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METROPOLITAN MUSEUM OF ART
ATTIC
^ED-FIGURED
VASES
A SURVEY
Revised Edition
BY GISELA M. A. RICHTER
NEW HAVEN
YALE UNIVERSITY PRESS
1958
COPYRIGHT 1946, 1958, BY YALE UNIVERSITY PRESS.
Printed in the United States of America by
Vail-Ballou Press, Inc., Binghamton, N.Y.
All rights reserved. This book may not be
reproduced, in whole or in part, in any form
(except by reviewers for the public press),
without written permission from the publishers.
Library of Congress Catalog Card Number 58-11408.
TO
J. D. BEAZLEY
PREFACE TO THE FIRST EDITION
SINCE the publication in 1936 of the two-volume catalogue,
Red-figured Athenian Vases in the Metropolitan Museum
of Art, 1 have repeatedly been asked to republish part of the
text in a smaller, less expensive volume; At last I have been able
to carry out the suggestion. In preparing the book here offered
I have freely borrowed from my catalogue, but I have also added
much that is new. Our understanding of Attic vases has been
enlarged and deepened during the last generation by increased
knowledge of the painters who decorated them. To present a
general survey of Athenian red-figure it was therefore necessary
to give descriptions of at least the most prominent of these
painters. As many of them were not represented in the Metro-
politan Museum and had not been discussed in the catalogue,
accounts of them had to be supplied. Naturally it was impos-
sible in a short survey to discuss every known artist. Of the
more than five hundred painters who have by now been
recognized I have mentioned fewer than half but enough, I
hope, to give an idea o the manifold activity in the Attic pot-
teries. In the descriptions of actual examples I have put the
primary stress on the vases in New York, so that the book may
also serve as a guide to that collection. It seemed a gain to view
the New York vases as a part of a larger context. Though my
chief theme is red-figure I have occasionally included short
discussions of contemporary black-figured and white-ground
vases, for the three techniques sometimes went on concurrently
in the same potteries.
It would have been pleasant to give a wealth of illustrations.
Descriptions of scenes and analyses of style without a picture
ready to hand are tedious. As one of the primary motives, how-
ever, in writing the new book was to produce a low-priced
volume, and as illustrations of course add to the cost of pro-
duction, I have had to confine myself to relatively few pictures.
I have in many cases chosen details instead of whole composi-
tions, for large-scale single figures often bring out the style of a
painter better than entire scenes on a small scale. In the selec-
tion preference has been given to examples in the Metropolitan
vi ATTIC RED-FIUURJUJ
Museum. The majority of the pictures on the plates are repro-
duced from photographs; the line drawings in the text are by
Lindsley F. Hall, either drawn from the originals or redrawn
from other publications.
The notes give references to illustrations of all the published
vases mentioned, when possible in easily accessible books. I
have also in every case given a reference to Professor Beazley's
latest book, Attic Red-figure Vase-painters,, 1942, where lists of
the works of each painter as well as full bibliographies of the
illustrations will be found. I have adopted throughout the
attributions given in that epoch-making book.
Vase inscriptions are transliterated into the Ionic alphabet
except when it was desirable for obvious reasons to show the
exact spelling of the original.
My text has been read by Miss Christine Alexander and
Miss Marjorie J. Milne, and I owe to them valuable suggestions
and corrections. Many of the notes on the inscriptions and
kalos names are by Miss Milne (often quoted with her signa-
ture). The section on Technique has been revised and greatly
improved by Miss Maude Robinson. Mr. A. Fieldman has helped
me with the preparation of the Index. I want also to thank
Professor H. R. W. Smith, whose encouragement induced me
finally to undertake the writing of this Survey. My debt to my
friend J. D. Beazley is greater than I can express in words. His
writings have revolutionized the study of Athenian vase paint-
ing and are an inspiration to us all. With his usual generosity
he has read my manuscript and has sent me many important
comments. I gratefully dedicate this book to him. Finally I
want to thank the Metropolitan Museum and the Yale Univer-
sity Press for making this publication possible.
PREFACE TO THE REVISED EDITION
In this new edition I have had to confine myself to the fewest
possible corrections. I have been able, however, to add short
descriptions of some new accessions to the New York collection
and to make .a number of corrections, many of which I owe to
Sir John Beazley and Mr. D. von Bothmer. The numbers I give
for vases attributed to specific painters are no longer quite cor-
rect (see forthcoming and ed. of Beazley's ARV). The part of the
Introduction that deals with the black glaze (pp. 2730) has
had to be rewritten in view of recent discoveries.
ABBREVIATIONS AND BIBLIOGRAPHY
The list of abbreviations will serve as a general bibliography. The
bibliographies on special subjects are given in notes to the relevant
sections of the Introduction. For a more extended list cf. Beazley,
Attic Red-Figure Vase-Painters, Oxford, 1942.
PERIODICALS, LEXICONS, CORPUSES, ETC.
AA Archdologischer Anzeiger. Beiblatt zum Jahrbuch des deutschen
archaologischen Instituts. Berlin, from 1889.
AJA American Journal of Archaeology. Baltimore, Princeton, Nor-
wood, Concord, from 1885.
AM Mitteilungen des deutschen archaologischen Instituts, Athe-
nische Abteilung. Athens, from 1876.
Annali Annali dell' Institute di Corrispondenza Archeologica.
Rome, 1829-85.
Arch. Delt. Archaiologikon Deltion. Athens, from 1915.
Arch. Ztg. Archaologische Zeitung. Berlin, 1843-85.
Atti Soc. Magna Grecia Atti e memorie della Societa Magna Grecia.
Rome, 1928-32.
BCH Bulletin de correspondance helle'nique. Paris, from 1877.
Br. Br. Brunn and Bruckmann's Denkmaler griechischer und
romischer Sculbtur. Munich, from 1888.
BSA Annual of the British School at Athens. London, from 1894.
BSR Papers of the British School at Rome. London, from 1902.
CIG Boeckh, August, Corpus inscriptionum graecarum. Berlin,
1828-1877.
CV Corpus vasorum antiquorum. Paris and elsewhere, from 1922.
Daremberg-Saglio Daremberg, C., Saglio, E., and others, Diction-
naire des antiquity's grecques et romaines. Paris, 1877-1919.
Eph. Ephemeris archaiologike. Athens, from 1883.
IG Inscriptions graecae. Berlin, from 1873; ed. minor, from 1913.
Jb. Jahrbuch des deutschen archaologischen Instituts. Berlin,
from 1886.
JHS Journal of Hellenic Studies. London, from 1880.
Mel. d'arch. Melan'ges d'archeologie et d'histoire publics par
I'&cole francaise de Rome. Rome, from 1881.
MM Bulletin Bulletin of the Metropolitan Museum of Art. New
York, from 1905.
Vlll Al 11^ Jt^UJLI-ri^UJSJlJU V/YOJLO
MM Studies The Metropolitan Museum Studies. New York, 1928-
36.
Mon. dell' Inst. Monumenti inediti pubblicati dall' Institute di
Corrispondenza Archeologica. Rome and Paris, 1829-91.
Mon. Line. Monumenti antichi pubblicati per cura della Reale
Accademia del Lincei. Milan, from 1889.
Mon. Piot Monuments et memoires public's par V Academic des
Inscriptions et Belles-Lettres (Fondation Eugene Piot). Paris,
from 1894.
Museum Journal The Museum Journal (The University Museum,
University of Pennsylvania). Philadelphia, 1910-33.
JVS Notizie degli scavi di antichita, communicate alia Reale Acca-
demia dei Lincei. Rome, from 1876.
Oest. Jh. Jahreshefte des oesterreichischen archdologischen Insti-
tutes in Wien. Vienna, from 1898.
Pauly-Wissowa Paulys Real-Encyclopddie der classischen Alter-
tumswissenschaft, edited by G. Wissowa, W. Kroll and others.
Stuttgart, from 1894.
Roscher's Lexikon Ausfuhrliches Lexikon der griechischen und
romischen Mythologie, edited by W. H. Roscher. Leipzig, 1884-
1937-
RM Mitteilungen des deutschen archaeologischen Instituts,
Roemische Abteilung. Rome, from 1886.
BOOKS
Albizzati Albizzati, Carlo. Vasi antichi dipinti del Vaticano. Rome,
from 1925.
Aurigemma, S 1 , S 2 Aurigemma, Salvatore. II R. Museo di Spina
(ed. i and 2). Ferrara, 1935, 1936.
Beazley Beazley, J. D. Attic Red-figure Vase-Painters. Oxford, 1942.
Beazley, ABS Beazley, J. D. Attic Black-figure: a Sketch. London,
1928.
Beazley, AB V Beazley, J. D. Attic Black-figure Vase-Painters. Ox-
ford, 1956.
Beazley, Alt. V. Beazley, J. D. Attische Vasenmaler des rotfigurigen
Stils. Tubingen, 1925.
Beazley, A WL Beazley, J. D. Attic White Lekythoi. London, 1938.
Beazley, Berl Beazley, J. D. Der Berliner Maler. Berlin, 1930.
Beazley, CF Beazley, J. D. Campana Fragments in Florence. Ox-
ford, 1933.
Beazley, 7. Beazley, J. D. Der Rleophrades-Maler. Berlin, 1933.
Beazley, Panm. Beazley, J. D. Der Pan-Maler. Berlin, 1931.
ABBREVIATIONS AND BIBLIOGRAPHY ix
Beazley, Potter Beazley, J. D< Potter and Painter in Ancient
Athens. Oxford, 1945.
Beazley, VA Beazley, J. D. Attic Red-figured Vases in American
Museums. Cambridge (Mass.), 1918.
Beazley, V. Pol. Beazley, J. D. Greek Vases in Poland. Oxford, 1928.
See also note on Sir John Beazley's publications at the end of
this list.
Bechtel, Personennamen Bechtel, Friedrich. Die historischen Per-
sonennamen des Griechischen bis zur Kaiserzeit. Halle, 1917.
Bieber, HT Bieber, Margarete. The History of the Greek and
Roman Theater. Princeton, 1939.
Bieber, Th. Bieber, Margarete. Die Denkmdler zum Theaterwesen
im Altertum. Berlin, 1920.
Buschor, ALP Buschor, Ernst. "Attische Lekythen der Parthenon-
zeit," from Miinchner Jahrbuch n. s. II, 1925.
Buschor, Grab Buschor, Ernst. Grab eines attischen Mddchens.
Munich, 1939.
Buschor, Gr. V. Buschor, Ernst. Griechische Vasen. Munich, 1940.
Caskey and Beazley, AVP Caskey, L. D. with the cooperation of
Beazley, J. D., Attic Vase Paintings in the Museum of Fine Arts,
Boston. London, I, 1931; II, 1954.
Diepolder, P Diepolder, Hans, Der Penthesilea-Maler. Leipzig,
1936-
Ducati, Midia Ducati, Pericle. "Vasi dipinti nello stile del ceramista
Midia." Memorie della R. Accademia dei Lincei> 5th series, 14,
fascicule ii. Rome, 1909.
Ducati, Saggio Ducati, Pericle. "Saggio di studio sulla ceramica
attica figurata del secolo iv av. Cr." Memorie della R. Accademia
dei Lincei, 5th series, 15, fascicule iii. Rome, 1916.
Ducati, Storm Ducati, Pericle. Storia della ceramica greca. Florence,
1922.
Dugas, Aison Dugas, Charles. Aison et la peinture ceramique a
Athenes a I'dpoque de Pericles. Paris, 1930.
Enc. phot. Encyclopedic photographique de I' art: le Muse"e du
Louvre. Paris, 1937.
Fairbanks, AWL Fairbanks, Arthur. Athenian White Lekythoi,
vols. I and II. New York, 1907 and 1914.
Fick, Personennamen Fick, August, and Bechtel, Fritz. Die griechi-
schen Personennamen nach ihrer Bildung erkldrt und systematisch
geordnet. 2d ed. Gottingen, 1894.
FR Furtwangler, Adolf, and Reichhold, Karl, and others. Griechi-
sche Vasenmalerei: Auswahl hervorragender Vasenbilder. 3 vols.
Munich, 1904-32.
x ATTIC RED-FIGURED VASES
Gardiner, Athl. Gardiner, E. Norman. Athletics of the Ancient
World. Oxford, 1930.
Gerhard, Trinkschalen Gerhard, Friedrich. Tnnkschalen und
Gefasse des Komghchen Museums zu Berlin. Berlin, 1848-50.
Graef and Langlotz, Akropolis, I and II Die antiken Vasen von der
Akropolis zu Athen, edited by Botho Graef (vol. I) and Botho
Graef and Ernst Langlotz (vol. II) , with the cooperation of Paul
Hartwig, Paul Wolters, and Robert Zahn. Berlin, 1911-14, 1933.
Hahland, M Hahland, Walter. Vasen um Meidias. Berlin, 1930.
Hahland, Studien Hahland, Walter. Studien zur attischen Vasen-
malerei um 400 v. Chr. (Inauguraldissertation, Philipps-Universi-
tat). Marburg, 1931.
Hartwig, Gr. M. Hartwig, Paul. Die grieschischen Meisterchalen
der Bluthezeit des strengen rothfiguren Stiles. Stuttgart and Berlin,
1893-
Haspels, Bf. Lekythoi Haspels, C. H. Emilie. Attic Black-figured
Lekythoi. Paris, 1936.
Hoppin, I and II Hoppin, Joseph Clark. A Handbook of Attic Red-
figured Vases, signed by or attributed to the various masters of the
sixth and fifth century B.C. 2 vols. Cambridge (Mass.), 1919.
Hoppin, Bf. Hoppin, Joseph Clark. A Handbook of Greek Black-
figured Vases. Paris, 1924.
Hoppin, Euth. F. Hoppin, Joseph Clark. Euthymides and His
Fellows. Cambridge (Mass.), 1917.
Klein, Lieblingsinschriften Klein, Wilhelm. Die griechischen
Vasen mit Lieblingsinschriften. ad ed. Leipzig, 1898.
Kretschmer, Vaseninschnften Kretschmer, P. Die griechischen
Vaseninschriften, ihrer Sprache nach untersucht. Giitersloh, 1894.
Langlotz, Wurzbttrg Langlotz, Ernst. Griechische Vasen in Wiirz-
burg. Munich, 1932.
Langlotz, Zeitbestimmung Langlotz, Ernst. Zur Zeitbestimmung
der strengrotfigurigen Vasenmalerei und der gleichzeitigen Plastik.
Leipzig, 1920.
Licht, Sittengeschichte Licht, Hans. Sittengeschichte Griechen-
lands. Dresden, 1925-28.
Lowy, Polygnot Lowy, Emanuel. Polygnot: ein Buch von griechi-
scher Malerei. 2 vols. Vienna, 1929.
vonLiicken, GV von Lucken, Gottfried. Greek Vase Paintings. The
Hague, 1921.
Meisterhans, Grammatik Meisterhans, K. Grammatik der attischen
Inschriften. 3d ed., revised by Eduard Schwyzer. Berlin, 1900.
Met/ger, Repr. du IV siecle Metzger, H. Les representations dans
la ceramique attique du IV siecle. Paris, 1951.
Mus. Greg. Museum Etruscum Gregorianum. Rome, 1842.
ABBREVIATIONS AND BIBLIOGRAPHY xi
Neugebauer, Fuhier, II Neugebauer, K. A. Staatliche Museen zu
Berlin. Filhret durch das Antiquanum II, Vasen. Berlin, 1932.
Nicole, Meid. Nicole, Georges. Meidias et le style fleuri. Geneva,
1908.
Panofka, Pourt. Panofka, Theodor Sigismund. Antiques du Cabi-
net du Comte de Pourtales-Gorgier. Paris, 1834.
Pellegrini, VPU Pellegrini, Giuseppe. Catalogo dei vast antichi
dipinti delle collezioni Palagi ed Universitaria. Bologna, 1900.
Pfuhl Pfuhl, Ernst. Malerei und Zeichnung der Griechen. 3 vols.
Munich, 1923.
Pfuhl, Masterpieces Pfuhl, Ernst. Masterpieces of Greek Drawing
and Painting (translated by J. D. Beazley). New ed. London, 1950.
Philippart, CAB Philippart, Hubert. Les coupes attiques a fond
blanc. Brussels, 1936.
Pettier Pettier, Edmond. Vases antiques du Louvre, 1903. Paris,
1897-1922.
Richter, Craft Richter, Gisela M. A. The Craft of Athenian Pottery.
New Haven, 1923.
Richter, Greek Painting* Richter, Gisela M. A. Greek Painting:
The Development of Pictorial Representation from Archaic to
Graeco-Roman Times. New York, 1952.
Richter, Kouroi Richter, Gisela M. A., with the cooperation of Irma
A. Richter. Two hundred and eight photographs by Gerard M.
Young. Kouroi. A Study of the Development of the Greek Kouros
from the Late Seventh to the Early Fifth Century B.C. New York,
1942.
Richter, MM Handbook Richter, Gisela M. A. Handbook of the
Classical Collection (The Metropolitan Museum of Art). 6th ed.
New York, 1930.
Richter, Sc. Sc. Richter, Gisela M. A. The Sculpture and Sculptors
of the Greeks, 2d ed. New Haven, 1930; new, revised ed., 1950.
Richter and Hall Richter, G. M. A., and Hall, L F. Red-figured
Athenian Vases in the Metropolitan Museum of Art. New Haven,
1936.
Richter and Milne Richter, Gisela M. A., and Milne, Marjorie J.
Shapes and Names of Athenian Vases. New York, 1935.
Riezler, WAL Riezler, Walter. Weissgrundige attische Lekythen.
2 vols. Munich, 1914.
Robinson and Harcum, Catalogue Robinson, D. M., and Harcum,
C. G. A Catalogue of the Greek Vases in the Royal Ontario Mu-
seum of Archaeology, Toronto, edited by J. H. Ihffe. 2 vols.
Toronto, 1930.
Rumpf, M.u.Z. Rumpf, A. Malerei und Zeichnung, Handbuch der
Archaologie, IV, i. Munich, 1953.
xii ATTIC RED-FIGURED VASES
Schefold, KV Schefold, Karl. Kertscher Vasen. Berlin- Wilmersdorf,
193-
Schefold, U Schefold, Karl. Untersuchungen zu den Kertscher
Vasen. Berlin and Leipzig, 1934.
Seltman, AV Selfman, Charles T. Attic Vase-Painting (Martin
Classical Lectures, III). Cambridge (Mass.), 1933.
Smith, L Smith, H. R. W. tier Lewismaler. Leipzig, 1939.
Smith, Menon Painter Smith, H. R. W. "New Aspects of the Menon
Painter." University of California Publications in Classical Archae-
ology , I, no. i. Berkeley, 1929.
Strena Strena Helbigiana. Leipzig, 1900.
Swindler, AP Swindler, Mary Hamilton. Ancient Painting, from
the Earliest J^imes to the Period of Christian Art. New Haven,
1929-
Webster, N Webster, Thomas Bertrand Lonsdale. Der Niobiden-
maler. Leipzig, 1935.
ARTICLES ON RED-FIGURE BY J. D. BEAZLEY
In Richter and Hall, pp. 225 f., a list was given of Beazley's articles
and reviews on red-figure published up to 1936. In 1951 the Claren-
don Press published a complete list of Beazley's publications.
CONTENTS
PREFACE
ABBREVIATIONS AND BIBLIOGRAPHY
LIST OF ILLUSTRATIONS
V
vii
xix
INTRODUCTION
General
Importance of Greek vase paintings,
i; Period of Athenian red-figure, i;
Attraction for potters, archaeologists,
painters, and historians of art, 2;
General development, 2; Style of in-
dividual painters, 2; Assigned names,
3; Salient characteristics, 3; Relation
to mural and panel paintings, 4; Our
knowledge of the artists, 5.
Subjects
Subjects taken from mythology and
daily life, occasionally from contem-
porary events, 7; Interest added by
furnishings, utensils, and attire, 8;
Comparison with subjects in later
paintings, 8; Difference between
Greek and later outlook, 9.
Ornaments
Function, 10; Repertoire, 10; Many
variations on a few standard motives,
10.
Shapes
Reminiscent of architecture, 10; Was
there an underlying principle of
design?, 11; A few standard shapes
with many variations, 11; Names of
shapes, 14.
Inscriptions
Referring to figures represented, 14;
Addressed to the beholder, 15; Kalos
names, 15; Signatures, 16; Meaning-
less inscriptions, 19; Dipinti and
graffiti, 19; Faulty spelling, ai; Attic,
Doric, and Ionic forms of letters, ai.
Chronology
Absolute chronology based on dated
events, relative chronology on the
degree of riaturalism attained, 22.
Technique
I. PREPARATION OF THE CLAY 24
II. FASHIONING OF THE VASE 24
(1) Wheel work
a. Throwing 24
b. Turning 25
(2) Molding 26
(3) Building 26
(4) Attachment of handles 26
III. DECORATION OF THE VASE 27
(1) The black glaze 27
(2) The treatment of the
surface 28
(3) The painting 29
a. Red-figure 29
b. White ground 31
IV. THE FIRING 31
Greek kilns 33
V. ACCIDENTS 34
VI. ATHENIAN POTTERIES 35
XIV
ATTIC RED-FIGURED VASES
CHAPTER I. EARLY STYLE, ABOUT 530-500 B.C.
Historical background, 36; Techni-
cal and stylistic analysis, 36; Com-
parisons with painting and sculp-
ture, 42; Chronological data, 43;
Shapes, 45; The painters, 45.
(i) The Andokides Painter,
Psiax, and the Goluchow
Painter
Andokides Painter
Psiax
Goluchow Painter
Oltos, Epiktetos, and other
cup painters
Oltos
Epiktetos
Pheidippos
Hischylos Painter
Thaliarchos Painter
Euergides Painter
Pasiades
Apollodoros (= Epidromos
Painter and Kleomelos
Painter?)
(2)
4 6
4 6
4 6
4 8
4 8
48
49
5
50
5 1
5i
5 1
Peithinos
Skythes
Hegesiboulos Painter
Kiss Painter
Ambrosios Painter
Hermaios Painter
Chelis Painter
Bowdoin-Eye Painter
Nikosthenes Painter
Epeleios Painter
Painter of Berlin 2268
(3) Euphronios, Euthymides,
Phintias, and their
followers
Euphronios
Euthymides
Phintias.
Smikros
Sosias Painter
Vienna Painter
Dikaios Painter
Hypsis
Gales Painter
CHAPTER II. RIPE ARCHAIC STYLE,
ABOUT 500-475 B.C.
Historical background, 59; Stylistic
analysis, 59; Technique, 63; Com-
parisons with sculpture, 64; Chrono-
logical data, 64; Shapes, 65; The
Painters, 66.
(i) The Kleophrades Painter,
the Berlin Painter, and.
other painters of large pots 66
Kleophrades Painter
(Epiktetos)
Berlin Painter
Nikoxenos Painter
Eucharides Painter
Myson
Geras Painter
Harrow Painter
Syleus Painter
66
68
70
7*
78
78
Copenhagen Painter
Syriskos Painter
Gallatin Painter
Diogenes Painter
Tyszkiewicz Painter
Troilos Painter
(2) Painters of small pots
a. In Red-figure
Dutuit Painter
Tithonos Painter
Providence Painter
Bowdoin Painter
b. In Black-figure
Diosphos Painter
Sappho Painter
Athena Painter
Haimon Painter
52
58
58
58
53
53
53
53
53
53
53
53
53
55
56
56
57
57
57
57
58
72
78
73
73
73
73
73
73
73
73
74
74
75
75
75
75
75
CONTENTS
xv
Theseus Painter 75
(3) The Panaitios Painter, the
Brygos Painter, Makron,
Douris, and other cup
painters 76
Panaitios Painter 76
Eleusis Painter 77
Brygos Painter 78
Makron 81
Douris 83
Triptolemos Painter 83
Cartellino Painter 83
Onesimos 85
Colmar Painter 85
Antiphon Painter 85
Thorvaldsen Group 86
Magnoncourt Painter 86
Foundry Painter 87
Briseis Painter 87
Painter of the Paris Gigan-
tomachy 87
Dokimasia Painter 88
CHAPTER III. EARLY FREE STYLE,
ABOUT 475-450 B.C.
Historical background, 89; Stylistic
analysis, 90; Technique, 92; Com-
parisons with sculpture, 93; Chrono-
logical data, 93; Shapes, 93; The
Painters, 94.
(1) The Pan Painter and other
mannerists 94
Pan Painter 94
Pig Painter 96
Leningrad Painter 96
Agrigento Painter 96
Nausikaa Painter (Polygno-
tos) 97
(2) The Penthesileia Painter
and his associates 97
Penthesileia Painter 97
Pistoxenos Painter gq
Splanchnopt Painter 100
Painter of Bologna 417 100
Wedding Painter 100
Painter of Brussels R 330 100
(3) The Niobid Painter and his
associates 100
Niobid Painter 100
Altamura Painter 101
Painter of die Woolly Silens 101
Painter of the Berlin Hydria 103
Painter of Bologna 279 102
Geneva Painter 102
(4) The Villa Gtulia Painter
and his associates; "fol-
lowers of Douris" 104
Villa Giulia Painter 104
Chicago Painter 105
Methyse Painter 106
Akestorides Painter 106
Painter of Munich a 660 107
Euaion Painter 107
Painter of Louvre C A 1694 107
"Euaichme Painter 107
(5) Other Painters 107
Telephos Painter 107
Clinic Painter 108
Amymone Painter 108
Hermonax 108
Oionokles Painter 109
Nikon Painter 109
Painter of the Yale Oino-
choe 109
Painter of the Yale Lekythos 109
Painter of London E 342 109
Syracuse Painter 109
Cleveland Painter 109
Painter of London E 100 no
Aigisthos Painter no
Orchard Painter no
Painter of Bologna 228 1 10
Alkimachos Painter no
Deepdene Painter no
Sotades Painter m
Lewis Painter (Polygnotos) 112
Zephyros Painter 112
Sabouroff Painter 112
Painter of Munich 2363 113
Ethiop Painter 113
XVI
ATTIC RED-FIGURED VASES
Vouni Painter 114
Inscription Painter 114
Aischines Painter 114
CHAPTER IV. FREE STYLE, ABOUT 450-420 B.C.
Tymbos Painter
Carlsruhe Painter
Ikaros Painter
114
Historical background, 115; Stylistic
analysis, 115; Technique, 116; Com-
parisons with sculpture, 117; Chron-
ological data, 117; Shapes, 117; The
painters, 117.
(i) The Achilles Painter and
his followers
Achilles Painter
Bosanquet Painter
Thanatos Painter
Painter of Munich 2335
Phiale Painter
Persephone Painter
Dwarf Painter
'2) The Mannheim Painter and
others
Mannheim Painter
Danae Painter
Painter of London E 497
Menelaos Painter
Kleio Painter
Eupolis Painter
Painter of Athens 1943
Cassel Painter
Polydektek Painter
Richmond Painter
Polygnotos and his circle
Polygnotos
Lykaon Painter
118
118
121
121
122
123
124
124
124
(3)
125
126
126
126
126
126
127
127
127
127
128
Orpheus Painter
Christie Painter
Hektor Painter
Peleus Painter
Coghill Painter
(4) Other Painters of Pots
Naples Painter
Painter of the Louvre Cen-
tauromachy
Nekyia Painter
Trophy Painter '
Athanasia Painter
Penelope Painter
Marlay Painter
(5) The Eretna Painter and
other painters of cups and
small vases
Eretria Painter
Kalliope Painter
Kodros Painter
Painter of London D 14
Kraipale Painter
Washing Painter
Shuvalov Painter
Disney Painter
Painter of the Edinburgh
Oinochoe
Kliigmann Painter
Xenotimos Painter
129
130
130
130
130
130
130
130
130
132
132
132
132
135
*35
136
136
136
137
137
137
'37
138
CHAPTER V LATE FIFTH-CENTURY STYLE,
ABOUT 420-390 B.C.
Historical background, 139; Stylistic
analysis, 139; Technique, 141; Com-
parisons with sculpture, 141; Chron-
ological data, 141; The painters, 14*.
(i) The Kleophon 1 Painter, the
Dinos Painter, and
Others. Late followers of
Polygnotos 143
Kleophon Painter
Dinos Painter
Chrysis Painter
Polion
Aison
Kadmos Painter
Pothos Painter
H3
'43
144
144
146
146
146
CONTENTS
xvn
(2) The Meidias Painter and
his school 146
Meidias Painter 146
Aristophanes 149
Mikion Painter (Euempo-
ros?) 149
Nikias Painter 150
(3) The Tolas fainter, the Pro-
nomos Painter, and the
Suessula Painter 150
Tales Painter 150
Pronomos Painter 150
Suessula Painter 151
(4) Painters of cups and small
vases 151
Painter of London 106 152
Mouret Painter 155?
Straggly Painter 152
Mina Painter 152
Worst Painter 152
Gaurion (potter) 152
(5) White-ground vases 152
Manner of Woman Painter 155
Reed Painter 153
Triglyph Painter 153
CHAPTER VI. THE FOURTH CENTURY
Historical background, 154; Stylistic
analysis, 154; Technique, 155; Com-
parisons with sculpture, 155; Chron-
ological data, 156; Shapes, 156.
(i) FIRST THIRD OF THE
CENTURY 157
a. The ornate style: The
painter of the New
York Centauromachy
and other pot painters 157
Painter of the New York
Centauromachy 157
Meleager Painter 157
Xenophantos Painter 157
Painter of the Oxford
Grypomachy 158
Retorted Painter 158
Black-Thyrsos Painter 158
NOTES
INDEX
Oinomaos Painter 158
b. The plainer style: The
Erbach Painter, the
Jena Painter, and
others 158
Erbach Painter 158
Painter of London F 64 158
Painter of London F i 158
Jena Painter 158
Q Painter 159
Painter of Vienna 155 159
Painter of Vienna 202 159
Painter of Vienna 116 159
Fat Boy Group 159
Brown-Egg Painter 159
(2) THE KERCH STYLE,
ABOUT 370-320 B C. 159
(3) VASES WITH RELIEFS 162
165
401
ILLUSTRATIONS
Figures i through 33 are in the text and figures 34 through 125 are
grouped following page 164.
The figures in the text are by Lindsley F. Hall, either drawn from the
originals or redrawn from other publications.
Figure Page
1 . Shapes of Athenian red-figured vases 12
2. Shapes of Athenian red-figured vases 13
3. Front the psykter 10.210.18 by Oltos in New York 38
4. From the fragmentary kylix 07.286.50 by the Kiss
Painter in New York 38
5. Trom the amphora by the Andokides Painter in
Munich (Redrawn from FR, pi. 4) 39
6. From the kylix by Skythes in the Villa Giulia Mu-
seum, Rome (Redrawn from Mon. Piot, XX [1913],
pi. VII, i). 39
7. From the hydria 10.210.19 by the Berlin Painter in
New York 40
8. From the kylix by Oltos in Tarquinia (Redrawn from
Pfuhl, fig. 360) 40
9. From the kylix by Psiax in Munich (Redrawn from
Jb., X [1895], pi. 4). 41
10. From the kylix 14.146.1 by Psiax in New York 41
11. From the kylix 41.162.112, perhaps by Epiktetos, in
New York 42
12. From the kylix 10.212 by Epiktetos in Boston (Re-
drawn from Caskey and Beazley, A VP } pi. Ill, 6) 43
13. From an amphora by the Andokides Painter in the
Louvre (Redrawn from FR, pi. 111) 43
14. From the psykter 10.210.10 by Oltos in New York 44
15, 16. From the kylix 14.146.1 by Psiax in New York 44, 45
17. From the hydria 10.210.19 by the Berlin Painter in
New York 60
18. From the kantharos 12.234.5 by the Brygos Painter
in New York 61
19. From the pelike G R 578 by the Geras Painter in
New York 61
20. From the kylix 12.231.1 by Makron in New York 62
xx ATTIC RED-FIGURED VASES
Figure Page
21. From the kylix 30.1 by the Panaitios Painter in Bow-
doin College, Brunswick, Maine (Redrawn from
Beazley, VA, p. 86, fig. 54) 62
22. From the amphora by the Berlin Painter in Berlin
(Redrawn from von Liicken, GV, pi. 52) 63
23. From the lekythos 25.189.1 by the Brygos Painter in
New York 63
24. Eyes on vases of the ripe archaic style in New York 63
a, b. From the hydria 10.210.19 by the Berlin
Painter
c. From the lekythos 28.57.12 by the Brygos
Painter
d. From the lekythos 13.227.16 by the Dutuit
Painter
e, f. From the kylix 20.246 by Makrorj
g, h. From the amphora 13.233 by the Kleophrades
Painter
i. From the hydria 11.212.7 by the Syleus
Painter
25. From the lekythos 07.286.67 by the Providence
Painter in New York 64
26. From the hydria 10.210.19 by the Berlin Painter in
New York 64
27. From the kylix G R 1 120 by Makron in New York 64
28. From the lekythos 07.286.67 by the Providence
Painter in New York 65
29. From the lekythos 13.227.16 by the Dutuit Painter
in New York 65
30. From the lekythos 25.78.2 by the Tithonos Painter
in New York 65
31. From the calyx krater 07.286.86 by the Painter of the
Berlin Hydria in New York 91
32. Eyes on vases of the Early Free Style in New York 92
a. From the lekythos 26.60.77 by Hermonax
b. From the stamnos 17.230.37 by the Deepdene
Painter
c. From the column krater no. 29.131.7 by the
Painter of Bologna 228
d. From the neck of a loutrophoros 07.286.70 by
the Painter of Bologna 228
e. From the skyphos 06.1079 by the Penthesileia
Painter
ILLUSTRATIONS xxi
Fieure
f. From the double disk 28.167 by the Penthesileia
Painter
g. From the column krater 34.11.7 by the Orchard
Painter
h. From the hydria 06.1021.190 by the Chicago
Painter
i, j. From the bell krater 23.160.80 by the Danae
Painter
k. From the oinochoe 06.1021.189 by the Mann-
heim Painter
1. From the bell krater 24.97.96 by the Villa Giulia
Painter
m. From the bell krater 07.286.85 by the Methyse
Painter
33. Eyes on vases of the Free Style in New York 116
a. From the lekythos 08.258.18 by the Achilles
Painter
b. From the bell krater 28.57.23 by the Persephone
Painter
c, d. From the amphora 06.1021.116 by the Lykaon
Painter
e. From the lekythos 17.230.35 by the Phiale
Painter
f. From the bell krater 28.57.23 by the Persephone
Painter
34. Herakles and Kerberos, by the Andokides Painter.
From the amphora F 204 in the Louvre.
35. Victorious young athlete being crowned, by Oltos.
From the psykter 10.210.18 in the Metropolitan
Museum. Photograph by E. Milla.
36. Man dancing to the music of the flute, by Psiax. From
a plate in the collection of Monsieur Jameson Paris.
37. Youth riding a cock, by Epiktetos. From a plate in
Castle Ashby, Photograph by Marie Beazley.
38. Man walking with his dog, by the Hegesiboulos
Painter. From the kylix 07.286.47 in the Metropolitan
Museum. Photograph by E. Milla.
39, 40. Athletes, by Pheidippos. From the kylix 41.162.8 in
the Metropolitan Museum. Photograph by E. Milla.
41. Cow led to sacrifice, by the Gales Painter. From the
lekythos 13.195 in the Museum of Fine Arts, Boston.
xxii ATTIC RED-FIGURED VASES
42. Boxer, by the Hischylos Painter. Fragment of a kylix,
22.139.81, in the Metropolitan Museum. Photograph
by E. Milla.
43. Herakles and Antaios, by Euphronios. From the am-
phora G 103 in the Louvre. Drawing by Reichhold,
FR., pi. 93.
44. Revelers, by Euthymides. From the amphora 2307 in
the Museum antiker Kleinkunst, Munich. Drawing
by Reichhold, FR, pi. 14.
45. Achilles bandaging the wounded arm of Patroklos,
by Sosias. From the kylix 2278 in the Staatliche
Museen, Berlin. Drawing by Reichhold, FR, pi. 123.
46. Satyr and Maenad, by Phintias. From the amphora
R C 6843 in the Museum of Tarquinia. Drawing by
Reichhold, FR, pi. 91.
47. Warrior, by the Kleophrades Painter. From the calyx
krater 08.258.58 in the Metropolitan Museum. Photo-
graph by E. Milla.
48. Youth playing the kithara, by the Berlin Painter.
From the amphora 56.171.38 in the Metropolitan
Museum. Photograph by T. McAdams.
49. Dionysos, by Myson. From the column krater 07.286.-
73 in the Metropolitan Museum. Photograph by E.
Milla.
50. Satyr, by the Geras Painter. From the pelike G R 578
in the Metropolitan Museum. Photograph by E.
Milla.
51. Theseus and Skiron, by the Gallatin Painter. From
the amphora 41.162.101 in the Metropolitan Museum.
Photograph by E. Milla.
52. Nike, by the Dutuit Painter. From the lekythos
13.227.16 in the Metropolitan Museum. Photograph
by E. Milla.
53. Thetis and Hephaistos, by the Dutuit Painter. From
the amphora 13.188 in the Museum of Fine Arts,
Boston.
54. Artemis, by the Providence Painter. From the
lekythos 41.162.18 in the Metropolitan Museum.
Photograph by E. Milla.
55. Hermes, by the Tithonos Painter. From the lekythos
25.78.2 in the Metropolitan Museum. Photograph
by E. Milla.
ILLUSTRATIONS xxiii
56. Woman working wool, by the Bowdoin Painter.
From the lekythos 06.1021.90 in the Metropolitan
Museum. Photograph by E. Milla.
57. Youth reading aloud to listeners, by the Panaitios
Painter. From the kyathos 2322 in the Staatliche
Museen, Berlin.
58. Warrior, by an artist of the Thorvaldsen Group. From
the kylix 41.162.1 in the Metropolitan Museum.
Photograph by E. Milla.
59. Herakles, by the Panaitios Painter. From the kylix
12.231.2 in the Metropolitan Museum. Photograph
by E. Milla.
Go. Athena, by the Brygos Painter. From the lekythos
25.189.1 in the Metropolitan Museum. Photograph
by E. Milla.
61. Athena, by the Brygos Painter. From the lekythos.
09.221.43 in the Metropolitan Museum. Photograph
by E. Milla.
62. Theseus welcomed by Athena, by the Briseis Painter.
From the kylix 53.11.4 in the Metropolitan Museum.
Photograph by T. McAdams.
63. Maenad and Satyr, by Makron. From the kylix
06.1152 in the Metropolitan Museum. Photograph
by E. Milla.
64. Satyr, by Douris. From the psykter E 786 in the British
Museum. Drawing by Reichhold, FR, pi. 48.
65. Woman putting away her clothes, by Douris. From
the kylix 23.160.54 in the Metropolitan Museum.
Photograph by E. Milla.
66. Artemis, by the Pan Painter. From the lekythos 670
in the Hermitage. Oest. ]h., XVI (1913), pi. II.
67. Pan, by the Pan Painter. From the bell krater 10.185
in the Museum of Fine Arts, Boston.
68. Ganymede, by the Pan Painter. From the oinochoe
23.160.55 in the Metropolitan Museum. Photograph
by E. Milla.
69. Nike crowning a victorious youth, by the Penthesileia
Painter. Double disk 28.167 in the Metropolitan
Museum. Photograph by E. Milla.
70. Man and boar, by the Penthesileia Painter. From the
kylix 41.162.9 in the Metropolitan Museum. Photo-
graph by E. Milla.
71. Perseus and Medusa, by the Diosphos Painter. From
xxiv ATTIC RED-FIGURED VASES
the lekythos 06.1070 in the Metropolitan Museum.
Photograph by E. Milla.
72. Eros and Aphrodite, by the Wedding Painter. From
the pyxis 39.11.8 in the Metropolitan Museum.
Photograph by E. Milla.
73. Paris, by the Penthesileia Painter. From the pyxis
07.286.36 in the Metropolitan Museum. Photograph
by E. Milla.
74. Battles of Lapiths and Centaurs and of Greeks and
Amazons, by the Painter of the Woolly Silens. Volute
krater 07.286.84 in the Metropolitan Museum. Photo-
graph by E. Milla.
75. Triptolemos, by the Niobid Painter. From the hydria
41.162.98 in the Metropolitan Museum. Photograph
by E. Milla.
76. Dionysos, by the Oionokles Painter. From the
amphora 41.162.21 in the Metropolitan Museum.
Photograph by E. Milla.
77. Maenad, by Hermonax. From the lekythos 41.162.19
in the Metropolitan Museum. Photograph by E.
Milla.
78. Maenad, by the Methyse Painter. From the bell krater
07.286.85 in the Metropolitan Museum. Photograph
by E. Milla.
79. Flying figures, by the Sotades Painter, on a vase in
the form of a knucklebone (astragalos) E 804 in the
British Museum. Drawing by Reichhold, FR, pi.
136, 2.
80. Herdsman, by a follower of the Brygos Painter, on
a cup in the form of a hoof 38.11.2 in the Metropoli-
tan Museum. Photograph by E. Milla.
81. Charon's boat, by the Sabouroff Painter. From the
lekythos 21.88.17 in the Metropolitan Museum.
Photograph by E, Milla.
82. Prothesis, the lying in state of the dead, by the
Sabouroff Painter. From the lekythos 07.286.40 in the
Metropolitan Museum. Photograph by E. Milla.
83. Mourners at two graves, by the Vouni Painter. From
the lekythos 35.11.5 in the Metropolitan Museum.
Photograph by E. Milla.
84. Hermes and the infant Dionysos, by the Villa Giulia
Painter. From the bell krater E 492 in the British
Museum.
85. Seated man, by the Euaichme Painter. From the sky-
ILLUSTRATIONS xxv
phos 41.162.5 in the Metropolitan Museum. Photo-
graph by E. Milla.
86. Boy playing the lyre, by the Akestorides Painter.
From the kylix 22.139.72 in the Metropolitan Mu-
seum. Photograph by E. Milla.
87. Satyr, by the Euaion Painter. From the kylix 06. 1 02 1 .-
177 in the Metropolitan Museum. Photograph by
E. Milla.
88. Amazon, by the Mannheim Painter. From the oino-
choe 06.1021.189 in the Metropolitan Museum.
Photograph by E. Milla.
89. Muse on Mount Helikon, by the Achilles Painter.
From a lekythos in the collection of Baron von
Schoen, Munich.
90. Girls listening to music, by the Danae Painter. From
the bell krater 23.160.80 in the Metropolitan Mu-
seum. Photograph by E. Milla.
91. Amymone, by the Phiale Painter. From the lekythos
17.230.35 in the Metropolitan Museum. Photograph
by E. Milla.
92. Persephone, Hermes, and Hekate, by the Persephone
Painter, From the bell krater 28.57.23 in the Metro-
politan Museum. Photograph by E. Milla.
93. Orpheus and the Thracians, by the Painter of Lon-
don E 497. From the bell krater in the Metropolitan
Museum. Photograph by E. Milla.
94, 95. The shade of Elpenor and Odysseus, by the Lykaon
Painter. From the pelike 34.79 in the Museum of Fine
Arts, Boston.
96. Perseus and Medusa, by Polygnotos. From the pelike
45.11.1 in the Metropolitan Museum. Photograph by
E. Milla.
97. A trainer (?) . From the fragment of a kylix, 07. 156.8,
by the Foundry Painter. In the Metropolitan Mu-
seum. Photograph by E. Milla.
98. The wounded Philoktetes on the island of Lemnos.
From the lekythos 56.171.58 in the Metropolitan
Museum. Photograph by T. McAdams.
99. Woman. From the fragment of a krater, 17.230.23,
by the Chicago Painter. In the Metropolitan Mu-
seum. Photograph by E. Milla.
100. Athanasia and Tydeus. Fragment of a bell krater,
12.229.14, in the Metropolitan Museum. Photograph
by E. Milla.
xxvi ATTIC RED-FIGURED VASES
101. Preparations for the wedding of Thetis, by the Eretria
Painter. From the onos 1629 in the National Mu-
seum, Athens. Photograph by Marie Beazley.
1 02. Woman putting on her chiton, by the Eretria Painter.
From the squat lekythos 30.11.8 in the Metropolitan
Museum. Photograph by E. Milla.
103. Thetis, by the Eretria Painter. From the lekythos
31.11.13 in the Metropolitan Museum. Photograph
by E. Milla.
104. Nereid, by the Painter of London D 14. From the
pyxis 40.11.2 in the Metropolitan Museum. Photo-
graph by E. Milla.
105. Maenads and Satyr (Kraipale, Ephymnia, Sikinnos)
by the Kraipale Painter. From the oinochoe 00.352
in the Museum of Fine Arts, Boston.
1 06. Youths at an incense burner, by the Shuvalov Painter.
From the oinochoe 08.258.24 in the Metropolitan
Museum. Photograph by E. Milla.
107. Satyr, by or near the Coghill Painter. From the volute
krater 24.97.25 in the Metropolitan Museum. Photo-
graph by E. Milla.
108. Female head, in the manner of the Kleophon Painter.
From the pelike 1951.9-9.1 in the British Museum.
109. Male head, by the Talos Painter. From the stand
12.229.15 in the Metropolitan Museum. Photograph
by E. Milla.
no. Warrior leaving home, by Aison from the head-kan-
tharos 27.122.9 in the Metropolitan Museum. Photo-
graph by E. Milla.
111. Youth reclining, by the Dinos Painter. Fragment of a
bell krater, 24.97.38, in the Metropolitan Museum.
Photograph by E. Milla.
112. Boxers, by Polion. From the volute krater 27.122.8
in the Metropolitan Museum. Photograph by E.
Milla.
113. Pelops, by an artist near the Meidias Painter. From
the amphora 1 460 in the Municipal Museum, Arezzo.
1 1 4. Aphrodite, by the Meidias Painter. From the pelike
37.11.23 in the Metropolitan Museum. Photograph
by E. Milla.
115. Chariot with Erotes, by the Meidias Painter. From
the hydria 81947 in the Archaeological Museum,
Florence.
116. Youth sitting at his grave, in the manner of the
ILLUSTRATIONS xxvii
Woman Painter. From the white lekythos 06.1169 in
the Metropolitan Museum. Photograph by E. Milla.
117. Youth sitting at his grave. From the white lekythos
41.162.12 in the Metropolitan Museum. Photograph
by E. Milla.
118, 119. Mourners at a grave. From the white lekythos 07.-
286.45 in the Metropolitan Museum. Photograph by
E. Milla.
130. The flute player Pronomos, by the Pronomos Painter.
From the amphora 2340 in the National Museum,
Naples. Drawing by Reichhold, FR, pis. 143144.
121. Poseidon. From the hydria 21.88.162 in the Metro-
politan Museum. Photograph by E. Milla.
122. Greeks and Amazons, by the Suessula Painter. From
the amphora 44.11.12 in the Metropolitan Museum.
Photograph by E. Milla.
123. Pompe, Dionysos, and Eros. From the oinochoe 25. 190
in the Metropolitan Musuem. Photograph by E.
Milla.
124. Herakles and a Hesperid. From the hydria 22.139.26
in the Metropolitan Museum. Photograph by E.
Milla.
125. Woman and her maid. From the skyphos 06.1021.181
in the Metropolitan Museum. Photograph by E.
Milla.
INTRODUCTION
GENERAL
WHEN we speak of the art of the Greeks most of us think
of their sculpture and architecture the statues, friezes,
and temples that have withstood two or three thousand years of
destruction. We seldom think of Greek painting, for the simple
reason that practically all the murals and panels that have sur-
vived to our day belong to a later age, not to the creative early
periods when the foundations of European painting were laid.
This great gap is filled, to some extent at least, by the wealth of
painted scenes on Greek pottery that have come down to us.
Through them we may in some measure visualize the lost monu-
mental pictures, which were praised in such enthusiastic terms
by Greek and Roman writers, and follow the development of
ancient painting step by step just as we might glean something
of the evolution of modern painting from the graphic arts of
to-day. Greek vase decorations therefore assume an importance
even over and above their own intrinsic worth.
The pottery discussed in this book is the so-called Athenian
red-figure, in which the decoration is "reserved" in red against
a black-glazed background. It was produced in Athens during
her greatest political and economic prosperity, when painting
developed from a decorative to a representational art. The be-
ginnings of this ware can be placed in the last third of the sixth
century B.C., when Athens, thanks to the beneficent reforms of
Solon and the brilliant rule of Peisistratos, had risen from a
comparatively small though enterprising community to a pow-
erful city-state. Before that time, in the middle of the sixth cen-
tury, Athenian black-figured pottery with the decoration in
black glaze on the red background of the terracotta had al-
ready conquered foreign markets, as the graves of Etruria, South
Italy, and the Eastern Mediterranean testify. The reversal of
the color scheme from the time-honored dark on light to the new
light on dark opened up fresh possibilities to an already flourish-
ing craft. During the whole of the fifth century Athenian red-
figured vases retained their ascendancy but the long-drawn-out
2 ATTIC RED-FIGURED VASES
Peloponnesian War and Athens' final defeat by Sparta at Aigos-
potamoi in 405 B.C. seriously crippled her once far-flung com-
merce. Athenian red-figure still enjoyed a limited popularity
until about 320 B.C. and then was finally ousted by the more
popular relief ware. The history of Attic red-figured pottery,
therefore its rise, acme, and decline took up approximately
two centuries from the later archaic period, that is, the time
of the Siphnian frieze, to that of Praxiteles, Skopas, and Lysippos,
or from the time of Simonides, Pindar, and Aeschylus to that of
Menander.
The attraction of this pottery is manifold and its study should
appeal to a wide public. The precision of the shapes and the
thin, satiny black glaze are an inspiration to the potter. The fine
line drawing and the adaptation of the figures to allotted spaces
of varying shapes and curving surfaces afford pleasure to the
painter. The scenes supply invaluable material to the archaeolo-
gist for the understanding of Greek life and thought, for Greek
myths and Athenian life are here illustrated in a series of "con-
temporary" pictures. To the historian of art a rich feast is like-
wise presented. He finds here a wealth of paintings, ranging in
date from the archaic to the fully developed style, in which the
many problems of representation are gradually solved. It is one
of the great achievements of the Greeks to have emancipated the
art of drawing from a conventional system of two-dimensional
formulas and to have shown the way to represent on a flat sur-
face three-dimensional figures as they appear to the eye. The
vase paintings alone have survived to tell this captivating tale.
Here we can trace the gradual evolution of representational
drawing. The rendering of the human figure was the subject
which above all others interested the Greek artist. Slowly he
gained a knowledge of the complex^ mechanism of the human
frame, was able to represent the folds of thin and heavy draperies,
solved one by one the problems of foreshortening, imparted vol-
ume to his figures, and introduced spatial relations into his com-
positions. 1 Moreover in this slow unfolding of the history of
Greek painting we can trace more than a general development.
Individual personalities stand out as clearly as in Renaissance
painting, and they are distinguishable in the same ways. Each
artist reveals himself by the general effect of his picture and by
his own particular rendering of individual forms; only the dif-
INTRODUCTION 3
ferentiation is subtler than in the later paintings, for the Greek
vase painter worked with a simpler color scheme and in the
earlier periods within the restraint of conventionalized design.
He could not express his individuality with the same freedom
as did a Raphael and a Titian, who could dip their brushes into
rich colors, and on vast surfaces display the variety of naturalistic
form immersed in light and atmosphere.
Only a few Greek vase painters have recorded their names by
their signatures. The majority did not sign their works (see
p. 16). To distinguish these nameless artists has been the task
largely of our generation. Thanks chiefly to the astonishing acu-
men of Beazley we are now able to differentiate more than five
hundred vase painters active between 530 and 330. This differen-
tiation requires intensive study, for the variations of style are
not always obvious; but the subject of Greek pottery has immeas-
urably gained in interest thereby. In classifying the work of
various masters and searching out their individual characteristics,
we penetrate more deeply into early Greek art and so derive a
fuller understanding of it.
To the anonymous artists of whom no signature has survived
names have had to be assigned. These are derived from vari-
ous sources from the name of the potter who signed at least
one of the vases decorated by the painter (the Brygos Painter,
the Meidias Painter); from the subject of a characteristic work
(the Persephone Painter, the Penelope Painter); from the loca-
tion of an outstanding painting (the Berlin Painter, the Provi-
dence Painter); from the name given to one of the figures (the
Lykaon Painter, the Methyse Painter); from a kalos name (the
Euaion Painter); and so forth. Occasionally it has happened that
after such a name was invented the real name became known by
the discovery of a signed piece or the recognition of an artist's
style in a signed work; thus the Menon Painter has now been
identified with Psiax, the Lewis Painter with Polygnotos II, the
Kleophrades Painter with Epiktetos II (see pp. 46, 66, 127).
One of the salient characteristics of Athenian vase paintings
is the economy of means employed. By the simple expedient of
applying a black glaze to the red clay the artist produced beauti-
ful compositions of figured scenes framed by ornamental bands.
The dark and light surfaces are finely interrelated, and variety
and richness are added by the decorative treatment of hair and
4 ATTIC RED-FIGURED VASES
drapery and by the ornamentation on dress, weapons, utensils.
Here and there a discrete use is made of applied red for fillets,
wreaths, inscriptions, and of thinned glaze for hair, anatomical
markings, and other details. It is only in the late phase of the art
that a richer color scheme is adopted.
The beauty of these patterned fields is enhanced by the curv-
ing surfaces which seem to impart movement to the figures and
ornaments, while the lustrous black glaze, on which the light
plays, gives a certain atmospheric effect (see p. 140). And so no
illustrations can do justice to the originals. It is only when our
eye travels along the convex and concave fields of the vases them-
selves that we can appreciate how perfectly the designs have been
adapted to the given spaces, how both figures and "intervals"
play their part in the composition of the whole (see p. 41), and
how the glaze lends luminosity.
The economy of means lies not only in the color scheme, but
also in the rendering. Straight line and curve were never more
expressive. A single stroke for the eyebrow, a dot and two lines
for the eye, a short dash for the mouth, a little curve for the nos-
tril these suffice for the face; a clean, sharp contour and a few
strokes inside it for anatomical details express the body; con-
ventionalized patterns indicate the folds of the garments and the
locks of the hair. And, at first at least, there is no shading, no
modeling, the only suggestion of space being the drawing of one
form over another. Yet the figures are convincing in movement
and gesture, there are power and swing in the direct, unhesitat-
ing lines, and a rhythm runs through the composition.
Of course there are also limitations. We must not look for
individualized character on Greek vases. It is the type not the
individual that is brought before us (see p. 8), and emotions
are indicated by gestures, only rarely by the features. Vase paint-
ings cannot be regarded as paintings in. the modern sense of the
word; for they lack the varied color scheme, the atmosphere, and,
in the earlier examples at least, the feeling for depth. It is as ex-
pressive designs that we must view them; and in this limited field
they excel.
The relation that these vase paintings bear to the panel and
mural paintings of their time is a question of engrossing inter-
est; for, as we have said, practically no large paintings have been
INTRODUCTION 5
preserved, 2 and the vase decorations must fill this gap. And they
can do this to the extent that pictures on a small scale with a
limited color scheme, one a black glaze, can suggest large paint-
ings with many colors. The repertoire of subjects was doubtless
similar, and in the larger paintings there must have been the
same development from a two-dimensional design to a natural-
istic rendering, with a gradual increase in the knowledge of
anatomy, of foreshortening, and of the rendering of form. In
fact, the artists of the larger pictures were presumably often the
pioneers, the pathfinders in these trails of discovery (see p. 89).
But we should go too far if we were to assert as is sometimes
done that the vase paintings were copied from monumental
paintings. People who so perfectly adapted designs to their own
requirements, who were such masters of drawing in a difficult
medium, who showed such marked individualities of style, would
never have been content to copy other artists. Moreover, if the
vase painters had merely reproduced the famous paintings of
their time, should we not find more identical designs by different
artists? Though a few "duplicates" exist 8 by the same artist, there
are no identical scenes by different artists which can be inter-
preted as direct copies from a common original (see p. 104). We
can therefore regard the vase painters as working in the same
traditions as other Greek artists, coping with similar problems,
and imbued with the same originality and sense of adventure.
If we try to picture the artists who worked in the potters'
quarter in Athens from the sixth to the fourth century, we meet
with a great obstacle the practically complete silence of ancient
writers concerning them. Apart from a few incidental remarks
about potters in general, 4 the Greek and Latin writers never refer
to them. We have frequent and sometimes lengthy accounts of
the great mural and panel painters of the time Polygnotos,
Mikon, Apollodoros, Zeuxis, Apelles, etc. but never a word
about Epiktetos or Euphronios or Douris. Naturally decorations
of pots would not make the same stir as large panels or mural
paintings; but, on the other hand, these Athenian pots enjoyed
a great vogue not only in Greece but throughout the Mediter-
ranean world, as we know from the thousands of Attic vases found
in the tombs of Italy, Sicily, Asia Minor, and in such outlying
places as Upper Egypt. And that such artists as the Kleophrades
6 ATTIC RED-FIGURED VASES
Painter and the Panaitios Painter must also have been distin-
guished in their time is shown by the simple fact that they dis-
tanced their contemporaries. Students who know Athenian vases
only from museum specimens or from illustrations in handbooks
do not realize how far above the average these selected examples
are. Excavators or buyers in the antiquity shops of Athens are
much better judges of the average output of Athenian potters
than museum visitors. A first-rate vase painter was an exception,
not the rule, and his products were treasured in antiquity as they
are to-day. 5 Moreover, we know from the dedicatory offerings
found on the Akropolis that certain potters were wealthy and
so presumably of some consequence, 6 as is indeed natural in the
case of persbns associated with so flourishing a trade. The com-
plete silence, therefore, concerning the outstanding Athenian
vase painters might seem strange did we not remember one fact.
These artists lived during a period of intense creative activity
but before the time of art histories. Writers like Aeschylus and
Pindar, who were contemporary with the most distinguished of
the vase painters, referred little to current fashions; and in
the time of Aristophanes, of the orators (Lysias, etc.), and of the
writers of memoirs and dialogues (Xenophon, Plato, etc.) the
art of vase painting had already passed its prime. 7 When in the
fourth and subsequent centuries writers began to record the ar-
tistic events of the preceding epochs, the sculptures and mural
paintings were still there to act as witnesses of their makers, but
the pottery had been buried in tombs or was hidden in dump
heaps. Now that we have again brought it to light it constitutes
our chief source of knowledge also for the lost major paintings.
AlLinformation, therefore, concerning the makers of the vases
we must glean from the vases themselves: from the signatures,
which include some non-Attic names such as Phintias, and some
non-Greek ethnic names such as Brygos and Skythes, 8 and show
that gifted aliens came to Athens to work side by side with
Athenian potters; from the faulty or non-Attic spellings (see
p. 21), which tell the same story and suggest what we might
expect a semiliterate class; from the occasional remarks in-
scribed on Greek vases; and, above all, from the character of the
paintings themselves which fortunately are more eloquent than
any amount of literature concerning them.
INTRODUCTION 7
SUBJECTS
As in the earlier, black-figured vases the subjects in red-figure
are at first taken largely from mythology. 9 The time-honored
legends of the Olympian gods, of Herakles and Theseus, of the
Trojan War, supply a large proportion of the themes. Records
of contemporary life are comparatively few. As time progressed,
however, the artist drew his inspiration increasingly from the life
around him. He watched the youths in the gymnasiums and de-
picted them at their exercises running, jumping, throwing the
javelin and the discus, and being crowned for victory; he rep-
resented them riding, arming, departing for battle, and fighting;
he watched them in their homes and painted the gay banquets,
or symposia, with men reclining on their couches, eating and
drinking, and flute girls and hetairai ministering to their pleas-
ures; he delighted in the riotous antics of the revelers; he de-
picted the women busy with their household and other occupa-
tions carding wool, spinning, weaving, bathing, dressing, danc-
ing, making music, and performing religious rites the children
at play with their balls and little carts, their tops, hoops, dogs,
and pet birds; he represented men and women making love, get-
ting married, and being buried; and he showed mourners at biers
and graves. Everything that the artist saw around him he drew
with the same frank and eager interest; even subjects which the
modern artist avoids he unhesitatingly brings before us as part
of life and nature. There was no censorship in Greek art. 10
But side by side with these pictures from everyday life the
mythological scenes remain. The myths were too much part of
Greek thought to be discarded. And so the exploits of Herakles
and of the other heroes against monsters and wicked men are
not forgotten, nor the gay adventures of the Olympians, nor
Dionysos with his merry retinue of satyrs and maenads, nor the
Amazons and centaurs. But even here there is more variety in
the representations than before. The stories are no longer ren-
dered so closely according to traditional forms; the individual
artist gives more scope to his imagination. Occasionally he even
represents historical events, for instance contests of Greeks and
Persians or the sojourn of the poet Anakreon in Athens.
8 ATTIC RED-FIGURED VASES
In all these scenes, everyday, mythological, or historical, great
interest is added by the paraphernalia the furnishings, utensils,
and attire. 11 We learn from, them of: many things which time has
destroyed and which often survive only in these representations
the forms of the Greek chairs and tables; of the couches with
their mattresses, covers, and pillows; of the baskets and chests;
the sticks of the young men; the flute cases and sword sheaths;
the dresses, shoes, and headgear. Without these representations
our knowledge of the details of Greek life would be meager in-
deed.
As the subjects of red-figured vase paintings are much the same
as those of the contemporary monumental Greek paintings
judging at least from descriptions of these in ancient literature
they can help us to visualize the scope and the limitations of
Greek painting in general. When we compare them with those
current in art to-day we note two great gaps in the ancient reper-
toire landscape and portraiture. Landscape in classical Greek
art is always subsidiary; it is confined to an occasional tree or
shrub or rock suggesting an outdoor scene and serving merely
as the setting in which human figures enact their parts. It does
not form a separate study for its own sake. The same is true of
still life and animals. 12 Though furnishings play an important
role as accessories, and animals are popular companions, they
rarely appear by themselves. The interest centers in the human
figures. Likewise, portraiture in our sense of the word is practi-
cally nonexistent in Athenian vase painting. Even when a figure
is given the name of a specific contemporary person Anakreon,
for instance there is no attempt to make him look different
from his companions (see p. 58). It is true that occasionally
what have been called individualized figures appear in the midst
of the more generalized types an old Oriental walking with his
dog, a father or mother grieving for a dead son, an old man or an
old woman. But, though these are deviations from the typical
young men and women favored in Greek art, they too are really
types rather than individuals types of an Oriental, an old man,
a sorrowing woman. Interest in individual character per se does
not appear in Greek painting until a later period.
Except for these important omissions the repertoire of the
early Greek artist is not unlike that of later times. He too chose
his topics from legend, from everyday life, and occasionally from
INTRODUCTION 9
history. Naturally his myths and events are purely Greek, whereas
in our time artists can choose from the stories of many nations;
but the general idea is the same. In other words, the Greek artist's
chief interest is in story-telling, in depicting the events of life,
heroic or humble, sacred or profane. This theme, though rather
despised by some modern critics as being merely illustrative, also
inspired the majority of mediaeval and later European artists.
They too chose for their subjects illustrations from the life of
Christ, the deeds of saints, and the happenings of daily life.
Though the content of religion and some aspects of life had
changed, the artist's method of translating these into pictorial
form remained the same. Nevertheless there is a great difference
between the Greek and the later outlook. The subject may be
similar or even identical a mighty deed, a battle, a farewell, a
woman dancing but the treatment of it is unlike. In a pregnant
phrase George Santayana sums up this fundamental difference
between the ancient and modern outlook: "... The ancients
poetized the actual surroundings and destiny of man rather than
the travesty of these facts in human fancy and the consequent
dramas within the spirit." 18 It is "the actual surroundings and
destiny of man" that formed the chief preoccupation of the Greek
artist and constituted the subjects he preferably treated; whereas
later artists were more interested in the human reaction to these
surroundings, in the "dramas within the spirit," which these
events produce. When Schongauer portrays a saint, Rembrandt
an old man, and Forain a dancer, it is the character and person-
ality of the individual, shaped by the circumstances of his life,
that are brought out. In Greek representations, on the other
hand, it is not the individual but the action that is of primary
interest. The expressions of Theseus and Herakles hardly vary
in their many adventures, but the action in each scene differs
according to the circumstance. And it is this action that the Greek
artist poetized by his imaginative conception. Though from our
modern viewpoint the Greek conception may not seem suffi-
ciently individualized, it is after all this very detachment which
gives Greek art its peculiar value. By not stressing the accidental,
by lifting their representations into the impersonal sphere, the
Greeks achieved a quality of greatness that remains potent to-
day. The pattern that underlies their works has given them per-
manence.
10 ATTIC RED-FIGURED VASES
ORNAMENTS
Ornamental bands and designs were used on Athenian vases
to frame the figured scenes and to decorate the portions of the
vase not occupied by these scenes the mouth, the neck, the
shoulder, the spaces round the handles, the base of the body.
They stand out against the plain black portions, lending rich-
ness to the effect of the whole. Sometimes they were used spar-
ingly, at other times profusely; but always, though subsidiary,
they play an important part in the composition, helping to link
the figured scenes to the shape of the vase. They are drawn free
hand without stencils or other guiding instrument. The reper-
toire is not large meanders, palmettes, tongues, eggs, the lotos,
the ivy, the laurel, scrolls, rays, spirals, crosses, checkers, dots,
and simple lines practically make up the list. 14 Each motive is
infinitely varied. There are single, double, triple, quadruple,
and interlocking meanders; meanders alternating with saltires,
crosses, and checkers; single, double, and slanting palmettes;
palmettes interlaced with scrolls; and a rich assortment of ivy
and lotos patterns. Different patterns are favored at different
times; their composition varies from period to period; each mo-
tive, while current for a considerable time, has a certain chrono-
logical development. And even during one period the ornament
is often drawn and composed in so individual a manner that we
can either assign it definitely to the artist of the picture or, in
rare instances, conclude that it was added by another painter
(see p. 69).
SHAPES
The sense for symmetry and proportion conspicuous in the
decorations of Greek vases is equally apparent in their shapes.
Compared to the vases of other countries with their softly undu-
lating contours, Greek pottery gives the impression of sturdy
architecture. The strongly articulated forms, often derived from
metalwork, appear as three-dimensional designs; the various
parts mouth, neck, body, foot, handles are nicely related to
one another and to the whole. As our eye glides up and down
INTRODUCTION 11
the satisfying curves we feel that even a slight variation in the
widths or the heights of the various parts, a little change in the
position of the handles, would affect us unpleasantly. We are
reminded of the Greek definition of beauty as an interrelation
of parts to the whole and to one another. 15 Was such perfect pro-
portion obtained by instinct? Or was it the result of an under-
lying principle of design? The question is a moot one. An ob-
vious arithmetical proportion does not seem to hold; but many
vases, when carefully measured and analyzed, have been shown
to correspond to certain simple geometrical proportions and to
circle geometry. 16 It does not seem farfetched to suppose, con-
sidering the known Greek interest in geometry, that the design-
ers of this architectural pottery felt the same need that the archi-
tects did in their temples of having the given areas proportion-
ately interrelated. And perhaps this underlying scheme gradually
became instinctive and was not worked out in every instance. Be
that as it may, the modern potter anxious to improve his sense
of form can learn much from the study of Greek vases however
different in composition from his own.
Broadly speaking, there are only a few standard shapes in
Athenian pottery, for the Greek potter, like the early Greek
sculptor, was content to adhere to a few prescribed types, with
changes in details. By such variations, however, the number of
the shapes is greatly increased. We have, for instance, as mixing
bowls the volute krater, the calyx krater, the bell krater, the
column krater, the lebes; at least two chief varieties of water
jar; several forms of amphora, including the neck amphora, the
pointed, and the Panathenaic; numerous forms of wine, oil, and
perfume jugs and many types of cups. 17 Each shape is expres-
sive of the function it has to perform. In the course of time we
can note a certain development in these shapes. The sturdy early
forms tend gradually to become slenderer. And as each potter
makes his pot he creates an individual design, slightly changing
the size, the curves, the proportions. There is no mass produc-
tion in Attic red-figure; there are no dinner sets with dozens of
identical dishes; only occasionally instances occur of vases made
in pairs or groups. 18 To become intimately acquainted with these
Greek forms, to appreciate their subtle distinctions, and to watch
their slow development is to obtain an insight into the mind of
the Greeks and their approach to art.
Amphora (Panathenaic)
Column Krater
Hydria
fell Krater
Hydria (Klf>i)
FIGURE 1
Neck Amphora
Caly)i Krutcr
lobes
Psykter
The various kraters and the lebes were bowls for mixing wine and
water, the psykter was a wine cooler, the hydria a water jar, the
amphora a storage jar, the stamnos a wine container, the pelike a
container.
Oinochoe
Oinochoe (Chousi
Kylix
Kyl.x
Loirtrophoros
Skyphoa
StmlM Kylix
Skyphos
Kyathoa
Squat Lakythoa
Lekythoj
Arybilloj
FIGURE 2
Lebes Gamikos
The lebes gamikos was a wedding vase, the loutrophoros both a
wedding and a sepulchral vase. The lekythos and the aryballos were
oil bottles, the alabastron a perfume bottle, the oinochoe a wine jug,
the kantharos, kylix, and skyphos were drinking cups, the kyathos
may have been a dipper. The pyxis or kylichnis was a box for toilet
articles, the lekanis a covered dish often used as a wedding present.
i 4 ATTIC RED-FIGURED VASES
The original Greek names of some ot the shapes are known;
for others names have had to be invented. The subject of the
names of Athenian vases and the development of each shape are
discussed in Miss Milne's and my Shapes and Names of Athenian
Vases (1935)5 and a list of all the various shapes in use during red-
figure is given by Beazley in his recently published Athenian Red-
figure Vase-Painters, pp. VIII f. It is unnecessary, therefore, to go
over the field again here; but for the convenience of the reader
we include line drawings 19 of the principal shapes with the names
which have been generally assigned to them (figs, i, 2).
The vases were for use, not merely for ornament, and are
well adapted for their various functions, as practical experi-
ments show. 20 They served as utensils of rich and poor in the
days before glass came into general use.
