The So-called Nonsense Inscriptions on Ancient Greek Vases: Between Paideia and Paidiá 9004371184, 9789004371187

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The So-called Nonsense Inscriptions on Ancient Greek Vases

Brill Studies in Greek and Roman Epigraphy Editorial Board John Bodel (Brown University) Adele Scafuro (Brown University)

VOLUME 10

The titles published in this series are listed at brill.com/bsgre

The So-called Nonsense Inscriptions on Ancient Greek Vases Between Paideia and Paidiá By

Sara Chiarini

LEIDEN | BOSTON

Cover illustration: Black-figure amphora, Berlin, Antikensammlung 1697 (© bpk / Antikensammlung, Staatliche Museen zu Berlin / Johannes Laurentius). Library of Congress Cataloging-in-Publication Data Names: Chiarini, Sara, author. Title: The so-called nonsense inscriptions on Ancient Greek vases between  Paideia and Paidiá / by Sara Chiarini. Description: Leiden ; Boston : Brill, 2018. | Series: Brill studies in Greek and  Roman epigraphy ; Volume 10 | Includes bibliographical references and  Index. Identifiers: LCCN 2018024057 (print) | LCCN 2018024464 (ebook) |  ISBN 9789004371200 (E-book) | ISBN 9789004371187 (hardback : alk. paper) Subjects: LCSH: Vases, Greek—Inscriptions. | Inscriptions, Greek. Classification: LCC CN375.V3 (ebook) | LCC CN375.V3 C45 2018 (print) |  DDC 731/.72—dc23 LC record available at https://lccn.loc.gov/2018024057

Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1876-2557 isbn 978-90-04-37118-7 (hardback) isbn 978-90-04-37120-0 (e-book) Copyright 2018 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner.

Für Tobias, den sinnvollsten

∵

Εἰρωνεία δ᾽ἐστὶ λέγειν τι προσποιούμενον μὴ λέγειν, ἢ ἐν τοῖς ἐναντίοις ὀνόμασι τὰ πράγματα προσαγορεύειν. [Arist.] Rh. Al. 22.1

∵

Contents Preface and Acknowledgements ix List of Illustrations xii List of Abbreviations xiv 1 Introducing Nonsense 1 1 What are Nonsense Inscriptions? 1 2 What has been Said about Nonsense Inscriptions? 9 2 Rethinking Prior Approaches 19 1 Just for the ‘Beauty’ of grammata? 19 2 Just for the Prestige of Writing? 31 3 Περὶ παιδείας or Nonsense Inscriptions and Literacy 38 1 A Taxonomy of (Il)literacies 38 1.1 Introduction 38 1.2 From Bottom to Top 39 1.2.1 Scattered Letters 40 1.2.2 Random Lettering 42 1.2.3 Iterative Inscriptions 63 1.2.4 Pseudo-Greek 85 1.2.5 Mock Greek 93 1.3 Summary Considerations 105 2 Learning to Write and to Read in Ancient Greece 107 3 Assessing the Nonsense Inscriptions Against the Scale of Literacy Competence  121 4 Περὶ παιδιᾶς or Nonsense Inscriptions and Intellectual Teasing 126 1 Literate Nonsense 127 1.1 Sense and Nonsense Kept Apart 129 1.2 Weaving Sense and Nonsense Together 134 2 The Symposion as καιρός for (Literate) Nonsense? 156 3 A Life Beyond the Symposion 179 5 What if Nonsense Did Make Sense? 187 1 Melodies and Musical Notes 188 2 Barbarika 193

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Voices from Beyond 203 Summative Remarks 214

Conclusion 216 1 Summary 216 2 Is it Nonsense? 218 Appendix: Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 225 Bibliography 518 Index 535

Preface and Acknowledgements The extent of the phenomenon of nonsense inscriptions on Archaic and early Classical Attic vase painting contrasts remarkably with the sparse bibliography available on this subject. As the first comprehensive study of this epigraphic corpus, which includes over 1400 inscribed vases, this monograph aims to respond to a longstanding desideratum in the field of ancient studies. The systematic treatment of the common features and typological variety of these dipinti aims to give this material a prominent place in the debate on literacy in antiquity and on the creative uses of language and writing in ancient art. The first two chapters provide the concrete figures of the phenomenon in terms of chronology, geographic distribution and further material features, as well as a critical overview of the scholarship on the subject. Previous scholarship has relied on two arguments to explain the success of the fashion of nonsense inscriptions: the aesthetic value and the cultural prestige of writing. Chapter 2 highlights the problematic implications of both notions. Chapter 3 offers a taxonomic analysis of the lettering of the inscriptions, which is essential for tackling the question of literacy. On the basis of our knowledge of the processes of literacy acquisition in antiquity, a new arrangement of the epigraphic material according to a scale of increasing alphabetic skills is proposed. Chapter 4 addresses the playful facet of epigraphic nonsense with the help of a small subgroup of inscriptions composed by literate painters. The choice of the artists to add nonsense to their vases attests to the nature of this phenomenon as an artistic fashion. The painters must, I argue, have appreciated the playful as well as enigmatic potential of such texts. Chapter 5 draws attention to the possibility, suggested by several scholars, that at least some of the nonsense inscriptions might bear a meaning that escapes the modern viewer, for instance, encoding musical notation or foreign utterances. The ‘decrypting’ attempts made so far are here critically reviewed. The concluding Chapter summarizes the main achievements of the inquiry and then discusses the conditions according to which it is appropriate to use the label of ‘nonsense’ to define this epigraphic evidence. Translation of nonsense inscriptions, given their nature, is usually out of the question (but see, especially chapter 5). Nonetheless, translations of them, where entertained, are mine unless otherwise indicated, and likewise all translations of literary texts. I have sketched the method I have used for transcribing the nonsense inscriptions, both in the main text and in the catalogue (in the Appendix). In the Catalogue, the identification numbers provided under the

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column “Corpus Number” that do not begin with AVI or LMC (see list of abbreviations) are taken from Wachter’s catalogue of non-Attic vase inscriptions (Wachter 2001). In undertaking and completing this project, I faced obstacles that cross the paths of many young academics today. I started the project with a 22 month post-doctoral scholarship at the Freie Universität Berlin in late 2011, during which I barely had time to lay the foundation of my research by setting up a database of Greek vases carrying nonsense inscriptions and formulating some first hypotheses. Since then, I have moved between two countries twice, holding fixed-term positions that allowed little time for the writing of this book. Like others at the beginning of their careers, personal and family goals of financial stability and, not least, of an adequate integration within a given academic environment, have been forfeited. That being said, there are many people to thank for the precious support they have given to this project. First, I wish to express my gratitude to Professor Sybille Krämer and Professor Eva Cancik-Kirschbaum for having welcomed my project within the graduate research group “Notational Iconicity” (Schriftbildlichkeit) at the Freie Universität Berlin with a postdoctoral scholarship from the German Research Foundation (DFG). Despite having quite soon left the path of the visual-iconologic approach to focus on phonotactic and linguistic features of the phenomenon of nonsense writing on Greek vases, the discussions about the aesthetic values of human notational systems that I did attend nevertheless inspired many questions and ideas that I would go on to apply to my own field of inquiry. My time in this group also gave me the chance to meet Professor Markus Asper, who not only showed interest in my research, but also provided concrete support in my (failed) attempt to obtain funding to complete the project. In the course of my investigation I took advantage of exchanges with several colleagues and more experienced academics whom I would like to mention: Dr. Pieter Heesen was kind enough to share with me his personal database of Little-Master cups; Professor Richard Seaford taught me much about nonsense (no joke), as did Professor Stephen Kidd, who also had the patience to read a first draft of my manuscript and give valuable advice. Dr. Georg Gerleigner not only supplied me with the manuscript of his not yet published dissertation but also showed genuine interest in my work. I am also grateful to Professor Richard Wachter, whom I met at the very beginning of my journey through Attic vase epigraphy, Professor François Lissarrague, who kindly replied to my long emails, and above all to Professor Angelos Chaniotis, who took the time to read my manuscript and get back to me with valuable comments.

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I also benefited from the feedback received after the presentation of the progress in my inquiry in several academic environments, in particular at the Freie Universität Berlin and the Humboldt-Universität zu Berlin, the University of Exeter, the Christian Albrecht University in Kiel, Brown University, the University of Bordeaux (FIEC Congress) and the University of Wien (AIEGL Congress). The following people accompanied me in my struggles at some point along the way: Dr. Gaelle Coqueuignot, Professor Colin King and Professor Daniel Ogden. A final and special mention goes to the editors of the series in which my book is privileged to appear, Professor John Bodel and Professor Adele Scafuro. I was sincerely touched by the enthusiasm and the engagement with which Professor Scafuro supported my book proposal, and will never forget our day trip together to visit Professor Alan Boegehold back in 2014. I am also thankful to the anonymous readers who had the patience to carefully assess my draft, above all the first reviewer, whose diverging views encouraged me to better formulate my own. A great help in improving the clarity and fluency of my prose came from Dr. Paul Scade. Alongside the scientific support, the human and affective is of no less importance, and I am lucky to enjoy a great deal of it, above all from my parents and my husband. This book is dedicated to my beloved husband.

⸪ This book is the winner of the 2018 Géza Alföldy Publication Prize awarded by the AIEGL (Association Internationale d’Épigraphie Grecque et Latine). The author wishes to thank the committee for this prestigious recognition.

List of Illustrations 1 Black-figure lekythos, Athens, National Museum 12821 41 2 Black-figure neck amphora, Würzburg, Martin von Wagner Museum 199 44 3 Black-figure neck amphora, Tarquinia, Museo Nazionale Etrusco 679 46–47 4 Black-figure neck amphora New York, Metropolitan Museum 41.162.179 49 5 Black-figure lekythos Boston, Museum of Fine Arts 08.291 51 6 Black-figure neck amphora, Durham (NC), Nasher Museum of Art at Duke University DCC1965.8 54 7 Black-figure lip-cup, Rhodes, Archaeological Museum Π24133 58 8 Black-figure lip-cup, Paris, Musée du Louvre F 90 60 9 Black-figure neck amphora, London, British Museum 1856,0512.10 62 10 Red-figure kylix, Boston, Museum of Fine Arts 10.195 65 11 Red-figure kylix, Chiusi, Museo Archeologico Nazionale C1846 67 12 Black-figure amphora, Basel, Antikenmuseum und Sammlung Ludwig BS 496 70–71 13 Red-figure kylix, Berlin, Antikensammlung 3240 72 14 Black-figure amphora, Berlin, Antikensammlung 1686 75 15 Red-figure kylix, London, British Museum 1836,0224.41 79 16 Red-figure kylix, Boston, Museum of Fine Arts 95.35 81 17 Black-figure lip-cup, Munich, Antikensammlung 2148 84 18 Black-figure band-cup, Baltimore, Walters Art Gallery 48.41 86–87 19 Black-figure band-cup, Basel, Cahn Collection 843 90 20 Black-figure band-cup, Samos, Vathy Museum K 6925 92 21 Black-figure amphora, Toledo [Ohio], Museum of Art 1972.54 98–99 22 Lekythos in Six technique, Siracusa, Museo Archeologico Regionale Paolo Orsi 26822 101 23 White-ground lekythos, Reggio Calabria, Museo Archeologico Nazionale 4174 102–103 24 Black-figure amphora, Berlin, Antikensammlung F 1704 130 25 Black-figure hydria, Boston, Museum of Fine Arts 67.1006 132 26 Black-figure hydria, London, British Museum 1843,1103.77 135 27 Black-figure pinax, Paris, Musée du Louvre L 4 138 28 Black-figure neck amphora, London, British Museum 1847,0806.26 142–143 29 Red-figure amphora, Munich, Antikensammlung NI 8730 146 30 Red-figure amphora, Munich, Antikensammlung 2308 153

List of Illustrations

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31 Red-figure neck-amphora, Napoli, Museo Archeologico Nazionale inv. 248771 155 32 Black-figure band-cup, Munich, Antikensammlung 2243 159 33 Red-figure neck amphora, Berlin, Antikensammlung 1966.19 189 34 Black-figure epinetron, Eleusis, Archaeological Museum 907 191 35 Black-figure standlet, Boston, Museum of Fine Arts RES.08.30d 195 36 Black-figure band cup, Munich, Antikensammlungen 2216 207 37 Black-figure lekythos, Athens, National Museum 514 210 38 Black-figure amphora, Philadelphia, University of Pennsylvania 3441 213

List of Abbreviations ABV ARV AVI BAD

CAVI CVA IG LGPN

LIMC LMC LSAG LSJ Para SEG

TrGF

Beazley, John D. (1956). Attic Black-figure Vase-painters. Oxford: Clarendon Press. Beazley, John  D. (1963). Attic Red-figure Vase-painters. Oxford: Clarendon Press. Immerwahr, Henry  R. – Wachter, Rudolf (last update 2016). Attic Vase Inscriptions: https://avi.unibas.ch/databasesearch.html. The Classical Art Research Centre, Ioannou Centre for Classical and Byzantine Studies, University of Oxford. Beazley Archive: http://www.beazley .ox.ac.uk/xdb/ASP/dataSearch.asp. Immerwahr, Henry R. (2009). Corpus of Attic Vase Inscriptions: http://www .unc.edu/~hri/Inscriptions.pdf. Union Académique Internationale (1922–). Corpus Vasorum Antiquorum. Online version: http://www.beazley.ox.ac.uk/cva/default.htm. Berlin-Brandenburgische Akademie der Wissenschaften (1873–). Inscriptiones Graecae. Berlin: De Gruyter. Fraser, Peter  M. – Matthews, Elaine (1987–). A Lexicon of Greek Personal Names. Oxford: Clarendon Press. Online versions: http://www.lgpn.ox.ac.uk/ database/lgpn.php; http://clas-lgpn2.classics.ox.ac.uk/name# Fondation pour le Lexicon Iconographicum Mythologiae Classicae (1981– 2009). Lexicon Iconographicum Mythologiae Classicae. Zürich: Artemis. Heesen, Pieter (2011). Athenian Little Master Cups. Amsterdam: Chairebooks. Center for the Study of Ancient Documents, University of Oxford. Anne Jeffery Archive: http://poinikastas.csad.ox.ac.uk. Liddell, Henry George – Scott, Robert – Jones, Henry Stuart (1940). A GreekEnglish Lexicon. Oxford: Clarendon Press. Beazley, John D. (1971). Paralipomena. Additions to Attic Black-figure Vasepainters and to Attic Red-figure Vase-painters. Oxford: Clarendon Press. Chaniotis, Angelos – Corsten, Thomas – Papazarkadas, Nikolaos – Tybout, Rolf Dr. (1923–). Supplementum Epigraphicum Graecum. Leiden: Brill. Online version: http://referenceworks.brillonline.com/browse/supplementum -epigraphicum-graecum. Kannicht, Richard – Radt, Stefan – Snell, Bruno (1971–2004). Tragicorum Graecorum Fragmenta. Göttingen: Vandenhoeck & Ruprecht.

chapter 1

Introducing Nonsense 1

What are Nonsense Inscriptions?

Ancient Greek pottery, especially from Attica, is the largest source of evidence for Archaic and early Classical writing practices. It is, therefore, an ideal field of study for the examination of the spread of literacy and the uses of writing within various socio-economic strata of Greek society. However, the brevity of vase inscriptions and the relative paucity of their vocabulary has led to an underestimation of their potential for contributing to the debate on literacy and education in ancient Greece. Since they are often one-word texts—mostly tag-names of deities and other mythical figures—or short formulae that express a generic wish or praise, or that convey the identity of either the potter, painter or owner of the vessel, they are often left unmentioned in publications devoted to the vases which carry them. This is not to say that classical scholarship has completely neglected this material: significant contributions to the topic of the linguistics of Greek vase epigraphy can be found in the works of Leslie Threatte and Henry Immerwahr.1 One epigraphic collection, however, that has suffered from a particularly striking scholarly neglect is the class known as ‘nonsense inscriptions’. This category encompasses several hundred vases and fragments that carry letters on their surface that do not form any meaningful word of the Greek language. In the course of this study it will become clear that the profile of this phenomenon is far more eclectic and heterogeneous than one might expect and that the ‘nonsense’ tag requires some careful re-thinking. In order to offer an overview of the matter, the first section of this Chapter introduces the material features of the collection, such as chronology, vessel shapes, pictorial styles and, where available, geographical setting, associated iconography and identity of the painters. This descriptive section is followed by a summary of the major scholarship on the subject. It is widely known that the earliest evidence of Greek writing is found on pottery. The two most famous witnesses are the late geometric vessels known as the Dipylon oinochoe and Nestor’s cup, both engraved with metrical 1  Threatte includes the evidence from vase epigraphy in his monumental survey on Attic grammar (Threatte 1980–1996). Immerwahr devoted his major monograph to the features of Attic vase epigraphy (Immerwahr 1990).

© koninklijke brill nv, leiden, 2018 | doi:10.1163/9789004371200_002

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inscriptions clearly inspired by their epic diction. But it was only with the emergence of the black-figure painting technique that writing gained a stable role in the decorative apparatus of a vase and we find several types of inscriptions sketched on pottery from the beginning of the 6th century BC. As for their content, a chief distinction concerns whether this is related to an existing figurative subject or not. Among content that is independent from iconography, we find painters’ or potters’ signatures—according to the formula [αὐτὸς] (μ᾽)ἐποίησε(ν) or ἔγραψε(ν)—, signatures of the owner2 and votive dedications.3 In a later phase, especially during the 5th century BC, vases also began to display generic expressions of praise for boys (and more rarely girls), consisting either of a proper name followed by the adjective καλός/καλή, or of the phrase ὁ παῖς καλός/ἡ παῖς καλή. Other formulae, found mostly on drinking cups, include common greetings and wishes such as χαῖρε καὶ πίει. The inscriptions that are thematically related to the figurative decoration of the vessel consist mainly of the proper names of the mythical figures portrayed in a given scene. Common objects are also tagged, albeit less frequently. The famous François krater is a particularly revealing example, packed as it is with one-word captions next to many of the characters as well as next to some inanimate objects. For instance, HΥΔΡΙΑ and ΚΡΕΝΕ appear next to the water pot and the fountain, respectively, in the scene of Achilleus’ ambush of Troilos.4 The most fascinating cluster of dipinti is surely the ‘dramatic’ inscriptions, i.e., longer sentences enhancing the vividness of the portrayed action. These inscriptions usually contain a speech or a song and appear either next to the mouth of a figure or near a musical instrument. More rarely, a papyrus roll or a wooden board depicted within a ‘school’ scene are filled with real texts, as on the well-known Douris vase.5 These inscriptions too can be considered dramatic, for they also contribute to making the scene more lifelike even though they do not represent spoken utterances. 2  In such inscriptions the vessel is often provided with a voice and made to speak in the first person (in the craftsmen’s signatures through the pronominal particle με, while in statements of ownership the verb εἰμί is used, followed by the genitive or dative of the owner’s personal name). 3  In this case the typical formula involves the verb τίθημι and again grants the speaker’s role to the vase (e.g. [αὐτὸς] (μ᾽)ἐτίθετο/ἕθηκε with the dative of the recipient, be it a divinity or the person in whose honour the vessel was laid down). 4  Florence, Museo Archeologico Etrusco 4209 = BAD 300000 = AVI 3576. 5  Berlin, Antikensammlung 2285 = BAD 205092 = AVI 2330.

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The phenomenon of nonsense inscriptions is thus to be set in the context of intensive experimentation with writing. There is a natural inclination to adopt an evolutionary approach to the understanding of this evidence, setting the nonsense inscriptions at the lowest, and at the same time earliest, stage of a scale that progresses from the poorest or, better, non-existent, to the most elaborate contents. But this temptation must be set aside from the very start. Nonsense inscriptions coexisted with meaningful inscriptions and they could even be combined on the same pot, as Chapter 4 will discuss in detail. This does not prevent us from linking the nonsense inscriptions with the discourse of literacy (this is precisely what will be attempted in Chapter 3) but it is important to rule out the idea of a diachronic progression from rudimentary and meaningless scribbles to more and more complex messages inscribed on vases. A wide variety of written evidence on Greek pottery has been gathered together under the tag of ‘nonsense inscriptions’. Even pseudo-writing or imitation letters made of rows of hooks, dots or just shapeless spots, which echo the abstract motifs of the geometric style rather than actual writing, have been subsumed under this label by some writers. However, for the purposes of the present study the only inscriptions that will be taken into account are those composed of true Greek alphabetic signs that do not form any comprehensible Greek word.6 Two main features lead to the identification of a nonsense inscription. The first regards the state of preservation of the find: the dipinto cannot be too fragmentary or illegible, since this would leave room for doubt as to whether a Greek text might be concealed behind an apparently incomprehensible inscription. Only in the presence of at least three consecutive and clearly recognizable signs, which in no way can be traced back to a Greek word, can a nonsense inscription be identified with confidence.7 Inscriptions that are too

6  The latter constitute the great majority of the nonsense corpus in any case. Immerwahr distinguishes between “an optical illusion” generated by the pseudo-letters and “an acoustic illusion” provoked by the second type of nonsense inscriptions, which he also calls “mock inscriptions” (Immerwahr 2006: 137). 7  First Immerwahr and later Donderer warned about the possibility that what initially appears to be a nonsense inscription might turn out to be a poorly legible Greek text, especially when incomprehensible letters are part of a longer and otherwise comprehensible Greek inscription (Immerwahr 1992: 52–53; Donderer 1995: 112). For instance, an excellent rereading of the several inscriptions painted on the black-figure hydria Basel, Cahn HC 855 (= BAD 43112 = AVI 2072), which were long considered to be nonsense, has been recently provided by Georg Gerleigner; he has shown that those dipinti actually display the earliest evidence of the hexametric riddle of the Theban Sphinx as recorded in the Oidipodeia (Gerleigner 2016: 11–22).

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fragmentary and/or barely readable are therefore excluded from the corpus examined in this study.8 A second determinative criterion relies on the distinction between the intention and the skills of a painter: misspelled Greek words or awkward attempts to write a Greek word that fail due to poor orthographic skills do not fall in the category of nonsense. At times such misspelled inscriptions look very similar to the nonsense ones, in particular when their lettering deviates markedly from the orthography of the intended Greek word. As a general rule, it is the writer’s aim, rather than his degree of literacy, that marks out a nonsense dipinto. However low or high the competency of a painter might have been, it is his or her intention in writing texts that would be incomprehensible to a literate Greek speaker that is the key identifying factor. In other words, if it is clear that the painter wanted to write something in Greek but did not manage it properly, the result of that activity is not a nonsense inscription. As we shall see, such a distinction is not always easy to make. Some examples will help to clarify this point.9 An unquestionable instance of misspelling is found on a black-figure lekythos now in Rome (Rome, Museo Nazionale Etrusco di Villa Giulia 42884 = BA 9017720 = AVI 7164).10 The depiction shows the apotheosis of Herakles and the tag-names HΕ^ΓΜ(Ϟ̣)^(Λ̣ ), ΙΑΚΧ(Ϟ̣ ) Ε and (Ḥ)ΕΡ^(Α̣ )ΚΛΕϞ appear next to the portraits of Hermes, Dionysos and Herakles respectively. There is no doubt that the anonymous painter of the lekythos intended to write captions of the names of the depicted characters (i.e. Ηερμε͂ς, Ἴακχος and Ηερακλε͂ς) but simply lacked the competence to do so properly. Since there is no trace here of any intentionally incomprehensible writing, these inscriptions do not belong in the category of nonsense.11 Although a ‘typical form’ of nonsense inscription does not exist, a counterexample to miswritten Greek is supplied by the long and often unpronounceable rows of letters painted on the outer bands of many drinking cups, unanimously classified as nonsense. To give a concrete example, a Siana cup in the National Museum in Athens displays the following alphabetic strings below a frieze of cocks and hens: ΠΓΓOΓΓΓOXΠ̣ ΓΠOPΓTPϞΓ on one side and 8  The approach adopted here is more rigid than that taken by Immerwahr, who tended to label very short and fragmentary inscriptions as nonsense (e.g. […]Α(Δ̣ )Ε[…] on a blackfigure cup fragment from the Cahn collection in Basel [Basel Cahn 849 = BAD 14650 = AVI 2071]). 9  The topic will be addressed again in the course of Chapter 3. 10  This find is already mentioned by Immerwahr 2006: 137 (more on this essay below). 11  See Wachter 1992 for more on misspellings in Greek and Latin inscriptions and the amount of information they provide about the development of an orthography in antiquity.

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YΓAΓIΓ[.]NIΓΓΓΓ[.]Γ[.]Γ[..] on the other (Athens, National Archaeological Museum 535 = BA 300701 = AVI 0723). No one would think that the painter intended to express a comprehensible message in the Greek language in these two dipinti. Their author was aware that he was producing nonsense, however skilful at writing Greek he or she might have been. Predictably, most nonsense inscriptions are the product of illiterate painters but this is surely not the case for all of them. Illiteracy is not the only cause of their production, as it is in the case of misspelled inscriptions. Even a completely illiterate painter could have tried to imitate true words graphically, by copying from available models or recalling the sight of written words from his or her memory, much like illiterate copyist monks in the Middle Ages. While illiteracy—or poor literacy—is the cause of misspelled inscriptions, with nonsense inscriptions it becomes a recurring condition that influences their composition. There is no cause-effect relationship between illiteracy and nonsense. An incontestable proof of this is provided by the group of nonsense inscriptions occurring alongside ‘regular’ Greek inscriptions on the same vase and drawn by the same literate hand.12 Nevertheless, the relevance of the literacy factor in the study of nonsense writing on pottery remains paramount, so much so that an entire Chapter of this study is devoted to the topic. What is being argued here is simply that illiteracy alone cannot explain the emergence and the success of nonsense dipinti, for which the concurrence of several other socio-cultural factors, along with literacy, must have been responsible. The limits between nonsense and misspelling, however, are not always as clear-cut as in the aforementioned cases. Chapter 3 gives an account of a series of inscriptions, which recall Greek words or Greek stems but which play with them rather than struggle with their spelling. Whatever degree of literacy the authors of such dipinti might have been endowed with, a voluntary estrangement from the conventions of the written Greek language is recognizable and that is why such inscriptions can be included in the nonsense repertoire. The number of nonsense inscriptions is far from negligible. Aside from the few hundred vessels or fragments painted with pseudo-writing, I was able to collect and read meaningless combinations of Greek letters on 1399 pots.13 The 12  This special and highly intriguing class of nonsense inscriptions will be the central topic of Chapter 4. 13  See the corresponding catalogue in the Appendix. My account results from an analytic review of the following sources: the AVI (Attic Vase Inscriptions) online database, which is an updated development of Immerwahr’s Corpus of Attic Vase Inscriptions (CAVI); Wachter’s collection of non-Attic vase epigraphy (Wachter 2001); Pieter Heesen’s database of Little-Master cups. Several isolated pieces, both published and unpublished, have

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chronological span of this material coincides with the golden age of Attic vase painting, covering a period from the beginning of the 6th century BC to the beginning of the 4th. A significant concentration of these inscriptions appears in the second half of the 6th century, which is reflected in the preponderance of the black-figure painting technique: against the 60% of nonsense dipinti that are found on black-figure vases, the share of the red-figure vases is ca. 30%. The remaining 10% is made up of vessels that either lack figurative decoration or are painted in one of the other, less common techniques such as white ground,14 Six15 and bilingual. Notwithstanding these ratios, we should not draw a particular link between nonsense epigraphy and the black-figure style. Nonsense inscriptions did not disappear as the style declined, as is shown by the significant number of nonsense inscriptions appearing on vases decorated in other pictorial styles. In other words, these percentages are only a consequence of the chronological evolution of the nonsense fashion. Vessel shapes are another relevant descriptive parameter, since they help reveal something about the usage and display of the inscriptions they carry. The most frequent shape on which nonsense inscriptions are painted is the small drinking bowl: cups and skyphoi, together with a few kyathoi and kantharoi, make up over 40% of the whole corpus. If one adds the krateres, stamnoi and psykteres employed to mix wine with water (4%), and the oinochoai, which were used to pour the wine (5%), almost half of our collection was related by function to the activities carried out during symposia. A further set of shapes inscribed with nonsense consists of more generic containers, such as amphorae (20%) and hydriai (4%). Although these are not specifically related to drinking parties, it is likely that they were displayed in the course of a symposion. This has led several scholars to regard the symposion as the main social setting for the perusal of nonsense inscriptions. also been added to this fundamental repository in the course of this research. I refer to the general bibliography for the details of these supplementary sources and, above all, to the Appendix containing the complete list of all finds considered in this inquiry. 14  It might sound improper to call the white ground technique rare, but its apex is located in a later phase of Attic pottery. Moreover, it is mainly adopted on shapes used in the funerary context, which are less well represented in the corpus of vases carrying nonsense inscriptions. The relevance of the distribution of vase shapes and of display contexts is addressed in the remainder of the introduction and also in Chapter 4. 15  This painting technique owes its name to Jan Six, the first scholar who described it in the late 19th century. It is similar to the red-figure technique, in that it also requires the surface of the vase to be completely covered with black dye. Unlike the red-figure technique, the outline and other details of the portrayed figures are mostly simply incised, without being filled with red or white dye.

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A shape that is in no way connected to the symposion by its use but is nevertheless well documented in the corpus of nonsense inscriptions is the lekythos. Accounting for more than 200 items, the lekythoi take up 16% of the whole collection. Since they were traditionally employed as oil or ointment containers, their customary contexts of display were athletic and funerary. This complicates the picture and prevents us from linking nonsense too tightly with the sympotic context, vitiating the claim that nonsense dipinti were conceived for some sympotic pastime. The problematic issue of defining the importance of the institution of the symposion in the emergence of nonsense epigraphy is tackled in Chapter 4, which is devoted to the discussion of the possible forms of reception of nonsense inscriptions. A vast majority of the evidence can be classified by chronology and vase form. However, when it comes to classification by painter we are on less certain ground. We can only attribute a work to a specific painter in the case of perhaps half the repertoire and these attributions are often conjectural and of varying degrees of reliability. Very few pots are signed and, for most of the attributed vessels, only the workshop of provenance can be argued. Approximately 150 names of both individuals and groups are recorded. Almost all of them are associated with just one or two items, which not only prevents us from considering them to be specialists in nonsense writing but also means that we are unable to determine their level of literacy. Nevertheless, some workshops stand out for having produced vases with nonsense inscriptions in remarkable quantities. For this reason they are worth briefly reviewing.16 The first is the Leagros group. As the last large and renowned atelier of black-figure painting, active in the last two decades of the 6th century BC, the Leagros group competed with the so-called Pioneers of the red-figure style. Several individuals and sub-groups were subsumed by Beazley under this workshop.17 Around 80 of the over 600 vases assigned to the Leagros group display nonsense inscriptions, 13% of the surviving production. A few personalities can also be distinguished, since about half of the pieces by the Leagros Group can be attributed to a specific member of the workshop. Above all the Acheloos painter, one of the leading figures within this class, has been identified as the author of nonsense inscriptions on a dozen pieces.18 16  By adding up the pieces either broadly attributed to a workshop or to one of its members, the sum reaches several dozen pieces for each of the great producers of nonsense epigraphy. 17  ABV 354–398; Para. 161–174. 18  Thirteen pieces are ascribed to the Acheloos painter (an overview of this artist is offered by Moignard 1982: 201–211). Other members of the Leagros atelier who have been

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Another 80 vessels are assigned to the Diosphos and the Sappho Painters, who tend to be handled together due to their close stylistic affinities. If one considers that this pair contributes the same proportion of pieces as does the much larger Leagros group, then the Sappho and Diosphos painters must be regarded as among the greatest individual writers of nonsense on Attic pottery. They also belong to the very last wave of black-figure artists, having been active until the first quarter of the 5th century BC. They specialized in small shapes, mostly lekythoi, and had a predilection for Amazons as pictorial subjects.19 The third and last workshop to be mentioned is also made up by a pair of black-figure painters: the Athena Painter and the Theseus Painter. They too share several stylistic features and have therefore been grouped together. Between them they are supposed to have fashioned around 60 vessels with nonsense inscriptions. If the 30 or so pieces attributed to the Bowdoin painter, whom Beazley believed to be the alter ego of the Athena painter in the redfigure style, are added, then this workshop turns out to be the greatest producer of nonsense texts on vases known to us, with a total of roughly 90 items. Furthermore, the Athena/Bowdoin painter would be the most prolific individual author of the nonsense inscriptions that have come down to us. The last major feature to be examined is the geographical distribution of the finds. Unfortunately geographical information is available only for a minority of finds. Nevertheless, it is worthwhile to review this data briefly, since the evidence provides an argument against the suspicion voiced by some scholars that nonsense inscriptions were only put on vases intended for the foreign market. If all, or at least most, of the documented provenances were located outside the major Greek speaking areas of the Mediterranean, one might be tempted to assume that the painters would not have cared about the signs they were drawing on those vessels, since their non-Greek purchasers would have been unable to read and understand anything written on them.20 Aside from its naiveté, such a hypothesis becomes untenable as soon as one notices the wide distribution of the finds in both Greek and non-Greek regions. In particular, there is an almost perfect balance between the number of pieces with nonsense writing found in Etruria and in Attica, the two biggest markets for identified as the authors of vessels inscribed with nonsense are: the sub-group of the Antiope painter (4), the painter of Würzburg 210 (3), the Chiusi painter (3), the Nikoxenos painter (5), the Eucharides painter (3), the Red-line painter (3), the painter of Sèvres 100 (2) and the painter of Oxford 569 (1). 19  Haspels 1972: 103–109. 20  On this again below, pp. 32–33.

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middle and late Archaic Greek pottery. This means that the ethnic or linguistic identity of the buyers had no influence on the painters’ choice to supply vases with meaningful or meaningless texts. Overall, the recorded places of discovery are distributed throughout the central and eastern Mediterranean, including the African coast, Sicily and Magna Graecia, Central Italy, the Balkans, the Ionian Islands and Northern Greece. Unsurprisingly, Athens and Vulci dominate, providing the source for far more than one hundred items each. Most of the remaining sites have supplied between one and ten pieces. Cerveteri, Orvieto, Corinth, Gela and Capua each yield between 20 and 35 finds. 2

What has been Said about Nonsense Inscriptions?21

The immediate and tautological impression that nonsense inscriptions do not ‘say’ anything and are therefore a useless source for the study of early Greek culture has tended to limit the scholarly interest in this material. Specific research on the origins and features of this epigraphic fashion is restricted to a very small number of papers. Beside these, scattered and cursory remarks on nonsense inscriptions can also be found in broader surveys of Greek epigraphy and Attic vase painting. Instead of reflecting on the phenomenon of nonsense inscriptions as a whole, several scholars have pursued narrower inquiries aimed at shedding light on either a single nonsense inscription or on a small set of them. Such surveys probably appeared to be worthwhile because their aim was precisely to free the examined texts from the stigma of nonsense. They are all driven by the goal of allowing the inscriptions finally to regain their ‘lost’ meanings. The proposed hermeneutic solutions range from onomatopoeias and interjections to words from foreign or supernatural languages. Taken individually, some of these interpretations sound convincing but none of them can be adopted to provide a better understanding of the practice of nonsense writing on Greek pottery in its entirety, as will be discussed in Chapter 5.

21  While the next Chapter consists of a critical review of the main theoretical frameworks through which the emergence of nonsense inscriptions has been explained in earlier scholarship, this section offers a succinct summary of the major voices in the field and aims primarily to illustrate the rather disparaging attitudes held by scholars towards this epigraphic material.

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The earliest uses of the phrase ‘nonsense inscription’ to define incomprehensible combinations of letters on pottery are found in the scholarship of the second half of the nineteenth century, such as Harrison and MacColl’s anthology of ancient Greek vase paintings.22 Before them, the German archaeologist Otto Jahn had already spoken of sinnlose, nur scheinbare Inschriften.23 A few decades later John Beazley, the great scholar of Attic pottery, was confronted with nonsense inscriptions in the context of his study of a class of painters known as Little-Master, who specialized in the decoration of kylikes and frequently added meaningless strings of letters to their vessels.24 While acknowledging the great relevance of writing as an “integral part of the total design” of a cup for the Little-Master, Beazley tried to imagine how these artists might have ended up tracing meaningless letters after having exploited all available compositional models. He provides an imaginary soliloquy by one of those artists: What shall I write? There are three natural topics:—you, me, the cup. A greeting to you, the drinker—χαῖρε καὶ πίει εὖ. A statement about myself and the cup—ὁ δεῖνα ἐποίησεν. […] I may tire of inscriptions—I have written χαῖρε and ἐποίησεν and all that so often. I don’t care if I am spelling right or not. I don’t care if I write sense or nonsense. All that really matters is a line of letters between the handles. That I really ought to put, for it is part of the idea.25 The pressure to supply vases with some writing on the one hand and the boredom aroused by the repetitive contents on the other hand, Beazley thinks, would have driven painters to draw some random scribble. Unsurprisingly, this striking trivialization of the phenomenon did not resonate in subsequent scholarship. Too many elements are either taken for granted or overlooked: (1) this scenario assumes the complete illiteracy of the purchasers, unable to distinguish between meaningless and meaningful inscriptions; (2) all painters are vice versa supposed to have been skilled in writing and to have therefore had many options available in the elaboration of the contents to be conveyed; (3) finally, the notion that to a halfway literate person the invention of awkward combinations of alphabetic signs comes more easily than writing down 22  Harrison – MacColl 1894: 21 (with reference to a vase by Onesimos). 23  Jahn 1854: CXIV (the complete passage is quoted in Chapter 2, p. 22, n. 10). 24  Several cups painted by this group are examined across this study (cf. Chapter 3, pp. 56– 61, 73–74, 83–85, 89–94, Chapter 4, pp. 157–165, 171–172 and Chapter 5, pp. 206–208). 25  Beazley 1932: 194–195.

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any common Greek word is at least questionable and has encountered considerable criticism.26 A limited knowledge of the size and complexity of the phenomenon of nonsense epigraphy or an intentionally selective view of the evidence has often been the cause of rash statements that turn out to be untenable as soon as one is acquainted with the whole repertoire of nonsense. This can be noticed already in Beazley’s remarks, which were developed from his analysis of only one class of ceramic ware, namely the Little-Master cups. Another claim that has arisen from a partial view of the material is that built upon the so-called Tyrrhenian Group’s ware, a class of pottery that often carries nonsense dipinti and was unearthed for the most part in Etruria. Starting from the assumption that the intended purchasers of this class were all Etruscans who were ignorant of the Greek language as well as its alphabet, it has been argued that Greek painters confined themselves to drawing some scribbles on the vessels destined for the Etruscan market, where no one would have been able to appreciate Greek texts. Some scholars have traced this allegedly patronizing behaviour on the part of the painters back to a (not particularly noble) attempt to make fools of their Etruscan customers.27 This is obviously a very partial analysis of the finds which neglects two critical facts: (1) the spread of the fashion of nonsense dipinti in Greek speaking regions as much as in the nonGreek areas, and (2) the evidence of regular Greek inscriptions, not only on Tyrrhenian amphorae but also on many other pots found in Etruria.28 The practice of adding random alphabetic signs to vessels is touched upon by Margherita Guarducci in several passages in her monumental manual on Greek epigraphy. It is no accident that the first discussion occurs within a paragraph entitled Iscrizioni concepite come motivi ornamentali.29 By treating these letters as mere shapes, deprived of their aural values, Guarducci sets them 26  Snodgrass 2000: 30; Gerleigner 2012: 57. Lecercle’s comment about Victorian literary nonsense can be adapted for the present context: “Writing outside sense proves to be surprisingly difficult, for meaning puts up a fight” (Lecercle 1994: 115). Cf. also further, Chapter 4, p. 128. 27  Henry Smith draws a parallel between the intention of painters of Attic drinking cups to mock the drunken symposiasts with nonsense (see below Chapter 4, pp. 156–179) and the intention guiding the Tyrrhenian Group (Smith in CVA USA 5 Berkeley, University of California I: 25). Moreover, Gerleigner quotes an anonymous report from an Oxford lecture given by Jane Harrison in 1887, in which she is supposed to have argued that the Greek artists “scratched nonsense inscriptions to deceive the guileless Etruscan buyer” (Gerleigner 2012: 53, n. 310 with bibliographic reference). 28  More on this in Chapter 2, pp. 32–33 and Chapter 5, p. 196. 29  Guarducci 1995: I, 447–450.

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on a level with ornamental patterns. Here she lines up disparate examples of the ‘meaningless’ writing of Greek letters, either scratched or painted, and preserved not only on diverse ceramic objects but also on different spots of the surface of these items. Guarducci begins with a Cycladic krater found at Pithekussai and dated around the middle of the 8th century BC, which carries a row of letters on the bottom side of the foot. The second find is a lekythos from Ialysos, on the island of Rhodes, dated to the second half of the 7th century BC and decorated with a typically orientalising animal frieze, consisting of two facing lions, a boar and a deer. The space between the images of the animals is ‘filled’ by some ornamental patterns, such as a rosette and a group of dots, and by some scattered letters, a few nus and alphas and a chi. The third example is a votive ostrakon found in the temenos of Athena Chalkioikos on the Spartan acropolis (5th–4th century BC), which was scratched with a heta and, below it, a row of kappas. Despite the clear preponderance of differences over similarities among these finds, Guarducci appeals to an alleged decorative function that is common in all these instances.30 Moreover, she concludes with a reference to another widespread writing practice, that of the so-called alphabetaria. The range of pots on which these alphabetic lists are preserved, and the manifold conditions of their composition, is broad enough to require a separate study. Yet, here again Guarducci reduces everything to the aesthetics of the alphabetic sign and neglects the differing results that would arise from a more comprehensive study. For instance, the fundamental role played by the position of an inscription on the surface of a vase cannot be overlooked. The alphabetic signs placed at the bottom of the foot of the Cycladic crater could not have had a decorative function, since they were invisible, unless the vessel had been turned upside down. It is therefore much more likely that those signs acted as identification marks designating either the workshop that produced the crater or its owner. Indeed the practice of adding acronyms on vessels is well known and attested for the later periods of Greek pottery. On the other hand the Spartan ostrakon helps us reflect on the significance of the type of support, as well as of the writing technique and the context of recovery, for an adequate understanding of a written document. In this case, the fact that the letters were scratched on a random piece of clay suggests that only the written content had relevance and not the material support. The repetition of the same sign and the religious context in which the item was placed, also suggest that the text could have had some ritual or magical function. 30  “In tutti codesti casi le iscrizioni furono evidentemente concepite come elementi decorativi” (Guarducci 1990: I, 448; italics are mine).

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All in all, only the Rhodian lekythos displays an acceptable instance of the usage of graphemes as ornamental elements and thus it is only this example that can be classified as a nonsense inscription. The placement of the letters within the figurative scene, as well as their scattered placement, clearly suggests that the artists’ intention was that these letters should fulfil their purpose primarily in a visual manner. Still, this does not necessarily lead to the conclusion that they served an exclusively aesthetic role. In the taxonomy illustrated in Chapter 3, this type of nonsense inscription is placed at the lowest level on the scale of increasing literacy skills. The scattering of the letters on the decorated surface prevents us from grouping the alphabetical signs into sequences and, consequently, from ascertaining whether the painter might have intended to compose something that could at least be uttered. Such inscriptions do not go beyond the mere reproduction of the letter shapes and there are good reasons to assume that the first approach to literacy consisted in becoming acquainted with the forms of the letters without being taught their respective phonetic purport. The application of ornament theory to alphabetic writing will be one of the subjects of the next Chapter, in which the impossibility of completely erasing the phono-linguistic referentiality of the written sign is addressed in detail. For the moment, this quick overview of Guarducci’s claim may give some idea of the weaknesses of this interpretive method. The great epigraphist Henry Immerwahr showed an interest in the curious phenomenon of nonsense inscriptions in his major study of Attic script published in 1990, mentioning it twice: once in a paragraph devoted to the painter Nearchos and a second time in connection with the Castellani painter.31 Although both passages are quite short, the latter contains some comments on the origins of the phenomenon. These are preceded by a cursory list of the types of nonsense inscriptions: “mock and near-sense inscriptions, meaningless inscriptions, imitation inscriptions or letters, and blots or dots”, each accompanied by a brief description.32 (1) The mock inscriptions are supposed to playfully recall Greek words in the observer’s mind; (2) meaningless 31  Immerwahr 1990: 27, 44–45. In both cases the stress on the existence of nonsense inscriptions drawn by these two painters is justified by the fact that both of them were literate and used to combine nonsense with regular Greek inscriptions on the same vessel. Immerwahr’s position regarding the coexistence of meaningless and meaningful inscriptions—as stated in this and in a later work—will be discussed in Chapter 4. 32  Immerwahr 1990: 44. He refers to a previous publication in which the same classification had been already proposed (Immerwahr 1967: 54).

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inscriptions are made using clearly recognizable Greek letters but do not form any proper word; (3) imitation inscriptions are distinguished from meaningless inscriptions because the former contain signs that are either corrupted or cannot be identified as any known Greek alphabetic symbol. At the bottom of this hierarchy stand (4) rows of blots or dots, which simply signal the place a real inscription might have occupied on the vessel. Immerwahr’s classification undoubtedly provides a valuable starting point but it does not account for the full range of combinations of letters attested in the corpus. For instance, the class of ‘meaningless’ inscriptions encompasses a wide variety of sign combinations, which calls for further sub-division.33 Furthermore, the category of ‘imitation inscriptions’ seems too broad: pseudo-alphabetic signs need to be distinguished from hardly readable letters, the difficulty with which may simply be due to a poor state of preservation or impaired handwriting on the part of the painter.34 Some patterns of lettering are hard to utter, while others can be ‘vocalized’ in various ways. These two classes, together with other more specific classes, underlie the discussion of Chapter 3 where they provide a basis from which to infer what degree of skill in literacy might correspond with each type of nonsense inscription. All in all, the more articulate taxonomy proposed in Chapter 3 builds upon and expands Immerwahr’s model. Having offered his classification, Immerwahr turns to the questions of the origin of the phenomenon and whether it can be considered genuinely Attic. While he notes the existence of nonsense inscriptions on proto-Corinthian and Corinthian pottery, he argues that the quantity of this evidence is not sizeable enough to prevent him from treating the phenomenon as a peculiarly Attic fashion. Although it seems true that this trend was not borrowed from abroad by Attic painters but, rather, developed independently, the importance of the evidence from non-Athenian workshops should not be understated. The fact that the same practice emerged in different artistic environments attests to common attitudes towards writing. But, again, this is not to deny that nonsense writing enjoyed a much greater spread in Attica than elsewhere. Immerwahr returned to the issue of nonsense inscriptions in his later years, during which he wrote a monothematic essay on the topic.35 Here he tackles the most problematic, and indeed most fundamental, problem concerning 33  Immerwahr himself acknowledges that some of the inscriptions of this group “look like words” although they do not bear any relation to Greek, “while others are merely strings of letters” (Immerwahr 1990: 44). 34  See above, p. 3, n. 7. 35  Immerwahr 2006.

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the origins of this puzzling epigraphic practice, namely the relationship between nonsense dipinti and the literacy of their authors. His opening remarks express well the astonishment aroused by nonsense inscriptions in many modern observers: To the modern mind it seems obvious that a person would not write meaningless letters if he knew how to write sense properly. Unfortunately, the matter is not so simple, for […] nonsense inscriptions are not necessarily a sign of illiteracy.36 Immerwahr went on to provide an overview of a special category of nonsense inscriptions, namely those occurring together with regular Greek on the same vase. The number of such inscriptions proves that they are anything but accidental, so that reasons other than incompetence in writing must have driven literate painters to supply their vessels with nonsense texts. This special group of inscriptions, which represents about 10% of the whole nonsense corpus, is the focus of Chapter 4. Since the conceptual vocabulary governing the scholarly debate on nonsense inscriptions is subsumed in Immerwahr’s paper, it will be worth considering his contribution in some detail, before moving on to the more detailed discussion of the prevailing theories in Chapter 2. First, the high percentage of nonsense texts in proportion to the whole of the epigraphic corpus on ancient Greek pottery suggested to Immerwahr the idea that the alphabetic signs and their writing enjoyed a certain prestige, irrespective of whether the signs fulfil any communicative purpose or not.37 The economy and immediate intelligibility of this argument undoubtedly contribute to its appeal and the claim has been echoed by many scholars since. Perhaps this apparent self-evidence has prevented experts from feeling the need to define in which terms (educational? economical? artistic?) bare writing could have been charged with prestige. In other words, one searches in vain for an explanation as to precisely which features of writing would have been the source of this prestige. A section of the next Chapter is devoted to exploring the actual applicability of this theory in depth. Immerwahr also proposes a definition of nonsense writing on Greek pottery as an “illusionistic technique”, which “emulates writing” both optically and

36  Immerwahr 2006: 136. 37  Immerwahr 2006: 137, 140.

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acoustically.38 This anticipates the claim made in the next Chapter that, however preponderant the visual or aesthetic component of an inscription may be, its phono-linguistic dimension can never be completely annihilated.39 As for the issue of combined sense and nonsense inscriptions, Immerwahr does not provide a convincing explanation, offering only the vague assertion that the “desire to complete a visual picture is probably the best explanation whenever sense and nonsense are mixed in the same scene”.40 Indeed the absence of a deeper engagement here with our epigraphic evidence implicitly unveils the heterogeneity of the phenomenon, in which impaired literacy is only one of the factors involved. The rest of Immerwahr’s essay, however, lays the foundations for a promising research path which does justice to the complexity of the nonsense trend in Attic vase epigraphy. This method involves detailed investigations of the individual epigraphic habits of single painters or workshops in order to outline the artists’ preferences or distinctive marks in lettering, as well as the length and placement of the nonsense inscriptions.41 Immerwahr supplies a short version of this scientific approach with a synthetic overview of the main distinguishing features of the nonsense inscriptions written by a few known authors.42 Immerwahr was not the first to have engaged in this kind of research. Almost a decade earlier, Cécile Jubier Galinier had devoted an essay to the writing habits of the Sappho Painter, who is one of the most prolific identifiable painters of nonsense dipinti.43 In that study, Jubier Galinier proved that the “pseudo-inscriptions” by the Sappho Painter are anything but the product of impaired literacy. She also argued that certain recurring combinations of letters might result from the goal of marking one’s own works with a sort of identifying brand. A significant contribution to the wider debate on nonsense inscriptions is Jubier Galinier’s concluding claim about the great freedom of interpretation granted by these texts to their readers. Indeed, the lack of an immediate linguistic meaning entails the corresponding absence of any limits on the imagination of the observer, which can thus transform the 38  Actually nonsense inscriptions are writing. What Immerwahr means here is of course written language. 39  See further, Chapter 2, pp. 19–31. 40  Immerwahr 2006: 139. 41  A plea for individualized analyses of the painters’ scripts—albeit with a sharper focus on their icono-graphic features though—was made already by Lissarrague 1985: 74 (see also Lissarrague 1992: 194). 42  Immerwahr 2006: 146–153. 43  Jubier Galinier 1998.

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apparent semantic void into a potentially infinite polysemy. The final section of the present volume insists on this aspect of the reception of nonsense inscriptions in the context of a cumulative reflection on the pertinence of the ‘nonsense’ label.44 Recently, Jubier Galinier returned to the approach adopted in the paper just recalled and devoted her attention to the writing habits of a few painters of the late black-figure style, thereby highlighting their preferences in the composition and arrangement of nonsense dipinti.45 To return to Immerwahr’s exhortation to undertake individual epigraphic enquiries on nonsense painters, it is necessary to explain why this method cannot be adopted in the present study despite its scientific soundness. This volume attempts to embrace the complexity of this Attic fashion without restricting the analysed corpus to the attributed vases, since hundreds of finds that offer further precious insights into the phenomenon would otherwise be excluded. The next Chapters attempt to shed light on the manifold facets of nonsense writing on ancient Greek pottery by other means, more precisely by sifting through the evidence according to parameters like lettering, vase shapes and relationship with iconography. The closing words of Immerwahr’s paper restate in particularly vivid prose the deep interplay between the visual and the aural that is inherent in nonsense inscriptions: It is clear that we are dealing here with inscriptions that are a regular part of the vocabulary of ornamentation of Attic vases and not with simple primitivism or lack of competence. In general terms, the use of writing on vases serves to establish a connection between the pictorial world and the world of the logos, i.e. of conversation such as took place at the symposium, but which always accompanies visual experience. Inscriptions show that the pictures in question, or the actions depicted in them, are worthy of being talked about.46 Vision and sound play complementary roles in the contemplation of nonsense inscriptions, as they do in all other types of epigraphic sources. The act of speaking out and about the decorative elements of a vessel is commonly imagined in the context of the symposion, regarded by scholarship as the socio-cultural event in the life of ancient Greek people that featured the most intense use of, and contact with, painted ceramic ware. It is, however, 44  See below, Conclusion, pp. 218–224. 45  Jubier Galinier 2016: 55–78. 46  Immerwahr 2006: 154.

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significant that Immerwahr adopts a broader perspective on the possibilities of engaging with the ornamentation of vases, which goes beyond the sympotic occasion. This prepares the ground for the attempt made in Chapter 4 to loosen the tight bond between nonsense dipinti and the symposion as the privileged setting for their fruition, a bond that has, in recent years, been argued for by increasing numbers of scholars.

chapter 2

Rethinking Prior Approaches 1

Just for the ‘Beauty’ of grammata? Da nun dieselben Kräfte unsern Körper und alles Organische nach gleichen Gesetzen bauen, so sehen wir überall Ornamente, wo das uns Verwandte sich manifestiert, unser Organismus ist gewissermassen ein Instrument, dessen Saiten in Mitschwingung versetzt werden. Ein Tropfen Tinte in ein Glas Wasser gespritzt, Zigarrenrauch in ruhiger Luft, die Welle, die Pflanze, eine wehende Fahne, die Photographie einer Moräne, Knochenbildungen und Muskelstränge—kurz: überall sind Ornamente. Die Symmetrie ist immer angenehm, weil wir selbst symmetrisch gebaut sind, der Rhythmus berührt uns freudig, weil alles in uns, vom klopfenden Herzen bis zum eilenden Schritt rhythmisch ist und wir dem die Zeit teilenden Tempo ein solches, das den Raum gliedert, als Gleichnis entgegenzustellen trachten. Der Kreis ist das ewig schöne und vollkommene Ornament, weil in ihm der denkbar sinnfälligste Ausgleich zweier Kräfte—der centrifugalen und centripetalen—stattfindet.1

Despite Trilling’s reproach of the modernist purge of ornament due to its uselessness and its deceptive effect,2 humanity has never gone without ornamentation, as the contrasting ‘pan-ornamental’ view of Karl Scheffler illustrates. In an essay entitled Meditationen über das Ornament, which appeared in a journal of modern decorative arts, Scheffler synthesizes in the few lines quoted above the human natural inclination to recognize and enjoy patterns of geometric regularity and symmetry in the environment around us. Although the identification of harmonious forms in nature and their artificial reproduction by human hands in the form of artworks3 are two distinct operations, they are

1  Scheffler 1901: 400. 2  Trilling 2003: 5–17. At p. 16 Trilling even speaks of the “cosmophobia” of the modern ‘minimalist’ Western society in contrast to past cultures (See also p. 10: “Ours is still the culture that enshrined the rejection of ornament as a momentous step, perhaps the crucial step, away from the tyranny of the past”). 3  “The art we add to art”, as Trilling would gloss it (Trilling 2003: xiii).

© koninklijke brill nv, leiden, 2018 | doi:10.1163/9789004371200_003

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both traditionally absorbed by ornament theory in accordance with their common psychological premises.4 Indeed, recent neuro-cognitive studies on visual perception and its influence on how mankind developed drawing and writing seem to confirm the core features of this idea. The ground-breaking study by the theoretical neurobiologist Mark Changizi and his former team at the California Institute of Technology argued that the peculiarities of human vision in the process of scanning the natural environment had a crucial influence in the elaboration of the shapes of the symbols used in writing. This theory tries to dig deep into the roots of the well-known process of the evolution of human scripts from the ideographic representation of concrete objects, by tracing back all forms of human visual symbolism to a selection of the most frequent “conglomeration contours” found in natural scenery.5 The role of vision and, more generally, perceptual experience in the constitution of human icono-symbolic expression had already been investigated in the late nineteen-seventies by James J. Gibson, who contributed to the growth of studies on the ecology of sensible perception and its impact on behaviour, otherwise known as the psychology of perception. With a perspective that embraces the entire system of the senses, Gibson emphasizes the centrality of the psycho-motoric act of tracing on a surface—what he calls the ‘fundamental graphic act’—for the invention of both drawing and writing: In the child, both drawing and writing develop from what I call the fundamental graphic act, the making of traces on a surface that constitute a progressive record of movement […]. Presumably our primitive ancestors had also been making and observing traces long before the first artist discovered that by means of lines one could delineate something. […] Of all the hand-held tools that have been invented, the sort that makes traces on a surface is especially noteworthy—the stylus, brush, pen, pencil, crayon, or marker. The movement of the tool over the surface is both felt and seen. […] The seeing of a progressive record of the movement of the 4  See above all Gombrich 1979, but also Gombrich 1982. 5  The detailed results of this inquiry, which included the comparative examination of the graphic features of a few hundred writing systems and their analogies with human ‘perceptual behaviour’ were first recorded in an article and later synthetized for the wider audience in a chapter of Changizi’s popular monograph (Changizi 2006; Changizi 2009: 163–209). A counterpart to Changizi’s work, centred on brain mechanisms involved in the reception of written and painted objects rather than on their production, is the study of the French cognitive scientist Stanislas Dehaene (Dehaene 2009).

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tool is lasting. There is a track or trail of the movement, like the afterimage of a firebrand whirled in the darkness, except that it is permanent— a stroke, a stripe, or a streak, in short a trace. This emphasizes lines and pointed tools, but the same principles hold for patches and brushlike tools.6 The merging of iconographic and symbolic marks set forth by students of neuro-cognitive psychology provides a scientific basis for the emphasis on the pictorial dimension of writing and its ‘aesthetic’ power, which proves to be closer to proper figuration than it is usually assumed. This property is particularly intensified whenever writing appears in conjunction with images on the same surface, so that the written signs tend to be perceived as ornamental elements within the work of art. Predictably, this approach has been applied to inscriptions on Greek vases as well, as can be seen from some of the statements about the decorative nature of nonsense inscriptions quoted in the introduction.7 The plethora of publications on the image-text relationship that have appeared in recent years—and which show no signs of abating—saves us from spending too much time on this longstanding debate. Suffice it to say that the main theoretical achievement of all these studies lies in the stress on the multiple layers of interaction between the written and the figurative content, which moves away from the obsolete dichotomy of text vs. image and promotes, rather, the adoption of a ‘simultaneous gaze’. Since this book does not aim to use nonsense inscriptions to supply the umpteenth proof of how writing and picture mutually enhance their semantic and artistic effectiveness, the present Chapter does not engage in selective analyses of forms of interaction between figurative subjects and nonsense inscriptions.8 The focus here is on the inscriptions themselves, so only notions that directly concern them are taken into account. Ornament is indeed the concept most often and most closely associated with this class of vase inscriptions since the earliest stages of modern scholarship on Greek pottery. In the mid-nineteenth century the German classicist Otto Jahn began his catalogue of the ancient vase collection of King Ludwig I of Bavaria with a monumental introduction that, for the first time, treated Greek painted vase

6  Gibson 1986: 275. 7  See above, Chapter 1, pp. 11–13. 8  Such a task has already been successfully accomplished by other scholars, of whom a few are mentioned in the remainder of the Chapter (above all Lissarrague, Pappas and Gerleigner).

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inscriptions in a systematic manner.9 A thorough description, accompanied by several samples, illustrates each category of dipinti, which are arranged according to their contents. Due to their alleged lack of a meaningful content, nonsense inscriptions are barely mentioned in passing. Nonetheless, Jahn does not appear to be surprised about their existence, which in his view function quite simply as a form of Schmuck.10 This idea asserted itself in later scholarship, and was regularly invoked, without any real questioning of the criteria according to which such inscriptions were meant to be perceived as ornamental or simply visually pleasing. As we saw in the first Chapter of this volume, Margherita Guarducci’s presentation of nonsense dipinti, for instance, is quite vague in its statements about the decorativism of the phenomenon.11 In an article on the extent of literacy among the Athenian society of Classical times, Harvey offers a good example of the relaxed attitude towards the matter of ornamentation in scholarship: But I have omitted one class of vase-inscriptions: where letters are strung together and make no sense at all. Are we to conclude in such cases that the painter was illiterate? My own answer would be, not necessarily. The painter has a space to fill; and letters, particularly Greek letters, are very decorative things. There are paintings by Klee and Picasso which use letters like this, purely for their decorative qualities; and no-one has yet tried to demonstrate from these that Klee and Picasso were illiterate. Both literates and illiterates could have used letters in this way on vases, out of mere delight in their shapes.12 Although Harvey’s intuition that nonsense inscriptions are not just the product of illiterate painters is noteworthy, one is struck by the naiveté with which

9  See Chapter 1, p. 10. 10  “Allein auch hier findet man sehr häufig nur Buchstaben oder buchstabenähnliche Zeichen, oft in grosser Fülle zusammengestellt, was theils zu wunderlichen Ansichten theils zu halsbrechenden Erklärungen veranlasst hat; während es doch klar ist, dass man in Ermangelung wahrer Inschriften auch sinnlose, nur scheinbare Inschriften als einen Schmuck dieser Gefässe ansah, den man nicht missen wollte.” (Jahn 1854: CXIII–CXIV). This passage is obscure: one wonders what is supposed to have caused the ‘lack of true inscriptions’, which allegedly led to the production of meaningless ones, and why the decoration with letters was something that painters did not want to do without. 11  See above, Chapter 1, pp. 11–13. 12  Harvey 1966: 605 (italics are mine).

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Greek letters are presented as sources of optical ‘delight’ with no explanation of which features would be responsible for inspiring such feelings in the viewer.13 This attitude can be found again and again, even in recent studies. For instance, a collection of essays appeared on the occasion of a monothematic exhibition around the class of Attic ware known as Little-Master cups at the Antikensammlung in Munich. Given the frequency of nonsense inscriptions on this class of pottery, the topic could not escape the attention of the authors. And indeed it is touched upon by two scholars with the same ‘pan-ornamental’ perspective. When discussing cups that carry dipinti as unique decorations of the outer band, Kaeser appeals to the argument that letters were on a par with ornamental forms like palmettes or other vegetal motifs. Since these are often nonsense inscriptions, Kaeser comes to the conclusion that “gegenüber der Form ist der Inhalt der Schriftzeile zweitrangig”.14 The same opinion is expressed even more explicitly by Fellmann, who presents nonsense and pseudo-inscriptions (i.e. those made of rows of blots or dots) as two variations on the same decorative pattern. While one has to agree with Fellmann that painted inscriptions were an essential component in the ornamentation of Little-Master kylikes, the same haziness noted above in explaining how exactly the dipinti should have acted as “belebend, verbindend und schmückend” affects this contribution as well.15 All in all, decorativeness has been exploited as the easiest and least demanding argument to justify the existence of nonsense vase inscriptions. Moreover, no one has yet felt the need to go into the details of the theory of ornament in the context of this artistic phenomenon. This silence, one could argue, conceals the embarrassing fact that it is impossible to fully equate iconographic items with abstract symbols of speech under the common label of ornaments.16 As we will see, the alphabetic signs never lose completely their phonetic mediality, so as to get reduced to pure graphic shapes. A more sophisticated version of an aesthetics-based approach to vase inscriptions has been advanced by Lissarrague, leading to a broad consensus 13  Similar thoughts can be found in Metzler 1969: 140. 14  Kaeser 1990b: 83. Curiously, the scholar speaks of the ‘elevation’ of writing to the rank of ornament. 15  Fellmann 1990: 95. 16  It is worth pointing out that Paul Jacobstahl, the only scholar to have engaged in a systematic analysis of ornament on Greek pottery, does not mention dipinti in his monographic survey of the decorative motifs of Greek vase painting (Jacobstahl 1927), although he was well aware of the visual appeal of writing, especially when it undergoes calligraphic processes (Jacobstahl 1911).

