Understanding Greek Vases 0892365994, 2001006214

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UNDERSTANDING

GREEK VASES

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A GUIDE TO TERMS, STYLES,

AND TECHNIQUES

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n

DREW

J.

CLARK

MAYA ELSTON

MARY LOUISE HART

*

BOSTON PUBUC LIBRARY Coplev Square

'

UNDERSTANDING

REEK GUIDE TO TERMS, STYLES, AND TECHNIQUES

Up wm. _

ANDREW

J.

CLARK

MAYA ELSTON

THE

J.

MARY LOUISE HART

PAUL GETTY

MUSEUM

LOS ANGELES

©

2002

J.

Front cover: Fight between the gods and giants in upper

Paul Getty Trust

frieze; series of athletic contests

Getty Publications 1

frieze. Detail of Attic

200 Getty Center Drive

Suite

or training scenes in lower

black-figured volute-krater attrib-

uted to the Leagros Group, about 510-500. Malibu,

jpgm 96.AE.95.

500

Los Angeles, California 90049-1682 Half-title page:

www.getty.edu

Departure of Triptolemos. Detail of Attic

red-figured dinos attributed to the Syleus Painter, active

490-470. Malibu, jpgm 89.AE.73. Christopher Hudson, Publisher

Mark

Greenberg, Editor

in

Chief

Title page: Attic black-figured dinos (detail). See

Library of Congress Cataloging-in-Publication Data

Clark,

This page: Corinthian animal style

Andrew J., 1949-

Understanding Greek vases techniques p.

/

Andrew

J.

cm. - (Looking

(detail).

Page 152: Nike crowning the victor :

Clark,

and

a guide to terms, styles,

Maya

Elston,

Mary

(detail).

See

figs.

in

an

See

fig.

fig.

81.

60.

athletic contest

78, 95, 117.

Louise Hart.

Colophon: Herakles battling the Nemean Lion

at)

Includes bibliographical references and index.

See

fig.

(detail).

35.

ISBN 0-89236-599-4 1.

Vases, Greek-Dictionaries.

2.

Vase-painting, Greek-Technique. Louise.

III.

Title.

IV

Series.

NK4645 .C57 2001 738.3'o938-dc2i

2001006214

Pottery-Technique. I.

Elston,

Maya.

II.

Back cover: Youthful

3.

Hart,

Mary

reveler. Detail of

uted kylix (Type B), about

86.AE.280.

510-500

tondo of unattrib-

B.C.

Malibu, jpgm

Contents

Map

vi

Preface

vii

Chronology

ix

Abbreviations

ix

Looking at Greek Ceramics

i

Conservation and Care of Ancient Ceramic Objects

23

Glossary of Attic Potters and Vase-Painters

31

Glossary of Vase Shapes and Technical Terms

65

Select Bibliography

Chart of Vase Shapes Index

[53 1

1

54 5

North

50 mi

Greece, including East Greece, and the Aegean Sea.

Preface

Understanding Greek Vases

is

an expanded volume

of technical guides published by the

J.

museum

signed to provide the general reader and

in the

Looking At

Museum. This

Paul Getty

.

series

.

.

series

was

de-

with a glossary-format

visitor

introduction to the materials and techniques of the art they were "looking at."

However,

as the three of us

ancient Greek ceramics,

worked through

we came

the variety of features comprising

to appreciate the unique qualities of this pro-

duction that had, at separate times and in very different ways, originally inspired

our shared fascination with topic

and to the

it.

We became sensitive to the

At the same time,

painters.

it

became evident

available in a single small, illustrated volume.

want

to

patterns of their potters

stylistic

that concise information

painters, techniques, materials, ornaments, styles,

conservation

vases are conserved, and

The philosophy and

sometimes from hundreds of fragments.

Finally,

how

on

and shapes had never been

also a topic of great interest, especially to

is

know how

intrin-

conception that they could not be properly intro-

duced without an accompanying study of the

and

Greek vases were so

fact that the techniques of ancient

sically tied to their artistic

particular needs of this

museum

practice of

visitors

who

they can be reconstructed,

although ancient Greek cultural

history, subject matter,

and iconography had to remain

largely outside the scope

we knew

that since vases are the basis of

much

of this book,

of

what we know

about ancient Greece, the images would require a brief introduction to

and fascinating

this vast

field.

Understanding Greek Vases thus others in this series.

It

is

a

begins with an essay by

more comprehensive book than

Andrew

J.

Clark on the historic

and cultural context of the production and iconography of Greek

vases, includ-

how and why vases have come written by Maya Elston, includes pre-

ing a brief history of vase scholarship describing to be studied.

The essay on conservation,

viously unpublished information from the

Conservation.

Mary

Museum's Department

Louise Hart organized the illustrations for the book and

wrote the "Glossary of Attic Potters and Vase-Painters. to compile the "Glossary of Vase Shapes

tributing the entries

of Antiquities

1 '

The authors teamed up

and Technical Terms," with Clark con-

on vase shapes, ornaments, and

writing; Elston the sections

on the techniques of potting and painting; and Hart the

definitions of

sr\ listic

and

art-historical terms.

The chart

of vase shapes

was compiled by Elston and Hart

and redrawn by Peggy Sanders. The bibliography

is

intended to provide refer-

ences for further reading.

For reasons of clarity and focus, the

Greek world. Because of

this

this there are

volume contains only material from

no

entries

on Etruscan, Chalkidian,

Caeretan, South Italian, or any other ceramic material not from the physical environs of Greece and her islands. Unless otherwise noted,

(from Athens) and

all

dates are B.C. While

all

works are

Attic

many of the ceramic types and artists Museum, we strove in every case

are represented in the collection of the Getty

most applicable examples from

to use the States.

We

Europe and the United

collections in

are grateful to all the institutions that so generously supplied photo-

graphs; photographic sources are listed in the figure captions.

There are cross-references throughout every

level:

Words

printed in

small capitals

all

the texts to aid readers of

refer to other entries in the

book.

Variants of shapes are listed under the shape's primary name; hence, the description of a

neck-AMPHORA,

for example, will be

found

Additionally, a chronicle of the relationship of potters

in the

amphora

entry.

and vase-painters can be

traced by following the cross-references from one entry to another, and to the

"Looking

at

Greek Ceramics"

essay.

It is

thus the intent of the authors that this

small volume will provide the interested reader with an easily accessible survey of the significant facets of the materials, production,

and conservation of ancient

Greek ceramics.

We would like to thank the Curator of Antiquities, Marion True, and the Head

of the

Department of Antiquities Conservation, Jerry Podany,

for their in-

valuable assistance and observations throughout the preparation of this script.

The

curatorial support staff for the Antiquities

welcome research and fact-checking Assistant

Monica Case

Tovar for organizing the tance;

comments on

ornament

We

the text

to thank his wife, Joan,

Department provided

We would

like to

thank

Staff

for ordering photography; Curatorial Assistant Carrie

entry and providing diligent research assis-

and Antiquities Intern Elizabeth de

fact-finding assistance.

able

assistance:

manu-

Grummond for research, proofing, and

also wish to thank the external readers for their valu-

and

and

illustrations. Finally,

his son,

Andrew J. Clark would

like

Benjamin, for their encouragement during

the preparation of this manuscript. A.

M.

j.

c.

M.

E.

L.

H.

Chronology

Protogeometric

about 1050-900

Geometric

about 900-720

B.C.

B.C.

Protocorinthian and

about 720-620

B.C.

Corinthian

about 620-550

B.C.

Early Archaic black-figure

about 620-570

B.C.

Archaic black-figure

about 570-530

B.C.

about 530-480

B.C.

Early Classical red-figure

about 480-450

B.C.

Classical red-figure

about 450-425

B.C.

Late Classical red-figure

about 425-300

B.C.

Hellenistic

about 300-30

Protoattic black-figure

Late Archaic black-figure and red-figure

B.C.

Abbreviations

Museum

BM

The

cf.

compare

DAI

Deutsches Archaologisches

Diam

diameter

Gr.

Greek

H

height

JPGM

J.

L

length

British

Paul Getty

Institut

Museum

MFA

Museum

MMA

The Metropolitan Museum

no.

number

pi.

plural

of Fine Arts of

An

Figure

i.

Komasts

the dancer on the

(participants in a

left.

about 520-510. H: 60

male drinking party). "As never Euphronios"

Detail of a red-figured

cm

5 (z3 /x

in.).

amphora

Munich,

Staatliche

(Type A) signed by

is

written behind

Euthymides

as painter,

Antikensammlungen und Glyptothek 2307.

Looking at Greek Ceramics

By

the beauty of their shapes

their decoration they rank as

— GISELA With

M.

less

than

works of art.

1

on the vase*

the painting

had drawn

RICHTER

A.

no

finished,

— two dancing men, and

a third

cided what the finishing touch would be.

then wrote on the

left

Euthymides looked waving

He dipped

his

walking

brush

his

at the figures

stick

he

— and de-

in purple-red paint,

one of the dancers, oa ou&e-

side of the picture, next to

— "as never Euphronios," an enigmatic comment about low vase-painter Euphronios, whose talent — either as vase-painter as a dancer — Euthymides apparently claims to surpass

TTOTe Eu(()p6vi09

a

likely,

his felor, less

(fig. i).

These two vase-painters worked sixth century B.C. (about

Greek

tation in

525-500

They were

art.

