left man's spear

51 (running into upper frame) and second man's cloak pin; in middle register for rightmost's belt; on bottom for contour of rock (mostly stain). On B for upper left woman's wreath, left shoulder pin; lower left woman's wreath, polos and veil, bracelet, earring, thyrsos, phiale; youth's wreath and spikes in hair; lower right woman's flesh, wreath, phiale; upper right woman's wreath, earring, necklace; top edge of Eros' wings, ïvyÇ; disk in right field. Stain of probable white on neck of A for contour of shield; on B for upper left woman's necklace, armband, soles of shoes; lower left woman's necklace; wreaths on youth's chest; upper right woman's bracelet and armband; Eros' jewelry and wreaths. Yellow. On A for details and decoration on white armor listed above, as well as a thin wash with brown dots on rim of shield of third from left on top, ladder pattern at base of his crest, a wash on shield and helmet of fifth on top, mouth of quiver of first in middle, a smudged drip behind second's helmet crest, wash on rim of shield of second on bottom. On B for upper left woman's mirror, bracelets; details on lower left woman's polos and phiale, stripes on thyrsos staff and most of top; wreath in youth's right hand; details on lower right woman's flesh and phiale; two circles and diagonal stripes on disk in field. Applied clay in relief, presumably as a base for gilding, and partially flaked off. On A for all spears (except leftmost on top), bows, strings and arrows, and ax of fourth in middle. Preliminary sketch. Not very conspicuous on A, but quite a lot on B with very fine lines. Tillyard summarizes earlier identifications of the figures with Homeric heroes and deities on pp. 148-149. On the ïvy{ see Gow, JHS 54 (1934) 1 - 1 3 ; and Theocritus II 41. Bibliography: Trendall, LCS 335, 337, 339 no. 799; Christie, A Disquisition upon Etruscan Vases p. v note 1 ; Magasin encyclopédique 1809 II 461-470; Winckelmann, Geschichte der Kunst Bk. 3 ch. 4.19; Millin, Peintures de Vases antiques 1 9 4 - 1 0 1 , pis. 49-50, II pi. 69, Galerie Mythologique II 85-86, pl. 158 no. 580, Tombeaux de Canosa 1 note 1 ; Christie, Disquisitions upon the Painted Greek Vases p. vi note; Guigniaut, Religions de l'antiquité TV 366, pl. 230 no. 795; Gerhard, Antike Bildwerke 86 note 94, pi. 3 1 3 , 1 , 404 no. 1 ; Inghirami, Galleria Omerica II 68-71, pi. 149; Gerhard, Auserlesenegriechische Vasenbilder III 87 note 33; Overbeck, Gallerie heroischer Bildwerke I 430; Reinach, Peintures de vases antiques 30-32, pis. 49-50; Cat. Christie July 23, 1917 p. 20 no. 1 1 9 (Hope); Tillyard, Hope Vases 146-149 no. 283, pis. 34 and 39; Beazley, VP 77, JHS 63

52

The Los Angeles County Museum of Art (1)