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among scholars of ancient Greek vase painting. We can call this a ‘topological theory’ of vase inscriptions, since the key role is played by the placement of the dipinti on the surface of the vessel in the determination of their value within the overall structure of the pictorial decoration. This ‘topocentric’ method has its origin in two studies which specifically tackle the issue of writing on Greek pottery. Lissarrague first raised the question of the iconicity of inscriptions in an essay published in 1985. He stressed once more the irrelevance of the content of a dipinto when compared to its iconographic function on the depicted surface.17 A later essay, entitled “Graphein: écrire et dessiner”—a reference to the polysemy of the Greek verb γράφειν, meaning both ‘to draw’, ‘to paint’ and ‘to write’—, provides a more detailed account of how the primary optical function of writing is concretely put into effect.18 Here, Lissarrague adopts a diachronic perspective, according to which the fashion of dipinti took over the role previously held by the abstracted floral patterns of the orientalising style.19 Later on, the progressive disappearance of written signs as space fillers between the figures was induced by the spread of the more naturalistic painting style of Polygnotean invention. In the course of this artistic turn, these interstitial spaces ceased being perceived as void and began to stand for a continuous environmental background, in which the depicted figures were imagined to move.20 17  “… il est clair qu’il y a là un premier niveau de signification de la lettre dans l’image que l’on ne saurait négliger. De ce point de vue le contenu linguistique de l’inscription est sans importance […]. L’écriture fonctionne donc comme un élément iconique à part entière” (Lissarrague 1985: 88). 18  Elsewhere he adopts the term graphisme to define both vegetal patterns and written signs, or talks about polyvalence du graphique (Lissarrague 1998: 127). 19  “L’inscription a d’emblée, dans l’imagerie attique, un rôle figural qui dépasse son contenu linguistique. Elle intervient au même plan que les éléments décoratifs, constituant elle aussi une image, un tracé matériel, qui interfère avec les éléments figuratifs et fait partie de la figuration. Une telle introduction de l’écriture dans l’image se fait sans difficulté; la place des lettres semble assignée d’avance, préparée par les éléments floraux et abstraits que l’art orientalisant avait multipliés. Écriture et dessin, dans le code visuel grec, sont ainsi beaucoup plus étroitement liés que dans le nôtre. La langue grecque en porte témoignage, qui désigne les deux activités, écrire et dessiner, du même mot: graphein” (Lissarrague 1992: 191). On this see also Giuliani 2003: 115–158. 20  “La tension entre deux solutions figuratives—la représentation illusionniste et la graphie du sonore (sic!) qui contraire l’effet illusionniste—disparaît au moment où commence à s’esquisser une peinture perspective polygnotéenne, dans laquelle la surface libre entre les figures n’est plus perçue comme un vide à remplir, mais comme un espace continu, qui unit entre eux les personnages selon une certaine échelle de plans et de profondeur. À cette date, après 450, le statut des inscriptions dans l’image devient tout autre; elles se

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Beside this diachronic reconstruction, Lissarrague’s main contribution on the aesthetic role of dipinti is summarized in the following lines: […] le peintre tend à utiliser l’écriture, ou son imitation, de façon exclusivement dynamique, en exploitant l’effet vectoriel produit par une suite, réelle ou fictive, de lettres juxtaposées.21 Thus, when looking at inscriptions on a painted vase, one should focus solely on their position, or better, on their spatial relationship with the figurative subject(s), since this is the only relevant feature to appreciate the role of writing on pottery. This role is twofold: on the one hand, dipinti accentuate the dynamism of the scene by stressing the profiles of the figures and thereby their movements; on the other hand, they serve as vectors for the observer, i.e., as guidelines for an adequate inspection of the painting. In this sense, the object of the ‘reading’ act is the figurative composition rather than the written one. Although Lissarrague does not appeal to any theoretical paradigm from the field of image studies, one is immediately reminded of Gombrich and Luhmann’s far-reaching contributions to the foundation of a modern theory of ornament. They both reassessed the value of this artistic device on account of its structural function in an artwork, thereby raising it from the rather belittling status of ‘garnish’. While Gombrich showed how ornament ensures an orderly arrangement in a piece of art, Luhmann draws upon the former to stress the ‘agglutinating’ function of ornament, which holds together all the constituents of an artefact (material support, figuration and so on).22 Whether consciously or not, Lissarrague seems to have applied these ideas to the specific case of ornamental writing on ancient Greek pottery. Now, all these scholarly observations are unquestionably correct: there is no doubt that, when inscriptions had to be added to the illustrated field of a vase, painters must have taken care with their placement and orientation. The argument can even be extended to those cases in which either figuration réduisent à leur fonction linguistique et servent, pour l’essentiel, à nommer personnages ou allégories […] la lettre perd de sa liberté graphique et de sa force figurale pour céder la place à un code figuratif plus proche de ce que seront les conventions de l’art occidental” (Lissarrague 1992: 202). 21  Lissarrague 1992: 197 (italics are mine). 22  “Es [scil. Ornament] verhindert den Zerfall des Kunstwerks in einzelne Gestalten, denen man sich zuwenden, von denen man sich abwenden kann. Oder anders gesagt: es hält ein Kunstwerk zusammen, ohne an dessen figurativer Einteilung teilzunehmen, und eben dadurch.” (Luhmann 1995: 195). See Gombrich 1979 (esp. 177, 220–221); Luhmann 1995: 165–214 (esp. 193–196), recently revived by Beyer and Spies (2011).

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and writing are spatially separated or in which figuration is absent and writing alone is placed at strategic spots of the vase. In the latter case, the dipinto engages in a structural dialogue with the profile of the vessel rather than with the iconography. Equally indisputable is the optical effect of highlighting the field lines of the composition so as to guide the gaze of the viewer through it. However, all these features apply to the practice of integrating writing into a depiction in general; they are not specific to nonsense inscriptions. As a matter of fact, Lissarrague’s work takes a broad perspective, examining all sorts of vase inscriptions and trying to offer an overall assessment of the role of writing in vase painting. From this point of view, he is not interested in any distinction based on the linguistic contents of the inscriptions. That is why he is also not concerned with—or perhaps avoids—giving an explanation as to why a literate painter would have opted for nonsense instead of literate Greek. Indeed a slight feeling of discomfort at the total rejection of the phonolinguistic character of vase inscriptions can be detected in Lissarrague’s argumentation. Although never retreating from a ‘pan-aesthetic’ position, he cannot rid himself of the phonetic referentiality inherent in alphabetic symbols. Ironically, this very notion is recalled precisely within the discussion of nonsense inscriptions: Ces inscriptions, qui n’ont donc aucune valeur désignative, ne sont pourtant pas privées de sens. […] Elles sont aussi une invitation à sonoriser l’image, à nommer les guerriers […] cette écriture n’est là que comme un signe, déchiffrable ou non, d’une oralité qui doit prendre le relai de l’image. A la limite, l’inscription n’a pas besoin d’être lisible pour être prononçable. Le destinataire du vase est simplement incité par ces marques graphiques à dire l’image […] une écriture sans texte, purement graphique.23 The instinctive drive to vocalize or even verbalize written signs is invoked in conjunction with the Little-Master cups and their fondness for nonsense dipinti, whose signification reste ouverte! 24 Lissarrague’s views influenced much later research on vase epigraphy, which more or less reformulates his core idea of the primacy of visual aesthetics in the appraisal of this written material and the subordination of the writing to

23  Lissarrague 1992: 196 (italics are mine). 24  Regrettably, Lissarrague retraces his steps when he continues: “Dans cette série l’écriture est avant tout un spectacle pour l’œil” (Lissarrague 1992: 197).

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the arrangement of the pictorial scene.25 An example of a recent restatement of this argument can be found in an essay by Alexandra Pappas, in which one reads of “writing’s ability to contribute to an object’s decorative schema, or for writing’s communicative aesthetics”, or of the presence of letters “contributing to the aesthetic organization of the scene and communicating with the viewer”.26 When she directly addresses the issue of nonsense inscriptions, Pappas talks in the slightly vague language of “meaningful aesthetic effect” without elucidating in what it is that this effect concretely consists. The recent dissertation by Gerleigner on the relationship between images and inscriptions on Greek vases builds upon Lissarrague’s ‘topological’ hermeneutics. He gives a central role to the place of the inscription in determining its ‘meaning’, but also assigns it further semantic implications that are not simply visual. On the one hand, he insists on the inadequacy of a ‘logocentric’ approach that classifies vase inscriptions according to the linguistic contents they might express, mentioning nonsense inscriptions as the paradigmatic example of such inadequacy.27 Moreover, he praises the thesis of the decorativeness of nonsense inscriptions as one of the “more sensible”, adding that “to some extent [it is] certainly right”.28 On the other hand, Gerleigner acknowledges that a solely aesthetic assessment of writing on Greek vases proves to be vague as well as partial.29 He thus proposes to consider the relationship between images and writing at two complementary levels: (1) the relationship between the pictorial value of the image(s) and the textual value of the inscription(s); and (2) between the pictorial value of the image(s) and

25  See for instance Strawczynski 1998: 107–121. Μüller has recently proposed to regard nonsense and καλός inscriptions together, as two Gestaltungsarten (or elsewhere Stilmittel) of the same epigraphic category, and to classify them according to the same topological criteria (Müller 2016: 123–127). 26  Pappas 2011: 39, 45. The notion of “communicative aesthetics” sounds appealing but it is unfortunately not followed by a clarification of the kind of communicative effect produced by painted inscriptions. 27  He criticizes in particular Immerwahr’s text-based taxonomy, since, he claims, it “distracts from the fact that the inscriptions had a graphical existence as well and were placed somewhere” (Gerleigner 2012: 52). 28  Gerleigner 2012: 53. There he goes on: “It is also frequently argued that inscriptions belong to the decorative standard of this period, and that prestige was attached to writing”. For the latter argument, i.e., that writing enjoyed prestige among the Greeks, see below, pp. 31–37. 29  Gerleigner 2012: 13 (“[…] it is not sufficient to include simply the rather vague dimension of ‘aesthetics’ (which in most cases means ‘regard of placement’) into our analyses […]”).

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the pictorial value of the inscription(s).30 As a consequence, the previously rejected logocentric approach turns out to be readmitted to the hermeneutic debate. With special regard to nonsense inscriptions, Gerleigner further expands on Lissarrague’s statement about the unavoidable human impulse to utter the written symbols at which one is looking: I want to argue that independent of their degree of legibility, ‘nonsense’ inscriptions (or, for that matter, any inscription seen by an illiterate) possess some of the significative power of a text, mainly by virtue of their material presence in the image, especially their placement, but also by the cultural knowledge people possess with regards to writing.31 An essential truth is concealed among these lines: whenever gazing at alphabetic writing, anyone who is aware of its nature as a socially shared system of graphic communication that mainly functions to encode spoken language, is spontaneously driven to link those graphemes with verbal utterances. Regardless of the extent of his/her schooling, the viewer thinks not only in terms of the phonetic purport, but also on the higher level of the complex semantic concatenation that those symbols could signify. Gerleigner tries to fit this intuition into the topocentric theory by arguing that the impulse to assign a nonsense inscription to a certain semantic category (i.e. signature, caption, toast …) may have been conditioned by the “placement conventions” according to which meaningful inscriptions tend to be distributed on the surface of a vessel depending on their textual content.32 However, Gerleigner subsequently concedes that this broad form of semantization is something distinct from the attribution of a specific sense to a given sequence of symbols.33 In other words, it is reasonable to associate a string of nonsense letters placed along the profile 30  Gerleigner 2012: 7. This is, theoretically, an excellent formulation but Gerleigner does not provide concrete instructions on how to turn it into an analytic practice. 31  Gerleigner 2012: 54 (italics are mine). 32  This approach has been recently and convincingly applied within a case study devoted to the red-figure oinochoe Hamburg, Museum für Kunst und Gewerbe 1981.173. The dipinti on that vase are however meaningful and their topological features guide Gerleigner in the explanation of their content in relationship with the pictorial representation. Here he calls his hermeneutic method, which is based on the ‘rules’ inferred for the placement of inscriptions on depicted surfaces, “grammatographic” rather than “topocentric” (Gerleigner 2016). 33  “Anyway, a viewer familiar with them [scil. placement conventions] would of course still not have been able to make textual sense out of ‘meaningless’ and ‘imitation’ inscriptions or chains of blobs, but if those grammata were placed according to one or more usual

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of a figure with a caption identifying the character with a personal name, or to think that alphabetic signs pouring out of a mouth or a musical instrument hint at the song or the music played by the depicted figure. Nevertheless, this semanticizing act cannot go beyond the allocation of an inscription to a broad subject category. Gerleigner concludes by stating that the “quasi-textual power of inscriptions” is neither stored in, nor conveyed by, the signs themselves: it “is to some degree independent of their linguistic meaning”, and is determined, rather, by “the cultural knowledge the viewer associates with them.”34 By this, he tries to stick to an approach to writing that emphasizes its materiality and simultaneity in contrast to the old-fashioned phonographic view of Saussurian inspiration. This attitude is influenced by the recent trend in visual and media studies that correctly appeals to the right of writing to be analysed independently, not just as a mirror of the spoken language, for its appearance conveys more than solely the graphic adaptation of linguistic utterances.35 Gerleigner recalls in this regard the iconic and ideographic character of a written text, such as its two-dimensionality and the arrangement of the content by headings, spaces between words and paragraphs, as these are enumerated in Sibylle Krämer’s papers on the iconicity of notation forms.36 While all these tools are indeed peculiar to the written language and not the spoken one, being effective at the level of the optical rather than the acoustic reception of writing, still contribute to the conveyance of a linguistic message, not an imaginary one. It will be useful to state at this point a key claim about the iconographic dimension of writing that will inform my arguments throughout this volume. No matter how much weight is placed on the visual impact of writing, there is no way to ‘absolutize’ this by completely forgetting its primary function as a linguistic medium. This is all the more important in the case of scripts, such as the Greek script, which represent an alphabetic system, completely ‘rules’, […] he could quite often have guessed […] what they were supposed to signify” (Gerleigner 2012: 55). 34  Gerleigner 2012: 56. I assume that “cultural knowledge” here coincides with what is earlier called “placement conventions.” 35  Gerleigner shows his esteem for the theoretical assumptions of the German research group Schriftbildlichkeit as explained by its director Sibylle Krämer, in the introduction (Gerleigner 2012: 7). See the Preface of this volume, p. x. 36  Krämer 2003 and 2012. See also the philosophical formulation of Strätling—Witte 2006 (esp. 7–11). This stresses the dichotomy between the materiality of writing, which ensures its visibility and thereby its ontological status (Sichtbarkeit), and the immaterial intelligibility of the senses, of which it is the medium (noeton vs. aistheton, Strätling—Witte 2006: 9).

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unhooked from its ideographic ancestors.37 Moreover, in the specific case of ancient writing, we often lack most of the visually communicative effects praised by Krämer, like separation between words or headings. Still, there are no reasonable grounds for exhuming a definition of writing as mere graphic transposition of the spoken language. Both the oral-aural, and the manualvisual, apparatus are the channels we use to express ourselves and communicate with other members of our species. Language is therefore the abstract entity that sits above its concrete manifestations in the form of speech and writing. Although they have equal weight in this sense, the historical derivation of writing from speech is indisputable.38 Thus, on the one hand, writing has the right to be examined as a phenomenon on its own but, on the other hand, it cannot escape a constant associative reference to the lexical and morpho-syntactic features of the language it ‘portrays’. Since nonsense inscriptions do not, for the most part, allow associations with lexical, morphologic or syntactic elements of the Greek language,39 the field of linguistic reference is reduced here to the bare level of phonetics. To give an example, the string of letters DRSANAKT does not evoke any word, nor part of a word, to an English speaker. The only way to react to, and interact with, this textual evidence, then, is to decode one sign after the other while perhaps trying to utter them. This decoding act consists in nothing more than assigning to each letter its phonetic value. One thing is certain though: even if these letters appeared within a painting or another work of art, nobody would suddenly change their perspective and regard them as pictorial elements. Their intrinsic linguistic essence cannot be fully eradicated!40 37  Even a supporter of the “purely ornamental value” of the alphabetic signs, such as Hurwit, falls into a striking inconsistency in the compass of a few lines, when he acknowledges that “the written word is above all functional: it is informative and communicative” (Hurwit 1990: 190). 38  DeFrancis 1989: 42–47. 39  For a comprehensive typological classification of nonsense inscriptions, in which possible echoes of lexical or morphologic components of Greek are also highlighted, see the following Chapter. 40  Not even when writing portrays itself, as on those vase paintings depicting inscribed papyrus rolls or steles (Gerleigner 2012: 56 talks about a ‘picture of writing’ in such cases). Since those letters are incorporated into a figurative element of the pictorial composition, they are undoubtably more integrated in the overall figurative effect of the scene, but at the same time they reveal their nature, i.e., as being a written text that expects to be read! It is encouraging to read the recent appeal by Yatromanolakis to give greater emphasis to the phonetics of nonsense inscriptions instead of regarding them as a mere aesthetic product, although I would not go so far as to claim that “many of the Attic ‘nonsense’ inscriptions […] reflect soundscapes of Athens” and “re-enact or ‘reconstruct’

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Interestingly, the remaining pages of Gerleigner’s dissertation that are dedicated to nonsense inscriptions, and in particular to those paired with meaningful inscriptions on the same vase, leave aside the ‘topocentric’ approach. Gerleigner engages instead with the issue of the sympotic context in which these objects are believed to have been most frequently displayed, and the question of how this may have influenced the (very logocentric) reception of that written evidence. I will return to Gerleigner’s contribution in Chapter 4, where a whole section is devoted to the relationship between nonsense texts and the Greek socio-cultural institution of the symposion.41 In conclusion, it is worth stressing that my aim is not to deny or lessen the aesthetic force of Greek dipinti, which, in light of all the convincing studies devoted to this subject, remains undisputed. Rather, the intention has been to stress how this characteristic, no matter how important it may be, cannot completely erase the deep linguistic roots of writing. Both dimensions are intrinsically complementary and never mutually exclusive. Moreover, it is important to note that the optical delight aroused by writing is anything but a prerogative of those texts that are deprived of linguistic meaning, such as the Greek nonsense vase inscriptions. On the contrary, this is a universal feature of writing, as Gelb emphasised long ago.42 In view of these considerations, an artistic employment of writing cannot suffice as the explanation for the birth and spread of the phenomenon of nonsense inscriptions. 2

Just for the Prestige of Writing?

A second common opinion regarding nonsense inscriptions follows from the belief that, especially in the early centuries since its spread, writing had an aura of prestige all its own and could increase the worth of any artefact on diverse auditory environments” (Yatromanolakis 2016: 29). Indeed it is possible to perceive the acoustics of Greek or of some foreign speech and possibly even of some melody behind the lettering of several nonsense inscriptions (see below, Chapter 5), but the chances to infer the acoustic environment of 6th–5th century Athens from the phonetics of nonsense inscriptions seems to me fairly poor. 41  See below pp. 156–179. 42  “Although the chief aim of writing is not artistic effect but the practical recording and transmission of communication, writing at all times has had elements of aesthetic value. […] The aesthetic feature is sometimes so exaggerated that writing serves the purpose of ornamentation, thus neglecting [but not losing!—author’s note] its primary object of communication; consider, for example, Arabic ornamental writing, beautiful but difficult to read […]. Writing in its aesthetic—not utilitarian—aspect is one form of art in general” (Gelb 19632: 229).

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which it appeared, regardless of whether or not the combination of the alphabetic symbols conveyed a linguistic meaning. This belief relies on the assumption that writing was a tool that was charged with a special cultural value due to the difficulty involved in mastering it. A phrase that frequently occurs in such discussions is that of ‘plus value’ and refers to the addition of writing on a painted pot. In addition, this notion is at times coupled with the idea that nonGreek buyers of Attic pottery, such as those in the Etruscan market, sought to satisfy their taste for the exotic. All these conjectures are highly problematic and too easily adopted in scholarship on the subject. It is notable that this argument has found its way into reference works, including two renowned handbooks. In John Boardman’s overview of the Attic black-figure style one reads of “snob value”, a phrase that was later used— without citing the source—by Mannack in his German manual of Greek vase painting. Both scholars mention this alleged quality of writing in the context of their respective introductions to a class of ceramic ware known as ‘Tyrrhenian’, which is a rich source of nonsense inscriptions.43 These ceramics owe their label to Thiersch, who, whilst proving that the vases of this group have no relationship whatsoever with the Corinthian style, sought a definition that could express a distinctive feature of the class, namely their almost exclusive provenance from Etruscan sites.44 Indeed, it is likely that this type of ware was conceived and produced specifically for export to the Etruscan market of the second quarter of the 6th century BC. This has led to the supposition that the high proportion of nonsense dipinti on such vases may have been motivated by the Etruscan fondness for the ‘exoticism’ of the Greek script. The fact that the purchasers had to be completely unfamiliar with both the Greek language and its alphabet probably inspired Boardman’s notion of “snob value”, which he deploys in an ironically disparaging manner. Only less educated people who did not want to forgo the ownership of an inscribed Greek vase could have appreciated nonsense inscriptions. This line of reasoning raises a series of doubts. (1) Provided that these vases were destined for a foreign market, the workshops in which they were produced were based in Greece. Whether we follow the common opinion that the Tyrrhenian ware was shipped from Athens or we accept Carpenter’s 43  Boardman 1974: 36, paraphrased by Mannack 2002: 117. A detailed overview of this class of Attic ware is supplied by Kluiver 2003. 44  Thiersch 1899. Over 280 vases from this group are currently recorded in the Beazley Archive, for the most part ovoid-neck amphorae, “decorated with narrative friezes on the shoulders, subsidiary bands of animals below and rays above the echinus-shaped foot” (Bothmer 1944: 162).

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hypothesis of an Eretrian origin,45 the fact that this material came from mainland Greece is indisputable. (2) Tyrrhenian amphorae preserve not only nonsense but also many meaningful inscriptions, mostly consisting in the names of the depicted characters and sometimes occurring in combination with nonsense. (3) Finally, the phenomenon of nonsense inscriptions is anything but exclusive to Tyrrhenian vases. As illustrated in the previous Chapter, such epigraphic evidence is presented in a wide variety of vessel shapes and painting styles, so that it is impossible to ascribe it to a specific workshop or class of Attic pottery. In light of all these remarks, some questions arise: how can we suppose that the painters adapted the type of inscriptions to be added to the commissioned vases to the level of education enjoyed by their buyers? Are we really to believe that it would have been easier for a Greek painter to put together some odd combinations of letters than to write down a simple word or phrase, taken from the lexical repertoire of Attic vase epigraphy and most likely available even to illiterate painters in the form of graphic models to copy from in the workshop?46 Last but not least, how can it possibly be argued that senseless writing enjoyed this sort of prestige even in Greece, where, not only a few Tyrrhenian pieces but also a great number of other pots carrying nonsense inscriptions have been found? Still, the thesis of an increased prestige and, with it, an increased sale price for pots carrying writing has been revived in the scholarship on nonsense vase inscriptions and proposed again and again until recently.47 One reason for the success of this theory must lie in its apparently self-explanatory nature, demonstrated by the fact that none of the scholars who appeal to it have felt the urge to explain in what, exactly, the ‘plus value’ may have consisted.48 We can, therefore, only speculate about the possible grounding for this assumption. 45  Carpenter 1984, esp. 52–54. The scholar adopts epigraphic arguments to support a nonAttic milieu of Tyrrhenian workshops. He identifies certain letter shapes that are not typical of the Attic alphabet, above all vau (). 46  Due to the coexistence of sense and nonsense on certain amphorae, the illiteracy of all members of the Tyrrhenian group can only be maintained with difficulty. For a thorough discussion of the issue of literacy in relation to nonsense inscription see the next Chapter. For the problem of the combination of sense and nonsense see Chapter 4. 47  See for instance Kästner 2007: 28–29. This is how she concludes her paragraph on nonsense vase inscriptions: “Es ist deshalb anzunehmen, dass der Wert eines beschrifteten Gefäßes höher war als der einer Vase ohne Inschriften. Zumindest war die Beherrschung der Schrift ein Prestige.” 48  A brief quotation from a very recent paper by Müller attests to how deeply rooted this idea is: “Bezogen auf die Motivation, die hinter dem Imitieren von Inschriften steckte, gilt inzwischen als unumstritten, dass allein schon das Vorhandensein von Schrift auf

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In human communities, high appraisal tends to be reserved for goods that distinguish themselves by the rarity of the material(s) employed or by the complex skill(s) required for their realization. Do any of these features apply to the writing of nonsense inscriptions? A positive answer is very hard to support. First of all, writing on pottery did not require special tools or expensive materials beyond those already available to the painters in a ceramic workshop. As for the manual skill involved in tracing graphic symbols, this would not have been a particularly demanding task for professional figurative painters. Where, then, did nonsense inscriptions acquire their alleged prestige? The only remaining point in support of this theory would be the attribution of a broad cultural value to writing as a channel of transmission of traditional content. But such an approach would assume that the simple addition of alphabetic symbols represented a sort of homage to the ‘noble art’ of writing. At this stage, it is necessary to address briefly the issue of the status of writing in the cultural cosmos of the Greeks; the work of Eric Havelock is indispensable for this purpose. One essay, significantly entitled “The Preliteracy of the Greeks,” specifically addresses the question of the social recognition of writing in the Greek society of the Archaic and early Classical ages.49 Here Havelock builds upon his famous thesis that the contents of Greek culture and literature continued to be handed down orally for a very long time after the invention and spread of the alphabet.50 While adopting a socio-anthropological definition of culture as “storage of information for reuse”,51 Havelock explains that the poetic (i.e. metrically framed) structure of Greek literature in its early centuries proves that cultural content originally composed in oral form had been transcribed only at a much later stage.52 The resulting inference is that: … the education of the Greek leisured classes throughout this period was oral. It consisted in the memorization of poetry, the improvisation of Gefäßen sowohl die formale Komposition als auch die bildliche Handling ästhetisch aufwerten konnte” (Müller 2016: 100; italics are mine). 49  The essay first appeared in the 1977 issue of the journal New Literary History and was later reprinted in the well-known selection of essays published by Princeton University Press in 1982. 50  This central idea emerges more or less explicitly in almost every study by Havelock. A fascinating reconstruction of the research path that led him to his notorious ‘oralistic theory’ is offered as an introduction to The Muse Learns to Write (Havelock 1986: 1–18). 51  Havelock 1977: 370. 52  “… the Greek alphabet, both at the time of its invention and for many generations after, was not applied in the first instance to transcribing vernacular statements but rather to those previously composed according to oral rules of memorization” (Havelock 1977: 371).

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verse, the oral delivery of verse, the oral delivery of a prose rhetoric based on verse principles, the performance on instruments, string or wood, and singing and dancing. For a long time after the invention of the alphabet, letters were not included, and when they were first introduced, they were treated as ancillary to memorization and recitation. There is ample evidence that in the sixth and fifth centuries BC this curriculum was identified in Athens by the term mousikē, as previously defined, and no hard evidence that in this period it covered reading.53 Even more relevant for our discussion is what Havelock says next about the ways in which writing was learnt and practiced and the social environments in which this education took place: … the inventors, and for a long time the only habitual users of the alphabet, were craftsmen and traders. No doubt, as time went on, the leisured classes picked up some acquaintance with letters, but the extent to which they did so must remain problematic, for they had minimal motives for employing the skill until the middle decades of the fifth century. The craftsman’s children went to work in the shop before puberty, and if they learned letters, that is where they learned them. The upper-class boy, prolonging education into adolescence, had time to master the polite arts, which did not include reading.54 The problem with digesting such a scenario, says Havelock, lies in the fundamental mistake of looking at the cultural production of ancient Greece through the lens of our modern, widely literate society. It is from this perspective that the prejudice that literate civilizations are superior to those lacking writing arises, with the resulting and almost instinctive refusal to think that the noble Greek tradition had had a ‘humble birth’ in the realm of orality. A similar preconception, one might guess, probably influenced those scholars who promote the notion of the ‘prestige of writing’ with respect to nonsense inscriptions. And indeed it seems no coincidence that, to illustrate this widespread misconception, Havelock chooses to quote from a paper by Cook about one of the earliest written documents of ancient Greek, namely a Protoattic fragment of a plaque from Aegina attributed to the so-called Analatos Painter 53  Havelock 1977: 371 (italics are mine). The scholar identifies Pl. Prot. 325e (see below, pp. 111–113) and Charm. 159c as the earliest evidence of “organized instruction in reading” at the primary level, the introduction of which is dated not earlier than 430 BC. 54  Havelock 1977: 371.

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and signed by its potter.55 Cook argues that the writing of an apparently hexametric signature proved that “the artist was no humble χειρῶναξ but a person of social standing” who was “highly cultured”.56 The equation between writing skill and prestige could not be expressed in more straightforward terms. Bearing in mind Boardman’s idea of the “snob value” of nonsense inscriptions, it is amusing to note that the adjective “snobbish” is also employed by Havelock to describe the modern attitude which equates a high level of education with a high proficiency in reading and writing. Similar ideas can be found in Rosalind Thomas’ studies on ancient literacy, which will be discussed more thoroughly in the next Chapter.57 For the moment it suffices to say that Thomas, too, warns of the risk of projecting modern conceptions of education and cultural transmission onto the ancient world, without, however, assuming any position in the debate on the social relevance of writing in ancient Greece. She insists on the replacement of the obsolete dichotomy of literacy vs. illiteracy with a more realistic—and complex—panorama of diverse literacies, each serving specific practical or artistic needs and all coexisting within ancient social groups.58 Among other phenomena, she points out the contradictory evidence about the changing levels of trust towards the written document in comparison to oral testimony, for instance in the judicial realm. All these aspects contribute to a picture in which writing in antiquity has no univocal cultural connotation, as well as to the revision of the idea that some sort of nobility should be ascribed to it.59 Elsewhere Thomas stresses a key notion, which will prove essential in the course of this study. This is the great taste for experimentation and the freedom of approach towards the alphabet in the early centuries after its adoption, often mistaken for the clumsiness that affects beginners.60 What the rich amount of bizarre written evidence left by the early Greeks discloses is a genuinely enthusiastic and imaginative exploitation of the potential to test and play with writing. In Chapter 4 I will show how this applies to nonsense dipinti. If we trust Havelock’s conjecture that craftsmen might have been more literate than the élite, the starting point for the idea that a certain prestige was 55  Havelock 1977: 373. 56  Cook 1971: 175. 57  See below, pp. 117–118. 58  An idea permeating her whole work and directly addressed in Thomas 2009: passim. 59  Argued, among others, by Pattison (1982: 37) and Harris (1989: 28). 60  Thomas 1992: 81–82.

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attached to writing is overturned. Furthermore, if one tries to give the painters’ cheerful attitude towards writing a sociological interpretation by relating it instead to the possibly differing socio-economical status of artisans and purchasers, it could be argued that some painters added nonsense inscriptions on their vases to poke fun at their higher-ranked but often illiterate customers. Only in this sense would it be possible to understand writing as a marker of social distinction, although in ironic rather than serious tones. However, this scenario is doomed to remain in the realm of conjecture, since there is no certainty about the socio-economic status of the average buyers of Attic painted pottery. In any case, while certainty may elude us, if we are to judge from the massive volume of its production and distribution, it seems highly unlikely that Attic painted pottery should be regarded as a luxury good. To sum up, the widespread opinion that some kind of prestige was asso­ ciated with the addition of letters to painted pots turns out to be poorly grounded. This is confirmed, moreover, by the large quantity of rock inscriptions left by farmers in southern Attica between the 6th and the 5th century BC and published over the years by Merle K. Langdon.61 This epigraphic evidence not only attests to the lack of correlation between literacy skills and socioeconomic status, but it also proves that the practice of writing was not taken as seriously as we may tend to believe. The exercise of literacy was one among several available pastimes.62 In a time when the primary channel for the transmission of cultural content was still oral, above all in the education of the socially privileged groups, it is more likely that a keen curiosity towards a relatively new tool and its potentialities encouraged playful experimentation with it. This matter and the issue of the grades of literacy disclosed by nonsense inscriptions are the subjects of the next two Chapters, with which we move to the pars construens of this study.

61  Langdon – Watrous 1977; Langdon 2005 and Langdon 2015. 62  As Langdon puts it, Attic herdsmen apparently escaped boredom by engraving written messages on exposed pieces of bedrock “while their flocks grazed” (Langdon 2005: 179). From the present author’s perspective it is a pity that Langdon has so convincingly argued that there are no nonsense scribbles among the rupestral graffiti, explaining the apparently meaningless strings as, rather, the outcome of actions of mutilation of or tampering with a former regular inscription (Langdon 2015: 54). The existence of meaningless rockcut inscriptions along with the meaningful would have not only supplied an exceptional parallel to the almost coeval dipinti on pottery, but it would have also provided further evidence of different stages of (semi)literacy within a well-defined community.

chapter 3

Περὶ παιδείας or Nonsense Inscriptions and Literacy 1

A Taxonomy of (Il)literacies

1.1 Introduction The previous Chapter has looked at the corpus of nonsense inscriptions through the lenses of two previous scholarly approaches that hinge upon the topics of ornament and icono-tactics respectively. A fundamental and so far neglected facet of this epigraphic repertoire, namely the actual lettering of the inscriptions, gains its first systematic treatment in this Chapter. To outline the types of combinations of letters requires first of all the scanning of the whole corpus, a task that has been accomplished for the first time in preparation for this volume.1 The scholarly indifference towards the accurate reading of the nonsense inscriptions is best documented by the many publications devoted to ceramic finds carrying nonsense inscriptions, where either no transcript of the text is provided or, in the worst case, the presence of such a dipinto is not even mentioned. With the issue of lettering at its core, this Chapter aims to show how essential a detailed scan of the spelling of the inscriptions is, for it opens the path to a more exhaustive and thus better grounded study of the phenomenon. The Chapter is organized in three main sections: the rather dry and apparently pedantic classification of the typologies of letter combinations proposed at the beginning is then discussed in light of the important question of literacy. This connection leads to the conclusive statement that the emerged heterogeneity of lettering attests to the variety of reading and writing skills among the authors of nonsense inscriptions. This initial summary may instill the impression that the content of the Chapter is anything but original, since it would appear merely to exhume the old argument that nonsense inscriptions are ultimately the product of illiterate painters. 1  Pieter Heesen has recently attempted to sort the nonsense inscriptions preserved in the corpus of Athenian Little-Master cups (Heesen 2016). Of course he adopts classification criteria that are specific to that class of ware and cannot be extended to the entire collection of vases carrying nonsense dipinti. More precisely, he arranges this sub-corpus into three groups, depending on the degree of similarity between the letterings of the nonsense inscriptions that appear on each side of the same kylix (this class of vases is usually inscribed on both sides of the outer band).

© koninklijke brill nv, leiden, 2018 | doi:10.1163/9789004371200_004

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However, given that the literacy rate among painters of nonsense inscriptions is an unavoidable issue to deal with and is indeed the main topic of the Chapter, the greater thoroughness with which the question is addressed here ensures the achievement of some new insights and the revision of rather vague positions of the past. The primary goal of the Chapter is to illustrate (1) how the corpus of nonsense inscriptions is anything but uniform—as it tends to be regarded—and (2) how this diversity fosters a greater understanding of the link between nonsense inscriptions and literacy, or, better, of the impact of varying degrees of literacy on nonsense inscriptions. In short, the Chapter maintains that the different kinds of lettering observable among nonsense inscriptions are to be traced back to commensurate skills in writing and reading. This allows the arrangement of the epigraphic material on a scale of increasing competence, ranging from illiteracy to progressive levels of semiliteracy, up to full literacy. This original classification revises and integrates at the same time the generic association between nonsense inscriptions and illiteracy, by providing a more articulate picture. 1.2 From Bottom to Top In the process of collecting all published finds with nonsense inscriptions into a systematic database, the evidence was catalogued in the first instance according to the ‘standard’ parameters listed in Chapter 1: vessel shape, painting technique, dating, depicted subject (if existing) and placement of the inscription on the surface. The relevance of a classification based on the lettering emerged only in a later moment, when, while staring at the many transcripts of the dipinti, their remarkable variety leapt out. However, before illustrating all this in detail, a methodological premise is required. The greatest hurdle of an individual work on such a vast corpus is undoubtedly the impossibility of inspecting each find and to have to rely on pictures and in few cases only on transcripts made by other scholars. In addition, the resolution of the photographs is sometimes inadequate, so that it does not permit a reliable reading. In other cases the transcripts of the inscriptions look inaccurate or at least disputable because of the unsure reading of some signs. Lastly, the state of preservation of the whole find, but above all of the painted inscriptions is crucial. The combination of the miniaturized size of the graphemes along with the poor preservation of the hue reduces their decipherability. This is especially the case for inscriptions on red-figure vases, for they are often painted with a dark red, almost brown colour over the black layer of glaze, which at times makes them hardly distinguishable from the background. However, despite so many complications and exclusions, a sufficient percentage of nonsense inscriptions have been deciphered with a good degree

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of accuracy, so that they still supply a highly representative sample of the whole corpus with regard to the respective ratios among the different types of lettering. 1.2.1 Scattered Letters Before venturing on proper inscriptions, i.e. linear sequences of consecutive letters,2 this survey starts with the category of scattered letters, consisting in isolated alphabetic signs strewn on the surface of a vase with no apparent design. Simply filling the gaps between the figures of the pictorial decoration, they cannot be grouped into any ‘word’ or ‘phrase’. It is sufficient to supply a single example of this category, namely a lekythos painted in black-figure style on white ground of the second half of the 6th century BC. It was discovered in Eretria, on the island of Euboea, and it is now preserved in Athens (National Archaeological Museum 12821 = BA 370005 = AVI 0896; Fig. 1).3 The body of the flask is painted with a dramatic scene of pursuit: a naked youth dressed only with a himation on his shoulders is looking backwards with a frightened gaze, while fleeing from two giant snakes. The latter have their jaws open and are about to bite the boy at his right arm. The maze formed by the snakes’ twisting tails is further enhanced by long ivy branches that meander in the background. Between the many loops and around the male figure, several single letters are prominent due to their size and the thickness of the strokes. More precisely, two omicrons and two three-stroke sigmas fleck the empty space at the youth’s right, while on the back of the scene two more omicrons, one sigma and three nus can be spotted. The isolation and varying orientation of the letters make any attempt to detect a sequence or at least its beginning or end among the signs pointless.4 No doubt arises that symbols used in this way were meant to complement the pictorial decoration. But this aspect has already been treated in the previous Chapter and does not need to be repeated. The focus here is on the choice of letters and the quality of the handwriting, regardless of the aim with which these were painted on the vessels. In other words, the skills 2  On linearity and directionality as the universal features of all human written languages see Krämer 2012: 77–98. Indeed the alignment of the graphemes along a guiding line (be it horizontal, vertical, oblique, curve or winding) is the way in which the temporal progression of the verbal communication is converted in the spatial simultaneity of the written surface. 3  Haspels 1936: 62, 76, 198 no. 6; ABV 505. 4  For this reason I disagree with Haspels’ opinion that this find represents a specimen of nonsense inscription that gives the illusion of real words (Haspels 1936: 150 no. 2). In my view, this class of ‘scattered letters’ is precisely the only one that does not aim to evoke the written language, but treats the alphabetic symbols as mere graphic entities or, at the most, as bare phonemes.

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figure 1 Black-figure lekythos, Athens, National Archaeological Museum 12821. photographer: vasileios stamatopoulos. © hellenic ministry of culture and sports/ archaeological receipts fund.

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enabling the painters to produce the different categories of nonsense inscriptions rather than the purpose of the inscriptions themselves dominate the approach adopted in this Chapter. 1.2.2 Random Lettering One of the most frequent types of nonsense inscriptions, attested on several hundreds of ceramic finds, can be best defined as random. As the label suggests, it consists of apparently chaotic sequences of letters, which are also almost impossible to pronounce in one breath. Its difference from the class of scattered letters illustrated above lies in the tidy arrangement of the symbols in linear succession, so as to visually evoke true words or phrases. Just as in all the following categories, the length (i.e., number of consecutive letters) and position of such inscriptions on the surface of the vessel do not follow any distinctive pattern. In the case of the random unutterable combinations, the rows of letters are mainly composed of consonants and very few vowels, which is also the main reason for the difficulty in pronouncing them. They may even include non-alphabetic signs, among which two parallel pipes (||), arrowheads (),5 or simple dots are the most recurring shapes. The first exemplary piece illustrates the mixture of real alphabetic symbols and pseudo-letters: it is an Athenian black-figure neck amphora of the second half of the 6th century BC (probably produced in the decade between 530–520 BC), belonging to the collection of the Museum of the University of Würzburg (Würzburg, Martin von Wagner Museum 199 = BA 320308 = AVI 8061; Fig. 2).6 It is painted on both sides of the body with figurative scenes framed by vegetal motifs: one is the mythical struggle for the deer between Apollon and Herakles in the presence of Artemis and Athena; the other is more difficult to contextualize, since it portrays Athena shoulder to shoulder with a hoplite warrior at the centre.7 The two stand in front of Hermes, while behind them another anonymous female figure seems to be holding a raised arm. Only this scene is enriched with inscriptions, which are all nonsense. The handwriting is pretty coarse and alternates recognizable letters with blots and amorphous strokes. The inscriptions run uprightly in the gaps between the figures and the letters are placed at rather wide intervals. Proceeding from left to right, this is what can be transcribed: 5  It is however not always clear whether these allegedly non-alphabetic signs might in fact be attempts to write true letters like H and N or K and Ϟ, respectively. 6  Langlotz 1932: 34–35; ABV 287.5; LIMC V Hermes 766. 7  His identification with Ares, contemplated among others by Immerwahr, is highly speculative: the ‘anonymity’ of the female figure at the far right rather suggests a genre-scene, perhaps a farewell for the warrior’s departure?

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ΠΟIΛN—at Hermes’ back Π[…]ỊIΠ—in front of Hermes’ legs ΠOLIỊ8—between the central pair and the female bystander ΠΛTϞΠ̣ 9—at the woman’s back (the last two letters are recognizable if a change of orientation is presupposed) The pi is composed of two strokes, a vertical one on the left and an arch departing from the middle of the perpendicular stroke. It is also noteworthy that three out of four inscriptions begin with this sign. The Γ is of ‘lambda type’, the standard one in Attica,10 with both strokes traced slantwise. All in all, both the real and the pseudo-letters betray a very inexperienced hand and a probable effort to recall the shapes of some alphabetic signs by memory and to reproduce them, in absence of available models to copy from. In other cases, muddled handwriting is combined with chaotic lettering but without the scribbles noted on the Würzburg amphora, as for instance on another black-figure neck amphora unearthed in Tarquinia and currently kept in the local archaeological museum (510–500 BC; Tarquinia, Museo Archeologico Nazionale 679 = BA 38 = AVI 7651; Fig. 3).11 Here too the body is beautifully painted with figures. On one side Herakles is depicted in the centre playing a heptachord kithara in front of a burning altar. On the other side of the altar, Athena is holding a big round shield. Two further characters appear behind Herakles, at the left of the scene: a woman with a strip of her himation wrapped around the raised left hand (just as on the Würzburg amphora), and Iolaos holding Herakles’ club. The hero and Athena are the protagonists of the scene on the other side of the amphora: this time they are depicted riding a quadriga. A warrior equipped with knemides, sword, spear, round shield and a Corinthian helm crowned by an impressive lophos seems to retreat in front of the divine chariot. The vessel, whose external surface is already packed with figures, carries also three nonsense inscriptions distributed between the two sides. 8  Here I deviate from Immerwahr’s reading ΠΟLIL, which seems a little too confident, especially if one bears in mind that Immerwahr was essentially relying on Langlotz’s transcript. The last sign, which merges with the ground line of the scene, is very hard to identify and looks like an elongated blot. 9  Again a very difficult sequence to decipher, as demonstrated by the strikingly different readings by Langlotz (PNTΠ̣ Γ) and Immerwahr (ḶϞTϞ[.]Ϟ). While I cannot explain how Langlotz’s transcript came about, I suppose that Immerwahr intended the letters to be aligned along the vertical axis, as, e.g., on early Attic horoi. I could recognize only five letters (in accordance with Langlotz), not six. 10  So much that it is also known as Attic gamma. See Threatte 1980: 19, Jeffery 1990: 66 and Immerwahr 1990: xxii; 135. 11  CVA Italy 25 Tarquinia, Museo Nazionale Etrusco I: Pl. 12.2–3; Nati 2012: 105–108 (no. 34).

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Black-figure neck amphora, Würzburg, Martin von Wagner Museum 199. © Martin von Wagner Museum der Universität Würzburg, Photo: P. Neckermann.

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Two run horizontally across the top of the scenes, while the third weaves its way through the free space between the female bystander and Herakles mousikos. Here are the transcripts, starting from the two from the scene at the altar: NKΠKN^Y^K—above the scene of Herakles playing the lyra at the altar OΠKΠI^NY12—between the legs of the anonymous woman and Herakles NKΠHOΛKΠH—above the heads of the four horses All three inscriptions are right-handed with the exception of the first nu of the last inscription, which is reversed. There are clear similarities with the German amphora in the general arrangement and the wide spacing between the letters, but at the same time some greater accuracy and skill in the handwriting is noticeable. The scarcity of vowels prevents us from voicing these inscriptions smoothly (there are only three, if the third, thick, stroke from last in the vertical inscription from the altar scene is really an iota). It is also impossible to isolate any pattern in the arrangement of the signs, although there is a preference for certain graphemes, above all nu, kappa and pi, which recur several times. From a graphic point of view, these letters have in common sharp-cornered shapes made by straight intersecting strokes. The greater ease with which this group of letters is drawn in comparison to more sinuous shapes should be considered as a possible reason for their preponderance on this vessel and, more generally, within the repertoire of random lettering. Indeed it is likely that an artist, who was not particularly familiar with the alphabet, and whose hand was not well trained in writing, may have opted for simpler, straight-lined forms. However, this does not imply that the possibility of a fancy for such shapes and thus of a conscious aesthetic choice of the letters, as has been suggested by some scholars, should be ruled out.13

12  In his CAVI transcript, Immerwahr relied on the pictures in the CVA volume, which are of poor quality. The recent publication of the vase by Nati provides a better reading, which is reported here with only one addition in the last inscription, which Nati transliterates NKΠHO[.]KΠH (Nati 2012: 107). I propose to decipher the sixth letter as an Attic gamma, similar to those observed on the Würzburg amphora (see above p. 43 with n. 10). 13  Rebillard 1992: 531. Rebillard’s argument applies well to the one cup commented on in his essay, since it is the work of a literate artist and carries not only nonsense but also several literate Greek words. Nonsense inscriptions written by literate painters constitute a minor group that must be kept clearly distinguished from the major collection discussed here. This is why they are treated separately in the following Chapter. The cup of Archikles and Glaukytes (and Rebillard’s thorough study of it) will be discussed further in that context (see further, pp. 157–165).

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figure 3a Black-figure neck amphora, Tarquinia, Museo Nazionale Etrusco 679. © MIBACT. Museo Nazionale Etrusco di Villa Giulia. Foto Mauro Benedetti.

Περὶ παιδείας or Nonsense Inscriptions and Literacy

figure 3b Black-figure neck amphora, Tarquinia, Museo Nazionale Etrusco 679. © MIBACT. Museo Nazionale Etrusco di Villa Giulia. Foto Mauro Benedetti.

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Similar observations can be made about a New York black-figure neck amphora (New York, Metropolitan Museum 41.162.179 = BA 302169 = AVI 5695; Fig. 4), which is a contemporary of the Tarquinian piece.14 It too displays an elaborate and refined pictorial programme which, on one of the two sides, is combined with some sloppy writing interposed between the figures. Both depictions display Dionysian subjects. Dionysos himself dominates the uninscribed scene: he is holding a kantharos in his left hand and is surrounded by two dancing satyrs and a male goat. The opposite side also presents a triadic scene, with a main character in the centre and two mirroring figures of women at the corners, apparently fleeing from a young man wearing a petasos and carrying a sword and a large bag. Even in the absence of more explicit clues, it is likely that this scene represents Perseus pursuing two maenads. While in the scene in which the god is portrayed the background space is completely filled by the branchings of the vine with its grapes, on the opposite side the ivy motif of the background leaves some space free for writing. Four letters appear on the top between the heads of the figures, the fourth divided from the others by the head of the youth; a slightly arched inscription runs vertically on the far right of the scene. Finally a sequence of three, one and four letters runs more or less along the central axis of the scene, separated by the bent leg and the bag of the youth. The letters tend to be regarded as forming a unique segmented inscription but the retrograde orientation of the last string of four signs rather invites the viewer to consider each sign individually. The transcripts are as follows: YΓΧ^Υ—along the top edge INXΔXΠO15—at the far right of the scene ΚXΔ16—between the stretched left arm and the left thigh of Perseus X—in front of Perseus’ knee IΓXN17—below Perseus’ bag (from bottom to top) 14  ABV 373.174; CVA USA 16 New York, Metropolitan Museum IV: Pl. 38.5–8; LIMC VII Perseus 231. 15  The second grapheme from the top is identified by Immerwahr as a Z-shaped sigma, but it seems more likely that it is a nu that agrees in its orientation with the following letters, having thus rotated its axis in respect to the beginning iota. 16  The third sign is clearly a delta and not a pi as transcribed by Immerwahr. Its triangular form is matches the delta of the previous inscription. 17  Immerwahr overlooks the letter at the bottom and follows a unified reading with the four other signs above in the painting (NXΓ), but a close look at the nu reveals without any doubt that it has not been drawn retrograde, but as regularly starting from the left vertical stroke; consequently, a separate inscription begins with the iota.

Περὶ παιδείας or Nonsense Inscriptions and Literacy

figure 4

Black-figure neck amphora New York, Metropolitan Museum 41.162.179. image under CC0 license.

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Here too symbols formed by two to three intersecting strokes are in the majority. As argued above, this feature could be considered not only in terms of an aesthetic taste for sharper geometrical shapes, but also in terms of the greater ease of drawing several short rectilinear strokes than, for instance, drawing continuous curves. Although an impaired ability in handwriting may seem inconsistent with highly developed painting skills, it is nevertheless conceivable that an artist could be able to draw sinuous lines and complex details in their paintings yet at the same time still have limited confidence with the alphabet. Moreover, given the lack of variety of letters occurring on these vases, it is not unlikely that the painters might have been acquainted with only a portion of the alphabetic series and that they were restricted to selecting from the limited store of signs with which they were familiar. When several nonsense inscriptions are preserved on the same vase, a number of distinct patterns of lettering are often employed. At first glance this heterogeneity might seem to be a discouragement from applying the method adopted in this Chapter, according to which a specific set of writing and reading skills is correlated with each class of lettering. Yet this first impression is mitigated by the fact that when different patterns coexist, these tend to belong to neighbouring categories of the lettering taxonomy, which do not demand significantly different literacy skills. An example can help clarify this point. On a black-figure lekythos of the second quarter of the 6th century BC (Boston, Museum of Fine Arts 08.291 = BA 30085118 = AVI 2744; Fig. 5) we find that not all the inscriptions are unpronounceable, as has been the case with those observed so far. Some are actually utterable because a few more vowels are interspersed within the strings. However, the lettering of all the inscriptions still looks as if it has been randomly assembled, without intending to imitate real words. Let us first consider the overall aspect of the vase. The external surface is divided into three painted bands:19 the upper band depicts a pederastic scene of courting, in which an adult, followed by his servants and a dog, bring several gifts to the beloved boy. The middle frieze is filled by a row of six young horsemen galloping to the right. Finally, the lowest band hosts two animal scenes: a fight between two cocks and a hunting episode in which two dogs chase a hare that is about to fall into the trap. The central frieze is the most densely inscribed but the writing is not exclusive to it: two short inscriptions appear within the erotic scene and a longer one above the fighting cocks on the lower band. The reading of the 18  The online BAD database displays the wrong photo, referring to another vessel, in the file on this piece. 19  Haspels 1936: 27; ABV 92; Vermeule 1969: 10 no. 1; Para 34.

Περὶ παιδείας or Nonsense Inscriptions and Literacy

figure 5

Black-figure lekythos Boston, Museum of Fine Arts 08.291. Photograph © [ July 2018] Museum of Fine Arts, Boston.

51

52

chapter 3

inscriptions is partially compromised by the poor state of preservation of some zones of the paintings. The inscriptions of the upper band are: N[.]ϞKT—vertical, in front of the legs of the servant carrying a wrapped gift (?) XEϞTKT—vertical, behind the courting male adult The inscriptions on the middle band are all diagonal and placed either behind a rider’s back (1) or below a horse’s belly (2), apart from one, the location of which is described next to its transcript. Proceeding from left to right, taking the rider below the big floral motif that marks the beginning of the scene in the upper frieze as our starting point, the readings are:20 NEI—(1) KT^EΠT—(2) EϞKΠ21—(2) KϞΠΙ—(1) ΠK[.]22—between the legs of two horses ATΠ̣ ^ϞOI—(2) ΠϞT—(1) ΠΑΟΠ[.]—(2) NET—(1) NKΠI—(2) ΠϞOE23—(1) KΠEK—(2)

20  My transcripts mostly agree with those of Haspels, while Immerwahr provides very dubious readings, made from the qualitatively problematic photos in Bérard-Bron 1989: 80. 21  The last sign is read as a lambda by Haspels but the high-resolution image provided by the MFA online database clearly shows three perpendicular strokes forming a hook as in a pi. 22  Haspels inexplicably joins this short inscription with the third one (EϞKΠ). However, a unique inscription cannot be constructed here, since the latter does not follow the former but, rather, is parallel to it. 23  Haspels sees an iota after the last epsilon but I could not find any trace of a fifth sign. Vermeule and Immerwahr read as I do.

Περὶ παιδείας or Nonsense Inscriptions and Literacy

53

Lower band: [.]NỌIϞΠΟΙ24—horizontal, above the fighting cocks As claimed above, two sorts of inscriptions can be recognized. For strings such as XEϞTKT, EϞKΠ, KϞΠΙ or ΠϞT it is hard to argue that the writer would have expected the phonation of the inscriptions by a ‘reader’. However, we cannot exclude this in the case of other inscriptions, such as NEI, ΠΑΟΠ[.], NET, ΠϞOE or [.]NỌIϞΠΟΙ, which could have been spoken aloud by the viewer of the flask. Whether the painter had actually considered this possibility is, of course, a matter of pure conjecture. However, since there is no apparent logic to the arrangements in either group of dipinti, they all fall under the class of random lettering. On the basis of the finds presented so far, one may be tempted to posit a link between messy lettering (i.e. jumbled letters) and coarse writing. However, the next examples show instead that jumbled letters could also have been drawn by careful and skilled hands. The first is another neck amphora, belonging to the collection of antiquities at Duke University and dated between 25 and 50 years earlier than similar amphorae discussed above (Durham, North Carolina, Nasher Museum of Art at Duke University DCC1965.8 = BA 310140 = AVI 3398; Fig. 6).25 Its pictorial style makes manifest the on-going process of evolution of Athenian painting before reaching its full “sense of form”.26 Both sides are painted with the same iconographic subject with only minor variations, namely a duel between two helmeted warriors in the presence of onlookers. On one side, the warriors wear tunic and breastplate and one of them carries a Boeotian shield instead of the more common round hoplite shield. At each side the onlookers are a bearded man wrapped up in an embroidered chiton and a woman with himation. The scene on the opposite side is less elaborate, with only the female onlookers attending the duel and the left-hand warrior is naked here.27 The accompanying inscriptions more or less follow the symmetry of the two pictorial representations in 24  The first letter is very difficult to decipher, as the very discordant readings of the previous editors demonstrate (Haspels: chi; Immerwahr: alpha). An almost shapeless blob is all that remains of this sign. 25  ABV 105.3; Para 43; Stanley 1994: 30–33 no. 39. 26  Stanley 1994: 31. 27  It has been suggested that this scene should be identified with the duel between Achilleus and Memnon in the presence of their mothers (Stanley 1994: 31), but the depiction is so

54

chapter 3

Figure 6a Black-figure neck amphora, Durham, North Carolina, Nasher Museum of Art at Duke University DCC1965.8. Image courtesy of the Nasher Museum of Art. Photo by Peter Paul Geoffrion.

number, placement and composition. Each scene is supplied with four inscriptions, of which two are horizontal, running parallel to each other above and below the clashing shields. Starting from the more crowded painting, the texts read as follows:

vague that it could be connected to several other mythical duels (and this is probably the function of many such generic scenes).

Περὶ παιδείας or Nonsense Inscriptions and Literacy

55

Figure 6B Black-figure neck amphora, Durham, North Carolina, Nasher Museum of Art at Duke University DCC1965.8. Image courtesy of the Nasher Museum of Art. Photo by Peter Paul Geoffrion.

KTYEϞK—between the warriors’ faces XϞNΠKϞΛ—between the warriors’ knees KYO[.]NI28—vertical, downward, in front of the left woman’s face KNΓNTL—vertical, downward, in front of the right man’s face 28  There are two breaks at the height of the fourth letter which hinder the decipherment. Immerwahr believed he saw a sigma, but I prefer to leave the gap unsolved. Moreover, Immerwahr identifies the first sign as a kappa but the picture of the vessel shows clearly a kappa.

56

chapter 3

On the opposite side: KϞΓKϞNϞΓ[.]29—between the warriors’ faces KTNϞNTN—between the warriors’ lower legs HKϞΓ—oblique, downward, in front of the left woman’s chest XϞNϞ̣ NIN30—vertical, downward, in front of the left woman’s legs The care with which the inscriptions have been painted, despite their meaninglessness, is already highlighted in the corresponding record of the museum catalogue.31 In contrast to the previous examples, the letters are less spaced out and more accurately arranged on the surface, so as to better resemble real words. Moreover, they do not seem to be there merely to respond to a horror vacui; much of the background space remains empty, something that apparently did not bother the painter. The variety of letters employed is also greater, although a predilection for sharp-cornered shapes—like those of nu, kappa, gamma and chi—is still noticeable. The rich collection of drinking kylikes known as Little-Master cups provides a true thesaurus of the calligraphy of nonsense. These are lip-cups, band-cups and Droop cups produced in Athens in massive quantities and all painted in black-figure style. They date from between the middle and the third quarter of the 6th century BC and the label ‘Little-Master’, first introduced by Beazley, refers to the small-scale—if not miniaturistic—painting technique mastered by these artists.32 Nonsense inscriptions are, in general, very popular on this class of ceramic ware. The band-cups integrate the writing in the narrow pictorial stripe that is left free from the dominating compact black glaze of the external surface, while on the lip cups the figures tend to be separated from 29  Of the last sign, read by Immerwahr as an iota, only a tiny dot is preserved. That is why I do not venture to provide its transcript. 30  Immerwahr considered the second sign non-alphabetic (printed as B: [.]LOXX - XϞ̣ O[.]L - XHOEH - HE XHΘ̣ EN - [.]KALOỊX

ẠḶY[.][.][.] A: Αἰνέας - ẠINIAϞ - Γ̣ ỊΠ[...] B: NI[.]Y[.]YAO

A: YϞLOΓẠX̣ - [Ἰ]όλεος - hερακ{ε}λε̑ς IOIΠ[.]OAΠLN - Ἀθεναία - ϞIΠḶY B: [.]YI[..]Ϟ[..] - ϞYX[.]YXX - [..]XϞAOYϞYO NYẠ[ - [...]IΠI[....] - ΠYAΓΠAA - ]OA[...]Γ

Ẹ - Ϟ - Ϟ̣ - ΓϞ^Ϟ^Ϟ^Ẹ

234 Current location Amsterdam, market (Gallery Archea 2000.04.01) Anavyssos, Chatziantoniou Arezzo, Museo Nazionale Archeologico 1465

Appendix Corpus numbera BAD number

Shape

Chronology

Lip Cup BF

575–525

AVI0155

44938

Lekythos BF

535–500

AVI0165

200068

Volute Krater RF

550–500

Lip Cup BF

550–540

Arezzo, private Ascona, Casa Serodine 1991.5.3 (ex London market, Sotheby’s) Athens, Agora Museum AP423 Athens, Agora Museum P 10328

AVI4794

7046

Lip Cup BF

550–500

AVI1786

305546

Lekythos BF (Frs.)

525–475

AVI0417

305536

Lekythos WG/BF

525–475

Athens, Agora Museum P 12495 Athens, Agora Museum P 13745

AVI0449

31481

Fr. of Oinochoe BF

550–500

AVI0472

30912

Fr. of Cup BF

575–525

Athens, Agora Museum P 13784 Athens, Agora Museum P 14945

AVI0473

9016782

Fr. of Amphora BF

550–500

AVI0489

330577

Lekythos BF (Frs.)

550–500

Athens, Agora Museum P 14949

AVI0489a

Fr. of Cup RF

510–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 235 Painterb

Euphronios

Provenance

Anavyssos (Attica) Arezzo ?

Figurative decoration

Inscription

A=B: two youths crouching, masturbating Youth reclining between dancing satyrs Neck: kōmos of men and youths with pipes, lyre, pointed amphorae, krotala, skyphoi, drinking horn, oinochoe, cup; Body: Amazonomachy with Herakles

A: ]OϞΠṆΓ̣ [

Italy A=B: head of Dionysos

Diosphos Painter Diosphos Painter Phrynos Painter

Gela Painter

OYΓ Neck: Χσένο̄ν - καλ{.}óς - Χορίθο̄ν - Τεῖσις καλóς ̣ - Καΐκειος - Λῦσις - καλ{λ}óς - XIXYOϞ - [.]ΔEϞ - YKON Body: [T]εῖ[σ]ις - TOΓϞIϞ - Τελαμṓν - hερακλε̑ς - Κυδοίμε̄ - Ὑφσεπύλε̄ - Θρασṓ - Τεισιπύλε̄ - Φιλ{λ}ιάδε̄ς καλός Χσένο̄ καλóς ̣ - X[....]ILA A: ΛYϞΛYϞLYϞΛI[ B: ]ΛIΛ̣ YϞḶYϞΓYϞΛYϞ[..] A: KϞϜTKOTOXTKOϞ B: K[.]X̣ TKOTOXTKOϞ

Athens, Agora

Chariot race (2 chariots)

FΓ[..]I

Athens, Agora (Lenormant Street) Athens, Agora Q 18:1 Athens, Agora U 23:2

Warriors, one on a chariot turning

IIYY - [.]IL[.]YY

Chest and head of a warrior FKNϞ[ with helmet and raised spear Lower part of three figures ]ΓEIOṆE[ (among which Hermes’ legs and drapery) IXO[

Athens, Agora P U 25:2 Athens, Agora F Old man holding staff and 19:5 sitting on chair, draped man courting woman between columns, back of another draped figure Athens, Agora Inside: part of a lying figure Museum F 19:5

NNNϞ̣ - Π̣ ENI - NN

]ỊI[

236

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, Agora Museum P 15376

AVI0500

41236

Lekythos BF (Frs.)

575–525

Athens, Agora Museum P 15954

AVI0513

31124

Fr. of Oinochoe BF

550–500

Athens, Agora Museum P 17140

AVI0528

31482

Fr. of Oinochoe BF

550–500

Athens, Agora Museum P 1905

AVI0269

30853

Fr. BF

550–500

Athens, Agora Museum P 1990 Athens, Agora Museum P 23125 Athens, Agora Museum P 24076 Athens, Agora Museum P 24538

AVI0270

30939

Fr. of Band Cup BF

550–500

AVI0612

201167

Cup RF (Frs.)

525–475

28821

Lekythos BF

525–475

AVI0637

340831

Lekythos BF (Frs.)

525–475

Athens, Agora Museum P 24697

AVI0640

30909

Fr. of Cup BF

550–500

Athens, Agora Museum P 24756

AVI0642b

22403

Fr. of Oinochoe RF

425–375

Athens, Agora Museum P 2575

AVI0281

9016548

Cup RF (Frs.)

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 237 Painterb

Provenance Athens, Agora B 21:20

Painter of the Nicosia Olpe

Pithos Painter Gela Painter Gela Painter

Figurative decoration

Shoulder: youths (some draped) hunting hares, dog. Body: draped youths with spears, horsemen, bird Athens, Agora F Sacrifice: part of a woman on 19:4 a platform or pillar, an object lies on a burning altar, part of a statue or a herm Athens, Agora Horseman with two spears, man holding a staff in front of him Athens, Agora J 8Upper frieze: human foot. Lower frieze: heads of a horseman and his horse Athens, Agora Q 13–14:1 (L) Athens, Agora Crouching hoplitodromos H 12:15 Athens, Agora Two bulls confronted, laver and palm tree between them Athens, Agora, Trainer, diskobolos, acontist, Stoa, Gutter Well trainer, diskobolos Q 12:3 Athens, Agora Part of three figures, one P-Q 17 being a draped man holding a staff or a spear Athens, Agora Ivy garland, head of a Q7 woman, head of another woman or of a draped youth, tripod standing on top of ionic column behind them Athens, Agora Inside: draped man sitting on G 6:3 stool with staff and flower, sponge hanging

Inscription Shoulder: OYΓTΓI - Γ[.]NΓ - ]ΓΓ

]XTϞ̣

ITϞ̣ [

Π[..]Π

]OEMϞOXA[ ΓOI^Γ̣ I [.]INỌΛX - INNNΛ^NNN - NLI YNNN - -ṆI^NNΛ - [..]

IXΓIX[ - IXII

]Ḥ - ]MΠΠL

ϞEϞEϞΓ - ]EΓ̣ - Ϟ̣ EMEϞ

238

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, Agora Museum P 42

AVI0225

204524

Cup RF (Frs.)

500–450

Athens, Agora Museum P 4238 Athens, Agora Museum P 4245 Athens, Agora Museum P 4245 a,f-h,j,l Athens, Agora Museum P 4670 Athens, Agora Museum P 4749 Athens, Agora Museum P 5229

AVI0307

30944

Fr. of Lip Cup BF

575–525

AVI0308

9016570

Column Krater RF (Frs.) Column Krater RF (Frs.) Fr. of Lip Cup BF

525–475

Panathenaic Neck Amphora BF (Frs.) Fr. of Loutrophoros BF

525–475

18951

500–450

AVI0316

30945

AVI0320

31259

AVI0347

31561

Athens, Agora Museum P 6069

AVI0359

30949

Fr. of Lip Cup BF

575–525

Athens, Agora Museum P 6554 Athens, Agora Museum P 6571 Athens, Agora Museum P 9275

AVI0362

9016859

Fr. of Phiale Six

525–475

Fr. of Cup BF

510–500

AVI0403

7833

Stand BF (Frs.)

525–475

Athens, Agora Museum P 9483

AVI0408

42093

Fr. of Krater RF

475–425

AVI0363

575–525

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 239 Painterb

Provenance

Figurative decoration

Painter of Athens P 42

Athens, Agora

Inside: Γ̣ ΓϞ. B: Γ Inside: warrior with spear and phiale at altar, shield behind him. A: two warriors departing and a woman holding a shield. B: old man sitting with a phiale, woman with oinochoe, man with sceptre and phiale, woman (?) with lyra AΠLKΔ[

Rycroft Painter

Athens, Agora E 14:11 Athens, Agora E 14:11 Athens, Agora E 14:11 Athens, Agora E-F 12–14 Athens, Agora E-E 12–14 Athens, Agora N 10:1 Athens, Agora I 9:1

Inscription

Herakles and centaurs, goat’s ]N[ - ]O[...]OϞ[ head, lion skin Satyr, figure with thyrsos, ]NI[...]Δ - ]HF[ goat ]LKΓELXHZϞKKIKL[ Woman, tongue pattern, tree, chariot three draped figures, one holding a fillet, one with a lotus bud (?) Inside: arming warrior, woman holding a spear and putting a helmet on the man’s head Swimming figure, an object at left Woman’s head

Athens, Agora E-F 12:14 Athens, Agora E-F 12:14 Athens, Agora M Artemis mounting a chariot, 17:4 palm tree, Apollon facing the horses, palm tree, deer Athens, Agora, Palmettes Hephaisteion

OLT[.][ - O[ Γ̣ XO[ - ỴXO[

EOXX[ - EX[

ΓΓ vel LL XTKN OIE - OPEIO - OIFEOΓ

ỴIṬΓIP̣ - ZHẸTYΓPP[

240

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, Ceramicus Museum 1629

AVI1750

9017774

Plaque BF (Frs.)