Athens during the

in

B.C.), a

last

quarter of the

time of great change and experimen-

at the forefront of this trend, heirs to a continu-

ous tradition of vase-painting that stretched back to the beginning of the

Geometric dered

period, about

900

B.C.,

in a linear style (see fig. 90).

when both

and

patterns

figures

were ren-

Vase-painting was set on a course then that,

centuries later, led to the kind of painted pottery produced by Euthymides,

Euphronios, and hundreds of other vase-painters. In ancient

what they were used everyday in the

life.

home

terns, others

No

Greece vases were commonplace: for or

what

meant; pottery was

their pictures

Ceramic vases served as containers,

or for religious rituals.

one needed to be told

Some were decorated with

were plain and painted black

all

just part of

either for utilitarian purposes figures

and

over; unpainted coarse

pat-

ware

sufficed for cooking.

Here our concern region of Attica

is

on vases made

figured vases, with the focus

— dominated by the

city of

Archaic and Classical periods, roughly

Athens and

620-300

B.C.

its

environs

Long known

in the

— during the

as Attic vases,

they are today frequently called Athenian, after their principal place of manufacture. Pottery

was made elsewhere

in

Greece, too, and

in the

*In the terminology of ancient Greek potter) studies, the word vase ma) refer to of any shape, including those that arc partly sculptural, such as mi

ad

\

\m

s

.1

glossary reference

ceramic vessel or container

and Kin

i

\.

—

will be

made

to vases

East Greece, Euboia, and Lakonia. The in

Southern

and

Italy

its

in the

Sicily,

however, are outside the scope of

""^(district) of

[

were made nearby: This deme

Athens was called Kerameis. "Ceramic"

(Kepa(iei3g)

means potter

an adaptation of the Greek

comes from the word

in turn

means

is

tary.

its

More than

From Athens

(see figs. 69, 76, 122).

— as

vases

far afield as Italy,

— and across the Black Sea to the Crimea.

Vases were produced in a broad range of shapes and vase shape had

for pot-

clay vase or pottery in general;

were exported throughout the Mediterranean region France, Spain, Egypt, and Libya

of areas, but

cemetery, which actually took

clay, keramos (Kepauog), which also

kerameus

book.

this

number

city's

kerameikos (KepajieiKog, of pottery), which ter's

in a

cities

fact that vases

immediate neighborhood of the

name, the Kerameikos, from the

Greek

distinctive ceramics of the

potters and vase-painters worked

In Athens,

mainly

Boiotia, Clazomenae, Corinth,

from other places

sizes.

Although each

particular basic uses, those functions were also

employed

a dozen different shapes could be

in

complemen-

connection with

serving and consuming wine, as at the symposium, the male-only drinking party that followed dinner.

The amphora and stamnos were used

for storage; the

dinos, krater, lebes, or stamnos for mixing wine and water; the psykter for cooling wine; the kyathos (or a metal ladle) and the

oinochoe

for serving the

wine; and the kantharos, kylix, mastos, rhyton, or skyphos for drinking

The niques, of

vases were decorated by the painters,

which the two principal ones are black-figure and

these techniques

looking black.

when

figures

colors.

620 in

brownish hue)

it

exception being Corinthian clay, which

becomes yellowish white. Black

is

is

the color of the

was developed by about 700

B.C. in Corinth:

gloss with which the vases were painted.

The The

because

both

a shiny, metallic-

clays turn orange-red (often with a

fired (see firing), the principal

it.

in several tech-

red-figure. In

two colors predominate: deep orange-red and

Most Greek

easily recognizable fired

who worked

black-figure technique

were drawn

in silhouette

and the

The technique was not adopted by

B.C. Red-figure

made

its

details either incised or

it is

in

vase-painters in Athens until about

appearance about a hundred years

Athens about 530 B.c.Essentially

added

later,

the reverse of black-figure:

invented

The back-

ground!** painted black, the figures are reserved, and, for the most part, details are

drawn

figures are

in black.

A

drawn

outline on the whitened surface of the

in

third technique in

niques, see the glossary: Six's

common

use

was ^HTTE^G^^rJ^m The vase. ToFotfier tech-

added color, coral-red, outline

painting, and

TECHNIQUE.

Of

the principal techniques, black-figure in particular

strange to our eyes owing to

LOOKING AT GREEK CERAMICS

its

reliance

on

silhouette

and

may appear

incised details. But

the difference

only

we

ern drawing.

known

to

and white-ground are equally

them because they more

unrealistic,

closely resemble

mod-

2

The ones

illusory: Red-figure

is

more accustomed

are

number

limited

to the Greeks,

paintings on walls and

of colors seen

who employed

wooden

four colors seen on vases

on vases were by no means the only broad range of naturalistic colors

a

panels, very few of

in

which have survived. Of the

— black, orange-red, purple-red, and white — black and

orange-red proved to be esr^crtrttyrhlnfble, likethe firecTclaylTself, able to withstand the high heat of the kiln, the wear-and-tear of everyday use, and centuries of burial. Even breakage will not destroy vases completely; in fact, vase fragments

can be both beautiful and instructive.

Greek vases are no longer everyday objects to be handjed and used; rather, they have

museums,

hibited in

Although the

wards of

total

sixty-five

now

been deprived of their functionality and are art galleries,

number

of

artifacts ex-

and private collections arOund the world.

Greek vases that survive today

thousand Athenian vases are extant;

still,

is

unknown, up-

this figure represents

only a tiny fraction of the original producjion. Ancient Greek vases were in Italy

bly til

by the 1550s a.d., but although the

formed

in the

first

the early 1700s. In the eighteenth century,

came

mythology and

literature

first

when

vases were discovered in large

to be valued especially for the insight they gave into ancient

— an enduring importance of these

vases.

the vases found in Italy were thought to be Etruscan rather than

Greek. That they had been

made by Greeks, however, was

1740s and then endorsed by Johann Joachim Winckelmann of ancient art published in 1764. 3 Yet

were recognized as Greek that stitution to display

it

this idea

was not

came

Greek vases was the

until the

first

in his

by the British ambassador to Naples,

Sir

pioneering study

The

Museum, which

William Hamilton

first

public in-

in

1772 pur-

(see

discovery, beginning in 1828, of thousands of vases in the Etruscan led to the

of

some

Southern

in fig.

town

42).

The

of Vulci

important realization that both the inscriptions and the subject matter

vases were not just Greek, but distinctively Athenian, or Attic. The im-

pact of the Vulci discoveries also supported the efforts of the ian

in the

inscriptions on vases

to be accepted.

British

proposed

chased the more than four hundred vases that had been collected Italy

known

collections were proba-

mid-i6oos, major collections of vases were not assembled un-

quantities, they

At

modepn

Eduard Gerhard, who

evolved into the

German

in

1829 founded

German

a learned society in

Archaeological Institute,

still

today

antiquar-

Rome, which

a leading center for

research in classical archaeology.

By the 1880s scholars had not only recognized the

distinctive style of

black- and red-figured vases from Athens but also distinguished pottery produced

LOOKING AT GREEK CERAMICS

elsewhere in mainland Greece, on the Greek islands, and in western Turkey (an-

(Magna

cient Ionia), Southern Italy

tention focused

Graecia), and Central Italy (Etruria).

on identifying the work of individual

on vases signed by Athenian

red-figure painters

and

artists, studies

based largely

The German

potters.

at-

schol-

ars

Wilhelm

fig.

46) published landmark studies that accurately described and illustrated the

work

Klein, Paul Hartwig, Adolf Furtwangler,

many accomplished

of

and Karl Reichhold

work

of hundreds of Athenian vase-painters using a

stylistic analysis that

and subject matter

tural context of

Greek

Looking likened to

all

aspects of Greek vases

of comparative

human anatomy: mouth,

— not

cul-

and thought.

life

at a vase begins

in separate sections that

— potting, paint-

— and examines the vases within the broad with

its

shape,

whose

structure generally

neck, shoulder, body, and foot

the Greeks called ears. Pots were not always

are not apparent

definitively identified

method

does not depend on signed vases alone (see signatures).

Contemporary scholarship embraces ing, function,

(see

John D.

painters. In the twentieth century Sir

Beazley, considered the foremost expert on Greek vases, the

-

Next

made

in

seams on an

— the handles

one piece but were thrown

were joined together by the potter. The like

is

article of clothing, at

joints themselves

any

rate

—

rather,

the separate parts are usually betrayed by the slight changes in the contour of the

shape: in other words,

its

architecture

— the "interrelation of parts to the whole

and to one another." 4 Observe the sections of the neck-amphora 59, a typical

fig.

example of

this shape:

mouth and neck (thrown

illustrated in

as

one

piece),

handles (made separately and attached), shoulder and body (also thrown as one),

and

foot.

The mouth and

foot are the vase's upper

and lower borders.

stance both are black and of similar size, the diameter of the little

larger than that of the foot. The neck-amphora's

black, are the side borders that

ures in the picture

were very vase.

The

the horizontal limits

do not extend. These

likely instinctive

vertical

mark

ships can be discovered

Nothing

is

beyond which the

painter, not planned

patterns on the neck and under the

mouth and

mouth being only

a

vertical handles, also fig-

relationships are not coincidental, but

on the part of the

portant, for they visually link the picture and the the vase, to the

In this in-

anew

for each

figures are especially im-

body

to the adjacent parts of

neck, above, and to the foot, below. Similar relation-

on most

vases.

more fundamental

to the aesthetic of

Greek vase-painting

than the interplay and balance between the contrasting dark and light areas on a vase, that clay.

is,

between the black painted areas and the orange-red of the unpainted

Look again

mind. The black

at figure 59, is

but this time with the balance of dark and light in

concentrated in the picture, and the picture dominates the

vase. Observe, too, that the

image

LOOKING AT GREEK CERAMICS

is

located

on the widest part

of the

body and

takes up the most space on the vase. This position afforded the painter the largest surface on which to create the picture, and consequently the main pictorial zone

occupies the widest part of most Greek vase shapes. In black-figure, the picture

four sides

is

framed by patterns

— sometimes

on

— as carefully divided from one another as the parts of the vase

all

itself.