INSCRIPTIONS
The inscriptions on Athenian vases form an important study
which opens up many avenues of research. 21 They are of various
kinds:
(i) Many of the extant inscriptions refer to the figures repre-
sented, supplying their names and thus making the task of identi-
fication easy, especially in mythological scenes. The names are
generally in the nominative, occasionally in the genitive (with
euctov, 22 "likeness," understood): A*a, "Ajax"; 'A^poSi-rqs, "of
Aphrodite." Sometimes an animal is named: "Xanthos," for a
horse; or an object is described: 0a*o<r, "a seat," dSput, "a water
jar," Kprjvjj, "a fountain." The names given to deities and heroes
are generally those known from Greek literature mostly in
the forms current in the Attic dialect, e.g., Perreus (Perseus),
Olytteus (Odysseus), Perrephatta and Pherrephatta (Perse-
phone); but for Nereids, Muses, Amazons, maenads, satyrs, etc.,
vase painters often invented names at least the names they use
do not always tally with those in the literary works preserved
to us. Since names of heroes and deities were not as a rule given
to individuals in classical times, 28 especially in the period pre-
ceding the fourth century, we can take it for granted that when
they occur on the vases the scene is intended for a mythological
one. Thus what appears to be an ordinary household is trans-
INTRODUCTION 15
ferred to Olympos or the bottom of the sea by the names given
to the individual figures.
(2) Occasionally the action of a figure is described: aXov/wvo?
dai, "he is going to jump," is written next to a youth swinging
his jumping weights. 24 Or a person is making a remark, the words
generally issuing from his mouth: oii Swap.' ov, "I cannot (sing), no
I cannot," says a man reclining on a couch, one hand to his head,
in the other his cup; 25 IXa, IXa, "get up," shouts a driver to his
horses, 20 the very words used in Greece to-day to urge on a horse;
7/S?7 fj^ev r/S?? 7r\o[v]- Trapa/3<ipaKtv, "it is as full as it can be, it is spilling
over," declares an oil merchant to his customer about an amphora
standing between them; 27 and & Zcv irare/s aife TrAouo-tos yi>[oi'/xav],
"Zeus, would that I might get rich," says an oil merchant under
his breath in another oil-selling scene. 28 A toast to Euthymides
and one to Leagros appear on vases by Phintias and Euphronios, 29
apparently spoken by the hetairai represented on the vases.
Rarely a whole dialogue is given: ISov x^Swv, "look, a swallow,"
says a youth looking at a flying bird; v? TOV 'HpcucAea, "by Herakles,
you are right," rejoins a man; avrrjL, "there it is," says a boy,
pointing to the bird; by his side is the title of the picture, cap 7/877,
"spring is here." 80
(3) Sometimes the inscription is not explanatory of the scene
depicted but is addressed to the person using or looking at the
vase: irpoaayopfvu), "I greet you" (see p. 51); ws ouSeVoTc Eu</xwos,
"Euphronios never did anything like this," on a scene by Eu-
thymides (see p. 55).
(4) The custom among vase painters of naming a favorite
youth or girl is of particular interest. The formulas employed
are: so and so *aA.os, so and so KO.AT} (the former much more fre-
quently); S1 or merely the words 6 irat* KaAos, "the boy is hand-
some," without the mention of a name; sometimes vat^t, "yes,"
or Kapra, "very," are added for emphasis; or, often, just KaAo's is
used. These inscriptions need not have any relation to the subject
represented, but occasionally the boy or girl depicted appears
to be the favorite named.
We know from literature the admiration of the Greeks for the
beauty of boys. Boys rather than women formed the center of
attraction. We have many radiant descriptions of these boys in
Plato's Dialogues. 32 We may suppose that the boy called "hand-
some" by the vase painter was a favorite of the client or of the
i6 ATTIC RED-FIGURED VASES
artist or was a universally acknowledged "beauty." Kritias, for
instance, tells Sokrates after an absence at the siege of Poteidaia
of the new "beauties" Trepl rS>v /caAwv. 88 The same kalos name
is apt to occur on a number of vases by one artist and is employed
also by others, but only by contemporaries (except when different
boys with the same name are meant); for the bloom of youth
fades after a few years and one does not remain a fair boy for
long. 8 * This law of nature has provided archaeologists with clues
for the dating of vases, for pots with the same kalos names must
be contemporary and occasionally a fair boy became a promi-
nent man. Thus Miltiades, the victor of Marathon in 490, per-
haps had his praises sung on a vase twenty to thirty years earlier
than that event, that is, about 520-510. Leagros and his son
Glaukon, distinguished Athenian generals, give landmarks for
the vases of about 5 10-505 and 470. And so on. These chronologi-
cal data will be discussed in detail in the introductory chapters
of the different sections.
(5) Most precious of all are the signatures of artists. Consid-
ering the large number of vases preserved, such signatures are
rare. Only about fifty names of artists (including potters and
painters) are preserved on red-figured vases, most of them occur-
ring several times. Not only the best work was signed. In fact
most of the finest vases have no signature and some poor ones
do. Some distinguished artists signed a few of their works (not
necessarily their best) but left many unsigned; other equally
great or perhaps greater artists never signed, at least their names
are not recorded on the vases stylistically identified as theirs. To
mention a few instances: Myson's name is known from a single
signature on a second-rate column krater found on the Akropo-
lis, but he did not sign his extant masterpieces the amphora
with Croesus in the Louvre and the krater with Aithra in the
British Museum (see p. 71). Makron's name occurs once, on
his masterpiece in Boston, and perhaps a second time, on a pyxis
in Athens (see p. 81). On the many works attributed to the
Panaitios Painter, the Berlin Painter, the Brygos Painter, the
Achilles Painter not a single painter's signature appears.
The formula employed by the artist is either, so and so "made
it" (cTroirjacv, firoUi) or, SO and SO "paillted it" (lypa.\pf.v, Zypa<}>6).
Rarely he uses both, "painted and made it" (typa.\l/ev Katrot-rjtrev). A
few times a double signature occurs: "so and so made it and so
INTRODUCTION 17
and so painted it." "Made it" is the commonest form. Now and
then the same name occurs on different vases, sometimes with
"made it," sometimes with "painted it." In two instances on
black-figured little-master cups two men sign with epoiesen. 85
Such is the evidence. It has sometimes been interpreted to in-
dicate that the name which appears with epoiesen is that of the
owner of the pottery, the employer of the "factory hands." 38 But
if this were true, if "so and so made it" were the mark of an
atelier, would not this trademark occur on all the better pieces,
rather than on a few? 8T Furthermore epoiesen means "made it."
It is the word regularly used by the sculptor when he signs, and
it would be the natural term for the potter, that is, the maker, to
employ. The beauty of the Greek shapes, their harmonious pro-
portions, the achievement implied in such products as a kylix
with a bowl twelve inches or more in diameter or a large stamnos
with overhanging shoulder, make it only natural that the potter
should be considered at least on a par with the decorator. 88
Egrapsen* 9 "painted it," of course refers to the decorator. It
is the term regularly employed by a painter. But when a man
signs only with epoiesen, is he only the potter or the painter as
well? We know definitely that in some cases he is not the painter.
The vases signed by Hieron as potter (epoiesen) cannot have
been also painted by him, since in one case Makron signed as
painter (egrapsen) jointly with Hieron as potter, and the ma-
jority of the vases signed only by Hieron are painted in the same
style as the specimen he signed with Makron (see p. 81). Occa-
sionally the verb epoiesen may refer also to the painting, but we
can never be sure. Of course when a man signs egrapsen ka-
poiesen, "painted and made it," he is the potter as well as the
painter. The feeling for form and for decoration are often al-
lied. One individual may have both gifts the ability to fashion
vases and the ability to ornament them; but not necessarily, as
we know from present experience. As a matter of fact, however,
there are very few certain instances in Athenian red-figure of
the same men having both potted and painted; the double signa-
ture egrapsen kapoiesen is only preserved of Douris, Myson, and
perhaps Epiktetos. And though the names of Euphronios, Phin-
tras, and Pasiades occur on some vases with epoiesen and on
others with egrapsen, the decorators of the epoiesen vases are not
identical with those of the egrapsen ones (see pp. 51, 53 f., 56).
18 ATTIC RED-FIGURED VASES
In a few cases the same name, with the verb egrapsen, occurs on
vases which are different in style. For instance, a pelfke in Berlin
is signed Epiktetos egrapsen, but the decoration is not in the
style of the well-known vase painter Epiktetos, but in that of the
artist who has been called the Kleophrades Painter, since he
decorated a cup potted by Kleophrades (see p. 66). The name
Polygnotos occurs with the verb egrapsen on vases by at least
three different artists the man whom we have called Polygnotos
for some time (see p. 127), the so-called Lewis Painter (see p.
112), and the so-called Nausikaa Painter (see p. 97). The name
Douris occurs with egrapsen not only on the many vases by the
painter who has long been familiar by that name, but on a vase
by the so-called Triptolemos Painter (see p. 83). In these cases
the most reasonable explanation is that more than one vase
painter bore the name in question.
Most signatures are painted in the fields of the vases, before
firing, but they also occur on handles or feet or rims; and some-
times they are incised instead of painted, before or after firing.
Thus Hieron generally incised his name on the handle, 40 occa-
sionally on the foot; Andokides on the foot. 41 The fact that most
signatures, including those with epoiesen, are painted, presuma-
bly by the decorator of the vase, has been advanced as an argu-
ment against the theory that epoiesen refers to the potter. But
surely the potter even when he did not paint the decoration
could nevertheless sign his work with the brush or could let
someone else do it for him. 42 We know too little of ancient prac-
tice in these matters to have definite opinions.
It is tempting to speculate regarding the why's and wherefore's
of signatures. If a signature did not signify an artist's pride in his
handiwork as presumably it did not, since so much first-rate
work is unsigned and there are a number of signed inferior vases
why did the artist sign? Hardly to advertise his work, for in
that case he would have made a practice of signing his best prod-
ucts. Hardly to autograph gifts to friends, for most signatures
were affixed before firing. Not, as was sometimes the case in the
Renaissance, for identification away from home, for many vases
found in Italy have no signatures and many examples discov-
ered in Athens have. On the present evidence, the only answer
is that we do not know. It looks as if a signature were due merely
to the whim of the maker.
INTRODUCTION 19
Most of the extant signatures on red-figured vases belong to
the late sixth and early fifth centuries. The great names of An-
dokides, Epiktetos, Euphronios, Euthymides, Phintias, Sosias,
Smikros, Onesimos, Kleophrades, Brygos, Hieron, Makron, Dou-
ris, all date from that time. But the custom continued through
the fifth century (Sotades, Hermonax, Polygnotos, Epigenes,
Xenotimos) to its closing years (Meidias, Aristophanes, Mikion)
and into the early fourth century (Xenophantos). The only Athe-
nian signatures of the later fourth century so far known are on
Panathenaic amphorae.
(6) There are many meaningless inscriptions. Apparently the
painter began to give names to his figures or to supply a kalos
name and then added letters that made no sense. Since inscrip-
tions generally have a decorative value and play their part in the
design, the artist may sometimes have felt it necessary to supply
them regardless of whether they had any meaning. 43
(7) On the under side of the feet of Greek vases (rarely else-
where) there sometimes appear inscriptions, dipinti (painted)
or graffiti (scratched in the clay). They consist of marks, one or
more letters, ligatures, names of vases (often abbreviated), de-
scriptions of vases ("large" or "small"), numerals (sometimes
with TIM, "price," added), kalos names, and so on. One might
expect, therefore, to learn from them many things, for instance,
the correct ancient names of some of the vases. A detailed study,
however, by Hackl and others 4<t has shown that this is not the
case; that many of the price graffiti are apparently memoranda
of transactions, often with no relation to the vase on which they
have been scratched. Nevertheless one can glean from them a
number of interesting facts.
(a) Ionic forms of letters, though they do not occur in other
inscriptions on vases until about 490-480, appear earlier in the
graffiti. Occasionally on the same vase there are an inscription
in pure Attic and a graffito with Ionic forms. Hackl, therefore,
surmised that the writers of the graffiti were die traders who
scratched memoranda of their orders on sample vases, and that
these middlemen, who formed the link between the Athenian
Kerameikos and the Etruscan market, were lonians, at least up
to about 480. After that date the Ionian script was used increas-
ingly in Athens and is therefore no longer a distinguishing mark.
We must remember, however, that the Ionian alphabet was the
so ATTIC RED-FIGURED VASES
book script even before 480; * s so that any trader might have
used it as an international handwriting. 48
(b) Before about 480 the numerals employed in the graffiti
belong to the so-called Milesian or alphabet system, after that
time to the Attic decimal (acrophonic) system,* 7 The change from
the convenient Milesian system to the more clumsy Attic has
been explained by the theory that Athenian traders stepped in
at that time,
(c) The nature of the memoranda affords a glimpse of how
the negotiations were made. The letters, marks, ligatures, abbre-
viations probably stood for the name of the buyer, the names and
descriptions of vases for the order given, and the numerals for
the quantity of vases ordered or for their price (in drachmas
and obols).
(d) The prices mentioned are particularly interesting.* 8 There
are not many certain instances, but enough to give us an idea.
Six kraters cost 4 drachmas; twenty bathea i drachma and i obol;
twenty oxides 3 obols.* This information tallies with that de-
rived from Aristophanes, Frogs 1236, that a lekythion cost an
obol. Large vases were of course more expensive than small ones,
and decorated ones than plain ones as is shown by the graffiti
which refer to vS(ptot) TTO^KI'ACU) costing fully 3 and 2 drachmas
apiece. 60 Considering that a drachma was a good day's wage in
the fifth century, the prices are on the whole what one would
expect.
(e) By far the majority of the graffiti of the kind described
above occur on vases found in Italy. This supposedly favors the
theory that Ionian traders carried on the overseas trade. 61
(f) Recently a number of vases with graffiti have been found
in the Athenian Agora. 52 These consist chiefly of names on os-
traka (sherds used in ostracism), kalos names, or two or three
letters (perhaps indications of ownership), or a ligature of de,
presumably for demosia = state property, for occasionally the
entire word is written out.
(g) The few Etruscan graffiti BS which occur on Athenian vases
are mostly owners' names and such words as suthina, "tomb ar-
ticle." They were therefore probably inscribed in Etruria. We
may call attention in this connection to the inscription raetru
menece on a red-figured fragment from Populonia w which has
INTRODUCTION 21
been tentatively read as "Mtru made it" or "Metru gave it." 58
The inscription is painted on the glaze and fired and must there-
fore have been added when the vase was made. This would seem
to indicate that this vase, and presumably some other Attic vases,
were actually made in Italy unless we assume that the Etruscan
inscription on the vase from Populonia was added in Athens for
the benefit of an Etruscan client.
(h) Some graffiti in the Cypriot syllabary occur on Attic
vases. 56 They usually consist of a dedication or an owner's name;
but two on a red-figured bell krater have been interpreted as
price memoranda. 57 This would point to lively traveling by
traders.
The technique of the inscriptions varies. The majority, as we
saw in the case of the signatures, are painted in a dark red pig-
ment either on the black glaze or on the red terracotta; a few are
incised before firing (and occasionally glazed over 58 or filled with
white paint); 59 some, like the graffiti, are incised, generally after
firing; in rare instances they are in relief. 60
Athenian vase painters were often faulty spellers; and since
many apparently spelled by sound, their inscriptions throw light
on the way a word was pronounced by the populace. 61 For in-
stance, on a little stand in New York 62 the name of the well-
known vase painter is spelt with an c Kletias showing for the
first time that his name was really Kleitias, not Klitias as spelt
on the Francois and other vases, and that the pronunciation of
the "e" sound in this word as "" is, in certain circles at least, as
old as the sixth century B.C. Occasionally, but not often, non-
Attic forms appear chiefly Doric ones, once in a while Ionic
ones. 68 Up to about 490 the letters are written in Attic script
(except the graffiti, see p. 19); after 480, Ionic letters begin to
appear: 6 * first a= and * ; then A for lambda, r for gamma, and
fi ; finally H for 77 instead of for the rough breathing. 06 The early
appearance of these Ionic letters on the vases, as compared with
official stone inscriptions, is of course explained by the fact that
pots are not official documents; the Ionic forms were in general
use long before they were adopted by the state. 66 After about 450
we otten find A for A and * for $ ; but even on vases by the
same artist varying forms occur. 67
22 ATTIC RED-FIGURED VASES
CHRONOLOGY
The chronology of red-figured Athenian vases both relative
and absolute has by now become reliably established. The ab-
solute dating is based on landmarks similar to those used for the
sculptures of that period. These landmarks are dated events
the Samian attack on Siphnos before 524 B.C., which supplies a
date for the reliefs of the Siphnian Treasury and the vases re-
lated to them (see p. 43); the sojourn of Anakreon in Athens in
the late sixth century, which gives a date to the vases with repre-
sentations of him (see p. 58); the battle of Marathon in 490,
which dates the mound in which the fallen Athenians and some
vases were buried (see p. 64); the sack of Athens by the Persians
in 480 and 479 with the consequent stowing away of the broken
statues and vases in pits on the Akropolis (see p. 65); the battles
of Samos and Corcyra in 441-440 and 433-432 under the general
Glaukon, who was probably the fair youth named on vases of
the "Early Free" period (see p. 93); the erection of the Peri-
klean and post-Periklean buildings to whose sculptures the vase
paintings of the second half of the fifth century are stylisti-
cally related (see p. 117); the purification of the island of Delos
in 425 when the contents of certain graves including vases
were transferred to Rheneia (see p. 141); the death of Dexileos
in the battle of Corinth in 394 B.C. which gives an approximate
date for the vases found in his burial-plot (see p. 142); the visit
to Athens of the Theban musician Pronomos, who is mentioned
by Aristophanes and in an inscription, and is named on a volute
krater in Naples (see p. 142); the burial of Lacedaemonians in
403 B.C. in the Athenian Kerameikos which dates the vase frag-
ments found in their grave (see p. 142); the occurrence of names
of Athenian archons on late Panathenaic vases (see p. 156); and
so on.
With this framework of absolute dates it has been possible to
establish a general chronology for red-figured vases. A more pre-
cise dating of individual vases is based on relative chronology.
Since the absolute landmarks show that, just as in sculpture, the
change from stylization to naturalism was steadily progressive,
we can date vase paintings in relation to one another, according
INTRODUCTION 23
to the degree of naturalism attained in the renderings of the fig-
ures and of the draperies. Of course in these relative dates a
certain leeway must be allowed when we connect them with ab-
solute dates; for, as we pointed out in Kouroif* there must have
been progressives and conservatives among ancient artists, just
as there are to-day. In spite of the undoubted fact that, stylisti-
cally, throughout the period we are discussing there was a con-
stant progression from conventionalized to naturalistic painting,
it is quite possible that some people lagged behind and during
their maturity painted in the style current in their youth. We
must date their works in the period in which their style was
generally practised; for it is the artist's style not his individual
propensities that concerns us here.
We have recorded in our various sections the specific evidence,
both absolute and relative, which has supplied the dates of our
periods and of the works of individual artists. The wealth of vases
at our command has made it possible in many cases to be more
precise in the assignment of dates than is possible in contempo-
rary sculptures.
TECHNIQUE
In every form of art it is important to understand the tech-
nique involved. Only by realizing the possibilities and limita-
tions inherent in tools and materials can we estimate the value
of the achievement.
Our information on the technique of Athenian pottery is from
two sources, firstly from a few statements by ancient writers and
from representations of potters at work on Greek vases and
plaques, and secondly from the vases themselves. 89 Neither kind
of data can usefully be interpreted except in the light of the mod-
ern potter's experience, for any potter, whether ancient or mod-
ern, works within the limits of his material clay. Much of what
is said below about the preparation of the clay and the fashioning
of the vase is drawn from modern practice. The Athenian black
glaze and the practice of making line drawings with it has no ex-
act modern analogy.
s>4 ATTIC RED-FIGURED VASES
I. PREPARATION OF THE CLAY 70
There are two classes of clay sedimentary and residual. Sedi-
mentary clay has been moved about on the earth's surface by
rains, floods, and so forth and in its journeys has picked up and
incorporated various ingredients or "sediments." Consequently
when fired it is buff, or pink, or red according to the amount of
iron in it. A sedimentary clay is often in its natural state a satis-
factory pottery body or base without the addition of other in-
gredients, and answers the three requirements of the potter
plasticity (to enable it to hold its form), porosity (to enable it
to dry properly and the water to escape), and vitrification (to
enable the clay to be fired without cracking or too great shrink-
age). A residual clay has remained or "resided" in its original
pocket. It is the purest form of clay, fires white, and is nonplastic.
Athenian pottery was made of sedimentary clay. It had a high
percentage of iron in its composition and fired pinkish red. The
shapes testify to an unusual degree of plasticity. The white re-
sidual clay was used by the Athenians only for a coating or en-
gobe on the white-ground vases (see p. 31).
To prepare the clay for the potter, it has to be mined, washed,
sieved, mixed, and blunged; excess water must be pressed out to
obtain the right consistency; and the clay must be wedged or
beaten to remove air and to even the texture. In modern Greece
the wedging is done by treading the clay with bare feet; in an
American studio pottery the procedure is to cut a ball of clay in
two on a taut wire, throwing the two parts vigorously one on top
of the other on a plaster or hardwood stationary board, lift the
whole lump, cut it in two again, and repeat the process until the
air is beaten out and the texture is even.
II. FASHIONING OF THE VASE
(l) WHEEL WORK
\a) Throwing. The potter places a ball of wedged clay on the
wheel head, centers it as the wheel rotates by the firm grip of
his moist hands, and then forms the desired shape, constantly
adding water. 71 The smaller Greek vases were thrown in one
piece, the larger ones in sections. The joins of the latter were
INTRODUCTION 25
generally made at structural points; for instance, at the junction
of neck and body or of body and foot. On the inside, the joins are
often clearly visible; to conceal them on the outside, and to add
strength, coils of soft clay, or slip (liquid clay), were sometimes
added. 73
Many potters to-day carefully design and draw their shapes on
paper first, and it is possible that Athenian potters did the same
(see pp. 10 f.). The required proportions could easily be obtained
while throwing by checking with rule and calipers. 78 Complete
accuracy is not required at this stage; for minor changes can be
made during the subsequent process of "turning" (see below).
The extant representations of the potter's wheel on Greek vases
indicate that it was of the type propelled by a helper. 7 * Though
there is literary evidence for the employment of the kick wheel
from the second century B.C., there is no information regard-
ing its use earlier; but it may, of course, have been known, 78 for
the mechanics involved are simple enough. The only wheel
heads which have survived are Aegean or Roman and of terra-
cotta. Nowadays plaster, metal, and wood are used for the pur-
pose,
(b) Turning. After having been left to dry until firm, or
leather-hard, the vase is turned, that is, it is recentered and re-
fined with metal cutting-tools while it revolves on the wheel. 77
By this continued trimming off of shavings of clay the walls can
be thinned, if necessary, the moldings sharpened and refined,
and any adjustments made in width and height. Judging from
modern experience, all the intricate, delicate details of foot,
shoulder, and mouth in Athenian vases could be obtained by
tools of a few standard shapes in various sizes. 78 When more clay
was needed it could be added in slip (liquid) form. Thus the
vase could be made to correspond exactly to a planned design.
If the vase is made in sections, each is separately turned, the sec-
tions are assembled and set together with slip in between the
sections, and the whole is turned once more. 79 In the narrow-
mouthed Athenian vases, like the amphora and hydria, the in-
sides were not turned, but left as thrown. We can often see the
ridges caused by the fingers of the potter as he lifted the clay in
throwing the shape But wide-mouthed vases, where the inside is
as conspicuous as the outside, were carefully turned through-
out.
2 6 ATTIC RED-FIGURED VASES
For the smoothing of the surface and the removal of the turn-
ing marks, metal scrapers and soft sponges are found useful now
and doubtless were employed in ancient times; for, though the
marks of the turning tools can often be detected here and there
on Athenian vases, 80 the better-worked examples are generally
beautifully smooth,
(2) MOLDING
The process which enables the potter to produce a number
of identical vases by pouring or pressing clay into a mold was
used in red-figure only for plastic vases where the work de-
manded it. The molds were not made of plaster as nowadays but
of terracotta, and generally in two parts. The clay was pressed
(not poured) into each part separately, left to harden, and re-
leased itself upon shrinkage. Finally the parts were joined with
slip and the seams effaced. Often the lip was thrown separately
on the wheel and attached. On the insides of the vases the several
joins are often clearly visible; also the marks of the fingers where
they had pressed the clay. The majority of the extant examples
are in the shape of human and animal heads; 81 some in that of
single figures or groups. 82 Only in a few cases has chance pre-
served several replicas of the same vase. Occasionally a plastic
head was added to a vase. 88
(3) BUILDING
The art of building that is, fashioning a vase by building it
up with coils or slabs of clay was practised in Greece during
the Early Bronze Age. Many examples of that period from Crete,
Cyprus, and elsewhere have survived. However, when once the
art of throwing on the wheel was invented, the slower process of
building was abandoned except for the plain, coarse "house-
hold" pots and pitchers used for storing and cooking. 88a There
are no built Attic black- or red-figured vases. Nowadays, on the
other hand, the two processes of building and throwing are prac-
tised side by side in studio potteries.
(4) ATTACHMENT OF HANDLES
Handles are attached in leather-hard condition, the joins be-
ing made with slip. Their general shape is obtained while the
clay is soft, then, when leather-hard, they can be refined with
INTRODUCTION 27
modeling tools. Athenian handles were handmade, not molded.
Only those parts which showed were carefully smoothed; the
parts which were hidden (for instance the under parts of column-
krater handles) were left rough 8 * just as were the insides of
narrow-mouthed vases. The Greek potter's attitude was evidently
the same as that of the Greek sculptor, who was apt to leave un-
finished those parts of his statue which were not visible. It was
no use spending time on unnecessary toil. Better to bestow in-
finite care on what was important the shapes and proportions
and the finish of the parts which showed.
III. DECORATION OF THE VASE
(l) THE BLACK GLAZE
Instead of attempting the brilliant color effects of the Egyp-
tians, Persians, and Chinese, the Greek potters confined them-
selves to a single variety of black, which was made to contrast
with the vivid orange-red of fired clay. The consistency of this
black medium was long a puzzle, until it was successfully re-
produced by Theodor Schumann in experiments made during
the last war at Heisterholz, Westphalia. 85 He demonstrated that
the black is not a glaze in the modern sense, for it contains in-
sufficient alkali to render it fusible at a given temperature; it is
simply liquid, iron-containing clay, similar to that out of which
the Attic pottery was made, but peptized that is, with the
heavier particles eliminated by means of protective colloid. By
using the fluid made of the lighter particles of the clay, he ob-
tained a "glaze" of remarkable thinness and smoothness, and yet
which had sufficient body to make single lines stand out in relief.
Charles F. Binns had in 1929 86 put forward the theory that
the Greek black was not produced by the addition of a separate
substance but by the action of the fire; that is, the pottery was
fired first under oxidizing, then under reducing, and finally un-
der reoxidizing conditions (not in three separate firings, but in
three stages of the same fire). Dr. Schumann's experiments
proved this surmise to be correct. In the first, oxidizing fire,
when there is an excess of air and oxygen, the carbon of the fuel
combines with the two atoms of oxygen in the air to form car-
bon dioxide (CO 2 ); whereas in the subsequent reducing fire,
2 8 ATTIC RED-FIGURED VASES
when the air is shut off and smoke introduced, the carbon mon-
oxide (CO) which is very hungry for oxygen extracts oxygen
from the red ferric oxide (Fe 2 O 3 ) present in the clay and con-
verts it into black magnetic oxide of iron (Fe 3 O 4 ) or ferrous
oxide (Fe 2 O); 87 then in the third, reoxidizing fire, in which air
is again introduced, the clay (which together with the glaze
turned black during the reducing fire) becomes again red, since
it is sufficiently porous to readmit the oxygen, whereas the denser
glaze remains black. 88 The red spots that frequently occur on
what were intended to be black areas can be explained as caused
either by the fact that the glaze was applied too thinly and so
was porous enough to reabsorb the oxygen during the third
stage of the firing, or by the clay having been protected from
reduction in the kiln through stacking or contact with a jet of
air. 89 The relatively few cases where red-glazed areas were in-
tentionally, not accidentally, produced that is, when they oc-
cur in precisely defined areas, consciously contrasted with the
black may be explained as due either to a second, purely ox-
idizing firing for those parts that were to come out red, or to
the addition of red ocher to the glaze for the parts that were to
become red. That the second, simpler method is possible has
been demonstrated by Dr. Marie Farnsworth. 90
Since the white slip of the white-ground vases (cf. p. 31) con-
tained only a small quantity of iron, it was much less affected
by the reducing fire than was the black glaze (made of the red-
burning clay) and so only assumed occasionally an ivory hue in
the reoxidizing fire. The red ocher applications (cf. below) and
the red accessory colors were, like the terra-cotta body, suffi-
ciently porous to reabsorb the oxygen. 92
The black glaze of Athenian pottery was essentially the same
as that used centuries before on the geometric and other early
vases. 83 But it had gradually improved in quality until it had
developed into the rich, satiny black of the sixth and fifth cen-
turies B.C.; then, in the later, South Italian wares, it again de-
teriorated, indicating that it required delicate manipulation.
(2) TREATMENT OF SURFACE
The first process in the decoration of a red-figured vase was, it
seems, to cover the surface with a thin, protective wash made of
diluted peptized clay (Lasur), which imparted a slightly glossy,
INTRODUCTION 29
reddish hue after firing (since it was applied thinly it reoxidized
in the third stage of the firing). The red was further intensified
by the application of red ocher over the surface; only in a few
instances is it well enough preserved to convey an idea of the
original effect. 94
(3) THE PAINTING
(a) Red-figure. An examination of the paintings on red-figured
Athenian vases suggests the procedure to have been somewhat as
follows:
A preliminary sketch for the decoration was made, probably
with a wooden tool. 95 The smooth, shallow lines of this sketch
are plainly visible on most vases, at least in certain lights. Some-
times the final design in glaze differs from the preliminary
sketch. 96 Doubtless as to-day the painter drew his decoration di-
rectly on the vase and frequently changed his design as he
painted it in permanently; for the application of an elaborate
decoration to a curving vase is something difficult to anticipate
in the flat surface of a cartoon. 97 In painting the decoration in
glaze the outlines of the figures were drawn outside the spaces
intended for them, first by a narrow line of glaze, then by a
broader stripe. Then perhaps the background was filled in.
Bands and plain uninterrupted glaze surfaces were applied as
the vase revolved on the wheel or in the hand. 98 All this work
was done with the brush, various sizes being used as required.
Finally the details within the red silhouette were painted, flat
or in relief. The relief lines for the contours and inner mark-
ings of the figures were perhaps drawn with a special tool (see be-
low). Also lines and washes were added in thinned glaze where
they were intended to appear brown (see pp. 38 f., 63).
Of course the procedure was doubtless not always the same,
depending largely on the whim of the artist. For instance, in an
unfinished scene on a krater in New York " the outlines of the
figures have been indicated by contour stripes, the background
has been filled in, and certain details (hair, features, folds) have
been painted in flat lines; but the relief lines are lacking through-
out. On the other hand on various fragments of unfinished
vases 10 the background has not been filled in, whereas the in-
terior markings are completed.
The tool used to produce the famous black relief line a glaze
30 ATTIC RED-FIGURED VASES
line which stands out in relief has been much discussed,
and numerous suggestions have been made a fine brush, a
single bristle, a reed, a feather, a pen, a quill. The chief require-
ment is a tool pliant yet offering a certain amount of resistance,
which holds enough glaze to produce the long-drawn-out un-
broken lines so frequent in red-figure. The groove which often
runs down the middle of the relief line is not a clue, as some
have thought; for actual experiments indicate that a slight pres-
sure of any instrument produces such a result. Moreover, some
relief lines have.no groove but a ridge, and occasionally a line
with a ridge continues into one with a groove. 101 The whole
question can now be viewed in a new light since the discovery
of the consistency of the black medium.
The vase painters on the Caputi hydria 102 grasp their brushes
in their fists, the bristles downward in Japanese fashion; like-
wise the youth painting a. krater, on a bell krater in Oxford. 103
The youth decorating a kylix, on a kylix in Boston, 104 and the
painter on a fragment in Athens 105 hold their brushes between
thumb and forefinger. Both methods were therefore in use.
Either before or after the figured scenes the ornamental mo-
tives were painted with the brush, freehand without the aid of
stencils, as their irregularities conclusively show (see p. 10).
When the decoration in black and diluted black glaze was com-
pleted the accessory colors 10S were added. Their choice and the
extent to which they were used differed somewhat in the various
periods. The commonest was red, which was employed for such
details as fillets, wreaths, flowers, etc. White appears occasion-
ally for details in the early period, 107 rarely in the ripe archaic
and early free periods, more profusely later. Over it we often
find in the late period yellow lines in thinned glaze. That
these colors were fired is shown by the discoloration of the black
glaze beneath them; often their former presence can be deter-
mined only by this discoloration. As the taste for polychromy
grew we find red, blue, green, and pink applied in tempera tech-
nique after firing (cf. pp. 141, 155). The colors were often applied
over a (fired) white undercoating, which gave them a lighter,
more luminous tone. 108 The coloring is in fact identical with that
used in the terra-cotta statuettes. Gold leaf was used rarely at first,
increasingly in the later periods, to indicate jewelry, weapons,
and other gleaming objects, occasionally even for whole figures
INTRODUCTION 31
(see p. 163). It was generally laid over applied buff clay, some-
times with a white undercoating of course after firing, for gold
leaf could not have stood burning.
Applied clay was employed occasionally for objects which were
meant to stand out in relief, such as fillets, spear shafts, shields,
etc. 109 Sometimes, especially in the late period, it was used for
entire figures (see p. 163), and whole scenes (see pp. 163 f.); it
was often gilded or painted various colors.
While the vase was being decorated it was no doubt kept in
leather-hard condition by being placed in a special room or
closet where a damp atmosphere was induced to prevent the
ware from drying. Thereby plenty of time could be spent on the
decoration if necessary, and the work need not be hurried. Be-
fore being fired the vase was thoroughly dried.
(fr) White-ground, Concurrently with red-figure another tech-
nique was in use in the later sixth and in the fifth century
the white-ground, in which a white slip (liquid clay) coating was
applied on the body of the vase. Over this the figures were
painted in solid black in silhouette (with details incised as in
black-figure), or in outline (with merely minor areas, for in-
stance the hair, in solid black); or the two methods were em-
ployed together on the same vase. The outline technique, inher-
ited from the seventh century, had persisted "as a thin trickle,
side by side with the broad stream of black-figure, throughout
the sixth century." 110 It gradually gained in favor on white-
ground vases and presently ousted the black silhouettes. At first
the whole drawing was in black-glaze lines, then partly in black
partly in diluted glaze lines, then the whole design was drawn
in diluted glaze lines, and lastly in matt black or reddish lines
(see pp. 41, 64, 75, 93, 119-122, 141); moreover solid washes in
tempera colors were applied on draperies and on other large
areas, first red and yellow, then also blue, purple, green, mauve,
and pink. A similar technique was occasionally used directly on
the black glaze. 110a
IV. THE FIRING
The temperature at which Athenian vases were fired was
rather lower than is usual to-day. It seems to have been about
95o-g6o C. 111 (corresponding to about cone 08-07); at least
32 ATTIC RED-FIGURED VASES
any considerable increase over this temperature causes a change
in the pinkish buff of the clay and the rich black of the glaze, as
well as an additional contraction. As 950 C. is approximately
the melting point of silver, the ingenious suggestion has been
made that silver was used by the Greeks for regulating the heat, 112
in the same way that modern potters use the Seger cones. But
previous to the invention of these heat-recording cones firings
were judged by the color of the burn through a spy hole, and
it is perhaps more likely that the Greeks used this simple method.
The evidence favors the theory that Greek pottery was once-
fired, like most ancient wares, not twice-fired that is, before and
after glazing like most modern pottery: 11S (i) The incised lines
on black-figured Athenian vases must have been made on the
black glaze while the clay was leather-hard; their delicacy, swing,
and smoothness could not have been attained by incision into
hard, fired clay or even into dry clay; and if black-figured ware
was once-fired, surely the red-figured vases many of them con-
temporary with the black-figured ones were also. (2) The light
incisions on the glaze used for the indication of the ground and
other details on late red-figured vases (see p. 141) must have
been made before firing. (3) The numerous dents on Athenian
vases could only have occurred before the pots were fired; "*
since the marks left by the objects which caused the dents go over
the glaze, 118 it follows that the ware must have been decorated
before firing. (4) The applied clay, used to make certain details
of the decoration stand out in relief (see pp. 31, 64, 163), would
never have adhered to already fired clay. It must have been added
to the vase while the latter was still leather-hard. 118
The only serious objection against a single fire that the vase
painters represented on the Caputi hydria 11T and the Boston
kylix 11S handle their pots in what would seem a precarious way
for green ware can be met by the theory that the ancient Greek
clay was as tough as is the modern Greek clay. At least actual
experiments with Athenian clay to-day have shown that there
would be no risk connected with holding a cup by its stem or
tipping a vase on its foot while leather-hard. 119 The clay not
only is unusually plastic, and so stands up better while it is be-
ing thrown than most of our clays, but is not nearly so vulnerable
when leather-hard or bone-dry. That this was also a characteristic
of the ancient clay is suggested by the shapes of Athenian pottery
INTRODUCTION 33
die wide-spreading kylikes, the stamnoi with their incurving
shoulders, and other forms with overhanging rims and project-
ing handles. Though there are occasional instances of sagging
(probably due to uneven turning), the fact that such shapes were
current indicates that the clay must have been appropriate for
them. It should be noted, moreover, that in the Caputi hydria
one of the vases (and perhaps also the other) is placed on a sup-
port, evidently to prevent the strain from being borne by the
edge of the foot. If the vase had been fired this precaution would
not have been necessary.
As was pointed out above (see pp. 27 f.), the Athenian pot-
ters fired their ware partly under oxidizing, partly under re-
ducing conditions. The fuel seems to have been wood or char-
coal.
Like modern potters the ancients doubtless packed their kilns
as full as possible, placing as many vases together as practicable;
for firing is a long and expensive process. About twelve hours
or more are allowed to-day for firing an earthenware kiln of
average size, and about three times as long for cooling. The un-
der parts of the feet on which Athenian pots stand are almost
always unglazed, for the obvious reason that the vases were fired
resting on their feet. 120 But to conserve space, at least some vases
were evidently stacked one inside another. The marks left on
the glaze by such stacking can often be seen, especially on the
insides and outsides of kylikes m and occasionally the glaze of
the covered area has fired a different color from the rest of the
vase. 122 An additional advantage of such stacking in the case of
a kylix would be that the slender stem did not have to carry the
weight of the bowl. That such stacking of glazed ware was pos-
sible shows the nonadhesive quality of the Greek glaze.
GREEK KILNS
Our chief information regarding Greek kilns is derived from
representations on Corinthian and Attic pottery. 123 Most of the
actual kilns found are of the Roman period; 124 but several of
prehistoric Greek times have recently come to light, 125 and a few
of the classical period. 12 "
From this evidence assuming the same general type to have
been in use throughout antiquity we learn that the Greek kiln
34 ATTIC RED-FIGURED VASES
was divided horizontally into two parts an upper, domed cham-
ber for the placing of the pots and a lower one for the fuel; 127
and that there were three openings, one at the bottom to admit
the fuel, one at the side to receive the ware and to serve as a spy
hole, and one at the top to let out the smoke and to permit the
regulation of the draught.
Mr. Binns made the plausible suggestion that the sides and
domed top of the Greek kiln were made of brushwood (inter-
laced boughs and osiers) plastered over with clay. 128 We have evi-
dence that this practice obtained in neolithic 129 as well as Roman
times; 13 and baking ovens are still so made in modern Greece. 131
If the walls of ancient Greek kilns were of a temporary nature
and only the bottoms were of stone, this would explain why more
Greek kilns have not been found or at least recognized. 132 More-
over, in such a kiln the process of firing under both reducing
and oxidizing conditions known to have been in use by the
Greeks would come about of its own accord. The burning of
the branches and the resultant smoke would cause reduction;
but after the branches had been burned there would be no more
smoke and the fire would automatically turn into an oxidizing
one.
V. ACCIDENTS
The test of a pot comes in the fire. Defects in the preparation
of the clay, in the construction, in the glazing, in the firing, all
are revealed when the vase emerges from the kiln. That there
were plenty of mistakes and mishaps in Greek vases as in modern
ones becomes evident when we examine even museum pieces.
We see many cases of warped lips 183 and sagged shoulders, 184 of
dents 135 and cracks, 136 and of red spots in the black glaze. 137 Spalls
that is, chips produced by particles of limestone which became
embedded in the clay and then exploded in the fire are not in-
frequent, 188 likewise rifts in the glaze, caused by a more rapid
shrinkage of the glaze than of the clay. 139 Occasionally the dif-
ferent sections in which the larger vases were made were not put
together successfully. For instance, the body of a column krater
in New York 14t> was not set straight on the foot; it leans slightly
to one side; consequently neck and handles had to be shaped ir-
regularly so as to produce a level top.
Sometimes the body is not the usual pinkish buff but has
INTRODUCTION 35
turned gray, owing to a reducing fire. 141 Occasionally the differ-
ent fragments of a vase differ in color (from pink to gray), the
vase having evidently been broken at the funeral pyre and its
various parts subjected to different conditions. 1 * 2
Some injuries of course have happened since the burial of the
vase. In this class belong the frequent cases in which the glaze
has become disintegrated and has exposed what may be a red
ocher application underneath, 143 and the vases in which the
surface has deteriorated. 144
When a Greek pot was broken that was not the end of it. There
are many instances of broken vases repaired with rivets in an-
tiquity. Generally only the holes are preserved, occasionally parts
of the bronze rivets also. The repairs sometimes go right through
the decoration, even when this could have been avoided. 145 Pots
were obviously prized for their use as well as their beauty. 140
VI. ATHENIAN POTTERIES
We may gain a picture of what an Athenian pottery was like
from the representations on Greek vases of potters at work. 147 It
was probably not very different from the potteries of modern
Athens open-air places for the preparation of the clay and for
the kiln, closed rooms for the making of the vases and the glazing.
That a number of people worked in one establishment is shown
by the vase representations, and stands to reason. The keen
rivalry between the various potteries is indicated by Aris-
totle's 14S remark: "We like those who resemble us and have the
same tastes, provided their interests do not clash with ours and
that they do not gain their living in the same way; for then it
becomes a case of 'Potter [being jealous] of potter.' " 149
I. EARLY STYLE, ABOUT 530-500 B.C.
THE momentous change from the black-figured to the red-
figured technique took place about 530-525 B.C., that is
perhaps in the concluding years of the reign of Peisistratos
(j- 527). The historical background of the Early Style is, there-
fore, first the rule of the Peisistratids, then after the death of
Hipparchos (^14 B.C.) and the fall of Hippias (510 B.C.) the in-
troduction of Kleisthenes' constitution (508-507) and the be-
ginning of the Athenian democracy.
The change from the black-figured to the red-figured tech-
nique involved important innovations. The figures instead of
being painted in black silhouettes on a red ground were "re-
served" in red against a black-glaze background, and interior
lines instead of being incised were drawn in black glaze full
strength for the salient parts, diluted, to appear yellowish brown,
for details. To sharpen the outlines of the figure or parts of it
a contour line in relief was often added (see p. 29). The red and
the white accessory colors so popular in black-figure were now
used only sparingly. White was abandoned for the flesh of female
figures and its use was confined to details, such as the white hair
of an old man. Red appears more frequently than white for
inscriptions, wreaths, branches, fillets. In addition, applied clay
was occasionally used (see p. 31). In other words, the variegated
effect of black-figure was toned down considerably.
Naturally the new technique was evolved only gradually.
Black-figure and red-figure went on concurrently for some time,
a few painters using both techniques, occasionally on the same
pot, 1 and confirmed red-figure artists like Euthymides continu-
ing to use effectively ornamental designs in black against red
around their red-figure compositions. Moreover black-figure as
an independent style continued at least until the second quarter
of the fifth century, and long after for the Panathenaic amphorae.
In fact the majority of black-figured vases now extant date from
the last third of the sixth century, when the red-figured style was
already in vogue. The outstanding artists of black-figure, how-
ever Kleitias, Nearchos, Lydos, Exekias, Amasis all date
from about 560 to 530. After 530 there are some first-class artists
EARLY STYLE 37
who produced as far as we know only black-figured vases, for
instance the Acheloos Painter and the Antimenes Painter, but
not many. The great talent of the time had evidently gone over
to red-figure. 2
In the drawing of the figures the artists of red-figure at first
adhered to the conventions which had prevailed in black-figure.
They did not draw the human form direct from nature but con-
ceived it in their minds as it could be most readily apprehended,
using a set of formulas similar to that of the Egyptians. The head
was shown in profile (rarely in front view), the eye in front view,
the trunk in eithe^front or profile view, the legs were drawn in
profile. The various parts are distinct and easily recognizable,
although the figures thus pieced together often appear strangely
distorted (see figs. g-n). The motion of these figures over the
black ground made a lively surface pattern in which the laws
of symmetry and balance were observed. The figures were all
ranged along one line as if they all moved in the front plane.
The action was carried across the stage but not into or out of it.
There was as yet no feeling for depth; or next to none, for, how-
ever flattened out the figures were made to appear, the third di-
mension could not be entirely ignored. It made itself felt when
figures were made to overlap or when one form was drawn across
another or partly covering another, as was the case with the two
profile thighs and with the arms placed in action. The rendering
of profile views suggested a certain amount of plasticity; for in-
stance, the profile of the head suggested the bulge of the skull,
and the lines of the drapery, though straight and shadowless, sug-
gested depth in folds. Thus the third dimension insinuated it-
self somewhat incongruously into an otherwise two-dimensional
design; and when the artist became aware of it he was faced
with the problem of representing form and space on a flat sur-
face. Henceforth, with true Greek inquisitiveness he set out in
search of a solution, and we find him experimenting and slowly
groping his way.
And so into the time-honored conventionalized scheme there
were gradually introduced important innovations. The transi-
tion between a full-front trunk and profile legs was made less
forced by placing the rectus abdominis on one side (see fig. 3),
sometimes at an angle (see fig. 4), below a full-front chest. Some-
times one leg was shown in front or back view, with the other
3 8 ATTIC RED-FIGURED VASES
in profile (see figs. 9, 10). The collarbone on the farther side
was occasionally made shorter than the nearer one to suggest the
slanting away (see fig. 5)," or it was omitted (see fig. 14). In the
male chest the farther side
...."--. was sometimes drawn in
contracted form alongside
the median line (see fig.
6). 4 Female breasts when
in front view were rep-
resented by two profiles
turned right and left (see
fig. 7); when in profile
view two profile breasts
were sometimes drawn in
the same direction and
placed widely apart (see
fig. 41), but generally only
one profile breast was in-
FIGURE 3 dicated (see figs. 8, 46). Oc-
casionally the foreshorten-
ing of a limb was attempted (see figs. 9, 12). A fairly convincing
way of rendering a turn of the torso was attained by drawing the
nearer shoulder across the front view of the
chest (see fig. 45). The back view of a figure
was occasionally indicated (see figs. 9-11),
but as yet with little attempt at foreshorten-
ing, the farther shoulder blade being drawn
without contraction; the only indication of
the turn of the trunk was given by the direc-
tion of the spine. At the end of the century,
however, a fairly successful three-quarter
back view was sometimes attained (see fig.
44)-
The indication of bones and muscles
varied with individual artists; some gave
much, others little, anatomical detail. A
regular scheme was developed, the most
prominent divisions being generally marked in black, the rest in
thinned glaze (see figs. 3, 6, 9, 17). Thus the clavicles, shoulder
blades, pectorals, hips, spine, and ankles were generally drawn
FIGURE 4
EARLY STYLE
39
FIGURE 5
in black, whereas the serratus magnus, the rectus abdominis, and
the bones and muscles of the arms (deltoid, biceps, triceps, the
extensors of the forearm) and legs (the hollow near the great
trochanter, the thigh muscles, the two
vasti, the kneecap, the calf, and the pero-
neal muscles) when shown were gener-
ally indicated in diluted glaze. 8
The forms were simplified: the ribs
were indicated by a series of straight
lines (see figs. 3, 9, 10); the serratus mag-
nus by a set of single curves (see fig. 4);
the rectus abdominis was at first marked
by adjacent ovals (see figs. 10, 12), then
loops were added above to show the con-
nection with the thorax (see fig. 4).
The eye, which is one of the most important criteria in the
stylistic development of Greek vases, was represented in this
early period in full-front view by two shallow curves, generally
meeting at both corners, and a black dot or a circle and dot in
the center (see figs. 4, 6, 8, 10, 13). As time progressed the curves
became asymmetrical, to show the difference between the outer
corner and the tear duct (see fig. 14). The distinction observed
in black-figure between male and female
eyes the former round, the latter elon-
gated was discarded; all were made
elongated, except, occasionally, Herakles'
"fiercely gleaming eyes." 7
A simple scheme sufficed for the hair.
The mass was painted black, with a row
of short curls or strands along the brow,
temples, and neck, sometimes with longer
curls at the sides. In order to show up this
black mass against the black background
the upper contour was indicated at first by
an incised, then by a reserved line.
Just before the introduction of red-
figure an important change had taken place in the fashion of
women's dress the heavy woolen peplos was superseded by the
thin linen chiton. 8 This change is clearly reflected in the vase
paintings. In the black-figured vases before about 540 the regular
FIGURE 6
FIGURE 7
40 ATTIC RED-FIGURED VASES
woman's costume is the heavy peplos, represented as foldless
and ornamented with decorative designs. In the decade 540-530
both peplos and chiton occur, side by side. In the early red-
figured vases the Ionic chiton has already become the prevailing
fashion. The folds are represented by
parallel or radiating, curved or straight
lines with zigzags at the edges, at first run-
ning in one direction only, presently in
two opposite directions, up and down
from a central pleat (figs. 8, i6). 9 At the
end of the period under discussion (the
last decade or so of the sixth century) the
central pleat is generally drawn consid-
erably higher than the lowest one, is
broader than the others, and each group
of pleats is divided from the next by a smooth, unpleated por-
tion sometimes diversified by curving lines (see fig. 45). The
same schemes were used for chitons of men (see figs. 10, 15), and
similar ones for mantles but in larger formation, to suggest the
heavier material (see figs. 4, 16). The lower
edge of the garment on the farther side of
the legs was indicated not by zigzags, 4ike
the nearer edge, but by a curving, often
wavy, line (fig. 16).
In the earliest red-figured scenes we
sometimes note survivals of the black-
figured technique. Incisions appear for a
few details regularly for the contour of
the hair, occasionally elsewhere, for in-
stance for spear heads, anatomical mark-
ings, and folds of garments. Red is used as
an accessory color for such things as manes
and tails of horses (see p. 48). White ap-
pears now and then as a wash on the figures
(see p. 46). The full possibilities of red-figure were realized
only after some time. However, the greater swing with which
the interior lines could be drawn in glaze instead of by incisions
was bound to effect the general outlook of the vase painter. The
new technique was a welcome help in his quest to portray what
FIGURE 8
EARLY STYLE 41
increasingly interested him the complicated mechanism of the
human figure in its manifold movements and gestures. More-
over, the change from black-figure to red-figure entailed an in-
structive lesson in the art of spacing; for,
after having been accustomed to draw his
figures as patterns of dark upon light, he
now had to reverse the process. He had to
outline carefully with his brush and to
cover with black the empty spaces of the
ground, reserving light shapes for the
figures. In so doing his attention was
forcibly drawn to the pattern made by
the background which sustained the
movement of his figures. The impor-
tance of these "intervals," which con-
tribute much to the unity of the design,
was well understood by the Greeks. We
may quote from Xenophon's Oeconom- FIGURE 9
ica: 10 "Yes, no serious man will smile
when I claim that there is beauty in the order even of pots
and pans set out in neat array. . . . There is nothing, in short,
FIGURE 1O
that does not gain in beauty when set out in order. For each
set looks like a troop of utensils, and the space between the
sets is beautiful to see, when each set is kept clear of it, just as
4 2 ATTIC RED-FIGURED VASES
a troop of dancers about the altar is a beautiful spectacle in
itself, and even the free space looks beautiful and unencum-
bered."
Side by side with red-figure white-ground vases were produced
in Attic potteries at this time. At first the old technique of black-
figure was retained, that is, the
figures were drawn in black
silhouette on the white ground
with inner markings and some
of the contours incised. Occa-
sionally, however, some of the
figures were drawn in outline
in black glaze, as in red-figure
(seep. 51).
The innovations we have de-
scribed were of course not con-
fined to vase painting; they
must have been introduced also
into the lost murals and panels
of the time. The few paintings
on marble stelai and on ter-
racotta slabs u that have survived show the same evolution; and
among the scanty literary records on the subject 12 there is
an interesting tradition of epoch-making changes in the art of
panel painting parallel to those we have noted on the vases. As
usual, the innovations are credited to one individual. Pliny 13
tells us that a certain Kimon of Kleonai, whom he names as a
successor of the Athenian Eumaros, "devised catagrapha, and
represented the features in different postures, looking backward
or upward or downward. He marked the attachments of the
limbs, gave prominence to the veins, and also discovered the
wrinkles and the folds of drapery." A Eumares is mentioned as
the father of Antenor on an inscribed base from the Akropolis
dated perhaps about 530-520 B.C." If Eumaros and Eumares are
identical, Kimon, Eumaros' "successor," must have been either
contemporary with Antenor or immediately posterior to him.
He probably lived, therefore, at the very period of early red-
figure.
Furthermore contemporary reliefs and statues show the same
new interest in foreshortening and in the rendering of muscles
FIGURE 11
EARLY STYLE
43
FIGURE 12
and folds, and similar devices for their representation. Thus on
the figures of the Ephesos drums (550 B.C. and later) " and on
the Siphnian frieze (probably 53O-525), 18 the draperies are no
longer stiff and practically foldless, as in the earlier sculptures.
They have the same radiating
folds on the mantles which we
noted in early red-figure, the
same wavy lines for the chitons,
the same zigzag edges running
mostly in one direction, occa-
sionally in two opposite ones
but then in asymmetrical for-
mation. The stacking toward a
central pleat appears first in
tentative form on sculptures of
the second quarter and the
middle of the sixth century, for
instance on the Lyons kore,
here and there during the sec-
ond half of the sixth century,
and in fully developed, symmetrical form in the sculptures dat-
able about 525-500 B.C., for instance, on the pediments of the
temple of Apollo at Delphi and on the stele of Aristion. 17 On the
reliefs of one of the statue bases in Athens (about 510) there are
attempts at foreshortening similar to those on the vases; for in-
stance, the rectus abdominis is placed at an angle below a full-
front breast, and the trunk and one leg are placed in front
view, the other leg in profile.
Besides such parallels on dated sculptures we
have other clues for the dating of early red-figure
in the kalos names, that is, the names of the
young "beauties" of the time (see pp. 15 f.). They
are important evidence, for, as we have said,
some of these fair boys became prominent men
later and their dates are known. Nevertheless, the
information is often inconclusive and we must be
careful not to draw undue inferences. Let us
therefore carefully examine the evidence. 18
On a black-figured vase signed by Timagoras, 19 dated stylisti-
cally about 540, is the inscription 'Aj/So/cf&js KoAos So/cet
FIGURE
44
ATTIC RED-FIGURED VASES
If this Andokides was the well-known potter, as has been thought,
we should obtain support for dating the vases signed by him
about 525-520. But, as we have records of a distinguished Athe-
nian family from about the middle of the sixth century on in
which this rare name also occurs, 20 it seems more likely that the
Andokides praised as kalos was a young scion of that family than
that he was the potter.
On a plate in Oxford, 21 with a rider by the
Cerberus Painter, dated stylistically about 520-
510, a Miltiades is praised as kalos. If this Mil-
tiades was the victor of Marathon, we should
obtain support for dating the plate considerably
before 490. But we also know that the great
Miltiades was made tyrant of the Chersonese
FIGURE 14 after 524-523 and before 514-513 and that in
493 his eldest son was old enough to command
a ship. Therefore in the decade 520-510 Miltiades was probably
in his thirties, which is perhaps rather old for being called kalos.
On cups by Epiktetos and others the beauty of a Hipparchos is
extolled. 22 If as may well be he is identical with the distin-
guished Hipparchos, truyyev^s of Peisistratos, 23 who was elected
archon in 496-495 and was ostracized
in 487,2* he would help to date the
work of Epiktetos as contemporary
with his youth.
Memnon is called fair on cups by the
vase painter Oltos; 2S on one of these, 29
as well as on a lekythos signed by the
potter Gales 27 and on a fragment of a
calyx krater by the early Kleophrades
Painter 2S are pictures of the poet Ana-
kreon. The last was entertained in
Athens by Hipparchos, the son of
Peisistratos, and may have stayed on in
Athens after the fall of the tyranny. 29
By this evidence the youth of Memnon
FIGURE 15
and the productive period of Oltos, Gales, and the early Kleo-
phrades Painter are dated not earlier than the last quarter ol
the sixth century.
EARLY STYLE 45
Leagros is mentioned as kalos on vases by Euphronios, Euthy-
mides, the early Panaitios Painter, the Kiss Painter, the Eleusis
Painter, the Colmar Painter, and the potter Kachrylion. 30 On
vases of the style of a generation later Glaukon, "the son of
Leagros," is so praised. 31 There was a general Leagros, son of
Glaukon, who was killed in battle in 465. 82 As boys in Greece
were apt to be named after their grandfathers,
the general and the fair boy of Euphronios
may well have been identical. The decade 510-
500 is therefore a possible date for Leagros'
youth. We thus obtain additional support for
the dates assigned on stylistic grounds to the
painters and the potter above mentioned. 38
On vases by Phintias and Euthymides a
Megakles is praised as fair. 34 This same name
was found partially erased on a votive plaque FIGURE
from the Akropolis, 80 and it might refer either
to Megakles the son of Hippokrates, who was ostracized in 486,
or to his first cousin Megakles son of Kleisthenes, who was ostra-
cized at an unknown date. If either is identical with the Mega-
kles of the vases we obtain additional support for the dates
assigned to Phintias and Euthymides.
From the foregoing analysis it is clear that the kalos names
occasionally fortify dates obtained on stylistic grounds.
Further evidence for dating early, as well as later, red-figure
has been supplied by the broken vases that were dumped into
unused wells and recently unearthed in the Athenian Agora,
Corinth, and elsewhere. 858 Though such dumping in the same
well was not restricted to the same year, it was nevertheless con-
fined to a limited period, and vases found together form an ap-
proximately contemporary group.
The favorite shapes of this early period were the amphora,
the neck amphora, the hydria, the volute and column kraters,
and especially the kylix in a variety of forms. Several new shapes
now made their appearance the stamnos, the pelike, the kalpis,
and the psykter. 88 The calyx krater, already used by Exekias in
his late period, 87 now became prevalent. The eye kylix gradually
superseded the little-master cup. 87a
We can distinguish a number of prominent painters who
worked in this period some at the very beginning of the new
technique, others during the last two decades of the century.
46 ATTIC RED-FIGURED VASES
(i) THE ANDOKIDES PAINTER, PSIAX, AND THE
GOLUCHOW PAINTER
The foremost artists of the beginning of red-figure were the
Andokides Painter and Psiax. They may well be credited with
the invention of the new technique unless there were other
painters of whom no work has survived.
Of the seven vases signed by the potter Andokides, with
epoiesen, four were painted by one artist: the amphora with a
combat and a kitharist in the Louvre, 38 the amphora with Ama-
zons and women bathing, also in the Louvre; 89 the kylix with
archers and a trumpeter in Palermo; 40 and the amphora with
wrestlers and the struggle for the tripod, in Berlin. 41 As the real
name of this artist is not known he has been called the ANDOKIDES
PAINTER. Twenty-six other works have been attributed to him,
mostly on large vases amphorae and hydriai, a few on kylikes. 42
He painted in both black-figure and red-figure, sometimes in
both techniques on the same vase. On the amphora in the Louvre
with women bathing, he used the new light-on-dark scheme, but
with a white slip on his figures. As he worked at the beginning
of a new technique he was naturally an experimenter. Lysippi-
des,* 8 Pordax, and Mnesilla occur as kalos and kale names on his
black-figured amphorae in London and Munich.
His figures, often dressed in elaborately decorated and care-
fully pleated garments and posed in rather affected attitudes,
bring before us the luxurious Peisistratid days; they are the
painted counterparts of some of the sculptured Maidens from the
Akropolis. His work has strength as well as delicacy. The wres-
tlers, for instance, on the Berlin amphora, and the Herakles driv-
ing an ox to sacrifice, on an amphora in Boston, 44 stand out by
their clean contours and lively designs. And he was able to
dramatize his pictures. Herakles, on an amphora in the Louvre, 40
placating the three-headed Kerberos while he holds the chain
in readiness (see fig. 34), is vividly characterized, and so are the
gay, wild-eyed satyrs on an amphora in Orvieto. 46
The artist who decorated the amphora in Philadelphia 47
signed by the potter Menon used to be called the Menon Painter,
but he has recently been identified with PsiAX, 48 who signed,
with egrapsen, the two alabastra in Carlsruhe 49 and Odessa B0
EARLY STYLE 47
potted by Hilinos. Besides these three vases twenty-eight others
have been attributed to him, black-figured and red-figured, large
and small. 51 Among them is an amphora in Madrid B2 signed by
the potter Andokides and decorated with Apollo, Artemis, Leto,
and Ares in red-figure on one side, and a Dionysiac scene in
black-figure on the other. Another amphora in Munich 58 has
a red-figured scene of Dionysos reclining and a black-figured
chariot of Herakles. Such "bilinguals" are of great interest, for
they supply contemporary pictures by the same artist in the two
different techniques. A red-figured kylix in New York " is one
of Psiax's best works. On the interior is an archer in Oriental
costume pointed cap with long lappets and long-sleeved jacket
holding a horse by a long lead. The exterior is decorated with
a (fragmentary) chariot scene and a battle. On the left of the
latter a youth is blowing a trumpet, the signal for attack. Then
comes a group of three warriors; the one in the middle, attacked
from front and back, is sinking, blood streaming from a wound
in his leg. To the right a warrior is standing over his fallen
opponent, ready to kill him with the sword. The turmoil is
vividly conveyed by the attack and fall of the contestants, the
long spears going in different directions, and the asymmetrical
composition.
Other lively combats comparable to the New York one ap-
pear on an aryballos once in Bologna, 65 a kylix in Munich, 86 and
a fragment of a kylix in Leningrad. 57 A kyathos in Milan, 58 with
Dionysos, Satyrs, and Maenads, has a head, exquisitely modeled
in relief, inside, near the base of the handle. Among the black-
figured vases we may mention especially a kylix in Odessa 89 with
Diomede, Perseus, and Hermes, four plates in London and Ber-
lin ao with single figures, and a plate in a private collection 81
with a group of a man dancing and a woman playing the flute,
on a white ground (fig. 36) all highly finished works.
The name Psiax appears without a verb on two bilingual eye
kylikes in Munich 62 and New York. 63 The decorations on them
may or may not be by the artist himself. Besides the kalos name
Menon those of Hippokrates, Karystios, and Smikrion occur on
Psiax's vases.
Psiax's paintings are distinguished for their dainty grace and
meticulous execution, the delicate, slightly hesitant line, and the
wealth of detail. His style is distinctive and easily recognized.
48 ATTIC RED-FIGURED VASES
Similar renderings occur again and again, for instance, the
farther edge of the chiton sleeve drawn as an arc of slightly wavy
outline, with a little circle for the button, and the small, bone-
less hands with thumbs turned back at the tips.
Like the Andokides Painter, Psiax was an experimenter. He
worked in different techniques black-figure, red-figure, black
on white, white on red, and red-figure with added colors he
employed unusual technical devices, for instance applied red
clay for such things as spear shafts, 64 and he placed some of his
figures in surprisingly bold attitudes. Though as a rule he still
pieced his figures together from separately conceived parts (see
fig. 9) he occasionally attempted three-quarter views; for in-
stance, in the New York attacking warrior (see fig. 10), where
the abdominal muscle and the patella of the right knee are
shifted to one side and the shield is foreshortened. 68 We have
here one of the earliest extant attempts of such renderings.
THE GOLUCHOW PAINTER 66 also belongs to the beginning of
red-figure. Only four works have so far been attributed to him,
among them two oinochoai in Goluchow, 67 one with a discus
thrower, the other with an akontist. In these vigorous figures
all the anatomical markings are drawn in full-strength glaze, the
importance of subordinating some details by painting them in
diluted glaze not having yet been understood. As a result the
general effect is somewhat confused.
(2) OLTOS, EPIKTETOS, AND OTHER
CUP PAINTERS
The rimless kylix with deep, strongly curving bowl, which in
the last third of the sixth century took the place of the little-
master cup, was evidently a challenge to the artists of the time
and many specialized in its decoration. Sometimes, like Pheidip-
pos, they subdivided the larger space now available by inserting
large eyes on each side; at other times they utilized the whole
zone for their figured scenes.
The signature of OLTos, 88 with egrapsen, has been preserved
on two kylikes one with Homeric heroes, in Berlin,* 9 another,
very large one, with deities, in Tarquinia. 70 His style has been
recognized in over a hundred vases, some signed by the potters
EARLY STYLE 49
Pamphaios, Kachrylion, Chelis, Euxitheos, and perhaps Tleson.
The interiors of his kylikes are occasionally black-figured, but
his art is essentially in red-figure. Whereas the Andokides
Painter, Psiax, and the Goluchow Painter were still in an experi-
mental stage, Oltos was at home in the new technique. He had
mastered the use of the relief line and had learned to confine
himself to a sober color scheme.
His extant works are chiefly on cups, but some of his best
paintings are on the more monumental shapes Achilles and
Briseis on an amphora in London, 71 Herakles and Acheloos on
a stamnos, also in London, 72 and the satyrs and maenads on an
amphora with ribbon handles in Paris. 73 The scene on a psykter
in New York 7 * is an outstanding work. Athletes with their train-
ers are practising in the palaestra to the music of a flutist. One
is swinging his jumping weights; "he is going to jump," the in-
scription informs us. A discus thrower is ready for the backward
swing. A youth is preparing to throw the javelin. A boy, laden
with branches, is being crowned for his victory by the manager
of the games (see fig. 35). We are reminded of Pindar's descrip-
tion of the runner Alexidamos: "Many leaves did they fling upon
him, and many a wreath, and many plumes of victory had he re-
ceived before." 7B ^
Oltos' thickset figures, drawn with strong, incisive linesLhave
a virile simplicity. Each stands out as a separate design, skilfully
adjusted to the curving spaceTjWe may note as characteristic ren-
derings the downward curving line for the mouth, the often
angular lobe of the ear, the hands either clenched or held loosely
with thumb and fingers forming a broad loop, the well-developed
thighs, the long, flat feet. There is much repetition in Oltos'
work; figures in similar attitudes occur again and again; but
he too was interested in the new conception of drawing, and
we find him experimenting with foreshortening by shifting the
abdominal muscle to one side and thereby suggesting the torsion
of the figure (see fig. 3). He frequently used the kalos name
Memnon which practically occurs only on his vases.
EPIKTETOS 76 signed, with egrapsen, several cups and plates, as
well as a calyx krater in Rome. 77 He also signed, with epoiesen
(perhaps also with egrapsen), a fragmentary plate in Athens: 7S
\E\piktetos epo\iesen Epiktetos egr]apsen. He was, therefore,
both painter and potter. Most of his eighty-odd extant works are
5 o ATTIC RED-FIGURED VASES
on cups and plates. In the early kylikes the interior is black-
figured, the exterior red-figured. He worked with several potters
Hischylos, Nikosthenes, Andokides, Pamphaios, Python, Pis-
toxenos and, in his later works, he repeatedly used the kalos
name Hipparchos. 79
Epiktetos was one of the greatest masters of his time. He com-
bined grace and elegance with strength,/Ris neat, spruce figures,
drawn in flowing lines, generally with few anatomical markings,
have a living quality and are masterpieces of design7]The action
in each case is intimately studied, yet every line anoTspot of color
including the inscriptions play their part in the rhythmical
compositions. "You cannot draw better, you can only draw dif-
ferently," is Sir John Beazley's apt comment. 80 It would be
difficult indeed to excel some of his later pictures the satyr
holding a wineskin, on a kylix in the British Museum, 81 the
satyr drinking wine, on a kylix in Baltimore, 82 and the lovely
single figures and groups on his plates, 83 for instance, the boy
riding a cock, in Castle Ashby (fig. 37). 8 * The running warrior
on a kylix in New York 8B is a more modest, less highly finished
work (see fig. 11). The figure is drawn with the trunk in back
view, the head and legs in profile; the device on the profile shield,
a satyr's head, is shown entire, but narrowed to suggest fore-
shortening.
PHEiDiPFOS, 88 an early contemporary of Epiktetos, signed, with
egraphe, a cup in London, 87 which also has the signature of the
potter Hischylos. His ten extant works are all on eye cups, and
consist mostly of single figures of athletes and warriors. He uses
bold, thick lines, gives little anatomical detail, and is apt to draw
the profile chest of his figures in one sweeping curve. His facial
type, with narrow eye, long nose, and short line for the mouth
is easily recognized. A kylix in New York 88 is an excellent ex-
ample. On the inside is a running Dionysos in black-figure; on
the outside are a runner, with arms held close by his sides, and
a warrior, bending down to pick up his spear (figs. 39, 40).
THE HISCHYLOS PAINTER, 89 who decorated a kylix in Mu-
nich * signed by Hischylos as potter, was one of the earliest red-
figure cup painters. Only a few works have been attributed to
him, among them a boxer on the fragment of a cup in New York
(fig. 42)." The rendering of the boxer's abdominal muscle
(drawn in full-strength glaze lines) is noteworthy. It is still rep-
EARLY STYLE 51
resented with three transverse divisions above the navel whereas
in Psiax's pictures the later rendering with two divisions is al-
ready used. Though drawn in full front it is shifted a little to
the far side, and the bulge of the external oblique over the iliac
crest is marked only on the near side to suggest the torsion. We
have here one of the earliest attempts at foreshortening (see
pp. 37, 48).