(1943) 94 no. 9; Cat. Sotheby December 2,1946p. 8 no. 66 the top and long ends hanging below. The marks above (Cowdray); Clement, Hesperia 24 (1955) 21 no. 28, pi. the loop are cracks in the glaze, not part of the drawing. The shoes on each figure are drawn sketchily in added na-c. color over the garments which should actually cover them. In the field above the left handle is a cista. Above Plate 48 the left woman is a thymiaterion, behind her a long fillet, and in the upper right field a dot rosette. CAMPANIAN Relief contour. None. Inner drawing. Mainly flat black, sometimes dilute. M62.27.6 (L2100.A255.62-6). HYDRIA. By the Boston White (in some cases yellow may have worn off). For Ready Painter [Trendall]. About 340-320 B.C. left woman's hair at forehead, fillet hanging from shoulGift of Mrs. Ben R. Meyer, 1962. der, ribbons around tambourine, diphros; middle womH. 43.5 cm.; D. of mouth 13.3 cm.; D. of body 21.7 an's flesh, kekryphalos, fillet hanging from shoulder; cm.; D. of base of foot 13.1 cm. Convex mouth lipped right woman's flesh, kekryphalos, pins on right sleeve, andflangedon the top outer edge. Groove between body fillet in left hand; stele's base and right half, two lines and tall foot with a thin ridge halfway down and a wide across top of stele, fillet in lower left field. Stain of probdisk base with concave top and a slight groove on the side. able white for rows of dots over which middle woman Unbroken; large cracks, however, above the right handle sits. bases and below the vertical handle. Much of the glaze is Yellow. For all shoes, mirrors, details on flesh and thin and streaky or mottled, and a large area of the back kekryphaloi, hair in chignons; left woman's right bracehas fired orange. Clay reddish brown. let, rim and dots on middle woman's phiale, hair at right Subsidiary decoration. Interior of body, and top and woman's ear, thymiaterion, dot rosette in field, lines underside of mouth reserved. A thin glaze wash on inacross bottom and near top of stele shaft. Stain of probterior of neck and on lip and flange. Vertical stripes on able yellow for left woman's earring, necklace, left braceside of mouth below lip and on neck (stopping under the let, and shoulder pins; middle woman's shoulder pins, rear handle). Circling the vase below the picture, a band fruits in her phiale. of waves. Handles black with inner sides and patch beBibliography: Trendall, Suppl. I, 91 no. 620b. neath reserved. Below the horizontal handles, volutes and a flower. On the back is a large palmette (with dotted heart)flankedon each side by volutes on tall stems with a Plate 49 large comb on the outer side and a tiny comb at the top on CAMPANIAN the inside. On the shoulder on each side of the vertical handle is a quartered disk. Foot black with lower edge 50.9.45 (A5141.50-803). BELL-KRATER. By the Painter of and underside reserved. London F 229 of the Rhomboid Group [Beazley]. About Domestic scene with three women and a stele. The left 330-310 B.C. woman (sleeveless girt chiton, wreath hanging from left Gift of William Randolph Hearst, 1950. Once owned shoulder, shoes, sakkos, necklace, bracelets, earring) sits by Sir William Hamilton, P. W. Mallet. on a stool (diphros) with crossed legs and a crossbar at the floor. In her right hand she holds up a large tamH. (as restored) 38.5 cm.; D. of mouth 38.2 to 38.0 bourine with ribbons around the edge, and in her left cm.; D. of body 26.2 to 26.0 cm. Mouth in two degrees. hand is a mirror. Directly in front of her is the stele on a Foot and half of stem modern. Remainder of vase rewide single-stepped base. Above, presumably behind it, assembled from large pieces with considerable modern the central woman (sleeveless girt chiton, shoes, kekryblack on interior and on mouth and handles. Parts of phalos [?], wreath hanging from the right shoulder) sits reserved areas are browner than others. Clay light tan. to left on top of three rows of dots. She holds a mirror in Subsidiary decoration. Interior black. On exterior, lauher right hand and a phiale full of something, perhaps rel to left circling the vase on lower degree of mouth fruits, in her left. The third woman (sleeved girt chiton, with a reserved band below. Handles black with widely himation, kekryphalos, shoes) stands on the right with her spaced tongues at bases, stopping at tops and for reserved hand on the stele. In her left hand is a fillet with a loop at rectangular patches behind and above the handles. In the

Campanian handle-area a large palmette flanked by tall white-edged scrolls with a partial palmette and a campanula flower (white trim on flowers facing side A ) on the outer sides. Circling the vase below the pictures, a border o f waves. A . Female acrobats. O n the left a woman dances bending sideways at the waist with her hands clasped over her head. She wears a low-cut high-waisted chiton with a hoop in the hem, crossed straps on the chest, shoes, kekryphalos, earrings, bracelets, anklet, and necklace. Beside her in a handstand is another woman (traces o f the outline o f her transparent skirt remaining in stain at the ankles and above the upper leg, black belt, crossed straps with pin on chest, kekryphalos, earring, bracelets, sandals). Her legs curve over her head, the left bent down at the knee with the toes ending by a dotted wreath with a fillet wrapped around it. A dove flies to the left in front o f her arms. Other field decorations include three rosettes, and four rhomboids with dotted or crossed centers, some with projecting crosses at the side corners. The right toe o f the acrobat crosses the reserved band above the picture. B . Aphrodite preparing for the judgment o f Paris, or perhaps preparations for a wedding at which the acrobats are entertainers. T w o Erotes arrange her dress (girt peplos with long apoptygma and black borders, kekryphalos, shoes) while she assesses herself with a mirror in her right hand. Each Eros wears a kekryphalos, necklace, bracelets, and an anklet, and the left one has a wreath around his waist. Both stoop with the outer leg back, and the inner leg forward. O n the left Eros only one wing is visible. In the upper left field is a rosette, in lower left a rhomboid with dotted center. The wingtips (and a contour stripe on the left one) and the goddess' head cross the reserved band above the picture. Contour stripe. Barely detectable, sometimes not visible at all. O n B the right Eros has a contour stripe separating his face from his wing. Relief contour. None. Inner drawing. Relief line on A for some inner contours, on B for many inner lines. Dilute glaze on A for contours o f dancer's legs, much o f acrobat's hair, dots on wreath, feathers on dove; on B for some folds, edges o f hair, parts o f peplos borders, a dot at each end o f Aphrodite's foot. Very dilute glaze for lines behind stripe on left Eros' wing and for contour o f right Eros' back. White. O n B for Aphrodite's shoes. Yellow (much o f it faint or in stain only, some possibly white once rather than yellow). O n A for all jewelry, decoration on dancer's kekryphalos, lines and dots down