In the case of

an amphora potted and painted by Exekias, the master of black-

figure (see

113.25), there

ture

fig.

is

a palmette-lotus chain

on the neck above the

and small tongues on the shoulder; under the handles on the

pic-

sides are

palmettes intertwined with lotus buds; and below the picture, a key, lotus buds

with dots between them, and rays. Within

composed

of painted, that

the vase

not

is

literally

itself

each patterned zone

dark design elements and unpainted

is,

half-dark and half-light, but

it

seems to be

Pictures in red-figure are framed by patterns, too:

develops,

patterns

become

less

Sometimes there are no patterns

and

of the figure:

important to the overall design.

on an amphora where nothing but

motion echoed by the way of the cloth hanging

from

More than any orations

on

vases.

More

As he his

fig.

22).

The blackness

all

specifically,

sings, his

calls attention to the

body sways back and

garment billows around

forth,

his feet

effectively

its

rhythmic

and by the

swirl

other element, the pictures are the most important dec-

— men and women, gods and manner of animals or creatures — but idea of delighted in images

their

ism was by no means identical to ours. They depicted

human and world

figures unceasingly, yet all but ignored representation of the

moved: Landscapes and buildings are rarely more than or essential props (see

who

figure,

the blackness accentuates the

his instrument, a kitbara.

The Greeks

heroes, children, and

However, as red-figure

less

contour of the vase and, more importantly, to the lone

movement

(light) areas;

so.

at all, as

black surrounds a singing poet (see

counterbalances the black.

balanced,

is

figs. 2, 7,

10,

real-

mythological in

which they

isolated ancillary elements

20-21, 24, 28, 33, 34,

56). In vase-painting

three-dimensionality was hardly a consideration: As a rule, figures have no shading to

model

spective

their forms. Generally pictures have

beyond the

illusory sense of

no substantial depth or

per-

foreground and background created by

overlapping or by arranging figures on more than one

level (see figs.

40, 42, 44),

the latter a development inspired by large-scale Athenian wall-paintings of the

fifth

century B.C., none of which has survived. It is

the story-telling aspect of a vase-painting, however, that readily cap-

tures our imagination. This

one inside a kylix

of the

Greek warrior Ajax

who

is

true especially

when

the picture

is

dramatic, such

where we witness Tekmessa's discovery of the dead body

as the

(fig. 2).

Although Ajax was the strongest

participated in the Trojan War, he did not die gloriously

IOOKI\(,

\

I

of the

Greeks

in battle.

Tragic

GREEK CERAMICS

Figure

z.

Tekmessa

covering the corpse of Ajax.

Tondo

of a

red-figured kylix

(Type B) attributed to the

Brygos Painter,

about 490. Malibu,

jpgm 86.AE.286.

events beyond his control forced right in the pebbly

beach

The impact

him

commit

to

suicide:

Troy and threw himself upon

at

Ajax

set his

sword up-

it.

of a narrative picture such as the suicide of Ajax depends

makes

the vase-painter's talent for detail and, in a successful picture, every detail sense.

There

is

no

better

example than another picture

illustrating the

on

Trojan War:

the removal of the corpse of Prince Sarpedon from the battlefield by the winged

brothers Sleep and Death are identified in writing, ter, is

(fig. 3).

In the center

and the vase

is

the

is

god Hermes.

inscribed with the signatures of the pot-

Euxitheos, and the painter, Euphronios.

What makes this

not only the complex and beautifully detailed figures

of Sarpedon lifted

— but also the

up and carried

fact that his

to the right, as

body

is,

is

picture exceptional

— especially the anatomy

actually in motion.

He

is

being

Euphronios indicated by the leftward flow of

blood from Sarpedon's wounds. Realism of

and

All the figures

this

kind seems strikingly modern

admittedly, highly unusual in vase-painting.

Who can

say whether or not

an ancient Greek would have recognized such subtlety? Despite the self-evident beauty of such vase-paintings, however, sential to

work

of

remember

that decorating vases

most vase-painters was

worked within the constraints hand, the

it

would be wrong

word

is

skillful

was

a repetitive craft,

but not necessarily inspired. They

of a formalized

and often formulaic

to think that every vase-painter

used today, that

style that often expresses a

is,

was an

es-

art.

all

On the one

artist in the sense

an individual with a highly developed, personal

personal point of view.

LOOKING AT GREEK CERAMICS

it is

and the routine

The concept was unknown

and possibly unimaginable to the ancient Greeks. art as

we understand

On

manship.

it:

The

closest term

was techne, which meant

level of

craftsman: They are artists

they themselves would have recognized Black-figure, especially about ties

skill

— — and the best painters

modern

in the

for

or crafts-

the other hand, the styles of vase-painters are recognizable

marily on the basis of the details of their drawings

above the

had no word

In fact, they

pririse

whether or not

sense,

it.

575-530

B.C., often

favored the sensibili-

of the miniaturist. Meticulous, delicately incised details and patterns

predom-

inated, a kind of miniaturism seemingly inherent in the character of the incised line itself.

The Amasis Painter

quisite minaturist,

and

his

— who

example

— was an ex-

chiefly decorated small vases

will stand for others of this ilk:

Kleitias, Nearchos, and the Tleson Painter.

An olpe by

Sophilos,

the Amasis Painter dis-

plays his gift for the diminutive in the finely detailed figures of Perseus, the

Gorgon Medusa, and

the

god Hermes

(fig. 4).

For the Amasis Painter, miniatur-

ism often goes hand in hand with symmetry, which, likewise, sign element in black-figure.

but the principle

is

more

The

picture

on the olpe

rigorously applied

;

painter begins to the right of Hermes' cap. Detail of

Bequest of Joseph H. Durkee, Gift

of

.is

Darius

one example of symmetry,

on an amphora where Dionysos

Figure 3. Death of Sarpedon. inscriptions label Sarpedon, and Hermes. Above, Leagros kalos is written ki rROGR \m by Euxitheos as potter and by EUPHRONIOS

is

an important de-

is

.1

Sleep (Hypnos), Death the SIGNATUR] of

red figured cal) \ kk

painter, about

Ogden

by exchange, 197X, [972.H.IO.

Mills

C

\

\i

|

Dianatos

PHRONIOS

I

1

k signed

szo-sio. New York,

and

Gifl of


PAINTERS

Figure 26. Doums Young man pouring wine from an oinochoe into an older man's kylix (Type and Zeus.

about 480. Diam: 32.4

cm

B),

perhaps Ganymede

kylix (Type B) by the potter Python, signed by Douris as painter,

Interior of a red-figured

(12V4

in.).

For the exterior of

this kylix, see figures 58, 102, 130.

Malibu, jpgm 84.AE.569.

500-470

Douris (active approximately

B.C.)

Over three hundred vases have been attributed his

name on more than

fifty

to this painter,

of them. Together with the

who

signed

Brygos Painter,

Onesimos, and Makron, he was one

of the leading red-figure cup-painters

of the Late Archaic period

B.C.).

drew

often

energetic, active figures, yet his

in strong contrast to the figs. 2,

(530-480

lustrated by his masterful

the exterior of cups Douris

drawing

more exuberant

11, 23, 93, 135). Stillness

On

is

always controlled and

style of the

Brygos Painter

(cf.

and serenity are Douris's hallmarks, best

tondo

pictures, as well as

by

his

il-

white-ground

lekythoi. Figures 14, 26, 58, 102, 113. 18, 113.20, 115, 130

Epiktetos

(active

approximately 520-490

B.C.)

Probably a pupil of Psiax, Epiktetos was a bilingual painter trained as a black-figure artist but produced his best early red-figured

cups are often side.

cups and plates, which were

all

name on more than

ATTIC POTTERS AND PAINTERS

in the

tondi

of

his specialty. Exteriors of his

black, thereby focusing attention

Epiktetos signed his

work

who was

on the figured tondi

forty vases.

Figure 27

in-

FlGURl i-. Epiktetos

Komasts (participants male drinking

in a

part)

he inscription

I

.

"Epiktetos painted

me"

at the

begins

lower

left

and runs

in

circular pattern

.1

(accentuating the

rONDO composition to

end

the lower

.it

right.

Red-figured

im

signed b)

\i

i

Epiktetos as painter,

about soo. Diam: i

8.7

cm

A

S

(7

London, bm

in.). i

\y.

i

© BM. Eretria Painter

The his

(active

lush, graceful

approximately

440-410

B.C.)

drawing of the Eretria Painter contrasts with the

style of

contemporary the Kleophon Painter, corresponding more to that of the

slightly

younger Meidias Painter. Though best known for

his

work

oil

cups, the Eretria Painter did his most interesting work on shapes such as the

chous, the squat lekythos, the oon, the amphoriskos, and Because of

its

unique association with women, the epinetron was often deco-

rated with scenes presumably icacy

and grace of the

character of his subject.

wedding

to

meant

painter's

is

in

We see Alkestis relaxing with

The

painter

In figure 28 the del-

harmony with

the intimate

her attendants after her

contempo-

figures are mythological, a

wedding day must have been much

in feeling.

(see figs. 28, 84).

women.

to appeal to

drawing

Admetos. Although these

rary Athenian bride's

pearance and

the epinetron.

is

named

for

both

like this,

in

ap-

an epinetron from Eretria

Figures 28, 84, 112

FlGURl -N. Eretria Painter Alkestis ton the right) after her to

wedding

\dmetos.

Detail of red figured 1

pini

to the

RON

1

I

attributed

retria Painter,

about 4^n. Athens. National

Museum DAI \thens.

neg. no,

\IIH

nm

s

i

16.

POTTERS Wl> PAINTERS

a

Euphronios (active 525-500

An

early

and prominent

B.C.)

Euthymides, Eu-

red-figure Pioneer. In contrast to

phronios preferred carefully arranged compositions of multiple figures on large vases.