THE THALIARCHOS PAINTER," called after a kalos name he
used, is related in style to Epiktetos. Four dainty little boxes,
including one in New York, have been attributed to him.
THE EUERGIDES PAINTER 9S decorated over a hundred cups, sev-
eral signed by Euergides as potter. Nimble youths in attitudes of
movement are his favorite subjects. His best and most interest-
ing product is a fragmentary kylix in Athens 9 * with a vase
painter and the goddess Athena, among other groups. As a rule,
however, he was content to draw rapidly with a strong, flowing
line, but without delicacy or precision. A typical example, in
New York, 95 has athletes practising a youth preparing to jump,
his weights swung forward; another about to throw the javelin;
a third, also a jumper, swinging his weights; two runners about
to start; and a youth preparing to throw the discus.
A group of alabastra painted in the Euergides Painter's man-
ner are inscribed prosagoreuo, "I greet you"; 96 one in the
Louvre 9T is signed Paidikos epoiesen; three, on white ground
with the figures drawn partly in black-glaze lines, are signed
Pasiades epoiesen** The signature Pasiades egrapsen occurs on a
fragmentary white lekythos in Athens, 99 but the figures on it
are different in style from those on the vases signed by Pasiades
as potter. To judge from this evidence, either the same PASIADES
sometimes potted and sometimes painted, or there were two
artists named Pasiades, a potter and a painter. The white-ground
vases with outline drawing just mentioned are among the earli-
est extant in this technique (see p. 31).
The signature of APOLLODOROS, IO with egrapsen, is preserved
on two kylikes, one in the Louvre 101 with a symposion, another,
fragmentary, with combats, in Rome and Castle Ashby. 102 Eight-
een other kylikes have been attributed to him, including one
in New York 303 with a youth standing before an altar. Like
Apollodoros' other work it is delicately drawn with a flowing
line; the long, stacked folds of the mantle and the nervous hand
5 2 ATTIC RED-FIGURED VASES
with slender, cushioned fingers are characteristic renderings.
The style is already ripe archaic, but Beazley thinks that we may
have early works by this artist on the cups now attributed to THE
EPIDROMOS AND KLEOMELOS PAINTERS 10 * (so called after their fa-
vorite kalos names).
PEITHINOS signed with egrapsen the magnificent kylix in Ber-
lin 10S with Peleus and Thetis. It is the only work by him so far
recognized; but the masterly rendering of the drapery with its
many stacked folds and the delicate drawing of every detail show
that he was outstanding.
SK.YTHES, 106 whose signature with egrapsen is preserved on sev-
eral cups in Rome, Paris, and Berlin and who frequently
used the kalos name Epilykos, has drawn a number of finely in-
dividualized figures, for instance, the boy singing to the lyre on
a kylix in Rome (fig. 6), 107 and the gesticulating youths on a frag-
mentary kylix in Berlin. 108 Twenty-six works have been attrib-
uted to him, all on kylikes, except one on a small stand. It is not
certain whether he is the same man as the Skythes who signed,
with egrapsen, two black-figured plaques in Athens. 10 * On a third
black-figured plaque in Athens uo the name Skythes appears as
dedicator: Skythes man[etheken] "Skythes dedicated me." Again
we do not know whether this Skythes is the same as the vase
painter.
Of THE HEGESIBOULOS PAINTER only one certain work remains
the kylix in New York ai1 signed Hegesiboulos epoiesen. He
too was an individualist. The bearded old man going for a walk
with his dog (fig. 38), on the interior of the kylix, is well char-
acterized. The large, hooked nose and long skull suggest that he
was an Oriental (a Syrian, a Phoenician, or a Jew). Another kylix
signed by the potter Hegesiboulos is in Brussels; 112 but the
white-ground picture on it a woman spinning a top was not
painted by the same artist as the New York cup and is much
later.
THE Kiss PAINTER, 113 to whom the pictures on five kylikes
have been assigned, painted one in New York 114 with a youth
and a girl kissing (fig. 4). She has placed her arms round his
neck and is putting her face up to his. The torsion of his body
is rendered in the piecemeal manner of the day. The chest is
in full front, the legs in profile; the abdominal muscle, though in
full front, is placed obliquely, to suggest foreshortening. An-
EARLY STYLE 53
other kissing scene appears on a kylix in Berlin. 115 On a cup in
Baltimore 118 the kalos names Leagros and Epidromos are in-
scribed.
Other prominent artists who specialized in decorating cups
are THE AMBROSIOS PAINTER, 117 called after the name he gave a
youth on a kylix in Orvieto; 118 THE HERMAIOS PAINTER, 118 who
decorated several cups signed by the potter Hermaios; and THE
CHELIS PAINTER, 120 who painted cups signed by the potter Chelis,
one perhaps together with Oltos.
Besides these able artists there were others, of more average
ability, who painted in a cursory, rather coarse, but often vivid
style. Such are THE BOWDOIN-YE PAINTER, 121 who decorated a
number of cups, including an eye kylix with jumpers at Bow-
doin; THE NIKOSTHENES PAINTER, 122 who painted cups and other
vases, several of which are signed by the potters Nikosthenes and
Pamphaios; THE EPELEIOS PAINTER, 128 called after the kalos name
Epeleios which he used on his kylikes in Munich, New York,
and Bryn Mawr; and THE PAINTER OF BERLIN 2268, 12 * who dec-
orated cups, jugs, and other small vases. The favorite subjects are
revelers, athletes, warriors, and satyrs themes which gave op-
portunity for depicting lively figures in rapid motion.
(3) EUPHRONIOS, EUTHYMIDES, PHINTIAS,
AND THEIR FOLLOWERS
In the last decade of the sixth century three distinguished
painters were active Euphronios, Euthymides, and Phintias.
They form the transition, so to speak, from the more restricted
style of early red-figure to the broader ripe archaic; for they in-
troduced an ampler type of drawing which soon became com-
mon property.
The vases signed by EUPHRONIOS present an interesting prob-
lem. The evidence is as follows: 125 The name occurs on sixteen
vases. On four (perhaps five) it is followed by egrapsen, "deco-
rated it," on ten by epoiesen, "made it"; on one the verb is miss-
ing; on another it was never added. The pictures on the vases
signed with egrapsen and therefore certainly painted by Eu-
phronios are: the contest of Herakles and Antaios (see fig. 43) and
the flute player on a calyx krater in the Louvre; 126 the reclining
5 4 ATTIC RED-FIGURED VASES
hetairai on a psykter in Leningrad; 127 the horseman and the
story of Herakles and Geryon on a kylix in Munich; 128 the wed-
ding of Peleus on a fragmentary kylix in Athens and Chicago; 129
and the Herakles and youths on a fragmentary calyx krater in the
Louvre. 180 These pictures are not in the same style as those signed
EVtphronios epoiesen and are somewhat earlier. We know that
the painter Euphronios collaborated with the potters Kachry-
lion and [Euxijtheos and that Euphronios the potter collabo-
rated with several painters: one of his cups is signed Onesimos
egrapsen (see p. 85), six have been attributed to the Panaitios
Painter (see p. 76), two, possibly three, to the Pistoxenos Painter,
who was active in the next generation (see p. 99).
To judge by this evidence there are three possibilities:
Euphronios may have started as a painter and later specialized
in potting; or he may have done both concurrently, but his early
signed pots and his later paintings have not survived; or there
were two artists named Euphronios one a painter who worked
in the late sixth century, the other a potter who was active in the
first half of the fifth century.
The painter Euphronios was an artist of great power. Besides
the five signed vases, a number of others have been attrib-
uted to him. He favored large vases, such as kraters and am-
phorae, for which his massive style was specially suited. His often
copious anatomical markings show his preoccupation with cur-
rent problems. In his signed group of Herakles and Antaios (fig.
43) the muscular structure of the two nude figures is drawn in
great detail (with no foreshortening to speak of, however). The
contracted face of Antaios, with open mouth and teeth showing,
is a remarkable early representation of physical pain, compara-
ble to that of the approximately contemporary giant on a metope
from Selinus. 181 In the signed picture of Peleus and Thetis, in
Athens, the nails and the joints of the fingers are marked, and
the folds of draperies are drawn in rich, variegated patterns.
Euphronios did not, however, lose himself in detail. The aris-
tocratic young horseman on the cup in Munich, and the hetairai
in Leningrad, with their undulating contours, are masterpieces
of design. The eleven revelers, on the neck of a volute krater in
Arezzo, 182 form a lively composition in which each figure is an
independent unit but all are interrelated.
Several kalos names appear on Euphronios' vases: Leagros
EARLY STYLE 55
(several times), Melas, Philiades, Xenon, Smikythos. Most of
them do not occur elsewhere*. 133
The signature of EUTHYMIDES, IS * with egrapsen or egraphe,
has survived on six vases: two amphorae in. Munich, one with
Hektor arming and revelers, 135 the other with Thorykion arming
and athletes; 18 a kalpis in Bonn 13T with a symposion; a psykter
in Turin 188 with athletes; a fragmentary plate in Adria 189 with
a warrior; and a fragmentary kylix in Florence 14 with deities.
On three of these he calls himself 6 IIoAiou, "the son of Pollias." 141
A fragmentary cylinder, recently found in the Athenian Agora, 142
with the letters Polio still preserved, doubtless also originally
had his full signature.
The best work by Euthymides, however, is on his unsigned
vases: the statuesque group of Theseus carrying off Korone,
on an amphora in Munich; 14S the two richly draped, flee-
ing women on the same vase; and the beautifully poised, single
figures of a satyr and a youth pouring wine, on a neck amphora
in Goluchow. 144 They are drawn with an ease and a sureness of
touch which only a great master can achieve.
The kalos name Megakles occurs on the signed hydria in
Bonn, 145 and the name Leagros, without kalos, on fragments of
a pelike in the Louvre. 148
On the signed amphora in Munich 2307, with revelers and
Hektor arming, Euthymides has proudly put "Euphronios never
did anything like this": ws ouSeirore Ev<f>povios. The boast has been
interpreted as a general challenge to a rival friendly or hostile.
But if we compare the paintings on this vase, and especially the
revelers near whom the inscription is written (see fig. 44), with
some of Euphronios' masterpieces the Herakles and Antaios
for instance (see fig. 43), or the young horseman Euthymides'
claim seems hardly justified. In one respect, however, these two
revelers excel all Euphronios' extant work and are indeed among
the most successful of their time in the foreshortening. They
are drawn in three-quarter front and three-quarter back views
with the farther side of the chest, abdomen, back, clavicle, shoul-
der foreshortened with remarkable understanding. By way of
contrast the other figures on the same vase and in fact in most
of Euthymides' other paintings are still more or less pieced to-
gether from full front and profile views; and this applies also to
Euphronios' work, including his Antaios. We may surmise,
56 ATTIC RED-FIGURED VASES
therefore, that it was the foreshortening in this picture on which
Euthymides prided himself. If this supposition is correct the in-
terest of the inscription is greatly enhanced. It voices the rivalry
among vase painters in the new manner of drawing that was
being evolved and that gradually changed Greek painting from
two-dimensional designs to three-dimensional pictures, and it
shows that the vase painters were taking an active part in this
problem, not merely copying the mural and panel painters of
the day.
The signature of PHINTIAS 14r appears on four vases with egrap-
sen, on three with epoiesen. One of those with epoiesen the
kylix in Athens 148 with a warrior was not decorated by the
painter Phintias, and the two others are aryballoi without figure
decoration." 9 We do not know for certain, therefore, that Phin-
tias the painter and Phintias the potter were the same man,
though, of course they may well have been; for they are con-
temporary and we know definitely in the case of Douris that
a painter-potter collaborated with other potters (see p. 83). The
four vases which Phintias signed as decorator are an amphora
in Tarquinia 15 with the struggle for the tripod and a Dionysiac
scene (see fig. 46); a hydria in London 1S1 with youths fetching
water at a fountain; a kylix in Baltimore 1S2 with a youth select-
ing a vase in a potter's shop, purse in hand; and a kylix in Mu-
nich 188 with Herakles and Alkyoneus and the struggle for the
tripod. The latter, his earliest extant work, also bears the signa-
ture of the potter Deiniades.
The name Phintias is variously spelt in these signatures
Phintias, Philtias, Phintis, Phitias. A toast to Euthymides, ow rrjvSt
Eu0v/u8a [Aarao-o-w], appears on an unsigned hydria in Munich m
with women reclining and a music lesson. The two artists were
evidently friends. The kalos names Megakles, Sostratos, and
Chairias occur on Phintias' vases.
Phintias' work resembles that of Euthymides and of Euphro-
nios in a certain monumental quality; but his figures are more
winsome, and move with more grace and lightness of step. The
idyllic scene in London of youths at the fountain and the Munich
music lesson are among the most sensitive pictures of their time.
Great artists like Euphronios and Euthymides naturally had
imitators. SMiKROs, 1 " a follower of Euphronios, was one of the
most gifted. His signature, with egrapsen, survives on two stam-
EARLY STYLE 57
noi, a ruined one in London 1 " 6 and a well-preserved one in
Brussels. 157 Four other vases have been attributed to him. His
best work is the signed symposion in Brussels, with youths and
women reclining on decorated couches while two servants fill a
large wine bowl for the feast. The scene is remarkably lifelike
and the rich, crowded composition on the one side makes a good
contrast with the sparser grouping on the other. The kalos names
Antias, Pheidiades, and Eualkides occur on Smikros' vases.
THE SOSIAS PAINTER 1B8 decorated a kylix in Berlin 1B9 signed
by the potter Sosias. On the outside Herakles is represented en-
tering Olympos in the presence of deities, on the inside Achilles
is seen tending the wounded Patroklos (see fig. 45). The latter
is one of the most famous pictures in Greek vase painting and
is notable for its expressive attitudes. The preoccupation of
Achilles as he bandages his friend's arm and the pain of Patro-
klos sitting on his round shield with averted face are admirably
conveyed. Armor, drapery, hair, anatomy are drawn in fluid
lines with a wealth of detail. The picture of Herakles entering
Olympos on a fragmentary kantharos in Athens 16 is the only
other work definitely attributed to the Sosias Painter. The in-
scription Sosias epoiesen occurs on a small stand in Berlin; lel
but the vigorously drawn crouching Satyr on it can hardly be by
the meticulous, sensitive artist who painted Sosias' kylix. On
the foot of a bowl recently found in the Athenian Agora 162 is the
inscription 5o>erias Ka.Ta-rrayti>v E[. . . . .]tos <Jyr]mv 6 ypa^as, "Sosias
is a lewd fellow, says E[ ]ios." The fragmentary name may
have been Euphronios, for the letters would fit the space.
THE VIENNA PAINTER, 168 called after his picture of Aigisthos
on a pelike in Vienna, 16 * THE DIKAIOS PAINTER 165 named after
the kalos name he used on an amphora with youths and warriors
in the Louvre, 166 and HYPSIS 16T belong to the Euthymidean cir-
cle. Only two works of Hypsis remain the Amazons and the
chariot scene on a hydria in Munich, 168 on which the full signa-
ture Hypsis egrapsen appears, and the two girls at a fountain
on a kalpis in Rome, 169 which has only the name Hypsis. The lat-
ter picture especially has great charm. It is not composed in the
old, conventional way with a row of women carrying water jars,
but is freshly observed. Two girls have come to a fountain. One
has placed her jar under a lion-headed spout and is stepping aside,
lifting her skirt so as not to get wet; the other has filled her jar
5 8 ATTIC RED-FIGURED VASES
from a satyr-headed spout and is supporting it on her knee, before
lifting it to her head. Both have little cushions for protection of
their heads. The fountain house is inscribed krene Dionysia,
"fountain of Dionysos." A well preserved hydria in New York 1TO
with two armed youths performing a pyrrhic dance is also by
some companion of Euthymides.
THE GALES PAINTER 1T1 also belongs here. He decorated two
lekythoi signed Gales epoiesen one in Boston 172 with cows be-
ing led to sacrifice (see fig. 41), the other in Syracuse 178 with
three revelers. The latter is a famous vase, for one of the revelers
is inscribed Anakreon, and is evidently the well-known poet,
who was also represented on other vases of this time, for instance,
on a kylix by Oltos in London and on a fragment of a calyx krater
by the early-Kleophrades Painter in private possession (see p.
44)-
II. RIPE ARCHAIC STYLE, ABOUT
500-475 B.C.
THE next period of Athenian red-figure is concurrent with
the Persian wars. At the end of the sixth century Athens had
changed from a tyranny to a democracy. Hippias fell in 510, and
in 508-507 the constitution of Kleisthenes was introduced. Soon
afterwards the Persian danger threatened and all energies had
to be spent in the defense which culminated in the victories of
Marathon (490), Salamis (480), and Plataiai (479).
It is noteworthy that during these times of stress Athenian vase
painting excelled. The finest work in red-figure was done in and
just before this period. We may surmise several reasons for this:
pottery as a flourishing industry must have attracted the artistic
talent of the time; perhaps because of the national danger there
were fewer commissions for large paintings and sculpture; and,
most important of all, the time was ripe for a flowering of the
craft.
We know as little of the Greek panel and mural paintings of
this period as of the preceding one, for they have all disappeared
and our literary records are scanty. But it stands to reason that
the art of the Sikyon panels and of the Gordion murals (see p.
165, note 2) continued; and the late archaic Etruscan tomb
paintings, which show strong Greek influence, perhaps suggest
that mural painting was also practised in Greece.
The style of this period is a continuation and expansion of
that of the earlier one, but the outlook has changed. Though
much the same scheme is adhered to for the rendering of muscles
and bones, of eye, hair, and drapery, we note an unmistakable
quickening of spirit. The bodies have developed, they bend, turn,
twist more easily and naturally; the draperies have become more
expressive of the action of the figures; the attitudes are more
varied. In other words, the scope of the artist has become en-
larged. And yet the feeling for design is still a determining factor.
It is indeed in this period that we can enjoy to the full the
stylization of archaic Greek painting. Though interest in nature
had by now been fully aroused and the artists were eagerly watch-
ing the great spectacle of life around them, the stylizing tradi-
6o
ATTIC RED-FIGURED VASES
tions were still potent and they translated even their innovations
into conventionalized schemes. The muscles still form linear
decorations, the draperies rich designs, and the compositions
rhythmical patterns whose effectiveness is as yet little disturbed
by attempts at plastic renderings.
The increased interest in nature is shown first by a more de-
tailed study of the human body. The individual parts are more
FIGURE 17
carefully observed than before (contrast figs. 3 and 17). Thus
the serratus magnus is marked by a set of curves, either in a
single row as before (see fig. 18) or in a double one to show the
interlacement with the digitetions of the external oblique muscle
arising from the ribs (see fig. 17). The rectus abdominis is no
longer rendered by adjacent ovals; its shape is more developed
and its connection with the thorax is now commonly indicated
(see fig. 17). The shape of the obliquus externus abdominis bulg-
ing over the iliac crest is shown by curved lines (see figs. 17, 18).
Great progress has also been made in the understanding of
foreshortening. The set of formulas which served the preceding
generation is enriched and enlarged. The artist gradually learned
RIPE ARCHAIC STYLE
61
FIGURE l8
to indicate the three-quarter view by contracting the farther side
of the chest, clavicle, abdominal muscle, shoulder blade. The
full profile view becomes rarer. In male figures the farther side
of the chest is often indicated by an additional curve (see fig. 19)
and part of the farther shoulder is drawn. In female figures the
breasts are drawn side by side in profile
pointing in one direction (see fig. 20), or
one breast is drawn full-front, the other in
profile (see fig. 21). The placing of one leg
in full-front (or full-back) view and the
other in profile is common. Occasionally a
leg in three-quarter view is attempted, with
the line of the shinbone and kneecap placed
nearer to the inner side and the patella also
shifted (see fig. 22); and gradually a fore-
shortened hand or foot is achieved (see figs. 22, 23). But side by
side with these innovations the old renderings persist, especially
in the earlier years of the period.
The eye is now generally unsymmetrical; the iris (a large dot
or circle and dot) is gradually moved toward the inner end, and
that end is often open to sug-
gest the profile view (see fig.
24). Simple though the means
were, the artist could distin-
guish the rolling eye of a
Herakles carrying off the tri-
pod from that of a pursuing
Apollo (fig. 24, g-h), or the
eye of an attacking Achilles
from that of a dying Amazon
(fig. 24, a-b), or could sug-
gest the eagerness of two lov-
ers (fig. 24, e-f). These are
among the first attempts at
the rendering of emotion.
FIGURE 19 Another slight but signifi-
cant change is noticeable in the rendering of the chin. Here-
tofore the line of the profile chin generally stopped abruptly
where it met the line of the neck (see fig. 13). From about 500
on, the line of the chin is generally continued, at least for a
FIGURE 2O
62 ATTIC RED-FIGURED VASES
short distance, to mark the contour of the jaw (see fig. 25). 1
The hair is still generally a black mass with dots or short
strands at the forehead and curling locks behind, which now fly
backward with the motion of the figure. Occasionally a differen-
tiation of the black mass is attempted by the drawing of wavy
lines on a background of diluted glaze. The
contour is now reserved, but the practice
of incision occurs sporadically for some
time.
Several stages of development can be
noted in the rendering of the drapery. We
have seen that toward the end of the sixth
century the lower edges of the draperies
were drawn in zigzag lines in two direc-
tions, up and down from a central pleat
(see figs. 16, 26). The general effect is
highly schematic. Gradually the scheme becomes looser. At first
the central pleat is not placed so high as before nor is it so broad,
and the groups of pleats move nearer together; then the zigzags
become less regular, the pleats are no longer arranged in groups,
and most important of all, the lines of the chiton folds often
assume expressive curves following the action of the figures.
Thus the drapery has acquired a sepa-
rate entity and successfully suggests
movement. The chitons by the Brygos
Painter and Makron of about 480 are
good examples of such renderings (see
figs. 27, 61, 63). A little later the zigzags
disappear altogether. The lower edge is
then drawn by a wavy line or a series of
arcs (see fig. 28) or merely by a curving
line.
The rendering of the himation shows
a similar development from the sche-
matic to the more naturalistic. At first
the zigzags are more or less pointed and
the folds are drawn in straight, radiating lines (see fig. 29).
Gradually the zigzags become more rounded and the folds more
diversified (see fig. 30). The rendering of the off lower edge of a
garment (chiton or himation) by a wavy line or a simple curve,
FIGURE 81
RIPE ARCHAIC STYLE 63
which was usual in the preceding period (see fig. 16), was con-
tinued throughout this period (see figs. 26-28).
In the technique also there are a few changes from the preced-
ing period. There is an increasing use, at least by some artists, of
thinned glaze for muscles, hair, folds of chitons, and
even as washes here and there. This brown color
note gives a pleasing variety, taking the place in this
respect of the former red and white accessories,
which now fall more and more into disuse (though
red is retained for such things as inscriptions, fillets,
wreaths, strings). Moreover, this soft brown, being
less conspicuous than the black, helped the artist to
distinguish between the more and the less prominent
parts of his picture (see p. 29). He could make the
contours of a figure and of its salient parts stand out F1GURE 00
by drawing them in black relief lines and marking the
subsidiary parts in brown. And he could suggest space and form.
For instance, by drawing the folds of some parts of the garment
black and others brown, he could successfully indi-
cate that one part was over another the diploidion
of a chiton over the kolpos (see figs. 59, 63); and he
could differentiate the nearer from the farther dis-
tance the drapery on the near side from that on the
farther side (see fig, 60). By applying a wash of
FIGURE 23 brown or by drawing brown brush strokes he could
suggest the bulge of a shield or of a vessel (see fig. 53);
in other words, he could model his forms. Though such instances
are rare, they are important as progressions from the old two-
<3Sr
FIGURE 24
dimensional, linear drawing toward a three-dimensional con-
ception. Further variety is obtained by the occasional use of ap-
plied clay, gilded a technique which in the course of time be-
6 4
ATTIC RED-FIGURED VASES
came increasingly popular. White-ground vases continued along-
side red-figured ones; some of the lines are now drawn in diluted
glaze.
A comparison with contemporary sculptures is again instruc-
tive. Particularly striking is the parallelism in
the drapery. The renderings which occur on
vases at the turn of the century (see fig. 26 and
p. 40) appear in the Mounting Charioteer from
the Akropolis and in the Athena from the west
pediment of the temple at Aigina. There, also,
the lower edge is drawn in two zigzags up and
FIGURE 25 down from a central pleat which is broader than
the others and considerably higher than the lowest one. The
drapery of the Athena from the east pediment of this temple
corresponds to that noted on vases of the first decade or so of
the fifth century. The central pleat
there is not so high in relation to the
lowest pleat as it is in the Athena
from the west pediment, and the zig-
zag itself is not so regular. On the
Boston and Ludovisi three-sided re-
liefs (perhaps about 470) the zig-
zags have practically disappeared, the
lower edge being drawn by a wavy
line. The folds of the himation in the
stele of Alxenor show a slight loosening of the strictly schematic
rendering, comparable to that observed in the vases of the early
fifth century. The rendering of the mantle of Aristogeiton (dated
477-476), with its loose folds displaying a certain variety, cor-
responds to that in the later vases by Makron
and Douris.
For the facial type of the end of the period
useful landmarks are sup'plied by the heads of
Harmodios and Aristogeiton and by the head
of Arethusa on the damareteion dated about
479- 2
Besides sculptural parallels we have other
important chronological data for this period. The mound at
Marathon in which were buried those who fell in the battle of
490 B.C. contained, besides late black-figured vases, one frag-
FIGURE 26
FIGURE 37
FIGURE 28
RIPE ARCHAIC STYLE 65
mentary red-figured kyllx. 8 In spite of the scanty remnants the cup
can be assigned to the time of the Panaitios Painter, 4 who there-
fore must be anterior to the date of the bat-
tle. That this painter started his career before
490 is also indicated by the fact that on one
of his earliest vases occurs the inscription
"Leagros kalos," which is common at the end
of the sixth century, whereas on his later vases
the kalos name Panaitios appears.
A potentially important landmark is given
by the potsherds found in the Persian debris B
on the Athenian Akropolis, which should
antedate the year 480. But unfortunately this
evidence is not so helpful as might have been expected; for, as
other debris was added later, we find fragments of vases of the
early free style along with those of the styles of
Epiktetos and Makron. If at the time of discovery
more attention had been paid to stratification, we
should doubtless be better informed. The fact,
however, remains that by far the majority of the
vase fragments are black-figured, early red-figured,
and ripe archaic red-figured. Some refuse heaps ap-
parently remained undisturbed, for in them all the
vase fragments are early.
Among the shapes the kylix continues its popu-
larity during this period. It was used by some of the foremost
decorators, and there are superb examples extant, often of large
dimensions. The offset mouth becomes less fre-
quent, the preference being for one sweeping
curve from foot to lip; the decorative apotropaic
eyes are abandoned. Some of the larger pots
volute, calyx, and column kraters, amphorae of
several forms (neck, pointed, Panathenaic, with
twisted handles), hydriai, and stamnoi are
great achievements from the potter's point of
view. The "Nolan" amphora, a smallish neck FIGURE 30
amphora with ridged handles, now makes its
first appearance and becomes increasingly popular. The smaller
vases are often highly finished. It is clear that the potter's craft
was in good standing and attracted gifted artists.
FIGURE 29
66 ATTIC RED-FIGURED VASES
Ornaments are no longer used so freely as before. Many vase
painters now prefer to use the major part of the surface instead
of framing the pictures within borders.
In no other period of Athenian vase painting were there so
many significant artists. Again we know the real names of com-
paratively few, but many have been recognized by their individ-
ual styles. They may be conveniently divided into three groups
according to the shapes they preferred large pots, small pots,
and cups.
(i) THE KLEOPHRADES PAINTER, THE BERLIN
PAINTER, AND OTHER PAINTERS OF
LARGE POTS
The two most gifted painters of large pots are the so-called
Kleophrades Painter and the Berlin Painter. THE KLEOPHRADES
PAINTER fl derived his name from the kylix in Paris 7 which is
signed KAco^pa8 I eTrotco-ev : A/wio- si The missing let-
ters have been restored as to? : hw. This restoration would make
Kleophrades the son of Amasis. We now also know his real name, 8
for a pelike in Berlin 9 bearing the signature Epiktetos egrapsen
has been identified as one of his late works. The name happens
to be the same as that of an earlier vase painter, but the styles
of the two artists are quite different. If the signature on the pelike
had been an ancient forgery, as some have thought, one could
have expected at least an attempt to imitate the style of the early
Epiktetos. Instead, the drawing is frankly that of the Kleophrades
Painter in his latest phase. Moreover by that time the fame of the
early Epiktetos had doubtless been overshadowed by his many
brilliant successors and there would have been no point in forg-
ing his signature. Titian would hardly have forged the name of
Bellini to increase the value of one of his pictures. Why Epiktetos
II signed only one late, insignificant work and none of his many
masterpieces we do not know, 10 just as we cannot tell why Makron
signed only one (possibly two) of his many extant products and
the Berlin Painter, the Brygos Painter, and the Achilles Painter
none (see p. 16).
Over a hundred vases have been attributed to the Kleophrades
Painter 11 (we shall retain the familiar name as less confusing
than Epiktetos II), including nine black-figured Panathenaic
RIPE ARCHAIC STYLE 67
amphorae (two in New York). 12 His work reflects better perhaps
than that of any of his contemporaries the strenuous and exalted
spirit of the time. His best paintings have a grandeur and spa-
ciousness, and are drawn with a flowing line which has seldom
been excelled. He must have been active a considerable time, for
we can trace several stages of development in his style. The ear-
liest works the amphorae in Wiirzburg, 13 the Vatican, 14 Mu-
nich, 15 and Vienna, 16 the psykters in Compiegne, 17 Paris, 18 and
Athens, 19 and the volute krater with satyrs in a private collec-
tion 20 resemble the work of Euthymides, from whom he clearly
derived his firm drawing and monumental style. As he matured,
however, he developed a personality with greater emotional
power. The youths on the calyx kraters in Tarquinia 21 and New
York (see fig. 47)," the warrior putting on his greave and The-
seus performing his deeds on the two kylikes in Paris, 28 and the
maenads on a pointed amphora in Munich 2 * show him early in
this mature stage. The next phase is seen in the majestic, some-
what more simplified Apollo and Herakles on an amphora in
New York, 20 in the rhapsodist and flutist on an amphora in Lon-
don, 26 and in the strangely moving Ilioupersis on a hydria in
Naples. 27 Then his strength waned and he produced such second-
rate pictures as those on the stamnos in the Villa Giulia 28 and
the pelikai in Copenhagen 20 and Berlin.
Let us look at the two vases by this artist in New York. Both,
as we have said, belong to his mature period. The calyx krater,
which is unfortunately fragmentary, must have been very im-
pressive, both as a pot and as a decoration. On the better pre-
served side we see two warriors arming. One holds out a helmet,
the strap hanging, and puts the other hand on his head, perhaps
to smooth his hair preparatory to putting on his helmet; a sword
hangs from his shoulder, and on the ground is a shield (see fig.
47). The other youth is leaning on his spear and is holding out
a sword in its scabbard, with the baldric hanging; his shield is
lying on the ground beside him. The cuirasses are elaborately
decorated with sal tires, palmettes, a star, lizards, and dots; on the
sword hilt is a strip of meander; on the helmet checkers. Every
detail is drawn with the utmost care. The delicate folds of the
tunics, the ornaments, the occasional indication of toe- and fin-
gernails, all bespeak unusual finish. And yet this elaboration in
no way detracts from the grandeur of the design.
68 ATTIC RED-FIGURED VASES
The amphora with Apollo and Herakles is in good preserva-
tion, enabling us to appreciate more fully the original effect.
Apollo is represented as advancing, one hand outstretched, the
other grasping a handsomely carved bow; a quiver hangs at his
back and he wears a mantle and a laurel wreath. He is in pursuit
of Herakles (painted on the other side of the vase), who, in the
act of carrying away the Delphic tripod, pauses to look back at
his pursuer (note the large rolling eye). Herakles wears the lion-
skin over his head and back; his bow and quiver are hanging
from a belt round his waist; and he grasps the club firmly in his
hand. The firm, bold drawing, the velvety sheen of the glaze,
and the beautiful form of the vase combine to make it an out-
standing piece. It is one of several tall amphorae by this artist
with a single figure on each side.
Among the many criteria by which the Kleophrades' style may
be recognized 80 are the large nose with rounded line for the nos-
tril, the brown (not black) circle and dot for the iris and pupil,
the black edging of the lips with a fossette at the corner, the
brown whiskers, the ear with a projecting lobe, the broad frontal
knee, the hooked line for the ankle. In his representations of
armor he draws the cuirass with high, straight neckpiece and
squared shoulder flap, the scabbard with squared end and loops
for the attachment of the baldric, the greave with modeled knees
and indication of muscles. Some renderings, elaborate at first,
are simplified as time goes on. 81 Occasionally he used washes of
thinned glaze, giving roundness to his shapes thereby. He was
evidently interested in the current problem of suggesting the
third dimension.
THE BERLIN PAINTER derives his name from one of his most
careful works, the amphora in Berlin with Hermes and two
satyrs. 32 He must have started his career around 500 B.C. and
worked for about forty years. More than two hundred vases (in-
cluding fragments and a few black-figured Panathenaic am-
phorae) have been attributed to him, 88 and of these the best be-
long to the first two decades of the fifth century. They comprise
such masterpieces as the Berlin amphora; the volute krater in
the British Museum * with the contests of Achilles and Hektor
and of Achilles and Memnon; the hydria in the Vatican 38 with
Apollo sitting on his winged tripod and playing the lyre, while
he travels over the sea; and many more modest works on Nolan
RIPE ARCHAIC STYLE 69
amphorae and lekythoi. His figures have a litheness and elasticity,
an angular grace which make them a good foil for the more mas-
sive types of the Kleophrades Painter. Single figures on tall vases
particularly appealed to him. To give them the necessary width
he generally placed large objects in outstretched hands. Satyrs
with finely curving tails made specially good subjects and are
accordingly popular. There are fine examples on the back of
the Berlin amphora and on a Panathenaic amphora in Mu-
nich; 3G the portly ones on a Nolan amphora in New York ST are
not drawn with the same care, but are lively and well charac-
terized.
One of the Berlin Painter's earliest works is the group of
Achilles and Penthesileia on a hydria in New York (see figs. 17,
26). 38 Achilles is represented striding forward, plunging his spear
into the Amazon, who falls back fatally wounded. She stretches
out one hand in entreaty while the other still holds the bow.
Blood flows from wounds in her thigh and beneath her breast.
The scene is a less intimate, less emotional representation than
the one of the same subject by the Penthesileia Painter on the
famous cup in Munich (see p. 97); but though rendered in
the impersonal, archaic fashion, it is grandly conceived. The
sweep of the falling Amazon and the self-confident stride of the
warrior make a finely contrasted composition. In the Achilles
the three-quarter view is suggested by the placing of the rectus
abdominis muscle on one side of the trunk, though its parts are
not yet foreshortened. Penthesileia's right leg and foot are shown
in full front; the left leg is bent, with the lower part not indi-
cated, except for part of the foot and the frontal toes. The
breasts are drawn far apart and in two profile views facing right
and left. The black dot for the iris is nearer the upper lid than
the lower, to suggest that she is dying.
A youth, a boy, and a dog, on an oinochoe in New York, 89 is a
typical work of the Berlin Painter's early to middle period.
The youth is playing the lyre, striking the strings, and moving
to the rhythm of the music; the boy holds his master's stick
and listens; the dog too is listening and lifts a paw.
An amphora, formerly in the Hearst Collection, now in New
York, 40 shows the artist in the fullness of his power. On one
side is depicted a youth playing the kithara, singing anoT sway-
ing to the rhythm of the music (fig. 48), while on the other side
70 ATTIC RED-FIGURED VASES
is the trainer or the judge, if the scene is an actual performance.
The late, less careful work by the Berlin Painter may be seen
in several examples in New York in a Nolan amphora with
Poseidon and a youth, 41 and in two lekythoi, one with a woman
running, holding a torch and a libation bowl, 42 the other with
Poseidon pursuing a woman 43 both perhaps school-pieces.
The Berlin Painter's scheme for expressing in linear patterns
the complicated anatomy of the human body varies little during
his long period of activity.** We find it already fully developed
in his earliest works, for instance in the Achilles and Penthesileia
in New York (see fig. 17). The eye is long, often open at the inner
end and has a black dot for the iris; the nostril is marked by a
deep, black arc; the lips are generally not edged, and often have
a fossette at the corner; the ear has a hooked line for its inner
marking. Two lines indicate the chief muscles of the neck; the
clavicles recurve at the inner ends and do not touch the median
line; the outline and divisions of the deltoid are marked by
curving lines; at the junction of the breast lines a short, brown
line is added forming a small triangle to indicate the depression
at the bottom of the sternum; the nipples are generally rosettes
of dots. On the arms two arcs convex to one another mark the
biceps and triceps, three (or two) long lines the muscles on the
forearm, a small arc the elbow, a small projection the wrist. The
profile kneecap is drawn as an arc with a smaller arc below it;
above, long curves mark the vasti, the thigh muscles, and the
depression above the great trochanter; below, two long lines in-
dicate the peroneal muscles, a curve outlines the calf. The outer
protuberance at the ankle is regularly drawn as two black curves.
We can only mention a few of the many other pot painters
active in the late archaic period. To THE NIKOXENOS PAINTER,
called after the kalos name Nikoxenos on an amphora in Balti-
more,* 5 thirty-nine vases have so far been attributed, including
thirteen in black-figure. 46 He had an angular, somewhat ungainly
style,* 7 but occasionally produced so moving a picture as the
Death of Priam, on an amphora in New York.* 8 In spite of the
stiffness of the attitudes it makes us feel the pathos of Priam's
death better than many more skilful renderings: Priam has taken
refuge on the altar of Zeus, while Neoptolemos advances spear
in hand; he neither shows fear nor begs for mercy, but merely
puts his hand to his head as if dazed by his sufferings. We are
RIPE ARCHAIC STYLE 71
reminded of Priam's words to Neoptolemos in Quintus Smyr-
naeus, 49
"Fierce-hearted son of Achilles strong in war,
Slay me, and pity not my misery.
I have no will to see the sun's light more,
Who have suffered woes so many and so dread.
With my sons would I die, and so forget
Anguish and horror of war."
Something of this dignity of Priam in his extremity the artist has
been able to convey, in spite of his shortcomings, and also some-
thing of the ruthlessness of Neoptolemos as he advances "in mur-
derous mood" with his "resistless lance."
THE EUCHARIDES PAINTER," named after the stamnos in Co-
penhagen B1 inscribed Eucharides kalos, must have been a pupil
of the Nikoxenos Painter, for a number of renderings are identi-
cal in both artists' works and unusual elsewhere; for instance,
the double-lobed ear. 52 The seventy works now attributed to him
include several black-figured Panathenaic amphorae. 88 His virile,
heavy, somewhat angular figures have a monumental character
which is enhanced by ample spacing. The pictures on an am-
phora in New York M are typical examples. Apollo in a long tunic
and mantle is playing the lyre, his left hand in the retaining band,
his right holding the plektron; Artemis picks up a fold of her
dress and holds up a lighted torch. On the other side of the vase
are a young athlete and his trainer; the latter grasps a long rod
and pegs for marking the ground.
MYSON was a potter as well as a painter, for he signed a column
krater in Athens egrapsen kapoiesen. 85 Most of the forty-seven
other works attributed to him are on column kraters and of
average workmanship. 69 His finest pictures apparently early
works are* the Burning of Croesus on an amphora in the
Louvre," the Release of Aithra on a calyx krater in London, 58
and the Struggle for the Tripod on a Panathenaic amphora in
Florence. 58 His style marks the beginning of the mannerist move-
ment (see p. 94). The figures are long limbed and rather af-
fected, not so strong and vigorous as those, for instance, by the
Eucharides Painter, but more graceful. Instead of standing sol-
idly on the ground they move about as if in a rhythmic dance,
often looking back and down over their shoulders. The figures
72 ATTIC RED-FIGURED VASES
on a column krater in New York 60 are typical Dionysos, with
a cup and a large vine branch, walking and turning round as he
goes (see fig. 49), and a wreathed youth, evidently on his way
home from a party, balancing a cup on the palm of his hand and
grasping a knotted stick.
THE GERAS PAINTER 81 produced the remarkable painting on
a pelike in Paris 62 of Herakles clubbing Geras, Old Age. The
Greek love of youth and hatred of ugliness are here shown in
concrete fashion. Most of the Geras Painter's twenty-seven extant
pictures are on pelikai and consist of one or two figures, often
in unusual subjects. His tall, lean figures are generally in rather
stiff attitudes but have a pleasing vivacity. An attractive scene
is on a pelike in New York. 63 Dionysos is leaning on a knotted
stick holding out his kantharos to have it filled by a satyr (painted
on the other side of the vase), who is hurrying to him with a jug
and a full wineskin (see fig. 50).
THE HARROW PAINTER is named after one of his best works
the boy with a hoop on an oinochoe at Harrow. 84 He decorated
chiefly neck amphorae and column kraters, often carelessly. 65 A
fragmentary jug in New York 66 has an unusual scene a satyr
in a palaestra playing the athlete. One hand is on his hip, with
the other he grasps a pair of jumping weights (the tips of his fin-
gers can be seen through the hole). On the ground lie a discus
with an owl 6T as emblem and a pickax used for loosening the soil
in the palaestra. The picture has an individual, almost comical
touch, and the accessories play a happy part in the composition.
Fifty-one works have been attributed to THE SYLEUS PAINTER,
so called after his picture of Herakles and Syleus on a stamnos
in Copenhagen. 68 He is represented in the New York collection
by three typical examples. A hydria with Herakles and the Ne-
mean lion 69 is an early work: Herakles has thrown himself on
the lion and holds it tight with both arms, one hand on its belly,
the other on its forelegs. The lion roars with pain; stems its right
foreleg against Herakles' shoulder, its left hind leg against his
head; and lashes its tail. The tree in the background indicates
the valley of Nemea. An amphora and a hydria with youths in
statuesque poses 70 are products of the Syleus Painter's maturity.
THE COPENHAGEN PAINTER 71 and his "brother" THE SYRISKOS
PAINTER 72 are able, academic artists of this time. The former is
named after his attractive pictures, on an amphora in Copen-
RIPE ARCHAIC STYLE 73
hagen, 73 of an old man with a negro slave boy and of a youth
buying an amphora; the latter after the vase in the form of a
knuckle bone in the Villa Giulia Museum/ 4 which he decorated
with a Nike, an Eros, and a lion, and which is signed by the pot-
ter Syriskos: Syriskos epoiesen.
THE GALLATIN, DIOGENES, TYSZKIEWICZ, and TROILOS PAINT-
ERS decorated mostly large vases in an ample style." They lead
gradually to the early classical period. An excellent example by
the Gallatin Painter (who was perhaps the Diogenes Painter in
an early phase) 76 is in New York. 77 It is an amphora, formerly in
the Gallatin Collection, with scenes of Theseus and the Mino-
taur and of Theseus and Skiron (see fig. 51). Theseus has seized
Skiron by one leg and is about to hurl him over the cliff. A
scene on a hydria in New York by the Troilos Painter 78 shows
Triptolemos in his winged chariot holding ears of grain, the
whole skillfully composed on the strongly curving surface.
(2) PAINTERS OF SMALL POTS
(a) IN RED-FIGURE
The second group of late archaic pot painters those who
specialized in small vases such as Nolan amphorae, lekythoi, and
oinochoai includes several good artists. THE DUTUIT PAINTER/ 9
to whom eighteen works have been attributed, is among the
most attractive. He is named from his picture of Artemis caress-
ing a fawn, on an oinochoe in Paris, 80 once in the Dutuit Col-
lection. A Nike by him holding an incense burner and gliding
through the air with feet picked up in dainty fashion is on a
lekythos in New York (see fig. 52). 81 On another lekythos in New
York 82 a woman is standing in front of an incense burner, hold-
ing a flower and a large scroll; behind her is a cushioned chair;
a fillet and mirror are hanging on the wall. Hephaistos, polishing
the shield of Achilles to give it to Thetis for her son Achilles, is
represented on a Nolan amphora by him in Boston (see fig. 53). 88
Among the minor artists of this period he stands out as a singu-
larly gracious personality. The kalos name Archinos occurs on
two of his vases.
THE TITHONOS PAINTER," who decorated a Nolan amphora in
Boston with Eos and Tithonos, 88 recalls the Berlin Painter, but
74 ATTIC RED-FIGURED VASES
is more heavy handed. Nineteen works have been attributed to
him. The stately Athena, on a lekythos in New York, 86 is a char-
acteristic product. The goddess is represented standing in full
array, holding her spear (the butt end down) and an Attic helmet
with large crest, cheekpieces, and peak decorated with a fringe
of hair. She wears a peplos with handsomely decorated borders
and over it the aegis; also a diadem with leaves along the top.
On another lekythos in New York 8T Hermes, with winged boots
and a hat hanging down his back, is running rapidly to the left
grasping the herald's staff (see fig. 55). One of this artist's most
engaging pictures is on a lekythos in Boston. 88 A woman, wear-
ing a chiton, himation, cap, bracelet, earrings, is looking at her-
self in a mirror before going out. The kalos name Diokles is
inscribed on a neck amphora in London.
THE PROVIDENCE PAINTER 89 is another artist whose style re-
sembles that of the Berlin Painter. His name is derived from
his picture of Apollo on an amphora in Providence. 90 He deco-
rated a few large pots, but most of his eighty-nine extant works
are on Nolan amphorae and lekythoi. He began his work in the
ripe archaic period, but continued into the early free; many of
his paintings, therefore, really belong in the next period. 91 His
figures have a quiet solemnity and a statuesque quality. Four
pictures by him are in New York. On a lekythos 92 a flying figure,
inscribed Nike, is represented holding a hydria presumably a
prize for a victorious athlete. On another lekythos 83 a stately
Artemis is seen rushing through the woods, a deer by her side;
she has espied a victim and is taking an arrow from her quiver
to shoot it from her bow (see fig. 54). These two paintings rank
among the artist's best works. The satyr pursuing a maenad, on
a Nolan amphora, 94 and the woman running with a torch in each
hand, on a lekythos, 95 are of only average workmanship. The
kalos names Kallikles, Glaukon, Hippon occur on the Providence
Painter's vases.
THE BOWDOIN PAINTER also bridges the ripe archaic with
the early free period; his work in fact continues into the third
quarter of the fifth century. Over two hundred works have been
attributed to him, mostly single figures a Nike, a woman, a
maenad, a youth painted on lekythoi, some on a white ground.
Two are at Bowdoin College, 97 hence his name. His pictures are
in no way remarkable for technique or subject, but attractive in
RIPE ARCHAIC STYLE 75
their simplicity. A typical one is on a lekythos in New York. 98 A
woman is sitting on a chair, making skeins of wool which she
pulls from a basket by her side; an Eros perhaps suggestive of
the trend of her thoughts is flying toward her with a fillet; a
tame quail is walking on the floor; on the wall hangs an alabas-
tron (fig. 56). It is a simple Greek version of the later Dutch
interiors representing women at work.
(b) IN BLACK-FIGURE
As we have said, the black-figured technique went on con-
currently with red-figure for a considerable time (see p. 36). In
the ripe archaic period THE DIOSPHOS PAINTER," THE SAPPHO
PAINTER, 100 THE ATHENA PAINTER, 101 THE HAIMON PAINTER, 102
THE THESEUS PAINTER, 108 and others decorated a host of lekythoi
and other small vases in the old technique often on a white
ground (see p. 31) but in the new, developed style of draw-
ing. In the white-ground pictures the figures are occasionally de-
picted not only in silhouette but partly or wholly in glaze out-
lines either full strength or diluted. These outline drawings
on white slip mark the beginning of a class of vases which were
presently to enjoy a great vogue in Attica (see p. 119). The sub-
jects in the New York examples are varied and interesting. A
lekythos has a scene of Perseus and Medusa by the Diosphos
Painter. 104 Perseus has cut off Medusa's head and is flying off with
his winged boots, his prize safely in his bag; from the neck of
the collapsing Medusa springs the winged horse Pegasos (fig.
71). On a red-ground amphora by the same painter 105 Herakles
is taking the dog Kerberos from the house of Hades; and on a
white-ground lekythos by him loe Achilles is dragging Hektor's
body past the tomb of Patroklos. The comparatively rare subject
of Herakles killing the sleeping giant Alkyoneus is depicted on
a white-ground lekythos by the Haimon Painter. 107 Two red-
ground skyphoi with wrestlers, boxers, Poseidon riding a hippo-
camp, and white herons, are by the Theseus Painter. 108
A remarkable group of four white-ground lekythoi, 109 deco-
rated by the Sappho Painter, are said to have been found in one
tomb in Attica. The subject on one is unique. Helios, the sun-
god, is seen rising from the sea in his four-horse chariot, while
76 ATTIC RED-FIGURED VASES
the goddesses Night and Dawn are disappearing in their chariots,
enveloped in streaky clouds. On the other side of the vase Hera-
kles is squatting on a rock and roasting pieces of meat on long
spits over a burning altar; his dog is lying at the foot of the
rock, its head raised, as if smelling the food. Perhaps Herakles
is sacrificing to Helios preparatory to asking him for the golden
bowl in which he crossed the ocean in his successful expedition
against Geryon. On one of the other lekythoi a Nereid is driving
over the sea in a chariot with sickle-winged horses; on another
Athena is fighting a giant; on the third Herakles is in Olympos,
being escorted by Athena and Iris into the presence of Zeus, who
sits on his throne, his cupbearer Ganymede behind him, Ares in
the offing. Still another work by the Sappho Painter is on a
lekythos in New York. 110 A satyr is sitting on a rock, an amphora
and a drinking horn at his side, while a serpent is wending its
way across the scene. The technique is unusual: The body of
the vase is painted black; the satyr is incised; the inscriptions
(three times kalos), the rocks, amphora, drinking-horn, serpent,
and the satyr's hair, beard, and tail are painted white; above and
below the scene are red bands.
(3) THE PANAITIOS PAINTER, THE BRYGOS
PAINTER, MAKRON, DOURIS, AND OTHER
CUP PAINTERS
The third group of late archaic vase painters those who spe-
cialized in the decoration of cups, particularly kylikes includes
four great artists: the Panaitios Painter, the Brygos Painter,
Makron, and Douris. Their names are among the best known in
Greek vase painting. To judge by the many extant works at-
tributed to them, their output must have been considerable. At
the Greek symposia, cups painted by them were, we may be sure,
in great demand. On such occasions, while the guests drank their
wine, the pictures both in the circular field of the interiors and
on the curving surfaces of the exteriors could be seen and en-
joyed. An able painter had an opportunity to display his skill.
THE PANAITIOS PAINTER 111 is named after the kalos name
Panaitios which frequently appears on his works. He decorated
six cups signed Euphronios epoiesen. At one time it was thought
RIPE ARCHAIC STYLE 77
that he was identical with the vase painter Euphronios, who
signed several vases Euphronios egrapsen, but it is now realized
that the two are different personalities (see p. 54). A cup in the
Louvre signed Euphronios epoiesen Oncsimos egrapsen has pic-
tures of riders which resemble those by the Panaitios Painter in
a late stage. It has therefore been suggested that Onesimos was
the name of the Panaitios Painter; but the manner of drawing
does not seem close enough for identity (see p. 85). Recently
Beazley has tentatively placed fourteen cups which used to be
regarded as very early works by the Panaitios Painter in a Proto-
Panaitian group, and has assigned several kylikes which were also
once considered early works by the Panaitios Painter to an
artist whom he has called the ELEUSIS PAINTER. 112 This leaves six
early works by the Panaitios Painter and thirty-five in his de-
veloped style. Leagros and Athenodotos occur as kalos names,
in addition to Panaitios.
The Panaitios Painter was a master draughtsman. He not only
could draw his figures in violent action, but he could imbue them
with an abounding vitality. The breath of life seems to animate
their movements and expressions. At the same time his composi-
tions have a harmony and flow which distinguish them from even
the best work of his contemporaries. The delicate curvature of
practically all his lines is particularly noteworthy. Even forms
which other artists are apt to indicate by straight lines he makes
slightly curving. These undulating shapes give to his work its
vibrant quality.
The Satyr sitting on a pointed amphora, on the inside of a
kylix in JBoston, 118 is one of his most powerful early works. His
paintings on the kylikes signed by the potter Euphronios belong
to his developed period. They are the famous Theseus and
Amphitrite in the Louvre, 114 the Herakles and Eurystheus in
London, 116 the komasts in Boston, 116 the Dolon in the Cabinet
des Medailles, 117 the athletes in Amsterdam, 118 and the Herakles
in New York. 119 The last is in bad condition, but what remains
gives a good idea of this painter's style. On the interior Herakles
is represented walking with a little companion (see fig. 59). He
is evidently setting out for an expedition, fully equipped, using
his club as a walking stick, his bow and arrow ready for action.
The boy perhaps his son Hyllos 12 -is wearing a wide-brimmed
hat, a mantle, and high-laced sandals; a wineskin hangs from a
7 8 ATTIC RED-FIGURED VASES
stick carried on his shoulder. The contest of Herakles with the
sons of Eurytos is depicted on die exterior. The fight is taking
place at a banquet, as indicated by the couches. Herakles, in the
center of the picture, has given young Klytios a crushing blow
with his fist; he has to fight with his bare hands, because his club
and bow have been taken from him and are being used against
him by his enemies. The brothers of Klytios are approaching
rapidly from either side. The confusion of the combat is ad-
mirably suggested by the draperies thrown hither and yon.
There are many other masterpieces by this gifted artist on un-
signed vases; for instance, the animated youth reading aloud
from a book to two listeners, on a kyathos in Berlin (see fig. 57), 121
and the exuberant satyrs on a kylix in Baltimore. 122
Considerable variety is displayed in the Panaitios Painter's
renderings of individual forms. He had not the methodical tem-
perament of the Berlin Painter who developed a fixed scheme
and adhered to it with but few variations. The heads of his fig-
ures are relatively large with strong noses and finely curving
nostrils. On the neck is generally a single brown line; the clavicles
are black with long, brown recurves; the bold s-shaped breast
lines reach to the upper arm; long curving lines indicate the
muscles of arms and legs; hands and feet are finely articulated;
the mantles have heavy, bunched folds convincingly suggestive
of depth.
THE BRYGOS PAINTER 12S decorated five kylikes signed by Bry-
gos as potter. 124 After the Panaitios Painter he was perhaps the
most gifted cup decorator of his time. Being fond of violent
movement, he painted scenes of pursuit, Dionysiac ecstasies,
revels, and battles; but occasionally he produced quiet, stately
figures. One hundred and seventy-one works have been attributed
to him. We can distinguish two distinct stages in his career. The
earlier works are characterized by a strong, incisive line and an
infectious joie de vivre. The famous Ilioupersis in the Louvre, 125
the ecstatic maenads in Munich 126 (with the interior picture on
a white ground), the komos in Wiirzburg, 127 the wild satyrs at-
tacking Iris and Hera, in London, 128 and Zeus pursuing Gany-
mede on a kantharos in Boston 129 are such animated pictures,
full of lifelike touches.
Several works by the Brygos Painter of this period are in New
York, and though they are not elaborate compositions they il-
RIPE ARCHAIC STYLE 79
lustrate his style well. Two satyrs are painted on the broad rim
of a molded kantharos. 180 One is stretched out full length,
propped against a support, playing the double flute a picture of
comfort and contentment. His long hair is tied at the back with
a fillet ending in dangles, his tail is drawn in a decorative curve
alongside the support. On the wall hangs a wineskin. The other
satyr is also lying down, but is turning round to call his com-
panion; he is playing the castanets, one leg raised as if beating
time; he leans against a wineskin, which is doubled up for better
support (see fig. 18). His momentary pose effectively contrasts
with the luxurious abandon of his companion. Another attractive
picture is on a skyphos. 131 On one side a maenad is playing the
double flute, a tall rock in front of her, behind her a thyrsos stuck
in the ground. She wears a chiton, a leopard's skin, and shoes.
On the other side a maenad is dancing to the flutist's music, a tall
rock on either side. She too wears a leopard's skin over her chiton,
of which she holds the sleeves extended, wing-fashion. The pic-
tures are typically Greek in the simplicity of the rendering. The
stylized rocks sufficiently convey the impression of a mountainous
glen, we feel the wind blowing against the flute player's drapery,
we can catch something of the ecstasy of the dancer as she bends
forward, her arms outstretched, her hair flying. The majestic
goddess perhaps Hera or Demeter on a lekythos 182 is a good
example of this artist's work in a quieter mood. She stands in a
frontal pose, head in profile in one direction, left leg in profile
in the other direction. A figure in a similar pose on another
lekythos 188 is identified as Athena by her aegis, helmet, and spear
(see fig. 61). A reveler on the inside of a kylix, 18 * though repre-
sented resting, conveys the impression of high-strung life better
than many scenes of intense action, for the rhythmical composi-
tion, expressive face, and nervous hand give it vivacity.
The later works by the Brygos Painter are weaker in style than
his early products, more attenuated, and also more refined. The
exuberance has gone; the lines have become thinner and the
pictures make an almost ethereal impression. These vases used
to be assigned to "the manner of the Brygos Painter," 185 but as
the renderings of the individual forms are the same as in the
Brygos Painter's earlier works, it seems best to attribute them
also to him as products of his old age. 138 Good examples of these
late Brygan pictures are the woman working wool on a lekythos
8o ATTIC RED-FIGURED VASES
in Boston 187 and the Nike on a lekythos in Oxford. 138 A com-
parison of an Athena of this period on a lekythos in New York
(see fig. 60) 189 with an earlier one (fig. 61), shows the change
convincingly. The renderings of nose, lips, eye, earring, locks,
draperies are strikingly similar in the two figures; but in the later
one the lines are thin and delicate and the draperies with their
long, parallel lines appear stiff and lifeless compared to the ear-
lier more varied rendering; whereas the earlier Athena firmly
grasps her spear, the later one hardly holds it. That there is an
advance in time is also indicated by the drawing of the breasts.
In the earlier Athena they are shown (on the aegis) in profile to
right and left; in the later the three-quarter view is suggested
by the placing of both breasts side by side in profile to the right.
The attribute held by the later Athena an ornament from the
stern of a ship (akroteriori) appears on several vases of this pe-
riod. Evidently the victory of Salamis and the growing impor-
tance of the Athenian navy made the vase painters see the pre-
siding deity of their city in terms of this new outlook. 140
The change in the Brygos Painter's style in later life is also
apparent in his picture of a Thracian woman on the interior of
a kylix in New York 141 probably part of a representation of the
Death of Orpheus. She is rushing forward, a spear in one hand,
a large rectangular cloth, serving as a shield, along the other arm.
Though she is depicted in rapid motion she seems tame and deli-
cate compared to the exuberant creations of the master's earlier
period.
The following are some of the many renderings characteristic
of the Brygos Painter, found both in his earlier and later works:
a long skull, low forehead, finely shaped lips, and strong round
chin; a long, narrow eye, with upper lid curving strongly down-
ward at the inner corner to meet the lower lid, the eyebrow high
and strongly arched 1 ; a forehead-nose line slightly convex to the
face, with a full curve for the nostril; a single, brown line for
the chief muscle of the neck, arcs for the deltoid muscle, long
curves for the biceps and triceps, a series of short arcs for the
serratus magnus, dots or circles for the nipples, lines of varying
lengths for the muscles of the lower leg, and a curved line for
the protuberance at the ankle. In the chitons little arcs generally
bound the sleeves, kolpos, and lower edge; the himation is often
decorated with dots or little circles and with dotted borders.
RIPE ARCHAIC STYLE 81
There is a good deal of repetition in the paraphernalia which
enliven the scenes in the flute cases, the stools with fringed
cushions, the earrings, bracelets, shoes, and headdresses, the bas-
kets, wreaths, and lyres. Altogether his works are easily recog-
nized.
Only three kalos names appear on the vases painted by the
Brygos Painter Diphilos, Philon, and Alkmeon, and one kale
name N ikophile.
MAKRON painted all except three of about thirty extant vases
signed by Hieron as potter" 2 (for the three see pp. 107, 108).
Though over two hundred and forty works have been attributed
to him, 148 his name is preserved only on one, possibly on two
vases a skyphos with Menelaos and Helen, in Boston, 14 * which
he signed jointly with Hieron (Hieron epoiesen, Makron egrap-
sen], and a pyxis in Athens, 146 on which the letters Makr . . .
are preserved, but the verb is missing. He had not the vitality of
the Panaitios Painter or the fire of the early Brygos Painter, but
his paintings are made notable by his masterly line, especially in
the rendering of the folds of women's clothes. Among his fa-
vorite subjects are men, youths, and women making love some-
times in singularly harmonious compositions. He also painted
mythological scenes, especially of the Trojan War. Briseis on a
skyphos in the Louvre, 146 Triptolemos and an assembly of deities
on a skyphos in London, 147 and the dancing maenads on a kylix
in Berlin 148 are some of his masterpieces.
Several excellent works on kylikes, some of which are signed
by the potter Hieron, are in New York. The earliest has an in-
terior picture only. 149 A youth leaning on a stick, his right hand
on his hip, is watching a slim young girl dancing. It is a charm-
ingly lifelike picture. The outlines of the girl's legs are seen
through the drapery, one in profile, the other in full front; the
trunk is frontal, both breasts are in profile to the left. The youth's
right hand, with its clumsy long first finger, is an instance of
Makron's often careless drawing of details.
The pictures on another kylix 150 show Makron in his fully
developed period. In the interior a satyr with a finely curved tail
is playing the double flute; and to his music a maenad, thyrsos
in hand, is dancing with rhythmical steps. The motion of the
dance is suggested by her oblique posture, which also helps ad-
mirably to fill the circle. On the exterior is a banquet scene with
82 ATTIC RED-FIGURED VASES
six couches on. which recline bearded men and hetairai. The
meal is at an end; the three-legged tables are standing by the
couches, but they are empty except for the gay branches (the
equivalent of our flower pieces) hanging down their sides. A
small slave boy painted under one handle is serving wine
from a large, wreathed krater painted under the other handle.
His task is to fill the cups of the guests with his jug, pouring the
wine through his strainer. Another strainer and a ladle are hang-
ing from a candelabrum beside one of the couches, ready for use.
On the candelabrum is a lighted lamp, lending a dim light to
the evening scene. The groups of men and women are beauti-
fully varied. We have here in fact a richer assortment of lovely
poses than this artist is wont to give us. And the figures are drawn
with an unhesitating brush that can draw contours of bodies,
the multitudinous folds of rich garments, and locks of hair with
equal ease and knowledge; it is only the hands which sometimes
seem helpless and clumsy, as often in Makron's work. Unfortu-
nately the surface is not well preserved and we miss many a
lovely detail. The design as a whole has great beauty. The straight
legged couches and tables with the black spaces between them
form a decorative band and seem to supply an architectural base
for the undulating lines of the figures above them. The signature
Hieron epoesen is incised under one handle.
Men, youths, and women in beautifully balanced composi-
tions appear on two other large kylikes in New York; 1B1 and the
scene on still another kylix 1C2 is full of movement. On the in-
terior, a maenad with streaming hair, thyrsos in hand, is trying
to escape from a satyr; and the same theme of pursuing satyrs is
repeated on the outside in several lively groups (see fig. 63).
There is much repetition in Makron's work, especially in his
many conversation scenes. Figures in similar attitudes and group-
ings occur again and again with the same paraphernalia stools,
cushions, flowers, wreaths, sticks, sponges, strigils, baskets.
The renderings adopted by Makron serve as useful criteria for
recognizing his work: The skull is long and flat; the eye long,
narrow, and slightly oblique; the underlip droops; the chin is
prominent; a hooked line serves for the inner marking of the
ear. The hair is often drawn in black lines on a brown ground;
the muscles on the neck are marked by two lines; the clavicles
are continuous with the median line and do not recurve; the
RIPE ARCHAIC STYLE 83
serratus magnus is occasionally placed very low. On the chest the
divisions of the great pectorat muscle are marked by two con-
verging lines running upward toward the clavicle instead of out-
ward toward the arm. The hands are apt to be clumsily and care-
lessly drawn. The folds of the chiton sleeves are often indicated
in thinned glaze, and two rows of arcs edge the chiton at neck
and sleeves. The outlines of the figures are generally drawn in
black glaze under the chitons, to show the transparency of the
material. The heavy mantles have simple, expressive folds, drawn
with an amazingly sure hand. The kalos names Antiphanes,
Praxiteles, Hippodamas occur on his vases; also several kale
names Nauklea, Melitta, and Rhodopis. The last is the same
name as that of the celebrated hetaira who made a costly dedi-
cation at Delphi 1B8 and was loved by Sappho's brother about
a century earlier.
Over two hundred vases have been attributed to Douius 1M
and over thirty are signed by him as painter Doris egrapsen,
We know that he was a potter as well as a painter from the
signature on a kantharos in Brussels, 155 Doris egrapsen, Doris
ep\oieseri\ } and from that on an aryballos by him in Athens, 156
Doris epoiesen. It does not of course follow that he potted all
the vases he decorated. In fact some of them are signed by other
potters Kleophrades, Kalliades, and Python.
There were evidently two painters by the name of Douris, for
the signature Doris egrapsen appears on a kylix in Berlin 1B7 deco-
rated with a symposion in a style different from that of the well-
known Douris, but identical with that of a group of other vases.
The artist of this group has been called THE TRIPTOLEMOS
PAINTER 158 after his picture of Triptolemos on a stamnos in the
Louvre; 159 but his real name was presumably Douris, for there
is no reason why he should have signed one of his works exe-
cuted in his characteristic style with some other artist's name.
On five lekythoi in Athens, Syracuse, and Berlin the name
Douris, without a verb, is inscribed in a "cartellino." Beazley has
assigned these vases, and one uninscribed example, to the "CAR-
TELLINO PAINTER." 16
Douris was- evidently active a long time. We can distinguish
an early, a middle, and a late period. 161 The signed kylix in
Vienna 162 with arming scenes and that in Boston with a discus
thrower 16S are examples of his early style. At this time soon
84 ATTIC RED-FIGURED VASES
after 500 B.C. his figures are animated, his style has not yet
become crystallized, the influence of the Panaitios Painter is evi-
dent. Specific distinguishing marks are the simple form of clavicle
which does not recurve at the inner end (or has the recurve
marked only in thinned glaze), the single shallow curve for the
hip furrow, and the deep zigzags along the edges of the chitons.
The favorite kalos name is Chairestratos, The names Panaitios
and Athenodotos also occur.
The great majority of Douris' extant paintings belong to his
middle period, the late nineties and eighties of the fifth century.
They include such masterpieces as the Eos and Memnon on a
kylix in the Louvre 18 * and the satyrs on the psykter in the Brit-
ish Museum (cf. fig. 64). 165 A more typical work is the kylix
with youths and men, in New York. 166 His style is now fully
developed distinguished, accomplished, academic and hence-
forth remains remarkably uniform. The clavicle now has a hook
at the inner end, the hip furrow is marked by two distinct
curves instead of one, and the zigzags along the lower edges of
the chiton are less deep than before. At first Chairestratos con-
tinues as a kalos name, then Hippodamas. Hermogenes, Aris-
tagoras, Diogenes, Menon, Pythaios also occur.
The works of Douris' third and last phase (around 470 B.C.)
belong to the early free period. They are not merely weak repro-
ductions of earlier achievements, like those of some other long-
lived artists, the Kleophrades Painter for instance, but they have
a beauty of their own. Though some of the earlier vitality has
gone, a new monumental quality has taken its place, Since Douris
had always inclined to statuesque types, he felt at home with the
ampler forms introduced at this time. The interior design on a
kylix in New York 167 two women putting away their clothes
is one of his ablest products in this last phase (see fig. 65). The
women with their undulating contours and quiet poses show the
new elevation of spirit. A maenad and two satyrs on the interior
of a kylix in Boston 168 is a comparable work. The outsides of
both these kylikes are decorated with more or less conventional
conversation scenes, palmette designs round the handles, and an
ivy twig, like a trademark, in the field. We may note the careful
rendering of the expressive hands, a characteristic of Douris. A
kylix in Munich 169 of this period has the kalos name Poly-
phrasmon.
RIPE ARCHAIC STYLE 85
The influence of Douris was widespread and lasted a consid-
erable time. The quiet, classical style appealed and we shall find
it especially potent in the succeeding period (see p. 106).
ONEsiMOS 170 who signed, with egrapsen, a kylix in the
Louvre m which was also signed by Euphronios as potter (see
p. 54) may be said to have continued the work of the Panaitios
Painter. Fifty-nine vases, all kylikes, have been attributed to
him, including one in Perugia 172 with Achilles and Troilos,
signed by Euphronios as potter. Panaitios, Erothemis, Lykos.
and Aristarchos occur as kalos names on his vases.
His drawing is lively, accomplished, refined. It so closely re-
sembles that of the Panaitios Painter in that master's latest phase
that some archaeologists have even thought that the two were
identical. 178 But it seems best to keep the two artists apart; for
their styles, though close, seem to proceed from two different
personalities. Onesimos is not an old, tired Panaitios Painter, but
an artist who could produce paintings of great grace and delicacy,
different in spirit from those by the Panaitios Painter at any time
of his career.
THE COLMAR PAINTER, IT * called after his kylix in Colmar 1T5
with athletes, may also be placed in the cycle of the Panaitios
Painter. He is fond of lively scenes and draws them with charm
and animation, though often carelessly. He likes to attempt back
and three-quarter views; and athletes and banqueters serve his
purpose well. One of his most charming figures is the running
archer turning round to shoot an arrow, on a kylix in Orvieto. 17 *
A kylix in New York 17T has on the interior a youth preparing
to throw a javelin holding it in his right hand and steadying
it with his left before the actual throw. On the exterior is a ban-
quet with youths reclining on couches and conversing in ani-
mated fashion; a provision basket with a cloth over it is suspended
from the wall. On another kylix in New York 178 a youth, drawn
in back view, holds a pair of jumping weights and two javelins.