575–525

Athens, Ceramicus Museum 995 (= 6825, = 3026)

AVI1737

9017238

Lekythos RF

500–450

Athens, K. Politis

AVI1895

Hydria BF

550–525

Lip Cup BF

550–540

Athens, Kanellopoulos Museum 2496 Athens, M. Vlastos

AVI1901

300852

Panathenaic Amphora BF

600–550

Athens, M. Vlastos

AVI1903

390305

Lekythos WG/BF

525–475

Athens, M. Vlastos

AVI1909

209100

Alabastron RF

475–425

Athens, M. Vlastos 55

AVI1902

2563

Pyxis BF

525–475

9691

Plate BF (Frs.)

500–450

9482

Fr. of Plate BF

525–475

Athens, National Archaeological Museum Athens, National Archaeological Museum

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 241 Painterb

Provenance

Figurative decoration

Inscription

Sakonides

Athens, Ceramicus

]EOE[ - ]PAP̣ ϞONOΠ[ - KO[

Aischines Painter

Athens, Ceramicus, Haghia Triada

Lower part o standing woman, deer, parts of three standing figures Woman with wreath and woman with mirror, a chest in the middle Shoulder: two sphinxes facing between lions. Body: Ariadne and Dionysos between two satyrs A=B: Odysseus hanging under ram Shoulder: two lions attacking a bull. Body: five horsemen and a youth running Athena fighting against a giant, another giant fleeing Draped youth leaning on staff, woman holding distaff, kalathos, heron, column Lid: Woman holding a baby in front of a seated man with staff. Around them several seated and standing women holding various objects (mirror, staff, flower...). Body: procession of kanephoroi, departure of a man on a chariot Dancing woman

Lydos

Painter of Boston 08.291 Sappho Painter Karlsruhe Painter

Athens

Athens, Acropolis

Lower part of running woman with wreath

KΓOK

ϞYXY

A=B: ΠYKALYANKALYAKYϞ XEYϞTE[..] - TOE[.]EϞL[? - TPE[...]NYϞ - TEΔFϞLϞ - EOLYOELϞ - TEOEΠ̣ ENEY ΠAϞTOEϞ - [...]EYϞY - [.]Ϟ HΠϞN - KLϞTΠ ]ẸΛϞỴ

PO - ?]EP[.] - [...]Ϟ̣ LE[.] - OE[.]

]ΠΓ - Y[ - ]OI[ ]ϞOΓ[

242

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum (ex Athens Archaeological Society 1281) Athens, National Archaeological Museum 1067

AVI0678

9036484

Lekythos WG/BF

500–475

AVI0736

46897

Lekythos WG/BF

525–475

Athens, National Archaeological Museum 1133

AVI0744

351593

Lekythos WG/BF

525–475

Athens, National Archaeological Museum 1198 Athens, National Archaeological Museum 12272 Athens, National Archaeological Museum 12533 Athens, National Archaeological Museum 1263

AVI0751

208716

Lekythos RF

475–425

AVI0871

305511

Lekythos WG/BF

525–475

AVI0877

390357

Lekythos WG/BF

525–475

AVI0765

220591

Oinochoe RF

450–400

Athens, National Archaeological Museum 12821 (Fig. 1) Athens, National Archaeological Museum 12952 Athens, National Archaeological Museum 1306

AVI0896

370005

Lekythos BF

550–500

AVI0899

390089

Lekythos BF

525–475

AVI0775

205859

Lekythos RF

500–450

Athens, National Archaeological Museum 1310

AVI0776

205857

Lekythos RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 243 Painterb

Provenance

Athena Painter

Athena Painter

Figurative decoration

Inscription

Two facing satyrs, the one on the left holds a steaming cup, the one on the right a pointed amphora Kōmos: man playing pipes and youth holding staff followed by a dog Kirke holding stick and skyphos, Odysseus seated on rock, companion with boar head holding spears, stool Youth with spears, chlamys and petasos (Kephalos?) Herakles against two Amazons, one falling, one fleeing Draped pipes player, acontist, runner, diskobolos Two women, one seated and holding lyra (Helene?), Eros, youth wearing chlamys and petasos and holding spears (Paris?) Two snakes pursue a youth, ivy

ΛAY

XỴỴ - [.]NNX - ỴNFN^N - Y[?

Ϟ̣ ΓOEY - ϞKOϞEỊOP̣ EXO

FLFLN[.]^Y^F - LFFNNNỊ - N - F - FL NFN

Aischines Painter Manner of Sappho Painter Diosphos Painter Manner of Meidias Painters

Attica

Cactus Painter

Eretria

Gela Painter

Aegina

Athletes wrestling, draped pipes player, cloths hanging

Syracuse Painter

Eretria

Syracuse Painter

Eretria

Young horseman with [...]ΛAΓΓI[.] chlamys, petasos and spears (Troilos?), two horses Bearded draped man with ?]FΠYI - ?]OΛO staff in front of a draped youth, hanging bag between them

Attica

KOYKI ϞϞ̣ E^OKΠϘAṆOΓL[.]

XXOLϞN[.]X - XOϞNOΓ[.] - XIEATX ΛΛΚ

O-Ϟ-O-Ϟ-O-K-Ϟ-K-K-O

244

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum 1336 Athens, National Archaeological Museum 1510 Athens, National Archaeological Museum 1725

AVI0777

9016794

Pelike RF

500–450

AVI0790

209011

Lekythos RF

475–425

AVI0816

208925

Alabastron WG/BF

475–425

Athens, National Archaeological Museum 17277

AVI0917

209250

Lekythos WG/RF

500–450

Athens, National Archaeological Museum 17281

AVI0918

208103

Lekythos RF

475–425

Athens, National Archaeological Museum 17294

AVI0921

209255

Lekythos WG/RF

500–450

Athens, National Archaeological Museum 18566 Athens, National Archaeological Museum 18567 Athens, National Archaeological Museum 21023 Athens, National Archaeological Museum 2184

AVI0932

330754

Lekythos BF

525–475

AVI0933

330734

Lekythos WG/BF

525–475

AVI0941

2247

Lip Cup BF

575–525

AVI0836

303429

Epinetron BF

525–475

Athens, National Archaeological Museum 2262 Athens, National Archaeological Museum 2506

AVI0841

46914

Lekythos Six

525–475

AVI0855

9016838

Lekythos Six

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 245 Painterb

Karlsruhe Painter Two-Row Painter

Provenance

Figurative decoration

Tanagra

A: Zeus with thunderbolt. B: ΛϞEϞ B: Nike or Iris with kerykeion Eos ΠϞ̣ OTY

Athens, Ceramicus

A: winged woman (Nike?) with fillet. B: woman with staff and phiale, hanging wrath Two women, one with alabastron, one with chest, tomb with fillets, hanging sash Boy jumping with halteres, diskos with a painted owl, sponge, strigil and aryballos hanging Thanatos and Hypnos, both winged, lay a corpse before a stele that stands on a twostepped base Centaur holding a tree, warrior

Inscription Painter

Bowdoin Painter

Manner of the Painter of London 1905 Athena Painter

Athena Painter

Inscription

A: [.]ỌOΓO - ΓΓΠOY

KALϞ̣ ^YAX̣ ^Ẹ

Ϟ̣ [.]OϞXΔ

]A[..]K[.]^K[? - καλός - ΛKΓY - ΠOỴỴ - καλός

ΔOϞ[?

Pyrrhic of two satyrs, one Ϟ̣ ϞỌϞ playing pipes, the other dancing with pelta and spear A=B: panther ΓLAΓṬAFH - ΓLALAX̣ ΓḤ

Sappho Painter

Boeotia

A=B: three Amazons arming, Ϟ̣ II - ΓO[.] - XO[.]ΠI - XOTỌ[.] shields and cloth hanging XO[?]E - XOI[.] - XIϞI - XOTI - [.][.][ Β: X̣ O[.]L^[.] - X̣ OP[..]

Sappho Painter

Locris, Atalanti Theseus and the Minotaur Seated Dionysos with drinking horn

ḲOΠ̣ - καλóς [.]ϞϞ̣ OTP̣ PTϞ

246

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum 463

AVI0712

46917

Lekythos BF

550–500

Athens, National Archaeological Museum 483 Athens, National Archaeological Museum 500

AVI0716

301030

Plate BF

575–525

AVI0719

301468

Pyxis BF

550–500

Athens, National Archaeological Museum 508 Athens, National Archaeological Museum 514 (Fig. 37)

AVI0721

8266

Plate BF

550–500

AVI0943

44047

Lekythos BF

525–475

Athens, National Archaeological Museum 516

AVI0722

305515

Lekythos BF

525–475

Athens, National Archaeological Museum 535 Athens, National Archaeological Museum 595

AVI0723

300701

Siana Cup BF

575–525

AVI0725

9654

Lekythos WG/BF

525–475

Athens, National Archaeological Museum 606 Athens, National Archaeological Museum A 16465

AVI0726

9017743

Lekythos BF

525–475

Wooden Pinax

550–500

COP APP I

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 247 Painterb

Provenance

Figurative decoration

Attica

Two goddesses, one OẠI[.]I - YYAXXI mounting a chariot, the other playing kithara, Hermes Nessos holding Deianeira YYYTΓΓΓ - LOXXYTTTA^I

Diosphos Painter Snake and Spots Group Princeton Group, Manner of the Painter of Leningrad 1469

Workshop of Toronto 283

Manner of Sappho and Diosphos Painter Griffin-Bird Painter Sappho Painter

Inscription

OYṆ[.] - ỊΓṆY[.]XO - TΓYXFO - [.]OΓA[.] Lid: three women under one cloth, plant, cock, horseman, sphinx, draped man. Body: three and two women under a cloth, some of them holding branches, draped men with flowers and branches Eleusis Warrior with dog between ϞΓL two draped men with spears Athens, Poseidon riding TOYLΓOΓ^Γ Acharnian Gate, hippocampus Hodos Eupolidos 6 Eretria Herakles with club and bow [.]YLNΔ[.] - LI[.]Y - KLKNY^ΓI - IYYΓI pursuing satyrs Attica

Corinth

Inside: Panther. A=B: Cocks

Locris

A charioteer mounts a winged-horse chariot, a priest and a youth roast meat at an altar Warrior mounting a chariot, KỌF - CTO - O[.]ΓYOF̣ I Athena, seated youth Two groups of women facing ΘAE[ - HA[ - KAX[..]O - Π̣ ΓIY[.] - [.][..] each other (some carrying crowns)

Pitsà

ΠΓΓOΓΓΓOXΠ̣ ΓΠOPΓTPϞΓ YΓAΓIΓ[.]NIΓΓΓΓ[.]Γ[.]Γ[..] XLYOY - [.]YΓFY - KALOỌ

248

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum Acr.

AVI1769a

9036685

Fr. of Vase BF

525–500

Athens, National Archaeological Museum Acr. I,1152 Athens, National Archaeological Museum Acr. I,1244

AVI1041

9016899

Fr. of Loutrophoros BF

550–500

AVI1043

9017194

Cup BF (Frs.)

550–500

Athens, National Archaeological Museum Acr. I,1271

AVI1044

32112

Cup BF (Frs.)

550–500

Athens, National Archaeological Museum Acr. I,1280

AVI1045

4329

Cup BF (Frs.)

525–475

Athens, National Archaeological Museum Acr. I,1372 Athens, National Archaeological Museum Acr. I,1569 Athens, National Archaeological Museum Acr. I,1582 Athens, National Archaeological Museum Acr. I,1753 Athens, National Archaeological Museum Acr. I,1778

AVI1049

9016918

Fr. of Cup BF

550–500

AVI1067

9016925

Fr. of Lip Cup BF

550–500

AVI1070

32422

Fr. of Lip Cup BF

575–525

AVI1094+1096

32396

Cup BF (Frs.)

550–500

AVI1100

9016956

Cup BF (Frs.)

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 249 Painterb

Provenance

Figurative decoration

Inscription

Athens, Upper part of woman playing IOEϞỌP Acropolis, close flute to sanctuary of Aphrodite and Eros Athens, Upper part of a charioteer ?]ON[? Acropolis Four-horse chariot with two charioteers (Zeus and Herakles?), woman (Athena?), helmeted head, shield, hoplite fighting against a chariot Man washing clothes, head of a boy, man merging his hands in a vessel, clothes hanging on lines A: Athena, Theseus in the labirinth, draped figures. B: Theseus and Skiron, Theseus and Prokrustes Four-horse chariot

AEAO[.][ - EON - ΓIE[

Athens, Acropolis

Two swans confronted

ΠϞΠ[.]YΠYΠ[

Athens, Acropolis

Sacrificial procession with two rams, naked youth and kanephoros

XXX - XXXXX - XX[

Athens, Acropolis

Athens, Acropolis

Theseus Painter

Athens, Acropolis

Athens, Acropolis

Athens, Acropolis Athens, Acropolis

ϞO - OϞ - OϞ

ΦTḤN[

OϞ

.]YNXLTYXNϞ[ - ]TLT[

Wings and part of a mane, front part of Pegasus

KXKOϞ

250

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum Acr. I,2124 Athens, National Archaeological Museum Acr. I,2146

AVI1135

9017203

Pyxis BF (Frs.)

550–500

AVI1141

32331

Cup BF (Frs.)

600–550

Athens, National Archaeological Museum Acr. I,2184 Athens, National Archaeological Museum Acr. I,2187 Athens, National Archaeological Museum Acr. I,2211

AVI1147

32323

Cup BF (Frs.)

550–500

AVI1148

310190

Pyxis BF (Frs.)

575–525

AVI1153

3363

Neck Amphora BF (Fr..)

575–525

Athens, National Archaeological Museum Acr. I,2416 Athens, National Archaeological Museum Acr. I,2439 Athens, National Archaeological Museum Acr. I,2533 Athens, National Archaeological Museum Acr. I,2569 Athens, National Archaeological Museum Acr. I,2655

AVI1164

8528

Fr. of Plate BF

550–500

AVI1168

7941

Fr. of Plate BF

500–450

AVI1183

32235

Plaque BF

550–500

AVI1192

32212

Plauqe BF (Frs.)

550–500

AVI1208

32193

Fr. of Pyxis BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 251 Painterb

Provenance

Figurative decoration

Athens, Acropolis

Satyrs and maenads dancing ΓIΓIΓIOIT - ]OIT - ΓIΓI[ - ΓIΠIΓIOIT between ithyphallic mules ]TITIOIT - T

Athens, Acropolis

Achilleus with Boeotian LϞFϞF - KϞE[ - ?]KOI - [..]F[.]Γ shield, Troilos and Polyxene at a fountainhouse, broken amphora Upper frieze: chariots. Lower ]ḶΠΠ̣ [.]ONΠ̣ ΠO[ frieze: running and standing figures Two women under a cloath, a ]KΠYϞ - KAΓYϞ̣ ỴϞ draped man

Athens, Acropolis Lydos

Athens, Acropolis Athens, Acropolis

Sappho Painter ?

Inscription

? ἀν]έθε̄κεν - EOHE^NO[

Athens, Acropolis

Upper frieze: warriors and chariot. Lower frieze: Poseidon, Dionysos with lion, panther, snake, Zeus mounting a chariot, giants (Gigantomachy) Aias carrying Achilleus’ corpse

Athens, Acropolis

Woman dancing with krotala, Y pipes case hanging

Athens, Acropolis

Top: three sirens. Bottom: three women

TOMON

Athens, Acropolis

Athena on a chariot holding ist reins, Herakles, columns

]ΔMO - ]ΔYΩ - LOLOϞ^LOϞ χαῖρε{γ} retr.

Athens, Acropolis

Woman seated on block and OTYOT (τοῦτο?) holding a wreath, part of another figure

Ϟ̣ OỊϞ̣ Π̣Y^IOI[

252

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum Acr. I,674

AVI0986

16583

Krater (?) BF (Frs.)

550–500

Athens, National Archaeological Museum Acr. II,1001 Athens, National Archaeological Museum Acr. II,1016 Athens, National Archaeological Museum Acr. II,1047 Athens, National Archaeological Museum Acr. II,1188 Athens, National Archaeological Museum Acr. II,1209 Athens, National Archaeological Museum Acr. II,1223 Athens, National Archaeological Museum Acr. II,1238

AVI1458

19254

Fr. of Vase RF

500–475

AVI1461

19234

Fr. of Vase RF

475–425

AVI1468

15316

Plaque RF (Frs.)

525–475

AVI1478

9036593

Fr. of Phiale Six

525–475

AVI1480

9016983

Fr. of Phiale Six

550–500

AVI1483

9036466

Phiale Six (Frs.)

550–500

AVI1485

9036675

Fr. of Phiale Six

525–475

Athens, National Archaeological Museum Acr. II,14 Athens, National Archaeological Museum Acr. II,146 Athens, National Archaeological Museum Acr. II,18

AVI1221

46598

Fr. of Plate RF

525–475

AVI1264

9017231

Fr. of Cup RF

525–475

AVI1224

201154

Fr. of Plate RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 253 Painterb

Provenance

Figurative decoration

Athens, Acropolis

Sacrifice (?): three draped ]OϞ̣ - OLTϞY[ youths (one also wreathed), a bull, bearded man carrying an object Upper part of a woman IϞ[.]ϞKΔ[ - P - [.]Π̣ I[ holding a fillet in front of a youth Goddess with polos ]EI[.]Π̣ T

Athens, Acropolis Athens, Acropolis Athens, Acropolis Athens, Acropolis

Artemis with bow, Apollon ]KỊΘI playing lyra, Aphrodite (?), Hermes Lyre, dog, two hedgehogs, ivy ]ϞO - ?]ϘϞTN

Athens, Acropolis

Siren with lyra

OϞTϞ

Athens, Acropolis

female head, cock, swan

OϞ

Athens, Acropolis

Two seated women facing OP̣ T[ each other and taking wool from a basket, another seated woman Warrior and archer ]EO^E^Γ^LΓ^Y^E^Y

Athens, Acropolis

Painter of the Acropolis Plates

Inscription

Athens, Acropolis

Discus

EITOϞ - ἐποε̄[σεν

Athens, Acropolis

Lower part of a draped man, Ϟ̣ AΛOϞΛI cup on the floor in front of him

254

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Athens, National Archaeological Museum Acr. II,20 Athens, National Archaeological Museum Acr. II,22 Athens, National Archaeological Museum Acr. II,336

AVI1225

204130

Plate RF (Frs.)

500–450

AVI1226

201152

Fr. of Plate RF

525–475

AVI1342

201753

Cup RF (Frs.)

500–450

Athens, National Archaeological Museum Acr. II,4 Athens, National Archaeological Museum Acr. II,546 Athens, National Archaeological Museum Acr. II,75

AVI1216

201153

Fr. of Plate RF

525–475

AVI1392

204096

Fr. of Kyathos RF

500–450

AVI1241

200650

Cup RF (Frs.)

525–475

Athens, National Archaeological Museum Acr. II,758 Athens, National Archaeological Museum Acr. II,775 Athens, National Archaeological Museum Acr. II,787 Athens, National Archaeological Museum Acr. II,806

AVI1428

202958

Volute Krater RF (Frs.) 500–450

AVI1433

202834

Fr. of Stamnos RF

500–450

AVI1435

202190

Column Krater RF (Frs.)

500–450

AVI1436

202359

Column Krater RF (Frs.)

500–450

Athens, National Archaeological Museum Acr. II,866

AVI1445

200889

Alabastron RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 255 Painterb

Provenance

Figurative decoration

Inscription

Brygos Painter

Athens, Acropolis

Komast leaning on a staff, a kithara in front of him

]Ϟ̣ EE[..]ENϞ - EK[

Painter of the Acropolis Plates Kleophrades Painter

Athens, Acropolis

Athlete, behind him a draped ]Π[.]ΠΓYΓ[ pipes player

Athens, Acropolis

Painter of the Acropolis Plates Brygos Painter

Athens, Acropolis

Inside: duel between warriors YTΓP at an altar (Eteokles and Polyneikes?). A=B: warriors arming, chariot (Seven against Thebes?) Athlete jumping with YỊLϞ̣ - ]OϞΓLYLI halteres, pick

Manner of Epiktetos

Athens, Acropolis

Syriskos Painter

Athens, Acropolis

Painter of Goluchow 37

Athens, Acropolis

Painter of Acropolis 787

Athens, Acropolis

Myson

Athens, Acropolis

Group of the Paidikos Alabastra

Athens, Acropolis

Athens, Acropolis

Seated youth sings and plays lyra between columns, flute case hanging Inside: owl between olive branch and tendril. A: Aias and Achilleus playing dice. B: warriors departing Men leaning on staffs, youths, one with strigil, dog, chair Two maenads facing, one with thyrsos, one with wineskin Maenad mounting on a chariot, satyrs, horses, a warrior A: Athena seated holding a phiale, draped youth with sheaf of corn, altar. B: Athena and a draped youth Diskobolos, draped man playing pipes

ỌYΛN[.]NΠ

Β: ἀν]έθ[ε̄κ]εν - YKX[.]PI - EXOT[.]H

]X̣ [ - ]ΓOIϞ[ - ]Ϟ[

[.]O[...]K[..]O[.]

OEϞ - OKHT[ - OK[.][ - ]ONK

Neck: Μύσο̄ν ἔγραφσεν κἀποί|ε̄σεν A: OΠΠ[

ΓYO[...]ΓY - ELO

256

Appendix

Current location

Corpus numbera BAD number

Shape

Athens, National Archaeological Museum Acr. II,926 Athens, National Archaeological Museum Acr. II,965 Athens, National Archaeological Museum AP 40

AVI1451

19237

Fr. of Vase RF

AVI1453

202902

Fr. of Vase RF

500–450

AVI1773

9017068

Fr. of Vase BF

550–525

Athens, National Archaeological Museum CC 1515 Athens, Triti Ephoria ?

AVI0791

9016830

Lekythos RF

Atlanta (GA), Emory University, Michael C. Carlos Museum 2002.12.20 Atlanta (GA), Emory University, Michael C. Carlos Museum 2005.32.7 Atlanta (GA), Emory University, Michael C. Carlos Museum 2000.1.2

Austin, Jack S. Blanton Museum of Art (University of Texas) 1980.63 Baltimore, Charles Brickbauer Baltimore, The Walters Art Museum 48.257 Baltimore, The Walters Art Museum 48.41 (Fig. 18)

AVI0182a

Chronology

Lekythos BF

500–490

Fr. of Band Cup BF

540–530

Fr. of Lip Cup BF

575–525

LMC100

16565

Band Cup BF

575–525

AVI1918

7718

Lekythos RF

500–450

AVI4793 AVI1947

7337 207963

Lip Cup BF Lekythos RF

550–500 475–425

AVI1937

7481

Band Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 257 Painterb

Syleus Painter

Diosphos Painter ?

Phrynos Painter

Oionokles Painter

Bowdoin Painter PH048

Provenance

Figurative decoration

Inscription

Athens, Acropolis

Symposium: man reclining on a couch, leg of another man Man and youth chopping meat

IΠΠỌL

Athens, north slope of Acropolis Athens

Cloak, tail of a horse

?]AΓΛΓ[?

Maenad

AYAYϞ

Athens, Royal Garden

Eos holding the dead Memnon, warrior and a further figure Naked youth with chlamys and club

OOΔΔO - AAXΓX

Athens, Acropolis

YIAL

OL[.]^AϞ̣

Male head with helm

]OϞOXO[

A: Poseidon, Herakles vs. Triton, three fleeing Nereids on each side. B: Cheiron, altar with birds, Peleus holding Thetis, three fleeing Nereids on each side Nike flying with kithara and phiale

A: ϞILIFY[.] - IΓ^LI - KHFX - KXFΠΛ - Y[.] KΠFKΛOKFI - IΠLO[..]Π̣ YẸI - IIFIFΠFΔLI. B: ΠΠ[.]^FX[.] - [.]ṆFYI - NYI[..] - F[.]ϞΠϞYL ϞXI - FHFHF[.] - FO[..]FΛXXF - IΔO[.]X[.]XXI

Inside: cock, lotus buds Nike holdign phiale and flying to altar A=B: (Calidonian?) boar hunt, horsemen attacking boar, men running

A: [.]O[.]ΔϞXΔ̣ [...]ỌṆ. B: ṬΔIϞ[.]ỌOIΓ̣ ϞỌ[.]Ϟ[.] - ḤḤḤỌ - [.]Ϟ̣ Ϟ̣IϞ - IYϞLIϞ

LI[?

A: ΓϞEϞY - EϞ^YL - EIF - XEϞΠ̣ L - PYPPΦ XEϞFϞKF - OEϞYAOTOE - EϞYPIϞAϞ ΠAϞEI - XE^IΠY - XENI - EϞLϞ̣ Y. B: ΘELOϞ ΠAϞYKOF - ΘEOKOAϞ - XEϞYϞYA

258

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Baltimore, The Walters Art Museum 48.56

AVI1938

207782

Neck Amphora RF

475–425

Basel, Antikenmuseum und Sammlung Ludwig BS 1906.294

AVI2011

302861

Amphora BF

550–500

Basel, Antikenmuseum und Sammlung Ludwig BS 1921.350 Basel, Antikenmuseum und Sammlung Ludwig BS 424

AVI2013

7696

Lip Cup BF

550–500

AVI1978

252

Amphora BF

575–525

Basel, Antikenmuseum und Sammlung Ludwig BS 437

AVI1983

200195

Hydria RF

525–475

Basel, Antikenmuseum und Sammlung Ludwig BS 438

AVI1984

203673

Cup RF

500–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 259 Painterb

Provenance

Ethiop Painter

Acheloos Painter

Capua

Figurative decoration

Inscription

A: youth with spears (Theseus?) pursuing a woman. B: draped youth with staff A: diskobolos, two runners, trainer. B: trainer, two jumpers with halteres (one crouching), draped pipes player, trainer, tree in the middle Two sirens facing

A: NKOϞϞỌ - K

ϞΓI^IP̣ Γ^Y - ΔEKOΔ̣ - HIEIOΓE ΔEΔEΔE - IE[.]Δ^ṆΔY - ϞΔEXOΓ - ỊEIO - [..]EΔEO

XLIXYO[...]N - XṆEEIL[

Manner of Lydos

A=B: three satyrs and two maenads dancing

Pionieer’ Group

Shoulder: Herakles fighting LOKRE - EΓONO[.] against the Nemean lion, a tree behind them Inside: dancing woman with ho παῖς καλός (x 8) - καλε̄́ (x 2) krotala, mirror or tympanon IOAΓLA - ḲṂ[....] hanging. A: draped pipes player, diskobolos, trainer, acontist, diskobolos, jumper holding halteres. B: two horsemen, two archers and a dog hunting a deer, palmtree at right

Bonn Painter

Vulci

NEOΓEONEONϞEϞ - EONEOΓONEϞ - OϞEOY[...]Ϟ̣ - NEONEONYϞ - NẸO[ - NEONEONEΠO - ]OEONEΓϞ[?] ΠEONEONENϞ - NEONO[..]Ϟ [.]EOΠEO[ - HONONEONEONϞ EYNOHONEOϞ - NEOEOΓONEOϞ - ΠEOEONEOϞ - OEONEONEOϞ̣ NEONYONEONEON - ΠEOYKONEYϞ EOΠYϞ

260

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Basel, Antikenmuseum und Sammlung Ludwig BS 460 Basel, Antikenmuseum und Sammlung Ludwig BS 496 (Fig. 12)

AVI1992

7692

Cup BF

550–500

AVI2006

213

Amphora BF

575–525

Basel, Antikenmuseum und Sammlung Ludwig Kä 426

AVI2023

211516

Cup RF

475–425

Basel, Antikenmuseum und Sammlung Ludwig und Sammlung Ludwig BS 415

AVI1977

260

Column Krater RF

500–450

Basel, Antikenmuseum und Sammlung Ludwig Z 364

AVI2035

340559

Amphora BF

550–500

Basel, Antikenmuseum und Sammlung Ludwig Zu 331 Basel, Erlenmeyer

AVI2034

7695

Lip Cup BF

550–500

AVI2081

306530

Neck Amphora BF

600–550

Basel, H. Cahn 843 (Fig. 19)

AVI2070 (= AVI2045?)

3720

Band Cup BF (Frs.)

550–500

Basel, Herbert Cahn 909

AVI2074

Fr. of Lekythos WG/BF 500–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 261 Painterb Group of Rhodes 11941 Phrynos Painter

Manner of Tarquinia Painter Manner of Myson / Siren Painter

Swing Painter

Castellani Painter

Theseus or Athena Painter

Provenance

Figurative decoration

Inscription

A=B: apobates mounting on a chariot with charioteer A: Birth of Athena, seated Zeus, at his left Hephaistos between a goddess and an Eileithyia, at his right an Eileithyia, Hera on the throne and Poseidon. B: Herakles’ apotheosis, Zeus, Hera, Hermes, Athena, Herakles, Poseidon, Iolaos A: flying Eros with taenia and phiale. B: flying Eros with oinochoe and phiale A: chorus of youths dressed in chitoniskoi in front of an altar with sashes and a draped god on top (Dionysos ?). B: an adult and a young satyr holding a cup, volute krater between them A: bees attacking men who collect honey at a tree. B: three warriors running, one falling, a woman (Athena?) in the centre A=B: ram

EINEONENΓ̣ N - EINEI[.]NEI E[..]FO[.]NINEN - EIONEΓ ENENENE - EṆOṆE - OTOENENEI EONENEI - ENENẸṆ - ENEṆEṆI

A: Amazonomachy with Herakles, warriors, one with Boeotian shield. B: gods (return of Hephaistos?) A: Horsemen with spear hunting a boar. B: Horsemen with spear hunting a deer A raised arm, upper part of a running Nereid, fish

ḤEΓ or ḤEΛ

A: ΦE[.]ϞEO - AOOIỌ

B: NOE

NIXNIXNI - NIXNIX A: TẒOYYO - ṬTOT - TỌOT

XAIPIE[? - NALIOϞOϞ - HOΠOϞOϞ - PIϞT[ - ]PITOϞT - OPIϞOϞ - A[ PITOϞTOϞ - PIOϞ[ ]YϞ vel ]OϞ - ?]ϞOL

262

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Basel, Herbert Cahn 912

AVI2074a

Fr. of Oinochoe BF

525–500

Basel, market

AVI2091

1059

Neck Amphora BF

575–525

Basel, market

AVI2095

14

Neck Amphora BF

575–525

Basel, market

AVI2111

9017867

Band Cup BF

550–500

Basel, market Basel, market

AVI2115 AVI2116

9017870 9017214

Lip Cup BF Lip Cup BF

575–525 550–500

Basel, market Basel, market

AVI2117 AVI2118

350490 646

Lip Cup BF Droop Cup BF

550–500 550–500

Basel, market

AVI2126

717

Oinochoe BF

525–475

Basel, market

AVI2128

15

Neck Amphora RF

525–475

Basel, market

AVI2139

9426

Hydria RF

500–450

Basel, market

AVI2149

12301

Alabastron WG/BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 263 Painterb Leagros Group Castellani Painter Botkin Class

PH022

Manner of Pioneer Group

Nikoxenos Painter

Diosphos Painter

Provenance

Figurative decoration

Inscription

Theseus on a chariot raping Antiope Shoulder A: fight scene (warriors). B: five horsemen Shoulder: Herakles against the Nemean lion between men and horsemen. Body: youths and adult males, some draped and with spears, dogs (erotic) A: youth and man, two horsemen facing, youth running A=B: female head A=B: two draped men facing each other Ivy garland A: warrior, chariot, archer. B: warrior, chariot, warrior

NE - NON - EN

Warrior walking, Boeotian shield on the floor A: Dionysos seated with kantharos and wine. B: maenad with thyrsos and snake Shoulder: two symposiasts reclining, one playing kottabos, the other holding an oinochoe, krater with psykter in the middle, decorated with a satyr’s portrait, basket and ladle hanging Gigantomachy: Ares against a giant, Athena against Enkelados

B: LOϞ - ΠI[ Shoulder: EN - KEM - KKM - IKEY Body: EKEYNOI - EKEN

A: ΠOE

A: ATẠ[.]OILIOΠXY ϞLOΠΓΠX YOYXOXΓOY EIO[.]EIEIOΛ̣ [.] - NEXO[.]EI MϞϘTEIOKOIO - EI[.]NEI[..]EΛO ΠIOXΠII - INEIONEΛOOO - NENEI[..]EFΓ [.]F[....] - OI[.]ṆOIΛ[..]Y[..] - [.]OI[..] OI[.]ϞYIO[..] ḲOMOϞA - AΛϞOAϞ̣ ^Ϟ B: ϞOΔX^X^AϞ

YYY - YI - ΛΛΛ - Λ[.]

YXIXIϞ - YXIXIϞ̣ Y

264

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Basel, market Basel, market

AVI2152 AVI2158

307006 204348

Lekythos Six Cup RF (Frs.)

525–475 500–450

Basel, market

AVI2159

711

Cup RF

500–450

Basel, market

AVI2168

12630

Lekythos RF

500–450

Basel, market

AVI2170

12700

Lekythos WG/RF

475–425

Basel, market

AVI2180

209084

Lekythos WG/RF

475–425

361403 9022328

Lekythos WG/BF Amphora BF

525–475 575–525

Basel, market Basel, market (Jean-David Cahn AG)

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 265 Painterb Diosphos Painter Foundry Painter

Boot Painter

Bowdoin Painter

Manner of Tymbos Painter (CL Class) Karlsruhe Painter Sappho Painter

Provenance

Figurative decoration

Inscription

Youth leading white horse Inside: man leaning on staff in front of a youth, tree in the middle, aryballos and strigil hanging. A: boy holding boxing strap; youth leaning on staff, aryballos and strigil hanging, column, lower part of an athlete with a boy putting on shoes, part of youth with strigil, acontist, seated boxer. B: boxer, two wrestlers, trainer, youth with sling, javelins, discus bag Inside: bearded man with staff seated and holding a phiale, draped boy pouring from oinochoe. A: hoplitodromos with sword, woman pouring libation, youth seated with staff. B: three hoplitodromoi with trainer Young trainer, aryballos, sponge and strigil hanging at left Seated woman holding a mirror, kalathos at the right, sakkos at the left Woman spinning, distaff, kalathos on the ground Two chariots racing, dinos A: Hermes or herald with kerykeion between draped men with spears. B: duel between warriors

LYILIL ]LϞY[

ΓY^I^OϞYΓI

OϞ^ϞOE

ΓΓ̣ ^Γ

I[.]Ọ[.]OṆỊỴ - [...] - OO ϞϞỌNϞϞ̣ - ΠϞO^ΠϞϞ̣ Y - ΛϞEϞỌΠϞΠ̣ Ϟ A: EYKϞNFN - KYKH - KYFY - KKYEYF KYKYΠ - NKYKΠẸKYF. B: KYFKΠ KYKY - XYKIKI

266 Current location Basel, market (Jean-David Cahn AG) Basel, market (Jean-David Cahn AG) Basel, market (Jean-David Cahn AG) Basel, market (Münzen und Medaillen AG) Basel, market (Münzen und Medaillen AG)

Appendix Corpus numbera BAD number

Shape

Chronology

Lip Cup BF (frs.)

575–525

AVI8172

6969

Band Cup BF

550–500

AVI3099

2353

Lekythos BF

525–475

AVI2096

9017863

Band Cup BF

550–500

6360

Amphora BF

575–525

Cup RF

525–475

Basel, market (Münzen und Medaillen AG)

Basel, private

AVI2085

351624

Oinochoe WG/BF

525–475

Basel, private

AVI2086

351614

Lekythos WG/BF

525–475

Fr. of Lip Cup BF

575–525

Bayrakli, Excavations KB 31 Berkeley, Phoebe Apperson Hearst Museum of Anthropology 8.3 Berkeley, Phoebe Apperson Hearst Museum of Anthropology 8.358 Berkeley, Phoebe Apperson Hearst Museum of Anthropology 8.4

AVI2198

201136

Cup RF

525–475

AVI2200

9084

Lip Cup BF

550–500

AVI2199

201126

Cup RF

525–475

Berlin, Staatliche Museen, Antikensammlung 1966.19 (Fig. 33)

AVI2497

352401

Neck Amphora RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 267 Painterb

Provenance

Figurative decoration

Inscription

PH087

A=B: griffin-bird

A: TALEXϞAAEXϞA. B: ]L[

Centaur Painter Athena Painter

A=B: horsemen confronted, draped man, two runners Duel between a centaur holding a branch and a falling warrior A=B: Two grazing deers confronted A: Amazonomachy with Herakles B: four naked young horsemen Inside: maenad with krotala dancing. A=B: two horsemen with spears, two warriors with spear alternated Fight of Achilleus and Memnon, Eos at the right Draped pipes player, pyrrhic dancers, trainer Lion

A: ΠOẸ

Fallow Deer Painter ? / Tyrrhenian Group

Athena Painter Athena Painter Bayrakli (Smyrna) Poseidon Painter

Manner of Nikosthenes Painter Smikros

Inside: Poseidon

EϞϞ | ϞΠ

A: YΛYϞỌ - YIYϞ A: ḲIOITI - KIIX - XOIFIKOI - IFILOϞ XIṬIXI - KOIKIOI. B: [.]IOIOI - XILIOI - XIOILIOI - XIXIOỊ Inside: καλε̄.́ A: ΠAIXI[.]Y[.]EY - LOFϞY XϞX[.] - ϞYYϞϞϞϞ[.] B: LΠϞỌϞ̣ - YϞYϞ̣ - [.....]N - ϞΠ[..]O[..] O O - ϞΠOϞ - NEΔO HO^ΠA - H^OYṆ ]IYϞK[ ION^KKϞH

Boeotia

A=B: Theseus fighting against A: EΠOIYEΠOIEYΠOIYNϞYNEϞY. the Minotaur B: ϞYEΠOIYEΠOỊYEΠOIYϞY

Cerveteri

Inside: dancing woman with krotala. A: departure of a youth or hero on chariot. B: fight of at least six warriors A: satyr with pelta and spear B: satyr playing pipes

Inside: IOEE^O^ϞOϞ. A: IϞE[ - ]OB[ B: EΔEϞ - AOϞ[ - AI[.]O

Στύσιπ[ος καλό]ς - Σμικρὸς ἔγραφσεν. B: Τέρπαυλος - NETENAPENETENETO

268

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung 1981.31

AVI2501

1006341

Lekythos WG

475–425

Berlin, Staatliche Museen, Antikensammlung 1989.2

AVI2503

209067

Lekythos RF

475–425

Berlin, Staatliche Museen, Antikensammlung 31390

AVI2495

200892

Alabastron WG

525–475

Berlin, Staatliche Museen, Antikensammlung 476X + 464X Berlin, Staatliche Museen, Antikensammlung F 1686 (Fig. 14)

LAK 5

Fr. of Vase

575–525

AVI2208

320383

Amphora BF

550–525

Berlin, Staatliche Museen, Antikensammlung F 1697

AVI2209

320396

Amphora BF

550–500

Berlin, Staatliche Museen, Antikensammlung F 1704 (Fig. 24)

AVI2211

310014

Neck Amphora BF

575–525

Berlin, Staatliche Museen, Antikensammlung F 1710

AVI2213

310044

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 269 Painterb

Provenance

Beldam Workshop Karlsruhe Painter

Group of the Paidikos Alabastra Hunt Painter

Athens

Painter of Berlin 1686

Vulci

Painter of Berlin 1686

Cerveteri ?

Kyllenios Painter

Cerveteri

Castellani Painter

Sarteano

Samos

Figurative decoration

Inscription

Woman seated on a chair next to a kalathos, hanging oinochoe Draped bearded man leaning on staff and holding pipes case, sponge and strigil hanging Three youths, two of them draped and with staff, a cat. Bottom: crouching archer Man throwing stone at dog or fox A: man and two youths leading bull towards the altar of Athena, priestess with sprigs, Athena. B: procession of two kithara and two pipes players A: three youths masked as horses carry as many youths dresses as horsemen, draped pipes player in front of them. B: two maenads and three satyrs, one holding pipes and pipes case A: Dionysos, Hephaistos, Hermes, Eileithyia, seated Zeus with thunderbolt giving birth to Athena, Demeter, Eurymedon, Apollon. B: three pairs of warriors fighting in duel A: Amazonomachy with Herakles. B: kōmos of men and youths, one with wreath

KṂΛN - HTTΠṬ

ΠΥOṆṆI

ALAL[.]L>IXX̣ EN[.] - XE^KENX^XE XΓ^EϞE - ANΠOTΥAIXZ EMϞIBIYOϞ B: X̣ EIOXEIOXEIỌX̣ EIOXEIO XEIOXEIOXEIOXEIϞO [XEI]ỌX̣ EIOX̣ EIOX̣ EIO - XEI]OXEIOX̣ EIOX̣ EIO - XEIOX̣ O[..]X̣ EIOIOX̣ EIO - XΠIOXΠΓOIIOI

A: EIOXẸOXẸ

A: Διόνυσος - Ηεφ{ι}αίστος - Ηερμε͂ς εἰμι Κϙλέλνιος - Ηελειθύα - Ἀθεν^αία - Δβεῦς - [Δε̄]με̄τ́ ε̄ρ - [Ἐυρ]υμέδ̣[ο̄ν] - ᾽A[ν]φ[ιτρίτ]ε̄ Ἀπόλο̄ν. B: [.]ΡΟ̣ ΟΤϞ - ϞONOC - KỊỌͰ

B: ΓΓEOΓE

270

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 1712

AVI2214

310012

Neck Amphora BF

575–525

Berlin, Staatliche Museen, Antikensammlung F 1717

AVI2215

310367

Neck Amphora BF

575–525

Berlin, Staatliche Museen, Antikensammlung F 1763

AVI2227

301353

Lip Cup BF

575–527

Berlin, Staatliche Museen, Antikensammlung F 1765 Berlin, Staatliche Museen, Antikensammlung F 1768 Berlin, Staatliche Museen, Antikensammlung F 1773

AVI2229

9017543

Lip Cup BF (Frs.)

575–525

AVI2231

9017544

Lip Cup BF

575–525

AVI2235

302570

Lip Cup BF

575–525

Berlin, Staatliche Museen, Antikensammlung F 1780

AVI2240

9017547

Band Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 271 Painterb

Provenance

Figurative decoration

Inscription

Tyrrhenian Group

Vulci

A: KNOPN - KϞYOϞK - KϞYΔOϞ OϞOΦ̣ ϞN - YOXϞ. B: OϞOI - Y[.] YONΦ̣ ϞNϞO - YONϞO

Group of London B 174

Vulci

Manner of Taleides Painter / Sakonides ?

Vulci

A: departure of a warrior, chariot, women. B: duel of warriors between women and draped men. Lower frieze: horse race Shoulder: three runners between two seated and two standing draped men. A: draped man with kithara (Apollon?) between two women (Artemis and Leto?). B: Herakles fighting against the Nemean lion between Athena and Iolaos. Bauch: A: kithara player (Apollon?) between two female figures. B: Herakles fighting against the Nemean lion between Iolaos and Athena A=B: two lions facing

Etruria

A=B: winged woman

]IXIEϞEΠOI[..]ϞEKME - IḶΠOIXLOTEϞENK[.] EΓKΓNOYEKNO - ?]NΓKΓKEYΓYO

Inside: courting between a youth and an adult male, male figure on each side. A=B: Nike

Inside: KNEHFF - HỌOΛ[.]YϞY - FHFNKIKH - ENIOKTKOKHKH TYOFH[..]X - FOFXOFHF

Vulci Painter of the Boston Polyphemos

Etruria

Vulci

Shoulder: IϞϞAYṆ

A: Τλενπóλεμος : μ’ἐποίε̄σεν B: ΤLENΠOLEME KNYNYON

XLEOIEϞOIϞNON - AINNEALEϞENPN

272

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 1790 (lost)

AVI2243

9017548

Cup BF (Frs.)

550–500

Berlin, Staatliche Museen, Antikensammlung F 1799

AVI2244

310554

Band Cup BF

575–525

Berlin, Staatliche Museen, Antikensammlung F 1808 Berlin, Staatliche Museen, Antikensammlung F 1836

AVI2248

9017549

Cup BF

575–525

AVI2252

29217

Neck Amphora BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 1837

AVI2253

305527

Neck Amphora BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 1845

AVI2254

302131

Neck Amphora BF

550–500

Berlin, Staatliche Museen, Antikensammlung F 1851

AVI2256

302396

Neck Amphora BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 273 Painterb

Painter of Louvre F51

Provenance

Vulci

Cerveteri / Vulci Nola

Diosphos Painter

Nola

Group of Würzburg 210 / Manner of Acheloos Painter

Vulci

Acheloos Painter Vulci

Figurative decoration

Inscription

A=B: man, hoplitodromos, youth, five hoplitodromoi, horseman, naked youth, draped youth, hoplitodromos, draped youth Inside: frontal quadriga between youths, dog chasing hare. Outside: Zeus, Dionysos, Athena, Herakles in chariot, giants, Hermes, other goddesses (Gigantomachy) A=B: Herakles fighting the Nemean lion. A: Apollon and Herakles fighting for the tripod, deer. B: Athena fighting against a giant A: Zeus holding newborn Athena, Eilethyia with fillets, Hermes, stool with cloth. B: Peleus and Atalante wrestling between tripods A: Herakles mounting platform with kithara between Hermes, holding his club, and Athena. B: Dionysos with vine and kantharos between two couples of satyr and maenad A: Herakles and Acheloos, Hermes seated on block, bird, club, tree, palmettes. B: departure of warrior and archer between woman and old draped man with staff, dog

ENXO (identidem)

Inside: .]EN - XϞTΠIEIϞ. A: EYOΠIN OITOTT - NLTϞXITYIΠI. B: ΠΠEΠOỊ Handle: ]Ἱπόκριτος καλιστό[ς

ΛOΛΛΛ - ]ΛΛOΛ A: TOTϞT

A: XϞXNY - XYXIYXϞ B: YXYIΠ - ḶYXYXXY

A: NΔEAK[.] - NXΔIA[.] - XΔEA NXΔΛ - XΔOΔE - YXOEP̣ Λ

A: [..]ΔK^XH^HOL - X - XΔ^X^ΔO XK[.]^XI^N^Y - ΓΔONK

274

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 1853

AVI2257

6095

Neck Amphora BF

550–500

Berlin, Staatliche Museen, Antikensammlung F 1879

AVI2258

360895

Neck Amphora BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 1900

AVI2261

302872

Hydria BF

550–500

Berlin, Staatliche Museen, Antikensammlung F 1908

AVI2265

302065

Hydria BF

550–500

Berlin, Staatliche Museen, Antikensammlung F 1936 Berlin, Staatliche Museen, Antikensammlung F 2000

AVI2267

9017550

Oinochoe BF

AVI2270

390505

Lekythos BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 2001 Berlin, Staatliche Museen, Antikensammlung F 2003

AVI2271

390116

Lekythos WG/BF

525–475

AVI2272

21088

Lekythos BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 2004

AVI2273

390341

Lekythos WG/BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 2030

AVI2276

9035104

Alabastron BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 275 Painterb

Provenance

Leagros Group / Red-line Painter

Bomarzo

Dot-band Class

Acheloos Painter

Leagros Group

Athena Painter

Gela Painter Diosphos Painter Diosphos Painter

Figurative decoration

A: Herakles and Apollon struggling for the tripod, palm and deer on each side. B: two athletes wrestling between two trainers Vulci A: wounded warrior carried by a companion. B: two warriors fighting over a fallen warrior Vulci Shoulder: two youths taming bulls, in the middle two men with spears and dog. Body: draped charioteer, horses, Peleus and Thetis approaching Cheiron Vulci Shoulder: Achilleus and Aias playing. Body: five women carrying hydriai at fountainhouse with lionhead spout, hydria on a block, deer Kamiros Seated man between two (Rhodes) standing men Greece (Athens?)Aias and Odysseus quarrelling over Achilleus’ armor, between them Agamemnon Italy Figure mounting a chariot, Nike behind the horses Athens Peleus and Thetis between Cheiron holding torch and Nereid Calabria Herakles fighting against the Nemean lion between Athena and Iolaos Pikrodaphni A: two draped youths (Attica) preparing cocks for fight, tree behind them

Inscription A: IEIAIOIXI - AϞMOAIOΓ

A: HOE - OXEOTO

Shoulder: NIΓXO - X^KY^OY - XΛE - IX^N - MXΔ^MI - MXEΛ^Ϟ̣ Body: HKEΔENΔI - ϞXEΔEΔ - NXEΔE NXENΔEϞΛ - ϞXΔI^XI

Body: ṆXEΔE - NI^ΠII - NΠE - NΔ - NXEI

MXIOΓXL III - ỊII - ỌḲI

NẠ - NFI YIYX - P̣ ϞϞI[.]Ṇ

[.]IYIL - Π̣ LXX - ILXIL - Y[.]XỌỌLX

HOΠAEI - KAΘII - LTϞYT HΔOHΔΓỊO - YTỌỌ - Mικίο̄ν

276

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 2032

AVI2277

6403

Alabastron BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 2098 Berlin, Staatliche Museen, Antikensammlung F 2171

AVI2280

9017556

Fr. of Kyathos BF

AVI2289

202580

Pelike RF

500–450

Berlin, Staatliche Museen, Antikensammlung F 2176

AVI2290

202832

Hydria RF

500–450

Berlin, Staatliche Museen, Antikensammlung F 2181 Berlin, Staatliche Museen, Antikensammlung F 2189 Berlin, Staatliche Museen, Antikensammlung F 2211

AVI2293

200119

550–500

AVI2297

203818

Frr. of Volute Krater RF Oinochoe RF

AVI2304

204670

Lekythos RF

500–450

Berlin, Staatliche Museen, Antikensammlung F 2244

AVI2306

4563

Lekythos Six

525–475

Berlin, Staatliche Museen, Antikensammlung F 2250

AVI2307

208225

Lekythos WG/BF

475–425

Berlin, Staatliche Museen, Antikensammlung F 2253

AVI2309

9017559

Alabastron RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 277 Painterb

Provenance

Figurative decoration

Diosphos Painter

Chiusi

Flying Eros with kentron, X̣ ΓXI - XLXΓYY - [.]IYI Zeus with sceptre pursuing Ganymedes, who is running after a cock, old man with staff (Tros?) Two seated women spinning LLO - IEIAT - MIKKA

Athens Geras Painter

Painter of Firenze 3984 (?)

Castelluccio (Basilicata)

Phintias

Capua

Triptolemos Painter Painter of the Paris Gigantomachy Manner of Diosphos and Sappho Painter

Chiusi

Μanner of Bowdoin and Athena Painter

Athens

Basilicata or Nola

Attica

Inscription

A: ΠΟ̣ ΕΚΑΚ< A: Triptolemos on winged chariot holding a phiale and a staff in front of Demeter holding sheaf of corn and oinochoe. B: draped man leaning on staff gives a hare to a draped youth Mission to Achilleus: Phoinix, PXNKXỌEϞΕϞ - ΧΟΕϞ - ΟΕϞΕϞ Odysseus and Achilleus seated Warriors fighting KAΠΕΝΙϞΑΝΙ - EXΥΠΚΙ Procession of three women, one with stand Nike holding staff and aphlaston, behind her a base with a pome (?) on it Hetaira or maenad seated on the ground and leaning on a rock, playing pipes between two satyrs Draped man leaning on staff, cock, hanging lyre

ΓΓΓ - ΟΓΓḶ

Satyr and maenad

KNNOHTIϞ

καλε̄̀ - hε̄ παῖς - ΚΟϞΤϞΤ

IAK - ϞΗΝ

?]TỌ[..]ΓỊ

278

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 2268

AVI2317

201403

Cup RF

525–475

Berlin, Staatliche Museen, Antikensammlung F 2270

AVI2318

212304

Cup RF

525–475

Berlin, Staatliche Museen, Antikensammlung F 2300 Berlin, Staatliche Museen, Antikensammlung F 2309

AVI2341

204441

Cup RF

500–450

AVI2349

203944

Cup RF

500–450

Berlin, Staatliche Museen, Antikensammlung F 2311

AVI2350

41707

Phiale Six

525–475

Berlin, Staatliche Museen, Antikensammlung F 2523

AVI2385

212159

Cup RF

475–425

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 279 Painterb

Provenance

Figurative decoration

Inscription

Painter of Berlin 2268

Tarquinia

Inside: jumper with halteres. A: runner, draped trainer, jumper, draped trainer, column. B: draped trainer, akontist, draped trainer, jumper Inside: satyr with drinking horn and wineskin. A: hetaira with skyphos on a couch, man with Scythian helm and skyphos. B: hetaira and youth playing kottabos Inside: man in a chest (Thoas?) Inside: a youth holds the head of a vomiting draped man. A: man with amphora, youth, two youths at a krater, female flute player, dancing man, two more youths. B: lyra player, dancing man, young flute player, three men and a youth Symposium: two youths and two hetairai reclining, a bird, pipes case hanging Inside: satyr wearing long chiton and himation holds a branch at an altar. A: woman holding staff between two women holding cloths. B: seated woman holding a mirror between two women (one with staff)

ΓΥ

Thorvaldsen Group

Briseis Painter

Chiusi

Dokimasia Painter

Capua

Italy ?

Bordeaux Painter

Italy

Inside: h[o] πα[ῖ]ς καλός - NEOL[...]I A: [κα]λός - K[..] - ḲIṆ[.]. B: καλός - κα[λός]

ΤϞΚ Inside: NΓANΓTA. A: I Υ N Γ Γ N N Λ Λ Γ Λ O O Υ N N Λ Γ Λ Λ Γ Λ. B: Γ Π Ν Ν Υ Λ Ν̣ Λ Λ Λ Ν I Ν I N

O[....] - OE - ΓΕΓ[.] - O[..]

Inside: ΟϞϞ̣ ϞΓ

280

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 2549

AVI2394

3407

Cup RF

450–400

Berlin, Staatliche Museen, Antikensammlung F 2689

AVI2413

9017562

Lekythos RF

400–300

Berlin, Staatliche Museen, Antikensammlung F 3228

AVI2449

138

Pelike BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 3240 (Fig. 13)

AVI2453

204399

Cup RF

500–450

Berlin, Staatliche Museen, Antikensammlung F 3252

AVI2458

330735

Lekythos BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 3253

AVI2459

30664

Lekythos BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 281 Painterb

Manner of Foundry Painter

Athena Painter

Athena Painter

Provenance

Figurative decoration

Inside: draped child playing with yo-yo. A: seated child playing lyra, two children holding scrolls. B: three children, one holding a flute Thebes (Boeotia)Apollon pursuing a naked woman, between them a thymiaterion Orvieto A: Herakles and the Cretan bull. B: masturbating satyr, maenad seated on the ground, man at a well pulling up rope attached to a pelike to draw water from a pithos, woman holding two hydriai Cerveteri Inside: draped youth conversing with a child. A: column, youth leaning on staff, seated woman spinning, man leaning on staff, column, man leaning on staff. B: man leaning on a staff, column, woman holding a mirror, youth leaning on a staff, column, man leaning on a staff Eretria Hypnos and Thanatos carrying Sarpedon’s body, shields, spears and one helmet on the ground, sword hanging Eretria Warrior raising an arm, woman led off by a warrior, bearded draped man, warrior

Inscription A: ΓΑΜΝΑ̣ Ν - Α̣ ΑΓΧΝΘ

[.]Ạ[.]Γ - AAΥ - ΝΟΠ̣ Α

B: ΥΙΥϞΟ - ΥϞΥϞ̣ ^ϞΟ - ΙΙΟ^Ϟ

Inside: NOEOṆEN - NONNENONNE

ϞΕΤ̣ ΟϞ - ΟϞ̣ - Π̣ Ο - ΕΚ - ΟϞ̣ - ϞLOϞK ḶL - Ϟ̣ ETϞL

ϞOTϞ - OΠṬ^[.]OT - Ϟ^OTϞ Π̣ TOT^ΞϞ - E^NK^ϞN - ?]TϞOTϞ

282

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 3260

AVI2463

390033

Lekythos BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 3261

AVI2464

330543

Lekythos BF

550–500

Berlin, Staatliche Museen, Antikensammlung F 3283

AVI2466

306788

Skyphos BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 3755

AVI2473

177

Siana Cup BF

600–550

Berlin, Staatliche Museen, Antikensammlung F 3995

AVI2424

390401

Amphora BF

525–475

Berlin, Staatliche Museen, Antikensammlung F 4008

AVI2425

9017604

Pyxis BF

Berlin, Staatliche Museen, Antikensammlung F 4841

AVI2486

310022

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 283 Painterb

Provenance

Figurative decoration

Inscription

Cactus Painter

Greece

Athena mounting on chariot, Herakles, draped god, Hermes Herakles in the garden of the Hesperides, snakes on the tree A: sleeping Polyphemos, men with pole, kantharos. B: sirens on rocks A (above): Theseus and the Minotaur between draped male observers. A (below): battle with warriors and horsemen, a falling horse, a hare, lions at the sides. B (above): row of runners, trainer, boxers. B (below): seated Dionysos holding a drinking horn, Hermes, draped men and women, lions at the sides A: two Amazons, one on horseback. B: Amazon on chariot Lid: Race with two chariots at a terma. Body: Peleus and Thetis Shoulder A: Eriphyle fallen over a rock, snake, warriors, chariot, other draped figures. B: fight between warriors. Upper body A+B: youths and men reclining on klinai, one with lyre. Lower body: horse race, three tripods, three judges

XXO - OϞI - Ϟ - EXI - OϞ - OE - OϞ

Cactus Painter

Theseus Painter

Manner of C Painter

Rhodes

Diosphos Painter Italy

Attica

Tyrrhenian Group

Orvieto

O - EO - Ϟ - OϞ

A: [.]FFFFFFOỌ[.] | F̣ FO[.]F̣ FF̣

A: TEϞKEϞTEKΥϞT TEKΥϞTEKΥN[..] - ϞIKINIOO - TKỌE - TEHΥNTE - TEϞḤLPE B: TEϞ[.]Υ - TEϞΥ - ΥΥXTϞΥΥHTXỌ - NΥ[..]EṬ - TEϞTΥϞT[.]^KΥXIEL TEϞKΥϞTEϞXϞTEKI - [.]EHIOILEΥOONOI XIϞIAϞLΥI[..]XΓA - [...]LN[.]ϞKΥNΓ

A: XXKXX - ΥΥ. B: XXXO - OΓXXOX

Lid: MNḶΓLKḶ

A: EOLN - ΥONI - ΥOΥOEϞ - Υ̣ EϞN ΥONNEΩ - ΛOEΠII - I[..]N Upper body B: ΥO[.]OE - ΥO[...]

284

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Berlin, Staatliche Museen, Antikensammlung F 709 Berlin, Staatliche Museen, Antikensammlung F 804 Berlin, Staatliche Museen, Antikensammlung F 900

COP 88

Fr. of Pinax

600–550

COP 66

Fr. of Pinax

600–550

COP 90a

Fr. of Pinax

600–550

Berlin, Staatliche Museen, Antikensammlung F 908 + 422 Berlin, Staatliche Museen, Antikensammlung F 938 Berlin, Staatliche Museen, Antikensammlung F 951 Berlin, Staatliche Museen, Antikensammlung I 144 Berlin, Staatliche Museen, Antikensammlung Sa 183

COP 8

Fr. of Pinax

600–550

COP 90b

Fr. of Pinax

600–550

COP 87

Fr. of Pinax

600–550

COP 89

Fr. of Pinax

600–550

AVI2504

9017601

Fr. of Pyxis (?) BF

550–500

Berlin, Staatliche Museen, Antikensammlung Sa 488x Berlin, Staatliche Museen, Antikensammlung Schiller Koll. Bern, Jucker

AVI2506

9017599

Fr. of Vase BF

550–500

AVI2510

4352

Band Cup BF (Frs.)

550–500

Band Cup BF (Frs.)

550–500

Bern, Universität, Institut für Archäologische Wissenschaften, Antikensammlung Beverly Hills, Summa Gallery 927

AVI2518

7257

Lekythos RF

500–450

AVI2523

6432

Band Cup BF

575–525

Bochum, Ruhr Universität, Kunstsammlungen L 1252

9026957

Band Cup BF

550–500

Bochum, Ruhr Universität, Kunstsammlungen S 1109 Bochum, Ruhr Universität, Kunstsammlungen S 300

9026955

Band Cup BF

550–500

9026958

Band Cup BF (frs.)

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 285 Painterb

Sakonides

Provenance

Inscription

Penteskouphia A: lower part of a figure. B: kiln Penteskouphia A: man at kiln. B: Poseidon

]OϞΦ vel ]OMΦ

Penteskouphia A: two men, bird, snake (?), horseman. B: two bulls, kiln, two men Penteskouphia Lower part of male figure (Poseidon?) Penteskouphia

A: AOOIET. B: ẠBOIETΘPIΓOBABB

Penteskouphia

ΘEϘYΘ[

Penteskouphia Man running after horse

?]POH - HO - Π

Samos

]E - N[ - NΛEOI[ - I[

Samos

Manner of Bowdoin Painter

Figurative decoration

Veiled woman, bearded warrior with spear, youth with a shield, horseman Running woman, perhaps a second one A: siren between palmettes. B: palmettes A=B: dog chasing hare

B: YIϘ

ΠOEṂEM ?]OEEO[

ΠΟΙΠΕΝΙ[ A: Υ̣ ỌIϞΛϞ. B: ϞỊϞNϞΔ̣

A: TO[ΠOΛ] - TOΠOΛ - T[OΠ]OΛ B: TOΠ[OΛ] Satyr with a drinking horn, a NOϞϜΓEK sprig and a wineskin on one shoulder Hen and cock in the middle, A>ΛΓ - AϞ̣ ATỊ a running youth on each side, palmettes next to the handles A=B: chariot racing A: F̣ IΛOṆ - [.]IỌI[..] (charioteer in white garment) A=B: Athena Promachos A: [.]NIΠIΠIY - X[.]YIΠ̣ IX̣ I[..] B: XIΓIϞIϞIXI - [.]IΠIΠI[.]IỊ A: winged figure (Gorgo?), A: Ị[.]ΓOΛ - ΛY[..]Ḷ dog. B: upper part of animal

286 Current location

Appendix Corpus numbera BAD number

Shape

Chronology

Bochum, Ruhr Universität, Kunstsammlungen S 485

3879

Amphora BF

575–525

Bochum, Ruhr Universität, Kunstsammlungen S 994

9026949

Siana Cup BF

575–525

Bochum, Ruhr Universität, Kunstsammlungen S1024

AVI2530

3878

Lip Cup BF

575–525

Bochum, Ruhr Universität, Kunstsammlungen S1104

AVI2536b

9019202

Neck Amphora BF

575–525

Bochum, Ruhr Universität, Kunstsammlungen S482 Bolligen, Rolf Blatter

AVI2531

4887

Lip Cup BF

550–500

AVI5843a

352452

Cup RF (Frs.)