On

calyx-KRATER

one of the most famous Attic vases to have survived

now

in

New York — he painted the slain Trojan hero

being transported from the battle by Sleep and Death (see tinctively massive figures to

convey the narrative

in

fig. 3).

—

Sarpedon Using

two-dimensional space,

Euphronios renders the dead hero with exceptional grandeur. Showing

knowledge of and pleasure

in

writing

labeled the epic characters. Later in at

which he was equally

C cup known

Among

(see fig. 16), as well as a

Euphronios's signature 16, 17, 101,

skilled.

his

masterworks

thymides' style

fig.

Type

no). 3,

B.C.)

is

of the major

him

typified

early red-

by three-figure compositions on large vases that

to experiment with

contrast to Euphronios's

known with

Pioneers of

and the teacher of the Kleophrades Painter. Eu-

more grandly conceived

the signature of Euthymides.

545-530

He

often chose subjects

complex poses, such

Figure

as athletes or danc-

tableaus. Seven vases

i

B.C.)

Often called the greatest black-figure

He

the largest

of plastic vases (see

allow for explorations of figural movement in space.

Exekias (active

is

no

figure vase-painting

are

clearly

he turned from painting to potting,

number

With Euphronios, Euthymides was one

ers, in

his

preserved on more than twenty vases. Figures

is

Euthymides (active 525-500

that allowed

Euphronios has

(see pp. 1, 6),

life

dis-

artist,

Exekias was trained in

signed vases both as potter and as painter; as potter he

is

Group

E.

credited with in-

venting the calyx-KRATER, a favorite of red-figure vase-painters because the large area available for decoration

is

well suited for depicting a continuous

narrative frieze. Exekias's mastery of the black-figure technique, particularly

incision,

is

well-known

unequaled.

amphora

and Ajax playing

a

He was

in the

a painter of heroes, as demonstrated by his

Vatican on which he painted a scene of Achilles

board game during a break

in the

was, perhaps, invented by Exekias). In scenes such as tion of

Ajax preparing to commit

sightful

40

this,

War

and

(this

scene

in his depic-

suicide, Exekias shows himself to be an in-

master of psychological tension. Figures

ATTIC POTTERS AND PAINTERS

Trojan

5,

29, 113.25,

120

FlGURl 19. EXEKIAS Achilles

and Ajax playing

a

board game. The nanus

our the numbers on the dice, three their

mouths. A

If this

k

\i

os

insc kii-i

ion

(tria) is

and four

on the

scene was invented b) Exekias, as

for the scene

on

painter, about

jo-520. H: 6i cm

1

Ajax and Vchilles are inscribed, and the)

right,

\\

hie

li

are insc ibed as 1

it

>..ill

issuing From

and Exekias's SIGN \i 10 .is potter) is on the left. believe, it must have been the prototype 1

some scholars

figure 59. Black-figured 5

|

(tes[s]era),

14

amphor in.).

\

1

I

\

Vatican,

pe

signed bj

\

Museo

\

I

I

(

l(

I

xekias

.is

potter and

iregoriano Etrusco

I'll

INKS

\\

I)

1

6757.

I"

\

I

\

I

I

Ks

J

'

Figure 30. Group E Hoplites (foot soldiers)

Note

and

drill

cavalry.

holes at the

shoulder edge of the vase indicating ancient

repairs. Black-figured

neck-AMPHORA attributed to the

Painter of

London

B 174, one of the painters of

%s^um^ Group E

Group E

called

E stands

(the

Exekias springs." This

Group

types of vases, with a preference for rily battles

style

is

JPGM

86.AE.73.

for Exekias) "the soil

from which the

of black-figure painters produced

amphorae. Their images

solid,

(active

many

depict prima-

and episodes from the adventures of gods and heroes. Their

monumental,

figural

and black, with female skin often painted

added white and important Kleitias

E,

(active mid-sixth century B.C.)

Beazley art of

Group

about 540. H: 36.2 cm (14V4 in.). Malibu,

details in

around 570-560

added

in

red. Figure 30

B.C.)

A master of early black-figure painting, Kleitias was a miniaturist whose figures are remarkable for their incised

work

is

the Francois Vase

tomb), which

is

(named

the earliest

and painted

after the

artist of the

Group

of

known Athenian

Polygnotos and

Peloponnesian

War (431-404

447-432 B.C.).

a

B.C.)

The

it

in

an Etruscan

volute-KRATER. Figure 31

B.C.)

contemporary of the Eretria

Painter, the Kleophon Painter worked during the of the Parthenon (constructed

His most elaborate

man who found

Kleophon Painter (active approximately 440S-420S

An

details.

later

phase of the building

and into the

early years of the

Classical style epitomized by the

Parthenon sculptures evidently influenced the Kleophon Painter's treatment of garments

42

and

figural compositions. Like Polygnotos, he decorated large

ATTIC POTTERS AND PAINTERS

Figure The Francois Vase. With multiple

3

i.Kleitias

12.1 inscriptions naming most of the whose wedding is the principal scene depicted, this vase is the Greek vase known. Black-figured volute-KRATER signed by Ergotimos as potter

narrative friezes containing

characters, including Peleus and Thetis,

most heavily inscribed and

Kleitias as painter,

about 570. H: 66

cm

(26

in.).

Florence,

Photo Nimatallah/Art Resource,

New

Museo Archeologico

420s).

York.

FlGl

;-.

ki

Kleophon Painter Departure scene: Warrior holding ceremonial phi

a

u

1

which has been filled w uli u ine from the OINOI HOI held

w

Ins

Red

ifc.

si

wi\os

ti>

the

b)

figured

attributed

Kleophon

Painter, about 1

4

1:

-,.s

cm

[17'/! in.

.

Munich, Staatltche Antikiiis.uninhingen

und 14

\

I

l

[
PAINTERS

4-

vases,

on which he

Kleophon Painter

stamnos

a

is

typically depicted aspects of

named

after a

in St. Petersburg.

kalos inscription (Kleophon

pupil of

life.

The

kalos)

on

Figure 32

Kleophrades Painter (active approximately 500-470

A

Athenian daily

Euthymides and

certainly

vase-painters, the Kleophrades Painter

B.C.)

one of the most talented red-figure

was

a

contemporary of the Berlin

Painter. The word that perhaps best describes the Kleophrades Painter's style

is

"grandeur," what the ancient Greeks called megethos. Also translated

as "largeness of spirit," the

word denotes

a certain seriousness of manner, an

element present already in black-figure painting, notably that of

Lydos and

Exekias. The Kleophrades Painter's most famous picture, on a kalpis, depicts a

number

of separate events that took place during the Sack of Troy.

These events are

illustrated in a single panel that runs continuously

the shoulder of the vase instead of being framed into one or pictorial

format

more

around

panels. This

— which was new — and the monumentality of the

style sug-

gest the possible appearance of lost ancient wall-paintings. In black-figure the Kleophrades Painter

thenaic amphorae,

readily recognizable

by

produced a number of Panahis exclusive use of Pegasos to

Figure 33. Kleophrades Painter Death of Priam. Detail of shoulder of a red-figured hydria (kalpis) attributed to the Kleophrades Painter, about 490. Naples, Museo Nazionale Archeologico H2.422.

44

ATTIC POTTERS AND PAINTERS

decorate Athena's shield. His use of incisions for OUTLINES figure

work

rather than relief lines

Kleopbrades on one of in Paris.

which

his cups,

Figures 33, 77,

1

1

3.

1

is

He

his early training in black-figure.

,

1

1

in

his black-

probably an archaism inherited from is is

named

after the porter signature

now

the Cabinet des Medailles

in

3.4, r.3]

FlGURl ;-4Leagros Group Achilles

Dragging

the Bod) oi

I

lektor

around the walls

of

lro\. Detail of black-

figured in DRLA

attributed to the

Leagros

(

Iroup, aboul

520-500. Boston, mfa, William Francis

Warden Fund,

i

96

;.

63.473. Courtesy, Ml

A,

Boston.

Reproduced with permission. © 1000 mfa, Boston.

All

rights reserved.

Leagros Group (active 520-500 This large and productive

B.C.)

Group

comprises the best of the

century-B.c. black-figure vase-painters and figure

Pioneers. Their drawing

style

and

matter continue the monumental style of

their best efforts illustrate the

Body around

among

may

red-

their favorite subjects,

fig.

34).

liked to

be nonsense rather

and some

Trojan War, such as the Dragging of

the walls of the citadel (see

sixth-

their fondness for epic subject

Lydos and Exekias. They

write inscriptions on their vases, although they

than real words. Battle scenes are

late

contemporary with the

is

The HYDRIA was

1

of

(ektor's their fa-

vorite shape; a typical composition will feature teams of horses exiting or

bounding

named but

the

in

from the

sides of the panel framing the central scene. Bl \/i

Group from kalos INSCRIPTIONS on

stylistically related painters.

FlGURJ

S

five

J4, 59,

\l

l

K

1

1

hydriai by U\c different

76

PO

I

I

1

Ks

\\D PAINTERS

4

s

Figure 35. Master

Little

Black-figured Little-

Master

lip-cup

attributed to the

workshop

of the

Phrynos Painter, about 550. Nonsense inscriptions in the handle zones are intended to mimic actual artists' sig-

natures. H: 15

(5%

in.).

cm

Malibu,

jpgm, Gift of Barbara

and Lawrence

Fleisch-

man, 96. ae. 91.

Figure 36. Little Master

Tondo

of a black-

figured Little-Master

lip-cup signed by

Tleson, and perhaps

painted by the Tleson Painter,

London,

about 540.

bm

b 421.

©BM.