53 her skirt and around bottom o f skirt, soles o f shoes; acrobat's pin on chest, sandal thongs wrapped twice around feet and ankles; outlines o f rhomboids and o f left two rosettes and their centers, fillet around wreath in field. O n B for mirror outline and handle, dots on Aphrodite's waistband, her jewelry, vertical line on center o f each shoe, spikes on front o f kekryphalos, ribbon around chignon with ends (stain) hanging to shoulder; line along top o f Erotes' wings, spikes on front o f their kekryphaloi, their jewelry (much o f it stain only), left Eros' wreath at waist; edges o f rhomboid and "spokes" around central dot, center o f rosette. Stain o f yellow or white on A for dancer's hair, part o f outline o f acrobat's dress, decoration on her belt; on B for a line and dots along lower edge o f Aphrodite's peplos apoptygma. Bibliography: Trendall, LCS 545 no. 834; Tischbein, Collection of Engravings V pis. 62-63 ; Reinach, Répertoire II 349-350; Beazley,JHS 63 (1943) 99 (III) nos. 6 and 7; Clement, Hesperia 24 (1955) 21-22 no. 29, pi. n d - e .

Plate 50 CAMPANIAN 50.8.26 (A5933.50-32). BOTTLE. B y the C A Painter [Beazley]. About 360-350 B.C. Gift o f William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 20.0 cm.; D . o f mouth 5.9 cm.; D . o f body 10.9 cm.; D . o f foot 7.4 cm. Mouth lipped with concave side. W i d e fillet between body and disk foot with groove on side near bottom. Unbroken. T w o leftmost figures partially obliterated by surface corrosion. Glaze on top o f neck and bottom o f body and foot is thin and streaky. Clay pinkish tan. Subsidiary decoration. Interior o f body reserved, top o f neck, and all sides o f mouth black with lip reserved. O n the lower part o f the neck a reserved band with black horizontal ladder pattern. O n the back o f the vase, a large palmette flanked by tall scrolls with partial palmettes and campanula flowers on the outer sides. A dot on each side o f the central frond o f the palmette is yellow, and the two fronds beside it are sprung inward. A line along the top o f the palmette heart is white as are the edges o f some o f the scrolls, the center o f the left campanula (surface on right damaged), and the centers o f some o f the volutes in the scroll. Circling the vase below the black groundline, a band of waves. The lower body and foot are in thin black glaze, the fillet between them reserved. Underside o f foot

54 reserved with several black bands concentric around a black disk in the center (chipped off). Eros and Aphrodite between two women, with a servant girl on the left. In the center a small Eros (two bracelets and three anklets on left, fillet across chest) kneels on the lap o f Aphrodite and embraces her. She wears a sleeveless girt chiton, himation, bracelet, polos adorned with circles and dashes, and shoes. A deerskin is draped over the seat o f her chair (klismos). In front o f her on the right is a woman (himation fallen below the waist, shoes, kekryphalos) holding a phiale o f fruits (?) and a thin fillet in her left hand. She sits on two pillows with knobbed ends and decoration o f chevrons and hooks. They rest on the ground (covered with tufts o f grass bel o w them) which rises in front o f Aphrodite to the level o f a small bush beside the woman's right hand. Beside Aphrodite on the left is a standing woman (ungirt peplos with long apoptygma, kekryphalos, bracelets, necklace, earrings, shoes) with a small branch in her right hand. A yellow spot under her left arm and numerous short vertical white lines above her waist are apparently the remains o f a phiale and its contents once held in her left hand. Between her and Aphrodite is an incense burner (thymiaterion) and a bush, and above a wall hook (or a small window) with a tasseled chain hanging below. O n the left end o f the picture is a little servant girl wearing a peplos with long apoptygma girt at the waist, kekryphalos (?), and bracelets. She has a mirror in her left hand, a wreath in her right. In front o f her is a bush. Relief contour. T o p o f left forearm o f the standing woman; most o f the feathers along the back o f Eros' wings. Inner drawing. Relief line for most body contours, flat black for most folds. Dilute glaze for borders o f garments and some edges o f hair. White. Flesh o f girl, Eros, and rightmost woman; contents o f standing woman's phiale, frame o f chair, front edges o f Eros' wings and rows o f dots on feathers, pillows. Yellow. Girl's hair, wreath in hand, mirror, bracelet; standing woman's jewelry, front o f kekryphalos, shoes, phiale (remaining only by her left arm); Aphrodite's polos (with brown details), jewelry, shoes, back o f chair, deerskin; Eros' hair, details on flesh, jewelry, fillet on chest; right woman's hair, details on flesh and kekryphalos, shoes, phiale and fruits, decoration on pillows; thymiaterion (with brown details), all plants and other field decorations. For an interesting interpretation o f this vase see Broneer, Hesperia 1 (1932) 55.