525–475

10164

Fr. of Lip Cup BF

575–525

Bolligen, Rolf Blatter Bologna, Museo Civico Archeologico 102

AVI2548

302587

Droop Cup BF

575–525

Bologna, Museo Civico Archeologico 48 Bologna, Museo Civico Archeologico 74

AVI2544

351155

Column Krater BF

525–475

AVI2547

330812

Oinochoe BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 287 Painterb

Provenance

Group E

Figurative decoration

Inscription A: ΠXϞΠXIXΠX - ΠXϞXϞXϞXϞ IϞΓ[.]YI[.]ϞY - IϞXΠ̣

Wraith Painter

Bologna

A: Theseus vs. Minotaur, naked youth and woman on each side. B: Dionysos with drinking horn and ivy between four dancing satyrs A: dog attacking boar, horseman and huntsman in chitoniskos on each side. B: four horsemen riding Inside: a male adult and a male youth embracing each other, a dog on each side A: three couples of draped men reclining on klinai, tables, stools, a hanging sword. B: pipes player, two men dancing, woman at a cauldron, two more men dancing A=B: two draped men facing each other Youths, some draped, some with chlamydes, some with staffs, horses, bird Warrior leading woman (Menelaos and Helene?) A=B: Amazonomachy

Painter of Bologna 48 Manner of Athena Painter

Bologna

A=B: chariot

Bologna

Aias and Achilleus seated playing a board game, Athena between them

Manner of Lydos

Epitimos Painter (?)/ Amasis Painter (?) Castellani Painter

Epeleios Painter

Cerveteri

A: ΠOLEAI - ΔEPEN. B: APEIEI

Inside: ΠNIIΥOϞ - ϘONON A: IΥLΥ>O-Υ-HIO-Υ)-Υ B: IΥỌLAỌOAΥỌΥ̣ ΥỌ A: ΓΤΟΕΚΟ. B: ΓΓΟΟΕΕ - ΓΥ[ - ATOEMMXX - ΓEOΠXM

A: ITHΓLKΠEϞ. B: ILOΓIΠΠX ]ΛI^IY - Λ^IỌ - ]ΛI - XϞ

LINININ A: IXII - TTIOΥ - ITII - [.]OII [....]AΓT - IAII[? - XḲI - OTI [..]Ọ[.] - IΓII - ΥΓΥI. B: [...]OΥ - ϞXTX XTTXIXT - XTΓ - ΛXΥ[.]X - ΥLII X[..]X - XỌX[.] - IIXIL A: OXINXI - AAϞI - OΥϞXHΥI B: OΥ[.]X̣ - OXX̣ X̣ XENOI

288

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Bologna, Museo Civico Archeologico MCA-GRE-G 597 Bologna, Museo Civico Archeologico PU 192

AVI2540

8167

Lip Cup BF

550–500

AVI2563

320386

Amphora BF

550–500

Bonn, Akademisches Kunstmuseum 1013

AVI2596

220635

Lekanis RF

450–400

Bonn, Akademisches Kunstmuseum 340 Bonn, Akademisches Kunstmuseum 37

AVI2587

330764

Lekythos WG/BF

525–475

AVI2573

310057

Neck Amphora BF

575–525

Bonn, Akademisches Kunstmuseum 538 Bonn, Akademisches Kunstmuseum 60 Boston, Museum of Fine Arts 01.18

AVI2594

208234

Lekythos WG/BF

475–425

AVI2576

42070

Oinochoe BF

525–475

AVI2697

207784

Neck Amphora RF

475–425

Boston, Museum of Fine Arts 01.8028

AVI2705

204447

Neck Amphora RF

500–450

Boston, Museum of Fine Arts 01.8033

AVI2709

210114

Cup RF

475–425

Boston, Museum of Fine Arts 01.8074

AVI2717

200601

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 289 Painterb

Provenance

Painter of Berlin 1686

Vulci

Manner of Meidias Painter

Athens

Manner of Athena Painter Kyllenios Painter

Eretria

Manner of Athens Bowdoin Painter

Ethiop Painter

Briseis Painter

Capua

Telephos Painter

Capua

Epiktetos

Locris

Figurative decoration

Inscription

A=B: siren

A: EΠOΥEΠOΥΠOIΥΠOIΥΠOIΥ B: EΠOIEΠOIIΠOIΥΥEIΥ

A: Herakles vs. Kyknos between Ares, Athena and Zeus. B: Herakles vs. Amazon between other warriors fighting against Amazons Two seated women, Eros kneeling in front of one of them, three standing women holding boxes and sashes (one also with a mirror) Hoplitodromos or dancing warrior, pipes player, helmet A: Amazonomachy. B: generic fight scene with warriors Herakles vs. Cretan bull

B: ONXEIOXEIOΥ

Warrior leading a horse

E[? - NϞONIOϞ̣

A: warrior with phiale departing, woman with phiale and oinochoe, bird. B: youth A: dancing maenad, satyr playing pipes. B: satyr with krotala Inside: draped youth standing between a laver and a column. A: acontist and jumper, pillar, trainer. B: diskobolos, acontist and jumper, pillar Archer with Scythian cap crouching

A: ΓΠΠ̣ Ϟ[.]Ϟ

E[..]ΛΓ - ET - N - O[?]Λ

ΠỌ[..]E - OΥ̣ [..]< A: TO[..] - EϞOLMOI

Π̣ ϞEϞO^A

A: ΥΠIΠϞAI. B: ΥIOϞΛΥIϞ

Inside: καλός A: Κ^ΑL^Ο^Π^ΥϞ^Υ B: Υ^Υ^Ϟ^ΥΥ^ΠΥΠ

IΠNϞ - OO

290

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Boston, Museum of Fine Arts 01.8075

AVI2718

204518

Cup RF

500–450

Boston, Museum of Fine Arts 03.787

AVI2726

204088

Rhyton RF

500–450

Boston, Museum of Fine Arts 08.291 (Fig. 5)

AVI2744

300851

Lekythos BF

575–525

Boston, Museum of Fine Arts 10.195 (Fig. 10)

AVI2752

204356

Cup RF

500–450

Boston, Museum of Fine Arts 10.572

AVI2766

210165

Cup RF

475–425

Boston, Museum of Fine Arts 13.188

AVI2777

203143

Neck Amphora RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 291 Painterb

Provenance

Manner of Dokimasia Painter

Brygos Painter

Chiusi

Painter of Boston 08.291

Foundry Painter

Orvieto

Boot Painter

Dutuit Painter

Suessula

Figurative decoration

Inscription

Inside: athlete folding a cloth, pick, strigil and aryballos hanging. A: boxer, acontist and jumper in front of a trainer. B: two youths wrestling and a trainer Running maenad with thyrsos, satyr crouching (about to ambush the maenad), satyr running (all three wearing leopard skin) Upper frieze: man courting a boy among men and youths carrying gifts. Middle frieze: six young horsemen riding. Lower frieze: two dogs chading a hare into a net, cock fight Inside: young warrior, helmet on a stool. A: four warriors and an archer arming. B: two warriors and a tree Inside: satyr with drinking horn and wineskin. A: three nude women holding himatia and boots, etween them a tree. B: two nude and one draped woman, between them a Doric column A: Hephaistos polishing the shield of Achilleus in the presence of Thetis. In the field, a pair of greaves, a helmet, tongs, hammer and saw. B: Nike walking and holding oinochoe and patera

Inside: ΑΟΟ̣ - KLOϞΓΛE

ΓΛΥΥ

Upper frieze: N[.]ϞKT - XEϞTKT Middle frieze: NEI - KT^EΠT - EϞKΠ - KϞΠΙ - ΠK[.] - ATΠ̣ ^ϞOI - ΠϞT - ΠΑΟΠ[.] - NET - NKΠI - ΠϞOE KΠEK. Lower frieze: [.]NỌIϞΠΟΙ

Inside: Γ[...]ΙḤ[.]ΟΠẠϞEϞ^Ϟ N[.]Γ[...] - ϞOEAOẠṆ. A: NNNN B: NNNNN - ϞΥ - Ϟ̣ ỌṆE Inside: καλός - ΠΧ. A: Π̣ ΥϞΥ. B: καλός ̣ - L

A: ONONỌ - ΓOΠOKN. B: ϞOϜOϜO

292

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Boston, Museum of Fine Arts 13.204

AVI2787

204367

Cup RF

500–450

Boston, Museum of Fine Arts 1979.618

AVI2827

41058

Amphora BF (Frs.)

550–500

Boston, Museum of Fine Arts 22.677

AVI2792

14864

Column Krater RF

500–450

Boston, Museum of Fine Arts 59.178

AVI2801

206829

Calyx Krater RF

475–425

Boston, Museum of Fine Arts 61.110

AVI2804

1399

Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 293 Painterb

Provenance

Figurative decoration

Inscription

Foundry Painter

Cerveteri

Inside: maenad with snake and thyrsos. A=B: maenad holding snake and thyrsos between two satyrs (one with panther skin) A: Amphorae transported in a cart drawn by mules and accompanied by a charioteer and three armed men (introduction of wine to Attica by Ikaros?). B: two groups of three draped men with spears approaching each other (assassination of Ikaros?) A: Dionysos with drinking horn and satyr with wineskin. B: maenad with thyrsos and snake and satyr with torch and drinking horn A: Kassandra at the Palladion being menaced by Aias the Lesser, Neoptolemos preparing to hurl Astyanax from the walls of Troy, Priamos seated on the altar, two warriors fighting. B: Aineias carrying Anchises, Kreusa following behind, a warrior leading the way (Askanios?) A: two youths approaching each other between other two dancing. B: youth with skirt, older man between two dancing youths

Inside: ONOEΥΠ̣ ϞO - NEϞOEONϞ A: ]NΥ[. B: ]ΥN - INN[.]ON[?]Υ

Painter of Munich 1379

Manner of Myson

Altamura Painter

Painter of Louvre F 6

A: OΓ[ - ]OΩE - PO[ - ΠOXOXOLLT B: EOLOLTΓ[.] - EO[.]XXỊ - EO[ EIO[..] - EOLLḶ - EΥOLΥ^XOΥLOT - ϞOϞϞḶϞ̣ X̣Ϟ̣ - ΠOEOIOLOLLOLΥ[? ΓIOI[.]NΥ[...]

A: XϞOΓϞ

A: Αἴας - LONIOΥ. B: [.?]ALOL Aἰν(ε)ία - ΓIAO

A: ΓOΠΠϞOϞTΓ - [.]XKXLẸ[..] B: [.]AΓ[..]MϞIT - ΓΓϜΓϜΓΓ[.]

294

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Boston, Museum of Fine Arts 63.1246

AVI2812

275233

Calyx krater RF

500–450

Boston, Museum of Fine Arts 64.700 Boston, Museum of Fine Arts 67.1006 (Fig. 25)

AVI2814

180

Lip Cup BF

550–500

AVI2819

350340

Hydria BF

575–525

Boston, Museum of Fine Arts 76.47

AVI2608

207259

Cup RF

475–425

Boston, Museum of Fine Arts 77.220 Boston, Museum of Fine Arts 80.621

AVI2609

390425

Lekythos WG/BF

525–475

AVI2611

597

Neck Amphora BF

550–500

Boston, Museum of Fine Arts 90.157 Boston, Museum of Fine Arts 92.2654 Boston, Museum of Fine Arts 93.102

AVI2614

207813

Neck Amphora RF

475–450

AVI2615

2503

Lip Cup BF

550–500

AVI2617

46910

Lekythos BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 295 Painterb

Provenance

Dokimasia Painter

Kalistan the Italy Painter Tyrrhenian Group (Archippe Group)

Villa Giulia Painter

Capua

Haimon Painter

Thebes

Painter of London E 342

Nola

Cactus Painter

Figurative decoration

Inscription

A: E - E. B: NONENON - N - N A: Agamemnon in a net, Aigisthos with sword, Klytaimestra carrying a double axe, three more women witnessing. B: Aigisthos seated on a chair with a lyre, already bleeding, Orestes fully armed, behind him Klytaimestra rushing with a double axe, Elektra at the right A=B: female head A: XNONENNENṆTTTNΥ B: ONNN[.]:[.]TΓENỌE Upper frieze: two sphinxes, Upper frieze: OTEYϞΓ - ϞΠEX. Middle frieze: Hερμε͂ς ‒ Δε̄με̄τ́ ε̄ρ ‒ Hε̄ρακλε͂ς a lion, a cock, and a siren on each side. Middle frieze: Ἰόλεος - Ἄρτεμις ‒ φροδίτε̄ Hermes, Demeter, Herakles, Iolaos on a quadriga, Artemis, Aphrodite. Lower frieze: two lions, two stags, three panthers, two goats Inside: reclining youth with Inside: ϞΥΥϞΓ. A: ΓΥIΓΥḶΥLỊ skyphos. A=B: a draped man B: ΓΥIΓΓI[.]ϞΓΥΓΓ and two youths, one with lyra Athena fighting against a ỌϞ̣ Ẹ - Ϟ̣ [.]Ϟ̣ giant, chariot. A: Herakles vs. Triton, Iolaos IO[...]Δ̣ [...] at the left. B: Dionysos with kantharos and a maenad with oinochoe between two satyrs (one with wineskin) A: two women at an altar. B: A: LϞHϞΥ | KỌLỌ young man A=B: swan A: EOEϞAϞEOEAϞEϞE B: AEϞHKAΠTEϞEϞEϞE Herakles and the Cretan bull, ϞO - ϞO quiver hanging, tree

296

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Boston, Museum of Fine Arts 95.23

AVI2626

205728

Calyx Krater RF

500–450

Boston, Museum of Fine Arts 95.30

AVI2631

210144

Cup RF

475–425

Boston, Museum of Fine Arts 95.35 (Fig. 16)

AVI2636

201132

Cup RF

525–475

Boston, Museum of Fine Arts 95.42

AVI2641

9017572

Lekythos RF

525–475

Boston, Museum of Fine Arts 95.61

AVI2649

201063

Kantharos RF

525–475

Boston, Museum of Fine Arts 95.63

AVI2650

211372

Cup RF

475–425

Boston, Museum of Fine Arts 98.885

AVI2662

361413

Lekythos Six

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 297 Painterb

Provenance

Figurative decoration

Inscription

Fröhner Painter

Orvieto

A: Zeus pursuing Thetis, another Nereid fleeing. B: a Nereid runs to Nereus, altar and palm tree in the centre of the scene Inside: Dionysos with leopard and thyrsos, behind him a burning altar. A: satyr pursuing a maenad, behind him another maenad. B: satyr playing pipes between two dancing maenads Inside: young athlete with javelins and halteres. A: Dionysos with kantharos on a mule between maenads and satyrs with wineskin. B: three couples of satyr and maenad Four young athletes (a jumper, two acontists, a diskobolos) practicing in front of a trainer, a goal behind him A=B: erotic scenes: youths and naked women dance around and grab at each other. A youth wields a sandal with sadistic intent. On the floor are shoes and a basin; on the wall a birdcage, a flute-case, and a dildo Inside: Peleus and Thetis wrestling

A: LO[.]L - LỌϞ̣ [...] - LONA[.]

Telephos Painter

Poseidon Painter

Italy

Athens

Nikosthenes Painter

Vulci

Manner of Pistoxenos Painter Diosphos Painter

Tarquinia

Gela

Satyr pursuing a nymph

A: OϞΥLϞϞ

Inside: LOLOϞ - ΓOϞNOϞNO ΛOϞLOϞL. A: LOϞLO[.] - ΓOϞLỌ LOϞIO - Γ̣ ΓΥ̣ ΙΥ̣ - LOϞḶ[.]. B: NOϞ[.] - ΓOϞΓΟ - ΓΟϞỊ - NOϞ̣ IOI - ỊỊOỴỴ - NOϞ̣ Ị

OϞEO - OϞ^OϞ - OṬΥϞ - O [..]Ϟ - OϞO

A: NOϞEΠ - OϞE - OE^O - NEO IEOΠIEO - NAẠΠEḶOΠ NϞEϞEE^EϞE - E^ϞEOΓ̣ . B: [.]EO - ΛPEO^Ϟ - NOϞ̣ ^E^Ϟ - O^E^ϞO OEϞE. Foot: Nικóσθενες ἐποίε̄[σ]εν

Inside: ΛΔLṆ - [..]O - ΠΓI[?

IΛΔΥI - IΥ[.]Γ̣ ỌΠIIΔXI

298

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Boston, Museum of Fine Arts 98.899

BOI 30

Alabastron

599–500

Boston, Museum of Fine Arts 98.923

AVI2669

301077

Neck Amphora BF

575–525

Boston, Museum of Fine Arts 98.924 Boston, Museum of Fine Arts 99.518

AVI2670

330768

Oinochoe WG/BF

525–475

AVI2677

302569

Cup BF

575–525

Boston, Museum of Fine Arts 99.519

AVI2678

300620

Siana Cup BF

575–525

Boston, Museum of Fine Arts 99.527

AVI2680

303318

Oinochoe BF

525–475

Boston, Museum of Fine Arts 99.528

AVI2681

203100

Lekythos WG/BF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 299 Painterb

Provenance

Botkin Class

Athena Painter Painter of Boston Polyphemos

Painter of Boston CA

Thebes

Manner of Vatican G 47

Diosphos Painter Sicily

Figurative decoration

Inscription

Bearded winged figure, wearing chiton and boots, running to left; facing him stands a cock A=B: duel between heavy armed warriors (in A one warrior with sword, the other with spear, in B both with spears) Herakles leading a sphinx by two cords, quiver hanging A: Odysseus with sword, naked Kirke with kantharos, Odysseus’ companions with animal heads, Eurylochos fleeing. B: Polyphemos kneeling in the centre, Odysseus’ companions bring a wineskin from the left, at the right Odysseus holding an oinochoe and Athena behind him. B: Odysseus and Polyphemos Inside: sphinx. A: naked Kirke holding a cup, Odysseus holding a sword, companions with animal heads. B: Herakles vs. Acheloos in the shape of a bull among draped observers Bearded butcher with ivy wreath holding a knife to cut a leg from a carcass lying on an altar-like block, boy steading the leg to be cut Young warrior leading a horse

ABEϞIΓTIΞ - ΞΘE

A: ϜKEKN - ΓϜKNΓEO. B: ϜKEKϜKM

O^OϞΠOO^O - OϞKOKI A: ϜKΓ^ΠI - XKHK - X[.]X - XKNKXKI - XOΠΠ - ΥTKXI - ΠXΠOT - ΓΥΠHΓOI - KHKHKKEI - KHϜOMHKXḶ - KOEHOΠ - ϜIḲI - XHIOΠΓΓHO ΠΥOΓΠXO[.]ΠOΥI - KOKI - ỌΨΓ̣ ΛΓ - ΥΥ[.] - LϞ̣ ẸX̣ Y B: ϜOIKH - KHKKAP - EOIEHI - KHKKXL - KH ]OHEϞEHKXKHXH - Ḳ[.]ḲHϞOϞX XHϜ^OTH - XHỌKIHI - ỌHXKOK HLΓ - ỊKH[..]

B: X[.]ΓIΓI

LXOϞE - ONO - ANTH

[.....]XΓ - OIΓ[.]I - XXOXΓ - OI[.]T[..]

300

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Boston, Museum of Fine Arts RES.08.30d (Fig. 35)

AVI2828

1406

Stand or Lid BF

550–500

Boston, Peter Aldrich (ex London market) Boulogne, Musée Communal 406

AVI4787

41580

Lip Cup BF

575–525

AVI2834

301799

Hydria BF

550–500

Boulogne, Musée Communal 417

AVI2835

302264

Hydria BF

550–500

Braunschweig, Herzog Anton Ulrich Museum 521 Bremen, Zimmermann

AVI2861

12397

Fr. of Pyxis BF

550–500

AVI2123

1016

Hydria BF

550–500

Lip Cup BF (Frs.)

575–525

Bremgarten, S. Gottet G 77 Bristol, City Museum H 801

AVI2878

17079

Hydria BF

550–500

Brunswick, Bowdoin College 13.25

AVI2845

310070

Neck Amphora BF (Frs.)

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 301 Painterb

Provenance

PH038

Italy

Priam Painter

Vulci

Manner of Lysippides Painter

Vulci

Leagros Group / Antiope Group

Heidelberg Painter

Tyrrhenian Group

Figurative decoration

Inscription

Bearded man presenting a cock to a nude youth, fox to left, hare to right A: two confronted cocks. B: Europa on the bull Upper panel: figures reclining on klinai, dog, table with food. Lower panel: Herakles attacking a snake at a fountainhouse where a woman is holding a hydria, behind him Athena on a chariot Iolaos with club, Athena on chariot, Herakles, Apollon playing kithara, Dionysos, Hermes Nike holding wreaths

IAOPEN - APENMI

A: KAΥϞ - OEΥEΥ - XOΥϞ. B: OEΥEΥ ϞϞ - XOΥϞ Lower panel: TΥO - Υ - ΓOLϞ - X - Υ - XOϞLI

]TEIE - ]IE - EIE^IE - Αὐτομένε̄ς καλός EIELEIEIE - EIEIELϞL

?]ΥX̣ IOΠΥI - ?]ΥITΥO - E[?

Shoulder: Herakles vs ϞII - ΛE - [..] - XΛO - NΛEI^Λ Nemean lion between Athena and Iolaos. Body: three horsemen and three dogs, fourth hunter by foot Inside: Menelaos and Helene A: ANT[ ]ΛTΛ[ ]TΛTΛIΛ[.]ΛOΛ Body: IΓXΠϞΥ - XEXKX Shoulder: women with spears, Hermes with wreath, draped man seated on block with spear and petasos (judgement of Paris?). Body: a warrior (Memnon?), a black young squire, two black archers armed also of clubs Fight scene with warriors ϞONONOΠ - ]ϞΛ - ΠϞNϞO - ΥOKϞN and horsemen

302

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Brunswick, Bowdoin College 13.26 Brunswick, Bowdoin College 20.1 Brunswick, Bowdoin College 84.23

AVI2846

204373

Cup RF (Frs.)

500–450

AVI2848

208101

Lekythos RF

475–425

AVI2854

361401

Bail Amphora BF

525–475

21037

Band Cup BF

575–525

Bruxelles, J.L. Theodor 40 Bruxelles, Musées Royaux A 1329

AVI2903

12147

Lekythos WG/BF

525–475

Bruxelles, Musées Royaux A 1377

AVI2904

201117

Cup RF

525–475

Bruxelles, Musées Royaux A 2092 Bruxelles, Musées Royaux A 2295 Bruxelles, Musées Royaux A 261 Bruxelles, Musées Royaux A 714

AVI2913

10965

Rhyton BF (ram)

575–525

AVI2914

12130

Lekythos WG/BF

500–450

AVI2891

305596

Oinochoe BF

525–475

AVI2892

301074

Neck Amphora BF

575–525

Bruxelles, Musées Royaux A 715

AVI2892a

310108

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 303 Painterb

Provenance

Figurative decoration

Inscription

Foundry Painter

Cerveteri

Inside: two athletes holding a spear (one seated) seated youth playing pipes, pipes case hanging Funerary scene: a woman and a draped man placing a dead body in a coffin, men, women and youths around them mourning, lamps and vessels hanging A=B: Two grazing deers confronted Draped man mounting a chariot, warrior next to the horses, two women Inside: satyr with wineskin and thyrsos. A: five warriors fighting. B: six athletes training (among them three diskoboloi, one jumper and one acontist) Five naked komasts dancing

]ΥΛHA - ϞϞ^K[

Bowdoin Painter Sappho Painter

Elbows Out

Manner of Nikosthenes Painter

Cerveteri

Athena Painter Painter of Sèvres 100 Phrynos Painter

Kyllenios Painter

Vulci Vulci

[.]ϞTOϞKϞ OϞLTIϞΥT - LABMELITΥTA OIEΓOIOLT - OLTIϞTIOϞ

A: YϞỴLYLI - YϞYIϞI. B: YϞYFϞYϞI - YϞΛ[.] XLΥΥL

B: ENX - Λ - XṬ

]OIX[ - ]ϞO[ - ]O[

Two horsemen

IN - NỌ^NΥϞϞOΥΥ - IOΥ

Woman seated on stool between draped men, vine A=B: warrior arming among six other figures (draped men, youths with spears and women), a Nike under each handle A: four satyrs and three maenads dancing. B: eight warriors running

ΥΛO - TXΥΓ A: [..]ΓϞYIYΓ - Ϟ̣ OϞ̣ O[..]O[.] - ΓYΓϞ̣ [....] - ΠOXI[...] - ΠEO[.]ϞOXX[.] ΓOΠOIYYI. B: ΠFY[...] - NX[.]ΠϞI

A: MONI - MIOMOI - MNO - NO^O INONOΥ - OΥI

304

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Bruxelles, Musées Royaux R 255

AVI2923

207850

Neck Amphora RF

475–425

Bruxelles, Musées Royaux R 291

AVI2929

320062

Neck Amphora BF

550–500

Bruxelles, Musées Royaux R 295 Bruxelles, Musées Royaux R 296 Bruxelles, Musées Royaux R 308

AVI2930

351332

Oinochoe BF

525–475

AVI2931

202141

Neck Amphora RF

525–475

AVI2933

203807

Neck Amphora RF

500–450

Bruxelles, Musées Royaux R 322

AVI2935

204358

Cup RF

500–450

Bruxelles, Musées Royaux R 323 Bruxelles, Musées Royaux R 324

AVI2936

303274

Oinochoe BF

525–475

AVI2937

202341

Column Krater BF

525–475

Bruxelles, Musées Royaux R 326 Bruxelles, Musées Royaux R 337

AVI2938

12150

Lekythos WG/BF

500–450

AVI2942

204578

Cup RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 305 Painterb

Provenance

Manner of Painter of London E 342 Antimenes Painter

Keyside Class

Cerveteri

Manner of Euphronios Triptolemos Painter

Vulci

Foundry Painter

Orvieto

Manner of Keyside Class Leagros Group

Orvieto

Orvieto

Orvieto

Diosphos Painter Orvieto Painter of the ParisVulci Gigantomachy

Figurative decoration

Inscription

A: maenad holding a thyrsos and a snake, deer. B: draped youth A: Athena, Herakles bringing Erymanthian boar to Eurystheus (in the pythos), woman. B: youth holding a liver in front of three warriors (extispicy) Herakles, fallen Amazon with pelta A: Herakles with bow and club running. B: archer A: young warrior arming, woman holding helmet and spear, shield and greaves on the floor. B: draped youth holding a helmet Inside: young warrior between two blocks (helmet on one of them). A=B: three warriors arming Chariot race

A: NOϜ̣ HLO

A: EΥEILEITEIE - ELTEIE - EILTELE - EILE EILE -EIΓE - ELEIΓELEI

TKEṆẸṆ - ΥLXENXN A: XOEI - EΥI - Hεραχ(λε͂ς). B: XIOIEN A: ΥOỌXOIOϞ

Inside: ΓΓΓOϞ - NIONNOENO[.]N A: N^ΥΛ[? - ?]ṆNNE - NΥΥNΛ

TOXEN - ΥOKΔ - HOKOϞ

Neck: ṆΠOΓO - NΓΥ̣ - ΥA[.]ΓENO Neck: two satyrs and two Ṇ[.]Ẹ mules running. A: chariot and two warriors. B: Dionysos with vine and drinking horn and a maenad between two satyrs Four horsemen racing XIΥI - Γ[..] - ΥIΥΥ Inside: draped youth leaning Inside: ΛẠϞONΔX̣ . A: ΓΥOϞI on staff, pipes case, strigils and aryballos hanging. A=B: two athletes boxing and a trainer

306

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Bruxelles, Musées Royaux R 348B

AVI2946

23068

Cup RF

475–425

Bruxelles, Musées Royaux R 385 A Bruxelles, Musées Royaux R 430 C

AVI2949

12070

Lip Cup BF

575–525

AVI2957

305812

Lekythos WG/BF

525–475

Bucarest, Institute of Archaeology V 8506 Bucharest, National History Museum Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1925.30.126

AVI2993

5192

Siana Cup BF (Frs.)

575–525

Fr. of Band Cup BF

550–500

AVI3905

202186

Column Krater RF

500–450

Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1925.30.28 Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1925.30.49

AVI3900

9017685

Cup RF

AVI3902

14955

Lekythos WG/BF

500–450

Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1927.148

AVI3907

205978

Neck Amphora RF

500–450

Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1960.236

AVI3913

201683

Calyx Krater RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 307 Painterb

Provenance

Figurative decoration

Cerveteri

Inside: draped woman seated Inside: [.]EΠΛ̣ Ϟ̣ ^I on chair playing pipes, pipes case hanging A=B: cock and hen A: NENNENENENENENENNE B: NNONENNENENENENENENE Chariot with driver, doe ΥI - Ṇ - [..]Υ^OX

PH043 Manner of Haimon Painter C Painter

Vulci

Histria (Romania) Histria (Romania)

Göttingen Painter

Pioneer Group Diosphos Painter

Alkimachos Painter

Kleophrades Painter

Greece

Inscription

A: satyrs

OΥΥΛ[

Unidentifiable figure

NIOIO[

Neck A: four centaurs running. Body A=B: two warriors crouching, palm trees in the background Satyr with oinochoe

Neck A: ?]ΓΠ[? - ΥΛΛ[.]OΛXΥ - ΥXΛOOϞΛ^Π^[.]OOΓ Body A: ϞϜϞ - EϞΥ - ΛϞ̣ - ΠϞI^Π - NOONOXΥOXΥN[.] Ϟ̣ OΛXN. B: ϞΠϞ ẸẠLΥ^KϞK

Cheiron watching Peleus and Thetis wrestling, altar with snake, palm tree, fleeing Nereid A: Theseus and Sinis grasping a fir tree. B: Draped youth wearing himation with red wreath in hair A+B: Hephaistos on a donkey, on the opposite side Dionysos wearing leopard skin with kantharos and vine, between them satyrs (some wearing leopard skin) holding different objects (lyre, pipes, amphora, krater, axe)

[..]Υ̣ Γ̣[..]Γ̣ - ΥΥIIIL - IL[.]IIẠOI - OOΥΥ̣ OO

A: ΓOẒΓϞΛ | ṂẒΓOϞΛ

A: IOI - ΩE - EIϞ. B: IϞTE - ΠEIOΠ

308

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1972.40

AVI3921

352403

Hydria RF

525–475

Cambridge (MA), Harvard University, Arthur M. Sackler Museum 1977.216.2397

AVI3925

13412

Alabastron WG/BF (Frs.)

525–475

Cambridge (MA), Harvard University, Arthur M. Sackler Museum 60.333 Cambridge, Fitzwilliam Museum (ex Corpus Christi College)

AVI1958

13453

Lekythos Six

525–475

AVI3008

204353

Cup RF

500–450

Cambridge, Fitzwilliam Museum GR.111.1899 + GR.116.1899 Cambridge, Fitzwilliam Museum GR.118.1864 Cambridge, Fitzwilliam Museum GR.120.1899 Cambridge, Fitzwilliam Museum GR.137.1899 Cambridge, Fitzwilliam Museum GR.19.1937

AVI3048

12861

Frs. of Droop Cup BF 550–500

AVI3024

207937

Lekythos RF

475–425

Fr. of Cup BF

600–500

Cambridge, Fitzwilliam Museum GR.23.1937

AVI3051

12834

Fr. of Cup RF

525–475

AVI3043

201128

Cup RF

525–475

AVI3044

204449

Neck Amphora RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 309 Painterb

Provenance

Figurative decoration

Inscription Πρίαμος - XEXI - XETOI - XINI - TETL - XETEI

Attica

Priamos at left, Achilleus reclining on kline, Hektor’s corpse lying on the ground, boeotian shield and helmet at right (ransom of Hektor) Draped figure with kithara stepping on a block, draped figure leaning on staff, two draped figures on a platform (musical contest?) Hunter and deer

Manner of Kleophrades / Pioneer Group

Foundry Painter

Naukratis

Bowdoin Painter

Athens Naukratis

Manner of Pithos Painter Manner of Nikosthenes Painter Briseis Painter

Naukratis

NI - Ṇ^NN - ?]IEΥ - ?]EXEΥ̣

AII - Γ

B: [.] - N - ΥN - ONṆNMN - NNΓN Inside: man playing pipes while reclining on a kline, youth sitting on a table, lyre hanging. A+B: symposion, reclining men playing kottabos, man vomiting, naked woman playing pipes, baskets and lyre hanging Chariots ]I - IΓΓΓTLX̣ ΓTI - [.]ΓΓΓΓΓOΓO - IIΓΓΓΓIΓΓΓỊ Nike holding flower and fruit Λ[ - ΛXϞ and flying to an altar Two draped men with spear XPIOEKF[? confronted. Naked warrior crouching ΥEΥN Inside: man with lyre and staff. A: four young symposiasts. B: five warriors fighting A: Zeus pursuing Ganymedes (holding a hoop). B: draped old man with staff

Inside: ϞΛ^ΠϞΛLELNENEΛNEN^Ϟ A: Λ^NEΛΥ - NX - ΛE[..]T - Γ̣ NỌ B: ỌNΓ[.]Γ - NΛΔNΛ[.] - ΛϜXỌ - OLΓ - N^Π̣ Π[...] A: ΛLIOϞKΛI^O

310

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Cambridge, Fitzwilliam Museum GR.29.1924

AVI3036

201120

Cup RF

525–475

Cambridge, Fitzwilliam Museum GR.32.1899 Cambridge, Fitzwilliam Museum GR.4.1917 Cambridge, Fitzwilliam Museum GR.44.1864 Cambridge, Fitzwilliam Museum GR.7.1932 Cambridge, University, Museum of Classical Archaeology NA 219 Cambridge, University, Museum of Classical Archaeology NA 220 Capua, Excavations 00446682 (tomb T1365) Capua, Museo Provinciale Campano 7560

AVI3050

12859

Fr. of Band Cup BF

550–500

AVI3030

209081

Lekythos WG

475–425

AVI3018

12744

Lip Cup BF

575–475

AVI3037

310047

Neck Amphora BF

575–525

Fr. of Band Cup BF

575–525

Fr. of Band Cup BF

575–525

Lip Cup BF

575–525

AVI3095

207669

Neck Amphora RF

500–450

Capua, Museo Provinciale Campano T 141.3 Catania, Museo Civico Castello Ursino Catania, Museo Civico Castello Ursino Catania, Museo Civico Castello Ursino Cerveteri, Museo Nazionale Cerite 62665

AVI3086

10017

Band Cup BF

575–525

28502

Fr. of Lip Cup BF

575–525

Fr. of Siana Cup BF

575–525

Fr. of Lip Cup BF

575–525

Band Cup BF (Frs.)

550–500

28501

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions Painterb

Provenance

Manner of Nikosthenes Painter

Thespiai Vulci

A=B: two fighting cocks

Tyrrhenian Group

A: Amazonomachy with Herakles. B: three horsemen Naukratis

Sakonides

Painter of the Yale Lekythos

Inscription

Inside: jumper with A: ?]ΛΥΥ halteres and trainer. A: five hoplitodromoi. B: diskobolos, youth with horse Horseman riding, warrior OΥLΓI - Γ^NOΥ - NΥ[ fighting Flying Nike with sash ḤḤNNṆNHT

Naukratis Karlsruhe Painter PH015

Figurative decoration

A: ϞNϞNϞNϞ - [..]ΓOΓNΓ[...] B: XONEOEOE - XNỌNENϞ A: ]EIE^[.]E ]XΠOXΠO

Naukratis

Head and upper back of male ΠYIXITE figure

Capua

A: horseman. B: centaur

A: LYIϞEYϞYXϞYϞYXϞY B: ϞYXEYXϞYXϞXXO Capua A: Eos pursuing. B: Kephalos B: EOẸΔE in chlamys and petasos and dog Capua A: ΛYIΛITYITFΛITITNIFI B: ΛITYIṬIT[..]TΛIT[.] Catania, Piazza Feline A: ẸϞḶϞILI[ S. Francesco Catania Two warriors looking in F̣ ϞL[ opposing directions Catania, Piazza Feline EϞΠ[.]IΓI[ S. Francesco Cerveteri TΛNϞNΛ[.....]N

311

312

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Champaign-Urbana, University of Illinois, Krannert Art Museum 1970–9-3

AVI7880

5172

Amphora BF

575–525

Champaign-Urbana, University of Illinois, Krannert Art Museum 1972–13–1 Champaign-Urbana, University of Illinois, Krannert Art Museum 1972–13–2 Chapel Hill (NC), Ackland Art Museum 77.6.2 Chianciano Terme, Museo Civico Archeologico Delle Acque coll. Terrosi 88 Chiusi, Museo Archeologico Nazionale C 1846 (Fig. 11) Christchurch (NZ), University of Canterbury, J. Logie Memorial College 34/55 Città del Vaticano, Museo Gregoriano Etrusco Vaticano 16573

AVI7881

17717

Lekythos WG/BF

525–475

AVI7882

18522

Alabastron WG/BF

525–475

AVI3134

9017595

Lip Cup BF (Frs.)

575–525

Lip Cup BF

575–525

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 16582

AVI3170

7560

Cup RF

475–425

AVI3180

6700

Lip Cup BF

575–525

AVI6963

201656

Amphora RF

525–475

AVI7018

203905

Cup RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 313 Painterb

Provenance

Painter of Berlin 1686 / Manner of Exekias

Athena Painter

Figurative decoration

Inscription

A: youth on horseback leading a second horse, between draped man and youth, both with spear. B: two naked youths on horseback with spear Kaineus falling between two centaurs with trees

A: KϞNϞN - KNΔϞN - KϞNEKϞNE - KΔOFϞY. B: ΓKΠϞΛϞN - KϞKϞKϞ KϞΛϞΛ - KϞKϞΛ - KϞYOK

Ϟ^HỊHH

Sappho Painter

Three dancing maenads (two ϞON - ΔϞỌṆṆ - F̣ Γ̣ IỌIOTO with krotala) ΠNONṆ[.] - NO[.] - O[.]YI=N=ION

Manner of Tleson Painter

Two panthers facing each other Chiusi

Chiusi Orvieto

Kleophrades Painter

Vulci

Brygos Painter

Vulci

[.]ϞΓP̣ ΓIΓ[.]Ϟ A: OIOϞ[ ]ΠA

Inside: draped man with ϞϞϞϞϞϞϞϞ staff, chair, sponge, aryballos A=B: lion and bull A: ϞKNϞNKXNΓ. B: ϞΛΠHTΛϞLΛO

A: Herakles, Athena and B: NOTΠO Iolaos with spear and helmet. B: two komasts dancing (one draped with krotala), pipes player between them Inside: youth playing pipes, Inside: YϞEI^ϞI man with cup, both reclining, table, basket hanging. A+B: baby Hermes, cattle of Apollon, woman on each side

314

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 16583

AVI7019

203946

Cup RF

500–450

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 17752 (G 71) Città del Vaticano, Museo Gregoriano Etrusco Vaticano 17810/ Alb 323 Città del Vaticano, Museo Gregoriano Etrusco Vaticano 17821/ Alb 324 Città del Vaticano, Museo Gregoriano Etrusco Vaticano 17827/ Alb 325

AVI7026

200137

Hydria RF

550–500

AVI6974

9016803

Lip Cup BF

550–500

AVI6975

9036682

Band Cup BF

525–475

AVI6976

2850

Band Cup BF (Frs.)

575–525

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 343

AVI6978

2508

Cup BF

575–525

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 34526 (G 13)

AVI7022

310055

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 315 Painterb

Provenance

Figurative decoration

Inscription

Brygos Painter

Vulci

A: ]ON^EN^NOEE- AEN. B: ONEṆ ]N - ΛEỌE

Euthymides

Vulci

Inside: warrior arming, old man holding helmet. A: three warriors arming, two draped youths with staff, child. B: warrior and child unwrapping shield, three warriors arming, child holding shield Man filling krater from pointed amphora, a youth on each side (one playing pipes)

XXEI - EXYX - XTOTLE - TI - XYT - KXL^O A: EΠOIEAONAONAϞEA B: EΠOIEANAON[..]EA

Vulci

Sakonides ?

Vulci

Guglielmi Painter / Guglielmi Group / Tyrrhenian Group

Vulci

A=B: boars and bulls fighting A: [.]EṆEOEṆE[.]E[.] in frieze XA[.]PEṆEṆ[.]. B: ?.]IPEṆEṆOE[.] XA[.]I[..]ΠIΠI[.] - XA[.]IṆ[..]EIṆ Several warriors arming LYϞOITϞ - EYΠϞOϞΠϞ - LTEΠϞOϞΠϞ - .]YTY - ṆI - ΠLT - ϞIϞTϞT - ϞTϞTOTϞ - ϞOLTϞOϞT - ϞTϞT[.]Ϟ - ϞIOϞTEO ?]ITϞOϞΠ̣ O - ϞIO[.]TITϞ - LTϞ - OΠIOϞ - ϞT[.]OϞT A=B: Aias and Achilleus A: IΛΓϞΓḲ - KIϞϞ[..] - KIϞIK - IKTI seated, playing boardgame FϞOI - X[.]XEΛ[.] - ΠI[.]YI - FΛ>FXI between onlookers (warriors - ϞΓOKXF[.]Λ - FΓKϞOḲI - KIYKYOI and draped men) - FFIOX[.] - [.]ΓY - FϞI[.]. B: LTOFLIOΓ - KΛ - ẸIL - FΓϞ̣ O - KXKXO - X[. KTẸ[.]OΓ - XΓOXΛ - YKXOKI - LTO XΓΛIONIXKΓO - L[..]O[....]K EΓOΛΓI^ḲΓOI - IXXXE - KΓO[ - KTL - [.]XΛ̣ [? A: three warriors against an A: [.]OIOΓYOΛ - YOΠONO Amazon, draped figure with NONON. B: IΛOKϞNO - EϞYϞN^NϞ petasos, three more warriors - NOTY^OTYO (one falling). B: duel between warriors, horseman and woman on each side

316

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 34950.2.1 / Ast 4 Città del Vaticano, Museo Gregoriano Etrusco Vaticano 35675 Città del Vaticano, Museo Gregoriano Etrusco Vaticano 368

AVI7028

306561

Lip Cup BF

575–525

AVI6944

20234

Pyxis BF

550–500

AVI6986

302585

Cup BF

575–525

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 370

AVI6988

302090

Amphora BF

550–500

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 372

AVI6989

302102

Amphora BF

550–500

Città del Vaticano, Museo Gregoriano Etrusco Vaticano 39546 Città del Vaticano, Museo Gregoriano Etrusco Vaticano 39547 Civitavecchia, Museo Civico

AVI7271

301134

Lip Cup BF

575–525

AVI7270

9017787

Lip Cup BF

550–500

AVI3190

302608

Fr. of Lip Cup BF

575–525

Cleveland (OH), Museum of Art 1916.1061

AVI3196

340774

Lekythos BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 317 Painterb

Provenance

Figurative decoration

Inscription

Sakonides

Orvieto

A=B: female head

A: EΛOZIXYOLIOZITYIOZENEN B: XE[...]IṬ[.]MOALO[.]EYEΛEOZ IIΓỊII[ - IIIΓΓ^ΓΓΓΓ - IIIΓΓϞ[.]ΓΓIIϞ IIIΓI[.] - IΓII - IϞ̣ ΓϞ[.....] [.]X[.]XXX[.]XX[.] A: YX[.] - YOỴYOϞ[.] - [..]IΓ[...]I

A: XXYX̣ X̣XYXXXEXOXXXOX

Manner of Group E Wraith Painter

Vulci

Leagros Group

Cerveteri

Leagros Group / Antiope Group

Cerveteri

Taleides Painter

Vulci

Kaineus and youth running in chlamys with club between centaurs A=B: Amazonomachy (three duels between Amazon and warrior) A: Aias carrying the body of Achilleus, at their left old man and woman, at right warrior and archer with axe. B: Dionysos mounting chariot, satyr with kithara, two maenads A: Herakles vs Kerberos, at left Athena, at right Hades and Persephone (seated). B: Ariadne mounting chariot, Dionysos with vine, woman or maenad with panther A=B: lion

Kalistanthe Painter

Vulci

A=B: female head with pilos

Manner of Group of Berlin 1803 Group of Cleveland 16.1061

Etruria A=B: female head (Civitavecchia?)

A: ΛA^Y^O - YO - ϞA - ϞN - ΓAIX

A: NXΔEO - NOEHYXΔI - NΔXY MΔXY - [.]ΛYϞΓ

A: Tαλείδε̄ς ποίε̄σεν B: TΓEΓΓIOΔANEIΔLΔNΦ

ΛΓXO[............]ΛΛΓX[?

Three men with staffs (one ΛIO^Υ̣ ^H - OIΥOΥIOI - O^ΥΥΥ̣ Ịwith drinking horn) dancing ΥΛϞΥ^ΥE^ΥϞϞ - [.]ΛΓΓ^Υ (kōmos)

318

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Cleveland (OH), Museum of Art 1927.145

AVI3201

761

Loutrophoros BF

525–475

Cleveland (OH), Museum of Art 1928.660 Cleveland (OH), Museum of Art 1965.78

AVI3202

207549

Lekythos RF

475–425

AVI3203

758

Siana Cup BF

575–525

7978

Cup RF

525–475

AVI3217

201758

Psykter RF

525–475

Copenhagen, National Museum of Denmark 3760

AVI3244

215311

Bell Krater RF

450–400

Copenhagen, National Museum of Denmark 3880

AVI3247

203934

Cup RF

500–490

Columbia (MO), University of Missouri, Museum of Art and Archaeolgy 75.81 Compiègne, Musée Vivenel 1068

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 319 Painterb

Oionokles Painter

Provenance

Italy

Oltos or Epiktetos Euthymides / Oltos / Kleophrades Painter Manner of Dinos Painter

Vulci / Cavalupo / Canino

Brygos Painter / Dokimasia Painter

Italy

Figurative decoration

Inscription

Six women mourning before the funeral couch of a young man Warrior cutting a lock of his hair with his sword Inside: duel between warriors. A: horseman between six draped men (three on each side). B: four draped men (one with wreath), warrior facing a naked youth with wreath, horseman Satyr with pelta and spear

OIΥ^LT - OLT^OIOϞO - OΥ

Herakles and Dionysos, satyrs on a platform, kraters and a kantharos

IOLELE - IALINIΥNE - LΥN[.] IϞΥΠ[.]ΥLIϞ

ΥΛIOϞEΓΥ - ΓΥIOϞEΓΥ A: ΥEOϜI - Π̣ ΥΠΥ[....] - EΥOOOI IOOO[..]. B: NAΥI - ΠEΓΥϞ̣ - ΛΥ[.]Υ NEΥΥI - XIIϞII - ẠΥLΥI - Ḳ[......]

ENO^EϞENỌX

IϞ̣ II - IỌOΥOO A: draped man leaning on staff, man crouching, above him a herm, woman holding a cloth next to a building (temple? rescue scene?). B: three draped youths Inside: TIOΓ - NΥNΥX. A: IO^ϞN Inside: man on kline vomiting, assisted by a youth, B: ONΠ - ONΠ̣ krater on the floor, lyre suspended. A: column, two youths dancing, two men, one playing lyre, one singing. B: three men dancing (one with skyphos), pipes player, lyre player

320

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Copenhagen, National Museum of Denmark 4707 Copenhagen, National Museum of Denmark 5615 Copenhagen, National Museum of Denmark 8385

AVI3248

10666

Lexythos Six

500–450

10628

Lip Cup BF (Frs.)

575–525

AVI3251

351299

Oinochoe BF

550–500

Copenhagen, National Museum of Denmark B 60 Copenhagen, National Museum of Denmark B 87

AVI3225

10755

Band Cup BF

575–525

AVI3226

10668

Lekythos BF

500–450

Corinth, Archaeological Museum C 1979.31

AVI3308

41634

Lekythos BF (Frs.)

525–475

Corinth, Archaeological Museum C 33.130 Corinth, Archaeological Museum C 47.701b

AVI3283

28181

Fr. of Lekythos BF

500–450

AVI3293

41491

Fr. of Cup BF

550–500

Corinth, Archaeological Museum C 66.35

AVI3294

9016493

Fr. of Cup BF

550–500

Corinth, Archaeological Museum C 69.130 Corinth, Archaeological Museum C 71.27 Corinth, Archaeological Museum C 72.296 Corinth, Archaeological Museum CP 1534 Corinth, Archaeological Museum CP 2261

AVI3296

41510

Fr. of Band Cup BF

550–500

AVI3298

9017211

Fr. of Cup BF

550–500

AVI3302

41518

Fr. of Cup BF

550–500

AVI3310

18888

Cup WG/BF

500–450

AVI3312

867

Kantharos BF (Frs.)

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 321 Painterb

Class of London B 524

Sappho Painter Manner of Sappho Painter Diosphos Painter

Provenance

Figurative decoration

Inscription

Boeotia

Man with staff pursuing a woman

HIOϞTTKΥ - NOϞOLTI

Rhodes

A: ?]ỊOΛLΠOṬΛLEΠOIEYEYEY:

Italy

ḶIΓLϞA

Youth and naked woman having sex between two youths dancing Greece A=B: men and women with krotala dancing (kōmos) Sicily Aias pursuing Kassandra at the altar, statue of Athena, another warrior Corinth, Figure mounting a chariot, Forum SW Hermes, Dionysos with wine and kantharos, Artemis, Apollon with kithara, deer Corinth, South Chariot, warrior falling Stoa Corinth, SE Hind quarters of a feline Building, well 1947–4 Corinth, peribolos of Apollon Corinth, Sacred Spring East Corinth, Forum SW Corinth, Forum West Corinth Two dancing women with krotala between palmettes Corinth Youth with spear, draped figure

IϞΓ̣ ḶXIϞ - OϞΥϞ[..] - Γ[.]̣ΓIΥϞΓI ΥN[.]LΥΥḶ[.] Αἴας ̣ - AϞ^Ϟ̣ - Ọ^XỊI - AϞ̣ XA^Ọ

OA - A - Ϟ

IEHIXϞ XAΔΠ[

]IẠXΠA[

KAỌL[ ]ΥEIΥIΥ[ ]ΓΥTIϞΠ[ ϞTΓ - Γ^Γ - ΥΓϞ ỌOOΠΠΥ[.]II

322

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Corinth, Archaeological Museum MP 89 Corinth, Archaeological Museum T 1477 Corinth, Archaeological Museum T 2954 Corinth, Archaeological Museum T-1480 Corinth, Archaeological Museum T-1520 Cracow, Czartoryski Museum 1079 Cracow, Czartoryski Museum 1080 Cracow, Czartoryski Museum 1211

AVI3316

209089

Lekythos WG/RF

475–425

AVI3319

46065

Fr. of Band Cup BF

550–500

AVI3323

9017608

Band Cup BF

550–500

AVI3320

9017529

Fr. of Lip Cup BF

575–525

AVI3321

9017909

Band Cup BF

550–500

AVI3328

350915

Cup BF

550–500

AVI3329

13994

Band Cup BF

550–500

AVI3330

204601

Cup RF

500–450

Cracow, Czartoryski Museum 1245

AVI3331

302372

Lekythos BF

550–500

Cracow, Czartoryski Museum 1463a Cracow, Czartoryski Museum 1497

AVI3334

1011706

Cup RF

525–475

AVI3335

331423

Lekythos BF

525–475

Cracow, Czartoryski Museum 605 Cyrene, Archaeological Museum Sb 409.13

AVI3327

208066

Lekythos RF

475–425

28649

Fr. of Band Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 323 Painterb

Provenance

Figurative decoration

Inscription

Karlsruhe Painter

Corinth

Woman with basket or box, chair, column

ΥIΥI - IN[..]

Corinth, North Cemetery? Corinth, North Cemetery Corinth

Manner of Rhodes 11941

Painter of the Paris Gigantomachy

Corinth, North Cemetery Attica ? A=B: Pegasos

Aegina?

Leagros Group / Daybreak Painter Painter of Berlin 2268 Haimon Painter

Bowdoin Painter Manner of Oakeshott Painter

A: EΠOIYEΠOIYEΠOIYEΠOIYN B: EΠOIΥXEΠOIΥHϞΥEΠOIΥ A: LLLḶLX̣ IXẸΛYLLOϞ̣

Greece

Attica Cyrene, Sanctuary of Demeter and Kore

Inside: draped youth with one hand in a laver, column at the right. A=B: youth leaning on staff between two jumpers Achilleus running next to Hektor’s corpse, which is dragged by a chariot, winged woman running (Iris?) Inside: young komast dancing with staff Achilleus seated in front of an old man (Phoinix), between them two draped men (Aias and Odysseus) Naked woman at laver, cloth hanging Siren

A: IXXILLΓ̣ ͰLL B: LLXOͰLΓIOϞ A: LϞIALOΓVETLOϞ B: LOYϞMIMIΔEϞXϞ A: XAIETϜEKAI - XAIΠOIEϞEN B: XAI[ A: ΥXΥELΠLΥLKXΥLΥ B: ΥLΥLXEXELΠLXLΥ Inside: ΓOϞKTE

EΥϞ - ΠOMEΠϞ - HETIEI - ΠOM - TEPOϞ

OΥ - X - ΥϞΓI[? - ΥΥ[? ALP - AAP

ITΔΠ ]EϞ - EϞT

324

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Delos, Archaeological Museum B 6.129

AVI3350

302355

Lekythos BF

550–500

Delos, Archaeological Museum B 6137.546

AVI3349

302338

Lekythos BF

550–500

Delos, Archeological Museum B 7605

IOI 6

Portable oven (Frs.)

700–600

Dresden, Staatliche Kunstsammlungen, Skulpturensammlung 288 Dresden, Staatliche Kunstsammlungen, Skulpturensammlung Dr. 218 Dresden, Staatliche Kunstsammlungen, Skulpturensammlung Dr. 221 Dresden, Staatliche Kunstsammlungen, Skulpturensammlung Dr. 265 Dresden, Staatliche Kunstsammlungen, Skulpturensammlung ZV 1610 Durham (NC), Duke University, Nasher Museum of Art DCC1965.8 (Fig. 6)

AVI3365

200096

Neck Amphora RF

550–500

351588

Pelike BF

525–475

Band Cup BF

550–500

Oinochoe BF

500–450

AVI3377

204551

Cup RF

500–450

AVI3398

310140

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 325 Painterb

Provenance

Figurative decoration

Inscription

Leagros Group / Manner of Delos 547

Delos

OEϞI - OϞIN - ONϞEΥϞ - EΥO^ΥOϞ - EΥϞIϞ

Leagros Group

Delos

Delos

Hermes holding sword and club, Herakles fighting against Geryon, Orthros, woman mourning (Hera? Kallirhoe?) Hektor’s corpse being dragged by a chariot, next to it a fully armed warrior, winged woman in front of the charioteer, two winged eidola with helmets at the sides of the tomb Satyr running

Nola

A: Herakles. B: Kyknos

A: AΘETϞ - ENϘXEϞ B: NOAX

A: Dionysos seated. B: satyr pursuing maenad

B: O[..] - Υ[.]ΥỌ - [.]ϞΓϞ̣

Manner of Pioneer Group

Theseus Painter / Nola Athena Painter

HϞΥΓIϞΠϞ

]NẠEΔEIP̣ [ - ΩY[

A: ]EΠKΠONAϞA B: ϞΟΝΑLTEΠONAϞEΥT

Painter of the Paris Gigantomachy Manner of Tyrrhenian Group

Veiled woman saying goodbye to a departing warrior, dog Inside: youth leaning on staff, strigil and aryballos hanging. A=B: fight A: duel of warriors between a draped man and a woman on each side. B: duel of warriors between two women

O[.]ΥIXI

Inside: ΥENΠΓEIỊΥ

A: KYO[.]NI - KTYEϞK - XϞNΠKϞΛ - KNΓNTL. B: HKϞΓ - XϞNϞ̣ NIN KϞΓKϞNϞΓ[.] - KTNϞNTN

326

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Edinburgh, National Museum of Scotland A.1872.23.4 Edinburgh, National Museum of Scotland A.1881.44.21 Edinburgh, National Museum of Scotland A.1881.44.22

AVI3402

31435

Lip Cup BF

575–525

AVI3404

31437

Lip Cup BF

575–525

AVI3405

31438

Oinochoe BF

550–500

Edinburgh, National Museum of Scotland A.1956.465 Eleusis, Archaeological Museum Eleusis, Archaeological Museum 1231

AVI3407

214984

Hydria RF

450–400

AVI3415 AVI3432

200574 15555

Fr. of Plate RF Lebes BF

525–475 575–525

7920

Plate BF (Frs.)

500–450

7965

Epinetron BF (Frs.)

525–475

7919

Plate BF (Frs.)

500–450

Lip Cup BF

575–525

Eleusis, Archaeological Museum 905 Eleusis, Archaeological Museum 907 (Fig. 34) Eleusis, Archaeological Museum 939 Erlangen-Nürnberg, FriedrichAlexander-Universität, Antikensammlung I 1272 Essen, Museum Folkwang A 176

Eugene (OR), Moore

AVI3431

AVI3804a

AVI3458

351214

Amphora BF

525–475

AVI3460

204324

Lekythos RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 327 Painterb

Provenance

Figurative decoration

Inscription

Capua

A=B: female head

A: NEENOEINOEϞϞϞE B: KNEIOEOϞOEΠNϞ A: ΓIΓIΓIΓIΓIΓIΓIΓ B: ΓIΓIΓIΓIΓIΓIΓIΓI NEOTΔKLO - καλε̄́

A=B: lion attacking a bull Athena between Achilleus and Aias who are playing a board game Eros pursuing a woman

Washing Painter Oltos

Eleusis Eleusis

ϞΠϞ̣ Υ[..]

Eleusis

Peleus and Thetis A: Midas seated, behind him a figure with raised hand, in front of him a herald introducing the captured Silenos, kept tied by a man with spear. B: two youths, one with pick, one ploughing, man with sack, mule or ox Maenad dancing with krotala

Eleusis

Amazons arming (one with ΠΕΗΙ - ΕΤΟΤΟΤ - Η^OT - ΤΕΙΤ trumpet), Amazons riding horses Maenad dancing with krotala ]ΙΝΑ^YΝY[

Sappho Painter

Inside: deer scratching his head with right hind leg Leagros Group

Painter of the Yale Cup

- ΔENOI^EKOϞNI^ΔϞ

Greece

]ΥΠLΠ A: ILXΓΓTTX[.] - ỌIΓXTΠΓΓΓΓ IXTTXXΓΓΓϞΛX - IIXXOOO - XΓΓΠO[

]ΠΓΙ[

Inside: XIỌEΔIE

A: Aias and Achilleus playing A: OTΥOϞII^ΥI - ΥITOΥ^ΥT - OI - ϞT a boardgame, Athena - Ἀθε̄ναίας. standing in the middle. B: Artemis mounting a chariot, Apollon playing the kithara Eros flying to a burning altar [...]IIṆϞϞẸ

328

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Ferrara, Museo Nazionale di Spina T 381

AVI3493

207139

Volute Krater RF

475–425

Firenze, Museo Archeologico Etrusco Firenze, Museo Archeologico Etrusco Firenze, Museo Archeologico Etrusco Firenze, Museo Archeologico Etrusco Firenze, Museo Archeologico Etrusco (Vagnonville collection)

AVI3522

9017677

Fr. of Band Cup BF

575–525

Fr. of Lip Cup BF

575–525

Fr. of Band Cup BF

550–500

Fr. of Band Cup BF

550–500

AVI3521

9036651

Band Cup BF (Frs.)

550–500

Firenze, Museo Archeologico Etrusco 1 B 36 + 1 B 52–53 + 6 B 1 + 6 B 8 + Heidelberg, Antikenmuseum und AbgussSammlung der Universität S 4 + Roma, Museo Nazionale Etrusco di Villa Giulia Firenze, Museo Archeologico Etrusco 11 B 22

AVI3623

200542

Cup RF (Frs.)

525–475

AVI3668

203708

RF Cup (Frs.)

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 329 Painterb

Provenance

Figurative decoration

Etruria

Upper frieze A: young kithara Upper frieze B: ΔOIΔLϞ player as winner of a music contest between two Nikai, around them draped male figures. B: men and youths, one staring at an iscription on a stele. Lower frieze A: Zeus and baby Dionysos holding kantharos and ivy leaves, surrounded by female figures (nymphs?). B: acontist, pipes player, acontist, trainer ΠϞOIKϞ

Etruria

Quadruped

Altamura Painter Spina

Etruria

Oltos

Colmar Painter

Inscription

]Λ̣ XXAI ]XOMXNONMX

Etruria

Horseman, naked runners

EϞXX̣ ẠϞ̣ - ΠϞOI[..]

Chiusi

A=B: nude youth carrying two wreaths, man embracing another youth who holds up a wreath Inside: naked man running. A: Herakles vs. Nessos, Deianeira at right. B: satyrs, maenads and a donkey

A: ΠϞEIN - AEIYΠϞIAXϞNϞΠEϞ AI[.]E - TAϞEϞTLE. B: ]YϞ - ]ENϞNϞ ]EϞΠ[.]

Inside: warrior with helm and shield. A+B: sympotic scene with men and youths (one holding a pipes case)

A: ANP̣ OKẠ - NỌ[.]

Inside: KPETN[ A: [..]OϞEN [Hε]ρακ[λε͂ς] - Δαιάνειρα

330 Current location Firenze, Museo Archeologico Etrusco 151084 Firenze, Museo Archeologico Etrusco 3 B 15 + 3 B 20 + 9 B 16

Appendix Corpus numbera BAD number

Shape

Chronology

Lip Cup BF (Frs.) AVI3628

202363

Frs. of RF Cup

500–450

Firenze, Museo Archeologico Etrusco 3773

AVI3540

310008

Neck Amphora BF (Frs.)

575–525

Firenze, Museo Archeologico Etrusco 3858 Firenze, Museo Archeologico Etrusco 3916

AVI3544

8076

Hydria BF

550–500

AVI3550

211514

Stemless Cup RF

475–425

Firenze, Museo Archeologico Etrusco 3924

AVI3556

202077

Cup RF

525–475

Firenze, Museo Archeologico Etrusco 3965

AVI3566

201339

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 331 Painterb

Provenance

Figurative decoration

Inscription

Etruria

Running hare

A: ΓIΠIΠIΠIΠIΠIΓITIΠ B: ]ΠIΠIΠIΠI[ Inside: Λέαγρος. A: HIΓN[?

Myson

Castellani Painter

Tarquinia

Manner of Vulci Psiax Manner of Tarquinia Painter Manner of Chiusi Nikoxenos Painter Manner of Epeleios Painters

Inside: satyr and maenad with krotala, tree. A: warriors (some on horseback) Neck A: fight scene with warriors (one fallen) and horsemen. B: departing warrior receiving a boeotian shield from a woman, behind her two more women holding a shield and a sword respectively. Shoulder A: Amphiaraos mounting a chariot between mourning women and old men. B: chariot race (a fallen horseman), column, onlookers by a tomb, tripod (funerary games?). Body A: Herakles and other warriors fighting against Amazons. B: satyrs and maenads (some dancing), Dionysos with chitoniskos and nebris Charioteer on chariot, dog

Neck B: IΓO. Shoulder A: EIEOEX ΓXEOΓIE - ΓϜΓEOL. Shoulder B: EOΓΓ - ]ΓXEOXO - ΓΓOE. Body B: OΠΓXOXΓ - OXOEOEOϞO

NX - ỌX - XAXX - XPEΥ - IΥXN

Inside: young athlete at laver ΓKL

Inside: youth with oinochoe and skyphos

Inside: ?]Π̣ ΥΠΓ̣ ENΥEΥḶΥ - EΓNE [.]EΥEΠE^Ϟ

Inside: nude warrior running. Inside: ho παῖ^ς καλός. A: Λ - Υ A+B: fight scene with nude B: Λ - Λ - Λ. warriors and horses, tree

332

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Firenze, Museo Archeologico Etrusco 3991

AVI3569

Column Krater RF

500–450

Lip Cup BF

575–525

Firenze, Museo Archeologico Etrusco 71008 Firenze, Museo Archeologico Etrusco 71009 Firenze, Museo Archeologico Etrusco 72732

202261

AVI3511

301096

Lip Cup BF

575–525

AVI3587

9458

Pelike BF

525–475

Firenze, Museo Archeologico Etrusco 81600

AVI3605

356

Cup RF

525–475

Firenze, Museo Archeologico Etrusco 91455

AVI3612

201308

Cup RF

525–475

Firenze, Museo Archeologico Etrusco 94753 + Paris, Musée du Louvre CA 7400 Firenze, Museo Archeologico Etrusco 95089

AVI3615

8297

Frs. of Hydria BF

575–525

Fr. of Lip Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 333 Painterb Chairippos Painter

Provenance

Figurative decoration

Inscription

A: fight scene with warriors A: LṆỌḲΓEϞ (one kneeling), hindquarters of a horse. B: kōmos scene with two youths (one with staff, the other with cup) Pescia Romana A=B: female head A: NIXNIXNIXNN B: NIXNIXNIXNI Sakonides Pescia Romana A=B: female head A: NIXNIXNIXNI B: NIXNIXNINNIX A: καλòν εἶ. B: Κ[.]NAMEMI Manner A: bearded oil seller sitting of Antimenes on a basket (?) and holding Painter a stick over a pelike, female customer in front of him. B: bearded oil seller protecting his jars from two dogs Saturnia Inside: Hephaistos on winged Inside: KΔ - Υ^NΥX^ΥX^XΥ chariot holding an axe. A: naked youths leading a bull to sacrifice, behind them a youth holding two knives. B: youths leading horses in front of a young trumpeteer Inside: N[.]ΥO - ΥOΥ^Γ[ Epeleios Painter Inside: naked youth sitting on a big basket or pythos and filling it with a pick. A+B: naked youths with horses, on one side a draped youth and a seated man with staff in the centre Painter of Louvre Shoulder: two duels between Shoulder: OΥḶAϞII[ - ]ϞΥϜΓ F 51 / Painter of warriors. Body: Herakles vs. - Ϝ̣ ϜΥOΥΥ[...] Acropolis 606 Geryon Etruria XIEϞAϞΠIϞ[.]MO

334 Current location Firenze, Museo Archeologico Etrusco 95111 Firenze, Museo Archeologico Etrusco 95114 Firenze, Museo Archeologico Etrusco 98813 Firenze, Museo Archeologico Etrusco PD 250

Appendix Corpus numbera BAD number

Shape

Chronology

Fr. of Cup BF

575–525

Fr. of Cup BF

575–525

Lip Cup BF

540–530

AVI3708

275967

Cup RF

500–450

Firenze, Museo Archeologico Etrusco PD 362

AVI3716

203513

Cup RF

500–450

Firenze, Museo Archeologico Etrusco PD 425

AVI3720

203982

Fr. of Cup RF

500–450

Firenze, Museo Archeologico Etrusco PD 54

AVI3699

210136

Cup RF

475–425

Firenze, Museo Archeologico Etrusco V 15

AVI3724

201710

Stamnos RF

500–450

9017971

Cup BF

575–525

9023168

Band Cup BF (Frs.)

550–500

350219

Lip Cup BF Neck Amphora BF

550–540 600–550

Firenze, Museo Archeologico AVI3726 Etrusco V 40 Firenze, Museo Archeologico Etrusco, Museo Archeologico Nazionale Etrusco (coll. Vagnonville) Frankfurt, Archäologisches Museum β 513 Frankfurt, Goethe-Universität, AVI3754a Antikensammlung 136

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 335 Painterb

Manner of BMN Painter Manner of Dokimasia Painter Antiphon Painter

Provenance

XϞEϞNTϞ[

Etruria

]EKONKEN

Etruria

A=B: four naked komasts dancing Orvieto, Fontana Inside: warrior crouching del Leone

A: ]OΠỌϞΠO[..]FΠOΠFO B: ]ΠϘ[.]YΠFỴΠONΠNFON Inside: ILϞ̣ Ϟ̣

Populonia

Inside: KOΓΓIϞ. A: Λ[ῦσ]ις κ[αλός] B: ΥΓ

Telephos Painter

Populonia

Kleophrades Painter

Chiusi

Kyllenios Painter / Tyrrhenian Group

Inscription

Etruria

Brygos Painter

Manner of Taleides Painter

Figurative decoration

Chiusi

Inside: draped youth with staff. A=B: two hoplitodromoi on either side of a trainer Inside: seated woman holding some vegetable over a cauldron, cloth hanging Inside: woman, sash hanging, vessel at her right. A+B: draped youths and men (some with staff), strigil, sponge, aryballos and animal leg hanging, column A: trainer between diskobolos and akontist. B: three draped youths with staff (one with flower) A+B: Amazonomachy (on A Herakles vs. Andromeda) A: ithyphallic youth with two wreaths, man embracing naked youth with wreath. B: legs of three men Shoulder: A: Herakles vs. Hydra, at their left a woman, a chariot mounted by Iolaos and Athena. B: fight scene with warriors duelling

Inside: ]ΠΓΥIN

Inside: καλός. A: ΠΙLỌϞΥỌΠΥ B: IIΥ[.]Π

A: O[?]O - OE[?]X[?