It is inscribed Panaitios kalos.
THE ANTIPHON PAINTER, 179 named after the kalos name on a
stand in Berlin, 180 is likewise a member of the Panaitian circle.
His works and those in his manner used to be assigned to the
Lysis, Laches, and Lykos group, so called after three kalos names
which often occur on these vases. Seventy-five vases have now
been attributed to the Antiphon Painter, all kylikes except the
86 ATTIC RED-FIGURED VASES
stand in Berlin. His style has much in common with that of the
Panaitios Painter, but lacks the latter's verve and vivacity, con-
tinuing rather the more modest tradition of the Colmar Painter
(see p. 85). The chief theme is youth, preferably in action. Often
the young men engage in violent exercise. All sorts of turnings
and twis tings are favored, drawn mostly in the archaic piecemeal
manner, but occasionally with fairly successful three-quarter
views. Youths with mantles, leaning forward on their sticks, are
popular; often the hands are brought to the hips, or the head, or
held up in graceful attitudes. The compositions are generally
loosely spaced. Incision is mostly used for the contours of the
hair (see p. 62).
Three typical works by the Antiphon Painter are in New
York. On the interior of a cup 1S1 is a flutist, his double flute in
one hand, the other brought up to his head to adjust the verti-
cal strings of his mouth band. On the exterior are youths in
various attitudes; one is holding a hare by the ears, showing it
off to his companions. On another cup 182 is a youth, evidently
going home after a party, carrying a cup and supporting his un-
certain steps with a stick. The after-dinner scene is continued
on the exterior with dancers and musicians. On a third cup 183
are athletes with javelins and strigils.
A superb kylix in New York, 184 formerly in the Gallatin Col-
lection, was painted by a contemporary of the Panaitios Painter.
On the inside, an armed warrior is seen leaning on his spear;
before him are his round shield and crested helmet, behind him
a little attendant (see fig. 58). On the outside are groups of box-
ers and their trainers. The scenes are painted with a wealth of
detail in sure, flowing lines. Only two other works have so far
been connected with this artist, one in Berlin, the other in the
Thorvaldsen Museum in Copenhagen. Beazley has placed the
three cups in "THE THORVALDSEN GROUP." 18
THE MAGNONCOURT PAINTER is another gifted artist in the
circle of the Panaitios Painter. He is named after a kylix in New
York, 188 formerly in the Magnoncourt Collection. The pictures
are not well preserved, but we can make out a finely composed
group of a satyr and maenad on the inside and Dionysiac scenes
with chariots on the outside. The words Panaitios kalos are in-
scribed. Three other works have been attributed to this artist, 187
two also with the kalos name Panaitios.
RIPE ARCHAIC STYLE 87
The Brygan cycle includes several gifted artists. THE FOUNDRY
PAINTER 18S in particular is distinguished for his firm drawing
and lively designs. The name is derived from his picture of a
foundry with sculptors at work, on a kylix in Berlin. 189 The
Lapith spearing a centaur, on a kylix in Munich, 190 is one of his
most powerful works. The centaur, which is depicted as collaps-
ing on the ground, is an interesting study in partial foreshorten-
ing. The head is drawn in three-quarter view, except the nose,
which is in full front, seen from below; the body is in full front,
seen from underneath; the legs, arms, and tail are in profile. In
other words the figure is still pieced together from separately
conceived parts, with here and there a successful attempt at fore-
shortening. The very fact, however, that so difficult a posture
was attempted shows an ambitious interest in the problem.
A kylix in Philadelphia 191 has a cupbearer on the interior, pre-
paring to ladle wine into a cup from a large krater, and on the
exterior two lively combats, one of them a centauromachy. The
cup was given to the University Museum in Philadelphia by the
family of the late Henry C. Lea, in whose collection it had been.
In the Metropolitan Museum 192 is a modern replica of the cup,
purchased in 1896 with the Baxter Collection in Florence. Previ-
ous to that date, therefore, the Philadelphia cup must have been
in Italy and have been copied by a forger. The only genuine ex-
ample of the Foundry Painter's work in New York is a fragment
of a cup with a man, perhaps a trainer (see fig. Q7). 198 The ren-
dering of the man's face, with the delicately curved lines for
eyes and nostril, approximates that of the Brygos Painter.
THE BRISEIS PAINTER is another follower of the Brygos Painter.
He derives his name from the picture of Briseis and Achilles,
on a cup in London. 194 Fifty works have been attributed to
him. 198 A good example is on a well-preserved kylix with offset
rim in New York, 196 on which youths are represented singing to
the music of the flute. 197 The locale is indicated as a colonnade
with columns, architrave, and mutules. Another fine cup in
New York 198 has scenes from the story of Theseus: his departure
for Crete, and Athena welcoming him on his safe return to
Athens (fig. 62).
THE PAINTER OF THE PARIS GiGANTOMACHY, 199 named after one
of his chief works, in the Cabinet des Me* dailies, 200 also belongs
to the Brygan circle. He was fond of scenes of movement fights,
88 ATTIC RED-FIGURED VASES
athletes practising, and lively revelers. He sometimes closely ap-
proaches the style of his master, but never matches his fire and
careless abandon.
Finally we may mention THE DOK.IMASIA PAINTER, 201 still an-
other follower of the Brygos Painter. The name is derived from
his picture of a dokimasia, the examination of horsemen, on a
kylix in Berlin. 202 His style is somewhat like that of the Briseis
Painter, with the same mixture of liveliness and refinement.
III. EARLY FREE STYLE, ABOUT
475-45 B.C.
THE second quarter of die fifth century was a period of re-
adjustment after the victories over Persia, of recovery from
the devastations of the enemy. It was the time of the administra-
tion of Kimon (476-461), when Athens, placed at the head of
the Delian Confederacy, rose steadily in power and influence.
In the west, at the Battle of Cumae (474), the Etruscans were
defeated by Syracuse and Cumae. Henceforth, though the im-
portation of Attic vases to western Etruria did not stop, it was
confined mostly to the cheaper wares. The grandiose vases of
the period have been mostly found not in Etruria proper but
in the Adriatic section and in the south.
The famous mural painters Polygnotos of Thasos and Mikon
of Athens were active at this time. Their works have all perished,
but we can obtain a slight idea of their stupendous compositions
from the many references to them in ancient literature, 1 espe-
cially from Pausanias' detailed descriptions of some of their
paintings of the Ilioupersis ("Troy Sacked") and the Nekyia
("The Lower World") in the Lesche at Delphi, the Ilioupersis
and the Battle of Marathon in the Stoa Poikile at Athens, and
the battles of Greeks and Amazons and of Lapiths and centaurs
in the Theseion at Athens. The salient points we glean from
these descriptions are the nobility of the types, the expression
of emotion in the faces, the disposition of the figures on different
levels and at various depths (some above, below, or in front of
others), and the interest in foreshortening. We shall see that
these very qualities are conspicuous in some of the vases of this
period. Considering the great fame of Polygnotos, it is natural
to suppose that he was the leading spirit of his time and influ-
enced his contemporaries, including the vase painters. The re-
vival of artistic undertakings in Athens affected vase painting
also in another way. Vase decorators of the first caliber, though
they still exist, are on the whole fewer than before. The great
artistic talent was evidently finding scope elsewhere.
In vase painting the exaltation over the Persian victories is
go ATTIC RED-FIGURED VASES
reflected in a new breadth in the rendering of forms. The con-
ception becomes nobler, ampler comparable to that of the
Olympia sculptures; and the feeling for space becomes more pro-
nounced than before, both in composition and in the treatment
of individual figures. Gradually vase paintings are becoming
three-dimensional pictures rather than decorations. The old
tradition of putting all the figures along one line in the front
plane is not always followed; some figures are occasionally placed
higher than others to suggest a farther plane (though they are
still all drawn the same size; see p. 140), and the two feet of
the same figure no longer always stand along one and the same
line. Three-quarter views of trunk, head, arms, and legs are in-
creasingly popular, and the farther side is convincingly fore-
shortened. Even female breasts, once the source of much diffi-
culty, are successfully rendered in three-quarter views. Espe-
cially frequent is a foreshortened hand or foot, often, however,
with the ankle misplaced. The use of shading lines to indicate
roundness of form becomes more common than before.
Occasionally and this is particularly distinctive of the pe-
riod, though there were some examples in the preceding one
(see p. 87) bold foreshortenings involving the whole figure
are attempted. A mounted Amazon in full-front view (see fig.
31), a centaur in back view turning round to defend himself
(fig. 74), a warrior reaching for an arrow that has pierced his
back are some of the complicated attitudes which painters of the
period try to represent. Even here, however, the procedure is
still the old one of piecing together different parts of the figure,
separately conceived, into one whole. No attempt is made to
represent these figures and objects viewed as a whole from one
point of sight. Depth is suggested merely by the occasional over-
lapping of forms and by the placing of one figure higher than
another. If rectangular shapes in furniture or architecture are
introduced, only the front planes are indicated, and such objects
as vases are represented in profile not from above or below.
When the farther leg of a chair is indicated it is merely added
alongside the front ones, seemingly on the same plane. Artists only
gropingly attempted a reproduction of the appearance of things.
We know that in this very period (probably about 460 B.C.)
the underlying principles of linear perspective were discovered.
Vitruvius 2 records that Agatharchos of Samos painted a scene
EARLY FREE STYLE 91
for a tragedy of Aeschylus and wrote a commentary on it, and
that this led the philosophers Anaxagoras and Demokritos to
write further on the subject. As the passage is important we shall
quote it in full: "Agatharchus in Athens, when Aeschylus was
bringing out a tragedy, made
a scene and left a commen-
tary of it. This led De-
mocritus and Anaxagoras to
write on the same subject,
showing how, given a cer-
tain central point, the lines
should correspond as they
do in nature to the point
of sight and to the projec-
tion of the visual rays, so
that from an unclear thing
a clear representation of
the appearance of buildings
might be given in painted
scenery, and so that though
all is drawn on vertical and
plane surfaces some parts
may seem to be withdrawing
into the background, and
others to be protruding in
front." z We shall see later
the important consequences
of this initial step (see pp.
FIGURE 31
116,
The eye is rendered in this
period in a variety of ways.
The profile view is now gen-
erally, though not yet always,
drawn with the inner corner open and the iris moved toward that
corner (see fig. 32). Sometimes two lines are used for the upper lid
and one or more lines are added for the lashes. The expression
becomes more natural and a greater range of emotion can be por-
trayed a terrified nurse of Danae (fig. 32 b), an eager Jason
(fig. 32 g), a dreamy boy playing the lyre (fig. 86), an aging
father sorrowing over the departure of his son. Occasionally
92 ATTIC RED-FIGURED VASES
there are attempts at realism, a wrinkled old man or woman with
curving eyebrows occurring in the midst of the generalized types.
In a full-front or three-quarter view both eyes are drawn more
or less in profile with the inner corners open, the outer ones
closed, giving the appearance of a squint (fig. 32 j); sometimes,
however, both outer and inner corners are closed and the iris
is placed convincingly in the center (fig. 32 k).
The solid black mass of the hair is now increasingly varied by
the drawing of separate strands either directly on the red ground
or on a wash of diluted glaze. A wavy contour often takes the
place of the separate lines and dots over brow and temple.
i j k 1 m
FIGURE 3?
In the treatment of the drapery the advance of naturalism is
apparent. The old schematic arrangement is evolving into a
more realistic rendering. The folds assume natural shapes, they
go in a number of directions, and they have depth. Sometimes
even their shadows are indicated by washes in diluted glaze. The
peplos, once the female garment par excellence but later ousted
by the chiton, comes again into favor. Its heavy folds are ren-
dered by a few lines, like those of the himation, often with bold,
rounded zigzags along the edges. The bottom edge of the chiton
is rendered no longer by zigzags but by a wavy line, by a series
of arcs, or merely by a curve; and the indication of the farther
edge, prevalent in archaic times, is given up.
The color scheme of the preceding period continues red
against black, enlivened by the brown of the diluted glaze and
occasional touches of applied red; the last is now often put on
white to make it more luminous (see p. 30). Rarely a bold spirit
tries some new scheme; for instance, the Penthesileia Painter
used on the Munich cups, 4 besides applied, gilded clay (found
already hi the preceding period), red-brown and purple-brown
EARLY FREE STYLE 93
washes. But such deviations are the exception. As a rule the old
scheme sufficed.
The influence o contemporary panel and mural paintings is
also apparent in the increased popularity at this time of white-
ground vases. As we saw, these had been in use during the earlier
periods, with the figures drawn in black silhouette or in outline
(see p. 75). By the second quarter of the fifth century the sig-
nificant change of adding colored washes was made; the whole
scene was drawn in outline in thinned glaze or dull paint, and
the garments were painted in matt tones red, brown, or yellow
with a few touches of black glaze. By these means colorful ef-
fects could be obtained which were impossible in the restricted
scheme of red-figure. The favorite shape for the technique was
the lekythos. It was used both in daily life and as a votive offer-
ing on graves, for we find it decorated with scenes from the life
of women and with mourners at graves. Other shapes, such as
the kylix and pyxis, also occur, often with mythological subjects 5
(see p. 98).
A comparison between the vases of this period and contempo-
rary sculptures will show interesting parallels in the broader
modeling of the human body and the more naturalistic dra-
peries. In the Olympia sculptures, dated about 460, the former
schematic box pleats have given place to a freer treatment. The
himation and the now popular peplos fall in a few, significant
folds, occasionally with bold, rounded zigzags along the edges,
like those we observed on the vases. And the chiton has curving
lines along the lower edge instead of the former zigzags.
An important chronological landmark for this period is fur-
nished by the kalos name Glaukon sometimes with, the addi-
tion "son of Leagros" 6 which occurs, for instance, on vases
by the Providence Painter, the Nikon Painter, the Painter of the
Yale Lekythos, and the Pistoxenos Painter. The Glaukon, son
of Leagros, who was general at Samos in 441-440 and at Corcyra
in 433-432 7 may well have been a fair boy in 470; and this
date fits the father Leagros whom we met as a fair boy in 510-
500 and who was one of the generals killed in battle in 465 (see
p. 45). This evidence suggests a date around 470 for the vases
of the painters mentioned above.
In the choice of shapes we note a great change. The kylix, so
popular with the great painters of the preceding periods, is
94 ATTIC RED-FIGURED VASES
eclipsed by other forms. Only the Penthesileia Painter and his
school, and a few other, mostly minor, artists favor it. The stam-
nos, the pelike, and the various forms of amphorae are popular,
and of course the different kraters for the more ambitious com-
positions; the column krater enjoys a special vogue. Among the
smaller vases the Nolan amphora and the lekythos play promi-
nent roles.
Over 130 different vase painters belonging to this period have
been recognized. Some decorated chiefly pots, others preferred
kylikes and skyphoi. Some favored large pots, others small ones,
such as Nolan amphorae and lekythoi. Some carried on the styles
of the great masters of the preceding period, others started new
movements. Many continued their work beyond the middle of
the century into the free period, others belong exclusively to the
early free.
In this manifold activity we can distinguish several groups
with different tendencies: (i) the mannerists, who cling to the
formulas of the preceding age but develop them into a new,
flowing style with graceful affectations; (2) an individualistic
school, reaching out boldly in the direction of naturalism; (3) a
group of artists who were strongly influenced by the contempo-
rary large murals of Polygnotos and Mikon; and (4) painters
who favored quiet compositions, foreshadowing the classicism
of the Periklean period. Naturally these groups are not always
clear-cut; and there are other artists who stood outside.
(i) THE PAN PAINTER AND OTHER
MANNERISTS
THE PAN PAINTER 8 is the protagonist of the mannerists, carry-
ing on the style of Myson (see p. 71), but in a new, individual-
istic way. He is one of the most engaging of Greek vase painters,
delighting in scenes of movement and dramatic incident, con-
sciously archaizing, and yet with a taste for the unusual and un-
tried. And so his pictures, while retaining the late archaic quaint-
ness and grace, are imbued with a new freedom. The forms are
old but the spirit is new and highly individual. Over one hun-
dred works have been attributed to him, on a great variety of
shapes cups, large pots, and small ones. His earliest extant ones
EARLY FREE STYLE 95
are the psykter with Marpessa in Munich 9 and the lekythos with
Artemis (on a white ground) in Leningrad (see fig. 66), 10 both
somewhat stiff in design but, especially the Artemis, of an ethe-
real charm. The masterpieces of his mature period are the bell
krater in Boston X1 after which he is named, with the death of
Aktaion and Pan pursuing a goatherd (see fig. 67), and the pelike
with Herakles and Busiris, in Athens. 12 They are magnificent in
their exuberant vitality and dramatic force.
Several excellent examples of the Pan Painter's mature period
are in New York. On a column kiater 1S Dionysos is represented
walking in stately fashion, dressed in a long tunic and a volumi-
nous mantle evidently on his way to an important function. He
is followed by a satyr carrying his master's cup, an ivy branch,
and a stool with a handsome cushion. Another satyr painted
on the other side of the vase is coming toward them, carrying
a cup; it is full, for he holds it at the bottom with evident care.
On a Panathenaic amphora " a kitharist is depicted in a long
chiton, stepping forward, his head raised in rapture over the mu-
sic he is making, while the judge (on the other side of the vase)
quietly listens. The kithara is carefully drawn with the different
parts clearly marked the sound chest, the arms, the elaborately
designed strengthening pieces, the crossbar with a disk at each
end, the pegs, and the bridge. Hanging from the sound chest is
a decorated cover, ending in a long fringe a picturesque addi-
tion, especially if we imagine it gaily colored and swinging with
the player's movements. The man's left wrist is put in the re-
taining band, whereby the instrument is kept in a vertical posi-
tion and both hands are left free for playing. As a beautiful ren-
dering of musical exaltation the kitharist may be compared with
that by the Berlin Painter 15 and with the Orpheus in Berlin (see
p. 129). The Pan Painter's figure is quieter than the two other
musicians, but the stir of feeling is clearly conveyed.
The Ganymede on an oinochoe 16 is especially attractive (fig.
68). He is running at full speed, in one hand a cock, in the other
a hoop and stick; his head is turned, presumably toward a pursu-
ing Zeus (not here represented); his long hair is arranged in
braids or rolls round the back of his head. The figure has the
Pan Painter's grace and alertness, his highly finished drawing,
his dramatic touch. Young Ganymede running away with his
playthings from the chief of the gods is a subject which naturally
9 6 ATTIC RED-FIGURED VASES
appealed to this artist, and he painted it several times; for in-
stance on a Nolan amphora in Boston/ 7 where Zeus and Gany-
mede are combined in one group. The Theseus and Minotaur
on a skyphos 18 in New York are not drawn with great care, but
are well characterized. The rapid pursuit of Theseus, the flight
of the monster, and the rocky landscape are all suggested with
a few deft touches.
One of the Pan Painter's latest works is the bell krater in
Palermo 19 with Dionysos and a maenad a rhythmical but some-
what lifeless work. By that time his strength was evidently spent.
Among this artist's many characteristic renderings 20 we may
note the black dot for the iris, the thin nose with delicate nostril
line, the slightly pouting lips, the firm chin, the small round ear
with arcs variously placed, the thick, short neck with one or two
brown lines indicating the muscles, the clavicle drawn as a shal-
low curve not touching the median line and with a separate arc
at the inner end, the short line often placed at the junction of
the breast lines; the line at the armpit; the variously placed arc
for the ankle.
THE PIG PAINTER" is an able mannerist of this time. His
name is derived from the two pigs in his picture of Odysseus and
Eumaios on a pelike in Cambridge. 22 Thirty-nine other works,
chiefly on large vases, have been attributed to him. Two typical
ones, on column kraters, are in New York 28 a satyr pursuing a
maenad, and a youth and a boy, both distinguished for their
rhythmical compositions.
THE LENINGRAD PAINTER, 2 * named after his two works in Len-
ingrad, 20 is an artist of comparable caliber. His best-known paint-
ing is that of vase painters at work, on a hydria in private posses-
sion. 26 A lively scene of youths returning from a banquet is on
a column krater in New York. 27
THE AGRIGENTO PAINTER, 28 also a good mannerist, decorated
the calyx krater at Agrigento 29 with Herakles and Nessos and
the well-known hydria in London 80 with a music lesson. Most
of his known works are kraters. Though not executed with spe-
cial care they have a pleasing vivacity and swing. The scene of
Herakles and Busiris on a column krater in New York 31 is a
typical scene. Herakles, who was about to have been sacrificed at
the altar by the order of the Egyptian king Busiris, is turning
on his enemies. He has seized one of the Egyptians by the shoul-
EARLY FREE STYLE 97
der and is clubbing him so that the blood streams down the man's
face. The others are fleeing right and left, carrying the para-
phernalia for the sacrifice a torch, a table, a water jar, and a
basket. The barbarians wear long tunics and have long, flat
skulls, shaved crowns, pouting lips, heavy jaws, and drooping
mustaches. They are of the Ethiopian type, as in most similar
scenes. 82 The picture, though not comparable to the superb ver-
sion of the theme by the Pan Painter (see p. 95), is depicted
with a good deal of dash.
The so-called NAUSIKAA PAINTER 83 is the mannerist who deco-
rated the famous amphora in Munich 3 * with Odysseus and Nau-
sikaa. We now also know his real name, for he signed an amphora
in London 35 with women preparing oxen for sacrifice: Polygno-
tos egrapsen. As, however, at least two other vase painters called
Polygnotos are known (see pp. 97, 127), it seems best to retain
the assigned name. Though leaning to affectation and often care-
less in his drawing he was able to impart psychological interest
to his scenes and thereby to render them attractive. More than
forty vases have been attributed to him. A hydria in New York s6
with Herakles strangling the serpents is one of the most dra-
matic: the infant Herakles is kneeling on a couch, calmly grasp-
ing a serpent in each hand, while his twin brother Iphikles, prop-
erly frightened, stretches out both arms to his mother Alkmene.
She is fleeing to the right, looking back in amazement. Her hus-
band Amphitryon has taken his sword out of the scabbard, ready
to strike the snakes. Behind the couch stands Athena in godlike
calm, spear in hand. The lively scene brings to mind Pindar's
slightly earlier and equally vivid account of the story in his first
Nemean ode. 87
Two minor works by the Nausikaa Painter in New York are
the Kronos and Rhea on a pelike, 88 and the Nike driving a char-
iot on a column krater. 38
(2) THE PENTHESILEIA PAINTER AND HIS
ASSOCIATES
THE PENTHESILEIA PAINTER," named after one of his best
works the Achilles and Penthesileia in Munich 41 was one of
the chief exponents of the new naturalistic trend. He made the
98 ATTIC RED-FIGURED VASES
old, familiar stories live in vivid fashion by giving them an in-
dividual interest. The paintings on more than one hundred
vases have been attributed to him. Besides the grandiose, highly
finished Achilles and Penthesileia, and Apollo and Tityos 42 on
the two large kylikes in Munich, he painted many slighter prod-
ucts in a spontaneous, sketchy style, mostly on cups. Pursuit
scenes, satyrs and maenads, youths with horses are favorite sub-
jects. His interest in technical problems is shown in the acces-
sory colors he used on the Penthesileia cup red, brown, yellow,
and gold and in the two polychrome, white-ground pieces in
New York. The latter rank among his best works. The Judgment
of Paris on the toilet box 4a is treated in a light, humorous vein.
Each figure is well characterized: Paris, a boy with pouting lips,
seated on a rock and looking up at Hermes (see fig. 73), who is
explaining his mission; Hera, with veil and scepter, turning to
the others as if hesitating to be the first to enter the contest;
Athena in full array; and Aphrodite, adjusting her mantle, while
her son Eros is looking up at her admiringly. The varied color
scheme, the finely designed shape, the careful execution, and
the exceptional preservation combine to make this an outstand-
ing piece. The exalted Zephyros and Hyakinthos 4 * and the Nike
crowning a victorious youth (fig. 69), on the New York double
disk,* 5 are equal in caliber to the paintings of Penthesileia and
Tityos. The compositions have the same bold rhythm running
through them. The design of the Nike and youth in particular
both figures placed diagonally across the circular field, one
moving gently forward, the other in strong backward motion
is singularly vivacious, a happy solution of a difficult problem.
Several less imposing works in New York show the Penthe-
sileia Painter's average work. On a stemless kylix 46 are two lively
scenes; in one Eos, both arms outstretched, is pursuing Tithonos;
in the other Eos is running after a long-haired youth Tithonos
or perhaps Kephalos; the eagerness of the goddess and the youth's
reluctance are well expressed both in the faces and in the atti-
tudes. On a skyphos 4T are bearded men and youths with armor
perhaps departure scenes, if we may judge by the dejected look
of one of the older men. A large kylix 4S has athletes on the ex-
terior and on the interior a man fighting a boar with sword and
club in a rocky glen (fig. 70) a well-spaced composition within
the circle. Two lively groups on a skyphos * 9 are in the manner
EARLY FREE STYLE 99
of the Penthesileia Painter: a satyr capering before a maenad,
his hands outstretched to ward off the blow she is threatening
with her thyrsos, and a maenad fleeing before a satyr who is
after her in hot pursuit. The satyrs are drawn in three-quarter
front and back views.
The Penthesileia Painter's style is easily recognized by his
characteristic renderings the turned-up nose with delicate nos-
tril line, the pouting lips, the obliquely placed eyes, the inclined
heads, the wavy curls, the variously placed arc for the ankle. The
open hand emerging from the mantle and the outstretched arm,
holding staff, scepter, or spear, are favorite gestures. The inscrip-
tion ho pais kalos, in two lines, occurs frequently.
THE PISTOXENOS PAINTER'S B0 style is closely related to that of
the Penthesileia Painter. Some authorities have even thought
that the two were the same person, that is, that the Pistoxenos
Painter is the early Penthesileia Painter. But the spirit of their
works is different and the two artists have now been convinc-
ingly separated again. Eighteen works have been attributed to
the Pistoxenos Painter. His name is derived from a skyphos in
Schwerin 51 signed Pistoxenos epoiesen which he decorated with
young Herakles and the nurse Geropso, and with Linos instruct-
ing Iphikles in playing the lyre. A pyxis in Brussels B2 with
women, and with five hares in charmingly lifelike attitudes on
the lid, is signed by the potter Megakles. Several cups with white-
ground designs on the interior are signed by the potter Euphro-
nios 58 (see p. 54). They include one of the Pistoxenos Painter's
masterpieces: The Death of Orpheus on a kylix in Athens," 4 now
a mere fragment, but once a grandly conceived composition. His
Aphrodite riding a goose, on a white-ground kylix in London, 68
is one of the most idyllic pictures in Greek vase painting. Her
regal demeanor as she floats gently through the air marks her a
goddess. We see here, better than words can convey, the enlarged
concepts of a new age.
The only bit of painting by this artist in New York is on the
fragment of a kylix 56 the upper part of a woman wearing a
chiton, a mantle, and a sakkos. The rendering of the eye with a
black iris in the inner corner, the strongly curving lids, and the
fluffy hair are in his characteristic manner.
The kalos name Glaukon occurs on several of the Pistoxenos
Painter's vases; also once the name Lysis.
JOG ATTIC RED-FIGURED VASES
The Penthesileia Painter's broad, vivacious style appealed to
his contemporaries and he had many imitators THE SPLANCH-
NOPT PAINTER, THE PAINTER OF BOLOGNA 417, THE WEDDING
PAINTER, THE PAINTER or BRUSSELS R 330, and others. sr Their
decorations are chiefly on cups, and some can be dated as late
as the end of the third quarter of the fifth century. Among the
works of these Penthesileians in New York one of the most in-
teresting is the Birth of Aphrodite by the Wedding Painter on
a pyxis (see fig. 72)." She is represented as a young girl welcomed
by Eros and surrounded by excited women bringing sashes, a
perfume vase, a branch, and a chest. A similar representation oc-
curs on a pyxis in Ancona. A kylix 59 decorated by the Painter
of Bologna 417, has scenes of women in lively conversation and,
in the interior, a picture of two women or girls walking together,
one apparently being pulled forward against her will. The un-
willing one is carrying a writing tablet, so a writing lesson may
be the objective (though she seems rather big for this), or per-
haps she has received a letter. The Splanchnopt Painter, named
after his picture of a boy roasting splanchna (the viscera of ani-
mals), in Heidelberg, 60 is represented by scenes of Nikai and
youths on a kylix. 61 In the interior a Nike confronts a boy hold-
ing a lyre evidently the winner in a contest; bands of palmettes
and laurel form an effective framing.
Beazley fl2 has called attention to the fact that in the school of
the Penthesileia Painter collaboration of two painters on one cup
("which occurs elsewhere, but seldom") is frequent. The inside
of a cup is sometimes decorated by one painter, the two outside
scenes by another. We have here a convincing instance of sev-
eral artists working in one establishment. The Penthesileia
Painter himself apparently did not so collaborate, to judge, at
least, by his extant works.
(3) THE NIOBID PAINTER AND HIS
ASSOCIATES
The Niobid Painter and his associates are the most ambitious
vase painters of their time. Their imagination was evidently
fired by the mural paintings of Polygnotos and Mikon, and their
EARLY FREE STYLE 101
Amazonomachies, centauromachies, and Iliouperseis, with their
elaborate compositions and bold attempts at foreshortening, can
give us some idea of the lost wall paintings described by Pau-
sanias (see p. 89).
THE NIOBID PAINTER 6S is named after one of his chief works
the death of the Niobids and the assembly of Argonauts on
a calyx krater in the Louvre. 6 * The figures are no longer ranged
along one line in the front plane, but are composed on different
levels in hilly landscapes, and several are drawn in fairly correct
three-quarter views. In other words, spatial depth is attempted,
though not yet with a diminution of the figures in the farther dis-
tance. The quiet, statuesque postures of the figures reflect the
new elevation of spirit. The Athena in the Argonaut scene, for
instance, in her dignified, self-contained pose, brings to mind
the statue of Athena by Myron, the Athenas of the Olympia
metopes, and the statue from South Italy in New York. 66
Many other grandiose compositions, chiefly on large kraters,
have been attributed to the Niobid Painter. In addition he
painted simpler designs on smaller vases in a somewhat formal
style. Triptolemos with Demeter and Persephone, on a hydria
in New York, 66 is a typical latish work of this kind (see fig. 75).
Triptolemos is seated in a winged chariot, holding a scepter and
the gift of grain which he is about to bring to mankind; before
his departure a libation is being poured. Two libation scenes on
a neck amphora in New York, 67 are rapidly drawn, without great
finish.
The picture of Kadmos and the dragon on a calyx krater in
New York ea has been attributed to "the manner of the Niobid
Painter." It is beautifully composed, with Kadmos confronting
the serpent as the center of interest, Harmonia on a higher level
in the farther distance, and Ares and Athena, who are outside the
contest yet determine its issue, effectively framing the central
group. The four figures are drawn in three-quarter views. The
roundness of Kadmos' water jar is suggested by a wash of thinned
glaze; similar washes are used on Kadmos' hat and Ares' shield.
The Niobid Painter had a number of able associates THE
ALTAMURA PAINTER, "an elder colleague," who is represented by
two good examples in New York: a pelike with a departing war-
rior, and a stamnos with the Story of Peleus and Thetis; C8a
102 ATTIC RED-FIGURED VASES
THE PAINTER OF THE WOOLLY SILENS, called after his picture on
a bell krater in Syracuse; THE PAINTER OF THE BERLIN HYDRIA;
THE PAINTER OF BOLOGNA 279; and THE GENEVA PAINTER. 69
A large volute krater in New York 70 by the Painter of the
Woolly Silens can give a good idea of the imposing products
turned out by Attic potters at this time (fig. 74). On the body
of the vase is a battle of Greeks and Amazons, composed in sev-
eral groups: at the left a Greek, sword in hand, is seizing an
Amazon by the arm to intercept her attack. Then comes an Ama-
zon on horseback presumably the queen, for she wears a rich
costume; she is running her spear into a Greek who has fallen
to the ground and is holding up his shield for protection; blood
is flowing from the wound she has inflicted; he is drawn in three-
quarter back view with the left leg foreshortened and the sole
in full view; the sword blade is made quite short, again to indi-
cate foreshortening. To the right a Greek, probably Theseus, is
fighting two Amazons; he is attacking with his spear, they are
swinging two battle-axes; one Amazon is in three-quarter view,
with the breasts foreshortened and her shield drawn as an ellipse
with the rim wider at the ends than at the sides. The scene con-
tinues under the handle with a Greek spearing an Amazon who
collapses in front of him. From behind a hillock the upper part
of a fallen Amazon is visible in front view, one arm over her
head, the other hand on her breast. A wounded Amazon ap-
proaches with halting steps leaning heavily on her spear. Turn-
ing to the other side of the vase we see the continuation of the
battle. An Amazon has shot an arrow which has struck a Greek
in the back; he is reaching with his hand to his wound. Along-
side, an Amazon, goad in hand, is driving a four-horse chariot
at full speed; she is hurrying to the rescue of a hard-pressed com-
panion (shown under the second handle). The latter has fallen
on one knee (the leg is curiously foreshortened) and is wielding
her sword to ward off a Greek advancing against her with his long
spear. Above is visible the head of an Amazon surveying the scene
from behind a hill. The hilly ground is marked by wavy lines
drawn at different heights to indicate various levels; here and
there flowering plants are growing on the hillsides.
The scene on the neck of the vase represents the combat of
Lapiths and centaurs at the wedding feast of Perithous. It too
is of great interest, so we may describe it in detail. There are
EARLY FREE STYLE 103
four banquet couches, placed end to end and spread with covers
and pillows; on a stand at one end is a large lebes, from which
the wine has been dispensed. The fight is in full swing. Lapiths
and centaurs have seized what weapons have come to their hand
for defense and attack clubs, a pillow, an ax, and two long
swords. On the floor is an overturned tripod. In the center is
probably Theseus, swinging an ax, his attitude and drapery like
that of the well-known figure on the Olympia pediment. His op-
ponent has taken a pillow from a near-by couch and is holding it
up to shield himself from the impending blow; the equine part
of his body is in three-quarter back view, his human trunk full
front, the legs, one arm, and the head in profile. Then comes,
perhaps, Perithous, drawn in back view, spearing a centaur.
Hurrying to the scene from the right is an old man with stick
and spear presumably the bride's rather. Equally animated are
the two groups at the left a centaur seizing a Lapith by the
head (foreshadowing compositions of the Parthenon metopes),
and a centaur and a Lapith on opposite sides of a couch, both
wielding their weapons, the youth with his mantle pulled up
for a shield. On the other side of the neck is a more conventional
scene with youths and women.
The paintings on six other vases have been attributed to this
painter, 71 but none are comparable to the New York krater. It
is instructive to realize that a painter of seemingly average rank
if judged by his other work could rise to such achievements as
the combat scenes on the New York vase.
The battle of Greeks and Amazons on a calyx krater in New
York 72 by the Painter of the Berlin Hydria is another fine paint-
ing of this period. In the center is an Amazon on horseback, rid-
ing out of the picture toward us (fig. 31). Her head is in full front,
the head and body of the horse near a three-quarter view, while
her legs and the horse's go in different directions. Round this
central figure the battle is raging. On the left a bearded Greek
is aiming his long spear right across the center at two Amazons
who are attacking with spear and battle-ax. Below him an Ama-
zon is collapsing before the onslaught of a young Greek, who in
turn is being attacked by an Amazon at his back (above the
handle of the vase). To the right of the central group is an Ama-
zon, her feet hidden by a hillock, swinging her ax against a Greek.
The scene continues on the other side of the vase with two
104 ATTIC RED-FIGURED VASES
groups. An Amazon on horseback is being attacked by a Greek
while another Amazon comes to the rescue with drawn sword.
To the right a Greek is threatening an Amazon with his sword.
Behind them grows a tree. The hilly ground is indicated by wavy
lines with flowering plants growing upward and downward. The
composition admirably conveys the stress and confusion of bat-
tle. The figures some of which extend over the ornamental
borders do not divide into the usual closely knit groups but
are composed in unsymmetrical fashion, and the spears, swords,
and arrows going in different directions and crossing one another
at different points contribute to the general impression of tur-
moil.
As has often been pointed out, the crowded compositions in
these and similar vase paintings, the bold foreshortenings, the
suggestion of shadows in the draperies by washes of thinned glaze
must have been inspired by the larger paintings of the time. But
that the vase painter did not directly copy is clear from the fact
that there are no repetitions of groups or even of single figures
in the vase representations. An Amazon on horseback, an Ama-
zon lifting an ax with both hands, an advancing Theseus, a col-
lapsing Greek or Amazon appear again and again, but always
in different attitudes and groupings. Moreover, as we have seen,
the foreshortened figures on the vases are not sudden phenomena.
Two generations of vase painters had already been at work on
such problems (see pp. 37 f., 60 f.).
(4) THE VILLA GIULIA PAINTER AND HIS
ASSOCIATES; "FOLLOWERS OF DOURIS"
THE VILLA GIULIA PAINTER," named after his dancing women
in the Villa Giulia Museum, 74 is the chief representative of the
academic group which flourished side by side with the Niobid
Painter and his associates, and which preferred calm, harmoni-
ous scenes to the latter's ambitious compositions. He produced
such winsome pictures as Hermes and the infant Dionysos on a
bell krater in London (see fig. 84), and the family of satyrs,
on a calyx krater in Karlsruhe; 76 but most of his paintings con-
sist of quiet, serene figures with little animation or imaginative
interest. Over ninety paintings have been attributed to him
EARLY FREE STYLE 105
on large and small pots, a few on cups. Two are in New York.
The scene of Apollo, Artemis, and Leto on a bell krater " is
one of this painter's best products. Apollo, in the center, is hold-
ing his kithara and a phiale which Artemis has just filled from
her jug. Behind Apollo is Leto, also with a phiale. Libations are
about to be poured. The pictures on a stamnos 78 a youth arm-
ing, surrounded by his family, and a libation scene are less care-
fully executed. A white lekythos, also in New York, 79 has a scene
of a woman pouring a libation for a departing warrior, painted
in this artist's manner. It is drawn in glaze outlines with added
white for the flesh of the woman.
There is much repetition in this artist's work, the same figure
recurring often in different scenes a woman moving away, a
woman holding a jug and a phiale, a bearded man grasping a
scepter. The himation is regularly drawn with one end thrown
over the left arm and with the zigzag folds often in thinned glaze.
The favorite headdresses are a broad band passing over the
chignon and fastened in front, and a narrow fillet wound round
the chignon and three times round the head, with ends hanging
down front and back. Long hair in men is mostly indicated by
a single tress falling down the back. The eye is generally drawn
with one or two lines for the upper lid (one strongly curving and
generally touching the other at both ends), one line for the
lashes, and a relatively small iris touching the upper lid only. 80
THE CHICAGO PAINTER, 81 who decorated a stamnos in Chi-
cago 82 with a scene of women at a Dionysiac festival, was a fol-
lower of the Villa Giulia Painter. The styles of the two artists
have much in common, but the Chicago Painter has a more
gracious personality. His figures are livelier, less statuesque.
They have not the Villa Giulia Painter's monumental quality,
but they have more lightness of spirit. To judge by the thirty-
five vases so far attributed to him, his favorite shapes were stam-
noi, pelikai, hydriai, and oinochoai. Two hydriai in New York, 88
both with Peleus pursuing Thetis, were evidently made as a pair.
Though not among the painter's best works, they are pleasing
and gay and the good preservation gives them added attraction.
A fragment of a bell krater in New York 8 * has a charming head
of a woman in his characteristic style (fig. 99). The kalos name
Alkimachos occurs on two, perhaps three, of the Chicago Paint-
er's vases and that of Chains once.
loG ATTIC RED-FIGURED VASES
The renderings of individual forms, though superficially like
those of the Villa Giulia Painter, show important differences.
Though both artists use narrow fillets wound three times round
the head, the Chicago Painter generally lets both ends hang
down the back, whereas the Villa Giulia Painter regularly has
one end at the back and one in front. Both use the broad head-
band fastened in front, but the Chicago Painter regularly places
it below the chignon, the Villa Giulia Painter above. In the
Chicago Painter's works the dot for the iris is not nearer the
upper lid but often reaches down to the lower, and the line for
the lashes is apt to have a pronounced curve; the nose is larger
and more pointed; the lines of the drapery are drawn with less
confidence.
THE METHYSE PAINTER 86 belongs to the school of the Villa
Giulia Painter and like him favored quiet, monumental scenes.
Only a few works by him are extant, among them a magnificent
bell krater in New York 86 with a Dionysiac scene. Though the
subject is a revel, the figures march in a dignified procession:
the maenad Methyse playing the lyre, her head raised in ecstasy
(see fig. 78); Dionysos, holding a kantharos and thyrsos, his un-
certain steps supported by a little satyr who clasps both arms
firmly round the god's body; another maenad playing the flute;
and a satyr with a kantharos and a wineskin. When we contrast
these stately figures with the ecstatic maenads by the Brygos
Painter and the boisterous satyrs by the Kleophrades Painter
we can gauge the change of outlook. Greek art has lost the high
spirits of youth and is assuming the serene outlook of the "clas-
sical" period.
Several artists who decorated chiefly cups show the same pref-
erence for quiet scenes. They, with the Villa Giulia Painter, the
Chicago Painter, and the Methyse Painter, continued the tradi-
tion of Douris. 87 One of the most attractive is THE AKESTORIDES
PAINTER, christened after the name he gave to the lovely boy
on a kylix in New York. 88 The boy is sitting on a stool in front
o an altar, playing the lyre and singing to its music (fig. 86). He
is evidently much moved by the music, for he looks up as if in-
spired. We have few pictures of such grace and feeling expressed
by means so simple. The figure is the embodiment of a modest,
reverent Greek boy, comparable to the lyre player on the Boston
three-sided relief; 89 but Akestorides has the added quality of
EARLY FREE STYLE 107
exaltation, conveyed by the upward tilt of the head, the angle
at which the eye is placed, and the rendering of the iris as a line
instead of a dot. The composition is admirably adapted to the
circular field. The hand marks the center of the circle; around it
the lyre is drawn; the bag is balanced by the leg of the stool.
THE PAINTER OF MUNICH 2660 90 (as well as of 2661 and 3662)
decorated also a stemless cup in New York. 91 In the interior is
a schoolboy, carrying a writing tablet; on the outside schoolboys,
with writing tablets and rolls of manuscript are approaching the
teacher who looks just like the boys and may in fact be one of
them playing at being teacher. The scenes have a charming sim-
plicity, but the execution is not very careful and the proportions
of the children are not convincing.
THE EUAION PAINTER," so called after a kalos name on one of
his cups in the Louvre, 98 worked in a similar vein. Over one hun-
dred works have been attributed to him, mostly on kylikes. His
favorite subjects are youths and satyrs in quiet compositions with
little action, drawn with a delicate line. A satyr on a stemless cup
in New York 9 * is one of his liveliest products (fig. 87). He is rep-
resented stoking the fire in an oven on which his dinner is cook-
ing. Though slight, the scene has a pleasing vivacity often absent
in this artist's rather academic paintings; and the three-quarter
back view of the satyr is ably drawn.
THE PAINTER OF LOUVRE C A 1694 9B is close in style to the
Euaion Painter. The two satyrs on an oinochoe in New York 8
are characteristic works by him.
THE EUAICHME PAINTER 97 also belongs in this general group.
He is called after the name he gave to a figure on a skyphos in
Boston. 98 Another skyphos, in New York, 99 with two male figures
on either side (see fig. 85), has the inscription Isthmodoros kalos.
The writing tablet hanging on the wall suggests a schoolroom; in
that case the seated bearded man would be the teacher talking
to one of the boys.
(5) OTHER PAINTERS
Among the many other painters of the early free period we can
mention only a few of the most prominent. THE TELEPHOS
PAINTER 100 is one of a number of artists whom Beazley has
grouped as belonging to the school of Makron. He painted two
io8 ATTIC RED-FIGURED VASES
remarkable kylikes in Boston, signed on the foot by the potter
Hieron. On one 101 is a scene of Telephos in the house of Aga-
memnon, on the other 102 a picture tentatively interpreted as a
festival in memory of the conquest of Salamis. Thirty-six other
works have been attributed to this painter, chiefly on cups. His
style is highly individual. Instead of the comely, heroic types
prevalent at the time he used cadaverous figures in angular poses,
with expressive gestures. The kalos name Lichas occurs on two
of his vases.
THE CLINIC PAINTER 103 is another pupil of Makron with an
interesting, vivid style. He is named after the remarkable scene
of patients in a clinic, on an aryballos in the Louvre; 10 * each in
turn is being bled by a physician, bleeding being a favorite treat-
ment in ancient times for many ills. A surgeon's basin and cup-
ping glasses are ready to hand. Two other aryballoi and fourteen
cups have been attributed to this artist, including a kylix in the
British Museum 10S with Dionysos and Herakles dining together,
waited on by two satyrs; one of the latter is surreptitiously steal-
ing a cake while his mate self-consciously looks the other way.
A kantharos in Boston, 108 with Dionysos and Poseidon fight-
ing giants, and with the inscription "Hieron Medontos epoie"
painted on the foot, was not decorated by Makron, the decorator
of most of the vases signed by the potter Hieron (see p. 81),
but by THE AMYMONE PAINTER. 107 The name is derived from his
picture of Poseidon and Amymone on a pyxis in Athens. 108 The
antiquity of the inscription has been doubted. If it is ancient it
supplies the name Medon as the father of Hieron, which is not
elsewhere given.
HERMONAX'S signature, with egrapsen, is preserved on six vases
four stamnoi in Paris, Orvieto, Boston, and Florence, and two
pelikai, in Rome and Vienna. He continued the style of the Ber-
lin Painter. Almost one hundred paintings have been attributed
to him mostly on pots, a few on cups. 109 One of the most pleas-
ing is the Birth, of Erichthonios on a stamnos in Munich. 110 A
lekythos in New York, 111 with a running maenad as the prin-
cipal picture (see fig. 77) and a crouching satyr on the shoulder,
is an attractive work in a lively vein. Another maenad in a
quieter pose is on a lekythos, also in New York. 112 More than
most of his contemporaries Hennonax preserved the freshness
and sense of movement characteristic of the preceding age. The
EARLY FREE STYLE 109
manner in which he draws the eye the upper lid convex instead
of concave to the lower, and the iris a large black dot at the inner
corner gives the face an uncommonly alert expression. He
marks the profile ankle in the same way as the Berlin Painter
with two lines, one more or less straight, the other strongly curv-
ing.
THE OIONOKLES PAINTER," * named after the kalos name which
occurs on four of his vases, worked in the same tradition as
Hermonax. He was a follower of the Providence Painter (see
p. 74), who, like Hermonax, was a pupil of the Berlin Painter.
His pictures are mostly lively pursuit scenes on Nolan amphorae
and lekythoi. The satyrs and maenads on two Nolan amphorae
in New York 114 are typical examples. How fresh and spontane-
ous, for instance, is the group of the fluting satyr marching along,
followed by Dionysos with snake and thyrsos (see fig. 76)! They
are off on a gay adventure to the strains of music. The youth ad-
vancing with drawn sword, on a large lekythos, 11B has a fine
statuesque quality. In addition to Oionokles this artist uses the
kalos names Akestorides, Kallias, and perhaps Hilaron.
Several artists of about the same measure as the Oionokles
Painter are represented by good examples in New York: THE
NIKON PAINTER 116 by a Nolan amphora 117 with Demeter and a
woman and with the inscription Kallikles kalos; THE PAINTER OF
THE YALE OINOCHOE 118 by an amphora 119 with a youth pursuing
a woman, sword in hand; and THE PAINTER OF THE YALE LEKY-
THOS 12 by a Nolan amphora m with a pursuit scene and by a
small white-ground lekythos 122 with a warrior cutting a lock of
his hair presumably to put it on a tomb, like Orestes on the
grave of Agamemnon. The scenes on three Nolans, 128 decorated
with figures of a Nike, youths, and a man with a scabbard, are
in the manner of THE PAINTER OF LONDON E 342. Two typical
works are by THE SYRACUSE PAINTER 124 a tall amphora 125 with
lively scenes of Nike pouring wine for Poseidon and of Dionysos
going off to a function and an unusually large oinochoe 128 with
satyrs pursuing maenads in a highly decorative composition. An
interesting scene of satyrs making wine 12T is by THE CLEVELAND
PAINTER. 128 One is treading grapes in a wooden trough, holding
up two corners of the cloth to make the juice pass through more
easily. The juice flows into a large cauldron placed under the
trough. A large amphora and a drinking horn are ready for use.
no ATTIC RED-FIGURED VASES
A cup, 129 delicately modeled in the form of a lamb's head with
sprouting horns, has an. attractive picture of a youth playing the
lyre to listening friends. It is one of five works attributed to THE
PAINTER OF LONDON E ioo. 130
We saw that the ability to give psychological interest to a scene
by a few realistic touches was a characteristic of the Penthesileia
Painter and his followers (see p. 97). Other artists occasionally
made attempts in the same direction. THE AIGISTHOS PAINTER, 131
in his Death of Tityos on a calyx krater in the Louvre, 132 is able
to bring out the contrast in expression between the triumphant
Apollo and the frightened Tityos. THE ORCHARD PAINTER, 183
who produced many conventional figures, including the rather
expressionless women in an orchard on a column krater in New
York, 13 * could individualize a Jason fetching the golden fleece,
on a column krater in New York. 185 Instead of a conquering hero
Jason here is a scared human being, wide-eyed and hesitant,
though boldly accomplishing his task; he thus becomes an effec-
tive foil for the fierce dragon and the calm Athena. THE PAINTER
OF BOLOGNA 228, 186 who painted a number of impersonal pic-
tures including the war chariot on a column krater in New
York, 187 also produced the prothesis in Athens, 188 one of the most
moving representations of death and mourning in Greek art, and
the dejected old warrior bidding good-bye to his son, on the neck
of a loutrophoros in New York. 189 THE ALKIMACHOS PAINTER, 140
named after one of the kalos names which appear on his vases,
could, in his Theseus in Hades on a lekythos in Berlin, 141 convey
the surprised joy of the hero after his long suffering and the
strength and determination of his deliverer Herakles. The con-
trast between the two figures is of course also indicated in the
attitudes and gestures Theseus sitting, supporting himself on
two spears and stretching out a limp hand, Herakles vigorously
clasping it, ready to depart; but the drama is heightened by the
expressions, the rolling eye of Herakles, the upward, trusting
look of Theseus. The Greek and Amazon by the same artist on
a Nolan amphora in New York 142 are of the impersonal type
prevalent at the time and show the influence of the Pan Painter.
THE DEEPDENE PAINTER, 143 named after his amphora with
Athena and Herakles which was formerly in the Deepdene Col-
lection, 144 painted vivid scenes from the Danae legend on a stam-
nos in New York. 148 Each figure is convincingly characterized:
EARLY FREE STYLE i;i
Danae, standing in the chest that is to be exposed on the sea,
her eyes wide with terror; little Perseus with one hand project-
ing from the mantle as if in appeal; Eurydike, Danae 's mother,
her fingers raised to her lips in horror; the nurse holding her
nose with two fingers to show her distress; and the carpenter,
who had to prepare the chest, holding up one hand in con-
sternation. Two other stamnoi in New York have representa-
tions of Eos pursuing Kephalos and of Menelaos threatening
Helen; and on a hydria is shown a woman at her toilet. 146
THE SOTADES PAINTER, 147 who decorated three vases signed by
the potter Sotades, was another individualist, not so much in the
characterization of his figures as in his liking of unusual subjects
and shapes. The three pictures on white-ground cups with merry-
thought handles in London 148 are among the most delicate in
Athenian vase painting. They represent Polyidos 149 and Glau-
kos; a girl (in correct three-quarter view) standing on tiptoe and
reaching up to pick apples from a tree; and an unexplained sub-
ject, sometimes interpreted as the Death of Opheltes. The Sota-
des Painter's most famous picture is on the vase in the form of a
knuckle bone in London 16 young girls dancing and floating
through the air, perhaps symbolizing the Dance of the Clouds
(fig- 79)- Few artists have attained the lightness of touch he here
displays. He also decorated several other molded vases of various
forms a sphinx, groups of a crocodile and a negro boy, heads
of a hound and of a ram. 151 The lively satyrs and maenads on a
kantharos in Goluchow and on a cup in the form of a ram's head
in Leningrad 1B2 are particularly pleasing.
In addition to the three vases decorated by the Sotades Painter,
five others bear the signature of the potter Sotades 15B : two phia-
lai in London and Boston, with grooved exteriors (one with
a plastic cicada on the central boss); two fragments with no paint-
ings preserved; and a vase in the form of a mounted Amazon,
from Egypt, in Boston, the pictures on which "are later than in
the other signed vases and not connected with them in style."
A cup in New York 154 in the form of a cow's hoof has a scene
which recalls the Sotades Painter in its individual treatment but
is by a follower of the Brygos Painter, and the style is somewhat
earlier (c. 480-470 B.c.).A herdsman, clothed in a tunic, shoes,
furry pelt, and cap, is sitting on a rock (fig. 80). He is watching
a herd of cows, of which two are wandering in different direc-
112 ATTIC RED-FIGURED VASES
tions. At the other end a wolflike dog is emerging from a cave,
down which hangs a tendril of ivy. He is rounding up the herd.
In the center is a tree, under which a hare is crouching in a char-
acteristic posture. A little to one side is a shrub. The whole is
a sensitive picture of rural life, concisely told, in the manner of
Greek epigrams. Thinned glaze is ingeniously used. A transpar-
ent wash suggests the smooth surfaces of cave and rock; mottling
conveys the rough textures of the herdsman's pelt and of the
coats of dog and hare; irregular shaded lines represent the foli-
age of the shrub; brown dots imitate the rough bark of the styl-
ized tree; and on the vase itself the texture and color of the horn
are rendered by brown striations. We could have no better ex-
ample of the many different effects which the Greek vase painter
achieved with his one black glaze.
THE LEWIS PAINTER 1BB had a liking for skyphoi. The paint-
ings on thirty-five examples have been attributed to him and so
far on no other shapes. His name is derived from a skyphos in
Corpus Christi College, Cambridge, 186 formerly in the Lewis
Collection. We now also know his real name; for he signed two
of his works Polygnotos egrapsen a skyphos in Baltimore 15T and
one in Tubingen." 8 He was, therefore, still another vase painter
named Polygnotos (see pp. 97, 127). His pictures consist mostly
of one or two figures, either quietly confronting each other or
in some deliberate action, like a slow pursuit, with the pursued
looking back at the pursuer. The rendering of the eye with two
lines for the upper lid and with a line curving strongly upward
for the eyelashes occurs often on the more careful works of his
mature period.
THE ZEPHYROS PAINTER 169 is a close follower of the Lewis
Painter. He is named after his picture of Hyakinthos and Zephy-
ros on a skyphos in Vienna. 180
THE SABOUROFF PAINTER, 181 the artist of a nuptial vase in
Berlin 162 from the Sabouroff Collection, worked both in red-
figure and on white ground. Most of his red-figured pictures are
on kylikes, Nolan amphorae, and lekythoi; they are rarely great
works of art, but form quiet, pleasant designs. The group of a
woman and a youth on a lekythos in New York 188 is a typical
example. She is sitting on a chair, holding up a mirror, while
he looks down at her admiringly. The inscription "Archedike is
fair" is perhaps a reference to the well-known hetaira from Nau-
EARLY FREE STYLE 113
kratis, "the theme of song throughout Greece." 164 In the white-
ground technique the Sabouroff Painter produced several mas-
terpieces the superb Hera on a kylix in Munich 16S and many
lovely figures on lekythoi. The scenes on the latter, in addition
to depicting life in the home, often relate to death, indicating
that such vases were now often made to serve as tomb offerings
(see p. 119). Men and women are seen mourning at tombs, or
bringing sashes and ointments as offerings, or sitting by the
grave making music. The woman kneeling by a tomb, with arms
outstretched, beating her head in grief, on a white lekythos in
the Schoen Collection, 106 is particularly moving. Three interest-
ing pictures are in New York. One, drawn in glaze outlines, rep-
resents the lying-in-state of the dead, with mourners surround-
ing the bier (see fig. Sa). 167 Another, drawn in matt lines, depicts
Charon in his yellow boat, ready to ferry a youth across the river
Styx (see fig. 81) 168 ; the youth, wrapped in a mantle, has been
escorted by Hermes to the river bank. The solemnity of the fig-
ures suggests that this is not an everyday incident but belongs
to another sphere. A third, also in matt outlines, has a scene of
two mourners standing by a tomb ornamented with sashes 169
a subject which was soon to become popular (see p. 152). In
all three pictures the colored washes yellow, black, and red
are exceptionally well preserved. Most of the white-ground
scenes by the Sabouroff Painter are drawn in matt outlines. He
was one of the first to use this new technique, which presently
became general.
A red-figured, squat lekythos in New York has a scene now
attributed to THE PAINTER OF MUNICH g^e^. 170 It has been sug-
gested that instead of Achilles and Penthesileia, as has been
thought, the subject represents two Amazons, one lying on the
ground, wounded or asleep (her eyes are closed), the other com-
ing to her. 170a The Amazon on the ground wears the Oriental
costume of tiara, tunic, jacket, trousers, and shoes; her quiver
and bow are strapped to her side, her ax is on the ground. In
contrast, the other Amazon (if it is one) wears a Greek short
chiton and a Corinthian helmet, and carries a spear and a shield
with a large eye as a device. The fact that the spear is in her left
hand shows, it is argued, that the figure cannot have attacked,
and is therefore not a Greek. Her gesture, however, suggests
surprise or sympathy.
ii4 ATTIC RED-FIGURED VASES
THE ETHIOP PAINTER is represented in New York by a dra-
matic painting: Kassandra, who has taken sanctuary at the
statue of Athena, and the ruthless Ajax about to drag her away. 171
A white lekythos in New York 172 by THE VOUNI PAINTER has
the usual scene of mourners at a tomb, but instead of one grave
stele two are represented mounted on high platforms (fig. 83)
like those found in the Athenian Kerameikos. The shafts are
bound with numerous fillets, and the mourners a woman and a
boy have offerings in their hands. Jumping weights, a strigil,
and an oil bottle (aryballos) are suspended from the right-hand
platform, so one at least of the graves must have been that of
an athlete. Behind the stelai is the funeral mound. The scene is
drawn in glaze outlines on a yellowish-white ground with red,
black, and white washes in exceptionally good preservation. The
bright colors give the vase a striking appearance. The only other
work by the painter of this picture is on a white lekythos found
arVouni in Cyprus, 173 hence his name. The style is related to
that of the Pistoxenos Painter (see p. 99).
The so-called INSCRIPTION PAINTER,"* was also a decorator of
white lekythoi. A good example with a woman greeting a youth
at a tomb is in New York. 175 The youth holds a spear and a hel-
met and his pensive, detached attitude contrasts with the anima-
tion of the woman; so he is probably intended for the dead sol-
dier who was buried in the grave by which he stands.
Several minor painters of this period specialized in the decora-
tion of small lekythoi and alabastra. THE AISCHINES PAINTER, 176
who used the kalos name Aischines on an alabastron in Boston, 177
is one of the most pleasing. Almost two hundred vases, chiefly
lekythoi, with one or two figures, have been attributed to him.
Two typical examples, each with a woman in an animated pose,
are in New York. 178 THE TYMBOS PAINTER 17fl decorated mostly
small white lekythoi intended as offerings at tombs. THE CARLS-
RUHE PAINTER, 180 who decorated a small pelike in Carlsruhe, 181
worked in both red-figure and on white ground. THE IKAROS
PAINTER, 182 named after a representation of a winged figure, per r
haps Ikaros, in New York, 1 ** painted chiefly lekythoi, some on
white ground. Though these modest painters produced no
great works of art, they help us to realize the many-sided activity
in the potters' studios at this time. Their works are like little
trills supplementing the full chords of the more important art-
ists.
IV. FREE STYLE, ABOUT 450-420 B.C.
THE period of the free style is concurrent with the adminis-
tration of Perikles (461-429), which marks the height of
power of the Athenian state. The vast resources available
through the transference of the Delian Treasury to Athens (454)
and the Thirty Years' Peace signed between Athens and Pelopon-
nese (445) enabled Perikles to undertake important building op-
erations. The Parthenon, the Propylaia, and the Telesterion of
Eleusis all date from this time.
In the field of painting the great masters of the preceding
epoch Polygnotos and Mikon were still active and all influ-
ential.
In this period of great activity in the major arts of sculpture
and painting it was natural that the most prominent artists
should no longer work in potteries. And so vase painters now
tend to be mere decorators. Even so their work reflects the spirit
of the time. Something of the grandeur of the Parthenon sculp-
tures appears in the simple compositions of standing and seated
figures which now come into favor. And the figures themselves
are drawn with a new ease and freedom. They are no longer
composites of separate formulas but are realized as a whole, with,
contours suggesting the volume of the shapes enclosed. Shading
is suggested by occasional washes in thinned glaze alongside the
anatomical markings (see p. 128). This plasticity, though prob-
ably a gain for the large panel paintings of the time, detracts
from the decorative value of the vase paintings, for it seems out
of place in a design on a pot.
The experimental period being over, there was now less striv-
ing for difficult postures. Profile views or full-front views with
profile heads were still favored by most artists; but when three-
quarter views were chosen for a chest, face, foot, hand, back,
or for the whole figure they were drawn with comparative ease.
The rendering of the eye also becomes more natural. In profile
view it is now more or less triangular in shape with the iris hid-
ing the inner corner (see fig. 33). The iris itself is no longer
round but elongated, generally touching only the upper lid; the
latter is often rendered by two lines instead of one, and a curve
ii6 ATTIC RED-FIGURED VASES
is added for the eyelashes. Thus a convincing rendering was at-
tained by pure line drawing without any modeling or shading.
In the full-front view the outer as well as the inner corner of
the eye is now sometimes open, and the iris is usually placed in
the center (see fig. 33 f.).
The hair has lost its former compactness and often appears
as a loose mass with wavy contours at forehead and temples and
fluffy curls at the sides.
The garments are drawn in flowing lines, which vary in direc-
tion, suggesting the round forms of the body underneath. As in
a b c d e f
FIGURE 33
the preceding period, thinned washes are occasionally used for
shadows to indicate the depth of folds.
Linear perspective, which, as we saw (pp. 90 f .), was applied to
stage scenery in the preceding period and which occupied the
minds of philosophers like Anaxagoras and Demokritos, only
slowly penetrated into the consciousness of the vase painters.
In the first two decades of the period under consideration rec-
tangular objects like furniture, stelai, steps of stelai, altars are
still regularly rendered only in the front plane (see p. 140). Only
occasionally do we find an attempt at representing a receding
side view, as, for instance, in the chest on a hydria in Boston by
the Danae Painter * (about 450-440 B.C.); even there, however,
the lines do not converge, but are drawn parallel to one another.
From 430 B.C. such attempts are more frequent. 2 For instance,
on an oinochoe of about 425 in New York a doorway and tiled
roof are shown receding into the background (see p. 135).
The color scheme remains the same as before, but red as an
accessory color (generally on an undercoating of white) and,
toward the end of the period, gilding on applied clay become
increasingly frequent. Relief contour is often dispensed with.
Washes in thinned glaze to suggest shadows and volume become
more frequent than before.
The white-ground technique popular in the preceding period
FREE STYLE 117
is continued alongside red-figure, but is now restricted more
and more to the lekythoi used as offerings to the dead. The sub-
jects accordingly deal mostly with death (but see p. 121). The
figures are drawn in outline either in glaze or dull paint, pres-
ently in dull paint only. Applied white is discontinued, the white
ground serving for the flesh; sometimes a flesh color is added
over the white. The garments are covered as before with solid
washes; red and black are the favorite colors.
A comparison between the vase paintings of this period and
the Parthenon sculptures (447-432) reveals many similarities
of style, especially-in the draperies. The works of the Achilles
Painter and his group are related to the frieze (442-438 B.C.).
A little later, in the works of the Eretria Painter, the folds mul-
tiply and the garments gain in transparency, reflecting the ren-
derings of the pediments (438-432 B.C.). In a few instances scenes
on vases seem to have been copied from specific figures. Thus
the youth mounting his horse, on a pelike in Berlin, 8 strikingly
resembles a group on the west side of the Parthenon frieze; * and
the two youths with a bull, on an oinochoe in Baltimore, may
be an adaptation from figures on the south side of the frieze. 8
That sculptures were copied on vases during this period and
later is definitely shown by the representations, for instance, of
the Tyrannicides on a fragment in Boston * found in the burial
plot of Dexileos (see pp. 141 f.) and of Myron's Athena on an oi-
nochoe in Berlin. T
Kalos names, which furnished such convenient evidence for
dating the earlier vases, become less common, except on white
lekythoi (see p. 152).
The types of vases used are much the same as in the preceding
period, but the forms gra lually become more flowing in outline,
less crisp and sturdy.
Over eighty vase painters have been assigned to the free period.
Some decorated chiefly pots, others chiefly cups. The most promi-
nent pot painters are the Achilles Painter and his followers,, and
Polygnotos and his circle. The latter's broad style greatly in-
fluenced the art of the succeeding period. The Eretria Painter,
the Kodros Painter, and others decorated chiefly cups and the
smaller vases with delicately drawn scenes. They too have a great
future in the work of the Meidias Painter and his followers.
ii8 ATTIC RED-FIGURED VASES
(i) THE ACHILLES PAINTER AND HIS
FOLLOWERS
THE ACHILLES PAINTER," named after his stately amphora with
Achilles and Briseis in the Vatican, 9 is one of the leading artists
of his time. We find in his work, perhaps more than in that of
any other vase painter, the serene spirit of the contemporary
Periklean sculpture. Most of his pictures are on Nolan amphorae
and lekythoi and consist of one or two figures doing the obvious
things of everyday life, but with a quiet poise which gives them
distinction. Occasionally he decorated large vases. Even in these
more ambitious compositions, however, it is the beauty of the
attitudes rather than the interest of the action that appeals.
So much of the work of the Achilles Painter has been preserved
on over 180 vases, including white-ground lekythoi and black-
figured Panathenaic amphorae 10 that we can form a good esti-
mate of his style. In his early formative years he learned much
from the Berlin Painter, and he drew his forms in a somewhat
summary manner. The vases formerly assigned to the so-called
Meletos Painter belong to this period; at least Beazley now thinks
that this artist and the early Achilles Painter are identical. One
of the most important examples of the "Meletos period" is a
bell krater in New York 1X with an old warrior and a bearded
man engaged in lively conversation. The old soldier's face is
drawn in a remarkably realistic manner. The hooked nose, the
strongly curving eyebrow, the wrinkles on forehead and cheek
and around the eyes differentiate him from the current type. It
is worthy of note that the Achilles Painter if this vase is in-
deed by him attempted such realistic renderings in his youth,
whereas in his extant later work he adhered to the generalized
types. Two Nolan amphorae in New York with Eos and Titho-
nos, 12 and a third with Athena and a woman 18 have likewise been
identified as early products by the Achilles Painter.
As the Achilles Painter matured his style became surprisingly
uniform. Especially in his slighter works the same poses and
motives occur again and again with but few variations; in fact
the mantled figures on the reverses of his vases serve almost as a
trademark of his work. Most of his large important paintings be-
long to this period the Achilles and Briseis on the amphora in
FREE STYLE 119
the Vatican above-mentioned, Euphorbos and Oedipus on an
amphora in Paris, 14 the Dionysiac scene on a pointed amphora
also in Paris, 1B and the Theseus and Amazons on a calyx krater
in Ferrara. 1 " A loutrophoros-amphora in Philadelphia 1T has sev-
eral rare features. The principal decoration, instead of being
the lying-in-state usual on such funeral vases, represents a com-
bat; and though this picture is by the Achilles Painter, others
on the same vase are by an associate the Sabouroff Painter (see
p. 112). We have here another certain instance of two artists
collaborating in the same workshop (see p. 100).
The scene on a squat lekythos in New York 18 is a typical minor
work, attractive in its simplicity. A woman has filled a phiale
from her wine jug and is handing it to a warrior for a libation
before his departure. He holds his shield and spear and wears
a "Thracian" helmet and a short, heavy tunic. A stool with orna-
mented cushion is by their side. Both figures have close parallels
on other vases by the Achilles Painter, for instance the woman
on a pelike in the British Museum 19 and the warrior on a lekythos
in the Louvre. 20
Besides his red-figured work the Achilles Painter decorated
many white lekythoi. 21 He was indeed the leading painter in
this technique and was probably responsible for its great vogue
during the second half of the fifth century. The development
observable in his products is that current at the time. First the
scenes are drawn in diluted glaze outlines, later in reddish or
black matt outlines; in the earlier works a "second" white super-
imposed on the white ground for certain details was used, later
it was abandoned. Among the Achilles Painter's many white-
ground, pictures several stand out by their excellence. In a fa-
mous one in Athens 22 a youth is departing for battle and bidding
farewell to his wife; he is holding helmet, shield, and spear while
she sits motionless looking into space. The poignancy of the
parting is the greater for being merely suggested. Another mas-
terpiece in this technique is in the Schoen Collection in the Ti-
cino. 23 A woman sits on a rock and plays the kithara (see fig. 89),
while a companion stands listening. The locality is identified as
Mount Helikon and the women as Muses by the inscription
Helikon on the rock. The stillness of the scene is conveyed by
the quiet postures of the women absorbed in the music. The
colors are exceptionally well preserved: yellow for the tunic of
120 ATTIC RED-FIGURED VASES
the seated figure, with a vermilion line near the hem, vermilion
for her kerchief, wine-red for her mantle, reddish brown on
the kithara; red lines on the tunic of the standing figure, ver-
milion for her mantle with black lines for the folds. The vivid
colors, consciously interrelated, play their part in the harmony
of the design. The vase is inscribed Axiopeithes kalos Alkimacho }
"Axiopeithes the son of Alkimachos is fair."