Little

Masters

Descriptive

(active

name

560-530

B.C.)

applied to black-figure miniaturist painters of so-called

Little-Master cups (lip-cups, band-cups,

Droop

cups). (See kylix for the ori-

gin of the term Little Master.) Frequently their subjects were animals, centrally

placed between the handles and/or on the

artist's

Among

the

were the Phrynos Painter and the Tleson Painter, but

others, including the

Figures 35, 36

46

the cup. Often the

signature was an important part of the decoration.

best Little Masters

many

lip of

attic potters and painters

Amasis Painter, worked on Little-Master cups.

Figure

37. Lydos

Theseus Fighting the Minotaur. Detail of black-figured panel-AMi'HORA (Type A) attributed

to

Lydos or a painter close to him, about 550-540. Malibu, JPGM 86.AE.60.

Lydos (active

A

560-540

B.C.)

black-figure painter of great imagination as well as conceptual and techni-

cal ability.

On two

vases he signed as

ho Lydos, the Lydian, indicating

he or his family had immigrated to Athens from Lydia

in

Asia

that

Minor (mod-

ern Turkey). His sturdy figures have a distinctive monumcntality that imparts dignity rather than

mere bulk.

Among

the

new

bly introduced to Athenian vase-painting are Theseus

subjects

1

ydos proba-

and the Minotaur, and

Herakles fighting the triple-bodied Geryon. Lydos preferred to work on large shapes, especially kratf.rs and

AMPHORAE, though

shapes such as cups. Figures 37,

1

1

he also panned smaller

j.5

\IIU

1*0

fTERS ^ND PAINTERS

Lysippides Painter

Named

(active

530-515

B.C.)

by Beazley after a kalos inscription on a neck-AMPHORA

London. He was the painter of many of the black-figured

sides of

now

in

bilingual

amphorae,

for

which the Andokides Painter completed the red-figured

decoration.

The

bilingual format necessitated such a close collaboration that

the

two painters

65,

Makron

(neither of

whom

signed his

have been one person, painting

in fact 72-,

in

name on any

may

of his works)

both techniques. Figures 20-21,

87, 127

(active

approximately 490-475

B.C.)

With Douris, Onesimos, and the Brygos Painter, Makron was one

of the

most important

(530-

480

B.C.).

red-figure cup-painters of the Late Archaic period

He must

painters, for

have been one of the most

more than

six

prolific of all red-figure

hundred vases are attributed

to his hand.

He

seems to have worked exclusively with the potter Hieron, mostly decorating kylikes and skyphoi. in Berlin,

One

of

Makron's most

characteristic

works

is

a kylix

signed by Hieron as potter, depicting the ecstatic worship of

Dionysos: maenads sway and twirl, the folds of their garments following their every

movement;

this ebullient

treatment

is

a hallmark of

Makron's

style.

Figures 38, 58

^3R

^^-^ &F*f

! 1

^P^H

hJJw Mm Figure Worship to

38.

Makron

of Dionysos. Detail of red-figured kylix (Type B) signed by Hieron as potter

Makron

as painter,

about 490. Diam. 33

Kulturbesitz,

cm

(13

Antikensammlung

ATTIC POTTERS AND PAINTERS

in.).

F

(Staatliche

Museen zu

Berlin

2290. Photo Ingrid Geske.

and attributed

— Preuftischer

:

H

FlGURI

J9«

Mannerist I

w




Rs

S PAINTERS

L.

H.

Figure 57. Alabastron Maenad. White-ground alabastron signed by Pasiades as potter and attributed to Painter, about 500. H: 14.6 cm (5V4 in.). London, BM B 668. © bm.

the Pasiades

Glossary of Vase Shapes and Technical Terms

Added colors See color.

Alabastron

(pi.

alabastra)

Bottle for plain or scented oil (perfume).

where

it

was made

shape takes vase

is

its

in glass, faience,

name

originated

small enough to be held in one hand; alternatively,

the shoulder.

known,

Most

Egypt,

in

— the stone from which the

(Gr. dXdpacjTpov, alabaster). This slender, elongated

by a string looped around

text.

The shape

or alabaster

its

it

could be carried

narrow neck or passed through small

lugs on

alabastra have rounded bottoms, but footed examples are

too. Vase-paintings

show women using

Like lekythoi, alabastra were

left

alabastra in a domestic con-

as offerings at tombs.

Figure 57

Alien (or foreign)

A

fragment or section joined to a broken vase

is

said to be alien. In antiquity alien fragments

pair broken vases. See also repairs.

1

The

k.i ki

it

does not actually belong to

were occasionally used to

58. Alien

intrusion of marine motifs into this figural scene indicates that an alien fragmeni (from a k^

painted by

Makron)

roded metal pins are painter, about

has been used to still in

4S0

RJ

pair this cup

m

fig.

102). Malibu.

i

i\

ancient times. In this rare example, the cor

place. Detail of the exterior of a red figured ki

(see also

re-

Figure 58

i

i\

signed bj

[PGM N4.U .569. Photo Penelope

VAS1

SHAPES

WD

l

I

t

ll\u

Douris

as

Potter.

\I

1

I

kms

65

—

Amphora

One

(pi.

amphorae or amphoras) most common Attic shapes. The

of the

ampboreus

Latin,

handles (Gr.

tical

(du.(|>opeus) in

Greek

on both

sides,

d|ic|)i,

—

is

name

ancient

amphora

and

to carry).

c|>ep(o,

Amphorae were

general-purpose containers that could hold liquid (honey, milk, water), dry goods, or small foods (olives). for the ashes of the deceased.

The two

Amphorae

They were used had

often

neck-amphora, whose neck joins the shoulder 59, 90, 124, 138).

piece (figs.

The other form,

amphora or belly-amphora), 20-21, 22,

19,

the format of their pictures.

popular shape,

is

The

wine, or

also as receptacles

is

the

figs.

30,

earlier

sharp angle (see

amphora

(or one-

continuously curved from neck to foot differ also

by their overall color and

black-figured neck-amphora, an especially are reserved,

black-figured and red-figured

and the

pic-

amphorae and

the

neck-amphora are "dark": predominantly black, the pictures on

the black-figured

amphora

are enclosed within windowlike panels, while pic-

on the red-figured forms

tures

is

Neck and body

a "light" vase:

tures are not in panels.

red-figured

The

at a

oil,

but very few survive.

usually simply called

The two forms

29).

lids,

amphora and neck-amphora. The

basic forms are

in

derived from the shape's two ver-

are only sometimes in panels.

There are three principal variations of the amphora, Types A, B, and C.

A

has a flaring mouth, flanged handles with reserved sides usually decorated

with an ivy design, and a foot oldest

and most

(shaped

few examples,

mouth and (see fig.

its

117)

The

two

a

is

fig.

29). B, the

form, has round black handles and an echinus foot

differs

from B by

foot, either a torus or

fig.

19). C, of

which there are

torus (tire-shaped, see

its

an echinus. The Panathenaic

22)

fig.

amphora

famous variant of the neck-amphora. neck-amphora

singular shape of the Nikostbenic

known mainly

in black-figure,

a native Etruscan shape;

was adapted by

many

of these

the potter

amphorae bear

(see fig.

43),

Nikosthenes from his

signature, and

it is

thought that the vases were produced especially for the Etruscan mar-

ket.

The Nolan amphora (named

neck-amphora confined to handles; a tions)

is

for

after

red-figure,

Nola,

is

in

called a doubleen. a stand; in

its

A

du^opiaKog, oil

pi.

small type of

of

two

cylindrical sec-

pointed amphora has a pointed or knob-foot

unpainted form

amphoriskoi)

Italy), a

predominantly black and has ridged

this

commercial transportation of wine and

scented

South

Nolan with double handles (each composed

and requires

is

(perfume). Figures

was the standard container oil.

An amphoriskos

(Gr.

a very small pointed neck-amphora used

for

20-21, 22, 29, 30, 37, 39, 43,

54,

i, 5,

59, 79, 85, 90, 117, 124, 126, 138

66

degrees, or, steps (see

an upside-down shallow bowl; see

like

relatively

common

in

VASE SHAPES AND TECHNICAL TERMS

19,

mouth/lip

Figuki 59. Amphora Achilles

and Ajax playing

black-figured

a

board game, with Athena standing between them. Diagram

neck-AMPHORA, showing

handles, shoulder, body, foot

Attributed to

(cf. p. 4).

H: 45.3-45.8 cm

the principal parts of an Athenian vase:

1

17

»-] 8

.1

in.).

painter

t

the

1

1

Malibu, [PGM 86.

VASl

tGROS Groi \i

.s

d

t\

.1

pical

mouth, neck, p.

about sio.

1

SHAPES \M> rECHNII

\l

l

I

KMs

67

Animal Style

The use

of animals as the predominant decorative motifs

The term

is

Greece, where the ular.

on painted

pottery.

most often associated with pottery from Corinth and East

The animals

style (based

on orientalizing motifs) was especially pop-

are both real (felines, birds, bulls, boars, goats, deer, dogs,

and hares) and imaginary

(sirens, sphinxes,

and

griffins).

Figures 60, 75

J^\

.U*»L

-

1

J

*

«

J

M

*!

MdW^i ^^B^^^wvMf^B i^^B^^SS^o^H WjMtiW '

*wB&KKtm

^

vV

v

:-; tojr li^w

x

iicrlf

•

^8^{

^isSif

~

/ * wm --^mt

:

.

""

"'

f

|

:

^^m§gjt!^S^f

\^j^j^^ ^^^szz^zj^ -«=--

Friezes decorated in

68

Figure 60. Animal Style Protocorinthian olpe attributed to the Painter of Malibu about 650-625. H (to rim): 30.6 cm (12 in.). Malibu, jpgm 85.AE.89.

Animal

85.AE.89 (name vase),

__—--^^^

Style.