B: ΥΙ[.]ỌΠINI A: ΠϞEIN - ḶF[.]ỌΓỌϞE - ΔENΔEI AIOEI - TΔϞEϞTLϞ̣ [.]. B: ]NI - ]ENITϞ - ]EỌΠE - ]ṆI A: LTLTLTLOLOLTL B: LTL[ ]LILϞ̣ A: ]ϞONOϜϞOΓ - EϞOΥOΥI ΛPOEIOΠ - HOϜϞON - NIIΓϜϞO ΥIOE[..] - ΓϜϞOE. B: HOEϞO - NOE[ - INOIϞỊO - ]TOI

336

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Frankfurt, Liebieghaus 109/1515

AVI3733

203921

Fr. of Cup RF

500–450

Frankfurt, Museum für Vor- und Frühgeschichte B 285

AVI3744

350269

Neck Amphora BF

600–550

Frankfurt, Museum für Vorand Frühgeschichte B 394

AVI3745

12585

Band Cup BF (Frs.)

550–500

Lekythos WG/BF

525–475

Freiburg, market (Galerie Günther Puhze 31.2017 lot 60) Gela, Museo Archeologico N 108 B

AVI3773

303453

Neck Amphora BF

525–475

Gela, Museo Archeologico N 112 B

AVI3774

204673

Lekythos RF

500–450

Gela, Museo Archeologico N 61 Gela, Museo Archeologico N 63

AVI3768

204124

Lekythos WG/RF

500–450

AVI3769

207815

Neck Amphora RF

475–425

Genève, market

AVI3796

302793

Neck Amphora BF

550–500

Genève, Musée d’Art et d’Histoire 018043

AVI3788

208057

Lekythos RF

475–425

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 337 Painterb

Provenance

Brygos Painter Castellani Painter / Tyrrhenian Group

PH022

Sappho Painter

Figurative decoration

Inscription

Satyr with krotala, maenad with thyrsus A: centaurs (some with trees, one with rock) fighting against warriors. B: duel between warriors over a fallen warrior, male and female onlookers at the sides (one holding fillets) A: two symposiasts on a kline, dog under a table, two naked youths dancing on each side Athena, Herakles seizing Acheloos (with rock) by his horn and neck, Oineus A: satyr bending with a full wineskin, young pipes player. B: captured satyr held by a warrior Flying Nike with phiale and lyre

]ΔOEK

Γ̣ NN[...]X - OIΠỊA[....]

A: ΥOIϞI - NOΓΓI - NOỌΓ̣

A: EIOΠΓỌ - AOIAΥE - EIONT ELONIOP - EMOLOP

FOΠϞ̣ Ϟ̣I

Manner of Doubleens

Gela

Painter of the Paris Gigantomachy Brygos Painter

Gela

Gela

Aineias and Anchises

Painter of London E 342

Gela

N Painter

Etruria

A: woman standing next to a A: AOϞΓΓO | ΠXOOI stool and holding a lekythos, bird. B: woman standing in front of a block Shoulder A=B: duel between Body A: XAIKAϞA - [....]XAI warriors (in A over a fallen warrior). Body A+B: animal frieze with lions, sirens, cocks and hens Seated woman holding wool, Πασιθ̣έα - ΓMϞE[.]ϞPΔ kalathos on the ground, mirror and alabastra hanging

Bowdoin Painter

A: EOϞO[.]EϞ[ - EOΥO^Ϟ B: O^O^[.]ϜI

LAϞAϞA

338

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Genève, Musée d’Art et d’Histoire MF 0239

AVI3787

201099

Cup RF

525–475

Germany, private

AVI3802a

16051

Stemless Cup BF

575–525

Germany, private

AVI3803

2517

Skyphos BF

550–500

Germany, private

AVI3813

1551

Lekythos RF

500–450

Germany, private

AVI3805a

16039

Cup RF

525–475

Germany, private (Helgoland?)

AVI3807

9017973

Lekythos BF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 339 Painterb Manner of the Nikosthenes Painter

Bowdoin Painter

Epeleios Painter

Diosphos Painter

Provenance

Figurative decoration

Inscription

Inside: dancing satyr with krotala. A=B: running maenad between satyrs and donkeys A=B: (Calydonian?) boar hunt with dogs attacking the boar, women and horsemen

Inside: [..]OOΓΓ - H[.]ΠA - Π^[.] A: ΥO[.]^ẠḶ. B: ho π^α[ῖ]ς

A: ϞϞϞϞϞϞϞϞϞ[...] - Ϟ̣ Ϟ̣ - [.....] ỊϞI[..] - IOΥϞϞϞϞL[.]O - OỌỌOOỌ - ΓOOΓO[..]ΓΓΓOO - [.......] ΓIΥΥΥΥΥΥΥϞϞϞϞϞϞϞϞϞϞOIII [.]ΓΓΛΛΛΛΛΓ[.]I - [...]ṆLOỊL[...]Υ[.]ḶLϞ - OO - ϞϞL[.]ΥΥOOOΥΥ[.]Υ[.] - [...]X̣ ΥΥΓ ϞLΥϞϞϞϞϞOϞ[.]ϞϞϞϞϞϞϞỊỊ - O[..]Ϟ[..] ỊϞϞỊ - ϞϞϞ[.] - ϞϞ[...] - [.....]̣ϞϞϞϞ. B: ỊỊϞ̣ [.....] [.......] - ỌϞ[.......]Ϟ - [.....]Ϝ - OOXO - ϞϞϞϞϞϞỌϞO[.] - Γ̣ Γ̣ Γ̣ [....] - OOOOOOO ϞϞϞϞϞOOϞϞϞϞϞ̣ ϞOϞϞϞOϞϞϞϞϞϞϞϞO - OO - ϞOϞ[...]OOO - ỌΓOOIX̣ IΥΥΥΥ[.]Ϟ̣ Υ - ỊOOỊ - OOOOϞϞϞ[...]ϞϞΓΥΥ̣ OO - [..]ϞϞϞ[...] ϞϞϞϞ[..] - ϞϞϞϞIII[.] - Ϟ[......]OO[.] [.....]III - [.....]Ϟ A=B: chariot with charioteer A: ϞEϞEϞEYXϞLI - ϞEϞ̣ NETNXϞI and mounting warrior Young trainer with branch TϞO[.]Ϟ[.] pointing to a diskus; sponge, strigil and aryballos hanging Inside: youth with staff. A=B: Inside: ho παῖς καλός. A: h^o πα^ῖς κ^αλό^ς NL. Β: ]EAϞ[ - [.]ϞϞ^LΛE four naked warriors with shields (three with Phrygian caps, one with helmet and greaves, two with horses). B: naked warriors with helmets and shields fighting with spears Herakles vs. Nereus, fleeing ϞY[..]I[.] - ϞXϞX̣ Ϟ̣ Nereid on each side, fish

340

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Germany, private (Helgoland?)

AVI3995

6359

Neck Amphora BF

550–525

320434

Amphora BF

550–500

Lip Cup BF

575–525 550–500

Ghent, University, Archaeological Collection 10

Ghent, University, Archaeological Collection 8 Gioia del Colle, Museo Archeologico Nazionale MG 29 Gordion Excavations SF 89.130 (University of Pennsylvania) Gordion, Excavations 2304a-b Gotha, Schlossmuseum

Gotha, Schlossmuseum 2477

Göttingen, Georg-AugustUniversität, Archäologisches Insitut K 281 Göttingen, Georg-AugustUniversität, Archäologisches Insitut K 308

AVI3817

9009482

AVI3821b

28099

Column Krater BF (Frs.) Lekythos WG/BF

AVI3822

25700

Lip Cup BF (Frs.) Column Krater BF

575–525 550–500

AVI3833

310079

Neck Amphora BF

575–525

9032579

Fr. of Oinochoe BF

525–475

Column Krater BF (Frs.)

600–550

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 341 Painterb

Provenance

Fallow Deer Painter / Tyrrhenian Group

Painter of Munich 1379 / Princeton Group / Manner of Princeton Painter Slight Boxer Group Leagros Group Monte Sannace (Puglia) Athena Painter Gordion Gordion

Tyrrhenian Group

Painter of Acropolis 606

Figurative decoration

Inscription

A: Youths with spears and trident, dogs, boar (Calidonian hunt?). B: two duels between naked warriors, three draped onlookers at right A=B: warrior departing between draped men and youths (six in A, four in B)

A: ΓOΓϞΓ - LONONϞΓ - ΓOΓOΓϞΓ - LONOΓ[.]. B: NϞ[....] - ΥOϞNϞΓ ỊONϞN - ΥOΥOΥOϞ̣

A=B: two youths running

A: NA[.]ṬONAΔ

A: E[..]X[.]Λ - YΓO[..]ΓΓI[..]L - E[......] OX̣ YYXIE - [....]Γ - Γ[.]X[..]X B: EΠỌỊ[.]XΠ - ΠΓOX[....] - XΠIͰ[.]X ΠO[....]ΓO[..]

A: Herakles and Amazons. B: A: OOϞ^AOϞẠ - HΙΗΟϞΟΙΛϞ ‒ Amazon on chariot, Athena Ηερακλε͂ς ‒ [Ἀν]δρομά(χη) Centaur with tree, warrior [.]ONϞ - O^ϞΠ[.] falling A: ]ΠOILXϞ. B: ]XϞL A: Herakles vs. Triton, at left A: OO - ΥTϞO - ΥΓϞ - ΥT^ϞΥ[.] - ITϞ two fleeing Nereids, at right - ṆΥO seated Nereus with sceptre. B: Dionysos seated on stool with ivy and kantharos, one satyr and three maenads dancing Shoulder A: three pairs of A: TΥO[.] - NOΓΥOΛ - ΥOΠOΠ warriors duelling, a fallen B: NOΥTON - NTON warrior at right. B: two warriors duelling between two horsemen Draped male figure LHEKΔYḤ - Y[

Pyrrha (Lesbos) A: two horsemen between two sirens or swans. B: warrior running between sphinxes

X - X^X

342 Current location Göttingen, Georg-AugustUniversität, Archäologisches Insitut K 356a-b (=H 98+H 102) Göttingen, Georg-AugustUniversität, Archäologisches Institut J 20 (= K 418)

Appendix Corpus numbera BAD number

Shape

Chronology

Cup BF (Frs.)

550–525

AVI3839

390496

Lekythos BF

525–475

Göttingen, Georg-AugustUniversität, Archäologisches Institut J 22 (=K 416) Göttingen, Georg-AugustUniversität, Archäologisches Institut J 24 (= K 419)

AVI3840

305510

Lekythos WG/BF

525–475

AVI3841

390395

Alabastron WG/BF

525–475

Göttingen, Georg-AugustUniversität, Archäologisches Institut J 35 (= K 710) Göttingen, Georg-AugustUniversität, Archäologisches Institut K 347 (= R 64) Göttingen, Georg-AugustUniversität, Archäologisches Institut K 351 Göttingen, Georg-AugustUniversität, Archäologisches Institut K 352 (= H 95) Göttingen, Georg-AugustUniversität, Archäologisches Institut K 353 (H 99) Göttingen, Georg-AugustUniversität, Archäologisches Institut K 354 (H 104) Göttingen, Georg-AugustUniversität, Archäologisches Institut K 367a-b (=H 100 + H 103)

AVI3845

9017707

Cup RF (Frs.)

500–450

AVI9044

9032645

Fr. of Lip Cup BF

575–525

AVI9049

9032648

Fr. of Lip Cup BF

575–525

AVI9045

9032649

Fr. of Lip Cup BF

575–525

AVI9048

9032650

Fr. of Lip Cup BF

575–525

Fr. of Cup

540–530

Frs. of Band Cup BF

575–525

AVI9052

AVI9050 + AVI9051

9032663

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 343 Painterb

Provenance

Figurative decoration

Inscription ΨA[ - ]ΨΔ[

Athena Painter

Greece

Manner of Sappho Painter

Greece

Diosphos Painter

Manner of Bordeaux Painter

Italy

Satyr playing pipes between two other satyrs dancing, pipes case hanging, pointed amphora on the ground Chariot race of Pelops and Oinomaos (one chariot drawn by winged horses) Woman seated on chair holding a wreath, woman holding a kalathos, draped youth leaning on staff, draped man seated on stool, palm tree, dog Inside: satyr at a burning altar

NΠḤN - ϞΠϞ

Siren

YϞϞỴϞϞΠ[

ΓẸEH

XOΔΔIIΥΓ[.]XX - IIΔXIΓI - Ϟ̣ OIXΥI [.]IO[..]Λ[..] - [......]

Inside: Λ̣ IΛIΠ̣ IϞ[

Italy

ϞOENEϞOẸ[

Italy

]ṆENENEN

Italy

]ẸHEϞHEKHFNO

Italy

]Λ̣ ΠΛ

Panther

NO[ - ]OΠO[

344

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Greifswald, Ernst-MoritzArndt-Universität 218 Greifswald, Universität 155 Greifswald, Universität 243 Hamburg, market

AVI3848

16696

Fr. of Band Cup BF

575–525

AVI3881

16726 16682 6538

Fr. of Amphora BF Fr. of Cup BF Lip Cup BF

525–475 525–475 550–500

16026

Neck Amphora BF

525–475

Hamburg, market (Termer)

Hamburg, Museum für Kunst und Gewerbe 1960.1

AVI3872

350268

Neck Amphora BF

600–550

Hamburg, Museum für Kunst und Gewerbe 89

AVI3864

46983

Neck Amphora BF

525–475

Hannover, Kestner Museum 1966.31

AVI3889

1021

Lekythos BF

525–475

Hannover, Kestner Museum 1977.40

AVI3891

350331

Neck Amphora BF

575–525

Hannover, Kestner Museum 757 Heidelberg, Antikenmuseum und Abguss-Sammlung der Universität S 33 Heidelberg, Antikenmuseum und Abguss-Sammlung der Universität S 34

AVI3883

1931

Lip Cup BF

575–525

AVI3981

1004885

Fr. of Cup

575–525

AVI3982

4055

Fr. of Lip Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 345 Painterb PH022

Manner of Tleson Painter Group of Würzburg 199

Castellani Painter / Tyrrhenian Group

Diosphos Painter

Manner of Theseus Painter Castellani Painter / Tyrrhenian Group

Provenance

Figurative decoration

Inscription

Man riding a horse, another figure in front of the horse Horseman, horse Inside: Diskobolos A=B: two facing sirens between panthers and deers A: Theseus vs. Minotaur between woman and youth. B: quadriga with warrior and charioteer A: Artemis and Apollon with bows and arrows shooting at the fleeing Niobids. B: Herakles, Deianeira and Nessos, at left woman and centaur, at right woman, man and a centaur A: three Amazons, one on a chariot and two harnessing the horses. B: Amazon leading two horses Youth in chiton playing pipes between two warriors dancing (pyrrhic) A: wedded pair on chariot between five women and two draped men. B: five men and two women dancing (kōmos) A: goat. B: deer

ΠΛ̣ OΛ̣

Herakles vs. Nemean lion

OTIXΠ^TOET ]LL A: Ϟ[.]N[..]NKA[.]EN B: Ϟ[.]NϞỊNK[..]ḲEN B: OIOIḲ[.] - ϘLTOṬL

A: T[..]ELTO

A: ΓΥΠΥ - ΥXΥXX - XXXΥ. B: XΛϜTXX XXXXX - X[.]XXX

Υ̣ΔΔỌḤ - OΥOϞ - ΔḤ^ΥỌ[..]

A: OITϘ - TTOT - OTOΓT - TOTϞ

A: ΓϞΔLḶZḤỌΥṆ B: ḶϞϜϞ[..]KϜKΥ̣ ϜN[.] ]OLΥΔLI

]IΥEΠIΥXϞY[

346

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Heidelberg, Antikenmuseum und Abguss-Sammlung der Universität S 35 Heidelberg, Antikenmuseum und Abguss-Sammlung der Universität S 6d Heidelberg, Antikenmuseum und Abguss-Sammlung der Universität S 7 Hillsborough (CA), William Randolph Hearst 12

AVI3983

4054

Fr. of Lip Cup BF

550–500

AVI3972

4057

Fr. of Band Cup BF

550–500

AVI3973

4056

Fr. of Band Cup BF

550–500

AVI4004

14576

Eye Cup RF

525–500

Houston, Museum of Fine Arts

8434

Band Cup BF

550–500

Houston, private (de Ménil)

9143

Amphora BF

575–525

Izmir, Archaeological Museum 9920

18039

Cup BF (Frs.)

575–525

Izmir, Archaeological Museum 9634

AVI4027a

28095

Volute Krater BF (Frs.) 575–525

Karlsruhe, Badisches Landesmuseum 67/90

AVI4061

355

Lip Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 347 Painterb

Provenance

Thebes, Kabeirion Nikoxenos Painter

Tyrrhenian Group

Smyrna / Bayrakli Fallow Deer Painter / Tyrrhenian Group

Manner of Centaur Painter

Phocaea / Eski-Foça

Figurative decoration

Inscription

Bull

EΠOIEΠOϞΥΠOIΥΠOIΥΠ̣ [

Draped figure, horseman

XOXYOX̣ - ϞYIϞYI - LYϞ

Draped figure, warrior with sword, two horsemen

[..]ΓΥỌϜ - ΥOϜΥ

Inside: two women preparing a kline. A: Herakles reclining with kantharos, grape vine. B: Dionysos reclining with drinking horn, satyr squatting, grape vine A(=B?): duel of warriors between draped figures A: Herakles and two other warriors fighting against as many Amazons or giants. B: four horsemen Inside: sphinx. A=B: centaurs vs. Lapiths (Kaineus in the centre) Upper frieze A: Herakles and other warriors fighting against Amazons. Upper frieze B: fight scene with warriors. Lower frieze: horse race A: potter at wheel, youth turning the wheel. B: potter at wheel, draped man watching

Inside: OỊϞIXT

A: ΔIOϞKΔ - ΓIEILϞN A: ḶOΠ^F^LFϞ̣ Ỵ - TOF^ΠOIFϞY ΓOΓΛOT - FOIFIYI

TE[ - TELPΠEN - TA[.]ENEY TENTENT - TΠEL[.]E - ]ENENTE TEOT - TENΠELϞ Upper frieze A: ϞϘP̣ ϞO - ϞΔΓEϞ Lower frieze: ]Λ̣ Π̣ - KΛIΛI - [..]^Ϟ̣ ΓO - H[.]

A: ϜΥLΥ̣ ΥỌNṂΥON[..]Ϟ̣ [.]Ϟ̣ B: EΠNNϞ[.]LXΥLXϞΥXNϞ

348

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Karlsruhe, Badisches Landesmuseum B 2423

AVI4050

310064

Neck Amphora BF

575–525

Karlsruhe, Badisches Landesmuseum B 3056

AVI4055

204262

Alabastron RF

500–450

Karlsruhe, Badisches Landesmuseum B 32

AVI4039

305504

Column Krater WG/ BF

525–475

Karlsruhe, Badisches Landesmuseum B 42

AVI4044

213020

Cup RF

475–425

Karslruhe, Badisches Landesmuseum 69.61

AVI4066

4861

Lip Cup BF

575–525

Kassel, Hessisches Landesmuseum T 820

AVI4080

8107

Neck Amphora RF

475–425

Kavala, Excavations

Fr. of Lip Cup BF

575–525

Kavala, Excavations

Fr. of Band Cup BF

550–500

Lekythos WG/BF

500–450

Kiel, Antikensammlung B 44

AVI4089

28007

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 349 Painterb

Provenance

Figurative decoration

Manner of Castellani Painter / Tyrrhenian Group

Cerveteri?/ Orvieto?/ Tarquinia?

Manner of the Painter of Munich 2676 Sappho Painter

Haliki (Attica)

A: ΓTOT[?]. B: ΓΓOḤΠΓ - ΓTOΠΓT A: fight scene with four warriors over the body of a dead warrior, three onlookers on each side. B: horse race with three horsemen between two judges, at right post and tripod Hera leaning on a branch, KPKE - KPΓE Zeus with sceptre

Painter of London D 12

Epitimos Painter / Lydos? Manner of Pezzino Group

Manner of Elbows Out

Manner of Diosphos Painters

Locri EpizephyriiA: Odysseus escaping from Polyphemos’ cave under a ram. B: Amazons, one on chariot, one with arch, two with Boeotian shield Inside: draped youth seated with lyre, bag hanging, staff. A: draped youth seated, draped man leading a horse. B: horse between two draped youths (one with staff) Inside: Apollon with bow between lions. A=B: two athletes running A: Hermes with kerykeion. B: naked youth running and holding an animal leg and a large round object (bread?) Kavala, Two naked youths dancing Parthenon Kavala, Maenad and satyr Parthenon Greece Athena with helmet, Herakles vs. Acheloos, Oineus with staff, Deianeira

Inscription

A: ϞΥINϞϞϞϞ - ỊϞO - LIϞ LIϞNϞϞ̣ ϞLϞLTϞLILIϞ[.] - ΥIϞΥ - ỊLIϞ LϞLT[.]^ϞΥ[.]Ϟ[..]. B: ϞILII - LIϞLIϞ[.] - LIϞ[.]Υ - LI^[.....] - [....] Inside: [..]ΛNỌ^Ϟ

Inside: ΠΥKIOΥ - XΠṆ - ṂKṆϞ - ΓOϞ - O^[.]. A: χαῖρε καὶ πίεις B: χαῖρεK[.]ΠPI[ A: O-ΠE[...]O - [...]E-E[..] - B: XLEKOΠ - ΥKI - EXO - XOX̣ E[?

...]ṆIXI OΠE ILXLXLX - ILXIL - IIϞΥXIΥ - IΥXIΥ

350

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Kiel, Antikensammlung B 510

AVI4092

8322

Neck Amphora BF

575–525

Kurashiki, Kake Museum 25

AVI4106

7311

Band Cup BF

550–500

Kurashiki, Ninagawa 32 (ex Basel market)

AVI2147

633

Lekythos BF

525–475

La Habana, Museo Nacional de Bellas Artes 112 La Habana, Museo Nacional de Bellas Artes 118 La Habana, Museo Nacional de Bellas Artes 141 La Habana, Museo Nacional de Bellas Artes 164

AVI3927

17617

Band Cup BF

550–500

AVI3926

19467

Band Cup BF

550–500

AVI3929

330755

Lekythos WG/BF

525–475

AVI3931

210109

Cup RF

475–425

Laon, Musée d’Art et d’Archéologie 37.986 Laon, Musée d’Art et d’Archéologie 37.990 Larnaka, Pierides Foandation Museum Maf 11

AVI4114

12440

Cup BF

575–525

AVI4115

12374

Lip Cup BF

575–525

AVI4122

3798

Band Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 351 Painterb Pointed-Nose Painter / Tyrrhenian Group

Manner of Oakeshott Painter

Athena Painter

Runners Painter Athena Painter Telephos Painter

Marmaro Painter

Provenance

Figurative decoration

Inscription

A: Herakles vs. Nessos holding Deianeira, at left Hermes and Athena, at right woman with wreath and again Hermes. B: duel of warriors, a woman and a horseman on each side A=B: maenad running between two mules and two dancing satyrs

A: MOḲϞ̣ - ΥΘKIΥO - Υ̣ ONO - ΥON ΥOΥKIΥ. B: ΥOKΥOI

Nemean lion in his cave attacking a deer, Herakles looking at Athena behind him, tree, helmet, shield A=B: lion attacking a ram A: horseman between two athletes running Warrior with spear falling in front of a centaur with tree Inside: draped youth with staff at burning altar. A=B: two athletes with strigils, pillar, draped trainer with staff A+B: naked men and youths dancing (kōmos) Inside: two naked youths running Cyprus, Marion A=B: horseman, a ram (or panther), a draped man and a youth on each side

A: ΥE[...] - X[.]EϞX - XEOXEϞX̣̣ ϞXIX - XOXXEϞ - ΥϜTϞϜTϞ̣ - EΠϞΠOϞϞ̣ - XϜOXX̣ LϞ - [.....] - X̣ OE[....] ΠEϞOΠLEϞΥ - T[....] - Ϟ[....] - [.....] B: ]Y[.] - ΠEϞOϞO - [.]ẸYẸY - LOLO[.]O [.]O[.]E - ΠẸỌΠEϞL TOTY^HY^YIAOAA[.]

A: ΠỌTḶHΓ - [.]HOCHON A: [...] - [.]ỊΠ̣ LI - ΥϞẸ[..]I - [...] ϞTOE[.] - ϞT - [.]ϞOΓϞ A: ΠϜL - ϞL. B: KΠXLΠIXI

A: ΥXΥ̣ Ϟ[.? - XϜ̣ ΥϞI - ΠKKAIΓ KEΓ̣ [.]Ẹ A: [.]ϞΠ̣ ΥΠ[..]ΥΠ[...] A: OTTỌT - TOṬOT - TO^TOO ?]O^TOT

352

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Larnaka, Zenon D. Pierides

AVI5781

208224

Lekythos WG/BF

475–425

Le Hague, Rijksmuseum Meermanno-Westreenianum 608.821

AVI3857

310037

Neck Amphora BF

575–525

Le Hague, Rijksmuseum Meermanno-Westreenianum 619 Leiden, Rijksmuseum van Oudheden I.1934.11.5 Leiden, Rijksmuseum van Oudheden I.1968.12.1 Leiden, Rijksmuseum van Oudheden PC 44

AVI3858

16197

Hydria BF

550–500

AVI4207

1585

Lekythos WG/BF

500–450

AVI4211

601

Lip Cup BF

575–525

AVI4195

310131

Hydria BF

575–525

Leiden, Rijksmuseum van Oudheden PC 50

AVI4197

302149

Neck Amphora BF

550–500

Leiden, Rijksmuseum van Oudheden PC 53

AVI4198

310086

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 353 Painterb

Provenance

Figurative decoration

Manner of Bowdoin Painter Guglielmi Painter / Tyrrhenian Group

Cyprus

Draped man leaning on staff, ϞYΔOϞEΓOϞEI cock, lyre hanging

Vulci

A: Herakles, Deianeira and Nessos, at left a woman and a draped man, at right two women and an old man. B: men and youths dancing (kōmos) Dolphin and ship with a crew of six on sea Herakles vs. Kyknos and Ares, at left Athena A=B: cock and hen

A: NO^ΓOI - TΥΠOI - NOTΥOEỊ ΓΥOΓIOI B: NOTΥOI - TOẸϞỌ - ΥOTOI - ΓΥOOIO - ΓIOΓ - IΥOO

Upper frieze: Herakles and other warriors fighting against Amazons. Lower frieze: wedded pair on chariot, old man, three women A: Aineias carrying Anchises, at left Askanios, at right Kreusa. B: Dionysos with vine and kantharos between two maenads A: duel of warriors over a fallen warrior, at left draped man and woman with spear, at right woman with spear and horseman. B: three naked men dancing between sphinxes

Upper frieze: ΠONONO - ΠΥONOI . TΥOT - NO^NỌNI Lower frieze: ΥΥ̣ ONϜI - NONOϞ - XONON - ΓΥOΠ

Athena Painter Pholos Painter PH015

Etruria ?

Guglielmi Painter / Tyrrhenian Group

Vulci

Painter of Oxford 569 / Leagros Group

Vulci

Pointed Nose Group / Tyrrhenian Group

Vulci

Inscription

ḲONIΥ: Ṇ - N - ΥL - N - L - L - Ẹ A: ẸLXϜ[..]Υ̣. B: K[.]ϜLΓLΓΓ

A: XΓP̣ I - MXEΔPIOΔE

A: ỌIṆIKIKIK - ΛOΛṆXI - KIKIKI[.]II B: XIKI[.]

354

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Leiden, Rijksmuseum van Oudheden PC 57

AVI4200

3639

Cup BF

575–525

Leiden, Rijksmuseum van Oudheden PC 75

AVI4202

204538

Cup RF

500–450

Leiden, Rijksmuseum van Oudheden PC 86

AVI4205

207389

Neck Amphora RF

475–425

Leipzig, Antikenmuseum der Universität Leipzig T 3322

AVI4166

310010

Neck Amphora BF

575–525

Leipzig, Antikenmuseum der Universität Leipzig T 3323

AVI4167

310009

Neck Amphora BF

575–525

Leipzig, Antikenmuseum der Universität Leipzig T 3324

AVI4168

310035

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 355 Painterb

Provenance

Figurative decoration

Inscription

Merrythought Cup

Vulci

A: ṬENϘENϘE - ΠEϘϞẸΥ - ΠΔϞE - ΠENϘEN

Painter of Louvre G 265

Vulci

Providence Painter

Vulci

OLL Group / Tyrrhenian Group

Cerveteri

Kyllenios Painter ? / Tyrrhenian Group

Cerveteri

Tyrrhenian Group

Cerveteri

A: horseman leading another horse between two warriors, a draped man and a woman on each side. B: horseman, draped man leading another horse, behind them a warrior, a draped man and a woman on each side Athena on block, draped men and youths, warrior, stele (voting for the arms of Achilleus) A: youth in chitoniskos and petasos with sword and scabbard. B: draped youth with staff A: Amphiaraos departing on chariot, woman, old man seated, two warriors. B: four satyrs and two maenads A: Amphiaraos departing on chariot between women, a youth, a draped man and warriors, an old man seated on the ground. B: Hephaistos leading Pandora on mule to Olympos, Zeus seated with thunderbolt, three goddesses and a god at the sides A: Herakles vs. Nessos holding Deianeira, Hermes at the right, two women on each side, a centaur on each side. B: six athletes running

Inside: NOϞN - ALOϞN. A: καλός B: ΚΟϞΝ - καλός

A: [.]L^EϜ - ho παῖς

A: ΛϞOΛϞϞ - ϞOϞϞNO - EOOEONO[?

A: Υ̣ EΓOΓ - KOIϜIO - XOΓ[..]NE EΛ[..] - [..]X[..]O[.] B: OΥ[.]O[.]Υ[ E[.]ϜIO - KOΓO - KO[ - KOΓOI ϜϜIO[..]Π̣

A: ΛO[.]ΥΥOΓ - Υ̣ EΘΚ̣ MϞ - XOTOOT B: Υ[...]O - Υ[..]X̣ [.] - Ϟ[.]OΥ [.]OΛO[.] - [.]O[...]

356

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Leipzig, Antikenmuseum der Universität Leipzig T 3840 + Malibu, The J. Paul Getty Museum, The J. Paul Getty Museum 93.AE.54

AVI4183

201790

Skyphos RF (Frs.)

500–450

Leipzig, Antikenmuseum der Universität Leipzig T 4285 Leipzig, Antikenmuseum der Universität Leipzig T 53

AVI4186

1910

575–525

AVI4139

3357

Neck Amphora BF (Frs.) Cup BF

Leipzig, Antikenmuseum der Universität Leipzig T 663 London, British Museum 1772,0320.221

AVI4163

9017675

Fr. of Amphora RF

525–475

AVI4621

215997

Oinochoe RF

450–400

London, British Museum 1772,0320.429

AVI4580

209104

Pelike RF

475–425

London, British Museum 1824,0501.13

AVI4584

209102

Pelike RF

475–425

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 357 Painterb

Provenance

Kleophrades Painter ?

Manner of Red-Line Painter

Shuvalov Painter

Karlsruhe Painter Karlsruhe Painter

Viterbo (Italy)

Figurative decoration

Inscription

A: Achilleus brought by Thetis to Cheiron, Peleus, Apollon and another figure. B: draped man seated on chair between draped figures, one holding key and staff (Chryses in front of Agamemnon with Chryseis, Briseis and Athena?). Lower parts of three warriors, panther Inside: winged woman. A=B: at left Dionysos seated with kantharos, twice Hephaistos (?) on mule between maenads (on A maenad and satyr) Dionysos, maenad and satyr

A: Θέτις ‒ Μεγα[ ‒ [Ἀ]θε̄[ναία] ‒]Ν ‒ ]ΟΝ[ ‒ ]NONE

NOΓI[.] - NOΓIΥ Inside: ONOOOO - ON[.]ΥΥ

IϞLI

Draped youth seated on chair AϘL | ΠΛO | EO and holding a scroll, naked youth standing and holding a lyre A: a seated and a standing A: ϞOϞKOϞ woman (mistress and maid). B: draped youth A: ΓPḶϞϞ̣ | ẠϞḶP[.] A: woman standing next to a chair, in front of her an attendant girl holding a taenia and a soap-holder, between them an object in the shape of a swan. B: standing woman with mirror and round fruit

358

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1824,0501.15

AVI4613

215759

Bell Krater RF

450–400

London, British Museum 1824,0501.16

AVI4630

208313

Lekythos RF

475–425

London, British Museum 1836,0224.112 London, British Museum 1836,0224.129

AVI4305

302855

Lip Cup BF

550–500

AVI4431

200511

Cup RF

525–475

London, British Museum 1836,0224.131

AVI4474

204134

Cup RF

500–450

London, British Museum 1836,0224.134

AVI4339

390486

Lekythos BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 359 Painterb

Provenance

Pothos Painter

Manner of Bowdoin Painter / Athena Painter BMN Painter

Vulci

Oltos

Vulci

Castelgiorgio Painter

Vulci

Athena Painter

Italy

Figurative decoration

Inscription

A: [....] - X̣ Ϟ[.]O[.]N[.]O A: two youths at an altar performing sacrifice, at left a youth playing pipes, at right a bearded man resting on staff. B: three draped youths wearing fillets Amazon in short chiton ϞOTϞO - TOϞAEϞ holding spear and shield, at right a stool on which a cloth is rolled up A=B: Theseus vs. Minotaur A: XΠϞEIAΠϞOIN B: XΠϞEẠINKNϞ A: ΔΥỌΛ - Aἴας - XΔ^T^ϞO - ΑΤΟLẸ Inside: youth with hydria. A: Telamon resting on staff, - Mέμνōν καλός - AΥK. B: ΥA - ΥLE Ḷ^ΥΔ^ΥA - ELA - Ọ^Υ^Ẹ̣ Aias departing, quadriga driven by a youth, woman wit flower, warrior, youth. B: Dionysos with vine and kantharos, on each side satyr dancing between two maenads Inside: OΓOΓΓOL Inside: seated man with phiale, woman with oinochoe, behind them a column. A: Achilleus vs. Memnon between two winged women (Thetis and Eos?). B: Zeus and Hera seated, Ganymedes, Ares, winged woman (Iris?) Achilleus and Aias playing ϞΔEΠΔOHϞ - OϞEA[.]ỌϞ̣ Ọ boardgame, Athena between OϞEΔO^ϞE - OϞΔ^OϞΔϞ them

360

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1836,0224.14 London, British Museum 1836,0224.17

AVI4325

13242

Cup BF

550–500

AVI4308

2484

Lip Cup BF

550–500

London, British Museum 1836,0224.170

AVI4266

303026

Neck Amphora BF

500–450

London, British Museum 1836,0224.201

AVI4636

208196

Lekythos RF

475–425

London, British Museum 1836,0224.205 London, British Museum 1836,0224.212

AVI4306

13248

Lip Cup BF

550–500

AVI4476

204623

Cup RF

500–450

London, British Museum 1836,0224.217 London, British Museum 1836,0224.263 London, British Museum 1836,0224.35

AVI4318

13250

Lip Cup BF

550–500

AVI4303

301095

Lip Cup BF

575–525

AVI4592

203092

Stamnos RF

500–450

London, British Museum 1836,0224.41 (Fig. 15)

AVI4429

201049

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 361 Painterb

Provenance

Figurative decoration

Inscription

Vulci

A: Athena vs. giant. B: Herakles vs. Nemean lion A=B: two women seated enveloped in a large embroidered chlaina A: Apollon holding lyre, a deer next to him, followed by two goddesses and a god. B: Dionysos with vine and kantharos, Ariadne, bull, Hermes Naked youth at laver, aryballos, sponge and strigil hanging A=B: youth running between two draped figures I: two symposiasts reclining and playing kottabos, young cup bearer. A=B: five symposiasts reclining and holding cups and/or skyphoi Inside: warrior and huntsman on horseback, dog A=B: female head

A: NKϞTETAϞ^OϞKANOTE

Vulci

Group of Würzburg 221

Vulci

Bowdoin Painter Nola (Italy)

Stroibos Painter

Vulci

Painter of the Paris Gigantomachy

Vulci

Archikles Painter Vulci Sakonides

Vulci

Manner of Hephaisteion Painter Nikosthenes Painter

Vulci

Vulci

A: Dionysos mainomenos with goat. B: satyr playing pipes Inside: dancing maenad. A: Dionysos between two satyrs, siren. B: satyr and maenad, siren

A: ENIXNIXOIXITOIXϞEI B: ENIXIXOIXIXIΠEIT A: ΥTIϞ̣ IΥTIϞ - [.]ϞIϞXEϞIϞIϞ

ỌϞ̣ ϞAI

A: ΓEONϞỌNOΥΠΥϞNỌỌΥXN B: EONE[.]ΠIṆΓϞϞ̣ NΥ[.] I: ΓIEϞ̣ MI. A: ϞIPI. B: ΓEAPIẠϞ

A: ΥϞEΥϞEΥϞEΥϞEΥϞ B: EX̣ Ϟ̣IΥϞEΥḶϜΥEMỊΥ A: NIXOϞIXOϞIXIXIX B: KΛXNIXΔIXΛOϞIX B: NON

Inside: NOϞENOϞE - ΠOϞENOϞ

362

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1836,0224.45

AVI4426

201067

Cup RF

525–475

London, British Museum 1836,0224.88

AVI4448

200482

Cup RF

525–475

London, British Museum 1837,0609.41

AVI4277

302012

Hydria BF

550–500

London, British Museum 1837,0609.47

AVI4244

302100

Amphora BF

550–500

London, British Museum 1837,0609.53

AVI4289

302066

Hydria BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 363 Painterb

Provenance

Figurative decoration

Inscription

Vulci

Inside: warrior with pelta. A: Dionysos with deer skin, satyr and Pegasos on each side. B: maenad with krotala, satyr and Pegasos on each side

Epiktetos

Vulci

Leagros Group

Vulci

Leagros Group / Antiope Group

Vulci

Leagros Group

Vulci

Inside: warrior with horse. A: four warriors fighting between two Pegasoi. B: kōmos of seven satyrs (some holding pointed amphorae) Shoulder: Achilleus pursuing Troilos, Polixene fleeing, at left warrior and woman, two hydriai (one broken) in the field. Body: Herakles vs. Nemean lion, Hermes, Athena, Iolaos A: Herakles vs. Kyknos and Ares, Athena at left. B: two Amazons on horseback, two dogs Shoulder: Dionysos with drinking horn, seated woman (Ariadne?), draped man with branches, Eris flying, woman with branches, Hermes, woman. Body: six women at fountainhouse, two filling hydriai, the remaining four carrying away hydriai

Inside: NϞOϞ^Υ̣ EϞϞEE - OΦ̣ - EEΛỌZ - NOϞE - XẠϞN. A: OZEΛT - IEOΓE ΦϞE | OϞE - ΠOO - EΔ - Ϟ̣ EO - ϞEOϞ - EΠNAOA - X[..]O - EOẸOϞEE - PϞE - ϞEA[.]NΔ | NI - OEI - EϞELEΓ - E^ΔE - OOIOϞ | NṂE | ΔΠA - EΠ - EOϞ B: E[.]ϘE - ONΘϞ - O^ΓE - EϞEO - NϞ EOỌ^E - ΛEO - ϞF - NI - EE - EΠ EOϞΠO - AϘΩO | OE | Γ - AO - ΛF - EϞELO - OϞE - EO^E - ON^O - IEO ΞOỊϞ - FK - EOϞE - OϞ. Foot: Πάνφ̣αιος ἐποίε̄σεν Inside: ]EAO^NTOLOE Υ̣ A: ENOϞE - NOϞ

Body: O[ - XOI - NENNO - XENNΠOX - NKOK

A: NXEΔNΥ - NXEΥΔ - XOI^ΔEΔ NXEΔEO. B: XEΥOHEL - XEΔOXEΔ - XΔEΔO - NXΔ[.] Body: ϞKEN - XEḶKO - XEOOEL - NEHϞ

364

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1837,0609.61

AVI4276

302063

Hydria BF

550–500

London, British Museum 1842,0728.925 London, British Museum 1843,1103.14

AVI4337

31867

Oinochoe BF

550–500

AVI4260

302121

Neck Amphora BF

550–500

London, British Museum 1843,1103.29

AVI4416

202287

Cup BF/RF

525–475

London, British Museum 1843,1103.30

AVI4252

302079

Amphora BF

550–500

London, British Museum 1843,1103.41

AVI4539

200175

Amphora RF

525–475

London, British Museum 1843,1103.50

AVI4267

303027

Neck Amphora BF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 365 Painterb

Provenance

Antiope Group / Vulci Leagros Group

Gela Painter

Athens

Leagros Group

Vulci

Painter of London Vulci E2

Leagros Group

Vulci

Dikaios Painter

Vulci

Group of Würzburg 221

Vulci

Figurative decoration

Inscription

Shoulder: Herakles vs. Nemean lion, Hermes and Athena at left (both seated), Iolaos kneeling at right. Body: three horsemen on horses, a fourth horse, three dogs Herakles and Athena shaking hands A: Herakles vs. Antaios between Athena and Hermes. B: warrior on chariot (frontal), bird, dog Inside: youth with pointed amphora in the centre, frieze with four galleys and dolphins on sea. A=B: pointed amphora between two youths A: Herakles vs. Antaios, Athena and Hermes at left, man in petasos and chlamys with spears (Poseidon?), woman inside a building (Ge?). B: three horsemen, two dogs A: Herakles and Apollon struggling for the tripod between Athena and Artemis. B: warrior departing, in front of him an archer, a dog and an old man A: charioteer on chariot, olt man, draped youth seated with staff. B: woman between columns, a draped youth leaning on staff on each side

Body: NΔEO^ΔΥ - NXI^ΔE - NΔEΓ ΛEΛ^I - NXΔEΔ

[.]NΥOΛ - NENI - NENN A: NXΠPI^NΠϜ^NI

Inside: NXΔEI - ṆΔEIΥO. A: ṆΔEN ṆΔEI - A[.]E - ΔEΥ - ṆAẸ - NAI - ṆAEI - AIOIOΥ

A: Π^EỊ^NΛ - NXI^ΔE

A: Ἀθε̄ναία - ΠALOϞ - Δ^EXIOI - Ἀπ̣ [όλ]λο̄ν - Ἄρτ^εμις. B: KIϞI LEXLOLK - XϞE[.]ϞI - XEXΓIOXEXOΓE - XLEIOΠXIO

A: LΥTIϞTIϞ - ΥTIϞIϞI - Ϟ -ΥTIϞITI[.]

366

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1843,1103.66

AVI4290

320013

Hydria BF

550–500

London, British Museum 1843,1103.77 (Fig. 26)

AVI4288

306483

Hydria BF

550–500

London, British Museum 1843,1103.88

AVI4538

200166

Amphora RF

550–500

London, British Museum 1843,1103.91

AVI4291

302067

Hydria BF

550–500

London, British Museum 1846,0128.2

AVI4283

302019

Hydria BF

550–500

London, British Museum 1846,0629.45

AVI4338

303253

Oinochoe BF

550–500

London, British Museum 1847,0806.26 (Fig. 28)

AVI4229

310069

Neck Amphora BF

575–525

London, British Museum 1847,0806.61.a

AVI4618

9018009

Frs. of Krater RF

475–425

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 367 Painterb

Provenance

Antimenes Painter Vulci

Vulci

Dikaios Painter

Vulci

Leagros Group

Vulci

Leagros Group

Keyside Class

Kyllenios Painter / Tyrrhenian Group

Vulci

Figurative decoration

Inscription

Shoulder: charioteer stepping into a quadriga, warrior next to him, at left two old men (one seated) and a warrior and a naked man, at right veiled woman, warrior, archer. Body: six women and a maiden at a fountainhouse Shoulder: duel of warriors, draped man between them, a woman on each side. Body: four women and a girl at a fountainhouse A: warrior departing, in front of him an archer, an old man and a dog. B: youth in chiton playing kithara between two draped youths Shoulder: thrice Athena against a giant, two fallen giants. Body: four women at fountain, two hydriai on blocks, trees Shoulder: two chariots with charioteers, two dogs. Body: Achilleus kneeling behind fountain, Troilos on horseback, Polyxene Blacksmith seated on stool with tongs at anvil, furnace, youth with hammer A: fight scene between warriors, one fallen. B: trainer, two wrestlers, acontist, jumper, trainer, wrestler Falling warrior

Body: ΠPXNOM - ΠOΠNONNON - NΥXEONO - ΠEIΠIO - TEONEO ΠOϜNΘ̣ IXN - [.]ΓONEN - ENEΓOϞΓ - Ϟίμε̄ καλε̄́ - XϜAΓIEXϞ

Body: Mνεσίλα - Ῥόδον - AMAT - ἔρις - ELETEIELN - ELETEIEN - ELETELEIEN

A: [.]OΠOIϞAOΓI - TOΠ[..]OIO - EOIϞ TONEI - EOΠOI - IOΠI TOTE[?]OΠOENAI - IOΠOΓ̣ M B: ΠOE[...]I[...]E[...]. - ONMAOΠAE[.]IΠO EOΠOΠAEPIIO[...] - XOΠAOΠ Body: ΥOXNI - NXEḶ - XOϞKP - NOXEI

Body: X̣ X̣^ΔIE - NXPOΔEΥ ?]XI^EPEΥ - ΥXEINXI^X - Δ[ - N

Hο⁝Μῦς – ναί – κα[λ]ὸς⁝δοκεῖ - LOϞEN NEΥΥΔ̣ EEI - NNEN A: ΠOEO - ΠIQEϞO - [.]YIϞQEϞ OY[.]^OΓΠ̣ Ị - Ỵ[?]Π̣ OEϞOΓ. B: Σίχη̣ ος (?) - Hιποστένε̄ς - OYEPΠOϞ ẸḶYΠOKϞY^YXY - OYΠEϞOE [....]OΓϞḲ[...]

368

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1849,0518.7

AVI4547

213421

Neck Amphora RF

475–425

London, British Museum 1850,0302.2

AVI4482

204342

Cup RF

500–450

London, British Museum 1851,0416.17

AVI4408

209083

Lekythos WG

475–425

London, British Museum 1851,0416.18

AVI4382

390500

Lekythos BF

525–475

London, British Museum 1851,0507.2

AVI4307

13253

Lip Cup BF

550–500

London, British Museum 1851,0507.3 London, British Museum 1851,0507.4 London, British Museum 1856,0512.10 (Fig. 9)

AVI4672

11804

Siana Cup BF

575–525

AVI4673

11877

Band Cup BF

550–500

AVI4230

301738

Neck Amphora BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 369 Painterb

Provenance

Polygnotos

Foundry Painter

Vulci

Karlsruhe Painter / Manner of PL Class Athena Painter

Sicily

PH038

Corinth

Vulci

Figurative decoration

Inscription

A: Amazon falling between two warriors. B: draped man with sceptre between two women Inside: boxer, trainer. A: pair of boxers, pair of pancratiasts down on the ground, trainer stepping forward with stick raised over his head to stop the fight, column. B: hoplitodromos, trainer, two boxers fighting, boxer standing and holding a red thong, pillar Woman at laver

A: XOϞLOϞΥ

Kōmos of three satyrs: one with fillet and wreath, one with pipes, one with horn, pointed amphora on the ground A=B: panther

ϞTAϞEϘ - O^ϞEAOẠ

Corinth Corinth A: statue of a goddess in ionic building, lion on its top, a tripod with birds on each side. B: horseman and warrior

Inside: O[...]EOϞEϞEOϞN - NENONNOEO A: [.]EΥN - ΥNNE ?]N[...]ΥENN B: ṆNHẠΥNẠE[.]N[.]Γ[.]NNNEΥ - HΓNE

κα̣λό[ς] - XϞΠL - Kομᾶς (?)

A: ΠEXEΥϞ⁝ - MEXNL - XEKϜEKEKΠͰEΠLϜKΠ B: ṆϜϜI[...] NϜNϜNϜ - ?]ΥK[..]KNKNKEKN[.]N A: KELϞXEELELTELXELOϞ B: KELOϞXLEEXELELXEL A: NOΛΠOḲΠOKΠOΠO B: NOḲΠOKΠOṆΠOKΠON A: TELTLXẒXỴẒỴ - ΕΓϞF̣ XϞΓXϞEEΓ[.]

370

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1861,0425.50

AVI4253

320380

Amphora BF

550–500

London, British Museum 1864,1007.121

AVI4626

212290

Oinochoe RF

475–425

London, British Museum 1864,1007.237 London, British Museum 1865,1118.38

AVI4675b

330883

Oinochoe BF

525–475

AVI4670

301614

Amphora BF

550–500

London, British Museum 1866,0805.4

AVI4477

203927

Cup RF

500–450

London, British Museum 1867,0508.1046

AVI4430

201131

Cup RF

525–475

London, British Museum 1867,0508.1055

AVI4567

205974

Neck Amphora RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 371 Painterb

Provenance

Figurative decoration

Inscription

Painter of Berlin 1686

Kamiros (Rhodes)

B: NEΔEIONEIOϞ

Sabouroff Painter

Kamiros (Rhodes)

Athena Painter

Kamiros (Rhodes)

A: wedded pair on chariot accompanied by Apollon with kithara, Dionysos with vine, Poseidon, Hermes and two women (one carrying a dinos). B: Herakles vs. Kyknos, Zeus in the centre, Athena at left, Ares at right Draped youth holding a lyre next to a square inscribed base Warrior dancing pyrrhic, pipes player A: Herakles led forward by Athena and followed by Hermes. B: Dionysos seated between two satyrs Inside: youth playing pipes. A: reclining symposiast, female pipes player, komast bent over portrayed from behind. B: youth kneeling on a couch, youth dancing, youth playing the pipes Inside: youth with wineskin and drinking horn. A: birth of Athena at the presence of Hephaistos, two Eilethyiai, Ares, Aphrodite and three more female figures. B: Peleus seizing Thetis, two Nereids on either side A: naked warrior. B: draped youth

Witt Painter

Brygos Painter

Vulci ?

Poseidon Painter

Vulci

Alkimachos Painter

Nola

ΛOϞK

Υ̣ ϞϞϞ A: KOKỊ - XOINOKϞI - XNOKON

Inside: PE[.]I - NONO. A: YNONN NAN - HHNONO. B: NON - NNON

Inside: OϞLOỌỌ - ỌỌΛϞOΛ̣ Ϟ - ΥONΥϞΥ

A: ΛϞẸOϞN | NϞΛOϞΛ

372

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1867,0508.1062

AVI4485

212207

Cup RF

475–425

London, British Museum 1867,0508.1064

AVI4664

201043

Cup RF

525–475

London, British Museum 1867,0508.1125

AVI4551

204664

Neck Amphora RF

500–450

London, British Museum 1867,0508.970 London, British Museum 1873,0820.300

AVI4297

350880

Skyphos BF

550–500

AVI4381

456

Lekythos WG/BF

525–475

London, British Museum 1873,0820.388

AVI4387

3566

Phiale WG/BF

550–500

London, British Museum 1873,0915.4

AVI4641

200866

Alabastron RF

525–475

London, British Museum 1875,0818.5

AVI4268

306084

Neck Amphora BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 373 Painterb

Provenance

Sabouroff Painter

Nikosthenes Painter

Vulci

Painter of the Paris Gigantomachy Group of Rhodes 11941 Sappho Painter / Little Lion Class Manner of Nikosthenes Painter

Nola

Nola

Capua

Greece Group of the Paidikos Alabastra / Manner of Euergides Painter Manner of Gela Red-Line Painter / Phanyllis Class

Figurative decoration

Inscription

Inside: two draped maenads with thyrsoi confronted. A: ephebos with staff conversing with woman, bearded man leaning on staff, confronted by woman with alabastron. B: two couples of youth and woman conversing, at left a doric column Inside: naked woman masturbating with phalloi. A: Hermes seated on a rock and playing lyre in front of two bulls. Three maenads and three bearded satyrs dancing A: diskobolos and trainer. B: youth in chiton playing pipes

Inside: καλε̄́ - Π - X

A=B: young charioteer on quadriga Hermes weighting the souls of two warriors fighting in duel (psychostasia) Inner frieze: youth with club and cloath crouching, dogs chasing a hare, net. Outer frieze: bird and fox alternated twice, snake, scorpion, snake, eagle Draped youth leaning on staff between two women

A: HPAϞϞ̣ ϞΛIϞI - ΛKΛEϞϞI

A: Perseus and Athena fleeing. B: Gorgo running, Medusa falling

A: ẸỊO^OỊ[.]

Inside: Πάνφ̣αιος ἐποίε̄σεν. A: NOϞ[.]H - NΘ̣ IOϞ - EΠOϞE - N[....]ΠON

A: IϞA

TTṬẸ - Ϟ[.]ϞΥ̣ - TNOINOINTΥ

Inner frieze: Ϟ̣ OϞϞO - ϞOϞO - OOΥOO - Ϟ̣ NNNI - ϞIϞḶϞ - XI[.]OI - LLϞ̣ LΓ Outer frieze: ΛOΛΓỊK - IỊΠΥỌ - ϞLLLL - O[...]ΓỌ - ϞϞΓΓỌ - ϞLLLỊ - ϞOϞ[.]Γ̣

.]KOϞΛ[

374

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1885,1213.13

AVI4298

300537

Siana Cup BF

575–525

London, British Museum 1886,0401.1240 London, British Museum 1888,0401.1059 London, British Museum 1888,0601.410

AVI4343

300544

Fr. of Lip Cup BF

575–525

Fr. of Cup BF

575–525

AVI4232

305024

Fr. of Siana Cup

600–550

London, British Museum 1888,0601.440 London, British Museum 1888,0601.443

AVI4353

9017140

Fr. of Cup BF

575–525

AVI4357

15139

Fr. of Band Cup BF

575–525

London, British Museum 1888,0601.451 London, British Museum 1896,0621.1 London, British Museum 1906,1215.5 London, British Museum 1910,0212.1

AVI4363

9017143

Fr. of Vase BF

AVI4692

204440

Cup RF

500–450

AVI4718

208112

Lekythos RF

500–450

AVI4720

305503

Lekythos WG/BF

525–475

London, British Museum 1914,0317.6 + 1965,0930.768 London, British Museum 1920,0315.2

AVI4726

15140

Band Cup BF (Frs.)

575–525

AVI4729

4804

Amphora BF

550–500

London, British Museum 1926,1115.1

AVI4738

7063

Skyphos BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 375 Painterb

Provenance

Figurative decoration

Manner of C Painter

A: IX̣ TNHḲϜIO Siana (Rhodes) Inside: satyr running. A: wedded pair in chariot, two B: NỌϞ[.]Υ[.]ΥΓỌ[..]ϞΥϞ[.]ΠΓNΥϞ women at their sides, draped man with spear at right. B: duel of warriors between horsemen Naukratis Horseman riding ?]ΠϞOIEAϞE[? Naukratis

Palazzolo Painter / Komast Group

Naukratis

]NϞϞ[ Youth and woman dancing (kōmos)

Naukratis PH048

Briseis Painter

Naukratis

Inscription

AΘANHO (graffito)

KLONELO[?

Naukratis

Fallen warrior, two warriors moving in opposing direction, quadriga Back of a figure ?

EϞI - ΠΥ - KOΠϞ

Vulci

Inside: naked woman at laver Inside: ΛIOϞI - ΛΛ^OΠ

KΔṂ

Bowdoin Painter Rhodes

Naked boy at laver

ϞΓKO

Sappho Painter

Man with Scythian cap keeps Silenos locked under a table (?) between two seated draped men with sceptre (one being Midas?), palm tree Hephaistos (?) riding donkey molested by satyr A=B: Theseus slaying the Minotaur between two onlookers (A: two women; B: two draped men) A=B: Herakles against two Amazons

[..]^OEϞ - [...] - ỊΓILΓ^IϞ

Agrigento ? / Palermo ?

Naukratis

White-Heron Group

FΓ̣ F̣ EIEIO[ A: NΥΥOΥO - KOKOKO[K]O B: [..]OΥOT - ?]OTOTOΥOI

A: OIIṆ - OIN. B: OϞ^N - OϞ̣ N

376

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

London, British Museum 1928,0117.56 London, British Museum 1956,0217.1

AVI4740

204446

Neck Amphora RF

500–450

AVI4746

215720

Pelike RF

450–400

Lip Cup BF (Frs.)

575–525

Lekythos BF (Frs.)

525–475

Lip Cup BF (Frs.)

575–525

London, British Museum 1969,0901.1–2 London, British Museum 2000,1101.16

AVI4819

390307

London, market (Christie’s 3/7/1996 lot 44) London, market (Christie’s) London, market (Ede)

AVI4775 AVI4782a

807 23290

Band Cup BF Stamnos Six

550–500 510–500

London, market (Sotheby’s)

AVI4783

207773

Pelike RF

475–425

London, market (Sotheby’s)

AVI4786

310084

Neck Amphora BF

575–525

London, market (Sotheby’s) London, market (Sotheby’s)

AVI4789 AVI4790

9018011 7147

Lip Cup BF Lip Cup BF

550–500 575–525

London, market (Sotheby’s)

AVI4791

9018013

Lip Cup BF

550–500

London, market (Sotheby’s) London, market (Sotheby’s)

AVI4796 AVI4803a

6330 275820

Lip Cup BF Lekythos RF

550–500 500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 377 Painterb

Provenance

Figurative decoration

Inscription

Briseis Painter

Nola

A: a seated umpire and Zetes running. B: Kalais running A: Herakles and Dionysos reclining on couches, at left satyr playing pipes, at right maenad holding a tray with a grape of vine. B: three draped youths, one with staff Winged woman running towards draped man Herakles shooting at fallen Alkyoneus,between them Athena and Hypnos A: swan with outstretched wings

A: ỊΥIỌϞKI

Kadmos Painter

Sappho Painter

PH038 PH030

Ethiop Painter

Tyrrhenian Group

PH096 PH096 PH096

Bowdoin Painter

Billy goat and satyr approaching each other, satyr buggering a billy goat to right, between them a tree A: Herakles and Athena with spear and phiale pouring a libation over a burning altar. B: draped youth with staff A: duel between warriors, a woman and a horseman on each side. B: horsemen A=B: sphinx A=B: two boxers, clothes hanging A=B: winged figure between draped men A=B: cock Naked youth at laver, aryballos, sponge and strigil hanging

A: ?]ΓΓΛ^Ϟ^Ϟ

]IYEI ϞTI^Ϟ^TIϞ^I - ΓI^OΥIX - Υ^IIT - TIΥ - IϞIϞ A: NONONEON - NYLYYLY - XEOṆϞỌNOLΠYϞAOỌLYN A: EΠOIΥEIΥENϞΥNϞ IXOṆEΛ - KLHE

A: ϞKKKI

A: ]Υ̣ OΔ̣ O - Θ̣ ONOϞNI

A: ]ϞOTNϞỌ[.] B: ]Ϟ̣ OTN A: KNϞOṬNϞOT. B: KN[...]O[..] A: [...]OTNϞO. B: [...]TNϞOT A: KOLIϞAOΥLA. B: NHOLIAϞO ϞTAϞḲ[?]

378 Current location

Appendix Corpus numbera BAD number

London, market (McAlpine)

23052

Los Angeles, Dimitri Bizoumi 4

Shape

Chronology

Amphora BF

550–500

Band Cup BF

575–525 475–425

Los Angeles, Dimitri Bizoumis

AVI5744

208173

Lekythos WG/RF

lost

AVI4851

9018022

Lekythos BF

lost

AVI7511

9017633

Oinochoe BF

525–475

lost (once Rome, Mercuri)

AVI4850

15458

Hydria BF

550–500

Lugano, private

AVI4868

361400

Lekythos WG/BF

525–475

Luzern, market (Ars Antiqua) Madison (WI), Chazen Museum of Art 1979.122

AVI4862 AVI4876

9017690 5153

Cup BF Skyphos WG/BF

525–475 525–475

Madison (WI), Chazen Museum of Art 68.14.1

AVI4874

351082

Hydria BF

525–475

Madison (WI), Chazen Museum of Art 1981.134

AVI2110

775

Band Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 379 Painterb Manner of the Painter of Berlin 1686

Bowdoin Painter

Sappho Painter

Pistias Class

Priam Painter

Provenance

Figurative decoration

Inscription

A: ΠXOϞXΛ - EOϞXEϞXX - EOϞXXOI A: Hephaistos (?) riding - FΛΛNXΠI - Ϟ̣ ΠXNL. B: EONXONNX ithyphallic mule, satyr and maenad on each side (satyr XNXOϞXXI - TỊTϞϞT - TϞOTϞ[.] on left molesting mule). B: Dionysos between two satyrs and two maenads dancing A: XAIXAXE[.]Π[.]ỊY B: X[..]L[.]LΠ[..]ẸẠẸẠẠY Artemis with bow and arrow, ϞIY - ϞYI behind her quiver hanging, in front of her deer Two naked warriors with ILΥXILΥ - IIΓXEI - IΓXILṬ - [..]LΥI swords kept apart by two - IXIL naked youths, in the middle draped man as mediator Two Amazons on horseback NOE - OKTϞ - EYO[.]ME - TIYENANEOϞ Shoulder: Herakles vs. ]EX[..]^[.]I - LEIXḲḶN^I Kyknos between Athena and Ares. Body: Herakles vs. Triton Two draped men, one XEIΠXE - ΥϞΥϞI courting a woman, the other a boy with spears, dog Inside: woman running Inside: Γ̣ ΓOIKL - [..]^OΓ̣ ΥΓ̣ O A=B: old man wearing A: ΛHỌOỊỌỊΠOXNOXϞI himation and sakkos, seated, B: ΛϞOIΛ̣ NOXΠ̣ I[.]ỌXṆI playing lyre Shoulder: Athena in chariot Shoulder: X^OϞ - KΥϞϞ̣ and a warrior (Ares) in another chariot assaulting a giant. Body: Athena in chariot and Herakles in front of Hermes and a goddess A=B: warriors fighting A: XAIPḲAIΠE - XAI[. B: XAI[ - XAI[ between sphinxes

380

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Madrid, Museo Arqueológico Nacional 10916

AVI4884

305509

Amphora BF

525–475

Madrid, Museo Arqueológico Nacional 11102

AVI4895

205980

Neck Amphora RF

500–450

Madrid, Museo Arqueológico Nacional 11266

AVI4902

321753

Cup RF

525–475

Madrid, Museo Arqueológico Nacional 19493

AVI4905

14473

Alabastron WG/BF

500–450

Mainz, Johannes-GutenbergUniversität, Klassisch-Archäologische Sammlung 103 Malibu, The J. Paul Getty Museum 79.AE.16

AVI4912

207492

Cup RF

475–425

AVI4923

10099

Cup RF (Frs.)

525–475

Malibu, The J. Paul Getty Museum 81.AE.77 Malibu, The J. Paul Getty Museum 85.AE.505.18,19,21.

AVI4928

10059

Cup RF (Frs.)

500–450

AVI4983a

23917

Cup RF (Frs.)

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 381 Painterb

Provenance

Sappho Painter / Vulci Leagros Group

Alkimachos Painter Painter of London E 2

Providence Painter Oltos

Briseis Painter

Nola

Figurative decoration

Inscription

A: Herakles reclining on kline, Dionysos, satyr with drinking horn and wineskin, draped man playing kithara, woman, dog (symposium). B: Herakles, Eurytos and his sons, Iole A: woman with sceptre, behind her a stool. B: woman pouring wine from a phiale Inside: bearded komast with cups, staff at right. A: Herakles and another man reclining (Dionysos? Iolaos?), satyr with pointed amphora. B: Herakles and Dionysos reclining with kantharoi, satyr with oinochoe Three women (one seated, one with kalathos, one with cloth), swan Inside: woman with wreath at altar

A: Διόνυσος - ΧΙΟΙΟ - ΚΙ^O. B: Εὔρυτος ΤΙ^ΟΝΟ - Ἴφιτος - Ἀντφολο (?) - Ἰóλ^ε̄ - Α^Ϟ

Inside: feet and hat of figure (Amazon?) holding spear (?). A: Herakles followed by Hermes, foot of a third figure at right. B: Amazon running, followed by an Amazon on horseback and a horseman Inside: maenad. A=B: maenad between two satyrs Inside: man or youth running. A,B: warriors and horsemen

A: ΔOϞAϞE | ΔEϞ̣ OT[ B: ΔOϞE

Inside: XOXΠO - XN - AXẠN. A: XNOXON - ON - ONO^NON - ṆOΔEO ỌO^OXΔIONOΓ. B: NXΔO - ]ΔNΥϞ NON - OONON^ONON

OT[.]ϞIX - ]̣XI - ϞI[

Inside: KΛ̣ ΥΥΓ̣ - KΛO^NI

Inside: HNΠX[.]ΠXI. A: Hε[ρμε͂ς] - Hερ[ακλε͂ς]. B: ΠΚΠΥΠHϞ - XΠϞ YΠXϞI - ΠXH - X[.]IϞ - HϞΠK - EHϞΠ

Inside: XỌEH[ - ]H - HΓẸ - E^Υ A: ΓNỌ - ṆNṆ - NΓI. B: ẸΥ A: ΓϞLỊ - LL

382

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Malibu, The J. Paul Getty Museum 86.AE.100 Malibu, The J. Paul Getty Museum 86.AE.112

AVI4989

30544

550–500

AVI4990

32055

Neck Amphora BF (Frs.) Column Krater BF (Frs.)

Malibu, The J. Paul Getty Museum 86.AE.115

AVI4992

30530

Hydria BF

525–475

Malibu, The J. Paul Getty Museum 86.AE.130 Malibu, The J. Paul Getty Museum 86.AE.154

AVI4995

41928

Oinochoe BF

525–475

AVI4998

10149

Siana Cup BF

575–525

Malibu, The J. Paul Getty Museum 86.AE.156

AVI4999

302850

Siana Cup BF (Frs.)

575–525

Malibu, The J. Paul Getty Museum 86.AE.163

AVI5003

44971

Lip Cup BF

575–525

Malibu, The J. Paul Getty Museum 86.AE.164 Malibu, The J. Paul Getty Museum 86.AE.249

AVI5004

41316

Fr. of Lip Cup BF

575–525

AVI5036

208151

Lekythos WG/RF

475–425

Malibu, The J. Paul Getty Museum 86.AE.281

AVI5046

201340

RF Cup (Frs.)