Several attractive white-ground scenes by this artist are in
New York. On one lekythos 24 a mistress and maid stand facing
each other; the mistress is tying her girdle beneath the pouch of
her tunic, the maid holds an alabastron ready for use; on the
wall hang a mirror and two kerchiefs. On another 2B a woman
and a youth are about to clasp hands; a kerchief hangs on the
wall. The two vases are closely related and resemble two others
in Toronto 2e and Broomhall. 2T All four were probably made at
the same time. On a third lekythos in New York 28 two women
are preparing to take offerings to a tomb; one carries a basket
from which hang three fillets; the other holds up a vase with a
cover, probably used for perfumes; a kerchief hangs on the wall.
A fourth, 29 with a badly preserved picture of a youth and a woman
at a tomb, has the mouth, neck, part of the shoulder, and the
handle worked in a separate piece; it could, therefore, not have
been actually used but must have been made as a tomb offering.
All these scenes are drawn in diluted glaze outlines. A fifth ex-
ample in New York 80 shows the new technique with matt out-
lines. A youth is sitting on a cushioned stool and is holding out
a round fruit to a woman who reaches for it; an oinochoe, a
mirror, and a kerchief hang on the wall. The youth's flesh is
painted a light brown.
The Achilles Painter's renderings of individual forms 81 are
as consistent as the Berlin Painter's. He draws the eye, for in-
stance, with two almost straight lines for the lids and with the iris
touching both lids (except in his elaborate vases when the eye
is rendered in great detail); the forehead-nose line is slightly
convex to the face, and the nostril has two short lines. The ana-
tomical markings on the arm form an almost constant scheme
a brown curving line for the biceps, one black and two brown
lines on the inside of the elbow, a brown curving line near the
point of the elbow, two straight brown lines on the forearm, and
a short black line separating the open hand from the arm. The
FREE STYLE 131
profile knee is rendered by two straight lines for the patella and
a curving line for the vastus internus; the frontal knee by several
short straight and curving lines, one long and curving, one short
and straight; the frontal ankle by two short vertical lines. And
so on.
Kalos names occasionally appear on the Achilles Painter's red-
figured vases, especially on his earlier ones Meletos, Lichas,
Alkaios, Epeleios, Axiopeithes, Kleinias, the son of Pedieus (per-
haps the same Pedieus who was fair sixty years or so earlier).
Some of these names reappear on the Achilles Painter's white
lekythoi, as well as others, several with their fathers' names:
Dromippos, the son of Dromokleides; Diphilos, son of Melano-
pos; Pistoxenos, son of Aresandros; Hygiainon; Alkimedes, son
of Aischylides. If these white lekythoi were used as tomb offer-
ings one would suppose that the names belonged to the youths
to whose graves they were brought; but this can hardly be; for
though several with the name Diphilos were found at Eretria, in
other instances the provenances of vases with the same kalos
names differ. The vases inscribed Hygiainon kalos, for instance,
were found in Athens and in Kerateia; those with the name
Axiopeithes in Greece, Gela, and Suessula; those with Dromip-
pos in Eretria, Athens, and the Troad. It would seem odd to
praise the beauty of other youths on a vase made for one who
had just died. As a matter of fact, most of the scenes on the
Achilles Painter's white lekythoi are not related to death but are
from daily life a mistress and her maid, a mother with her
child, a woman making music and the few paintings of mourn-
ers at tombs have no kalos names inscribed. Evidently most of
his white lekythoi were not made to serve as grave offerings but,
like his red-figured ones, simply as oil-containers. We may in-
deed surmise that the chief purpose of the white lekythos in the
Achilles Painter's day was for daily use as it had been earlier
(see p. 75) but that when the perishableness of the white slip
and of the tempera colors showed that it was unsuited for every-
day utensils its use was restricted to that of tomb offering. The
Achilles Painter must have lived in the transition period when
both uses were still current.
There were other painters of this period who specialized in
the decoration of white lekythoi for instance, THE BOSANQUET
PAINTER, THE THANATOS PAINTER, THE PAINTER OF MUNICH
122 ATTIC RED-FIGURED VASES
2 335- 82 Though pictures from daily life occasionally occur on
these vases, the majority relate to death. Several examples are in
New York. One, by the Thanatos Painter, 88 has two figures at a
tomb a young girl with offerings and a woman who may rep-
resent the departed. An unusual feature is the stool on top of the
stele shaft, perhaps symbolizing a seated statue. In another scene,
by the same painter, 84 a maid is bringing a basket of offerings to
her mistress. The serenity of the Pheidian period is conveyed in
the quiet, aristocratic demeanor of these figures. A charming
picture in matt outlines by the Painter of Munich 2335 repre-
sents Charon with his boat. 85 He is waiting to act as ferryman
for a child who stands by the river bank with his toy cart bidding
good-bye to his sorrowing mother. On another lekythos deco-
rated by this painter 8fl two women are bringing offerings to a
tomb a sash, a basket, and an aryballos. Two scenes by the
Bosanquet Painter show mourners at tombs; ST on the steps are
vases and wreaths brought as offerings.
THE PHIALE PAINTER 38 is named after one of his most attrac-
tive works the libation bowl in Boston 89 with a "visit to a
school of music." He must have been a pupil of the Achilles
Painter, with whom he has much in common; but into the Peri-
klean serenity of his master he introduced a more lively spirit.
His winsome figures, often in charmingly spontaneous poses, are
chiefly on the smaller vases Nolan amphorae and lekythoi
but occasionally he decorated successfully the larger fields of
kraters and stamnoi. Among the latter the stamnos in Golu-
chow 40 with maenads and the infant satyr is one of the most
successful. The group of Poseidon pursuing Amymone on a
lekythos in New York 41 calls to mind Periklean sculptures. The
Amymone resembles the "Iris" of the Parthenon pediment, com-
bining in the same way a feeling of motion with a statuesque
quality (see fig. 91). Another pursuit of a youth and a woman
appears on a neck amphora in New York. 42 A scene of departure,
on a lekythos in New York, 43 with a woman handing a youth his
helmet, is painted in the artist's quiet, reposeful manner. A small
pelike in Boston 44 has a rare subject, vividly rendered: two
chorus men are dressing up as women; one is putting on his high
boots, the other holds up a himation, neatly rolled up, and ges-
ticulates energetically; a mask is on the floor. On a lekythos in
Bowdoin 4B a girl is being taught to dance by her mistress. An-
FREE STYLE 123
other dancing lesson is on a hydria in London. 48 The kalos name
Euaion is inscribed on a hydria with Thamyris in the Vatican.* 7
The Phiale Painter's work was not confined to red-figure.
Several beautiful pictures by him are on a white ground. On a
lekythos in Munich 48 a woman is seen sitting by a tomb on a
rock, wrapped in her mantle and lost in thought; another woman
is bringing a sash as an offering. The detachment of the seated
woman shows that she is of a different world, that she is the dead
woman sitting by her tomb. Her stillness and the reverent ap-
proach of her living friend are beautifully rendered. The lines
are in matt reddish color, the washes red and yellow.
The picture on another lekythos in Munich 49 is equally re-
markable. Hermes is sitting on a rock by a tomb, waiting. Oppo-
site him a woman is approaching, fastening her wreath as she
goes. She has died and is getting ready to go on her last journey,
escorted by Hermes. Though she is engaged in an everyday
action something unearthly in her appearance suggests that she
no longer belongs to this world.
THE PERSEPHONE PAINTER so also belongs to the circle of the
Achilles Painter. Only fourteen paintings have been definitely
attributed to him on both large and small pots mostly slight
works, like the two women on an alabastron in New York. 51 His
masterpiece is the Return of Persephone, on a bell krater in New
York (see fig. gz). 52 Persephone is rising out of an opening in the
ground, her hand raised in a gesture of surprise; her guide,
Hermes, stands by her side, holding his herald's staff; Hekate
lights the path with two torches, while Demeter awaits her daugh-
ter, scepter in hand. Here too the figures have something of the
grandeur of the Parthenon pediments. The artist has been able
to convey the solemnity of the moment the exaltation of Per-
sephone as she returns to earth and again sees her mother, and
the awe and expectancy of her companions. The attitude of
Hermes, standing stiffly by Persephone's side, in full-front view,
adds to the unearthly feeling. The picture indeed suggests the
miracle which the story symbolizes the return of life to earth
with the coming of spring.
According to the Homeric "Hymn to Demeter," which is our
chief source for the myth, Demeter es when she saw Persephone
"rushed forth as does a maenad down some thick-wooded moun-
tain"; on the New York vase she calmly awaits the return of her
124 ATTIC RED-FIGURED VASES
daughter. In two other particulars the artist has departed from
the account of the hymn. Persephone and Hermes are on foot,
not "in the golden chariot with the deathless horses" which
"Aidoneus the Ruler of Many" had got ready for their journey;
and Hekate is present at the actual return instead of later. Such
variations in the translation of a story into a work of art are of
course common. Instead of giving a snapshot of a particular mo-
ment the Greek artists represented the chief participants in
characteristic attitudes, combined in a harmonious design. It is
noteworthy, however, that in none of the other extant represen-
tations of Persephone's Return is a chariot shown. 54 Perhaps,
therefore, the vase painters followed a version, now lost, different
from that given in the Homeric hymn.
THE DWARF PAINTER 55 was another follower of the Achilles
Painter. The numerous works attributed to him are on Nolan
amphorae, small pelikai, and hydriai. He is named after his pic-
ture on a pelike in Boston 56 a youth going out for a walk, fol-
lowed by his dwarf servant, who holds a large dog by the collar.
The erect, aristocratic gait of the youth is well contrasted with
the humble attitude of the dwarf.
(2) THE MANNHEIM PAINTER AND OTHERS
THE MANNHEIM PAINTER " is a member of another group of
artists, who, like the Achilles Painter, favored figures in quiet
poses, but who worked in the tradition of the Villa Giulia
Painter rather than that of the Berlin Painter. The name is de-
rived from his oinochoe in Mannheim 68 with Amazons. His ten
extant works are all on jugs. One of his best and liveliest is on an
oinochoe in New York, 59 with a handsome scale pattern on the
handle: Three Amazons are going into battle. The first rushes
forward with shield and battle-ax, her quiver and bow hanging
by a cord from her shoulder (see fig. 88). The second holds her
horse by the reins and turns full face to the spectator, two spears
in her hand; one leg is drawn in profile, the other in full front
with the tip of the foot turned up. The last advances with cres-
cent shield and two spears, her bow and quiver by her side. Their
names are inscribed Penthesileia,Antiopeia, lole. The figures
FREE STYLE 125
are beautifully drawn in a somewhat formal style, with a fine
sense for composition and movement.
One of the artist's most interesting pictures is on a jug in the
Vatican. 80 The king of Persia (inscribed basileus), the Persian
queen (inscribed basilis), and another woman are represented in
what seems to have been the Greek notion of Persian dress, with
long-sleeved jackets and tiaras. 61 The queen is apparently pre-
paring to pour a drink. A number of pictures of Persians occur
on Attic vases. Those painted about 480 B.C. or so in the period
immediately following the Persian wars generally represent
Greeks fighting Persians. The later ones lay stress on the power
of Persia, which was of course felt in Greece for a long time in
spite of Persia's repulse from the shores of Greece.
THE DANAE PAINTER," named after his Danae and Perseus on
a hydria in Boston, 88 may likewise be placed in this group. Only
eleven vases have so far been attributed to him with certainty,
but he probably also painted the charming scene on a bell krater
in New York * a woman sitting on a cushioned chair and play-
ing the lyre, while two young women stand before her, listening
(see fig. 90). One of the listeners has put both hands on her com-
panion's shoulders, and their hands meet in an affectionate ges-
ture. Their faraway expressions suggest that they are listening
to the music. They form an attractive group with a personal note
unusual in Greek vase painting. The rendering of the musician
is interesting. The head is drawn in three-quarter view, with
eyes in two profile views; the fillet is in front view and so is the
upper part of the body; the legs are in profile. Apparently the
archaic tradition of piecing together various aspects of the body
persisted with some artists for a considerable time. Another scene
perhaps by the Danae Painter and comparable to the New York
one is on a bell krater in Vienna, 65 with Apollo and two Muses,
one playing the flute, the other the lyre.
Still another musical scene by an artist of this group THE
PAINTER OF LONIMDN E 497 eo is on a bell krater in New York
(see fig. 93) , 67 The subject is Orpheus among the Thracians. Or-
pheus is sifting on a rock and playing the lyre, engrossed in his
music. A Thracian, wearing the typical Thracian cap, boots, and
gaily decorated mantle has been listening and now turns round
toward a Thracian woman. She has just arrived as indicated
i 2 6 ATTIC RED-FIGURED VASES
by her momentary pose and has brought a curved knife to wreak
vengeance on the great singer. The two Thracians symbolize
respectively the crowd o Thracian men moved by Orpheus'
music and the horde of women who tore him to pieces in their
jealousy. The absorption of Orpheus in his music and his remote-
ness from the listeners are finely suggested. Spatial depth is in-
dicated by the placing of Orpheus in the mid-distance, of the
Thracians in the front plane. A bell krater in London 68 has a
similarly composed scene of three figures, but they are ranged
along one line in the front plane.
THE MENELAOS PAINTER, 69 called after his picture of Menelaos
and Helen on a bell krater in the Louvre, 70 was perhaps an as-
sociate of the Danae Painter, for their styles are occasionally
close. Only a few vases have so far been definitely attributed to
him. Among them is a well-preserved bell krater in New York 71
w'th a procession of ecstatic maenads playing the lyre and the
double flute, singing, carrying thyrsoi, cups, and torches.
THE KLEIO PAINTER, 72 also a member of this general group, is
called after the name of a Muse on a bell krater in Berlin. 78 His
style closely resembles that of two other painters THE EUPOLIS
PAINTER/* called after the name he gave a satyr boy on a bell
krater in Vienna, 78 and THE PAINTER OF ATHENS 1943, who
decorated four white lekythoi. It is even possible that all three
artists were the same person. The famous pictures of three Muses
and of Hermes bringing the infant Hermes to a silenos, on a
calyx krater in the Vatican, 77 may be an early work by the Kleio
Painter. They are in a polychrome technique on a yellowish-
white ground. The "second" white used for the flesh of women
and for the hair of silenos is a retention of an older practice (see
p. 114). The statuesque figures and their quiet bearing impart
a solemn note to the scenes. A white lekythos in New York, 78
attributed to the Painter of Athens 1943, has a sepulchral scene
a woman who has brought a wreath and an alabastron full of
perfume as offerings to a grave; only minute traces are preserved
of the second figure on the other side of the tomb.
THE CASSEL PAINTER 7> continues the style of the Kleio Painter.
Twenty-three works have been attributed to him, among them
a woman playing the lyre, on a bell krater in Cassel. 80 Kadmos
and the dragon, on a bell krater in New York, 81 is a pleasing
work by him. The regal attitude and quiet bearing of Harmonia
FREE STYLE 127
are reminiscent of the seated goddesses of the Parthenon gables.
Two other painters belonging to this group are represented
by characteristic examples in New York THE POLYDEKTES
PAINTER in a quietly composed scene of a young horseman leav-
ing home (on a bell krater) 82 and THE RICHMOND PAINTER in a
picture of a king with a woman pouring a libation (on a Nolan
amphora). 83 They represent the output of the average artists of
the time.
(3) POLYGNOTOS AND HIS CIRCLE
POLYGNOTOS 84 is the most important representative of a group
of vase painters who flourished side by side with the Achilles
Painter and his associates. His signature (Polygnotos egrapseri) is
preserved on four vases a stamnos in Brussels 8B with a centau-
romachy, a stamnos in London 86 with Herakles and a centaur, a
pelike in Syracuse 8T with an Amazonomachy, and a neck am-
phora in Moscow 8S with Achilles in retirement. This Polygnotos
must be distinguished from his more famous namesake, the mural
painter Polygnotos of Thasos (see p. 89), and from two other
vase painters the Lewis Painter and the Nausikaa Painter, who
we now know, were both named Polygnotos (see pp. 97, 112).
An unpublished calyx krater in Munich 89 with a Dionysiac
scene has a fragmentary inscription Po[lygnotos] \e\g\rapseri\.
According to Beazley, it is "by a Polygnotan, but not by Polyg-
notos himself" (i.e., not the Polygnotos we are now discussing).
If the inscription is rightly restored we should here have a fourth
vase painter with this name. It was evidently a common one in
fifth-century Attica.
Polygnotos, like the Achilles Painter, was imbued with the
idealism of his time and was able to express it in the nobility of
his types( His figures and those of his associates are less austere
than the Achilles Painter's, rounder, fleshier, more suggestive of
the third dimensiQnjHis tradition is that of the Niobid Painter.
Most of the sixty-four paintings which have been attributed to
him are on large vases stamnoi, kraters, and amphorae. The
signed ones, mentioned above, are among his best. A comparison
of his Achilles and Penthesileia, on an amphora in London, 90
with the renderings of the same subject by the Berlin Painter
i 2 8 ATTIC RED-FIGURED VASES
(see p. 69) and by the Penthesileia Painter (see p. 97) is instruc-
tive. Polygnotos' design is weaker and the effect o the whole
tamer than in the earlier paintings; but his drawing is more
naturalistic. Penthesileia's face, for instance, is ably rendered in
a three-quarter view, with the farther eye and even the mouth
correctly foreshortened.
One of the most important unsigned works by Polygnotos is
a pelike in New York B1 with Perseus in the act of cutting off the
head of the sleeping Medusa (see fig. 96) and with a king, named
Polypeithes, in the company of two women. It is characteristic
of this idealizing period that Medusa is no longer the terrifying
monster that she was in the archaic period (see p. 75, fig. 71),
but a beautiful woman. The musical scene on a bell krater in
New York 92 is of only average quality, but it shows well Polyg-
notos' serene spirit. A man is playing the kithara, striking the
strings with a plektron; he has carried his audience with him,
for they are all listening intently a bearded man sitting in a
chair with a pensive expression; a youth leaning on a stick and
raising his hand in appreciation; and a man standing quietly be-
hind the player. The vase is inscribed Nikomas kalos.
THE LYKAON PAINTER 88 is one of the most distinguished artists
of the Polygnotan group. He is called by the name he gave to a
departing warrior on a pelike in the British Museum. 9 * His style
is related to that of Polygnotos, and his figures have the same he-
roic quality, the same roundness and fleshiness. To judge by his
comparatively few extant works, his preference was for the larger
vases. The Departure of Neoptolemos on a neck amphora in
New York 9B is comparable in quality to the London pelike. A
young warrior named Neoptolemos is bidding farewell to his
father, Antiochos, who is seated on a chair covered with a deer-
skin; his mother Kalliope, is ready to pour the libation; his friend,
Antimachos, holds helmet and shield. The washes of thinned
glaze in the folds and in the grooves of the anatomical markings
are characteristic of the Polygnotan group. The arc at the ankle
in the frontal foot successfully suggests a farther plane.
In contrast to this carefully executed picture, that on the other
side of the vase is hastily drawn, as so often in this period; for we
can now really speak of a "front" and a "back" of a vase.
Buschor 8<s interprets the often recurring figures of such men and
women, holding sticks, torches, vases, etc., as "street scenes."
FREE STYLE 129
Two other masterpieces by the Lykaon Painter must be men-
tioned the idyllic scene of Dionysos with satyrs and maenads
on a bell krater at Goluchow, 97 and a picture on a pelike in
Boston. 98 The subject of the latter is Odysseus on the reeded
banks of Hades conversing with the shade of the unburied El-
penor (see figs. 94, 95). Odysseus, escorted by Hermes, has sacri-
ficed the rams according to instructions and has sat down on a
rock, when suddenly Elpenor rises from the ground. Odysseus'
awe as he looks steadfastly at the unearthly figure is well sug-
gested.
The death of Aktaion on a bell krater in Boston," though a
comparatively minor work, is interesting for comparison with the
earlier rendering of this subject by the Pan Painter (see p. 95).
The latter confined himself to the two chief participants of the
story and represented them in a spirited action. The Lykaon
Painter composed his figures more formally Aktaion and Lysa,
the personification of "Madness," in a central group, Zeus and
Artemis as quiet, dignified onlookers on either side. The general
effect of the picture is much tamer than in the earlier version,
but naturalistically it is more advanced. Spatial depth is suc-
cessfully suggested. Aktaion's head and left leg are drawn con-
vincingly in three-quarter view. Zeus, with one leg placed on a
rock, is correctly foreshortened. Instead of a two-dimensional
decoration like that by the Pan Painter the scene has become a
three-dimensional representation.
Several kalos names appear on vases decorated by the Lykaon
Painter. The London pelike is inscribed Euaion kalos, the
Goluchow krater Alkimachos kalos and Axiopeithes kalos. We
have made the acquaintance of these names elsewhere (see
pp. 107, no, 121).
THE ORPHEUS PAINTER, IO an artist on the outskirts of the
Polygnotan group, is named after his well-known picture of
Orpheus on a column krater in Berlin. 101 It is perhaps the finest
musical scene of its period, more elaborate than the representa-
tions on the New York kraters (see pp. 125, 128): Orpheus is
seated on a rock, playing the lyre and singing, while four
Thracians listen. He is looking up inspired, while the Thracians
are completely entranced by his sweet strains. They bend for-
ward, sway to and fro, close their eyes, or stand apart. It is an
extraordinary picture of emotion conveyed chiefly by posture
ijo ATTIC RED-FIGURED VASES
and gesture. A more conventional scene by the Orpheus Painter
is on a hydria in New York. 102 It consists of male and female fig-
ures composed in four groups; among them are a graceful woman
spinning with distaff and spindle, and an Eros giving a pair of
shoes with pointed toes to a woman.
Several other prominent painters belong in the Polygnotan
group THE CHRISTIE PAINTER, IOS who decorated several largish
vases, including a bell krater with a komos, formerly in the
collection of the Lady Rosamund Christie; 10 * THE HEKTOR
PAINTER/ 08 who decorated a neck amphora in the Vatican 106 with
Hektor leaving home; THE PELEUS PAINTER, 107 who painted the
wedding of Peleus on a calyx krater at Ferrara 108 and the well-
known picture of Mousaios, Terpsichore, and Melousa on a neck
amphora in London; 109 and THE COGHILL PAINTER, IID who deco-
rated a calyx krater formerly in the Coghill Collection, now in
the Gulbenkian Collection. 111 A volute krater in New York 112
with a spirited Dionysiac scene is perhaps also by the Coghill
Painter (see fig. 107). The artist has here caught the wild exu-
berance of Dionysiac life and has made of it a delicate, vivacious
design. The shape is unusual: the body is ribbed, and the foot
fits into a stand, which was made separately.
(4) OTHER PAINTERS OF POTS
Of the other painters of pots belonging to this period some
approximate the Polygnotan group, others are definitely out-
side it.
THE NAPLES PAINTER,"" to whom forty-eight vases have been
attributed, decorated column kraters in Naples, Bologna, and
elsewhere with centauromachies. His output also includes nup-
tial lebetes and loutrophoroi with the scenes of women. We know
eighty works by THE PAINTER OF THE LOUVRE CENTAURO-
MACHY, 114 the majority on column kraters. A calyx krater by him
in New York 11B is decorated with spirited scenes of athletes prac-
tising a discus thrower, two runners with jumping weights, a
pair of wrestlers, and a youth with a strigil looped round his
wrist.
A remarkable picture of the Lower World, on a calyx krater
in New York, 119 is by THE NEKYIA PAINTER, who is named after
FREE STYLE 131
this vase. The scene occupies the entire upper frieze: Herakles,
with Hermes as escort, has gone to the Lower World to fetch
Kerberos and finds Perithous and Theseus condemned to punish-
ment for their daring attempt to carry off Persephone; the scene
continues with Elpenor, Ajax, and Palamedes, three famous
heroes who died tragic deaths, and Persephone in her chamber.
Each figure is nicely characterized Herakles, the evident new-
comer, proceeding slowly; Theseus and Perithous, heroes of dis-
tinction, welcoming the visitor; Hermes detached; Persephone
safe in her chamber; Palamedes brooding over his wrong; El-
penor and Ajax, quiet, lonely figures. At the two sides are other
figures, evidently not heroes, but nameless souls wandering
about. The feeling of mystery which pervades the scene, as if the
participants were indeed ghosts in another world passing noise-
lessly to and fro, is extraordinary. All the persons depicted on
the vase, except Herakles, formed part of the famous picture of
the Nekyia by Polygnotos of Thasos in the Lesche at Delphi,
which was described in detail by Pausanias; but the rendering
on the New York vase differs so greatly from the Delphian that
the two must be based on different traditions. Below the frieze
on the New York vase are two panels, one with Zeus throwing
his thunderbolt at a giant, the other with the punishment of
Tityos by Apollo and Artemis. Only one other vase has been
attributed to the Nekyia Painter a calyx krater in Vienna, 117
also designed in two tiers.
THE TROPHY PAINTER 118 decorated several smaller pots, chiefly
pelikai. Among them is one from the Deepdene Collection, now
in Boston, 119 with a Nike erecting a trophy. An oinochoe in the
Louvre 12 has a picture of Athena confronting a column sur-
mounted by a child. The latter is evidently intended for a statue,
for on the base of the column is a dedication (perhaps Tisias
anethekeri). Between the two figures is the inscription Sophanes
kalos.
An able vase painter, to whom no other works have so far
been attributed but who may be called THE ATHANASIA PAINTER,
decorated a bell krater in New York 121 with the story of Tydeus
(see fig. 100). Though only a few fragments are preserved we
can distinguish several figures. Tydeus is seated on a rock, lean-
ing his head on one hand; he is suffering from a wound in his
leg, inflicted on him by Melanippos. At his feet is the head of
ATTIC RED-FIGURED VASES
the dead Melanippos, sent him by Amphiaraos. Approaching
him is a young woman, inscribed Athanasia, "Immortality." She
has been brought by Athena to heal Tydeus and make him im-
mortal; but at the sight before her she raises a hand in surprise.
Athena grasps Athanasia by the wrist to pull her away, for she
too is struck with horror. This remarkable picture is the only
extant Greek painting of the terrible end of Melanippos. It is
characteristic of Greek art that the gruesome part of the legend
the sucking of Melanippos' brain by Tydeus, which disgusted
Athena and lost Tydeus his immortality is not actually de-
picted.
THE PENELOPE PAINTER 122 is the artist of two well-known
vases which have often been reproduced for their subjects: Pe-
nelope, Telemachos, and Odysseus, on a skyphos in Chiusi, 128
and Odysseus slaying the suitors on a skyphos in Berlin. 12 * He
is a somewhat tame follower of the Lewis Painter (see p. 112) and
like him painted practically only skyphoi. His most attractive
pictures are on a skyphos in Berlin 125 a satyr holding a parasol
over an aristocratic young woman who is out walking, and a
satyr pushing a swing on which a young girl is sitting with legs
outstretched. Each figure is nicely characterized.
Fifty-nine vases have been assigned to THE MARLAY PAINTER, 128
a minor artist who decorated kylikes, stemless cups, and skyphoi,
as well as other vases. He derives his name from a calyx krater
he decorated which was formerly in the Marlay Collection and
is now in Cambridge. 127 The rider on it resembles two other
spirited horsemen on a column krater in New York, 128 and all
three recall the Parthenon frieze. Two stemless cups in New
York 128 have symposia on the interior, in the same sketchy, vivid
style. A calyx krater in Berlin 1SO has a scene of the rising Per-
sephone amid wildly capering Pans a very different conception
of the story from the solemn representation on the krater by the
Persephone Painter in New York (see p. 123).
(5) THE ERETRIA PAINTER AND OTHER
PAINTERS OF CUPS AND SMALL VASES
Concurrent with the artists who decorated chiefly large pots
were others who favored kylikes and the smaller pots. THE ERE-
FREE STYLE 133
TRIA PAINTER 131 is one of the ablest of these. He is so called be-
cause the onos in Athens 132 with his picture of the bride Alkestis
was found at Eretria (see fig. 101), About half of the seventy-six
works attributed to him are on kylikes, but the finest are on
lekythoi, oinochoai, pyxides, etc. A kantharos in Paris, 133 deco-
rated by him with pictures of the departures of Achilles and of
Patroklos, is signed by the potter Epigenes. The inscription
[Kal\lias kalos appears on a fragment of a kylix in Leipzig. 1 "
The Eretria Painter is distinguished especially for his exquisite
line. The delicacy of the curving strokes in his clinging drapery
and curling hair has been equaled by few. His gentle faces and
beautifully drawn hands impart an almost exaggerated air of
refinement to his figures whether of gods, or women, or satyrs.
He was by nature a miniaturist and apparently at his best in small
pictures. Many of these are masterpieces; for instance, the Al-
kestis and her friends on the onos from Eretria; the Nereids mak-
ing preparations for a wedding, on a pyxis in London; 18S the
Dionysos and his satyrs and maenads on a squat lekythos in
Berlin; 18 and a mistress and maid on an amphoriskos in Ox-
ford. 187
Several fine pieces are in New York. An oinochoe 188 is deco-
rated with the familiar subject of the return of Hephaistos to
Olympos. The procession consists of a satyr playing the double
flute, and a satyr boy leading a donkey on which Dionysos and
Hephaistos are seated. Dionysos is leaning forward, holding his
kantharos with both hands to prevent its contents from spilling;
Hephaistos is gesticulating with one hand and in the other holds
the implements of his craft, the tongs and hammer. All have ivy
wreaths; for it is a festive occasion, since it was Dionysos' wine
that succeeded in bringing Hephaistos back to Olympos. It is
interesting to compare this scene with earlier versions of the story
on the Francpis vase, on the krater by Lydos, and on a krater
by the Kleophrades Painter (see p. 67, note 20). The strength and
exuberance of the archaic period are gone and a quiet playful
charm has taken their place.
On a squat lekythos 139 is a dainty scene of a woman dressing
(see fig. 102). She is in the act of taking her tunic off a chair and
slipping it over her head. In spite of the economy of line the ac-
tion is convincingly rendered. A remarkable picture, which
"somewhat recalls the Eretria Painter," is on a squat lekythos in
ATTIC RED-FIGURED VASES
New York. 139a It represents the wounded Philoktetes, abandoned
on the island of Lemnos, sitting on a rock under a tree, his
famous bow and arrows by his side (fig. 98).
Though no white lekythoi of the usual type by the Eretria
Painter are extant, we know that he occasionally worked in
polychrome on white ground; for a tall squat lekythos in Kansas
City 14 has a scene of women and a baby in that technique. An-
other lekythos of the same shape in New York m has three zones
of decoration the middle one on white ground, the upper and
lower ones red-figured containing about thirty figures, all deli-
cately and lovingly drawn. The white-ground picture represents
Patroklos, Achilles, and Nereids. Patroklos is lying on a bier,
covered with a cloth; Achilles sits beside him, both hands folded
on his lap. He is mourning the death of his best friend, killed by
Hektor and despoiled of his armor. Among the countless repre-
sentations of death and mourning few are so poignant as this one
Patroklos a still figure with closed eyes, Achilles sitting mo-
tionless with head bowed. The scene continues with the approach
of Thetis, Achilles' mother (see fig. 103), and her Nereid sisters,
bringing the armor made by Hephaistos. They are riding across
the sea on dolphins, bringing the gifts with which Achilles is to
revenge the death of his friend. The motion of the sea is sug-
gested by the wavy outlines of the dolphins. We must supply in
our imagination the colors with which the mantles of the Nereids
were painted and the gilding which made resplendent the armor,
necklaces, bracelets, and parts of the headdresses (now in the dull
buff of applied clay). The outlines of the figures are drawn
throughout in diluted glaze lines. The upper red-figured zone,
which is fragmentary, represented a chariot scene; the lower one
has a battle of Greeks and Amazons, composed in seven groups
at different levels on a hilly ground; the names of Theseus and
of some of the Amazons are inscribed. Another battle scene by
the Eretria Painter, with figures and appurtenances strikingly
similar to those in the New York one, is on a squat lekythos in
Boston. 142 Both belong to the painter's late years.
Several jugs decorated by the Eretria Painter have unusual
subjects. The celebration of the Anthesteria, with a father put-
ting his little boy in the swing while two bigger boys watch, on
an oinochoe in Athens, 1 * 3 recalls a similar scene of this subject
by the Meidias Painter in New York (see p. 148). The prepara-
FREE STYLE 135
tion for a feast of Dionysos is represented on another oinochoe
in Athens; "* on still another " 5 is an uncertain subject.
Vases decorated by the Eretria Painter have been found not
only in Greece and Italy but as far afield as Southern Russia and
Spain; there was evidently a widespread demand for them.
THE KALLIOPE PAINTER 146 is. called after the name he gave to
a Muse on kylikes in New York 14T and in the Victoria and Albert
Museum." 8 He must have worked in the same studio as the
Eretria Painter, for a cup in Freiburg " 8 was decorated on the
inside by the Kalliope Painter, on the outside by the Eretria
Painter. Sixty-one paintings have been attributed to him. They
consist mostly of youths and girls in statuesque poses, confronting
each other and holding objects. A cup from Spina at Ferrara 1SO
is inscribed Alkimachos kalos.
THE KODROS PAINTER/" named after a cup with Kodros in
Bologna, 152 is another distinguished artist of this group. His
thirty-two extant works consist entirely of kylikes, drawn in a
finished style reflecting the Pheidian idealism. His favorite sub-
jects are athletes and heroes performing deeds of prowess; but
he also painted mythological subjects the birth of Erichthonios,
and King Aigeus standing before Themis at Delphi, on two cups
in Berlin. 153 His refined drawing can be appreciated in the frag-
ment of a kylix in New York 15 * with the upper parts of two
youths and two phialae in the hand of a third person. The youths
are evidently departing, and a libation is to be poured on their
behalf; one holds a spear and has his sword hanging from his
shoulder; his mantle is hung over his arm; the other wears a
mantle and three-cornered hat and is also girded with a sword.
Every detail is drawn with exquisite care. An attractive cup by
this painter in London, 155 decorated with athletes, is inscribed
Xenon kalos.
An interesting picture not yet attributed to a specific artist
appears on a jug in New York. 166 It is of the chous shape, used
during the festival of the Anthesteria in honor of Dionysos. A
man is represented coming home late after the festival and is
pounding on the door with the butt end of his lighted torch. On
the other side of the door is a woman with a lighted lamp. She
has been roused by the noise and must let in her drunken hus-
band. In the rendering of the house we see an early attempt at
linear perspective. The door, floor, and tiled roof are shown as
136 ATTIC RED-FIGURED VASES
slanting or receding into the background; but the necessity o
making the parallel receding lines converge toward a common
vanishing point has not been understood (see p. 116).
THE PAINTER OF LONDON Di4 lsr an oinochoe with Herakles
and Athena also decorated a pyxis in New York. 168 Both pic-
tures are in polychrome on white ground and are drawn with
great delicacy. The scene on the pyxis is particularly attractive.
It represents six women in the interior of a house (indicated by
an Ionic column), doing the things of everyday life dressing,
putting away their clothes, playing with a pet bird, and so on.
Their names are inscribed Bentho, Galene, Kymodoke, Akteie
(see fig. 104), Glauke, and Psamathe. So they are Nereids, not
ordinary Athenian ladies; but instead of riding the sea on dol-
phins, they are at home. Each figure has the grace and simplicity
of a Tanagra statuette, and together the poses, the accessories,
and the paraphernalia on wall and ground make a subtly re-
lated composition in which each line and spot of color plays its
part. The quiet theme thereby assumes an extraordinary anima-
tion.
THE KRAIPALE PAINTER 159 is named from his scene on a chous
(see p. 135) in Boston 160 of two maenads and a satyr (fig. 105).
One of the maenads, called Kraipale, "Hangover," has been
drinking too much,- and holds out her cup for more wine; but
the satyr, Sikinnos, with a jug in his hand, hesitates; meanwhile
the other maenad, Thymedia(?), is bringing a bowl of steaming
liquid to help Hangover to recover. If we compare this scene
with the riotous Dutch representations of drunken women we
shall realize the restraint and serenity with which the artists
of the Pheidian period depicted their scenes, regardless of sub-
ject. Kraipale is merely sitting quietly on a rock, a pensive,
charming figure.
The only other work assigned to this painter is a- small pelike
in London 161 with torch racers and athletes.
THE WASHING PAINTER, 162 so called from his pictures of women
washing, on small hydriai and pelikai, also decorated several large
nuptial vases and loutrophoroi with wedding scenes. One of the
best is in New York. 183 The bride is seated on a chair playing
the harp. Her thoughts are of love and as she looks up she sees
a little Eros flying toward her, a round fruit in each hand. Her
expression is one of wonder and reverence. Her friends approach
FREE STYLE 137
with round wicker baskets and a chest filled with finery for the
wedding.
A similar scene is on another nuptial lebes in New York. 164
The bride is sitting on a stool, playing the harp. Her friends
bring chests, a round wicker basket, and a loutrophoros (with
water for the bridal bath) hung with fillets for the festive occa-
sion. The three-cornered harp, 165 the Greek trigonon, occurs
much less frequently on Attic vases than the lyre or the kithara,
but it was apparently in favor in the late fifth and the fourth cen-
tury B.C.
Another charming picture by this painter, on a hydria in New
York, 166 represents a woman seated on a rock with Eros tying
her elaborately strapped sandals and two youths holding spears
on either side. The subject may be Helen with her brothers the
Dioskouroi, or Helen with Paris and Aeneas about to take her
fateful journey.
THE SHUVALOV PAINTER, 187 named after his Apollo on an am-
phora from the Shuvalov Collection in Leningrad, 188 decorated
many small vases in a miniature style. The Eros offering a hare
to a t>oy on a kantharos in the Louvre 169 is one of his best works.
His scenes generally consist of two figures confronting each other.
Two typical examples are in New York. On an oinochoe 17 two
boys are standing before an incense burner (fig. 106); one is
holding it by the ring handle and adjusting the lid; a jug is near
by. On a small hydria 171 are two women; one has brought a
small chest to the other, who is about to take something out of
it; a wool basket is on the floor.
Of the many other minor painters of this period we can men-
tion only a few. THE DISNEY PAINTER, 172 named after a small
amphora in Copenhagen, 178 formerly in the Disney Collection,
decorated small vases, mostly with athletes and youths. Among
them is an archer on an oinochoe in New York; 1T * his untidy
hair and unmartial look suggest that he is Odysseus, returned
from his wanderings, shooting Penelope's suitors. THE PAINTER
OF THE EDINBURGH OiNOCHOE, 175 to whom several small jugs with
women have been attributed, resembles somewhat the Shuvalov
Painter. A typical work in New York 176 shows two women, one
handing a wreath to the other. THE KLUGMANN PAINTER painted
a number of red-figured and white-ground lekythoi, 177 including
one which belonged to Mr. Kliigmann in Rome. A good ex-
i 3 8 ATTIC RED-FIGURED VASES
ample in New York 178 has an Amazon throwing a stone with a
sling, drawn in glaze outlines with added white for the flesh.
THE XENOTIMOS PAINTER 179 decorated a stemless cup in Bos-
ton, 180 signed Xenotimos epoiesen, with two interesting scenes
Perithous in Hades, and Leda and the egg.
V. LATE FIFTH-CENTURY STYLE,
ABOUT 420-390 B.G
THE historical background of the late fifth-century style is the
Peloponnesian War (431-404 B.C.) and its immediate after-
math. The long-drawn-out hostilities, the plague, the disastrous
Sicilian expedition (415-413), gradually sapped the strength of
Athens and led to her downfall and final defeat at Aigospotamoi
in 405. The great edifice of power and empire laboriously built
up during more than a century crumbled, and Athens became
once more a small city-state with limited commercial opportuni-
ties though she remained for some time the intellectual center
of Greece.
In the major art of panel painting the outstanding names are
Apollodoros of Athens, 1 Zeuxis of Herakleia, 2 and Parrhasios of
Ephesos, 8 all contemporary with the Peloponnesian War. Not
a scrap of their works has survived, and we must visualize their
style through the vase paintings and from the many references
to them in ancient literature.
To understand the innovations in composition and spatial
representation which appear in this and the succeeding periods
we must recall an interesting tradition about the contemporary
painter Apollodoros (about 430-400 B.C.), who was said to have
"opened the gates of art which Zeuxis entered," * and to have been
the first to give to his figures "the appearance of reality." 5 Spe-
cifically his innovations seem to have been the use of shadows
and perspective, 6 and of mixed instead of pure colors. 7 Appar-
ently he carried on the work of Agatharchos who was credited
with having started linear perspective in scene painting a gen-
eration or two earlier (see p. 91) and introduced this perspec-
tive into mural and panel paintings for such rectangular objects
as furniture and architecture.
From contemporary vase paintings we may obtain some idea
of these epoch-making changes. We can see there how form is
"mimicked" by color and by the "use of shadows" and foreshort-
ening; how "mixed" colors such as mauve appear side by side
with the old primary colors (on the late white lekythoi); how
linear perspective makes its appearance in rectangular objects
140 ATTIC RED-FIGURED VASES
such as shrines, altars, furniture, which from about 430 B.C. are
drawn no longer always in front view but occasionally with re-
ceding sides, and with top or bottom showing 8 (see p. 135); how
presently shrines are depicted with receding ceilings of which
the beams slope downward, those on the right side toward the
left, those on the left side toward the right; and how figures are
occasionally not only placed at different heights for that had
been done before (see pp. 101, 102) but some made smaller
than others to indicate that they are in a farther plane. 9 In fact
the graceful figured compositions current at this time might al-
most be conceived as three-dimensional pictures were it not for
the uniform black surface which they are made to decorate. Yet,
as the light strikes this lustrous, curving surface, illuminating
portions of it and leaving others in shadow, it imparts a certain
spatial quality and this applies to all red-figured ware.
Naturally the new "realism" met with criticism from con-
temporary "conservatives." Plato, 10 for instance, who lived at the
time of Apollodoros and Zeuxis, disliked the innovations because
they created illusions that were deceptive and made things ap-
pear larger or smaller than they really were and than they could
be shown to be by actual measurements. To him "perspective"
was a kind of trick that took advantage of the weakness of our
senses.
It is important, however, to realize that the linear perspective
on these late Greek vases is only a partial one. 11 Instead of view-
ing the whole scene from one point of sight and adopting one
vanishing point toward which all receding parallel lines con-
verge, several vanishing points were used, with varying points of
sight. The space of the picture was not yet realized as a unity.
This partial perspective obtained throughout antiquity. Hel-
lenistic, Roman, and mediaeval art utilized but did not carry fur-
ther the inventions of fifth-century Greece. Though the compo-
sitions are often more complex than before, no new knowledge
of perspective is introduced. Each object is still viewed separately,
not as part of a unified whole. It was not until the Renaissance
of the fifteenth century that perspective as we understand it
with one single vanishing point for the entire picture was de-
veloped and used. 12 And not until still later were rules formu-
lated for the two-point, angular perspective which is in common
use to-day.
LATE FIFTH-CENTURY STYLE 141
The vase paintings of the late fifth century continue the line
of development begun in the preceding period; but the stately
figures become more effeminate, the garments richer, the draw-
ing more refined. The hair is now generally indicated by separate
strands on a reserved background instead of as a solid mass. The
rendering of the eye is as before, but the line for the lower lid is
often very short. The subjects are mostly taken from domestic
life as if the artist had tried to find an escape from the turbu-
lence around him in the peaceful occupations of the home.
Women dressing, adorning themselves, being courted, playing
with their children are the principal themes. Of the gods only
Dionysos with his satyrs and maenads and Aphrodite and her
retinue remain popular.
Notes of white and yellow are now increasingly added to the
sober color scheme of red and black. Light incisions on the glaze,
made before firing, are often used for the indication of the
ground or other details. As before, some parts are occasionally
rendered in applied clay, gilded, and made to stand out in relief.
White-ground vases continue alongside of red-figure. The
scenes are drawn throughout in dull paint with a rich variety of
washes, as many as four or five colors sometimes being employed
on one vase (see p. 152). The subjects consist almost entirely of
mourners at the tomb, among whom the dead usually appear,
often seated on the steps (see pp. 152 f.).
The vases of this period present marked similarities to the
sculpture of the late fifth century. The thin, clinging draperies
with multitudinous folds following the contours of bodies and
limbs, which are characteristic of Meidian vases, are found also
on the reliefs of the Nike balustrade (dated about 410), the frieze
of the Erechtheion (409-406), and the "document" reliefs ls of
the last two decades of the century.
Besides these connections with sculpture the following data
have helped to determine the chronology of the vases of this
period. 1 *
(1) No vases of the style we are discussing have been found
in the graves which were transferred to Rheneia from Delos dur-
ing the purification of that island in 425- ls It is reasonable to
suppose, therefore, that the development of that style is posterior
to that date.
(2) Several of the fragments of vases found in the burial plot
ATTIC RED-FIGURED VASES
of Dexileos, who fell at Corinth in 394, are in the style of the
period we are discussing. 16 Though this burial plot was appar-
ently used for a considerable time and Dexileos himself was not
actually buried there, 17 but in a public sepulcher, the date 394
nevertheless gives an approximate time within two or three
decades for the period of the style.
(3) On a volute krater in Naples a flute player (see fig. 120) is
named Pronomos; there is a reference to a Pronomos in the Ek-
klesiazousai of Aristophanes (early fourth century), 18 and the
name also occurs in an inscription of 3 84-3 83. 19 It is possible
that in all three cases the allusion is to the famous Theban mu-
sician Pronomos. 20 Though the fame of this flute player lasted
for a considerable time (he is said to have taught Alkibiades, 21
and his music was played while the walls of Messene were build-
ing [369])," it is not likely that a Theban enemy was honored on
an Attic vase during the Pelopormesian War. So if the assump-
tion regarding Pronomos is correct 2S the date of the Naples vase
should be posterior to that war, that is, the end of the fifth or
the early part of the fourth century.
(4) A fragment of a vase in the general style of the Suessula
Painter has recently been found in the Athenian Kerameikos, in
the Tomb of the Lacedaemonians, who fell in 403 B.C. (see p.
151). This shows that the vase paintings in that style, which used
to be assigned to the early fourth century, can also have been
produced in the concluding years of the fifth.
We can distinguish three chief styles in this period. One, de-
rived from the Polygnotan group, shows a broad treatment
round, fleshy forms, loose draperies with well-defined folds, and
a developed spatial sense. It is sponsored by the Kleophon
Painter, the Dinos Painter, and their followers. They chose
chiefly Dionysiac subjects and favored the larger vases, particu-
larly the different forms of kraters. Another style of delicately
curved lines, pretty postures, and clinging draperies, often richly
patterned, is sponsored by the Meidias Painter and his followers.
Their pictures, which deal chiefly with the life of women, are
derived from the renderings of the Eretria Painter, but the rich,
swirling draperies, the elaborate coiffures, and the more fre-
quent use of accessory colors add a softer, more luxurious note.
They are mostly on the smaller vases the squat lekythos, the
pyxis, the lekanis as well as the hydria. Lastly, at the end of the
LATE FIFTH-CENTURY STYLE 143
century, a highly ornate style is developed in which the uneven
thickness of the lines, the dark stripes and checkers in the pat-
terns of the garments, and the copious additions of white, often
with yellow details, lend a picturesque but overladen appear-
ance. The Talos Painter, the Pronomos Painter, and the Suessula
Painter are the prominent exponents of this style. Side by side,
however, with these florid paintings on large vases, a simpler
style persists, in which the red and black color scheme, with only
slight touches of accessory colors, is retained. It is found par-
ticularly on the smaller vases by minor artists, but is also some-
times adopted by the very artists who painted the florid vases
(seep. 151).
(i) THE KLEOPHON PAINTER, THE DINOS
PAINTER, AND OTHERS. LATE FOLLOWERS
OF POLYGNOTOS
THE KLEOPHON PAINTER 2 * is the outstanding artist of the late
Polygnotan group. His name is derived from one of his best works
the scene of banqueters on a stamnos in Leningrad 2S with the
kalos names Megakles and Kleophon. He belongs to the transi-
tion period between the Free and the Late Fifth-Century style.
His figures and especially his heads retain much of the grandeur
and serenity of the preceding age, but are fleshier, more plastic,
and there is a new fluidity in the lines of bodies and draperies.
Fifty-two works have been attributed to him, chiefly on the
larger vases the stamnoi, kraters, pelikai, and amphorae. His
Return of Hephaistos on a pelike in Munich * 6 shows well the
quiet amplitude of his style. The Departure of a Warrior on a
stamnos in Munich 27 is painted in a somberer mood, in the
tradition of the Achilles Painter. The same subject recurs on
several vases by him, for instance, on a pelike formerly in the
collection of Lord Melchett, now in the British Museum, 28
where a youth clasps the hand of a woman (see fig. 108), and the
father stands sorrowfully by. A lekythos in New York 29 with
Eos pursuing Kephalos is a typical minor work. We may note
the characteristic rendering of the eye with the strongly curv-
ing lids and the dreamy expression.
THE DINOS PAINTER, 30 named after one of his chief works, a
144 ATTIC RED-FIGURED VASES
dinos in Berlin 81 with Dionysos reclining, continued the style
of the Kleophon Painter. The Pheidian tradition is waning and
is replaced by a new restlessness. The forms have become still
rounder and fleshier, the draperies looser (note the many short,
hooked lines), and there is more feeling for depth. The Dinos
Painter's style, in fact, represents a new movement which leads
directly to the ornate vases of the end of the century. Among
the thirty-odd works which have been attributed to him all on
large vases are the imposing Atalante on a calyx krater in Bo-
logna, 82 the Dionysiac festival on a stamnos in Naples, 83 and the
remarkable scene with Prometheus as fire-lighter on a calyx
krater in Oxford. 84 A fragment of a dinos in Palermo 85 with a
symposion well illustrates his delicate drawing. The boy stand-
ing with jug and colander by a krater, ready to fill the guests'
cups with wine, is drawn with great freedom. The momentary,
swaying pose marks a new departure in Greek art. On a frag-
ment of a bell krater in New York 86 is the upper part of a re-
clining youth, beautifully drawn in a three-quarter view, evi-
dently part of a symposion (see fig. 1 1 1).
THE CHRYSIS PAINTER 8T is called after the name he gave to
one of the women on a hydria in New York. 88 His style is similar
to that of the Dinos Painter, but more schematic, less refined.
Seven hydriai and two bell kraters have so far been assigned to
him. The scene on the New York hydria women in an out-of-
doors setting is skillfully composed in a number of planes; but
the execution is not careful, and the lines are rather coarse. An
attractive picture of Dionysos dining, on a pelike in New York, 88a
is now attributed to the manner of the Chrysis Painter.
The signature of PoooN, 89 with egrapsen, is preserved on a
large volute krater in New York. 40 His broad style, which is re-
lated to that of the Polygnotan group, can be well studied on
his signed work. A continuous scene of gods and goddesses oc-
cupies the body of the vase. The chief motive is a four-horse
chariot. Hermes (under the left handle), in winged sandals, is
holding one of the horses by the head; alongside stands Athena;
Artemis, identified by her quiver and bow, holds the reins and
the goad and turns round toward her brother Apollo; for it is
evidently he who will mount the chariot. He is in gala array and
stretches out both hands to take a kithara which his mother Leto
is handing to him. A little Nike hovers above the chariot hold-
LATE FIFTH-CENTURY STYLE 145
ing a leafy spray. Behind Leto are Poseidon with his trident and
Herakles with lion's skin, club, bow, and quiver. Finally come
three magnificent figures Dionysos with thyrsos and kantharos,
Hera holding the royal scepter, her hand raised in salutation,
and Zeus with a scepter to match that of his consort. The names
are inscribed. The Pheidian idealism in these regal figures is still
potent especially in the imposing figure of Hera, in the Apollo,
and in the quiet, stately Hermes, but the effect of the whole is
rather empty. From this august scene of Mount Olympos we turn
to the lively one of an Athenian gymnasium on the neck of the
vase. Comely figures of young boys are busily exercising under
the supervision of trainers (see fig. 112). Two are engaging in a
boxing bout, sparring with open hands; the others are running,
jumping, and preparing to throw a discus. Noteworthy are the
thin, flowing lines of the drapery, the often high crowns of the
heads, and th delicate drawing of the faces.
Sixteen other works have been attributed to Polion, among
them a bell krater, also in New York, 41 with an interesting scene
a wreathed flute player and three bearded satyrs playing the
kithara and singing (their mouths are open). Each wears a shaggy
garment of white fleece (/xaXAwTot xwfiws 42 ) while the flutist has a
long-sleeved, foldless chiton, the regular costume of musicians.
That these are not ordinary satyrs we learn from, the inscription
above them, ddoi Panaihenaia, indicating that they are singers
at the festival of the Panathenaia. What kind of performance is
going on is not certain. Hardly a satyric drama, for we have no
reliable evidence that plays were acted at the Panathenaia. Per-
haps a dithyramb, for Lysias mentions a performance of one at
the Lesser Panathenaia in 409-408 B.C.* 8
A volute krater from Spina at Ferrara 44 is comparable to the
New York one. Here too we have the contrast between the stately
scenes on the body of the vase the return of Hephaistos, and
Thamyris with the Muses and the less august but livelier torch
race on the neck of the vase. Two simple compositions appear on
a skyphos in New York 4B a bearded man in three-quarter back
view between two boys, and a boy leaning on a goal pillar in a
palaestra, extending his hand to a bearded man. The men are
not trainers, for they have walking sticks; they are spending their
time at the palaestra watching the athletes as described by
Plato in the Charmides.
146 ATTIC RED-FIGURED VASES
The kalos name Nikon is inscribed on a fragment of a calyx
krater in Chicago,* 6 decorated with satyrs.
AISON * 7 is another artist of whom a signed woTk, with egrap-
sen, has survived a kylix in Madrid 48 with exploits of Theseus,
delicately and ably drawn. We may note particularly the success-
ful three-quarter views of Theseus and the Minotaur. Twenty-
one other works have been attributed to him, mostly on the
smaller vases. The spirited fight of Theseus and Amazons, on a
squat lekythos in Naples, 49 is one of his best works. A kantharos
in New York B0 with a molded body in the form of two heads has
libation scenes for departing warriors (see fig. 1 10). The figures
have a dainty grace which makes them appealing. We may note
the delicate heads, pointed noses without nostril line, small
mouths with short upper lip, the staccato lines for the bunched
draperies, and the characteristic attitudes, with the weight rest-
ing on one leg and the figure appearing to lean slightly backward.
A small, pointed amphora in New York 51 has two delicately
painted pictures Apollo with two Muses, and Adrastos in his
chariot. No other attributions have been made to this painter.
THE KADMOS PAINTER, 82 who decorated a hydria in Berlin 53
with the story of Kadmos, painted chiefly kraters in a style re-
sembling that of the Chrysis Painter. Several scenes illustrate the
story of Apollo and Marsyas. THE POTHOS PAINTER," called after
the name he gave to a winged boy on a bell krater in Provi-
dence," is related to the Kadmos Painter, but of inferior caliber.
He too decorated chiefly kraters, and his favorite subjects are
Dionysiac scenes.
(2) THE MEIDIAS PAINTER AND HIS SCHOOL
THE MEIDIAS PAINTER," who decorated the famous hydria in
London ST signed Meidias epoiesen, is one of the last great fig-
ures in Athenian vase painting. He carried on the tradition of
the Eretria Painter, but in a softer, more luxurious form. His
graceful figures with rich, clinging draperies are the counter-
parts in vase painting of the reliefs on the Nike Balustrade. They,
like the late fifth-century sculptures, initiate the art of the fourth
century in which a gentle loveliness replaces the early sturdiness.
The Meidias Painter had many followers and it is sometimes
LATE FIFTH-CENTURY STYLE 147
difficult to distinguish their work from careless products of the
master. Beazley attributes to him fourteen certain works in
addition to the London hydria. The latter is one of his master-
pieces, both in execution and composition. The decoration is in
two tiers above, the Rape of the Leukippids, below, Herakles
in the garden of the Hesperides. The curving surfaces of shoul-
der and handle zone are utilized for the upper picture which is
composed in several planes, with the two chariots at the top, the
seated and fleeing figures below, and the group of Kastor seizing
Eriphyle as a connecting link. It is an amazingly bold and suc-
cessful design. If we compare the two-wheeled chariot and the
four galloping horses in three-quarter view with the earlier two-
dimensional renderings, we shall realize how far Greek artists
have traveled in a short century on the road toward natural-
ism.
The painting of Mousaios on a pelike in New York 88 is an-
other excellent work by the Meidias Painter. Here too the deco-
ration is composed in several planes, suggestive of depth. In the
center is a youth in a richly decorated costume playing the kith-
ara. All around him are female figures, some with musical
instruments harp, tambourine, and lyre; one holds a tame bird
to which a child is stretching out its hand. Trees, hillocks, and
flowers indicate an outdoor setting. One might think we had here
a picture of Thamyris and the Muses, for the scene is similar to
that on a squat lekythos in Ruvo 9 where the singer is identified
as Thamyris by an inscription. However, the name of the singer
in the New York scene is also given, and it is not Thamyris but
Mousaios, who according to some sources came from Thrace
hence his barbarian costume. Moreover the child and the woman
with the bird are also named Eumolpos and Deiope, the son
and wife of Mousaios. The inscribed names of the other figures
identify them as Muses, except the radiant one sitting with Eros,
who is Aphrodite (see fig. 114). We have here, then, a represen-
tation of Mousaios with wife and child making music in the
presence of the Muses and of Aphrodite and her retinue.
The scene on the other side of the vase represents Herakles
with his wife Deianeira and two women of unknown identity.
The figures are among the tallest known by the Meidias Painter,
the standing ones being over 2 1 cm. high. They are not so care-
fully drawn, however, as those on the "front" side. The black
148 ATTIC RED-FIGURED VASES
glaze of the background has mostly disappeared, leaving the
contour stripes where the glaze had a double thickness (see
p. 29) to stand out prominently.
Two hydriai from Populonia 60 in Florence with Phaon and
with Adonis (see fig. 115), and the squat lekythos in Ruvo with
Thamyris above mentioned are closely related in style to the
London hydria and the New York pelike. There are many ob-
vious similarities between the figures in all five works: heads in
three-quarter view looking upward and downward; slender hands
with tapering fingers, sometimes holding objects without prop-
erly grasping them; soft, transparent, swirling draperies rendered
by multitudinous curving lines which model the forms of the
body; lower legs drawn crossing each other; large feet in three-
quarter view with cushioned toes, of which the big toe is some-
times disproportionately large; curving lines incised lightly in
the glaze to indicate the hilly ground and the trailing plants;
flowers in superimposed clay. And throughout we find the same
masterly quality of line so thin and equable and drawn with
such swing and freedom that it is almost incredible that it was
traced in glaze. These five paintings must be about contempo-
rary and they represent the high-water mark of the Meidjas
Painter's work.
The picture by the Meidias Painter on an oinochoe (chous) in
New York 61 has recently received a new interpretation. Instead
of a laundry scene it represents women perfuming clothes in
preparation for the feast of the Choes (the second day of the
Anthesteria). As in the picture of the same subject on a jug by
the Eretria Painter (see p. 134), a swing and a chair with folded
garments are introduced; also a boy watching the proceedings.
That a swing was used in connection with the Anthesteria seems
certain from our literary sources, and the shape of the vase con-
nects the scene definitely with the Choes. At the top is the in-
scription Ganyme(des) kalos.
Most of the other paintings by this artist are on the smaller
vases the squat lekythoi, lekanides, and pyxides. The favorite
subjects are Aphrodite, Eros, and women. The sensitive render-
ing of the hands, frequently held half open, is noteworthy. The
inscriptions Epicharis kale and Myrrhiniske kale occur on a le-
kanis in Naples. 62
"Meidian" pictures, that is, vase paintings in the manner of
LATE FIFTH-CENTURY STYLE 149
the Meidias Painter but not by him, occur mostly on squat leky-
thoi, oinochoai, pyxides, and lekanides. The graceful figures
and attractive compositions are directly derived from the Meidias
Painter's creations, but they have not the master's delicate touch.
The drawing is less able and the lines are coarser. Several ex-
amples are in New York a squat lekythos 8S with Chrysippos,
Pompe, and a processional basket; a pyxis 8 * with a scene of
Aphrodite and her attendants: Persuasion, Health, Luck, Good
Repute, Freedom from Toil, and Paidia, "Play" (the names are
inscribed); and a "toy" oinochoe 85 with children playing at be-
ing revelers. "Toy" jugs, frequent at this late period, were evi-
dently connected with the celebration of the Choes festival by
children. 6511
Several well-known paintings which were attributed to the
Meidias Painter by many authorities have now been detached
from him by Beazley; for instance, the Pelops and Hippodameia
on a neck amphora in Arezzo (see fig. iig), 88 and the Judgment
of Paris on a hydria in Carlsruhe. 87 He considers them close to
the master but not by him. Apparently the Meidias Painter in-
fluenced not only minor painters, but also some of his more
prominent contemporaries. Certainly the figure of Pelops on the
Arezzo amphora guiding his galloping horses and turning
round in a three-quarter view is the work of a great artist.
The painter ARISTOPHANES 68 signed several of his works. Two
kylikes one in Berlin * 9 with a gigantomachy, the other in Bos-
ton 70 with a centauromachy are inscribed: Erginos epoiesen,
Aristophanes egraphe; and Aristophanes egrapsen occurs on a
fragment of a bell krater with a male figure in Agrigento. 71 Two
other paintings have been attributed to him a kylix in Bos-
ton, 72 a replica of the signed one there, and an acorn lekythos in
Berlin, 78 with a picture of Adonis. His style is very close to that
of the Meidias Painter, and some authorities have even thought
that the two were identical, that is, that Aristophanes was the
Meidias Painter in an early phase. But in spite of an obvious
similarity there is also a marked difference. Aristophanes' line
is also excellent, but his compositions have not the swing and
ease of the Meidias Painter's, and his figures, though in lively
poses, make the impression of statues in arrested motion.
Fragments of two lekanides in Athens T * have several letters
belonging to signatures by a potter named MIKION and by a
150 ATTIC RED-FIGURED VASES
decorator perhaps named EUEMPOROS. If the restoration of the
inscriptions is correct, we should know another name of a vase
painter of this late period.
THE NIKIAS PAINTER'S 76 name is derived from the picture of
torch racers on a bell krater in London 76 signed "Nikias, the son
of Hermokles, of the deme of Anaphlystos, made it." He is an
artist in the Meidian tradition, who decorated chiefly large vases.
A sacrificial scene on a bell krater in New York 7T is a typical
work.
(3) THE TALOS PAINTER, THE PRONOMOS
PAINTER, AND THE SUESSULA PAINTER
A volute krater in Ruvo 7S with the death of the bronze giant
Talos has supplied the name TALOS PAINTER 79 to an outstanding
artist of the end of the century. The vase is one of the best known
of antiquity, for it is an imposing piece and well exemplifies the
ornateness which becomes a dominant characteristic of Attic
pottery at this time. The scene is crowded with figures which are
not only placed in different planes but are drawn one behind the
other; figures in the distance are sometimes made smaller than
those in the foreground; the three-quarter view has become the
prevailing one; and, above all, white with yellow markings is
profusely used; in fact the whole figure of the dying Talos is
painted white, and so stands out unduly from his surroundings.
The shape of the krater has also become more complex and the
divisions of mouth and foot have multiplied.
Only three other works, all fragmentary, have been attributed
to the Talos Painter. One is a stand, perhaps of a nuptial lebes,
in New York (see fig. 109). 80 The figures are about ten inches
(25 cm.) high. One can make out Athena, Herakles, and lolaos,
and two other figures. Their noble bearing and exceptional size
show that the picture was an imposing work. The bearded head
is a close counterpart of the Poseidon on the Ruvo krater.
A volute krater in Naples 81 with a representation of a satyr
play is another famous vase, which has often been reproduced.
The artist who decorated it has been called THE PRONOMOS
PAINTER 82 from the name he gave to a flute player on this vase
(see p. 142). The scene is of great interest and shows the in-
fluence of the theater on the painting of the period. Dionysos,
LATE FIFTH-CENTURY STYLE 151
the sponsor of Greek drama, is sitting on a couch with Ariadne,
surrounded by three tragic actors, twelve dancers of a Satyric
chorus, the poet, a lyrist, and the flutist Pronomos (see fig. 120).
The many figures arranged on different levels, the profusely
ornamented garments, the decorated neck, lip, and handles of
the vase, combine to give an overladen effect. The style is in the
tradition of the Dinos Painter. The Dionysiac scene on the back
of the vase is somewhat less ornate, and so are the paintings on
three other vases attributed to this artist.
THE SUESSULA PAINTER 83 decorated six neck amphorae with
twisted handles, four of which have been found at Suessula in
Campania and three of which are now in New York. The most
ambitious and largest is that from Melos in the Louvre 8 * with
a gigantomachy. The copious additions of white and yellow, the
richly ornamented garments, the uneven thickness of the lines,
and the restless composition arranged in several levels are all
in line with the style of the period. Similar combats on a smaller
scale are painted on two amphorae in New York (see fig. 122). 85
It is instructive to compare these scenes with those on the large
kraters by the Niobid Painter and his school (see pp. 100 ff.). Vio-
lent foreshortenings and three-quarter front and back views,
which fifty years ago were boldly but unsuccessfully attempted,
are now convincingly rendered. The third amphora in New
York 86 has a scene of a soldier leaving-home. He holds his horse
by the rein and grasps two spears. On one side are his old father,
leaning on a stick, and his young companion in arms; on the
other his mother, with phiale and jug, ready to pour the libation.
We have an important piece of evidence for the dating of the
Suessula Painter's work. A fragment of a bell krater with a youth
in a style approximating his was found in the Athenian Kera-
meikos 87 in the tomb of the Lacedaemonians who fell in 403 B.C.
(see p. 142). He must therefore have^ lived in the concluding
years of the fifth century, though many of his works may of
course belong to the early fourth.
(4) PAINTERS OF CUPS AND SMALL VASES
Many minor painters were naturally active in the late fifth
century alongside the more important ones. A number of them
iKo ATTIC RED-FIGURED VASES
\J
have recently been segregated and their works classified. They
decorated mostly the smaller vases cups, pyxides, oinochoai,
and especially the squat lekythoi popular at this time. The dec-
oration generally consists of one or two figures a woman seated
or standing, dancing, playing with a ball; a youth leaving home;
an animal or a monster; the head of Hermes or of a woman. Beaz-
ley has given them various names after their chief works, char-
acteristics, provenances, locations: THE PAINTER OF LONDON 106,
THE MOURET PAINTER (both cup painters), THE STRAGGLY
PAINTER, THE MINA PAINTER, THE WORST PAINTER. 88 Two pyx-
ides, in Copenhagen 89 and London, 90 are signed by their potter,
GAURION (with epoie). On the lid of the former is painted a calyx
krater, on the latter an arm with a sheathed sword.
(5) WHITE-GROUND VASES
In this period also, the white-ground technique was used con-
currently with red-figure; but it is now confined to sepulchral
lekythoi, and the artists who decorated them seem to have spe-
cialized in this one field. The lines are now always drawn in matt
colors red or black and a large palette is often used for the
colored washes blue, purple, green, mauve, yellow, and differ-
ent shades of red. The sometimes large size of the vases and of
the figures give them a monumental quality. A change in the
representations is noticeable. The artists o the preceding pe-
riod suggested the pathos of death subtly, in attitude and ges-
ture, and thus created gentle and deeply moving pictures. The
painters of the late fifth-century lekythoi often showed the sor-
row of parting more directly. As before, the scenes generally
consist of figures at a tomb and the dead are often represented
sitting or standing by their graves with one or two mourners
bringing offerings. But the attitudes and expressions are no
longer detached; instead of resignation actual grief is suggested
in the restless poses and the sad, almost rebellious expressions.
It was the time when the Peloponnesian War was drawing to a
close and Athens' long struggle ended in defeat. As Sir John
Beazley 91 put it, "something of that angry sunset has passed
into the work" of these artists.
On several good examples in New York we see a youth or a
LATE FIFTH-CENTURY STYLE 153
woman seated on the steps of the tomb, attended by mourners.
The pictures are painted by the prominent artists of the time,
or by their associates. One is in the manner of THE WOMAN
PAINTER (see fig. n6), 92 another is by a member of GROUP R
(see figs. 118, ng), 93 a third is by THE TRIGLYPH PAINTER," a
fourth is not yet attributed (see fig. ny). 95 A fifth, 96 by THE
REED PAINTER, has a spirited battle scene with a foot soldier at-
tacking a horseman presumably the action in which the youth
who is commemorated was killed. In some of these pictures the
washes are fairly well preserved, giving a good idea of the origi-
nal colorful effect.
VI. THE FOURTH CENTURY
THE Peloponnesian War and its disastrous ending had seri-
ously impaired the commerce of Athens. Nevertheless, in
a few years she was able to regain to some extent her Western
markets at least so we may surmise from the early fourth-cen-
tury Attic vases which have been found in considerable numbers
in Italy. Gradually, however, as South Italy rose in power, the
local Apulian, Lucanian, Campanian, and Paestan vases took
the place of these Athenian stragglers. By the second quarter of
the fourth century the ceramic trade between Athens and Italy
which had flourished for almost two hundred years came virtu-
ally to a stop. In its stead Athens acquired an extensive market
in the cities of the Greek colonists of southern Russia. Quanti-
ties of Athenian pottery have been found at Kerch (Pantika-
paion) and Olbia near the Black Sea; and though the same type of
pottery has also come to light elsewhere x (for instance at Alex-
andria, in the Cyrenaica, and of course in Greece), the style is
generally referred to as "Kerch," after the chief finding place.
The period assigned to it about 370 to 320 B.C. is politically
that of the Arcadian League and the beginning of the Mace-
donian domination.
The chief panel painters of the time whose works have all
perished, but whose names we know from the statements of an-
cient writers were Eupompos and Pausias of Sikyon and Aris-
teides of Thebes, then Nikias of Athens and the great Apelles. 2
They utilized and expanded the innovations of the preceding age
in the direction of naturalism (see pp. 139 f .). Pliny's 8 well-known
anecdotes of the painted grapes by Zeuxis and of the horse by
Apelles well illustrate this trompe I'oeil ideal. The vase paint-
ings can reflect it only to a limited extent, for it must have largely
depended on modeling by light and shade and on the use of many
gradating, blending colors.