VASE SHAPES AND TECHNICAL TERMS

Artists' names

Sometimes potters or painters signed mostly they did not. Even those sign

all

who

who

signatures), although

repeatedly signed their works did not

The names invented by

of them.

for painters

their vases (see

Bl \/i

v a\k\

i

many

other scholars

did not sign have various origins, lor example: the A\i \sis

Painter, originally named for (then identified by some with) the potter Axnasis

(who signed some

of the vases he potted); the Bl

where one of

the city of Berlin,

his best vases

Carpenter Painter, named for the subject of for the peculiar, or affected, proportions artist's

name

(pi.

for

Antikensammlung;

the

i.r,

A fleeter, named

a picture; or the

When

his figures.

is

said to be his

an

name

names, see Class and Group.

ARYBALLOl)

cient, but aryballos (Gr. dpi)(3aX\og) this shape, since

it

was applied

The round-bodied aryballos Attic examples of in sculpture

hand, dispensing

show oil

rare. Besides

round

(perfume).

name

Corinth

(see

an-

vases.

and few

71),

fig.

is

only for

lekythoi and other

in antiquity also to

originated in

athletes

The name

known. Representations on vases

(men and boys) holding an aryballos

in

one

onto their skin, or carrying the vase suspended from

aryballoi,

plastic aryballoi (see

oil

could not have been the

this particular type are

the wrist by a string looped

(the

the

and gestures of

Small bottle for plain and, perhaps, scented

and

in

derives from a particular vase, that vase

vase. For other types of

ARYBALLOS

is

named

Paini

ki in

around

its

narrow neck. Footed aryballoi

are

which were wheelmade, there were moldmade

plastic vases); such aryballoi

in

the shape of an owl

goddess Athena's bird) or of three conjoined cockleshells were popular

forms. Figures 61, 71

FlGURl

(•>

1

.

Aryballos t

ORINTH1AN

aryballos ot

.1

hi

s

in.

in

the shape

ram, aboi .

.

I

:

[4 en

Malibu, |pgm

86.AJ .696.

VASl

Ml

MM

s

\\l>

Hi 1IM> M rERMS

69

ASKOS

(pi.

ASKOl)

Small container

named

however, askos

is

askos

is

its

vague resemblance to a wineskin (Gr. daKos);

in all likelihood

a red-figure shape; in

round-bodied vase the topside; in size

for

its

its

— convex top,

not the ancient

most flat

bottom

rarer, relatively taller

— with

though very

likely

oil

of the shape.

form

it is

The

a very low,

mouth and handle on is

tubular.

The small

a vase designed for carefully

(perfume), honey, or vinegar. Al-

used for libations in funerary

had other functions too. Askoi with

a

form the body

and narrow neck suggest that the askos was

pouring liquids such as plain or scented

name

characteristic

molded

probably

rituals, the vase

bodies (see plastic vases) had

zoomorphic shapes such as ducks or lobster claws. Figures 62-63

Figures 62-63. Askos Boar and lion. Red-figured askos,

about 410. H: 6.7 5

(2 /8 in.).

Malibu,

jpgm 83.AE.396.

70

VASE SHAPES AND TECHNICAL TERMS

cm

Ik,

i

ki

^.4.

ASTRAGALOS Dancing figured

Red-

figures.

.istr.i^.ilos

attributed to the

Soi \di

Painti

s

k.

about soo-450. 1

1:

(4 i.\i

ASTRAGALOS

(pi.

name

m.

i

1

1

1

cm

London,

1.

BM.

804.

ASTRAGALOl)

Rare red-figured vase cient

about

is

in the

unknown, but

shape of a knucklebone (Gr. daTpdyaXog). it

seems sensible that

it

was

Its

called astragalos.

an-

The

Greeks and Romans used sheep knucklebones (the metacarpal or metatarsal bones) as gaming pieces, or dice, and los vase

may

it

has been suggested that the astraga-

Figure 64

originally have been used as a container for them.

Attic/Attica

Of

or related to Attica, the region of which Athens

minology Athenian

is

often used as a

Attribution Ascribing unsigned vases to

synonym

artists.

is

the capital. In vase ter-

for Attic.

See Beazley, artists' names.

Beazley. Sir John D.

Lincoln Professor of Classical Archaeology and Art

in the

University of

Ox-

enormous

ford 1925 -1956, Sir John D. Beazley (1885 -1970) undertook the

task of identifying the individual styles of Attic vase-painters and in so doing established the entire development of Attic vase-painting. Adapting meth-

ods that had been used to distinguish

Renaissance painters, Beazle)

Italian

attributed thousands of mostly unsigned vases on Archaic and Classical

signatures of

or,

anonymous

life's

more

artists

work remains

artists.

He

stylistic

identified the painters either

grounds

from then hundreds

often, by defining the stylistic personalities of

and assigning them names. To

the foundation of

all

modern

a significant

degree, Ins

wise scholarship and a well

spring for the future. See also artists' names.

VASE

s ll

mm

to

s

\\D fECHNICAl

I

1

K

M

Bilingual

Vases are called bilingual

when

they "speak" two languages, that

is,

when

they are painted in two techniques, black-figure on one side and red-figure

on the

other. Their painters are called bilingual artists. See

Andokides

Painter, Lysippides Painter, Oltos, Psiax. Figures 20-21

Figure 65. Black-figure Typical black-figure painting with incised details for

Herakles

and the Triton. Detail of exterior of blackfigured EYE-CUP

(Type A) attributed to

Andokides as potter

and painted

manner

in the

of the

Lysippides Painter,

about 520. Malibu,

jpgm

87.AE.22.

(Cf. figs. 72, 87.)

Black-figure technique

This technique for painting vases, invented in

Corinth around 700

B.C.

and

subsequently adopted by Athenian vase-painters, shows figures in black painted silhouette against the lighter-colored unpainted reserved clay back-

ground or against added white.

To paint

a vase in black-figure technique,

its

surface

was

first

bur-

nished and polished; then an ocher wash might be applied and the surface burnished again.

which were then

A

preliminary sketch outlined the design of the

filled in

figures,

with black gloss; red or white colors were some-

times applied on top of the black. Before firing, incisions were

made

through the black gloss or the colors with a sharp pointed tool

to delin-

eate details of the figures in the lighter color of the underlying clay.

Figures

4, 5, 10, 19, 20, 24, 29, 30, 31, 34, 35, 36, 37, 39, 43, 54, 55, 59, 65, 72,

76, 78, 79, 81, 87, 95, 98, 100, 103, 108, 109, 117, 120, 122, 126, 127, 138

72

VASE SHAPES AND TECHNICAL TERMS

Bobbin

Vase shaped

like a

yo-yo or

a pulley:

two back-to-back

ring in red-figure

bin

form

had some

was meant

b)

occur

rare,

is

and white-ground. Although neither the ancient name

nor the purpose of this gest that they

connected

disks,

an axlelike cross-piece with a picture on each disk. The shape

is

known,

the subjects depicted on bobbins sug-

erotic or magical purpose.

to be suspended by a cord

It is

probable that a bob-

wound around

the cross-piece or

threaded through the small holes seen on some examples. There

rea-

is little

son to think that bobbins actually were either ordinary yo-yos or toys or bobbins for thread. Figures

66-67

Figuri 66.

Bobbin Zeph) ros and Hyakinrhos. Oik- side of white-ground

bobbin attributed to the Penthesilea

Painter,

about 460-

450. Diam: about 1

1.5

New

em

(4

York,

Fletcher

in.).

8

mm

und,

1

\,

1

wis.

2N.16-. Photo

©

200I

MM

\.

FlGURl 67. Bobbin bobbin,

Profile ot

figure "''. shovi ing

how

the

two halves

are put together.

\

\s|

s|| \|'| s

\

\

I)

fECHNU M

I

I

K

M

s

7*

—

.

Figure 68. boiotian Cabiran-style symposiasts (banqueters).

Kantharos workshop

attributed to the of the

Mystae

Painter,

Once (now lost), Antikensammlung 3286. Drawing by Peggy Sanders, after Cook, Greek Painted late fifth century.

Berlin

Pottery,

fig. 1 3

BOIOTIAN

Of or is

relating to the region of Boiotia, northwest of Athens, of

the capital.

Attic

The pottery workshops

styles, often

which Thebes

of Boiotia were heavily influenced by

copying them, but never competing with them

in quality

or trade. Boiotian clay tends toward a dull brown; the favorite shape was the

kantharos.

A

late black-figure style called

Kabirion, west of Thebes, where

produced from the

phisticated, the decoration

what looks inspiration

like a

much

late fifth into the

Cabiran

(after the

sanctuary at

was

of this pottery has been found)

fourth century B.C.

Though never

on Cabiran pottery can be amusingly

so-

lively

parody of a symposium (male drinking party) suggests

from theater masks and costumes. Figure 68

Burnishing

An

essential step in creating a perfectly

ration for painting.

When

the

smooth surface

of the vase in prepa-

clay was leather-hard but not yet com-

pletely dry, the surface of the vase

was vigorously rubbed with

a hard,

smooth

Figure 69. Burnishing Potter burnishing a vase.

Tondo

of

red-figured kylix attributed to a

follower of Douris,

470-460. Staatliche Museen zu Berlin

—

Preufsischer

Kulturbesitz,

Antikensammlung

F2542. Photo Rosa Mai.

74

VASE SHAPES AND TECHNICAL TERMS

object,

most

wood, or

likely leather,

smooth

a

and smoothes the surface of the clay and makes face less susceptible to abrasion.

vase surface, a light coating of

when

the

wash had

To

it

shiny;

it

makes

also

the sur-

further enhance the appearance of the

ocher wash could

dried, the vase

compacts

stone. Burnishing

he brushed on the vase;

would be burnished once more before

it

was painted. Figure 69 Cabiran See Boiotian.