525–475

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 383 Painterb

Provenance

Painter of the Nicosia Olpe Fallow Deer Painter / Tyrrhenian Group Leagros Group

Leagros Group Painter of Boston CA

BMN Painter

PH095 Bowdoin Painter Manner of Epeleios Painter

Figurative decoration

Inscription

Frontal horseman between figures A: duel flanked on each side by a woman (Achilleus vs. Memnon?). B: kōmos of six naked males Shoulder: two chariots in race. Body: Dionysos with vine and kantharos seated between four dancing maenads with krotala Two Amazons setting out, dog Inside: horseman. A: dogs attacking a boar between adult and young hunters (Calydonian boar hunt?). B: Centauromachy (Kaineus with spears, centaurs with rocks) Inside: swan. A: dogs attacking boar, men and youths with spear (Calydonian boar hunt?). B: horsemen hunting a deer A: horseman between two running youths. B: horseman and youth with chlamys

IIIO[ - IϜẸOKΥ̣ - IIḲẸ[ A: ΥOϞNON. B: ]XϞỊOKϞO - KϞΔOIϞ̣

Body: ϞΥN - NΔϜL - [.]EΓO

OHEΥN - KEΥ̣ N[? Inside: [.]ỌϞ. B: Γ̣ Γ̣ Ṇ

A: ..]ẸI - KϞEAϞṂΠϞO^Ϟ. B: ]XΔṬO

A: EΥONXϜϞXHXNEΥXN B: ΠEΥONXNϞΥONXXNϜΥ TΥϞOLΥϞLΥϞϞΥϞLΥϞLΥ

Gela

Winged woman (Iris? Nike?) ϞTOϞΠOϞI with kerykeion and oinochoe at altar Inside: young komast. A: fight Inside: hο παῖς καλ^ός. A: h^o πα^ῖ^ς scene with six warriors. B: καλός. Β: hο πα^ῖς κ^αλό - INΔ two horsemen leading their horse, two warriors

384

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Malibu, The J. Paul Getty Museum 86.AE.286

AVI5015

275946

Cup RF

500–450

Malibu, The J. Paul Getty Museum 86.AE.295

AVI5039

211441

Cup RF

475–425

Malibu, The J. Paul Getty Museum 86.AE.74

AVI5040

14618

Neck Amphora BF (Frs.)

550–500

Malibu, The J. Paul Getty Museum 86.AE.82

AVI4986

3891

Neck Amphora BF

550–500

Malibu, The J. Paul Getty Museum 96.AE.91

AVI3359

44119

Lip Cup BF

575–525

Malibu, The J. Paul Getty Museum 96.AE.92

AVI3360

46975

Amphora BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 385 Painterb Brygos Painter

Tarquinia Painter

Painter of the Nicosia Olpe Leagros Group / Dot-band Class

Manner of Phrynos Painter / PH095 Painter of Berlin 1686

Provenance

Figurative decoration

Inscription

Inside: ϞϞEϞI - NOI - ϞNONI. B: ONΠE Inside: Tekmessa covering the dead body of Aias with a cloak. A: Aias and Odysseus quarrelling, Agamemnon in the centre (both heroes are held by two companions), a further warrior at right. B: voting for Achilleus’ arms, Athena at left, block in the centre Inside: draped youth seated Inside: ḤIHHHI with staff, shield hanging. A=B: three symposiasts reclining (on A one playing kithara) A: Theseus vs. Minotaur. B: A: [.]IIIIΔΓΔ̣ warrior arming Neck A: chariot. Neck B: old man, departing warrior, dog, woman. Body A: Aineias carrying Anchises, Askanios, behind them Aphrodite. Body B: Dionysos between two satyrs, one of them playing pipes A=B: Herakles wrestling with the Nemean lion

Neck A: MEXTEETϞ - LEBIT[.]ΔEϞ - XTΠTOϞ̣ N. Neck B: MẸTXPẸḲ - ΠEXT - X[..]ϞXΠ - Ϟ̣ OX̣ Ọ[.]LKN. Body A: Ἀνχίση̣ [ς] - ΠETELEΥ̣ X - [..] Ἀφροδίτε̄ καλ^ε̄́ - Αἰνέα : κα^λό^ς

A=B: Herakles vs. Geryon, eagle

A: XIOKOIOỌ - EIOTOXEIOTOϞEI -EIOTOLOL - EIOTEIOI B: LOTONEI>O - [.]NϞOTNϞOϞE EIOXEIOLϞO - EϞONϞOXEIONEI

A: ΓΥLΥOLΥTOLΥϞ̣ LΥϞ̣ ALΥϞ̣ Υ B: Γ̣ ΓLΥϞOLΥϞOLΥϞOLΥϞOLΥϞ

386

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Manchester, Art Gallery III.H45.40067

AVI5060

9017215

Lip Cup BF

575–525

Manisa, Archaeological Museum 2137

AVI5061

8420

Cup BF (Frs.)

575–525

AVI5085

201048

Fr. of Cup BF Cup RF

575–525 525–475

AVI2100 (=AVI5083) AVI5089

9017864

Lip Cup BF

575–525

382

Lip Cup BF

550–500

AVI5090a

9036687

Lip Cup BF

575–525

AVI5092

13120

Cup RF

525–475

Milano, Museo Civico Archeologico 11066

Lip Cup BF

575–525

Milano, Museo Civico Archeologico cat. 17

Oinochoe BF

500–470

Marseille, Excavations FN16 Melbourne, National Gallery of Victoria 1730-D4

Melbourne, National Gallery of Victoria D 118/1969 Melfi, Museo Archeologico Nazionale del Melfese “Massimo Pallottino” 50430 Milano, Civico Museo Archeologico A 0.9.1836 Milano, Civico Museo Archeologico A 0.9.265

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 387 Painterb

Provenance

PH038

Painter of Boston Polyphemos / Painter of Sardis Merrythought Cup Nikosthenes Painter

Group of Berlin, 1803 PH015

Figurative decoration

Inscription

A=B: horseman

A: EAIOXOEIO - XNOXAIN XNOXΠLOTOXNOϞOIK B: [.]IOIEXOIE - XINIONII - XNϞOLITEIONLOTEIOΠE Inside: INO[ - IẠΠEOϞEΥ̣ [.]. B: χαῖρε καὶ π[ίει] - ]Ϟ

Sardis

Inside: warrior running. A: warriors fighting. B: Calydonian boar hunt, huntsmen in chlamydes, Atalante crouching

Massalia Vulci

]OINΠOI[ Foot: Πάμφαιος ἐποίε̄σεν Inside: satyr with wineskin Α: [.]^O^E^N^O^N^ϞO and thyrsos. A: Herakles approaching the sleeping Alkyoneus, Hermes, Hypnos, Athena, seated Telamon (?). B: Dionysos with kantharos and vine between two maenads and two bulls A=B: female head LTẠ[.]ΠTϞ[..]ΠYY - ΓTA^N Π[.]Ϟ̣ ϞOΠEY A=B: cock and hen A: Ϝ̣ YOYẸṆEỴIN

Metapontum, Melfi (Chiucchiari)

Painter of Munich 1379 Manner of Chairias Painter / Manner of Epiktetos

A=B: horseman Inside: maenad accosting a crouching satyr with rhyton

Caere

Inside: cock and hen. A=B: swan with outstretched wings Old man playing barbitos

A: [.]YIYEYIXAIENXAI - XAIKAIΠIE[ B: XYΠ̣ ỴYIX[.]IḲḶẸAI - XAIELIHLIN[.]ẠX̣ AI Inside: XΔ[..]IϞ

A: ΔYXIEHLT[...]Ẹ[...]

FOϞMO

388

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Montpellier, Société Archéologique 149 bis

AVI5119

310101

Neck Amphora BF

575–525

Moscow, Pushkin State Museum of Fine Arts 72 Moscow, Pushkin State Museum of Fine Arts GMII M-1266 Moscow, Pushkin State Museum of Fine Arts II.11b.361 Moscow, Pushkin State Museum of Fine Arts II.1b.77

AVI5125

44980

Cup BF

575–525

AVI5122c

9006726

Volute Krater BF (Frs.) 550–500

AVI5122a

9006777

Oinochoe BF

525–475

AVI5121a

41481

Neck Amphora BF

525–475

Moscow, Pushkin State Museum of Fine Arts II.1b.78 München, market (Gorny & Mosch, once Waltz) München, market (Gorny & Mosch, once Waltz)

AVI5121b

41482

Neck Amphora BF

525–475

Hydria BF

575–525

Neck Amphora BF

550–500

Lip Cup BF

575–525

Lip Cup BF

575–525

Amphora BF

550–500

München, market (Gorny & Mosch, once Waltz) München, market (Gorny & Mosch) München, Staatliche Antikensammlungen 1373

AVI5143

301470

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 389 Painterb

Provenance

Figurative decoration

Tyrrhenian Group

A: kōmos of nine male figures (four around a bell krater). B: kōmos of seven male figures Manner of Inside: Theseus killing the Tleson Painter Minotaur Panticapaeum, Young and adult symposiasts, Kerch, Mt. some reclining, some with Mithridates cups, one playing pipes Draped man wearing Phrygian cap reclining on kline and holding a phiale Diosphos Painter A: Ares or Hephaistos and Athena in the centre, two falling giants at the sides. B: chariot with charioteer, bird Diosphos Painter A: warrior in chariot. B: warrior and archer with axe Timiades Painter Five horsemen riding

A: ΛI[ - EϞOϞEϞ - ]OΛ[ - IOϜ[.]IOE - YOY^Λ - OY - XXOI. B: EOϞ[ - [....]E [.]IỌ[..]ϞỊ - IΛO[.]ϞΩ Inside: IXΠNIYΠΓϞIXX - XYIΛṂ - ϜΓΓKΓ YOO[.]YYI

N - NON - ΔI

A: YIXX - XXΓ[.]Γ - YYIXX - YXXYII B: L[...]XI

A: XXXXXXX. B: XXXXXXX XXX̣ XXXXX - XXXXXXXX NOṆ^O[Ϟ] - NON^OϞ - NONOϞ

A: Draped man holding helm A: HEOAETLOΠKOϞ and spear, young warrior arming, woman holding shield and spear, archer. B: draped man with spear followed by four warriors A=B: female head A: [..]ϞOϞX̣ ϞX̣ ϞEΛ̣ [..]ϞX̣ [.]YṆ

Group of Würzburg 199

Manner of Sakonides Manner of Taleides Painter Painter of Munich 1379 / Princeton Group

Inscription

A=B: winged woman running A: NININỊNININI. B: NINININININ Vulci

A=B: young horseman between three male figures

A: Υ̣ [.]Ϟ[..]Ϟ - ỌIOI[...] - ]YYY ]ΓΓOTTT - Ϝ[.]OΓΓ. B: ΠΓỌΓO Π[.]ΛYYY - Υ̣ IXΓOΓ^I - ΠLỌOOΓΓ̣ [.] - ΠLO[..]>X̣

390

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 1379

AVI5146

301469

Amphora BF

550–500

München, Staatliche Antikensammlungen 1401

AVI5147

320390

Amphora BF

550–500

München, Staatliche Antikensammlungen 1428

AVI5155

310039

Neck Amphora BF

575–525

München, Staatliche Antikensammlungen 1430

AVI5157

310091

Neck Amphora BF

575–525

München, Staatliche Antikensammlungen 1431

AVI5158

310098

Neck Amphora BF

575–525

München, Staatliche Antikensammlungen 1432

AVI5159

310097

Neck Amphora BF

575–525

München, Staatliche Antikensammlungen 1433

AVI5160

310036

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 391 Painterb

Provenance

Figurative decoration

Inscription

Painter of Munich 1379 / Princeton Group

Vulci

A: ]EOLOLLLLL - EOϞ̣ IO[...] EOILỌΓ - EO[...] - EIOỴ[.]Ḷ EO[..]O[.]L - E[....]O[...] - OOIỴOYIOYḶ B: EϞỌ[.] - EO[...]YY[.] - EOYLO[.]YY[.] EOIΓO:[.] - EO[.]TOỴT[..]

Painter of Berlin 1686

Vulci

Fallow Deer Painter / Tyrrhenian Group

Vulci

Tyrrhenian Group

Vulci

Tyrrhenian Group

Vulci

Guglielmi Painter / Tyrrhenian Group

Vulci

Guglielmi Group / Tyrrhenian Group

Vulci

A: Herakles vs. Kyknos, Zeus between them, Athena at left, Ares at right. B: Herakles vs. Geryon, fallen Eurytion below them, Athena at left, naked youth at right A: Dionysos with drinking horn and vine, Ariadne (?), two youths, draped man. B: warrior with dog departing between two draped men and two youths A: two draped youths and a girl, Athena, Herakles vs. Nessos holding Deianeira, centaur with tree. B: four horsemen riding, bird A: duel between warriors, two draped men and a woman on each side. B: kōmos of seven male figures A: sex scene with five naked men and two naked women. B: kōmos of five naked men anf two women (one naked) A: three pairs of man and woman having sex, two more naked men, man and woman observing at right. B: kōmos of seven male figures A: Herakles vs. Nessos, Deianeira between them, two centaurs at left, two women and a draped man with staff at right. B: Centauromachy (four warriors, three centaurs)

A: AIOTONOXEI

A: NϞNOϜ - KPFϞNϞN - PNYO[ YOYOΓ - NϞNEI - ΛOΛOΠϞΛ

A: YOYEX̣ YI - YOΓ̣ [..]ΛϞI. B: [.]OOOY YOYOY - NϞNϞO[

A: ΓOF - NOETYO - TOEϞOXI - YYOϞO - TPΘE - FIOTΔOE - NΘEϞOEI B: FϞOEI - TYEϞOEI -TOEϞΘϞ T·OOF^OTOI - TYEϞONOϞ A: NOETYN - NOENOTNOTYEIϞF - KYPϞ - TYOPEϞT^XEϞ - XOYTOY TYΘE - TYO - TYOϞϞOE. B: ENΘTYϞO - ΨỌ[.]Y - YOET^YOEϞ - TYOEϞI A: MONON - NOFϞNϞ - NOFPNI TOZϞOZỌ - NONOΓ - TONO - NTON B: NO[..]ϞO - NONϞ

392

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 1467 München, Staatliche Antikensammlungen 1468

AVI5170

301736

Neck Amphora BF

575–525

AVI5171

301629

Neck Amphora BF

550–500

München, Staatliche Antikensammlungen 1549

AVI5179

302405

Neck Amphora BF

550–500

München, Staatliche Antikensammlungen 1568

AVI5184

302140

Neck Amphora BF

550–500

München, Staatliche Antikensammlungen 1678

AVI5187

9029303

Pelike BF

525–475

München, Staatliche Antikensammlungen 1700

AVI5191

302022

Hydria BF

550–500

München, Staatliche Antikensammlungen 1719

AVI5196

302008

Hydria BF

550–500

München, Staatliche Antikensammlungen 1790

AVI5200

19453

Oinochoe BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 393 Painterb

Provenance

Figurative decoration

Inscription

Euphiletos Painter Painter of Cambridge 47

Vulci

A=B: satyrs and maenads in nebris dancing Shoulder, A=B: two wrestlers between two youths with staff. Body A: man courting a boy between two dancing men (one with deer). B: frontal quadriga A=B: Sisyphos in the Underworld between Persephone and Hades A: Herakles vs. Triton, dolphin. B: Dionysos and Ariadne between two satyrs A=B: kalyx krater in the centre between two youths (the left one holding kantharos in A, playing pipes in B) Shoulder: archers and warriors at the wall of Troy, a warrior with drinking horn, two mourning women. Body: chariot, Athena, Priamos squatting, Achilleus killing Troilos at altar with tripod Shoulder: Achilleus in chariot dragging Hektor’s body between Iris and Patroklos’ tomb. Body: Herakles with bow vs. Geryon, between them Eurytion fallen, at left Athena Aias and Achilleus seated playing boardgame

A: ]YXYKYI

Vulci

Acheloos Painter Leagros Group / Group of Würzburg 210 Theseus Painter

Vulci

Leagros Group / Manner of Antiope Group

Vulci

Leagros Group

Vulci

Leagros Group / Manner of Chiusi Painter

Vulci

Southern Italy

Body A: T[..]ϞKI - IYϞYϞY - TLϞ̣ TϞYI XϞΓIϞXỊ - XXFΓ̣

A: NΔE[?] - ΓNI[.]X

A: NΔEΔOMΔEΓ - NΔEΔX^ΔEAN - NΔKNA A: [.]F - OϞIΛ. B: FΠṆΠ - [..]Δ̣

Shoulder: ΛIΔN^N[.]^[.]ΔNH[.] ΛΛ - [....] Body: NKEΠϞ - IXN - KNΔ - [..]^IN - ϞXΔEI - NIPϞ - NXEϞ - NKΔEO

Body: NY[ - ṆOILO

NEϞ^XϞ

394

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 1892 München, Staatliche Antikensammlungen 1894 München, Staatliche Antikensammlungen 2016

AVI5201

302877

Lekythos BF

550–500

AVI5202

390492

Lekythos BF

525–475

AVI5204

302572

Cup BF

575–525

München, Staatliche Antikensammlungen 2105 München, Staatliche Antikensammlungen 2128 München, Staatliche Antikensammlungen 2129 München, Staatliche Antikensammlungen 2136

AVI5208

340278

Cup RF (Frs.)

550–500

AVI5212

31931

Lip Cup BF

575–525

AVI5213

1006093

Lip Cup BF

575–525

AVI5219

31929

Lip Cup BF

575–525

München, Staatliche Antikensammlungen 2139

AVI5220

31943

Lip Cup BF

575–525

München, Staatliche Antikensammlungen 2148 (Fig. 17)

AVI5221

31944

Lip Cup BF

575–525

München, Staatliche Antikensammlungen 2152 München, Staatliche Antikensammlungen 2153 München, Staatliche Antikensammlungen 2154 München, Staatliche Antikensammlungen 2166 München, Staatliche Antikensammlungen 2168

AVI5225

31995

Lip Cup BF

575–525

AVI5226

31996

Lip Cup BF

575–525

AVI5227

31947

Lip Cup BF

575–525

AVI5232

301102

Lip Cup BF

575–525

AVI5234

7393

Lip Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 395 Painterb

Provenance

Figurative decoration

Inscription

Acheloos Painter Athena Painter

Sicily

Pipes player, athlete squatting, trainer Poseidon on hippocampus

NX^FHḤFT[.]EΔ̣ [?

Manner of the Painter of Boston Polyphemos

Vulci

A=B: Dionysos with oschos and drinking horn, a meanad between two satyrs on each side

Class of Top Band Stemless PH030

Vulci

A: XNYOFH - ENXOF - F[.]FLKX̣ F[.]I - FXKNKF^Ẹ - X̣ [.]NΛOIFỊ - KḶFOX KL[..]KHF - ]F̣ ^Ẹ[.]OYΛΛỊK[.] - O[...] - XXO^P̣ [..] - [.....]. B: XX̣ - IN[...] - KN[.]I ONΓ^F[.]F[.]I - IHNP̣ [.]YX A: ]TNΓOΠ[ B: ]OYNϞΓ̣ N

Vulci

A: EΠOIEϞYTENϞY. B: E[.....]ΠOIϞYE[

Vulci

A: NENΓTNEKFKEFNOF

Painter of Boston Polyphemos

PH038

PH049

Manner of Sakonides

EΔOϞ - OEΔO^Ϟ

Vulci

Inside: Gorgo in nebris running

A: ELKATEϞ : KΓIEϞELKN B: ]EϞ[.]YE[

Vulci

A=B: naked youth with sword (Herakles?), centaur (Nessos?), woman fleeing (Deianeira?) A=B: Odysseus under ram escaping from Polyphemos’ cave

A: IIF[ - ΓIOΓ̣ IΓIỴI. B: ΓΓFLΓIỊ

Vulci

Vulci

A=B: siren

Vulci

A=B: three draped youths

Vulci Vulci

A=B: kōmos of a woman between two men, all naked A=B: female head

Vulci

A=B: cock

A: ϘEϞΔΕϞΠEϞEϞXEϞ EϘEϘNϞEϞ[ ? ]EϞEϞΓEϞ. B: ϘEAϞΔEϞEϞXEϞΠΕ XẸ[…]AϞΠΕϞEϞEϞ[…]ϘEϞEYX̣ A: XTNIXXIX̣ . B: IIΛ[.]XNIX A: ΛMΛNΓLMΓNΛH B: ṂLNΓ̣ LẸΛLFΛΠΛϞ A: O[.]ΓYYOXΓ. B: [.]OYOXOY A: ΛϞOTϞTϞO. B: ỊTϞOΛẸỌOΛ A: [.]ON[.]ṆEṆϞ̣ NF[..] X[.]EϞNF[.]E[.]EϞ. B: N--Ϟ̣

396

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 2171 München, Staatliche Antikensammlungen 2172

AVI5235

32038

Lip Cup BF (Frs.)

575–525

AVI5236

306440

Lip Cup BF

575–525

München, Staatliche Antikensammlungen 2185 München, Staatliche Antikensammlungen 2210 München, Staatliche Antikensammlungen 2216 (Fig. 36)

AVI5237

31974

Band Cup BF

575–525

AVI5242

32001

Band Cup BF

575–525

AVI5244

31954

Band Cup BF

575–525

München, Staatliche Antikensammlungen 2220

AVI5245

31912

Band Cup BF

575–525

München, Staatliche Antikensammlungen 2240

AVI5248

31971

Band Cup BF

575–525

München, Staatliche Antikensammlungen 2241

AVI5249

7975

Band Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 397 Painterb

Provenance

Figurative decoration

Inscription

Vulci

Inside: man running. A: panther Inside = A = B: siren

A: ]LOΓLXΛ̣ . B: ]XΔLΓΛ

Vulci

PH029

Vulci Vulci

PH022

Vulci

Manner of Amasis and Taleides Painter

Vulci

Vulci

A=B: kōmos of four naked youths. A: bird between two horsemen between two running youths. B: inscription between two horsemen between two running youths A=B: prize amphora between two boxers, a draped judge with staff on each side Inside: Herakles, Nessos, Deianeira. A=B: warriors departing, some mounting chariots, horsemen, youths, draped man with sceptre

A: Peleus and Atalante wrestling over a dinos between two horsemen, two naked youths and four draped men. B: Herakles vs. Nemean lion between four naked youths, two horsemen and two draped men

Inside: ?]EΠOIHEΠOI - EI[.]Ϟ̣ EẸIΓ A: hιποτέλε̄ καλός ε͒ν. B: hιποκίμενος (?) EAIOEI A: YϞΛNIYϞNNIYX B: YϞY[.]ϞΛIY[.]Γ[.]YIY⁝ A: NṆϞXI B: FΚΠF

A: XEOΓOX - XONIXEỊ - χαῖρε XONIX̣ NI - XNXONIX. B: NIXXΠON XṆ[.]XOΠI - XFI[..] - XONI[ - XNONIXI Inside: ΓFOΓO - ]OΓ FOFOFOΓOΓIΓO. A: [.]OΓXΓXIO ΓΓO[.] - ΓXΓX - Ϟ̣ XOFO - [.]OΓLOXOX - ΓΓṬO[.] - FO[.]IOFOI[.] - [.]OF - IΓ[.] - Y[.] - ΛΓ[..] - X̣ ΓIΓX - ΓEΓ[..] EOXOΓΓ[.] - ΓFΓOΓ[.]I - IΓIO - INOXO B: ΓỊLO - NO[ - ΛΛΠΠI - ỌΓ[..] ΓOΓ^ỴOII - IOIOI - LΛΛΛO[.] - ΓOΓOΓ - [.]OXO - IOI - [.]ΓO - ]ΛΠΓI - IEOΓ[.] - IO - XOỊΓ̣ O[.]OO[.]I[.] A: YΛI[.]O - ELϞII - EIII - [.]X[ - ỌX̣ I[.] - Ọ[..]YI[.]YẸϞ̣̣ - Ϟ̣ [.]N[.]^[...] - EIONϞ̣ - ϞX[..] - [.]ỌONI. B: ]Ϟ[ - E[.]O[.] - E[.]ΓΛΓI E[.]ΛỊ - ΠENLṆL[.] - O^XϞ̣ ^[.]Λ - ϞϞϞ̣ I - E[..] L - [.]^[.]ϞΛ̣ - EX[.]Ϟ[.]I

398

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 2242

AVI5250

16671

Band Cup BF

550–500

München, Staatliche Antikensammlungen 2243 (Fig. 32)

AVI5251

310552

Band Cup BF

575–525

München, Staatliche Antikensammlungen 2303

AVI5255

202451

Amphora RF

500–500

München, Staatliche Antikensammlungen 2306

AVI5257

202086

Amphora RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 399 Painterb

Provenance

Figurative decoration

PH048

Vulci

A=B: six horsemen fighting against five Amazons

Glaukytes

Vulci

Painter of the Munich Amphora

Agrigento

Painter of Munich 2306

Vulci

Inscription

A:[.]ETϞ[.]ΓX̣ - LTLḶTIỊ - IYΠY ϞLY^IϞΠỊ - Y[...] - NNT[..] - ϞϞYϞ̣ I - IINX - XI^ET[.]LϞY[.] - IL[ - XNϞ - EϞYTIḶ[.] - EϞΓ̣ [.]N - INỌ - XNL[ B: ELL[..] - XΓLT - EN[.] - [..]Γ - EXϞL[.] ELL - XNLL - XXΠLẸ - XΠϞL - ϞXΛ[...] - ]OLỌ ]ṂL[.] - NΠI - YϞY[.] - ẸΠLNXX - LLL - EN[..] A: Σφίχξ hε̄δε - χαῖρε - Ἴδασος - Ἰάσο̄ν A: Calydonian boar hunt (some hunters with spears, Γ[ο]ργό�̣[ς] - Μόφσος - Χάρο̄ν̣ - Πο̣λ̣υδ̣[ε]ύκε̄ς̣ - [Κ]ά�̣σ̣το̄ρ - Λεύκιος - hύς - Ποδε͂ς - Θε̄ρṓ some with tridents, dogs, carcass of a dog). B: Theseus Μελέαγρος - Πε̄λεύς - Μελανίο̄ν - Πόδαργος vs. Minotaur, at left Athena - Κίνο̄[ν] - Σφίχξ⁝ hε̄δε - χα̣ῖρε. B: χαῖρε - EYΓϞ[.] - Σφίχξ - EYϞI - Ἐνπεδṓ - ẸYϞY - Σίμōν - ENϞY with lyre, at right Ariadne with wool, at left of Athena - Γλύκε̄ - NIPN - NFPNϞ - Ἀντίας - FNONϞ Ἄνθυλ(λ)α - NFΛΠϞ - Λυκῖνος - Εὐάν[θ]ε̄ - λύρα seven figures, at right of - Ἀθε̄ναία - Θε̄σεύς - εὖτ᾽ἴλλας - Μινṓ^ταυρος Ariadne six figures Ἀριάδνε̄: - π̣ έσ(ε) - καλε̄̀ θροφός: - MIΠO - EΥTIϞ - :Λύκιος - ΠIΠOI - Εὐνίκε̄ - EΠNϞ̣ - Σό[λ]ο̣̄ν Τιμṓ - Σύ[ō]ν - [Σφί]χξ hε̣[̄ δε] - χαῖρε Handle A: Γλαυκύτε̄ς | μ᾽ἐποίε̄σεν Handle B: Ἀρχικλε͂ς | ἐποίε̄σεν A: huntsman with club, hare, A: ΛOΓOTẸT dog, woman with wreath, man with cup reclining, table. B: satyr with oinochoe and wineskin, Dionysos with vine and kantharos, maenad with krotala A: Herakles vs. Kerberos, at B: OKXTOEIOI left Athena and Hermes, at right Persephone (at Hades gates?) B: Apollon with lyre and Leto in chariot, Artemis, goddess at right

400

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 2308 (Fig. 30)

AVI5259

200161

Amphora RF

550–500

München, Staatliche Antikensammlungen 2420

AVI5284

200172

Hydria RF

525–475

München, Staatliche Antikensammlungen 2422

AVI5286

200127

Hydria RF

550–500

München, Staatliche Antikensammlungen 2423

AVI5287

200170

Hydria RF

525–475

München, Staatliche Antikensammlungen 2424

AVI5289

201796

Hydria RF

525–475

München, Staatliche Antikensammlungen 2606

AVI5309

200535

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 401 Painterb

Provenance

Figurative decoration

Inscription

Euthymides

Vulci

A: youth arming between archers. B: diskobolos and trainer

Pezzino Group / Group of Chelis Painter

Vulci

Phintias

Vulci

Hypsis

Vulci

Manner of Kleophrades Painters Oltos

Agrigento

Shoulder: Amazon harnessing a chariot, Amazon leading a horse on each side. Body: diskobolos, runner, trainer, judge awarding an athlete Shoulder: two satyrs molesting a deer, a volute krater in the centre. Body: bearded komast with cup, young komast with krotala dancing, young pipes player, bearded komast leaning on staff Shoulder: two horsemen, charioteer mounting chariot. Body: three Amazons arming (one blowing trumpet) Satyr with pointed amphora, wineskin, lyre and pipes case, basket hanging Inside: naked woman cleaning sandals. A: Dionysos seated with kantharon and vine between a satyr on a mule and a mule. B: draped man with staff and two horsemen

A: ΜAE[….]Γ[.] - ΧΥΧΟϞΠΙ Θōρυκίōν - h[ο Πολί]ο̄ | ἔ[γρα]φσεν | Εὐθυμίδες{ες} - Εὐθυβόλ[ος] Β: Πένταθλ[ο]ς - Φαύ�̈λος - Ὀρσιμένε̄ς Εὐθυμίδ̣ες | hο Πολίο Shoulder: XOI - XE[.]OΠEI - E[..]I XOΠELI - XOΠEYX. Body: OΠELIϞ

Vulci

Shoulder: ]ON - XOϞϞI - ΠO[....]Ϟ

Shoulder: Σῖμος - Π̣ έδιο̣ς - κα̣λός - χ̣αῖρε Body: Ἀνδρομάχε̄ - XEYXE - Ἀντιοπ̣ έα hυφοπ̣ ύλε̄ - hύφσις ἔγραφσεν. IϞLI

Inside: Μέμνο̄ν [καλ]ός. A: ϞIΓ̣ INIϞ Διό^νυσος. B: ΚΑΙ^KAϞ - ϞEMONI

402

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

München, Staatliche Antikensammlungen 2613

AVI5316

201133

Cup RF

525–475

München, Staatliche Antikensammlungen 2623 München, Staatliche Antikensammlungen 2640

AVI5324

201386

Cup RF

525–475

AVI5331

204363

Cup RF

500–450

München, Staatliche Antikensammlungen 2645

AVI5332

203914

Cup RF WG

500–450

München, Staatliche Antikensammlungen 2675 München, Staatliche Antikensammlungen 2679 München, Staatliche Antikensammlungen 2773 München, Staatliche Antikensammlungen 8726 München, Staatliche Antikensammlungen 8991

AVI5343

204048

Cup RF

500–450

AVI5344

202271

Cup RF

500–450

AVI5349

203110

Lekythos WG/RF

500–450

AVI5358

202704

Amphora RF

500–450

AVI5368

6167

Phiale Six

500–450

München, Staatliche Antikensammlungen 9407 München, Staatliche Antikensammlungen 9422 München, Staatliche Antikensammlungen 9443

AVI5370

31933

Lip Cup BF

575–525

AVI5382

31997

Lip Cup BF

575–525

AVI5386

31991

Band Cup BF (Frs.)

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 403 Painterb

Provenance

Poseidon Painter Vulci

Manner of Epeleios Painter Foundry Painter

Vulci

Brygos Painter

Vulci

Brygos Painter

Vulci

Eucharides Painter DL Class Flying-Angel Painter Onesimos

Xenokles Painter

Vulci

Figurative decoration

Inscription

Inside: satyr with pointed amphora. A: naked runner between four hoplitodromoi. B: a jumper, three acontists, a diskobolos Inside: athlete leaning forward Inside: Lapith killing a centaur. A: three Lapiths fighting against two centaurs. B: two Lapiths fighting against a centaur, tree Inside: maenad with thyrsos, leopard and snake around head. A: Dionysos seated with kantharos and vine, next to him satyr playing pipes, a maenad on each side. B: a satyr and three maenads Inside: woman walking towards altar Inside: woman with skyphos pouring water into a laver Maenad with thyrsos and snake A=B: warrior with shield and spear (in B also cloth) Inside: four naked hetairai dancing around two large vessels A=B: deer and panther confronted A=B: fantastic animal with parts of lion and billy goat (?) A: two panthers attacking a deer (?), youth or satyr. B: lion attacking a deer

A: ϞO[.]OϞ - ΛOϞ - ΛNOOϞ - ΛOϞ^OϞ B: ΛOϞ[.]̣OΓO - ΛΛOϞLO - ΛOϞϞ ELOϞO - ΛOϞϞ̣ [.] - Λ[.]

Inside: IYONỌO^Π^Ọ^I^Ϟ^Ẹ Inside: N[.]EϞΛϞF - ΓYNNEN. A: NϞ[.] HH - ΛNṆṆΓYE - NNNENNNN B: NNNYE

A: ENΠOEϞ. B: EOEI - NO^NNN NON - EϞEI

Inside: ΠIỴEϞ̣ - Π̣ Γ̣ ΓE Inside: KK[..]YO[.] ỌΓ̣ Λ B: Π̣ YḲΛON Inside: OϞTN - Ϟ̣ ϞṬN - ϞT[.]O

A: ENYEΠNYNẸΓYNXT B: ENNOTXNOTFOṂ[.]YΛYOX A: ENIYEΠINṆIYΠIY[ B: ]NY[.]ỴXNIYIYNIYI A: ]ΛΛΛ - ]OXΓΓ - ΓΛL - O [...]FΓ̣ [..]̣ΓΓFEOΛLX̣ [ B: ]TTT - ΓΓKY^FΓ - ΓẒΓY

404 Current location München, Staatliche Antikensammlungen Gorny&Mosch 2011.12.50 München, Staatliche Antikensammlungen M 1096 München, Staatliche Antikensammlungen NI 8730 (Fig. 29)

Appendix Corpus numbera BAD number

Shape

Chronology

Lip Cup BF

575–525

AVI5387

1006092

Lip Cup BF

575–525

AVI5258

200160

Amphora RF

550–500

München, Staatliche Antikensammlungen SL 459

AVI5392

302116

Panathenaic Amphora BF

550–500

München, Staatliche Antikensammlungen SL 461

AVI5393

7642

Psykter BF

525–475

Nancy, Université de Lorraine, Musée archéologique (ex Paris, Musée du Louvre F 98 bis) Napoli, Museo Archeologico Nazionale 112846

AVI6311

10898

Lip Cup BF

575–525

AVI5474

14158

Hydria BF

550–500

Napoli, Museo Archeologico Nazionale 128333

AVI5480

302088

Amphora BF

550–500

Napoli, Museo Archeologico Nazionale 248771 (Fig. 31) Napoli, Museo Archeologico Nazionale 27669

AVI4976

16321

Neck Amphora RF

550–500

AVI5484

200612

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 405 Painterb

Provenance

Kalistanthe Painter

Vulci

Acheloos Painter / Leagros Group

Leagros Group

Taranto

A=B: two naked youths running A: Hektor arming between Priamos and Hekabe. B: kōmos of three men (one with kantharos, one with staff) A: Herakles mounting platform with kithara between Hermes with goat and Athena with club. B: Dionysos between satyrs Symposion: four men reclining (one vomiting), a pipes player next to each kline

Vulci

Taranto?

Antiope Painter / Leagros Group

Cuma

Euthymides Epiktetos

Inscription

A=B: female head

Vulci Euthymides

Figurative decoration

Anzi (Italy)

A: NIXNIXIXIX B: NIXNITNIXX A: Ηέκτōρ | ἔγραφσεν | Ἐυθυμίδε̄ς | ὁ Πολ(λ)ίο̄ ⁝ Πρίαμος - Hεκάβε̄. B: hōς οὐδέποτε Εὐφρόνιος - Κṓμαρχος Εὔ{ε}δε̄μος - Τέλε̄ς - ELEOΠ^I A: NXEΓ̣ [...]Λ̣ - MΔE^NI[ - NΔE[.]

NΛ - NENI - NO - ΠEΓNENN - NEΓ NEFΓ - ṆḲΓI - ϞAΘNEΔFN - NE - NEO - HΘH - ṂENHΘ A: APYAENOYEΠOYΠOEN B: NAYEANOYEϞYENϞYN

Shoulder: two naked youths and two horsemen, tripod at right. Body: chariot with charioteer, bird (?) A: Theseus carrying Antiope, Peirithoos mounting chariot, Poseidon. B: Dionysos with kantharos and ivy between two satyrs and two maenads A: diskobolos. B: acontist A: satyr attacking naked maenad, skyphos. B: naked maenad reclining on pointed amphora, ithyphallic mule in front of her

Shoulder: ]ỌΓΓΛΛ - ΓTK[.] - TOΓ[.] - ΓΓNN

A: XNNENL[.] - NXEΓ^ΔEI - NXEPΓ NXEΔPNΠY - XEḤN - NXEΔE - NXEI - εὖ hόδε νε̄́

A: Φαύλο[ς]̣ - ]IO - KOTEḶỌ B: EXOΠEI - XOINI A: ΓOΓ

406

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Napoli, Museo Archeologico Nazionale 81080

AVI5437

13856

Amphora BF

550–500

Napoli, Museo Archeologico Nazionale 81127

AVI5440

14139

Cup BF

550–500

Napoli, Museo Archeologico Nazionale 81129 Napoli, Museo Archeologico Nazionale 81132

AVI5441

14134

Cup BF

550–500

AVI5442

301452

Band Cup BF

550–500

Napoli, Museo Archeologico Nazionale 81133 Napoli, Museo Archeologico Nazionale 81145 Napoli, Museo Archeologico Nazionale 81154

AVI5443

13843

Lip Cup BF

550–500

AVI5448

13837

Lip Cup BF

550–500

AVI5449

306782

Skyphos BF

525–475

Napoli, Museo Archeologico Nazionale 81254 Napoli, Museo Archeologico Nazionale 81267

AVI5424

203097

Lekythos WG/RF

500–450

AVI5419

208223

Lekythos WG/BF

475–425

Napoli, Museo Archeologico Nazionale 82496 Napoli, Museo Archeologico Nazionale 86378

AVI5428

204094

500–450

AVI5470

9017942

Rhyton RF (head of mule) Pelike BF

Napoli, Museo Archeologico Nazionale 86383

AVI5472

46104

Alabastron BF

525–475

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 407 Painterb

Provenance

Figurative decoration

Inscription

Paestum

A: draped youth, naked youth, warrior with dog, draped man, naked youth. B: two youths leading a horse, dog Inside: archer and dog. A: four youths leading horses, draped man with staff, man pulling cart with pointed amphora. B: five horsemen Inside: satyr. A=B: Herakles vs. Cretan bull between eyes A=B: deer pierced by spears between two huntsmen on horseback A=B: Herakles and Iolaos vs. Nemean lion A=B: ram

A: FYḤḤI - NYOṆ. B: FOΠΠ

Etruria Manner of Elbows Out

Theseus Painter

DL Class Manner of Bowdoin Painter Brygos Painter

Vulci

Inside: TAITIΠI A: ΠETOTOϞ - FOTOTFỌ[.] - FOΓOTỌT FỌTΓΠ̣ ỌF̣ B: TIṬOΓOOT - ΓOPFϞFO

A: EYΛKΛOKΛϘTTϞỌỊ B: EYΛTIXKIϘNϞ[.]IT Etruria A: YKOYIYLMYFNΓ B: YΛYLKYTỌỊYΛX Ruvo A=B: Herakles reclining with A: OϞΛN club and drinking horn, B: OϞΛNK satyr crouching, tree, quiver hanging Locri EpizephyriiSatyr with himation and goat TϞIϞI Ruvo

Ruvo

Leagros Group

Diosphos Painter

Inside: ΔΔ^OIϞI - YLΛ[.]ΛΓ̣ Ọ

Cuma

Draped man leaning on staff, cock, lyre, sponge, strigil and aryballos hanging Eros with hare, two draped youths A: draped man and woman, dog between them. B: man with club, draped youth, dog, nacked man with staff Peleus and Thetis between palm trees, lion, snake, draped man leaning on staff, Nereid

TTOTOϞ - ϞTϞEOE

IOIN - ION[.]EϞ̣ IϞ̣ YI - ẸO - Δίδυμος ἐποίε̄σεν - ἧλος (vel ἡγός?) A: IϞ - NϞOỌ - YY - Ọ. B: ỴỴΓY - Y[.] ỌYϞ - ΛN - [.]ḤOϞ - IOϞ

καλός ̣ - KYOϞHO^A

408

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Napoli, Museo Archeologico Nazionale STG145 Napoli, Museo Archeologico Nazionale STG172

AVI5493

352440

Skyphos BF

550–500

AVI5495

302609

Cup BF

575–525

Napoli, Museo Archeologico Nazionale STG224

AVI5496

13844

Lip Cup BF

550–500

Napoli, Museo Archeologico Nazionale STG234 Napoli, Museo Archeologico Nazionale STG30

AVI5497

13842

Lip Cup BF

550–500

AVI5489

301804

Hydria BF

550–500

Napoli, Museo Archeologico Nazionale STG5

AVI5488

200173

Cup RF

525–475

Fr. of Cup BF

575–525

Naxos, Archaeological Museum B 5534 New Haven (CT), Yale University Art Gallery 1913.162 New York, Callimanopoulos

AVI8144

201285

Cup RF

525–475

AVI3100

366

Lekythos BF

525–475

New York, Gallatin

AVI5751

205981

Neck Amphora RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 409 Painterb

Kallis Painter

Provenance

Capua

PH080 Priam Painter

Pezzino Group

Etruria

Figurative decoration

Inscription

A=B: satyr running

A: ΛΓOỊFF - XEIϜY. B: ΓYXOF - XFIFYI

A: heads of Dionysos holding kantharos and Semele, grapevine, three satyrs (one climbing the grapevine). B: heads of Dionysos holding drinking horn and three maenads A: kōmos of a youth and a man. B: two naked youths running A=B: draped man seated between two naked men Shoulder: a chariot between two warriors. Body: Athena mounting a chariot, Herakles, Apollon playing kithara, Dionysos and two more goddesses Inside: naked woman seated cleaning boots, naked woman with cloth and alabastron. A: Dionysos with kantharos and vine between three satyrs and three maenads. B: pipes player, five komasts, volute krater in the centre

A: Διόνυσος - Ϟεμέλε̄ - NϞOϞϞỊ OEỊỌLEIOỌ - NIϞNΠIO - YEIOO B: NΠ̣ IOKΠITKΠ - Διόνυσος - Κάλι[ς] - Ϟίμε̄

Naxos Manner of Chaire Painter Athena Painter

Alkimachos Painter

A: ]YṆY[...]Y[.]X Shoulder: NYN - Δ^ỴϞ̣

Inside: XOIEI - YXΓEXṬ - ỊOΓEΠXIỌ A: IYXT - ETY^YϞ - ỴIϞ - OXI - XTΔT IYYI - ϞXΠ̣ - KIỴI - KIϞ. B: OΠEI - XYEY - ETIϞT - XLEXI - KΠX - EXO - XY - XEXYT -EYI

]XXAϞ Inside: jumper with halteres

Campania

A=B: NINININININI

Inside: AO - Γ - Ỵ

Duel between two warriors ϞTAOϞE - ϞTXỌA (one falling), at left a third warrior moving away A: jumper with halteres, cloth A: FOϞNOϞ on stele, staff leaned against stele. B: trainer with staff

410 Current location

Appendix Corpus numbera BAD number

New York, market

New York, market (Andre Emmerich Gallery)

AVI7821

12289

New York, market (Andre Emmerich Gallery)

Shape

Chronology

Lip Cup BF

575–525

Band Cup BF

550–500

Column Krater

600–550

New York, market (Christie’s)

AVI7818

12281

Oinochoe BF

550–500

New York, market (Royal Athena) New York, market (Royal Athena)

AVI3760

208077

Lekythos RF

475–425

AVI4803

302403

Neck Amphora BF

550–500

New York, market (Royal Athena)

AVI7733

11685

Pelike BF

550–500

19879

Lip Cup BF

575–525

New York, market (Sotheby’s 1998.12.80) New York, market (Sotheby’s)

AVI2959d

153

Neck Amphora BF

575–525

New York, market (Sotheby’s)

AVI4877

5173

Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 411 Painterb

Painter of the Nicosia Olpe Bowdoin Painter Acheloos Painter Plousios Painter

Fallow Deer Painter

Painter of Berlin 1686

Provenance

Figurative decoration

Inscription

A=B: Herakles with shield attacking Penthesilea, draped figure on each side A: winged goddess at the centre, siren and Pegasos on each side. B: siren in the centre, deer and lion at left, lion and swan at right A: three bearded symposiasts lying on klinai, tables, footstools, shields hanging. B: three horsemen riding Youth with hare, man courting youth with two crowns, naked youth, dog Satyr with thyrsos pouring wine from a kantharos A=B: kōmos of three men, one of them carrying a woman with krotala A=B: two draped men with staff seated playing boardgame, krater under the table A=B: female head

A: ΠΠIOΠTFONT[.]TYY B: ΠITϞONNṆΠΠΠTOṂOΠOMOΠ

A: Herakles fighting against a centaur (Nessos?). B: warriors fighting (some against centaurs) A: warrior departing, at left an old man, a youth, a woman and a child, at right a child and three bearded men. B: at left a warrior, and old man and Hermes, at right Hermes and a warrior between two old men

A: NḶΠ^[..]OΠ - ΛIΠΛIΛϞ - NOϞNOΛ ΛϞΛOΠOΛϞΛ. B: YONI - ΛOΠIΛ - ΓOΠIΠ - ΠϞΠIΠΛϞΛ

A: IONOFO

A: NOIΛO. B: YOIΠΛ̣ Ọ - ]IΠA

KOTỌ^ΠFOOΓΠΠΠ

ΠΠΠΠΠΓ - ΓE[.]Υ̣ Ϟ̣ A: NΔXOΥ - NXMOΔI B: OIΔΛ - MXXOΔI A: [..]YE[.]YẸ[.]Ẹ - NΓL - NOTΛ - ϞΠXΠI ΛϞYΛXH - ΠI - YOENX̣ B: XΠΛΠ[.] - [..]^OENOI^Γ - HỌΠΛN[.] - YΛΔΛF A: EIXIΓIXEϞΓIXIYE. B: IXIXIXIXNX

A: ΓEϞXϞ - EOϞE^OϞL B: EOϞXONΓI - IOϞXOI - EOX^EOXϜOΠ - EOϞΓΓ EOϞΓOϜ - ϞϜϞ^XOϞXO

412

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

New York, market (Sotheby’s)

AVI5743

305556

Alabastron WG/BF

525–475

9893

Lekythos BF

525–475

New York, market (Sotheby’s)

New York, Metropolitan Museum of Art 01.8.9

AVI5532

207852

Neck Amphora RF

475–425

New York, Metropolitan Museum of Art 03.24.31

AVI5533

13334

Lip Cup BF

550–500

New York, Metropolitan Museum of Art 06.1021.155 New York, Metropolitan Museum of Art 06.1021.159

AVI5547

302444

Lip Cup BF

575–525

AVI5548

302573

Cup BF

575–525

New York, Metropolitan Museum of Art 06.1021.188

AVI5553

204497

Cup RF

500–450

New York, Metropolitan Museum of Art 06.1021.47

AVI5534

306435

Oinochoe BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 413 Painterb

Provenance

Diosphos Painter

Manner of Diosphos Painter / Manner of Sappho Painter Manner of Painter of London E 342 Manner of Epitimos Painters Xenokles Painter Painter of New York 06.1021.159

Figurative decoration

Inscription

A: Poseidon with trident and A: [..]ϞX[.]Ϟ[.] - [.]F̣ [.]O[..] dolphin, Amphitrite seated. B: [..]Y[.] - [..]XYXLϞ B: Herakles seated on block, Athena holding helmet, eagle holding snake Athena with spear and YTOIϞT Herakles with sword attacking Nemean lion Nola ?

Monteleone di Spoleto (Umbria) Orvieto Taranto

Dokimasia Painter

Vulci

A: draped man leaning on A: ỌEỴE[? staff at stele. B: draped youth with staff A=B: sphinx holding a dead A: ΓYTYϞYPOYOY - FYϞFϞ̣ YΓ̣ YI man below herself YḶYϞYϞỌYϞ[...]XXϞYX B: TOTϞOTOYT - YḲYϞYϞẸYI YϞY[ ]Π̣ ḲII A: XEϞNOIKϞENO. B: Χσε[νόκλε̄ς?..] ⁝EΠOIEIΓ A=B: duel of warriors A: EIΓXXXX - ΓΓX̣ [..] - XXI - [..]H between five/four youths TIΠFNΛΛO - Λ̣ ỌX̣ [.] - ḶΓYYIY (some draped), a runner Ϟ̣ LϞO[.] - Γ[..]I - Γ̣ ỴI- - [.]YYΓ̣ L - Y··NN under each handle - YYY - -Λ-YYYYYN - -YYYYY - ΓFIFI-O B: III - ΛΛΛX - ΛΔΔΛΔΔΛXΛF - ỊYY ΛIΔ̣ ḲỌΛΛḶ - -ΔΔ - [.]ỌỴḶNY - ỴIYLO[.] - [.]II - ··YY - [..]I[.]I - ỌỌYYI - IX̣ ϞII - ΛΠ̣ Ọ^Π̣ Γ[.]Ọ[.]Ị - IỌỌỌϞ̣ - ΓYỌI ỌYYYI - TOỌỊỌO Inside: draped man with lyre. Inside: LΔX - ΛΛΛ[...]Y. A: NNFNN B: ΛOΛ A: draped youth dancing, naked youth offering cup to an adult komast, krater between them. B: pipes player, draped komast with staff and skyphos, lyre player Apollon playing kithara OIYTOHE - NEOTLOEY - NIOFTI - καλε̄́ between two Muses - Εὐφίλε̄τος

414

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

New York, Metropolitan Museum of Art 06.1021.49

AVI5535

306785

Skyphos BF

525–475

New York, Metropolitan Museum of Art 06.1021.61

AVI5536

303275

Oinochoe BF

525–475

New York, Metropolitan Museum of Art 06.1021.70

AVI5538

305505

Lekythos WG/BF

525–475

New York, Metropolitan Museum of Art 06.1021.85

AVI5539

1071

Neck Amphora BF

550–500

New York, Metropolitan Museum of Art 06.1021.92

AVI5540

200864

Alabastron WG/RF

525–475

New York, Metropolitan Museum of Art 06.1070

AVI5556

203101

Lekythos WG/RF

500–450

New York, Metropolitan Museum of Art 06.1097

AVI5558

302576

Cup BF

575–525

New York, Metropolitan Museum of Art 07.156.8 New York, Metropolitan Museum of Art 07.286.68

AVI5562

204344

Fr. of Cup RF

500–450

AVI5573

330736

Lekythos WG/BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 415 Painterb Theseus Painter

Keyside Class

Sappho Painter

Group of the Paidikos Alabastra Diosphos Painter / DL Class Painter of the Nicosia Olpe / Painter of Louvre F 28

Provenance

Figurative decoration

Inscription

A=B: two pankratiasts wrestling between a naked man and a draped man with thong Herakles, Andromache falling, another Amazon behind her Warrior mounting a chariot being harnessed by a youth, Athena behind the horses, dog A: two huntsmen on horseback (one dismounting). B: Dionysos with kantharos between a maenad and a satyr Palmettes

A: ỌϞTNOϞTN - OϞHI B: OϞ̣ T - ϘϞTN

Perseus fleeing with Medusa’s head, Pegasos springing from the dead body of Medusa A=B: Birth of Athena (Zeus seated), Eilethyiai and other male figures

Foundry Painter

Trainer, post

Athena Painter

Hermes attacking a giant, Athena fighting against a giant over a fallen giant

TOEOX̣ N

ΛX[ - ]YO - ΓXX - XYI - Γ^TT

A: ΛYϞOO - YϞK[.]I

HAOϞKAϞEL⁝

IIYKIΓ - ỊIXXỊXLXLX - IIYIL - IYYXI

A: IIIII - ḲX̣ ΛII - IIIYIYYỴIYIYỴỴ - III - IΓΓΓΛI[.] - IΓ[.] - IIIII - IΓΓΓ^I - II[.] IIIΓΓΓΓΓIΛ̣ Ị - IΓΓIII - [..]IΓΛ[..] - IIIIIỊ [....]YII. B: YYYYYYOYYY[...| - YFΓF[....] - IIIIII - IIΓ[.] - IΔFII - III - II - I[.]Ọ - [.]IIII FFFΓO[....] - IΓIΓΛIIΓΓΓΓΓΓII IΓIΓΓΓO^ΓΓ - [.]IΓII[..] NENEỴNNN NNΓN - ϞϞϞϞΓỴϞΓ - Ϟ̣ ỌI - NONONṆ

416

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

New York, Metropolitan Museum of Art 12.229.13 New York, Metropolitan Museum of Art 16.174.42

AVI5597

202679

Oinochoe RF (Frs.)

500–450

AVI5610

203482

Cup RF

500–450

New York, Metropolitan Museum of Art 17.230.9 New York, Metropolitan Museum of Art 19.192.32 New York, Metropolitan Museum of Art 1999.30a,b

AVI5612

306783

Skyphos BF

525–475

AVI5617

202282

Cup RF (Frs.)

500–450

AVI5742

302216

Amphora BF

550–500

New York, Metropolitan Museum of Art 21.88.150

AVI5624

204047

Cup RF

500–450

New York, Metropolitan Museum of Art 21.88.2

AVI5622

200196

Hydria RF

525–475

Calyx Krater RF

425–375

New York, Metropolitan Museum of Art 24.97.104

New York, Metropolitan Museum of Art 25.78.86 New York, Metropolitan Museum of Art 26.49

AVI5639

302479

Lip Cup BF

575–525

AVI5642

300770

Aryballos BF

575–525

New York, Metropolitan Museum of Art 27.122.27

AVI5647

14759

Lip Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 417 Painterb

Provenance

Figurative decoration

Inscription

Harrow Painter

Athens

Satyr with halteres, pick and diskos on the ground Inside: drunken youth with skyphos and staff. A: youth playing pipes, two komasts dancing. B: two young and an adult komast dancing A=B: Poseidon riding a hippalektryon Inside: man and woman having sex on a kline A=B: charioteer in chariot (in B also man with wreath and sprig in front of the chariot) Inside: draped youth with staff and skyphos next to a column krater, basket hanging Pipes player between two young warriors dancing pyrrhic A: theater scene fom a phlyacic piece (trial against a thief, i.e. the bound figure in the centre). B: three draped youths (two with staff) A=B: deer

NETXOYXOYXONO - καλός - IϞONϞOṆ Inside: κα̣λός. A: ΛLϞ^L^O

Antiphon Painter

Theseus Painter Eucharides PainterCerveteri Lysippides Painter

Brygos Painter

Pioneer Group / Manner of Dikaios Painter Tarporley Painter Apulia

Caron Group Nearchos

Attica

Italy

A: OϞTϞ - OϞ[.]ϞΓO. B: OϞ^TϞ̣ - OϞTϞ^OϞ ]ϞϞ A: HOIϞOFỌ - Ἀνδοκίδε̄ς - ἐποίε̄σε - ΠIOTϞINϞ NXY - κα̣λός

ΠOIΠIOI - YΠOIϞ - ΠIOΠ - XYΠY ϞΠIϞI - OYTϞIO - OΠ - EYOΠ A: NOPAPETTEBLO

A: ΠOLFANAONAϞEAF̣ A B: ]NAN[ Lip: pygmies fighting cranes. Lip: PIO - Θ[ - AYAϞ - KΠ̣ O - KAY Handle: Hermes, three satyrs XOϞ - APYϞ - POPY - ΘEN - AKI - ϘE masturbating, Perseus, two - IOΘ - BAYϞ - ΠY - OAΓ̣ . Handle: TEI Tritons - Hερμε͂ς - HOΔ[.] - χαίρει - Τερπέκελος - Δόφιος - Φσόλας - HΔOI - LEI - BPE - Νέαρχος ἐποίε̄σέν με - HEY - ϞETI Περσε^{ε}ύς A=B: Chimaera A: HHNOIYHYΠΠ B: HYΠOHYΠYHI

418

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

New York, Metropolitan Museum of Art 28.167

AVI5652

211738

Bobbin WG/RF

475–425

New York, Metropolitan Museum of Art 28.57.11 New York, Metropolitan Museum of Art 41.162.1

AVI5649

207552

Lekythos RF

475–425

AVI5659

212483

Cup RF

525–475

New York, Metropolitan Museum of Art 41.162.101

AVI5677

202468

Amphora RF

500–450

New York, Metropolitan Museum of Art 41.162.103 New York, Metropolitan Museum of Art 41.162.131

AVI5679

13217

Amphora BF

575–525

AVI5686

207853

Neck Amphora RF

475–425

New York, Metropolitan Museum of Art 41.162.133

AVI5687

201371

Cup RF

525–475

New York, Metropolitan Museum of Art 41.162.156

AVI5693

207663

Neck Amphora RF

475–425

New York, Metropolitan Museum of Art 41.162.16

AVI5664

205972

Neck Amphora RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 419 Painterb

Provenance

Figurative decoration

Inscription

Penthesilea Painter

near Athens

A: Zephyros and Hyakinthos. B: Nike with fillet, youth with chlamys and ivy sprig (winner) Goddess (Hera?) with phiale and sceptre Inside: warrior leaning on spear, child behind him. A: two athletes (one with diskos, trainer, two boxers). B: two wrestlers fighting, trainer at right, an onlooker on each side A: Theseus vs. Skiron reclining on rock, basin on the ground. B: Theseus vs. Minotaur A: Herakles vs. centaur. B: warrior vs. centaur A: warrior, sword hanging. B: draped youth with sword

A: hο π̣ α̣ῖ̣ς ̣ καλός. B: hο παῖς | καλός - ΛΛΔΕ

Oionokles Painter Thorvaldsen Group

Vulci

Gallatin Painter

Manner of Painter of London E 342 Manner of Epeleios Painter

Painter of the Yale Lekythos Alkimachos Painter

Vulci

Inside: diskobolos, halteres and pick on the ground. A: two groups of two athletes and a trainer. B: three athletes (one acontist and one diskobolos), youth with staff seated, jumper, draped youth with staff A: draped man with sceptre, woman moving away. B: woman A: Amazon assaulting a fallen warrior. B: draped youth

ΛEIKOTỊỌ - ΛYIOϞE[.]YΛIO Inside: EΔϞΠ[?] A: ṆΛOEI. B: FO[.]OIΠ - I^EI^AIEI

A: HO[ - LONϞI. B: YTE - NTYϞ

A: KNKNKΓ - [.]I[.]Y. B: KYKN - KYỌ YYKK - KYKI A: OIONT

A: MOKṬ^AXΔ B: KΛYOIḶYAI

A: OHEFKO B: ΘOA[...]K A: ΓϞΛOϞΛO | HΓΛOϞΛ

420

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

New York, Metropolitan Museum of Art 41.162.178

AVI5694

305534

Neck Amphora BF

525–475

New York, Metropolitan Museum of Art 41.162.179 (Fig. 4)

AVI5695

302169

Neck Amphora BF

550–500

New York, Metropolitan Museum of Art 41.162.27

AVI5665

203163

Lekythos RF

500–450

New York, Metropolitan Museum of Art 41.162.30

AVI5667

305500

Lekythos WG/BF

525–475

New York, Metropolitan Museum of Art 41.162.33

AVI5669

212149

Rhyton RF (head of ram)

475–425

New York, Metropolitan Museum of Art 41.162.34

AVI5670

305498

Lekythos WG/BF

525–475

New York, Metropolitan Museum of Art 41.162.35 New York, Metropolitan Museum of Art 41.162.72 New York, Metropolitan Museum of Art 41.162.73 New York, Metropolitan Museum of Art 41.162.8

AVI5671

305497

Lekythos WG/BF

525–475

AVI5672

13405

Band Cup BF

550–500

AVI5673

202336

Column Krater RF

500–450

AVI5662

200303

Cup BF/RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 421 Painterb

Provenance

Diosphos Painter

Group of Würzburg 210 / Leagros Group Dutuit Painter / PL Class Sappho Painter

Attica

Painter of London E 100

Greece

Sappho Painter

Attica

Sappho Painter

Attica

PH029 Manner of Cuma Göttingen Painter Pheidippos

Figurative decoration

Inscription

A: Kerberos catching the tail of Herakles’ lion’s skin at the house of Hades. B: Hermes and Athena A: youth with sword (Perseus?) pursuing two women. B: Dionysos between two dancing satyrs, goat Woman with flower at thymiaterion, chair behind her, mirror hanging Zeus, seated on his throne, Ganymedes and Ares standing behind him, Athena approaching to introduce Herakles to Olympos, Iris following Draped youth, seated youth with lyre, youth with pipes, column, draped youth Hermes pursuing Amphitrite in a chariot drawn by winged horses, two Nereids fleeing Chariot, Athena, giant falling

A: XAILYI - LLXXX. B: IYYI - IXXYXXX - XXXΓX

A: YΓΧ^Y - KXΔ - X - IΓXN - INXΔXΠO

OKO[..]Ị - KO[.]O

ΛϞ[.]ΛϞ - [.]NϞ[.]Ϟ̣ - ỌΠ̣ [.]I - E^Ọ Ϟ[.]YṆΠ̣ HH - ENẸỊ[.]^ON^OF[.]

]ṬΓϞ[.]LΓHϞ - ]OO^Π

ΛϞOIO - IOϞṆΛϞỌI - ΛϞOΛϞO

ΛϞOỌ - ϞOΛ[..]IỌNNΛ

A: YIΛKYΛIAIΛIY⁝ B: NIΛLΛINIOILΠOK A: Theseus vs. Cretan bull. B: A: ΓΛϞΓϞỌ - ΠE - Ọ[.]FϞFỊỌ - Λ - Ϟ - I duel between warriors Λ - Γ. B: IΛ - I - I - Λ - Ϟ - IIΛ - IΛI - IϞϞ Inside: Dionysos with A: NEKE - KA[.]EϞ drinking horn. A: hoplitodromos between eyes. B: runner between eyes

422

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

New York, Metropolitan Museum of Art 56.171.25

AVI5712

305529

Neck Amphora BF

525–475

New York, Metropolitan Museum of Art 56.171.40

AVI5716

206467

Neck Amphora RF

500–450

New York, Metropolitan Museum of Art 91.1.462

AVI5523

202330

Column Krater RF

500–450

New York, Metropolitan Museum of Art X.21.15

AVI5739

705

Neck Amphora BF

525–475

New York, Sotheby’s (ex Buffalo, Albright Art Gallery 33.135)

AVI3001

330737

Lekythos WG/BF

525–475

New York, Sotheby’s (ex Dallas (TX), Hunt Collection 3)

AVI3344a

10072

Cup BF

550–500

Newark (NJ), Museum 68.11

AVI2153

11550

Column Krater RF

525–475

Band Cup BF

550–540

Amphora BF

550–500

Newcastle upon Tyne, Great North Museum: Hancock 201 Orvieto, Museo CivicoArcheologico Faina

24089

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 423 Painterb

Provenance

Diosphos Painter

Pig Painter

Capua

Manner of Göttingen Painter

Diosphos Painter

Athena Painter

Manner of Kallis Painter

Manner of Myson Group of Munich 2196 Manner of the Painter of Berlin 1686

Gela

Figurative decoration

Inscription

A: Hypnos and Thanatos carrying the body of Sarpedon, eidolon with shield. B: Eos carrying the body of Memnon, at left Achilleus (?) A: trainer and hoplitodromos. B: woman playing lyre, young komast with oinochoe Neck: huntsmen and dogs. Body A: Herakles vs. Kyknos (?). B: kōmos of two youths, pointed amphora in the centre

A: IXYTIX - [....]IT

A: EHEO

Neck: ΓΠ^HO^XY - NXLXL - Y[ ]X ỴϞ̣ YΓ̣ - XXΓOΓ - XΠYN - ỴXΠΓI - XXΓO Body A: OΔNΔI - ΛOI - OX̣ ΔI - ΛOXΠN - NXΔOXΠIΛXN - ΔXΠN - N^Δ B: ?]XO - O^XΓI - NΓ[.] - NOXI^OEΔI - [.]ΠOϞ - ΔXΔE - ΛΛΛEΛ A: Hera sending out Iris with A: YYYXXXII - XYXXX the Nemean lion. B: Herakles B: YXXXI - XIXXXET vs. Nemean lion, Athena at left Athena between two cocks Ϟ̣ OTO - IEΠOϞ - ΥOϞ - E^Γ^OIΠOϞ and two draped men with staffs (one also with branches: Panathenaic motif?) A=B: Heads of man with ivy A: ỊOΥNIOỊ branch and woman between eyes (Dionysos and Semele or Ariadne) A: Herakles fighting against A: OIϞ^OΓϞO - OIϞ[--]OϞA - ϞΠOϞIO Kyknos and Ares. B: kōmos of three youths with wineskin A: LEILYLOLYEYḶ[.]Y[.]EYLOEYEYỊ B: ]EL[.]EYIYEYLEILYLE[.]LḶẸYI A: Herakles with bow and B: ]XIẸΓ[.]XI - EIO[.]X[ - IEIOXE Zeus with thunderbolt, both - EIOXELΠ[..] mounting chariot, Athena. B: man and youth, both draped and playing kithara

424

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Orvieto, Museo CivicoArcheologico Faina 1045

AVI5806

202975

Neck Amphora RF

500–450

Orvieto, Museo CivicoArcheologico Faina 1049

AVI5808

200539

Cup RF

525–475

Orvieto, Museo CivicoArcheologico Faina 1051

AVI5809

204089

Rhyton RF (Frs.) (head of mule)

500–450

Orvieto, Museo CivicoArcheologico Faina 148 Orvieto, Museo CivicoArcheologico Faina 2547

AVI5829

200616

Mug RF

525–500

AVI5830

8048

Band Cup BF

575–525

Orvieto, Museo CivicoArcheologico Faina 2619

AVI5823

8045

Fr. of Lip Cup BF

575–525

Orvieto, Museo CivicoArcheologico Faina 2663

AVI5834

306535

Neck Amphora BF

600–550

Orvieto, Museo CivicoArcheologico Faina 2664

AVI5812

310099

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 425 Painterb

Provenance

Figurative decoration

Inscription

Syriskos Painter

Orvieto

A: OϞXI - KLNỌLI

Oltos

Orvieto

Brygos Painter

Orvieto

Epiktetos

Orvieto

A: draped man leaning on staff and draped youth, both holding flower. B: man with staff and youth, both draped Inside: warrior. A: Dionysos on mule with drinking horn between three satyrs and three maenads. B: Dionysos seated with drinking horn between four satyrs and two maenads Young komast holding pipes and balancing a skyphos on his foot, youth with krotala Two satyrs reclining

Tyrrhenian Group

Manner of Guglielmi Painter / Tyrrhenian Group

Orvieto, Crocifisso del Tufo Orvieto ?