During the first quarter of the fourth century the vase paint-
ings continue and develop the styles of the preceding period. In
fact, many of the artists who were active at the end of the fifth
century of course worked also in the early fourth. Interest in
perspective was keen, and we find rectangular objects and build-
THE FOURTH CENTURY 155
ings drawn with receding sides (see p. 158); chair legs are no
longer always drawn all in the front plane. A florid and a
plainer style flourished side by side. Gradually, however, the
lines become thinner and weaker, and by about 370 the so-called
Kerch style is evolved. It represents the last phase of Athenian
vase painting. Instead of delicate curves and effective contours
there are many short, very thin lines to indicate the actual struc-
ture of the folds and the plastic shapes of the body. The render-
ings of hair and eye are the same as in the foregoing period. The
hair is drawn in separate wavy strands on a reserved background,
the eye with the lower eyelid very short the linear equivalent
of shallow carving. The subjects continue to be taken largely
from the life of women, but cult scenes are now also favored and
mythological scenes are common. Dionysos and his retinue, as
well as Herakles, are especially popular.
As in the preceding period other colors chiefly white, pink,
and gold leaf, occasionally blue and green were added to en-
rich the red-and-black scheme. Thinned glaze was still used, espe-
cially for parts of the hair and for lines on the white; not so
much for anatomical markings on a reserved ground. Occasion-
ally some of the figures were rendered in applied clay and made
to stand out in relief (see p. 157). Vases in this dual technique
are the forerunners of the vases with the decoration entirely in
relief, which finally ousted the painted ware (see p. 162). The
white-ground lekythoi continued for a decade or so into the
fourth century and then stopped. Inscriptions, so frequent in the
early days and popular also in the late fifth century, now occur
only rarely. 4
In general the easy poses and soft draperies of the paintings
of the first quarter of the fourth century can be compared with
the akroteria and pediments from Epidauros and the "docu-
ment" reliefs of that time. 5 The period of the Kerch vases is that
of Praxiteles, Skopas, and Lysippos, whose influence was evi-
dently potent even in vase painting. For instance, a figure on an
oinochoe in New York recalls the Knidian Aphrodite and the fig-
ures on a hydria from Alexandria Lysippian statues (see
p. 161). Comparisons with dated "document" reliefs of the
fourth century are especially useful; for instance, with that of
Korkyra (375 B.C.) and that dated in the archonship of Molon
(362-361).
i 5 6 ATTIC RED-FIGURED VASES
There are several important landmarks for the chronology of
fourth-century vases. We have noted the evidence obtained from
the vase fragments found in the burial plot of Dexileos, from the
krater with a flutist named Pronomos, and from the fragment
found in the Tomb of the Lacedaemonians who fell in 403 B.C.
(see p. 142). And there are other clues: fl
(1) The commercial relations between Athens and Cyprus,
active during the reign of Evagoras I of Salamis (411-374/3),
stopped with the end of his rule; in the tombs at Marion in
Cyprus many Athenian vases have come to light, all in the late
Meidian and ornate styles, none in the succeeding Kerch one. 7
From this we may infer that the sub-Meidian and ornate styles
continued during the whole of the first quarter of the fourth cen-
tury and that the Kerch vases are subsequent to that time.
(2) The Panathenaic amphorae datable (by the names of the
archons which are inscribed on them) in the first third of the
fourth century 8 show Athena clothed in a garment richly deco-
rated in the manner of the ornate style. 9 In spite of archaizing
tendencies the contemporary fashion was evidently followed.
The figures on the Panathenaic vases of about 370310, on the
other hand, show many points of similarity with the Kerch vases.
They are drawn in a similar way with the same kind of short
lines, bringing out the structure of folds and bodies. 10
(3) The fact that a plate of the Kerch style was found at
Olynthos ll suggests that it was painted previous to the destruc-
tion of that city in 348.
(4) Kerch vases have been found in graves with coins of Philip
II of Macedon, of Alexander, and of Lysimachos (the last dated
soon after 305), as well as with coins of Pantikapaion assigned to
the second half of the fourth century. 12 Thereby we obtain ap-
proximate dates for the burials.
(5) Kerch vases have come to light at Alexandria, 13 which was
founded in 331, and they represent the concluding phase of the
style.
The shapes of the fourth-century vases are slenderer, more
elongated than before, with a tendency to ogee curves. The
favorites among the larger vas.es are the hydria, the pelike, and
the bell krater; also common are the lekane, the skyphos, the
oinochoe, and the squat lekythos. The calyx krater has a vogue
in the late Kerch period. The kylix proper dies out at the begin-
THE FOURTH CENTURY 157
ning of that period, and the stemless cup at about the same
time. 1 *
(i) FIRST THIRD OF THE CENTURT
(a) THE ORNATE STYLE: THE PAINTER OF THE
NEW YORK CENTAUROMAGHY AND OTHER
POT PAINTERS
The chief exponent of the ornate style among the pot painters
of the fourth century is THE PAINTER OF THE NEW YORK CEN-
TAUROMACHY, 15 named after a scene on a fragmentary volute
krater in New York. 10 His style is a continuation and amplifica-
tion of that of the Dinos Painter. The Theseus and Lapiths on
the New York fragment and the Herakles on a fragment of a
volute krater in Leningrad 1T still retain something of the fifth-
century grandeur, but the restless composition and the many
superimposed colors point to a different epoch. Two fragmentary
cups, in Leningrad 18 and Bryn Mawr, 19 are the only other works
so far attributed to this painter.
THE MELEAGER PAINTER 20 is related to the Painter of the New
York Centauromachy, especially during his early years before
his work deteriorated. Forty-seven works have been attributed to
him, including several with Atalante and Meleager. The subject
occurs, for instance, on one of his chief works, a volute krater
in Vienna, 21 and again on a calyx krater in Wiirzburg. 22 The
Vienna krater has, on its other side, an Oriental king being enter-
tained by dancers. Most of the Meleager Painter's scenes are
Dionysiac and are composed in several tiers on large vases.
THE XENOPHANTOS PAINTER 28 also belongs to this group. He
decorated the two famous squat lekythoi in Leningrad, 2 * each
with the signature Xenophantos epoiesen Athen[aios\, "Xeno-
phantos, the Athenian, made it." Both were found in South Rus-
sia and were evidently made by an Athenian in that region. The
representations are the same in both on the body Persians hunt-
ing, on the shoulder Nikai driving chariots, a centauromachy,
and a gigantomachy. The scene on the shoulder is entirely in
relief, that on the body partly so.
Among the other pot painters of the early fourth century be-
158 ATTIC RED-FIGURED VASES
longing to this group we may mention THE PAINTER OF THE OX-
FORD GRYPOMACHY; THE RETORTED PAINTER (so called "because
the eyes of his reverse figures are often turned in instead of out
oculi retorti"}; THE BLACK-THYRSOS PAINTER, who introduced
black thyrsoi into his Dionysiac scenes; and THE OINOMAOS
PAINTER, who decorated a bell krater in Naples with Pelops and
Oinomaos. 20
The partial perspective in use at this time can be well seen in
the picture of Dionysos sitting in front of his temple on a frag-
ment in Jena. 26 The artist has represented not only the front
view of the building but a receding side view, and part of the
ceiling beneath the gabled roof; but the parallel receding lines
do not meet at one vanishing point and the various parts are
viewed not from one point of sight, but from several; nor do the
farther columns diminish in size. The result is somewhat con-
fusing.
(b) THE PLAINER STYLE: THE ERBACH
PAINTER, THE JENA PAINTER, AND
OTHERS
Side by side with the ornate pot painters there were others
who adopted a plainer style. One of the most pleasing is THE
ERBACH PAINTER," to whom eight vases have been attributed,
one of them at Erbach. All his paintings are on kraters and deal
with Dionysiac subjects. Among the other artists in this class are
THE PAINTER OF LONDON F 64, 28 who painted several scenes of
the Apotheosis of Herakles, and his close associate, THE PAINTER
OF LONDON F i. 29
THE JENA PAINTER 80 is one of the chief cup painters of the
early fourth century. Seventy-two works have been attributed
to him, all except two on cups. The majority are fragments found
in a potter's workshop in Athens and now in Jena 31 hence his
name. His scenes are drawn in a delicate, broad manner with
thin, flowing lines, without the overladen, ornate effects of some
of his contemporaries. One of his loveliest products is the frag-
ment with Eros sitting on the lap of Aphrodite and playing the
harp. 32 The delicate rendering of the face of Aphrodite fore-
shadows the Kerch style. On a hydria in Berlin 83 is a picture of
THE FOURTH CENTURY 159
Paris and of Helen holding a mirror and sitting on the edge of
an open chest filled with her belongings.
THE Q PAINTER S4 and THE PAINTERS OF VIENNA 155, 202, AND
1 16 35 belong in this group.
While some painters specialized in the decoration of cups,
others painted chiefly jugs. A large number of oinochoai with
fat athletes, cursorily painted, have been put together as the
works of THE FAT BOY GROUP. 36 A few other jugs, all from
Spina, are attributed to "THE BROWN-EGG PAINTER," 37 for they
have a brown, not a black, egg pattern below.
An unattributed pelike of this period in New York 38 has an
interesting subject Herakles in die garden of the Hesperides.
In addition to the usual tree, serpent, Herakles, and Hesperid,
the figure of Okeanos, horned and leaning on a stick, is intro-
duced. Ocean is rarely represented in Greek art. His presence
here marks the locality as the shores of the river Okeanos. The
delicate, broad style of the drawing places the picture in the
group of the Jena Painter.
Another noteworthy scene by an artist belonging to this group
is on a hydria in New York. 89 Poseidon, mounted on a sea horse
and grasping his trident, extends his hand in welcome to a youth
(see fig. 121). The seaweed (or spray?) beneath the horse's body
indicates that the encounter takes place by or in the sea. One
might think that the youth was Theseus, who, when his divine
origin was challenged, descended to the bottom of the sea to
prove it. His meeting with Amphitrite is represented on the
famous cup in the Louvre (see p. 77) and that with Poseidon
on several other vases. But on the New York vase Poseidon is on
a sea horse. As he would hardly be riding at the bottom of the
sea, either we have here a different version of the legend, or the
youth is not Theseus but Pelops, standing on the beach and ask-
ing Poseidon for help in his race with Oinomaos. 40
(2) THE KERCH STYLE, ABOUT 370-320 B.C.
The early Kerch vases are of course the direct outgrowth of
those of the preceding period. They resemble in a general way
the work of the Jena Painter. A hydria in London 41 with Europa
and -the bull, a pelike in London * 2 with Artemis and a deer, and
i6o ATTIC RED-FIGURED VASES
a hydria in New York 43 with Poseidon and Amymone are typi-
cal examples, datable about 370 B.C. and later. The composi-
tions are relatively simple and the lines still retain something of
the early flow.
By the middle of the fourth, century the Kerch style had
reached its acme and many of its masterpieces may be assigned
to this period. The crowded compositions, the sketchy lines, the
addition of washes in diluted glaze to suggest shadows, and the
often profuse accessory colors white, pink, blue, red, green, and
gold lend to these vases a rich and sometimes restless aspect.
We may look at a few examples.
A hydria in New York 44 with Herakles and the Hesperides
is exceptionally well preserved (see fig. 124). The tree with the
golden apples and the serpent occupy the center of the scene.
Herakles stands at one side, resting on his club; at the other is
a Hesperid, leaning against a tympanon and listening to Hera-
kles. The other figures, placed on different levels, all in three-
quarter views, are two Hesperids, a youth presumably lolaos, a
Pan with club and leopard's skin, and a satyr. On the ground is
an omphalos covered with fillets and mounted on a low platform.
White with yellow markings is used for the serpent and for the
flesh parts of two Hesperids and Nike. The combination of Pan,
a satyr, the Bacchic tympanon, and the omphalos in the garden
of the Hesperides would be surprising on a fifth-century vase.
But in the fourth century the ascendancy of Dionysos is so gen-
eral that his companions and attributes are introduced into many
scenes not strictly Dionysiac. The omphalos is of course ex-
plained by Dionysos' connection with Delphi, where he was wor-
shiped during the three winter months. He is represented seated
on the omphalos on a Kerch hydria in Lyons, 45 and he welcomes
Apollo upon the latter's return in the spring on a late fifth-
century krater in Leningrad * 8 by the Kadmos Painter.
A lekane in Leningrad 4T is a famous piece and has often been
described. Women are represented engaged in various activities,
in a crowded composition, effectively composed on the lid of the
bowl. The subject seems to be the preparation for a wedding,
but we obtain at the same time a pleasant glimpse into a fourth-
century Attic home. We see women busily washing, adorning
themselves, and making cakes, surrounded by their household
THE FOURTH CENTURY 161
objects: chests, vases, a wash basin, a basket, an incense burner,
and a herm, as well as pet animals a dog and two birds, one in
a cage.
An oinochoe in New York 4S has a scene of particular interest,
beautifully executed (see fig. 123). In the center is a woman,
identified as Pompe, "Procession," by an inscription; she has a
wreath in her hands and is turning toward Dionysos, who is sit-
ting on a chair holding his thyrsos. On the ground is a proces-
sional basket in applied clay, gilded. Beside it Eros is tying his
sandal. The presence of Pompe, Dionysos, and a processional
basket shows that the occasion is a Dionysiac festival. The scene
is drawn with very fine lines and with copious additions of white,
pink, and gold, and seems more like a miniature painting than
a vase decoration. The graceful pose of Pompe recalls the Knid-
ian Aphrodite of Praxiteles. The tying of a sandal with one foot
raised is a familiar motive in statuettes of the fourth century.
The seated Dionysos is ably drawn in three-quarter view; all
four legs of the chair are indicated, as well as parts of the farther
sides of the back and of the seat.
On a skyphos in New York * 9 of about the same period we
again see a processional basket, held here on the lap of a seated
woman. It too is rendered in applied clay and gilded. As a satyr
is present, the subject is evidently also the preparation for a
Dionysiac festival. On the other side of the vase are two women
with a satyr and Eros, carefully drawn with very fine lines (see
fi S' 125 ^ . ^
Mythological scenes occur occasionally. There are represen-
tations, for instance, of Apollo and Marsyas, of Oidipous and
the sphinx, of Themis advising Zeus to start the Trojan war, etc.
It is clear, however, that the belief in these ancient myths was
waning. Interest centered in the activities of daily life.
Cult scenes are in special favor on Kerch vases. Several have
been identified as representations of the Adonia, which was cele-
brated by Athenian women with lamentations for the dead
Adonis and with the planting of "gardens" in pots or potsherds.
One of the ceremonies was the bringing of such "gardens" to the
roofs of houses, and this seems to be represented in the scenes
with women standing on ladders and with plants sprouting in
pots. 51 One such scene, somewhat fragmentary, may be seen on
i6s ATTIC RED-FIGURED VASES
a squat lekythos in New York. 62 Traces of gilding, pink, red, and
green remain. A woman burning incense on an altar is depicted
on a hydria in New York. B2a
The fragment of a hydria in Leningrad e3 with a seated Zeus
recalls contemporary sculpture, for instance the "Maussolos" of
Halikarnassos. It is drawn in a broad, sketchy manner, with many
short lines, suggesting the volume of the figure, and resembles
a modern drawing more than a Greek vase painting. We have
here the complete abandonment of the early Greek silhouette
style.
The same marked feeling for volume appears in a scene on a
lebes in Leningrad 54 with the bringing of wedding gifts to the
bride. The figures are, as is usual at this time, practically all in
three-quarter views; a sense of movement is imparted by the
swirling draperies and the momentary poses. The curving sur-
face of the vase accentuates this quality.
The picture on a pelike in Leningrad " is perhaps one of the
latest examples of the Kerch style. An Amazon is represented on
a rearing horse in a three-quarter view, riding out of the picture
toward us, like her sister, about 150 years or so earlier (see p.
103). Now, however, the foreshortening of horse and rider is
successfully accomplished. The several parts are no longer viewed
from different points of sight, but from only one, and the whole
has become a unified design. The decorative quality is weaker,
but the artist has learned the task he had set himself. A combat
of Greeks and Amazons, on a pelike in New York, 85a with colors
well preserved, shows the same interest in violent movement. If
we translate such pictures into large representations we may real-
ize the power and accomplishment of Greek painting at the time
of the great Apelles.
(3) VASES WITH RELIEFS
In the later fourth century vases with reliefs had a short vogue
in Attica. 56 Relief decoration on vases was nothing new in Greek
ceramics. It had been popular in the early archaic period in
Various localities, especially in Crete, Boeotia, and Laconia; BT
and even in the fifth and the early fourth century we find occa-
sional examples side by side with the painted ware. 68 Its increased
THE FOURTH CENTURY 163
use in Attica in the late fourth century may be regarded as a
logical development. When once the old two-dimensional dec-
oration was given up and foreshortenings were used to suggest
depth on a flat surface, vase paintings became three-dimensional
representations. By the early fourth century such foreshorten-
ings had, as we have seen, become the general rule and an essen-
tially plastic style had been developed; moreover, increasingly,
minor objects were rendered in applied clay, that is, in relief. The
next step was to adopt this technique first for whole figures, then
for the whole decoration. The figures were applied in red clay
in barbotine or applique" technique against the black-glaze
background and given the same divers shades as the contempo-
rary terra-cotta statuettes. Gilding was popular. Some of these
relief vases are charming creations. One of the most important,
with a group of Eleusinian deities on the shoulder, was found
at Cumae and is now in Leningrad. 69 Another, a hydria from
Lampsakos with the Calydonian boar hunt, is in Istanbul. 60 Two
interesting examples are in New York. On a lekythos 61 is a scene
in applique" relief of Telephos who has taken refuge on an altar
when discovered by the Greeks; he grasps the child Orestes and
threatens to kill him with his dagger; Klytaimestra extends
both arms to the frightened child. The presence of the queen is
particularly interesting and suggests that the potter is here fol-
lowing the version of the story perhaps derived from Euripides'
Telephos in which Telephos took Orestes on Klytaimestra's
advice. 62 A small oinochoe 6S has an attractive scene of Aphrodite
and her retinue, in barbotine technique. The goddess is repre-
sented sitting on a rock with a dove perched on her shoulder;
she is extending one arm to a little Eros, who is about to fly
toward her, assisted by a young, shaggy Pan. 64 The Eros is evi-
dently a baby learning to fly. Two older brothers appear behind
Aphrodite, one flying at ease the other sitting by a tree (one
of his wings is in relief, the other is painted on the background
to suggest the turn of his body). It is a pretty scene in the in-
timate, playful vein of the late fourth century. Considerable
traces of the original colors remain of the white engobe which
covered the whole relief, of the gilding on the figures and the
tree, and of the blue on the rocky ground.
These Attic relief vases were apparently not produced in
quantity and were short-lived. Comparatively few have survived
164 ATTIC RED-FIGURED VASES
and. most of them belong to the late fourth and perhaps the early
third century. They mark the end of the painted ware. Red-
figure had run its course. It had been produced in Attica con-
tinuously for two centuries, had enlisted at times great talent,
and had been exported far and wide. A change was due. Hence-
forth the Hellenistic relief ware, inspired by and sometimes di-
rectly derived from metal ware, came into vogue and continued
its popularity throughout the ancient world until the end of the
Roman Empire. 05 The black glaze, however, which had played
so prominent a role in black-figured and red-figured paintings
was not abandoned. Plain black-glaze vases chiefly drinking
cups, plates, saucers, bowls, and pitchers continued in use in
Attica through the third and second centuries. 66 We have evi-
dence that black-figured Panathenaic amphorae were produced
after the fourth century B.C. 67 Black glaze was employed for bands
and inside linings on the plain partly glazed household ware,
which naturally continued after the demise of red-figure. 68 Above
all, the black glaze, even though in a rather deteriorated form,
was used on the very relief vases of Hellenistic and Roman times
which took the place of the painted ware.
Fig, 34; cf. p. 46 Andokides Painter
Fig. 35; cf. p 49. Oltos
Fig 36, cf p 47. Psiax
Fl S- 37, cf p 50. Epiktetos
Fig. 38; cf. p. 52. Hegesiboulos Painter
Figs 39, 40; cf p. 50, Pheidippos
Fig 41; cf. p 58 Gales Painter
Fig 42; cf. p. 50. Hischylos Painter
Fig 43; c. p 53 Euphronios
Fig. 44; cf. p 55. Euthymides
60
I
bo
Fig. 47; C f. p 67
Kleophrades Painter
Fig 48; cf. p 69. Berlin Painter
Fig 49, cf p 72 Myson
Fig 50, cf. p. 72. Geras Painter
Fig. 51; cf. p. 73 Gallatin Painter
Fig. 52; cf. p 73 Dutuit Painter Fig 53; cf. p 73 Dutuit Painter
Fig 54; cf. p 74 Providence Painter Fig 55; cf p 74 Tithonos Painter
Fig. 56; cf p. 75 Bowclom Painter
57 c f P 78- Pannitios Painter
Fig. 58, cf p 86. Thonaldsen group Fig. 59; cf p 77 Panaitios Painter
Fig. 60; cf. p. 80 Brygos Painter Fig. 61; cf pp. 79, 80 Brygos Painter
Fig 62; cf p. 87. Briseis Painter
Fig. 63; cf. p. 82. Makron
Fig. 64; cf p 84 Douris
Fig 65; cf. p- 84. Douris
Fig. 66; cf p 95- Pan Painter
Fig. 67, cf p 9.", Pan Painter
Fig. 68; cf p. 95. Pan Painter
Fig. 69; c. p 98 Penthesileia Painter
Tig. 70; c. p. 98 Penttiesileia Painter
Fig. 71; cf. p. 98. Diosphos Painter
Fig. 72; cf. p. 100. Wedding Painter
Fig. 73; cf. p. 98 Penthesileia Painter
Fi g. 74; cf. p. 102, Painter of the Woolly Silens
75, c f. p 101 Niobid Painter
Fig 76; cf p 109 Oionokles Painter
Fig 77; cf. p 108. Heimonax
Fig 78; cf p 106 Methyse Painter
Fig. 79; cf p 111 Sotades Painter
Fig 80; cf p 111 Follower of the Brygos Painter
Fig 81; cf p 113.
Sabouroff Painter
Fig. 82, cf p 113 Sabouroff Painter
Fig 83; cf. p 114 Vouni Painter
Fig 84, cf. p 104. Villa Giulia Painter Fig 85; cf. p. 107 Euaichme Painter
Fig. 86, cf p 106 Akestorides Painter Fig 87; cf. p. 107. Euaicm Painter
Pig. 88; cf. p. 124, Mannheim Painter Fig. 89, c. p. 119 Achilles Pamtei
Fig. 90; cf p. 125 Danae Painter
Fig. 91; cf p. 122 Phiale Painter
Fig 92; cf. p 123. Persephone Painter
Fig 93, cf p 125 Painter of London E 497
Figs. 94, 95; cf. p. 129. Lykaon Painter
Fig. 96; cf. p. 128 Polygnotos
Fig, 97; cf. p. 87
Foundry Painter
Fig 98; cf. p 134
Fig. 99; cf. p. 105.
Chicago Painter
Fig. 100; cf. p 131. Athanasia Painter
102, Ct. p. 133 Eretna
104; C f p 13 6
Painter of London D 14
Fig 105; cf. p. 136. Kraipale Painter
Fig. 106; cf p 137. Shuvalov Painter
Fig. 107; cf p 130.
By or near Coghill Painter
Fig 108; cf p, 143.
Manner of Kleophon Painter
Fig 109; cf. p 150.
Talos Painter
Fig. no; cf. p. 146 Aison
Fig. 111, cf. p 144. Dinos Painter
Fig. 112; cf. p 145 Polion
Fig. 113; cf p 149.
Near the Meidias Paintei
Fig 1 14; cf. p 147 Meidias Painter
Fig. 115; cf. p. 148. Meidias Painter
Fig. 116; cf p. 153 Manner of Woman
Painter
Fig 117, cf p 153
Figs. 118, 119; cf. p 153 Group R
Fig 120, cf p 151 Pronomos Painter
Fig 121; cf. p. 159
Fig. 122; cf. p. 151 Suessula Painter
Fig 123; cf. p. 161
Fig 124, cf. p. 160
Fig 125, cf p. 161
NOTES
INTRODUCTION
1. For a concise account of this evolution from two-dimensional to three-
dimensional representation cf. my pamphlet, Greek Painting (ad ed.).
2. The recently discovered small wooden panels from near Sikyon [Orlandos,
AA, 1934, cols. 194 f., and A] A, XXXIX (1955), 5; E. P. Blegen, AJA, XXXIX
(1935), 134] show that panel painting was successfully practised in Greece as
early as the third quarter of the sixth century. For fragments of late archaic
Greek murals found at Gordion, Phrygia. cf. R. S. Young, AJA, LX (1956), 255 ff.
3. On this subject cf. von Mercklin, RM, XXXVIII (1983-24), 105 f., note s.
4. On these cf. my Craft, pp. 87 ff .
5. Aristophanes' reference in EccL 994-996 to "the man who paints lekythoi for
the dead" has often been interpreted as a derogatory allusion to the whole craft;
but surely it is not the high or low esteem in which the painter is held, but the
fact that he paints vases for the dead that is the point here. In a tomb at Capua
two superb vases dating from about 490-480 B.C. the skyphos with Triptolemos
by Makron and the kylix with Chrysippos by the Brygos Painter were found
with vases of about 460 B.C.; cf. Beazley's comment A]A, XLIX (1945), 158: "The
cup and the skyphos must have been treasured for many years before they were
placed in the grave. Treasured, it may be, by more than one owner father and
son, father and daughter's husband. Treasured as wonders, not of minor art or
industrial art (in the shoddy jargon of today or yesterday), but of art pure and
simple: not *&vxt> v > although there are touches of gold on the Brygos cup;
but peak of possessions, KO/>V^& Kreivwv."
6. On dedications by potters cf. Beazley, Potter, pp. si ff. The fact that some
ceramic artists (for instance Hieron and Euthymides) add their father's name to
their own has been thought to indicate that they were citizens (Leonard, quoting
Pettier, in Pauly-Wissowa, VIII, s-v. Hieron, col. 1516); but this is not necessarily
the case, for me tics had a right to mention their father's name and did so on fifth-
and fourth-century gravestones (Wilamowitz, Aristoteles und Athen, II, 174 f.).
7. As Miss Marjorie J. Milne reminds me.
8. Kretschmer, Vasemnschriften, pp. 73 ff.; Meisterhans, Grammatik,* p. 883, 5.
Dugas, Melanges Glott, I, 335 ff., argues against the assumption that such names
designate aliens. "But the Skythes who signs t 2<rt!0i)t (Beazley, p. 75, no. i) may
well have been a Scythian (cf., however, 6 M&ai iieoii^atv, Beazley, p. 897, no. 19).
In general Dugas underestimates the power of assimilation of a great cultural en-
vironment" (M. J. Milne).
9. The best general compilations of subjects on Attic vases are still those in
Walters, History of Ancient Pottery, London, 1905, and in the index of S. Reinach,
Repertoire des vases peints, Paris, 1899-1900.
For mythological and religious subjects cf. Pauly-Wissowa, Real-Encyclop&die
and Roschcr's Lcxtkon, passim; Rumpf, Die Religion der Griechen (Bilderatlas
zur Religionsgeschichte, no. 13-14), Leipzig, iga8; Deubner, Attische Feste, Berlin,
1932; Nilsson, Greek Popular Religion, New York, 1940; Jacobsthal in Beailey,
Attic Red-Figure Vase-Painters, pp. 978 ff., Oxford, 1942.
For athletics cf. E. N. Gardiner, Greek Athletic Sports and Festivals (Handbook
of Archaeology and Antiquities), London, 1910, and Athletics of the Ancient
World, Oxford, 1930; Alexander, Greek Athletics, New York, 1925.
i66 ATTIC RED-FIGURED VASES
For theatrical subjects cf. Bieber, Die Denkmaler zum Theaterwesen im Alter-
turn, Berlin and Leipzig, 1920, and The History of the Greek and Roman Theater,
Princeton, 1939; Sechan, Etudes sur la tragtdie grecque, Paris, 1926.
For animals cf. Keller, Thiere des classischen Alter turns, Innsbruck, 1887, and
Die antihe Tierwelt, Leipzig, 1909-13; Markman, The Horse in Greek Art, Balti-
more, 1943. Morin- Jean's Le dessin des animaux en Grece, Paris, 1911, contains
attractive but often inaccurate drawings.
10. "In literature, however, there were occasional attempts at public control.
The freedom of Comedy was limited in 439-437 B.C. by a law meant to curb savage
attacks on public figures (cf. K6rte in Pauly-Wissowa, XI, s.v. Komddie, col.
1x33, 11. 57 ff.). Something similar was attempted about 414-412 (cf. Korte, col.
1235, 11. 22 ff.). Kleon tried to muzzle Aristophanes (cf. K6rte, col. 1236, 11.
41 ff.). We may remember Phrynichos's experience with his Sack of Miletos (He-
rodotos VI. 21) and the trials of Anaxagoras, Diagoras, Protagoras, to say nothing
of Plato's program for literature in the Republic" (M. J. Milne).
11. For furniture cf. Ransom, Studies in Ancient Furniture; Couches and Beds
of the Greeks, Etruscans and Romans, Chicago, 1905; Richter, Ancient Furniture,
Greek, Etruscan and Roman, Oxford, 1926. For attire cf. Bremer, Die Haartracht
des Mannes in archaisch-griechischer Zeit (Diss., Giessen, 1911); Erbacher, Grie-
chisches Schuhwerk (Diss., Wiirzburg, 1914); Bieber, Griechische Kleidung, Berlin
and Leipzig, 1928, and Entwicklungsgeschichte der griechischen Tracht, Berlin,
1934; cf. also Daremberg and Saglio, Dictionnaire, Paris, 1877-1919, passim.
12. Of course in sculpture and on coins and gems representations of separate
animals are frequent (cf. Richter, Animals in Greek Sculpture, New York, 1930;
Imhoof-Blumer and Keller, Tier- und Pflanzenbilder auf Miinzen und Gemmen,
Leipzig, 1889).
13. The Genteel Tradition at Bay, p. 64 (applied there to ancient literature, but
not, I think, so aptly as to ancient art; for the Greek tragedians surely treated "the
dramas within the spirit").
14. For a comprehensive treatment of the subject of ornaments on Greek vases
the reader is referred to Jacobsthal, Ornamente griechischer Vasen, Berlin, 1927.
15. Plotinus, Ennead. I, 6, i.
16. Cf. Hambidge, Dynamic Symmetry; the Greek Vase, New Haven, 1920;
Caskey, Geometry of Greek Vases, Boston, 1922; I. A. Richter, Rhythmic Form in
Art, London, 1932.
17. On the development of the kylix from ca. 550-450 B.C. see the excellent
analysis by Bloesch, Formen attischer Schalen von Exekias bis zum Ende des
strengen Stils, Bern Bumpliz, 1940.
18. Cf., e.g. p. 105 and Richter and Hall, nos. 102, 103. Beazley, however, re-
minds me that "the small black vases repeat a good deal." The same applies to
the corse "household" pottery either semi-glazed and thrown or plain and
built which was found in great quantity in the Agora, dating from Geometric
to Roman times, with little variation in form or technique; cf., e.g., D. Burr,
Hesperia, II (1933), 597 ff.; H. A. Thompson, Hesperia, III (1934), 469, fig. 122;
Talcott, Hesperia, IV (1935), 493 ff., and 513, nos. 77-79; R. S, Young, Hesperia,
Supplement II (1939), p. 199: "Household ware, with very little change in fabric,
is found in abundance in Attica throughout antiquity, from the Protogeometric
to the Late Roman period; its presence in great quantity over so long a period
indicates that it was made locally."
19. By Lindsley F. Hall; many are based on Hambidge, op. cit., and Caskey,
op. cit. For kylichnis as the Attic term for toilet box rather than pyxis cf. M. J.
Milne, AJA, XLIH (1939), 247 ff.
20. Cf. Richter and Milne, pp. xii, xiv.
si. The following books and articles will be found especially useful in a study
NOTES: INTRODUCTION 167
of Greek inscriptions on vases: Pape, Worterbuch der griechischen Eigennamcn,
2 vols., gd ed., revised by Benseler, Braunschweig, 1884; Fick and Bechtel, Die
griechischen Personennamen, ad ed., Gottingen, 1894; KTetschmer, Die griechischen
Vaseninschriften, Outer sloh, 1894; Meisterhans, Grammatik der attischen In-
schriften, gd ed., revised by Eduard Schwyzer, Berlin, 1900; Kirchner, Prosopo-
graphia attica, 2 vols., Berlin, 1901-3, and Nachtrage zur Prosopographia Attica,
by Sundwall, Helsingfors, 1910 (a revision of Kirchner's Prosopographia Attica
is in preparation by B. D. Meritt); Bechtel, Die attischen Frauennamen, G6t-
tingen, 1902, and Die historischen Personennamen des Griechischen, Halle, 1917;
C. W. Frankel, Satyr- und Bakchennamcn auf Vasenbildern, Halle, 1912; Beazley,
"Some Inscriptions on Vases," AJA, XXXI (1927), 345-353, XXXIII (1929), 361-
367, XXXIX (1935). 475-488, XLV (1941), 593-602, LIV (1950), 310-322, and Attic
Red-figure Vase-Painters, passim, Oxford, 1942; E Fraenkel in Pauly-Wissowa's
Real-Encyclopddie, XVI (1935), s,v, Namenwesen, cols. 1611-1648. For graffiti and
dipinti cf. note 44.
22. elKtiv rather than elSos (Kretschmer, Vaseninschriften, pp. 84, 137) is Beaz-
ley 's suggestion, but see now Caskey and Beazley, AVP, 11, 88, note i.
23. For the exceptions to this rule cf. Tick, Personennamen^ pp. 304-314; for
more nearly complete lists cf. Bechtel, Personennamen, pp. 564 ff. Names of minor
divinities are particularly frequent among hetairai, cf. Bechtel, Frauennamen,
pp. 69 if.; M. J. Milne, AJA, XLVI (1942), 219 ff.
24. On a psykter by Oltos, Richter and Hall, no. 3.
25. On the kylix by Douris in Munich, no. 2646; Hartwig, Gr. M., p. 258, no. 8;
FR, II, 230, pi. 105. The line is probably the beginning of the drinking song
preserved in Theognis 939-943, as was noted by Hartwig and FurtwSngler:
oft dtvanai 4>uvj) \ly' detS^uev tiffirep dtjSwv K.T,\.
This is an attractive and reasonable explanation, since the presence of the flute
player shows the man is singing. As has been noted, we should emend the Theognis
text from the inscription and read:
oil SiivafJ.' of <f>uvi] JC.r.X.
26. On a Panathenaic amphora; CIG, IV, 7860; Gerhard, Annali, II (1830), aso;
Klein, Lieblmgsinschriften,* p. 139, no. 11; Kretschmer, Vaseninschriften, p. 91.
27. On a pelike in the Vatican; Mus. Greg. II (1842 ed.), pi. LXV, i; Robert,
Bild und Lied, pp. 81 ff.; Waldhauer, AA, 1927, col. 71 ff., figs, i, 2; Albizzati,
pi. 61, no. 413. Albizzati and Kretschmer, Vaseninschriften, p. 80, read irappepaxev,
Robert, loc. cit., irapapefiaKev (which I too seem to see on Albizzati's plate). "If
the Doric dialect had been correctly reproduced by the vase painter we should
have had irap/3e/3a>ce. Apparently he has not only added the Attic v ephelkystikon
(as already pointed out by Kretschmer), but has also given the prepositional
prefix in its Attic form. We cannot tell whether the vase painter by irXeov meant
irMuv or ir\tov. The latter is the Laconian form (see Bechtel, Gr. Dialekte, II,
308). Since he does use the Doric o instead of the Attic long, open e in irapapepaicev,
it seems likely that by ir\eov he meant ir\4ov rather than the Attic irXdwv"
(M. J. Milne).
28. On the same pelike.
29. See our p. 56 and Beazley, p. 22, no. 5 and p. 17, no. 12.
30. On a pelike by Euphronios in Leningrad; Man. dell' Inst., II (1834-38),
pi. XXTV; Kretschmer, Vaseninschriften, p. 91; Waldhauer, op. cit., cols. 70 ff.,
Beilagen i, 2; Beazley, p. 17, no. 9.
31. About 170 kalos names and about 17 kale names are known. On kalos names
cf. Beazley, pp. 918-947; also D. M. Robinson and Fluck, A Study of the Greek
Love-Names, 1937.
32. See especially Charm. 153 ff.; also Xenophon Symp. I. 8 ff.
33. Plato Charm. 154 A.
168 ATTIC RED-FIGURED VASES
34. Langlotz (Zeitbestimmung, pp. 43 ff.) pointed out that occasionally older
men figure as favorites and are called kalps. Such exceptions are of course possible;
and we have the expression wtXij Kdya66s current in Greek literature for "a gen-
tleman." On the other hand, the frequent combination of the word irals with Ka\6s
would seem to indicate that the vase painters as a rule had boys in mind.
35. Archikles and Glaukytes, and Anakles and Nikosthenes (cf. Beazley, Potter,
p. 26). As Beazley points out, collaboration in the "making" of a vase seems
curious. If one person had designed or decorated it and the other fashioned it,
we should expect one to sign with egrapsen, the other with epoiesen, as elsewhere.
I doubt whether firing a kiln full of vases would have been described as "making"
any one of them. Perhaps one person threw, that is, fashioned the vase, the other
turned, that is, finished it; each of these processes necessarily carried out on
different days is part and parcel of the making of the vase and requires a special
skill. But such division of labor in so simple a shape, and especially the recording
of it, is, to say the least, unusual.
36. The form used for signatures on Arretine ware is the genitive for the
owner of the establishment, the nominative for the workman, but since this is a
Latin formula, not the Attic one, it cannot be used as an argument either way.
37. Cf. Hussong, Zur Technik der attischen Gefasskeramik, p. 55.
38. See on this subject the illuminating book by Bloesch, For men attischer
Schalen, 1940, and Beazley, Potter, pp. 25 ff., 36 ff.
39. Usually written tvpa<f>ffev on vases, indicating that v wat aspirated when
followed by a in the Attic dialect.
40. See Richter and Hall, nos. 52-54, and Hoppin, II, 38 ff.
41. Hoppin, I, 31.
42. As the letters are all separate capital letters and usually painted in a thick
pigment that does not allow much individuality, the "style" of the handwriting
is usually difficult to determine; see, however, e.g., Richter and Hall, p. 55, note i.
43. Cf. Beazley, JHS, LII (1932), 194 f.
44. Hackl, "Merkantile Inschriften auf attischen Vasen," Miinchener archdolo-
gtsche Studien, 1909, pp. 5-106; Beazley, "Some Inscriptions on Vases," AJA,
XXXI (1937), 349 f.; XLV (1941), 597 f. On those found in recent years in the
Athenian Agora cf. Talcott, Hesperia, V (1936), 346 ff. For the graffiti on vases
in the Metropolitan Museum cf. M. J. Milne in Richter and Hall, pp. 221 ff.
On a prize graffito in a western alphabet and a west Greek dialect on the foot
of an Attic black-figured kylix of about 530 B.C., cf. M. J. Milne, AJA, XLIX (1945),
538 ff. On the graffito on a red-figured hydria in Utrecht cf. Jongkees, Mnemosyne,
1943, pp. 151 ff. ("Should not rpo be read as irp6(x<>() rather than as the preposi-
tion vp6, and ov also as a vase name whether 8wt or some unknown term?" M. J.
Milne). The dipinti, or painted marks, are mostly confined to black-figured vases.
45. Wilamowitz, Homer. Untersuchungen, pp. 303 ff.; Kretschmer, op. cit. t
pp. 104-106; Larfeld, Griechische Epigraphik,* 1914, p. 259.
46. Beazley called my attention to this fact.
47. Hackl, op. cit., pp. 79 ff.; Larfeld, op. cit., pp. 391 ff.; Tod, BSA f XVIII
(1911-12), 38-132, and XXVIII (1926-87), 141-157.
48. See the excellent recent discussion by Amyx, University of California Pub-
lications in Classical Archaeology, I, no. 8, 1941, pp. 188 ff., and Beazley, "Some
Inscriptions on Vases, IV," AJA, XLV (1941), p. 598.
49. Cf. Amyx, op. cit., pp. 179 ff. The inscription 8uo/3eXoKeu/K0t7r on a black-
figured amphora has been translated "two obols and you have me" (D. Amyx,
op. c\t., pp. 186 ff.), and "two obols and hands off" (Beazley, ABV, p. 136).
50. Beazley, JHS, LI (1931), 123.
51. Hackl, op. cit., pp. 88 ff.
NOTES: INTRODUCTION 169
53. Cf. Talcott, Hesperia, V (1936), 346 ff.; Milne and D. von Bothmer, Hcs-
pena, XXII (1953), 2i 5 ff.
53. Cf., e.g., Richter and Hall, no. 5. For an Etruscan graffito which may be a
dealer's order, on an Attic red-figured vase, cf . Lattes, M cmorie della R. Accademta
di Archeologia, Napoli, H (1913), 103; M. J. Milne, AJA, XLHI (1939), 253, note i.
54. Minto, NS, X (1934), 378, fig. 32. Minto describes the inscription as having
been painted under the glaze. When I examined it in 1935 it seemed to me
painted, in the usual way, on the glaze.
55. Fiesel, Studi etruschi, VIII (1934), 435 *
56. See M. J. Milne in Richter and Hall, p. 224, no. 132.
57. By Milne, ibid.
58. See Richter and Hall, no. 118, and the lekythos from Athens described by
Korte, Arch. Ztg., XXXVII (1879), 96.
59. See Richter and Hall, no. 157.
60. e.g., the lekythos by Xenophantos in Leningrad (see p. 157).
61. On this whole question cf. Kretschmer, Vaseninschriften, pp. 73 ff.
62. Richter, MM Bulletin, XXVI (1931), 289 ff.
63. Kretschmer, Vaseninschriften, pp. 77 ff.; but cf. Richter and Hall, no. 10,
and AJA, XLIV (1940), 430.
64. Kretschmer, op. cit., pp. 104 ff.; Hackl, op. cit., p. 78.
65. For the old Attic alphabet which we find on Attic vases and in other
inscriptions see Roberts, An Introduction to Greek Epigraphy, I, 384-385, and
Larfeld, Gr. Epigraphik,* Schrifttafel; Meisterhans, Grammatik, p. 3.
66. Kretschmer, op. cit., p. 103; Koehler, AM, X (1885), 359 ff.
67. Thus the Eretria Painter uses both * and ^t i and H for rj (see Richter
and Hall, nos. 139, 140).
68. pp. 8ff. Cf. also Beazley's remarks in his review of Kouroi in Classical
Weekly, LIX (1945), 71 f.
69. For a detailed discussion of the information obtained from these various
sources cf. Richter, Craft, Richter and Hall, pp. xxxv ff., and Hussong, Zur Tech-
nik der attischen Gefasskeramtk (Diss., Heidelberg, 1928). On most of the im-
portant points Dr. Hussong's findings agreed with mine; the few points of dis-
agreement I have discussed in the footnotes of Richter and Hall, pp. xxxv ff.
and in my review of his thesis in AJA, XXXVI (1932), 84-86. Rieth and Groschopf
in Die Entwicklung der Topferscheibe (Leipzig, 1939), discuss the process of
throwing throughout the ages including the Greek period; cf. also the general
account by Jongkees, De Gids, 107 (1943), i ff., and my chapter on "Ceramics,"
History of Technology, II, 259 ff.
The representations of potters at work, on vases and plaques, have also been
discussed with great insight by Beazley, Potter, pp. 5 ff. The most important addi-
tion to the list given in my Craft, pp. 64 ff., is an Athenian calyx krater from Calta-
girone (Libertini, Mon. Line., XXVIII [1923]. 103, fig. i, pi. I; Cloche, Lei Classes,
les metiers, le trafic, 1931, pi. XIX, 6) with a man working on an incomplete
vase (without handles or foot) while a boy makes the wheel revolve. The
man's pose with his left hand on his thigh suggests that he is bracing himself
to keep the position of his right hand constant. He is probably centering the vase,
testing by eye and hand how true it is running by letting the vase spin against his
As in my previous writings on technique, I am greatly indebted to Miss Maude
Robinson for constant help during my researches and for a revision of my text.
I was able to work in her studio, firing my tests in a small kiln under her super-
vision. ,
70. Cf. the two chapters in Binm, The Potter's Craft, igas: The Nature and
170 ATTIC RED-FIGURED VASES
Properties of Clay," pp. 39-36, and "The Preparation of the Clay," pp. 37-42.
71. For the different manipulations involved cf. Richter, Craft, pp. 7 ff.; Binns,
op. cit., pp. 74 ff. For fashioning the outside the ancient Greeks perhaps employed
a rib (as do their modern descendants), which affords a greater area of support for
raising or forming the clay than the different grips of the fingers.
72. Cf., e.g., the krater 08.258.21 in the Metropolitan Museum. The join is
visible underneath the clay ridge where the latter has scaled off (Richter and Hall,
pi. 170, no. 135; Richter and Milne, figs. 57, 58).
73. For a possible representation of a three-legged compass on the hydria with
a scene of potters at work, cf. Hussong, op, cit., p. 19.
74. Richter, Craft t pp. 64 ff.; Hussong, op. cit., pp. 12 ff.; Libertini, Mon. Line.,
XXVIII (1922), cols. 101 ff., fig. i, pi. I; Rieth and Groschopf, op. cit., pp. 60 f.
75. Richter, Craft, p. 91; Hussong, op. cit., p. 13 (where further references are
cited).
76. Cf. Richter, Craft f pp. 84 f.; Hussong, op. cit., p. 14, note i.
77. Richter, Craft, pp. 10 ff.; Binns, op. cit., pp. 99 ff.
78. It is not necessary or practicable to have the shapes of the tools correspond
to the desired profiles, as Hussong (op. cit., p. 18) thinks. Cf. Binns, op. cit.,
pp. 99 ff., fig. 19.
79. Richter, Craft, pp. 16 f .
80. Ibid., p. 13, figs. 17, 18.
81. Beazley, pp. 892 ff.
82. Cf., e.g., Buschor, Munchner Jahrbuch der bildenden Kunst, XI (1919), I-II,
pp. i ff.
83. Cf., e.g., Langlotz, W&rzburg, pi. 118, nos. 436, 437; Richter, AJA, XLV
(1941), 587 ff.
833. Cf., e.g., Talcott, Hesperia, IV (1935), 513, nos. 77-79; R. S. Young, Hesperia,
Supplement II (1939), 199; and my note 18.
84. Richter, Craft, p. 25, fig. 34.
85. Berichte der deutschen keramischen Gesellschaft, XXIII (1942), 408 ff.;
Forschungen und Fortschritte, XIX (1943), 356 ff. For brief summaries cf. Weick-
ert, Arch Am., 1942, cols. 5128; Lane, Greek Pottery, pp 4ff. Microscopic and
X-ray examinations have substantiated Schumann's discoveries, cf. Oberlies and
Kdppen, Ber. deutsch. her, Gesellschaft, XXX (1953), 102.
86 In Binns and Fraser, AJA, XXXIII (1929), i ff., where references to the
older literature were given.
87. Schumann thought that black magnetic oxide of iron (Fe 3 O 4 ), being magnetic
and stable, was preferable to ferrous oxide (FeO), which is nonmagnetic and
unstable. Cf. also Farmsworth in Shear, Hesperta, IX (1940), 265; but see now
Binson, Antiquaries Journal, XXXVI (1956), 203, and Farnsworth, AJA, LXII
(1958). i?^-
88 One may ask, if the glaze turned black in a reducing fire, why did the clay
fire red? For it too contains red ferric oxide and so is convertible into black by
reduction as we know from the black bucchero ware. To this question Mr.
Binns, AJA, XXXIII (1929), 6, gave the following answer. He maintained that
in the change from ferric to ferrous oxide there takes place a considerable lower-
ing of the point of fusion; "for ferrous oxide contributes to the production of
glass, while ferric oxide remains aloof and is simply surrounded by the glassy
substance." Hence the reducing fire not only produced the black but also made
the glaze insoluble. He therefore conceived the process of firing to have been as
follows: "As soon as the kiln attained a visible red color, or at about 600 C , a
type of fuel which would produce a dense smoke was used This was continued
until the finishing temperature of about 950 was reached. The cooling was then
NOTES: INTRODUCTION 171
allowed to proceed very slowly and with a smoky atmosphere down to about
850, at which point the air was freely admitted but still with slow cooling. The
glaze having become glassy in the fusion, the black iron oxide was locked in and
could not change. The body, however, which had also been blackened was, in its
porous condition, able to reabsorb the necessary oxygen and to recover its red
color." This theory is supported by the fact that whereas it is easy to convert the
terra-cotta which turned gray or blackish in the funeral pyre (see p. 35) back into
red simply by retiring it under oxidizing conditions up to a temperature of 800"
C., black glaze has to be heated to above 950 C. before it changes its color, and
then it becomes not red but chestnut brown. The fact that the glaze has been
rendered practically insoluble would be a satisfactory explanation of this. Dr.
Schumann gave a similar explanation, speaking, however, of black magnetic
oxide of iron instead of ferrous oxide. Cf. also Weickert, Arch. Am., 1942, col.
523 On ferrous oxide and black magnetic oxide of iron, see now Bmson, loc. cit.,
and Farnsworth, loc. cit., in note 87.
89 Richter, "Accidental and Intentional Red Glaze," BSA, XL VI (1956), 143 ff ;
and "Red-and-Black Glaze," Het Netherlands Kunsthistonsch Jaarboek, 1954, pp.
127 ff.
90. The best known are the Euphronios and Exekias kylikes in Munich, nos.
2044 and 2620, and the Sotades cup in London, D 6; for the examples found in
the Agora, cf. Talcott and Vanderpool, Hespena, XV (1948), 2852. The two
firings were tentatively suggested by Schumann in a letter to me. Though the
method seems cumbrous, the fact that there are so few specimens in this tech-
nique and that the red glaze on these pieces is apt to peel as it would if applied
to fired clay seemed to bear out its possibility.
91. A] A, LXII (1958), 165 ff, in an article entitled "Fifth Century Intentional
Red Glaze." It contains important observations also on the black glaze.
92. Cf. Schumann, Benchte der deutschen keramischen Gesellschaft, XXIII
(1942), 423.
93 Weickert, Arch. Am., 1942, cols. 523 ff. (reporting findings made by Schu-
mann and sent him by letter).
94 Graphically demonstrated by Binns in op. cit., pi. II, which shows the
black glaze on geometric and Mycenaean vases converted into red in an oxidizing
fire. Cf. also the interesting remarks by Weickert, cols. 526 ff, on similar phe-
nomena in early, non-Greek wares. They indicate that the three stages in the
firing of Attic vases were known from early times.
95 Cf. my Graft, pp. 55 ff.
96 Cf , eg., Richter and Hall, nos. 16 and 98.
97. Reichhold suggested that the design was first made on a surface which had
a similar curvature as the vase for which it was intended (in FR, II, 199; cf. also
Hussong, op. cit., p. 54); but this would necessitate making two vases instead of
one. On preparatory sketches and the materials perhaps used for them cf. Beaz-
ley, Potter, pp 38 f.
98. Richter, Craft, p. 51.
99. Richter and Hall, no. 80.
100. Cf. Hartwig, Jb , XIV (1899), 164, note 21; Richter, Craft, pp. 41 f.; Beaz-
ley, Potter, p 39, note i.
101 See Hussong's excellent illustrations of relief lines enlarged from 6 to is
times (op ctt., p 51, fig 13).
102. Richter, Craft, pp. 70 f.; and in History of Technology, II, pi. 16. The
vase, formerly in the possession of Dr. Scaretti of Rome, is now in the collection
of Sig Ing. Giovanni Torni of Milan.
172 ATTIC RED-FIGURED VASES
103. Ibid., p. 74; Beazley, JHS, XXVIII (1908), 317 f. What looks like a brush
case is here represented as suspended on the wall.
104. Richter, Craft, pp. 71 f.
105. Ibid., pp. 72 f.
106. For analyses of these accessory colors see Blumner, Tech. u. Term.,* II,
80 ff.; Hussong, op. cit., pp. 46 ff.; Weickert, Arch. Am., 1943, col. 525.
107. See Richter and Hall, nos. i, 60, 79, 89.
108. For red on white on fillets, etc., cf., e.g., Richter and Hall, nos. 100, 101,
126, 137, iSS-
109. Courby, Les Vases grecs a reliefs, pp. 117 ff.
no. Beazley, AWL, p. 3, and ABS, p. 22.
noa. Cf. Crosby, Hesperia, XXIV (1955), 76 ff.
111. Tonks, AJA, XII (1908), 421; Richter, Craft, p. 35; Binns and Fraser, AJA,
XXXIII (1929). 7-
112. Tonks, loc. at.
113. I answered in AJA, XXXVI (1932), 84 ff., Hussong's arguments for two
fires. His theory that, though a single fire is general at other times, two fires
were in vogue between about 550 and 400 is, I think, exceedingly unlikely. The
differences he postulates (op. cit., p. 58, fig. 14) between the incised lines on
Corinthian and on Attic wares are not borne out by extensive comparisons; and
the Glasurplatzrisse ("rifts or crow's-feet in the glaze"), "typische Brandfehler des
ersten Brandes," are not mostly confined, as he claims, to the early wares, but are
very common also in Athenian red-figure; for instances cf . Richter and Hall.
114. Hussong (op. cit., p. 58) thinks that these dents could have occurred in the
second firing. .But "the temperature in the Greek firing was never high enough to
make the day flexible" (Binns).
115. e.g., cf. Richter, Craft, p. 41, fig. 45.
116. For a case in which day was added to a vase which was already too dry and
to which the clay therefore did not adhere properly see Richter and Hall, p. 35,
note 3. There are a few instances of day applied over the black glaze (cf., e.g.,
Dragendorff, Jb., XLHI [1928], 332, pis. X, XI); here, too, it must have been
added before the firing.
117. Richter, Craft, p. 71, fig. 66; Beazley, Potter, pp. 11 ff.
118. Richter, Craft, p. 72, fig. 67; Beazley, Potter, p. 10.
119. I made experiments with day obtained from one of the potteries outside
Athens a mixed variety, composed of red earth from Chalandri and white earth
from Koukouvaones (Richter, Craft, p. 40).
120. Hussong (op. cit., p. 33) accepted Reichhold's theory that Athenian
vases were put in the kiln in a horizontal position on circular supports and that
the "Lagenringe" the round red, or black and red, spots found on the sides of
Athenian vases are due to this practice. But vases so placed would be apt to
warp in the fire, and what possible advantage could there be to offset this risk?
The kiln can be packed much more economically with the vases standing upright.
The representation of the inside of a kiln on a Corinthian pinax (Richter, Craft,
p. 78, fig. 80) cannot be taken as serious evidence; for at that early period faulty
perspective led to many curious renderings.
ixi. It is to this stacking rather than to a join that I should now attribute such
marks as those figured in my Craft, p. 19, fig. 35. Cf. Reichhold in FR, I, 156.
iss. We may mention as a few examples the kylix Richter and Hall, no. 7, of
which the lower outer part is brownish, the rest black; the pelike no. stst, where
the band on the inside of the neck is red; the kylix no. 37, which has a red ring
on the interior, presumably where the foot of another vase rested on it; and the
covered bowl ace. no. 8343. which is red on the inside.
NOTES: INTRODUCTION 173
123. Richter, Craft, pp. 76 ff. The oven on the red-figured Athenian lekythos
illustrated by Luce, CV: Providence, I, pi. 17, i, could hardly be a potter's kiln,
for it is not enclosed.
1*4. Cf. Bltimner, Tech. u. Term*? II, pp. 23 ff.; Hussong, op. cit., p. 26, notes
i, a, and the references there cited; S. Loeschcke, Trierer Zeitschrift, IDE (19*8),
parts i, a, pp. 68 f., fig. i.
125. Cf. especially Mylonas, Olynthus, I, pp. 12 ff. (neolithic); Woodward, JHS.
XLVIII (1988), 186 (Helladic).
126. Cf. Rhomaios, AM, XXXIII (1908), 177 ff (not later than the third cen-
tury); Cavvadias and Kawerau, Die Ausgrabungen der Akropolis, col. 120, pi. Z,
75 (pre-Kimonian); and recently at Corinth and Eretria.
127. Hussong, op. cit., p. 27, fig. 9.
128. He never published this theory; but he discussed it with me and I have
some letters on the subject written in 1931. I owe to him also the references to
The National Geographic Magazine (see note 131) and to the account by his father
of a Roman kiln found in England (see note 130).
129. Mylonas, op. cit., p. 16.
130. R. W. Bums, Worcester Pottery,^ p. 186: "Excavations exposed what are
believed to be the remains of a Roman pottery kiln; a circular form could be
traced outside and a lesser one within, the circles touching, from which point
extended a narrow flue 15 feet long, so that from the mouth of this flue to the
opposite side of the outer circle was a distance of thirty feet. The smaller circle
was raised about three feet and covered with a layer of baked day, which was
quite honey-combed from having had osiers, or similar wood burnt in the layers;
these had evidently been traced for the purpose of binding the clay in its wet
state, and the burning of which had destroyed the wood."
131. Cf. Mylonas, op. cit., pp. 17 f., and the picture of an oven in Macedonia in
The National Geographic Magazine, Dec., 1930, p. 701.
132 In this connection cf. Newhall, AJA, XXXV (1931), 6: "No ovens have
been found on the site [of a pottery factory in Corinth], probably because they
were of clay and have been washed away." But would not the clay have turned
into terra cotta during the firing?
133. See, e.g., Richter and Hall, nos. 32, 103.
134. Ibid., nos. 80, 88.
135. Ibid., nos. 13, 16, 38, 33, G R 530.
136. See the illustration of a bad crack on a Corinthian aryballos in Hussong,
op. cit., p. 37, fig. 10; also the Italo-Corinthian oinochoe 25.78.106 and the Attic
red-figured vase G R 604 in the Metropolitan Museum.
137. See Richter and Hall, no. 66.
138. Ibid., no. 71.
139. Ibid., nos. 35, 68, 93.
140. Ibid., no. 80.
141. Ibid., nos. 10, 147. On reduction cf. p. 28, note 94; also Richter, "The
Technique of Bucchero Ware," Studi etruschi, X (1936), and the references there
cited.
142. See, e.g., Richter and Hall, no. 118.
143. Ibid., no. 120.
144. Ibid., nos. 17, too.
145. Ibid., no. 107.
146. Richter, Craft, pp. 59 ff.
147. Ibid., pp. 64 ff.; Beazley, Potter, pp. 5 ff.
148. Rhet. U. 4. 21.
149. Quoted from Hesiod, Works and Days, 25.
174 ATTIC RED-FIGURED VASES
I. EARLY STYLE
i. Beazley, ABS, pp. 24 ff.
a. Beazley, op. cit., pp. 24 f.
3. There is occasionally an earlier example of this, for instance on the Francois
vase.
4. Cf. also Pfuhl, fig. 335 (Epiktctos).
5. Cf., e.g., Pfuhl, fig. 351.
6. Naturally there are exceptions; for instance, the clavicles and ankles were
sometimes drawn in diluted glaze (e.g., by Euthymides), and, as we saw, early
artists occasionally used the glaze full strength for most or all anatomical mark-
ings (e.g., the Goluchow Painter, Beazley, V. Pol, pi. Ill; the Hegesiboulos Painter,
Richter and Hall, pis. 9, 10; and the Hischylos Painter, fig. 42).
7. Euripides, Herakles Mainomenos, 131 f.
8. Langlotz, Zeitbestimmung, pp. 28 ff. Herodotos' famous story (V. 87 f.) of
how the Ionic chiton came to supersede the peplos in Athens is an aetiological
legend, as Wilamowitz (Aristoteles und Athen, II, 280 ff.) has shown.
9. Langlotz (op. cit., pp. 17-38 passim) was the first properly to utilize this ob-
servation for the dating of sixth-century sculpture and vases. He did not dis-
tinguish, however, between the simplified renderings of stacked folds observable
occasionally on vases and sculptures of the third quarter of the sixth century
and the more complicated ones current in the late sixth century. Hence his late
dating of the sculptures of Temple C of Selinus. I have discussed this question
more fully in my forthcoming Archaic Greek Art.
10. VIII. 19-30 <tr. Marchant).
11. Cf. my recent articles on "Polychromy in Greek Sculpture," AJA, XLVIII
(*944). 3* 1 ff-I "Terracotta Plaques from Early Attic Tombs," MM Bulletin, new
series, I (1942), 80 ff.; and the references there cited.
12. Overbeck, Schriftqttellen, nos. 375 ff.; A. Reinach, Recueil Milliet, pp. 64 ff.
13. N.H. XXXV. 56 (probably derived from Xenokrates, cf. Jex-Blake and
Sellers, pp. xxviii, xxix): Hie catagrapha invenit, hoc est obliquas imagines, et
varie formare voltus, respicientes suspicientesve vel despicientes. Articulis membra
distinxit, venas protulit, praeterque in vestibus rugas et sinus invenit (reading
"vestibus" with Traube). The translation given above is that of Jex-Blake and
Sellers, with slight changes; cf. also their note on catagrapha ( foreshortening?).
14. See Kirchner, Imagines inscriptionum Atticanim, p. 10, no. 10, pi. 5.
15. Richter, Kouroi, pp. 154 f.
16. Richter, Archaic Attic Gravestones, 1944, p. 69, note 42.
17. The steady development of this stylized rendering in Greek sculpture shows
that the scheme must have been invented by Greek artists, not taken by them
from the Persians, as had been claimed. I have discussed this question at length in
an article on "Greeks in Persia," AJA, L (1946), 15 ff.
18. In this reexamination of the evidence supplied by kalos names I want to
acknowledge specially the help given me by Marjorie J. Milne.
19. Hoppin, f., p. 358.
20. Cf. the stemma in Kirchner, Prosopographia Attica, I, 62 f.
21. Beazley, CV, pi. I, 5; Langlotz, Zeitbestimmung, pp. 58 ff.; and Beazley,
p. 55, no. 8. That Stesagoras, the brother of Miltiades, cannot be referred to in
the kalos inscriptions with that name, as some had thought, has been pointed
out by Langlotz (op. cit., pp. 60 f.) and others. Stesagoras died before the cups with
that name could have been painted.
NOTES: EARLY STYLE 175
22. Beazley, p. 925. For an alabastron in New York with the inscription,
iTriropxor KaXoj vat, "Hipparchos is handsome, yes", cf. MM. Handbook,* p. 140,
and Richter and Milne, fig. 109; Beazley, p. 69, no. 27.
23. Hipparchos, the son of Peisistratos (514), seems too old to come into con-
sideration, though Langlotz (op. tit,, pp. 54 ff.) makes out a good case for the
bon vivant tyrant, then middle-aged.
24. Androtion, frag. 5; Aristotle Ath. Pol. 22. 4 (Hipparchos is there also de-
scribed as JiyepAv and vpotrrAr-ns of the tyrants' friends); cf. also Lykourgos,
Against Leokrates, 117; Wilamowitz, Aristoteles und Athen, I, ii4f. He was the
first man to be ostracized (Kleisthenes is said to have introduced ostracism to
get rid of him). Ostraka with his name have been found in the Athenian Agora
25. Beazley, p. 934.
26. The, kylix E 18 in the British Museum. Beazley, p. 40, no. 69.
27. In Syracuse. Hoppin, I, 464.
28. Beazley, p. 123, no. 29.
29. Aristotle, loc. cit.; Langlotz, Zeitbestimmung, pp. 41 f.
30. Beazley, p. 930.
31. Ibid., p. 924.
32. Herodotos IX. 75; Thucydides I. 100. 3, IV. 102. 2. In the excavations of the
Athenian Agora the base of a statue was found with a dedicatory inscription by
"Leagros, the son of Glaukon"; cf. Meritt, Hesperia, V (1936), 359; Raubitschek,
Hesperia, VIII (1939), 155 ff.
33. Katterfeld (Metopen, p. .74) and Langlotz (op. cit., pp. 48 ff.) use as addi-
tional evidence the eighth letter of Themistokles (Hercher, Epist. Gr., p. 747),
where Leagros, son of Glaukon, is called criW07)j3oj and ^XiKici-njj of Themistokles.
But this is a late (second century A.D.) and unreliable source, and the term
avvtyijpot is an anachronism, for the tQijpela was an institution created in the sec-
ond half of the fourth century B.C. (Wilamowitz, op. cit., pp. 189 ff.). Furthermore
Themistokles was archon in 493, when the office was still elective, and as he was
the first person in his family to take part in politics it is unlikely that he was
then still a very young man.
34. Beazley, p. 934.
35. Pfuhl, fig. 484; Casson, Cat. of the Acrop. Mus } II, 306 ff., no. 57; Graef
and Langlotz, Akropohs, II, 93 f , no. 1037, pi. 80.
35a. On such well-groups, cf. especially Hesperia, IV (1935), 476 ff., V, 333 ff.
(Talcott); VI, 257 ff. (Pease); XV, 265 ff. (Vanderpool); XXII, 59 ff. (Boulter).
36. Beazley, ABS, p. 24.
37. Broneer, Hesperia, VI (1937), 4^9 ff.
373. That little-master cups, however, continued in use until about 500 B.C. is
shown by representations of them on vases; cf., e.g., Graef and Langlotz, Akropolis,
II, pi. VI, no. 166; Haspels, Bf. Lekythoi, pi. 23, no. 3.
38. G i. FR, pi. 3; Hoppin, I, 41; Pfuhl, fig. 313; Pfuhl, Masterpieces, fig. 27;
Pottier, CV, pis. 25, 26, no. 2; Buschor, Gr. V., fig. 141; Beazley, p. 2, no. 2.
39. F 203. Hoppin, I, 39; Seltman, AV, pi. 9 b; Beazley, p. 2, no. 11.
40. V 650. Hoppin, I, 36; Pfuhl, figs. 262, 263; Marconi Bovio, CV, pis. i, 2;
Beazley, p. 3, no. 12.
41. 2159. Hoppin, I, 33; Pfuhl, fig. 314; Swindler, AP, figs. 294, 301; Neugebauer,
Fiihrer, II, pi. 42; FR, pi. 133; Beazley, p. i, no. i.
42. Beazley, pp. i ff., 948.
43. The black-figured vases now attributed to the Andokides Painter used to be
listed as works by the Lysippides Painter (Beazley, ABS, pp. 25, 38-41).
44. 99 538. Beazley, VA, p. 4, Pfuhl, figs. 316, 266; Seltman, AV, pi. 10; Beazley,
p. 2, no. 10.
176 ATTIC RED-FIGURED VASES
45. F 204. Buschor, Gr. V., fig. 155; Beazley, p. 2, no. 6.
46. Faina 64. Buschor, Gr. V., fig. 154; Beazley, p. a, no. 4.
47. 5399. Dohan, Museum Journal, V (1914), 31 ff.: Hoppin, II, 203; Pfuhl, fig
318; Beazley, p. 8, no. 3.
48. Richter, AJA, XXXVIII (1934). 547 ff. and XLIII (1939). 645 *' Beazley,
p. 7.
49. 242. Hoppin, II, 397; Richter, AJA, XXXVIII (1934). 55. fig- & Beazley,
p. 8, no. 4.
50. Hoppin, II, 403; Richter, AJA, XXXVIH (1934). 54 8 - fi g- J Beazley, p. 8.
no. 5.
51. H. R. W. Smith, Menon Painter; Beazley, pp. 7 ff., 948.
52. 11008. Hoppin, I, 34: Pfuhl, figs. 317 and 264; Melida, CV, pi'. S3, no. i,
pis. 24, 25, pi. 26, no. i; Beazley, p. 8, no. 2.
53. 2302. FR, I, 151, 266; Smith, Menon Painter, pp. 47, 53, pi. 5; Beazley, p. 7,
no. i.
54. 14.146.1. Smith, Menon Painter, pp. 9, 12, 13, pis. a, 3; Richter and Hall,
no. i, pi. i, pi. a, no. i, pi. 179; Richter, Greek Painting? p. 9; Beazley, p. 9, no. 9.
55. P U 322. Pellegrini. VPU, pp. 56, 57; Beazley, p. 8, no. 6.
56. 2587. Smith, Menon Painter, pi. i, p. 3; Beazley, p. 8, no. 8.
57. 98 b. Richter, AJA, XXXVIH (1934), 553, fig. 9.
58. Richter, AJA, XLV (1941), 587 ff.; Beazley, p. 948.
59. Richter, AJA, XXXVIII (1934). 55. fi g; 8; Beazley, p. u, no. 31.
60. British Museum B 589, 590, 591. Berlin, no. 2099. Smith, Menon Painter,
pi. 4, p. 35; Beazley, p. 10, nos. 26-29.
61. Formerly in the collection of Monsieur Jameson in Paris (Chabouillet, Le
Cabinet Fould, pi. 17, no. 1395; Beazley, p. 11, no. 30), now in that of Mr. Kappeli
in Meggen, Switzerland (Beazley, AB V, p. 294, no. 21).
62. 2603. Hoppin, II, 398 f.; Richter, AJA, XXXVIH (1934), 553- fi g- 1Q :
Beazley, p. 11.
63. 14.146.2. Hoppin, II, 401; Richter and Hall, no. 2, pis. 8, 2, 179; Beazley, p. 11.
64. Cf. Richter and Hall, p. 15.
65. Richter, Greek Painting? p. 9.
66. Beazley, p. 12.
67. Czartoryski, nos. 61, 62. Beazley, V. Pol., pi. 3; Beazley, p. 13, nos. i, 2.
68. Beazley, pp. 34 ff., 949.
69. 2264. Hoppin, II, 249; von Lucken, GV, pis. 8, 9; Beazley, p. 38, no. 48.
70. R C 6848. Hoppin, II, 251; Pfuhl, figs. 359, 360; Seltman, AV,pl.u; Beazley,
p. 38, no. 50.