The Los Angeles County Museum of Art (1) Bibliography: Trendall, LCS 451, 459 no. 64, 460; Tischbein, Collection of Engravings III 34-37, pi. 23; Lenormant and de Witte, Él. Cér. IV 172-173, pl. 41; Cat. Christie July 23, 1917 p. 25 no. 150a (Hope); Reinach, Répertoire I I 3 1 5 , 1 ; Tillyard, Hope Vases 150-151 no. 287, pi. 40; Broneer, Hesperia 1 (1932) 55; Beazley, JHS 63 (1943) 87 no. 45; Cat. Sotheby December 2,1946p. 7 no. 61 (Cowdray); Clement, Hesperia 24 (1955) 21 no. 27; Schilling, La religion romaine de Vénus 21-22.

Plate 51 PAESTAN 50.8.30 (A5933.50-36). BELL-KRATER. B y Python [Watzinger]. Third quarter o f fourth century B.C. Gift o f William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 38.2 to 37.7 cm.; D . o f mouth 37.2 to 36.7 cm.; D . o f body 24.1 to 23.7 cm.; D . o f foot 16.8 to 16.6 cm. Mouth in two degrees, spreading foot lipped on top. A break line circles the lower body and is repainted on the exterior. Black refreshed on A between papposilen's legs, and on B around staff o f left youth and laurel o f right youth. Glaze thin and orangish in places, sometimes greenish on B . Clay reddish brown. Subsidiary decoration. Interior glossy black with a reserved line at top o f mouth and another below where mouth begins to flare. O n exterior, laurel to right (without framing bands) circles the vase on lower degree o f mouth. Handles black with part o f inner sides and patch beneath reserved. Below the handles a large palmette flanked by tall stems with volutes and partial palmette flowers on the outer sides, a white dot at center o f volute left o f A (stain only on right o f A). Circling the vase below the pictures, a band o f waves. Foot black with lip, lowest edge, and underside reserved. A . A papposilen runs to the left followed by the young Dionysos. The former wears a fawnskin and boots with flaps. He is balding and has a wrinkled brow, and tufts o f white hair (dots) cover his body. In his right hand he carries a torch, in his left a wreath (preserved in stain only) and a large full wineskin draped with dotted fillets. D i lute glaze shading renders creases on wineskin. Dionysos (cloak with embattled border draped across right thigh and left forearm, shoes, bracelet on right wrist, wreaths on head, across chest, and on left thigh) has stopped momentarily in a lunging position and swings a small kylix on his

54 reserved with several black bands concentric around a black disk in the center (chipped off). Eros and Aphrodite between two women, with a servant girl on the left. In the center a small Eros (two bracelets and three anklets on left, fillet across chest) kneels on the lap o f Aphrodite and embraces her. She wears a sleeveless girt chiton, himation, bracelet, polos adorned with circles and dashes, and shoes. A deerskin is draped over the seat o f her chair (klismos). In front o f her on the right is a woman (himation fallen below the waist, shoes, kekryphalos) holding a phiale o f fruits (?) and a thin fillet in her left hand. She sits on two pillows with knobbed ends and decoration o f chevrons and hooks. They rest on the ground (covered with tufts o f grass bel o w them) which rises in front o f Aphrodite to the level o f a small bush beside the woman's right hand. Beside Aphrodite on the left is a standing woman (ungirt peplos with long apoptygma, kekryphalos, bracelets, necklace, earrings, shoes) with a small branch in her right hand. A yellow spot under her left arm and numerous short vertical white lines above her waist are apparently the remains o f a phiale and its contents once held in her left hand. Between her and Aphrodite is an incense burner (thymiaterion) and a bush, and above a wall hook (or a small window) with a tasseled chain hanging below. O n the left end o f the picture is a little servant girl wearing a peplos with long apoptygma girt at the waist, kekryphalos (?), and bracelets. She has a mirror in her left hand, a wreath in her right. In front o f her is a bush. Relief contour. T o p o f left forearm o f the standing woman; most o f the feathers along the back o f Eros' wings. Inner drawing. Relief line for most body contours, flat black for most folds. Dilute glaze for borders o f garments and some edges o f hair. White. Flesh o f girl, Eros, and rightmost woman; contents o f standing woman's phiale, frame o f chair, front edges o f Eros' wings and rows o f dots on feathers, pillows. Yellow. Girl's hair, wreath in hand, mirror, bracelet; standing woman's jewelry, front o f kekryphalos, shoes, phiale (remaining only by her left arm); Aphrodite's polos (with brown details), jewelry, shoes, back o f chair, deerskin; Eros' hair, details on flesh, jewelry, fillet on chest; right woman's hair, details on flesh and kekryphalos, shoes, phiale and fruits, decoration on pillows; thymiaterion (with brown details), all plants and other field decorations. For an interesting interpretation o f this vase see Broneer, Hesperia 1 (1932) 55.