Orvieto ?

Inside: Μέμ^[ν]^ο̄ν κα[λ]^ό�̣ς. A: K[.]ΞϘ^Ϟ TIE - EN - YΛΛ - ΓYOL - ΠYOṆ ΠΚΕϞ. B: ΓE - IO^ϞO - Γ[.]LOI ΓEΔNE[ - ]YOI - ΛO^ΛI

HY^O

OI

A=B: duels of warriors A: YYY - [.]YYYTT - IIIO - [.]XΓỌ between onlookers and other ]Ṇ[.]Y - ḶϞXX̣ - YYY - ]ṬI - YIX - XX - XXX warriors IYIYϞϞ - ϞϞII - ϞIϞ - Γ[.]ΠOX - III B: IX̣ X̣XX - X̣ XII[? - NI[ - ΥNI - ΥNIO Λ̣ ILX - [..]III A: ϞΛN[..]ΠΛΠΛLΠΛ̣ [ B: ]ΠΛLΠΛLFΛLΠΛΠΛ A: fight scene with warriors and horsemen. B: women and naked men dancing (kōmos) A: sex scene with six male figures and a female, column krater at right. B: Dionysos seated on stool, at left maenad, satyr masturbating and man, at right grapevine and basket

A: [.]O[..] - [.]IṆIO - OIY[.]I - NON - NON

A: LOF[.]ΛỊ: - IOIKFOFI - ϞOMIΓM - LOFΛIMI. B: ΔOΓMI: - LO[.]OΓ - ΓOỌOMI

426 Current location

Appendix Corpus numbera BAD number

Shape

Chronology

Orvieto, Museo CivicoArcheologico Faina 2698

9024644

Neck Amphora BF

525–475

Orvieto, Museo CivicoArcheologico Faina 2754 Orvieto, Museo CivicoArcheologico 2761 Orvieto, Museo CivicoArcheologico Faina 2701

9024668

Oinochoe BF

525–475

9024652

Olpe BF

525–475

302093

Amphora BF

550–500

9024598

Amphoriskos BF

550–525

301098

Lip Cup BF

575–525

9024632

Frs. of Amphora BF

525–500

Band Cup BF

550–500

AVI5833

Orvieto, Museo CivicoArcheologico Faina 2800 Orvieto, Museo CivicoArcheologico Faina 291 Orvieto, Museo Civico-Archeologico Faina 3168+3182+3214 Orvieto, Museo CivicoArcheologico Faina 931

LMC181

Oxford (MS), Robinson

AVI1962

9017661

Disc BF

Oxford (MS), University Museum 1977.3.82 Oxford, Ashmolean Museum 1890.181 Oxford, Ashmolean Museum 1912.37 Oxford, Ashmolean Museum 1912.37.21

AVI5106

7714

Lekythos WG/BF

525–475

11859

Plate BF (Frs.)

550–500

16818

Fr. of Oinochoe BF

550–500

Fr. of Band Cup BF

550–500

AVI5931

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 427 Painterb

Provenance

Figurative decoration

Inscription

Leagros Group

Crocifisso del Tufo

A: Herakles and Apollon struggling for the tripod. B: warrior arming in front of a woman (Athena?) Achilleus vs. Penthesilea

A: IHIIEIOTH | ΧϘΝ̣ Υ - ϞXOỊϞϞFϞ

Crocifisso del Tufo Leagros Group Chiusi Painter / Leagros Group

Orvieto ?

Taleides Painter

Sakonides

Orvieto

Antimenes Painter PH028

Scythian warrior, horseman, warrior A: Achilleus and Aias playing boardgame seated on blocks between Athena and Hermes. B: Dionysos with vine and kantharos between two seated maenads, Hermes at left, satyr at right A=B: courting scene between a man and a youth (in A also a dog) A=B: female head

ẸΠ̣ OΓEΠ - NEΔE - XXϞEO - ϘEXE - OXN NOI - X̣ X - Ẹ[..] A: OHΔN - NΔΓN - YIΔYN - NKNNYΔ NHNΔΓ - ΔYAN - NOΔ[.]YNΔY[.]

A: XY[.]IYỌYṆOEOΓ - OXOKYEṂKK[.]K[.]N B: YLOKNXKYEKY - [.]OΓΛYΛM[.]YΓNK[.] A: Λ̣ O[.]ỌNI[

Fight scene: parts of chariots O - Ḳ - Ọ^EΛ̣ - Ϟ - ỌZO - E - ϞHXK and running warriors [.]E Orvieto, Crocifisso del Tufo, tomb 45 Athens

A: XYNYTYXEYN

NEΠ

Athens, Acropolis Naukratis

Two satyrs, one playing pipes, one dancing, horseman, warrior Iris holding a box and Hermes Lower part of woman, youth with spear Herakles and Andromache

Naukratis

Boar, dog

NΠ - X

Diosphos Painter Attica

IL[..] - ]X̣ YX - XXΓ̣ XΓX - IXIL[.] NO[ - I[.]ΛIIONOΠ[ XXΓXX[? - [.]ṬTT

428 Current location Oxford, Ashmolean Museum 1912.37part Oxford, Ashmolean Museum 1912.38 Oxford, Ashmolean Museum 1913.164

Appendix Corpus numbera BAD number

Shape

Chronology

Fr. of Lip Cup BF

575–525

Fr. of Cup BF

575–525

AVI5932

310063

Neck Amphora BF

575–525

Oxford, Ashmolean Museum 1916.6

AVI5937

200881

Alabastron RF

525–475

Oxford, Ashmolean Museum 1917.56

AVI5941

202534

Column Krater RF

500–450

Oxford, Ashmolean Museum 1919.23 Oxford, Ashmolean Museum 1919.35 Oxford, Ashmolean Museum 1921.1214

AVI5944

205977

Neck Amphora RF

500–450

AVI5946

462

Alabastron WG/BF

525–475

AVI5949

200874

Alabastron RF

525–475

Oxford, Ashmolean Museum 1927.4065

AVI5960

200513

Cup RF

525–475

Oxford, Ashmolean Museum 1927.4455

AVI5962

30372

Lekythos WG/BF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 429 Painterb

Provenance

Figurative decoration

Inscription

PH049

Naukratis

Two male figures

ΟϞΠ

Naukratis OLL Group / Tyrrhenian Group Group of the Paidikos Alabastra / Manner of Euergides Painter Flying-Angel Painter ?

Alkimachos Painter Diosphos Painter Group of the Paidikos Alabastra / Manner of Euelpides Painter Oltos

Emporion Painter

Cerveteri

Boeotia

Greece

ΛXΛOΛXΛ A: warriors vs. Amazons (some falling). B: three horsemen Draped youth and woman separated by doric column

A: ṆOTXXTO - ṆETO[.]EYI - ]AϞ B: KY[...]O - ṂΛΔ[

A: Dionysos with vine and kantharos reclining, two satyrs. B: diskobolos and acontist A: warrior running. B: draped youth Four women, one seated on stool, one with wool or fillet Three women, one seated with mirror, one with oinochoe, one with flower

[.]Λ

LΓΓOLIL - ΓIΓḶOΓ[.] - YIΓOYϞϞ

A: NOϞΛϞΛ | HYΛϞΛ̣ Ϟ[ ENF̣ [.]N - ϞOϞF̣ ϞN - [.]IϞṬYX YϞΛLϞO

B: ]OI - ALỌ - [.]N - Δ Inside: naked woman with cup and ladle. A: chariot, Theseus capturing Antiope, three warriors. B: two Amazons on horseback, three warriors Sphinx on column between KA - ỌIϞ - KFΛỊ two draped youths leaning on staff, column on each side

430

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Oxford, Ashmolean Museum 1965.141

AVI5998

320425

Amphora BF

550–500

208159

Lekythos WG/RF

475–425

Fr. of Band Cup BF

550–500

Band Cup BF

550–500

Fr. of Lip Cup BF

575–525

Oxford, Ashmolean Museum 1966.918 Oxford, Ashmolean Museum 1966.943 Oxford, Ashmolean Museum 1972.162.

Oxford, Ashmolean Museum G 1055 Oxford, Ashmolean Museum G 137.32 Oxford, Ashmolean Museum G 217

LMC230

350750

AVI5855

11863

Fr. of Pyxis BF

550–500

AVI5871

361410

Neck Amphora BF

525–475

Oxford, Ashmolean Museum G 240

AVI5875

303468

Neck Amphora BF

525–475

Oxford, Ashmolean Museum G 251

AVI5872

330814

Oinochoe WG/BF

525–475

Fr. of Cup BF

575–525

Oxford, Ashmolean Museum G 952

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 431 Painterb

Provenance

Manner of Princeton Painter / Princeton Group

Bowdoin Painter

Figurative decoration

Inscription

A: two warriors, one leading a woman away (Menelaos and Helene?) between two draped men, dog. B: Herakles vs. Nemean lion, at left Athena, at right warrior and draped man with spear Woman with hydria at fountain

A: EIONFIFOI - EI-EIOI - EOXFIOΓ - EIOXXIIϞ - EIOXE - EIOXEIOͰ - EIOXEIOXNOXY

ϞO^Ϟ̣ ỊI TLỴLYLYIΓ̣ EYTOLYTLYṬLYLY

Oakeshott Painter

Naukratis Naukratis Diosphos Painter

Dot-Band Class

Gela

Athena Painter

Capua

Naukratis

A=B: lion and panther A: ENΓET - ENEͰ. B: ẸNẸ - EHE[.]E attacking deer, two lions attacking bull, two panthers attacking deer, running satyr on each side Duel of warriors ]LT Lower parts of woman and man A: two Amazons arming, lion. B: warrior mounting horse, dog A: Herakles mounting platform with kithara. B: satyr reclining on altar playing pipes, a male figure and two goats (?) lying behind the altar Capture of Dolon in wolf skin, Odysseus with animal skin at left, Diomedes with petasos and chitoniskos at right

]YEIONEIOYI A: OYXOY. B: YXYXỴX̣ I - IYYYXXI - ΓLXXΓ A: [.]OϘI - XOEK^XO - XOE - [.]OXOϞ - XOTEXO. B: YO[ - XOEKT

[.]OEPY - YXϞEIϞOϞ

NONO[

432

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Oxford, Ashmolean Museum V 247 Oxford, Ashmolean Museum V 277

AVI5881

519

Lekythos WG/BF

525–475

AVI5889

207373

Neck Amphora RF

475–425

Oxford, Ashmolean Museum V 305

AVI5895

204534

Cup RF

500–450

Oxford, Ashmolean Museum V 311 Oxford, Ashmolean Museum V 316 Oxford, Ashmolean Museum V 317 Oxford, Ashmolean Museum V 512 Oxford, Ashmolean Museum V 520

AVI5898

13305

Lekythos RF

500–450

AVI5899

207589

Lekythos RF

475–425

AVI5900

207436

Lekythos RF

475–425

AVI5907

340767

Lekythos WG/BF

525–475

AVI5913

200611

Cup RF

525–475

Oxford, Ashmolean Museum V 536 Paestum, Museo Archeologico Nazionale

AVI5920

208748

Lekythos RF

475–425

AVI6024

306829

Lekythos BF

525–475

Palermo, Banco di Sicilia, Collezione Mormino 165

AVI6068

275327

Lekythos RF

475–425

Palermo, Banco di Sicilia, Collezione Mormino 166 Palermo, Banco di Sicilia, Collezione Mormino 185

AVI6069

275236

Lekythos RF

475–425

275356

Lekythos RF

475–425

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 433 Painterb

Provenance

Figurative decoration

Inscription

Athena Painter Providence Painter

Gela

Poseidon on hippocampus

YOI^L^Ϟ̣ Λ^OΛ

Gela

A: NOΓN - NONAI. B: ]EN[

Gela

A: Athena with helmet and spear. B: draped man with sceptre Inside: running woman. A: draped man playing pipes at herm, two draped youths. B: draped man seated with staff, two draped youths, tree, writing case hanging Eros flying with lyre and fillet

N[.]NI - NONEỊI

Nikon Painter

Gela

Eos running

OE[..] - KAEAKϞ

Providence Painter Cactus Painter

Gela

Woman running with spear and shield (Athena?) Aias carrying the body of Achilleus A: two youths with cup, skyphos and oinochoe, column krater in the centre. B: youth with two horses Woman with phiale, youth with spit and ritual basket Two chariots racing

ΛϞΛΛBO

ZLϞỊ

PL Class

Naked youth washing at laver, sponge and aryballos hanging Woman running

Aischines Painter

Woman with ivy

XYXE

Painter of Louvre G 265

Thebes

Epiktetos

Aischines Gela Painter Haimon Group Pila, Paestum / Manner of Emporion Painter Bowdoin Painter

Inside: Ϟ[.]EHϞ - ]OϞ[.]EϞ B: OLEϞHL

OϞOϞ̣ - ỌϞO - OϞO - O - O - OϞ - O^Ϟ A: IE^OIE^Oie - TϞ - OIEN. B: ]IẸ[ ]IE - EOỊE

ΔEYH - KKKK OϞ̣ ELLO

KΛY

434

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Palermo, Banco di Sicilia, Collezione Mormino 196

AVI6071a

275485

Bell Krater RF

450–400

Palermo, Banco di Sicilia, Collezione Mormino 2589 Palermo, Banco di Sicilia, Collezione Mormino 301 Palermo, Banco di Sicilia, Collezione Mormino 36

AVI7474a

2612

Lekythos WG/BF

500–450

AVI6072

3434

Lekythos RF

475–425

AVI6067

275236

Lekythos RF

500–450

Palermo, Banco di Sicilia, Collezione Mormino 4302 Palermo, Banco di Sicilia, Collezione Mormino 662 Palermo, Banco di Sicilia, Collezione Mormino 755 Palermo, Banco di Sicilia, Collezione Mormino 813 Palermo, Collisani

Palermo, Museo Archeologico Regionale “Antonino Salinas” Palermo, Museo Archeologico Regionale “Antonino Salinas” 1896.1 Palermo, Museo Archeologico Regionale “Antonino Salinas” 1896.2

Lekythos BF

AVI6073

3444

Lekythos RF

475–425

Column Krater BF (Frs.) 3432

Lekythos RF

475–425

AVI6075

13382

Lekythos BF

525–475

AVI6030

4937

Band Cup BF (Frs.)

575–525

AVI6048

302357

Lekythos BF

550–500

AVI6049

302875

Lekythos BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 435 Painterb

Provenance

Pothos Painter

Selinunte Aischines Painter Painter of the Paris Gigantomachy Selinunte

Nikon Painter Manner of Detroit Painter ? Dessypri Painter Manner of Selinunte Sappho Painter / Leagros Group Palermo Leagros Group Acheloos Painter

Figurative decoration

Inscription

A: youth in petasos and chlamys with spears (Archilochos?) and the four Muses (one with pipes, one with lyre, one with writing tablet, one with box). B: three draped youths (one with staff) Herakles and Iolaos vs. Stymphalian birds Woman with mirror next to a kalathos Draped youth with staff

A: IỌỌI - ϞỌϞI[....]

ỴEϞ̣ II - IILYII - IͰIỊ - Ϟ̣ IḶYX - [..]LYXϞ̣ YYI KAY (graffito) ΛKO[?

Acontist, diskobolos, aulos XOỊ - ON player, acontist, jumper with halteres Draped man with torch A[.]PΠERΛ | P:PAPΔ Lower parts of horses, draped male figure, two women and a man Woman with sprig, cloth hanging Achilleus and Troilos, Polyxene, Athena

]ϞΠΠOΓYTA

A=B: horsemen (in A also bird) Athena, Herakles shooting with bow, Kyknos falling Herakles vs. Cretan bull between goddess with sceptre seated on stool and Athena seated on block

A: X[.]YΛ[.]L[.] - YOY[..]. B: YNY[...] LYX[..] - [.]YYṆ XOϞETϞ - YϞKXϞTIϞ - IFTFEXO

OYE XXX^Ϟ̣ - [.]ỊỊOO - X̣ [..]ỊϞ̣ YY IIYYYϞ̣ [.]ḶỴI

NOE[....] - XΓI - OṂI - F^YΛ

436

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Palermo, Museo Archeologico Regionale “Antonino Salinas” 1896.3

AVI6050

302876

Lekythos BF

550–500

Palermo, Museo Archeologico Regionale “Antonino Salinas” 2023

AVI6034

11021

Lekythos WG/BF

525–475

Palermo, Museo Archeologico Regionale “Antonino Salinas” 22711

AVI6047

4638

Lekythos WG/BF

525–475

Palermo, Museo Archeologico Regionale “Antonino Salinas” V 745

AVI6064

205986

Neck Amphora RF

500–450

Paris, market

AVI6768

320398

Neck Amphora BF

550–500

Paris, market (Artcurial, 9/10/2012 lot 87) Paris, market (Mikas)

LMCAdd209bis

Fr. of Band Cup BF

550–500

AVI6773

390405

Neck Amphora BF

525–475

Paris, market (Mikas)

AVI6775

207847

Neck Amphora RF

475–425

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.251

AVI6096

473

Stamnos BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 437 Painterb

Provenance

Acheloos Painter

Three Amazons: one leading her horse, the other two riding Mask of Dionysos between two maenads on shoulders of satyrs Selinunte, Two warriors riding dolphins Gaggera (Tomb and a man in chiton playing 22) pipes (theatre scene) Gela A: Nike flying with ritual tray at altar. B: draped youth with staff

Gela Painter

Athena Painter

Alkimachos Painter / Manner of Pan Painter Painter of Berlin 1686

Capua

Manner of Stroibos Painter Diosphos Painter

Manner of Painter of London E 342 Périzoma Group

Figurative decoration

ṆNNN - NHKHEK

YO - NE - NNN^NI - F̣ ^E - NEO^Ọ^Π

Ọ^ΓϞY - IYOI - YO^I

ΠΠΠΠP

Body A: EIOEIOXIEILIOLE Shoulder A=B: Calydonian EIOXEIOΓ - EIẠṬϞ̣ OXEIO boar hunt with boar in the centre and three huntsmen on each side (in B also a fallen huntsman). Body A: death of Priamos at altar, Neoptolemos with Astyanax, at left a woman. B: Herakles, Athena, Hermes Warrior mounting chariot LϞOϞ̣ [ A: two draped youths (one with staff and hare), dog. B: woman crowning youth seated on stool with staff A: Nike with fillet. B: veiled woman seated on rock

Vulci

Inscription

A: ḲϞXIϞY - XϞYEIϞX - X[..]YΓ B: XLXTEXOX - IϞYXIϞ - [.]XΛXΛXO

A: ͰNOΓḲN

A: HEAPIOϞ - AΦXNKAϞT - AETOϞX A: Herakles and Apollon struggling for the tripod, deer between them, Artemis at right. B: Dionysos with kantharos between two maenads, satyr at left

438

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Médailles et Antiques de la Bibliothèque nationale de France 189 (4899) (2707)

LAK 3

Cup

570–560

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.207

AVI6085

320385

Amphora BF

550–500

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.215

AVI6086

301745

Amphora BF

550–500

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.219

AVI6088

305526

Neck Amphora BF

525–475

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.272 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.297 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.299 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.315 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.316

AVI6100

330884

Oinochoe BF

525–475

AVI6102

24423

Lekythos WG/BF

500–450

AVI6103

208233

Lekythos WG/BF

475–425

AVI6106

10995

Lip Cup BF

575–525

AVI6107

10988

Cup BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 439 Painterb

Provenance

Arkesilas Painter Vulci

Painter of Berlin 1686

Vulci

Painter of Würzburg 173

Diosphos Painter Capua

Athena Painter

Kamiros (Rhodes)

Manner of Haimon Painter Athena Painter

Vulci

Italy

Corinth, Isthmus

Figurative decoration

Inscription

Man with sceptre seated on throne supervising workers carrying bags on ladder. Below, man and two workers storing bags A: warrior arming between old man and woman, warrior departing in front of old man and two other warriors. B: duel between warriors between two women A: Herakles vs. Nemean lion between Iolaos and Athena. B: charioteer in chariot, woman carrying child, warrior departing, old man seated on stool A: baby Dionysos holding torches on Zeus’ knees, Hera at right. B: Herakles vs. Cretan bull, Athena at right Draped man playing pipes between two warriors dancing pyrrhic Horseman returning home between two women, two dogs Warrior hit by several arrows falling

MAEN

A=B: deer and panther confronted

A: IΓΓΓFΓYΓXOΓΓΓΓIΓΓΓIΓOFΓΓΛOX̣ IϞ B: IΓΓΓFΓTΓX̣ OΓΓΓΓΛΓΛIΓOFΓΓ̣ ΛOI[.]Λ

A: EΠIOTΛI - EIOXEIỌX̣ Ị EAIOTONOXE. B: EIOXIOXEI - KNϞONΠKX - EIOXḲOTEIXX EIOXEIOFX - EIOXEIOXE

A: OΓIO[..]OϞ̣ O

A: καλόν - Διὸς φṓς - Hέρα Β: LXYṬXYX[.] - XEXL - XEXLX

I[..]OΠϞ^ϞϞ - [.]Ϟ[?

ΛY - Π^YΠ^HIΓ - ΠϞYI - IΛ^IOX̣ - Ϟ̣ O[? Δ[.]IOT - OỊOϞΔ - ϞTKΓO - TOXTO

A: Ẹ[.]OOFIOͰFO B: KϞXOͰYOFOͰLI

440

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.359

AVI6113

207367

Neck Amphora RF

475–425

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.369 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.477 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.492 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.493 Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.571+

AVI6123

207543

Neck Amphora RF

475–425

AVI6139

9017904

Lekythos WG/RF

475–425

AVI6142

14032

Lekythos Six

525–475

AVI6143

11333

Lekythos Six

525–475

AVI6181

204140

Cup RF (Frs.)

500–450

Paris, Médailles et Antiques de la Bibliothèque nationale de France De Ridder.592 Paris, Médailles et Antiques de la Bibliothèque nationale de France Froehner 1593/Cab Paris, Musée du Louvre 476

AVI6189

9017166

Fr. of Cup RF

9036661

Fr. of Lip Cup BF

575–525

8672

Plate BF

525–475

Paris, Musée du Louvre CA 156

AVI6651

46046

Lekythos BF

525–475

Paris, Musée du Louvre CA 1585

AVI6663

201088

Cup RF

525–475

Lekythos BF

600–550

Paris, Musée du Louvre CA 178 (MNC 333)

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 441 Painterb

Provenance

Providence Painter

Figurative decoration

Inscription

A: woman with hydria A: ΠIΛ^Y - ΓỌ^ΔIN. B: -ΠIF[? - ΛΓIΛO moving towards man with sceptre (Amymone and Danaos?). B: running woman A: Athena with stylus and NΛ^ΛΠIϞ - ho [π]ας writing tablet. B: draped man leaning on staff Woman with torch and Ϟ̣ YΛY phiale

Oionokles Painter

Bowdoin Painter

Diosphos Painter

Satyr pursuing maenad

IIIIYIII

Diosphos Painter Agrigento

Youth and horse

IIϞYXF - IIILYII

Manner of Brygos Painter / Manner of Castelgiorgio Painter

Inside: youth with chiton and A+B: ]ΛF - NNΛ - NONO - ṆN[.]NEN chlamys, another figure, altar (Theseus and Aigeus?). A+B: Ilioupersis: Neoptolemos, Priamos, warriors attacking women, doric column Inside: head, dog. A: two Inside: ϞNϞ draped figures on couch, table, shoes, dog Draped male figure EΠOIYXENϞ

PH038

Elaious (Thrace) Sappho Painter

Greece Elbows Out

Corinth

Youth with boots, staff and chlamys Peleus with dog, Thetis with dolphin, Cheiron, lion, two fleeing Nereids Inside: youth reclining and playing kottabos Shoulder: two cocks. Body: two lions and a tree

YE^E - YEII HHKYHN - ϞYNOKNỌI - Π̣ Y[.]ḲOϞ ϞOϞEϞ̣ Z - ΛHNXXEḲḤ - XỌXOYNK[.] - ḤHΛKYKY[.] - HYYY - ϞXNOKNỌI Inside: ΠNAOϞE - HAIIOϞE Body: Θ̣ IΠABNTAΓ - πάντα

442

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre CA 1837

AVI6666

46890

Lekythos WG/BF

525–475

Paris, Musée du Louvre CA 4356

AVI6690

20094

Oinochoe RF

500–450

3018

Hydria WG/BF

525–475

Paris, Musée du Louvre CA 4716

Paris, Musée du Louvre CA 598

AVI6655

461

Lekythos WG/BF

525–475

Paris, Musée du Louvre CA 599

AVI6656

208262

Lekythos WG/RF

475–425

Paris, Musée du Louvre CP 10255

AVI6569

9017843

Lip Cup BF (Frs.)

575–525

Paris, Musée du Louvre CP 10256

AVI6570

9017844

Lip Cup BF (Frs.)

575–525

Paris, Musée du Louvre CP 10257

AVI6571

9017845

Lip Cup BF (Frs.)

575–525

Paris, Musée du Louvre CP 10270 + CA 7436

LMC692

302498

Band Cup BF (Frs.)

575–525

Paris, Musée du Louvre CP 10271 Paris, Musée du Louvre CP 10505

AVI6582

9036666 350220

Band Cup BF (Frs.) Neck Amphora BF (Frs.)

550–500 600–550

Paris, Musée du Louvre CP 10509

AVI6583

350267

Neck Amphora BF (Frs.)

600–550

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 443 Painterb

Provenance

Theseus Painter

Manner of Epiktetos Leagros Group

Diosphos Painter Eretria

Manner of Bowdoin Painter Manner of Delphin Group

PH022/ Centaur Painter

Kyllenios Painter / Tyrrhenian Group Tyrrhenian Group

Eretria

Figurative decoration

Inscription

Youth, child and draped man leading bull to sacrifice, priest (?) with staff seated on chair in building Three satyrs squatting with wineskins and drinking horns Shoulder: two chariots, seated man between them, two dogs. Body: three horsemen, two dogs, man with spears Herakles cutting one of Hydra’s heads, Athena at left, Iolaos at right, crab, fire Artemis with phiale and torch, bull, quiver hanging

OI[.]̣O - OϞOΠO - OETY

Γ̣ NTOỊ - ΓNTOỊ - Γ̣ NTOI

Body: XΔKEY - ϞAENY^X - X^I - XΔ Y^̣X - HY - ϞΔENI - ϞΔỊ

IIYII - IYYIII

LLϞ^Ϟ^LϞO^Ϟ

A: two lions confronted. B: A: LILIAIAIAIΓIAI[.]. two deers grasing B: A[.]LIϞΓ[.]AϞ̣ EOKO A: two panthers. B: two deers A: EΠOIYEIYNIYEIY B: ]OIYEΠOIYEIYN[.] A=B: swan with outstretched A: EY:ẸY[.]ẠYLΓỌ wings B: E[.]EYIΠΓYΠ̣ LYI A: horseman, naked youth A: ΠO[..] - ΠOXFH[ with chlamys and staff. B: B: ]ỌϞΛ̣ horseman and two naked youths with chlamys A=B: two lions confronted ΠOΠO - [Π]OΠO - [ΠOΠ]O A: Herakles vs. Hydra A: TϞT[.]F̣ Ẓ between two women (one with fillet). B: horsemen A: Achilleus and Troilos at A: ϞOYϞ - ỊOYE fountain house (?), Polyxene and man fleeing, Athena, cock

444

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre CP 10581

AVI6584a

9036618

Neck Amphora BF

575–525

Paris, Musée du Louvre CP 10652

AVI6585

12420

Hydria BF (Frs.)

575–525

Paris, Musée du Louvre CP 10702

AVI6587

306533

Neck Amphora BF (Frs.)

600–550

Paris, Musée du Louvre CP 10714

AVI6588

41426

Oinochoe BF (Frs.)

550–500

Paris, Musée du Louvre CP 11072

AVI6610a

200148

Neck Amphora RF

550–500

Paris, Musée du Louvre CP 11263

AVI6624

351153

Column Krater BF (Frs.)

525–475

Paris, Musée du Louvre CP 11264 A

AVI6625

351154

525–475

Paris, Musée du Louvre CP 12665

AVI6648

9017859

Column Krater BF (Frs.) Oinochoe BF (Frs.)

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 445 Painterb Castellani Painter / Tyrrhenian Group

Castellani Painter / Tyrrhenian Group Manner of Leagros Group / Class of Olpe Berlin 1915 Euthymides

Painter of Bologna 48 Painter of Bologna 48 Painter of the Maenads on Billy Goat / Class of Reversed Palmettes

Provenance

Figurative decoration

Inscription

A: two Amazons between two warriors, six onlookers. B: kōmos

A: XỌTT - ΛỌXE

Shoulder: chariot between two warriors, draped man at right. Body: naked warrior arming, at left woman and man, at right woman and draped youth A: duel between warrior and Amazon, four women applauding at left, four women mourning at right. B: six komasts dancing Amazon with spears leading horse

Body: ]OI - IYΠYΠI - TIϞFYTϞ ỌΓIT[.]ϞO - IFYTỴTFY - [....]Ϟ

A: satyr with pointed amphora masturbating. B: satyr with kantharos and wineskin A=B: charioteer in chariot (in A also youth with fillet at right) A=B: charioteer in chariot

A: KTE - ΓTE - ϞYIΠY

Maenad seated on a goat

A: ϞI[.]Ϟ[?

NE - ON

A: ΛINỴ[.]Ϟ̣ B: Λ[....] - Λ[.]NN A: ΓXX[...]Ṇ B: N[.]OI[..]ϞX - [..]O[..]O ϞONI

446

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre CP 12668

AVI6649

9017858

Oinochoe BF (Frs.)

550–500

Paris, Musée du Louvre CP 12696 Paris, Musée du Louvre CP 150 Paris, Musée du Louvre E 734 Paris, Musée du Louvre E 830

AVI6650 AVI6567 AVI6242 AVI6255

41937 42160 9017897 310104

Fr. of Oinochoe BF Oinochoe BF Hydria BF Neck Amphora BF

525–475 525–475 525–475 575–525

Paris, Musée du Louvre E 831

AVI6256

310107

Neck Amphora BF

575–525

Paris, Musée du Louvre E 832

AVI6257

310073

Neck Amphora BF

575–525

Paris, Musée du Louvre E 833

AVI6258

310056

Neck Amphora BF

575–525

Paris, Musée du Louvre E 834

AVI6259

310068

Neck Amphora BF

575–525

Paris, Musée du Louvre E 835

AVI6260

310081

Neck Amphora BF

575–525

Paris, Musée du Louvre E 836

AVI6261

310074

Neck Amphora BF

575–525

Paris, Musée du Louvre E 841

AVI6262

310106

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 447 Painterb Painter of Satyrs with wineskin / Class of Reversed Palmettes Theseus Painter Sappho Painter Guglielmi Painter / Tyrrhenian Group Castellani Painter / Gugliemi Painter / Tyrrhenian Group Tyrrhenian Group

Guglielmi Painter / Tyrrhenian Group Kyllenios Painter / Guglielmi Painter / Tyrrhenian Group Tyrrhenian Group

Kyllenios Painter / Tyrrhenian Group Pointed-Nose Painter / Tyrrhenian Group

Provenance

Figurative decoration

Inscription

Athena and a giant

]NTENE

Warrior on horseback Peleus and Thetis, snake Two lions attacking a bull A=B: kōmos of men and women A: Dionysos seated between six maenads, grape vine. B: duel of warriors between two women and two horsemen A: fight scene with three duels between warriors. B: kōmos of seven men A: five warriors fighting against three Amazons. B: five horsemen A=B: fight scene with respectively six and seven warriors A: duel of warriors between two women with wreaths and two horsemen. B: kōmos of six men and one woman in chitoniskos A: three duels between warriors. B: tripod, three horses racing A: man and woman with wreath next to a dinos, two satyrs on each side. B: kōmos with four men and two women dancing

]Λ - ΠỊΛΓ EYỌEM - EY^ONON LOϞTOϞT - LOϞ - LOϞTϞ A: ΓOMEϞ - TOΓI B: ṆON - NON - ỌONI - TYOYO B: AIEϞ - ΠOEIEϞ

A: [.]YOFI - ΓYOFỊ B: Ϟ̣ OFNIṆ - OEΓ̣ Y A: ẸYTPO - XYONO - TYOI

A: NONOFIϞ - NOFIN - NOϞYOF B: TYOFN - ΓO - NONY - NOYIN A: TIΓΛI - KIT - FOFΛIKI - KOΛFII KOFIOI. B: ΓOKYX - XΛOIK - KỌYOYI - KΛKΛỌ - KOIK^X[.] - ΛΛFΛI

A: EϞTYFFO - XϞOϞO - FIOK - TN^I - IEϞNṬϞỌ^Ϟ A: ZIO[ - KOΛO[?]K - KΓ:ΓIX KIOMIO - [.]ONΛ̣ O. B: IOIKI - EIOIY - YIΛIKY - ḲỌIOXΛ̣

448

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre E 842

AVI6263

310111

Neck Amphora BF

575–525

Paris, Musée du Louvre E 844

AVI6264

310071

Neck Amphora BF

575–525

Paris, Musée du Louvre E 845

AVI6265

310092

Neck Amphora BF

575–525

Paris, Musée du Louvre E 846

AVI6266

310076

Neck Amphora BF

575–525

Paris, Musée du Louvre E 847

AVI6267

310023

Neck Amphora BF

575–525

Paris, Musée du Louvre E 855

AVI6269

310052

Neck Amphora BF

575–525

Paris, Musée du Louvre E 856

AVI6270

310053

Neck Amphora BF

575–525

Paris, Musée du Louvre E 857

AVI6271

310026

Neck Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 449 Painterb

Provenance

Castellani Painter / Tyrrhenian Group

Pointed-Nose Painter / Tyrrhenian Group Fallow Deer Painter / Tyrrhenian Group Fallow Deer Painter / Tyrrhenian Group Fallow Deer Painter / Tyrrhenian Group OLL Group / Cerveteri Tyrrhenian Group

OLL Group / Cerveteri Tyrrhenian Group

OLL Group / Tyrrhenian Group

Figurative decoration

Inscription

A: seven draped men with drinking horns in procession approaching a priest (?) next to a tripod. B: seven komasts dancing A: three duels between warriors. B: four men and a woman in chitoniskos dancing between sphinxes A: duel of warriors between three women and a horseman. B: three horses racing, woman at left A: duel of warrior between four more warriors. B: four horsemen

Γ:IỴΠỊΛϘΓT[.]I (under one handle)

A: a female and three male archers facing a falling warrior and two more warriors (Gigantomachy?). B: four horsemen racing A: Herakles and two other warriors fighting against three Amazons. B: six warriors A: Herakles and two warriors fighting against three Amazons. B: duel of warriors between two horsemen A: Medusa falling, two running Gorgons, Hermes. B: two warriors between two horsemen

A: FIYḶYLỌ - YOEϞϞ̣ - FIKỌIF FIFI[....]. B: EIEIΓIOIF - EIΛIΠIΛΛΛΠ̣

A: ΛIOXIOΛ - XIKOIFI - KIKIFIXI

A: ΓIΓIYΠḤ - KNOIKỌ - [.]IIΓOIΓI YOΛONOϞOΠ̣ F. B: XOIFOFXIX KONKIK - FOKXIX A: IOIXINI - KIFIFINI[.] - [..]EYOỊΓEỴ

A: KOOΓKOI - ΛOΛIFIHI - NIOϞIOϞIN

A: YOΛO - NOIZΛPΛIOFΓO

A: NYONIYOI - NOIOZYI NOZNIOΛIO - OZONIO B: [.]OIOIϞON

450

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre E 869

AVI6273

310146

Hydria BF

575–525

Paris, Musée du Louvre E 870

AVI6274

310130

Hydria BF

575–525

Paris, Musée du Louvre F 12

AVI6280

301458

Amphora BF

550–500

Paris, Musée du Louvre F 150

AVI6340

301104

Pyxis BF

575–525

Paris, Musée du Louvre F 2

AVI6276

10707

Amphora BF

575–525

Paris, Musée du Louvre F 211

AVI6344

302099

Amphora BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 451 Painterb

Provenance

Figurative decoration

Inscription Shoulder: ϞILETON - LEONO - Γ̣ LEOϞ - ϞOIP̣ O - TLEON - σιρε̄ν́ εἰμι B: Ὀλυτεύς - Ἀχιλεύς - Θέτις - Ποντία

Etruria

Shoulder: two lions between two sirens. Body: Achilleus receives his arms from Thetis and two more Nereids, behind him Odysseus Shoulder: seven komasts (one playing pipes). Body: duel of warriors between two horsemen A: horseman with Boeotian shield between an old man with staff and a warrior. B: draped youth with staff between two warriors and two dogs Two horsemen, two warriors, two women, two draped men with spear, youth with chlamys

Archippe Group / Tyrrhenian Group

Guglielmi Painter / Tyrrhenian Group

Manner of Princeton Group

Sakonides

Etruria

S Painter / Leagros Group

Shoulder: ON[.] - KYOYO - ϞOΓϞ TONO - ΓON. Body: NONO - [.]YONO - KNOF A: XPENEONEO - XOEAϞEOΠO - NXEAPE - AOENỊ[.]EϞT TOEOKENΦK. B: TOE[...]IEϞ TPOKEXΦT - [..]KPO[..]N

NIXOEϞY - XI[.]NHX - EIOϞE ϞϞKOEI - AXOHIXOMINOI - ONIYEIX - EOYIO - XΔYEI - EIXEN - YITOYIX - ENIXNINΛONI - NYIXE - EITEI NIXOI - IEIXIΛII - ϞYNYOI - ΛIXEOIX IYXN[.]N - [.]ϞYIϞE - EIXIXIXET EIXITHI - XIXEIT - XIKITI - IEEXONIX - NIYINI - NIYIX[.]Y - XEϞϞẸYϞ - ETYIOEYEXϞ - ϞETOE - ΛNΓOI EXEEI - ΓETOM - ENIỴE B: INΠΔNKỌYI - [.]ΔY[..]XΛN

A: two men and two women reclining on klinai with phialai, two dogs, two youths (one playing pipes). B: man and woman reclining on kline (the woman playing pipes), youth handing a cup and a skyphos, dog A: Herakles vs. Acheloos, A: N[.]K[.]ΛΛO - IIXY at left Hermes and Athena (seated on block). B: two horsemen, two dogs

452

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre F 212

AVI6345

302098

Amphora BF

550–500

Paris, Musée du Louvre F 213

AVI6346

302105

Amphora BF

550–500

Paris, Musée du Louvre F 220

AVI6348

10773

Neck Amphora BF

550–500

Paris, Musée du Louvre F 24

AVI6282

301381

Amphora BF

550–500

Paris, Musée du Louvre F 281

AVI6361

10731

500–450

Paris, Musée du Louvre F 286

AVI6363

301806

Panathenaic Amphora BF Hydria BF

Paris, Musée du Louvre F 31

AVI6285

301613

Amphora BF

550–500

Paris, Musée du Louvre F 324

AVI6368

41414

Oinochoe BF

550–500

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 453 Painterb

Provenance

S Painter / Leagros Group

Antiope Group / Etruria Leagros Group

Etruria

Affecter

Etruria

Etruria Priam Painter

Witt Painter

Manner of Leagros Group

Nola

Figurative decoration

Inscription

A: Herakles and Iolaos reclining on rocks, Athena between them. B: two warriors (one leading horse), draped man with staff, woman with phiale A: Herakles mounting chariot, Athena, Hermes, Artemis (?), deer. B: Herakles vs. Erymanthian boar, Athena, pithos, Iolaos A: Athena mounting chariot; Herakles behind the horses, a goat. B: Dionysos between a maenad and a satyr with lyre A: two warriors departing alternated by a woman with wreath and an old man with spear and fish. B: draped man with spear, woman with wreath, warrior departing, draped man A: Athena between columns. B: chariot Shoulder: two old men seated on blocks, three warriors, one draped man mounting chariot. Body: Herakles vs. Triton between two fleeing Nereids A: two goddesses, Hermes, Paris fleeing. B: Herakles vs. Kyknos between two women

A: N[?]Π - ỌN - N - NI - Γ̣

B: ỌỊΔΠO

A: ϞLTϞ - ϞY

A: KEPMEΛTON - XEPEXN. B: Hερμε͂ς - χαῖρε καὶ | πίει

A: Ϟ̣ [.]ΥK - ṬIϞ̣ NỌY. B: KΠ[..] Shoulder: NONI^FOϞ - XΛN - XOϞ - TIY. Body: KO^NIKOϞ - XO YIKY^L^NϞ - TIMLϞ

A: IKϞNOXEN - KϞFϞNϞΛϞNI KΠVKϞΛ - KϞYKϞYI - KKϞΛ B: KϞXEXϞKϞ - KNϞNΦEϞ - KϘϞNEϞNϘ - KϞEϞKϞNXϞ Woman at fountain with lion TEΔE - ΔEXE - ΠΔEO head spout, hydria on block

454

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre F 328

AVI6369

302387

Oinochoe BF

550–500

Paris, Musée du Louvre F 386

AVI6376

8

Neck Amphora BF

550–500

Paris, Musée du Louvre F 387

AVI6374

7590

Neck Amphora BF

525–475

Paris, Musée du Louvre F 388

AVI6377

7309

Neck Amphora BF

500–450

Paris, Musée du Louvre F 4

AVI6277

320442

Amphora BF

550–500

Paris, Musée du Louvre F 5

AVI6278

320437

Amphora BF

550–500

Paris, Musée du Louvre F 51

AVI6290

301619

Hydria BF

550–500

Paris, Musée du Louvre F 53

AVI6291

310309

Amphora BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 455 Painterb

Provenance

Manner of Leagros Group Diosphos Painter Diosphos Painter Vulci

Diosphos Painter

Manner of Princeton Painter / Princeton Group

Manner of Princeton Painter / Princeton Group

Painter of Louvre F 51

Etruria

Group E

Vulci

Figurative decoration

Inscription

Athena in front of a deer

XEO - LOẸ - KΔNE

A: Herakles vs. Hydra. B: Athena, Iolaos, crab A: Herakles throwing stone with sling against the Stymphalian birds. B: Iolaos fighting against four birds A: Thanatos and Hypnos carrying the dead body of Sarpedon, eidolon flying over the corpse. B: Scythian archer and warrior A: Zeus seated on chair, goddess, Dionysos with drinking horn, Hermes, Ares. B: duel over a fallen warrior between two women and a man A: Dionysos and Ariadne (veiled) between two satyrs and two maenads. B: Dionysos with drinking horn between four satyrs and two maenads

A: XTYY - [..]IYϞOII - YYIϞ B: I[.]YTIϞ̣ A: XIEI - IỊYIIX B: X-XEỊ[?] - X

A: ΛΓXXXΛXK - IYYX^I - XXYY B: TYXYXYXỴ - YYYY

A: EIIϞ[.]ΛEIO - EYNYϞE - EI[ - EIOX[ - EIOXEIOXE[...]

A: ΛOYI[....] - EỊOϞEONΓΓΓ ΠỊΛ[.] - ΠOΠLONY[...] - Ϟ[...] ΠỌϞXOϞLΛϞYΠOϞYỴ - EOIII XOII - ỊOϞYO[..] - ỊΠOIY - FYNII B: ΓOϞOENEO - IΓEIO - EY - POI[.]ΓOI[.] - [..]YII - EN[..] - EOIΔO[.]I - ΠYϞ[ - EONIY[..] Shoulder: two duels between Shoulder: FYFYII - ϞYYIỌΛ̣ OYΓ warriors. Body: Herakles vs. ILNHLΠΛ - [..]I[.]OϞIϞXTY Triton, three courting men on each side A: Herakles vs. Geryon, Lid: ΠIΠYϞ̣ I - FIỌỊYΠI. A: Ἐχσε̄κίας ἐποίε̄σε Eurytion fallen, Pilos. B: - Hερακλε͂ς - Eὐρυτίōν - Γε̄ρυṓνε[ς] - Ϟτε̄σίας warrior in chariot, siren. καλός. Β: Ἀνχ^ίπος - Ϟε͂μος - Καλιφόρα Lid: animal frieze with three Πυροκόμε̄ - Καλιϙόμε̄ sirens and three deers

456

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre F 66

AVI6293

915

Siana Cup BF

575–525

Paris, Musée du Louvre F 72

AVI6295

7966

Band Cup BF

550–500

Paris, Musée du Louvre F 84 bis

AVI6301

11277

Fr. of BF Cup

575–525

Paris, Musée du Louvre F 9

AVI6279

11264

Hydria BF

575–525

Paris, Musée du Louvre F 90 (Fig. 8)

AVI6306

10871

Lip Cup BF

575–525

Paris, Musée du Louvre F 91

AVI6307

10901

Lip Cup BF

575–525

Paris, Musée du Louvre F 92

AVI6308

9136

Lip Cup BF

575–525

Paris, Musée du Louvre G 196

AVI6503

203069

Amphora RF

500–450

Paris, Musée du Louvre G 203

AVI6505

203142

Neck Amphora RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 457 Painterb

Provenance

Figurative decoration

Etruria

Inside: man in chlamys running

Vulci

Epitimos Painter

Vulci

Vulci, Corneto

PH043

Vulci

Troilos Painter

Etruria

Dutuit Painter

Nola

Inscription

Inside: AΓBΞMAO[..] - ]ΛKKB^AT A: καλόν εἰμι τὸ ποτε̄ρ́ ιον KAY B: KAYKAYKAY[? A=B: fight scene with A: EΠ - OṆϞ^ϞEΓΓΓ̣ - EO[.]IΓFE warriors and horsemen ỌΠFOϞỊ - ϞΠOΛ - IX̣ Γ - ΠIOϞOIX - ΓϞ̣ Π - TΠϞLϞϞϞ̣ - FXOϞX̣ [.] - ϞϞỌ - ΠOI^Ϟ^Y - ΠO^XΓ. B: EXϘL[..] - ϞΛϞ[..] - E[.]ϞϞIẸ[.]Ϟ - Ϟ[.]ΠII EXXϞϞΛ[.] - ϞϞ[ - [.]XΠ[..] - Ϟ[.]EΓ - [...]ϞIY - EΠXḲ - ϞϞXϞ[.] - Ϟ[.]ΠXḲL - ϞẸ[.]ΠO - EΠ[..] - [.]ON^Λ̣ I EXϞ[..]O - Ẹ[.]E - EΠ[.]YI - EΠOIY Inside: horseman with spear, [....]I[?]H[.]Y - TΛLTX - XOOΓ[..] child standing on horseback behind the horseman, two horses, hare Shoulder: duel of warriors Shoulder: ΛNṆṆ - ỌṆṆE[..] - LNͰͰI - YYOYII. between two horsemen. Body: XΛXNNI - HHLNLͰE Body: frontal chariot A=B: two male figures A: [.]EX[.]ỴOKTFXEXϘFXEXϘFXϘEXE squatting and holding cocks B: ϘYEXEYΛKKϘFXFXEKXFXE[.]XEϞEYA before the fight A=B: Herakles vs. Nemean A: HOYΠKΔ̣ KOFYYONXΛYN lion between two male B: ]ΛΠXONN[.]Y[..]NX onlookers A=B: two cocks and one hen A: ΠYIEY[.]IOIETN B: ΓPOTELXENINOYOI A: Athena mounting chariot, A: ϞYTI - ϞYEOLXϞ Herakles, draped youth with petasos. B: Dionysos with vine and kantharos, satyr playing pipes A: Herakles with kantharos A: OEOΠO being served by Athena with B: ΠEOKO^ḤO oinochoe. B: Hermes with kerykeion

458

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre G 206

AVI6506

205998

Neck Amphora RF

500–450

Paris, Musée du Louvre G 265

AVI6521

204532

Cup RF

500–450

Paris, Musée du Louvre G 30

AVI6406

200071

Neck Amphora RF

550–500

Paris, Musée du Louvre G 381 Paris, Musée du Louvre G 4 bis

AVI6537 AVI6382

204123 201044

Lekythos RF Cup RF

500–450 525–475

Paris, Musée du Louvre G 434

AVI6549

207774

Pelike RF

475–425

Paris, Musée du Louvre G 44

AVI6419

200156

Amphora RF

550–500

Paris, Musée du Louvre G 49

AVI6421

200197

Hydria RF

525–475

Paris, Musée du Louvre G 496

AVI6557

215758

Bell Krater RF

450–400

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 459 Painterb

Provenance

Figurative decoration

Inscription

Alkimachos Painter

Capua

A: EOϞ̣ ΠAϞ̣ Ϟ̣M - TENTϞϞ̣ HϞT

Painter of Louvre G 265

Vulci

Euphronios

Vulci

Brygos Painter Nikosthenes Painter

Italy

Ethiop Painter

Nola

Euthymides

Vulci

A: satyr attacking sleeping maenad with thyrsos. B: woman walking Inside: youth leading a woman (Theseus and Ariadne?). A: Theseus vs. Cretan bull, Theseus vs. Prokrustes. B: Theseus vs. Crommyonian sow, Theseus vs. Sinis A: youth on kline playing kottabos. B: youth on kline playing lyre Nike flying with two hydriai. Inside: komast with lyre and basket. A: three horsemen and two warriors. B: four youths grooming as many horses A: Dionysos with thyrsos, giant falling. B: draped youth with staff A: warrior mounting chariot, another warrior, child at right. B: woman with wreath between youth and man, both draped Kōmos: woman playing pipes, man with krotala, youth dancing A: draped man with bread and meat at altar, draped youth with cake and oinochoe, at left a child, at right Apollon. B: three draped youths (two with staff)

Pioneer Group / Manner of Pezzino Group Pothos Painter

Inside: ϞOIΓLOIΓḶIOL - AḶΓOϞIΓYI A: ΛY^IOϞI - ΛYIOI. B: OϞAΓYI

A: παῖς - Λέαγρος - καλός. B: Λέαγρος καλός - ΜΑΜΕΚΑΠΟΤΕΟ FΛYE - ?]EIEỌΛϞ Inside: NϞHOϞE - NOϞE. A: OϞ̣ O[.]

A: ΓϞNOII - NXOỌ

A: Δα[μ]ᾶς - χαῖ[ρε?] - Σo͂ σις - XAPXṆ B: χαῖρ(ε) ἔτι - ]AϞ

XOΓE - IOΠ̣ E - XOTYE[?] - XYE

A: AΦI^ΛAϞ (ἀφίλης? Ἀφίνας?) - παῖς | HIϞ

460

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre G 51

AVI6423

200193

Hydria RF

525–475

Paris, Musée du Louvre G 57

AVI6426

201715

Psykter RF

525–475

Paris, Musée du Louvre G 60

AVI6428

202056

Panathenaic Amphora RF

525–475

Paris, Musée du Louvre G 65

AVI6430

200106

Pelike RF

550–500

Paris, Musée du Louvre G 69

AVI6432

201114

Cup RF

525–475

Paris, Musée du Louvre G 93

AVI6442

202289

Cup RF

525–475

Paris, Musée du Louvre G 94

AVI6443

200651

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 461 Painterb

Provenance

Figurative decoration

Inscription

Dikaios Painter

Etruria

LϞΠXϞXϞ - XLXXΠI - XI

Kleophrades Painter

Nola

Nikoxenos Painter

Etruria

Youth playing pipes, naked woman (hetaira) urinating into a basin Dionysos, five satyrs (one with wineskin and oinochoe, one with lyre, one with pointed amphora, two dancing), three maenads (one playing pipes, two dancing) A: Athena at altar. B: draped priest with phiale at altar

Smikros

Etruria

Manner of Nikosthenes Painter

Painter of London E 2

Manner of Epiktetos

Poggio Sommavilla, Rieti

A: Peleus holding Thetis, Nereid at right. B: duel between warriors Inside: satyr with thyrsos and grape vine. A: four dancing maenads, three of them holding portions of Pentheus’ body. B: two duels of warriors, fallen warrior in the middle of each duel Inside: black warrior with pelta and javelin. A: Dionysos between two dancing maenads (one in leopard skin, with oinochoe). B: three dancing maenads (one with thyrsos, one with panther, one with deer) Inside: jumper with halteres, discus in bag hanging. A: Dionysos seated with drinking horn and grape vine, at left satyr, maenad and mule, at right two satyrs and mule. B: four maenads and two satyrs dancing

XΠXE - ETI - XOTE - ΠXI - IYϞ - XYT E-X-Π-I

A: ΠϞEPI - EPNṆTΠ - IΔϞṆϞ[.] - ϞNTHOLN. B: XTϞ̣ NϞ̣ N - HϞNEΓ̣ IΠ̣ TEṆN - OϞTHỊỊỊ A: ΠϞI^[.]I^O^XI B: NIϞI B: O^I^O

Inside: IΩΔON - XIMEO. A: ṆΔXAOI ΓAI - NΔ. B: ṆΔXI - XANIO - NXΔ

Inside: κα̣λός.̣ A: Ϟ^OT - KO

462

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Musée du Louvre L 27

AVI6700

7974

Lekythos WG/BF

525–475

Paris, Musée du Louvre L 31

AVI6699

203102

Lekythos WG/BF

500–450

Paris, Musée du Louvre L 34

AVI6701

203099

Lekythos WG/RF

500–450

Paris, Musée du Louvre L 4 (Fig. 27)

AVI6698

463

Pinax BF

525–475

Paris, Musée du Louvre L 43

AVI6702

6557

Lekythos Six

525–475

Paris, Musée du Louvre MNC 216

COP 90c

Pinax

600–550

Paris, Musée du Louvre SB 4143 - SB 4154 Paris, Musée Rodin 1059

AVI6724

209476

Rhyton RF (Frs.)

500–450

AVI6729

330978

Lekythos WG/BF

550–500

Paris, Musée Rodin 213

AVI6725

208750

Lekythos RF

475–425

Paris, Petit Palais ADUT315

AVI6733

7949

Amphora BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 463 Painterb

Provenance

Figurative decoration

Inscription ỊṆYOYỌNỌ^ỴỌ[.] - FNN - =NϞ ϞỌỌOY - Ϟ^Ọ - ϞϞϞϞϞ̣

Tanagra ?

Apollon with kithara, deer, four Muses dancing (two with krotala, one with lyre, one with pipes) Herakles vs. Nemean lion

Aias and Achilleus seated playing boardgame, palm tree in the centre

AXX^TΛ^O - ΔXI^XXI - Ϟ̣ LOXY - YFO^XLΘX

Sappho Painter

Diosphos Painter / DL Class Manner of Diosphos Painter / Little-Lion Shape / Class of Side-Palmette Sappho Painter

Athens

Kolias (Attica)

Prothesis: dead man on kline, around him mourning relatives, at left a male chorus, women crying, column Diosphos Painter Greece Iris running with kerykeion and writing tablet Penteskouphia A: kiln seen from above (?). B: two diagonal lines crossing Sotades Painter Susa (Persia) Amazon on horseback with pelta, warrior Pholos Painter ? / Woman with horse, draped Manner of man harnessing two horses, Haimon Group Hermes Aischines Painter Woman giving a fillet to a draped youth with staff, kalathos between them Vulci A: Athena in chariot, Herakles, draped man and youth leading a horse, Hermes. B: Artemis (?) in chariot, bird, Apollon playing kithara, Hermes, deer

IYXI - XXẸYO - ỊY[..]

LOϞỴT - πατε̄ρ́ - ἀδελφός - ΟΙΜ̣ΙΟΙ - θε̄θίς - οἴμοι - θε̄θίς πρὸς πατρός - LOϞYTOϞ - με̄τ́ ε̄ρ - θε̄θ́ ε̄ - ἀδελφε̄́ θε̄θί^ς - O[.]EΓOϞY[ YYYYY BOΠXỌ - ΘTX ΛYΛAMIϞ - OIΓME OEMϞOI

K - E[.] - O

A: YXI - OIYX - IXLϞOI - Y^TXTYI ϞXY^OYITXI[.] - YIOYI - OYI - ϞIOI ΔYOIO - [.]^YTIO - OYI^I - ϞYTYXI

464

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Paris, Petit Palais ADUT334

AVI6736

207643

Neck Amphora RF

475–425

Paris, private

AVI6763

275384

Cup RF

475–425

Paris, Stavros S. Niarchos A050

AVI6752

207999

Lekythos RF

475–425

Parma, Museo Archeologico Nazionale C 4 Parma, Museo Archeologico Nazionale C 53 Philadelphia, market (Hesperia Art Bulletin VII.215) Philadelphia, market (Hesperia Art Bulletin XLV/XLVI.A 14) Philadelphia, Penn Museum 31–19–2

AVI6783

200569

Cup RF

525–475

AVI6784

1258

AVI5767

9017938

Fr. of Column Krater 450–400 RF Lip Cup BF 550–500

AVI6815

204361

Lip Cup BF

575–525

Cup RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 465 Painterb

Provenance

Dresden Painter

Telephos Painter

Bowdoin Painter Oltos

Manner of Elbows Out

Figurative decoration

Inscription

A: two draped youths (one with staff) conversing, stool between them, cross hanging. B: woman with fillet or wool walking Inside: draped man seated on chair with phiale and staff, table with plate on it. A: woman seated on chair, draped man with purse, draped youth, column, writing tablet hanging. B: woman with skyphos between youth and man seated on chair (both draped and with staff), cloth and basket suspended, chair Nike pouring from a phiale over a burning altar Inside: woman holding her skirt (dancing?) Goat, male figure kneeling

A: ΛϞΛỌΔ - ΛϞIYϞI B: OḤ^OΛϞΛΠI

A=B: sphinx A=B: panther

Foundry Painter

Italy

Inside: naked youth toward column krater, oinochoe in right hand, kylix in left. A: centaur in center with tree, to right and left naked warrior. B: warrior falling in center, to left an archer, to right a warrior with sword and spear

Inside: KAYP

[.]IΓIII - ϞIIII[..]I Inside: [.]ϞỌ[.]^ϞO ]I[.]ΓΓ A: ]NϞKNEA[ B: ]EINϞ[ A: Π[.]OFOOΠΓΠOΠO[.] B: ΠΠFϞ[......]O[.]FOΠ Inside: ΓN - ΓNEIϞEΓ. A: NKN NNN[.]NY. B: XNY^Γ - XE^ΛNI

466

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Philadelphia, Penn Museum L-64–177

AVI6817

305530

Neck Amphora BF

525–475

Philadelphia, Penn Museum L-64–182 Philadelphia, Penn Museum MS 3441 (Fig. 38)

AVI6818

9017518

Lip Cup BF

575–525

AVI6797

320382

Amphora BF

550–500

Philadelphia, Penn Museum MS 3499

AVI6800

201125

Cup RF (Frs.)

525–475

Philadelphia, Penn Museum MS 4842 Philadelphia, Penn Museum MS 4858 A-D Philadelphia, Penn Museum MS 5481

AVI6804

202276

Cup RF

500–450

AVI6805

9017517

Band Cup BF (Frs.)

550–500

AVI6811

5773

Skyphos BF

525–475

Plowdiw, Regional Archaeological Museum 2572

AVI6828

205982

Neck Amphora RF

500–450

Port Sunlight, Lady Lever Art Gallery X 2125

AVI6835

19401

Pelike BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 467 Painterb

Provenance

Diosphos Painter Athens

Athens Painter of Berlin 1686

Orvieto

Manner of Nikosthenes Painter Eucharides Painter PH022

Orvieto

Orvieto Orvieto

Theseus Painter ?

Alkimachos Painter

Theseus Painter

Brezovo (Thrace)

Figurative decoration

Inscription

A: Athena in chariot. B: bearded charioteer driving chariot A=B: female head

B: IYII[.]II - IYΓX̣ Y - TLXLXḶXI

A: birth of Athena, Zeus seated on chair with thunderbolt, behind him Hephaistos (?) and Apollon with kithara, in front of him Eilethyia and Ares, winged woman below the chair, siren, dog. B: goddess (Amphitrite?), Poseidon, Zeus and Hera seated on stools, Ares and two more goddesses Inside: warrior. A=B: fight scene with four warriors Inside: seated youth writing on tablet Horseman between running youths A: Herakles, Nereus and two women. B: Hermes, Athena and Iolaos carrying bow and club A: young athlete with pick, cloth lying on a stele, staff, sponge and strigil hanging. B: draped youth with staff (trainer?) A: Dionysos with Hephaistos on donkey, satyr. B: Dionysos seated with kantharos, Ariadne seated

A: FOFOFOFOFOAO[ B: I[...]FXOFOF A: X̣ EIOIOXEIOXEϞ - EOXEIEOXEIO EIOXEΠ[...]I. B: NỌIEIIOϞΛ NϞIO[...]O[ - [.]OE[.]IΔIO[ [.]IOIEXOXE[.]

Inside: ho πα κα. A: KLXϞ ϞI^YILỴXYϞ̣ . B: ϞNEY - ỴΓIϞ YXϞYXYX - ϞYXϞYX OFO - OFO B: OEN - ONE

A: OϞNOϞ - Π̣ Ọ[.]OϞM B: ]ΥOΥO

A: OϞΛϞ

468

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Port Sunlight, Lady Lever Art Gallery X 2142

AVI6835a

215743

Bell Krater RF

450–400

Poseidi, Archaeological Museum (?)

AVI6836

9017520

Band Cup BF (Frs.)

550–500

Princeton, University Art Museum 2011–22 (ex London market Sotheby’s)

AVI4791a

9036692

Lip Cup BF

550–500

Princeton, University Art Museum y1929–192

AVI6847

320433

Amphora BF

550–500

Princeton, University Art Museum y1929–427

AVI6844

9017838

Column Krater BF

525–475

Princeton, University Art Museum y1931–5

AVI6849

200875

Alabastron RF

525–475

Providence, Rhode Island School of Design Museum 14.432

AVI6855

4538

Lekythos BF

525–475

Providence, Rhode Island School of Design Museum 25.073

AVI6861

201494

Alabastron RF

525–500

Reading, Ure Museum of Greek Archaeology 51.4.7 Reggio Calabria, Museo Archeologico Nazionale 4174 (Fig. 23)

AVI6877

7391

Fr. of Band Cup BF

575–525

AVI7858

9017527

Lekythos WG/BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 469 Painterb

Provenance

Figurative decoration

Pothos Painter

A: two satyrs, one seated playing pipes, the other dancing with kantharos, two maenads with thyrsos, pointed amphora. B: draped youths Poseidi (Mende, A=B: Dionysos, satyrs and Chalkidike) maenads Manner of the Inside: Herakles vs. Nemean Painter of lion. A: Herakles vs. Nemean Munich 1379 lion, Athena at left and warrior at right. B: horseman leading a horse, a naked youth with spear on each side Princeton Group / A=B: warriors departing, Manner of horseman on horseback, Princeton Painter draped men at the sides

A: ?]Ϟ[.]ḲḲ[.]Y - Π̣ Π̣ [.]I - EỌ^E

A: [.]NΓ - [.]OṆΓ̣ - E[.]Γ[.]ΓΓ̣ - EΓ[..] - Π̣ ΓOΓ A: EΠ[.]OϞYϞỌ - EOϞ[.]OϞIOϞ[.] - ΠEOϞΠEOϞΠEOϞΠ. B: EON[ - ΠEOϞΠEOΠEOϞΠ

A: ΓKΓYΓFI - XX̣ IΓI-ΓY - XΓỴΓYXI ΠIIIIϞ - Π̣ Ͱ[..]ΓL[...] B: Λ-[..]- Γ̣ ΠϞΛ[.]Ọ[.]IϞ̣ - EϞΓIOΓ - EIỴΓΓΓỊ - Γ[.]ΛΛΛỊ - Ϟ̣ [.]YYI[.] A: warrior mounting chariot, A: ΠỌΠỌΠỌNỌ five more warriors. B: five naked men dancing Two women separated by ΠAIΓOΓLOI - IOẠILO two columns at altar

Mikra Karaburun Group Group of the Paidikos Alabastra / Manner of Euergides Painter

Painter of Berlin 2268

Inscription

Greece

Locri Epizephyrii

Shoulder: bulls. Body: Peleus IIXONIΠ and Thetis twice, separated by altar Satyr with wineskin and X[..]Ϟ - ?]ITI- XA^LOI pelta, pointed amphora on the ground Lion attacking goat ΛI[.]YOỌIϞ̣ Γ Kōmos of three couples of man and woman (one man plays pipes, another lyre, all women hold krotala)

KAINẸTẸ - O^O^Y^T - Π^Y^ΛO - Π^ΟΓΑ - Π^EI - IN^Λ^E^I - HY^ḄPIẠΓΕϞ

470 Current location

Appendix Corpus numbera BAD number

Shape

Chronology

Rhodes, Archaeological Museum

Band Cup BF (Frs.)

550–500

Rhodes, Archaeological Museum 10575 Rhodes, Archaeological Museum Π24133 (Fig. 7) Richmond, Virginia Museum of Fine Arts 60.11

Fr. of Band Cup BF

575–525

AVI6902b

28126

Lip Cup BF (Frs.)