Chous See oinochoe, shape

3.

Class Vases of the same shape that are nearly identical or similar potting or form are said to belong to the

work

same

in the details of

may

Class. Classes

include the

named

of several vase-painters and, just like painters, the Classes are

in

names and Group).

various ways (see artists'

Clay

Composed mainly

mixed with water and impurities, clay Neolithic period

aluminum oxide and

of fine particles of

man knew

a soft, malleable substance

raised temperatures.

Two

is

abundant worldwide. As early as the

of the plasticity of clay and

when moist

silicon dioxide

how

it

changed from

to a hard material after exposure to

major groups of clays are distinguished: primary,

FlGURl -O.

Clay Digging or mining

da) (.

m

ORIN

.1

1

pit.

\s PIN \\.

ill

about 600-575.

H: 10.4

cm

Staatliche Berlin

14'

•>

in.).

Museen

zu

-Preufiischcr

Kulturbesitz,

Ajitikensammlung 1

\

s-,.

\m SHAPES \sn iiiiiMt

\i

1

1

k\is

75

Figure 71. Clay Athena with Herakles battling the

Hydra,

with a crab nipping

at

the heel of Herakles. Pale clay typical

of

Corinth, with

inscriptions Corinthian

in the

script.

Aryballos, about 600-575. H: 3 (4 /8 in.).

jpgm

11. 2

Malibu,

92.AE.4.

Figure 72. Clay Symposiasts (banqueters). The distinctive figured eye-cup (Type A) attributed to

Lysippides Painter, about 520. Diam: 36.4

76

warm

reddish tone of Attic clay. Interior of a black-

Andokides as potter and painted

cm

VASE SHAPES AND TECHNICAL TERMS

(i4 3/x

in.).

in the

manner of

Malibu, jpgm 87.AE.22.

the

(Cf. figs. 65, 87.)

cm

or residual, clays and secondary, or sedimentary, clays. Clays that have

mained

where they were formed are

at the site

clays have been

moved from

re-

called primary. Secondary

the site of their formation by the action of at-

mospheric or water forces, and

composition

their

is

impure, that

they are

is,

mixed with various organic and mineral particles (iron oxide, calcium carbonate, sand, stones, mica, feldspar, and organic marten. Through the process of weathering, the clay particles of secondary clays

therefore

more

ondary clays

will

produce ceramics with similar

become

very fine and

However, not

suitable for the manufacture of pottery.

The proportion

qualities.

the various impurities in the composition of the clay determines

and

plasticity, strength,

are

more

color.

Those properties

in

all sec-

of

porosity,

its

turn determine which clays

and

suitable for the production of sophisticated

richly decorated

vases and which are for coarse cooking and storage ware.

The

clays of Greece vary greatly

color, malleability,

world

—

and firing property. Attic clay

secondary

is

plastic properties

from one place

clay, rich in feldspars, quartz,

and

— one of the and mica.

a characteristic rich orange-red color

to the significant iron oxide content. lent quality, Attic potters

With access

were able to

Corinthian

phisticated shapes.

to another in texture,

greater content of calcium gives

clay it

is

It

finest in the

has excellent

when fired due

to a material of such excel-

craft impressively

complex and

so-

likewise very finely textured, but

a paler tone that tends

Clay that has just been dug from a clay

pit

contains

its

toward yellow.

many

impurities

sand, small pebbles, organic material, etc. These must be removed before the clay can be used for

making

purify the

mixed with

clay,

a large basin.

it is

When

pottery, or the vase will crack during firing. a large quantity of

heavy materials such as stones have

the upper layer with fine particles of clay

the water

is

is

moved

left

To

to settle in

settled to the

bottom,

to an adjacent basin,

where

allowed to evaporate. This process, called levigation, takes time

and

is

The

refined clay

erties.

water and

repeated until the clay has reached the necessary level of refinement. is

then

For coarse ware

required for

making

left

to age, a process that improves

less purification is

fine

its

working prop-

needed, while heavily refined

cla\

is

painted vases. See also wedging. Figures 70, 71, 72

\

\sl

SHAPES AND TECHNICAI

I

I

K

M

s

Figure 73. Clazomenian Clazomenian sarcophagus with friezes of

animals and

battling boplites (foot soldiers), L:

221.5

in.).

480-470.

cm

77.AD.88.

78

VASE SHAPES AND TECHNICAL TERMS

(87V4

Malibu, jpgm

Clazomenian

An East Greek zomenae on

school of pottery production, centered

the west coast of

modern Turkey. The

production of ceramic sarcophagi decorated the mid-sixth into the early

East Greece.

On

for decoration,

wealth of the

fifth

in

city

in

of Cla-

known

best

is

town

the

for

its

black-figure technique (from

commonly used

century B.C.), which were

in

these sarcophagi the trapezoidal rim provided a Hat surface

whose elaborate character

client.

increased, presumably, with the

The favored motifs were

human

mixture of

a

and

figures

animals; scenes of combat are interspersed with rows of fantastical creatures

rendered

Attic lost)

in a style that

styles.

The clay

suggests influence from both the

is

coarse and deep red;

Wild-Goat and

added colors (now

mostl)

were often thickly applied. Figure 73

Color (polychromy)

The only pigments known

to

Greek potters that could survive the high tem-

peratures in the kilns were white, red, and yellow.

added

colors, for they

were applied

— that

is,

added

They

—

are referred to as

after the black-glossed

Figure 74. Color The

\\

worn amorous pair

reaths

b) this

about to painted ki

i).

kiss are

added

in

Detail of the

ton do

of a red-

figured k>

1

1\

1

\

pe

attributed to the

Carpenter Painter, about 515—510. Malibu, ipgm &5.AE.25.

\

\sl

sil

MM

s

\\

|)

M

t

II

Mi

\

I

I

1

K

Ms

r


III

IIMi

\l

rERMS

Bl

Contour See outline, relief line.

Coral-red

A

paint occasionally applied to

turies B.C. Coral-red this

some Attic pots

in the sixth

was made by adding yellow ocher

and

fifth

cen-

to the black gloss;

made the gloss porous, which caused it to turn deep orange-red, or

"coral-

red" (rather than black) during the reoxidizing phase of firing. Because the coral-red gloss often did not adhere well to the surface of the vase,

its

use never

became widespread, and coral-red was gradually abandoned. Figure 77 Corinthian Pottery from the city of Corinth, in the northern Peloponnese, where the blackfigure technique of vase-painting

was invented

in the

Protocorinthian

pe-

riod (about 720-620). Corinthian vase-painting began in the third quarter of the seventh century B.C.

cuted, particularly in detail (see fig. 60). in the

its

The

It is

characterized by animal-style vases exe-

early phases, with careful attention to technique

and

precision typical of the Protocorinthian phase yields

Corinthian period to a preference for larger figures, often quickly

scribed and painted in increasingly larger fields, which in

many

in-

cases leaves

the entire vase available for decoration with a single figure, animal, or motif (see fig. 71). Evidently as a result of increased trade

brid creatures

of Animals) joined the collection of

Protocorinthian part,

and the

of dilute

with the East, exotic hy-

and monsters (Gorgoneion, Typhon, Triton, Boread, Mistress

style.

more natural animals

Corinthian clay

is

much

paler than

typical effect of Corinthian vase-painting

is

inherited its

Attic counter-

achieved by the use

gloss and abundant polychromy. Figures 71, 75

Cup See kylix.

VASE SHAPES AND TECHNICAL TERMS

from the

FlGUR] --. Coral-red

The Deeds painted

of Herakles, with Athena seated in coral-red.

about 480-470.

in

the middle.

The

entire bod) o( tins \.m- has been

Red-figured volute krater attributed to the

H (to rim): 49.7-50.6 cm (19

\

•

\s|

19

1

sll

in.).

\

V\

Kleophrades Painter,

Malibu, JPGM 84.AJ "-4.

s

\\

|)

I

I

1

HSU

\

I

I

IK M

s

Bj

Figure 78. Defects/ flaws Judge

in athletic

contest.

vase

is

Although

this

generally

a masterful

demonstration of black-figure

technique, mistakes in the application of

the

gloss may have

caused the mottled surface visible on this figure. Detail of a

Panathenaic prize

amphora

attributed

to the Painter of the

Wedding Procession and signed by the potter

Nikodemos,

363/362

B.C.

Malibu,

jpgm 93.AE.55. (Cf.

fig.

117.)

Figure 79. Defects/ flaws The light spot in

the

center of the panel is

a dented

and

misfired area that

was

probably caused by this vase accidentally

touching another vase inside the kiln. Detail of black-figured

amphora

(Type B)

attributed to the

Rycroft Painter, about

520-510. Malibu,

JPGM

84

VASE SHAPES AND TECHNICAL TERMS

86.AE.65.

Defects/ flaws

The imperfections

in the

ceramic body or the GLOSS that occasionally occur

during manufacture of a vase. Sometimes the gloss may have been diluted too

much,

resulting in a reddish rather than black color after

peratures in the KILN spots

When

may

may produce

similar changes.

I

[RING; uneven tem-

Red or brown areas and

likewise be the result of too low or too high firing temperatures.

vases that had not yet reached the

LEATHER-HARD

stage

bumped

to-

gether, this often caused dents or deformations in their shape. Cracks might

occur at any time during the manufacture of in the

clay

itself

or because of air bubbles

in

a vase either

because of

the clay. Variations

a fault

the thick-

in

ness of different sections of a vase might lead to cracking as well, due to differential all

expansion and contraction during drying,

cause stress in the vase. Foreign particles

in

firing,

the clay

small chips that separate from the surface of the vase

those particles during

firing.

or cooling, which

may cause

spalls

— due to expansion of

Figures 78, 79

Dilute gloss

The same black

gloss as that used for the entire decoration of the vase, but di-

luted with water.

brown color

The

resulting

medium

fires to a

translucent

brown

or golden

that appears to be applied with a very thin brush. Dilute gloss

used for rendering fine details and

is

is

especially effective for the delineation of

anatomical features of figures, hair, or

fine

garments. Figures 50, 66, 80,

1

o

1

FlGUR] So. Dilute gloss

The

hair of this

woman w

painted

is

uli dilute .uloss.