The Los Angeles County Museum of Art (1) Bibliography: Trendall, LCS 451, 459 no. 64, 460; Tischbein, Collection of Engravings III 34-37, pi. 23; Lenormant and de Witte, Él. Cér. IV 172-173, pl. 41; Cat. Christie July 23, 1917 p. 25 no. 150a (Hope); Reinach, Répertoire I I 3 1 5 , 1 ; Tillyard, Hope Vases 150-151 no. 287, pi. 40; Broneer, Hesperia 1 (1932) 55; Beazley, JHS 63 (1943) 87 no. 45; Cat. Sotheby December 2,1946p. 7 no. 61 (Cowdray); Clement, Hesperia 24 (1955) 21 no. 27; Schilling, La religion romaine de Vénus 21-22.

Plate 51 PAESTAN 50.8.30 (A5933.50-36). BELL-KRATER. B y Python [Watzinger]. Third quarter o f fourth century B.C. Gift o f William Randolph Hearst, 1950. Once owned by Thomas Hope, Viscount Cowdray. H. 38.2 to 37.7 cm.; D . o f mouth 37.2 to 36.7 cm.; D . o f body 24.1 to 23.7 cm.; D . o f foot 16.8 to 16.6 cm. Mouth in two degrees, spreading foot lipped on top. A break line circles the lower body and is repainted on the exterior. Black refreshed on A between papposilen's legs, and on B around staff o f left youth and laurel o f right youth. Glaze thin and orangish in places, sometimes greenish on B . Clay reddish brown. Subsidiary decoration. Interior glossy black with a reserved line at top o f mouth and another below where mouth begins to flare. O n exterior, laurel to right (without framing bands) circles the vase on lower degree o f mouth. Handles black with part o f inner sides and patch beneath reserved. Below the handles a large palmette flanked by tall stems with volutes and partial palmette flowers on the outer sides, a white dot at center o f volute left o f A (stain only on right o f A). Circling the vase below the pictures, a band o f waves. Foot black with lip, lowest edge, and underside reserved. A . A papposilen runs to the left followed by the young Dionysos. The former wears a fawnskin and boots with flaps. He is balding and has a wrinkled brow, and tufts o f white hair (dots) cover his body. In his right hand he carries a torch, in his left a wreath (preserved in stain only) and a large full wineskin draped with dotted fillets. D i lute glaze shading renders creases on wineskin. Dionysos (cloak with embattled border draped across right thigh and left forearm, shoes, bracelet on right wrist, wreaths on head, across chest, and on left thigh) has stopped momentarily in a lunging position and swings a small kylix on his