575–525

AVI6923

361434

Neck Amphora BF

525–475

Richmond, Virginia Museum of Fine Arts 62.1.19 Riehen, private

AVI6927

9017850

Lip Cup BF

550–500

AVI6933

351615

Lekythos WG/BF

525–475

Rochester, Memorial Art Gallery 515 Roma, Antiquarium Forense Roma, Musei Capitolini 51

AVI6936

9017832

AVI6949

330777

Lekythos RF Fr. of Cup BF Oinochoe WG/BF

475–425 575–525 525–475

Roma, Musei Capitolini 87

AVI6952

13751

Oinochoe BF

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia Roma, Museo Nazionale Etrusco di Villa Giulia (ex Princeton, University Art Museum y1989–69)

AVI7061

9017711

Lip Cup BF

575–525

AVI6845

28180

Psykter RF

525–475

Roma, Museo Nazionale Etrusco di Villa Giulia 102091 Roma, Museo Nazionale Etrusco di Villa Giulia 102096 Roma, Museo Nazionale Etrusco di Villa Giulia 1225

AVI7260

9017791

Fr. of Lip Cup BF

550–500

AVI7261

9017790

Fr. of Lip Cup BF

550–500

AVI7132

13029

Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 471 Painterb

Provenance

Group of Louvre Marmaro F 81? (Rhodes)

Ialysos Ano Achaia (Ialysos) Diosphos Painter

PH095 Athena Painter

Roma Group of Athena Painter / Sèvres Class

Figurative decoration

A: warriors, charioteer, A: YOF[ woman. B: seated man, warriors, charioteer, woman, draped men EΠOI[.]EIYEIXAN A=B: four couples of man and woman having sex A: Herakles vs. Kyknos. B: Ares and Athena moving in opposing directions A=B: panther

Etruria Symposium: youths and men reclining (one playing kottabos, one pouring from one cup to another) Cerveteri

A: LYϞOLYϞOLYϞLYOLY B: LYϞALYϞO[.]Y[.]O[.]YO[.]Y ϞΓϞ^Ϟ[.] - ϞΛϞΛ - ϞϞΛ̣ Ϟ - ϞϞΛ̣ Ϟ

IΛϞOϞ[.]NOϞΠΛΛ A: ]LXYXY B: EΠOXEXΠϞXYXṆ OϞ - ILEIϞ - EIϞ

LOTE[ Man running

Falerii (Civita Castellana)

A: [.]CΓAYCTCYΓNCXΓNCΠCYϞΓC B: ΓYKX[…….]YCKΓCYC A: YX^YX - HIϞYXI - YXIϞYX̣ B: XXΓX - XXXXEX

Pipes player between two warriors dancing pyrrhic, two stools with cloths Nike with fillet IICNỌ - [.]C[.]Y NOPΓ[ Naked horseman riding with OϞΠEAO two spears, dog, herm, ivy Herakles vs. Triton, at left Nereus, at right two Nereids

Kleophrades Painter

Inscription

]XIIX

A: Herakles shooting arrow, A: AϞOKXϞ - EϞOI Athena attacking with spear. B: Geryon

472

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Roma, Museo Nazionale Etrusco di Villa Giulia 20776

AVI7149

9017719

Cup BF

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 20915 Roma, Museo Nazionale Etrusco di Villa Giulia 25002 Roma, Museo Nazionale Etrusco di Villa Giulia 42048 bis Roma, Museo Nazionale Etrusco di Villa Giulia 44314

AVI7154

3290

Oinochoe WG/BF

525–475

AVI7155

302390

Oinochoe BF

550–500

AVI7163

13093

Fr. of Cup BF

550–500

AVI7166

13085

Neck Amphora BF (Frs.)

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 47466 Roma, Museo Nazionale Etrusco di Villa Giulia 48238

AVI7169

303360

Oinochoe WG/BF

525–475

AVI7172

202567

Pelike RF

500–450

Roma, Museo Nazionale Etrusco di Villa Giulia 50384 Roma, Museo Nazionale Etrusco di Villa Giulia 50388

AVI7176

201725

Hydria RF

500–450

AVI7178

200550

Cup RF

525–475

Roma, Museo Nazionale Etrusco di Villa Giulia 50407

AVI7183

204365

Cup RF

500–450

Roma, Museo Nazionale Etrusco di Villa Giulia 50433

AVI7187

203943

Cup RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 473 Painterb

Gela Painter

Provenance

Figurative decoration

Inscription

Cerveteri

A=B: women under cloak, three men on each side (in A two women, in B one woman) Pipes player between acontists Amazon with shield, dog

B: LTT[.] - Ϟ - FIYI - XY[.]O - IIΛ

Cerveteri

Manner of Leagros Group

Frontal chariot Veii (?)

Gela Painter

Cerveteri

Matsch Painter

Cerveteri

Kleophrades Painter Oltos

Cerveteri

Foundry Painter

Brygos Painter

Cerveteri

MN - N - ṆE^N - N - ONN - N - ẸXE [.]OΛ[.]X̣ Ṇ^ΠΛI - ΠXΠE E[...]Π^ẸOXI OṆ[.]IOYO

A: Apollon playing kithara between Artemis and Leto, panther. B: Athena fighting (Gigantomachy?) Warriors leading horses

B: INϞOXA - INIO

A: Herakles leaning on club, Geras leaning on staff. B: Dionysos with kantharos, ivy and leopard, maenad with oinochoe Two draped youths, one holding hare Inside: priest with oinochoe. A: Herakles vs. Hydra, at left Iolaos mounting chariot. B: Dionysos vs. giant falling between pegasoi Inside: horseman. A: warrior between two horsemen. B: horseman between two horses, column at the sides Inside: draped man with staff. A: pipes case, youth leaning on staff, youth playing lyre, child with staff and basket. B: three male figures

A: ΛAYEO[ B: XΛYXEΓ

N^N^N - NNY^Ọ

ϞYTY B: N^ΛOϞ - MLΛIΓ - OΛ^II - ΠXXYX

A: OϞ̣ [.]Π B: [.]EỌΛ

Inside: OϞΓΛ^LYOϞ

474

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Roma, Museo Nazionale Etrusco di Villa Giulia 50472/Min 596 Roma, Museo Nazionale Etrusco di Villa Giulia 50631 (=M453)

AVI7193

302853

Band Cup BF

550–500

AVI7204

310072

Neck Amphora BF

575–525

Roma, Museo Nazionale Etrusco di Villa Giulia 50652

AVI7205

310041

Neck Amphora BF

575–525

Roma, Museo Nazionale Etrusco di Villa Giulia 50700

AVI7209

320428

Amphora BF

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 50714

AVI7210

302886

Neck Amphora BF

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 64216

AVI7213a

350320

Neck Amphora BF

575–525

Roma, Museo Nazionale Etrusco di Villa Giulia 64217

AVI7214

340531

Amphora BF

550–500

14994

Lip Cup BF

540–530

13088

Lip Cup BF (Frs.)

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 64223 Roma, Museo Nazionale Etrusco di Villa Giulia 754

AVI7126

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 475 Painterb

Provenance

Figurative decoration

Inscription

BMN Painter

Italy

A=B: two runners

Vulci

A: three duels between warriors. B: four satyrs and four maenads in erotic poses A: two duels between a warrior and a centaur, fallen warrior between them. B: horseman and warrior attacking Amazon, two female and a male onlookers A=B: duel between warrior and Amazon, draped men at the sides A: diskobolos, pipes player, acontist. B: jumper with halteres, pipes player, acontist A=B: eight komasts dancing

A: TϞOINI - Ϟ̣ EϞ̣ I[.]OEΠ̣ B: XΠϞOIEN B: [..]O[.]TT

Castellani Painter / Tyrrhenian Group Castellani Painter / Tyrrhenian Group

Manner of Princeton Painter / Princeton Group Manner of Acheloos Painter

Guglielmi Group / Tyrrhenian Group Psiax / Painter of Berlin 1686

Vulci

A=B: birth of Athena, Zeus seated between two Eilethyiai and male figures (A: naked youth at left, Hermes and draped man with spear at right; B: draped man at left, Poseidon at right)

Vulci, Necropoli Osteria, Tomba Panatenaica Falerii (Civita A=B: deer Castellana)

A: ΓϘEΦA - ΓXOHANH - ΓT[

A: NONON

A: NXOPEϞ[..] - NKP^Ϟ̣ I

A: IYONϞ - TOϞLE - XPOΠϞ - ΛOΓOI - TOTϞ̣

A: ΓY[. B: XE[.]OX̣ IOY IY[.]X[.]OIOI - PIIOYEIỌ - [.]ϞXϞO[..] XEIOXEIOXEIOI - XEIOXEIOXOXEIO - XEIOXEIOΓEIO - XEIOOOXEIONEIO

A: [.....]TΠ[.]XLXLXYXY

[..]ΓṆ[

476

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Roma, Museo Nazionale Etrusco di Villa Giulia 7847B

AVI7140

13041

Band Cup BF (Frs.)

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 79531 + 1020101

AVI7220+7264

9017726+ 9017788

Band Cup BF (Frs.)

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 79537 Roma, Museo Nazionale Etrusco di Villa Giulia 79554 Roma, Museo Nazionale Etrusco di Villa Giulia 79587

AVI7226

9017821

Lip Cup BF (Frs.)

550–500

AVI7230

9017818

Fr. of Band Cup BF

550–500

AVI7234

9017728

Fr. of Band Cup BF

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 79589 Roma, Museo Nazionale Etrusco di Villa Giulia 79638 Roma, Museo Nazionale Etrusco di Villa Giulia 79662

AVI7235

9017816

Band Cup BF (Frs.)

550–500

AVI7238

9017813

Fr. of Lip Cup BF

550–500

AVI7241

9017810

Band Cup BF (Frs.)

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 79668 Roma, Museo Nazionale Etrusco di Villa Giulia 79877+79878 Roma, Museo Nazionale Etrusco di Villa Giulia 79910

AVI7243

9017808

Band Cup BF (Frs.)

550–500

AVI7246

9017805

Lip Cup BF (Frs.)

575–525

AVI7247

9017804

Cup BF (Frs.)

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 79985 Roma, Museo Nazionale Etrusco di Villa Giulia 80153 Roma, Museo Nazionale Etrusco di Villa Giulia 80155+80192 Roma, Museo Nazionale Etrusco di Villa Giulia 861

AVI7250

9017801

Fr. of Lip Cup BF

550–500

AVI7252

9017799

Fr. of Band Cup BF

550–500

AVI7253

9017798

Fr. of Band Cup BF

550–500

AVI7127

302392

Oinochoe BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 477 Painterb

Provenance

Figurative decoration

Inscription

Falerii (Civita Castellana)

A: three runners between two trainers. B: draped man, foot of runner

A: ]ΓI - ]X̣ [..]XΓI - ]Π̣ [..]

Cerveteri

Cerveteri

Cerveteri Cerveteri

?]TYΓ[? - ?]ϘEXϘΠ̣ X̣ EYΛX - ϘXΛHXϘΠX[? Naked man running, back of EOXII a feline Figure with chlamys, ΠOΓ[ - IY[ - ]ΓI - Ϟ[ - ]IXI - IXXXX horseman, naked man, IXIXϞI - ΓYOLI - ]YI draped man Man with spear, horseman, HYO[...] - IYLYOYILYLYI - ]ỴLYI man running, horse, woman IY[.]LYO^I ]IOϞ̣ EX[.]Γ Naked man running, male figure, horse, horseman riding Horseman between men running A=B: sphinx

OY[ - [.]IOOϞ[ - ]IIXOHIXI - ]OϞ̣ ΩX EI[ - H:X - XOEϞ̣ ỌKΓ

A=B: horseman between youths with spears (some naked, some draped) Horse

A: ]ΓΓΓ[.]YXΓΓ[...] LYEͰ[.]OΓ[...]ΓΓΓI^ΓΓΓΓ̣ II [.]YYΓYΓΓΓΠ[.]ΠΠY[.]O[.] - [...]NN[ B: ]IIO - ]IΠIIII - ]ΓΓI - ]O - IIIIΓΓΓΓ[ ]ONON

Horseman

ΓXYI[ - X[

Cerveteri

Horseman

EΔEIO - PEI - OϞTO

Falerii (Civita Castellana)

Amazon with shield, dog

XEΛ - NEΛN - NEΠỌNEO

Runners Painter Cerveteri Manner of the Painter of the Nicosia Olpe Cerveteri

Manner of Leagros Group

]ΠAỊ - ]Π̣ ΔAI

XXỌ[ A: ]NIEEEI. B: ]AL[

478

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Roma, Museo Nazionale Etrusco di Villa Giulia M452

AVI7058

302311

Column Krater BF

550–500

Roma, Museo Nazionale Etrusco di Villa Giulia 50394 Saarbrücken, Universität, Institut für Klassische Archäologie, Antikensammlung 254 Samos, Vathy Museum K 1215 Samos, Vathy Museum K 6925 (Fig. 20)

AVI7179

9017721

Oinochoe BF

525–475

22778

Lip Cup BF

550–540

23556

Fr. of Cup BF

550–500

AVI7431

23452

Band Cup BF (Frs.)

550–500

Samos, Vathy Museum K 6927 San Antonio, Museum of Art 86.134.169

AVI7432

9017514

Fr. of Band Cup BF

550–500

AVI7449

350329

Neck Amphora BF

575–525

San Antonio, Museum of Art 86.134.196a San Antonio, Museum of Art 86.134.35

AVI7450

20266

Lip Cup BF (Frs.)

575–525

AVI7443

19546

Lip Cup BF

575–525

San Simeon (CA), Hearst Historical State Monument 5455 Santa Barbara (CA), Museum of Art C14WL55 Schwerin, Staatliches Museum 711

AVI7459

15043

Lip Cup BF

575–525

AVI7460

306647

Oinochoe BF

550–500

AVI7467

206039

Oinochoe RF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 479 Painterb

Provenance

Leagros Group

Figurative decoration

A: Herakles vs. Cretan bull A: ΠPOX^ϞE^Ϟ̣ ẸOḲϞLOI between two women, quiver hanging from tree. B: four komasts Amazon, dog ΠH[.]^ỌϞ - Y^ṆϞE Inside: cock, lotus

Oakeshott Painter

Castellani Painter / Tyrrhenian Group

Inscription

Samos, Heraion Two horses drinking at trough Samos, Heraion Servant about to lift krater, wineskin, satyr playing pipes, maenad dancing, satyr and maenad dancing Samos, Heraion Upper part of animal (deer?), two tails (panthers?) A: two chariots racing, two dogs, two draped men. B: five men and one woman reclining on klinai, tables, dogs

Capua

A=B: Peleus and Atalante wrestling between two draped youths A=B: sphinx

A: XAI[ ]ḲṆḲΠY

ΓTY^LY - YY - YY - ILLI TOEKEKEϞ - EK - ]ϞEIϞTO[

ΔEϞΔϞEY - TE[ A: ΔIYOEN

A: XOI[..]XOIΠIYI B: XOIΓ[.]YK[.]ΓIXI A: YIYIYIYIYINIYNI

A: XOỌOOYOLYO B: XOḶOḶYOỌYOL Ẹ[...]ṬẠNTIO

Briachos Class

Chariot racing, post

Alkimachos Painter

Apollon with kithara and IΠϞKIΛ - ϞIΠIΛI - ḲΠϞΓ̣ I (graffito) phiale, Artemis with bow and oinochoe

480

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Schwerin, Staatliches Museum 731

AVI7469

213257

Skyphos RF

475–425

575–550

AVI7528

9016913

Fr. of Hydria or Amphora BF Band Cup BF

AVI7529

350847

Skyphos BF

550–500

AVI7544

390338

Lekythos WG/BF

525–475

AVI7545

301916

Panathenaic Amphora BF

550–500

Siracusa, Museo Archeologico Regionale Paolo Orsi 20966

3752

Lekythos RF

475–450

Siracusa, Museo Archeologico Regionale Paolo Orsi 21936

207877

Lekythos RF

475–450

Siracusa, Museo Archeologico Regionale Paolo Orsi 21965

302213

Neck Amphora BF

550–500

207438

Lekythos RF

475–425

Siracusa, Museo Archeologico Regionale Paolo Orsi Siracusa, Museo Archeologico Regionale Paolo Orsi Siracusa, Museo Archeologico Regionale Paolo Orsi 12161

Siracusa, Museo Archeologico Regionale Paolo Orsi 19901 Siracusa, Museo Archeologico Regionale Paolo Orsi 20067

Siracusa, Museo Archeologico Regionale Paolo Orsi 21971

AVI7558

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 481 Painterb

Provenance

Figurative decoration

Inscription A: καλε̣̄́ B: κ̣ α^λό�̣[ς] - ϞLIỊ

Gela, Bitalemi

A: winged youth or girl pursuing (Zephyros? Eos? Iris?). B: youth fleeing (Hyakinthos? Kephalos?) Nike, draped figure

Lewis Painter

Siracusa Ure’s Class of Skyphoi A 1

Siracusa

Diosphos Painter Gela Manner of Michigan Painter / Perizoma Group Manner of Villa Giulia Painter

Manner of Ethiop Painter or London E342 Leagros Group

Providence Painter

Gela

Gela, Necropoli del Borgo, via Salerno tomb 396 Gela, Capo Soprano Predio Lombartolo tomb 8 Gela, Capo Soprano, Predio Lobartolo tomb 19 Gela

ILTϞ[ ΔIEXNI

A: twice Athena fighting A: AOLN against warriors (Gigantomachy?). B: five times Athena dancing, Hermes Chariot racing, warrior ỊII^X - IIΠX[.] - ḶLΔXI pursuing another warrior A: Athena between columns B: EYO - IE[.]X^X with cocks. B: diskobolos, jumper with halteres, acontist Woman playing pipes, maenad dancing

ẸOENN - EOENN

Draped youth (with Thracian ANONA - ANONA hat?) with staff, Athena with shield and spear A: Herakles vs. Erymanthian B: NENLNN - ENMNΠ - ϞLỌ - LYI boar. B: Eurystheus climbing - ϞEN into pithos, woman with sceptre Woman putting cloth on XEỌ - ΠϞEIϞ chair, mirror hanging, kalathos on the ground

482

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Siracusa, Museo Archeologico Regionale Paolo Orsi 2287

AVI7538

46922

Lekythos WG/BF

550–500

Siracusa, Museo Archeologico Regionale Paolo Orsi 2353

AVI7540

46895

Lekythos BF

525–475

Siracusa, Museo Archeologico Regionale Paolo Orsi 26822 (Fig. 22)

AVI7569

4821

Lekythos Six

525–475

Siracusa, Museo Archeologico Regionale Paolo Orsi 45981 Siracusa, Museo Archeologico Regionale Paolo Orsi 50960

AVI7531

275822

Lekythos WG/RF

500–450

AVI7530

320238

Calyx Krater BF

550–500

St. Petersburg, State Hermitage Museum

AVI7819

29078

Oinochoe BF

525–475

9272

Plate BF

500–450

AVI7403

9017637

Neck Amphora RF

475–425

AVI7404

9017636

Pelike RF

500–450

St. Petersburg, State Hermitage Museum 2213 St. Petersburg, State Hermitage Museum 4513 St. Petersburg, State Hermitage Museum 4515 / ГР-10480

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 483 Painterb

Provenance

Gela Painter

Gela Painter

Gela

Sappho Painter

Agrigento

Figurative decoration

Inscription

Kōmos: man with stick and NNN - NON - NN^NNI kantharos, dog carrying basket, pipes player, man with stick and drinking horn, column Shield, Amazon, shield, N^Ϟ̣ - N^Π̣ - Π^Ϟ - Π̣ ΛN sword, two spears, Amazon picking up shield Peleus vs. Atalante, dinos LTΠΕLEYϞΠΟΙϞ

Bowdoin Painter Gela, Spina Santa Manner of Siracusa Antimenes Painter

Nike at fountain, hydria on ϞṬEOϞ - O - ϞΓ̣ EOϞ block Predella B: AϞOIET - ΓOIϞ Body: A: Athena mounting chariot with Herakles, at left Dionysos, Apollon with kithara and Artemis (?) next to the horses, at right Hermes and Leto (?). B: Dionysos between maenads and satyrs. Predella A: Dionysos between satyr and maenad with krotala dancing. B: chariot Taman (southernAias pursuing Kassandra, ΛϞH - ἀρίστε̄ͅ μετρί (graffito) Russia) statue of Athena, ivy Kerch, Pantikapaion (Crim)

Bowdoin Painter

Maenad dancing with krotala, pipes case hanging

YA^IN

A: man giving a cock to a A: ΛNOΛ | NIPP youth. B: youth A: herm, pinax depicting B: EIEIẸI herm, altar, column. B: two young athletes, sponge and strigil hanging, diskus on the ground

484 Current location

Appendix Corpus numbera BAD number

St. Petersburg, State Hermitage Museum 616 St. Petersburg, State Hermitage Museum 671 St. Petersburg, State Hermitage Museum B 102 St. Petersburg, State Hermitage Museum B 103 St. Petersburg, State Hermitage Museum B 347 St. Petersburg, State Hermitage Museum B 349 St. Petersburg, State Hermitage Museum B 350 St. Petersburg, State Hermitage Museum B 429 St. Petersburg, State Hermitage Museum B 68.196 St. Petersburg, State Hermitage Museum B 73.472 St. Petersburg, State Hermitage Museum B 74.117 St. Petersburg, State Hermitage Museum B 77.135 St. Petersburg, State Hermitage Museum P 1870.106 St. Petersburg, State Hermitage Museum ST 151 / B 1403

AVI7364

Shape

Chronology

200105

Pelike RF

550–500

203132

Lekythos WG/RF

500–450

9026396

Fr. of Band Cup BF

550–500

9026394

Fr. of Band Cup BF

550–500

Fr. of Band Cup BF

550–500

Fr. of Band Cup BF

550–500

Fr. of Cup BF

575–525

Fr. of Lip Cup BF

575–525

Fr. of Band Cup BF

550–500

Fr. of Lip Cup BF

575–525

Fr. of Cup BF

575–525

Fr. of Lip Cup BF

575–525

9026350

Fr. of Lip Cup BF

575–525

310034

Neck Amphora BF

575–525

9026577

9026360

9026589

AVI7388a

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 485 Painterb

Provenance

Figurative decoration

Berezan

A: Peleus holding Thetis, A: Ϟ[?]ϞLOYΔϞ Nereus at right. B: jumper B: ẠLΔIOϞ with halteres, trainer Warrior between two oriental IϞ̣ YXIϞ̣ E - [.]ILYΠ - IKϞYXIΔ archers, dog XENO

Smikros

Sappho Painter

Berezan

ϞOKΠNΔẸ[

Berezan

Pair of horsemen riding

]ENENNEYE

Berezan

Youth, horseman leading a second horse

XAIA[

Berezan Berezan

XAX̣ ΔE[ Siren with outstretched wings

Berezan PH043

Berezan

.]NLAϞANE LITNIXϞ̣ OϞ̣ [

Cock and hen

]ϞLOOϞILOϞLOϞ

Berezan

ΠYPAIOΠ̣

Berezan

NIENO[

Pantikapaion Castellani Painter / Tyrrhenian Group

Inscription

Dancing maenad, ithyphallic ỊEΔ[.]E satyr A: wedded pair in chariot in A: YTϘΓE - ỴTIEϘT front of house, behind them two draped men (one with kantharos, one with branch), two women (one inside the building). B: male and female komasts dancing

486

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

St. Petersburg, State Hermitage Museum ST 1538 / ГР-2031

AVI7349

206338

Hydria RF

500–450

St. Petersburg, State Hermitage Museum ST 1602 St. Petersburg, State Hermitage Museum ST 1612

AVI7350

202392

Column Krater RF

500–450

AVI7348

200198

Hydria RF

525–475

St. Petersburg, State Hermitage Museum ST 1630

AVI7373

209662

Neck Amphora RF

475–425

St. Petersburg, State Hermitage Museum ST 165 / ГР-2003

AVI7390

302026

Hydria BF

550–500

St. Petersburg, State Hermitage Museum ST 218

AVI7339

8411

Lip Cup BF

575–525

St. Petersburg, State Hermitage Museum ST 334

AVI7393

301461

Amphora BF

550–500

St. Petersburg, State Hermitage Museum ST 795

AVI7356a

200792

Fr. of Cup RF

525–475

Rhyton RF (head of dog) Column Krater RF

500–450

St. Petersburg, State Hermitage Museum ΓΡ-4752 St. Petersburg, State Hermitage Museum ГР-10475

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 487 Painterb

Provenance

Pan Painter

Vulci

Myson Pioneer Group

Painter of Munich 2660 Antiope Painter / Leagros Group

BMN Painter / Manner of Sakonides Group of Leningrad 1469 / Princeton Group

Euergides Painter ? / Epiktetos Brygos Painter Myson

Figurative decoration

Hermes with writing tablet leading two old men in chitoniskos, Dionysos with kantharos at right A: warrior riding horse. B: naked youth with wineskin Woman with hydria, fountain, draped man next to a hydria, naked woman crouching (clothes hanging above her) A: two draped youths conversing (one with staff). B: draped man with staff Shoulder: warrior, old man seated with staff, dog, warrior mounting chariot, warrior with spear, dog, draped man with staff. Body: Achilleus, chariot dragging the body of Hektor, woman Canino (Lazio) A=B: Herakles vs. Nemean lion A=B: warrior departing, youth and draped man with spear on each side

Inside: youth with wineskin

Three pygmies fighting against three cranes A: athlete with strigil. B: youth with wineskin

Inscription ΓϞϞ^ϞYΠ

A: IIỴ[....]XOMXI[.] - OIϞOLϞ B: OΓOYX̣ - IYIϞOIO EXOI - ϞYIϞI

A: ΛΛΛOI B: ΛϞΛI Shoulder: NOE. Body: NỌEI - νέκυ NE^P^NEY^I - XEY - KIN - NΔE - KOI^NΔE

A: XΠϞAΠOΠEAKϞAN B: XΠKϞAENϞOIEAN A: E[..]OXEOXEO - EYN[.]LI EΘIOEONA - EOXOϞOϞFϞΓ - Ϟ̣ ONΓXOΓ - EYXOXIX - EOXONLϞOIΓ[.]. B: EOϞΛỌϞX - EOEOXOX̣ ϞT - ?]IOXϞOΠ̣ - EONF̣ OϞIE - IOϞOEϞYLΓ[.] ?]AΔ - XOΛ

APXHOΠAI - HOΓ - IϞ - ho πα[ῖ]ς A: ḤOOII

488

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

St. Petersburg, State Hermitage Museum ГР-3618

AVI7383

215143

Stamnos RF

450–400

St. Petersburg, State Hermitage Museum ГР-6996 / W 658

AVI7361

210103

Cup RF

475–425

Stanford, Cantor Arts Center at Stanford University 1961.66

AVI7493

350324

Neck Amphora BF

575–525

Stuttgart, Württembergisches Landesmuseum KAS 74

AVI7505

41308

Skyphos BF

525–475

Switzerland, private

AVI7506a

Neck Amphora BF

575–525

Fr. of Band Cup BF

550–500

Neck Amphora BF

525–475

Sydney, University, Nicholson Museum 56.15 Tampa, Museum of Art 1986.029

AVI7579

351170

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 489 Painterb

Provenance

Kleophon Painter

Telephos Painter Orvieto

Castellani Painter / Tyrrhenian Group Theseus Painter

Kyllenios Painter / Tyrrhenian Group

Cumae Michigan Painter

Figurative decoration

Inscription

A: old man leaning on staff, woman with oinochoe, warrior with phiale, woman. B: three draped youths (one leaning on staff) Inside: old man fleeing with child on shoulders (paedagogus and Orestes?). A: Neoptolemos attacking Priamos at altar, woman fleeing. B: Aias pursuing naked Kassandra, column between them, fleeing woman at right A: four pairs of male symposiasts reclining on klinai. B: two female and five male komasts dancing A: man dragging boar, man and youth carrying amphora fixed to staff. B: pipes player, man leading bull, man carrying a case on shoulder A: draped man, fountain, Achilleus attacking Troilos (fleeing on horse), woman fleeing after having dropped hydria. B: four horsemen riding Horseman

A: KA`KA´ΔE - KAE

Inside: [κ]αλ^ό[ς π]α̣ῖ̣ς Α: OI^Y^Ϟ^ϞΠ. B: KY^Ϟ^Ϟ

B: ΓXN - ΓTOϞE - ΓTOIϞϞ - ỴTOT - ΓṬOTOE

A: ỌϞN

A: NOYOΠ - ΛΠOTEϞO - LTYỌϞ - ΠA OTOϞOḶ - ϞOTNO[.]

NIOϞ - NIOIϞ - X

A: Herakles vs. Antaios A: NOϞI - NOϞI between doric columns, bow and club hanging. B: youth grooming horse, column at left

490

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Tampa, Museum of Art 1986.041

AVI7580

352189

Oinochoe BF

525–475

Taranto, Museo Archeologico Nazionale

AVI7585

300621

Siana Cup (Frs.)

575–525

Taranto, Museo Archeologico Nazionale

AVI7586

9017528

Siana Cup (Frs.)

575–525

Fr. of Vase RF

500–450

Taranto, Museo Archeologico Nazionale

Taranto, Museo Archeologico Nazionale I.G. 110337 (?) Taranto, Museo Archeologico Nazionale I.G. 20784

LMCAdd249ter

18376 ?

Lip Cup BF

575–525

AVI7606

350874

Skyphos BF

550–500

Taranto, Museo Archeologico Nazionale I.G. 4434

AVI7600

310530

Droop Cup BF

575–525

Taranto, Museo Archeologico Nazionale I.G. 4435

AVI7601

310529

Droop Cup BF

575–525

Taranto, Museo Archeologico Nazionale I.G. 4448

AVI7598

9017501

Skyphos BF

525–475

44909

Skyphos BF

525–475

Taranto, Museo Archeologico Nazionale I.G. 4449

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 491 Painterb

Provenance

Figurative decoration

Inscription

Painter of Villa Giulia M 482 Painter of Boston CA

Vulci

Two horsemen fighting over fallen archer A: Dionysos in chitoniskos and nebris with drinking horn and vine between satyrs and maenads. B: warriors and horsemen departing Inside: horseman. A: three youths on horseback, three draped youths Woman putting taenia on the head of a youth, elbow of a third figure

KON^XEϞI - LEϞ - KO - KO - LENϞ

Taranto

Leporano

BMN Painter

Taranto

Group of Rhodes 11941

Taranto, via Duca degli Abruzzi Taranto

Taranto

Taranto

Theseus Painter

Taranto

B: L^X[...] - [.]LILX̣ - Ị[..]ΓϞIO

A: ΓI[.]Δ̣ YI - X[.]AL[.] - XỌ[..]

]OIϞKϞ

A: XPKϞOIΠAEϞN[ B: XΠ[.]KϞOIE[.]ϞON EΠOIEϞXI

A=B: four chariots racing

A: ]N - XNΠN - NYONX̣ Ị - NHNΔ NḲNỴ - ṆKNHONḤNENḤ - NϘ[.]XHN NHNHN - XNḤḤ - NKY - NKNỴ[? B: NNKHOH - NIINO - NYN: NXNKNNN. Foot: Ἀντίδōρος ἐποε A: boar being hunted by four B: AIΔ[.]ỊI. Foot: Ἀντίδōρος ἐπ̣ οε youths and a horseman on each side. B: fight of pygmies and cranes A: Hermes with chlamys A: ẸϞ̣ ϞN - A^ON^ΓEO leading four bulls. B: Herakles vs. Antaios, Athena at right A=B: men and youths with A: OϞTN - OϞTK - OϞIḲ. B: [.]ϞTK staffs and chlamydes, draped OϞTL - OϞTN - OϞTK - ]TO pipes player

492

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Taranto, Museo Archeologico Nazionale I.G. 4545

AVI7609

206410

Lekythos RF

500–450

Taranto, Museo Archeologico Nazionale I.G. 4573 Taranto, Museo Archeologico Nazionale I.G. 4591

AVI7603

2662

Lekythos WG/BF

500–450

7663

Skyphos BF

525–475

25043

Band Cup BF

550–500

Pyxis

600–550

Taranto, Museo Archeologico Nazionale I.G. 52204 Taranto, Museo Archeologico Nazionale I.G. 52740 Taranto, Museo Archeologico Nazionale I.G. 6220 Taranto, Museo Archeologico Nazionale I.G. 6221

AVI7592

350934

Band Cup BF

550–500

AVI7604

301103

Band Cup BF

575–525

Taranto, Museo Archeologico Nazionale I.G. 6515

AVI7613

330715

Cup BF

525–475

Taranto, Museo Archeologico Nazionale I.G. 7030

AVI7614

330673

Skyphos BF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 493 Painterb

Provenance

Figurative decoration

Manner of Pan Painter

Taranto

Athena Painter

Taranto

Heron Class / Manner of Theseus Painter

Taranto, via Crispi

Theseus and Ariadne ϞΓLI - ho - {κ}π̣ α̣ῖς - T^ϞOͰ̣ ^YN sleeping on cushions, Hypnos or Eros, Athena, figure flying Pipes player between two IỊϞϞ^ϞYỌϞ - IϞϞϞΠΠ - Ϟ^ỊỌ warriors dancing pyrrhic B: ṆNϞO A: woman playing pipes followed by naked man with staff carrying amphora and two drunken komasts. B: woman playing pipes followed by two komasts (one with lyre, one dancing) and a youth carrying torch A: I[.]ΠΠϞLỌΞΓOḤIΔI[...]OII

Taranto, via Messapia Taranto Leporano Sakonides

Satyrion, Leporano (Puglia)

Theseus Painter

Ceglie di Bari

Theseus Painter

Taranto

Inscription

OΔ̣ OṬỊΘEFOITOΘOF̣ ỌTO A=B: cock and hen between two grazing fawns A=B: man, woman and youth, king seated on stool being crowned by a Nike, woman and youth, horseman, woman and youth

A: IṆY[.]NI- YNNINI B: YI^ỊḶL - YIYΛΓI A: ]ΓX[..] - XA[..] - [..]ΠΓ[.] - [.]XXỊ - ΛIO[.] - [..]ΓOΓI - X̣̣ XϞEI - ETXEIYI XEIΘ̣ YE - ϞIXO - EΓIXϞI - EYEI - EΓT - ETXOϞXO - ETX - XϞEOϞXO - ϞEΠI - XϞYL - YIX. B: XTX - [.]OI[.] - XOTXT - ETXLI - MAIϞEϞ - EϞXOϞXO - NIXI - XTETX - ϞI[..] - NIXI - T[..]I Handles: Kαῦλος ἐποίε̄σεν - Ϟακο̄νίδε̄ς ἔγραφσεν Inside: OXTO - OX[..]

Inside: statue of young Herakles with club and bow. A=B: four symposiasts reclining, vine, naked youths A: Hermes leading four bulls A: [.]TX - OIX^NO (cattle of Apollon or Geryon). B: Herakles vs. Alkyoneus or Antaios, Athena

494 Current location Tarquinia, Museo Archeologico Nazionale 563 Tarquinia, Museo Archeologico Nazionale 569 Tarquinia, Museo Archeologico Nazionale 679 (Fig. 3)

Appendix Corpus numbera BAD number

Shape

Chronology

9029454

Fr. of Lip Cup BF

550–500

AVI7649

13857

Cup BF

550–500

AVI7651

38

Neck Amphora BF

525–475

201479

Mug RF

525–475

Fr. of Lip Cup BF

575–525

Lip Cup BF (Frs.)

575–525

Fr. of Lip Cup BF

575–525

Fr. of Cup BF

575–525

Lip Cup BF (Frs.)

575–525

Lip Cup BF (Frs.)

575–525

Band Cup BF (Frs.)

550–500

Fr. of Band Cup BF

550–500

Neck Amphora BF

575–525

Tarquinia, Museo Archeologico Nazionale 710 Tarquinia, Museo Archeologico Nazionale 74/11389 Tarquinia, Museo Archeologico Nazionale 74/11799 + 74/11628 + 74/11796 + 74/11782 + 74/11604 + 74/11810 + 74/1407 + 74/1809 Tarquinia, Museo Archeologico Nazionale 79/10486 Tarquinia, Museo Archeologico Nazionale 79/14082 Tarquinia, Museo Archeologico Nazionale 79/14254 + 79/14256 Tarquinia, Museo Archeologico Nazionale II 1101 + II 1102 Tarquinia, Museo Archeologico Nazionale II 24922 bis + II 16193 Tarquinia, Museo Archeologico Nazionale II 3455 (VG 74846) Tarquinia, Museo Archeologico Nazionale RC 1043

AVI7628

310032

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 495 Painterb

Provenance

Manner of Elbows Out Tarquinia Manner of Leagros Group

Tarquinia

Painter of Berlin 2268

Tarquinia

Figurative decoration

Inscription

A=B: hen

YIYIϞIXO

A=B: Zeus and Hera seated between eyes A: Herakles and Athena in chariot, warrior (Iolaos?). B: Herakles playing lyre at altar, Iolaos, woman, Athena Two naked youths reclining (one with skyphos), drinking horn

A: EOITOϞ - EIOKḲ[.] B: EIE - ΠOIEỴ A: NKΠHOΛKΠH. B: NKΠKN^Y^K - OΠKΠI^NY

Gravisca Gravisca

Oakeshott Painter Fallow Deer Painter / Tyrrhenian Group

XI - IL[.] - N[.]

]LIṆOLIX[ Draped figures, some with staffs or wreaths (procession?)

]TΓTTF[? - IONTN[.]NΓN[ ]ΔΛAΠϞNϞΠX[ - ]OFTX[ - ]XTΓXΓX[

Gravisca

]OΓYE[

Gravisca

]ϞOXYỌ[

Gravisca

]OXYO

Gravisca

Naked youth pursuing boar

Gravisca

Two draped figures with YI[ - ]YIX̣ ϞM spears Maenad and ithyphallic satyr FEΓEIL - Ϟ̣ FXẸOI

Gravisca Tarquinia

A: Apollon and Artemis pursuing Tityos with Leto, two veiled women. B: four horsemen riding

]ϞϞNOϞL[

A: NϞNONON - YOIYOYO HONϞΛϞΛOΛϞ - [.]OΛϞN - ]ΛϞI

496 Current location

Appendix Corpus numbera BAD number

Shape

Chronology

Cup RF

525–475

201478

Oinochoe RF

525–475

30379

Band Cup BF (Frs.)

575–525

Fr. of Lip Cup BF

540–530

Fr. of Cup BF

550–500

Fr. of Cup BF

550–500

Lip Cup BF

575–525

Band Cup BF (Frs.)

550–500

Fr. of Cup BF

575–525

Fr. of Cup BF Fr. of Cup BF Fr. of Cup BF

575–525 575–525 575–525

Fr. of Band Cup BF

550–500

Tarquinia, Museo Archeologico Nazionale RC 1914

Tarquinia, Museo Archeologico Nazionale RC 3245 Tarquinia, Museo Archeologico Nazionale Ta 72/10286

AVI7639

Tarquinia, Museo Archeologico Nazionale Ta II 646, II 1885 Tarquinia, Museo Archeologico Nazionale Ta II 8576 bis Tarquinia, Museo Archeologico Nazionale Ta II 9952 Tawqrah/Tocra, Al-Agoria Archaeological Museum 1050 Tawqrah/Tocra, Al-Agoria Archaeological Museum 1059 Thasos, Archaeological Museum 1009p / D 931 Thasos, Archaeological Museum 59.373 Thasos, Archaeological Museum 59.646 Thasos, Archaeological Museum 59.651 Thasos, Archaeological Museum 75.A.547

AVI7621

9031414

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 497 Painterb

Provenance

Figurative decoration

Inscription

Triptolemos Painter

Tarquinia

Inside: ho παῖς ΚΑΙϞ. Α: hο παῖς καλ^ός. Β: hο̣ παῖ^ς κα^λός

Painter of Berlin 2268 Manner of Elbows Out

Tarquinia

PH038

Gravisca

Inside: pipes player. A: draped youth with staff giving hare to another youth, sponge and aryballos hanging, third draped youth leaning on staff. B: draped man wrapped in cloak and leaning on staff, column, two draped youths conversing, between them sponge and aryballos hanging A=B: youth wrapped in cloak lying, basket hanging A: nine couples of man and woman copulating, pipes player. B: parts of two copulating couples Feline

Gravisca

[..]TOITΠ - OFOTE - OTOTOTFO - HΓIOITH - FOΓNTOFT - EOTET ]ỌḤE. B: YITFO[..] - YFOT[ XΠḶ[

Gravisca

]X̣ AYIϞYO[

Gravisca

ϞOϞO[

Taucheira (Cyrenaica) Taucheira (Cyrenaica) Thasos

Inside: lion

Thasos

A: [..]OΛNΓỴNỴNΓL A: ẸI[.]ẸYHXYI[ KOEME[

Thasos Thasos Thasos PH048

A: YEYXXE. B: EXXYXE

ΓOΓϞϞϞ[ ]IAIAI[ ]ALTEΠOṆ[ Horseman and two fighting warriors

EϞTA - EϞIAϞN - EϞE[ - AϞIN

498

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Thasos, Museum

AVI7663

Fr. of skyphos BF

550–500

Thasos, Museum

AVI7664

Thebai, Archaeological Museum

2913

Droop Cup BF (Frs.) 550–525 9024539

Cup RF

525–475

Thebai, Archaeological Museum 17077 / R 46.83

AVI7680

330859

Oinochoe WG/BF

525–475

Thebai, Archaeological Museum 17080 / R 22.8

AVI7675

204074

Skyphos RF

500–450

Thebes, Archaeological Museum R 46.80 Thera, Archaeological Museum

AVI6902

9017833

Lip Cup BF

550–500

Oinochoe BF

525–475

Fr. of Band Cup BF

550–500

Lip Cup BF

575–525

Lip Cup BF

550–500

Thessaloniki, Archaeological Museum 4863 Thessaloniki, Archaeological Museum 7745 Thessaloniki, Archaeological Museum 7839 Thessaloniki, Excavations Toledo (OH), Museum of Art 1958.69 Toledo (OH), Museum of Art 1964.126

AVI7691a

AVI7702

43983 351252

Band Cup BF Neck Amphora BF

575–525 525–475

AVI7709

275906

Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 499 Painterb

Provenance

Figurative decoration

Inscription

Thasos, Artemision Thasos, Artemision Akraiphia (Boeotia)

Charioteer with spear in chariot, two warriors Three satyrs and two maenads dancing A: fight scene with two warriors attacking a fallen warrior twice. B: five young komasts dancing, two with skyphos, one with pointed amphora Two youths (one with wreath) in ship on sea, dolphins, Nike flying A: satyr with phallos stick and leopard skin. B: warrior with pelta and spear A=B: horseman

EΓOIXIMI - MYIXϞIỴIY - EIXΠI - EIX^M[ ]EϞΛ - ϞOϞYX - EϞX - EϞY - ΠEY[

Athena Painter

Rhitsona

Brygos Painter

Rhitsona (Boeotia)

Rhitsona (Boeotia) Sellada (Thera) Young horseman with two spears leading his horse, bird Lion attacking deer or goat between cocks and panthers Sindos (Macedonia) Sindos Inside: Pegasos (Macedonia) Thessalonike Acheloos Painter A=B: Herakles and deer, Athena at right Foundry Painter Inside: youth playing lyre, komast dancing. A=B: pipes player, komast dancing, lyre player, komast dancing, naked youth with basket and staff

A: Ẹ^Δ^EỌ^X - IΠϞOϞ - ΛFX̣ E^ΛN - KNFΓ - F^K - ΠỌFΓ - ON^FϞΛ B: ENENE - ΓFEEFΛ - FK - ΠFFΓ^O - LF - LF

ON^K - ṬOϞE - OϞẒO

A: KEϞE - EX̣ [..]Y[.] B: ]ỌX̣ Ọ - [.]ΠEE A: P̣ ΓϞΠϞΠIXϞNϞN B: ΠΓϞΠXOϞ̣ Ϟ NO^N - NON - N^ON LYϞOFLYϞ[...] - ]LYϞONY A: XAIPETNOΠEϞ B: XAIPAPIOT[.]YϞ A: NKΠKΠKΠOKΠOKΠOKΠOK B: NKΠONOKNONOKNOKNKN A: YXXỊỌ[....] A: ϞΔEϞ B: ϞΔEΛ Inside: NOEṆ[.]OḲỌ[.]E. A: NN - Ọ - ỌNO^N - N^YΛ. B: NN - NNF ṆNṆỌN - ẸNON

500

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Toledo (OH), Museum of Art 1972.54 (Fig. 21)

AVI7711

7276

Amphora BF

550–500

Tübingen, Eberhard-KarlsUniversität, Institut für Klassische Archäologie D 56 / S 101507

AVI7755

9523

Phormiskos BF (Frs.) 550–500

Tübingen, Eberhard-KarlsUniversität, Institut für Klassische Archäologie D 6 / S 702

AVI7752

2848

Amphora BF

575–525

Tübingen, Eberhard-KarlsUniversität, Institut für Klassische Archäologie E 124 / S 101606 Tübingen, Eberhard-KarlsUniversität, Institut für Klassische Archäologie E 79 / S 101388 unknown

AVI7784

209110

Oinochoe RF

475–425

AVI7803

275365

Lekythos RF

475–425

AVI7832

9016865

Lekythos BF

475–425

unknown (Athos Moretti)

AVI7866

4562

Pyxis BF

575–525

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 501 Painterb

Provenance

Rycroft Painter

Cumae

Karlsruhe Painter

Manner of Beldam Painter

Manner of Lydos / Painter of Vatican 309?

Chiusi, Poggio Gaiella

Figurative decoration

Inscription

A: Hermes, servant carrying tripod and three phialai, Priamos begging Achilleus (reclining), Briseis with hydria. B: warrior departing in chariot, old man, two warriors Naked man on his knees holding something (Polyphemos? Sisyphos?), rocks, boat (inside it, bearded man seated [Odysseus?]), siren on rock A: draped youth with spear, warrior (Kyknos?), Athena, Herakles. B: horseman between youth with spear and warrior Flying Eros

A: ḤEP̣ EPMEϞ - Δ̣ OΓ̣ [..]ẠΔ̣ Ọ[.] B: ỴϞ̣ ỴϞ - TLO^Ṇ

Woman dancing with krotala, cloth hanging at left, block at right Nacked warrior falling under swarm of arrows Lid: kōmos of eight dancing couples of man and woman. Body A: Herakles and Athena, draped man with spear, youth with chlamys and horseman on each side. B: warrior and woman between six more figures

]YTϞ[.] - YTϞO

B: NΓ[.]IϞI

[.]Ḳ[.]IΛ̣ IAY

ỊIII

ΓOIΛΔ - OϞΔ - ITEΓOϞ - TOϞTOϞ Lid: F[.]HO - [..]FΓTϞϞỌ[ - XFΠΠTTϞϞΠ - F[.]FN[ FYΔΛXΛLLFΓFI - ΓXΓΠΓỊN - ΠOYO[ - ΛXX̣ [.....]EY[..] - ṬΠYΠIϞ̣ NNΛ[...] - ΠXXΠI[.]XIϞ̣ Ϟ̣ΓΓΠΠ - ΓN[.]FF̣ [ Body: ]YFNO[..] - FϞLIỌNỴ - ΠΠϞ[....] - ΓYXΓ̣ [...]ΓF[...] - FLO[....]Λ[.]Γ ΓΓϞFΛNIFY - ΛYΛE - FIΠ[.]Ϟ[...]ΓX̣ Δ̣IYONN I[.]Ϟ[.]OΓỌϞ - [.]Ọ[.]XITΠΠ̣ Y

502

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

unknown (once Basel, market [H.A. Cahn])

AVI7828

31575

Lekythos WG/BF

500–450

unknown (once Basel, market [H.A. Cahn])

AVI7829

13601

Lekythos WG/BF

500–450

unknown (once Basel, market [Munzen und Medaillen AG])

AVI7823

9017627

Fr. of Neck Amphora 550–500 BF

unknown (once Bruxelles, J.L. Theodor 2)

AVI2959c

21375

Neck Amphora BF

575–525

Fr. of Lip Cup BF

575–525

Fr. of Band Cup BF

550–500

unknown (once Centre Island, Dietrich von Bothmer) unknown (once Centre Island, Dietrich von Bothmer) unknown (once Küsnacht, Hirschmann)

unknown (once New York, market [Andre Emmerich Gallery]) unknown (once Prince of Canino)

AVI4107

361407

Lekythos BF

525–475

AVI7830

12285

Lekythos Six

525–475

9023392

Band Cup BF

575–525

Lip Cup BF

575–525

USA, private Venezia, market (Genova)

AVI7890

350274

Neck Amphora BF

575–525

Volos, Athanasakio Archaeological Museum

AVI4102a

165

Lekythos BF

500–450

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 503 Painterb

Provenance

Beldam Painter

Inscription

Woman with mirror seated Ϟ^Y - Y - IF̣ Ỵ - [.]Y[.]Ϟ on chair, alabastron and fillet hanging Sphinx on ionic column ΓY between two draped youths

Manner of Haimon Painter / Beldam Workshop Red-Line Painter / Leagros Group

A: Herakles vs. Nemean lion, Athena, Iolaos. B: woman between two warriors (return of Helene?) A: duel between warriors with male and female onlookers. B: duel between horsemen Two panthers confronted

Fallow Deer Painter

Manner of Sappho Painter / Little Lion Class Sappho Painter

Guglielmi Painter / Tyrrhenian Group

Sappho Painter

Figurative decoration

Krannon (Thessaly)

Stag wounded by spear, hare underneath Two women seated at table (one with food, the other with skyphos), third woman standing Woman and draped youth with staff, both seated A: Herakles vs. Kyknos. B: Herakles vs. Acheloos Inside: deer wounded by spear A: Achilleus vs. Memnon between Thetis and Eos, horseman on each side. B: four maenads and five satyrs dancing Herakles and other warriors fighting against Amazons

A: EAϘϞKΔIϞ

A: YOϞOϞΠ - YOYOΠYỌ - ΛϞΛϞΛI - O^[..]

]IXNIXNIX̣ N ]IΠ - X̣ OX̣ TITITI - ΥTIϞT - ϞΥTIT

IΠILL^II - ΠϞI A: X:ϞLΛΦϘIN Inside: EYΔΔ A: ẸΛIPKϘK - NIPIFIE - IOKAIϞ

Ϟ̣ [.]ϞϞΥϞϞ - [.]IỌΥΥ[.] ̣

504

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Warsaw, National Museum

AVI7990

204084

Rhyton RF (head of ram)

500–450

Warsaw, National Museum 142307

AVI7996

207522

Neck Amphora RF

475–425

Warsaw, National Museum 142317

AVI7999

210166

Cup RF

475–425

Warsaw, National Museum 142319

AVI7992

14077

Pyxis BF

525–475

Warsaw, National Museum 142328

AVI7989

14007

Amphora BF

500–450

Warsaw, National Museum 142339

AVI7991

207788

Neck Amphora RF

475–425

Warsaw, National Museum 198041

AVI8014

350955

Cup BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 505 Painterb

Provenance

Brygos Painter

Oionokles Painter

Boot Painter

Diosphos Painter

Manner of Ethiop Painter

Nola

Figurative decoration

Inscription

Upper frieze: satyr attacking sleeping maenad (twice). Lower frieze: satyr playing pipes, Dionysos pouring libation from kantharos on altar A: Nike with kithara. B: draped youth (waiting to receive the kithara) Inside: column, veiled woman giving pomegranate to a draped youth seated with staff. A: three women (one seated with kalathos), column in the centre, draped youth with staff. B: woman with skyphos, old man leaning on staff, seated woman with distaff, column, draped youth leaning on staff Wedding of Herakles and Hebe: altar, Aphrodite adjusting Hebe’s veil, Hebe lead by Herakles, Hermes, Apollon, Athena, Demeter or Hera with torch, two Charites preparing the wedding bed A: Peleus bringing baby Achilleus to Cheiron, dog. B: Maia (?), Hermes, ram A: Hermes and Athena with fillet. B: draped youth

Upper frieze: ϞNX - NI - YNONϞ B: N[.]ϞNOI - ϞNOϞ

A: ΛYIOϞEYI - ΛYIOϞΛYOϞ B: IϞOEYΛ - ΛYIOEΛYIOϞ A: NϞ^Ọ - F[ B: ]L^OΛΛ̣ [ - IΠ̣ [....]Ϟ

AX̣ YO - EỴA

B: HΠFỴ[...] - YXYXY - ]IX

A: INOTṆ A: OYϞNϞI. B: OϞYΠKL

506

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Washington, Smithsonian National Museum of Natural History A136415A-0

AVI8029

320397

Amphora BF

550–500

Wellesley (MA), College Art Museum

AVI8030

305547

Lekythos WG/BF

525–475

Wellington, Victoria University 1964.1 Wien, Kunsthistorisches Museum IV 1102

AVI8031

6701

Band Cup BF

550–500

AVI7920

205663

Calyx Krater RF

500–450

Wien, Kunsthistorisches Museum IV 1105

AVI7921

303248

Oinochoe BF

550–500

21371

Lip Cup BF

575–525

AVI7895

302337

Lekythos BF

550–500

Wien, Kunsthistorisches Museum IV 207

AVI7897

231074

Cup RF

400–350

Wien, Kunsthistorisches Museum IV 3600

AVI7940

351218

Neck Amphora BF

525–475

Wien, Kunsthistorisches Museum IV 3602

AVI7941

66

Neck Amphora BF

550–500

Wien, Kunsthistorisches Museum IV 151 Wien, Kunsthistorisches Museum IV 186

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 507 Painterb

Provenance

Figurative decoration

Inscription

Painter of Berlin 1686

Orvieto

A: youth with fillet, draped man seated crowning winning athlete, draped youth carrying tripod, two naked youths. B: man with petasos and kerykeion, warrior departing, draped youth Amazon with shield and spear, dog, Amazon leading horse, tree A=B: satyr running

A: ETOXEIOXEIO - ]XEIOI B: X̣ ETNOI - ]AOTONOXNI

Diosphos Painter

Aegisthus Painter

Keyside Class

PH074 Leagros Group / Manner of Daybreak Painter Q Painter

Leagros Group

Cerveteri

Cerveteri

OΓỌỌỌ - [....]YEỴ

A: NX̣ NỴIN

A: bearded man with staff handing piece of meat to a naked boy with hoop. B: draped youth with staff Three draped men carrying and weighing objects on scales (merchants?) A=B: satyr molesting deer

A: NOENON - MϞ - NONΓϞ

Two Amazons on horseback attacking a warrior

καλόν - ϞOϞ - LENI

Inside: satyr approaching sleeping maenad. A: man with torch and youth. B: man with tympanon and youth A: Herakles vs. three Amazons (one fallen). B: Dionysos and maenads A: Achilleus and Troilos between eyes. B: chariot and post

Inside: II II Ọ N

NṆT[.]H - ΠϞH - TNETNEỴ - TNETN

A: ϞEϞEΠXΠLΠY. B: EϞEΠXϞEΠXϞ

A: χ^αῖρε - φ̣ίλε̄ - N[..]N - X^E - ḲLEϞ - ΓN^ΔYONΔ B: ϞOE

508

Appendix

Current location

Corpus numbera BAD number

Shape

Wien, Kunsthistorisches Museum IV 3607

AVI7943

200049

Neck Amphora WG/ 550–500 BF

Wien, Kunsthistorisches Museum IV 3613

AVI7944

310145

BF Hydria

575–525

Wien, Kunsthistorisches Museum IV 3614

AVI7945

310144

Hydria BF

575–525

Wien, Kunsthistorisches Museum IV 3702 + Leipzig, Antikenmuseum der Universität Leipzig T 607 + Dresden, Staatliche Kunstsammlungen, Skulpturensammlung AB 431 Wien, Kunsthistorisches Museum IV 3723

AVI7954

203539

Cup RF (Frs.)

500–450

AVI7960

201795

Neck Amphora RF

525–475

Wien, Kunsthistorisches Museum IV 3771

AVI7965

204679

Oinochoe RF

500–450

Oinochoe WG/BF

500–450

Wien, Kunsthistorisches Museum IV 684

Chronology

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 509 Painterb

Provenance

Figurative decoration

Inscription

Class of Cabinet des Médailles 218

Cerveteri

A: Aias carrying the body of Achilleus. B: kithara player on platform between columns with cocks on top Shoulder: two warriors fighting between a sphinx and a woman holding a wreath on each side. Body: Frontal chariot between a bearded man and a woman holding wreath on each side Shoulder: woman with wreath, Gorgo pursuing, Athena with wreath, Perseus fleeing, a sphinx on each side. Body: Polyxene with hydria at fountain, behind it Achilleus lying in ambush, Troilos on horseback, naked man holding back Troilos’ horse, warrior Inside: hoplitodromos or warrior

A: [Ἀχ]ι^λέ^ο̄ς - O - ϞIY^Ϟ^O^ϞYTY B: YXNAΘϞIYϞ - TYϞ - ]ϞI

A: boxer tying thongs. B: youth using strigil

A: ΠE[...]E[ - EϞ[. B: ELYLOỊ̣ - EOX

Three young komasts (two with skyphos, one playing pipes) Amazon on horseback, warrior crouching, ivy

ΛϞII

Archippe Group Cerveteri / Manner of Tyrrhenian Group

Manner of Tyrrhenian Group

Cerveteri

Manner of Antiphon Painter

Epiktetos / Manner of Kleophrades Painter Painter of the Paris Gigantomachy

Cerveteri

Shoulder: TELOΠYϞEΩϞ - XIϞKEϞ - LEOTIϞ - NON - [.]O[.]ϞTΠ̣ O[.]O Body: Ἀνφίλοχος - Ἀρχίπε̄ - ΡΙΧΙ[..] - Διομε̄δ́ ε̄ς - Κλίπος (?) - Εὐμελία

Shoulder: ΘETEϞ - ΠOTOMẸϞ̣ - OETOϞ -ΘOTEϞ - OEIEYϞ ϞEΓOϞNEϞ - ϞIΠEϞ - ΓEME[.]ON Body: Tροῖλος - [.]OAOF

ΠΓỴẸ[ - HXO[...]OΛ

OEΠA^ΠϞO

510

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Wien, Kunsthistorisches Museum IV 732

AVI7908

215764

Bell Krater RF

450–400

Williamstown (MA), Williams College 1919 CG 42

AVI8032

3199

Oinochoe BF

525–475

Würzburg, Martin von Wagner Museum H 4978

AVI8041

208162

Lekythos WG/RF

475–425

Würzburg, Martin von Wagner Museum K 1808 Würzburg, Martin von Wagner Museum K 1859

AVI8046

46106

Lekythos BF/Six

525–475

AVI8050

46231

Lekythos WG/RF

550–500

Würzburg, Martin von Wagner Museum L 184

AVI8057

302246

Neck Amphora BF

550–500

Würzburg, Martin von Wagner Museum L 190

AVI8059

320307

Neck Amphora BF

550–500

Würzburg, Martin von Wagner Museum L 199 (Fig. 2)

AVI8061

320308

Neck Amphora BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions Painterb

Provenance

Pothos Painter

Class of Vatican G 47

Bowdoin Painter Spata (Attica)

Diosphos Painter Group of the Painter of Copenhagen 3830 Manner of Lysippides Painter

Group of Würzburg 199

Group of Würzburg 199

Vulci

511

Figurative decoration

Inscription

A: woman seated on chair playing pipes, woman with helmet, shield and spear (dressed as Athena?) between two draped youths. B: three draped youths (one with staff, one with boomerang) Wedded pair in chariot (Peleus and Thetis?), Artemis (?) with torches, Dionysos and Hermes Woman (Artemis?) with flowers and phiale at altar, deer, bird Naked warrior with helm, spear and shield running Draped youth in front of a post

A: ΓΛΛϞ[.] - [.]Π̣ Π̣ Ϟ̣ - Ḳ[.]YI - ḲḲIϞ - IΠΓϞ

A: archer, warrior harnessing greaves, woman with spears and shield. B: Dionysos with vine and kantharos between two satyrs A: Herakles with goat, Athena, Hermes with dog. B: duel of warriors over a fallen warrior A: Apollon and Herakles struggling for the deer between Artemis and Athena. B: Athena and warrior between Hermes and woman

A: [.]I[.]OI[.] - ΠO[..]ΠIOI[.] Π[..]Ọ[.]

ϞIΠ̣ IΛIY

X̣ OIX̣

]ỌLϞ NEỴ[.]ỊZ[?

A: ΠXKỴN[.] - NII - IIYOT. B: ΛIO ΛYO[.]ΛY - ΛTYI

B: ΠΟIΛN - Π[...]ỊIΠ - ΠOLIỊ - ΠΛTϞΠ̣

512

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Würzburg, Martin von Wagner Museum L 204

AVI8062

302401

Neck Amphora BF

550–500

Würzburg, Martin von Wagner Museum L 232

AVI8067

331295

Neck Amphora BF

550–500

Würzburg, Martin von Wagner Museum L 243

AVI8068

301477

Amphora BF

550–500

Würzburg, Martin von Wagner Museum L 248

AVI8069

301052

Amphora BF

575–525

Würzburg, Martin von Wagner Museum L 251

AVI8070

310295

Amphora BF

575–525

Würzburg, Martin von Wagner Museum L 297 / 507

AVI8122

201654

Amphora RF

525–475

Würzburg, Martin von Wagner Museum L 327

AVI8078

301907

Stamnos BF

550–500

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 513 Painterb

Provenance

Figurative decoration

Inscription

Acheloos Painter / Leagros Group

Vulci

A: NXEXY - NΔEPEΔI - NXEPOΔ XΔEΔ - IXEPOI. B: NXEΔI - NΔENΔO - NXEOIΔOP - NΔEΔ

Painter of Würzburg 232 / Phanyllis Class

Crete ?

A: trainer, diskobolos, jumper, pipes player. B: diskobolos, pipes player, jumper with halteres A: Dionysos with kantharos, dancing maenad. B: satyr with kantharos and wineskin running A: woman and youth saying goodbye to departing warrior, youth with fillet conversing with woman. B: draped man addressing youth with aryballos, warrior, youth with fillet conversing with woman A: Theseus vs. Minotaur, youth and woman on each side. B: Herakles vs. Nemean lion between Athena and Iolaos A: two warriors between two frontal horsemen. B: four warriors between two draped men with spears A: warrior in oriental costume, boy with liver, warrior (doing extispicy?), dog, woman with phiale. B: two naked komasts (one with pointed amphora and cup, one with skyphos and lyre), naked woman with flute Shoulder: six symposiasts reclining. Body: three chariots racing, dog

Painter of Vulci Würzburg 243 / Manner of Princeton Group

Group E

Vulci

Group E

Kleophrades Painter

Michigan Painter / Perizoma Group

Vulci

B: OYO

A: OYYYΔI - YYY[...]

A: Π[.]IΠLI[.] - ΠΓϞỊϞΓ[..] [..]IIIYIY[.]I - FϞYI - ΠXϞYOXϞΓϞX - ΓIYI - ΠI[........]

A: ΠϞXIΛ̣ ϞXṆ

A: ITEIϞ - TLET^Y - EIOϞ - IϞLEI B: IYI - EIϞ - IϞYT - IϞE

Body: ϞONOϞ

514

Appendix

Current location

Corpus numbera BAD number

Shape

Chronology

Würzburg, Martin von Wagner Museum L 345

AVI8080

303249

Oinochoe BF

550–500

Würzburg, Martin von Wagner Museum L 347

AVI8081

303245

Oinochoe BF

550–500

Würzburg, Martin von Wagner Museum L 398

AVI8085

350848

Skyphos BF

550–500

Würzburg, Martin von Wagner Museum L 407 Würzburg, Martin von Wagner Museum L 419

AVI8091

3699

Lip Cup BF

575–525

AVI8096

6556

Cup BF

575–525

Würzburg, Martin von Wagner Museum L 430 Würzburg, Martin von Wagner Museum L 455 Würzburg, Martin von Wagner Museum L 471

AVI8098

9016371

Phiale Six

525–475

Neck Amphora BF

530–520

AVI8104

201065

Cup RF

525–475

Würzburg, Martin von Wagner Museum L 493

AVI8118

218008

Cup RF

400–300

Würzburg, Martin von Wagner Museum L 494

AVI8119

201130

Fr. of Cup RF

525–475

Catalogue of Vases and Fragments Carrying Nonsense Inscriptions 515 Painterb

Provenance

Keyside Class

Keyside Class

Vulci

Ure’s Class of Skyphoi A 1

Crete

PH095

Figurative decoration

Inscription

Twice woman at fountainhouse with lion head spout, hydria on block, tree Amazon with bow and oriental cap, Amazon carrying comrade A: four warriors fighting over fallen warrior between two youths. B: two youths preparing for a duel with sword, two helpers for each fighter, youth in the centre A=B: Odysseus under ram escaping from Polyphemos A=B: duel of warriors, woman and youth on each side (in A fallen warrior in the centre). Handles: archer

NETN - ΠKA - TNETNE

Eight women seated Polyphemos Group

Vulci Vulci

Meleager Painter / Manner of Meidias Manner of Nikosthenes Painter

Napoli

Amazon fallen, owl resting on branch Inside: satyr with pointed amphora. A=B: six satyrs dancing (A: four with wineskin, B: one with pointed amphora, one with wineskin) Inside: youth giving necklace to seated woman. A: girl between two youths. B: two youths Inside: lower leg of warrior, block or wall. A: Achilleus and Aias playing boardgame

HE[.]Π - HϞHϞ - NENTN[.]

A: EON - EON - EON - EON - ẸNNINI - EOI - E[.]EIEI - NI - EON- ]N[ - EI[.] B: EON - EON - EONϞ - EỌNϞ - E[...]I EOI - LI - EOI - ]N[ - Π[ - ENO ]Π̣ O - ẸONỊ A: LYΠYϞOLY[.]YϞLYϞLYϞOLYϞY B: LYϞỌLϞOLYϞOLYYϞYϞ̣ OLYỌY A: TXO[.]NXE[.]ͰΠN - LXOΓ[.]NOI - YϞ̣ - ΓϞOΠLϞ | NϞỌ - ΓΠ̣ - YỌLI EOFΛ - NϘEͰ[.] - YϞXOI - IϞΛΠϞ[.] | ΠỌ. B: EϞEϞOΠϞ̣ - IϞ[.]I[.] - IϞXI LO^NTI^ΓϞI - NOTNO - Ϟ̣ OEΠ̣ [.]OIΓ - [.]^Π - NϞ̣ Ϟ̣E - OEΛ[.] - ΓΓΓΓ Θ