71. E 258. Beazley, VA, p. 9; Hoppin, I, 449; Beazley, p. 34, no. 2.
72. E 437. Hoppin, II, 293; Pfuhl, fig. 361; Pfuhl, Masterpieces, fig. 36; Swindler,
AP, fig. 279; Beazley, p. 35, no. 5.
73. G 2. Hoppin, II, 301; Pfuhl, fig. 362; Buschor, Gr. V., fig. 153; Beazley,
p. 34, no. 4.
74. 10.810.18. Beazley, VA, p. 8; Richter and Hall, no. 3, pis. 4, 173; Beazley,
p. 35, no. 6.
75. Pyth. IX. 123-125 (tr. Sandys).
76. Beazley, pp. 44 ff., 949.
77. Villa Giulia. Beazley, p. 51, no. 86.
78. Acr. 6. Graef and Langlotz, Akropolis, II, pi. a; Beazley, p. 51, no. 84.
79. Beazley, p. 925.
80. Beazley, VA, p. 18.
81. E 24. Beazley, VA, p. 15, fig. 8; Hoppin, I, 309; Pfuhl, fig. 327; Beazley,
p. 48, no. 50.
NOTES: EARLY STYLE
8s. Beazley, VA, p. 15, fig. 7; Hoppin, I, 301; D. M. Robinson, CV, II, pi. I
no. 3; Beazley, p. 48, no. 49. r
83. Hoppin, I, 306, 314, 315, 317, 324, 3,5, 330 . Pfuhl fi 3*4-3*9; pfuhl,
Masterpieces, figs. 30, 31; Seltman, A V, pi. , 3 a , b ; Beazley, p. 50, nos. 7? ff
J34.^79. Hoppin, I, 306; Beazley, BSR, XI (1989), pi. 4 , no . 4> . Beazley, p. 50,
85. 41.168.! is. Pease, CV, Gallatin Coll., pi. 47 , no. 4; Beazley, p. 49, no. 61 We
may compare the warrior on a cup in Naples, "a slight work by Epiktetos in his
later phase" (Beazley, Potter, p. s8, pi. 8).
86. Kraiker, AM, LV (1930), 167 ff.; Beazley, p. 54, 950.
87. E 6. Hoppin, II, 351; Kraiker, AM, LV (1930), pi. 9, no. i, pi. 10, and Beilaije
58; Beazley, p. 55, no. 10. ^
88. 41.163.8. Kraiker, op. cit., pi. 9, no. s, and Beilage-54, nos. s, * Pease CV
Gallatin Coll., pi. 46, no. i; Beazley, p. 54, no. 6.
89. Beazley, pp. 57, 950.
90. 8588. Hoppin, Bf., p. 465; FR, III, 840 f.; Beazley, p. 57, no. i.
91. 88.139.81. Beazley, p. 57, no. 4.
92. Beazley, pp. 53 f. The New York box by him (8o.s 53 ) has a squatting satyr
and the inscription "Lysikles is handsome" (Richter and Hall, no. 4, pis q 178'
Beazley, p. 54, no. 4). *-/.
93. Beazley, pp. 59 ff., 950.
94. Acr. 166. Graef and Langlotz, Akropolis, II, pi. 6, no. 166; Beazley, Potter
pp. 8 ff.; Beazley, p. 6s, no. 60.
95. 09.8*147. Richter and Hall, no. 5, pis. 3, 179; Beazley, p. 61, no. 44.
96. Beazley, pp. 68 f., 950.
97. C A 487. Hoppin, II, 273; Beazley, p. 68, no. a.
98. London B 668, Athens 15008, Louvre C A 1941. Pfuhl, fig. 355; Demangel,
Man. Plot, XXVI (1933), 68 ff., 86 ff., pi. 3; Pfuhl, Masterpieces, fig. 35; Beazley,
p. 69, nos. 19, so, 85.
99. Acr. A P 488. Pease, Hesperia, IV (1935), 391; Beazley, p. 70.
100. Beazley, pp. 86 ff., 950.
101. G 139-140. Hoppin, 1, 47; Beazley, p. 87, no. i.
los. Hoppin, 1, 45; Beazley, JHS, LIH (1933), 69 f., pi. 6; Beazley, p. 87, no. 3.
103. 18.145.88. Richter and Hall, no. 38, pi. 36; Beazley, p. 87, no. 9.
104. Beazley, pp. 84 ff.
105. 8*79. Hoppin, II, 335; Pfuhl, fig. 417; Pfuhl, Masterpieces, fig. 50; FR, III,
so; Neugebauer, Fuhrer, H, pi. 49, no. i; Beazley, p. 81.
106. Beazley, pp. 73 ff., 950.
107. Villa Giulia 80760. Hoppin, II, 418-413; Pfuhl, fig. 334; Pfuhl, Master-
pieces, fig. 33; Swindler, AP, fig. 885; Buschor, Gr. V., fig. 156; Beazley, p. 74, no. 13.
108. 4041, i. FR, II, i8a, fig. 6s; Hoppin, II, 411; Beazley, p. 74, no. 8.
109. Acr. bf. 8557, 8586. Rizzo, Afon. Plot, XX (1913), 118, pi. VIIL s; Hoppin,
Bf., 3*7- 3*8; Graef and Langlotz, Akropolis, I, pis. 106, no; Beazley, pp. 75 f.,
nos. i, s.
no. Acr. bf. 8556. Rizzo, Man. Piot, XX (1913), 117; Hoppin, Bf., 339; Graef
and Langlotz, Akropolis, I, pi. 106; Beazley, p. 76.
in. 07.88647. FR, pi. 93, s, and II, 179; Hoppin, II, n; Pfuhl, figs. 340-341;
Richter and Hall, no. 10, pis. 9 f., 179; Beazley, p. 77; D. von Bothmer, AJA, LXII
0958). 1 K>
us. FR, II, 181, fig. 61; Hoppin, H, 9; Beazley, p. 77.
113. Beazley, pp. 90, 950.
114. 07.886.50. Richter and Hall, no. 9, pi. 8; Beazley, p. 90, no. s.
115. ss6g. Licht, Sittengeschichte Gnechenlands, II, is; Beazley, p. 90 no i
116. D. M. Robinson, CV, II, pis. 5, 6; Beazley, p. 90, no. 3.
178 ATTIC RED-FIGURED VASES
117. Bea7ley, pp. 71 ff., 950-
118. Faina 62. Philippart, Collections de cdramique grecque en Italic, II, pi. XI,
i; Beazley, p. 71, no. 4.
119. Hoppin, 1, 150, 169, II, 15-18; Beazley, pp. 77 f., 950.
120. Hoppin, I, 185-189; Beazley, pp. 79 f., 950.
121. Beazley, pp. 95 ff., 951.
122. Ibid., pp. 98 ff., 951.
123. Ibid., pp. 107 ff., 951.
124. Ibid., pp. ngff., 951. Several characteristic examples are in New York.
125. Ibid., pp. 15 ff., 948; Beazley, Potter, p. 34.
126. G 103. FR, pi. ga, pi. 93, i; Hoppin, I. 397; Pfuhl, figs. 392-393! Swindler,
AP, figs. 245, 314; Seltman, AV, pi. 16; Buschor, Gr. V., fig. 160; Beazley, p. 15,
no. i.
127. 644. FR, pi. 63; Hoppin, I, 405; Pfuhl, fig. 394; Buschor, Gr. V., fig. 159;
Beazley, p. 17, no. 12.
128. 2620. Hoppin, I, 391; Pfuhl, fig. 391; Swindler, AP, fig. 290; Seltman, AV,
pi. 18; Buschor, Gr. V., fig. 158; Beazley, p. 18, no. 14.
129. Acr. 176 Hoppin, I, 379; Graef and Langlotz, Akropolis, II, pi 8 (Athens);
Johnson, Art Bulletin, XXI (1939), 266, fig. 7 (Chicago); Beazley, p 18, no. 15.
130. G no. Pettier, pi. 105; Beazley, p. 16, no. 3; Villard, Mon. Ptot, XLV
(1951), i ff. (with new fragments joined).
131. Richter, Sc. Sc., fig. 181.
132. 1465. FR, pis. 61, 62; Pfuhl, fig. 395; Pfuhl, Masterpieces, fig. 47; Seltman,
AV, pi. 17; Beazley, p. 16, no. 5.
133. Cf. Beazley, under "Love Names."
134. Beazley, pp. 24 ff., 949-
135. 2307. FR, pi. 14, 1, 63, 70, figs. 3 and 5; Hoppin, Euth. F., pi. I; Hoppin, I,
433; Pfuhl, figs. 364, 365; Pfuhl, Masterpieces, figs. 38, 39; Richter, MM Bulletin,
new series, III (1944-45), pp. 166 ff.; Beazley, Potter, p. 20; Beazley, p. 24, no. i.
136. 2308. FR, pi. 81; Hoppin, Euth. F., pi. 2; Hoppin, I, 435; Pfuhl, fig. 366;
Pfuhl, Masterpieces, fig. 40; Buschor, Gr. V., fig. 163; Beazley, p. 25, no. 4.
137. Inv. 70. Hoppin, Euth. F., pi. 6; Hoppin, I, 431; Bearley, p. 26, no. 10.
138. Hoppin, Euth. F., pis. 4 and 5, p. 19, fig. 3; Hoppin, I, 436; Pfuhl, fig. 367;
Beazley, p. 25, no. g.
139. B c 10. Hoppin, I, 438; Beazley, p. 26, no. 16.
140. D. Levi, CV, pi. 7, B 2; Beazley, CF, pi. Y, 9 and 23, 24; Beazley, p. 26, no. 17.
141. The name of a sculptor Pollias occurs in Attic inscriptions of the archaic
period (ZG, 12, nos. 504, 505). It has been plausibly conjectured that he was
Euthymides' father (cf. Robert, Pauly-Wissowa, VI, s.v. Euthymides, col. 1512).
Single consonants are still written for double occasionally even on vases by Douris
and Makron.
142. P 4683 and P 4744. Talcott, Hesperia, V (1936), 60 ff. and 68; Beazley, p. 26,
no. 15.
143. 2309. FR, pi. 33 and I, 173; Hoppin, Euth. F., pi. HI; Pfuhl, figs. 368, 369;
Pfuhl, Masterpieces, figs. 41-42; Seltman, AV, pi. 19; Buschor, Gr. V., fig. 164;
Beazley, p. 25, no. 3.
144. Beazley, V. Pol., pis. 4-6; Seltman, AV, pi. so; Buschor, Gr. V., fig. 166;
Beazley, p. 25, no. 7.
145. G 31 and S 1317. Hoppin, Euth. F., p. 88; Beazley, p. 25, no. 8.
146. Beazley, p. 934.
147. Ibid., pp. 21 ff., 949.
148. Ibid., p. 24, a.
149. Ibid., p. 34. /3, 7.
NOTES: RIPE ARCHAIC STYLE 179
150. R C 6843. FR, pi. 91, II, 167; Hoppin, Euth. F. 3 pi. 26; Hoppin, II, 357;
Pfuhl, fig. 381; Seltman, AV, pi. 14; Beazley, p. 22, no. 2.
151. E 159. FR, II, 67, 66, fig. 27; Hoppin, Euth. P., pi. 27, and fig. 18; Hoppin,
II, 360 f.; Pfuhl, fig. 382* Beazley, p. 22, no. 7.
152. Hoppin, Euth. F., fig. 17; Hoppin, II, 355; Pfuhl, fig. 384; Beazley, p. 33,
no. 11.
153- 2 59- FR -. P 1 - 32; Hoppin, II, 363; Beazley, p. 23, no. 9.
154. 2421. FR, pi. 71; Hoppin, Euth. F,, pi. 28; Pfuhl, fig. 385; Beazley, p. 32,
no. 5. For the inscription cf. Kretschmer, Griechische Vaseninschriften, p. 87, no. 3;
Beazley, Potter, p. 19, and Classical Weekly, LVII (1943), p. 102.
155. Beazley, pp. 20 f., 948.
156. E 438. Hoppin, II, 419; Beazley, p. 20, no. 3.
157. A 717. Hoppin, II, 417; Pfuhl, fig. 388; Buschor, Gr. V., figs. 161, 162;
Beazley, p. 20, no. i.
158. Beazley, pp. 21, 949.
159. 2278. Hoppin, II, 423; Pfuhl, fig. 418; Pfuhl, Masterpieces, fig. 51; Swind-
ler, AP, figs. 310, 315; Neugebauer, Fuhrer, II, pi. 48; FR, pi. 123; Buschor, Gr. V.,
fig. 167; Beazley, p. 21, no. i.
160. Acr. 556. Graef and Langlotz, Akropolis, II, pi. 42; Beazley, p. 21, no. 2.
161. 2315. Hoppin, II, 426, FR, III, p. 13, fig. 6; Beazley, p. 21.
162. Agora P 5157. Talcott, Hespena, V (1936), 347, fig. 15; Beazley, Potter,
p. 20; Milne and D. von Bothmer, Hespena, XXII (1953), 218.
163. Beazley, pp. 27 f.
164. Oest. Mus. 333. FR, pi. 72; Pfuhl, fig. 370; Pfuhl, Masterpieces, fig. 43,
Beazley, p. 27, no. i.
165. Beazley, pp. 28 f., 949.
166. G 45. Pettier, pis. 92, 93; Beazley, p. 28, no. 4.
167. Beazley, p. 30.
168. 2423. FR, pi. 82; Hoppin, II, 121; Beazley, p. 30, no. i.
169. Torlonia Gallery. FR, II, 114; Hoppin, II, 123; Richter and Milne, p. 11;
Beazley, p. 30, no. 2.
170. 21.88.2. Richter and Milne, figs. 81, 82; Richter and Hall, no. 11, pis. 11,
172; Beazley, p. 30.
171. Beazley, pp. 30 f.
172. 13.195. Hoppin, 1, 463; Caskey and Beazley, AVP, pi. 4; Beazley, p. 30, no. i.
173. 26967. Hoppin, I, 465; Schefold, Die Bildnisse der antiken Dichter Redncr
und Denker, 1943, 50 f.; Beazley, p. 31, no. 2.
II. RIPE ARCHAIC STYLE
1. Langlotz, Zeitbestimmung, p. 85. Occasionally the jaw line was continued
past the neck line much earlier, cf. Beazley, JHS, XLIX (1929), 269: "Sakonides,
in his outline heads, continues the lower line of the jaw far past the line of. the
neck; the Hermogenes painter a short distance only; in the other heads the jaw-
line stops at the neck-line."
2. Langlotz, op. cit., pp. 100 ff. For an enlarged view of the coin, useful for com-
parison, see my Sc. Sc.,2 fig. 160; and for illustrations of the Tyrannicides, ibid.,
figs. 565-574; Buschor, "Die Tyrannen-Morder," Sitzungsberichte der bayerischen
Akademie der Wissenschaften, phil. hist. Abteilung (1940), Heft 5, 3-31.
3. Stais, AM, XVIII (1893), 63, pi. 5, 2.
4. Langlotz, op. cit., pp. 38-40.
180 ATTIC RED-FIGURED VASES
5 Graef and Langlotz, Akropolb, I. pp. riff.; Langlotz, Zeitbtstimmung, pp.
98 ft.; Dinsmoor, A] A, XXXVIII (1954). 4 l6ff -
6. Beazley, KL; Beazley, pp. iso ff., 952- _
7. Cab. Med. 535, 699, and other fragments. Hoppin, II, 137. 39: "*" n g-
371; Beadcy, KL, pi. 8, pi. 10, no. i, pis. 1-12, pi. 15. nos. 1-2, pi. 30, no. 5; P- '7 =
discussion of inscription; Beazley, p. 128, no. 91.
8. Richter, AJA, XL (1936), 112 f.; Beazley, Potter, p. 42.
9. ,170. Hoppin, I, 303: Pfuhl, fig. 330; Richter, loc. at.; Beazley, p. 1*3, no. 25.
10. The fainf and fragmentary inscriptions on a neck amphora in Vienna were
once read as signatures by Epiktetos: Epi ..<?... egr . ph . . . . and Ep. . . ....
T . /and the scenes were attributed to the early Epiktetos (Schneider,
ArchSoIogisch-epigraphischc Mltteilungen aus Ocsterreich, V, 139, pi- 41 Hoppin,
I. 334 f.; von LUcken, GF, pis. 83, 84). Dr. den Tex, however informed me (in
Athens in 1935) that these letters had recently been reexamined by Dr. Wilhelm
and other epigraphists and were considered to be meaningless. (I have not had the
opportunity to examine the inscriptions myself.) The decoration-a boxer and a
youth with a strigil-is "in the manner of the Kleophrades Painter, in his earliest
period" (Beazley, p. is 9 , 1); or perhaps a very early work by the artist himself,
before his style was formed (cf. Richter, AJA, XL (1936), 112 ff., fig. 15).
ia". oT^SeVo, with chariot; 16.71 with pankration. Cf. Beazley, ABV p. 4<>4-
13. 507. FR pi. 103, II, 6, fig. 109; Pfuhl, fig. 3775 Langlotz, Wtlrzburg, no.
507, pi. 175; Beazley, p. 120, no. i.
14. Pfuhl, 376; Beazley. Kl, pi. I; Beazley, p. iso, no. 2.
!5. S3 o5. Pfuhl, figs. 378-373: Swindler, AP, fig. 299; Beazley, Kl., pi. 7: Beazley,
p. 121, no. 3.
i 7 ! laBSLMai^Cr, pi. 13, 7-8, pi- 15- 4. Pi- l6 : Richter, AJA, XL (1936), iooff.;
Beazley, p. 125, no. 58.
18. Louvre G 57. Pettier, CV, pi. 58, a, 5- 8 and pi. 59. *-?> Beazley, p. 125, no. 57-
19. A fragment from the Agora P 7241. Beazley. p. 125, no. 59.
ao. Richter, AJA, XL (1936), 101-103; Beazley, p. 123, no. s8.
ai. R C 4196. Pfuhl, fig. 375: Beazley, Kl, pi. 16; Buschor, Gr. V., fig. 195: Beaz-
ley, p. 123, no. 31.
as 08.258.58. Beazley, Kl., pi. 19: Richter and Hall, no. 12, pis. is, 13. i?o;
Beazley, p. 123, no. 32.
" 23. See note 7 and Cab. Med. 536, etc. FR, I, 264; Beazley, Kl, pi. 9, pi. 10, no. 9,
pis. 13, 14, pi. 15, nos. 8-is; Beazley, p. 128, no. 92.
24- 2344. FR, pis. 44, 45; Pfuhl, figs. 379, 380; Pfuhl, Masterpieces, figs. 44, 45;
Swindler, AP, fig. 316; Beazley, Kl, pis. 3, 5, 6; Beazley, p. 121. no. 5.
25. 13.233. Beazley, Kl, pj. 29, 3-4; Richter and Hall, no. 13, pis. 14, 15. 9'>
Beailey, p. 121, no. 11.
a6. E 270. Walters. CV, pi. 8, a; Beazley^p. 122, no. 13.
yj. 2422. FR, pi. 34: PW, % 378; Beazley, Kl, pi. 27; Seltman, AV, pi. 21 a;
Beazley, p. 126, no. 66.
*8. 26040. Pfuhl, fig. 33*? OigUoli, CV, pi. 6 and pi. 7, nos. 2-3; Beazley, p. 125,
no. 56.
* 9 . 149. Blinkenberg and Johsmsen, CV, pi. 133: Beazley. p. 123, no. 24.
30. Beazley, JHS, XXX (1910), 38
'. 2i6o''FR?pl. 159, . HI, 255, % MI; von Lttcken, G?, pis. 5 a, 53j MuM.
fig. 475; Beazley, Berl, pis. 1-5, a2, no. 2; Neugebauer, Iilhrer, II, pi. 43: Seltman,
AV, pi. ty, Beazley, p. 131. no. i.
NOTES: RIPE ARCHAIC STYLE 181
33. Beazley, Berl,; Beazley, pp. 13* ff , 952. On black-figured Panathenaic am-
phorae by the Berlin Painter cf. Beazley, A] A, XLVII (1943). 448'- ABV > PP- 47 -
3*4. E 468. Beazley, Berl., pis. 29-31; Beazley, p. 138, no. 102.
35. Beazley, Berl., pis. 25, 26; Buschor, Gr. V., fig. 191; Beazley, p. 140, no. 129.
36. 2311. Beazley, Berl., pi. 6; Beazley, p. 132, no. 8.
37. 07.286.69. Richter and Hall, no. 16, pis. 18, 169; Beazley, p. 135, no. 56.
38. 10.210.19. Richter and Hall, no. 14, pis. 16, 172; Richter, Greek Painting,*
p. 9; Beazley, p. 140, no. 132.
39. 22.139.32. Richter and Hall, no. 15, pis. 17, 177; Beazley, Potter, p. 31; Beaz-
ley, p. 142, no. 179.
40. Cf. 56.171.38. Beazley, p. 131, no. 3; D. von Bothmer, MM Bull., March
1957. P- 1 7 6 -
41. 41.162.17. Pease, CV, Gallatin Coll., p. 51, no. 2; Beazley, p. 135, no. 65.
42. 21.88.163. Beazley, p. 141, no. 162.
43. 41.162.139. Pease, CV, Gallatin Coll., p. 58, no. 5; Beazley, p. 142, no. 174.
44. Beazley, JHS, XLII (1922), 70 ff.
45. D. M. Robinson, CV, II, pi. 24, no. i, pi. 25; Beazley, p. 147, no. 5.
46. Beazley, pp. 147 ff, 952.
47. On the Nikoxenos Painter cf. Beazley, BSA, XIX (1912-13), 243 ff., and
AB V, p. 395.
48. 06.1021.99. Richter and Hall, no. 17, pis. 19, 169; Beazley, p. 147, no. 3.
49. XIII. 226-231 (tr. A. S. Way).
50. Beazley, pp. 153 ff., 953 *
51. 124. Blinkenberg and Johansen, CV, pi. 134; Beazley, p. 155, no. 27.
52. For a detailed analysis of the style o the Eucharides Painter cf. Beazley,
BSA, XVIII (1911-12), 228 ff.; XIX (1912-13), *45 ff ' . . .
53. On the black-figured Panathenaics by the Eucharides Painter cf. beside*
Beazley, pp. 157, 953, Beazley, AJA, XLVIII (1943), 44^-
54. 07.286.78. Richter and Hall, no. 19, pis. 21, 22, 169; Beazley, p. 154, no. 9.
55. Acr. 806. Graef and Langlotz, Akropolis, II, pi. 72; Beazley, p. 169, no. 12.
56. Beazley, pp. 169 ff., 954-
57. G 197. FR, pi. 113 and II, 277, fig. 995 Beazley, p. 171, no. 47.
58. E 458. Beazley, VA, p. 49; Beazley, p. 171, no. 46.
59. 3982. D. Levi, CV, pi. 25, no. i, pi. 26; Beazley, p. 172, no. 48.
60. 07.286.73. Richter and Hall, no. 20, pis. 23, 170; Beazley, p. 170, no. 15.
61. Beazley, pp. 174 ff., 954; Amyx, AJA, XLIX (1945). 58 ff -
62. Louvre G 234. Pfuhl, fig. 493; Beazley, p. 175* no - "
63. G R 578. Richter and Hall, no. 22, pis. 22, 173; Beazley, p. 175, no. 14.
64. 56. Beazley, JHS, XXXVI (1916), pi. 7. * and p. 133; Beazley, VA, p. 56,
Beazley, p. 181, no. 67.
65. Beazley, pp. 177 ff., 954-
66. 12.229.13. Richter and Hall, no. 24, pi. 335 Beazley, p. 181. no. 71.
67 For a list of diskoi with owls cf. Beazley, JHS, XXVIII (1908), 316.
68. Inv. 3293. Blinkenberg and Johansen, CV, pi. 135: Beazley, p. 166, no. 29.
6q. 21.88.1. Richter and Hall, no. 27, pi. 24; Beazley, p. 167, no. 32.
70. 20.244 and 11.212.7. Richter and Hall, nos. 25, 26, pis. 25-27, 169, 178; Beazley,
p. 165, no. 8, p. 167, no. 37.
71. Beazley, pp. 192 ff.
?S. i2 5 d '\SS**'%** Vaser, pi. I, p. 7: Blinkenberg and Johansen, CV,
Pl ' 3 in*,' U^V'Giglioli, CV, pis. I and II, nos. 1-2; Beazley, p. 198,
7 4 Se
no. 39.
75. Beazley, p. 163, pp. 163 f., 185 ff., 190 f
i8s ATTIC RED-FIGURED VASES
76. Ibid, p. 163.
77. 41.1655.101. Pease, CV, Gallatin Coll., pi. 51, no. i; Beazley, p. 163, no. 3.
78. 56.171.53. Beazley, p. 191, no. 13; von Rothmer, MM Bull., March 1957, p. 175.
79. Beazley, pp. 205 f., 955; Caskey and Beazley, AVP, II, 41 ff.
80. Petit Palais 315. Beazley, JHS, XXXIII (1913), 106, Plaoutine, CV, pi. 19,
nos. 1-6, pi. 20, no 3; Beazley, p. 205, no. 11.
81. 13 227.16. Richter and Hall, no 28, pis. 28, "175; Beazley, p. 206, no. 15.
8s. 41.162.27 Gallatin, CV, pi. 18, no. i; Beazley, p. 206, no. 18.
83. 13.188. Beazley, JHS, XXXIII (1913), pi. 11, p. no; Beazley, p. 205, no. 2.
84. Beazley, pp 206 f.
85. 03 816. Beazley, p 206, no. i.
86. 27.122.6. Richter and Hall, no. 29, pis. 29, 175; Beazley, p. 207, no. 14.
87. 25.782. Richter and Hall, no. 30, pis. 29, 175; Beazley, p. 207, no. 13.
88. 00.340. Beazley, VA, p. 68; Beazley, p. 207, no. 10.
89 Beazley, pp. 431 ff., 968, Caskey and Beazley, AVP, II, 41 ff.
90. 15.005. Luce, CV, pi. 18; Beazley, p. 431, no. i.
91. Beazley in his Ait. V. (pp. 132 ff.) placed the Providence Painter in the
Ripe Archaic period, in his Attic Red-Figure Vase-Painters (pp. 431 ff) he has
put him in the Early Free period.
92. 07.28667. Beazley, VA, p. 75, fig. 44; Richter and Hall, no. 31, pis. 30, 175;
Beazley, p. 435, no. 69.
93. 41 162.18. Pease, CV, Gallatin Coll., pi. 58, no. 4; Beazley, p. 434, no. 57.
94. 06.1021.114. Richter and Hall, no. 32, pis. 31, 169; Beazley, p. 432, no. 29.
95. 41.162.117. Gallatin, CV, pL 26, no. 8; Beazley, p. 435, no. 79.
96. Beazley, pp. 470 ff., 960; Haspels, Bf. Lekythoi, pp. 157 ff. Haspels envisages
the possibility that the Bowdoin Painter is the Athena Painter (see p. 75) in a
late stage.
97. Nos. 112 and 133 in Beazley's list. The pyxis in Bowdoin with an archer,
after which the artist was originally named, is now attributed by Beazley to the
Heraion Painter, cf. Beazley, p. 119, no. 10.
98. 06.1021.90. Richter and Hall, no. 34, pis. 33, 175; Beazley, p. 473, no. 83.
99. Haspels, Bf. Lekythoi, pp. 94 ff. and 232 ff.; Beazley, p. 203.
100. Haspels, op. tit., pp. 94 ff. and 225 ff.; Beazley, p. 203 f.
101. Haspels, op. cit., pp. 141 ff. and 254 ff. (See also my note 96.)
102. Ibid., pp. isoff.
103. Ibid., pp. 141 ff., 249 ff.
104. 06.1070. Fairbanks, AWL, I, pi. 4; Richter, MM Handbook,* p. 129, fig. 85;
Haspels, op. cit., p. 235, no. 71; Beazley, p. 203, no. 2.
105. 41.162.178. Pease, CV, Gallatin Coll., pi. 39, no. 2.
106. 25.70.2. MM Bulletin, XX (1925), 300, fig. 4; Haspels, op. cit., p. 233, no. 15.
107. 34.11.6.
108. 06.1021.49 and 17.2309. Alexander, Athletics, p. 25; Haspels, op. cit.,
pp. 250 f., nos. 22, 43.
109. 41.162.29, 30, 34, 35. Pease, CV, Gallatin Coll., pi. 44, nos. i, 2, pi. 45, nos. i,
2; Haspels, op. cit., pp. 225 f., nos. 3, 5, 6, 10.
1 10. 23.160.87. Richter, MM Bulletin, XXV (1930), 136 f.; Haspels, op. cit., p. 228,
no. 43.
111. Beazley, Potter, p. 36; Beazley, pp. 209 ff., 955; Caskey and Beazley, AVP,
II, 23 ff.
112. Ibid., pp 209 f, 955.
113. 10.179. Beazley, VA, p 82; Pfuhl, fig 414; Beazley, p. 212, no. i.
114. G 104. FR, pis. 5, 141; Hoppin, I, 399; Pfuhl, fig. 398; Pfuhl, Masterpieces,
fig. 48; Swindler, AP, pi. 9; Buschor, Gr. V., fig. 169; Beazley, p. 214, no. 10.
NOTES: RIPE ARCHAIC STYLE 183
115. E 44 FR, pi. 23; Hoppin, I, 389; Pfuhl, figs. 401, 402; Pfuhl, Masterpieces,
fig. 49; Beazley, p. 214, no. 11.
116. 95.87. Hoppin, I, 387, Pfuhl, figs. 409-4!!; Beazley, p. 215, no. 31.
117. Hoppin, I, 395 (with restorations); Beazley, p. 215, no. 27.
118. Beazley, p. 215, no. 25.
119. 12.231.2. Hoppin, I, 393; Pfuhl, fig. 400; Richter and Hall, no. ao, pis. 97,
38, 39; Beazley, p. 215, no. 28. 3y * 37
120. For other possibilities Philoktetes, Hylas, Oionos cf. Richter and Hall,
p. 60, note 2.
121. 2322. Neugebauer, Fuhrer, II, pi. 55, no. 2; Beazley, p. 216, no. 33.
122. D. M. Robinson, CV, II, pis. 8, 9; Beazley, VA, p. 85; Beazley, p. 214, no 12
123. Beazley, pp. 245 ff., 956.
124. Ibid., p. 245.
125. G 152. FR, pi. 25; Hoppin, I, 118; Pfuhl, figs. 419-420, 428; Pfuhl, Master-
pieces, fig. 52; Swindler, AP, fig. 311; Buschor, Gr. V., fig. 173; Beazley, p. 245,
no. i.
126. 2645. FR, pi. 49, 1, 250; Buschor, Gr. V., fig. 175; Beazley, p. 246, no. z.
127. 479. FR, pi. 50, I, 250; Hoppin, I, 121; Pfuhl, figs. 421-423; Pfuhl, Master-
pieces, figs. 53, 54; Langlotz, Wurzburg, no. 479, pis. 145-149, 164; Seltman, AV,
pi. 26; Buschor, Gr. V., figs. 176, 177; Beazley, p. 248, no. 27.
128. E 65. FR, pi. 47, no. i; Hoppin, I, 110; Pfuhl, fig. 424; Seltman, AV, pi. 25;
Beazley, p. 247, no. 13.
129. 95.36. Beazley, VA, p. 90, fig. 57; Pfuhl, fig. 433; Pfuhl, Masterpieces,
fig- 555 Caskey and Beazley, AVP, pi. 6; Beazley, p. 254, no. 136.
130. 12 234.5. Beazley, VA, p. 92 and JHS, XLIX (1929), 57, fig. 9; Richter and
Hall, no. 43, pis. 43, 178; Beazley, p. 254, no. 137.
131. 29.131.4. Richter and Hall, no. 42, pis. 42, 178; Richter, Greek Painting,*
p. n; Beazley, p. 253, no. 132.
132. 28.57.12. Richter and Hall, no. 40, pis. 40, 175; Beazley, p. 255, no. 156.
133. 09.221.43. Richter and Hall, no. 41, pis. 41, 175; Beazley, p. 255, no. 155.
134. 16.174.43. Richter and Hall, no. 44, pis. 44, 180; Beazley, p. 251, no. 75.
135. Beazley, Att. V., pp. 183 f.
136. As I pointed out in Richter and Hall, p. 69. In Beazley's new list in Attic
Red-figure Vase-Painters, they are also assigned to the Brygos Painter himself;
see his remarks on p. 245.
137. 13.189. Caskey and Beazley, AVP] pi. 10, no. 29, p. 25; Beazley, p. 256,
no. 161.
138. 318. Beazley, CV, pi. 38, no. n; Beazley, p. 256, no. 162.
139. 25.189 i. Richter and Hall, no. 48, pis. 46, 175; Beazley, p. 256, no. 160.
140. On Nikai with akrotena cf. Wade-Gery, JHS, LIII (1933), 99 ff. A Nike
holding an akrotenon appears also on coins of Kyzikos, Knidos, Syracuse, etc.,
which were probably struck in celebration of specific victories; cf. Brett, "The
Aphlaston, Symbol of Naval Victory," Transactions of the International Numis-
matic Congress, London, June 3O-July 6, 1936, pp. 23 ff.
141. G R 577. Richter and Hall, no. 49, pis. 47, 180; Beazley, p. 253, no. 117-
For other typical "late Brygan" pictures in New Yotk see Richter and Hall, nos.
26, 47, 50, and Beazley, p. 255, no. 152.
142. Beazley, p. 301.
143. Ibid., pp. 301 ff., 958.
144. 13.186. FR, pi. 85; Hoppin, II, p. 53; Pfuhl, figs. 435-436; Seltman, AV,
pi. 28 b; Beazley, p. 301, no. i.
145. Acr. 560. Graef and Langlotz, Akropolis, II, pi. 43; Beazley, p. 314, no. 239.
146. G 146. Hoppin, II, p. 81; Beazley, p. 301, no. 2.
184 ATTIC RED-FIGURED VASES
147. E 140. FR, pi. 161, IH, 259; Hoppin, II, p. 61; Pfuhl, fig. 437; Seltman,
AV, pi. 28 a; Beazley, p. 301, no. 3.
148. 2290 (and frgt. in Villa Giulia). Hoppin, II, 41; Pfuhl, fig. 438; Pfuhl,
Masterpieces, fig. 58; Swindler, AP, fig. 313; Neugebauer, Fiihrer, II, pi. 51;
Buschor, Gr. V., fig. 174; Beazley, p. 304, no. 37.
149. G R 1120. Beazley, VA, p. 101; Pfuhl, fig. 439; Richter and Hall, no. 56,
pis. 57, 180; Beazley, p. 314, no. 229.
150. 20.246. Richter and Hall, no. 53, pis. 50, 53, 54, 180; Beazley, p. 306, no. 83.
151. 12.231.1 and 08.258.57, both signed by Hieron. Hoppin, II, 68 f. and 66 f.;
Richter and Hall, no. 53, pis. 49, 51, 180, and no. 54, pis. 50, 55, 56; Beazley, pp.
307, 310, nos. 102 and 144.
152. 06.1152. Richter and Hall, no. 55, pis. 57, 59, 60, 180; Beazley, p. 304, no. 42.
153. Herodotos II. 134 f. See Richter and Hall, p. 75, note i.
154. Beazley, pp. 279 ff., 957, 968.
155. A 718. FR, pi. 74, no. i; Hoppin, I, 233; Pfuhl, fig. 453; Pfuhl, Masterpieces,
fig. 60; Mayence, CV, pis. 5, 6; Beazley, p. 292, no. 197.
156. 15375. Herbig, AA, 1928, col. 571; Papaspyridi and Kyparissis, Arch. Delt.,
1927-28, pis. 4-5, suppl. plate, pp. 94, 102; Beazley, p. 293, no. 210.
157. 2286. Hoppin, I, 217; Pfuhl, fig. 465, Beazley, Potter, pp. 39 ff.; Beazley,
p. 241, no. 27.
158. Beazley, pp. 239 ff., 956. The only example by the Triptolemos Painter in
New York is the athlete on the fragmentary kylix 14.105.7.
159. G 187. Pettier, CV, pi. 20, nos. 3, 6; Beazley, p. 239, no. 2.
160. Beazley, pp. 297 f.
161. Beazley, JHS, XXXIX (1919), 843.; Beazley, p. 279.
162. Oest. Mus. 324. FR, pi. 53; Hoppin, I, 266 f.; von Liicken, GV, pis. 100,
101; Pfuhl, figs. 455, 456; Pfuhl, Masterpieces, figs. 61-63; Beazley, p. 280, no. 6.
163. 00.338. Hoppin, I, 229; Pfuhl, figs. 451, 452; Beazley, p. 280, no. 8.
164. G 115. Hoppin, I, 245, Pfuhl, fig. 466; Pfuhl, Masterpieces, fig. 64; Beazley,
p. 285, no. 70.
165. E 768. FR, pi. 48; Hoppin, I, 242; Walters, CV, pi. 105; Buschor, Gr. V., figs.
183, 184; Beazley, p. 292, no. aoi.
166. 52.11.4. MM Bull., 1952, pp 100 f. Though the subject a conversation
scene is usual, the execution is extraordinarily fine.
167. 23.160.54 Richter and Hall, no. 59, pis 61, 63, 64, 181; Richter, Greek
Painting, 3 p. 12; Beazley, p. 289, no. 152.
168. 00343. Pfuhl, fig. 470; Beazley, p. 288, no. 118.
169. 2647 Buschor, ]b. t XXXI (1916), pi. 3, pp. 84, 85; Beazley, p. 287, no. 112.
170 Beazley, pp. 219 ff., 955; Caskey and Beazley, AVP, II, 33 ff.
171. G 105. Hoppin, I, 401; Pfuhl, fig. 404; Beazley, p. 219, no. i.
172. 89. Hoppin, I, 403; Beazley, p. 222, no. 56.
173. Beazley, Potter, p. 36; Beazley, p. 209.
174. D. K. Hill, A] A, XLIX (1945), 503 ff.; Beazley, pp. 226 ff., 955.
175. 48. Harald Hofmann, AA, 1904, col. 53; Beazley, p. 227, no. 17.
176. Faina, 48. Philippart, Collections de ceramique grecque en Italic, II, pi.
12, i; Beazley, p. 227, no. 2.
177. 16.174.71. Richter and Hall, no. 36, pis. 35, 179.
178. 14.105.9. Richter and Hall, no. 37, pi. 36; Beazley, p. 227, no. 8.
179. Beazley, pp. 230 ff., 955 f.
180. 8325. FR, pi. 162, HI, 264; Neugebauer, Fuhrer, II, pi. 54, no. a; Beazley,
p. 230, no. i.
181. G R 575. Richter and Hall, no. 61, pis. 62, 181; Beazley, p. 233, no. 72.
182. 16.174.42. Richter and Hall, no. 62, pis. 65, 181; Beazley, p. 232, no. 41.
NOTES: EARLY FREE STYLE 185
183. G R 567. Beazley, p. 233, no. 59.
184. 41.162.1. Gallatin, CV, pis. 10-12: Beazley, p. 299, no. i.
185. Beazley, p. 299.
186. 41.162.6. Pease, CV, GaUatin ColL, pi. 47, no. 5, pL 49, no. s; Pfuhl, fig, 414
(restored); Beazley, p. 300, no. 2.
187. Beazley, pp. 300, 957.
188. Ibid., pp. 263 ff., 956.
189. 2294. FR, pi. 135; Neugebauer, Fuhrer, II, pi. 53; Beazley, p. 263, no. i.
190. 2640. FR, pi. 86, II, 132; Buschor, Gr. V., fig. 179; Beazley, p. 264, no. 20.
191. 31.19.2. Dohan, Museum Journal, XXm (1932), 33 ff.; Beazley, p. 264,
no. 21.
192. G R 1075.
193. 07.156.8. Beazley, p. 264, no. 5.
194. E 76. Hartwig, Gr. M., pis. 41, 42, no. i; Beazley, p. 266, no. i.
195. Beazley, pp. 266 ff., 956 f .
196. 27.74. Richter and Hall, no. 51, pis. 47, 48, 180; Beazley, p. 267, no. 10.
197. According to a recent interpretation by Professor Bieber, the young men
are the members of a chorus, probably a tragic chorus, being trained for some
public performance, cf. A] A, XLV (1941), 529 ff.
198. 1900.518. Beazley, p. 267, no. 8.
ig8a. 53 11.4. MM Bull., Oct. 1954, pp. 62 f.
199. Beazley, pp. 274 ff,, 957.
200. 573. Gerhard, Trinkschalen, pis. A, B; Cook, Zeus, III, pi. 3; Beazley, p.
274, no. i.
201. Beazley, pp. 271 1, 957.
S02. 2296. von Lucken, GV, pi. 90, ho. 2, pis. 45, 46; Beazley, p. 271, no. i.
III. EARLY FREE STYLE
1. Overbeck, Schriftquellen, pp. 1875.; A. Reinach, Recueil Milliet, I, 86 ff.
2. De architect. VII. praef. 11: Agatharchus Athenis Aeschylo docente tragoe-
diam scaenam fecit et de ea commentarium reliquit. Ex eo moniti Democritus et
Anaxagoras de eadem re scripserunt, quemadmodum oporteat ad atiem oculorum
radiorumque extentionem certo loco centro constitute lineas ratione natural!
respondere, uti de incerta re certae imagines aedificiorum in scaenarum picturis
redderent speciem et, quae in directis planisque frontibus sint figurata, alia
abscendentia. alia prominentia esse videantur (ed Rose. 1899).
3. The translation is based on that o Professor M. H. Morgan (1926), with a
few changes. Certo loco centro is, I imagine, "the station point." De incerta re,
M. J. Milne suggests, should be interpreted as "a visual impression difficult to
grasp mentally"; the reading incertae imagines proposed by Grander (Journal of
the Royal Institute of British Architects, XXXVIII, 1930-31, 367 and pp. xix f. of
vol. I of his edition of Vitruvius in the Loeb Series), while ingenious, rests on too
slight a foundation to carry conviction ("a flourish not unlike the symbol for m"
on the e in re which led Mr. Granger to suggest "that the scribe of H found in be-
fore him and read it as m"). For a discussion of the whole passage and of Vitruvius
I. 2. Z, which must be taken in conjunction with it, cf. my article on Perspective in
Serial in onore di Bartolomeo Nogara, 1937, pp. 381 ff.
4. FR, pis. 6, 55.
5. Cf., e.g., Philippart, CAB,
6. Beazley, p. 924.
i86 ATTIC RED-FIGURED VASES
7. Studniczka, Jb., II (1887), lGz > Kirchner in Pauly-Wissowa, VII, s.v. Glaukon,
col. 1402, no. 4; Kirchner, Prosopographia Attica, no. 3027.
8. Beazley, Panm.j Beazley, pp. 361 ff., 959.
9. 2417. FR, pi. 16, 1, 77; Pfuhl, fig. 771; Beazley, p. 365, no. 55.
10. Beazley, Panm., pi. 17, no. 2; Beazley, p. 366, no. 61.
n. 10.185. FR, pi. 115; Beazley, VA, p. 113; Pfuhl, figs. 475, 476, 783; Beazley,
Panm., pis. 1-4; Seltman, AV, pi. 24 a; Buschor, Gr. V., fig. 199, Beazley, p. 361,
no. i.
12. 9683. Beazley, Panm., pis. 7-10, 11, no. i; Beazley, p. 364, no. 41.
13. 16.72. Beazley, Panm., pi. 25, no. 3; Richter and Hall, no. 64, pis. 67, 68, 170;
Beazley, p. 362, no. 8.
14. 20.245. Beazley, Panm.j pi. 28, no. 2; Richter and Hall, no. 66, pis. 70, 72,
169; Beazley, p. 363, no. 23. Cf. the remarks on the Greek kithara by Gombosi in
"New Light on Ancient Greek Music," a paper read at the International Congress
of Musicology hejd at New York, Sept. 11-16, 1939.
15. See p. 69, fig. 48; Beazley, Berl , pi. 21; Beazley, p. 131, no. 3.
16. 23 160.55. Beazley, Panm., pi. 18, 2; Richter and Hall, no. 65, pis. 69, 177;
Beazley, p. 367, no 76.
17. 10.184. Beazley, Panm., pi. 18, no. i; FR, pi. 159, no. i; Beazley, p. 364, no. 32.
18. G R 585. Richter and Hall, no. 67, pis. 69, 178; Beazley, p. 367, no. 84.
19. V 778 (2554). Beazley, Panm., pis. 31, 32, 27, no. 2; Bovio Marconi, CV, pi. 34;
Beazley, p. 361, no. 2.
20. Cf. on these Beazley, JHS, XXXH (1912), 363 ff.
21. Beazley, pp. 370 fE.
22. 9.17. Lamb, CV, pi. 33, no. 2, pi. 34, no. 4; Beazley, p. 371, no. 21.
23. 06.1021.152. Richter and Hall, no. 69, pi. 72; Beazley, p. 370, no. 11. 41.162.86.
Pease, CV, Gallatin Coll., pi. 57, no. i; Beazley, p. 371, no. 20.
24. Beazley, pp. 373 ff., 959.
25. Nos. 34 and 59 in Beazley 's list.
26. FR, II, 307, fig. 102; Richter, Craft, p. 71; Beazley, Potter, pp. 11 ff ; Beazley,
p. 376, no. 61.
27. 41.162.60. Gallatin, CV, pi. 23, 3-4; Beazley, p. 373, no. 5.
28. Beazley, pp. 377 ff., 959, 968.
29. Gabrici, Vasi greci inediti dei Musei di Palermo e Agrigento, fig. 9; Beazley,
p. 380, no. 45.
30. E 171. Walters, CV, pi. 75, no. 3, pi. 76, no. 2; Beazley, p. 381, no. 63.
31. 15.27. Richter and Hall, no. 70, pis. 73, 170; Beazley, p. 378, no. 9.
32. Cf. Beazley, Panm., p. 13, note 18; Richter and Hall, p. 61. On the hydria in
the Louvre G 50 (Pettier, II, pi. 94} the "Egyptians" are depicted as Greeks, but
the subject is not certain.
33. Beazley, pp. 384 ff., 959.
34. 2322. Pfuhl, fig. 514; Swindler, AP, fig. 363; FR, pi. 138, no. i; Beazley,
p. 384, no. 4.
35. E 284. Hoppin, II, 376, 377; Walters, CV, pi. 17, no. 3; Beazley, p. 384, no. 7.
36. 25.28. Richter and Hall, no. 71, pis. 74, 172; Beazley, p. 386, no. 39.
37- I- 33 ff-
38. 06.1021.144. Richter and Hall, no. 72, pis. 75, 173; Beazley, p. 385, no. 9.
39. 41.162.69. Gallatin, CV, pi. 23, 1-2; Beazley, p. 385, no. 22.
40. Beazley, pp. 582 ff., 962.
41. 2688. FR, pis. 6, 56, nos. 1-3, I, 31; Pfuhl, fig. 501; Pfuhl, Masterpieces,
fig. 71; Swindler, AP, pi. 11, fig. 373; Seltman, AV, pi. 31 a; Diepolder, P, pis.
13-15, 12, no. 2; Buschor, Gr. V., fig. 203; Beazley, p. 582, no. i.
NOTES: EARLY FREE STYLE 187
42. 2689. FR, pi. 55, I, 279; Pfuhl, fig. 502; Pfuhl, Masterpieces, fig. 72; Die-
polder, P, pis. 16, 17, no. i, pi. 18; Beazley, p. 583, no. s.
43. 07.286.36. Diepolder, P, pi. 11, no. a, pi. 12, no. i; Richter and Hall, pi. 77;
Beazley, p. 588, no. 112.
44. The alternative suggested by H. R. W. Smith in A] A, XLI (1937), 342, of
Eros and a youth is accepted by many (cf. Rumpf, M. u. Z., p. 101).
45 28.167. Diepolder, P, pi. 19; Richter and Hall, no. 74, pis. 76, 178; Richter,
Greek Painting? p. 14; Beazley, p. 588, no. 114.
46. G R 597. Richter and Hall, no. 75, pis. 78, 181; Beazley, p. 587, no. 98.
47. 06.1079. Richter and Hall, no. 77, pis. 79, 178; Beazley, p. 588, no. 105.
48. 41.162.9. Gallatin, CV, pis. 19-20; Diepolder, P, pi. 31, no. r, Beazley, p. 584,
no. 25.
49. 22.139 29. Richter and Hall, no. 76, pis. 78, 178; Beazley, p. 589, no. 5.
50 Beazley, pp. 574 ff., 962; Diepolder, Der Pistoxenos Maler, 1954.
51. Hoppin, II, 373; Pfuhl, fig. 471; Pfuhl, Masterpieces, figs. 66 and 67; Swindler,
AP, fig. 320; FR, pi. 163, no. i; Seltman, AV, pi. 29; Diepolder, P, pi. 4; Buschor,
Gr. V., figs. 181, 182, Beazley, p. 576, no. 16.
52. Hoppin, II, 175; Beazley, p. 576, no. 18.
53. Nos. i, 2, 4 in Beazley's list.
54. Acr. 439. Hoppin, I, 381; Pfuhl, fig. 416; Pfuhl, Masterpieces, fig. 69; Graef
and Langlotz, Akropolis, II, pis. 36, 35, no. 2; Seltman, AV, pi. 30 a; Diepolder, P,
pis. 5, 17, nos. 2, 3; Buschor, Gr. V., fig. 196; Beazley, p. 575, no. 2.
55. D 2. Pfuhl, fig. 498; Pfuhl, Masterpieces, fig. 70; Swindler, AP, fig. 286; Die-
polder, P, pi. 6; Buschor, Gr. V., fig. 197; Beazley, p. 575, no. 3.
56. 07.286.63. Beazley, p. 575, no 10.
57. Ibid., pp. 589 ff., 962.
58. 39.11.8. Richter, AJA, XLIV (1940), 182, fig. 7, p. 183; Beazley, p. 606, no. 21.
The interpretation of the scene as the Birth of Aphrodite is Beazley's.
59. 06.1021.167. Richter and Hall, no. 78, pis. 80, 181; Beazley, p. 597, no. 4.
60. 143. Kraiker, Die rotfiguren attischen Vasen, pi. 25; Beazley, p. 591, no. 43.
61. 26.60.79. Richter and Hall, no. 79, pi. 81; Beazley, p. 589, no. i.
62. pp. 581 f. On collaboration of vase painters in general cf. Beazley, Potter,
pp. 27 ff.
63. Beazley, pp. 418 ff.; Webster, N.
64. G 341. FR, pis. 108, 165, H, 244, 251; Pfuhl, fig. 492; Pfuhl, Masterpieces,
fig. 77; Swindler, AP, figs. 319, 349. 35L 352> 363: Seltman, AV, pi. 33; Webster, 2V,
pis. 2-5; Buschor, Gr. V., fig. 215; Beazley, p. 419, no. 20.
65. 42.1143. Arndt in Br. Br., pis. 763-765; Richter, MM Bulletin, new series, I
(1942-1943), 206 ff.
66. 41.162.98. Pease, CV, Gallatin Coll., pi. 56, no. i; Beazley, p. 423, no. 65.
67. G R 579. Richter and Hall, no. 97, pis. 100, 169; Beazley, p. 422, no. 50.
68. 07.286.66. Richter and Hall, no. 127, pis, is6, 170; Richter, Greek Painting?
68a 56.17144 and 51. D. von Bothmer, MM Bull, March 1957, pp. i75 !77-
69. Beazley, pp. 412 ff., 427 ff., 960. For illustrations cf. especially Lowy, Poly-
07 286 84. FR, pis. 116, 117; Pfuhl, fig. 506; Swindler, AP, fig. 35: Richter
and Hall, no 98, pis. 97, 98, 171; Richter, Gk. Painting p. 13; Beazley, p. 427, no. i.
71. Beazley, p. 427.
72. 07.286.86. FR, pis. 118, 119; Pfuhl, fig. 507; Swindler, AP, figs. 325, 326;
Richter and Hall, no. 99, pis. 99, 170; Richter, Greek Painting,* p. 13; Beazley,
p. 429, no. 3.
73. Beazley, pp. 401 ff., 959 *
i88 ATTIC RED-FIGURED VASES
74. 909. FR, pis. 17, 18; Giglioli, CV, pis. si, 22; Beazley, p. 401, no. i.
75. E 492; Beazley, VA, p. 153; Beazley, p. 402, no. 15.
76. 208. Beazley, RM, XXVII (1912), pi. 10, 2 and Beilage to p. 286, no. i; Beazley,
p. 401, no. 3.
77 2497.96. Richter and Hall, no. 100, pis. 101, 171; Beazley, p. 402, no. 16.
78. 06.1021.176. Richter and Hall, no. 101, pis. 102, 173: Beazley, p. 402, no. 28.
79. 06.1021.134. Fairbanks, AWL, I, 158, no. 4 a; Beazley, p. 407, no. i.
80. For a detailed analysis of this painter's style cf. Beazley, RM, XXVII (1912),
291 ff.
81. Beazley, pp. 407 ff., 960.
82. Frickenhaus, Berliner Winckelmannsprogramm, LXXII (1912), pi. IV;
Beazley, p. 407, no. i.
83. 06.1021.190, 06.1021.192. Richter and Hall, nos. 102, 103, pis. 104, 105, 172;
Beazley, p. 409, nos. 26, 27.
84. 17.230.23. Beazley, p. 408, no. 17.
85. Beazley, pp. 410 .
86. 07.286.85. Richter and Hall, no. 109, pis. 109, 110, 171, Beazley, p. 410, no. i.
87. Beazley, pp. 521 ff., 537, bottom.
88. 22.139.72. Richter and Hall, no. 106, pis. 107, pi. 181, Beazley, p. 521, no. i.
89. Caskey, Catalogue of Sculpture, no. 17.
90. Beazley, pp. 523 ff.
91. 17.230.10. Richter and Hall, no. 105, pis. 106, 181; Beazley, p. 524, no. 25.
92. Beazley, pp. 526 ff., 961.
93. G 401. Pettier, pi. 141; Beazley, p. 526, no. 5.
94. 06.1021.177. Richter and Hall, no. 107, pis. 107, 181; Beazley, p. 531, no. 95.
95. Beazley, pp. 525 f.
96. 06.1101. Richter and Milne, fig. 131; Beazley, p. 525, no. 3.
97. Beazley, pp. 524 f.
98. 01 8097. Jb., XVII (1902), pi. 2; Beazley, p. 524, no. 2.
99. 41.162.5. Pease, CV, Gallatin Coll., pi. 50, no. 2; Beazley, p. 524, no. 3.
100. Beazley, pp. 542 ff.
101. 98.931. Hoppin, II, 49; Pfuhl, fig. 447; Beazley, p. 542, no. 2.
102. 95 28 Hoppin, II, 47; Pfuhl, fig. 449; Beazley, p. 542, no. i. Fragments in
the Villa Giuka and Florence belong to this cup.
103. H. R. W. Smith, CV, University of California, p. 41; Beazley, pp. 538 f.
104. C A 2183. Pettier, Mon. Piot, XIII (1906), 149 ff., pis. 13, 14, Beazley, BSA,
XXIX (1927-28), 206 f.; Beazley, p. 538, no. i.
105. E 66. FR, I, 244, pi. 47, no. 2; Beazley, p. 538, no. 4.
106. 98932. Hoppin, II, 51; Caskey and Beazley, AVP, p. 15, fig. 13 (shape);
Beazley, p. 550, no i.
107. Beazley, pp. 550 ff.
108. 1708. Heydemann, Gr. V., pi. I, 2; Beazley, p. 552, no. 31.
109. F. P. Johnson, AJA, XLIX (1945), 491 ff-5 Beazley, pp. 317 ff., 958. .
no. 2413. FR, pi. 137, III, 95; Beazley, p. 318, no. 18.
111. 41.162.19. Gallatin, CV, pi. 16, no. 2, pi. 17; Beazley, p. 321, no. 77.
112. 26.60.77. Richter and Hall, no. 85, pis. 89, 175; Beazley, p. 321, no. 83.
113. Beazley, pp. 437 ff., 960.
114. 09.221.41 and 41.162.21. Richter and Hall, no. 33, pis. 32, 169; Gallatin,
CV, pi. 15; Beazley, p. 437, nos. 5 and i.
115. 41 162.15. Gallatin, CV, pi. 16, i; Swindler, AJA, XXVIII (1924), 282 f.;
Beazley, p. 439, no. 34.
116. Beazley, pp. 441 f , 960.
117. 41 162.134 Pease, CV, Gallatin Coll., pi 52, no. i; Beazley, p. 442, no. 9.
NOTES: EARLY FREE STYLE 189
118. Beazley, pp 328 ff.
119. 41 162.155. Gallatin, CV, pi. 18, no. 2; Beazley, p. 329, no. 13.
120. Beazley, pp. 443 ff.
121 41.162 56. Gallatin, CV, pi. 13; Beazley, p. 443, no. 4.
122. 07.286.44. Fairbanks, A WL, II, pi. 32, i; Beazley, p. 446, no. 54.
123. 06.1021.115, G R 592, 41.162.131. Richter and Hall, nos. 94, 95, pis. 95, 169;
Pease, CV, Gallatin Coll., pi. 54, no. 2.
1x4. Beazley, pp. 35 ff.
125. 06.1021.151. Richter and Milne, fig, 8; Richter and Hall, no. 91, pis. 93,
169; Beazley, p. 352, no. 10.
126. 26.60.80. Richter and Milne, fig. 125; Richter and Hall, no. 92, pis. 93, 177;
Beazley, p. 353, no. 24.
127. 41.162.10. Pease, CV, Gallatin Coll., pi. 57., no. 2; Beazley, p. 351, no. 4.
128. Beazley, p. 351.
129. 41.162.33. Gallatin, CV, pi. 29, nos. i, 2; Beazley, p. 568, no. 4.
130. Beazley, p. 568.
131. Ibid., pp. 330 ff., 958.
132. G 161. FR, pi. 104, Swindler, AP, figs. 328, 329; Buschor, Gr. V., fig. soi;
Beazley, p. 330, no. i.
133. Beazley, pp. 346 ff.
134. 07.286.74. Richter and Hall, no. 87, pis. 90, 91, and 170; Beazley, p. 346,
no. i.
135. 34.11.7. Richter and Hall, no. 88, pis. 90, 170; Beazley, p. 347, no. as.
136. Beazley, pp. 335 ff.
137. 29.131.7. Richter and Hall, no. 80, pis. 82, 88, 170; Beazley, p. 336, no. s.
Formerly attributed to the Painter of the Brussels oinochoai.
138. 1170. Zschietzschmann, AM, LIII (1928), Beilagen 16-17, no. 96; Swindler,
AP, fig. 322; Beazley, p. 336, no. 11.
139. 07.286.70. Richter and Hall, no. 81, pis. 83, 84, 173; Beazley, p. 336, no. 13.
140. Beazley, pp. 35 6 ff -> 95 8 - ,
141. Inv. 30035. Beazley, VA, p. 137; Licht, Sittengeschichte, I, 283; Beazley,
p. 358, no. 46.
142. 41.162.16. Gallatin, CV, pi. 22; Beazley, p. 356, no. i.
143. Beazley, pp. 326 ff., 958.
144 Tillyard, The Hope Vases, pi. 8, no. 84; Beazley, p. 327, no. 25.
145- 17.23037- Richter and Hall, no. 82, pis. 85, 86, 173; Beazley, p. 326, no. i;
Caskey and Beazley, AVP, II, 12.
146. 18.74.1 and 41.162.20. Richter and Hall, no. 83, pis. 87, 173; Gallatin, CV,
pi. 14; Beazley, p 326, nos. 2, 8; D. von Bothmer, MM Bull., March 1957, p. i?5-
147 Beazley, pp. 450 ff., 960.
148. D 5, 6, 7. Hoppin, II, 429, 43<>; Pfuhl, figs. 526, 527, 5*8; Pfuhl, Masterpieces,
figs! 82-84; Swindler, AP, fig. 288; Seltman, AV, pi. 3* b, c; Beazley, p. 450, nos.
A J O
' ilq On the spelling of this name cf. Beazley, AJA, XXXIX (1935), 483-
150. E 804. FR, pi. 136, no. s; Walters, CV, pis. 26, 27; Beazley, p. 45* , no. 15.
Vtfta Giuba
. . , . , . ,
Two other such magnified knuckle bones (astragalot) are in the : Vtfta
Museum (decorated by the Syriskos Painter, see p. 72) and in New York (
MM Bulletin, XXXVI [1941], 122 f.). A fragment of a third has recently been
found in the Athenian Agora.
151. Nos. 7-13 in Beazley's list.
152. Czartoryski Coll. Hoppin, II, 432: Beazley, V. Pol., pis. 15, 16, Bulas, CV,
pi. 35; Seltman, AV, pi. 32 a; Peredolski, AM, LIII (1928), pp. 9 ^ Beazley, p. 45L
nos. 6, 12.
igo ATTIC RED-FIGURED VASES
153. Beazley, pp. 457 f.
154. 38.11.2. Richter, MM Bulletin, XXXIII (1938), 225 ft., figs. 1-4; AJA, XLIII
(1939). 6 S-. figs- 4. 5- Plaoutine's ingenious suggestion (CV, Petit Palais, p. 56) that
the two objects right and left of the hare are plants, perhaps sea onions, to
frighten away the wolf (cf. Aelianus, De natura ammalium, I, 36) cannot, I am
afraid, be accepted; for the two objects are in relief, part and parcel of the shape,
and are clearly intended for the two little protuberances of the fetlock above
a cow's hoof with grooves for hair. Moreover the long legs of the animal near the
cave suggest a dog rather than a wolf. Dogs are used for rounding up cattle as well
as sheep.
155. Beazley, pp. 516 ff.; Smith, L.
156. Bicknell, JHS, XLI (1921), pis. 13, 14, p 222; Smith, L, pis. 10, 33 c-d;
Beazley, p. 517, no. 15.
157. D. M. Robinson, CV, II, pi. 40, no. 2, pis. 41, 42; Smith, L, pi. 15, pi. 23 b,
pi. 34 a; Beazley, p. 517, no. 25.
158. E 106. Watzinger, Griechische Vasen in Tubingen, pi. 28, D. M. Robinson
and Freeman, AJA, XL (1936), 221; Smith, L } pi. 23 a; Beazley, p 517, no. 26.
159. Beazley, p. 519; Smith, L, pp. 17 f.
160. 191. Smith, L, pis. 27, 33 a; Beazley, p. 519, no. 2.
161. Beazley, pp. 556 ff., 962.
162. 2402. Furtwangler, Sabouroff Collection, pi. 68, no. i; Beazley, p. 558, no. 47.
163. 26.60.78. Richter and Hall, no. 104, pis. 103, 175; Beazley, p 560, no. 80
164. Herodotos II. 135; Athenaios XIII. 596 d. However, Archedike is a fairly
common Attic name.
165. 2685. FR, pi. 65; Beazley, p. 556, no. 14.
166. Beazley, AWL, p. 17, pi. 3, no. i; Buschor, Grab, p. 30 f.; Beazley, p. 561,
no. 95.
167. 07.286.40. Fairbanks, AWL, II, pi 38, nos. 2, 3; Pfuhl, fig. 539; Pfuhl,
Masterpieces, fig. 90; Beazley, p. 561, no. 107.
168. 21.88.17. MM Bull., XVIII (1923), 193, figs. 3, 4; Beazley, p. 561, no 111.
169. 06 1021.132 Fairbanks, AWL, II, pi. I, no. 11; Beazley, p. 563, no. 142.
170. 39.11.1. Richter, AJA, XLIV (1940), 186; Beazley, p. 566. The new attribu-
tion is by Beazley (in a letter).
i7oa. Cf D. von Bothmer, Amazons in Greek Art, p. 202. He points out that
white lines indicate that the Amazon is lying on a rbck
171. 5617141. D. von Bothmer, MM Bull., March 1957, p 178.
172. 35.11.5. Beazley, p. 580, no. i.
1 73- v 453- Gjerstadt, Swedish Cyprus Expedition, III, pi. 86, 1-2; Beazley,
p. 580, no. 2.
174. Beazley, pp. 467 f., 960.
175. 41.162.102. Gallatin, CV, pi. 27, 7 and 9.
176. Beazley, pp. 494 ff., 968.
177. 01.8122. Beazley, p. 500, no. 184.
!78. 35-54 and 06.1021.126. Richter and Hall, no. 93, pis. 95, 175; Beazley,
pp. 496, 499, nos. 56 and 165.
179. Beazley, pp. 503 ff., 961. Nos. 41, 55, and 68 in Beazley's list are in New York.
180. Beazley, pp. 508 ff., 961, 968. Nos. 9, 56, 58, 62, 92 in Beazley's list are in
New York.
181. Welter, Aus der Karlsruher Vasensammlung, pi. 14, no. 32 a; Beazley,
p. 508, no. 2.
182. Beazley, pp. 482 f.
183. 24.97.37. Beazley, JHS, XLVII (1927), 231, fig. 6; Beazley, p. 482, no. i.
NOTES: FREE STYLE 191
IV. FREE STYLE
1. Hartwig, Man. Piot, X (1903), pi. 8; Oest. ]h., XII (1897), 166; Richter, Ancient
Furniture, fig. 823; Beazley, p. 666, no. 8.
2. Cf. instances cited by Buschor in FR, III, 1x8 1.
3. 2357. Pfuhl, fig. 577; Zahn in FR, pi. 171, 2 ; Beazley, p. 748, no. 6. The date
is later than 430, and so the theory advanced by Riezler (Der Parthenon und die
Vasenmalerei, p. 18) and Pfuhl, p. 574, that the vase was made before the frieze
was erected, i.e., before 438, does not hold.
4. A. H. Smith, Sculptures of the Parthenon, pi. 69.
5. D. M. Robinson, AJA, XXXVEH (1934), 45 ff. (for the whole subject of copies
on vases from the Parthenon sculptures see the references cited in his notes
9, 10, and CV, III, pi. IX).
6. Hahland, M, pi. 6 a.
7. No. 2418. Hirschfeld, Berliner Winckelmannsprogramm, XXXII (1873), 3 fit.,
pi. I; Richter, Sc. Sc., fig. 587.
8. Beazley, pp. 634 ff.
9. Beazley, VA, p. 163; FR, pi. 167, no. 2, III, 293, fig. 137; Buschor, Gr. V.,
fig. 217; Beazley, p. 634, no. i.
10. Beazley, AJA, XLVII (1943), 448 f.
11. 07.286.81. FR, II, 264, fig. 94 a; Pfuhl, fig. 496; Pfuhl, M<wte -pieces, fig. 78;
Swindler, AP, fig. 318; Richter and Hall, no. 118, pis. 118, 119, 171; Beazley, p. 637,
no. 49.
12. 12.236.2 and 25.189.2. Richter and Hall, nos. 119, 120, pis. 1174 iso, 169;
Beazley, p. 635, no. 19 and p. 648. 25.189.8, according to Beazley, may belong to
"the late -school of the Berlin Painter." It certainly shows the close connection
between the Berlin and the Achilles Painters.
13. 12.236.1. Richter and Hall, no. 121, pis. 120, 121, 169; Beazley, p. 635, no. to.
14. Cab. M<5d. 372. Pfuhl, fig. 521; Swindler, AP, fig. 338; FR, pi. 167, no. i,
III, 290, fig. 136; Beazley, p. 634, no. 4.
15. Cab. Med. 357. FR, pi. 77, no. i, II, 92, fig. 47; Pfuhl, fig. 523; Swindler, AP,
fig- 33o; Beazley, p. 634, no. 2.
16. T 1052. Aurigemma S,i 163-165 = S? 197-199; Beazley, p. 637, no. 42.
17. 304.1. Beazley, Museum Journal, XXXIII (1932), 4 ff.; Seltman, AV, pi. 34 a;
Beazley, p. 636, no. 38.
18. 17.230.13. Richter and Hall, no. 113, pis. 114, 176; Beazley, p. 640, no. 86.
19. E 385. Beazley, JHS, XXXIV (1914), 188, fig. 8 a; Beazley, p. 637, no. 41.
20. G 444. Beazley, JHS, XXXTV (1914), 190, fig. 9? Beazley, p. 639, no. 74.
ai. Beazley, pp. 640 ff.; Beazley, AWL, pp. 13 ff.; Riezler. WAL; Fairbanks,
AWL, I and II.
22. No. 1818. Riezler, WAL, pi. 36; Pfuhl, fig. 543; Pfuhl, Masterpieces, fig. 94;
Swindler, AP, fig. 333; FR, III, 113, fig. 56; Beazley, p. 643, no. 135.
23. FR, III, 303, Beazley, AWL, pi. 3, 2; Buschor, Grab, pp. 35-37, 57; Beazley,
p. 642, no. 130* Lullies, Eine Sammlung griechischer Kleinkunst, no. 80.
24. 08.258.17. Fairbanks, AWL, II, pi. 35, no. i; Richter and Hall, no. 114, pis.
114, 176; Beazley, p. 644, no. 154.
25. 08.258.18. Fairbanks, AWL, II, pi. 35, no. 2; Swindler, AP, pi. 10 c; Richter
and Hall, no. 115, pis. 115, 176; Beazley, p. 644, no. 153.
26. No. 377. Robinson and Harcum, Catalogue, pi. 65, p. 165; Beazley, p. 644,
no. 155.
igs ATTIC RED-FIGURED VASES
27. Beazley, p. 644, no. 156.
28. 06.1171. Fairbanks, AWL, 1, pi. 10, no. i. Richter and Hall, no. 116, pis. 115,
176; Beazley, p. 644, no. 152.
29. 08.258.16. Richter, MM Bulletin, IV (1909), 102; Beazley, p. 645, no. 176.
30. 07,28642. Fairbanks, AWL, II, pi. 39; Pfuhl, fig. 536; Richter and Hall,
no. 117, pis. 116, 176; Buschor, Grab, p. 39; Beazley, p. 645, no. 178.
31. For a detailed analysis of the Achilles Painter's style cf. Beazley, JHS,
XXXIV (1914), 207 ff.