Paestan right index finger. His thyrsos, decked with a fillet around the top of its staff, is in his left hand (covered by the cloak). The figures stand on rough hilly terrain represented by a wavy groundline with groups of three dots below (and one above, on right end). On the framing line between the picture and the border below are a reserved plant of volutes and partial palmettes, and an altar with four balls on top and a dotted molding near the top. An ivy leaf lies in the lower left corner, an ivy spray draped with a fillet along the top right edge, and a fillet in the upper left corner. Another plant floats in the left field in front of the papposilen. B. Two wreathed youths in himatia with embattled borders, shoes with buttons, and staffs. The right one has a small branch in his right hand and holds his staff behind. Relief contour. On A for front of papposilen above and below fawnskin, lower side of right upper arm, right shin, and the left shin; Dionysos' nose, forehead, neck, left thigh, side, and underside of arm. On B for forehead and nose of left youth. Inner drawing. Relief line on A and B for most inner lines. Dilute glaze on A for Dionysos' pubic hair, part of his cloak border, edges of hair; on B for parts of himation borders, some folds. Red. On A for papposilen's boot flaps, fillet on wineskin, flame of torch; fillets on Dionysos' thyrsos, in ivy above, and in upper left corner. White. On A for papposilen's hair, beard, dots all over his body, smoke from torch, dots on fillets across wineskin; most of Dionysos' kylix, bracelet, dots on wreaths on his head and thigh, marks on right shoe; some groups of dots on ground, stem and dots around ivy leaf in lower left field, dots on top of altar. Yellow. On A for papposilen's torch, lines in his hair and beard, dots on hanging ends of wineskin fillets; Dionysos' thyrsos, rim of his kylix; tassels (faint) on all red fillets, plant in front of papposilen, groundline and some dot groups below, ivy spray above. On B for wreaths, soles of shoes, staffs, right youth's branch, three buttons on each of his shoes. Dilute brown wash. On A for papposilen's fawnskin, folds on wineskin and band of left fillet around it, band of wreath across Dionysos' chest, shoes of both. Bibliography: Trendall, Paestan Pottery 68 no. 5 (Papposilen Group) and 120 no. 140, pi. 21b, Paestan Suppl. (1952) 10 no. 171, 34 note 17, 35; Cat. Christie July 23, 1917 p. 23 no. 137b (Hope); Watzinger in FR III 372 note 2 no. 10; Tillyard, Hope Vases 143 no. 273, pi. 37 (incorrect description of r. of B); Cat. Sothehy December 2,

55 1946p. 8 no. 64 (Cowdray); Clement, Hesperia 24 (1955) 20-21 no. 25.

Plate 52 PAESTAN 50.8.40 (A5933.50-46). bell-krater. B y Python [Watzinger]. Third quarter of fourth century B.C. Gift of William Randolph Hearst, 1950. Once owned by Sir William Hamilton, Thomas Hope, Viscount Cowdray. H. 38.8 to 38.2 cm.; D. of mouth 37.2 to 36.8 cm.; D. of body 24.3 to 23.7 cm.; D. of foot 17.1 cm. Mended from several large pieces with cracks repainted. Mouth in two degrees, spreading foot lipped at top. Part of foot left of B modern. Various cracks in glaze, especially around handle right of A. Clay a light tan. Subsidiary decoration. Interior thin but glossy black with a reserved band on top of mouth and another below where mouth begins to flare. On exterior, laurel to right circling the vase on lower degree of mouth. Handles black with a small part of inner sides and the patch beneath reserved. Below the handles a large palmette (with triangular base) flanked by tall volutes with two partial palmettes on the outer sides. Center of volute left of A white, right of A yellow. Circling the vase below the pictures, a band of waves. Foot black with lip, lower edge, and underside reserved. A. The centaur Chiron walks to the left accompanied by a silen. Chiron, bearded and with horse's ears, has a leopard skin tied around his shoulders and wreaths of beads around his chest and the horse's belly. The human torso is dotted to indicate that it also is hirsute. With his right hand he carries a torch high over his head. The left holds a phiale and cradles the branch draped with votive offerings that he will give to Apollo in thanks for his cure: a fillet, a tablet, and a bird (?). The bearded silen (boots with flaps, wreaths of beads on chest, thigh, and head, and bracelets) looks up at the torch and carries a thyrsos with a fillet tied to the top of its staff. In his left hand is a pear (?). He stands on a dotted groundline with groups of three dots below it. Chiron stands solidly on the upper framing line of the border below, and two small plants grow between his feet, one behind him. An ivy spray with a long fillet twined around it floats in the upper left field, and in the upper right corner is a dotfillet with a dotted descender on each end.

56 B. T w o youths converse, clad in himatia with embattled borders, shoes with black buttons, and wreaths. Each has a staff, and the right one holds up a berry spray (preserved in stain only) in his right hand. A low stele with three dots on top stands on the right side. In the upper left field is a dot-fillet (stain only). Relief contour. On A for silen's neck, front of torso, legs; Chiron's nose, underside o f right hand, back o f wrist, top of right upper arm, front o f torso, top of right foreleg, front of left foreleg, belly, top o f both sides o f right hind leg, top of front of left hind leg, top o f rump, lower side of leopard skin above back. O n B for outer side o f left youth's right leg. Inner drawing. Mosdy relief line on A and B. Dilute glaze on A for edges of hair and beard of each; some lines on Chiron's legs and tail, and hair on his chest; silen's pubic hair. O n B for some folds and parts of himation borders. Red. O n A for silen's boot flaps, fillet tied on thyrsos staff; fillet in ivy spray, fillet hanging from Chiron's branch. O n B for wreaths on youths (right one stain only). White. O n A for white of Chiron's eye, dots on wreath across his human chest, objects in phiale. Stain of probable white on A for lines contouring most o f Chiron's legs and hooves.