Fragment

of the

interior of

figured In

Dot

red

.1

i'u

1

ris

\

1

.is

1

signed painter,

about 490

Malibu, [PGM Si.ae.zi

Maya

\

\sl

Ml

MM

s

\\l>

I

;.

Photo

Iston.

IIUIMi M fERMS

S
;

in

for the

red-figure,

arc reserved areas against the

painted black-gloss background (see red-] IGURJ

11


Timiades Painter, Boston, mfa, Henry Lillie Pierce Fund, 98.916. Courtesy, mfa, Boston. Reproduced with permission. © 2001 mfa, Boston. All rights reserved.

Amazon queen Andromache. about 560. H: 39.4 cm 1 5 in.).

Herakles fighting the

(

vase shapes and technical terms

Tyrrhenian amphora Distinctively ovoid-shaped black-figured Attic;

around 570-550 b.c, apparently Italy,

a

where nearly

market already

of

in

tune with

Corinthian

style; their unstinting

come from

decorative animal friezes

masts (dancers) and the adventures of Herakles are subjects

on Tyrrhenian

Central

in

them have been found. The vases were fashioned

all

added colors and

neck-AMPHORA, produced

especially for export to Etruria

vases.

The

artists to

for

use of

that tradition. Ko-

among

the

most popular

whom these amphorae

(and a few

examples of other shapes) are attributed are known as the Tyrrhenian

Group. Figure 138

Wedging or kneading

make

Cutting, beating, and working the clay in order to

neous; even consistency

is

essential to successful

antiquity these operations were executed by

machine). Wedging, the

moves

air

first

it

more homoge-

construction

of a vase. In

hand (today they are done

by-

step in the process of constructing a vase, re-

bubbles, thereby improving the working properties of the clay.

When wedging

is

completed, the clay

is

ready to be

thrown.

White-ground

A

clay applied

slip of fine white

to the surface of a vase before painting the

image or design. The white then formed the background

was

either painted in black-figure technique,

polychromy. This technique

which

for the image,

outlined, or outlined with

— called white-ground — was used

lekythoi and on some kylikes and kraters. Figures

mainly on

18, 49, 50, 56, 57,

66, 128

Wild-Goat Style

The Wild-Goat tic

Style,

made

of pottery

in

produced approximately 650-550

East Greece,

and Rhodes. The name

is

B.C.,

is

characteris-

especially at the sites of Chios, Miletos,

derived from

its

principal decoration: friezes of

goats (and sometimes other animals, such as deer) that circumnavigate the

pot

in a lazy

of motifs

is

procession of grazing poses (see

used for

painting style

is

the local clay.

filling,

animal

most derived from ORI1

typified by dark patterning applied

Figure

i

N

styi 1

\i

1

|.

A

ide

\\

ariet)

\

[ZING sources.

on the pale

si jp

I

he

covering

39

VASl

SHAPES \M> fECHNK

\l

I

I

K

M

S

I4 l »

Friezes of grazing wild goats

Figure 139. Wild-Goat Style from an orientalizing workshop of East Greece. Oinochoe,

probably from Miletos, about

150

62.5.

H: 35.7

VASE SHAPES AND TECHNICAL TERMS

cm

(14

in.).

Malibu, jpgm 81.AE.83.

Figure 140. Potter's workshop Athena crowns the

staff of a potter's

workshop. Shoulder of red-figured iiydria

the Leningrad Painter, about

490-480. Vicenza, Banca

(kalpis) attributed to

Intesa Collection c 278.

Workshop Term

referring both to the

stylistically related

Groups

working space where vases were made and of potters

and painters

(for

example, the work-

shop of the Penthesilea Painter). The workshops and the

to

owners were

their

economic foundations of ceramic production. Whereas painters seem

to

have moved from one workshop to another, potters (and potter-pa inters)

were

stable,

determining production, workforce, and clientele

(see especially

Amasis, Exekias, Euphronios, Nikosthenes, and Sotades)

most

likely a family-run business.

were employed

From

workshop, engaged

in a

WEDGING, THROWING

in

four to a dozen

digging au^\ purii

the vases on the POl

Willi

["ER'S

1,

what was

in

skilled , >

persons

ING the




i

r \i>i

m \kkv

IHIIMl M

I

1

KM

«Ii« t

fo

2>

/

^v

Select Bibliography

Amyx, D. Arias,

A. Corinthian Vase-Painting of the Archaic Period. Berkeley, [988.

and M. Hirmer. A History of a Thousand

P. E.,

by

rev.

Beazley,

D. The Development

J.

mer and M.

B.

Moore,

Attic Black-figure

/

Ir.ms.

and

Dev.). 1951. Rev. edn., D. von Both-

(

eds. Berkeley, 1986.

= ABV).

[956. Reprint, New York, [97.8. = ARV 1 1963. Reprint, New York, ABV and ARV 1 = Para.). Oxford, 1971.

.

Attic Black-figure Vase-painters Attic Red-figure Vase-painters.

.

Paralipomena: Additions to J.

Greek Vase Painting.

Years of

York, [962.

.

Boardman,

(

2nd edn.

).

(

1984.

(

Athenian Black Figure Vases.

New

York, 1974.

New York, 1975. Period. New York, 1989.

Athenian Red Figure Vases: The Archaic Period.

.

Athenian Red Figure Vases: The Classical

.

Buys,

New

B. Shefton.

.

Early Greek Vase Painting: Eleventh-Sixth Centuries

.

The History of Greek

S.,

and

V.

Vases: Potters, Painters

and

B.


ETD Pyxis Type

A

/

(

Alabastron

Askos

Kalpis

Squat Lekythos Hydria

Shoulder

Lekythos

Pelike

Nolan

Amphora Type A

Amphora

r Panathenaic Amphora

Amphora Type B

Amphora Type C

Loutrophoros

Index

Note: Page numbers followed by the

letter f

EPINETRON, 39, 88, 88f

Eretria Painter, 39,

indicate figures.

Euphronios,

n7 Achilles Painter,

91,

31, 321, 46, 69,

i2if, 1331,

AMPHORA,

xf, I of, 14, 32f, 3 3 f , 34f, 4 if,

Andokides Painter,

44

40, 4if, 42, 105, I23f,

EYES (EYE-CUPS), 90-91, 9lf, 107-108

31, 331, 48, 721, 76f,

Geometric period,

94f, 95, 116,

120

Geras Painter, 25f

68, 68f, 82

NAMES

gloss/glaze, 85, 851, 96, 124

OF, 4, 69, 71, 143

ARYBALLOS, 69,

691, 76f

HYDRIA, Beazley, Sir John D.,

Berlin Painter, 31,

4, 42, 56,

2lf,

331",

5lf,

98-99

71

341, 35, 69, i37f

BILINGUAL ARTISTS /VASES,

Brygos Painter,

3 I, 3 3 f ,

72

6f, zzi, 35, 351, 971,

KANTHAROS,

29f, 32f, 92f, 97f, IOI, II7f

Kerameikos,

2,

IOI

KILN, 91-93, IO3, I03f

Kleitias, 31, 42, 43f

I22f, I42f

Kleophon

C

xf, I, 40,

5, 8, iof,

FUNCTION, SHAPE AND, 2

138

ANIMAL STYLE, ARTISTS,

Exekias,

89^ 94^ 124-127,

i26f, i32f, i48f, 149

9

nof

I29f, 143

42f, 43f, 66, 67f,

if,

39f, 88f,

a8f, 29f, 40, 54, i07f,

f

EUTHYMIDES,

ii, 3 of, 31, 56

Amasis Painter, 7-8,

1, 7f,

Painter, 36, 42-43, 43f

Kleophrades Painter,

Painter, 36, 36f, 60

Carpenter Painter, 141-1 5f,

69, 79f

83^

40,

44-45, 44^

i2if, i39f

clay, 75-77, 75f, 76f

kneading, 149

color,

krater, 43f, 53^ 55f, 571, 6of, 83f, 104-

3,

79-80,

79f, 8of

conservation, 23-29

Corinthian,

105, 104^ 105^ 106, 134

691, 751", 76f, 8of, 82, io^t

kylix,

6f, iof,

14-15^

i8f, 27f, 28f, 38f,

46f, 48f, 54f, 56f, 58f, 76f,

107^

dinos, 36, 86f, 87

Dinos Painter,

36,

37^ 59

dipinto, 87, 87^ 96

Leagros Group,

Douris, 8-1

LEKYTHOS,

1,

io8f, i22f,

271, 38, 381,

65^

123^ 125^ i38f

74f, 85f,

Lydos,

8,

8,

I3f, 3of,

45, 451, 671, 8if

II2-II3, II3f

47, 47f, i2if

Lysippides Painter, 7 6f, 9if,

156

106-109,

io8f, i09f

1351

8,

31, 331, 48, 721,

Makron,

48, 48f, 65f

MEANDER,

I

I

6,

Kl

M

sll

MM

ISM, 8

22f

I

Meidias Painter,

ii,

3 f,

i

50,

5

1,

1

11U,

I

,

I

S()| \l)l S,

I24f

MINIATURISM, 7-8

S01 \di

MYTHS, I2-I6

si

4, 69, 7

I

I

,

Ml,

II

6

J7f, 4

Kl

,

\M),

l()\

I

J,

29l

r, 6zf, jf,

1