32. Beazley, pp. 807 ff.
33. 12.229.10. Beazley, AWL, p. 19, pi. VI, i; Beazley, p. 809, no. 20.
34. 15.165. Richter, MM Bulletin, XI (1916), 128, fig. 5; Buschor ALP, p. 181;
Beazley, p. 808, no. 6.
35. 09.221.44. Fairbanks, AWL, II, pi. 4: Beazley, p. 782, no. 71.
36. G R 608. Fairbanks, AWL, n, pi. VI, no. 9; Beazley, p. 783, no. 81.
37. 23.160.38, 23.160.39. Richter, MM Bulletin, XX (1925), 48, figs, i, 2.
38. Beazley, pp. 653 ff., 963.
39- 97-37 1 - Beazley, VA, p. 167; Caskey and Beazley, AVP, pi. 29, no. 62, p. 55;
Beazley, p. 658, no. 108.
40. Czartoryski, no. 42. Pfuhl, fig. 571; Pfuhl, Masterpieces, fig. 103; Beazley,
V. Pol., pi. 23, Bulas, CV, pi. 26; Beazley, p. 656, no. 53.
41. 17.230.35. Richter and Hall, no. 122, pis. 122, 176; Beazley, p. 656, no. 66.
42. 41.162.142. Pease, CV, Gallatin Coll., pi. 55, no. i; Beazley, p. 653, no. 9.
43. 08.258.23. Richter and Hall, no. 123, pis. m, 176; Beazley, p. 657, no. 82.
44. 98.883. Beazley, VA, p. 168; Caskey and Beazley, AVP, pi. 29, no. 63, fig. 40;
FR, in, 135; Bieber, HT, p. 80, fig. 108; Beazley, p. 655, no. 38.
45. 13.11. Beazley, VA, p. 169; Beazley, p. 657, no. 83.
46. E 185. Walters, CV, pi. 80, no. 4; Beazley, p, 656, no. 55.
47. H 498. Pfuhl, fig. 511; Beazley, p. 656, no. 59.
48. 2798. Pfuhl, fig. 784; Buschor, ALP, pp. i ff., pi. I, no. i, pi. HI; Beazley,
AWL, p. 18, pi. 5; Beazley, p. 658, no. 102.
49. 2797. Buschor, ALP, pp. i ff., pi. I, no. 2, pi. II; Beazley, AWL, pp. 17 f.,
pi. I, no. 2; Beazley, p. 658, no. 101.
50. Beazley, pp. 651 ff.
51. 08.258.27. Richter and Hall, no. 125, pis. 123, 178; Beazley, p. 653, no. 14.
52. 28.57.23. Pfuhl, fig. 556; Richter and Hall, no. 124, pis. 124, 123, 171;
Beazley, p. 651, no. i.
53- 3 8 5 * (tr- Evelyn White).
54. Cf., e.g., the column krater in Bologna, Laurinsich, CV, pi. 25, and the
krater in Berlin, no. 3275, Hartwig, RM, XII (1897), pis. IV, V.
55. Beazley, pp. 650 f., 963.
56. 56.17144. D. von Bothmer, MM Bull., March 1957, p. 178.
57. von Mercklin, RM, XXXVIII-XXXIX (1923-24), 106 ff.; Beazley, pp. 661 f.
58. Cg 61. Hoffmann, pi. I, fig. i; Beazley, p. 661, no. 8.
59. 06.1021.189. FR, m, 287, fig. 135; Richter and Hall, no. 108, pis. 108, 177;
Beazley, p. 661, no. 9.
60. Gow, JHS, XLVHI (1928), 149, fig. 7; FR, pi. 168, no. i, III, 296, fig. 140;
Beazley, p. 661, no. 7.
61. Cf. Gow, he. cit.; Schoppa, Darstellung der Perser; Smith, Menon Painter,
p. 14, note 12; Beazley, CV, Oxford, p. 2, no. 5; Richter and Hall, pp. 14, 56; Seyrig,
Syria, XVIII (1937), 4 ff. For a representation of a Greek fighting a Persian, dated
about 480-470 B.C., in New York, cf. Richter and Hall, no. 35, pi. 94.
62. Beazley, pp. 666 f.
NOTES: FREE STYLE 193
63. 03.792. Hartwig, Mon. Plot, X (1903), pi. 8; Beazley, p. 666, no. 8.
64. 33.160.80. Richter and Hall, no. no, pis. 103, in, 171; Beazley, p. 666, no. I.
65. 697. von Lticken, GV, pi. 114; Beazley, p. 666, no. 2.
66. Beazley, p. 668.
67. 24.97.30. Richter and Hall, no. 131, pis. 130, 171; Beazley, p. 668, no. 2.
68. E 497. Jacobsthal, MM Studies, V (1934-36), 131; Beazley, p. 668,, no. i.
69. Beazley, p. 667.
70. G 424. FR, III, 308, fig. 148; Pettier, CV, pi. 23, nos. 4-6; Beazley, p. 667, no. 3.
71. 21.884. Richter and Hall, no. in, pis. 112, 173; Beazley, p. 667, no. 2.
72. Beazley, pp. 671 ft.
73. 2401. Diitschke, ]b., XXVII (1912), 133; von Lucken, GV, pi. 22; Beazley,
p. 671, no. i.
74. Beazley, pp. 668 ff.
75. 1772. von Lucken, GV, pi. 113; Beazley, p. 668, no. i.
76. Beazley, pp. 670 .
77. FR, pi. 169, III, 302, fig. 144; Beazley, p. 671, no. i.
78. 34.155. Richter and Hall, no. 129, pis. 116, 176; Beazley, p. 671, no. 4.
79. Beazley, pp. 674 f., 963.
80. T 435. Jacobsthal, Die Melischen Reliefs, p. 193; Beazley, p. 674, no. i.
81. 22.139.11. Richter and Hall, no. 132, pis. 131, 171; Beazley, p. 674, no. 5.
82. 06.1021.187. Richter and Hall, no. 133, pis. 132, 177. Beazley, p. 665, no. i
(below).
83. 41.162.113. Pease, CV, Gallatin Coll., pi. 55, no. 2; Beazley, p. 665, no. i
(above).
84. Beazley, pp. 677 ff.
85. A 134. Hoppin, II, 375; Mayence, CV, pi. 7, no. 2; Beazley, p. 677, no. i.
86. 96.7-16.5. Hoppin, II, 378, 379; Pfuhl, fig. 520; Walters, CV, pi. 25, 2; FR,
III, 43, fig. 19; Beazley, p. 677, no. 2.
87. 23507. Hoppin, II, 381; Swindler, AP, fig. 355; Beazley, p. 680, no. 47.
88. Inv. 73. Blawatski, AA, 1927, Beilagen 3-4 at p. 75, p. 78; Beazley, p 679,
no. 31.
89. 2385. Beazley, p. 698, no. 58.
90. E 280. Klein, Jb., XXXIII (1918), 17; Swindler, AP, fig. 361; Walters, CV,
pi. 16, no. i, pi. 18, no. 3; Seltman, AV, pi. 35 b; Beazley, p. 679, no. 32.
91.45.11.1. Libertini. Bollettino d'arte, XXVII (1933). 554 ff- O 11 -); Hampe,
AM, LX-LXI (1935-36), 898, no. 43. pi- *<*>'> Catterall in Pauly-Wissowa, XIX
(1938), s.v. Perseus, col. 981; M. J. Milne, MM Bulletin, new series, IV (1945-46),
126 ff.; Beazley, p. 680, no. 49. Miss Milne, loc. ctt,, discusses the significance of the
rays round Perseus' head.
92. 21.88.73. Richter and Hall, no. 126, pis. 125, 129, 171; Beazley, p. 678, no. ib.
93. Beazley, pp. 690 ff.
94. E 379. Beazley, VA, p. 173; Beazley, p. 690, no. 3.
95. 06:10*1.116. Richter and Hall, no. 130, pis. 128, 129, 169; Beazley, p. 690,
no. i.
06. Buschor, Gr. V., p. 207.
97. Beazley, V. Pol, pis. 24, 25; Bulas, CV, pi. 24; Seltman, A V, pi. 36 b; Beazley,
P '9?. 1 3 r.79 6 Caskey, AJA, XXXVIII (1934), pis. 26, 27; Caskey, JHS, LIV
201 f Pi. n; Beazley, p. 690, no. 2; Caskey and Beazley, AVP, II, no. 111.
99. 00.346. Beazley, VA, p. 174. && I0 7- 10 7 bls : Puhl - fi &' W> Beazley ' P>
no. 7; Caskey and Beazley, AVP, II, no. 110.
100. Beazley, pp. 703 ff.
194 ATTIC RED-FIGURED VASES
101. Inv. 3172. von Lucken, GV, pi. 58; Pfohl, fig. 554: PJahl,
fig. 100; Swindler, AP, fig. 369^ Neugebauer, Fuhrer, II, pi. 591 FR, III, 109, fig. 52,
Buschor, Gr. F., fig. 226; Beazley, p. 703. no. i.
102. 17.230.15. Richter and Hall, no. 138, pis. 140, 141. W Beazley, p. 7<>4,
no. 12.
10*. Beazley, pp. 6gs ff. . T
104. Tillyard, The Hope Vases, no. 138, pi. 23; Beazley, p. 692, no. 13. Now in
the possession of the Trustees of the Christie estate.
105. Beazley, pp. 684 f.
106. Gerhard, Auserlesene Vasenbilder, pi. 189; Beazley, p. 684, no. i.
101. Beazley, pp. 686 f.
108. T 617. Aurigemma SJL pp. 195-JQ9. '93 middle = V pp. 223-227 and 221
middle; Beazley, p. 686, no. i. .
109. E 371. Pfuhl, fig. 555: Walters, GV, pi. 11, no. i, pi. 12, no. 2; Swindler,
AP, fig. 340; FR, pi. 139; Beazley, p. 687, no. 9.
110. Beazley, p. 688.
111. Studnkzka, /&.,XXXI (1916), 211, fig. 26; Tillyard, The Hope Vases, pi. 17,
no. 116, pi. 18; Beazley, p. 688, no. i.
us. 24.97.25. Richter and Hall, no. 128, pis. 127, 171; Beazley, p. 688.
113. Beazley, pp. 704 ff.
1 14. Beazley, pp. 709 ff., 963.
115. 06.1021.173. Richter and Hall, no. 134, pis. 133, 134. 17! Beazley, p. 711,
"i 1^08.258.21. Jacobsthal, MM Studies, V (1954-36), 125 ff.; P. Friedlander, AA,
1935, cols. 20 ff.; Richter and Hall, no. 135, pis. 135-18?. 17: Beazley, p. 717. no. i.
117. 1026. von Lticken, GV, pis. in, 112; Jacobsthal, MM Studies, V (1934-36),
pp. 131, 133; Beazley, p. 717. no. 2.
118. Beazley, pp. 718 f.
no. 80.187. Tillyard, op. cit., pi. 14, no. 104; Beazley, p. 718, no. 2.
no. L 63. Benndorf, Griechische und sicilische Vasenbilder, pi. 31, i; Beazley,
p. 719, no. 8.
121. 12.229.14. Richter and Hall, no. 136, pis. 138, 145.
12*. Beazley, pp, 721 f.
123. 1831. FR, pi. i4, m. i4 fig- 57; Beazley, p. 7, no. 2.
114. 8588. von Lticken, GV, pis. 16, 17: Pfuhl, fig. 5591 P*"*", Masterpieces,
figs. 98 and 99; Swindler, AP. fig. 365; Neugebauer, Fuhrer, II, pi. 60, no. i; FR,
pi. 138, no. 8J Beazley, p. 721, no. i.
i2. 3589. von Lucken, GV, pis. 18, 19; Pfuhl, fig. 56?! Swindler, AP, 341 5 FR,
pi. 185; Beazley, p. 721, no. 7.
126. Beazley, pp, 766 ff.
1S7. 4.12. Lamb, CV, pi. 37, no. 2; Beazley, p. 766, no. 2.
128. 07.286.65. Richter and Hall, no. 137, pis. 139. 7<>; Beazley, p. 766, no. 9.
129. 41.162.137. 41.162.141. Gallatin, CV, pi. 24, nos. 1-3; Beazley, p. 768, nos.
S5 ijo.' Inv. 3275. Hartwig, RM, XII (1897), pis. 4, 5; Beazley, p. 766, no. i.
131. Beazley, pp. 724 ff., 964.
138. 1689. Eph., 1897, pis. 9, 10; Pfuhl, fig. 561; Beazley and Ashmole, Greek
Sculpture and Painting, fig. 108; Beazley, p. 726, no. 27.
133. Cab. Med. 851. Hoppin, I, 299; Beazley, p. 727, no. 33.
134. T 544. Hauser, /&., XI (1896), 193, fig. 40; Beazley, p. 729, no. 72.
135. 774- FR, pi. 57, no. 3: Beazley, p. 726, no. 25.
136. 8471. Pfuhl, fig. 560; Pfuhl, Masterpieces, fig. 105; Neugebauer, Fuhrer, II,
pi. 64, no. i; Beazley, p. 724, no. i.
NOTES: FREE STYLE 195
137 Beazley, VA, p. 179, fig no bis, CV, pi. 40, 3-5; Beazley, p. 725, no. 8.
138. 08 258.22 FR, pi. 120, i; Pfuhl, fig. 566; Richter and Hall, no. 140, pis. 143,
177; Beazley, p. 725, no. 9.
139. 30 11.8 Richter and Hall, no. 141, pis. 142, 176; Beazley, p. 724, no. 4.
i3ga. 56.171.58. D. von Bothmer, MM Bull., March 1957, p. 79.
140. Beazley, p. 725, no. 6.
141. 31.11.13. Richter and Hall, no. 139, pis. 143, 144, 176; Beazley, AWL, pi. 7,
no. i; Beazley, p. 725, no. 7; Richter, Greek Painting,* p. 16.
142. 95.48. Caskey and Beazley, AVP, pi. 30 and suppl. pi. 4, no. 43; Beazley,
p. 724, no. 2.
143. Beazley, p. 725, no. 11. Illustrated in part A] A, L (1946), 134, fig. 11.
144. S. Karouzou, -4/4, L (1946), 122; Beazley, p. 725, no. 10.
145. BCH, 1934, pi- 6; Beazley, p. 725, no. 16.
146. Beazley, pp. 733 ff., 964.
147. 12.229.12. Beazley, VA, p. 180; Richter and Hall, no. 143, pi. 145; Beazley,
p. 733, no. 2.
148. 666.64. L'Antiquitd Classique, IV, pi. 31; Beazley, p. 733, no. 3.
149. Beazley, p. 734, no. 7.
150. T 617. Aurigemma S> p. 193, right, above ==S,2 p. 221, right, above; Beaz-
ley, p. 733, no. i.
151. Beazley, pp. 739 ff - 964-
152. P U 273. Pfuhl, fig. 563; Mayence, CV, pis. 19-**; Beazley, p. 739, no. i.
153. Nos. 2537, 2538. Man. dell'Inst., X (1874-78), pi. 39 (no. 537); FR, pi. 140;
Neugebauer, Fuhrer, U, pi. 65, no. i (no. 2538); Beazley, p. 739, nos. s, 5.
154. 19.192.46. Richter and Hall, no. 142, pi. 145: Beazley, p. 740, no. 8.
155. E 94. Hartwig, Gr. M., p. 138; Gardiner, AthL, fig. 156; Beazley, p. 740,
n i56. 37.11.19. Richter, *LM Bulletin, XXXIV (1939), 231 ., fig. 2, and Greek
Painting? p. 15.
157. Beazley, p. 737.
158. 40.11.2. Richter, A] A, XLIV (1940), 428 ff.; Beazley, p. 737-
llo. ^352 y BeJley! p. 738, no. i; Caskey and Beazley, AVP, II, no. 112, with
discussion of subject and name of second Maenad.
161. E 389. Panofka, Pourt., pi. 5; Beazley, p. 738, no. 2.
162. Beazley, pp. 742 ff-
163. 16.73. Richter.and Hall, no. 144, pis. 14?. 174! Beazley, p. 743, no. 5.
164. 07.286.35. Richter and Hall, no, 145, pis. 146, 174: Beazley, p. 742, no. i.
165. On the Greek harp see Herbig, AM, LIV (1929)' l6 4-
166. 19.192.86. Richter and Hall, no. 146, pis. 148, 17*; Beazley, p. 745- no. 59.
167. Beazley, pp. 753 ff., 964-
168. 855. Peredolski, RM, XLII (1927), Beilage 30, no. i; Beazley, p. 754. no. o.
160. C A 1587. Enc. phot., Ill, 30 b; Beazley, p. 756, no. 53.
170. 08.258.24. Richter and Hall, no. 149. pis. 150. i??: Beazley, p. 754. no. 27.
171. 41.162.89. Gallatin, CV, pi. 24, no. 8; Beazley, p. 755, no. 47-
In Ny a Ssber g 7 I 8 N 2783. Bruhn, From the Collections of the Ny Carhberg
Glyptothek, II (1938), 134, 135. ng. 19: Beazley, p. 7 3*. no. .
174. 24.97.24. Richter and Hall, no. 152. pis. 150, 17?: Beazley, p. 738. *<>. i S .
!? oeTo^w/Ri'chter and Hall, no. 150, pis. 150, 17?! Beazley, p. 7S B. no. 8.
ITS'. ?SS'i?Stobki. AWL, II, pi. 38. no. 19 a; Befczley, p. 764, o. 8 i.
ig6 ATTIC RED-FIGURED VASES
179. Beazley, p. 752.
180. 99 539. Hoppin, II, 477; Swindler, AP, fig. 282; Beazley, p. 752.
V. LATE FIFTH-CENTURY STYLE
1. Overbade, Schriftquellen, pp. 310 .; A. Reinach, Recueil Milliet, pp. 1845.
2. Reinach, op. cit., pp. 188 ff.
3. Ibid., pp. 220 ff.
4. Pliny NM. XXXV. 61: Ab hoc (Apollodoro) artis fores apertas Zeuxis Hera-
deotes intravit.
5. Ibid. N.H. XXXV. 60: ... primus spedes exprimere instituit.
6. Hesychius, S/cid- <riciaffa, ivi<pdveia roO xp^M ttTO * dvrlnoptpos. ^KiayptHplav
T^IP ffm)voypa<j>lar oCra \&yovffiv. IX^yero Si ra Kal 'A.vo\\6S<apos fwypd^oj
<TKiaypd(j>os dvrl roti ffKi)voypd<pos, "Shadow: shading, that is, mimicking form
through color. Shadow painting a name for scene painting. A painter Apollodoros
was called shadow painter, that is, scene painter."
7. Plutarch De glor. Ath. 346 a: 'AroXXtowpoj 6 ory/xi0oj, dvOpdnruv rpwroj
ifcvpuv <p6opav Kal dir6xP ufflv ffft&s. ,
8. Cf., e.g., Bulle, Eph., 1937 (looth anniversary volume), pp. 473 ff.; Dinsmoor,
Hesperia, IX (1940), 48, fig. 18; Buschor in FR, pi. 148, p. 165, figs. 78-80 (South
Italian); Hahland, M, pis. 3, 11 b, 16 a; Bieber, HT, pp. 58 ff. (South Italian);
Richter, Greek Painting 2, pp. 18 ff.
9. Cf., e.g., the figures on the calyx krater in Athens (Hahland, M, pi. 4), dated
about 390 B.C., and the statuettes of Muses on the hydria, Richter and Hall, no.
162, pi. 160.
10. Cf., e.g., Republic, 523, 598, 602; Parmenides, 165; Laws, 663. For a general
account of Plato's views on art cf. Schuhl, Platon et I'art de son temps.
11. There is an extensive literature on perspective in ancient art; cf. espedally
Wickhoff, Wiener Genesis, 1895, P- 575 Delbriick, Beitrage zur Linienperspektive
(Diss,, Bonn, 1899); Riegl, Spatromische Kunstindustrie, 1901, p. 18; Pfuhl, Jb.,
XXV (1910), 12 ff., XXVII (1912), 227 ff.; Griineisen, Mel. d'arch., XXXI (1911),
393 fl.; Schone, Jb., XXVII (1912), 19 ff.; Panofsky, "Die Perspektive als 'sym-
bolische Form,' " Bibliothek Warburg: Vortrage, 1924-25, pp. 258 ff.; Swindler,
AP, p. 225; Bulle, Berliner Winckelmannsprogramm, XCIV (1934), 16, 26, 34,
note 70; Richter, Actes du XIV congres international d'histoire de I'art, 1936,
Re'sum&, pp. 174!., "Perspective, Ancient, Mediaeval and Renaissance" in Scritti
in onore di Bartolomeo Nogara, 1937, pp. 381 ff., and Greek Painting*; Schwei-
tzer, Vom Sinn der Perspektive, 1953.
12. For a recent analysis of the development of perspective in the Renaissance
a much debated subject see A. Wieleitner, "Zur Erfindung der verschiedenen
Distanzkonstruktionen in der malerischen Perspektive," in Repertonum fur
Kunstwissenschaft, XLH (1920), 249 ff.; also Panofsky, op. cit., pp. 277 ff.; H. Brock-
haus* edition of De sculptura by Pomponius Gauricus, Leipzig, 1896, pp. 32-58;
Ivins, "The Rationalization of Sight," Metropolitan Museum Papers, no. 8, 1938.
13. For iccent lists of these see Diepolder, Attische Grabreliefs, p. 64; Binne-
boessel, Urkundenreliefs (Diss., Leipzig, 1932); Speier, RM, LXVII (1932), 90 ff.
14. On this subject see especially Hahland, M, pp. 6 ff.
15. One of the latest found is by the Shuvalov Painter. See Hahland, M, p. 18,
note 10; Rhomaios, Deltion, XII (1929), 201, fig. 9.
16. Hauser, RM, XIX (1904), 163 ff., pi. 6; E. Robinson, Bulletin Museum Fine
Arts, III (1905), 7 ff.; Hahland, M, p. 6, pis. 6, 24.
NOTES: LATE FIFTH-CENTURY STYLE 197
17. Brueckner, Der Friedhof am Eridanos, p. 62; Conze, Die attischen Grabrc-
liefs, II, 254.
18. 102: riiv Hpav6fiov ir<ay<av' ^mv, "wearing the beard of Pronomos." A
scholiast adds that this is the flute player.
19. As the father of a flute player named [Oijniades (IG, II, 1234). The Theban
flute player was the son of an Oiniades (Anth. Plan. 28).
20. Cf. Pausanias IX. 12. 5-6.
21. Douris in Athenaios IV. 184 d.
22. Pausanias IV. 27. 7.
23. We must remember, however, that there was apparently a musical family
in Thebes continuing for several generations in which the name Pronomos ap-
pears more than once (cf. IG, II, 1292). That the musician on the Naples vase has
no beard whereas Aristophanes' Pronomos was bearded can easily be explained
by the license which vase painters took in such matters (Hahland, M, p. 17, note 9).
Besides, as Beazley suggests, he might have been beardless at the time the vase
was painted and acquired a beard by the time of the Ekklesiazousai.
24. Beazley, pp. 784 ff., 968.
25. 810. Beazley, VA, p. 181; Beazley, p. 784, no. 6.
26. 2361. FR, pi. 29; Pfuhl, fig. 767; Beazley, p. 785, no. 27.
27. 2415. FR, pi. 35; Pfuhl, figs. 558, 774; Pfuhl, Masterpieces, fig. 102; Buschor,
Gr. V., fig. 228; Beazley, p. 784, no. 2.
28. Beazley, p. 968.
29. 22.139.89. Beazley, p. 787, no. 49.
30. Beazley, pp. 789 ff., 965.
31. 2402. Hahland, M, pi. 12 a; Beazley, p. 790, no. 3.
32. 300. Hahland, M, pi. 8 b; Beazley, p. 790, no. 7.
33. 2419. FR, pis. 36, 37; Pfuhl, fig. 582; Swindler, AP, fig. 332; Hahland, U,
pi. 2; Buschor, Gr. V. } figs. 242, 243; Beazley, p. 789, no. 2.
34. 1937.983. Beazley, AJA, XLIII (1939), 618 ff.; Beazley, p. 790, no. 11.
35. Hahland, M, pi. 5; Buschor, Gr. V., fig. 252; Beazley, p. 790, no. 6.
36. 24.97.38. Beazley, p. 791, no. 16.
37. Beazley, p. 794 f .
38. 06.1021.185. Richter and Hall, no. 158, pis. 157, 172; Beazley, p. 794, no. 5.
38a. GR 593. Richter and Hall, no. 153, pis. 152, 173; Beazley, p. 795, no. 4.
39. Beazley, p. 797 f.
40. 27.122.8. Richter and Hall, no. 154, pis. 153, 154, 171; Buschor, Gr. V., fig.
244; Richter, Greek Painting? p. 16; Beazley, p. 797, no. 2.
41. 25.78.66. Messerschmidt, RM, XL VII (1932), 130, 146 b; Richter and Hall,
no. 155, pis. 155, 171; Bieber, HT, p. 6, fig. 9; Beazley, p. 797, no. 7.
42. Cf. Dionysios of Halikarnassos VII.72.io.
43. On this whole subject cf. Richter and Hall, p. 196, notes s-8; Bieber, loc cit.
44. T 127. Aurigemma, S,i p. 207 middle and pp. 209-211 = S,2 p. 345. middle
and pp. 247-249: Beazley, p. 797, no. i.
45. 06.1021 174. Richter and Hall, no. 156, pis. 156, 178; Beazley, p. 798, no. 17.
46. F. P. Johnson, AJA, XLII (1938), 357, no. 26; Beazley, p. 797* no. 8.
47. Beazley, pp. 79 8 ff - 9 6 5- . ,,
48. 11265. Hoppin, I, 15; Pfuhl, fig. 576; Pfuhl, Masterpieces, fig. 107; Swindler,
AP, fig- 345: Dugas, Aison, fig. 9; FR, III, 48; Beazley, p. 800, no. 20.
49. R C 239. Dugas, Aison, fig. 11; Swindler, AP, figs. 297, 3*?; Beazley, p. 799.
n 5 o l '2.7.i22 9. Beazley, JHS } XLIX (1929), 73. fig- 25; Richter and Hall, no. 151,
pi. 151; Beazley, p. 800, no. 19
51. 19.19244. Richter and Hall, no. 157.
ig8 ATTIC RED-FIGURED VASES
52. Bcazley, pp. 803 ff., 965.
53- 2633. Neugebauer, Fuhrer, II, pi. 66; Beazley, p. 805, no. 21.
54. Beazley, pp. 801 ff.
55. 33.324. Tillyard, The Hope Vases, pi, 23, no. 140; Luce, CV, pi. 23, no. i;
Beazley, p. 801, no. i.
56. Nicole, Meid.; Ducati, Midiaj Hahland, Af and Studien; Beazley, pp.
831 if., 965.
57. E 224. FR, pis. 8, 9; Hoppin, II, 179-181; Pfuhl, fig. 593; Pfuhl, Masterpieces,
fig. 109; Swindler, AP, fig. 344; Walters, CV, pis. 91, 92; Seltman, AV, pi. 37;
Buschor, Gr. V., figs. 250, 251; Beazley, p. 831, no. i.
58. 37.11,23. Richter, AJA, XLIV (1939), i ff., and Greek Painting? p. 17; Beaz-
ley, p. 832, no. 6.
59. Jatta 1538. Jatta, RM, HI (1888), pi, 9; Nicole, op. cit., pi. 7, no. 4; Beazley,
p. 832, no. 9.
60. 81947, 81948. Nicole, op. cit., pi. 3, nos. i, 2; Pfubl, fig. 594; Ducati, op. cit.,
pp. 100, 10 1; D. Levi, CV, ph. 60-65; Beazley, p. 832, nos. 3, 4.
61. G R, 1243. Richter and Hall, no. 159, pis. 158, 177; Beazley, p. 832, no. 7.
62. Stg. 311. Nicole, op. cit.; Beazley, p. 833, no. 12.
63. 11.213.2. Richter and Hall, no. 160, pis. 159, 176; Beazley, p. 838, no. 46.
64. 09.22140. Richter and Hall, no. 161, pis. 159, 178; Beazley, p. 840, no. 86.
65. 06.1021 196. Richter and Hall, no. 164, pis. 161, 177; Beazley, p. 837, no. 42.
653. Cf. Smith, CV, San Francisco, pp. 47 f.; S. Karouzou, AJA, L (1946), 122 ff.
66. 1460. FR, pi. 67, II, 35; Nicole, op. cit., p. 117; Pfuhl, fig. 583; Pfuhl, Master-
pieces, fig. 108; Swindler, AP, fig. 342; Buschor, Gr. V., fig. 245; Beazley, p. 793.
67. 259. Nicole, op. cit., pi. 2, no. a; FR, pi. 30; Pfuhl, fig. 595; Beazley, p. 834.
68. Beazley, pp. 841 ff.
69. 2531. Hoppin, I, 50; Pfuhl, fig. 587; Swindler, AP, fig. 346; FR, pi. 127;
Neugebauer, Fiihrer, II, pi. 65, no. 2; Beazley, p. 841, no. i.
70. 00.344. FR, pi. 128; Hoppin, I, 52; Beazley, p. 842, no. 2.
71. Marconi, Atti Soc. Magna Grecia, 1931, p. 73; Beazley, p. 842, no. 4.
72. 00.345. Pfuhl, fig. 586; FR, pi. 129; Seltman, A V, pi. 4 b; Beazley, p. 842, no. 3.
73. 2706. FR, III, 41; Beazley, p. 842, no. 5.
74. Acr. 594 and Pnyx 349; Graef and Langlotz, Akropolis, II, pi. 45; Beazley,
p. 831, nos. i, 2.
75. Beazley, pp. 847 ff.
76. 98.7-16.6. Hoppin. II, 219; Beazley, p. 847, no. i.
77. 41.1624. Gallatin, CV, pi. 25, nos. 5, 6; Beazley, p. 847, no. 9.
78. Jatta 1501. FR, pis. 38, 39, I, 197; Pfuhl, fig. 574; Swindler, AP, fig. 376;
Buschor, Gr, V., fig. 255; Beazley, p. 845, no. i.
79. Beazley, pp. 845 f.
80. 12.229.15. Beazley, p. 846, no. 2.
81. 3240. Bieber, Th,, pp. 91, 94; Pfuhl, fig. 575; Bieber, HT, pp. 14 and 34;
Buschor, Gr. V., fig. 257; Beazley, p. 849, no. i.
82. Beazley, p. 849, 965.
83. Beazley, pp. 852 f.
84. FR, pis. 96, 97; Pfuhl, fig. 584; Swindler, AP, fig. 468; Buschor, Gr. V., fig.
258; Beazley, p. 852, no. 6.
85. 44.11.12, 44.11.13. Gabrici, Man. Line., XXII (1913), 682, fig 234, nos. i, 3;
Richter, MM Bull., new series, III (1944-45), 168 ff ; Beazley, p. 852, nos. 2, 4.
86. 17.46,1. Richter and Hall, no. 165, pis. 162, 169; Beazley, p. 852, no. i.
87. Gebauer and Johannes, AA, 1937, p. 194, fig. 13, no. 3; Beazley, p. 852.
88. Beazley, pp. 854 ff., 859 ff , 966.
NOTES: THE FOURTH CENTURY 199
89. Inv. 953. Hoppin, Bf., p. 467; Blinkenberg and Johansen, CV, pi, 162, no. 2,
p. 125; Beazlcy, p. 854, no. i.
90. E 770. Hoppin, II, 173; Beazley, p. 854.
91. Beazley, AWL, p. 25.
92. 06.1169. Fairbanks, AWL, II, pi. 27, a; Buschor, ALP, p. 187; Beazley, p. 820,
no. 3.
93. 07.38645. Fairbanks, AWL, II, pi. s6; Buschor, ALP, p. so; Beazley, p. 828,
no. 8.
94. 06.1021.135. Sambon, Coll. Canessa, p. 70, no. 243; Buschor, ALP, p. 186;
Beazley, p. 829, no. 19.
95. 41.162.12. Gallatin, CV, pi. 28, no. i.
96. 41.162.11. Ibid., pi. 28, no. a.
VI. THE FOURTH CENTURY
1. Cf. Ducati, Saggid, and especially Schefold, U, pp. 154-156-
2. Cf. Overbeck, Schriftquellen, pp. 330 ft, 334 if.; A. Reinach, Recueil Milliet,
pp. 250 ff., 268 ff.; Swindler, AP, pp. 265 ff.
3. NJI. XXXV. 65. 95.
4. Schefold, U, p. 105.
5. Binneboessel, Studien zu den attischen Utkundenreliefs, 1932, and the refer-
ences there cited.
6 On this subject cf. especially Hahland, M, pp. 6 ff.; Schefold, U, pp. 62 ff.
7. P. Herrmann, "Das GrSberfeld von Marion auf Cypern," Berliner Winckel-
mannsprogramm, XLVHI (1888), 34-36; Hahland, M, p. 7.
8. Mauser, Neu-att. Reliefs, pp. 161 f. .
9. Brauchitsch, Preisamphoren, p bo, fig. 11; Smets, "Croupes chronologiques
des amphores panathenaiques inscrites," L'Antiquitt> classique, V (1936% 96 ff.
10. Brauchitsch, op. at., pp. 51 ff.; Smets, op. cit., 97 ff.; Beazley, A]A, XLVH
(1049), 455 ff.
11. D. M. Robinson, AJA, XXXIII (19*9). P- 66- fi * *
12. For this evidence cf. Schefold, U, pp. 63 ft
13. Cat. Aftiftfe d'Alexandric: La Necropoh di Saatbt pis. XLVII, XLVIH.
14. Cf . Beazley, JHS, LIX (i 9 S9). *> 35. and passim; Hahland, M; and Schefold,
KV and 17.
, Meid., p. 109; Ducati, Midia, p. 117; FR, HI, *.; Richter
and Hall, no. 163, pi. 161; Beazley, p. 870, no. 2.
17 33 A. FR, III, 53; Hahland, M, pi. 17 a; Beazley, p. 870, no. i.
18. C R 1869, pi. 4. nos. 6-7; Beazley, p. 870, no. 3.
19. Swindler, ^/^, XX (1916), 343. nos. 22-24; Beazley, p. 870, no. 4.
SS^wTl^ (.844-48), PL 43: Curtius, /*, XLIH (19,8), 288;
Beazlev, p. 870, no. i. no
28. 522. Langlotz, WUrzburg, pi. 191: Beazley. p. 871, no. 8.
23. Beazley, p. 874.
24. Hoppin, U, 475: Beazley, pp. 874 f., nos. i, 2.
25. Beazley, pp. 876 ff., 966.
26. Hahland, M, pi. 16 a.
200 ATTIC RED-FIGURED VASES
27. Beazley, p. 866.
28. Ibid., p. 867.
29. Ibid., p. 868.
30. Ibid., pp. 880 ff., 966.
31. Hahland, Af, pp. so t.
32. Jena 390. Hahland, M, pi. c; Beazley, p. 880, no. i. For the Greek harp
act our p. 137.
33. Inv. 3768. Schefold, KV, pL 3 b; Schefold, U, figs. 57-28; Beazley, p. 883,
no. 78.
34. Beazley, pp. 885 f., 967.
35. Ibid., pp. 886 f.
36. lbid. f pp. 888 f.
37. Ibid., p. 891.
38. 08.258.20. Richter and Hall, no. 166, pis. 163, 163, 173.
39. si. 88.162. Ibid., no. 167, pis. 163, 172.
40. Cf. Richter and Hall, p. aia, notes 8-4.
41. E 231. Schefold, KV, pi. I, no. i a.
42. E 43*. Ibid., pi. I, no. i b.
43. 06.1021.184. Richter and Hall, no. 168, pis. 167, 172.
44. 24.97.5. Ibid., no. 171, pi. 166; Schefold, KV, pi. 11.
45. Schefold, KV, pi. 21.
46. St. 1807. C R 1861, pis. 3-4; Beazley, p. 804, no. 5.
47. St. 1791. FR, II, 36 ff., pi. 68; Schefold, KV, pis. 13, 14.
48. 25.190. Richter and Hall, no 169, pis. 164, 177; Schefold, KV, pi. 10;
Brendel, A] A, XLIX (1945), 519 ff.
49. 06.1021.181. Richter and Hall, no. 170, pis. 165, 178; Schefold, KV, pi. 9.
50. Cf. Schefold, Untersuchungen, pp. 146 ff.
51. Hauser, Oest. Jh., XII (1909), 90 ff.; Metzger, Repr. du IV siecle, pp. 92 ff.,
pi. VII.
52. 22.139.26. Richter and Hall, no. 173, pi. 168.
52a. 26.60.75. SchefolcT, U, no. 191, fig. 3, pi. 11.
53. 16878. Schefold, KV, pi. 15 a.
54- JSSga- Materyah, XXXV (1916), pis. 1-4; Schefold, KV, pis. 19, 20
55. Schefold, KV, pi. 24 a, Buschor, Gr. V., fig. 269.
553. 06.1021.195. Schefold, U, no. 547, pi. 38.
56. Cf. the lists of examples given by Courby, Les Vases grecs A. reliefs, pp. 123 ff ;
Ducati, Saggto, pp. 107 ff.; and Stona, pp. 520 ff.
57. Cf. Courby, op. cit., pp. 40 ff.
58. Cf., e.g., Courby, op. at., pp. 117 ff.; Schefold, U, figs. 41, 42.
59. Gabrici, Mon. Line., XXII (1913), 696 ff., pis. c-cu.
60. Reinach, Mon. Piot, X (1903), pis. 6, 7.
61. 28 57 9. Ht. 5% in. (13.7 cm.).
62. Cf. Hofer in Roscher's Lexikon, s.v. Klytaim(n)estra, col. 1234, and s.v.
Orestes, cols. 958 ff.; J. Schmidt, ibid., s.v. Telcphos, cols. 288 f. For a list of
representations cf. Schmidt, op. cit., cols. 304 ff.
63. 44.11.10 Ht. 5^4 in (13-4 cm.); Richter, MM Bull., Ill (1944-45), 170 ff.
64. For Pan and Eros in Hellenistic art cf. Werhicke in Roscher'f Lexikon, s v.
Pan, cols. 1456 ff.
65 Thompson, Hesperia, III (1934), 451 if,
66. Ibid., pp. 429 ff.
67. S. Dow, Hesperia, V (1936), 50 ff.
68 Talcott, Hesperia, IV (1935), 493 ff., and V (1936), 342 ff.
GENERAL INDEX
ACCIDENTS, 34-35
Acheloos Painter, 37
Achilles and Patroklos, 134
Achilles and Pcnthesileia, 69, 97, 113-
114. i*7
Achilles Painter, 16, 66, 117, ii8-isi,
184, i*7 HS. 191 n - !* !9* n - 3i;
circle of, 1*3; follower of, 1*4; pu-
pil of, iss
Adonia, 161
Adrastos, 146
Aeschylus, 2, 6, 91
Agatharchos of Samos, 90, 139
Agora, Athenian, base o statue found
in, 175 n. 32; bowl found in, 57;
fragmentary cylinder found in, 55;
vases with graffiti, from, 20
Agrigento Painter, 96-97
Aigina, sculptures from temple at, 64
Aigisthos Painter, no
Aischines (kalos), 114
Aischines Painter, 114
Aison, 146
Ajax, 113
Akestorides (kalos), 109
Akestorides Painter, 106-107
Akropolis, dedicatory offering* found on
the, 6; inscribed base from the, 41;
maidens from the, 46; mounting
charioteer from the, 64; pits on the,
ss; potsherds from the, 65; votive
plaque from the, 45
Aktaion, death of, 95, 1*9
Alabastron, 13, 114; group of, 51
Alexander, Christine, vi
Alkaios (kalos), isi
Alkimachos (kalos), 105, no, 1x9, 135
Alkimachos Painter, no
Alkimedes (kalos), son of Aischylides,
1*1
Alkmeon (kalos), 81
Alphabet, Attic, 169 n. 65
Altamura Painter, 101
Alxenor stele, 64
Amasis, 36, 66
Amazonomachy, 101, IDS, 103-104, 113,
124
Ambrosios Painter, 53
Amphiaraos, 32
Amphora, 11, is, 15, 25, 45, 65, 94, 152,
157. i 6 4
Amphora, neck, n, 45, 65
Amphora, Nolan, 65, 73, 94
Amphora, Panathenaic, n, 19, as, 36,
65, 66-67, 68 5 6 164. l6 7 n - s6
Amphora, pointed, n, 65
Amphoriskos, 133
Amymone Painter, 108
Anakreon, 7, 8, as, 44, 58
Analysis, technical and stylistic, 36-42,
59-63. 9-9*> 1 15-"6, 139-141* 154-
155
Anatomical details, 37-39, 6o-6a, 91-921
115-116, 141, 155
Anaxagoras, 91, 116, 166 n. 10
Andokides (potter), 44, 46, 47, 50
Andokides (kalos), 43-44
Andokides Painter, 18, 19, 43-44, 46, 47,
48, 49, 50, 175 n. 43
Androtion, 175 n. 34
Animals, 166 n. 9
Antenor, 42
Anthesteria, 134, 135, 148
Antias (kalos), 57
Antimenes Painter, 37
Antiphanes (kalos), 83
Antiphon Painter, 85-86
Apelles, 5, 154, 16*
Apollodoros, 5, 51-5*, 139, 140
Archedike, us, 190 n. 164
Archinos (kalos), 73
Archons, ss, 156, 175 n. 33
Arethusa, 64
Aristagoras (kalos), 84
Aristarchos (kalos), 85
Aristeides of Thebes, 154
Aristion stele, 43
Aristogeiton, 64
Aristophanes, 6, so, ss, 148, 165 n. 5,
166 n. 10, 197 n. sj
Aristophanes (painter), 19, 149
Aristotle, 35, 175 nn. 24 and 29
Aryballos, 13, 114
Astragalos. See Knuckle-bone vase
Athanasia, 13S
Athanasia Painter, 131-131
Athena Painter, 75, i8s n, 96
Athenaios, 190 n. 164, 197 n. si
Athenodotos (kalos), 77, 84
202
ATTIC RED-FIGURED VASES
Athens 1945, Painter of, 126
Athens, potters' quarter in, 5; Stoa
Poikile at, 89; Theseion at, 89; see
also: Agora, Athenian; Akropolis;
Erechtheion; Kerameikos, Athe-
nian; Nike Balustrade; Parthenon
Athletics, 165 n. 9
Axiopeithes (kalos), 120, 121, 129
BAKBOTINE TECHNIQUE, 163
Base, inscribed, from the Akropolis, 42,
43; from Athenian Agora, 175 n.
3*
Beazley, J. D., vi, 3, 50, 52, 69, 77, 83, 86,
100, 107, 118, 127, 147, 149, 152.
166 n. 18, 167 n. 22. 169 n. 68,
182 n. 97, 187 n. 58, 191 n. 12,
197 n - 23
Berlin Painter, 3, 16, 66, 68-70, 73, 74,
78, 95, 108, 109, 118, 120, 124, 127,
181 n. 33, 186 n. 15, 191 n. 12; pu-
pils of, 109
Berlin 2268, Painter of, 53
Berlin Hydria, Painter of the, 102
Bieber, Margarete, 185 n. 197
"Bilingual" vases, 47, 49, 50
Binns, Charles F., 27, 28, 33, 34, 170 n.
89, 171 n. 94, 172 n. 114
Black-figure, 75~7 6
Black-Thyrsos Painter, 158
Bologna 228, Painter of, no
Bologna 279, Painter of, 102
Bologna 417, Painter of, 100
Bosanquet Painter, 121, 122
Boston, three-sided relief, 64, 106
Bowdoin Painter, 74-75, 182 nn. 96 and
97
Bowdoin- Eye Painter, 53
Bowl, 57, 164, 172 n. 22; libation, 122
Box. See pyxis
Briseis Painter, 87, 88
Brown-Egg Painter, 159
Brussels Oinochoai, Painter of, 189 n.
37
Brussels RSSO, Painter of, 100
Brygos, 6, 19, 78
Brygos Painter, 3, 16, 6, 66, 76, 78-81,
88, 106, 165 n. 5, 183 n. 136, 183 n.
141; circle of, 87; manner of, 79
Building, in fashioning of vase, 26
Buildings, Periklean, 22; post-Periklean,
88
Buschor, E., 128
CARLSRUHE PAINTER, 114
Cartellino Painter, 83
Cassel Painter, 126-127
Centauromachies, 101, 130, 157
Cerberus Painter, 44
Chairestratos (kalos), 84
Chairias (kalos), 56
Chairis (kalos), 105
Charioteer, mounting, from the Akrop-
olis, 64
Chelis (potter), 49, 53
Chelis Painter, 53
Chicago Painter, 105-106
Choes, 148, 149
Christie Painter, 130
Chronological Data, 16, 43-45, 64-65,
93, 117, 141-142, 156
Chronology, 22-23, 156
Chrysis Painter, 144, 146
Clay, 23, 26, 27, 31, 32, 33, 34, 35! ap-
plied, gilded, 63, 92, 116, 155, 161,
163; coils of, 25; fired, 32; prepara-
tion of, 24; sedimentary, 24; resid-
ual, 24
Cleveland Painter, 109
Clinic Painter, 108
Coghill Painter, 130
Collaboration of two painters, 53, 100,
"9. *35
Colmar Painter, 45, 85, 86
Comparisons with painting and sculp-
ture, 42-43, 64, 93, 117, 141, 155
Copenhagen Painter, 72-73
Cow's hoof, cup in form of, 111
Cups, Megarian and Pergamene, 171 n.
94; see also kylix
Cylinder, fragmentary, found in Athe-
nian Agora, 55
DANAE PAINTER, 116, 125; associate of,
126
Danae legend, 110-111
Decoration of the vase, 27-31
Deepdene Painter, no
Deiniades (potter), 56
Delphi, Lesche at, 89, 131
Delphi, Temple of Apollo, 43
Demokritos, 91, 116
Dexileos, burial plot of, 117, 141-142,
156; death of, 22
Diagoras, 166 n. 10
Dikaios (kalos), 57
Dikaios Painter, 57
GENERAL INDEX
203
Dinos, 144
Dinos Painter, 142, 143-144, 151, 157
Diogenes (kalos), 84
Diogenes Painter, 73
Diokles (kalos), 74
Dionysiac scene, 106, 161
Dionysios of Halikarnassos, 197 n. 42
Diosphos Painter, 75
Diphilos (kalos), 81, 121
Diphilos (kalos), son of Melanopos, 121
Dipinti, 19
Disney Painter, 137
"Document" reliefs, 141, 155
Dokimasia Painter, 88
Double disk, 98
Douris (potter), 83
Douris, 5, 17, 18, 19, 56, 64, 76, 83-85,
106, 167 n. 35, 178 n. 141
Douris of Samoa, 197 n. 21
Dromippos (kalos), son of Dromokleides,
121
Dutuit Painter, 73
Dwarf Painter, 124
EARLY STYLE, 36-58
Edinburgh Oinochoe, Painter of the,
137
Egrapsen, 17-18; see also signatures of
painters (with egrapsen), and under
artists' names
Eleusis Painter, 45, 77
Elpenor, 129
Emotion, rendering of, 4, 61, 89, 129,
*5*
Epeleios (kalos), 53, 121
Epeleios Painter, 53
Ephesos drums, figures on the, 43
Epicharis (kale), 148
Epidauros, akroteria and pediments, 155
Epidromos (kalos), 52, 53
Epidromos Painter, 52
Epigenes (potter), 19, 133
Epiktetos, 5, 17, 18, 19, 44, 48, 49-50. 5 1 .
65, 66, 174 n. 4, 177 n. 85, 180 n. 10
Epiktetos II, 3, 66; see also under Kleo-
phrades Painter
Epilykos (kalos), 54
Epoiesen, 16-17; see also signatures of
potters (with' epoiesen) and under
potters' names
Erbarh Painter, 158-
Erechtheion, frieze of, 141
Eretria Painter, 117, 132-135, 1422, 146,
148, 169 n. 67
Erothemis (kalos), 85
Ethiop Painter, 113
Euaichme Painter, 107
Euaion (kalos), 107, 123, 129
Euaion Painter, 3, 107
Eualkides (kalos), 57
Eucharides (kalos), 71
Eucharides Painter, 71, 181 nn. 52 and
53
Euemporos, 150
Euergides (potter), 51
Euergides Painter, 51
Eumares, father of Antenor, 42
Eumaros, 42
Euphronios (potter), 54, 76-77, 85, 99
Euphronios, 5, 15, 17, 19, 53-55, 56,
57, 77, 167 n. 30, 171 n. 94
Eupolis Painter, 126
Eupompos of Sikyon, 154
Euripides, 163, 174 n, 7
Euthymides, 15, 19, 36, 45, 53, 55-56, 67,
165 n. 6, 174 n. 6; companion of,
58; father of, 178 n. 141
Euxitheos (potter), 49
[Euxi]theos (potter), 54
Exekias, 36, 45, 171 n. 94
Expression, contrast in, no
FAT BOY GROUP, 159
Firing, 31-34
Foreshortening, 2, 5, 38, 42, 43, 48, 49,
50, 51, 52, 54, 55, 56, 60, 61, 89, 90,
101, 104, 128, 129, 139, 151, 162,
163; see also perspective, two di-
mensional, third dimension, spatial
relations
Forgery, 87
Foundry Painter, 87
Francois vase, 21, 133, 174 n. 3
Fraser, A. D., 28
Furniture, 166 n. 11
GALES (potter), 44, 58
Gales Painter, 58
Gallatin Painter, 73
Ganymede, 95-96
Ganymedes (kalos), 148
Gaurion (potter), 152
Geneva Painter, 102
Geras Painter, 72
Glaukon (kalos), 45, 74. 93, 99
ATTIC RED-FIGURED VASES
204
Glaukon, son of Leagros, 16, 22, 45, 93:
see also Leagros, son of Glaukon
Glaze, black, 27-29
Goluchow Painter, 46, 48, 49, i?4 n - 6
Gombosi, O., 186 n. 14
Graffiti, 19-21, 169 n. 53
Granger, F., 185 n. 3
HACKL, R., 19
Haimon Painter, 75
Hall, Lindsley F., vi, 166 n. 19
Handles, attachment of, 26-27
Harmodios, 64
Harrow Painter, 72
Haspels, C. H. E., 182 n. 96
Hegesiboulos (potter), 52
Hegesiboulos Painter, 52, 174 6
Hektor Painter, 130
Hephaistos, return of, 133
Heraion Painter, 182 n. 97
Herakles and Busiris, 96-97; in the
garden of the Hesperides, 147, 159'
160; strangling the serpents, 97
Herdsman, 111-112
Hermaios (potter), 53
Hermaios Painter, 53
Hermogenes (kalos), 84
Hermogenes Painter, 179 n. i
Hermonax, 19, 108-109
Heroes, names given to, 14
Herodotos, 166 n. 10, 174 n. 8, 175 n. 32
184 n. 153, 190 n. 164
Hesiod, 173 n. 149
Hesychius, 196 n. 6
Hieron (potter), 17, 18, 19, 81, 108, 165 n.
6, 184 n. 151
Hilaron (kalos), 109
Hilinos (potter), 47
Hipparchos, beauty of a, 44$ death of,
36; son of Peisistratos, 44
Hipparchos (kalos), 50, 175, nn. 22-24
Hippodamas (kalos), 83, 84
Hippokrates, 45
Hippokrates (kalos), 47
Hippon (kalos), 74
Hischylos (potter), 50
Hischylos Painter, 50-51, 174 n. 6
Historical background, 36, 59, 89, 115,
139. 154
Homeric heroes, 48
Homeric "Hymn to Demeter." 123, 124
Household pottery, 166 n. 18
Hussong, 169 n. 69, 172 nn. 113, 114, 120
Hydria, 12, 25, 45, 46, 65, 142, 156; with
potters at work, 170 n. 73
Hygiainon (kalos), 121
Hylas, 183 n. 120
Hypsis, 57
IKAKOS PAINTER, 114
Ilioupersis, 89, 101
Inscription Painter, 114
Inscriptions, 6, 14-21, 22, 42, 50, 57, 63,
99, 142, 145; meaningless, 19, 180 n.
10; technique of, 4, ai, 36; see also
kale names, kalos names, signatures
Isthmodoros (kalos), 107
JAMESON, M., 176 n. 61
Jason, no
Jena Painter, 158-159; group of, 159
Jug, see oinochoe
KACHRYLION (potter), 45, 49, 54
Kadmos Painter, 146, 160
Kale names, 15, 46, 81, 83, 148. 16? n - S 1
Kalliades (potter), 83
Kallias (kalos), 109, 133
Kallikles (kalos), 74, 109
Kalliope Painter, 135
Kalos names, 3, 15-16, 19, 20; see also
under individual names
Kalpis, 45, 55, 57
Kantharos, 13
Karystios (kalos), 47
Kassandra, 113
Kerameikos, Athenian, 19, ; fragment
of bell krater found in, in style of
Suessula Painter, 142, 151, 156; stele
in, 114
Kerch Vases, 154, 155, 156, 158, 159-162
Kiln, 33-34, 35
Kimon of Kleonai, 42
Kiss Painter, 45, 52-53
Kleinias (kalos), the son of Pedieus, 121
Kleio Painter, 126
Kleisthenes, 45, 175 n. 24
Kleitias, si, 36
Kleomales (kalos), 52
Kleomales Painter, 51
Kleon, 166 n. 10
Kleophon (kalos), 143
Kleophon Painter, 142, 143, 144
Kleophrmdes (potter), 18, 19, 83
Kleophrades Painter, 3, 5, 6, 18, 44, 58,
66-68, 69, 84, 106, 133; in manner
of, 180 n. 10
GENERAL INDEX
sor;
Kliigmann Painter, 137-138
Klytaimestra, 163
Knidian Aphrodite, 155, 161
Knuckle-bone vase, 73
Korkyra, document relief of, 155
Kraipale Painter, 136
Krater, 12, 94, 142; cost of, so
Krater, bell, 11
Krater, calyx, 11, 45, 65, 156, 169 n. 19
Krater, column, 11, 45, 65, 94; handles
of, 87
Krater, volute, 11, 45, 65
Kritias, 16
Kodros Painter, 117, 135
Kyathos, 13
KyKchnis, 13, 166 n. 19; see also pyxis
Kylix, 11, 13, 17, 88, 33, 45, 48, 49, 65,
76, 93- 94. 1 5*> >5 6 > !57> l6 4- 6 6 n -
17
LACHES (kalos), 85
Lamb's head, cup in form of, no
Lapiths and centaurs, 103-103
Leagros, 15, 16, 45, 93; see also Glaukon,
son of Leagros
Leagros, son of Glaukon, 45, 175 nn. 32
and 33
Leagros (kalos), 45, 53, 54, 55, 65, 77
Lebes, n, 12; see also Nuptial vase
Lebes gamikos. See Nuptial vase
Lekanis, 13, 142, 156
Lekythos, 13, 73, 93, 94, 139, 1455, 152,
156; cost of, so; sepulchral, 152-
153; white-ground, 152-153, 155
Leningrad Painter, 96
Lewis Painter (Polygnotos), 3, 18, 112,
127, 132
Lichas (kalos), 108, 121
Little-Master cup, 17, 45, 48, 175 n. 373
London 106, Painter of, 152
London Di4, Painter of, 136
London 100, Painter of. no
London 342, Painter of, 109
London 497, Painter of, 125, 126
Loutrophoros, 13
Louvre CA 1694, Painter of, 107
Louvre Centauromachy, Painter of, 130
Ludovisi three-sided relief, 64
Lydos, 36, 133
Lykaon Painter, 3, 128-129
Lykos (kalos), 85
Lykourgos, 175 n. 24
Lyons kore, 43
Lysias, 6, 145
Lysikles (kalos), 177 n. 92
Lysippian statues, 155
Lysippides (kalos), 46, 175 n. 43
Lysippides Painter, 175 n. 43
Lysippos, 2, 155
Lysis (kalos), 85, 99
Lysis, Laches, and Lykos group, 85
MAGNONCOURT PAINTER, 86
Makron, 16, 17, 19, 62, 64, 65, 6, 76,
81-83, 10 8 165 n. 5, 178 n. 141,
184 n. 148; pupil of, 108; school of,
107
Mannheim Painter, 124-125
Marathon mound, 64
Marlay Painter, 132
"Maussolos" of Halikarnassos, 162
Medon, father of Hieron, 108
Megakles, 45
Megakles (kalos), 45, 55, 56, 143
Megakles (potter)/ 99
Meidias Painter, 3, 19, 117, 134, 142,
146-148, 149; manner of, 141, 148-
149. 56
Melanippos, 131-132
Melas (kalos), 55
Meleager Painter, 157
Meletos (kalos), 121
Meletos Painter. See Achilles Painter
Melitta (kale), 83
Memnon (kalos), 44, 4j
Menander, 2
Menelaos Painter, 126
Menon (kalos), 47, 84
Menon Painter. See Psiax
Methyse Painter, 3, 106
Mikion (potter), 19, 149
Mikon, 5, 89, 94, 100, 115
Milne, Marjorie J., vi, 165 nn. 7 and 8,
166 n. 10, 167 n. 27, 174 n, 18,
185 n. 3
Miltiades, 16, 44, 174 n. 21
Miltiades (kalos), 44
Mina Painter, 152
Minto, A., 169 n. 54
Mnesilla (kale), 46
Molding, 26
Molon, archonship of, 155
Mouret Painter, 152
Mourners, 7, 113, 114, 121, 122, 134, 141,
152. 153
Mousaios, 147
2o6
ATTIC RED-FIGURED VASES
Munich 2335, Painter of, 121-122
Munich 2363, Painter of, 113
Munich 2660, Painter of, 107
Munich 2661, Painter of, 107
Munich 2662, Painter of, 107
Musical scenes, 7, 49, 125, 128, 129, 136,
137, 145, 147
Myron's Athena, 101, 117
Myrrhiniske (kale), 148
Myson (potter), 71
Myson, 16, 17, 71, 94
Mythological subjects, 165 n. 9; see also
under subjects
NAMES. See inscriptions
Naples Painter, 130
Nauklea (kale), 83
Nausikaa Painter (Polygnotos), 18, 97,
127
Nearchos, 36
Nekyia, 89, 130, 131
Nekyia Painter, 130-131
Neoptolemos, departure of, 128
New York, statue from South Italy, in,
101
New York Centauromachy, Painter of,
*57
Nike Balustrade, 141, 146
Nikias of Athens, 154
Nikias Painter, 150
Nikomas (kalos), 128
Nikon (kalos), 146
Nikon Painter, 93, 109
Nikophile (kale), 81
Nikosthenes (potter), 50, 53
Nikosthenes Painter, 53
Nikoxenos (kalos), 70
Nikoxenos Painter, 70-71, 181 n. 47
Niobid Painter, 100, 101, 104, 127;
school of, 151; manner of, 101
Nuptial vase, lebes gamikos, 13, 112,
130, 136, 137, 150
ODYSSEUS AND ELPENOR, 129
Offerings, dedicatory, found on the
Akropolis, 6
Oiniades, 197 n. 19
Oinochoe, 13, 73, 152, 156
Oinomaos, 159
Oinomaos Painter, 158
Oionokles (kalos), 109
Oionokles Painter, 109
Oionos, 183 n. 120
Okeanos, 159
Oltos, 44, 48-49, 53, 58, 167 n. 24
Olympia sculptures, 90, 93, 101, 103
Olynthos, plate found at, 156
Onesimos, 19, 77, 85
Onos, 133
Orchard Painter, no
Orestes, 163
Ornaments, 10, 166 n. 14
Ornate Style of the Fourth Century, 156,
157-15 8
Orpheus and the Thracians, 125-126,
129-130
Orpheus Painter, 129-130
Oxford Grypomachy, Painter of, 158
PAIDIKLOS (potter), 51
Painters, mural and panel, 5, 5a, 89,
127. 1 3Q> *54
Painters, signatures' of. See signatures
Painting, 29-31; monumental, i, 5, 8;
mural, i, 4, 6, 42, 56, 59, 93, 100; on
marble stelai, 42; on terracotta
slabs, 42; panel, i, 4, 42, 56, 59, 93,
115, 139, 165 n. 2
Pamphaios (potter), 49, 50, 53
Pan Painter, 94-96, 97, no, 129
Panaitios (kalos), 65, 76, 77, 84, 85, 86
Panaitios Painter, 6, 16, 45, 54, 65, 76-
78, 81, 84, 85, 86, 159; circle of, 85,
86
Panathenaia, 145
Panathenaic vases, 11, 19, 22, 36; see also
amphora, Panathenaic
Panels, wooden, from near Sikyon, 59,
165 n. 2
Paris Gigantomachy, Painter of, 87-88
Parrhasios of Ephesos, 139
Parthenon sculptures, 103, 115, 117, 122,
123, 126, 132, 191 n. 5
Pasiades, 17, 51
Patroklos, 134
Pausanias, 89, 101, 131, 197 nn. 30 and
22
Pausias of Sikyon, 154
Pedieus, 121
Peirithoos. See Perithous
Peisistratos, i, 36, 44, 175 n. 23
Peisistratids, 36, 46
Peithinos, 52
Peleus, 101
Peleus Painter, 130
Pehke, 45, 94, 156
Pelops, 159
Penelope Painter, 3, 132
GENERAL INDEX
207
Penthesileia Painter, 69, 92, 94, 97-99.
100, no, 128; school of, 100
Periklean buildings, aa; sculpture, 118,
122
Perithous, feast of, 102-103
Persephone, return of, 123-124, 132
Persephone Painter, 3, 123-124, 132
Persian debris, 65
Perspective, 90-91, 116, 135, 139, 140,
*54 1 5%, 196 nn. 11 and 12; see also
foreshortening, two-dimensional,
third dimension, spatial relations
Pheidiades (kalos), 57
Pheidjp'pos, 48, 50
Phiale, 11; see also bowl, libation
Phiale Painter, 122-123
Philiades (kalos), 55
Philoktetes, 134, 183 n. 120
Philon (kalos), 81
Phintias (potter), 56
Phintias, 6, 15, 17, 19, 45, 53, 56
Phrynichos, 166 n. 10
Pig Painter, 96
Pinax, Corinthian, 172 n. 120
Pindar, a, 6, 49, 97
Pistoxenos (potter), 50
Pistoxenos (kalos), son of Aresandros,
121
Pistoxenos Painter, 54, 93, 99, 114
Plaoutine, N., 190 n. 154
Plaque, votive, 45, 52
Plate, 164
Plato, 6, 15, 140, 145, 166 n. 10, 167 nn.
32 and 33, 196 n. 10
Pliny, 42, 154, 196 nn. 4 and 5
Plutarch, 196 n. 7
Polion, 144-146
Pollias, father of Euthymides, 55, 178 n.
141
Pollias (sculptor), 178 n. 141
Polydektes Painter, 127
Polygnotos, 5, 18, 19, 97, 112, 117, 127-
128; group of, 142, 143, 144; see also
Lewis Painter, Nausikaa Painter
Polygnotos II. See Lewis Painter
Polygnotos of Thasos, 89, 94, 100, 115,
127, 131
Polyphrasmon (kalos), 84
Pompe ("Procession"), 161
Pordax (kalos), 46
Poseidon, 159
Pothos Painter, 146
Potteries, Athenian, 35, 49
Potters, 3, 5, 6, 11, 16, 17, 33, 48-49, 50,
52, 53 73' l *> 163, 169 n. 69, 170 n.
73; at work, 23, 35, 170 n. 73; dedi-
cations by, 165 n. 6; see also under
individual names
Praxiteles, a, 155, 161
Praxiteles (kalos), 83
Priam, death of, 70-71
Proklos, 190 n. 171
Pronomos, Theban Musician, 22, 142,
151, 156, 197 nn. 18 and 23
Pronomos Painter, 142, 143, 150-151,
156
Prosagoreuo, group of alabastra in-
scribed, 51
Protagoras, 166 n. 10
Pro thesis, no
Providence Painter, 3, 74, 93, 182 n. 91;
follower of, 109
Psiax, 3, 46-48, 49, 51
Psykter, 12, 45
Pythaios (kalos), 84
Python (potter), 50, 83
Pyxis, 93, 143, 152, 166 n. 19; see also
kyk'chnis
Q PAINTER, 159
Quintus Smyrnaeus, 71
RAM'S HEAD, cup in form of, in
Record reliefs See "document" reliefs
Red ocher application, 28-29
Reed Painter, 153
Reichhold, K., 171 n. 97, 172 n. 120
Relief, details in, 32; objects in, 31
Relief vases. See Vases with reliefs
Relief Ware, Hellenistic, 164
Religious subjects, 165 n. 9; see also sub-
jects
Replica, 87, 149
Retorted Painter, 158
Rhodopis (kale), 83
Richmond Painter, 127
Robinson, Maude, vi, 169 n. 69
SABOUROFF PAINTER, 112-113, 119; in
manner of, 113-114
Sakomdes, 179 n. i
Santayana, G., 9
Sappho Painter, 75-76
Schoolboys, 107
Schumann, Theodor, 27, 170
Sculpture, Greek, scenes from, copied
on vases, 117
s>o8
ATTIC RED-FIGURED VASES
Selinus, metope from, 54; Temple C of,
174 n. 9
Shading, 4, 115, 116, 139, 161
Shapes, 10-14, 45, 65, 93-94, 117, 156
Shuvalov Painter, 137, 196 n. 15
Signatures, 3, 6, 16-19, si, 43. 66, 180
n. 10; double, 17; of painters (with
egrapsen), 17, 18, 46, 48, 49, 50, 51,
58, 53. 54. 55. 56, 57> 66, 71, 77, 81,
83, 85, 97, 108, na, is?, 44. H5.
149, 178 n. 130; of potters (with
epoiesen), 17, 46, 49 5 1 ' 5* 53 54'
55. 56. 57. 58. 66, 71, 73, 76. 77. 81.
8a, 83, 89, 99, 108, 111, 138, 146, 149,
153, 157; see also under individual
names
Simonides, 2
Siphnian Treasury, reliefs from, s, aa,
43
Skopas, a, 155
Skyphos, 13, 94, 156
Skythes, 6, 52, 165 n. 8
Smikrion (kalos), 47
Smikros, 19, 56-57
Smikythos (kalos), 55
Smith, H. R. W., vi
Sokrates, 16
Sophanes (kalos), 131
Sosias (potter), 19, 57
Sosias Painter, 57
Sostratos (kalos), 56
Sotades (potter), in
Sotades Painter, 19, 111-112, 171 n. 74
Spatial Relations, a, 101, 126, 129, 139,
140, 148; see also foreshortening,
perspective, third dimension, two-
dimensional
Spellings, non-Attic, 6
Splanchnopt Painter, 100
Stacking, 38, 33
Stamnos, 17, 33, 45, 65, 94
Stand, 57, 85, 86, 150
Statue bases, in Athens, 43
Stencils, 10, 30
Stesagoras, 174 n. a i
Straggly Painter, 152
Street scenes, 138
Subjects, 5, 7-9, 165 n. 9
Suessula Painter, 143, 150, 151; style of,
14*
Syleus Painter, 78
Syracuse Painter, 109
Syriskos (potter), 73
Syriskos Painter, 78-73, 189 n. 150
TALOS PAINTER, 143, 150
Technique, 83-35, 63-64, 92-93, 116-
117, 141, 155; white-ground, 113,
116; see also analysis, technical and
stylistic
Telephos, 163
Telephos Painter, 107-108
Tex, J. den, 180 n. 10
Thaliarchos Painter, 51
Thamyris and the Muses, 147
Thanatos Painter, 131, 122
Theatrical subjects, 166 n. 9; see also
subjects
Themistokles, 175 n. 33
Theognis, 167 n. 25
Theseus, 87, 159
Theseus Painter, 75
Thetis, 101
Third dimension, a, 10, 36, 56, 63, 68,
90, 127, 129, 139, 163; see also fore-
shortening, perspective, spatial re-
lations; two-dimensional
Thorvaldsen Group, 86
Throwing, in fashioning of vase, 84-25
Thucydides, 175 n. 32
Timagoras, 43
Tithonos Painter, 73-74
Tleson (potter), 49
Toilet box, 98, 166 n. 19; see also pyxis
Tomb of Lacedaemonians. See Kera-
meikos, Athenian
Tomb offerings, 113, 121, 122
Tomb paintings. Etruscan, 59
Triglyph Painter, 153
Triptolemos, 73
Triptolemos Painter (Douris), 18, 83,
184 n. 158
Troilos Painter, 73
Trophy Painter, 131
Turning, 25-26
Two-dimensional designs, s, 5, 37, 56,
63, 129, 147, 163; see also fore
shortening, perspective, spatial re-
lations, third dimension
Tydeus, 131-132
Tymbos Painter, 114
Tyrannicides, 117, 179 n. a
Tyszkiewicz Painter, 73
GENERAL INDEX
209
VASES, ATHENIAN, names of, 14; Dipylon,
28; fashioning of, 284-27; molded,
26, 111; plastic, 36, white-ground,
27, 31, 42, 75, 93, 133, 134, 141, 152-
153; with relief*. 155, 157, 161-164
Vienna Painter, 57
Vienna 116, Painter of, 159
Vienna 155, Painter of, 159
Vienna 202, Painter of, 159
Villa Giulia Painter, 104-105, 106, 124;
school of, 106
Vitruvius, 90, 185 n. 3
Vouni Painter, 1 14
WASHING PAINTER, 136-137
Wedding Painter, 100
Well-groups, 175
Wells, vases dumped in, 45
Wheel work, 24-286
Wilhelm, A., 180 n. 10
Woman Painter, manner of, 153
Woolly Silens, Painter of the, 101-102
Worst Painter, 158
XENOKRATES, 174 n. 13
Xenon (kalos), 55, 135
Xenophantos (potter), 19
Xenophantos Painter, 157, 169 n. 60
Xenophon, 6, 32, 41, 167
Xenotimos, 19
Xenotimos Painter, 138
YALE LEKYTHOS, Painter of the, 93, 109
Yale Omochoe, Painter of the, 109
Yale University Press, vi
ZEPHYROS PAINTER, us
Zeuxis, 5, 139, 140, 154
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