The Los Angeles County Museum of Art (i) Yellow. O n A for Chiron's torch, branch's stems and leaves, dots on leopard skin, phiale bowl, dots on wreath around horse's belly, two wreaths in hair; two wreaths in silen's hair, wreaths across his chest and left thigh, bracelets, pear in left hand, tail (with brown lines over it), soles and line below flap on boots, thyrsos; dotted groundline, plants, ivy spray. O n B for staff of each, three dots on top o f stele, soles o f shoes and two buttons on each, berry spray in right youth's hand (mostly stain). Stain of probable yellow on A for dot-fillet in upper right field; on B for wreath in upper left field. Dilute brown wash. O n A for boots o f silen, shading on Chiron's rump, his right front hoof, leopard skin. Bibliography: Trendall, Paestan Pottery 66 no. 2 (Silen Group), 67, 119 no. 109, pi. 20a, Paestan Suppl. 10 no. 156, 34 note 17, 35; Tischbein, Collection of Engravings I 126-129, pi- 42; Müller and Wieseler, Denkmäler der alten Kunst II 3, pl. 46 no. 589; Heydemann, Jdl (1886) 305 note 263; Patroni, La ceramica antica 77 no. 5; Cat. Christie July 23,1917 p. 23 no. 137a (Hope); Watzinger in FR III 372 note 2 no. 8; Reinach, Répertoire II 289, 2; Tillyard, Hope Vases 141-142 no. 271, pi. 37; Cat. Sotheby December 2, 1946 p. 8 no. 63 (Cowdray); Clement, Hesperia 24 (1955) 21 no. 26.

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Cambitoglou, A . , and Trendall, A . D . Apulian Red-figured

. "Groups o f Mid-Sixth-Century Black-Figure."

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32 (1931-1932) 1-22.

Christie, J. A Disquisition upon Etruscan Vases. London: Bul-

. Etruscan Vase-Painting. O x f o r d : Clarendon Press, 1947. Attic Red-figure Vase-painters. O x f o r d :

mer, 1806. . Disquisitions upon the Painted Greek Vases, and their

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Clement, P. A . " G e r y o n and Others in Los Angeles." Hesperia

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71 (1951) 29-39.

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Concordance OF OLD AND NEW INVENTORY NUMBERS

Old Number

New Number

Old Number

New Number

Old Number

New Number

A4110.36-1 A4110.36-2 A4110.36-3 AJ141.48-368

36.11.1 36.11.2

A5933.50-16 A5933.50-17 A5933.50-i8a A5933-50-i8b A5933.50-19a A5933.50-20 A5933.50-21 A5933.50-22 A5933.50-23 A5933.50-24 A5933.50.25 A5933.50-26 A5933.50-27 A5933.50-28 A5933.50-29 A5933.50-30

50.8.10 50.8.11 50.8.12a 50.8.41 50.8.13 50.8.14

A5933.50-36 A5933.50-37

50.8.30 50.8.31 50.8.32 50.8.33 50.8.34 50.8.35 50.8.36 50.8.37 50.8.38 50.8.39 50.8.40 51.15.1a and

36.11.3 48.24.3

A5141.J0-793 A5141.50-794 A5141.50-797 A5141.50-800 A5141.50-801 A5141.50-802 A5141.50-803 A5832.50-137 A5890.48-1 A5933.50-7 A5933.50-8 A5933.50-9 A5933.50-10

50-9-35 50.9.36 50.9.39

A5933-50-H A5933.50-12 A5933.50-13

50.8.5 50.8.6

A5933-50-15

50.9.42 50.943 50.9.44 50.9.45 50.14.2 48.25 50.8.1 50.8.2 50.8.3 50.8.4

50.8.7 50.8.9

A5933-50-31 A5933.50-32 A5933-50-33 A5933-50-34 A5933.50-35

50.8.15 50.8.16 50.8.17 50.8.18 50.8.19 50.8.20 50.8.21 50.8.22 50.8.23 50.8.24 50.8.25 50.8.26 50.8.27 50.8.28 50.8.29

60

A5933-50-38 A5933.50-39 A5933.50-40 A5933-50-41 A5933.50-42 A5933-50-43 A5933.50-44 A5933.50-45 A5933.50-46 A5933.51-108 A5933.51-122 A6340.53-3 L2100.A255.62-2 L2100.A255.62-3 L2100.A255.62-4 L2100.A255.62-5 L2100.A255.62-6

51.15.1b 51.25.1 53-7-3 M62.27.2 M62.27.3 M62.27.4 M62.27.5 M62.27.6

Concordance OF LOS ANGELES INVENTORY NUMBERS WITH BEAZLEY'S NUMBERS

Inventory Numbers

Beazley

Plates

Inventory Numbers

36.11.1

Paralipomeni1119 ABV 273, 113 A R F 2 567, 3 ABV 273, 108 Paralipomena 156 ABV 343, 1 Paralipomena 10 ABV 17 ABV 277, 6 ARV2 518, 2 ARV2 1063, 2 ARV2 1122, 3 ARV2 649, 44 ARV2 1 2 5 , 1 1 ARV2 1242, 8 ABV 479, 4 A R K 2 500, 28

6

50.8.22 50.8.23 50.8.24 50.8.27 50.8.28 50.8.31 50.8.32 50.8.33 50.8.34 50.8.35 50.8.37 50.8.38 50.8.39 50.14.2

(A4110.36-1)

48.25 50.8.1 50.8.2

(A5890.48-1) (A5933.50-7) (A5933.50-8)

50.8.3

(A5933.50-9)

50.8.5 50.8.6 50.8.7 50.8.9 50.8.10 50.8.15 50.8.18 50.8.19 50.8.21

(A5933.50-11) (A5933.50-12) (A5933.50-13) (A5933.50-15) (A5933.50-16) (A5933.50-21) (A5933.50-24) (A5933.50-25) (A5933.50-27)

Beazley

ABV 395,4 ARV2 1036, 4 ARV2 843,134 ARV2 202, 75 ARV2 515, 7 ARV2 540 AR F 2 1279, 51 ARV2 1279, 48 A R F 2 1422, 2 AR F 2 485, 31 A R F 2 1426, 23 ARV2 1438 A R F 2 1411, 34 Paralipomena 55 ABF133, 7 51.15.1a (A5933.51-108) A R F 2 6 1 5 , 1 51.15.1b A R F 2 615

30, 1-3 7 14 and 15 2 17 and 18 29 27, 3-4 34 35, 3-4 37 and 38 36 11 23

61

(A5933.50-28) (A5933.50-29) (A5933.50-30) (A5933.50-33) (A5933.50-34) (A5933.50-37) (A5933.50-38) (A5933.50-39) (A5933.50-40) (A5933.50-41) (A5933.50-43) (A5933.50-44) (A5933.50-45) (A5832.50-137)

Plates 12 25 27,1-2 24 31,1-2 30, 4-6 39,1-3 39,4-6 32,1-3 26 32, 4-6 33 31, 3-4 3 28, 1-7 28,8

Concordance OF BEAZLEY'S NUMBERS WITH LOS ANGELES INVENTORY NUMBERS

Beazley

Inventory Numbers

ABV17 ABV 1 3 3 , 7 ABV 273,108 ABV 273, 113 ABV 277, 6

50.8.3 50.14.2 50.8.1 36.11.1 50.8.5 50.8.2 50.8.22 50.8.19 50.8.15 50.8.27 50.8.35 50.8.21 50.8.28 50.8.6 50.8.31 48.25

1

¿BK395.4 ABV47Ç, 4 A R K 2 125, 1 1 A R 7 2 202, 75 ^ R l ^ 2 485, 31 ARV2 500, 28 ARK2 jij.7 ARV2 518,2 A R F 2 540 . W 2 567, 3 ARV2 615

51.15.1b

(A5933.50-9) (A5832.50-137) (A5933.50-7) (A4110.36-1) (A5933.50-11) (A5933.50-8) (A5933.50-28) (A593 3.50-25) (A5933-50-21) (A5933.50-33) (A5933-50-41) (A5933.50-27) (A5933.50-34) (A5933.50-12) (A5933.50-37) (A5890.48-1)

Plates

Beazley

Inventory Numbers

Plates

2

ARV2 615, 1 ARV2 649, 44 ARV2 843, 134 ARV2 1036, 4 ARV2 1063, 2 ARV2 1122, 3 ARV2 1242, 8 ARV2 1279, 48 ARV2 1279, 51 ARV2 1411, 34 ARV2 1422, 2 ARV2 1426, 23 ARV2 1438 Paralipomena 10 Paralipomena 55 Paralipomena 119 Paralipomena 156

51.15.1a 58.8.10 50.8.24 50.8.23 50.8.7 50.8.9 50.8.18 50.8.33 50.8.32 50.8.39 50.8.34 50.8.37 50.8.38 50.8.3 50.14.2 36.11.1 50.8.2

28, 1-7 35. 3-4 27, 1-2

3 7 6 17 and 18 14 and 15 12 11 37 and 38 24 26 23 31.1-2 29 30, 4-